Yamaha CS6X El manual del propietario

Marca: Yamaha

Modelo: CS6X

Categoría: Sintetizador

Tipo: El manual del propietario

Este manual también es adecuado para

CS6R

OWNER’S MANUAL

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic products may

have either labels similar to the graphics shown below or

molded/stamped facsimiles of these graphics on the enclosure. The

explanation of these graphics appears on this page. Please observe

all cautions indicated on this page and those indicated in the safety

instruction section.

The exclamation point within the equilateral triangle is

intended to alert the user to the presence of important

operating and maintenance (servicing) instructions in the

literature accompanying the product.

The lightning flash with arrowhead symbol, within the

equilateral triangle, is intended to alert the user to the

presence of uninsulated “dangerous voltage” within the

product’s enclosure that may be of sufficient magnitude

to constitute a risk of electrical shock.

IMPORTANT NOTICE: All Yamaha electronic products are tested

and approved by an independent safety testing laboratory in order

that you may be sure that when it is properly installed and used in its

normal and customary manner, all foreseeable risks have been

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

unless specifically authorized by Yamaha. Product performance

and/or safety standards may be diminished. Claims filed under the

expressed warranty may be denied if the unit is/has been modified.

Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE: The information

contained in this manual is believed to be correct at the time of

printing. However, Yamaha reserves the right to change or modify any

of the specifications without notice or obligation to update existing

units.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products

that are both user safe and environmentally friendly. We sincerely

believe that our products and the production methods used to

produce them, meet these goals. In keeping with both the letter and

the spirit of the law, we want you to be aware of the following:

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

Battery Notice: This product MAY contain a small non-rechargable

battery which (if applicable) is soldered in place. The average life span

of this type of battery is approximately five years. When replacement

becomes necessary, contact a qualified service representative to

perform the replacement.

Warning: Do not attempt to recharge, disassemble, or incinerate this

type of battery. Keep all batteries away from children. Dispose of used

batteries promptly and as regulated by applicable laws. Note: In some

areas, the servicer is required by law to return the defective parts.

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

these parts for you.

Disposal Notice: Should this product become damaged beyond

repair, or for some reason its useful life is considered to be at an end,

please observe all local, state, and federal regulations that relate to the

disposal of products that contain lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge relating

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

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

therefore the owners responsibility. Please study this manual carefully

and consult your dealer before requesting service.

NAME PLATE LOCATION: The graphic below indicates the location

of the name plate. The model number, serial number, power

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

model number, serial number, and the date of purchase in the spaces

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

purchase.

Model

Serial No.

Purchase Date

AC INLET

OUTPUT

L MONO

INDIVIDUAL OUTPUT

TO HOST

HOST SELECT

Mac

PC-1PC-2

MIDI

OUT

THRU IN

CS6R

CS6x

CARD

3.3V

AC INLET

POWER

ON OFF

92-469- 1 (rear)

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

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

WARNING

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

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

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

voltage is printed on the name plate of the instrument.

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

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

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

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

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

have accumulated on it.

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

disassemble or modify the internal components in any way.

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

conditions, or place containers on it containing liquids which might spill

into any openings.

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

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

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

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

inspected by qualified Yamaha service personnel.

CAUTION

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

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

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

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

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

or roll anything over it.

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

hold the plug itself and not the cord. Pulling by the cord can damage it.

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

connector. Doing so can result in lower sound quality, or possibly cause

overheating in the outlet.

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

used for extended periods of time, or during electrical storms.

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

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

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

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

volume controls while playing the instrument to set the desired listening

level.

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

cold or heat (such as in direct sunlight, near a heater, or in a car during the

day) to prevent the possibility of panel disfiguration or damage to the

internal components.

• Do not use the instrument near other electrical products such as televisions,

radios, or speakers, since this might cause interference which can affect

proper operation of the other products.

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

accidentally fall over.

• Before moving the instrument, remove all connected cables.

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

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

Also, do not place vinyl, plastic or rubber objects on the instrument, since

this might discolor the panel or keyboard.

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

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

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

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

damage to the internal components or result in the instrument falling over.

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

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

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

■ REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which

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

backup battery needs replacing, the message "Change internal battery." will

display in the LCD. When this happens, immediately back up your data, then

have qualified Yamaha service personnel replace the backup battery.

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

possible serious hazards. Always have qualified Yamaha service personnel

replace the backup battery.

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

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

physician immediately.

■ SAVING USER DATA

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

help prevent the loss of important data due to a malfunction or user

operating error.

Yamaha cannot be held responsible for damage caused by improper use or

modifications to the instrument, or data that is lost or destroyed.

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

(2)-6

Introduction

Thank you for purchasing the Yamaha CS6x/CS6R Control Synthesizer.

Your new CS6x/CS6R synthesizer incorporates the highly-acclaimed AWM2 synthesis engine,

allowing the creation of super-realistic sounds. It also supports optional Plug-in Boards that provide

other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds.

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

Arpeggiator and Sequencer. Using the Phrase Clip feature, you can record real sounds or audio from

a CD, then play them back across the keyboard as you would a musical instrument.

Other features include Effects, Scenes (for storing sounds created with the Control Knobs on the front

panel), and Control Sets (for controlling various sound parameters in real time using different

controllers). These features make this synthesizer ideal for every kind of live performance or studio

work.

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

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

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

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

reference.

About This Manual

This manual is basically divided into two sections:

■ Basics Section (Page 6)

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

functions.

■ Reference Section (Page 74)

Explains the parameters in the synthesizer’s various Modes.

Package Contents

• Owner’s Manual (this book)

• Data List

• AC Power cord

• Memory Card (SmartMedia)

• Burglarproof Lock (Page 171)

• Installation Guide

• CD-ROM (TOOLS for S80 & CS6x/CS6R)

The Included CD-ROM

Application software and Phrase Clip audio files for your synthesizer are included on this CD-ROM. The Voice

Editor application lets you edit your synthesizer’s sounds through a graphical user interface. The Card Filer

application lets you exchange data between your synthesizer and computer. Details are given in the separate

Installation Guide or the on-line manuals included with the software.

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

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

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

The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from

those on your instrument.

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

5
Basics Section
The Controls & Connectors ................................6
Before Use ........................................................12
Power Supply ........................................................12
Connections ..........................................................13
Powering Up..........................................................19
Basic Operations ..............................................21
Selecting a Mode ..................................................21
Selecting a Screen ................................................23
Entering Data........................................................24
Demo Playback ................................................26
Voices and Performances ..................................27
Playing a Voice ......................................................27
Playing a Performance..........................................29
An Overview of the CS6x/CS6R  ....................31
Controller Section ................................................31
Sequencer Section ................................................31
Tone Generator Section ......................................32
Effects Section ......................................................34
About the Modes ..............................................35
Voices ................................................................36
An Overview of Voices/Waves ............................37
Waves ....................................................................38
Performances ....................................................39
Easy Real-time Editing ....................................40
Ideal for Playing Live ......................................41
1 Arpeggiator ........................................................42
2 Scene Controls (CS6x) ......................................45
3 Using Controllers ..............................................47
4 Phrase Clips ......................................................53
5 Other Useful Features ......................................59
Voice Edit..........................................................60
Effects....................................................................65
Using as a Master Keyboard 
(Performance Mode) ........................................67
Using as a Multitimbral Tone Generator
(Performance Mode) ........................................72
Reference Section
Voice Mode........................................................74
Voice Play ..............................................................74
Voice Edit ..............................................................78
Voice Job Mode  ..................................................115
Voice Store ..........................................................116
Performance Mode  ........................................117
Performance Play  ..............................................117
Performance Edit  ..............................................121
Performance Job Mode ......................................140
Performance Store ..............................................141
Phrase Clip Mode............................................142
Phrase Clip Play..................................................142
Phrase Clip Record  ............................................143
Phrase Clip Edit..................................................146
Phrase Clip Job Mode ........................................154
Clip Kit Store ......................................................160
Sequence Play Mode ......................................161
Utility Mode....................................................163
Utility Job Mode ................................................170
Card Mode ......................................................171
Appendix
About the Plug-in Boards (Optional) ............177
Display Messages ............................................181
Troubleshooting..............................................182
Specifications ..................................................185
Index ..............................................................186
Table of Contents
Basics Section
Appendix
Reference
Section
Voice Mode
Performance
Mode
Phrase Clip
Mode
Sequence Play
Mode
Utility Mode
Card Mode

FOOT

VOLUM

PHONES INDIVIDUAL OUTPUT

OUTPUT

MONO R

D INPUT

GAIN

LINE 1MIC

LINE 2

OCTAVE

VOLUME

DOWN UP

CUTOFF RESONANCE

ATTACK

1 2

DECAY S

CONTROL

FILTER EFFE

SCENE PAN

GATE TIME

OFF

HOLD

PORTAMENTO PHRA

SEQ P

ARPEGGIO

CUTOFF RESONANCE

ATTACK

1 2

DECAY SUSTAIN

CONTROL PAN

RELEASE

REVERB CHORUS

FILTER EFFECT

SCENE PAN

1 [VOLUME] Knob (Page 20)

Adjusts the master volume. Turn the knob clockwise to raise the output level from the

OUTPUT L/R jacks and the PHONES jack.

2 OCTAVE [UP] and [DOWN] keys (Page 28) (CS6x only)

Press either of these keys to shift the note range of the keyboard up or down in octaves.

Press them together to returns to the standard range (0).

3 PITCH bend wheel (Page 47) (CS6x only)

Controls the pitch bend effect. You can also assign other functions to this controller.

MODULATION wheel (Page 47) (CS6x only)

Controls the modulation effect. You can also assign other parameters functions to this

controller.

5 Ribbon Controller (Page 48) (CS6x only)

Touch and slide your finger horizontally across the controller’s surface to continuously

change a specific parameter’s value. You can also assign various functions to this

controller.

6-1 FILTER knobs (Page 40)

These two knobs offer dynamic and real-time tonal changes to a sound.

6-6 [PAN] knob (Page 59)

Use this knob to adjust the stereo pan position of the current sound (i.e., the sound’s

position in the stereo image).

6-2 EFFECT knobs (Page 40)

These knobs respectively control depths(send level) of the Reverb and Chorus effects.

6-3 EG knobs (Page 40)

These four knobs control variances in pitch, tone, and volume.

6-4 PORTAMENTO controls (Page 59)

This section consists of the PORTAMENTO [ON/OFF] key and a knob for adjusting

Portamento Time. With Portamento enabled, there will be a smooth transition in pitch

from one note to the next. The Portamento Time is the speed of the transition.

6-5 SCENE controls (Page 46)

Pressing either SCENE key ([1] or [2]) to recall the stored knob settings. The LED for the

key of the current Scene is lit. The [CONTROL] knob can be used to create a smooth

transition between two Scenes. You can also set up the Modulation Wheel or a Foot

Controller to like the SCENE [CONTROL] knob (Page 46).

6-1 6-2

6-3

6-4

6-5 6-6 6-7

CS6x

Basics

Section

Basics

Section

Basics Section

The Controls & Connectors

Front Panel

MIDIHOST SELECTTO HOSTBREATH

FOOT

SWITCH

FOOT

CONTROLLER

OUTIN THRU

SUSTAIN

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

GATE TIME

OFF

PLAY

STOP

REC

OFF

HOLD

PORTAMENTO PHRASE CLIP

SEQ PLAY

ARPEGGIO

PITCH

TEMPO

SUSTAIN

PAN

RELEASE

REVERB CHORUS

ECT

PLAY

STOP

REC

ASE CLIP

PLAY

PITCH

EMPO

CARD

3.3V

ELEMENTPARTPAGE

SHIFT

CURSOR

VOICE

PERFORM

PHRASE

CLIP

UTILITY

CARD REC

JOB

STORE

EDIT

COMPARE

SEQ

PLAY

BYPASS

PLAY

STOP

GAIN

VOLUME

BREATH PHONES

LINE 1

MIC

LINE 2

A D INPUT

SYSTEM BA

6-7 ARPEGGIO controls (Page 42)

Press the [ON/OFF] key to enable or disable the Arpeggiator. The Arpeggiator plays

according to the arpeggio settings for each Voice or Performance. Use the [GATE TIME]

knob to adjust the playback length of each note in the arpeggio (Page 42). Press the

[HOLD] key (its LED will light) to have the Arpeggiator continue playback even after you

release the notes. To stop the arpeggio, press the HOLD key again (the LED turn off).

6-8 PHRASE CLIP controls (Page 53)

Press the PHRASE CLIP key to enter Phrase Clip Play Mode (the LED will light). Then

press the [REC] key to enter Phrase Clip Record Mode. In this Mode, you can record a

Phrase Clip (waveform data) using an external microphone, then treat the sound as a

musical instrument. The [PITCH] knob changes the Phrase Clip’s pitch (or its tempo if the

Phrase Clip is rhythmic).

With the CS6R, you can play back (audition) the sound by pressing the PHRASE CLIP

key in Phrase Clip Mode at note C3 and with a velocity of 127

6-9 SEQ controls (Pages 26, 161)

Press the [SEQ] key to enter Sequence Play Mode. Here, you can play a MIDI file from

Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently

selected file. You can use the [TEMPO] knob to adjust the playback speed.

6 Sound Control knobs (Page 40) (CS6x only)

You can modify the effects and tones in real time using these. There are knobs for Filter

Cutoff Frequency and Resonance, the time parameter of the Envelope Generator (EG),

and Reverb and Chorus effects. Other controls are related to the Arpeggiator, Portamento,

Phrase Clip, and Sequencer.

7 MODE keys (Page 21)

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

With the CS6R, you can play back (audition) the Voice at note C3 and with a velocity of 127

by pressing the [VOICE] key in Voice Play Mode.

Similarly, in Performance Play Mode, pressing the [PERFORM] key plays back Voices for

the Parts (Layer Switch set to "on") at note C3 with a velocity value of 127.

6-8

6-9

CS6R

71 6-8 6-9

Basics

Section

Basics

Section

Basics

Section

THRU

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SYSTEM

CURSOR

A B C 1 2

SHIFT PAGE PART

ELEMENT DATA

CARD

3.3V

LCD (Liquid Crystal Display)

This is a backlit 2-line display.

)

[PAGE] knob (Page 23)

Switches between screens in each Mode. Each Mode includes several

screens.

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

In each Play Mode, these knobs mainly control the functions respectively

assigned to them. In each Edit Mode, each knob is used to enter a value

for the associated parameter shown in the display. Depending on the

operation or the screen you are working in, these knobs will function

differently.

Knobs [A] to [C] can be assigned to system control functions (Page 165).

Knobs [1] and [2] can be assigned control functions that affect Voices

(Page 84).

[DATA] knob (Page 25)

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

cursor is positioned.

[EF BYPASS] key (Page 66)

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

bypass the effects used with the current Voice or Performance.

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

Mode (Page 164).

[MASTER KEYBOARD] key (pages 67, 121) (CS6x only)

The S80 keyboard can work as MIDI master keyboard in Performance

mode. When the key is pressed and switched on (the LED will light), the

keyboard can play and control multiple MIDI sound modules connected to

the S80.

[EXIT] key (Page 23)

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

this key exit from the current screen and return to the previous level in the

hierarchy.

[SHIFT] key (Page 23)

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

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

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

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

displayed and you can quickly switch between Edit Mode screens (Page

23). If while holding this key you turn one of Knobs [A] ~ [D], [1] ~ [2],

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

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

CS6x

Basics

Section

POWER

BANK

PROGRAM

PART

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

MEMORY

PRE1

INT EXT

PLG1 PLG2

PRE2

DRUM

POWER

PLG1INTPRE1

PLG2EXTPRE2

EXIT

DATA

ELEMENTPARTPAGE

SHIFT

CURSOR

VOICE

ENTER

DEC NO

INC YES

DRUM DRUM

MEMORY

OFF

PERFORM

PHRASE

CLIP

UTILITY

CARD REC

JOB

STORE

EDIT

COMPARE

SEQ

PLAY

BYPASS

PLAY

STOP

SYSTEM BA

[ENTER] key (Pages 24, 25)

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

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

Job or a Store operation.

[DEC/NO] key (Page 24)

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

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

[INC/YES] key (Page 24)

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

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

(

MEMORY keys (Pages 27, 29, 75, 119)

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

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

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

used to select the Phrase Clip Part, A/D Part, Plug-in 1 Part and Plug-in 2

Part. The [PRE1] and [PRE2] keys select “Common” (for all Parts).

BANK [A] to [H] keys (Pages 75, 119)

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

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

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

each of the BANK [E] to [H] keys turns the associated Voice’s Element on

or off (ELEMENT ON/OFF). When you activate Master Keyboard Mode

by pressing the [MASTER KEYBOARD] key $, these keys can

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

“4zone” in Performance Edit Mode.

PROGRAM/PART [1] to [16] keys (Pages 76, 119)

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

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

In Performance Mode, these keys select Parts [1] to [16], respectively.

# 9 ) ! @ & *

8 ( % ^

CS6R

Basics

Section

Basics

Section

Rear Panel

CARD

3.3V

AC INLET

POWER

ON OFF

CARD

3.3V

GAIN

VOLUME

BREATH PHONES

LINE 1

MIC

LINE 2

A D INPUT

POWER

OFF

AC INLET

POWER switch (Page 19)

Use this to switch the synthesizer

on or off.

)

FOOT CONTROLLER jack

(Pages 18, 48) (CS6x only)

An optional foot controller

(FC7, etc.) can be connected

here. Using the foot controller,

you can control tones, pitches,

volumes or the like by foot.

FOOT VOLUME jack

(Pages 18, 48) (CS6x only)

An optional foot controller (FC7, etc.) can

be connected here. You can control the

output level from the instrument by foot.

In Utility Mode, you can select Volume or

Expression for this controller.

INDIVIDUAL OUTPUT 1 and 2 jacks (Page 13)

Line level audio signals are output from the

synthesizer via these phone jacks (1/4" mono phone

plug). The output is separated from that at the

OUTPUT L/MONO and R jacks. In Performance

Mode, you can specify which Parts can be output from

these separate outputs.

AC INLET terminal (Page 12)

Plug the female end of the supplied

AC power cord in here before

plugging it into an AC wall outlet.

CARD slot (Page 171)

Insert a Memory Card here to

transfer various data to/from

the instrument. Read carefully

the precautions on use of a

Memory Card (Page 171)

before using a card.

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

MIDI IN receives MIDI messages from an external MIDI

device. Use this connector to control the synthesizer from

an external MIDI device. MIDI OUT sends out MIDI

messages generated by the synthesizer, such as notes

played on the keyboard or panel control/knob variations,

to an external MIDI sound module or device. MIDI THRU

just reflects the MIDI messages received at MIDI IN.

Connect other MIDI devices here.

CS6x

CS6R

$ % ^ 1 2

& 3

Basics

Section

MIDI

OUTTHRU IN

HOST SELECT

Mac

PC-1PC-2

MIDI

TO HOST BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE1 MIC

LINE 2

A D INPUT

GAIN

OUTPUT

L MONO

TO HOST

MIDI

OUT

THRU IN

INDIVIDUAL OUTPUT

HOST SELECT

Mac

PC-1PC-2

MIDI

FOOT SWITCH

jack (Pages 18, 48)

Connect an optional

Foot switch (FC4 or

FC5) here. Using the

foot switch, you can

control of a range of on

or off a specific function

by foot, as assigned on

the instrument. (Pages

53, 165)

SUSTAIN jack

(Pages 18, 48)

An optional Foot Switch

(FC4 or FC5) can be

connected here. You can

use the Foot Switch as a

damper pedal on the

acoustic piano or for a

sustained effect.

PHONES jack (Page 13)

Connect a pair of headphones here.

OUTPUT L/MONO and R jack (Page 13)

Line level audio signals are output via

these phone jacks. For monophonic

output, use just the L/MONO jack.

GAIN knob

(Pages 73, 144

)

Use this to adjust the input

gain of the audio signals at

the A/D INPUT jacks. You

may need to adjust this

depending on the type of

device (microphone, other

instrument output, etc.)

connected when using a

A/D Input part.

A/D INPUT jacks (Page 14)

External audio signals can be input via these phone jacks.

Use these when recording Phrase Clips by connecting a

microphone or other audio equipment. To record a

monophonic line level signal, you use LINE 1. Use

MIC/LINE 2 to record a microphone level signal. To

record a stereo line level signal, use both jacks. However,

stereo signals are merged into a monophonic signal

internally when recording.

HOST SELECT switch (Page 16)

Select the type of computer

connected to the synthesizer via the

TO HOST connector .

TO HOST terminal

Connect a computer here using an

optional serial computer cable

(Page 16).

BREATH jack (Pages 18, 48)

Connect an optional breath

controller BC3 here. You can

use the Breath Controller to

change the output level or tone

of the sounds according to the

strength of your breath.

4 5 6 @ #

Before Use

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

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

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

Power Supply

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

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

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

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

Make sure your CS6x/CS6R is rated for the AC voltage supplied in the area in which it is to be used (as listed on

the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry

and may even pose a shock hazard!

Use only the AC power cord supplied with the CS6x/CS6R. If the supplied cord is lost or damaged and needs to

be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock

hazard!

The type of AC power cord provided with the CS6x/CS6R may be different depending on the country in which it

is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding

conductor can create the risk of electrical shock. Do NOT modify the plug provided with the CS6x/CS6R. If the

plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter

which defeats the grounding conductor.

Power cord

(included)

CS6x/CS6R

rear panel

AC INLET terminal

Basics

Section

Basics

Section

Connections

Connecting to External Audio Equipment

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

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

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

illustrations.

The CS6R also needs an external MIDI controller such as a keyboard, though this is not necessary when using

the internal sequencer. For MIDI connections, see the next section.

Connecting Stereo Powered Speakers

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

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

rear panel.

When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

Connecting to a Mixer

There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. These four

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

Performance Mode (Page 117). You can specify the output routing of each Part in Performance Edit

Mode (Page 133).

CS6x

Headphones

CS6R

PHONES

OUTPUT

L/MONO

OUTPUT R

Powered speaker (Left) Powered speaker (Right)

Headphones

PHONES

OUTPUT

L/MONO

OUTPUT R

INPUTINPUT INPUTINPUT

Powered speaker (Left) Powered speaker (Right)

Basics

Section

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

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

sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.

Connecting a Microphone or Other Audio Equipment

You can record or import external sounds or waveform data and use them as instrument sounds

(Phrase Clips, see Page 142). When recording from an external audio source, connect a microphone or

the audio source to the A/D INPUT (LINE 1 and MIC/LINE 2) jacks.

LINE 1 and MIC/LINE 2 can receive monophonic signals. To input a monophonic line level signal to the

instrument, use only LINE 1. Use MIC/LINE 2 to input a microphone level signal. When you input stereo line

signals, use both jacks. However, these stereo signals are internally merged into a monophonic signal for use in a

later process.

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

may need to adjust the input gain of the audio source using the GAIN knob. Details about Phrase Clips,

including how to adjust the input gain, are given on Page 142.

If you choose the wrong type of input source (Pages 130, 144), you may possibly damage your hearing and/or any

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

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

Do not use both LINE1 and MIC/LINE2 at the same time except for when you want to input stereo line level

signals, which will be mixed into a mono signal on the instrument. If you fail to do so, the external device

connected may be damaged.

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

given on Pages 73, 130.

CD Player or other audio equipment

(merged to mono internally)

CD Player or other audio equipment

(merged to mono internally)

MIC/LINE2 LINE1

Microphone

(mono devices)

Microphone

(mono devices)

CS6x

CS6R

12345678910111213141516LR

Headphones

Mixer

Speaker

Amplifier

OUTPUT L

OUTPUT L /

MONO

PHONES

INDIVIDUAL

OUTPUT1

INDIVIDUAL

OUTPUT2

CS6x

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R

Mixer

Speaker

Amplifier

OUTPUT L

OUTPUT L /

MONO

INDIVIDUAL

OUTPUT1

INDIVIDUAL

OUTPUT2

Headphones

CS6R

PHONES

Basics

Section

Connecting External MIDI Equipment

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

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

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

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

transmitted from the synthesizer’s MIDI OUT connector.

Controlling from an External MIDI Keyboard

The CS6R has no built-in keyboard so the above MIDI connection lets you play it in realtime.

Controlling an External MIDI Keyboard

Recording and Playback using an External MIDI Sequencer

MIDI IN

MIDI OUTMIDI IN

MIDI OUT

External MIDI

sequencer

CS6x/CS6R

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

CS6x/CS6R

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

CS6x/CS6R

HOST SELECT

PC-2 PC-1

MIDI Mac

Basics

Section

Controlling Another MIDI Device via MIDI THRU

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

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

THRU jack.

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

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

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

together via their MIDI THRU connectors.

Connecting to a Personal Computer

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

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

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

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

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

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

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

synthesizer’s MIDI IN and OUT)

Different computers require different connections, as follows.

1: Serial Port to TO HOST

IBM PC/AT

Macintosh

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

Apple Macintosh

PS422

(Modem or

Printer port)

CS6x/CS6R

IBM PC/AT and compatibles

RS-232C

(DB9)

IBM

Personal System/V

PS/V

Personal System/V

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

CS6x/CS6R

MIDI OUT

MIDI IN

External MIDI synthesizer

CS6x/CS6R

MIDI IN

MIDI THRU

MIDI OUT

MIDI IN

External MIDI

sequencer

External MIDI

synthesizer

HOST SELECT

PC-2 PC-1

MIDI Mac

Basics

Section

2: MIDI Interface to MIDI IN and OUT

Using the computer’s MIDI interface

Using an external MIDI interface

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

MIDI Interface

MIDI OUT

MIDI IN

MIDI IN MIDI OUT

HOST SELECT

PC-2 PC-1

MIDI Mac

CS6x/CS6R

Computer

Computer with MIDI interface

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI

OUT

MIDI

MIDI IN

CS6x/CS6R

IBM

Personal System/V

PS/V

Personal System/V

Basics

Section

Connecting Various Controllers

The CS6x has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT

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

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

volume, pitch and other parameters. The CS6R only has a Breath Controller connector on its front

panel, but other controls (equivalent to the CS6x) may be available using external MIDI controllers.

Details about how to these controllers are given on Page 47.

CS6x

CARD

3.3V

VOICE

PERFORM

PHRASE

CLIP

UTILITY

CARD REC

JOB

STORE

EDIT

COMPARE

SEQ

PLAY

BYPASS

PLAY

STOP

GAIN

VOLUME

BREATH PHONES

LINE 1

MIC

LINE 2

A D INPUT

HOST SELECT

Mac

PC-1PC-2

MIDI

TO HOST BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE 1 MIC

LINE 2

A D INPUT

GAIN

CS6R

BREATH

BC3

FOOT

SWITCH

FC4

FC5

FC4

FC5

FC7 FC7BC3

FOOT

CONTROLLER

FOOT

VOLUME

BREATH

SUSTAIN

Basics

Section

Powering Up

Power-on Procedure

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

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

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

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

last (first MIDI, then audio).

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

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

When the CS6x/CS6R as MIDI receiver:

Switching the CS6x/CS6R On

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

1Press the POWER switch.

2A splash screen is displayed briefly.

3The Voice or Performance Play Mode screen appears next.

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

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

CS6x

POWER

PLG1INTPRE1

PLG2EXTPRE2

EXIT ENTER

DEC NO

INC YES

DRUM DRUM

MEMORY

OFF

AC INLET

POWER

ON OFF

CS6R

MIDI sender Audio equipment (first mixer, then amplifier)

1 2 3 4 5 6 7 8 9 10 11 12 13 1 4 15 16 L R

POWER

ON!!

CS6x/CS6R

(MIDI receiver)

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

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

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

EXT Memory are being loaded.

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

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

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

Board.

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

Utility Mode (Page 164).

4Turn up the amplifier’s volume as necessary.

5Turn the synthesizer’s [VOLUME] knob clockwise to set an appropriate volume level.

About Memory Cards

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

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

and there is a Memory Card supplied with this synthesizer.

Before using a Memory Card, read through precautions on how to handle it (Page 171).

• Formatting a Memory Card

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

Mode (Page 176) beforehand. The Memory Card supplied with the synthesizer is already formatted

and contains Demo Song files.

• Saving and Loading Data

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

loaded when required.

You can save and load data such as System, Voice, Performance, Phrase Clip, Plug-in, Sequence Chain

or the like. Since Phrase Clips or Sequence Chain data are held temporarily in the synthesizer’s

buffer memory and will be lost once you switch it off, you need to save such data onto the Memory

Card first.

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

given on Page 172.

Basics

Section

Basics

Section

Basic Operations

This section gives some basic explanations about operating the synthesizer.

Selecting a Mode

There are several operation Modes — Voice Play Mode, Performance Play Mode, Phrase Clip Mode,

etc. — each of which enables you to work efficiently with the synthesizer’s various functions.

An overview of each Mode is given on Page 35.

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

Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance

Play Mode). To enter or exit Phrase Clip Mode, press the PHRASE CLIP key. (Note that this key is

not found among the MODE keys.)

There are also separate Edit and Job Modes for Voices, Performances and Phrase Clips. To enter Edit

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

Similarly, pressing the [STORE] key in Voice, Performance or Phrase Clip (Play or Edit) Mode takes

you into Store Mode where you can store Voices, Performances or Phrase Clips.

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

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

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

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

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PLAY

STOP

REC

PHRASE CLIP

SEQ PLAY

PITCH

TEMPO

Play Modes

1 Voice Play Mode (Page 74)

Press the [VOICE] key (its LED

will light) to enter Voice Play

Mode. To exit to another Mode,

simply press the respective key

for that Mode.

2 Performance Play Mode

(Page 117)

Press the [PERFORM] key (its

LED will light) to enter

Performance Mode. To exit to

another Mode, simply press the

respective key for that Mode.

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

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

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

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

3 Phrase Clip Play Mode

(Page 142)

Press the [PHRASE CLIP] key

(its LED will light) to enter

Phrase Clip Play Mode. To exit

to another Mode, simply press

the respective key for that

Mode. If you press the [REC]

key while in Phrase Clip Play

Mode, the Record screen in

Phrase Clip Mode is displayed.

Edit Modes

When in each Play Mode, you

can swiftly switch to each

respective Edit Mode by simply

pressing the [EDIT] key (its

LED will light).

PCLP Play) 1(A01)[--:Init Voice]

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

4 Voice Edit Mode (Page 78)

Press the [EDIT] key in Voice

Play Mode. To exit to another

Mode, simply press the respective

key for that Mode or press the

[EXIT] key to return to Voice

Play Mode.

4 Performance Edit Mode

(Page 121)

Press the [EDIT] key while in

Performance Play Mode. To exit

to another Mode, simply press

the respective for that Mode or

press the [EXIT] key to return to

Performance Play Mode.

GEN Name) Ctgry a-Z 0-? Cursor

Common [--:Init Perf ]

GEN Name) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

Basics

Section

Phrase Clip Edit Mode (Page

146)

Press the [EDIT] key while in

Phrase Clip Play Mode. To exit

to another Mode, simply press

the respective key for that Mode

or press the [EXIT] key to

return to Phrase Clip Play Mode.

Job Modes

When in each Play Mode, you

can swiftly switch to each

respective Job Mode by simply

pressing the [JOB] key (its LED

will light).

5 Voice Job Mode (Page 115)

Press the [JOB] key in Voice Play

Mode. To exit to another Mode,

simply press the respective key

for that Mode or press the

[EXIT] key to return to Voice

Play Mode.

5 Performance Job Mode

(Page 140)

Press the [JOB] key while in

Performance Play Mode. To exit

to another Mode, simply press

the respective for that Mode or

press the [EXIT] key to return to

Performance Play Mode.

PFM Initialize) 

Job Current Perform

VCE Initialize) 

Job Current Voice

GEN Name) Ctgry a-Z 0-? Cursor

Common [--:Init Perf ]

5 Phrase Clip Job Mode

(Page 154)

Press the [JOB] key while in

Phrase Clip Play Mode. To exit

to another Mode, simply press

the respective key for that Mode

or press the [EXIT] key to

return to Phrase Clip Play

Mode.

5 Utility Job Mode (Page 170)

Press the [JOB] key in Utility

Mode. To exit to another Mode,

press the respective key for that

Mode or press the [EXIT] key to

return to Utility Mode.

Other Modes

6 Utility Mode (Page 163)

Press the [UTILITY] key (its

LED will light) to enter Utility

Mode. To exit to another Mode,

simply press the respective key

for that Mode.

7 Card Mode (Page 171)

Press the [CARD] key (its LED

will light) to enter Card Mode.

To exit to another Mode, simply

press the respective key for that

Mode.

Save) Type File A-? Cursor

Card all ***[NEWFILE .S2A]

MSTR TG) Vol NoteShift Tune

Sys 127 +63 +102.3c

UTIL Factory Set)

Job

PCLP Status)Free Used CardFree

4.0MB 0KB( 0%)-X›---.-MB

8 Sequence Play Mode

(Page 161)

Press the SEQ key (its LED will

light) to enter Sequence Play

Mode. To exit to another Mode,

simply press the respective key

for that Mode.

When MIDI system exclusive

messages are received from an

external MIDI device, the LED

for the currently selected Play

Mode (VOICE, PERFORM or

PHRASE CLIP) will blink.

9 Store Modes

(Pages 116, 141, 160)

When in each Play or Edit Mode,

you can swiftly switch to each

respective Store Mode by simply

pressing the [STORE] key. To

exit to another Mode, simply

press the respective key for that

Mode or press the [EXIT] key to

return to Play Mode.

Another storage way of Voice,

Performance and Phrase Clip is

to memorize these settings as

Scene 1 and 2. See Page 45 for

more information (CS6x only).

VCE [Sq:Generation] >[Pf:Slamming ]

Store INT:001(A01)

SEQ) File:[ ] Perf

Chain00 001 ⁄= 120 Meas=001 INT:128

Basics

Section

Selecting a Screen

You can switch between screens using the [PAGE]

knob and pressing [SHIFT], PROGRAM/PART,

[EXIT] and [ENTER] keys.

[PAGE] Knob

Usually, there are several screens and sub-screens

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

between screens.

As shown below, the “¥” indicator is displayed to

the left of the screen if there are more screens

before and after that which you are currently

viewing.

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

“∂” indicator meaning that there are more screens

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

you will see the “µ” indicator meaning that there

are no more screens to follow.

[SHIFT] Key

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

Mode, you can modify the parameters on screen

as follows.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

(Tch= 1)

LFO Depth)

EL1234

Indicator

SHIFT PAGE A B

VCE Srch) PRE1:

Memory

Next screenPrevious screen

Some Modes have more screens. In this case, you

can use the [PAGE] knob while holding down the

[SHIFT] key to switch to a specific screen.

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

holding down the [SHIFT] key in Voice Edit

Mode, the following screen is shown. Select a

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

[SHIFT] key to switch to the parameter screen for

that item.

The [SHIFT] key also has other functions, as

described in other sections in this manual.

PROGRAM/PART keys

With the CS6x, in Voice Edit Mode,

PROGRAM/PART keys can be used to select the

items shown under the keys and to switch to their

screens.

[EXIT] Key

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

hierarchical structure and return to the previous

screen.

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

described in other sections in this manual.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

Cursor

Basics

Section

[ENTER] Key

Normally, the [ENTER] key is used to apply

parameter settings. In some cases, however, the

following screen appears prompting you to press

the [ENTER] key.

The [ENTER] key has other functions, as described

in other sections in this manual.

Entering Data

You can use the knobs to directly alter their

respective parameters on the screen.

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

a parameter and set its value using the

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

knob.

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

and [2]

Each parameter in a screen is normally associated

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

display. When you use one of these knobs, the

cursor (≥) moves to its respective parameter and

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

Knob [B] at the following screen to change the

Level setting. Turn the knob clockwise to increase

the value and anti-clockwise to decrease it.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

EFFíEF1) Ctgry Type [ENTER]

C 1234 MOD Tremolo to Edit

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

Moving the Cursor

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

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

cursor (≥) to the respective parameter on the

screen without affecting its value.

[INC/YES] and [DEC/NO]

Keys

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

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

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

the value is continuously changed.

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

“NO” when a confirmation message is displayed.

Moving the Cursor

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

while holding down the [SHIFT] key, you can

move the cursor between parameters on the

screen without affecting their values.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

DEC

NO INC

YES

DEC

NO INC

YES

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF

EL1234 96 ≥ 0 ins2

Basics

Section

[DATA] Knob

Use this knob to change the value of the

parameter at which the cursor is positioned.

Turn the knob clockwise to increment the value

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

decrement it.

Moving the Cursor

Turn the [DATA] knob clockwise or anti-

clockwise while holding down the [SHIFT] key to

move the cursor to a parameter in the screen

without affecting its value.

[ENTER] Key

Use this key to apply a setting (when it is

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

used when executing a Job or Store operation, as

described in other sections of this manual.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

Types of Parameters (Absolute and Relative)

There are many ways to set parameters. Some

parameters require you to directly enter

numerical settings or alphabetic characters.

With others, you can choose from a number of

available settings. Furthermore, some types of

parameters are “absolute” whereas others are

“relative.”

For example, the absolute parameter in the

following illustration can be set to either

“mono” or “poly.” For other absolute

parameters such as Volume, the setting can be

any value between zero and 127. The Volume

setting has a linear, one-to-one relationship

with the actual volume, as shown in the graph

on the left.

However, relative parameters do not follow the

same relationship. The graph on the bottom

shows the role of the Velocity Offset

parameter. The value you have set here,

known as an “offset,” is added to, or

subtracted from, the actual value. With

Velocity Offset, the specified offset value is

added to, or subtracted from, the actual

velocity of the notes you play on the keyboard.

Sometimes, these types of relative parameters

are set as a percentage.

127

Volume

1 Volume (absolute)

Volume

offset added -10

Actual velocity

offset added +10

2 Velocity offset (relative)

-64

Offset

+64

QEDíLevel) Vol Pan RevSend ChoSend

C 1234 127 C 127 127

0~127

GEN Other) Mode Assign MicroTuning 

C 1234 poly single 31:Indian

mono/poly

Basics

Section

Demo Playback

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

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

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

or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card

(Page 171) beforehand.

There are other demo song files provided on the included Memory Card. You can play them back in a normal

Sequence Play operation after you load “all” data file from the Card (Page 174). Refer to page 162 for details.

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

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

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

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

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

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

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

You can change the playback tempo using the [TEMPO] knob or Knob [C]. To use the song’s original tempo,

select a tempo value of “***.”

Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 161.

SEQ Demo) Song:[DEMOSONG] 

≥ 001 ⁄= 120

Demo song name

Demo song number Playback tempo

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

System,IntVoice,PClip will be changed.

Basics

Section

Voices and Performances

Playing a Voice

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

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

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

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

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

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

CURSOR

SHIFT PAGE PART

ELEMENT DATA

SYSTEM A B C 1 2

1 [VOICE] key 2 MEMORY key3 [DEC/NO]

and

[INC/YES]

keys

3 [DATA] knob

1 Press the [VOICE] key

The [VOICE] key LED will light, showing that

you are now in Voice Play Mode. The following

appears in the display.

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

the screen) via keyboard.

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

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

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

2 Press a MEMORY key

to select a Voice Memory

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

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

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

each Voice Memory are several Banks (up to

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

The following illustration shows how Voices are

stored in a Voice Memory.

PRE2 (Preset 2)

Bank A~H

1~16

Voice

EXT (External)

Bank A~H

1~16

Voice

PRE1 (Preset 1)

Bank A~H

1~16

Voice

INT (Internal)

Bank A~H

1~16

Voice

PLG1 (Plug-in 1)

Bank A~D

1~16

Voice

PLG2 (Plug-in 2)

Bank A~D

1~16

Voice

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

Now you can play a selected Voice when you play

the keyboard on the CS6x or the external

keyboard connected to the CS6R. Try auditioning

other Voices.

Details about selecting Voices using the [DATA]

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

given on Page 76.

You can also select Voices using a combination of

BANK and PROGRAM/PART keys (CS6x), or using

the Category Search feature. Details about selecting

Voices are given on Page 75.

Octave Shifting (CS6x only)

If you need to raise or lower the keyboard note

range for the Voice, you can use the OCTAVE

[UP] key to raise the range by an octave and

the OCTAVE [DOWN] key to lower it by an

octave. You can shift the note range by up to

three octaves in either direction. The current

octave setting is shown in the left corner of the

display while the OCTAVE [UP] or [DOWN]

key is being held down.

For instance, if you press the OCTAVE [UP]

key twice (+2), you will actually play note C5

by pressing note C3 on the keyboard (i.e., the

note you play is shifted up two octaves). To

return to the standard octave range (0), press

the OCTAVE [UP] and [DOWN] keys

simultaneously.

You can have the current octave setting shown

in the display while holding down the [SHIFT]

key. Use this feature for confirmation.

If a note is shifted beyond G8 (MIDI note

number 127), it will automatically be shifted

to the octave below. For instance, note G#8

will be played as G#7.

OCTAVE [UP] and [DOWN] keys are linked

to the “Coarse/Fine” parameter (Page 90) in

the PCH Tune screen of Voice Edit Mode, and

also the “Oct” parameter (Page 163) in the

MSTR Kbd screen of Utility Mode. The

OCTAVE [UP] and [DOWN] keys may not

function if these parameters also have been

set to shift the range.

You can also use the OCTAVE [UP] and

[DOWN] keys in Performance Play Mode.

(Oct= -3) PRE1:001(A01)[Sq:Generation]

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

OCTAVE

DOWN UP

Basics

Section

The Drum Voices are held in separate areas of

each Memory, and are accessed as follows.

• To access the Preset Drum Memories

(PRE:DR1 ~ DR8):

Press the MEMORY [PRE2] key while holding

down the MEMORY [PRE1] key.

• To access the User Drum Memories

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

Press the MEMORY [EXT] key while holding

down the MEMORY [INT] key.

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

Read Only Memory (ROM) and contain preset Voices

which are never overwritten. INT (internal) is stored

in Random Access Memory (RAM) and contains the

factory default Voices. These can be overwritten, but

can be recalled from the original factory settings at any

time if required.

EXT (external) is stored on a Memory Card inserted

in the CARD slot. If there is no Memory Card

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

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

With a Memory Card inserted, you can select and

play EXT Voices. PLG1 or PLG2 Voices can only be

selected if a Plug-in Board is installed.

3 Select a Voice Number

using the [DATA] knob or

the [INC/YES] and

[DEC/NO] keys

Turn the [DATA] knob clockwise or press the

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

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

to decrement the Voice Number.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

To access Preset Drum Voices

(PRE:DR1 ~ DR8)

To access User Drum Voices

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

Basics

Section

Playing a Performance

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

Card) Performances.

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

let you set the synthesizer up for multitimbral operation.

Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for Phrase

Clip, A/D INPUT and Plug-in Boards. If the Layer Switch (Page 133) parameter is switched on for

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

channels so that they can be played or be controlled individually using the built-in (or an external)

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

Card. These Performance settings are available in Performance Edit Mode (Page 121). Here, we will

show how to get started with Performance Play after selecting a Performance.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PFM Play) INT:128(H16)[Pf:Init Perf ]

EQ Low EQ Mid EQ Hi Cutoff RevTime

CURSOR

SHIFT PAGE PART

ELEMENT DATA

SYSTEM A B C 1 2

1 [PERFORM] key 2 MEMORY key3 [DEC/NO]

and

[INC/YES]

keys

3 [DATA]

knob

Press the [PERFORM] key

The [PERFORM] key LED will light, showing

that you are now in Performance Play Mode. The

following appears in the display.

At this point, you can play the Performance

(named on the screen) via keyboard.

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

EQ Low EQ Mid EQ Hi -1 +0

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

2 Press a MEMORY key

to select a Performance

Memory

There are two Performance Memories: INT

(internal) and EXT (External). The INT memory

is divided into eight Banks (A to H) of 8

Performances. The EXT memory is divided into

four Banks (A to D) of 4 Performances.

INT (internal) is stored in internal Random Access

Memory (RAM) and contains factory default

Performances. These can be overwritten but can

recalled at any time.

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

inserted in the CARD slot. If there is no Memory

Card inserted and you attempt to select an EXT

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

will be produced. With a Memory Card inserted,

you can select and play EXT Performances.

EXT (External)

Bank A~D

INT (Internal)

Bank A~H

1~16 1~16

Performance Performance

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

Basics

Section

3 Select a Performance

Number using the [DATA]

knob or the [INC/YES]

and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the

[INC/YES] key to increment the Performance

Number. Turn it anti-clockwise or press the

[DEC/NO] key to decrement the Performance

Number.

You can now play Parts in the Performance via

the keyboard. If the Layer Switch parameter is

switched on for any Parts, those Parts can be play

in unison. Now try selecting other Performances.

Details about selecting Performances using the

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

are given on Page 76.

You can also select Performances using a

combination of BANK and PROGRAM/PART keys

(CS6x), or using the Category Search feature.

Details about selecting Performances are given on

Page 119.

On selection, a Performance may take a few seconds

to become ready since the settings for multiple Parts

are applied.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

Basics

Section

An Overview of the CS6x/CS6R

In this section, an overview of the many features of the CS6x/CS6R is given.

The CS6x/CS6R hardware is made up of a number of sections, as shown in the following diagram.

Controller Section

This section consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound

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

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

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

other external MIDI devices through the MIDI OUT connector.

The CS6R has no keyboard, Pitch Bend or Modulation Wheels, Ribbon Controller or Sound Control Knobs.

Sequencer Section

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

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

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

Sequencer

Tone Generator

(Performance Parts)

Track1 Piano Ch1

Track2 Bass Ch2

Track3

Strings

Piano

Bass

Strings

Percussion

Ch3

Track16

Percussion

Ch16

Ch1

Ch2

Ch3

Ch16

Controller Section

Tone Generator

Section

Effects Section

Sequencer

Section

Keyboard

(CS6x)

Controllers

Song File Playback

Arpeggiator

AWM2

Plug-in Board

Phrase Clip

Basics

Section

Tone Generator Section

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

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

About the Tone Generator

The tone generator section in the CS6x/CS6R consists of AWM2, Phrase Clip and Plug-in units.

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

and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples

of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter,

modulation, and other parameters can be applied to the basic waveform.

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

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

Phrase Clips are sounds recorded via microphone or from external audio equipment, or sounds loaded

directly via Memory Card. These are then stored in internal RAM and can be played back as musical

sounds. They can be edited and easily set up for use as rhythm loops, percussion/drum sounds and

sound effect.

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

synthesizer’s built-in tone generator section.

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

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

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

Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 108).

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

three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part

and Effect Plug-in Board. Using these, you can build your own system based on the sounds you

require.

Single Part Plug-in Boards

• Analog Physical Modeling Plug-in Board (PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to

accurately reproduce the sound of analog synthesizers. With this board installed, you have real-

time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard

in today’s club-oriented music.

• Piano Plug-in Board (PLG150-PF)

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

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

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

polyphony to 128 notes.

Tone Generator Section

To Effects Units

AMP

(Amplitude)

FILTERPITCH

OSC

(Oscillator)

Outputs the

waveform of

each Element.

Each Voice

consists of up to

four Elements.

Controls the

pitch of each

Element output

from OSC.

Changes the

tonal quality of

each Element

output from

PITCH.

Controls the

output level

(amplitude) of

each Element

output from

FILTER. The

signals are then

sent at this level

to the Effects

Units.

Basics

Section

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

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

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

series synthesizers to give a completely faithful reproduction. Sounds are compatible with those of

the DX7, and the board can even receive DX7 data via MIDI bulk dump.

• Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in

real time, giving a degree of realism that cannot be achieved using conventional PCM-based

synthesis techniques. When playing these sounds using an optional Breath Controller (BC3) or

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

instruments.

Effect Plug-in Boards

• Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts using four types of effects.

Chorus parts for vocals can be created automatically from chords that have been prepared and

stored as MIDI data. You can also use the synthesizer like a vocoder by connecting and using a

microphone while playing the keyboard.

Multi-Part Plug-in Board

• XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the

rich variety of sounds and effects on this board.

More Plug-in Boards will be available in future.

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities

for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This

enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer

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

modern music production.

Maximum Polyphony

The maximum sonic polyphony is 64 for AWM2 (the figure includes Phrase Clips), plus the

polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the

type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the

Plug-in Board.

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

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

32.

Basics

Section

Effects Section

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

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

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

connected in parallel or in series.

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

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

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

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

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

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

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

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

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

but to the Performance as a whole.

Details about Effects are given on Page 65.

Voice Mode Performance Mode

Voice1~16

Phrase Clip

A/D Part

Plug-in 1/2 Board

Element

1~4

Element

1~4

Insertion

Effects

System Effects

Reverb

Chorus

Output

Insertion

Effects

1/2

Insertion

Effects

System Effects

Reverb

Chorus

Output

Basics

Section

About the Modes

The CS6x/CS6R has various Modes which you can select according to the task you wish to perform.

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PLAY

STOP

REC

PHRASE CLIP

SEQ PLAY

PITCH

TEMPO

Performance Mode

Performance Play Mode

Performance Edit Mode

Performance Job Mode

Utility Job Mode

Card Mode

Utility Mode

Sequence Play Mode

Voice Mode

Voice Play Mode

Voice Edit Mode

Voice Job Mode

Phrase Clip Mode

Phrase Clip Play Mode

Phrase Clip Record Mode

Phrase Clip Edit Mode

Phrase Clip Job Mode

Voice Mode (Page 74)

Voice Play Mode

Normal Voices and Drum Voices

can be played in this Mode. You

can select from Preset Voices

(256 Normal Voices plus 8

Drum Kits), Internal (User)

Voices (128 Normal Voices plus

2 Drum Kits) and External

(Memory Card) Voices (128

Normal Voices plus 2 Drum

Kits). That is a choice of 512

Normal Voices and 12 Drum

Kits. The choice is extended

further still if you have an

optional Plug-in Board installed.

The MIDI settings for Voices are

set in Utility Mode.

Voice Edit Mode

Normal Voices and Drum Voices

can be created and edited in this

Mode. You can save up to 128

edited Normal Voices and 2

edited Drum Kits as User Voices

in internal memory. You can

also store them to Memory Card

as external memory.

Voice Job Mode

In this Mode, you can copy and

initialize Voices, and perform

other such operations (Jobs) on

them.

Performance Mode (Page 117)

Performance Play Mode

This Mode is used when

playing Performances. You can

layer multiple Voices (Parts) to

create rich sonic textures. You

can also create multitimbral

setups by assigning Parts to

different MIDI channels. You

can layer A/D Input, Phrase

Clip and Plug-in Parts, as well

as AWM2-based Voices.

Performance Edit Mode

In this Mode, you can edit and

create Performances. You can

save up to 128 Performances to

internal memory or up to 64 to

external memory (Memory Card).

Performance Job Mode

In this Mode, you can copy

and initialize Performances,

and perform other such

operations (Jobs) on them.

Phrase Clip Mode (Page 142)

Phrase Clip Play Mode

In this Mode, you can select

and play Phrase Clips.

Phrase Clip Record Mode

You can record sounds into the

synthesizer from a microphone or

other audio source in this Mode.

These sounds (Phrase Clips) can

then be played back in real time via

keyboard. Furthermore, Phrase

Clips that you have already

recorded can be re-recorded as new

Phrase Clips after having, say,

Chorus effects applied to them.

Phrase Clip Edit Mode

This Mode is used for editing

Phrase Clips. Once you have

recorded the Phrase Clips, you

need to edit them to set their

loop points and other

parameters. You can also create

Clip Kits by assigning them to

notes on the keyboard.

Phrase Clip Job Mode

In this Mode, you can copy and

delete Phrase Clips, and perform

other such operations (Jobs) on

them.

Sequence Play Mode (Page 161)

In this Mode, you can use the

sequencer to play back Song files

(Standard MIDI Files) held on

Memory Card. The Songs can be

played back individually or as a

chain. By switching Performance,

you can also change the sounds

associated with each track in a Song.

Utility Mode (Page 163)

Select this Mode when setting

parameters that apply to the

synthesizer system as a whole.

These include MIDI settings and

synthesizer setup parameters.

Utility Job Mode

In this Mode, you can restore the

synthesizer’s factory settings.

Card Mode (Page 171)

Insert a Memory Card into the

CARD slot and you can save

files to it, load files from it, and

do various other things with the

data on the card.

Basics

Section

Voices

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

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

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

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

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

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

Preset1

(128 Preset Voices)

Banks A~H

Preset2

(128 Preset Voices)

Banks A~H

Internal

(128 User Voice)

Banks A~H

External

(128 User Voice)

Banks A~H

(2 User Drum

Voices)

(2 User Drum

Voices)

256 Normal +

8 Drum Voice (Preset)

Controllers

Controllers Sequencer

Song play

Tone Generator

Voice

Tone Generator

Performance

Playing a Voice Playing a Performance

Clip Kits 1~4

Clip Key

Plug-in1

(64 Plug-in Voice)

Banks A~D

1~16

Voice

Plug-in2

(64 Plug-in Voice)

Banks A~D

Plug-in

Performance Play Mode

Voice Play Mode

Part

Voice

PRE1:

(A01)

PRE1:

(A02)

PRE1:

(A03)

PRE2:

(A01)

PRE2:

(A02)

PRE2:

(A03)

INT:

(A01)

EXT:

(A01)

PRE1:

(A16)

Phrase

Clip

CLip

kit1

A/D

Part

Mic

etc.

Plug-in

Part 1

Plug-in

Part 2

Phrase Clip

Preset

(8 Preset Voices)

DR 1~8

Drum

Voice

256 Normal +

8 Drum Voice (User)

Basics

Section

An Overview of Voices/Waves

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

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

musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are

mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of

Drum Voice assignments is known as a Drum Kit.

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

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

installed (Page 32).

The Note Limit settings (Page 90) will also affect the allocation of sounds. But basically, Normal

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

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

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

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

Normal Voice Drum Voice

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

Voice

Element 1~4

Element

Wave form

AWM2: 479 Preset waveforms

Voice

Basics

Section

Waves

Waves are waveforms used as Elements that make up a Voice. 479 high quality preset Waves are

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

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

Another feature of the CS6x/CS6R is its ability to accept computer WAV/AIFF files and record real

instruments, which you can then play back as musical instrument sounds. These types of sounds are

known as Phrase Clips. You can record Waves through the microphone or line level jacks, and you

can load Waves saved on Memory Card. The Waves can then be processed in Phrase Clip Edit Mode

and assigned to notes (Clip Keys) on the keyboard to form a Clip Kit. Up to four Clip Kits can be held

in memory. You can play these Clip Kits via the keyboard or you can assign them as Parts in a

Performance.

The Clip Kit settings will be lost when you switch off your synthesizer. To avoid this situation, you should save

your Clip Kit settings to Memory Card.

Up to 256 Clips

Save

Clip Kit 1~4

C0 C6

Microphone

Memory Card

wave 1~479

Element1

Element2

Element3

Element4

C-2 G8

Voice

Basics

Section

Performances

A Performance consists of up to 20 Parts, each of which can a Normal Voice, Drum Voice, Phrase Clip,

A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts

(up to four), you can play back rich layered sounds in Performance Play Mode. You can also create

splits so that different Parts are assigned to different areas of the keyboard. If you assign a different

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

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

cause note response to become slower under some circumstances.

Multiple

Layered Voices

Sequencer

Song

MIDI CH

1~16

Part 1~16, Phrase Clip, A/D INPUT Part,

Plug-in 1/2 Part

Performance

Part 1~16, Phrase Clip, A/D INPUT Part,

Plug-in 1/2 Part

Performance

CH1

CH16

Different Voice

For Each Part

Layer Switch set to “on”

Basics

Section

Easy Real-time Editing

Sound Control Knobs (CS6x only)

The Sound Control knobs allow you for on-the-fly alteration of the tonal characteristics and effects

applied to the Voice or Part of a Performance that is currently selected. The functions of each of the

knobs are explained here. The altered Voices or Performances can be stored anytime as Scene 1 or

Scene 2 (Page 45). When saving each Voice or Performance (Pages 116, 141), its Scene information is

also included. However, only the states of the two FILTER knobs, the ATTACK and DECAY knobs

and Assignable Knobs [1] and [2] are stored with each Scene.

A preset of suitable parameter settings is assigned to each sound. By using each knob, you are in effect adjusting

these settings by a certain amount. If these parameters are already preset at their minimum or maximum

settings, the settings cannot be exceeded.

The functions assigned to each of these knobs are the same as those set in the Common Quick Edit Envelope

Generator screens in Voice Edit (Page 78) and Performance Edit (Page 121).

CUTOFF RESONANCE

ATTACK DECAY SUSTAIN RELEASE

REVERB CHORUS

FILTER EFFECT

These two knobs let you directly adjust

filter parameters to control the tonal

characteristics of the sound. Generally,

filters are used to pass certain frequencies

of a sound and block others.

n The characteristics of the filter will vary

depending on the Filter Type parameter

setting for each Element of the Voice.

FILTER Knobs

[CUTOFF] Knob

Use this knob to increase/decrease

the filter cutoff frequency. Turn the

knob clockwise to decrease the cutoff

frequency, which will produce a

brighter sound. Turn it anti-clockwise

to increase the cutoff frequency, which

has the effect of muffling the sound.

[RESONANCE] Knob

Use this knob to increase/decrease

the harmonic boost applied to the

sound around the cutoff frequency.

Turn the knob clockwise to increase

the boost and anti-clockwise to

decrease it. You can give a unique

characteristic to the sound by

adjusting this parameter.

Frequency

Level

Cutoff Frequency

Resonance

These four knobs let you directly control the

“envelope” of the sound. Envelopes define the

transitions in sound level from the moment you

press a note on the keyboard to the moment the

sound level fades out after you release the

note. All instruments have their own definitive

and varied envelopes, which can be simulated

using these four parameters.

[ATTACK] Knob

Use this knob to extend/shorten the

Attack time, which is the time taken

for the sound to reach its peak level

from the moment a note is played on

the keyboard. Turn the knob

clockwise to extend the Attack time

and anti-clockwise to shorten it.

[DECAY] Knob

Use this knob to extend/shorten the

Decay time, which is the time taken

for the sound to drop from its peak

level to a steady, continuous level.

Turn the knob clockwise to extend the

Decay time and anti-clockwise to

shorten it.

[SUSTAIN] Knob

Use this knob to increase/decrease

the Sustain level, which is the level of

the sound maintained while the note

is being held down. Turn the knob

clockwise to increase the Sustain

level and anti-clockwise to decrease

it.

[RELEASE] Knob

Use this knob to extend/shorten the

Release time, which is the time taken

for the sound level to fade to zero

after the note has been released.

Turn the knob clockwise to extend the

Release time and anti-clockwise to

shorten it.

These two knobs let you directly set the

amount of reverb and chorus applied to the

sound.

EFFECT Knobs

[REVERB] Knob

Use this knob to increase/decrease

the Reverb Send level, which is the

amount of reverb applied to the

sound. Turn the knob clockwise to

increase the level and anti-clockwise

to decrease it.

n The effect of changing this parameter

will vary depending on the Reverb

Type parameter setting (Page 89).

[CHORUS] Knob

Use this knob to increase/decrease

the Chorus Send level, which is the

amount of chorus applied to the

sound. Turn the knob clockwise to

increase the level and anti-clockwise

to decrease it.

n The effect of changing this parameter

will vary depending on the Chorus

Type parameter setting (Page 89).

Key on Key off

Attack

Time

Release

Time

Decay

Time

Level

Sustain

Level

The “

” indicator

When you move a knob, the

indicator is displayed to

the left of the LCD. The indicator for the Voice or

Performance remains displayed until you save your

edits. If you need to keep your edited data, you should

save it (Pages 116, 141).

EG (Envelope Generator) Knobs

GENíName) Ctgry

Edit indicator

Basics

Section

Ideal for Playing Live

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

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

POWER

CS6x

CS6R

Rear Panel

1 Using the Arpeggiator (Page 42)

A wide variety of arpeggio patterns can be

created automatically by just holding down a

set of notes on the keyboard. You can specify

the sound and the note range within which the

arpeggiator is active, then use your left hand to

hold down the notes being arpeggiated while

using your right hand to play a melody line.

Using the Scene (CS6x) Controls (Page

45)

Using the Sound Control knobs, you can

edit sounds with ease. You can then

assign two of these edits as Scenes,

then switch between them or create a

mix of the two in real time using the

SCENE [1] or [2] keys and [CONTROL]

knob on the front panel, or even a Foot

3 Using the Controllers (Page 47)

The Pitch Bend Wheel, Modulation Wheel

can be freely assigned to control various

sound parameters in real time. By

connecting an optional Foot Controller or

Foot Switch, you can also use your feet to

control parameters, to change Program

Number, and so on (Page 52). Also, you

can assign parameters to Knobs [A], [B],

[C], [1] and [2] on the front panel below the

LCD.

5 Other Features (Page 59)

In addition to the Sound Control knobs, there is

also a knob and an [ON/OFF] key for

Portamento. These conveniently let you

switch Portamento on or off and adjust the

Portamento time in real time (CS6x).

4 Using Phrase Clips (Page 53)

Existing Phrase Clips (waveform data) can be read or you

can create your own Phrase Clips by recording from external

audio sources, such as CD players.

Rhythm loops and breakbeats can easily be created. Assign

a variety of Phrase Clips to notes on the keyboard to form a

Clip Kit (of which you can create up to four). Then play this

Clip Kit live or assign it to a Part in a Performance for

playback using a sequencer.

Basics

Section

1 Arpeggiator

The arpeggiator is particularly suited to

dance/techno music genres. You can assign any

of 128 Arpeggio Types to each Voice, Performance

or Clip Kit, and adjust the tempo. You can also

set the Arpeggio Mode (the way in which the

arpeggio is played back when you press a note)

and Play Effects to create your own original

grooves. Arpeggio information can be transmitted

through the MIDI Out.

On the CS6R, the Arpeggiator's ON/OFF, GATE

TIME, and HOLD functions are set in the relevant

Edit Modes (Pages 82, 83).

Switching the

Arpeggiator On/Off

The arpeggiator can be used in Voice,

Performance or Phrase Clip Mode, and also when

the sequencer is being used. You can switch the

arpeggiator on/off using the ARPEGGIO

[ON/OFF] key on the front panel. When

switched on, the ARPEGGIO [ON/OFF] key LED

will be lit.

If the arpeggiator is already switched on and ready

for use, the ARPEGGIO [ON/OFF] key LED will

light when you select the Voice, Performance or Clip

Kit.

The on/off state of the arpeggiator is stored with

each Voice, Performance or Clip Kit. (Pages 116, 141,

160)

You can check/change the Arpeggio Type, Tempo

and other parameters in the Arp screen (Page 82) in

Voice, Performance or Phrase Clip Edit Mode.

Using the Arpeggiator

When the arpeggiator is switched on, the notes

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

arpeggiated using the currently selected Voice,

Performance or Clip Kit, and according to the

Arpeggio Type, Tempo and Note Limit settings.

In Voice Mode, the currently selected Voice will be

arpeggiated.

In Performance Mode, the Voices of Parts for

which both the Layer and Arpeggiator are

switched on, are arpeggiated (Page 133).

In Phrase Clip Mode, the currently selected Clip

Kit (the Phrase Clips assigned to the notes you

play) will be arpeggiated.

ARPEGGIO

GATE TIME

OFF

HOLD

Only notes within the Note Limit range will be

arpeggiated. Therefore, if the notes you play are not

arpeggiated, they may be outside this range. Details

about the Note Limit settings are given later.

The Pitch Bend and Modulation Wheels can be used

while the arpeggiator is running.

Changing the Gate Time

You can use the [GATE TIME] knob on the front

panel to change the gate times (lengths) of notes

played by the arpeggiator. Assuming that the

knob is centered (i.e., the Gate Time setting is

100%), turning the knob clockwise will increase

the Gate Time to a maximum of 200% and

turning it anti-clockwise will shorten it to a

maximum of 0%. You can vary note lengths in

real time by using this knob while the arpeggio is

playing. However, the effect will vary depending

on the sound and phrase settings.

Changing the Arpeggio Type,

Tempo and Note Limit.

You can choose from 128 different Arpeggio Type

presets. You can also freely vary the Arpeggio

Tempo to suit the song. The Note Limit

parameter can be used to define the effective note

range of the arpeggio.

Each parameter applies to, and is stored with,

each Voice, Performance or Clip Kit. By playing

notes on the keyboard and listening to the

arpeggio, you can adjust these parameters by ear.

The arpeggiator’s parameters are available in each

Edit Mode. In the following Voice Mode example,

the Arpeggio Type is set for a Drum Voice in

Preset Drum 1.

To select the Preset Drum, press the MEMORY

[PRE2] key while holding down the MEMORY

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

will choose Preset Drum 1 so you should press the

PROGRAM [1] key. On the CS6R, press the [PRE2]

key while holding down the [PRE1] key , press the

[ENTER] key, then select the Drum Voice using the

[PAGE] knob.

ARPEGGIO

GATE TIME

OFF

HOLD

Basics

Section

Selecting the Arpeggio Type

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

will enter Voice Edit Mode at the screen where

you previously exited.

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

is displayed on the bottom line. Voice Edit Mode

consists of two different Edit screens: Common

Edit (for parameters common to all Drum

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

Arpeggiator parameters are found in the Common

Edit screens that you have now selected.

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

Type (Arpeggio Type) screen.

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

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

quickly jump to the ARP screen by using the [PAGE]

knob to move the cursor to the ARP item in the

menu, then releasing the [SHIFT] key (Page 80).

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

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

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

desired Arpeggio Type. Let’s choose

“BigBeat2” here.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

ARPíType) Type Tempo Switch Hold

Common GateCut2:Ct 92 off off

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

GEN Name) Ctgry a-Z 0-? Cursor

Common [Dr:Rock Kit ]

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

5Use Knob [1] or the [ARPEGGIO] key on the

front panel to switch the arpeggiator on. When

you play the keyboard, the drum pattern can

now be heard.

You can play multiple patterns simultaneously by

pressing more than one note on the keyboard.

Now try assigning different Arpeggio Type and

Drum Voice settings. There are many different

drum patterns available.

Arpeggio Types are divided into the five

following categories and applications are not

just limited to drum patterns. You can also

select Arpeggio Types for backing chords,

basslines and so on.

Next, why not try out Arpeggio Types with

Normal Voices and Phrase Clips?

When setting the Arpeggio Category to Ct

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

parameter (two screens ahead) to “direct.”

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave

up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting

with “Techno,” there are phrases for a wide

variety of musical genres, and for creating

backing tracks for guitar, piano and other

instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres

covered include rock and dance. This Type is ideal

for use with drum and percussion sounds.

Cl (Phrase Clip):

Select this type to a Clip Kit that is assigned with

loop-mixed or loop-divided Phrase Clips, to create a

new arpeggio pattern.

Ct (Control):

Creates tonal changes. No note information is

created. The Key Mode parameter in Arpeggio

Mode must be set to “direct.”

Details about Arpeggio Types are given in the

separate Data List.

You can also use a foot switch (optional) to switch

the Arpeggiator on and off (CS6x). Details about

assigning parameters to the foot switch are given on

Pages 53, 165.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

ARPíType) Type Tempo Switch Hold

Common≥BigBeat2:Dr 92 on off

Basics

Section

Setting the Tempo

You can use Knob [C] to adjust the tempo

between 25 and 300 BPM. This parameter setting

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

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

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

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

using the [TEMPO] knob on the front panel.

Setting the Note Limit

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

Normal Voice (say, Voice Program Number 2 of

Internal:champ) such that the Arpeggiator is

enabled in the lower part of the keyboard but the

upper part can be used to play melody lines.

You’ll need to have already set the Arpeggio Type

(say, MuteLine).

1The Note Limit parameters can be set in the

ARP Limit screen, which follows immediately

after the ARP Type screen mentioned in step

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

the screen.

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

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

Alternatively, you can set this parameter by

pressing the note (say, E3) on the keyboard

while holding down the [SHIFT] key.

Similarly, the lowest note in the range can be

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

while holding down the [SHIFT] key.

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

of the keyboard range within which the

arpeggiator will play back. The cursor (≥)

immediately jumps to each respective parameter

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

cursor is at the parameter, you can also use the

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

keys to enter settings.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

ARPíLimit) Note Limit

C_ 1234 C 1 - E 3

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

ARPíLimit) Note Limit

C_ 1234 C -2 - G 8

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

ARPíType) Type Tempo Switch Hold

C_ 1234 BigBeat2:Ct≥ 127 on off

Outside the Note Limit range, you can play the

keyboard normally without the notes being

arpeggiated. Therefore, you can use your left

hand to play block chords used by the

Arpeggiator and your right hand to play melody

lines in the upper part of the keyboard.

Combined with the OSC Limit parameter of the

Element Edit screen, the sound used in the lower

part of the keyboard can be different from that in

the upper part.

Following the example in this manual, if you

select Voice Program Number 002 of INT,

Portamento is already set for this Voice. Use the

PORTAMENTO knob and [ON/OFF] keys to

change the portamento time and switch

portamento on/off (Page 59).

Using the Arpeggiator Hold

With Arpeggiator Hold switched on, the

arpeggiator will continue to play back, even after

you have released your fingers from the notes on

the keyboard. The same arpeggio pattern will be

played back until you press another set of notes

on the keyboard.

You can switch Arpeggiator Hold on/off using the

ARPEGGIO [HOLD] key. When switched on, the

ARPEGGIO [HOLD] key LED is lit.

Press the ARPEGGIO [HOLD] key for the Voice

you edited earlier (for which you set the Note

Limit parameter). With Arpeggio Hold switched

on, the Arpeggiator will continue to play back,

even after you have released your left hand from

the keyboard. This leaves your left hand free to

perform other tasks, such as adjusting the Sound

Control knobs.

If Arpeggiator Hold is switched on and ready for

use, the [HOLD] key LED will light when you select

the Voice, Performance or Clip Kit.

Depending on the method of storage (Pages 116, 141,

160), the [HOLD] key state (on/off) can be saved

with the Voice, Performance or Clip Kit.

You can set the [HOLD] key state in the Arp screen

(Page 82) in Voice, Performance or Phrase Clip Edit

Mode.

ARPEGGIO

GATE TIME

OFF

HOLD

Arpeggiator Range Area for Playing Melody

Arp Note HighArp Note Low

Basics

Section

2Use the Sound Control knobs and Assignable

Knobs [1]/[2] to get the sound that you will

store as a Scene.

Each Voice can have its own settings for

Assignable Knobs [1]/[2] (Pages 51, 84).

3If you wish, you can set up a different Scene

for the other SCENE key.

4Store the Voice (Page 116) or Performance

(Page 141); its Scene settings will be stored

with it.

If you store the Voice or Performance while the

LEDs of both SCENE keys are lit (i.e., after

adjusting the SCENE [CONTROL] knob), this

state will also be stored with the Voice or

Performance.

Storing Scenes

If you use the Sound Control knobs or Assignable

Knob [1]/[2] to change the sound settings while the

LEDs for both SCENE keys are lit (i.e., a mixture

of settings from both Scenes is being used), these

new settings should be stored to either SCENE key

as a new Scene. This operation is known as Scene

Store, and is explained as follows.

1Press the SCENE [1] or SCENE [2] key while

holding down the STORE key. The LED for

the key you select will light and the positions of

the knobs will be stored.

As explained earlier, if you edit the sound while

either SCENE key LED is lit, this means that you

are editing the Scene directly so you do not need to

perform a Scene Store.

2Store another Scene to the other SCENE key if

necessary.

3Store the Voice (Page 116) or Performance

(Page 141) to save the Scene settings.

Recalling Scenes

You can easily recall a Scene by pressing the

SCENE [1] key or SCENE [2] key. The SCENE

key’s LED will light.

When you switch between Voices or Performances,

one of the Scenes will always be selected (the

SCENE [1] key or SCENE [2] key LED will be lit).

It is also possible that the LED for both SCENE keys

will be lit, meaning that the sound uses a mixture of

both Scenes.

When you recall a Scene, the knob position settings

for that Scene will be recalled, regardless of the

current physical positions of the knobs.

2 Scene Controls

(CS6x)

Scenes are used to memorize the positions of the

FILTER [CUTOFF]/[RESONANCE] knobs, EG

[ATTACK]/[DECAY] knobs and Assignable Knobs

[1]/[2], and can be recalled later at the touch of a

button. You can use the knobs to edit the sounds

in real time, then store their positions with each

Voice/Performance as Scene 1 and Scene 2.

As an example, the illustration below shows two

different groups of knob settings (A and B)

assigned, respectively, to the SCENE [1] key and

the SCENE [2] key. In effect, what this means is

that two types of sound can be memorized and

recalled for each Voice/Performance. What’s more,

you can use the SCENE [CONTROL] knob to

create a smooth transition from one Scene to the

other, or even a mix between Settings A and B.

Scene Settings

When stored, the Scenes are held in a temporary edit

buffer and the settings are lost if you switch to another

Voice or Performance, or if you change Mode. Therefore,

once you have stored the Scene, you should store the Voice

or Performance; the Scene settings will be stored along

with it.

1In Voice/Performance Mode, select the Voice/

Performance for which you wish to store Scenes.

When you switch between Voices or Performances,

one of the Scenes will always be selected (the

SCENE [1] key or SCENE [2] key LED will be lit).

Therefore, the settings for the Scene you are about

to switch to will be different to those of the

currently selected Scene. It is also possible that the

LEDs for both SCENE keys will be lit, meaning

that the sound uses a mixture of both Scenes.

Voice Store

Performance Store

1 2

CONTROL

SCENE

A B C 1 2

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

A B C 1 2

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

Setting BSetting A

Scene Store Scene Store

Basics

Section

Controlling Scenes by Foot Controller (CS6x)

By connecting an optional Foot Controller

(such as the FC7) to the FOOT

CONTROLLER jack on the rear panel of the

synthesizer, you can switch between Scenes by

foot without having to use your hands. You

can set this up as follows.

1 Press the [UTILITY] key to enter Utility

Mode.

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

Scene (System Control Scene) screen.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Scene) Scene Control 

Sys 65[Port Sw ]

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE 1 MIC

LINE 2

A D INPUT

GAIN

FC7

Using the SCENE

[CONTROL] Knob

The SCENE [CONTROL] knob lets you create a

smooth transition from one Scene to the other, or

even a mix between the settings for both Scenes.

As an example, the illustration below shows two

different groups of knob settings (A and B)

assigned, respectively, to the SCENE [1] key and

the SCENE [2] key. Starting with the SCENE

[CONTROL] knob at its fully anti-clockwise

position, turn the knob clockwise to create a

smooth transition from the Scene 1 settings to

those of Scene 2.

For example, the Resonance can be increased and

LFO speed can become faster between Scenes.

Multiple changes to the sound can be applied in

one go using just the one knob, making this

feature ideal for live performances.

Turn the SCENE [CONTROL] fully anti-

clockwise to switch to Scene 1 or fully clockwise

to switch to Scene 2. If you set it to a position in

between, a mix of settings taken from both Scenes

will be used. By turning the knob from one end

to the other, a smooth transition from one Scene

to the other is created. While the knob is in a

position other than fully clockwise or anti-

clockwise, the LEDs for both the SCENE [1] and

SCENE [2] keys will be lit.

You can also assign Volume, Pan and other Control

Change numbers to the SCENE [CONTROL] knob

(Page 165).

1 2

CONTROL

SCENE

Settings between

Scenes 1 and 2

Scene 1

settings

Scene 2

settings

Setting BSetting A

Scene Store Scene Store

1 2

CONTROL

SCENE

A B C 1 2 A B C 1 2

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

3 Use Knob [B] to select “04:FootCtrl” (Foot

Controller).

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

Assign2 (Voice Control Assign 2) screen.

5 Use Knob [C] to select “04:FootCtrl” (Foot

Controller).

Switch to Voice Mode and you are now ready

to use the Foot Controller to control Scenes.

The above procedure is for assigning a Foot

Controller to control Scenes in Voice Mode.

For Performance Mode, follow the same

procedure but at steps 4 and 5, switch to the

CTL Assign2 screen in Performance Edit

Mode.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB

Vce [FootCtrl] 04 22

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB----Mode

Vce [ off ] 00 22 hold

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Scene) Scene Control 

Sys 04[FootCtrl]

Basics

Section

Using Controllers

The CS6x is equipped with Pitch Bend and

Modulation Wheels, plus a Ribbon Controller.

Either of the CS6x and CS6R is equipped with

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

which you can control many different parameters.

Pitch Bend Wheel

This wheel’s prime function is to control pitch.

Roll the wheel upward/downward to bend the

pitch upward/downward. The effect can also be

reversed.

Pitch Bend Range can be set for each Voice. The

wheel can also be assigned other parameters (Page

84).

Even if a different parameter is assigned to the

wheel, Pitch Bend messages are still transmitted

through the MIDI Out when it is being used.

Modulation Wheel

The more you roll this wheel upwards, the greater

the modulation that is applied to the sound.

Modulation depth can also be set beforehand. Also,

the wheel can be assigned different parameters, such

as Volume or Pan (Page 84).

Pitch Bend

Wheel

Modulation

Wheel

Deeper

Pitch Bend

Wheel

Modulation

Wheel

Pitch Up

Pitch Down

Basics

Section

Foot Controller (CS6x)

An optional Foot Controller (such as the FC7),

connected to the FOOT CONTROLLER jack

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

number of controller parameters. By using a foot

controller for parameter control, both your hands

are left free to play the keyboard (or to operate

other controllers). This is very convenient if you

are playing live.

Foot Controller parameters can be set for each Voice.

Foot Switch (CS6x)

An optional Yamaha FC4 or FC5 Foot Switch

connected to the rear panel FOOT SWITCH jack

(Page 18) can be assigned to a range of

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

controls such as Portamento Switch,

increment/decrement of a Voice or Performance

Number, start/stop of the Sequencer, holding

Arpeggiator on or off. The Foot Switch is not

well suited for continuous control. You could also

use it to switch to between different Voices or

Performances

The parameter assigned to the Foot Switch is set in the

CTRL Other screen of Utility Mode (Pages 52, 165).

Sustain (CS6x)

With an optional Yamaha FC4 or FC5 Foot Switch

connected to the SUSTAIN jack (Page 18) on the

rear panel. This is useful when playing piano-

type sounds.

You cannot assign a function other than Sustain to

the SUSTAIN jack.

Foot Volume (CS6x)

Connect an optional Foot Controller (such as the

FC7) to the FOOT VOLUME jack of the rear

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

control Main Volume or Expression parameters,

leaving your hands free to play the keyboard. This

is very useful if you are playing live.

The parameter assigned to the Foot Volume

controller is set in the CTRL Other screen of Utility

Mode (Page 165).

Breath Controller

You can connect an optional Breath Controller

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

panel (or the front panel of the CS6R). Then use

it to control a large number of the synthesizer’s

parameters, particularly those controlled by a wind

player’s breath: dynamics, timbre, pitch and so on.

The Breath Controller is ideally suited for realistic

expression with wind instrument type Voices.

Breath Controller parameters can be set for each

Voice.

Ribbon Controller (CS6x)

The Ribbon Controller is a touch-sensitive

controller that lets you control, say, Filter Cutoff

in real time by running a finger lightly across its

surface to the left or right. Normally, its assigned

parameter will increase in value as you run you

finger to the right, though you can set it to do the

opposite. The Ribbon Controller can be assigned

many different parameters (Page 84).

Ribbon Controller parameters can be set for Utility

Mode (Pages 164, 169).

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

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

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

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

equalizer gain of, respectively, EQ Low, EQ Mid

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

assign different parameters per Voice.

If you turn any knob clockwise, the value assigned

to it is incremented. Conversely, the value is

decremented if you turn it the other way.

Common system parameters are assigned to Knobs

[A],[B] and [C] (Pages 50, 165). Voice-specific

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

51, 84).

A preset of suitable parameter settings is assigned to

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

in effect adjusting these settings by a certain

amount. If these parameters are already preset at

their minimum or maximum settings, the settings

cannot be exceeded.

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

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

SYSTEM

CURSOR

A B C 1 2

SHIFT PAGE PART

ELEMENT DATA

Basics

Section

Aftertouch

Aftertouch lets you, for example, add vibrato to a

sound by applying further pressure to a note on the

keyboard while it is being held down. (With the

CS6R, an aftertouch-sensitive controller keyboard

must be connected.) This allows real-time

expression and control. Aftertouch can be used to

control a wide variety of parameters (Page 84).

Control Sets

Aside from their default parameters, keyboard

aftertouch, the controllers and some of the knobs

on the front panel can be assigned with various

parameters, as explained on Page 47. For

example, you could assign Resonance to the

Modulation Wheel and set aftertouch to apply

vibrato. You are free to assign parameters to suit

the kind of sound being played.

These controller assignments are known as Control

Sets. As the following illustration shows, you can

assign up to six different Control Sets per Voice.

For each Phrase Clip, you can assign up to four

different Control Sets. Within each Control Set,

the controller is known as the Source (Src) and the

parameter controlled by the Source is known as the

Destination (Dest). There are various Dest

parameters available; some will apply to the Voice

as a whole, while some will be specific to each of its

Elements. Details are given in the Controls List of

the separate Data List.

Details about the available Dest parameter settings

are given in the Destination Parameter List of the

separate Data List.

The Element Switches (Page 85) will be disabled if

the Dest parameter setting is not specific for

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

Dest(Destination)

Control Parameters

Depth

Depth of control

Src(Source)

Voice

Control Sets

Controller

RB,MW,etc

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

Elements 2 3 4

1~6

By creating Control Sets, you can change sounds

in a variety of ways.

For example, set the Src (Source) parameter of

Control Set 1 to MW (Modulation Wheel) and the

Dest (Destination) parameter to ELFO-PM

(Element LFO Pitch Modulation Depth). Then

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

but set the Dest parameter to ELM PAN (Element

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

be controlled and also the depth (amount) of

control.

In this example, when you move the Modulation

Wheel upward, the amount of Pitch Modulation

increases accordingly, the Element is panned from

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

several Dest parameters to each Src controller.

Continuing from the example above, now create

another Control Set where Src is set to FC (Foot

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

LFO Pitch Modulation Depth). Again, specify the

Element to be controlled and also the depth of

control.

Now, Pitch Modulation is assigned to both the

Modulation Wheel and Foot Controller. In other

words, you can also assign several Src controllers

to each Dest parameter.

By assigning all six Control Sets, you will have a

stunning degree of real-time control over the

synthesizer’s sounds.

ELFO-PM

Dest

ELFO-PM

Dest

SET 1 SET 3

Src

(Modulation Wheel)

Src

(Foot Controller)

You can control the

pitch modulation effect

using either of

Modulation Wheel

(MW) and Foot

Controller (FC).

ELFO-PM

Dest Param

ELM PAN

Dest Param

SET 1 SET 2

Src

(Modulation Wheel)

Src

(Modulation Wheel)

Moving the Modulation

Wheel changes the amount

of Pitch Modulation plus the

pan position.

Control Sets and External MIDI Control

In a Control Set, the controllers are assigned to the

internal parameters of the synthesizer. However,

some controllers were originally designed for a

particular purpose, and send pre-defined MIDI

Control Change messages when used, regardless of

their Control Set allocations within the

synthesizer.

For example, the Pitch Bend Wheel, Modulation

Wheel and keyboard aftertouch were originally

designed to control pitch bend, modulation and

aftertouch. Therefore, when you use these

controllers, pitch bend, modulation and aftertouch

information is always sent to the MIDI Out.

Let’s say the Pan parameter is assigned to the

Pitch Bend Wheel in a Control Set. Now,

when you move the Pitch Bend Wheel, the

internal tone generator of the synthesizer will

pan the sound but at the same time, the

original pre-defined Pitch Bend messages will

still be sent to the MIDI Out.

The controllers can also send MIDI Control

Change messages to control the parameters of

external MIDI devices. These assignments are

found in the VOICE (Vce) CTRL Assign1/2

screen of Utility Mode.

As Pitch Bend Wheel, Modulation Wheel and

keyboard aftertouch is pre-defined with specific

MIDI controls, you cannot assign MIDI

Control Changes.

You can also set up a controller such that it

sends one kind of Control message to the

synthesizer’s internal tone generator yet

another kind to the MIDI Out.

For example, in a Control Set you could assign

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

VOICE CTRL Assign2 screen of Utility Mode,

you could assign Control Change Number 1

(Modulation) to the same knob. Now, when

you turn the knob, resonance will be applied to

the sound of the internal tone generator but at

the same time, modulation information will be

sent to the external MIDI device connected to

the MIDI Out.

This aspect of the synthesizer makes it ideal for

use as a master controller for controlling external

MIDI devices. Add an optional Foot Controller

or Breath Controller for even more control.

OUT IN

Pitch

Tone Generator

LFO1 PAN

MIDI

MIDI Control

Pitch Bend

Wheel

Control Set

Basics

Section

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

The following procedure explains how you can

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

You can assign any parameters that are common

throughout the system (for all Play Modes) and

any MIDI Control Change Numbers. In the

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

Return.

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

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

KnobA (System Control Knob A) screen.

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

Return).

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

control of the Reverb Return level in

Voice/Performance/Phrase Clip Play Mode.

Note that you can also send (by turning Knob

[A]) or receive Control Change messages with

the Controller Number set in the CC#

parameter through MIDI In and Out.

For assignable parameters, refer to “System

Controller Destination Parameters” in the

separate Data List.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL KnobA) CC# Dest

Sys 01[ModWheel] REV-Rtn

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL KnobA) CC# Dest

Sys 01[ModWheel] EQLow-G

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

Basics

Section

Assigning Parameters to Knobs [1] and [2]

The following procedure explains how you can

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

You can assign controllers to each Voice (or

Part in a Performance) or Clip Kit. Control

Settings can be assigned as a Control Set, and a

each Controller can be used to control multiple

parameters (although this varies according to

the type of Voice or Clip kit). Here we

introduce an example of how to set up Control

Set 1 for Internal Voice 001 (A01) by assigning

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

You can also assign, separately, a different

MIDI Control Change Number to the same

knob in Voice Mode and Performance Mode.

Details are given on Page 168.

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

2 Select Internal Voice 001 (A01) and press

the [EDIT] key to enter Voice Edit Mode.

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

Set1 (Control Set 1) screen.

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

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

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth

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

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTL Set1) Src Dest EL Sw Depth

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

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

5 Use Knob [C] to assign PCH-Crs

(Pitch:Coarse) to the Dest (Destination)

parameter.

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

the Element to be controlled. Knob [1] moves

the cursor (blinking) and the [DATA] knob

displays the Element to be controlled.

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

The larger the setting, the greater the depth

of control.

8 Store the edited Voice (Page 116).

Now you have Internal Voice 001 (A01)

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

When you select and play this Voice in Voice

Play Mode, you can control the pitch of the

Voice if you turn Knob [1].

Details about the assignable control functions

are given in the Control Set Destination

Parameters in the separate Data List.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth

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

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth

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

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth

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

Controlling Parameters by Foot Controller (CS6x)

By connecting an optional Foot Controller

(such as the FC7) to the FOOT

CONTROLLER jack on the rear panel of the

synthesizer, you can control various

parameters by foot without having to use your

hands. In the following example, we introduce

how to set up Foot Controller to work as

Modulation Wheel.

1 Press the [UTILITY] key to enter Utility

Mode.

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

Assign2 (Voice Control Assign 2) screen.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB

Vce [ off ] 00 22

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE 1 MIC

LINE 2

A D INPUT

GAIN

FC7

Basics

Section

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

(Modulation Wheel).

In Voice Mode, the foot controller can now be

used to control Modulation.

If the current Voice has a Control Set with a

source (Src) assigned to Modulation Wheel

(MW) and receives a Control Change message

of Modulation Wheel, a destination (Dest)

parameter for the source (MW) will be

affected with that message.

The above procedure explains how to set up

the Foot Control to control Modulation in

Voice Mode. To create such a setup for

Performance Mode, the appropriate settings

are found at the CTL Assign2 screen in

Performance Edit Mode.

Switching Between Programs by Foot Switch (CS6x)

By connecting an optional Foot Switch (such

as the FC4 or FC5) to the FOOT SWITCH

jack on the rear panel of the synthesizer, you

can switch between Programs without having

to use your hands. For example, if you

consecutively arrange the Voices/Performances

in memory, you can switch between them

easily in a live performance. The following

procedure explains exactly how to a about this.

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE 1 MIC

LINE 2

A D INPUT

GAIN

FC4

FC5

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB

Vce [ModWheel] 01 22

Basics

Section

1 Press the [UTILITY] key to enter Utility

Mode.

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

Other (System Control Other) screen.

3 Use Knob [B] to select “099:PC Inc”

(Program Change Increment).

In Voice/Performance/Phrase Clip Mode, the

Foot Switch can now be used to switch

between programs.

Alternatively, you can assign other functions

such as Arpeggio Switch (On/Off), Sequencer

(Play/Stop) and so on (Page 165).

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Other) FS

Sys 099[PC Inc ]

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Other) FS

Sys 088[ ------ ]

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

4 Phrase Clips

Real-world sounds can be recorded or loaded into

the synthesizer and played back as musical

instruments sounds. The waveform data held in

the synthesizer are knows as Phrase Clips.

These Phrase Clips are created and played back in

Phrase Clip Mode (Page 142). A basic overview

of Phrase Clips is given here.

Phrase Clips Overview

As shown in the following illustration, on the rear

panel (or the front panel of the CS6R), there is an

A/D INPUT jack for inputting analog sources to

the A/D converter. The A/D converter then

converts the signals from these analog sources

into digital binary signals through a process

known as “sampling.” Within the synthesizer,

these sampled signals are called Phrase Clips, and

up to 256 of these Phrase Clips can be held within

the 4MB of internal memory. You can assign

Phrase Clips to any keys on the keyboard to play

them back. A collection of Phrase Clip keyboard

assignments is known as a Clip Kit, of which you

can create up to four. You can then assign Clip

Kits to Performances, just like with Voices.

When playing back Phrase Clips, the processing of

signals is the opposite of A/D conversion. The

digital signals are passed through a D/A converter

to convert them back to analog form.

256 phrase clips

4MB Internal Memory

A/D

Converter

D/A

Convertor

Analog Signal

Clip Kits

Analog

signal

AD INPUT

DRAM

Digital

Binary

Basics

Section

Sampling Rate and Bit

Resolution

As an example, the illustration shows a sine wave.

When recording (sampling) the sine wave, the

A/D converter basically takes snapshots of the

wave’s levels at fixed intervals in time.

In the graph, the horizontal axis represents time

and the vertical axis represents signal level.

The number of snapshots of levels taken in one

second is known as the sampling rate and is given

in Hertz. The A/D converter of this synthesizer

has a sampling rate of 44.1kHz, which means that

it takes 44100 snapshots of the waveform’s levels

within one second. The higher the sampling rate,

the closer the reproduced (digital) signal is to the

original.

On the vertical axis, the number of levels is given in

bits and is known as the bit resolution. The A/D

converter of this synthesizer has a bit resolution of

16 bits, which means that there are 2

(i.e., 65536)

levels on the vertical axis. As with the sampling rate,

the higher the bit resolution, the closer the

reproduced (digital) signal is to the original.

Incidentally, audio on CDs is also sampled at

44.1kHz in 16 bits.

Figure A: Lower sampling rate and bit resolution

Figure B: Higher sampling rate and bit resolution

Level

Time

Level

Time

Level

Sampled waveform

Level

Time

Original Analog Signal

Playing Back Phrase Clips

You can play back your Phrase Clips in three

different ways, as follows.

First, there is “loop” playback. A section of the

Phrase Clip is continuously looped during

playback. This is often used for creating drum

pattern loops from breakbeats.

When you play a note on the keyboard, the

Phrase Clip plays from the start point to the end

point. It then returns to the loop point and plays

to the end point again, and keeps doing this until

you release the note.

With musical instruments in general, the

characteristic part of the sound (the “attack” section)

is usually at the beginning, just after the start point.

After this, the sound does not vary a great deal while

the note is being held, and you can set the loop and

end points at either end of this section. When

playing back a Phrase Clip of an instrument that has

been looped like this, the attack section of the sound

is played back once and then the looped section is

played back continuously until you release the note.

Looping is also way of creating usable instrument

sounds without using up too much memory.

The second playback method is known as “one

shot.” When you press a note on the keyboard,

the Phrase Clip plays from beginning to end just

once. This type of playback is commonly used for

Phrase Clips of drum and percussion sounds.

Third, you can select “reverse” playback. When

you press a note on the keyboard, the Phrase Clip

plays from end to beginning just once. This is

useful for creating reversed cymbal sounds and

other special effects.

You can set points and playback modes for the

loop in Phrase Clip Edit Mode (Page 146).

Start Point End Point

Start Point Loop Point

Phrase Clip Looped Playback

End Point

Basics

Section

Creating a Clip Kit

You can assign Phrase Clips to notes on the

keyboard (C0 to C6) and play them live or using a

sequencer. You can also edit various parameters

for each Phrase Clip. The assignment of Phrase

Clips across the keyboard is known as a Clip Kit,

and you can create up to four of these.

You can assign each Phrase Clip to one note on

the keyboard. However, by assigning breakbeats

and other rhythmic loops plus percussive Phrase

Clips used in the rhythms, you can create a Clip

Kit specifically for rhythms only. Or you could

assign Phrase Clips of unusual sounds to create a

Clip Kit of special effects. Essentially, you can

create a Clip Kit consisting of any sounds that suit

your needs.

Clip Kits can be treated the same as Voices and

Performances. For instance, in Phrase Clip Play

Mode, you can play Clip Kits directly using the

keyboard (Page 142). In Performance Mode, a

Clip Kit can be included as a Part in a

Performance (Page 129).

You can further edit Clip Kits and Phrase Clips in

Edit Mode (Page 146) and perform jobs on them in

Job Mode (Page 154).

When you switch off your synthesizer, the Clip Kit will

be lost. Always save important data to Memory Card.

Recording a Phrase Clip

This section explains how to record a Phrase Clip,

set the loop and so on, execute jobs, and create a

Clip Kit.

You can create a Phrase Clip by recording from a

microphone, CD player or some other audio

equipment, or from an existing

Voice/Performance/Phrase Clip in the synthesizer.

As a simple example, we will record the drum

pattern that was created earlier using the

Arpeggiator and Drum Voice.

1Before entering Phrase Clip Mode, first enter

Voice Play Mode and press the MEMORY

[PRE1] and [PRE2] keys simultaneously. Then

use the [DATA] knob, the [DEC/NO] and

[INC/YES] keys or the PROGRAM keys (CS6x)

to select the Preset Drum Voices (DR1).

Clip

C0 C6

2Now press the PHRASE CLIP key (its LED will

light) to enter Phrase Clip Mode.

3Hold down the PHRASE CLIP [REC] key and

the following screen will be displayed. Here,

you can assign a key to the Phrase Clip you are

about to record. While still holding down the

key simply press the respective key on the

keyboard. Here, we will assign note C1. Now

release the [REC] key to switch to the

Recording screen.

4Use Knob [B] to set the Source parameter to

“voice” The Drum Voice you selected earlier

can now be played on using the keyboard.

5Use Knob [C] to set the Trigger parameter to

“key.” With this setting, the recording process

will begin when you press a note on the

keyboard.

6Press the ARPEGGIO [ON/OFF] key on the

front panel (its LED will light) to switch the

Arpeggiator on. When you press a note on the

keyboard, a drum pattern will now play back

according to the Arpeggiator settings. You can

adjust the tempo using the SEQ PLAY

[TEMPO] knob on the front panel. Before

proceeding further, make sure that you have

selected the correct sound.

With the CS6R, select the Drum Voice, enter

Drum Voice Edit Mode (Page 102), set it’s

Arpeggio Switch parameter to “on,” and then

enter Phrase Clip Mode.

To prevent the deterioration in sound quality

when recording, you should set a high output

level for the Voice (in Voice Edit Mode).

PCLP Rec) Source Trigger [ENTER]

(Key=C 1) voice key toStandby

PHRASE CLIP

PITCH

REC

Press and hold down

PCLP Rec) >> Select Record Key << 

>> C 1:off[ ] <<

C1 C6

Basics

Section

!In Phrase Clip Edit Mode, use the [PAGE] knob

to switch to the OSC Asgn screen. Normally

you would assign the Phrase Clip to a note on

the keyboard (Clip Key) here. However, since

we have already assigned it to note C1 in step

3 the Phrase Clip name and number ([Clip

001]) will be displayed when you press note C1

on the keyboard or use Knob [A] to call up C1.

When you press C1 to assign a Clip Key, the

Phrase Clip will be played back.

Since it is somewhat inflexible to assign the

Phrase Clip to just C1, we will also assign it to

the white notes from D1 to C2. Select each

respective notes by pressing it on the keyboard

or by using Knob [A], and use Knob [B] to

assign [Clip 001] to each.

At the same screen, use Knob [1] to select a

Variation.

A Variation refers to the method by which the

Phrase Clip (including its loop points and other

parameters) is played back. Using a Variation, each

Phrase Clip can have up to eight different loop

points. For example, when applied to the drum

pattern Phrase Clip recorded earlier, Variations can

be used to create a 1-bar loop pattern, a reversed

pattern and other different playback styles.

You have assigned the same Phrase Clip ([Clip

001]) to the white notes between C1 and C2.

Now you can assign a different Variation to each

of the notes. Select each respective note by

pressing it on the keyboard or by using Knob

[A], and use Knob [1] to assign a different

Variation number (1 to 8) to each.

At this stage, the Variations themselves have not

been set so Variations 1 to 8 will all play the

Phrase Clip back in the same way. However,

once you have set up all the Variations, the same

Phrase Clip can be played back differently for

each white note between C1 and C2.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER]

Key= C 1 1[Clip 001] 1 to Edit

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER]

Key= C 2 1[Clip 001] 1 to Edit

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER]

Key= C 1 1[Clip 001] 1 to Edit

7Press the [ENTER] key and the Recording

Standby state is entered. You will see the

“Waiting for trigger...” message.

8Recording will begin when you press the

respective note on the keyboard. Press the note

and let the drum pattern play for one bar.

9Press the [EXIT] key. Recording will finish and

the “Now Working...” message will be

displayed.

The recorded Phrase Clip is now assigned to

note C1, as set in step 3. At this point, you

can audition the recorded Phrase Clip by

pressing note C1 while holding down the [REC]

key.

There may be cases where a recorded volume level

differs from one you monitored while recording. It

is an effect by the automatic level adjustment

function that corrects a recorded level for a proper

playback. In these cases, you can adjust a playback

level of the Clip in Phrase Clip Edit Mode. If you

want to increase the entire volume, you can use the

EQ Type parameter to set a value of “Boost12”.

If you are not satisfied with the result, you can

repeat the recording by pressing the [ENTER]

key.

)Once you exit Phrase Clip Record Mode, the

recorded Phrase Clip will automatically be

saved to memory (DRAM) with a new number

and name (Clip 001).

Here, do not exit Phrase Clip Record Mode.

Instead, press the [EDIT] key to enter Phrase

Clip Edit Mode.

Editing the Phrase Clip

Continuing from step ) above, you are now ready

to edit the Phrase Clip you have just recorded. In

Phrase Clip Edit Mode, you can assign Phrase

Clips to notes on the keyboard (between C0 and

C6) to form a Clip Kit, create loops, edit the tonal

characteristics and so on. Here, we will edit the

recorded Phrase Clip in several ways.

PCLP Rec) Source Trigger [EXIT]

<< Waiting for Trigger... >> toStop

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

Basics

Section

@Check that note C1 is selected, then press the

[ENTER] key. The Variation parameters for

[Clip 001] will be displayed.

To return to the previous screen, press the [EXIT]

key.

#Use Knob [A] to select the Variation number.

We will start with Variation 1.

$As explained earlier (Page 54), the Play

parameter specifies how the Phrase Clip is

played back. There are three possible settings

for this parameter, but we will select “reverse”

here. Use Knob [B] to select.

Now press note C1 on the keyboard and check

that the Phrase Clip has indeed been reversed.

Reverse playback involves the sound being played

in reverse from the End point to the Start point.

You can change the length by simply adjusting

these points. When you record a Phrase Clip, the

Start point is initially set at the beginning of the

recording and the End point at the end of the

recording.

%Press the [EXIT] key to return to the OSC Asgn

(Oscillator Assign) screen. This time, select the

D1 note and press the [ENTER] key.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Start Loop End

(C 1) 1: reverse 0 0 236378

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Start Loop End

(C 1) 1: loop 0 0 236378

PCLPíVar) Play Start Loop End

(C 1) 1: loop 0 0 236378

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

^Next, select Variation 2 but set the Play

parameter to “loop” this time. When you press

note D1 at this point, the Phrase Clip is simply

played back as a loop between the Start and

End points of the recording. If you only want

one part of the Phrase Clip to be played back as

a loop, you need to set the Start/Loop/End

points. As an example, we will set a loop

exactly one bar in length.

&Use Knob [C] to set the Start point (the point at

which playback will begin when you press a

note). To create a 1-bar looped drum pattern,

you need to press note D1 and adjust the Start

point so that it matches up with the first beat

in the bar.

*Use Knob [1] to set the Loop point (the start of

the section to be looped). Since you will be

creating a loop exactly one bar in length, the

Loop point can be set to the same position as

the Start point.

(Use Knob [2] to set the End point (the end of

the section to be looped). For a 1-bar drum

pattern, you need to set the End point at the

end of the fourth beat in the bar (i.e.,

immediately before the first beat of the next

bar). Press note D1 and keep adjusting the End

point until you find the ideal point for looped

playback.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Start Loop End

(D 1) 2: loop 119120 119120 452316

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Start Loop End

(D 1) 2: loop 119120 119120 236378

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Start Loop End

(D 1) 2: loop 119120 0 236378

Basics

Section

[Clip 001] is now reversed as Variation 1 and

looped for one bar as Variation 2, and both

Variations can be played by pressing notes C1 and

D1. In the same way, you can change the points

for Variations 3 to 8 and set up different loops to

that of Variation 1/2.

Therefore, each Phrase Clip can be played back in

a variety of ways according to different notes on

the keyboard, and you can assign completely

different Phrase Clips with different Variations to

other notes. Such a collection of Phrase Clips and

Variations is known as a “Clip Kit.”

ºNext, press the [JOB] key to enter Phrase Clip

Job Mode. We will now take a quick look at

how to execute a Job.

Executing a Job

In Job Mode, you can perform various operations

(Jobs) on your edited Phrase Clips. You can copy

and delete items, create Variations, use Loop

Remix and Extract to modify your Phrase Clips

and so on. In this example, the totally unique

Loop Remix feature will be explained. The

explanation continues from step º above.

¡In Phrase Clip Job Mode, use the [PAGE] knob

to switch to the PCLP LoopRemix screen. Loop

Remix takes the data from an existing Phrase,

changes it around, and creates a separate new,

looped Phrase Clip. (The original Phrase Clip

remains in its original state and a completely

new Phrase Clip is created with Loop Remix.)

By setting the Type and Vari parameters, you

can easily create a variety of new Phrase Clips.

™By pressing the respective note on the keyboard

or by using Knob [A], you can select the source

Phrase Clip to which Loop Remix will be

applied. Let’s select [Clip 001] as the source

and create a new Phrase Clip. If you have

followed the previous procedure and assigned

Variations to the white notes between C1 and

C2, you can press any of these notes; [Clip 001]

will still be selected.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLP LoopRemix) Type Vari

Job C 1:001[Clip 001] 1 A

£Use Knob [1] to set the Type parameter, which

specifies the type of loop change (i.e., which

part of the loop will be modified). Combined

with the Vari parameter, it is possible to create

a variety of loop patterns using Loop Remix.

There are five Types in total, and we will use

Type 2 here.

¢Use Knob [2] to set the Vari (Variation)

parameter, which specifies the amount by

which the loop will be modified. The four

available Variations (A to D) apply increasing

amounts of modification. Let’s select “D” here

in order to create the largest modification.

∞Press the [ENTER] key and you will see a

confirmation message. Now press the

[INC/YES] key to confirm and the Loop Remix

will be executed on [Clip 001] using the Type

and Vari parameters set earlier. To cancel the

operation, press the [DEC/NO] key

After the Loop Remix operation has completed,

you will see the following message.

At this point, you can press the note on the

keyboard assigned to [Clip 001] and listen to

the sound after Loop Remix has been applied.

You should hear a completely new type of

pattern, including reversed sections of sound.

However, if you are not satisfied with the

result, you can repeat steps £ to ∞ and apply

Loop Remix by pressing the [INC/YES] key at

the present screen. By changing the

combination of Type and Vari parameter

settings, you should be able to create loop

patterns that sound completely different.

§Once you have a Phrase Clip that you are

satisfied with, press the [DEC/NO] key at this

screen and you will be returned to the PCLP

LoopRemix screen.

The new Phrase Clip will have a new name and

number, and be assigned to the keyboard in place

of the original Phrase Clip (which is still retained

in memory but is no longer assigned to notes).

Phrase Clips are retained in memory (DRAM) even

after you exit Phrase Clip Mode, and until you

switch the power off. However, if a Clip Kit has

been created after editing or executing a Job, it will

be lost when you exit Phrase Clip Mode. Therefore,

you should always store your Phrase Clips before

exiting this mode. Up to four Clip Kits can be stored

in internal memory. Details about storing Phrase

Clips are given on Page 160.

Once you have created a Clip Kit, you can play it

in Phrase Clip Play Mode or use it as a Part in a

Performance, just as with Voices (Page 129).

PCLP LoopRemix) Type Vari

<< Retry? [YES]/[NO] >> 2 D

Basics

Section

Other Useful Features

Portamento

Portamento is used to create a smooth transition

in pitch from the first note played on the

keyboard to the next, and can be used in Voice or

Performance Mode. You can switch portamento

on/off using the PORTAMENTO [ON/OFF] key

on the front panel. When switched on, the

PORTAMENTO [ON/OFF] key LED will be lit.

You can use the [PORTAMENTO] knob to vary

the pitch transition time (Portamento Time).

Turn the knob clockwise to lengthen the time.

Before enabling portamento, specify how portamento

should work using parameters available in the

Portamento screen (Page 84).

If Portamento is switched on and ready for use, the

PORTAMENTO [ON/OFF] key LED will light when

you select the Voice.

In Performance Mode, you can apply portamento to

Voices of Parts that have their Layer Switch (Page

133) and Portamento switch set to “on” (Page 131).

Depending on the method of storage (Pages 116,

141), the portamento state (on/off) can be saved

with the Voice or Performance.

You can set the portamento state in the Portamento

screen (Pages 84, 131) in Voice or Performance Edit

Mode.

Pan

You can use the [PAN] knob on the front panel to

set the stereo position (pan) of the currently

selected Voice, Performance or Clip Kit. The Pan

parameter can be set in each Edit Mode, but the

front panel [PAN] knob lets you adjust this

parameter in real time in any of the Play Modes.

On the CS6R, this is set at the QED Level screen

(Page 81).

PAN

PORTAMENTO

OFF

1 Selecting a Voice to Edit

Enter Voice Play Mode by pressing the [VOICE]

key.

Select the Voice Number of the Voice you wish to

edit (Page 75).

Before editing, first enter Voice Job Mode and copy

the Voice you wish to edit to internal user memory.

If you are creating a Voice from scratch, use the

Initialize function to initialize a Voice in internal

user memory. Details are given on Page 115.

2 Entering Voice Edit Mode

Voice creation/editing is carried out in Voice Edit

Mode.

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

while in Voice Play Mode.

Common Edit and Element Edit

Each Voice consists of up to four Elements

(Page 37). The parameters common to all four

Elements are known as Common Edit

parameters. Voice Edit Mode consists of

Common Edit screens, plus screens for each

individual Element’s parameters.

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

switch between Common settings and settings

for Elements 1 to 4.

Common settings

Settings for Elements 1 to 4

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSC Wave) Number Ctgry 

EL1234 001[Pf:Grand 1 ]

Element 1~4

GEN Other) Mode Assign MicroTuning 

C 1234 poly single 31:Indian

Common

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

Basics

Section

There are 256 Normal Voice presets and 8 Drum

Voice presets. You can edit these to create new

Voices, or build completely new Voices from

scratch. You can then store up to 128 of these

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

Drum Voices to internal user memory or external

Memory Card.

The following procedure gives a basic idea about

how to go about creating/editing Voices.

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

set any parameters in any way you like. Details

about each parameter are given in the Reference

section of this manual.

All parameter settings are stored along with the

Voice itself.

1In Voice Play Mode, select the Voice you wish

to edit.

2Enter Voice Edit Mode.

3In the Common Edit screens, set the parameters

common to all Elements in the Voice (volume,

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

related to the Arpeggiator, Controllers, Effects,

and so on.

4At the OSC (Oscillator) screens, select the

Waves used by the Elements in the Voice, plus

the volume, pan, note range and other basic

parameters.

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

Generator) screens, set the tuning and other

pitch-related parameters used by the Elements.

Also set the PEG parameters as necessary.

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

Generator) screens, adjust the parameters of

the filters used by the Elements. Also set the

FEG parameters as necessary.

7At the AMP (Amplitude) and AEG (Amplitude

Envelope Generator) screens, set the volume

and other output level-related parameters used

by the Elements. Also set the AEG parameters

as necessary.

8At the LFO (Low Frequency Oscillator)

screens, set the modulation-related parameters

used by the Elements.

9At the EQ (Equalizer) screens, adjust the

equalizer parameters affecting the tonal

characteristics of the Elements.

)Store the edited Voice.

Voice Edit

Basics

Section

Selecting Elements (CS6x)

In Voice Edit Mode, you can select the Element

to edit by pressing the respective ELEMENT

SELECT key ([1] to [4]). When you select an

Element, the cursor moves to the respective

Element Number.

Example: When “Element 2” is selected

Switching Elements On/Off (CS6x)

In Voice Edit Mode, an Element can be

switched off when you press the respective

ELEMENT ON/OFF key ([1] to [4]). This lets

you temporarily mute other Elements in the

Voice so that you can listen to the changes to

the Element that you are editing. A muted

(off) Element will be indicated as an asterisk

(*) in the display as illustrated below.

Example: When Elements 2 and 3 are

turned off

BANK

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

EQ Param)LoFreq LoGain HiFreq HiGain

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

off off

BANK

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

EQ Param)LoFreq LoGain HiFreq HiGain

EL12_34 274.2Hz +12 2.82kHz +22

Cursor

COMMON

Element1

Element2

Element3

Element4

Switching Between Screens and Entering Settings

After selecting a Common Edit screen or a edit

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

knob to switch to other screens.

There are many parameters available within a

screen. To make editing easier, the knobs

below the LCD are assigned to each of the

parameters in the screen.

Menu Screen

If you use the [PAGE] knob while holding

down the [SHIFT] key, the settings menu will

be displayed. Use the [PAGE] knob to move

the cursor to an item and release the [SHIFT]

key to jump to the screen for that item.

You can also use other knobs and keys to enter

settings. The Compare featureallows you to compare

the sound being edited against the sound prior to

editing. Details are given on Pages 24, 79.

3 Common Edit Screens

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

parameters common to all Elements are explained.

• GEN (Common General)

Here, you can set general parameters in Common

Edit, such as the Voice Name.

GENíName) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

Cursor

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4

EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4

EL12_34 + 0 + 0 - 21 - 35

Basics

Section

• QED (Common Quick Edit)

These parameters mostly control the volume and

tone of the Voice and you can easily change the

overall sound. Many of these parameters can be

set directly using the Sound Control knobs on the

front panel of the CS6x.

• ARP (Common Arpeggio)

By setting these parameters, you can control how

the Voice is arpeggiated. Details about how to use

the Arpeggiator are given on Page 42.

• CTL (Common Controller)

You can assign various functions to the controllers

on the front/rear panel. For example, you can

assign parameters to the Pitch Bend Wheel and a

Foot Controller so that you can change the tone of

the Voice in real time. Details about various

different uses are given on Page 47.

• LFO (Common Low Frequency Oscillator)

These are the LFO parameters. The LFO uses a

low frequency waveform to vary the

pitch/filter/amplitude characteristics, and can be

used to create vibrato, wah, tremolo and other

effect (Page 85).

• EFF (Common Effect)

These are the Effects parameters for the Voice.

There are two Insertion Effects plus two System

Effects (Reverb and Chorus).

EFFíInsEF) InsEF Connect

C 1234 1=2

LFOíWave) Wave^ Speed KeyReset Phase

C 1234 trpzd 63 on 270

CTLíSet1) Src Dest EL Sw Depth

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

ARPíType) Type Tempo Switch Hold

C 1234 Up&Down1:Sq 120 on on

QEDíLevel) Vol Pan RevSend ChoSend

C 1234 127 C 127 127

4 OSC (Oscillator) Screens

In these screens, you can mainly set the

parameters controlling the waveforms on which

the Voice is based. You can select the Wave used

for the Element, the volume and note range of

each Element and so on.

• OSC Wave

Select the waveform (Wave) used for each Element.

• OSC Out

• OSC Pan

Set the volume (output level) and stereo pan

position of each Element. The following

illustration shows the logic.

• OSC Limit

Set the note range for each Element (the range of

notes on the keyboard over which the Element

will sound) and also the velocity response (the

range of note velocities within which the Element

will sound). You can assign different settings for

each Element. With these parameters, you can

layer Elements and control their output.

For example, you could set one Element to sound

in an upper range of the keyboard, and another

Element to sound in a lower range. Thus, even

within the same Voice, you can have two different

sounds for different areas of the keyboard or you

can make the two Element ranges overlap so that

their sounds are layered over a set range.

Furthermore, you can set each Element to respond

to different velocity ranges so that one Element

sounds for lower note velocities, whereas another

Element sounds for higher note velocities.

Mixer

Elements

Level

Pan (Stereo)

1 2 3 4

OSCíPan) Pan Alter Random Scale

EL1234 C L64 63 +63

OSCíOut) Level Delay InsEF

EL1234 96 0 ins2

OSCíWave) Number Ctgry 

EL1234 001[Pf:Grand 1 ]

Basics

Section

5 PCH (Pitch) and PEG (Pitch EG)

Screens

Set the basic pitch parameters for each Element.

You can detune Elements, apply Pitch Scaling and

so on. Also, by setting the PEG (Pitch Envelope

Generator), you can control how the pitch

changes over time.

• PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in

pitch from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Pitch Envelope consists of five

Time (transition speed) parameters and five Level

(pitch) parameters. This is useful for creating

automatic changes in pitch. Furthermore, different

PEG parameters can be set for each Element.

Details about PEG parameters are given on Page 91.

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Pitch

PEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

C-2

Element 1

Velocity

Element 4

Element 2

Element 3

OSCíLimit) Note Limit Vel Limit

EL1234 C-2 - G 8 1 - 127

6 FLT (Filter) and FEG (Filter EG)

Screens

You can use the filter to change the tonal

characteristics of each Element, by adjusting

overtones (harmonic tones) included in the

waveform from the Element. There are several

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

illustrated below, the filter is used to pass overtones

at specific frequencies and cut off (does not pass)

others, to alter the harmonic factor of an original

waveform. You can determine such frequencies by

specifying a pointing or center frequency (cutoff

frequency). With some filters, you can adjust signal

levels at several frequency bands. You can also set

the Filter Envelope Generator (FEG) for time

variance of how the filter works, which results in a

dynamic change in tonal characteristics. Here we

introduce how FEG works.

Details about Filter Types are given on Page 93.

• FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in

tone from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Filter Envelope consists of

five Time (transition speed) parameters and five

Level parameters (for the amount of filtering).

When you press a note on the keyboard, the cutoff

frequency will change according to these envelope

settings. This is useful for creating automatic wah

effects, for example. Furthermore, different FEG

parameters can be set for each Element.

Details about FEG parameters are given on Page 95.

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

FEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

Range passed

Time

Level

Cutoff range Cutoff range

Center frequency

Basics

Section

7 AMP (Amplitude) and AEG

(Amplitude EG) Screens

Set the volume of each Element after the OSC

(Oscillator), PITCH and FILT (Filter) parameters

have been applied, and also the final overall

volume of the signal sent to the outputs. The

signal of each Element is sent at the specified

volume to the next Effect Unit.

Also, by setting the AEG (Amplitude Envelope

Generator), you can control how the volume

changes over time.

The final volume for all Elements is set in the

Volume (Vol) parameter of the QED screen in

Common Edit.

• Amplitude EG (Envelope Generator)

Using the AEG, you can control the transition in

volume from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Amplitude Envelope consists

of five Time (transition speed) parameters and

five Level parameters (for the amount of

filtering). When you press a note on the

keyboard, the volume will change according to

these envelope settings. Furthermore, different

AEG parameters can be set for each Element.

Details about AEG parameters are given on Page 98.

Release

Level

Attack

Level

Init

Level

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

AEGíTime) Attack Decay1 Decay2

EL1234 127 127 127

EffectAMPFILTPICTH

OSC

Element 1~4

PEG FEG

LFO AEG

8 LFO (Low Frequency

Oscillator) Screens

As its name suggests, the LFO creates waveforms of

a low frequency. These waveforms can be used to

vary the pitch, filter or amplitude of each Element

to create effects such as vibrato, wah and tremolo,

although the actual available LFO parameters will

vary according to the type of Element.

9 EQ (Equalizer) Screens

Specific frequency bands for each Element can be

attenuated or boosted using an equalizer. There

are many types of equalizers available. Details are

given on Page 101.

) Storing Edited Voices

Up to 128 new/edited Normal Voices and 2

new/edited Drum Voices can be stored to internal

user memory or external Memory Card.

The maximum number of Plug-in Voices that can be

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

When storing a Voice, any existing data at the

storage location will be lost. You should always back

up important data to Memory Card, computer or

some other storage medium beforehand.

Details about storing Voices are given on Page 116.

INT

Normal Voice

(128)

Drum Voice

(2)

Normal Voice

(128)

Drum Voice

(2)

EXT

Voice

Store

EffectAMPFILTPICTH

OSC

Element

1~4

PEG FEG

AEGLFO

LFOíWave) Wave^ Speed KeySync

EL1234 tri 63 on

Basics

Section

Effects

In the final stages of programming, you can set

the effects parameters to further change the

sound’s character. To generalize, System Effects

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

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

other hand, can be applied individually to each

Voice. This synthesizer has two System Effect

Units (Reverb and Chorus) plus two Insertion

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

or PLG2) installed on the instrument, you can

also use a separate Insertion Effect Unit that is

dedicated for each Plug-in Part.

Different effects settings can be set per Voice (in

Voice Mode) and per Performance (in

Performance Mode), though the connection

between the Effect Units will vary in each case.

Reverb Unit

The Reverb Unit includes a selection of 12

different reverb-type effects, including realistic

simulations of the natural reverberation found in

various halls and rooms. In Voice Mode, Reverb

settings can be set for each Voice. In Performance

Mode, the Reverb settings will apply to the

Performance as a whole.

Chorus Unit

The Chorus Unit includes a selection of 23

chorus-type effects, including a flanger and

others. Most of these effects are ideal for adding

thickness to the sound.

In Voice Mode, Chorus settings can be set for each

Voice. In Performance Mode, the Chorus settings

will apply to the Performance as a whole.

Insertion Effects

The Insertion Effect 1 Unit includes 24 effects

including chorus, flanger and auto-wah. The

Insertion Effect 2 Unit offers delays, reverbs,

rotary speaker, amp simulation and other effects,

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

has been installed, up to 24 Insertion Effects for

the Plug-in Voices will also be available.

Details about each Effect Type are given in the

Effect Type List in the separate Data List.

Effects in Voice Mode

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

its value for each Effect Unit (Reverb, Chorus and

Insertion Effects) and store them with each Voice.

Furthermore, you can determine that each Element

connects or bypasses the Insertion Effect Units.

When you connect an Element to Insertion Effects,

you can also specify the connecting way of two

Units (series or parallel, as illustrated below).

The combined signal from all Voice Elements —

after application of the Insertion Effects — is sent

to the Reverb and Chorus System Effect Units.

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

in Board attached, you can also set up a dedicated

Insertion Effect Unit for each Plug-in Voice. In

this case, a Plug-in Voice signals processed with

the Insertion Effect Unit will be then routed to

Reverb and Chorus Units.

Effects in Performance Mode

In Performance Mode, you can use an Insertion

Effects setting “borrowed” from ones respectively

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

can select and use an Insertion Effect setting

“borrowed” from ones respectively stored with Plug-

in Voices.

For Reverb and Chorus, you can create new

settings dedicated for an entire Performance,

without “borrowing” existing Reverb and Chorus

settings stored with a Voice.

In the following illustration, a mixer represents

the logic behind how the different effects are

applied to the sound in Performance Mode. Each

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

Insertion Effect 1 or Insertion Effect 2. The

signals for all Parts are summed in the mixer and

then the System Effects (Reverb and Chorus) are

applied to the mix as a whole.

OFF

THRU

Element 1~4

Voice

Insertion Effects

Connection

EP1➞EP2 EP2➞EP1EP1:EP2

Plug-in Voice

Chorus

Insertion Effects

Reverb

Effect Bypass

You can temporarily switch effects off or on by

pressing the [EF BYPASS] key. To use this

function, you will need to specify the effect to

be bypassed in the MSTR EF Bypass screen of

Utility Mode (Page 164). You can also specify

more than one effect.

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

will light and all Effects assigned to the

currently selected Voice/Performance will be

bypassed.

The Effect Bypass will also apply to Effects on

Plug-in Boards other than the PLG100 series.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

Part 1~16

Mixer

Chorus

Reverb

System Effects

Insertion

Effect

1 2 3 4 5 6 16

1/2

Basics

Section

Basics

Section

Using as a Master Keyboard

(Performance Mode)

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

open the GEN M. Kbd (General Master

Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (page 121).

3Select “split” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(split)”).

4Select the value (split point) for the Point

parameter using the Knob [2], which determines

the key note that divide the keyboard into two

sections. Select “C3” for this example.

You can specify the split point by directly pressing

a specific key on the keyboard while holding

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

while holding down the [SHIFT] key.

5Specify MIDI transmit channels respectively for

the lower and upper key ranges using the Knob

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

settings can make MIDI-channel-based separate

controls of the internal tone generator or an

external MIDI devices from the keyboard, such

as using different Voice tones in the lower and

upper key ranges.

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

“Upper” for this example.

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

[16] keys to select MIDI channels for the Lower

and Upper ranges (Page 123).

6Select a Part for the lower range using the Knob

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

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

(Mix Voice) screen to select a Voice for

Arpeggiator performance.

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

(Layer Mode) screen. Set “on” for “Arp”

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

(MIDI Receive Channel).

LYRíMode) Mode Arp Layer RcvCh

Part01 poly on off 1

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:128(H16)[Pf:GrandPiano]

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

As previously explained, your Synthesizer

provides several convenient features that you can

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

introduce some examples to combine those

features to meet your specific purposes.

The CS6x has special settings in Performance Mode

so that you can use the instrument as MIDI master

keyboard. You can activate the function (enable those

special settings) when you press the [MASTER

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

Now your instrument can send performance on the

keyboard to an external tone generator, as well as the

internal tone generator, according to the master

keyboard settings in Performance Mode. If you divide

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

assign separate MIDI transmit channels, the keyboard

can control multiple parts (channels) from the

internal tone generator and external MIDI devices of

those channels at the same time.

There are three Master Keyboard Modes (how to

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

You can learn these Master Keyboard Modes and their

functional differences in the following examples.

Split

The illustration below shows an example of a Split

configuration. Split is a typical setting to divide a

keyboard into two key ranges (lower and upper) by

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

following example is to split the keyboard at C3

note, enabling the lower range for automatic

performance with Arpeggiator and the upper range

for manual solo performance. You can make this

configuration in the following steps.

Edit and prepare Voices for Arpeggiator and manual

play in Voice Edit Mode before you set up a Split

setting in the following procedure (page 78).

1Press the [PERFORM] key, followed by the

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

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (its LED will light).

Ch1

Part1

Performance

by Arpeggiator

Ch2

Part2

Manual play

Lower Upper

Split point

(C3)

Basics

Section

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

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

In steps 6 to 9, you now complete settings for

the lower range for Arpeggiator performance.

It will play in a Voice assigned to Part 1 based

on MIDI Receive channel 1.

Refer to Page 82 for detailed settings of

Arpeggiator.

You can copy (reuse) the arpeggio settings that belong

to the Voice assigned to Part 1 (Page 141).

)In the same manner, use Knob [A] to select

Part02. Then select the solo instrument Voice at

the MIX Vce screen and set the RcvCh (MIDI

receive channel) parameter in the LYR Mode

screen to “2.” Now, the solo Voice for Part 2 will

sound when playing notes at and above the Split

point, or when receiving through MIDI channel 2.

The RcvCh parameter setting will be ignored if

you set the Layer parameter in the LYR Mode

screen to “on.”

For Parts that you are not using, set their RcvCh

parameters to something other than 1 or 2.

Further settings are available in Performance Edit

Mode. If a Part does not sound, check the volume

level and other settings for that Part. Details are

given on Page 130.

!Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to Page 141.

In Performance Play Mode, recall the Performance

you have just stored. Simply pressing the

[MASTER KEYBOARD] key activates or

deactivates the Split configuration you made above.

4 Zones

The illustration below shows an example of a 4-zone

configuration. A zone refers to a specific key range on

the keyboard. You can logically divide a keyboard into

up to four key ranges with separate MIDI channels

and other associated settings so that you can control

multiple Parts at the same time. A Split setting can

divides the entire keyboard into two absolute sections

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

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

section to cover or include other sections.

The following example is to set Zone 1 for playing a

rhythm loop created previously in Phrase Clip Mode

(page 55), Zone 2 for performance by Arpeggiator,

Zone 3 for manual solo performance, and Zone 4 for

playing an external MIDI tone generator. Also in this

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

entire performance in four all zones is output from the

MIDI OUT connector so that you can record that

performance on an external MIDI sequencer. You can

make this configuration in the following steps.

ARPíType) Type Tempo Switch Hold

Part01 UpOct1:Sq 120 on off

Before you set up a 4-zone configuration in the

following procedure, edit and prepare necessary

Voices (for Arpeggiator and manual play) and

Phrase Clip Kit in their associated Edit Modes.

1Press the [PERFORM] key, followed by the

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

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (the LED will light).

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

open the GEN M. Kbd (General Master

Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (Page 121).

3Select “4zone” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(4zone)”).

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

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

Mode parameter, you can now select setting

screens for four Zones. Select “Zone01” to get

started with the settings.

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

respectively select “Zone01” to “Zone04.”

MKBíTransmit) TrnsCh TG MIDI

Zone01 Ch01 on on

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

ZONE2 ZONE3ZONE1

ZONE4

Ch1

Phrase Clip Part

Performance

with a Clip Kit

Ch2

Part2

Performance

with Arpeggiator

Ch3

Part3

Manual solo

performance

Ch4

An external

MIDI tone generator

Ch4

Performance with

an external MIDI

tone generator

Recording entire performance

in Zones 1 to 4

An external MIDI sequencer

MIDI OUT

MIDI IN

MIDI THRU

Basics

Section

Selecting a Zone opens the MKB Transmit

screen. You may want to select a sub screen to

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

first specify basic items in the MKB Transmit

screen, such as MIDI transmit channel, enabling

or disabling MIDI output to the internal tone

generator and to the MIDI OUT connector.

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

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

internal tone generator (TG) and MIDI OUT

(MIDI) both to “on.”

These settings can differentiate each Zone from

one another, to internally or externally output

performance made in each Zone using a

separate MIDI channel. Finally, you will

separately control sound tones from four zones.

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

the “TrnsCh” parameters in the MKB Transmit

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

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

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

“MIDI.” You can switch between multiple

MKB Transmit screens using the Knob [A].

Some of basic settings for four zones are now

complete.

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

Open the MKB Note screen using the [PAGE]

knob. In this screen, you can specify a key

range for a Zone.

In the MKB Note screen, you can also find other

parameters such as Note Limit, Transpose, etc.

Refer to Page 138 for more information about

these parameters.

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

lowest and highest notes using Knobs [1]

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

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

highest.

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

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

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

“B2” for the highest.

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

Note screen for “Zone03”. As in the same

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

note and “G8” for the highest.

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

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

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

lowest note and “G8” for the highest. Note

that this key range setting will make a

overlapped range with Zone 3.

For detailed settings of a Zone, refer to Page 137.

MKBíNote)Octave Transpose Note Limit

Zone01 +1 +11 C-2 - G 8

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

In this example, we select Phrase Clip Part for

Zone 1, Part 2 and Part 3 respectively for Zone

2 and Zone 3. We don’t select any internal Part

for Zone 4 since Zone 4 is set only to output

performance information via the MIDI OUT

connector. First, select Phrase Clip Part

(PartCL) for Zone 1.

You can also use the MEMORY or

PROGRAM/PART keys to select a Part for a

Zone (Page 119).

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

screen, to set up a Clip Kit for performance

using Phrase Clips.

A necessary Phrase Clip Kit should be prepared

in Phrase Clip Mode before you use in this setting

in Performance Mode.

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

(LYR Mode) screen. Set Layer Switch (Layer)

to “off,” MIDI receive channel (RcvCh) to “1.”

With settings made in steps ! to #, you can

now play Phrase Clips from the Clip Kit

assigned to “PartCL” (Phrase Clip Part) set to

MIDI receive channel 1 (RcvCh) when you

play in the key range of Zone 1.

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

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

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

the [PAGE] knob, and select a Voice for

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

the LYR Mode (Layer Mode) screen and set RcvCh

(MIDI receive channel) to “2”. Also in this screen,

set the “Arp” switch to “on” for Arpeggiator

performance. Finally in the ARP Type (Arpeggio

Type) screen, set the Switch parameter to “on”.

With settings made here, you can now play with

Arpeggiator using a Voice assigned to “Part02”

set to MIDI receive channel 2 (RcvCh) when

you play in the key range of Zone 2.

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

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

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

screen using the [PAGE] knob, and select a

Voice for manual solo performance. Then, use

the [PAGE] knob to open the LYR Mode (Layer

Mode) screen and set the RcvCh (MIDI receive

channel) to “3”.

With settings made here, you can now play solo

using a Voice assigned to “Part03” set to MIDI

receive channel 3 (RcvCh) when you play in

the key range of Zone 3.

LYRíMode) Arp Layer RcvCh

PartCL on off 1

MIXíKit) Number 

PartCL 001(A01)[Dr:Clip Kit]

Basics

Section

You don’t need to make further settings for

Zone 4 since it is not intended for an internal

Part and has already been set to output

performance information via the MIDI OUT

connector in steps 5 to ). The key range of

Zone 4 matches to that of Zone 3 so that solo

performance made in that range will be sent on

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

Zone 4) via MIDI OUT to an external MIDI

device.

You can set additional Part settings in

Performance Edit Mode. If you have a trouble

possibly associated with these settings, such as no

sound from a specific Part, confirm any Part

settings related to volume, etc. Refer to Page 130

for more information about Part settings.

^Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to Page 141.

In Performance Play Mode, recall the

Performance you have just stored. Simply

pressing the [MASTER KEYBOARD] key

activates or deactivates the 4-Zone

configuration you made above.

Layer

The illustration below shows an example of a

Layer configuration. Layer refers to two separate

Parts with a overlapped key range, enabling to

play unison with these Parts. The following

example is to play unison with Voices selected for

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

configuration in the following steps.

Before you set up a Layer configuration in the

following procedure, edit and prepare necessary

Voices for layers in associated Edit Modes.

Plug-in Voices are available only when you attach

an optional Plug-in Board (Page 108).

1Press the [PERFORM] key, followed by the

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

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (its LED will light).

Layer (Upper)

Layer (Lower)

Part 1

Voice

Plug-in 1 Part

Plug-in Voice

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

open the GEN M. Kbd (General Master

Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (Page 121).

3Select “layer” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(layer)”).

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

transmit channels for the Lower and Upper

parameters. Note that Lower and Upper refer

to two Parts (Zones) to be layered together.

These channel settings can create and send

performance information on two separate

channels to the internal tone generator and an

external MIDI device via the MIDI OUT

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

and “Ch02” for “Upper.”

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

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

Upper Parts (Page 123).

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

select “Part01” for the Upper Part.

6Use the [PAGE] knob and open the MIX Vce

(Mix Voice) screen. Select a Voice for the

Upper Part.

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

(Layer Mode) screen. Set the Layer (Layer

Switch) to “off” and the RcvCh (MIDI

Receiving Channel) to “1.”

If other Parts’ RcvCh (MIDI receive channels) are

set to the same ones assigned to two Parts, those

Parts will also sound when you play on the

keyboard. This might be troublesome if you

simply need two layered Parts. To mute

unnecessary Parts while you play on the

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

You can only play Voices from layered Parts.

LYRíMode) Mode Arp Layer RcvCh

Part01 poly on off 1

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:128(H16)[Pf:GrandPiano]

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

Basics

Section

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

for the Upper Part. Select “PartP1” for the

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

screen using the [PAGE] knob, and select

another Voice (Plug-in Voice) for the Lower Part.

Also, go to the LYR Mode (Layer Mode) screen

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

RcvCh (MIDI Receiving Channel) to “2.”

You can set additional Part settings in

Performance Edit Mode. If you have a trouble

possibly associated with these settings, such as no

sound from a specific Part, confirm any Part

settings related to volume, etc. Refer to Page 130

for more information about Part settings.

9Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to Page 141.

In Performance Play Mode, recall the

Performance you have just saved. Simply

pressing the [MASTER KEYBOARD] key

activates or deactivates the Layer configuration

you made above.

Besides the Layer/Zone configuration in Master

Keyboard Modes, you can use the Layer (Layer

Switch) for each Part to make a Layer

configuration that consists of up to four Parts

(Page 133).

About Note Limit (Key Range)

Note Limit setups are provided for setting

Master Keyboard Mode, Part , and Voice.

They are associated to one another as follows.

While using in Master Keyboard Mode, you

can control the internal tone generator (or an

external MIDI device) according to “Note

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

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

connect an external two-octaves keyboard

controller to play with the tone generator.

Meanwhile, the key range (playable range) of

an entire Voice is determined by “Note Limit”

in the LYR Limit screen (page 133) for a Part

assigned with that Voice. Such a playable

range of each Element of a Voice is determined

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

90) available in Voice Edit Mode.

Tone generator

Parts

Key range for each Zone

Key range for an assigned Voice

LYR Limit

Part

MKB Note

OSC Limit

Element 1

Element 2

Element 3

Element 4

Basics

Section

Using as a Multitimbral Tone

Generator (Performance Mode)

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

Mix Level screen, then set the volume for the

piano Part as well as, if necessary, its pan

position, chorus and reverb Send levels. Details

are given on Page 130.

5Continue using the [PAGE] knob and switch to

the LYR Mode (Layer Mode) screen. Set the

Mode parameter to “poly” (polyphonic), the

Layer parameter to “off,” and the RcvCh

parameter (MIDI receive channel) to 2.

For Parts that do not require polyphony, the

Mode parameter can be set to “mono”

(monophonic).

By following steps 2 to 5 above, when you

play back a song file in the sequencer, the piano

track is transmitted through MIDI channel 2.

The MIDI data is received by the synthesizer

which then plays the Voice for the Part

assigned to MIDI channel 2.

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

for bass and to receive on MIDI channel 3.

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

for drums and to receive on MIDI channel 10.

To avoid situations where the Voices of unused

Parts are suddenly played back, you should set the

MIDI receive channels for unused Parts to “off.”

There are many other Part-specific parameters in

Performance Edit Mode. Details are given on

Page 121.

8Before exiting Performance Edit Mode, you

need to store the settings for the Performance.

Details about storing Performances are given on

Page 141.

Now, when you select this Performance in

Performance Play Mode, you can play back the

song file on computer (sequencer) or internal

sequencer, and the piano, bass and drum Parts

will be played back according to each track’s

MIDI channel.

LYRíMode) Mode Arp Layer RcvCh

Part02 poly on off 2

Performance Mode lets you use your synthesizer as a

multitimbral tone generator for use with computer-

based music software or external sequencers. If each

track in a song file uses a different MIDI channel,

then the Parts in a Performance can be each assigned

to those MIDI channels correspondingly. Therefore,

you can play back a song file on an external

sequencer and have different Voices playing on

different tracks simultaneously.

In the following example, we will create a

Performance suited to playing back a song file

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

piano track is assigned to MIDI channel 2, the bass

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

The synthesizer’s internal sequencer can be used to

play back the song file. The included XGworks(lite)

computer sequencer software can also be used for

this, though you need to make sure that the

computer has been connected to your synthesizer

correctly (Page 16).

1After pressing the [PERFORM] key, press the

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

You are now in Performance Edit Mode.

Before entering Performance Edit Mode, you need to

select a Performance for editing. Also make sure

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

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

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

Part 10 for drums. First, we will select Part02.

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

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

used as the piano Part.

MIXíVce) Memory Number Ctgry Search

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

Computer

(sequencer software)

Sequence

player

CS6x/CS6R

Tone generator

section

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 2

Part 3

Part 10

Piano-type Voice

Bass-type Voice

Drum Voice

Receive Ch. 2

Receive Ch. 3

Receive Ch. 10

Song File Performance

IBM

Personal System/V

PS/V

Personal System/V

Basics

Section

Performing Live while

Playing Back a Song File

While playing back the song file with the piano,

bass and drum Parts assigned earlier, you can set

up the Performance so that you can also play

another Part live.

This is the same as the Performance created

earlier, but with the addition of another Part for

live playback. Regarding settings, the important

points are as follows.

• In the Performance created earlier, Parts 2, 3

and 10 were being used. As an example, we

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

type Voice.

• At the LYR Mode screen, set the Layer

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

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

If you want to manually play multiple (up to

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

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

Switch parameters to “on.”

• At the GEN MIDI screen, set the LayerCh

(Layer Channel) parameter to BasicCh.

The Voice for Part 1 can now be played live

using the keyboard.

Using the A/D Input Part

If you have external sources (such as a microphone

or other audio equipment) connected to the

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

as Parts in a Performance.

Continuing with our example, you can add another

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

Therefore, while the song is playing back the piano,

bass and drums, you simultaneously play a solo live

and sing into the microphone. Effects such as

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

130 and 137), so you can assign an effect suited to

the vocals for the song. These effect settings will

also be saved with the Performance.

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 1

Part 2

Part 3

Solo-type Voice

Piano-type Voice

Bass-type Voice

Layer=on

Receive Ch. 2

Receive Ch. 3

Part 10

Drum Voice Receive Ch. 10

Song File

Performance

Playback using

keyboard

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

Input Part parameters via MIDI. However, this is not

vital in this example.

Regarding settings, the important points are as

follows.

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

parameters and set the external input source

and template at the MIX Template screen.

There are 13 templates available already with a

variety of gain and effects settings for you to

select from according to the input source. Here,

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

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

and the Number (Template Number) parameter

to “Karaoke1.”

If you choose the wrong type of input source, you

may possibly damage your hearing and/or any

connected audio equipment. Make sure you set this

parameter correctly.

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

down, then connect a microphone to the A/D

INPUT jack (MIC/LINE2 jack).

• Turn the [GAIN] knob back slowly while

singing/talking into the microphone until you

reach an ideal volume level.

There are other settings for controlling the A/D

Input Part via MIDI. Details are given on Page 132.

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

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

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

a best playback quality with a wide variety of Voices

and Effects. Note that you can install an additional XG

Plug-in Board to double polyphonic notes and Effects.

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

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

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

practice of solo performance or karaoke.

If you install the optional Effect Plug-in Board

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

three notes for your vocals. By assigning the

harmony channel to the keyboard’s MIDI transmit

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

could play back a harmony line using a sequencer to

create a backing chorus for your vocals.

MIXíTemplate)Src Number 

PartAD mic ≥05[Karaoke1 ]

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 1

Part 2

Part 3

Solo-type Voice

Piano-type Voice

Bass-type Voice

Layer=on

Receive Ch. 2

Receive Ch. 3

Part 10

Drum Voice Receive Ch. 10

A/D Input

Part

Source (mic)

Template (karaoke1)

Song File

Performance

External

mic input

Playback using

keyboard

Voice Mode

Voice Play

This mode is used for playing individual voices stored

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

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

Board Voices (optional). This section explains how to

select and play voices.

Details about the Voice types and the Voice Memories are

given on Page 36.

Voice Play Mode Display

The LCD will display the following in Voice Play Mode.

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

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

The contents of each screen are as follows. See page 77

for details about the Voice search screen.

Details about how to enter Voice Play Mode are given on

Page 21.

Voice Play Mode

2nd Screen : Voice Search

1.Screen Title

This shows that you are currently in Voice Play Mode.

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

Shows the Memory/Voice Program Number (001 to

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

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

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

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

and the Program Number within the Bank is 16.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

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

Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

1 2 3

Memory/Voice Program Number

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

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

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

Program Numbers within each memory fall in the range

001 to 128. Drum Voices are DR1 to DR8.

Details about Voice Memories are given on Page 36.

Bank/Program Number

Voice Program Numbers 001 to 128 correspond with

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

you can cycle through Voice Program Numbers 001 to 128

sequentially, or you can select them randomly using a

combination of BANK and PROGRAM keys. The

relationship between Banks/Program Numbers and Voice

Program Numbers is given below.

Voice

Program

Number

Bank

Program

Number

Voice

Program

Number

Bank

Program

Number

001 A 1 065 E 1

002 A 2 066 E 2

003 A 3 067 E 3

004 A 4 068 E 4

005 A 5 069 E 5

006 A 6 070 E 6

007 A 7 071 E 7

008 A 8 072 E 8

009 A 9 073 E 9

010 A 10 074 E 10

011 A 11 075 E 11

012 A 12 076 E 12

013 A 13 077 E 13

014 A 14 078 E 14

015 A 15 079 E 15

016 A 16 080 E 16

017 B 1 081 F 1

018 B 2 082 F 2

019 B 3 083 F 3

020 B 4 084 F 4

021 B 5 085 F 5

022 B 6 086 F 6

023 B 7 087 F 7

024 B 8 088 F 8

025 B 9 089 F 9

026 B 10 090 F 10

027 B 11 091 F 11

028 B 12 092 F 12

029 B 13 093 F 13

030 B 14 094 F 14

031 B 15 095 F 15

032 B 16 096 F 16

033 C 1 097 G 1

034 C 2 098 G 2

035 C 3 099 G 3

036 C 4 100 G 4

037 C 5 101 G 5

038 C 6 102 G 6

039 C 7 103 G 7

040 C 8 104 G 8

041 C 9 105 G 9

042 C 10 106 G 10

043 C 11 107 G 11

044 C 12 108 G 12

045 C 13 109 G 13

046 C 14 110 G 14

047 C 15 111 G 15

048 C 16 112 G 16

049 D 1 113 H 1

050 D 2 114 H 2

051 D 3 115 H 3

052 D 4 116 H 4

053 D 5 117 H 5

054 D 6 118 H 6

055 D 7 119 H 7

056 D 8 120 H 8

057 D 9 121 H 9

058 D 10 122 H 10

059 D 11 123 H 11

060 D 12 124 H 12

061 D 13 125 H 13

062 D 14 126 H 14

063 D 15 127 H 15

064 D 16 128 H 16

Reference Section

Voice Mode

3.Voice Category/Name

Voice Category

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

category of instrument or sound to which the voice belongs.

Details about Category names are given on Page 80.

Voice Name

This consists of up to 10 characters.

4.Knob Parameter Display

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

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

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

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

the display will show the parameter (destination) from

a control set of the smallest number.

Knob Parameter Settings

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

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

to it. The parameter value is displayed briefly when

you move each knob.

Details about assigning parameters to Knobs [A] to

[C] are given on Pages 50, 165. Details about

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

Pages 51, 84.

Octave and MIDI Transmit Channel Settings

In Voice Play Mode, the Octave and MIDI Transmit

Channel are shown when pressing the [SHIFT] key.

This lets you set the MIDI Transmit Channel by

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

key. The settings for Voice Play Mode are

transmitted on this MIDI channel.

The MIDI Transmit Channel can also be set in the

MIDI Ch screen of Utility Mode (Page 166).

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

(Tch= 1)

Octave MIDI Transmit Channel

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

+63 EQ Mid EQ Hi Cutoff RevTime

Voice Program Selection

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

• Using the BANK/PROGRAM keys (CS6x)

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

• Using the [DATA] knob

• Using the Category Search

Using the BANK/PROGRAM Keys (CS6x)

1 Press a MEMORY key to select a Voice Memory.

The Voice Memory indicator in the LCD will blink.

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

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

Bank indicator in the LCD will blink.

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

process is canceled and the original Voice is reinstated.

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

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

BANK

PROGRAM

PART

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

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

EQ Low EQ Mid EQ Hi Cutoff RevTime

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

Voice Mode

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

Program Number.

Voices can be selected by setting the Memory, Bank

and Program Number as explained in the three steps

given above. The LCD also displays the selected

voice.

<title-D> Using the DEC/NO and

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

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

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

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

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

Voice that is located near the currently selected Voice.

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

previous Bank. For example, if the current Voice is

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

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

selected by pressing the [DEC/NO] key.

Using the Data Knob

Turn the [DATA] knob clockwise to increment the

currently selected Voice number, or anti-clockwise to

decrement it.

The Voice is selected directly and sequentially.

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

method can be used to switch to the next or previous

Bank.

DATAC 1 2

Decrement

Number

Increment

Number

DEC

NO INC

YES

Previous Number Next Number

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

Selecting Drum Voices

The procedure for selecting a Drum Voice is different

to that for selecting a Normal Voice.

Selecting Preset Drums (PRE:DR1~DR8)

• Press the MEMORY [PRE2] key while holding down

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

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

press PROGRAM key [1] to [8] (CS6x only) to select

Drum Voice PRE:DR1 (Preset Drum 1) to DR8

(Preset Drum 8).

• Press the MEMORY [PRE2] key while holding down

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

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

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

Drum Voice.

• Press the MEMORY [PRE2] key while holding down

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

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

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

Once you have selected one Drum Voice, you can easily

switch to another by simply using PROGRAM keys [1]

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

[DATA] knob.

MEMORY

PRE1

DRUM

PRE2

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

MEMORY

PRE1

DRUM

PRE2

DEC

NO INC

YES

MEMORY

PRE1

DRUM

PRE2

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

Voice Mode

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

• Press the MEMORY [EXT] key while holding down

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

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

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

(CS6x only) to select, respectively, User Drum Voice

INT:DR1 (Internal Drum 1), INT:DR2 (Internal

Drum 2), EXT:DR1 (External Drum 1) and

EXT:DR2 (External Drum 2).

User Drum Voices on external memory must be loaded

from Memory Card.

• Press the MEMORY [EXT] key while holding down

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

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

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

keys to select the Drum Voice.

• Press the MEMORY [EXT] key while holding down

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

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

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

the User Drum Voice.

Once you have one User Drum Voice, you can easily

switch to another by simply using PROGRAM keys [1]

to [4], the [INC/YES] and [DEC/NO] keys or the

[DATA] knob.

INT

DRUM

EXT

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

INT

DRUM

EXT

DEC

NO INC

YES

INT

DRUM

EXT

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

Using the Voice Category Search

With the Voice Category Search, you can quickly find

Voices within a specified Voice Category. For example,

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

the Voice Category Search, you can select from all the

voices which fall into the “Pf” Voice Category.

To start the Voice Category Search, first turn the

[PAGE] knob to switch to the Voice Search screen.

If the Plug-in Voice is selected from a Custom Bank (Page

114) of a Plug-in Board, the Category Search feature will

not be available.

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

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

Category in the LCD will blink.

The different Voice Categories are listed on Page 80.

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

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

The selected voices are called up using each knob

and key. The functions of knobs and keys are given

below.

Knob [2]:

Use this to switch between Voices in the selected

Category. Turn the knob clockwise to increment the

voice number and anti-clockwise to decrement it.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

PRE1:128(H16)[Pf:GrandPiano]

Memory Number Ctgry Search

DATAB C 1 2

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

Memory Number Ctgry Search

Select a

Voice Memory

Select a

Program Number

Set a

Voice Category

Voice Mode

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

You can scroll through Voices in the specified Category

across the Memories. Turning the [DATA] knob

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

next Voice number in the same Category, in ascending

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

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

next Voice number in the same Category, in descending

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

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

Category in the next (previous) Memory by

continuously turning the knob clockwise (anti-

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

Knob [C]:

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

in the current Memory, likewise for normal Voice

selection. Turning the knob clockwise jumps to the

next Voice number. Turning the knob anti-clockwise

jumps to the previous Voice number.

If the Voice within the selected Category cannot be found

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

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

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

Memory.

Voice Edit

There are three kinds of Voices: Normal Voices, Drum

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

installed). The following is an explanation of the

parameters used to edit each kind of Voice.

Details about Voices are given on Page 36.

The following is displayed when you enter Voice Edit

Mode. The displayed screens will vary according to the

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

knob is used to switch between screens and the

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

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

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

parameters in small increments.

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

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

respective parameter without changing it’s value. You

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

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

[SHIFT] key.

You need to select the Voice before entering Voice Edit Mode

(Page 75). All parameters can be set and stored per Voice.

See page 21 on how to enter Voice Edit mode.

Common Edit and editing each Element

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

Common Edit to edit the settings common to all four

Elements. Voice Edit Mode can be divided into screens

for Common Edit and those for editing each Element.

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

between the Common Edit screens and the screens

for editing each Element.

Common Edit screens

Element 1~4 Edit Screens

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSC Wave) Number Ctgry 

EL1234 001[Pf:Grand 1 ]

Elements 1~4

GEN Other) Mode Assign MicroTuning 

C 1234 poly single 31:Indian

Common

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

GEN Name) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

Choose Common or

Elements 1 to 4

Change pages Set the value

Voice Mode

The í Indicator

If you alter any parameters in Voice Edit Mode, the

í indicator will be displayed in the top left of the

screen. This gives a quick indication that the

current voice has been modified but not yet stored.

Even if you exit to Voice Play Mode, the edited

settings for the current Voice will not be lost so long

as you do not select another Voice.

The í indicator will also be displayed in Voice Play

Mode, and if any Sound Control knobs or

Assignable knobs are used.

The “Compare” Function

Use this to listen to the difference between the Voice with

your edited settings and the same Voice prior to editing.

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

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

screen will change to the î indicator and the Voice

settings prior to editing will temporarily be

reinstated for comparison purposes.

While the “Compare” function is enabled, editing will

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

2 Press the [EDIT] key again to disable the

“Compare” function and restore the settings for

your edited Voice.

The ELEMENT ON/OFF Function

Use this to mute individual Elements within a Voice.

For example, you could mute all Elements other

than that which you are editing. Thus, you can

hear how the edited settings affect just that

Element. Details are given on Page 61.

GENîName) Ctgry

Compare indicator

GEN Name) Ctgry

Edit indicator

COMMON

Element1

Element2

Element3

Element4

Voice Store

The edited settings for the current Voice will be lost

if you select another Voice or Mode. To avoid losing

important data, you should always use Voice Store

to store your edited Voice. Details about the Voice

Store procedure are given earlier (Page 116).

When creating a new Voice from scratch, it can be

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

current Voice using the Initialize Voice function in

Voice Job Mode (Page 115).

Normal Voice

When editing Normal Voices, there are 12 settings

consisting of six Common Edit settings (common to all

four Elements) and six Element-specific settings.

Voice Edit Mode

Common

Common General 80

GEN Name (General Name) 80

GEN Other (General Other) 81

Common Quick Edit 81

QED Level (Quick Edit Level) 81

QED EffectCtrl (Quick Edit Effect Control) 81

QED Filter (Quick Edit Filter) 82

QED EG (Quick Edit Envelope Generator) 82

Common Arpeggio 82

ARP Type (Arpeggio Type) 82

ARP Limit (Arpeggio Note Limit) 83

ARP Mode (Arpeggio Mode) 83

ARP PlayEF (Arpeggio Play Effect) 83

Common Controller 84

CTL Portamento 84

CTL Bend (Pitch Bend) 84

CTL Set1 (Control Set 1) 84

CTL Set2 (Control Set 2) 84

CTL Set3 (Control Set 3) 84

CTL Set4 (Control Set 4) 84

CTL Set5 (Control Set 5) 84

CTL Set6 (Control Set 6) 84

Common LFO (Low Frequency Oscillator) 85

LFO Wave 85

LFO Fade 87

LFO Dest1 (LFO Destination 1) 87

LFO Dest2 (LFO Destination 2) 87

Common Effect 88

EFF InsEF (Insertion Effect) 88

EFF EF1 (Insertion Effect 1) 88

EFF EF1 (Insertion Effect 2) 88

EFF Rev (Reverb) 89

EFF Cho (Chorus) 89

Element OSC (Oscillator) 89

OSC Wave (Oscillator Wave) 89

OSC Out (Oscillator Out) 89

OSC Pan (Oscillator Pan) 90

OSC Limit (Oscillator Limit) 90

Element Pitch 90

PCH Tune (Pitch Tune) 90

PEG VelSens (PEG Velocity Sensitivity) 91

PEG Time 91

PEG Level 91

PEG Release 91

PCH Scale (Pitch Scale) 92

Element Filter 93

FLT Type (Filter Type) 93

FLT HPF (High Pass Filter) 95

Voice Mode

Menu Display

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

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

[PAGE] knob to move the cursor to the parameter

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

jump to the screen you were previously at.

Selecting a Menu

On the CS6x in Voice Edit Mode, you can directly

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

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

Menu name shown below it.

Common General

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

general parameters in the Common Edit screens. The

following two screens are available for general settings.

GEN Name (General Name)

GEN Other (General Other)

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

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

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

Cursor

FLT Sens (Filter Sensitivity) 95

FEG VelSens (FEG Velocity Sensitivity) 95

FEG Time 96

FEG Level 96

FEG Release 96

FLT KeyFlw (Filter Key Follow) 96

FLT Scale (Filter Scale Break Point) 97

FLT Scale (Filter Scale Offset) 97

Element Amplitude 98

AEG VelSens (AEG Velocity Sensitivity) 98

AEG Time 98

AEG Level 98

AEG Release 98

AEG KeyFlw (AEG Key Follow) 99

AEG Scale (AEG Scale Break Point) 100

AEG Scale (AEG Scale Offset) 100

Element LFO (Low Frequency Oscillator) 100

LFO Wave 100

LFO Depth 101

Element EQ (Equalizer) 101

EQ Type 101

EQ Param (EQ Parameter) 101

GEN Name (General Name)

You can set a Voice Name consisting of up to 10

characters. You can also select the Category Name to

the left of the Voice Name.

Setting the Voice Name

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

the first character. The selected character will blink.

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

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

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

the next character.

4 Repeat Steps 2 and 3 until all the characters have

been set for your Voice Name.

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

keys or the [DATA] knob to enter alphabetic and

numeric characters as well as symbols.

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

necessary.

By setting the Category Name, it will be easier to

identify the Voice later. The Category Search

function (Page 77) can also be used to search for

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

Category will be shown as two hyphens.

Settings for alphabetic and numeric

characters and Category Names :

LCD

Transcripción de documentos

OWNER’S MANUAL OWNER’S MANUAL M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V484950 This document is printed on chlorine free (ECF) Paper. 910MWCP3.3-01A0 Printed in Japan SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock. IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected. Battery Notice: This product MAY contain a small non-rechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. CS6x 3.3V POWER ON OFF CARD AC INLET CS6R AC INLET 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. THRU MIDI OUT IN HOST SELECT TO HOST INDIVIDUAL OUTPUT 2 1 R OUTPUT L MONO PC-2 PC-1 Mac MIDI Model ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Serial No. Purchase Date 92-469- 1 (rear) PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: • This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way. • Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 12.) • If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. • Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: • Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. • When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. • Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. • Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms. • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level. • Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. • Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. • Do not place the instrument in an unstable position where it might accidentally fall over. • Before moving the instrument, remove all connected cables. • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. (2)-6 • 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. • Use only the stand/rack specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over. • Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. ■ REPLACING THE BACKUP BATTERY • This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Change internal battery." will display in the LCD. When this happens, immediately back up your data, then have qualified Yamaha service personnel replace the backup battery. • Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery. • Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately. ■ SAVING USER DATA • Always save data to a Memory Card (SmartMedia) frequently, in order to help prevent the loss of important data due to a malfunction or user operating error. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. Introduction Thank you for purchasing the Yamaha CS6x/CS6R Control Synthesizer. Your new CS6x/CS6R synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. It also supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds. You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in Arpeggiator and Sequencer. Using the Phrase Clip feature, you can record real sounds or audio from a CD, then play them back across the keyboard as you would a musical instrument. Other features include Effects, Scenes (for storing sounds created with the Control Knobs on the front panel), and Control Sets (for controlling various sound parameters in real time using different controllers). These features make this synthesizer ideal for every kind of live performance or studio work. When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much easier and smoother. To make the most use of your synthesizer, you are encouraged to read through this manual. After reading the manual, please keep it in a convenient and safe place for future reference. About This Manual This manual is basically divided into two sections: ■ Basics Section (Page 6) Explains how to get started with the synthesizer, its overall structure, and how to use its main features and functions. ■ Reference Section (Page 74) Explains the parameters in the synthesizer’s various Modes. Package Contents • Owner’s Manual (this book) • Data List • AC Power cord • Memory Card (SmartMedia) • Burglarproof Lock (Page 171) • Installation Guide • CD-ROM (TOOLS for S80 & CS6x/CS6R) The Included CD-ROM Application software and Phrase Clip audio files for your synthesizer are included on this CD-ROM. The Voice Editor application lets you edit your synthesizer’s sounds through a graphical user interface. The Card Filer application lets you exchange data between your synthesizer and computer. Details are given in the separate Installation Guide or the on-line manuals included with the software. Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may result in damage to your hearing as well as to your CD player/audio speakers. Copying of the commercially available music sequence data and/or digital audio files is strictry prohibited except for your personal use. The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument. The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies. 4 Table of Contents Basics Section Basics Section Reference Section The Controls & Connectors ................................6 Voice Mode........................................................74 Before Use ........................................................12 Voice Play ..............................................................74 Power Supply ........................................................12 Voice Edit ..............................................................78 Connections ..........................................................13 Voice Job Mode ..................................................115 Powering Up..........................................................19 Voice Store ..........................................................116 Basic Operations ..............................................21 Performance Mode ........................................117 Selecting a Mode ..................................................21 Performance Play ..............................................117 Selecting a Screen ................................................23 Performance Edit ..............................................121 Entering Data........................................................24 Performance Job Mode ......................................140 Demo Playback ................................................26 Performance Store ..............................................141 Voices and Performances ..................................27 Phrase Clip Mode............................................142 Playing a Voice ......................................................27 Phrase Clip Play..................................................142 Playing a Performance..........................................29 Phrase Clip Record ............................................143 An Overview of the CS6x/CS6R ....................31 Controller Section ................................................31 Sequencer Section ................................................31 Performance Mode Phrase Clip Mode Phrase Clip Job Mode ........................................154 Clip Kit Store ......................................................160 Sequence Play Mode ......................................161 Effects Section ......................................................34 Utility Mode....................................................163 About the Modes ..............................................35 Utility Job Mode ................................................170 Voices ................................................................36 Card Mode ......................................................171 Waves ....................................................................38 Voice Mode Phrase Clip Edit ..................................................146 Tone Generator Section ......................................32 An Overview of Voices/Waves ............................37 Reference Section Appendix Performances ....................................................39 About the Plug-in Boards (Optional) ............177 Easy Real-time Editing ....................................40 Display Messages ............................................181 Ideal for Playing Live ......................................41 Troubleshooting ..............................................182 1 Arpeggiator ........................................................42 Specifications ..................................................185 2 Scene Controls (CS6x) ......................................45 Index ..............................................................186 Sequence Play Mode Utility Mode Card Mode 3 Using Controllers ..............................................47 4 Phrase Clips ......................................................53 5 Other Useful Features ......................................59 Voice Edit..........................................................60 Appendix Effects....................................................................65 Using as a Master Keyboard (Performance Mode) ........................................67 Using as a Multitimbral Tone Generator (Performance Mode) ........................................72 5 Basics Section Basics Section The Controls & Connectors Front Panel CS6x 1 [VOLUME] Knob (Page 20) Adjusts the master volume. Turn the knob clockwise to raise the output level from the OUTPUT L/R jacks and the PHONES jack. GAIN MIC/LINE 2 LINE 1 L/MONO PHONES A / D INPUT R OUTPUT 1 2 FOOT INDIVIDUAL OUTPUT VOLUM FILTER VOLUME 2 OCTAVE [UP] and [DOWN] keys (Page 28) (CS6x only) Press either of these keys to shift the note range of the keyboard up or down in octaves. Press them together to returns to the standard range (0). EFFE CUTOFF RESONANCE R EG ATTACK 3 PITCH bend wheel (Page 47) (CS6x only) Controls the pitch bend effect. You can also assign other functions to this controller. DECAY SCENE OCTAVE DOWN UP 1 S PAN 2 CONTROL 4 MODULATION wheel (Page 47) (CS6x only) Controls the modulation effect. You can also assign other parameters functions to this controller. 5 Ribbon Controller (Page 48) (CS6x only) Touch and slide your finger horizontally across the controller’s surface to continuously change a specific parameter’s value. You can also assign various functions to this controller. 6-1 FILTER knobs (Page 40) These two knobs offer dynamic and real-time tonal changes to a sound. 6-2 EFFECT knobs (Page 40) These knobs respectively control depths(send level) of the Reverb and Chorus effects. 6-1 6-3 EG knobs (Page 40) These four knobs control variances in pitch, tone, and volume. PORTAMENTO RESONANCE 6-6 [PAN] knob (Page 59) Use this knob to adjust the stereo pan position of the current sound (i.e., the sound’s position in the stereo image). 6 REVERB PHRA CHORUS EG 6-3 P ON/ OFF SEQ P ATTACK DECAY SCENE 1 SUSTAIN RELEASE ARPEGGIO PAN HOLD 2 CONTROL 6-5 SCENE controls (Page 46) Pressing either SCENE key ([1] or [2]) to recall the stored knob settings. The LED for the key of the current Scene is lit. The [CONTROL] knob can be used to create a smooth transition between two Scenes. You can also set up the Modulation Wheel or a Foot Controller to like the SCENE [CONTROL] knob (Page 46). 6-4 EFFECT CUTOFF 6-4 PORTAMENTO controls (Page 59) This section consists of the PORTAMENTO [ON/OFF] key and a knob for adjusting Portamento Time. With Portamento enabled, there will be a smooth transition in pitch from one note to the next. The Portamento Time is the speed of the transition. 6-2 FILTER 6-5 PAN 6-6 GATE TIME 6-7 ON/ OFF T FOOT FOOT T ME CONTROLLER SUSTAIN SWITCH IN BREATH TO HOST OUT HOST SELECT ECT MODE PORTAMENTO REVERB PHRASE CLIP PERFORM REC UTILITY CARD EDIT JOB PITCH SEQ PLAY SUSTAIN VOICE CHORUS ON/ OFF RELEASE THRU MIDI 7 MODE keys (Page 21) Press these to keys to select Voice, Performance, Utility or other Modes. With the CS6R, you can play back (audition) the Voice at note C3 and with a velocity of 127 by pressing the [VOICE] key in Voice Play Mode. Similarly, in Performance Play Mode, pressing the [PERFORM] key plays back Voices for the Parts (Layer Switch set to "on") at note C3 with a velocity value of 127. ARPEGGIO HOLD PAN STORE TEMPO GATE TIME CS6R 1 LINE 1 MIC LINE 2 A D INPUT BREATH PHONES 7 GAIN PHRASE CLIP PERFORM UTILITY CARD REC JOB SEQ PLAY SYSTEM PLAY STOP SHIFT EDIT COMPARE VOLUME 6-8 6-9 VOICE STORE EF BYPASS PAGE 6-7 ARPEGGIO controls (Page 42) Press the [ON/OFF] key to enable or disable the Arpeggiator. The Arpeggiator plays according to the arpeggio settings for each Voice or Performance. Use the [GATE TIME] knob to adjust the playback length of each note in the arpeggio (Page 42). Press the [HOLD] key (its LED will light) to have the Arpeggiator continue playback even after you release the notes. To stop the arpeggio, press the HOLD key again (the LED turn off). REC 6-8 PITCH PLAY PLAY/ STOP 6-9 A CURSOR 3.3V CARD ASE CLIP EMPO PLAY/ STOP ON/ OFF COMPARE 6-8 PHRASE CLIP controls (Page 53) Press the PHRASE CLIP key to enter Phrase Clip Play Mode (the LED will light). Then press the [REC] key to enter Phrase Clip Record Mode. In this Mode, you can record a Phrase Clip (waveform data) using an external microphone, then treat the sound as a musical instrument. The [PITCH] knob changes the Phrase Clip’s pitch (or its tempo if the Phrase Clip is rhythmic). With the CS6R, you can play back (audition) the sound by pressing the PHRASE CLIP key in Phrase Clip Mode at note C3 and with a velocity of 127 6-9 SEQ controls (Pages 26, 161) Press the [SEQ] key to enter Sequence Play Mode. Here, you can play a MIDI file from Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently selected file. You can use the [TEMPO] knob to adjust the playback speed. 7 PART ELEMENT B Basics Section 6 Sound Control knobs (Page 40) (CS6x only) You can modify the effects and tones in real time using these. There are knobs for Filter Cutoff Frequency and Resonance, the time parameter of the Envelope Generator (EG), and Reverb and Chorus effects. Other controls are related to the Arpeggiator, Portamento, Phrase Clip, and Sequencer. Basics Section 8 LCD (Liquid Crystal Display) This is a backlit 2-line display. 9 [SHIFT] key (Page 23) In Voice or Performance Play Mode, a screen for viewing or setting the Octave parameter and the MIDI Transmit channel (Page 23) is shown when you press the [SHIFT] key. In any of the Edit Modes, when pressing this key while turning the [PAGE] knob, a menu screen is displayed and you can quickly switch between Edit Mode screens (Page 23). If while holding this key you turn one of Knobs [A] ~ [D], [1] ~ [2], [DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can move the cursor without a parameter value being changed (Page 24). ) [PAGE] knob (Page 23) Switches between screens in each Mode. Each Mode includes several screens. CS6x THRU 3.3V EF BYPASS EXIT SYSTEM @ [DATA] knob (Page 25) Use this to increase or decrease the value of the parameter at which the cursor is positioned. # [EF BYPASS] key (Page 66) Enables/dsiables the Effect Bypass. Press the key (its LED will light) to bypass the effects used with the current Voice or Performance. The bypassed effects (Reverb, Chorus, or Insertion) are specified in Utility Mode (Page 164). $ [MASTER KEYBOARD] key (pages 67, 121) (CS6x only) The S80 keyboard can work as MIDI master keyboard in Performance mode. When the key is pressed and switched on (the LED will light), the keyboard can play and control multiple MIDI sound modules connected to the S80. % [EXIT] key (Page 23) The menus and screens of the S80 have a hierarchical structure. Press this key exit from the current screen and return to the previous level in the hierarchy. 8 B C 1 MASTER KEYBOARD ENTER 2 CURSOR DEC/NO INC/YES SHIFT ! Knobs [A], [B], [C], [1] and [2] (Page 24) In each Play Mode, these knobs mainly control the functions respectively assigned to them. In each Edit Mode, each knob is used to enter a value for the associated parameter shown in the display. Depending on the operation or the screen you are working in, these knobs will function differently. Knobs [A] to [C] can be assigned to system control functions (Page 165). Knobs [1] and [2] can be assigned control functions that affect Voices (Page 84). A CARD PAGE PART/ELEMENT DATA Basics Section ^ [ENTER] key (Pages 24, 25) While selecting a Memory or Bank for Voice or Performance, press this key to determine such a memory location. Also, use this key to execute a Job or a Store operation. & [DEC/NO] key (Page 24) Use this to decrease the value of the parameter at which the cursor is positioned. Also use it to cancel a Job or a Store operation. POWER * [INC/YES] key (Page 24) Use this to increase the value of the parameter at which the cursor is positioned. Also use it to execute a Job or a Store operation. MEMORY PRE1 PRE2 A B C D E 4 1 F G H BANK 1 DRUM INT EXT DRUM PLG1 PLG2 2 3 ELEMENT SELECT 2 3 ELEMENT ON/OFF 1 2 3 4 5 6 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 7 9 10 11 12 13 14 15 OSC PITCH FILTER AMPLITUDE LFO EQ PLG 4 ( MEMORY keys (Pages 27, 29, 75, 119) Using one of these keys, you can select a Voice or Performance Memory. Press the [ENTER] key ^ to select the Memory. In Performance Mode, the [INT], [EXT], [PLG1] and [PLG2] keys can be used to select the Phrase Clip Part, A/D Part, Plug-in 1 Part and Plug-in 2 Part. The [PRE1] and [PRE2] keys select “Common” (for all Parts). 8 16 PROGRAM PART º BANK [A] to [H] keys (Pages 75, 119) Each key selects a Voice or Performance Bank. Each Bank contains sixteen Voices or Performances. In Voice Edit Mode, each of the BANK [A] to [D] keys selects a Voice’s Element (ELEMENT SELECT) while each of the BANK [E] to [H] keys turns the associated Voice’s Element on or off (ELEMENT ON/OFF). When you activate Master Keyboard Mode by pressing the [MASTER KEYBOARD] key $, these keys can respectively select Zones 1 to 4 if the Master Keyboard Mode setting is “4zone” in Performance Edit Mode. ¡ PROGRAM/PART [1] to [16] keys (Pages 76, 119) Each key selects a Voice or Performance from the current Bank. In Voice Edit Mode, each PROGRAM/PART key selects an associated edit menu. In Performance Mode, these keys select Parts [1] to [16], respectively. CS6R 8 ( %^ MEMORY PHRASE CLIP VOICE PERFORM UTILITY CARD REC JOB SEQ PLAY SYSTEM PLAY STOP SHIFT PRE1 INT POWER PLG1 DRUM DRUM PRE2 EDIT COMPARE STORE EF BYPASS A C 1 EXT PLG2 ON 2 EXIT ENTER DEC NO INC YES & * CURSOR PAGE # B 9 ) DATA PART ELEMENT ! @ 9 OFF Rear Panel Basics Section 3 CARD slot (Page 171) Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 171) before using a card. 1 POWER switch (Page 19) Use this to switch the synthesizer on or off. 2 AC INLET terminal (Page 12) Plug the female end of the supplied AC power cord in here before plugging it into an AC wall outlet. 4 MIDI IN, OUT, and THRU connectors (Page 15) MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the synthesizer from an external MIDI device. MIDI OUT sends out MIDI messages generated by the synthesizer, such as notes played on the keyboard or panel control/knob variations, to an external MIDI sound module or device. MIDI THRU just reflects the MIDI messages received at MIDI IN. Connect other MIDI devices here. CS6x 3.3V CARD AC INLET POWER ON OFF ) FOOT CONTROLLER jack (Pages 18, 48) (CS6x only) An optional foot controller (FC7, etc.) can be connected here. Using the foot controller, you can control tones, pitches, volumes or the like by foot. ! FOOT VOLUME jack (Pages 18, 48) (CS6x only) An optional foot controller (FC7, etc.) can be connected here. You can control the output level from the instrument by foot. In Utility Mode, you can select Volume or Expression for this controller. @ INDIVIDUAL OUTPUT 1 and 2 jacks (Page 13) Line level audio signals are output from the synthesizer via these phone jacks (1/4" mono phone plug). The output is separated from that at the OUTPUT L/MONO and R jacks. In Performance Mode, you can specify which Parts can be output from these separate outputs. CS6R $ % ^ 1 2 POWER AC INLET LINE 1 MIC LINE 2 A D INPUT GAIN ON BREATH PHONES OFF VOLUME 3.3V CARD & 3 10 7 BREATH jack (Pages 18, 48) Connect an optional breath controller BC3 here. You can use the Breath Controller to change the output level or tone of the sounds according to the strength of your breath. 8 FOOT SWITCH jack (Pages 18, 48) Connect an optional Foot switch (FC4 or FC5) here. Using the foot switch, you can control of a range of on or off a specific function by foot, as assigned on the instrument. (Pages 53, 165) 6 TO HOST terminal Connect a computer here using an optional serial computer cable (Page 16). THRU MIDI OUT IN HOST SELECT TO HOST BREATH FOOT SWITCH FOOT FOOT INDIVIDUAL OUTPUT 2 1 SUSTAIN CONTROLLER VOLUME R OUTPUT L MONO PHONES 9 SUSTAIN jack (Pages 18, 48) An optional Foot Switch (FC4 or FC5) can be connected here. You can use the Foot Switch as a damper pedal on the acoustic piano or for a sustained effect. A D INPUT LINE 1 MIC LINE 2 GAIN MIDI Mac PC-2 PC-1 # OUTPUT L/MONO and R jack (Page 13) Line level audio signals are output via these phone jacks. For monophonic output, use just the L/MONO jack. $ PHONES jack (Page 13) Connect a pair of headphones here. THRU MIDI OUT 4 IN HOST SELECT PC-2 PC-1 Mac MIDI TO HOST 5 6 % A/D INPUT jacks (Page 14) External audio signals can be input via these phone jacks. Use these when recording Phrase Clips by connecting a microphone or other audio equipment. To record a monophonic line level signal, you use LINE 1. Use MIC/LINE 2 to record a microphone level signal. To record a stereo line level signal, use both jacks. However, stereo signals are merged into a monophonic signal internally when recording. INDIVIDUAL OUTPUT 2 1 @ R OUTPUT L MONO # 11 ^ GAIN knob (Pages 73, 144) Use this to adjust the input gain of the audio signals at the A/D INPUT jacks. You may need to adjust this depending on the type of device (microphone, other instrument output, etc.) connected when using a A/D Input part. Basics Section 5 HOST SELECT switch (Page 16) Select the type of computer connected to the synthesizer via the TO HOST connector . Basics Section Before Use This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the synthesizer on after you have made all the necessary connections. It is recommended that you read this section before using the synthesizer. Power Supply CS6x/CS6R rear panel AC INLET terminal Power cord (included) 1Make sure that the instrument’s POWER switch is at the OFF position. 2Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel. 3Connect the other end of the power cord to an AC outlet. Make sure the synthesizer meets the voltage requirement for the country or region in which it is being used. Make sure your CS6x/CS6R is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard! Use only the AC power cord supplied with the CS6x/CS6R. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard! The type of AC power cord provided with the CS6x/CS6R may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the CS6x/CS6R. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor. 12 Basics Section Connections Connecting to External Audio Equipment Since the synthesizer has no built-in speakers, you need to monitor its sound output via external audio equipment. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations. The CS6R also needs an external MIDI controller such as a keyboard, though this is not necessary when using the internal sequencer. For MIDI connections, see the next section. Connecting Stereo Powered Speakers A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel. Powered speaker (Left) Powered speaker (Right) Powered speaker (Left) Powered speaker (Right) Headphones INPUT PHONES INPUT OUTPUT L/MONO INPUT OUTPUT R INPUT OUTPUT L/MONO OUTPUT R C PHONES CS6R CS6x Headphones When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel. Connecting to a Mixer There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. These four outputs can connect to a mixer for separately controlling the outputs of up to four Parts in Performance Mode (Page 117). You can specify the output routing of each Part in Performance Edit Mode (Page 133). 13 Speaker Speaker Amplifier Basics Section Amplifier L L R Mixer OUTPUT L R Mixer R OUTPUT L R Headphones 1 PHONES 2 3 4 5 OUTPUT L / MONO 6 7 8 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 R L R 1 INDIVIDUAL OUTPUT2 2 3 4 OUTPUT L / MONO 5 6 7 8 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 R L R INDIVIDUAL OUTPUT2 C PHONES CS6R CS6x Headphones Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones. Connecting a Microphone or Other Audio Equipment You can record or import external sounds or waveform data and use them as instrument sounds (Phrase Clips, see Page 142). When recording from an external audio source, connect a microphone or the audio source to the A/D INPUT (LINE 1 and MIC/LINE 2) jacks. CD Player or other audio equipment (merged to mono internally) L CD Player or other audio equipment (merged to mono internally) R Microphone (mono devices) L R Microphone (mono devices) MIC/LINE2 LINE1 MIC/LINE2 LINE1 C CS6R CS6x LINE 1 and MIC/LINE 2 can receive monophonic signals. To input a monophonic line level signal to the instrument, use only LINE 1. Use MIC/LINE 2 to input a microphone level signal. When you input stereo line signals, use both jacks. However, these stereo signals are internally merged into a monophonic signal for use in a later process. After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the input gain of the audio source using the GAIN knob. Details about Phrase Clips, including how to adjust the input gain, are given on Page 142. If you choose the wrong type of input source (Pages 130, 144), you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly. Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down. Do not use both LINE1 and MIC/LINE2 at the same time except for when you want to input stereo line level signals, which will be mixed into a mono signal on the instrument. If you fail to do so, the external device connected may be damaged. You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are given on Pages 73, 130. 14 You can connect an external MIDI device using a MIDI cable (available separately) and control it from this synthesizer. You can also use an external MIDI keyboard or sequencer to control the synthesizer’s internal sounds. This section introduces several different applications of MIDI. The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be transmitted from the synthesizer’s MIDI OUT connector. Controlling from an External MIDI Keyboard HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN External MIDI keyboard or synthesizer C CS6x/CS6R The CS6R has no built-in keyboard so the above MIDI connection lets you play it in realtime. Controlling an External MIDI Keyboard HOST SELECT PC-2 PC-1 MIDI Mac C MIDI OUT MIDI IN External MIDI keyboard or synthesizer CS6x/CS6R Recording and Playback using an External MIDI Sequencer HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN C MIDI IN MIDI OUT External MIDI sequencer CS6x/CS6R 15 Basics Section Connecting External MIDI Equipment Controlling Another MIDI Device via MIDI THRU Basics Section External MIDI sequencer External MIDI synthesizer MIDI OUT MIDI IN MIDI IN MIDI THRU HOST SELECT PC-2 PC-1 MIDI Mac C MIDI IN MIDI OUT External MIDI synthesizer CS6x/CS6R With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI THRU jack. The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors. Connecting to a Personal Computer When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the computer and the Memory Card inserted in the synthesizer’s CARD slot. There are two ways to connect your synthesizer to a computer: 1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal) 2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the synthesizer’s MIDI IN and OUT) Different computers require different connections, as follows. 1: Serial Port to TO HOST IBM PC/AT HOST SELECT PC-2 PC-1 MIDI Mac Serial cable TO HOST PS/V Personal System/V C Personal System/V IBM RS-232C (DB9) IBM PC/AT and compatibles CS6x/CS6R Macintosh HOST SELECT PC-2 PC-1 MIDI Mac Serial cable TO HOST C PS422 (Modem or Printer port) CS6x/CS6R 16 Apple Macintosh Basics Section 2: MIDI Interface to MIDI IN and OUT Using the computer’s MIDI interface HOST SELECT PC-2 PC-1 MIDI Mac Serial cable MIDI IN MIDI OUT Personal System/V PS/V C MIDI OUT MIDI IN CS6x/CS6R Personal System/V IBM Computer with MIDI interface Using an external MIDI interface HOST SELECT MIDI Interface PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN MIDI IN MIDI OUT C Computer CS6x/CS6R You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform. 17 Connecting Various Controllers Basics Section The CS6x has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone, volume, pitch and other parameters. The CS6R only has a Breath Controller connector on its front panel, but other controls (equivalent to the CS6x) may be available using external MIDI controllers. Details about how to these controllers are given on Page 47. CS6x CS6R LINE 1 MIC LINE 2 A D INPUT HOST SELECT TO HOST BREATH FOOT SWITCH FOOT FOOT INDIVIDUAL OUTPUT 1 2 SUSTAIN CONTROLLER VOLUME R OUTPUT L MONO PHONES A D INPUT LINE 1 MIC LINE 2 PHONES MIDI Mac PC-2 PC-1 3.3V CARD BREATH BC3 PERFORM VOLUME UTILITY CARD REC JOB SEQ PLAY EDIT COMPARE STORE FOOT SWITCH FC4 or FC5 SUSTAIN FC4 or FC5 FOOT FOOT CONTROLLER VOLUME FC7 FC7 18 PHRASE CLIP VOICE GAIN BREATH BREATH GAIN BC3 EF BYPASS PLAY STOP Basics Section Powering Up Power-on Procedure When you have made all the necessary connections between your synthesizer and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI). When the CS6x/CS6R as MIDI receiver: POWER ON!! C 1 MIDI sender CS6x/CS6R (MIDI receiver) 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R Audio equipment (first mixer, then amplifier) Switching the CS6x/CS6R On Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it. 1Press the POWER switch. MEMORY PRE1 INT POWER PLG1 DRUM DRUM PRE2 EXT PLG2 ON POWER ON OFF EXIT ENTER DEC NO INC YES AC INLET CS6x CS6R 2A splash screen is displayed briefly. 3The Voice or Performance Play Mode screen appears next. VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-Q EQMid-G EQHi-G FLT-Rez HPF 19 OFF Basics Section If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board installed, you may see other screens before the Voice or Performance Play Mode screen is displayed. If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in EXT Memory are being loaded. If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see a screen while a basic file is being created in EXT Memory. If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in Board. The final screen after the power-on sequence may change depending on the Power On Mode setting available Utility Mode (Page 164). 4Turn up the amplifier’s volume as necessary. 5Turn the synthesizer’s [VOLUME] knob clockwise to set an appropriate volume level. About Memory Cards You can save various kinds of data - Voice, Performance, Phrase Clip, Plug-in, Sequence Chain and so on - onto Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia), and there is a Memory Card supplied with this synthesizer. Before using a Memory Card, read through precautions on how to handle it (Page 171). • Formatting a Memory Card You cannot use a new Memory Card to save files immediately. The card must be formatted in Card Mode (Page 176) beforehand. The Memory Card supplied with the synthesizer is already formatted and contains Demo Song files. • Saving and Loading Data You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be loaded when required. You can save and load data such as System, Voice, Performance, Phrase Clip, Plug-in, Sequence Chain or the like. Since Phrase Clips or Sequence Chain data are held temporarily in the synthesizer’s buffer memory and will be lost once you switch it off, you need to save such data onto the Memory Card first. Details about formatting a Memory Card, saving and loading data, and the recognized file types are given on Page 172. 20 Basics Section Basic Operations This section gives some basic explanations about operating the synthesizer. Selecting a Mode There are several operation Modes — Voice Play Mode, Performance Play Mode, Phrase Clip Mode, etc. — each of which enables you to work efficiently with the synthesizer’s various functions. An overview of each Mode is given on Page 35. There are separate Play Modes for Voices, Performances and Phrase Clips. To enter each of these Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance Play Mode). To enter or exit Phrase Clip Mode, press the PHRASE CLIP key. (Note that this key is not found among the MODE keys.) There are also separate Edit and Job Modes for Voices, Performances and Phrase Clips. To enter Edit or Job Mode, simply press the [EDIT] or [JOB] key while in each respective Play Mode. Similarly, pressing the [STORE] key in Voice, Performance or Phrase Clip (Play or Edit) Mode takes you into Store Mode where you can store Voices, Performances or Phrase Clips. Other Modes include Utility Mode where you can specify system settings, Card Mode where you can perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card Mode and the [SEQ] key for Sequence Mode.) MODE PHRASE CLIP VOICE PERFORM 3 1 2 REC UTILITY CARD 6 7 PITCH SEQ PLAY 8 EDIT JOB 4 5 COMPARE PLAY/ STOP STORE 9 TEMPO Play Modes 1 Voice Play Mode (Page 74) Press the [VOICE] key (its LED will light) to enter Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode. VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF 2 Performance Play Mode (Page 117) Press the [PERFORM] key (its LED will light) to enter Performance Mode. To exit to another Mode, simply press the respective key for that Mode. PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- ------- 3 Phrase Clip Play Mode (Page 142) Press the [PHRASE CLIP] key (its LED will light) to enter Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode. If you press the [REC] key while in Phrase Clip Play Mode, the Record screen in Phrase Clip Mode is displayed. PCLP Play) EQLow-G EQMid-G 1(A01)[--:Init Voice] EQHi-G ------- ------- Edit Modes When in each Play Mode, you can swiftly switch to each respective Edit Mode by simply pressing the [EDIT] key (its LED will light). 21 4 Voice Edit Mode (Page 78) Press the [EDIT] key in Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Voice Play Mode. GEN Name) Ctgry C 1234 a-Z 0-? Cursor [Pf:Init Voice] 4 Performance Edit Mode (Page 121) Press the [EDIT] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode. GEN Name) Ctgry Common a-Z 0-? Cursor [--:Init Perf ] Basics Section 4 Phrase Clip Edit Mode (Page 146) Press the [EDIT] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play Mode. GEN Name) Ctgry Common a-Z 5 Phrase Clip Job Mode (Page 154) Press the [JOB] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play Mode. 8 Sequence Play Mode (Page 161) Press the SEQ key (its LED will light) to enter Sequence Play Mode. To exit to another Mode, simply press the respective key for that Mode. SEQ) Chain00 File:[ 001 ⁄= 120 ] Perf Meas=001 INT:128 0-? Cursor [--:Init Perf ] PCLP Status)Free 4.0MB Used 0KB( CardFree 0%)-X›---.-MB When MIDI system exclusive messages are received from an external MIDI device, the LED for the currently selected Play Mode (VOICE, PERFORM or PHRASE CLIP) will blink. 5 Utility Job Mode (Page 170) Press the [JOB] key in Utility When in each Play Mode, you Mode. To exit to another Mode, can swiftly switch to each press the respective key for that 9 Store Modes respective Job Mode by simply Mode or press the [EXIT] key to (Pages 116, 141, 160) pressing the [JOB] key (its LED When in each Play or Edit Mode, return to Utility Mode. will light). you can swiftly switch to each UTIL Factory Set) Job respective Store Mode by simply 5 Voice Job Mode (Page 115) pressing the [STORE] key. To Press the [JOB] key in Voice Play exit to another Mode, simply Mode. To exit to another Mode, press the respective key for that simply press the respective key Mode or press the [EXIT] key to Other Modes for that Mode or press the return to Play Mode. 6 Utility Mode (Page 163) [EXIT] key to return to Voice Press the [UTILITY] key (its Play Mode. VCE [Sq:Generation] >[Pf:Slamming ] LED will light) to enter Utility Store INT:001(A01) Mode. To exit to another Mode, VCE Initialize) Job Current Voice simply press the respective key Another storage way of Voice, for that Mode. Performance and Phrase Clip is Job Modes 5 Performance Job Mode (Page 140) Press the [JOB] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode. PFM Initialize) Job Current Perform MSTR TG) Sys Vol 127 NoteShift Tune +63 +102.3c 7 Card Mode (Page 171) Press the [CARD] key (its LED will light) to enter Card Mode. To exit to another Mode, simply press the respective key for that Mode. Save) Card Type all File A-? Cursor ***[NEWFILE .S2A] 22 to memorize these settings as Scene 1 and 2. See Page 45 for more information (CS6x only). Some Modes have more screens. In this case, you can use the [PAGE] knob while holding down the You can switch between screens using the [PAGE] [SHIFT] key to switch to a specific screen. For example, if you use the [PAGE] knob while knob and pressing [SHIFT], PROGRAM/PART, holding down the [SHIFT] key in Voice Edit [EXIT] and [ENTER] keys. Mode, the following screen is shown. Select a specific item using the cursor (≥), then release the [PAGE] Knob [SHIFT] key to switch to the parameter screen for that item. Usually, there are several screens and sub-screens in each Mode. Use the [PAGE] knob to switch Cursor between screens. GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF EL1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ VCE Srch) PRE1: Memory SHIFT A PAGE B C 1 2 DATA PART/ELEMENT SHIFT PAGE A The [SHIFT] key also has other functions, as described in other sections in this manual. B PROGRAM/PART keys Previous screen Next screen As shown below, the “¥” indicator is displayed to the left of the screen if there are more screens before and after that which you are currently viewing. At the first in a series of screens, you will see the “∂” indicator meaning that there are more screens to follow, but none before it. At the last screen, you will see the “µ” indicator meaning that there are no more screens to follow. Indicator With the CS6x, in Voice Edit Mode, PROGRAM/PART keys can be used to select the items shown under the keys and to switch to their screens. A 4 5 6 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 OSC PITCH FILTER AMPLITUDE LFO EF BYPASS If you hold down the [SHIFT] key in Voice Play Mode, you can modify the parameters on screen as follows. PAGE 3 7 8 14 15 16 EQ PLG PROGRAM PART Press the [EXIT] key to move up (exit) in the hierarchical structure and return to the previous screen. [SHIFT] Key SHIFT 2 [EXIT] Key LFO Depth) EL1234 (Oct= +3) (Tch= 1) 1 EXIT PRE1:128(H16)[Pf:GrandPiano] B C 1 2 MASTER KEYBOARD ENTER DEC/NO INC/YES DATA The [EXIT] key also has other more functions, as described in other sections in this manual. PART/ELEMENT 23 Basics Section Selecting a Screen Basics Section [ENTER] Key Moving the Cursor Normally, the [ENTER] key is used to apply parameter settings. In some cases, however, the following screen appears prompting you to press the [ENTER] key. By using a knob ([A], [B], [C], [1] or [2]) while holding down the [SHIFT] key, you can move the cursor (≥) to the respective parameter on the screen without affecting its value. EF BYPASS OSCíOut) EL1234 MASTER KEYBOARD SHIFT EXIT PAGE A Level 96 B Delay ≥ 0 C 1 InsEF ins2 2 DATA ENTER PART/ELEMENT DEC/NO INC/YES EFFíEF1) Ctgry Type C 1234 MOD Tremolo [ENTER] to Edit The [ENTER] key has other functions, as described in other sections in this manual. [INC/YES] and [DEC/NO] Keys You can use the [INC/YES] key to increment a parameter setting by one step, or the [DEC/NO] key to decrement it. If you hold down either key, the value is continuously changed. Entering Data DEC/NO INC/YES You can use the knobs to directly alter their respective parameters on the screen. Alternatively, you can also move the cursor (≥) to a parameter and set its value using the [INC/YES] and [DEC/NO] keys, or the [DATA] knob. Knobs [A], [B], [C], [1] and [2] Each parameter in a screen is normally associated with a knob ([A], [B], [C], [1] or [2]) below the display. When you use one of these knobs, the cursor (≥) moves to its respective parameter and you can change its value. For instance, you can use Knob [B] at the following screen to change the Level setting. Turn the knob clockwise to increase the value and anti-clockwise to decrease it. You can also use these keys to answer “YES” or “NO” when a confirmation message is displayed. Moving the Cursor By pressing the [INC/YES] or [DEC/NO] key while holding down the [SHIFT] key, you can move the cursor between parameters on the screen without affecting their values. OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C PART/ELEMENT OSCíOut) EL1234 Level ≥ 96 Delay 0 InsEF ins2 DEC/NO INC/YES SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 24 1 InsEF ins2 2 DATA [DATA] Knob OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C 1 There are many ways to set parameters. Some parameters require you to directly enter numerical settings or alphabetic characters. With others, you can choose from a number of available settings. Furthermore, some types of parameters are “absolute” whereas others are “relative.” InsEF ins2 2 For example, the absolute parameter in the following illustration can be set to either “mono” or “poly.” For other absolute parameters such as Volume, the setting can be any value between zero and 127. The Volume setting has a linear, one-to-one relationship with the actual volume, as shown in the graph on the left. DATA PART/ELEMENT Moving the Cursor However, relative parameters do not follow the same relationship. The graph on the bottom shows the role of the Velocity Offset parameter. The value you have set here, known as an “offset,” is added to, or subtracted from, the actual value. With Velocity Offset, the specified offset value is added to, or subtracted from, the actual velocity of the notes you play on the keyboard. Sometimes, these types of relative parameters are set as a percentage. Turn the [DATA] knob clockwise or anticlockwise while holding down the [SHIFT] key to move the cursor to a parameter in the screen without affecting its value. OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C 1 InsEF ins2 2 DATA PART/ELEMENT GEN Other) Mode C 1234 poly [ENTER] Key Assign single MicroTuning 31:Indian mono/poly Use this key to apply a setting (when it is blinking, for example). The [ENTER] key is also used when executing a Job or Store operation, as described in other sections of this manual. QEDíLevel) C 1234 Vol 127 Pan RevSend ChoSend C 127 127 0~127 EF BYPASS 1 Volume (absolute) MASTER KEYBOARD Volume EXIT ENTER 0 127 DEC/NO INC/YES 2 Velocity offset (relative) Offset +64 offset added +10 Actual velocity 0 offset added -10 Volume -64 25 Basics Section Types of Parameters (Absolute and Relative) Use this knob to change the value of the parameter at which the cursor is positioned. Turn the knob clockwise to increment the value one click (step) at a time, or turn it anti-clockwise decrement it. Basics Section Demo Playback Several demo songs are supplied with this synthesizer. You can play them back as follows. Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12. At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices, Phrase Clip or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 171) beforehand. There are other demo song files provided on the included Memory Card. You can play them back in a normal Sequence Play operation after you load “all” data file from the Card (Page 174). Refer to page 162 for details. 1Press the SEQ PLAY key to enter Sequence Play Mode. You will see the following screen. SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice,PClip will be changed. There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above. 2Press the [INC/YES] key to enter the SEQ Demo screen. Demo song name SEQ Demo) Song:[DEMOSONG] ≥ 001 ⁄= 120 Demo song number Playback tempo To cancel demo playback, press the [DEC/NO] key. 3Press the [PLAY/STOP] key to start playback of the song. 4Press the [PLAY/STOP] key again to stop playback. At the end of the song, playback is automatically looped back to the beginning. You can change the playback tempo using the [TEMPO] knob or Knob [C]. To use the song’s original tempo, select a tempo value of “***.” Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 161. 26 Basics Section Voices and Performances Playing a Voice Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256 Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play Voices from both groups of memories, as explained in the following. MEMORY MODE VOICE EF BYPASS PERFORM MASTER KEYBOARD PRE1 PRE2 VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime DRUM UTILITY CARD EDIT JOB EXIT SYSTEM A B C 1 INT ENTER EXT 2 DRUM CURSOR PLG1 DEC/NO INC/YES PLG2 COMPARE STORE SHIFT PAGE DATA PART/ELEMENT 1 [VOICE] key 3 [DATA] knob 1 Press the [VOICE] key The [VOICE] key LED will light, showing that you are now in Voice Play Mode. The following appears in the display. MODE VOICE PERFORM UTILITY CARD EDIT JOB 3 [DEC/NO] and [INC/YES] keys 2 MEMORY key 2 Press a MEMORY key to select a Voice Memory There are six Voice Memories: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal), EXT (External), PLG1 (Plug-in 1), and PLG2 (Plug-in 2). Within each Voice Memory are several Banks (up to eight, A to H) in which the Voices are stored. The following illustration shows how Voices are stored in a Voice Memory. COMPARE PRE1 (Preset 1) Bank A~H PRE2 (Preset 2) Bank A~H 1~16 1~16 Voice Voice STORE MEMORY PRE1 INT (Internal) Bank A~H VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF 1~16 PRE2 EXT (External) Bank A~H DRUM INT EXT 1~16 Voice Voice DRUM PLG1 At this point, you can play the Voice (named on the screen) via keyboard. PLG1 (Plug-in 1) Bank A~D 27 PLG2 PLG2 (Plug-in 2) Bank A~D 1~16 1~16 Voice Voice The Drum Voices are held in separate areas of each Memory, and are accessed as follows. Basics Section • To access the Preset Drum Memories (PRE:DR1 ~ DR8): Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key. Now you can play a selected Voice when you play the keyboard on the CS6x or the external keyboard connected to the CS6R. Try auditioning other Voices. Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 76. • To access the User Drum Memories (INT:DR1/2, EXT:DR1/2): Press the MEMORY [EXT] key while holding down the MEMORY [INT] key. You can also select Voices using a combination of BANK and PROGRAM/PART keys (CS6x), or using the Category Search feature. Details about selecting Voices are given on Page 75. MEMORY PRE1 Octave Shifting (CS6x only) PRE2 To access Preset Drum Voices (PRE:DR1 ~ DR8) DRUM INT If you need to raise or lower the keyboard note range for the Voice, you can use the OCTAVE [UP] key to raise the range by an octave and the OCTAVE [DOWN] key to lower it by an octave. You can shift the note range by up to three octaves in either direction. The current octave setting is shown in the left corner of the display while the OCTAVE [UP] or [DOWN] key is being held down. For instance, if you press the OCTAVE [UP] key twice (+2), you will actually play note C5 by pressing note C3 on the keyboard (i.e., the note you play is shifted up two octaves). To return to the standard octave range (0), press the OCTAVE [UP] and [DOWN] keys simultaneously. EXT To access User Drum Voices (INT:DR1/2, EXT:DR1/2) DRUM PLG1 PLG2 PRE1 and PRE2 (Preset 1 and 2) are stored in internal Read Only Memory (ROM) and contain preset Voices which are never overwritten. INT (internal) is stored in Random Access Memory (RAM) and contains the factory default Voices. These can be overwritten, but can be recalled from the original factory settings at any time if required. EXT (external) is stored on a Memory Card inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Voice, “----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Voices. PLG1 or PLG2 Voices can only be selected if a Plug-in Board is installed. You can have the current octave setting shown in the display while holding down the [SHIFT] key. Use this feature for confirmation. OCTAVE DOWN 3 Select a Voice Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys (Oct= -3) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Voice Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Voice Number. If a note is shifted beyond G8 (MIDI note number 127), it will automatically be shifted to the octave below. For instance, note G#8 will be played as G#7. OCTAVE [UP] and [DOWN] keys are linked to the “Coarse/Fine” parameter (Page 90) in the PCH Tune screen of Voice Edit Mode, and also the “Oct” parameter (Page 163) in the MSTR Kbd screen of Utility Mode. The OCTAVE [UP] and [DOWN] keys may not function if these parameters also have been set to shift the range. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime SHIFT PAGE A B C 1 2 DATA PART/ELEMENT EF BYPASS EXIT UP MASTER KEYBOARD You can also use the OCTAVE [UP] and [DOWN] keys in Performance Play Mode. ENTER DEC/NO INC/YES 28 In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory Card) Performances. A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also let you set the synthesizer up for multitimbral operation. Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for Phrase Clip, A/D INPUT and Plug-in Boards. If the Layer Switch (Page 133) parameter is switched on for any Parts, those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI channels so that they can be played or be controlled individually using the built-in (or an external) sequencer. Up to 128 Performances can be stored in the internal memory and up to 64 on Memory Card. These Performance settings are available in Performance Edit Mode (Page 121). Here, we will show how to get started with Performance Play after selecting a Performance. MEMORY MODE VOICE EF BYPASS PERFORM MASTER KEYBOARD PRE1 PRE2 PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi Cutoff RevTime DRUM UTILITY CARD EDIT JOB EXIT SYSTEM A B C 1 INT ENTER EXT 2 DRUM CURSOR PLG1 DEC/NO INC/YES PLG2 COMPARE STORE SHIFT PAGE DATA PART/ELEMENT 1 [PERFORM] key 3 [DATA] knob 3 [DEC/NO] and [INC/YES] keys 2 MEMORY key 1 Press the [PERFORM] key 2 Press a MEMORY key The [PERFORM] key LED will light, showing to select a Performance that you are now in Performance Play Mode. The Memory following appears in the display. MODE VOICE PERFORM UTILITY CARD EDIT JOB There are two Performance Memories: INT (internal) and EXT (External). The INT memory is divided into eight Banks (A to H) of 8 Performances. The EXT memory is divided into four Banks (A to D) of 4 Performances. MEMORY PRE1 COMPARE INT (Internal) Bank A~H STORE 1~16 PRE2 EXT (External) Bank A~D DRUM INT EXT Performance 1~16 Performance DRUM PLG1 PLG2 PFM Play) INT:001(A01)[--:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 INT (internal) is stored in internal Random Access Memory (RAM) and contains factory default Performances. These can be overwritten but can recalled at any time. At this point, you can play the Performance (named on the screen) via keyboard. EXT (external) is stored on a Memory Card (RAM) inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Performance, “-----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Performances. 29 Basics Section Playing a Performance Basics Section 3 Select a Performance Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Performance Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Performance Number. PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- ------- SHIFT PAGE A B C 1 2 DATA PART/ELEMENT EF BYPASS EXIT MASTER KEYBOARD ENTER DEC/NO INC/YES You can now play Parts in the Performance via the keyboard. If the Layer Switch parameter is switched on for any Parts, those Parts can be play in unison. Now try selecting other Performances. Details about selecting Performances using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 76. You can also select Performances using a combination of BANK and PROGRAM/PART keys (CS6x), or using the Category Search feature. Details about selecting Performances are given on Page 119. On selection, a Performance may take a few seconds to become ready since the settings for multiple Parts are applied. 30 In this section, an overview of the many features of the CS6x/CS6R is given. The CS6x/CS6R hardware is made up of a number of sections, as shown in the following diagram. Controller Section Keyboard (CS6x) Controllers Sequencer Section Tone Generator Section Song File Playback Arpeggiator AWM2 Plug-in Board Phrase Clip Effects Section Controller Section This section consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control Knobs, and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the synthesizer’s tone generator section when you plays notes. The controllers also send changes. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector. The CS6R has no keyboard, Pitch Bend or Modulation Wheels, Ribbon Controller or Sound Control Knobs. Sequencer Section This section can be used to play back Standard MIDI Files held on Memory Card. The contents of Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following illustration. The sequencer can play back songs with a different Voice assigned to each Part. Tone Generator (Performance Parts) Sequencer Track1 Piano Ch1 Piano Ch1 Track2 Bass Ch2 Bass Ch2 Track3 Strings Ch3 Strings Ch3 Track16 Percussion Ch16 Percussion Ch16 31 Basics Section An Overview of the CS6x/CS6R Tone Generator Section Basics Section This section plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in Voice Mode. Tone Generator Section OSC (Oscillator) Outputs the waveform of each Element. Each Voice consists of up to four Elements. PITCH FILTER Controls the pitch of each Element output from OSC. Changes the tonal quality of each Element output from PITCH. AMP (Amplitude) To Effects Units Controls the output level (amplitude) of each Element output from FILTER. The signals are then sent at this level to the Effects Units. About the Tone Generator The tone generator section in the CS6x/CS6R consists of AWM2, Phrase Clip and Plug-in units. AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms, and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be applied to the basic waveform. AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 37. Phrase Clips are sounds recorded via microphone or from external audio equipment, or sounds loaded directly via Memory Card. These are then stored in internal RAM and can be played back as musical sounds. They can be edited and easily set up for use as rhythm loops, percussion/drum sounds and sound effect. Plug-in Boards add more features to the system. When installed, they combine perfectly with the synthesizer’s built-in tone generator section. The following types of Plug-in Board are available, and up to two boards can be installed in the synthesizer. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 108). This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require. Single Part Plug-in Boards • Analog Physical Modeling Plug-in Board (PLG150-AN) Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have realtime control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music. • Piano Plug-in Board (PLG150-PF) A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes. 32 • Virtual Acoustic Plug-in Board (PLG150-VL) With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller (BC3) or MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments. Effect Plug-in Boards • Vocal Harmony Plug-in Board (PLG100-VH) With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use the synthesizer like a vocoder by connecting and using a microphone while playing the keyboard. Multi-Part Plug-in Board • XG Plug-in Board (PLG100-XG) This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board. More Plug-in Boards will be available in future. About MODULAR SYNTHESIS PLUG-IN SYSTEM The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production. Maximum Polyphony The maximum sonic polyphony is 64 for AWM2 (the figure includes Phrase Clips), plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board. In the case of AWM2 Voices, the polyphony figure of 64 is divided by the number of Elements in the Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is 32. 33 Basics Section • Advanced DX/TX Plug-in Board (PLG150-DX) The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DXseries synthesizers to give a completely faithful reproduction. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump. Basics Section Effects Section The effects can be used to change the sound of a Voice or Performance. There are two Insertion Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be connected in parallel or in series. In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance, though the way they are connected (series or parallel) varies slightly. As shown in the following illustration, the two Insertion Effect units can be independently switched on or off for each Element in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed through the Insertion Effects, the signals from all individual Elements are mixed and sent to the Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole before it is sent to the outputs, and are therefore known as System Effects. In Performance Mode, the Insertion Effects can be set for two Parts: a Voice, Phrase Clip or A/D Input Part, plus a Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts, but to the Performance as a whole. Voice Mode Performance Mode Output Voice1~16 Insertion Effects Element 1~4 Element 1~4 System Effects Reverb Output Insertion Effects 1/2 System Effects Reverb 1 1 2 Chorus Output 2 Phrase Clip A/D Part Plug-in 1/2 Board Insertion Effects 1 Details about Effects are given on Page 65. 34 Chorus About the Modes Voice Mode Voice Play Mode Voice Edit Mode Voice Job Mode Performance Mode Performance Play Mode Performance Edit Mode Performance Job Mode MODE Phrase Clip Mode Phrase Clip Play Mode Phrase Clip Record Mode Phrase Clip Edit Mode Phrase Clip Job Mode PHRASE CLIP REC VOICE PERFORM UTILITY CARD EDIT JOB PITCH Card Mode SEQ PLAY Sequence Play Mode COMPARE PLAY/ STOP STORE Utility Mode Utility Job Mode TEMPO Voice Mode (Page 74) Performance Mode (Page 117) Voice Play Mode Normal Voices and Drum Voices can be played in this Mode. You can select from Preset Voices (256 Normal Voices plus 8 Drum Kits), Internal (User) Voices (128 Normal Voices plus 2 Drum Kits) and External (Memory Card) Voices (128 Normal Voices plus 2 Drum Kits). That is a choice of 512 Normal Voices and 12 Drum Kits. The choice is extended further still if you have an optional Plug-in Board installed. Performance Play Mode This Mode is used when playing Performances. You can layer multiple Voices (Parts) to create rich sonic textures. You can also create multitimbral setups by assigning Parts to different MIDI channels. You can layer A/D Input, Phrase Clip and Plug-in Parts, as well as AWM2-based Voices. The MIDI settings for Voices are set in Utility Mode. Voice Edit Mode Normal Voices and Drum Voices can be created and edited in this Mode. You can save up to 128 edited Normal Voices and 2 edited Drum Kits as User Voices in internal memory. You can also store them to Memory Card as external memory. Voice Job Mode In this Mode, you can copy and initialize Voices, and perform other such operations (Jobs) on them. Performance Edit Mode In this Mode, you can edit and create Performances. You can save up to 128 Performances to internal memory or up to 64 to external memory (Memory Card). Phrase Clip Edit Mode This Mode is used for editing Phrase Clips. Once you have recorded the Phrase Clips, you need to edit them to set their loop points and other parameters. You can also create Clip Kits by assigning them to notes on the keyboard. Phrase Clip Job Mode In this Mode, you can copy and delete Phrase Clips, and perform other such operations (Jobs) on them. Sequence Play Mode (Page 161) Performance Job Mode In this Mode, you can copy and initialize Performances, and perform other such operations (Jobs) on them. In this Mode, you can use the sequencer to play back Song files (Standard MIDI Files) held on Memory Card. The Songs can be played back individually or as a chain. By switching Performance, you can also change the sounds associated with each track in a Song. Phrase Clip Mode (Page 142) Utility Mode (Page 163) Phrase Clip Play Mode In this Mode, you can select and play Phrase Clips. Select this Mode when setting parameters that apply to the synthesizer system as a whole. These include MIDI settings and synthesizer setup parameters. Phrase Clip Record Mode You can record sounds into the synthesizer from a microphone or other audio source in this Mode. These sounds (Phrase Clips) can then be played back in real time via keyboard. Furthermore, Phrase Clips that you have already recorded can be re-recorded as new Phrase Clips after having, say, Chorus effects applied to them. 35 Utility Job Mode In this Mode, you can restore the synthesizer’s factory settings. Card Mode (Page 171) Insert a Memory Card into the CARD slot and you can save files to it, load files from it, and do various other things with the data on the card. Basics Section The CS6x/CS6R has various Modes which you can select according to the task you wish to perform. Basics Section Voices A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you can select and play any of these Voices. In Performance Play Mode, several different Voices (known as Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of Voices are available if optional Plug-in Boards have been installed. Performance Play Mode Voice Play Mode Controllers Controllers Sequencer Song play Tone Generator Tone Generator Voice Performance Part Voice 1 2 3 4 5 6 7 PRE1: PRE1: PRE1: PRE2: PRE2: PRE2: INT: (A01) (A02) (A03) (A01) (A02) (A03) (A01) Playing a Voice 8 16 Phrase Clip A/D Part Plug-in Part 1 Plug-in Part 2 EXT: (A01) PRE1: (A16) CLip kit1 Mic etc. 1 2 Playing a Performance 256 Normal + 8 Drum Voice (Preset) Preset1 (128 Preset Voices) Banks A~H Preset2 (128 Preset Voices) Banks A~H 1~16 1~16 Voice Voice 256 Normal + 8 Drum Voice (User) External (128 User Voice) Banks A~H Internal (128 User Voice) Banks A~H Preset (8 Preset Voices) DR 1~8 Drum Voice 1~16 1~16 Voice Voice (2 User Drum Voices) Phrase Clip (2 User Drum Voices) Plug-in Plug-in1 (64 Plug-in Voice) Banks A~D Clip Kits 1~4 Clip Key C0~C6 36 Plug-in2 (64 Plug-in Voice) Banks A~D 1~16 1~16 Voice Voice Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform. Voice Element 1~4 Element Wave form AWM2: 479 Preset waveforms Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of Drum Voice assignments is known as a Drum Kit. If you have installed an optional Plug-in Board, there will be more Voices for you to choose from. These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have installed (Page 32). The Note Limit settings (Page 90) will also affect the allocation of sounds. But basically, Normal Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard. Normal Voice Drum Voice Voice Element 1~4 wave 1 wave 2 wave 3 wave 4 wave 5 wave 73 A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices and save them to internal (User) memory or to external memory (Memory Card), just as with Normal Voices. 37 Basics Section An Overview of Voices/Waves Basics Section Waves Waves are waveforms used as Elements that make up a Voice. 479 high quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters. wave 1~479 Element1 Element2 Element3 Element4 C-2 G8 Voice Another feature of the CS6x/CS6R is its ability to accept computer WAV/AIFF files and record real instruments, which you can then play back as musical instrument sounds. These types of sounds are known as Phrase Clips. You can record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card. The Waves can then be processed in Phrase Clip Edit Mode and assigned to notes (Clip Keys) on the keyboard to form a Clip Kit. Up to four Clip Kits can be held in memory. You can play these Clip Kits via the keyboard or you can assign them as Parts in a Performance. CD Up to 256 Clips Microphone Memory Card Clip Kit 1~4 Save Memory Card C0 C6 The Clip Kit settings will be lost when you switch off your synthesizer. To avoid this situation, you should save your Clip Kit settings to Memory Card. 38 A Performance consists of up to 20 Parts, each of which can a Normal Voice, Drum Voice, Phrase Clip, A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts (up to four), you can play back rich layered sounds in Performance Play Mode. You can also create splits so that different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel number to each Part, each track of a sequencer can play back a different Part. Performance Part 1~16, Phrase Clip, A/D INPUT Part, Plug-in 1/2 Part Multiple Layered Voices Layer Switch set to “on” Performance Part 1~16, Phrase Clip, A/D INPUT Part, Plug-in 1/2 Part Song MIDI CH 1~16 CH1 Different Voice For Each Part Sequencer CH16 In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can cause note response to become slower under some circumstances. 39 Basics Section Performances Basics Section Easy Real-time Editing Sound Control Knobs (CS6x only) The Sound Control knobs allow you for on-the-fly alteration of the tonal characteristics and effects applied to the Voice or Part of a Performance that is currently selected. The functions of each of the knobs are explained here. The altered Voices or Performances can be stored anytime as Scene 1 or Scene 2 (Page 45). When saving each Voice or Performance (Pages 116, 141), its Scene information is also included. However, only the states of the two FILTER knobs, the ATTACK and DECAY knobs and Assignable Knobs [1] and [2] are stored with each Scene. A preset of suitable parameter settings is assigned to each sound. By using each knob, you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded. FILTER Knobs These two knobs let you directly adjust filter parameters to control the tonal characteristics of the sound. Generally, filters are used to pass certain frequencies of a sound and block others. n The characteristics of the filter will vary depending on the Filter Type parameter setting for each Element of the Voice. [RESONANCE] Knob Use this knob to increase/decrease the harmonic boost applied to the sound around the cutoff frequency. Turn the knob clockwise to increase the boost and anti-clockwise to decrease it. You can give a unique characteristic to the sound by adjusting this parameter. EFFECT Knobs These two knobs let you directly set the amount of reverb and chorus applied to the sound. [REVERB] Knob Level Cutoff Frequency Use this knob to increase/decrease the Reverb Send level, which is the amount of reverb applied to the sound. Turn the knob clockwise to increase the level and anti-clockwise to decrease it. Resonance [CUTOFF] Knob Use this knob to increase/decrease the filter cutoff frequency. Turn the knob clockwise to decrease the cutoff frequency, which will produce a brighter sound. Turn it anti-clockwise to increase the cutoff frequency, which has the effect of muffling the sound. Frequency [CHORUS] Knob Use this knob to increase/decrease the Chorus Send level, which is the amount of chorus applied to the sound. Turn the knob clockwise to increase the level and anti-clockwise to decrease it. n The effect of changing this parameter will vary depending on the Chorus Type parameter setting (Page 89). n The effect of changing this parameter will vary depending on the Reverb Type parameter setting (Page 89). The “í” indicator FILTER CUTOFF [ATTACK] Knob Use this knob to extend/shorten the Attack time, which is the time taken for the sound to reach its peak level from the moment a note is played on the keyboard. Turn the knob clockwise to extend the Attack time and anti-clockwise to shorten it. When you move a knob, the í indicator is displayed to the left of the LCD. The indicator for the Voice or Performance remains displayed until you save your edits. If you need to keep your edited data, you should save it (Pages 116, 141). EFFECT RESONANCE REVERB CHORUS EG Edit indicator GENíName) Ctgry ATTACK DECAY SUSTAIN RELEASE EG (Envelope Generator) Knobs [DECAY] Knob Use this knob to extend/shorten the Decay time, which is the time taken for the sound to drop from its peak level to a steady, continuous level. Turn the knob clockwise to extend the Decay time and anti-clockwise to shorten it. [SUSTAIN] Knob [RELEASE] Knob Use this knob to increase/decrease the Sustain level, which is the level of the sound maintained while the note is being held down. Turn the knob clockwise to increase the Sustain level and anti-clockwise to decrease it. Use this knob to extend/shorten the Release time, which is the time taken for the sound level to fade to zero after the note has been released. Turn the knob clockwise to extend the Release time and anti-clockwise to shorten it. These four knobs let you directly control the “envelope” of the sound. Envelopes define the transitions in sound level from the moment you press a note on the keyboard to the moment the sound level fades out after you release the note. All instruments have their own definitive and varied envelopes, which can be simulated using these four parameters. Level Sustain Level Time Attack Time Key on Decay Time Release Time Key off The functions assigned to each of these knobs are the same as those set in the Common Quick Edit Envelope Generator screens in Voice Edit (Page 78) and Performance Edit (Page 121). 40 Many features of this synthesizer make it ideal for live performances. These features are explained here. 2 1 Using the Scene (CS6x) Controls (Page 45) Using the Arpeggiator (Page 42) Using the Sound Control knobs, you can edit sounds with ease. You can then assign two of these edits as Scenes, then switch between them or create a mix of the two in real time using the SCENE [1] or [2] keys and [CONTROL] knob on the front panel, or even a Foot A wide variety of arpeggio patterns can be created automatically by just holding down a set of notes on the keyboard. You can specify the sound and the note range within which the arpeggiator is active, then use your left hand to hold down the notes being arpeggiated while using your right hand to play a melody line. 3 Rear Panel POWER Using the Controllers (Page 47) The Pitch Bend Wheel, Modulation Wheel can be freely assigned to control various sound parameters in real time. By connecting an optional Foot Controller or Foot Switch, you can also use your feet to control parameters, to change Program Number, and so on (Page 52). Also, you can assign parameters to Knobs [A], [B], [C], [1] and [2] on the front panel below the LCD. CS6x CS6R 4 5 Using Phrase Clips (Page 53) Other Features (Page 59) In addition to the Sound Control knobs, there is also a knob and an [ON/OFF] key for Portamento. These conveniently let you switch Portamento on or off and adjust the Portamento time in real time (CS6x). Existing Phrase Clips (waveform data) can be read or you can create your own Phrase Clips by recording from external audio sources, such as CD players. Rhythm loops and breakbeats can easily be created. Assign a variety of Phrase Clips to notes on the keyboard to form a Clip Kit (of which you can create up to four). Then play this Clip Kit live or assign it to a Part in a Performance for playback using a sequencer. The parameters for these features can be stored per Voice/Performance/Phrase Clip. 41 Basics Section Ideal for Playing Live Basics Section 1 Arpeggiator Only notes within the Note Limit range will be arpeggiated. Therefore, if the notes you play are not arpeggiated, they may be outside this range. Details about the Note Limit settings are given later. The arpeggiator is particularly suited to dance/techno music genres. You can assign any The Pitch Bend and Modulation Wheels can be used of 128 Arpeggio Types to each Voice, Performance while the arpeggiator is running. or Clip Kit, and adjust the tempo. You can also set the Arpeggio Mode (the way in which the arpeggio is played back when you press a note) Changing the Gate Time and Play Effects to create your own original grooves. Arpeggio information can be transmitted You can use the [GATE TIME] knob on the front panel to change the gate times (lengths) of notes through the MIDI Out. played by the arpeggiator. Assuming that the On the CS6R, the Arpeggiator's ON/OFF, GATE knob is centered (i.e., the Gate Time setting is TIME, and HOLD functions are set in the relevant 100%), turning the knob clockwise will increase Edit Modes (Pages 82, 83). the Gate Time to a maximum of 200% and turning it anti-clockwise will shorten it to a Switching the maximum of 0%. You can vary note lengths in real time by using this knob while the arpeggio is Arpeggiator On/Off playing. However, the effect will vary depending The arpeggiator can be used in Voice, on the sound and phrase settings. Performance or Phrase Clip Mode, and also when the sequencer is being used. You can switch the ARPEGGIO arpeggiator on/off using the ARPEGGIO ON/ HOLD [ON/OFF] key on the front panel. When OFF switched on, the ARPEGGIO [ON/OFF] key LED GATE TIME will be lit. ARPEGGIO HOLD Changing the Arpeggio Type, Tempo and Note Limit. ON/ OFF GATE TIME You can choose from 128 different Arpeggio Type presets. You can also freely vary the Arpeggio Tempo to suit the song. The Note Limit parameter can be used to define the effective note range of the arpeggio. If the arpeggiator is already switched on and ready for use, the ARPEGGIO [ON/OFF] key LED will light when you select the Voice, Performance or Clip Kit. The on/off state of the arpeggiator is stored with each Voice, Performance or Clip Kit. (Pages 116, 141, 160) Each parameter applies to, and is stored with, each Voice, Performance or Clip Kit. By playing notes on the keyboard and listening to the arpeggio, you can adjust these parameters by ear. You can check/change the Arpeggio Type, Tempo and other parameters in the Arp screen (Page 82) in Voice, Performance or Phrase Clip Edit Mode. The arpeggiator’s parameters are available in each Edit Mode. In the following Voice Mode example, the Arpeggio Type is set for a Drum Voice in Preset Drum 1. Using the Arpeggiator When the arpeggiator is switched on, the notes you play (and hold down) on the keyboard will be arpeggiated using the currently selected Voice, Performance or Clip Kit, and according to the Arpeggio Type, Tempo and Note Limit settings. In Voice Mode, the currently selected Voice will be arpeggiated. In Performance Mode, the Voices of Parts for which both the Layer and Arpeggiator are switched on, are arpeggiated (Page 133). In Phrase Clip Mode, the currently selected Clip Kit (the Phrase Clips assigned to the notes you play) will be arpeggiated. 42 To select the Preset Drum, press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key, then press a PROGRAM key. Here, we will choose Preset Drum 1 so you should press the PROGRAM [1] key. On the CS6R, press the [PRE2] key while holding down the [PRE1] key , press the [ENTER] key, then select the Drum Voice using the [PAGE] knob. 1Press the [EDIT] key in Voice Play Mode. You will enter Voice Edit Mode at the screen where you previously exited. You can play multiple patterns simultaneously by pressing more than one note on the keyboard. MODE VOICE PERFORM ARPíType) Type Tempo Common≥BigBeat2:Dr 92 UTILITY Hold off CARD SHIFT EDIT Switch on PAGE A B C 1 2 DATA JOB PART/ELEMENT COMPARE STORE Now try assigning different Arpeggio Type and Drum Voice settings. There are many different drum patterns available. 2Turn Knob [A] fully anti-clockwise until Common is displayed on the bottom line. Voice Edit Mode consists of two different Edit screens: Common Edit (for parameters common to all Drum keys/Elements) and Drum key/Element Edit. The Arpeggiator parameters are found in the Common Edit screens that you have now selected. GEN Name) Ctgry Common SHIFT PAGE A B a-Z C Arpeggio Types are divided into the five following categories and applications are not just limited to drum patterns. You can also select Arpeggio Types for backing chords, basslines and so on. Next, why not try out Arpeggio Types with Normal Voices and Phrase Clips? When setting the Arpeggio Category to Ct (Control), you also need to set the Key Mode parameter (two screens ahead) to “direct.” 0-? Cursor [Dr:Rock Kit ] 1 2 DATA PART/ELEMENT 3Use the [PAGE] knob to switch to the ARP Type (Arpeggio Type) screen. ARPíType) Type Tempo Common GateCut2:Ct 92 SHIFT PAGE A B C Switch off 1 Hold off 2 DATA PART/ELEMENT If you use the [PAGE] knob while holding down the [SHIFT] key, a menu will be displayed. You can quickly jump to the ARP screen by using the [PAGE] knob to move the cursor to the ARP item in the menu, then releasing the [SHIFT] key (Page 80). Sq (Sequence): Creates a general arpeggio phrase. Mainly octave up/down phrases. Ph (Phrase): Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments. Dr (Drum Pattern): Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds. Cl (Phrase Clip): Select this type to a Clip Kit that is assigned with loop-mixed or loop-divided Phrase Clips, to create a new arpeggio pattern. Ct (Control): Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.” Details about Arpeggio Types are given in the separate Data List. 4Use Knob [B] to jump to the Type parameter. Now use Knob [B], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to select the desired Arpeggio Type. Let’s choose “BigBeat2” here. You can also use a foot switch (optional) to switch the Arpeggiator on and off (CS6x). Details about assigning parameters to the foot switch are given on Pages 53, 165. 43 Basics Section 5Use Knob [1] or the [ARPEGGIO] key on the front panel to switch the arpeggiator on. When you play the keyboard, the drum pattern can now be heard. Selecting the Arpeggio Type Outside the Note Limit range, you can play the keyboard normally without the notes being arpeggiated. Therefore, you can use your left hand to play block chords used by the Arpeggiator and your right hand to play melody lines in the upper part of the keyboard. Setting the Tempo Basics Section You can use Knob [C] to adjust the tempo between 25 and 300 BPM. This parameter setting is used by the Arpeggiator. Use Knob [C] to jump to the Tempo parameter. Now use Knob [C], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to set the tempo. You can also set the tempo using the [TEMPO] knob on the front panel. ARPíType) Type Tempo C_ 1234 BigBeat2:Ct≥ 127 SHIFT PAGE A B Switch on C 1 Arpeggiator Range Hold off 2 DATA Arp Note Low Setting the Note Limit Using the Note Limit parameter, let’s set up a Normal Voice (say, Voice Program Number 2 of Internal:champ) such that the Arpeggiator is enabled in the lower part of the keyboard but the upper part can be used to play melody lines. You’ll need to have already set the Arpeggio Type (say, MuteLine). 1The Note Limit parameters can be set in the ARP Limit screen, which follows immediately after the ARP Type screen mentioned in step 3 (earlier). Use the [PAGE] knob to switch to the screen. ARPíLimit) C_ 1234 PAGE A Arp Note High Combined with the OSC Limit parameter of the Element Edit screen, the sound used in the lower part of the keyboard can be different from that in the upper part. PART/ELEMENT SHIFT Area for Playing Melody Note Limit C -2 - G 8 B C 1 2 DATA PART/ELEMENT 2Use Knob [2] to jump to the parameter for the highest note in the range, and to set the note. Alternatively, you can set this parameter by pressing the note (say, E3) on the keyboard while holding down the [SHIFT] key. Similarly, the lowest note in the range can be set using Knob [1], or by pressing the note while holding down the [SHIFT] key. Following the example in this manual, if you select Voice Program Number 002 of INT, Portamento is already set for this Voice. Use the PORTAMENTO knob and [ON/OFF] keys to change the portamento time and switch portamento on/off (Page 59). Using the Arpeggiator Hold With Arpeggiator Hold switched on, the arpeggiator will continue to play back, even after you have released your fingers from the notes on the keyboard. The same arpeggio pattern will be played back until you press another set of notes on the keyboard. You can switch Arpeggiator Hold on/off using the ARPEGGIO [HOLD] key. When switched on, the ARPEGGIO [HOLD] key LED is lit. Press the ARPEGGIO [HOLD] key for the Voice you edited earlier (for which you set the Note Limit parameter). With Arpeggio Hold switched on, the Arpeggiator will continue to play back, even after you have released your left hand from the keyboard. This leaves your left hand free to perform other tasks, such as adjusting the Sound Control knobs. ARPEGGIO HOLD ON/ OFF GATE TIME ARPíLimit) C_ 1234 SHIFT PAGE A Note Limit C 1 - E 3 B C 1 2 DATA PART/ELEMENT Knobs [1] and [2] are used to set the Note Limits of the keyboard range within which the arpeggiator will play back. The cursor (≥) immediately jumps to each respective parameter when Knobs [1] and [2] are used. Once the cursor is at the parameter, you can also use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enter settings. 44 If Arpeggiator Hold is switched on and ready for use, the [HOLD] key LED will light when you select the Voice, Performance or Clip Kit. Depending on the method of storage (Pages 116, 141, 160), the [HOLD] key state (on/off) can be saved with the Voice, Performance or Clip Kit. You can set the [HOLD] key state in the Arp screen (Page 82) in Voice, Performance or Phrase Clip Edit Mode. 2 Scene Controls (CS6x) 2Use the Sound Control knobs and Assignable Knobs [1]/[2] to get the sound that you will store as a Scene. As an example, the illustration below shows two different groups of knob settings (A and B) assigned, respectively, to the SCENE [1] key and the SCENE [2] key. In effect, what this means is that two types of sound can be memorized and recalled for each Voice/Performance. What’s more, you can use the SCENE [CONTROL] knob to create a smooth transition from one Scene to the other, or even a mix between Settings A and B. Setting A Setting B VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime A B C 1 If you store the Voice or Performance while the LEDs of both SCENE keys are lit (i.e., after adjusting the SCENE [CONTROL] knob), this state will also be stored with the Voice or Performance. Storing Scenes If you use the Sound Control knobs or Assignable Knob [1]/[2] to change the sound settings while the LEDs for both SCENE keys are lit (i.e., a mixture of settings from both Scenes is being used), these new settings should be stored to either SCENE key as a new Scene. This operation is known as Scene Store, and is explained as follows. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime 2 A Scene Store B C Scene Store 1 2 1Press the SCENE [1] or SCENE [2] key while holding down the STORE key. The LED for the key you select will light and the positions of the knobs will be stored. SCENE 1 As explained earlier, if you edit the sound while either SCENE key LED is lit, this means that you are editing the Scene directly so you do not need to perform a Scene Store. 2 CONTROL Voice Store or Performance Store 2Store another Scene to the other SCENE key if necessary. 3Store the Voice (Page 116) or Performance (Page 141) to save the Scene settings. Scene Settings Recalling Scenes When stored, the Scenes are held in a temporary edit You can easily recall a Scene by pressing the buffer and the settings are lost if you switch to another Voice or Performance, or if you change Mode. Therefore, SCENE [1] key or SCENE [2] key. The SCENE once you have stored the Scene, you should store the Voice key’s LED will light. or Performance; the Scene settings will be stored along When you switch between Voices or Performances, with it. one of the Scenes will always be selected (the 1In Voice/Performance Mode, select the Voice/ SCENE [1] key or SCENE [2] key LED will be lit). It is also possible that the LED for both SCENE keys Performance for which you wish to store Scenes. will be lit, meaning that the sound uses a mixture of When you switch between Voices or Performances, both Scenes. one of the Scenes will always be selected (the When you recall a Scene, the knob position settings SCENE [1] key or SCENE [2] key LED will be lit). Therefore, the settings for the Scene you are about for that Scene will be recalled, regardless of the to switch to will be different to those of the current physical positions of the knobs. currently selected Scene. It is also possible that the LEDs for both SCENE keys will be lit, meaning that the sound uses a mixture of both Scenes. 45 Basics Section Each Voice can have its own settings for Assignable Knobs [1]/[2] (Pages 51, 84). Scenes are used to memorize the positions of the FILTER [CUTOFF]/[RESONANCE] knobs, EG 3If you wish, you can set up a different Scene [ATTACK]/[DECAY] knobs and Assignable Knobs for the other SCENE key. [1]/[2], and can be recalled later at the touch of a 4Store the Voice (Page 116) or Performance button. You can use the knobs to edit the sounds (Page 141); its Scene settings will be stored in real time, then store their positions with each with it. Voice/Performance as Scene 1 and Scene 2. Basics Section Using the SCENE [CONTROL] Knob Controlling Scenes by Foot Controller (CS6x) By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can switch between Scenes by foot without having to use your hands. You can set this up as follows. The SCENE [CONTROL] knob lets you create a smooth transition from one Scene to the other, or even a mix between the settings for both Scenes. As an example, the illustration below shows two different groups of knob settings (A and B) assigned, respectively, to the SCENE [1] key and the SCENE [2] key. Starting with the SCENE [CONTROL] knob at its fully anti-clockwise position, turn the knob clockwise to create a smooth transition from the Scene 1 settings to those of Scene 2. CS6x FOOT SWITCH FOOT FOOT INDIVIDUAL OUTPUT 2 1 SUSTAIN CONTROLLER VOLUME R OUTPUT L MONO PHONES A D INPUT LINE 1 MIC LINE 2 GAIN For example, the Resonance can be increased and LFO speed can become faster between Scenes. Multiple changes to the sound can be applied in one go using just the one knob, making this feature ideal for live performances. Setting A Setting B FC7 VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime A B C 1 1 Press the [UTILITY] key to enter Utility Mode. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime 2 A B C 1 2 MODE Scene Store VOICE PERFORM UTILITY CARD EDIT JOB Scene Store SCENE 1 2 CONTROL COMPARE STORE Turn the SCENE [CONTROL] fully anticlockwise to switch to Scene 1 or fully clockwise to switch to Scene 2. If you set it to a position in between, a mix of settings taken from both Scenes will be used. By turning the knob from one end to the other, a smooth transition from one Scene to the other is created. While the knob is in a position other than fully clockwise or anticlockwise, the LEDs for both the SCENE [1] and SCENE [2] keys will be lit. 2 Use the [PAGE] knob to switch to the CTRL Scene (System Control Scene) screen. CTRL Scene) Sys SHIFT Settings between Scenes 1 and 2 SCENE Scene 1 settings 1 PAGE A PART/ELEMENT Scene 2 settings 2 CONTROL You can also assign Volume, Pan and other Control Change numbers to the SCENE [CONTROL] knob (Page 165). 46 B Scene Control 65[Port Sw ] C 1 2 DATA CTRL Scene) Sys SHIFT PAGE A Scene Control 04[FootCtrl] B C 1 2 DATA 3 Using Controllers The CS6x is equipped with Pitch Bend and Modulation Wheels, plus a Ribbon Controller. Either of the CS6x and CS6R is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters. PART/ELEMENT Pitch Bend Wheel 4 Use the [PAGE] knob to switch to the CTL Assign2 (Voice Control Assign 2) screen. CTRL Assign2) Vce [ off SHIFT PAGE A FC 00 ] B C RB----Mode 22 hold 1 2 This wheel’s prime function is to control pitch. Roll the wheel upward/downward to bend the pitch upward/downward. The effect can also be reversed. DATA Pitch Up PART/ELEMENT 5 Use Knob [C] to select “04:FootCtrl” (Foot Controller). CTRL Assign2) Vce [FootCtrl] SHIFT PAGE A B FC 04 C Pitch Down Pitch Bend Wheel RB 22 1 2 DATA Pitch Bend Range can be set for each Voice. The wheel can also be assigned other parameters (Page 84). PART/ELEMENT Even if a different parameter is assigned to the wheel, Pitch Bend messages are still transmitted through the MIDI Out when it is being used. Switch to Voice Mode and you are now ready to use the Foot Controller to control Scenes. The above procedure is for assigning a Foot Controller to control Scenes in Voice Mode. For Performance Mode, follow the same procedure but at steps 4 and 5, switch to the CTL Assign2 screen in Performance Edit Mode. Modulation Wheel Modulation Wheel The more you roll this wheel upwards, the greater the modulation that is applied to the sound. Deeper Pitch Bend Wheel Modulation Wheel Modulation depth can also be set beforehand. Also, the wheel can be assigned different parameters, such as Volume or Pan (Page 84). 47 Basics Section 3 Use Knob [B] to select “04:FootCtrl” (Foot Controller). Basics Section Ribbon Controller (CS6x) Foot Controller (CS6x) The Ribbon Controller is a touch-sensitive controller that lets you control, say, Filter Cutoff in real time by running a finger lightly across its surface to the left or right. Normally, its assigned parameter will increase in value as you run you finger to the right, though you can set it to do the opposite. The Ribbon Controller can be assigned many different parameters (Page 84). An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack (Page 18) on the rear panel, can be assigned a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers). This is very convenient if you are playing live. Foot Controller parameters can be set for each Voice. Foot Switch (CS6x) Ribbon Controller parameters can be set for Utility Mode (Pages 164, 169). Knobs [A]/[B]/[C]/[1]/[2] In Voice/Performance Play Mode, Knobs [A], [B], [C], [1] and [2] can be used as real-time controllers. Knobs [A], [B] and [C] are assigned to control the equalizer gain of, respectively, EQ Low, EQ Mid and EQ Hi. With Knobs [1] and [2], you are free to assign different parameters per Voice. SYSTEM A B C 1 PAGE PART/ELEMENT The parameter assigned to the Foot Switch is set in the CTRL Other screen of Utility Mode (Pages 52, 165). Sustain (CS6x) With an optional Yamaha FC4 or FC5 Foot Switch connected to the SUSTAIN jack (Page 18) on the rear panel. This is useful when playing pianotype sounds. 2 CURSOR SHIFT An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH jack (Page 18) can be assigned to a range of parameters. It is suited for a switch-type (on/off) controls such as Portamento Switch, increment/decrement of a Voice or Performance Number, start/stop of the Sequencer, holding Arpeggiator on or off. The Foot Switch is not well suited for continuous control. You could also use it to switch to between different Voices or Performances You cannot assign a function other than Sustain to the SUSTAIN jack. DATA If you turn any knob clockwise, the value assigned Foot Volume (CS6x) to it is incremented. Conversely, the value is Connect an optional Foot Controller (such as the decremented if you turn it the other way. FC7) to the FOOT VOLUME jack of the rear Common system parameters are assigned to Knobs panel (Page 18). You can then use your foot to [A],[B] and [C] (Pages 50, 165). Voice-specific control Main Volume or Expression parameters, parameters are assigned to Knobs [1] and [2] (Pages leaving your hands free to play the keyboard. This 51, 84). is very useful if you are playing live. A preset of suitable parameter settings is assigned to each Voice. By using each knobs [1] and [2], you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded. In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are used for entering parameter settings on screen (Page 24). The parameter assigned to the Foot Volume controller is set in the CTRL Other screen of Utility Mode (Page 165). Breath Controller You can connect an optional Breath Controller (BC3) to the BREATH jack (Page 18) on the rear panel (or the front panel of the CS6R). Then use it to control a large number of the synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The Breath Controller is ideally suited for realistic expression with wind instrument type Voices. 48 Breath Controller parameters can be set for each Voice. Aftertouch Aftertouch lets you, for example, add vibrato to a sound by applying further pressure to a note on the keyboard while it is being held down. (With the CS6R, an aftertouch-sensitive controller keyboard must be connected.) This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (Page 84). For example, set the Src (Source) parameter of Control Set 1 to MW (Modulation Wheel) and the Dest (Destination) parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control. Control Sets In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, the Element is panned from left to right. So in other words, you can assign several Dest parameters to each Src controller. Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned with various parameters, as explained on Page 47. For example, you could assign Resonance to the Modulation Wheel and set aftertouch to apply vibrato. You are free to assign parameters to suit the kind of sound being played. SET 1 These controller assignments are known as Control Sets. As the following illustration shows, you can assign up to six different Control Sets per Voice. For each Phrase Clip, you can assign up to four different Control Sets. Within each Control Set, the controller is known as the Source (Src) and the parameter controlled by the Source is known as the Destination (Dest). There are various Dest parameters available; some will apply to the Voice as a whole, while some will be specific to each of its Elements. Details are given in the Controls List of the separate Data List. Details about the available Dest parameter settings are given in the Destination Parameter List of the separate Data List. Voice Src(Source) Control Sets 1~6 Controller RB,MW,etc SET 2 Src Src MW (Modulation Wheel) MW (Modulation Wheel) Dest Param Dest Param ELFO-PM ELM PAN Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth). Again, specify the Element to be controlled and also the depth of control. Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter. SET 1 Dest(Destination) Control Parameters SET 3 Src Src MW (Modulation Wheel) FC (Foot Controller) Depth Depth of control Elements ON/OFF ON/OFF ON/OFF ON/OFF 1 2 3 4 The Element Switches (Page 85) will be disabled if the Dest parameter setting is not specific for Elements (i.e., for settings 00 to 33). Moving the Modulation Wheel changes the amount of Pitch Modulation plus the pan position. Dest Dest ELFO-PM ELFO-PM You can control the pitch modulation effect using either of Modulation Wheel (MW) and Foot Controller (FC). By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds. 49 Basics Section By creating Control Sets, you can change sounds in a variety of ways. Basics Section Control Sets and External MIDI Control Assigning Parameters to Knobs [A], [B] and [C] In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer. For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch. Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out. The following procedure explains how you can assign a desired parameter to Knob [A], [B] or [C]. You can assign any parameters that are common throughout the system (for all Play Modes) and any MIDI Control Change Numbers. In the example, Knob [A] will be set up to control Reverb Return. 1 Press the [UTILITY] key to enter Utility Mode. MODE Let’s say the Pan parameter is assigned to the Pitch Bend Wheel in a Control Set. Now, when you move the Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound but at the same time, the original pre-defined Pitch Bend messages will still be sent to the MIDI Out. MIDI OUT PERFORM UTILITY CARD EDIT JOB COMPARE STORE IN MIDI Control 2 Use the [PAGE] knob to switch to the CTRL KnobA (System Control Knob A) screen. Pitch Bend Wheel CTRL KnobA) Sys SHIFT Tone Generator VOICE PAGE A B CC# 01[ModWheel] C Dest EQLow-G 1 2 DATA Control Set PART/ELEMENT Pitch LFO1 PAN The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments are found in the VOICE (Vce) CTRL Assign1/2 screen of Utility Mode. 3 Use Knob [2] to select REV-Rtn (Reverb Return). CTRL KnobA) Sys SHIFT As Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch is pre-defined with specific MIDI controls, you cannot assign MIDI Control Changes. You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out. For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the VOICE CTRL Assign2 screen of Utility Mode, you could assign Control Change Number 1 (Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator but at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out. This aspect of the synthesizer makes it ideal for use as a master controller for controlling external MIDI devices. Add an optional Foot Controller 50 or Breath Controller for even more control. PAGE A B CC# 01[ModWheel] C Dest REV-Rtn 1 2 DATA PART/ELEMENT Now you can use Knob [A] for on-the-fly control of the Reverb Return level in Voice/Performance/Phrase Clip Play Mode. Note that you can also send (by turning Knob [A]) or receive Control Change messages with the Controller Number set in the CC# parameter through MIDI In and Out. For assignable parameters, refer to “System Controller Destination Parameters” in the separate Data List. The following procedure explains how you can assign a desired parameter to Knob [1] or [2]. You can assign controllers to each Voice (or Part in a Performance) or Clip Kit. Control Settings can be assigned as a Control Set, and a each Controller can be used to control multiple parameters (although this varies according to the type of Voice or Clip kit). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCH-Crs (Pitch: Coarse) to Knob [1]. CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs SHIFT PAGE A B C EL Sw --34 1 Basics Section 5 Use Knob [C] to assign PCH-Crs (Pitch:Coarse) to the Dest (Destination) parameter. Assigning Parameters to Knobs [1] and [2] Depth +14 2 DATA PART/ELEMENT 6 Use Knob [1] and the [DATA] knob to specify the Element to be controlled. Knob [1] moves the cursor (blinking) and the [DATA] knob displays the Element to be controlled. You can also assign, separately, a different MIDI Control Change Number to the same knob in Voice Mode and Performance Mode. Details are given on Page 168. CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs SHIFT PAGE A B C EL Sw 1--4 1 Depth +14 2 DATA 1 Press the [VOICE] key to enter Voice Play Mode. PART/ELEMENT MODE VOICE PERFORM UTILITY CARD 7 Use Knob [2] to set the Depth parameter. The larger the setting, the greater the depth of control. CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs EDIT JOB SHIFT PAGE A B C EL Sw 1234 1 Depth +34 2 DATA COMPARE STORE PART/ELEMENT 8 Store the edited Voice (Page 116). 2 Select Internal Voice 001 (A01) and press the [EDIT] key to enter Voice Edit Mode. Now you have Internal Voice 001 (A01) assigned PCH-Crs (Pitch:Coarse) to Knob [1]. When you select and play this Voice in Voice Play Mode, you can control the pitch of the Voice if you turn Knob [1]. 3 Use the [PAGE] knob to switch to the CTL Set1 (Control Set 1) screen. CTL Set1) Src Dest C 1234 MW(01) FLT-Rez SHIFT PAGE A B C EL Sw --34 1 Details about the assignable control functions are given in the Control Set Destination Parameters in the separate Data List. Depth +14 2 DATA PART/ELEMENT 4 Use Knob [B] to assign “KN1 (16)” (Knob [1]) to the Src (Source) parameter. CTLíSet1) Src Dest C 1234 KN1(16) FLT-Rez SHIFT PAGE A B C EL Sw --34 1 Depth +14 2 DATA PART/ELEMENT 51 Basics Section 3 Use Knob [C] to select “01:ModWheel” (Modulation Wheel). Controlling Parameters by Foot Controller (CS6x) By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can control various parameters by foot without having to use your hands. In the following example, we introduce how to set up Foot Controller to work as Modulation Wheel. CTRL Assign2) Vce [ModWheel] SHIFT B C RB 22 1 2 DATA PART/ELEMENT In Voice Mode, the foot controller can now be used to control Modulation. CS6x FOOT SWITCH A PAGE FC 01 FOOT FOOT INDIVIDUAL OUTPUT 1 2 SUSTAIN CONTROLLER VOLUME R OUTPUT L MONO PHONES A D INPUT LINE 1 MIC LINE 2 If the current Voice has a Control Set with a source (Src) assigned to Modulation Wheel (MW) and receives a Control Change message of Modulation Wheel, a destination (Dest) parameter for the source (MW) will be affected with that message. GAIN The above procedure explains how to set up the Foot Control to control Modulation in Voice Mode. To create such a setup for Performance Mode, the appropriate settings are found at the CTL Assign2 screen in Performance Edit Mode. FC7 Switching Between Programs by Foot Switch (CS6x) 1 Press the [UTILITY] key to enter Utility Mode. By connecting an optional Foot Switch (such as the FC4 or FC5) to the FOOT SWITCH jack on the rear panel of the synthesizer, you can switch between Programs without having to use your hands. For example, if you consecutively arrange the Voices/Performances in memory, you can switch between them easily in a live performance. The following procedure explains exactly how to a about this. MODE VOICE PERFORM UTILITY CARD EDIT JOB CS6x COMPARE STORE 2 Use the [PAGE] knob to switch to the CTRL Assign2 (Voice Control Assign 2) screen. CTRL Assign2) Vce [ off SHIFT PAGE A B FC 00 ] C FOOT SWITCH RB 22 1 2 DATA FC4 or FC5 PART/ELEMENT 52 FOOT FOOT INDIVIDUAL OUTPUT 2 1 SUSTAIN CONTROLLER VOLUME R OUTPUT L MONO PHONES A D INPUT LINE 1 MIC LINE 2 GAIN Real-world sounds can be recorded or loaded into the synthesizer and played back as musical instruments sounds. The waveform data held in the synthesizer are knows as Phrase Clips. These Phrase Clips are created and played back in Phrase Clip Mode (Page 142). A basic overview of Phrase Clips is given here. MODE VOICE PERFORM UTILITY CARD EDIT JOB Phrase Clips Overview COMPARE STORE 2 Use the [PAGE] knob to switch to the CTRL Other (System Control Other) screen. CTRL Other) FS Sys 088[ ------ ] SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 3 Use Knob [B] to select “099:PC Inc” (Program Change Increment). CTRL Other) FS Sys 099[PC Inc SHIFT PAGE A B C 4 Phrase Clips ] 1 2 DATA As shown in the following illustration, on the rear panel (or the front panel of the CS6R), there is an A/D INPUT jack for inputting analog sources to the A/D converter. The A/D converter then converts the signals from these analog sources into digital binary signals through a process known as “sampling.” Within the synthesizer, these sampled signals are called Phrase Clips, and up to 256 of these Phrase Clips can be held within the 4MB of internal memory. You can assign Phrase Clips to any keys on the keyboard to play them back. A collection of Phrase Clip keyboard assignments is known as a Clip Kit, of which you can create up to four. You can then assign Clip Kits to Performances, just like with Voices. When playing back Phrase Clips, the processing of signals is the opposite of A/D conversion. The digital signals are passed through a D/A converter to convert them back to analog form. PART/ELEMENT DRAM In Voice/Performance/Phrase Clip Mode, the Foot Switch can now be used to switch between programs. AD INPUT Analog Signal A/D Converter Digital Binary 256 phrase clips 4MB Internal Memory Alternatively, you can assign other functions such as Arpeggio Switch (On/Off), Sequencer (Play/Stop) and so on (Page 165). Clip Kits 53 D/A Convertor Analog signal Basics Section 1 Press the [UTILITY] key to enter Utility Mode. Sampling Rate and Bit Resolution Playing Back Phrase Clips Basics Section You can play back your Phrase Clips in three different ways, as follows. As an example, the illustration shows a sine wave. First, there is “loop” playback. A section of the When recording (sampling) the sine wave, the Phrase Clip is continuously looped during A/D converter basically takes snapshots of the playback. This is often used for creating drum wave’s levels at fixed intervals in time. pattern loops from breakbeats. Level Time Original Analog Signal Level Time Sampled waveform In the graph, the horizontal axis represents time and the vertical axis represents signal level. The number of snapshots of levels taken in one second is known as the sampling rate and is given in Hertz. The A/D converter of this synthesizer has a sampling rate of 44.1kHz, which means that it takes 44100 snapshots of the waveform’s levels within one second. The higher the sampling rate, the closer the reproduced (digital) signal is to the original. On the vertical axis, the number of levels is given in bits and is known as the bit resolution. The A/D converter of this synthesizer has a bit resolution of 16 bits, which means that there are 216 (i.e., 65536) levels on the vertical axis. As with the sampling rate, the higher the bit resolution, the closer the reproduced (digital) signal is to the original. Incidentally, audio on CDs is also sampled at 44.1kHz in 16 bits. When you play a note on the keyboard, the Phrase Clip plays from the start point to the end point. It then returns to the loop point and plays to the end point again, and keeps doing this until you release the note. With musical instruments in general, the characteristic part of the sound (the “attack” section) is usually at the beginning, just after the start point. After this, the sound does not vary a great deal while the note is being held, and you can set the loop and end points at either end of this section. When playing back a Phrase Clip of an instrument that has been looped like this, the attack section of the sound is played back once and then the looped section is played back continuously until you release the note. Looping is also way of creating usable instrument sounds without using up too much memory. Phrase Clip Start Point Looped Playback Loop Point End Point The second playback method is known as “one shot.” When you press a note on the keyboard, the Phrase Clip plays from beginning to end just once. This type of playback is commonly used for Phrase Clips of drum and percussion sounds. Start Point Figure A: Lower sampling rate and bit resolution End Point Third, you can select “reverse” playback. When you press a note on the keyboard, the Phrase Clip plays from end to beginning just once. This is useful for creating reversed cymbal sounds and other special effects. Level Time Figure B: Higher sampling rate and bit resolution Level Start Point Time End Point You can set points and playback modes for the loop in Phrase Clip Edit Mode (Page 146). 54 You can assign Phrase Clips to notes on the keyboard (C0 to C6) and play them live or using a 3Hold down the PHRASE CLIP [REC] key and sequencer. You can also edit various parameters the following screen will be displayed. Here, for each Phrase Clip. The assignment of Phrase you can assign a key to the Phrase Clip you are Clips across the keyboard is known as a Clip Kit, about to record. While still holding down the and you can create up to four of these. key simply press the respective key on the keyboard. Here, we will assign note C1. Now You can assign each Phrase Clip to one note on release the [REC] key to switch to the the keyboard. However, by assigning breakbeats Recording screen. and other rhythmic loops plus percussive Phrase Clips used in the rhythms, you can create a Clip Kit specifically for rhythms only. Or you could assign Phrase Clips of unusual sounds to create a Clip Kit of special effects. Essentially, you can create a Clip Kit consisting of any sounds that suit your needs. PHRASE CLIP REC PITCH Clip Kits can be treated the same as Voices and Performances. For instance, in Phrase Clip Play Mode, you can play Clip Kits directly using the keyboard (Page 142). In Performance Mode, a Clip Kit can be included as a Part in a Performance (Page 129). PCLP Rec) >> >> Press and hold down Select Record Key C 1:off[ ] << << Clip C1 C6 4Use Knob [B] to set the Source parameter to “voice” The Drum Voice you selected earlier can now be played on using the keyboard. C0 PCLP Rec) Source Trigger (Key=C 1) voice key C6 [ENTER] toStandby You can further edit Clip Kits and Phrase Clips in Edit Mode (Page 146) and perform jobs on them in Job Mode (Page 154). 5Use Knob [C] to set the Trigger parameter to “key.” With this setting, the recording process will begin when you press a note on the When you switch off your synthesizer, the Clip Kit will be lost. Always save important data to Memory Card. keyboard. 6Press the ARPEGGIO [ON/OFF] key on the front panel (its LED will light) to switch the This section explains how to record a Phrase Clip, Arpeggiator on. When you press a note on the set the loop and so on, execute jobs, and create a keyboard, a drum pattern will now play back Clip Kit. according to the Arpeggiator settings. You can You can create a Phrase Clip by recording from a adjust the tempo using the SEQ PLAY microphone, CD player or some other audio [TEMPO] knob on the front panel. Before equipment, or from an existing proceeding further, make sure that you have Voice/Performance/Phrase Clip in the synthesizer. selected the correct sound. As a simple example, we will record the drum With the CS6R, select the Drum Voice, enter pattern that was created earlier using the Drum Voice Edit Mode (Page 102), set it’s Arpeggiator and Drum Voice. Arpeggio Switch parameter to “on,” and then Recording a Phrase Clip 1Before entering Phrase Clip Mode, first enter Voice Play Mode and press the MEMORY [PRE1] and [PRE2] keys simultaneously. Then use the [DATA] knob, the [DEC/NO] and [INC/YES] keys or the PROGRAM keys (CS6x) to select the Preset Drum Voices (DR1). enter Phrase Clip Mode. To prevent the deterioration in sound quality when recording, you should set a high output level for the Voice (in Voice Edit Mode). 55 Basics Section 2Now press the PHRASE CLIP key (its LED will light) to enter Phrase Clip Mode. Creating a Clip Kit 7Press the [ENTER] key and the Recording Standby state is entered. You will see the “Waiting for trigger...” message. Basics Section EF BYPASS EXIT MASTER KEYBOARD ENTER !In Phrase Clip Edit Mode, use the [PAGE] knob to switch to the OSC Asgn screen. Normally you would assign the Phrase Clip to a note on the keyboard (Clip Key) here. However, since we have already assigned it to note C1 in step 3 the Phrase Clip name and number ([Clip 001]) will be displayed when you press note C1 on the keyboard or use Knob [A] to call up C1. When you press C1 to assign a Clip Key, the Phrase Clip will be played back. DEC/NO INC/YES OSCíAsgn) Number Variation [ENTER] Key= C 1 1[Clip 001] 1 to Edit SHIFT PCLP Rec) Source Trigger << Waiting for Trigger... >> PAGE [EXIT] toStop A B C 1 2 DATA PART/ELEMENT Since it is somewhat inflexible to assign the Phrase Clip to just C1, we will also assign it to the white notes from D1 to C2. Select each respective notes by pressing it on the keyboard or by using Knob [A], and use Knob [B] to assign [Clip 001] to each. 8Recording will begin when you press the respective note on the keyboard. Press the note and let the drum pattern play for one bar. 9Press the [EXIT] key. Recording will finish and the “Now Working...” message will be displayed. The recorded Phrase Clip is now assigned to note C1, as set in step 3. At this point, you can audition the recorded Phrase Clip by pressing note C1 while holding down the [REC] key. OSCíAsgn) Number Variation [ENTER] Key= C 2 1[Clip 001] 1 to Edit SHIFT PAGE A B C 1 2 DATA PART/ELEMENT At the same screen, use Knob [1] to select a Variation. A Variation refers to the method by which the Phrase Clip (including its loop points and other parameters) is played back. Using a Variation, each Phrase Clip can have up to eight different loop points. For example, when applied to the drum pattern Phrase Clip recorded earlier, Variations can be used to create a 1-bar loop pattern, a reversed pattern and other different playback styles. There may be cases where a recorded volume level differs from one you monitored while recording. It is an effect by the automatic level adjustment function that corrects a recorded level for a proper playback. In these cases, you can adjust a playback level of the Clip in Phrase Clip Edit Mode. If you want to increase the entire volume, you can use the EQ Type parameter to set a value of “Boost12”. If you are not satisfied with the result, you can repeat the recording by pressing the [ENTER] key. You have assigned the same Phrase Clip ([Clip 001]) to the white notes between C1 and C2. Now you can assign a different Variation to each of the notes. Select each respective note by pressing it on the keyboard or by using Knob [A], and use Knob [1] to assign a different Variation number (1 to 8) to each. At this stage, the Variations themselves have not been set so Variations 1 to 8 will all play the Phrase Clip back in the same way. However, once you have set up all the Variations, the same Phrase Clip can be played back differently for each white note between C1 and C2. )Once you exit Phrase Clip Record Mode, the recorded Phrase Clip will automatically be saved to memory (DRAM) with a new number and name (Clip 001). Here, do not exit Phrase Clip Record Mode. Instead, press the [EDIT] key to enter Phrase Clip Edit Mode. Editing the Phrase Clip Continuing from step ) above, you are now ready to edit the Phrase Clip you have just recorded. In Phrase Clip Edit Mode, you can assign Phrase Clips to notes on the keyboard (between C0 and C6) to form a Clip Kit, create loops, edit the tonal characteristics and so on. Here, we will edit the recorded Phrase Clip in several ways. OSCíAsgn) Number Variation [ENTER] Key= C 1 1[Clip 001] 1 to Edit SHIFT PAGE A PART/ELEMENT 56 B C 1 2 DATA ^Next, select Variation 2 but set the Play parameter to “loop” this time. When you press note D1 at this point, the Phrase Clip is simply played back as a loop between the Start and To return to the previous screen, press the [EXIT] End points of the recording. If you only want key. one part of the Phrase Clip to be played back as EF MASTER BYPASS KEYBOARD a loop, you need to set the Start/Loop/End points. As an example, we will set a loop exactly one bar in length. EXIT ENTER &Use Knob [C] to set the Start point (the point at which playback will begin when you press a note). To create a 1-bar looped drum pattern, you need to press note D1 and adjust the Start point so that it matches up with the first beat in the bar. DEC/NO INC/YES PCLPíVar) (C 1) 1: Play loop Start 0 Loop 0 PCLPíVar) (D 1) 2: End 236378 SHIFT PAGE #Use Knob [A] to select the Variation number. We will start with Variation 1. PCLPíVar) (C 1) 1: SHIFT PAGE A Play loop B Start 0 C Loop 0 1 DATA PCLPíVar) (D 1) 2: $As explained earlier (Page 54), the Play parameter specifies how the Phrase Clip is played back. There are three possible settings for this parameter, but we will select “reverse” here. Use Knob [B] to select. SHIFT PAGE A B Start 0 C Loop 0 1 SHIFT 1 End 236378 2 DATA PAGE A Play loop B Start 119120 C Loop 119120 1 End 236378 2 DATA PART/ELEMENT End 236378 2 C Loop 0 *Use Knob [1] to set the Loop point (the start of the section to be looped). Since you will be creating a loop exactly one bar in length, the Loop point can be set to the same position as the Start point. PART/ELEMENT PCLPíVar) Play (C 1) 1: reverse B Start 119120 PART/ELEMENT End 236378 2 A Play loop (Use Knob [2] to set the End point (the end of the section to be looped). For a 1-bar drum pattern, you need to set the End point at the end of the fourth beat in the bar (i.e., immediately before the first beat of the next bar). Press note D1 and keep adjusting the End point until you find the ideal point for looped playback. DATA PART/ELEMENT Now press note C1 on the keyboard and check that the Phrase Clip has indeed been reversed. Reverse playback involves the sound being played in reverse from the End point to the Start point. You can change the length by simply adjusting these points. When you record a Phrase Clip, the Start point is initially set at the beginning of the recording and the End point at the end of the recording. PCLPíVar) (D 1) 2: SHIFT PAGE A PART/ELEMENT %Press the [EXIT] key to return to the OSC Asgn (Oscillator Assign) screen. This time, select the D1 note and press the [ENTER] key. 57 Play loop B Start 119120 C Loop 119120 1 End 452316 2 DATA Basics Section @Check that note C1 is selected, then press the [ENTER] key. The Variation parameters for [Clip 001] will be displayed. Basics Section [Clip 001] is now reversed as Variation 1 and looped for one bar as Variation 2, and both Variations can be played by pressing notes C1 and D1. In the same way, you can change the points for Variations 3 to 8 and set up different loops to that of Variation 1/2. £Use Knob [1] to set the Type parameter, which specifies the type of loop change (i.e., which part of the loop will be modified). Combined with the Vari parameter, it is possible to create a variety of loop patterns using Loop Remix. There are five Types in total, and we will use Type 2 here. Therefore, each Phrase Clip can be played back in a variety of ways according to different notes on ¢Use Knob [2] to set the Vari (Variation) the keyboard, and you can assign completely parameter, which specifies the amount by different Phrase Clips with different Variations to which the loop will be modified. The four other notes. Such a collection of Phrase Clips and available Variations (A to D) apply increasing Variations is known as a “Clip Kit.” amounts of modification. Let’s select “D” here in order to create the largest modification. ºNext, press the [JOB] key to enter Phrase Clip Job Mode. We will now take a quick look at ∞Press the [ENTER] key and you will see a how to execute a Job. confirmation message. Now press the [INC/YES] key to confirm and the Loop Remix will be executed on [Clip 001] using the Type Executing a Job and Vari parameters set earlier. To cancel the In Job Mode, you can perform various operations operation, press the [DEC/NO] key (Jobs) on your edited Phrase Clips. You can copy After the Loop Remix operation has completed, and delete items, create Variations, use Loop you will see the following message. Remix and Extract to modify your Phrase Clips and so on. In this example, the totally unique PCLP LoopRemix) Type Vari Loop Remix feature will be explained. The << Retry? [YES]/[NO] >> 2 D explanation continues from step º above. At this point, you can press the note on the keyboard assigned to [Clip 001] and listen to the sound after Loop Remix has been applied. You should hear a completely new type of pattern, including reversed sections of sound. ¡In Phrase Clip Job Mode, use the [PAGE] knob to switch to the PCLP LoopRemix screen. Loop Remix takes the data from an existing Phrase, changes it around, and creates a separate new, looped Phrase Clip. (The original Phrase Clip remains in its original state and a completely new Phrase Clip is created with Loop Remix.) By setting the Type and Vari parameters, you can easily create a variety of new Phrase Clips. However, if you are not satisfied with the result, you can repeat steps £ to ∞ and apply Loop Remix by pressing the [INC/YES] key at the present screen. By changing the combination of Type and Vari parameter settings, you should be able to create loop patterns that sound completely different. ™By pressing the respective note on the keyboard or by using Knob [A], you can select the source Phrase Clip to which Loop Remix will be §Once you have a Phrase Clip that you are applied. Let’s select [Clip 001] as the source satisfied with, press the [DEC/NO] key at this and create a new Phrase Clip. If you have screen and you will be returned to the PCLP followed the previous procedure and assigned LoopRemix screen. Variations to the white notes between C1 and The new Phrase Clip will have a new name and C2, you can press any of these notes; [Clip 001] number, and be assigned to the keyboard in place will still be selected. of the original Phrase Clip (which is still retained PCLP LoopRemix) Type Vari in memory but is no longer assigned to notes). Job C 1:001[Clip 001] 1 A SHIFT PAGE A B C 1 2 Phrase Clips are retained in memory (DRAM) even after you exit Phrase Clip Mode, and until you switch the power off. However, if a Clip Kit has been created after editing or executing a Job, it will be lost when you exit Phrase Clip Mode. Therefore, you should always store your Phrase Clips before exiting this mode. Up to four Clip Kits can be stored in internal memory. Details about storing Phrase Clips are given on Page 160. DATA PART/ELEMENT Once you have created a Clip Kit, you can play it in Phrase Clip Play Mode or use it as a Part in a Performance, just as with Voices (Page 129). 58 Basics Section 5 Other Useful Features Portamento Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next, and can be used in Voice or Performance Mode. You can switch portamento on/off using the PORTAMENTO [ON/OFF] key on the front panel. When switched on, the PORTAMENTO [ON/OFF] key LED will be lit. You can use the [PORTAMENTO] knob to vary the pitch transition time (Portamento Time). Turn the knob clockwise to lengthen the time. PORTAMENTO ON/ OFF Before enabling portamento, specify how portamento should work using parameters available in the Portamento screen (Page 84). If Portamento is switched on and ready for use, the PORTAMENTO [ON/OFF] key LED will light when you select the Voice. In Performance Mode, you can apply portamento to Voices of Parts that have their Layer Switch (Page 133) and Portamento switch set to “on” (Page 131). Depending on the method of storage (Pages 116, 141), the portamento state (on/off) can be saved with the Voice or Performance. You can set the portamento state in the Portamento screen (Pages 84, 131) in Voice or Performance Edit Mode. Pan You can use the [PAN] knob on the front panel to set the stereo position (pan) of the currently selected Voice, Performance or Clip Kit. The Pan parameter can be set in each Edit Mode, but the front panel [PAN] knob lets you adjust this parameter in real time in any of the Play Modes. PAN PAN On the CS6R, this is set at the QED Level screen (Page 81). 59 Voice Edit Basics Section There are 256 Normal Voice presets and 8 Drum 1 Selecting a Voice to Edit Voice presets. You can edit these to create new Enter Voice Play Mode by pressing the [VOICE] Voices, or build completely new Voices from key. scratch. You can then store up to 128 of these new/edited Normal Voices and up to 2 new/edited Drum Voices to internal user memory or external Memory Card. MODE The following procedure gives a basic idea about how to go about creating/editing Voices. VOICE PERFORM UTILITY CARD EDIT JOB COMPARE STORE Of course, this is just one example; you are free to set any parameters in any way you like. Details about each parameter are given in the Reference Select the Voice Number of the Voice you wish to section of this manual. edit (Page 75). All parameter settings are stored along with the Voice itself. Before editing, first enter Voice Job Mode and copy the Voice you wish to edit to internal user memory. If you are creating a Voice from scratch, use the Initialize function to initialize a Voice in internal user memory. Details are given on Page 115. 1In Voice Play Mode, select the Voice you wish to edit. 2Enter Voice Edit Mode. 3In the Common Edit screens, set the parameters common to all Elements in the Voice (volume, pitch, tone, etc.) You can also set parameters related to the Arpeggiator, Controllers, Effects, and so on. 2 Entering Voice Edit Mode Voice creation/editing is carried out in Voice Edit Mode. To enter Voice Edit Mode, press the [EDIT] key while in Voice Play Mode. 4At the OSC (Oscillator) screens, select the Waves used by the Elements in the Voice, plus the volume, pan, note range and other basic parameters. MODE 5At the PCH (Pitch) and PEG (Pitch Envelope Generator) screens, set the tuning and other pitch-related parameters used by the Elements. Also set the PEG parameters as necessary. VOICE PERFORM UTILITY CARD EDIT JOB COMPARE STORE Common Edit and Element Edit 6At the FLT (Filter) and FEG (Filter Envelope Generator) screens, adjust the parameters of the filters used by the Elements. Also set the FEG parameters as necessary. Each Voice consists of up to four Elements (Page 37). The parameters common to all four Elements are known as Common Edit parameters. Voice Edit Mode consists of Common Edit screens, plus screens for each individual Element’s parameters. 7At the AMP (Amplitude) and AEG (Amplitude Envelope Generator) screens, set the volume and other output level-related parameters used by the Elements. Also set the AEG parameters as necessary. In Voice Edit Mode, you can use Knob [A] to switch between Common settings and settings for Elements 1 to 4. 8At the LFO (Low Frequency Oscillator) screens, set the modulation-related parameters used by the Elements. Common settings GEN Other) Mode C 1234 poly 9At the EQ (Equalizer) screens, adjust the equalizer parameters affecting the tonal characteristics of the Elements. Assign single MicroTuning 31:Indian Common Settings for Elements 1 to 4 OSC Wave) EL1234 )Store the edited Voice. Number Ctgry 001[Pf:Grand 1 ] Element 1~4 SHIFT PAGE A PART/ELEMENT 60 B C 1 2 DATA After selecting a Common Edit screen or a edit screen for an Element (1 to 4), use the [PAGE] knob to switch to other screens. Element2 COMMON AMP Scale)Ofst1 EL12_34 + 0 Element3 SHIFT PAGE A B Ofst2 + 0 C Pfst3 - 21 1 Ofst4 - 35 2 DATA Element4 PART/ELEMENT There are many parameters available within a screen. To make editing easier, the knobs below the LCD are assigned to each of the parameters in the screen. Selecting Elements (CS6x) In Voice Edit Mode, you can select the Element to edit by pressing the respective ELEMENT SELECT key ([1] to [4]). When you select an Element, the cursor moves to the respective Element Number. AMP Scale)Ofst1 EL12_34 + 0 SHIFT Example: When “Element 2” is selected A B C D E 4 1 F G PAGE 2 3 ELEMENT SELECT 2 3 ELEMENT ON/OFF B C Pfst3 - 21 1 Ofst4 - 35 2 DATA H PART/ELEMENT BANK 1 A Ofst2 + 0 4 Menu Screen EQ Param)LoFreq LoGain HiFreq EL12_34 274.2Hz +12 2.82kHz If you use the [PAGE] knob while holding down the [SHIFT] key, the settings menu will be displayed. Use the [PAGE] knob to move the cursor to an item and release the [SHIFT] key to jump to the screen for that item. HiGain +22 Cursor Switching Elements On/Off (CS6x) Cursor In Voice Edit Mode, an Element can be switched off when you press the respective ELEMENT ON/OFF key ([1] to [4]). This lets you temporarily mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing. A muted (off) Element will be indicated as an asterisk (*) in the display as illustrated below. GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ SHIFT B C D E 4 1 F G A B C 1 2 DATA PART/ELEMENT You can also use other knobs and keys to enter settings. The Compare featureallows you to compare the sound being edited against the sound prior to editing. Details are given on Pages 24, 79. Example: When Elements 2 and 3 are turned off A PAGE H BANK 1 2 3 ELEMENT SELECT 2 3 ELEMENT ON/OFF 4 3 Common Edit Screens Each Voice consists of up to four Elements. Here, the parameters common to all Elements are explained. EQ Param)LoFreq LoGain HiFreq EL1**4 274.2Hz +12 2.82kHz off off HiGain +22 • GEN (Common General) Here, you can set general parameters in Common Edit, such as the Voice Name. GENíName) Ctgry C 1234 61 a-Z 0-? Cursor [Pf:Init Voice] Basics Section Switching Between Screens and Entering Settings Element1 Basics Section • QED (Common Quick Edit) These parameters mostly control the volume and tone of the Voice and you can easily change the overall sound. Many of these parameters can be set directly using the Sound Control knobs on the front panel of the CS6x. QEDíLevel) C 1234 Vol 127 Pan RevSend ChoSend C 127 127 4 OSC (Oscillator) Screens In these screens, you can mainly set the parameters controlling the waveforms on which the Voice is based. You can select the Wave used for the Element, the volume and note range of each Element and so on. • OSC Wave Select the waveform (Wave) used for each Element. OSCíWave) Number Ctgry • ARP (Common Arpeggio) EL1234 001[Pf:Grand 1 ] By setting these parameters, you can control how the Voice is arpeggiated. Details about how to use the Arpeggiator are given on Page 42. • OSC Out • OSC Pan ARPíType) Type Tempo Switch Hold Set the volume (output level) and stereo pan C 1234 Up&Down1:Sq 120 on on position of each Element. The following illustration shows the logic. • CTL (Common Controller) OSCíOut) Level Delay InsEF You can assign various functions to the controllers EL1234 96 0 ins2 on the front/rear panel. For example, you can assign parameters to the Pitch Bend Wheel and a Foot Controller so that you can change the tone of OSCíPan) Pan Alter Random Scale EL1234 C L64 63 +63 the Voice in real time. Details about various different uses are given on Page 47. Mixer CTLíSet1) Src Dest EL Sw C 1234 FC(04) RevTime:EF1 1234 Depth +63 Pan (Stereo) • LFO (Common Low Frequency Oscillator) These are the LFO parameters. The LFO uses a low frequency waveform to vary the pitch/filter/amplitude characteristics, and can be used to create vibrato, wah, tremolo and other effect (Page 85). Level Elements LFOíWave) Wave^ C 1234 trpzd Speed KeyReset 63 on Phase 270 • EFF (Common Effect) These are the Effects parameters for the Voice. There are two Insertion Effects plus two System Effects (Reverb and Chorus). EFFíInsEF) C 1234 InsEF Connect 1=2 1 2 3 4 • OSC Limit Set the note range for each Element (the range of notes on the keyboard over which the Element will sound) and also the velocity response (the range of note velocities within which the Element will sound). You can assign different settings for each Element. With these parameters, you can layer Elements and control their output. For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities. 62 Note Limit C-2 - G 8 Vel Limit 1 - 127 6 FLT (Filter) and FEG (Filter EG) Screens You can use the filter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform from the Element. There are several types of filters, but its basic idea is similar. As Element 3 Velocity Element 2 illustrated below, the filter is used to pass overtones Element 1 at specific frequencies and cut off (does not pass) Element 4 others, to alter the harmonic factor of an original waveform. You can determine such frequencies by specifying a pointing or center frequency (cutoff frequency). With some filters, you can adjust signal C-2 G8 levels at several frequency bands. You can also set the Filter Envelope Generator (FEG) for time variance of how the filter works, which results in a 5 PCH (Pitch) and PEG (Pitch EG) dynamic change in tonal characteristics. Here we Screens introduce how FEG works. Set the basic pitch parameters for each Element. Level Cutoff range Range passed Cutoff range You can detune Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time. • PEG (Pitch Envelope Generator) Using the PEG, you can control the transition in pitch from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Pitch Envelope consists of five Time (transition speed) parameters and five Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element. PEGíTime) EL1234 Pitch Hold 127 Attack 127 Attack Decay1 Sustain Level Level Level Decay1 127 Decay2 127 Key off Release Level Center frequency Details about Filter Types are given on Page 93. • FEG (Filter Envelope Generator) Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Filter Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element. Hold Level FEGíTime) EL1234 0 Level Time Hold Time Attack Time Decay1 Decay2 Time Time Time Attack 127 Attack Decay1 Sustain Level Level Level Release Time Details about PEG parameters are given on Page 91. Hold 127 Decay1 127 Decay2 127 Key off Release Level Hold Level 0 Time Hold Time Attack Time Decay1 Decay2 Time Time Release Time Details about FEG parameters are given on Page 95. 63 Basics Section OSCíLimit) EL1234 Basics Section 7 AMP (Amplitude) and AEG (Amplitude EG) Screens 8 LFO (Low Frequency Oscillator) Screens Set the volume of each Element after the OSC (Oscillator), PITCH and FILT (Filter) parameters have been applied, and also the final overall volume of the signal sent to the outputs. The signal of each Element is sent at the specified volume to the next Effect Unit. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo, although the actual available LFO parameters will vary according to the type of Element. PEG LFOíWave) EL1234 FEG Element 1~4 Speed 63 PEG FEG PICTH FILT KeySync on Element 1~4 PICTH FILT AMP Effect OSC AMP Effect OSC LFO AEG LFO The final volume for all Elements is set in the Volume (Vol) parameter of the QED screen in Common Edit. AEGíTime) EL1234 Attack 127 Attack Decay1 Sustain Level Level Level Decay1 127 Key off Specific frequency bands for each Element can be attenuated or boosted using an equalizer. There are many types of equalizers available. Details are given on Page 101. ) Storing Edited Voices Up to 128 new/edited Normal Voices and 2 new/edited Drum Voices can be stored to internal user memory or external Memory Card. Voice Store Decay2 127 Release Level Init Level 0 AEG 9 EQ (Equalizer) Screens • Amplitude EG (Envelope Generator) Using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Amplitude Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). When you press a note on the keyboard, the volume will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element. Level Wave^ tri INT EXT Normal Voice (128) Normal Voice (128) Drum Voice (2) Drum Voice (2) Time Attack Time Decay1 Decay2 Time Time Release Time The maximum number of Plug-in Voices that can be stored to each internal memory (PLG1/2) is 64. Details about AEG parameters are given on Page 98. When storing a Voice, any existing data at the storage location will be lost. You should always back up important data to Memory Card, computer or some other storage medium beforehand. Details about storing Voices are given on Page 116. 64 Effects in Voice Mode In the final stages of programming, you can set the effects parameters to further change the sound’s character. To generalize, System Effects apply to the overall sound, whether it is a Voice, a Performance, a Song, etc. Insertion Effects, on the other hand, can be applied individually to each Voice. This synthesizer has two System Effect Units (Reverb and Chorus) plus two Insertion Effect Units. When using a Plug-in Board (PLG1 or PLG2) installed on the instrument, you can also use a separate Insertion Effect Unit that is dedicated for each Plug-in Part. In Voice Mode, you can set up the effect type and its value for each Effect Unit (Reverb, Chorus and Insertion Effects) and store them with each Voice. Furthermore, you can determine that each Element connects or bypasses the Insertion Effect Units. When you connect an Element to Insertion Effects, you can also specify the connecting way of two Units (series or parallel, as illustrated below). The combined signal from all Voice Elements — after application of the Insertion Effects — is sent to the Reverb and Chorus System Effect Units. Different effects settings can be set per Voice (in Voice Mode) and per Performance (in Performance Mode), though the connection between the Effect Units will vary in each case. When you want to use Plug-in Voices from a Plugin Board attached, you can also set up a dedicated Insertion Effect Unit for each Plug-in Voice. In this case, a Plug-in Voice signals processed with the Insertion Effect Unit will be then routed to Reverb and Chorus Units. Reverb Unit Connection EP1:EP2 The Reverb Unit includes a selection of 12 different reverb-type effects, including realistic simulations of the natural reverberation found in various halls and rooms. In Voice Mode, Reverb settings can be set for each Voice. In Performance Mode, the Reverb settings will apply to the Performance as a whole. Insertion Effects Voice Element 1~4 1 EP1➞EP2 EP2➞EP1 1 2 1 2 1 2 2 OFF Reverb Chorus Chorus Unit Plug-in Voice THRU The Chorus Unit includes a selection of 23 Insertion Effects chorus-type effects, including a flanger and others. Most of these effects are ideal for adding thickness to the sound. In Voice Mode, Chorus settings can be set for each Effects in Performance Mode Voice. In Performance Mode, the Chorus settings In Performance Mode, you can use an Insertion will apply to the Performance as a whole. Effects setting “borrowed” from ones respectively stored with Voices (Parts) . For Plug-in Parts, you can select and use an Insertion Effect setting Insertion Effects “borrowed” from ones respectively stored with PlugThe Insertion Effect 1 Unit includes 24 effects in Voices. including chorus, flanger and auto-wah. The For Reverb and Chorus, you can create new Insertion Effect 2 Unit offers delays, reverbs, settings dedicated for an entire Performance, rotary speaker, amp simulation and other effects, without “borrowing” existing Reverb and Chorus providing a total of 92 effects. If a Plug-in Board settings stored with a Voice. has been installed, up to 24 Insertion Effects for In the following illustration, a mixer represents the Plug-in Voices will also be available. the logic behind how the different effects are Details about each Effect Type are given in the applied to the sound in Performance Mode. Each Effect Type List in the separate Data List. Part (1 to 16) is fed to the mixer through either Insertion Effect 1 or Insertion Effect 2. The signals for all Parts are summed in the mixer and then the System Effects (Reverb and Chorus) are applied to the mix as a whole. 65 Basics Section Effects System Effects Mixer Basics Section Reverb Chorus Insertion Effect 1/2 1 2 3 4 5 6 16 Part 1~16 Effect Bypass You can temporarily switch effects off or on by pressing the [EF BYPASS] key. To use this function, you will need to specify the effect to be bypassed in the MSTR EF Bypass screen of Utility Mode (Page 164). You can also specify more than one effect. When you press the [EF BYPASS] key, its LED will light and all Effects assigned to the currently selected Voice/Performance will be bypassed. EF BYPASS EXIT MASTER KEYBOARD ENTER DEC/NO INC/YES The Effect Bypass will also apply to Effects on Plug-in Boards other than the PLG100 series. 66 As previously explained, your Synthesizer provides several convenient features that you can make use of in a live show or the like. Here we introduce some examples to combine those features to meet your specific purposes. Basics Section Using as a Master Keyboard (Performance Mode) 2Select “Common” using the Knob [A], then open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob. GENíM.Kbd) Mode Common split Lower ch01 Upper ch02 Point C 3 The CS6x has special settings in Performance Mode so that you can use the instrument as MIDI master Turning the [PAGE] knob while holding down the keyboard. You can activate the function (enable those [SHIFT] key enables you to scroll though parameters in the Menu screens (page 121). special settings) when you press the [MASTER KEYBOARD] key on the panel (its LED will light). 3Select “split” for the Mode parameter using the Now your instrument can send performance on the Knob [B]. keyboard to an external tone generator, as well as the If Master Keyboard Mode is deactivated (without internal tone generator, according to the master the [MASTER KEYBOARD] key pressed), the keyboard settings in Performance Mode. If you divide Mode parameter value will be shown in brackets the keyboard into several (up to four) key ranges and (like “(split)”). assign separate MIDI transmit channels, the keyboard 4Select the value (split point) for the Point can control multiple parts (channels) from the parameter using the Knob [2], which determines internal tone generator and external MIDI devices of the key note that divide the keyboard into two those channels at the same time. sections. Select “C3” for this example. There are three Master Keyboard Modes (how to make key ranges) available: Split, 4 Zones, and Layer. You can specify the split point by directly pressing a specific key on the keyboard while holding You can learn these Master Keyboard Modes and their down the [SHIFT] key. In this example, press C3 functional differences in the following examples. while holding down the [SHIFT] key. 5Specify MIDI transmit channels respectively for the lower and upper key ranges using the Knob The illustration below shows an example of a Split [C] (lower) and the Knob [1] (upper). These configuration. Split is a typical setting to divide a settings can make MIDI-channel-based separate keyboard into two key ranges (lower and upper) by controls of the internal tone generator or an splitting at a specific key note (split point). The external MIDI devices from the keyboard, such following example is to split the keyboard at C3 as using different Voice tones in the lower and note, enabling the lower range for automatic upper key ranges. performance with Arpeggiator and the upper range Select “ch01” for “Lower” and “ch02” for for manual solo performance. You can make this “Upper” for this example. configuration in the following steps. You can also use the PROGRAM/PART [1] to Split Lower Split point (C3) [16] keys to select MIDI channels for the Lower and Upper ranges (Page 123). Upper 6Select a Part for the lower range using the Knob [A]. For this example, select “Part01”. 7Turn the [PAGE] knob and open the MIX Vce (Mix Voice) screen to select a Voice for Arpeggiator performance. Ch1 Ch2 Part1 Part2 Performance by Arpeggiator Manual play Edit and prepare Voices for Arpeggiator and manual play in Voice Edit Mode before you set up a Split setting in the following procedure (page 78). MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano] 8Turn the [PAGE] knob and open the LYR Mode (Layer Mode) screen. Set “on” for “Arp” (Arpeggio switch). Select “1” for “RcvCh” (MIDI Receive Channel). 1Press the [PERFORM] key, followed by the [EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master 67 Keyboard Mode (its LED will light). LYRíMode) Part01 Mode poly Arp on Layer off RcvCh 1 9Turn the [PAGE] knob and open the ARP Type (Arpeggio Type) screen. Set “on” for “Switch.” ARPíType) Type Tempo Part01 UpOct1:Sq 120 Switch on Hold off Basics Section ZONE4 In steps 6 to 9, you now complete settings for the lower range for Arpeggiator performance. It will play in a Voice assigned to Part 1 based on MIDI Receive channel 1. ZONE1 Refer to Page 82 for detailed settings of Arpeggiator. You can copy (reuse) the arpeggio settings that belong to the Voice assigned to Part 1 (Page 141). )In the same manner, use Knob [A] to select Part02. Then select the solo instrument Voice at the MIX Vce screen and set the RcvCh (MIDI receive channel) parameter in the LYR Mode screen to “2.” Now, the solo Voice for Part 2 will sound when playing notes at and above the Split point, or when receiving through MIDI channel 2. Ch1 Ch2 Ch3 Ch4 Phrase Clip Part Part2 Part3 An external MIDI tone generator Performance with a Clip Kit Performance with Arpeggiator Manual solo performance MIDI IN Ch4 Performance with an external MIDI tone generator MIDI THRU Recording entire performance in Zones 1 to 4 An external MIDI sequencer For Parts that you are not using, set their RcvCh parameters to something other than 1 or 2. !Before exiting Performance Edit Mode, store above settings in a Performance. For storing a Performance, refer to Page 141. ZONE3 MIDI OUT The RcvCh parameter setting will be ignored if you set the Layer parameter in the LYR Mode screen to “on.” Further settings are available in Performance Edit Mode. If a Part does not sound, check the volume level and other settings for that Part. Details are given on Page 130. ZONE2 Before you set up a 4-zone configuration in the following procedure, edit and prepare necessary Voices (for Arpeggiator and manual play) and Phrase Clip Kit in their associated Edit Modes. 1Press the [PERFORM] key, followed by the [EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (the LED will light). In Performance Play Mode, recall the Performance you have just stored. Simply pressing the 2Select “Common” using the Knob [A], then [MASTER KEYBOARD] key activates or open the GEN M. Kbd (General Master deactivates the Split configuration you made above. Keyboard) screen using the [PAGE] knob. 4 Zones GENíM.Kbd) Mode Common split Lower ch01 Upper ch02 Point C 3 The illustration below shows an example of a 4-zone configuration. A zone refers to a specific key range on Turning the [PAGE] knob while holding down the the keyboard. You can logically divide a keyboard into [SHIFT] key enables you to scroll though up to four key ranges with separate MIDI channels parameters in the Menu screens (Page 121). and other associated settings so that you can control 3Select “4zone” for the Mode parameter using multiple Parts at the same time. A Split setting can the Knob [B]. divides the entire keyboard into two absolute sections (key ranges). In a 4-zone setting, however, each If Master Keyboard Mode is deactivated (without section can overlap to one another. You can even set a the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets section to cover or include other sections. (like “(4zone)”). The following example is to set Zone 1 for playing a rhythm loop created previously in Phrase Clip Mode 4Select one of “Zone01” to “Zone04” using the (page 55), Zone 2 for performance by Arpeggiator, Knob [A]. As we have selected “4zone” for the Zone 3 for manual solo performance, and Zone 4 for Mode parameter, you can now select setting playing an external MIDI tone generator. Also in this screens for four Zones. Select “Zone01” to get settings, Zones 3 and 4 overlap in the same range, and started with the settings. entire performance in four all zones is output from the MIDI OUT connector so that you can record that MKBíTransmit) TrnsCh TG MIDI performance on an external MIDI sequencer. You can Zone01 Ch01 on on make this configuration in the following steps. 68 You can also use the BANK [A] to [D] keys to respectively select “Zone01” to “Zone04.” PartCL 001(A01)[Dr:Clip Kit] To do this, set “Ch01” to “Ch04” respectively to the “TrnsCh” parameters in the MKB Transmit A necessary Phrase Clip Kit should be prepared screens for Zones 1 to 4. For the “TG” and in Phrase Clip Mode before you use in this setting “MIDI” parameters, set both “on” for Zones 1 in Performance Mode. to 3. For Zone 4, set “off” to “TG” and “on” to #Use the [PAGE] knob and open the Layer Mode “MIDI.” You can switch between multiple (LYR Mode) screen. Set Layer Switch (Layer) MKB Transmit screens using the Knob [A]. to “off,” MIDI receive channel (RcvCh) to “1.” Some of basic settings for four zones are now complete. 6Select “Zone01” again using the Knob [A]. Open the MKB Note screen using the [PAGE] knob. In this screen, you can specify a key range for a Zone. MKBíNote)Octave Transpose Zone01 +1 +11 Note Limit C-2 - G 8 LYRíMode) PartCL Arp on Layer off RcvCh 1 With settings made in steps ! to #, you can now play Phrase Clips from the Clip Kit assigned to “PartCL” (Phrase Clip Part) set to MIDI receive channel 1 (RcvCh) when you play in the key range of Zone 1. $As in the same manner in steps ! to #, set up for Zone 2. Turn the Knob [A] and select “Part02”. Next go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select a Voice for 7Set “Note Limit” (zone key range) with the Arpeggiator. Then, use the [PAGE] knob to open lowest and highest notes using Knobs [1] the LYR Mode (Layer Mode) screen and set RcvCh (lowest) and [2] (highest). For “Zone01”, select (MIDI receive channel) to “2”. Also in this screen, “C-2” for the lowest note and “B1” for the set the “Arp” switch to “on” for Arpeggiator highest. performance. Finally in the ARP Type (Arpeggio Type) screen, set the Switch parameter to “on”. 8Use the Knob [A] to switch to the MKB Note With settings made here, you can now play with screen for “Zone02”. As in the same manner in Arpeggiator using a Voice assigned to “Part02” step 7, select “C2” for the lowest note and set to MIDI receive channel 2 (RcvCh) when “B2” for the highest. you play in the key range of Zone 2. 9Use again the Knob [A] to switch to the MKB Note screen for “Zone03”. As in the same %As in the same manner in steps ! to #, set up manner in step 7, select “C3” for the lowest for Zone 3. Turn the Knob [A] and select note and “G8” for the highest. “Part03”. Next go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select a )Use the Knob one more time [A] to switch to Voice for manual solo performance. Then, use the MKB Note screen for “Zone04”. As in the the [PAGE] knob to open the LYR Mode (Layer same manner in step 7, select “C3” for the Mode) screen and set the RcvCh (MIDI receive lowest note and “G8” for the highest. Note channel) to “3”. that this key range setting will make a With settings made here, you can now play solo overlapped range with Zone 3. using a Voice assigned to “Part03” set to MIDI For detailed settings of a Zone, refer to Page 137. 69 receive channel 3 (RcvCh) when you play in the key range of Zone 3. In the MKB Note screen, you can also find other parameters such as Note Limit, Transpose, etc. Refer to Page 138 for more information about these parameters. Basics Section Selecting a Zone opens the MKB Transmit !Turn the Knob [A] and select a Part for a Zone. screen. You may want to select a sub screen to In this example, we select Phrase Clip Part for set up a Zone using the [PAGE] knob. But you Zone 1, Part 2 and Part 3 respectively for Zone first specify basic items in the MKB Transmit 2 and Zone 3. We don’t select any internal Part screen, such as MIDI transmit channel, enabling for Zone 4 since Zone 4 is set only to output or disabling MIDI output to the internal tone performance information via the MIDI OUT generator and to the MIDI OUT connector. connector. First, select Phrase Clip Part (PartCL) for Zone 1. 5Set MIDI transmit channel (TrnsCh) to “Ch01” You can also use the MEMORY or using the Knob [C]. Set MIDI output to the PROGRAM/PART keys to select a Part for a internal tone generator (TG) and MIDI OUT Zone (Page 119). (MIDI) both to “on.” These settings can differentiate each Zone from @Use the [PAGE] knob and open the MIX Kit one another, to internally or externally output screen, to set up a Clip Kit for performance performance made in each Zone using a using Phrase Clips. separate MIDI channel. Finally, you will separately control sound tones from four zones. MIXíKit) Number Basics Section You don’t need to make further settings for 2Select “Common” using the Knob [A], then Zone 4 since it is not intended for an internal open the GEN M. Kbd (General Master Part and has already been set to output Keyboard) screen using the [PAGE] knob. performance information via the MIDI OUT connector in steps 5 to ). The key range of GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3 Zone 4 matches to that of Zone 3 so that solo performance made in that range will be sent on Turning the [PAGE] knob while holding down the MIDI channels 3 (from Zone 3) and 4 (from [SHIFT] key enables you to scroll though Zone 4) via MIDI OUT to an external MIDI parameters in the Menu screens (Page 121). device. 3Select “layer” for the Mode parameter using the You can set additional Part settings in Performance Edit Mode. If you have a trouble Knob [B]. possibly associated with these settings, such as no sound from a specific Part, confirm any Part settings related to volume, etc. Refer to Page 130 for more information about Part settings. ^Before exiting Performance Edit Mode, store above settings in a Performance. For storing a Performance, refer to Page 141. In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the 4-Zone configuration you made above. Layer The illustration below shows an example of a Layer configuration. Layer refers to two separate Parts with a overlapped key range, enabling to play unison with these Parts. The following example is to play unison with Voices selected for Part 1 and Plug-in 1 Part. You can make this configuration in the following steps. If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(layer)”). 4Use Knobs [C] and [1] to respectively set MIDI transmit channels for the Lower and Upper parameters. Note that Lower and Upper refer to two Parts (Zones) to be layered together. These channel settings can create and send performance information on two separate channels to the internal tone generator and an external MIDI device via the MIDI OUT connector. Here we set “Ch01” for “Lower” and “Ch02” for “Upper.” You can also use the PROGRAM/PART keys [1] to [16] to select MIDI channels for the Lower and Upper Parts (Page 123). 5Turn the Knob [A] and select a Part. First select “Part01” for the Upper Part. 6Use the [PAGE] knob and open the MIX Vce (Mix Voice) screen. Select a Voice for the Upper Part. Layer (Upper) MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano] Layer (Lower) Part 1 Plug-in 1 Part Voice Plug-in Voice 7Use the [PAGE] knob to open the LYR Mode (Layer Mode) screen. Set the Layer (Layer Switch) to “off” and the RcvCh (MIDI Receiving Channel) to “1.” LYRíMode) Part01 Before you set up a Layer configuration in the following procedure, edit and prepare necessary Voices for layers in associated Edit Modes. Mode poly Arp on Layer off RcvCh 1 If other Parts’ RcvCh (MIDI receive channels) are set to the same ones assigned to two Parts, those Parts will also sound when you play on the keyboard. This might be troublesome if you simply need two layered Parts. To mute unnecessary Parts while you play on the keyboard, set “RcvCh” for those Parts to “off.” You can only play Voices from layered Parts. Plug-in Voices are available only when you attach an optional Plug-in Board (Page 108). 1Press the [PERFORM] key, followed by the [EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light). 70 8As in the same manner in steps 5 to 7, set up for the Upper Part. Select “PartP1” for the Lower Part, go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the LYR Mode (Layer Mode) screen to set the Layer (Layer Switch) to “off” and the RcvCh (MIDI Receiving Channel) to “2.” Note Limit setups are provided for setting Master Keyboard Mode, Part , and Voice. They are associated to one another as follows. MKB Note Key range for each Zone You can set additional Part settings in Performance Edit Mode. If you have a trouble possibly associated with these settings, such as no sound from a specific Part, confirm any Part settings related to volume, etc. Refer to Page 130 for more information about Part settings. Part LYR Limit Key range for an assigned Voice Tone generator Parts 9Before exiting Performance Edit Mode, store above settings in a Performance. For storing a Performance, refer to Page 141. OSC Limit Element 1 Element 2 Element 3 In Performance Play Mode, recall the Performance you have just saved. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Layer configuration you made above. Element 4 While using in Master Keyboard Mode, you can control the internal tone generator (or an external MIDI device) according to “Note Limit” in the MKB Note screen. If you limit a Zone’s key range to two octaves, it is as if you connect an external two-octaves keyboard controller to play with the tone generator. Meanwhile, the key range (playable range) of an entire Voice is determined by “Note Limit” in the LYR Limit screen (page 133) for a Part assigned with that Voice. Such a playable range of each Element of a Voice is determined by “Note Limit” in the OSC Limit screen (page 90) available in Voice Edit Mode. Besides the Layer/Zone configuration in Master Keyboard Modes, you can use the Layer (Layer Switch) for each Part to make a Layer configuration that consists of up to four Parts (Page 133). 71 Basics Section About Note Limit (Key Range) Basics Section Using as a Multitimbral Tone Generator (Performance Mode) Performance Mode lets you use your synthesizer as a 4Next, use the [PAGE] knob to switch to the multitimbral tone generator for use with computerMix Level screen, then set the volume for the based music software or external sequencers. If each piano Part as well as, if necessary, its pan track in a song file uses a different MIDI channel, position, chorus and reverb Send levels. Details then the Parts in a Performance can be each assigned are given on Page 130. to those MIDI channels correspondingly. Therefore, you can play back a song file on an external 5Continue using the [PAGE] knob and switch to sequencer and have different Voices playing on the LYR Mode (Layer Mode) screen. Set the different tracks simultaneously. Mode parameter to “poly” (polyphonic), the In the following example, we will create a Layer parameter to “off,” and the RcvCh Performance suited to playing back a song file parameter (MIDI receive channel) to 2. consisting of three Parts: piano, bass and drums. The piano track is assigned to MIDI channel 2, the bass LYRíMode) Mode Arp Layer RcvCh Part02 poly on off 2 track to channel 3, and the drums to channel 10. Song File Track 1 Track 2 Track 3 PS/V IBM Performance Piano Transmit Ch. 2 Bass Part 2 Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Drums Transmit Ch.10 Part 10 Drum Voice Receive Ch. 10 Personal System/V Personal System/V or Sequence player For Parts that do not require polyphony, the Mode parameter can be set to “mono” (monophonic). Piano-type Voice Receive Ch. 2 By following steps 2 to 5 above, when you play back a song file in the sequencer, the piano track is transmitted through MIDI channel 2. The MIDI data is received by the synthesizer which then plays the Voice for the Part assigned to MIDI channel 2. Tone generator section Computer (sequencer software) CS6x/CS6R The synthesizer’s internal sequencer can be used to play back the song file. The included XGworks(lite) computer sequencer software can also be used for this, though you need to make sure that the computer has been connected to your synthesizer correctly (Page 16). 6Repeat steps 2 to 5 above, but set up Part 3 for bass and to receive on MIDI channel 3. 7Repeat steps 2 to 5 again, setting up Part 10 for drums and to receive on MIDI channel 10. To avoid situations where the Voices of unused Parts are suddenly played back, you should set the MIDI receive channels for unused Parts to “off.” 1After pressing the [PERFORM] key, press the [EDIT] key (the respective LEDs will light). You are now in Performance Edit Mode. Before entering Performance Edit Mode, you need to select a Performance for editing. Also make sure that the [MASTER KEYBOARD] key LED is not lit. 2Use Knob [A] to select Parts. Here, you can select Part 2 for the piano, Part 3 for bass and Part 10 for drums. First, we will select Part02. There are many other Part-specific parameters in Performance Edit Mode. Details are given on Page 121. 8Before exiting Performance Edit Mode, you need to store the settings for the Performance. Details about storing Performances are given on Page 141. Now, when you select this Performance in Performance Play Mode, you can play back the song file on computer (sequencer) or internal sequencer, and the piano, bass and drum Parts will be played back according to each track’s MIDI channel. 3Use the [PAGE] knob to switch to the MIX Vce (Mix Voice) screen, then specify the Voice to be used as the piano Part. MIXíVce) Memory Number Ctgry Search Part02 PRE1:128(H16)[Pf:GrandPiano] 72 Part 1 Solo-type Voice Layer=on Part 2 Piano-type Voice Receive Ch. 2 Track 2 Bass Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Track 3 Drums Transmit Ch. 10 Part 10 Song File Track 1 Piano Transmit Ch. 2 While playing back the song file with the piano, bass and drum Parts assigned earlier, you can set up the Performance so that you can also play another Part live. Playback using keyboard Performance Part 1 Song File Track 1 Piano Transmit Ch. 2 Solo-type Voice Layer=on Playback using keyboard Performance Basics Section Performing Live while Playing Back a Song File Drum Voice Receive Ch. 10 Source (mic) A/D Input Part Template (karaoke1) * External mic input * You need to set the receive channel to control the A/D Input Part parameters via MIDI. However, this is not vital in this example. Part 2 Piano-type Voice Receive Ch. 2 Track 2 Bass Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Track 3 Drums Transmit Ch. 10 Part 10 Drum Voice Receive Ch. 10 This is the same as the Performance created earlier, but with the addition of another Part for live playback. Regarding settings, the important points are as follows. Regarding settings, the important points are as follows. • Switch to the PartAD (A/D Input Part) parameters and set the external input source and template at the MIX Template screen. MIXíTemplate)Src Number PartAD mic ≥05[Karaoke1 • In the Performance created earlier, Parts 2, 3 and 10 were being used. As an example, we will now assign another Part (Part 1) to a solotype Voice. There are 13 templates available already with a variety of gain and effects settings for you to select from according to the input source. Here, we will be using the A/D Input Part for vocals so let’s set the Src (Source) parameter to “mic” and the Number (Template Number) parameter to “Karaoke1.” • At the LYR Mode screen, set the Layer parameter for Part 1 to “on,” and make sure it is set to “off” for Parts 2, 3 and 10. If you want to manually play multiple (up to four) Parts using some Voices from Parts 4 to 9, 11 to 16 and Plug-in Parts, set those Parts’ Layer Switch parameters to “on.” • At the GEN MIDI screen, set the LayerCh (Layer Channel) parameter to BasicCh. The Voice for Part 1 can now be played live using the keyboard. ] If you choose the wrong type of input source, you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly. • Turn the [GAIN] knob (Page 11) all the way down, then connect a microphone to the A/D INPUT jack (MIC/LINE2 jack). • Turn the [GAIN] knob back slowly while singing/talking into the microphone until you reach an ideal volume level. If you have external sources (such as a microphone or other audio equipment) connected to the There are other settings for controlling the A/D synthesizer’s A/D INPUT jack, you can use them Input Part via MIDI. Details are given on Page 132. as Parts in a Performance. When you play a song file bearing the XG/GM logo Continuing with our example, you can add another (available in the market), you may want to install an Part for vocals by assigning the A/D Input Part. optional XG Plug-in Board on the instrument, to enjoy a best playback quality with a wide variety of Voices Therefore, while the song is playing back the piano, and Effects. Note that you can install an additional XG bass and drums, you simultaneously play a solo live Plug-in Board to double polyphonic notes and Effects. and sing into the microphone. Effects such as In such cases, you do not only enjoy the playback of a reverb can be added to the A/D Input Part (Pages song, but also can mute a specific Part from the song 130 and 137), so you can assign an effect suited to file for a “minus-one” setting, which is convenient for practice of solo performance or karaoke. the vocals for the song. These effect settings will also be saved with the Performance. If you install the optional Effect Plug-in Board Using the A/D Input Part (PLG100-VH), you can create harmonies of up to three notes for your vocals. By assigning the harmony channel to the keyboard’s MIDI transmit channel, you can create vocoder-like effects. Or you could play back a harmony line using a sequencer to create a backing chorus for your vocals. 73 Reference Section Voice Mode Voice Mode Voice Play Memory/Voice Program Number PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset Drums, INT to Internal, EXT to External, PLG1 to Plugin Board 1 and PLG2 to Plug-in Board 2. All voice Program Numbers within each memory fall in the range 001 to 128. Drum Voices are DR1 to DR8. This mode is used for playing individual voices stored as 256 on-board presets, as well as the Internal (User) Voices, External Voices on Memory Card, and Plug-in Board Voices (optional). This section explains how to select and play voices. Details about Voice Memories are given on Page 36. Details about the Voice types and the Voice Memories are given on Page 36. Bank/Program Number Voice Program Numbers 001 to 128 correspond with Banks A to H and Program Numbers 01 to 16. Therefore, you can cycle through Voice Program Numbers 001 to 128 sequentially, or you can select them randomly using a combination of BANK and PROGRAM keys. The relationship between Banks/Program Numbers and Voice Program Numbers is given below. Voice Play Mode Display The LCD will display the following in Voice Play Mode. Voice Play Mode consists of 2 screens and the [PAGE] knob can be used to switch to the Voice Search screen. The contents of each screen are as follows. See page 77 for details about the Voice search screen. Voice Program Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Details about how to enter Voice Play Mode are given on Page 21. Voice Play Mode 1 2 3 VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime SHIFT PAGE A 4 B C 1 2 DATA PART/ELEMENT 2nd Screen : Voice Search VCE Srch) SHIFT PAGE A PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search B C 1 2 DATA PART/ELEMENT 1.Screen Title This shows that you are currently in Voice Play Mode. 2.Voice Memory/Number (Bank/Number) Display Shows the Memory/Voice Program Number (001 to 128) or Bank ([A] to [H])/Program Number ([1] to [16]). For example, in the display shown above, “PRE1:128(H16)” means that the Memory is Preset 1, the voice Program Number is 128, the Bank is H and the Program Number within the Bank is 16. 74 Bank Program Number A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Voice Program Number 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Bank Program Number E E E E E E E E E E E E E E E E F F F F F F F F F F F F F F F F G G G G G G G G G G G G G G G G H H H H H H H H H H H H H H H H 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Voice Program Selection 3.Voice Category/Name • Using the BANK/PROGRAM keys (CS6x) • Using the [DEC/NO] and [INC/YES] keys • Using the [DATA] knob • Using the Category Search The two characters to the left of the Voice Name denote the category of instrument or sound to which the voice belongs. Details about Category names are given on Page 80. Voice Name Using the BANK/PROGRAM Keys (CS6x) This consists of up to 10 characters. 1Press a MEMORY key to select a Voice Memory. The Voice Memory indicator in the LCD will blink. 4.Knob Parameter Display MEMORY This shows the function assigned to each knob ([A] to [C] and [1]/[2]). PRE1 PRE2 DRUM Knobs [1]/[2] may be assigned with several parameters (destinations) from multiple control sets. In this case, the display will show the parameter (destination) from a control set of the smallest number. INT EXT DRUM PLG1 PLG2 Knob Parameter Settings In Voice Play Mode, each knob ([A] to [C] and [1]/[2]) can be used to adjust the parameter assigned to it. The parameter value is displayed briefly when you move each knob. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime VCE Play) PRE1:128(H16)[Pf:GrandPiano] +63 EQ Mid EQ Hi Cutoff RevTime Details about Voice Memories are given on Pages 27, 36. SHIFT PAGE A B C 1 2 DATA 2Press a BANK key ([A] to [H]) to select a Bank. The Bank indicator in the LCD will blink. PART/ELEMENT MEMORY Details about assigning parameters to Knobs [A] to [C] are given on Pages 50, 165. Details about assigning parameters to Knobs [1]/[2] are given on Pages 51, 84. PRE1 PRE2 A B C D E 4 1 F G H BANK 1 DRUM INT EXT DRUM PLG1 Octave and MIDI Transmit Channel Settings PLG2 2 3 ELEMENT SELECT 2 3 ELEMENT ON/OFF 1 2 3 4 5 6 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 OSC PITCH FILTER AMPLITUDE LFO 4 7 8 14 15 16 EQ PLG PROGRAM PART In Voice Play Mode, the Octave and MIDI Transmit Channel are shown when pressing the [SHIFT] key. Octave (Oct= +3) (Tch= 1) SHIFT PAGE VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime MIDI Transmit Channel A PRE1:128(H16)[Pf:GrandPiano] B C 1 2 If you press the [EXIT] key here, the Voice selection process is canceled and the original Voice is reinstated. DATA If the Bank has already been selected, this step is not required. Details about Banks are given on Pages 27, 36. PART/ELEMENT This lets you set the MIDI Transmit Channel by turning Knob [A] and holding down the [SHIFT] key. The settings for Voice Play Mode are transmitted on this MIDI channel. The MIDI Transmit Channel can also be set in the MIDI Ch screen of Utility Mode (Page 166). 75 Voice Mode There are four ways in which you can choose a Voice. Voice Category Selecting Drum Voices The procedure for selecting a Drum Voice is different to that for selecting a Normal Voice. 3Press a PROGRAM key ([1] to [16]) to select a Program Number. Voices can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The LCD also displays the selected voice. Voice Mode 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG Selecting Preset Drums (PRE:DR1~DR8) • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then press PROGRAM key [1] to [8] (CS6x only) to select Drum Voice PRE:DR1 (Preset Drum 1) to DR8 (Preset Drum 8). PROGRAM PART MEMORY PRE1 PRE2 DRUM <title-D> Using the DEC/NO and Using [INC/YES] and [DEC/NO] Keys Press the [INC/YES] key to select the next Voice and the [DEC/NO] key to select the previous one. 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG PROGRAM PART DEC/NO INC/YES Previous Number • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice. Next Number The voice is selected by pressing just the [INC/YES] or [DEC/NO] key. This method is useful when selecting a Voice that is located near the currently selected Voice. MEMORY PRE1 The method can also be used to switch to the next or previous Bank. For example, if the current Voice is A16, Voice B01 is selected by pressing the [INC/YES] key. Similarly, if the current Voice is H01, Voice G16 is selected by pressing the [DEC/NO] key. PRE2 DRUM DEC/NO INC/YES Using the Data Knob Turn the [DATA] knob clockwise to increment the currently selected Voice number, or anti-clockwise to decrement it. C 1 2 • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [DATA] knob to select the Drum Voice. DATA MEMORY PRE1 PRE2 DRUM Decrement Number Increment Number The Voice is selected directly and sequentially. VCE Play) PRE:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF Just as with the [INC/YES] and [DEC/NO] keys, this method can be used to switch to the next or previous Bank. SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 76 Once you have selected one Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob. Using the Voice Category Search • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then press PROGRAM keys [1] to [4] (CS6x only) to select, respectively, User Drum Voice INT:DR1 (Internal Drum 1), INT:DR2 (Internal Drum 2), EXT:DR1 (External Drum 1) and EXT:DR2 (External Drum 2). With the Voice Category Search, you can quickly find Voices within a specified Voice Category. For example, if you specify the “Pf” (piano) Voice Category and use the Voice Category Search, you can select from all the voices which fall into the “Pf” Voice Category. To start the Voice Category Search, first turn the [PAGE] knob to switch to the Voice Search screen. If the Plug-in Voice is selected from a Custom Bank (Page 114) of a Plug-in Board, the Category Search feature will not be available. User Drum Voices on external memory must be loaded from Memory Card. INT EXT VCE Srch) PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search DRUM SHIFT 1 2 3 4 5 6 7 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 OSC PITCH FILTER AMPLITUDE LFO EQ PLG A PAGE 8 B C DATA Set a Voice Category Select a Program Number PROGRAM PART Search 1Turn Knob [B] to select a Voice Memory. 2Turn Knob [1] to select a Voice Category. The Voice Category in the LCD will blink. • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice. VCE Srch) SHIFT INT 2 PART/ELEMENT Select a Voice Memory 16 1 PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search A PAGE B C 1 2 DATA EXT DRUM PART/ELEMENT The different Voice Categories are listed on Page 80. 3Use Knob [2], the [INC/YES] and [DEC/NO] keys, the [DATA] knob and Knob [C] to search for a Voice. The selected voices are called up using each knob and key. The functions of knobs and keys are given below. DEC/NO INC/YES • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [DATA] knob to select the User Drum Voice. EF BYPASS EXIT INT EXT B A B 1 2 ENTER DATA Knob [2]: Use this to switch between Voices in the selected Category. Turn the knob clockwise to increment the voice number and anti-clockwise to decrement it. VCE Play) INT:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF PAGE C DEC/NO INC/YES DRUM SHIFT MASTER KEYBOARD PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search C 1 2 DATA PART/ELEMENT Once you have one User Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [4], the [INC/YES] and [DEC/NO] keys or the [DATA] knob. 77 Voice Mode Selecting User Drums (INT:DR1/2 and EXT:DR1/2) Voice Edit There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following is an explanation of the parameters used to edit each kind of Voice. Voice Mode [DATA] knob (or [INC/YES] or [DEC/NO] key) You can scroll through Voices in the specified Category across the Memories. Turning the [DATA] knob clockwise (or press the [INC/YES] key) jumps to the next Voice number in the same Category, in ascending order. Similarly, turning the [DATA] knob anticlockwise (or press the [DEC/NO] key) jumps to the next Voice number in the same Category, in descending order. When you reach to the last (first) Voice in a Memory, you can select the first (last) Voice in that Category in the next (previous) Memory by continuously turning the knob clockwise (anticlockwise) or pressing the [INC/YES] ([DEC/NO]) key. Details about Voices are given on Page 36. The following is displayed when you enter Voice Edit Mode. The displayed screens will vary according to the type of Voice being edited, but basically the [PAGE] knob is used to switch between screens and the parameters on each screen are altered using Knobs [A], [B], [C], [1] and [2]. The [DATA] knob and the [INC/YES] and [DEC/NO] keys can be used to alter parameters in small increments. Knob [C]: Using the Knob [C], you can select a Voice one by one in the current Memory, likewise for normal Voice selection. Turning the knob clockwise jumps to the next Voice number. Turning the knob anti-clockwise jumps to the previous Voice number. GEN Name) Ctgry C 1234 SHIFT A PAGE B a-Z C 0-? Cursor [Pf:Init Voice] 1 2 DATA PART/ELEMENT If the Voice within the selected Category cannot be found within the current Voice Memory, [------] is displayed in the LCD and you will not be able to use Knob [2]. Press the [ENTER] key to start searching in the next Memory. Change pages Set the value Choose Common or Elements 1 to 4 While holding down the [SHIFT] key, you can use Knobs [A], [B], [C], [1] or [2] to move the cursor to the respective parameter without changing it’s value. You can also move the cursor using the [DATA] knob or the [INC/YES] and [DEC/NO] keys while holding down the [SHIFT] key. You need to select the Voice before entering Voice Edit Mode (Page 75). All parameters can be set and stored per Voice. See page 21 on how to enter Voice Edit mode. Common Edit and editing each Element Voices can consist of up to four Elements (Page 37). Use Common Edit to edit the settings common to all four Elements. Voice Edit Mode can be divided into screens for Common Edit and those for editing each Element. In Voice Edit Mode, Knob [A] is used to switch between the Common Edit screens and the screens for editing each Element. Common Edit screens GEN Other) Mode C 1234 poly Assign single MicroTuning 31:Indian Common Element 1~4 Edit Screens OSC Wave) EL1234 Number Ctgry 001[Pf:Grand 1 ] Elements 1~4 SHIFT PAGE A PART/ELEMENT 78 B C 1 2 DATA Voice Store Element1 Element2 COMMON Element3 When creating a new Voice from scratch, it can be useful, prior to editing, to clear the settings for the current Voice using the Initialize Voice function in Voice Job Mode (Page 115). Element4 The í Indicator Normal Voice If you alter any parameters in Voice Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current voice has been modified but not yet stored. When editing Normal Voices, there are 12 settings consisting of six Common Edit settings (common to all four Elements) and six Element-specific settings. Edit indicator Voice Edit Mode Common Common General GEN Name (General Name) GEN Other (General Other) Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect Control) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Common Controller CTL Portamento CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Common LFO (Low Frequency Oscillator) LFO Wave LFO Fade LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) Common Effect EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF1 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Element OSC (Oscillator) OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit) Element Pitch PCH Tune (Pitch Tune) PEG VelSens (PEG Velocity Sensitivity) PEG Time PEG Level PEG Release PCH Scale (Pitch Scale) Element Filter FLT Type (Filter Type) FLT HPF (High Pass Filter) GEN Name) Ctgry Even if you exit to Voice Play Mode, the edited settings for the current Voice will not be lost so long as you do not select another Voice. The í indicator will also be displayed in Voice Play Mode, and if any Sound Control knobs or Assignable knobs are used. The “Compare” Function Use this to listen to the difference between the Voice with your edited settings and the same Voice prior to editing. 1 Press the [COMPARE (EDIT)] key while in Voice Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the Voice settings prior to editing will temporarily be reinstated for comparison purposes. Compare indicator GENîName) Ctgry While the “Compare” function is enabled, editing will not be possible using knobs [A] to [C] or knob [1]/[2]. 2 Press the [EDIT] key again to disable the “Compare” function and restore the settings for your edited Voice. The ELEMENT ON/OFF Function Use this to mute individual Elements within a Voice. For example, you could mute all Elements other than that which you are editing. Thus, you can hear how the edited settings affect just that Element. Details are given on Page 61. 79 80 80 81 81 81 81 82 82 82 82 83 83 83 84 84 84 84 84 84 84 84 84 85 85 87 87 87 88 88 88 88 89 89 89 89 89 90 90 90 90 91 91 91 91 92 93 93 95 Voice Mode The edited settings for the current Voice will be lost if you select another Voice or Mode. To avoid losing important data, you should always use Voice Store to store your edited Voice. Details about the Voice Store procedure are given earlier (Page 116). Voice Mode FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset) Element Amplitude AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AEG KeyFlw (AEG Key Follow) AEG Scale (AEG Scale Break Point) AEG Scale (AEG Scale Offset) Element LFO (Low Frequency Oscillator) LFO Wave LFO Depth Element EQ (Equalizer) EQ Type EQ Param (EQ Parameter) 95 95 96 96 96 96 97 97 98 98 98 98 98 99 100 100 100 100 101 101 101 101 GEN Name (General Name) You can set a Voice Name consisting of up to 10 characters. You can also select the Category Name to the left of the Voice Name. Category Name GENíName) Ctgry C 1234 SHIFT A PAGE B a-Z Voice Name 0-? Cursor [Pf:Init Voice] C 1 2 DATA PART/ELEMENT Choose alphabetic characters Choose a Category Move the cursor position Choose numeric characters and symbols Setting the Voice Name 1 Use Knob [2] to move the cursor to the position of the first character. The selected character will blink. Menu Display You will see the following if you use the [PAGE] knob while holding down the [SHIFT] key. Use the [PAGE] knob to move the cursor to the parameter you wish to edit, then release the [SHIFT] key to jump to the screen you were previously at. 2 Use Knob [C] to enter an alphabetic character or Knob [1] to enter a numeric character/symbol. 3 Use Knob [2] to move the cursor to the position of the next character. Cursor 4 Repeat Steps 2 and 3 until all the characters have been set for your Voice Name. GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ SHIFT A PAGE B C 1 2 You can also use the [INC/YES] and [DEC/NO] keys or the [DATA] knob to enter alphabetic and numeric characters as well as symbols. DATA PART/ELEMENT 5 Use Knob [B] to set the Category Name if necessary. By setting the Category Name, it will be easier to identify the Voice later. The Category Search function (Page 77) can also be used to search for it. If you do not wish to set a Category Name, the Category will be shown as two hyphens. Selecting a Menu On the CS6x in Voice Edit Mode, you can directly select a Menu using the PROGRAM/PART keys, [1] to [6] and [9] to [15]. Each key has an associated Menu name shown below it. 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG Settings for alphabetic and numeric characters and Category Names : a t M 5 . PROGRAM PART b u N 6 / c v O 7 : d w P 8 ; e x Q 9 < f g h i j k y z A B C D R S T U VW ! " # $ % = > ?@ [ ¥ LCD Category Common General l E X & ] m F Y ' ^ n G Z ( _ o H 0 ) ` p I 1 * { q J 2 + | r K 3 , } LCD Category -- Unassigned Pd Synth Pad Pf Piano Fx Synth Sound Effects You can set the Voice Name, Voice output settings and other general parameters in the Common Edit screens. The following two screens are available for general settings. Cp Chromatic Percussion Et Ethnic Or Organ Pc Percussive Gt Guitar Se Sound Effects GEN Name (General Name) GEN Other (General Other) Ba Bass Dr Drums St Strings/Orchestral Sc Synth Comping 80 s L 4 - En Ensemble Vo Vocal Br Brass Co Combination Rd Reed Wv Material Wave Pi Pipe Sq Sequence Ld Synth Lead Common Quick Edit There are various parameters for Micro Tuning and for controlling how the generated sound is output. Various parameters control the sonic properties of the Voice, and many can also be edited using the Sound Control knobs on the front panel of the CS6x. There are four screens. GENíOther) Mode C 1234 poly Assign single MicroTuning 31:Indian QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) ■ Mode Select monophonic or polyphonic playback. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). QED Level (Quick Edit Level) ❏ Settings: mono, poly These parameters control the output level (volume) and pan position of the Voice. ■ Assign If you set Key Assign to “single,” the doubled playback of the same note is prevented. The synthesizer will terminate a note when the same note is received again. If you select “multi,” the synthesizer will consecutively assign each instance of the same received note to a separate channel, making multiple part tone generation possible. QEDíLevel) C 1234 ❏ Settings: 0 ~ 127 ■ MicroTuning Set the Micro Tuning (tuning system, or temperament) used for the Voice. Normally you would use “Equal Temperament” but there are also 31 other tuning systems available. ■ Pan Set the stereo pan position of the Voice. You can also adjust this parameter using the [PAN] knob on the front panel of the CS6x. ❏ Settings: (see the following list) ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) No. Type Key Comments 00 Equal temperament — The “compromise” tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune. 01~12 Pure major C~B This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in. Pure minor 25 Werckmeister ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the [REVERB] knob on the front panel of the CS6x. ❏ Settings: 0 ~ 127 ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel of the CS6x. A~G# The same as Pure Major, but designed for the minor scale. — Pan RevSend ChoSend C 127 127 ■ Vol (Volume) Set the output level of the Voice. ❏ Settings: single, multi 13~24 Vol 127 Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. 26 Kirnberger — Johan Philipp Kirnberber was also concerned with tempering the scale to allow performances in any key. 27 Vallotti & Young — Francescantonio Vallotti and Thomas Young (both mid–1700s) divised this adjustment to the Pythagorean tuning in which the first six fifths are lower by the same amount. 28 1/4 shifted — This is the normal equal tempered scale shifted up 50 cents. 29 1/4 tone — Twenty–four equally spaced notes per octave. (Play twenty–four notes to move one octave.) 30 1/8 tone — Forty–eight equally spaced notes per octave. (Play forty–eight notes to move one octave.) 31 Indian C~B Usually observed in the Indian music (white keys [C~B] only). ❏ Settings: 0 ~ 127 QED EffectCtrl (Quick Edit Effect) Set the amount of Chorus applied to the entire Voice. QEDíEffectCtrl) C 1234 Chorus +63 ■ Chorus Set an offset value for the parameters used by each type of Chorus. ❏ Settings: -64 ~ 0 ~ +63 81 Voice Mode GEN Other (General Other) ■ Sustain Set the level of the Voice maintained while the note on the keyboard is being held down. You can also adjust this parameter using the [SUSTAIN] knob on the front panel of the CS6x. QED Filter (Quick Edit Filter) These parameters control filters which affect the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter page only affects LPF. ❏ Settings: -64 ~ 0 ~ +63 Voice Mode QEDíFilter) C 1234 Cutoff +63 ■ Release Set the transition time from the point at which the note on the keyboard is released to the point at which the level of the Voice reaches zero. You can also adjust this parameter using the [RELEASE] knob on the front panel of the CS6x. Reso +63 ■ Cutoff Set the cutoff frequency. The frequency set here will be a center frequency for signals to be filtered when they pass through each filter. On the CS6x, the frequency can be set by the [CUTOFF] knob on the front panel. ❏ Settings: -64 ~ 0~ +63 ❏ Settings: -64 ~ 0~ +63 Common Arpeggio The following four parameters control the behavior of the Arpeggiator. ■ Reso (Resonance) Set the amount of Resonance (harmonic boost) applied to the signal around the Cutoff frequency. This is a useful way of adding further character to the sound. You can also adjust this parameter using the [RESONANCE] knob on the front panel of the CS6x. ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) ❏ Settings: -64 ~ 0~ +63 ARP Type (Arpeggio Type) These are the basic parameters of the Arpeggiator. QED EG (Quick Edit Envelope Generator) These four parameters control the change in the output level of a Voice over the time that a note is played. QEDíEG) C 1234 Attack +63 ARPíType) Type Tempo C 1234 UpOct1:Sq 120 ❏ Settings: (see the separate Data List) Sq (Sequence): Creates a general arpeggio phrase. Mainly octave up/down phrases. Ph (Phrase): Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments. Dr (Drum Pattern): Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds. Cl (Phrase Clip): Select this type to a Clip Kit that is assigned with loopmixed or loop-divided Phrase Clips, to create a new arpeggio pattern. Ct (Control): Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.” Sustain Level Time Decay Time Key on Release Time Key off ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the level of the Voice reaches its peak. You can also adjust this parameter using the [ATTACK] knob on the front panel of the CS6x. ■ Tempo Set the Arpeggio Tempo. ❏ Settings: -64 ~ 0~ +63 ❏ Settings: 25 ~ 300 ■ Decay Set the transition time from the point at which the level of the Voice reaches its peak to the point at which it levels off. You can also adjust this parameter using the [DECAY] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 Hold on ■ Type Set the Arpeggio Type. Decay Sustain Release +63 +63 +63 Level Attack Time Switch on [MIDI] is displayed here and the parameter cannot be altered if MIDI sync is enabled (Page 167). 82 ■ Vel Mode (Velocity Mode) Set the playback velocity of the Arpeggio. There are 2 modes. ■ Switch Switch the Arpeggiator on or off. You can also set this using the [ARPEGGIO ON/OFF] key on the front panel of the CS6x. ❏ Settings: ❏ Settings: off, on ■ Hold Switch the Arpeggiator Hold on or off. You can also set this using the [ARPEGGIO HOLD] key on the front panel of the CS6x. thru: Velocities of the notes you play are used in the Arpeggio sequence. ❏ Settings: syncoff, off, on ARP PlayEF (Arpeggio Play Effects) Details about this are given on Page 44. You can set Play Effects for the Arpeggio. Play Effects can be used to temporarily adjust the timing and velocity of MIDI notes, thus affecting the groove of the Arpeggio pattern. ARP Limit (Arpeggio Note Limit) ARPíLimit) C 1234 Note Limit C-2 - G 8 ARPíPlayEF) C 1234 ■ Note Limit Set the lowest and highest notes in the Arpeggiator’s note range. If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” Gate 200% ❏ Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200% You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. ■ Vel (Velocity) Set the Velocity offset value (the strength at which the keyboard is played). This determines how the original Velocities are increased or decreased during Arpeggio playback. A setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities. ARP Mode (Arpeggio Mode) These parameters control the way in which notes are played back by the Arpeggiator. Key Mode sort Vel 200% ■ Unit Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo halved. Alternatively, if you set a value of 50%, the playback time will be halved and the tempo doubled. Normal playback time is 100%. ❏ Settings: C-2 ~ G8 (lowest and highest set separately) ARPíMode) C 1234 Unit 50% Vel Mode thru ❏ Settings: 0% ~ 200% If the Velocity value falls below 1, it will be limited to 1. If it exceeds 127, it will be limited to 127. ■ Key Mode Set how the Arpeggio is played back when keys on the keyboard are pressed. There are 3 modes. ■ Gate (Gate Time) Set the Gate Time Rate value (the length of a note). This determines how the original Gate Times are increased or decreased during Arpeggio playback. A setting of 100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes, whereas settings above 100% will lengthen them. You can also set this using the [GATE TIME] knob on the front panel of the CS6x. ❏ Settings: sort: Plays back notes in ascending order from the lowest key pressed to the highest. thru: Plays back notes in the order in which the keys are pressed. direct: Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data, they will be applied and reproduced whenever the Arpeggio plays back. ❏ Settings: 0% ~ 200% If the Gate Time value falls below 1, it will be limited to 1. If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here. With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data. 83 Voice Mode original: Preset velocities are used in the Arpeggio sequence. Common Controller CTL Bend (Pitch Bend) There are eight Control Settings. You can set the Controller parameters for Portamento, the Pitch Bend Wheel, and for each Element in a Voice. You can set the amount by which the Pitch Bend Wheel changes the pitch of the Voice. CTLíPitchBend) C 1234 Voice Mode CTL Portamento CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Upper +12 ■ Lower Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved downwards. For example, a value of -12 means that the pitch of the Voice drops by up to an octave when the Pitch Bend Wheel is moved downwards. CTL Portamento ❏ Settings: -48 ~ 0~ +24 Set the Portamento parameters. Portamento will create a smooth transition in pitch from the first note played to the next. CTLíPortamento) C 1234 Lower -12 Switch on ■ Upper Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved upwards. For example, a value of +12 means that the pitch of the Voice rises by up to an octave when the Pitch Bend Wheel is moved upwards. Time Mode 127 fulltime ❏ Settings: -48 ~ 0~ +24 ■ Switch Switch Portamento on or off. You can also set this using the PORTAMENTO [ON/OFF] key on the front panel of the CS6x. CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6) The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. They can even be used to control parameters within individual Elements. These control assignments are called “Control Sets.” You can assign up to six different Control Sets per Voice. Thus there are six screens, each for a separate controller: CTL Set1 to CTL Set6. ❏ Settings: off, on ■ Time Set the pitch transition time. Higher values mean longer transition times. You can also set this using the [PORTAMENTO] knob on the front panel of the CS6x. ❏ Settings: 0 ~ 127 ■ Mode Set the Portamento mode. The behavior of the Portamento varies depending on whether Mode in GEN Other is set to “mono” or “poly.” CTLíSet1) Src Dest C 1234 FC(04) ELFOSpd ❏ Settings: fingered, fulltime Controller If the Mode in GEN Other is set to “mono”: fingered: Portamento is only applied when you play legato (playing the next note before releasing the previous one). Keys Modulation Wheel Knobs etc. fulltime: Portamento is always applied. If the Mode in GEN Other is set to “poly”: This is the same as for “mono,” except that Portamento is applied to multiple notes. 84 EL Sw 1234 Control Set 1~6 Set 1 Depth +63 Element 1 2 3 4 ■ Src (Source) Set the Controller used to control the function chosen in Dest. The following nine controllers are available. There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato, wah, tremolo and other effects when applied to pitch/filter/amplitude/etc. parameters. For example, variations can be simultaneously applied to both pitch and filter parameters, and to parameters specific to individual Elements. The following four settings are available. ❏ Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (Aftertouch), FC (Foot Controller), FS (Foot Switch), RB (Ribbon Controller), BC (Breath Controller), KN1/2 (Knobs 1/2) ■ Dest (Destination) Set the parameter to be controlled by the Control Set in Src. LFO Wave LFO Fade LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) ❏ Settings: (see the Controls List of the separate Data List) ■ ElemSw (Element Switch) Select whether the Controller will affect each individual Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable the Elements which the Controller will affect. Affected Elements are shown by number. LFO Wave LFOíWave) Wave^ C 1234 trpzd Speed KeyReset 63 on Phase 270 ❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or disabled (“-” displayed) ■ Wave Select the LFO Wave. Depending on the Wave selected, you can create different kinds of modulated sounds. The following 12 LFO waveforms are available. This is disabled if the Dest parameter is set to 00 to 33. ■ Depth Set the amount by which the parameter selected in Dest can be controlled. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzd, S/H 1, S/H 2 Example of Control Set Assignment tri Using Control Sets 1 to 6, you can assign individual Src (Source) controllers to multiple Dest (Destination) parameters, or multiple Src controllers to individual Dest parameters. Ex.1:Use a single Src controller to control multiple Dest parameters. SET1 SET2 Src Src MW (Modulation Wheel) MW (Modulation Wheel) Dest Dest LFO Speed PAN saw up Use the Modulation Wheel to change both the Pan and LFO speed parameters simultaneously. saw dw Ex.2:Use multiple Src controllers to control a single Dest parameter. SET1 SET2 Src Src KN1 (Assignable Knob 1) Dest KN2 (Assignable Knob 2) squ Use either Assignable Knob [1] or [2] to change the pan parameter Dest PAN PAN Details about Control Set Assignments are given in the Basics Section of this manual (Page 49). 85 Voice Mode Common LFO (Low Frequency Oscillator) ■ KeyReset (Key on Reset) Set whether the LFO is reset each time a note is pressed. The following three settings are available. trpzd ❏ Settings: off, each-on, 1st-on Voice Mode off The LFO is self-running (no synchronization) and starts a waveform at any phase when you play on the keyboard. S/H 1 Time Key on S/H 2 each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (see below). Time ■ Speed Set the speed of the LFO Wave modulation. Higher values mean faster modulation speeds. Key on (First Note) ❏ Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th notetriplet), 16th. (16th dot-note), 8th (8th note), 8th/3 (8th note-triplet), 8th. (8th dot-note), 4th (4th note), 4th/3 (4th note-triplet), 4th. (4th dotnote), 2nd (half note), 2nd/3 (half note-triplet), 2nd. (half dot-note), 4thx4 (whole note), 4thx5 (5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th notes), 4thx8 (8x4th notes) Key on (Second Note) 1st-on The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (Show below). If you play a second note while the first note is being played (Note Off has not been received), the LFO does not reset to the specified phase (no synchronization) with the second note and after. Speed = Slow Time Time Key on (First Note) Key on (Second Note) ■ Phase Set the phase at which the LFO Wave starts whenever a note is played. Phases of 0/90/120/180/240/270 degrees are available. Speed = Fast Time Time The length of the note depends on the internal or external MIDI tempo setting. Phase ❏ Settings: 0, 90, 120, 180, 240, 270 86 ■ Hold Set the length of time during which the LFO is held at its maximum level. A higher value means a longer Hold time. LFO Fade FadeIn 127 Hold FadeOut 127 127 ❏ Settings: 0 ~ 127 Voice Mode LFOíFade) Delay C 1234 127 Hold ■ Delay Set the delay time before the LFO comes into effect. A higher value means a longer delay time. Max ❏ Settings: 0 ~ 127 Time Short delay ■ FadeOut (Fade-Out) Set the time taken for the LFO effect to be faded out (after the Hold time has elapsed). A higher value means a slower fade-out. Key on Long delay ❏ Settings: 0 ~ 127 Low FadeOut value Faster fade-out Key on Hold FadeOut Max ■ FadeIn (Fade-In) Set the time taken for the LFO effect to be faded in (after the Delay time has elapsed). A higher value means a slower fade-in. Time ❏ Settings: 0 ~ 127 Low FadeIn value Faster fade-in Key on FadeIn High FadeOut value Slower fade-out Max Hold FadeOut Max Time Time Key on Delay High FadeIn value Slower fade-in Key on FadeIn Max LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) Time You can assign parameters to be controlled by the LFO Wave and set the LFO Wave Depth (amplitude). Two Destinations can be assigned, and you can choose from several parameters per Destination. Key on Delay LFOíDest1) C 1234 87 Dest AMD ElemSw 1234 Depth 127 ■ Dest (Destination) Set the parameters which will be controlled (modulated) by the LFO Wave. EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123DLY:DelayLCR D<W63 to Edit ❏ Settings: AMD, PMD, FMD, RESO (Resonance), PAN, ELFOSpd (Element LFO Speed) ■ Ctgry (Effect Category) Set the Category of the Effect. Select a desired Category and press the [ENTER] key. The first Effect Type in that Category will automatically be recalled. Voice Mode ■ ElemSw (Element Switch) Select whether to allow variations in the LFO Wave for each Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable LFO Wave variations for Elements 1 to 4. Enabled Elements are shown by number. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Type (Effect Type) Set the type of Effect. While the Category indicator is blinking in the display, you can press the [ENTER] key to recall the first Effect Type in that Category. ❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or disabled (“-” displayed) ■ Depth Set the LFO Wave Depth (amplitude). ❏ Settings: Details are given in the Effect Types list of the separate Data List. ❏ Settings: 0 ~ 127 ■ Dry/Wet Set the mix level of the wet signal (which has been passed through the Effects Unit) and the dry signal (which has not been passed through the Effects Unit). This may be unavailable, depending on the selected Effect Type. Common Effect You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following five screens are available. ❏ Settings: D63>W ~ D=W ~ D<W63 EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Effect Parameter Settings These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. EFF InsEF (Insertion Effect) ■ InsEF Connect (Insertion Effect Connect) Set up the connection between Insertion Effects 1 and 2. If you change this setting, the symbol denoting the signal routing (to the left of the setting) also changes to reflect the new signal flow. Effect Type selection screen EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123DLY:DelayLCR D<W63 to Edit Signal routing symbols EFFíInsEF) C 1234 InsEF Connect 1=2 EXIT ENTER 1=2 (parallel) 1➞2 (serial) Parameter settings screen 2➞1 (serial) EFFíEF2) TimeL DelayLCR 333.3m ❏ Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2), 2➞1 (Insertion Effect 2 to 1) SHIFT EFF EF1/2 (Insertion Effect 1/2) PAGE A B TimeR 166.7m C TimeC Dry/Wet 500.0m D<W63 1 2 DATA PART/ELEMENT You can select the Effect Category for Insertion Effect 1/2 with the Ctgry parameter and the Effect Type with the Type parameter. After selecting the Effect Type, you can set its parameters by pressing the [ENTER] key. The number of Parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type list of the separate Data List. 88 EFF Rev (Reverb) Element OSC (Oscillator) You can select the Reverb Effect Type, then press the [ENTER] key to set its parameters. You can set the parameters for the Elements (Waves) which make up the Voice. Each Voice can consist of up to four Elements, and the following four screens are available for each. Return [ENTER] 127 to Edit OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit) ■ Type (Reverb Effect Type) Set the Reverb Effect Type. Voice Mode EFFíRev) Type C 1234 Basement OSC Wave (Oscillator Wave) ❏ Settings: Details are given in the Effect Types list of the separate Data List. You can use Knob [A] to select each Element and Knob [C] to assign a Wave to it. ■ Return Set the Return level of the Reverb Effect. OSCíWave) EL1234 Number Ctgry 001[Pf:Grand 1 ] ❏ Settings: 0 ~ 127 ■ Number (Wave Number) Select the Wave Number. The Category and Wave Name are displayed to the right of the selected Wave Number. You can assign a different Wave Number to each of the Elements. EFF Cho (Chorus) You can select the Chorus Effect Type, then press the [ENTER] key to set its parameters. EFFíCho) Type C 1234 Chorus1 toRev 127 ❏ Settings: 000 (off) ~ 479 (Details about each Wave are given in the separate Data List.) Return [ENTER] 127 to Edit ■ Ctgry (Category) Select the Category containing the Wave you wish to use. Specify a desired Category and press the [ENTER] key. The first Wave in that Category will automatically be selected. ■ Type (Chorus Effect Type) Set the Chorus Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ❏ Settings: Details about Wave Categories are given on Page 80. ■ toRev (To Reverb) Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect. OSC Out (Oscillator Out) You can set the following output parameters for each Element of a Voice. ❏ Settings: 0 ~ 127 OSCíOut) EL1234 ■ Return Set the Return level of the Chorus Effect. Level 96 Delay 0 InsEF ins2 ■ Level Set the output level of each Element. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ Delay (Key On Delay) Set the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element. ❏ Settings: 0 ~ 127 Short Delay Key on 89 OSC Limit (Oscillator Limit) Long Delay You can set parameters controlling the note range of each Element and the velocity. OSCíLimit) EL1234 Note Limit C-2 - G 8 Vel Limit 1 - 127 Key on Voice Mode ■ Note Limit Set the lowest and highest notes of the keyboard range for each Element. Each Element will only sound for notes played within its specified range. ■ InsEF (Insertion Effect) Set the Insertion Effect to which the output signal from each Element is sent. The Insertion Effect is bypassed if you select Thru. ❏ Settings: C-2 ~ G8 (for the lowest and highest notes) ❏ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” OSC Pan (Oscillator Pan) You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. You can set the following Pan parameters for each Element in the Voice. OSCíPan) EL1234 Pan C Alter L64 Random 63 ■ Vel Limit (Velocity Limit) Set the minimum and maximum values of the velocity range within which each Element will respond. Each Element will only sound for notes played within its specified velocity range. Scale +63 ■ Pan Set the stereo Pan position for each Element (Wave). This will also be used as the basic Pan position for the Alternate, Random and Scale settings. ❏ Settings: 1 ~ 127 (for the minimum and maximum values) If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.” ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) Element Pitch ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position. You can set parameters governing the pitch of each Element. The Pitch Envelope Generator (PEG) controls the change in pitch from the moment a note is pressed on the keyboard to the point at which the sound has faded out completely. The following six screens are available. ❏ Settings: L64 ~ 0 ~ R63 ■ Random Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position. PCH Tune (Pitch Tune) PEG VelSens (PEG Velocity Sensitivity) PEG Time (PEG Time) PEG Level (PEG Level) PEG Release (PEG Release) PCH Scale (Pitch Scale) ❏ Settings: 0 ~ 127 ■ Scale Set the amount by which the sound is panned left and right according to the position of the note on the keyboard. The Pan setting is used as the basic Pan position at note C3. PCH Tune (Pitch Tune) You can set the tuning parameters and the effectiveness of the Envelope Generator (EG) for each Element. ❏ Settings: -64 ~ 0 ~ +63 PCHíTune)EGDepth Coarse EL1234 +63 + 0 Fine + 0 Random +7 ■ EGDepth Set the amount of change applied by the PEG. A setting of zero means the original pitch is not changed. ❏ Settings: -64 ~ 0 ~ +63 90 ■ Coarse Adjust the pitch of each Element in semitones. ■ Hold (Hold Time) Set the Hold Time. ❏ Settings: -48 ~ 0 ~ +48 ❏ Settings: 0 ~ 127 ■ Attack (Attack Time) Set the Attack Time. ■ Fine Fine-tune the pitch of each Element. ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. ■ Random Set the amount by which the pitch of each Element is varied at random for each note you press. A setting of zero means the original pitch is not changed. ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 PEG Level PEG VelSens (PEG Velocity Sensitivity) You can set various Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 92). You can set different values for each Element. You can determine how the Pitch Envelope Generator (PEG) responds to note velocity. PEGíVelSens) EL1234 Level +63 Time-Segment +63 attack PEGíLevel) Hold EL1234 +127 ■ Level Set the velocity sensitivity of the PEG Level. Positive settings will cause the level to rise the harder you play the keyboard, and negative values will cause it to fall. ■ Attack (Attack Level) Set the Attack Level. ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings (Time): -64 ~ 0 ~ +63 ❏ Settings (Segment): attack:Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all PEG Time parameters ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) PEG Release You can set Release Time and Release Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Level settings, these can be used control the change in sound from the moment a note is released. You can set different values for each Element. PEG Time You can set various Time parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Level and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 92). You can set different values for each Element. Attack 127 Decay1 Sustain +127 + 0 ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Time-Segment Set the velocity sensitivity of the PEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. Hold 127 Attack -128 ■ Hold (Hold Level) Set the Hold Level. ❏ Settings: -64 ~ 0 ~ +63 PEGíTime) EL1234 Voice Mode ❏ Settings: 0 ~ 127 ❏ Settings: -64 ~ 0 ~ +63 Decay1 127 PEGíRelease) EL1234 Decay2 127 91 Time 127 Level +127 ■ Time (Release Time) Set the Release Time. ■ Center (Center Key) Set the basic pitch used by the Pitch parameter. ❏ Settings: 0 ~ 127 ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. ■ Level (Release Level) Set the Release Level. Voice Mode ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) Large Speed of pitch change + Pitch Envelope Generator Settings Small There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the pitch). The pitch of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the pitch changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in pitch is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required. Attack Decay1 Sustain Level Level Level Pitch Key off – Lower range ❏ Settings: -64 ~ 0 ~ +63 ■ Center (Center Key) Set the basic pitch used by the EGTime parameter. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EGTime settings. Hold Level Time Hold Time Attack Time Decay1 Decay2 Time Time Higher range ■ EGTime The EGTime parameter controls the PEG Times for each Element according to the positions of the notes on the keyboard. The Center parameter is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. Release Level 0 Center (Basic Pitch) Release Time ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. PCH Scale (Pitch Scale) You can set the Pitch Scaling for each Element. Pitch Scaling is used to vary the Element pitch, PEG Levels and PEG Times according to the positions of the notes on the keyboard. Positive value Speed of PEG pitch change + Higher range Lower range PCHíKeyFlw)Pitch-Center EL1234 100% C 3 EGTime--Center +7 C 3 – Basic pitch ■ Pitch Adjust the sensitivity of the Pitch Scaling for each Element according to the position of the note on the keyboard. The Center parameter is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change less and that of higher notes to change more. Negative values will have the opposite effect. Negative value + Higher range Lower range – Basic pitch ❏ Settings: -200% ~ 0 ~ +200% (At +100%, neighboring notes are pitched one semitone (100 cents) apart.) 92 Speed of PEG pitch change Element Filter LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong Resonance. You can set Filter parameters to change the tonal characteristics of each Element. The following ten screens are available. Resonance Voice Mode FLT Type (Filter Type) FLT HPF (High Pass Filter) FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset) LPF24A (Low Pass Filter 24dB/oct Analog) A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers. Resonance FLT Type (Filter Type) ■ Type Set the Filter Type. Parameters will vary according to the Type. FLTíType) Type EL1234 LPF12+HPF Gain 255 Cutoff 255 LPF18 (Low Pass Filter 18dB/oct) A 3-pole (-18db/oct) dynamic LPF. Reso 31 LPF18S (Low Pass Filter 18dB/oct Staggered) Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve. ❏ Settings: LPF12+HPF (Low Pass Filter 12dB/oct + High Pass Filter), LPF24D (Low Pass Filter 24dB/oct Digital), LPF24A (Low Pass Filter 24dB/oct Analog), LPF18 (Low Pass Filter 18dB/oct), LPF18S (Low Pass Filter 18dB/oct Staggered), LPF6+HPF (Low Pass Filter 6dB/oct + High Pass Filter), HPF24D (High Pass Filter 24dB/oct Digital), HPF12 (High Pass Filter 12dB/oct), BPF6 (Band Pass Filter 6dB/oct), BPF12D (Band Pass Filter 12dB/oct Digital), BPFW (Band Pass Filter Wide), BEF6 (Band Elimination Filter 6dB/oct) THRU (Bypass) Resonance LPF18 LPF18S LPF12 (Low Pass Filter 12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter). Filters Resonance To generalize, there are basically four types of filter: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each available filter has a different frequency response. There are also combinations of LPF and HPF. • LPF (Low Pass Filter): This only passes signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Six types of LPF are available. LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no Resonance, designed to be used in combination with an HPF (High Pass Filter). Level -6db/oct -12db/oct -18db/oct -24db/oct Cutoff Frequency 93 • HPF (High Pass Filter) This only passes signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Two types of HPF are available. BPF6 (Band Pass Filter 6dB/oct) The combination of a -6dB/oct HPF and LPF. Level Cutoff range Range passed Cutoff range -6db/oct Level Voice Mode Frequency BPF12D (Band Pass Filter 12dB/oct Digital) The combination of a -12dB/oct HPF and LPF. -12db/oct Level -24db/oct Cutoff Range Cutoff Range passed Cutoff Range Frequency -12db/oct HPF24D (High Pass Filter 24dB/oct Digital), A 4-pole (-24db/oct) dynamic HPF with a strong Resonance. Frequency BPFW (Band Pass Filter Wide) Also the combination of a –12dB/oct HPF and LPF, but can have a wider frequency band than the BPF12D filter. Resonance Level Cutoff range Range passed Cutoff range width can be increased HPF12(High Pass Filter 12dB/oct), A 2-pole (-12db/oct) dynamic HPF. Frequency • BEF (Band Elimination Filter) This attenuates a band of signals around the Cutoff frequency, but passes everything else. Resonance BEF6 (Band Elimination Filter 6dB/oct) Level Range passed • BPF (Band Pass Filter) This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Three types of BPF are available. Center frequency Level Cutoff range Range passed Center frequency Cutoff range Range passed Frequency • THRU The filters are bypassed and the entire signal is unaffected. Cutoff range ■ Gain Set the Gain (the amount of boost applied to the signal sent to the Filter Unit). Frequency ❏ Settings: 0 ~ 255 94 ■ EGDepth Set the sensitivity of the Filter to note velocity. A positive setting will produce large filter changes for notes played harder, and a setting of zero will produce no filter changes at all. With a negative setting, the EG envelope will be inverted. ❏ Settings: 0 ~ 255 ■ Reso (Resonance)/Band/Width This parameter’s function varies according to the selected Filter Type. If an LPF or HPF has been selected, this parameter is used to set the Resonance. For the BPF (excluding the BPFW) and the BEF, it is used to select the Band. For the BPFW, it is used to adjust the Width of the band. ❏ Settings: -64 ~ 0 ~ +63 ■ VelCutoff (Velocity Cutoff) Set the sensitivity of the Cutoff frequency to note velocity. A positive setting will raise the Cutoff frequency for notes played harder, and lower it for notes played more softly. A negative setting will have the opposite effect. With the LPF and HPF, the Reso parameter is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This can be used in combination with the Cutoff frequency parameter to add further character to the sound. ❏ Settings: -64 ~ 0 ~ +63 ■ VelReso (Velocity Resonance) Set the sensitivity of the selected Resonance parameter to note velocity. A positive setting will produce large Resonance changes for notes played harder, and smaller changes for notes played more softly. A negative setting will have the opposite effect. With the BPF, the Band parameter is used to set the range (band) of signal frequencies passed by the filter. With the BEF, it is used to set the band of signal frequencies attenuated by the filter. In both cases, the Cutoff frequency is the center frequency of the band. ❏ Settings: -64 ~ 0 ~ +63 With the BPFW, the Width parameter is used to adjust the width of the band of signal frequencies passed by the filter. FEG VelSens (FEG Velocity Sensitivity) You can set parameters controlling the sensitivity of the Filter Envelope Generator (FEG) to note velocity. ❏ Settings: 0 ~ 31 FLT HPF (High Pass Filter) FEGíVelSens) EL1234 You can set the Key Follow parameters for the High Pass Filter. This screen is available only when you have one of the “LPF+HPF” settings for the Type parameter in the Filter Type (FLT Type) screen. FLTíHPF) EL1234 Cutoff 255 Time-Segment +63 attack ■ Level Set the sensitivity of the FEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger tonal changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect. KeyFlw +200% ■ Cutoff Set the center frequency of the Key Follow parameter. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: 0 ~ 255 ■ Time-Segment Set the velocity sensitivity of the FEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ■ KeyFlw (Key Follow) Set the Key Follow for the HPF Cutoff. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect. ❏ Settings (Time): -64 ~ 0 ~ +63 ❏ Settings (Segment): attack: Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all FEG Time parameters ❏ Settings: -200% ~ 0 ~ +200% FLT Sens (Filter Sensitivity) You can set Filter Sensitivity parameters for each Element. FLTíSens)EGDepth EL1234 +63 Level +63 VelCutoff VelReso +7 +7 95 Voice Mode ■ Cutoff Set the Cutoff frequency. This is used as the basic frequency for the selected Filter Type. Voice Mode FEG Time FEG Release You can set various Time parameters for the Filter Envelope Generator (FEG). Combined with the FEG Level and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. You can set Release Time and Release Level parameters for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Level settings, these can be used control the change in sound from the moment a note is released. FEGíTime) EL1234 Hold 127 Attack 127 Decay1 127 FEGíRelease) EL1234 Decay2 127 Time 127 Level +127 ■ Time (Release Time) Set the Release Time. ■ Hold (Hold Time) Set the Hold Time. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ Level (Release Level) Set the Release Level. ■ Attack (Attack Time) Set the Attack Time. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) ❏ Settings: 0 ~ 127 Filter Envelope Generator Settings ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the amount of filtering applied). The tone of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the tone changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in tone is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required. ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 FEG Level You can set a Level parameter for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. FEGíLevel) Hold EL1234 +127 Attack -128 Level Attack Decay1 Sustain Level Level Level Key off Release Level Decay1 Sustain +127 + 0 Hold Level ■ Hold (Hold Level) Set the Hold Level. 0 Time Hold Time ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) ■ Attack (Attack Level) Set the Attack Level. Attack Time Decay1 Decay2 Time Time Release Time FLT KeyFlw (Filter Key Follow) ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) You can set Filter Key Follow parameters for each Element. This parameter controls the Filter Cutoff and FEG behavior according to the position of the notes played on the keyboard. ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) The availability of the Filter Key Follow parameter depends on the Break Point and Offset settings in the FLT Scale screen. ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) 96 FLTíKeyFlw)Cutoff-Center EGTime--Center EL1234 +200% (C 3) 63 C 3 ■ Cutoff Set the Filter Key Follow ratio (the amount by which the Filter Cutoff varies according to note position) for each Element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect. You can set four Filter Scaling Break Points for each Element. Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. There are four Break Points used to divide and assign different settings across the keyboard. The Levels (Offsets) at each of Break Point are set in the FLT Scale screen. ❏ Settings: -200% ~ 0 ~ +200% Details about Filter Scaling are given later in the section “Filter Scaling Settings.” ■ Center (Center Key) This shows that the basic Level is at note C3. At this note, the tone remains unchanged. For other notes, the tone varies according to the Level settings. The Center setting cannot be changed. This parameter is for information only. FLTíScale) EL1234 BP2 C 3 BP3 C#5 BP4 G 8 ■ BP1/BP2/BP3/BP4 (Break Point 1/2/3/4) Set the Break Points for each Element. BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. Large Speed of cutoff frequency change BP1 C-2 + ❏ Settings: BP1 to BP4: C-2 ~ G8 Small FLT Scale (Filter Scale Offset) Lower range Center (Basic Pitch) FLTíScale)Ofst1 EL1234 + 0 Higher range ■ EGTime Set the Time Scale (the speed of change in the FEG over the range of the keyboard) for each Element. The basic speed of change for the FEG is at the note specified in the Center parameter. A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect. Ofst2 +127 Ofst3 -128 Ofst4 + 0 ■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4) Set the Filter Scaling Offset Levels. These Offsets are used by the Break Points (BP1/BP2/BP3/BP4). Details about Filter Scaling are given below in the section “Filter Scaling Settings.” ❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127 ❏ Settings: -64 ~ 0 ~ +63 Filter Scaling Settings ■ Center (Center Key) Set the basic note used by the EGTime parameter. When the Center Key note is played, the FEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EGTime settings. By way of example, you could set the Levels (Offsets) and Break Points (BP1 to BP4) as follows. FLTíScale) EL1234 ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. + Higher range Lower range – Negative value – Basic Pitch BP4 A 5 FLTíScale)Ofst1 EL1234 - 4 Ofst2 + 10 Ofst3 + 17 Ofst4 + 4 The Break Point Levels are Offsets used to increase or decrease the current Cutoff setting at the specified notes. Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. Speed of FEG level change Higher range Lower range BP3 G 4 The Break Points are automatically arranged in ascending order across the keyboard. For example, BP2 cannot be set to a lower note than that of BP1. Basic Pitch + BP2 B 2 Here, the current Cutoff setting is 64. The Offsets are –4 at BP1 (set to note E1), +10 at BP2 (set to note B2), +17 at BP3 (set to note G4) and +4 at BP4 (set to A5). That is, the Cutoff frequencies at each Break Point are 60, 74, 81 and 68, respectively. For other notes, the Cutoff frequencies will be on the straight line connecting the two adjacent Break Points. Positive value Speed of FEG level change BP1 E 1 97 A note set below the BP1 will become the BP1 Level. A note set above BP4 will become the BP4 Level. Voice Mode FLT Scale (Filter Scale Break Point) ■ Attack (Attack Time) Set the Attack Time. Element Amplitude You can set Amplitude parameters to affect the output level of each Element. The following seven screens are available. ❏ Settings: 0 ~ 127 ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. Voice Mode AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset) ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 AEG Level AEG VelSens (AEG Velocity Sensitivity) You can set various Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. You can set the sensitivity of the Amplitude Envelope Generator (AEG) to note velocity. AEGíVelSens) EL1234 Level +7 Time-Segment +63 attack AEGíLevel) Init EL1234 127 ■ Level Set the sensitivity of the AEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger output level changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect. ■ Init (Initial Level) Set the Initial Level. (The Level when a key is pressed.) ❏ Settings: 0 ~ 127 ❏ Settings: -64 ~ 0 ~+63 ■ Attack (Attack Level) This shows the Attack Level. (Fixed at 127.) ■ Time-Segment Set the velocity sensitivity of the AEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: 0 ~ 127 ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings (Time): -64 ~ 0 ~ +63 ❏ Settings: 0 ~ 127 ❏ Settings (Segment): attack: Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all AEG Time parameters AEG Release You can set Release Time and Release Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Level settings, these can be used control the change in output level from the moment a note is released. You can set different values for each Element. AEG Time You can set various Time parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Level and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. AEGíTime) EL1234 Attack 127 Decay1 127 Attack Decay1 Sustain (127) 127 0 AEGíRelease) EL1234 ■ Time (Release Time) Set the Release Time. Decay2 127 ❏ Settings: 0 ~ 127 98 Time 127 Level (0) ■ Level (Release Level) This shows the Release Level. (Fixed at zero.) ■ Center (Center Key) This shows that the basic Level is at note C3. At this note, the output level remains unchanged. For other notes, the output levels vary according to the Level settings. The Center setting cannot be changed. Amplitude Envelope Generator Settings There are four Time settings (controlling the speed of changes in output level) and five Level settings (controlling the output level). The output level changes from the Initial Level to the Attack Level (127) within the Attack Time. It then changes in accordance with the Decay 1/2 Time and the Decay 1 Level, and settles at the Sustain Level. When the note is released, the output level falls to the Release Level (zero) within the Release Time. Velocity Sensitivity and other parameters can also be set if required. Level Attack Decay1 Sustain Level Level Level Key off Small Lower range Center(Basic Pitch) Higher range ■ EGTime The EGTime parameter controls the AEG Times for each Element according to the positions of the notes on the keyboard. The Center parameter is used as the basic amplitude for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. Release Level Init Level ❏ Settings: -64 ~ 0 ~ +63 0 Time Attack Time + Decay1 Decay2 Time Time ■ Center (Center Key) Set the basic pitch used by the EGTime parameter. When the Center note is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings. Release Time AMP KeyFlw (AMP Key Follow) You can set Amplitude Key Follow parameters for each Element. This parameter controls the AEG behavior according to the positions of notes on the keyboard. ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. The availability of the Amplitude Key Follow parameter depends on the Break Point and Offset settings in the AEG Scale screen. Positive value AMPíKeyFlw)Level-Center EL1234 +200% (C 3) Speed of AEG level change EGTime--Center +63 C 3 ■ Level Set the Amplitude Key Follow ratio (the amount by which the output level varies according to note position) for each Element. A Center setting of C3 is used as the basic setting. A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect. + Lower range Center(Basic Pitch) Higher range Negative value + Speed of AEG level change - ❏ Settings: -200% ~ 0 ~ +200% Lower range 99 Center(Basic Pitch) Higher range Voice Mode Large Speed of AEG level change AMP Scale (AMP Scaling Break Point) The Break Point Levels are Offsets used to increase or decrease the current amplitude at the specified notes. Regardless of the size of these Offsets, the minimum and maximum amplitude limits (values of 0 and 127, respectively) cannot be breached. You can set four Amplitude Scaling Break Points for each Element. Amplitude Scaling controls the amplitude according to the positions of the notes on the keyboard. There are four Break Points used to divide and assign different settings across the keyboard. The Levels (Offsets) at each of Break Point are set in the AMP Scale screen. A note set below the BP1 will become the BP1 Level. A note set above BP4 will become the BP4 Level. Details about Amplitude Scaling are given later in the section “Amplitude Scaling Settings.” Voice Mode Element LFO (Low Frequency Oscillator) The Levels of the Elements themselves are set in the OSC Out screen (Page 89). AMPíScale) EL1234 BP1 C-2 BP2 C 3 BP3 C#5 There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato/wah/tremolo/etc. effects when applied to pitch/filter/amplitude parameters. Different LFO parameters can be set for each Element. The following two screens are available. BP4 G 8 LFO Wave LFO Depth ■ BP1/BP2/BP3/BP4 (Break Point1/2/3/4) Set the Break Points for each Element. BP1 to BP4 will automatically be arranged in ascending order across the keyboard. LFO Wave You can set various parameters controlling the LFO waveform. Select the waveform used by the LFO and set the speed of change. ❏ Settings: BP1 to BP4: C-2 ~ G8 You can also set each Break Point by pressing the respective note on the keyboard while holding down the [SHIFT] key. LFOíWave) EL1234 AMP Scale (AMP Scaling Offset) AMPíScale)Ofst1 EL1234 + 0 Ofst2 +127 Ofst3 -128 Wave^ tri ❏ Settings: saw, tri, squ saw (sawtooth wave) Details about Amplitude Scaling are given later in the section “Amplitude Scaling Settings.” ❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127 Amplitude Scaling Settings tri (triangle wave) By way of example, you could set the Levels (Offsets) and Break Points (BP1 to 4) as follows. BP1 E 1 BP2 B 2 BP3 G 4 BP4 A 5 AMPíScale)Ofst1 EL1234 - 4 Ofst2 + 10 Ofst3 + 17 Ofst4 + 4 squ (square wave) Here, the current amplitude is 80. The Offsets are –4 at BP1 (set to note E1), +10 at BP2 (set to note B2), +17 at BP3 (set to note G4) and +4 at BP4 (set to A5). That is, the amplitudes at each Break Point are 76, 90, 97 and 84, respectively. For other notes, the amplitudes will be on the straight line connecting the two adjacent Break Points. The Break Points are automatically arranged in ascending order across the keyboard. For example, BP2 cannot be set to a lower note than that of BP1. KeySync on ■ Wave Select the LFO waveform used to vary the sound. There are three waveforms available. Ofst4 + 0 ■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4) Set the Amplitude Scaling Offset Levels. These Offsets are used by the Break Points (BP1/BP2/BP3/BP4). AMPíScale) EL1234 Speed 63 100 ■ Speed Set the speed of the LFO waveform. A larger setting means a faster speed. ■ AMod (Amplitude Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the amplitude of the sound. A larger setting means a larger modulation depth. ❏ Settings: 0 ~ 63 ❏ Settings: 0 ~ 127 Element EQ (Equalizer) You can set the following two Equalizer parameters for each Element. Time EQ Type EQ Param (EQ Parameter) Speed = Slow EQ Type Time EQíType) EL1-3* ■ Type Select the Equalizer Type. Various Equalizers are available which can be used not just for altering existing sounds, but also in generating completely new sounds. Some items in the following EQ Param (EQ Parameter) screen may or may not be available, depending on the selected Equalizer Type ■ KeySync Switch Key Sync on or off. When switched on, the LFO waveform is reset every time a note is played. ❏ Settings: off, on Sync off Sync on Time Type EQ L/H ❏ Settings: EQ L/H (EQ Low/High), P.EQ (Parametric EQ), Boost6 (Boost 6dB), Boost12 (Boost 12dB), Boost18 (Boost 18dB), thru Time The parameters for the Filter Type are as follows. Key on Key on • EQ L/H (EQ Low/High) This is a Shelving Equalizer which combines a High Frequency and Low Frequency Band to adjust the signal Level. If you select this Filter, the EQ Parameter screen will be available with the following parameters. LFO Depth Set the amount by which the LFO waveform controls changes in Pitch/Filter/Amp settings. LFOíDepth) EL1234 PMod 127 FMod 127 AMod 127 EQíParam)LoFreq EL1-3* 257.OHz ■ PMod (Pitch Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. A larger setting means a larger modulation depth. LoGain HiFreq +32 6.25kHz HiGain +32 + 0 Frequency ❏ Settings: 0 ~ 127 - ■ FMod (Filter Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. A larger setting means a larger modulation depth. Low Freq ❏ Settings: 0 ~ 127 101 High Freq Voice Mode Speed = Fast ■ LoFreq (Low Frequency) Set the low frequency of the Shelving filter. Frequencies below this point are attenuated or boosted by the Low Gain parameter. ■ Q (Frequency Characteristic) Set the Q (Frequency Characteristic). 32 different Characteristics are available. ❏ Settings: 0 ~ 31 ❏ Settings: 50.1Hz ~ 2.00kHz Voice Mode • Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/ Boost18 (Boost 18dB) These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively. The EQ Parameters will be unavailable. ■ LoGain (Low Gain) Set the amount by which the frequencies below the Low Frequency setting are attenuated or boosted. ❏ Settings: -32 ~ 0 ~ +32 • thru If you select this, the equalizers are bypassed and the entire signal is unaffected. ■ HiFreq (High Frequency) Set the high frequency of the Shelving filter. Frequencies above this point are attenuated or boosted by the High Gain parameter. Drum Voices ❏ Settings: 503.8Hz ~ 10.1kHz With Drum Voices, different drum and percussion Waves or Normal Voices are assigned to notes across the keyboard (from C0 to C6) forming an entire drum kit. For editing Drum Voices, there are five Common Edit screens (affecting all the Drum Voices together) and the five Drum Key screens. ■ HiGain (High Gain) Set the amount by which the frequencies above the High Frequency setting are attenuated or boosted. ❏ Settings: -32 ~ 0 ~ +32 When you select a Drum Voice and enter Voice Edit Mode, you will see the Drum Voice Edit screen at which you were previously editing. • P.EQ (Parametric EQ) The Parametric EQ is used to attenuate or boost signal levels around the Frequency setting by the amount specified in the Gain setting. 32 different Frequency Characteristics are available. The following parameters are available for this type of Equalizer. EQíParam) EL1-3* Freq 255 Gain +32 An overview of the Drum Voices is given on Page 37. Most parameters have already been explained for Normal Voices. (The gray items in the tree diagram.) Those parameters not previously covered are explained here. Details about the functions common to both Drum Voices and Normal Voices are given in the section “Normal Voices” (Page 79). Q 31 EQ Param (EQ Parameter) + Gain 0 Frequency - ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings: 139.7Hz ~ 12.9kHz ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: -32 ~ 0 ~ +32 102 Voice Edit (Drum) Drum Common Drum Common General GEN Name (General Name) Drum Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Drum Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effects) Drum Common Controllers CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Drum Common Effects EFF InsEF (Insertion Effects) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Drum Key Drum Key OSC (Oscillator) OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) D K Pi h 80 80 81 81 81 82 103 82 82 83 83 83 84 84 84 84 84 84 84 84 88 88 88 88 89 89 104 104 105 105 105 Drum Common General 106 106 106 106 106 107 107 101 101 101 For Drum Voices, there is only the one type of Common General parameter shown below. The parameter settings is the same as for Normal Voices. Details are given on Page 80. GEN Name (General Name) Voice Mode Drum Key Pitch PCH Tune (Pitch Tune) Drum Key Filter FLT Cutoff (Filter Cutoff) Drum Key Amplitude AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) Drum Key EQ (Equalizer) EQ Type (EQ Type) EQ Param (EQ Parameter) Drum Common Quick Edit The following four screens are available for Drum Voice output level and timbre parameters. These can also be edited using the Sound Control knobs on the CS6x front panel. Drum Common Edit and Drum Key Edit Each Drum Voice consists of multiple Waves or Normal Voices assigned to notes across the keyboard (C0 to C6) (Page 37). You can use Drum Common Edit for settings that apply to all Drum Keys in the Drum Voice. For individual Waves or Normal Voices settings, Drum Key Edit consists of Edit screens for each Wave or Normal Voice. With Drum Voice Edit, you can use Knob [A] to switch between the Drum Common Edit and Drum Key Edit screens. QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) QED Level (Quick Edit Level) Most parameters and settings have already been explained for Normal Voices. Details are given on Page 81. Drum Common settings QEDíEG) Attack VCE*Play) PRE1:128(H16)[Pf:GrandPiano] Decay Common +63 EQ +63 Mid EQ+63 Hi Cutoff RevTime QED EffectCtrl (Quick Edit Effect) Common Most parameters and settings have already been explained for Normal Voices. Details are given on Page 81. Drum Key settings OSCíWave) Key=C 3 Number Ctgry 001[PF:Grand 1 ] Type wave Drum Key SHIFT PAGE A B C 1 2 DATA QED Filter (Quick Edit Filter) Most parameters and settings have already been explained for Normal Voices. Details are given on Page 82. PART/ELEMENT QED EG (Quick Edit Envelope Generator) Menu Display The EG (Envelope Generator) can be used to set the transition in the Drum Voice output level over time. The EG has two parameters determining how the output level of the sound changes from the point at which a note is pressed to the point at which the sound has completely faded out. The following is displayed if you turn the [PAGE] knob while holding down the [SHIFT] key. The menus for the settings are shown below. Use the [PAGE] knob to move the cursor to the item you are looking for. Then release the [SHIFT] key to jump to the screen at which you were previously editing the item. QEDíEG) Common Attack +63 Decay +63 Cursor EFFíEF1) Common SHIFT PAGE A Com:>GEN≥QED>ARP>CTL Key:>OSC>PCH>FLT>AMP B C 1 >EFF >EQ 2 DATA The [PROGRAM/PART] keys on the CS6x can directly select Menus associated to them (Page 80). Attack 103 Decay ■ Attack Set the Attack time (the time from the moment the note is pressed to the point at which the maximum sound output level is reached). The [ATTACK] knob on the CS6x front panel can also be used to directly adjust the Attack time. Drum Key OSC (Oscillator) Voice Mode You can change your Drum Voice waveform settings. Each Drum Voice can consist of up to 73 Drum Keys (Page 37), assigned to notes spread across the keyboard (C0 to C6). You can assign waveforms to Drum Keys and set their parameters. The following four screens are available. ❏ Settings: -64 ~ 0 ~ +63 ■ Decay Set the Decay time (the time from the point of maximum sound output level to the point at which it has completely faded out). The [DECAY] knob on the CS6x front panel can also be used to directly adjust the Decay time. OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) OSC Wave (Oscillator Wave) ❏ Settings: -64 ~ 0 ~ +63 Assign a Wave/Normal Voice to each Drum Key. Use Knob [A] (or press a note on the keyboard) to select the Drum Key, and use Knob [C] to select the Wave/Normal Voice assigned to it. Drum Common Arpeggio The following four screens are available for Drum Voice arpeggio parameters. The parameters and settings are the same as for Normal Voices. Details are given on Page 82. OSCíWave) Mem Key=C 3 PRE1 ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Number Ctgry 001[PF:Grand 1 ] Type vce ■ Mem (Memory) This is displayed when you have selected “vce” (Normal Voice) as the Type parameter. Select the Voice Memory for the Normal Voice. Drum Common Controllers ❏ Settings: PRE1, PRE2, INT, EXT Set your Controller Settings here. Up to six controllers plus the Pitch Bend wheel can be assigned to each Drum Voice. The following seven screens are available. (The parameter names for all Control Set screens are the same.) You cannot select Plug-in Voices. ■ Number (Wave Number) Select a Wave/Normal Voice Number. The Category and Name are shown to the right of the selected Wave/Normal Voice Number. The selection of Waves/Normal Voices varies according to the Type. CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) ❏ Settings: 000 (off) ~ 479 for wave, 001~ 128 for Normal Voice (Details about each Wave/Normal Voice are given in the separate Data List). If you choose “off,” no Wave/Normal Voice will be assigned to the Drum Key. The parameters are the same as for Normal Voices. Details are given on Page 84. (The Elem Sw parameter is only available for Normal Voices.) ■ Ctgry (Category) Select the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected. Drum Common Effects ❏ Settings: Details about the Categories are given as a list on Page 80. For Drum Voice Effects, there are two Insertion Effects, plus System Effects (Reverb and Chorus). The following five screens are available. The parameters and settings are the same as for Normal Voices. Details are given on Page 88. ■ Type Select Wave or Normal Voice as the Type. With the Number and Ctgry parameters (above), you can specify the waveform or Normal Voice used by the Type. EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) ❏ Settings: wave, vce (Normal Voice) 104 ■ Pan Set the Pan position for each sound in a Drum Voice (Drum Kit). This will also be used as the basic Pan position for the Alternate and Random settings. OSC Out (Oscillator Out) Set the Wave or Normal Voice output settings for each Drum Key. Level 127 InsEF RevSend ChoSend thru 64 127 ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position. ■ Level Set the output level for each Wave or Normal Voice. This can be used to adjust the output of each Drum Key. ❏ Settings: L64 (Left) ~ 0 (Center) ~ R63 (Right) This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” If set to “vce” (Normal Voice), this parameter is unavailable. ❏ Settings: 0 ~ 127 ■ InsEF (Insertion Effect) Select the Insertion Effect to which the output of each Drum Key will be sent. If Thru is selected, the Insertion Effects are bypassed. ■ Random Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position. ❏ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) ❏ Settings: 0 ~ 127 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” ■ RevSend (Reverb Send) Set the Send level of the Drum Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ■ Output Assign each Drum Key to an output. ❏ Settings: L&R (OUTPUT L & R), ind1&2 (INDIVIDUAL OUTPUT 1 & 2), ind1 (INDIVIDUAL OUTPUT 1), ind2, ind3, ind4, ind5, ind6 ❏ Settings: 0 ~ 127 This setting plus the Reverb Send level set in the QED Level screen (Page 81) are the final Reverb Send level settings. Settings “ind3” to “ind6” are for future expansion purposes and are currently not available. Details about the Effects are given on Page 65. For example, if you choose “ind1&2,” the left channel will be output through INDIVIDUAL OUTPUT1 and the right channel will be output through INDIVIDUAL OUTPUT2. ■ ChoSend (Chorus Send) Set the Send level of the Drum Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. OSC Other (Oscillator Other) ❏ Settings: 0 ~ 127 You can set parameters which govern the sound of each Drum Key making up the Drum Voice. This setting plus the Chorus Send level set in the QED Level screen (Page 81) are the final Chorus Send level settings. OSCíOther) Key=C 3 For a Drum Key with the Insertion Effect set to other than Thru, the Chorus Send level will be determined by the QED Level screen. Details about the Effects are given on Page 65. Assign RcvNtOff AltGrp single on off ■ Assign Set Key Assign to “single” to prevent the doubled playback of the same received notes. Select “multi” to consecutively assign each instance of the same received note to a separate channel. OSC Pan (Oscillator Pan) Assign Pan settings for each Drum Key in the Drum Voice. Different Pan types are available. ❏ Settings: single, multi The Pan, Alter (Alternate) and Random settings will be ignored if you set the Output to “ind1” to “ind6.” OSCíPan) Key=C 3 Pan C Alter L63 Random 63 When the Alternate Group (AltGrp) parameter is set to other than “off,” you cannot set this parameter (shown as “----”). Output L&R 105 Voice Mode ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) OSCíOut) Key=C 3 ■ RcvNtOff (Receive Note Off) Select whether MIDI Note Off messages are received by each Drum Key. Drum Key Filter You can apply filter settings to the Drum Voice. A Low Pass Filter and High Pass Filter can be applied per Wave to change its tonal characteristics. ❏ Settings: off, on This parameter depends on the Type of Drum Key Wave chosen in the OSC Wave screen. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” Voice Mode ■ AltGrp (Alternate Group) Set the Alternate Group to which the Wave is assigned. In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent Waves from playing back simultaneously by assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select “off” here if you wish to allow the simultaneous playback of sounds. FLT Cutoff (Filter Cutoff) FLTíCutoff) LPF VelSens Key=C 3 255 +63 HPF 0 ■ LPF (Low Pass Filter) Set the Cutoff frequency of the Low Pass Filter. Only frequencies below this point are passed. You can then use the Reso (Resonance) parameter to add further character to the sound. ❏ Settings: off, 1 ~ 127 ❏ Settings: 0 ~ 255 Drum Key Pitch Details about the Low Pass Filter are given on Page 93. Set the pitch of each Drum Key. The tunings and Pitch EG parameters can be set for each Drum Key. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall. PCH Tune (Pitch Tune) PCHíTune) Key=C 3 Reso 31 Coarse + 0 Fine VelSens + 0 +63 ❏ Settings: -64 ~ 0 ~ +63 ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This can be used in combination with the Cutoff frequency of the Low Pass Filter to add further character to the sound. ■ Coarse Adjust the pitch of each Drum Key Wave (or Normal Voice) in semitones. ❏ Settings: -48 ~ +48 For a Normal Voice, this parameter adjusts the position of its note (not its pitch) relative to note C3. For example, let’s assume the original Voice consists of a two-Element piano-like sound up to note C3 and a twoElement string-like sound from note C#3 upwards. Adjusting this Coarse setting by +1 would not change the pitch of the piano-like sound to C#3. Instead, note C#3 of the original Voice (i.e., the string-like sound) would be used. ❏ Settings: 0 ~ 31 Details about Resonance are given on Page 40. ■ HPF (High Pass Filter) Set the Cutoff frequency of the High Pass Filter. Only frequencies above this point are passed. ❏ Settings: 0 ~ 255 ■ Fine Fine-tune the pitch of each Drum Key Wave (or Normal Voice). Details about the High Pass Filter are given on Page 94. ❏ Settings: -64 ~ +63 Drum Key Amplitude You can set amplitude (output level) parameters for each Drum Key. The following two parameters are available. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the pitch. Positive settings will cause the pitch to rise the harder you play the keyboard and negative settings will cause it to fall. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) ❏ Settings: -64 ~ 0 ~ +63 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” 106 ■ AMP AEG (Amplitude Envelope Generator) The Amplitude Envelope Generator controls the change in amplitude from the moment a note in pressed on the keyboard to the moment it is released. By setting the Attack Time, Decay 1 Time and the Decay 1/2 Level, you can determine how fast the sound reaches its peak amplitude and how it fades out. Parameters can be set for each Drum Key. The Amplitude Envelope Generator has three Time parameters and one Level parameter. These govern the transitions between output levels for the duration of a note. The Attack Time is the time taken for the sound to reach its peak output level from the moment a note is played on the keyboard. The Decay 1/2 Time and the Decay 1 Level parameters are used to set the behavior of the remainder (between the sound’s peak output level and the point at which it fades to zero). Furthermore, you can set these parameters to be sensitive to note velocity. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” AMPíAEG) Attack Key=C 3 127 Decay1---Level 127 127 Decay2 126 The Attack Level is fixed at its maximum value. Attack Level Level Decay1 Level ■ Attack (Attack Time) Set the Attack Time. ❏ Settings: 0 ~ 127 Attack Time ■ Decay1 (Decay 1 Time) Set the Decay Time. Decay1 Time Decay2 Time Time Key on Decay2=hold ❏ Settings: 0 ~ 127 Attack Level Level ■ Level (Decay 1 Level) Set the Decay 1 Level. Decay1 Level ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. If you select “hold,” the level amplitude will be held until you release the note. Attack Time Decay2 Time Time Key on ❏ Settings: 0 ~ 126, hold Drum Key EQ (Equalizer) You can set Equalizer parameters for each Drum Key. The following two screens are available. These parameters are the same as for Normal Voices; details are given on Page 101. AMP VelSens (Amplitude Velocity Sensitivity) You can define how the amplitude (output level) varies according to the velocity of the received notes. AMPíVelSens) Key=C 3 Decay1 Time EQ Type EQ Param (EQ Parameter) Level +63 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” ■ Level Set the velocity sensitivity of the Amplitude Envelope Generator’s output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall. ❏ Settings: -64 ~ 0 ~ +63 107 Voice Mode Amplitude Envelope Generator Settings Plug-in Voices The Voices held on Plug-in Boards (Single Part) are known as Board Voices. A Plug-in Voice is a Board Voice that has been processed in the synthesizer in Voice Edit Mode. There are six Common Edit screens and four screens for editing the Element of a Plug-in Voice. You can save up to 64 edited Plug-in Voices in Banks A to D of Memory PLG1/2. Voice Mode ( ) CTL AC Modulation (AC Modulation Depth) Plug-in Common LFO (Low Frequency Oscillator) LFO Param (LFO Parameter) Plug-in Common Effect EFF InsEF1 (Insertion Effect) EFF Rev (Reverb) EFF Cho (Chorus) Plug-in Element Plug-in Element OSC (Oscillator) OSC Assign (Oscillator Assign) OSC Velocity (Oscillator Velocity) Plug-in Element Pitch PCH PEG (Pitch Envelope Generator) Plug-in Element EQ (Equalizer) EQ Param (EQ Parameter) Plug-in Element Native PLG-NATIVE (Plug-in Native) After selecting the Plug-in Voice you wish to edit (in Banks A to D of Memory PLG1/2), when you enter Voice Edit Mode, you will see the Voice Edit Mode screen that you had exited from previously. Monitoring Board Voices You can monitor Board Voices without having to enter Edit Mode. Also, if you press the [EDIT] key while monitoring, you will enter Edit Mode with the oscillators of the Board Voice already assigned. 111 111 111 88 88 89 89 112 112 112 112 113 113 113 113 113 Plug-in Common Edit and Editing Each Element 1 While holding down the [PLG1] or [PLG2] key, use Knob [C] to select the Board Voice’s Bank. “PLG INT” is the Bank of the Plug-in Voice (Plug-in Internal) stored in Memory PLG1/2. There are two edit screens for a Plug-in Voice. One is for general Voice settings called Plug-in Common, and the other is for element settings called Plug-in Element. There is only one element available for a Plug-in Voice, but you can make access to parameters in Plug-in Common and Element screens, which are similar to ones for a normal Voice. In Plug-in Voice editing, you can switch between the Common and Element screens using the Knob [A]. 2 Release the [PLG1] or [PLG2] key. Select the Board Voice using the BANK/PROGRAM keys or [DATA] knob as in the same way to select a Voice from another memory. If there is no Voice at the Program Number corresponding with the selected Bank, no sound will be produced. Plug-in Common Edit Screens GENíOther) Mode VCE*Play) PRE1:128(H16)[Pf:GrandPiano] Assign Common +63 EQpoly Mid single EQ Hi Cutoff RevTime To edit the Board Voices on the Plug-in Board, you need to use a computer and the included editor software. Common Plug-in Element Edit Screens Details about Plug-in Voices and Board Voices are given on Pages 32, 114. OSCíAssign) Elem Bank NORM/001 Number 128[GndPiano] Plug-in Element SHIFT PAGE Many parameters are the same as for Normal Voices (the gray items in the tree diagram). Only those items that differ are explained here. 80 80 109 81 81 81 82 109 82 82 83 83 83 110 110 110 110 110 110 110 111 111 B C 1 2 DATA PART/ELEMENT Details about the other parameters are given in the Normal Voice explanation on Page 79. Plug-in Voices Plug-in Common Plug-in Common General GEN Name (General Name) GEN Other (General Other) Plug-in Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Plug-in Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Plug-in Common Controller CTL Pitch (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL MW Control (MW Control Depth) CTL MW Modulation (MW Modulation Depth) CTL AT Control (AT Control Depth) CTL AT Modulation (AT Modulation Depth) CTL AC Control (AC Control Depth) A Menu Display When you use the [PAGE] knob while holding down the [SHIFT] key, you will see the following Menu Display. Then use the [PAGE] knob to move the cursor to the desired item and release the [SHIFT] key to jump to the Edit screen for the selected item. Cursor NTVíPrm1) Com:>GEN≥QED>ARP>CTL>LFO>EFF Common Elem:>OSC>PCH>EQ>PLG-NATIVE Common SHIFT PAGE A B C 1 2 DATA PART/ELEMENT The [PROGRAM/PART] keys on the CS6x can directly select Menus associated to them (Page 80). 108 Plug-in Common General QED Filter (Quick Edit Filter) The General parameters are shown in the following two screens. The parameters and settings are the same as for Normal Voices. Details are given on Page 82. GEN Name (General Name) GEN Other (General Other) The EG (Envelope Generator) can be used to control the change in Plug-in Voice volume over time. There are three parameters for this EG, controlling the change in volume from the moment a note is pressed on the keyboard to the moment it is released, or to the point where it has faded to zero. GEN Name (General Name) The parameters and settings are the same as for Normal Voices. See Page 80 for further details. GEN Other (General Other) There are parameters available for Plug-in Board. GENíOther) Mode Common poly Assign single QEDíEG) Common Attack +63 Decay +63 Release +63 Level ■ Mode Select monophonic or polyphonic playback. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). Time Attack Time ❏ Settings: mono, poly Decay Time Key on ■ Assign If you set Key Assign to “single,” the doubled playback of the same note is prevented. The synthesizer will terminate a note when the same note is received again. If you select “multi,” the synthesizer will consecutively assign each instance of the same received note to a separate channel, making multiple part tone generation possible. Release Time Key off ■ Attack Set the Attack Time (the time taken for the volume to reach its peak after a note is pressed on the keyboard). You can also adjust this parameter using the [ATTACK] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 ■ Decay Set the Decay Time (the time taken for the volume to change from its peak to a steady level). You can also adjust this parameter using the [DECAY] knob on the front panel of the CS6x. ❏ Settings: single, multi Plug-in Common Quick Edit The parameters here are primarily for Plug-in Voice volume and tone. Many of there can also be adjusted using the Sound Control knobs on the front panel of the CS6x. The following four screens are available. ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the Release Time (the time taken for the volume to fade to zero after the note is released). You can also adjust this parameter using the [RELEASE] knob on the front panel of the CS6x. QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) ❏ Settings: -64 ~ 0 ~ +63 QED Level (Quick Edit Level) Plug-in Common Arpeggio The parameters and settings are the same as for Normal Voices. Details are given on Page 81. In the following four screens, you can set parameters for the Arpeggiator used by the Plug-in Voice. The parameters are the same as for Normal Voices. Details are given on Page 82. QED EffectCtrl (Quick Edit Effect) The parameters and settings are the same as for Normal Voices. Details are given on Page 81. 109 ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Voice Mode QED EG (Quick Edit Envelope Generator) Plug-in Common Controller CTL MW Control (MW Control Depth) You can set Pitch Bend Wheel, Modulation Wheel and other Controller parameters for the Plug-in Voices in the following nine screens. Here, you can set the depth of control the Modulation Wheel has over the filter. CTLíMW Control) Common Voice Mode CTL Pitch (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL MW Control (MW Control Depth) CTL MW Modulation (MW Modulation Depth) CTL AT Control (AT Control Depth) CTL AT Modulation (AT Modulation Depth) CTL AC Control (AC Control Depth) CTL AC Modulation (AC Modulation Depth) ■ Filter Set the depth of control of the Modulation Wheel over the filter cutoff frequency. ❏ Settings: -64 ~ 0 ~ +63 CTL MW Modulation (MW Modulation Depth) CTL Pitch (Pitch Bend) Here, you can set the depth of control the Modulation Wheel has over the pitch, filter and amplitude modulation of the Plug-in Voice. You can set the Pitch Bend Range and Portamento for the Plug-in Voice here. Portamento creates a smooth transition from the pitch of the first note played to the pitch of the next. CTLíPitch) Common Pitch Bend -24 Filter -64 CTLíMW Modulation) PMod Common 127 FMod 127 AMod 127 Portamento Time on 127 ■ PMod (Pitch Modulation Depth) Set the depth of control the Modulation Wheel has over the pitch modulation. The larger the setting, the greater the depth of control. ■ Pitch Bend Set the amount (in semitones) by which the pitch of the note is varied when you move the Pitch Bend Wheel up/down. For example, if you set a value of +12, the pitch will change up by up to an octave when you move the wheel up. Conversely, if you set a negative value, the pitch falls when you move the wheel down. ❏ Settings: 0 ~ 127 ■ FMod (Filter Modulation Depth) Set the depth of control the Modulation Wheel has over the filter cutoff modulation. The larger the setting, the greater the depth of control. ❏ Settings: -24 ~ 0 ~ +24 ❏ Settings: 0 ~ 127 ■ Portamento Switch Portamento on or off. You can also set this parameter using the PORTAMENTO [ON/OFF] key on the front panel of the CS6x. ■ AMod (Amplitude Modulation Depth) Set the depth of control the Modulation Wheel has over the amplitude modulation. The larger the setting, the greater the depth of control. ❏ Settings: off, on ❏ Settings: 0 ~ 127 ■ Time Set the Portamento Time, which is the speed of the transition in pitch from the first note to the next. You can also set this parameter using the [PORTAMENTO] knob on the front panel of the CS6x. CTL AT Control (AT Control Depth) Here, you can set the depth of control keyboard aftertouch has over the pitch and filter of the Plug-in Voice. ❏ Settings: 0 ~ 127 CTLíAT Control) Common Pitch +24 Filter -64 CTL Set1 (Control Set 1) ■ Pitch Set the depth of control of keyboard aftertouch over the pitch. You can set a value (in semitones) of up to two octaves. CTL Set2 (Control Set 2) These parameters are the same as for Normal Voices. Details are given on Page 84 (The Elem SW parameter is only available for Normal Voices). ❏ Settings: -24 ~ 0 ~ +24 ■ Filter Set the depth of control of keyboard aftertouch over the filter cutoff frequency. 110 ❏ Settings: -64 ~ 0 ~ +63 ■ PMod (Pitch Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the pitch modulation. The larger the setting, the greater the depth of control. CTL AT Modulation (AT Modulation Depth) Here, you can set the depth of control that keyboard aftertouch has over the pitch, filter and amplitude modulation of the Plug-in Voice. CTLíAT Modulation) PMod Common 127 FMod 127 AMod 127 ■ FMod (Filter Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the filter cutoff modulation. The larger the setting, the greater the depth of control. ■ PMod (Pitch Modulation Depth) Set the depth of control that keyboard aftertouch has over the filter pitch modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the amplitude modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ■ FMod (Filter Modulation Depth) Set the depth of control that keyboard aftertouch has over the filter cutoff modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 Plug-in Common LFO (Low Frequency Oscillator) ■ AMod (Amplitude Modulation Depth) Set the depth of control that keyboard aftertouch has over the amplitude modulation. The larger the setting, the greater the depth of control. You can set the LFO parameters here. The LFO uses a low-frequency waveform to vary (modulate) the pitch of the sound. The vibrato effect, for example, makes use of the LFO. ❏ Settings: 0 ~ 127 LFO Param (LFO Parameter) CTL AC Control (AC Control Depth) You can set the depth of control the Control Change messages (Assignable Control) have over the filter of the Plug-in Voice. CTLíAC Control) Source Common 04[FootCtrl] LFO Param) Common Speed +63 Delay -64 ■ Speed Set the speed of the LFO waveform. A positive setting will increase the speed and a negative setting will reduce it. Filter -64 ■ Source Set the MIDI Control Change number used to control the filter. ❏ Settings: -64 ~ 0 ~ +63 Speed = Slow ❏ Settings: 0 ~ 95 ■ Filter Set the depth of the filter cutoff frequency controlled by the Control Change set above. Time ❏ Settings: -64 ~ 0 ~ +63 Speed = Fast CTL AC Modulation (AC Modulation Depth) Here, you can set the depth of control the Control Change messages (Assignable Control) have over the pitch, filter and amplitude of the Plug-in Voice. CTLíAC Modulation) PMod Common 127 FMod 127 PMod +63 Time AMod 127 111 Voice Mode ❏ Settings: 0 ~ 127 ■ Delay Set the delay time between the moment you press a note on the keyboard and the moment the LFO comes into effect. As shown in the illustration, a positive setting will lengthen the delay and a negative setting will shorten it. OSC Assign (Oscillator Assign) You can select the Board Voice that make up the Element in a Plug-in Voice. Use Knob [C] to select the Bank and Knob [1] to select the Board Voice. Voice Mode OSCíAssign) Elem ❏ Settings: -64 ~ 0 ~ +63 Bank NORM/001 Number 128[GndPiano] Short Delay ■ Bank Select the Board Voice Bank of the Plug-in Voice. ❏ Settings: (Depends on the Plug-in Board. Refer to the Owner’s Manual for your Plug-in Board.) Key on ■ Number Select the Board Voice Number. The Board Voice Name is displayed to the right of this number. Long Delay ❏ Settings: (Depends on the Plug-in Board. Refer to the Owner’s Manual for your Plug-in Board.) Key on OSC Velocity (Oscillator Velocity) Here, you can set the velocity and note shift for the Board Voice. ■ PMod (Pitch Modulation Depth) Set the amount by which the LFO waveform controls the pitch. A positive setting will increase the amount and a negative value will decrease it. OSCíVelocity) Elem Depth 127 Offset NoteSft 0 -24 ❏ Settings: -64 ~ 0 ~ +63 ■ Depth Set the velocity sensitivity of the Board Voice. If you set a larger value, the volume increase will be greater the harder you play the keyboard. Plug-in Common Effect In the following three screens, you can set the parameters for the Insertion and System Effects used by the Plug-in Voice. The parameters are the same as for Normal Voices. The EFF EF1 (Insertion Effect) parameter is the same as the EFF EF1 (Insertion Effect 1) parameter of the Normal Voices. Details are given on Page 88. ❏ Settings: 0 ~ 127 ■ Offset Set an offset value for the velocity sensitivity of the Board Voice. When you press a note on the keyboard, this offset value is added to the note velocity. EFF EF1 (Insertion Effect) EFF Rev (Reverb) EFF Cho (Chorus) ❏ Settings: 0 ~ 127 ■ NoteSft (Note Shift) Set the amount (in semitones) by which the pitch of the Board Voice is shifted. You can set a value of up to 2 octaves. Plug-in Element OSC (Oscillator) Here, you can set the Element-related parameters for the Plug-in Voice. In the following two screens, you can select the Element’s waveform, then it’s velocity parameters. ❏ Settings: -24 ~ 0 ~ +24 Plug-in Element Pitch OSC Assign (Oscillator Assign) OSC Velocity (Oscillator Velocity) You can set the Pitch Envelope Generator parameters for the Board Voice. The Pitch Envelope Generator controls the change in pitch from the moment a note is pressed on the keyboard to the moment it is released. 112 PCH PEG (Pitch Envelope Generator) EQíParam)LoFreq Elem 2.0k Attack Release---Level +63 +63 -64 HiFreq 16.0k HiGain -12dB + ■ InitLvl (Initial Level) Set the Initial Level. ❏ Settings: -64 ~ 0 ~ +63 0 Frequency ■ Attack Set the Attack Time. Low Freq ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the Release Time. High Freq ■ LoFreq (Low Frequency) Set the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/attenuated by the amount set in the LoGain parameter. ❏ Settings: -64 ~ 0 ~ +63 ■ Level Set the Release Level. ❏ Settings: 32Hz ~ 2.0kHz ❏ Settings: -64 ~ 0 ~ +63 ■ LoGain (Low Gain) Set the amount by which signals below the LoFreq frequency will be boosted/attenuated. Pitch Envelope Generator Settings ❏ Settings: -64 ~ 0 ~ +63 You can set two time (speed) parameters and two level (pitch) parameters controlling the change in pitch from the moment you press a note on the keyboard to the moment you release it. When you press a note on the keyboard, the initial pitch is defined by the InitLvl parameter setting. The pitch then changes from the InitLvl value to the peak pitch within the time set in the Attack parameter. Thereafter, the pitch change is defined by the Release Time/Level settings. Pitch LoGain +12dB Peak Level ■ HiFreq (High Frequency) Set the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/attenuated by the amount set in the HiGain parameter. ❏ Settings: 500Hz ~ 16.0kHz ■ HiGain (High Gain) Set the amount by which signals above the HiFreq frequency will be boosted/attenuated. Release Level ❏ Settings: -64 ~ 0 ~ +63 InitLvl Plug-in Element Native 0 Time Attack Time With a Plug-in Board installed, you have native and unique parameters to set up a Board Voice from the Plug-in Board. Release Time Key off PLG-NATIVE (Plug-in Native) Native Part Parameters are displayed. Use the [PAGE] knob to switch to the screen for the desired parameter, then use Knob [C] and Knob [2] to enter the settings. Plug-in Element EQ (Equalizer) You can set the equalizer settings for the Wave. This is a shelving equalizer with two bands; one for high frequencies and another for low frequencies. The parameters and number of screens will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board. 113 Voice Mode PCHíPEG)InitLvl Elem +63 EQ Param (EQ Parameter) If a Board Voice in the Custom Bank has been edited in Voice Edit Mode, you can store it as a Plug-in Voice in Memory Bank A to D of PLG1 or PLG2. Up to 64 can be stored in each Bank. Editing Plug-in Board Voices Plug-in Voices are based on Board Voices. However, the Board Voices themselves can be edited via computer, using the included editor software. Different editors are available for different Plug-in Boards. Voice Mode However, only the Voice Edit parameters can be stored. The edited Board Voice parameters cannot be stored. Therefore, you will lose all Board Voice edits when you switch your synthesizer off. When using the editor while the synthesizer is in Voice Mode, set the “Part No.” in the editor to “1.” Also, make sure the synthesizer’s Basic Receive channel is the same as that set in the editor’s MIDI channel. To avoid this situation, you should save your Board Voice edits to Memory Card and then load the data as a Plug-in Voice. Your edits made to a Board Voice will be retained in the Custom Bank until you turn off the instrument. Note that the Custom Bank is a temporary memory so that edits in the Bank will be erased when you turn off the instrument. Therefore, it may be necessary to save Board Voice data using a computer. After loading Board Voice data, if you select Plug-in Voice Memories (PLG1/PLG2) A to D, the stored sound (the edited Plug-in Voice based on the Board Voice) is loaded. The “all” setting is not available when saving Board Voice data; it is saved as a “plugin” file type. If the file name is set such that the file loads automatically (Page 172), the Board Voice data can also be loaded up when the synthesizer is switched on. CS6x/CS6R Plug-in Board Custom Bank Plug-in Memory (PLG 1/2) Bulk Dump/ Edit Board Voice PS/V IBM It may take a while to save or load the Board Voice data using Memory Card. Plug-in Voice Save Details about saving/loading data to/from Memory Card are given on Page 173. Computer (Editor) The editor for the PLG150-AN/PF Plug-in Board is a plug-in program for XGworks(lite). You will need to be running Windows and XGworks(lite) in order to use it. XGworks lite is included on the CD-ROM included with this synthesizer. Details about how to use the editor are given in the on-line help. When bulk-dumping Board Voice data, the edited Board Voices is received in the Custom Bank according to the Bank Select Message (MSB/LSB) unique to each Plug-in Board. Therefore, to play back these Board Voices, you need to select the appropriate Banks in the synthesizer. 1 In Voice Play Mode, select any Voice in a Plug-in Memory (PLG1 or PLG2). 2 The Board Voice you have edited can now be played back if a Custom Bank has been selected at this screen. For details about Custom Banks, Bank Select Numbers (MSB/LSB) and Board Voices, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board. Once you have transmitted the edited Board Voice data to the synthesizer and saved it to Memory Card as a “plugin” file type, you can load the file without having to connect the computer. 114 Voice Job Mode You can reset (initialize) all parameters of a Voice to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Element/Drum Key, and so on. Note that this does not return the Voice to its original state prior to editing. Instead, it is useful when building a completely new Voice from scratch. You can perform various operations (Jobs) in Voice Job Mode. For example, you can “Initialize” Voices (including those currently being edited) or “Recall” previous edits. When you enter Voice Job Mode, you will first see the Initialize screen. The following four screens are available for each Voice Job. Before entering Voice Job Mode and using the Initialize or Recall function, you must select the Voice you wish to operate on (Page 74). VCE Initialize) Job Current Voice 1st screen: VCE Initialize 2nd screen: VCE Edit Recall 3rd screen: VCE Copy 4th screen: VCE Bulk Dump ■ Select type of parameter to Initialize Use Knob [C], the [DATA] knob or the [DEC/NO] and [INC/YES] keys to select the parameter to be initialized. The parameters available for initialization will vary depending on the type of Voice currently selected (Normal/Drum/Plug-in). Details about how to enter Voice Job Mode are given on Page 22. Performing a Job 1In Voice Play Mode, select the Voice Number you wish to perform the Job on. ❏ Settings: normal Voice: Current Voice, Current Common, Current Element 1 ~ 4 2Press the [JOB] key to enter Voice Job Mode. Drum Voice: Current Voice, Current Common (data common to all Drum Keys), Current Key C0 ~ C6 (Drum Key C0 ~ C6) 3Use the [PAGE] knob and switch to the screen showing the Job you wish to perform. VCE Initialize) Job Current Voice Plug-in Voice: Current Voice, Current Common, Current Element VCE Edit Recall If you are editing a Voice but you do not store it before switching to another Voice, the edits you have made will be cleared. In such a situation, you can use the Recall function to reinstate the edits for the Voice. 4Use Knobs [B]/[C] and Knobs [1]/[2] to select the parameter you wish to perform the Job on. (Alternatively, use the [DATA] knob and the [DEC/NO] and [INC/YES] keys.) This step is not applicable for Recall and Bulk Dump Jobs. VCE Edit Recall) Job 5When you press the [ENTER] key, you will be prompted for confirmation. VCE Copy VCE Initialize) << Are You sure? [YES]/[NO] You can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice. >> 6Press the [INC/YES] key to confirm. The message “Completed.” will be displayed when the Job has completed, and you will be returned to the original screen. This function is not used for copying whole Voices from one location to another. It is used for copying parameter settings from an existing Voice to the current Voice you are editing. Press the [DEC/NO] key to cancel the Job. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power to your synthesizer while this message is displayed, you risk corrupting your data. VCE Copy) Job 7Press the [VOICE] key to exit Voice Job Mode and return to Voice Play Mode. [Pf:GrandPiano] PRE1:128(H16) EL1 1 115 2 3 > Current EL1 4 Voice Mode VCE Initialize ■ 1 Source Voice Memory Select the Voice Memory containing the Voice (source) from which you will copy parameter settings. Voice Store You can store (save) the parameter settings for up to 128 Voices to each of your synthesizer’s Memories (INT: Internal) or to its Memory Card (EXT: External). The procedure is as follows. ❏ Settings: PRE1/2 (Preset 1/2), INT (Internal Normal), EXT (External Normal), PLG1/2 (Plug-in 1/2), PRE (Preset Drum), INT (Internal Drum), EXT (External Drum) Voice Mode Up to 64 plug-in vioces can be stored in Banks A to D of PLG 1/2. ■ 2 Source Voice Number Select the Voice Number of the source Voice. The Voice Name is shown in the top line of the display. When you perform this, the settings for the destination Voice will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. ❏ Settings: 001 ~ 128 (for Preset/Internal/External Normal), 1 ~ 64 (for Plug-in 1/2), DR1 ~ DR8 (for Preset Drum), DR1 ~ DR2 (for Internal/External Drum) 1Press the [STORE] key after editing a Voice. You will see the Voice Store screen. ■ 3 Source Voice Parameter Select the parameter of the source Voice. You can copy parameter settings common to all Elements or those used by individual Elements. VCEí Store 2Use Knob [1] to select the destination Voice Memory (INT or EXT). ❏ Settings: normal Voice: Common (all Elements), EL1 ~ EL4 Drum Voice: Common (all Drum Keys), C0 ~ C6 Plug-in Voice: Common, EL (Element) This is fixed to PLG 1/2 when storing a Plug-in Voice. 3Use Knob [2] to select the destination Voice Number This will set the Voice Memory/Number to which your Voice will be stored. If the parameters of the source Voice (Normal/Drum/Plug-in) differ from those of the Voice you are currently editing (destination), you will only be able to copy Common parameters. You can also use the [DATA] knob or [DEC/NO] and [INC/YES] keys to perform this operation. 4When you press the [ENTER] key, you will be prompted for confirmation. ■ 4 Destination Element/Drum Key Set the Element/Drum Key of the destination Voice. If the source is a Normal or Drum Voice, you can only choose a destination if the Element/Drum Key has been set. VCEí << ❏ Settings: normal Voice: EL1 ~ EL4 Drum Voice: C0 ~ C6 [Pf:GrandPiano] >[Pf:Init Voice] Are You sure? [YES]/[NO] >> 5Press the [INC/YES] key to confirm. The message “Executing…” will be displayed while the Job is being processed. When it has completed, you will see the message “Completed.” and you will be returned to Voice Play Mode. If you choose to copy Common parameters from the source, this screen will change to “Common”. You can press the [DEC/NO] key to cancel the Job. This will return you to the original screen. VCE Bulk Dump There are two Scenes available for Each Voice. The on/off states of both Scenes will also be stored. Details about Scenes are given on Page 45. You can send all the parameter settings for the current Voice to your computer or some other external MIDI device using Bulk Dump. VCE Bulk Dump) Job Current Voice [Pf:GrandPiano] >[Pf:Init Voice] EXT:128(H16) You must set the correct MIDI Device Number in order to perform a Bulk Dump. Details are given on Page 166. 116 Performance Mode Performance Play In Performance Play Mode, multiple Voices (up to four Parts) can be layered to create thick sounds which you can play in real-time or using a sequencer. 3rd screen: 4th screen: 5th screen: 6th screen: 7th screen: In Performance Mode, up to 20 Parts can be combined in a single Performance, including Voices for the 16 Parts plus Phrase Clip, A/D Input and Plug-in 1/2 Parts. Depending on the Performance Edit settings (Page 121), you can assign a Normal Voice or Drum Voice (Drum Kit) to each Part. Multiple Parts can be assigned to the same MIDI channel for real-time playback. Alternatively, you can assign each Part to a different MIDI channel for playback using an external sequencer or the synthesizer’s internal sequencer (in Sequence Play Mode). The synthesizer can hold up to 256 Performances, consisting of 128 Internal Performances plus another 64 External Performances on Memory Card. PFM Mlt) Volume (Performance Multi: Volume) PFM Mlt) Pan (Performance Multi: Pan) PFM Mlt) RevSend (Performance Multi: Reverb Send) PFM Mlt) ChoSend (Performance Multi: Chorus Send) PFM Mlt) NoteSft (Performance Multi: Note Shift) 1st Screen: PFM Play (Performance Play) 1 2 3 PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi - 1 + 0 SHIFT The displayed screens, the method of selecting Performances and the Multi Part Edit process in Performance Play Mode are explained here. PAGE A 4 B C 1 2 DATA PART/ELEMENT Bank and Program keys are not available on the CS6R. Use Knobs [A] to [C], Knob [1]/[2] and the [DATA] knob to select Program Numbers. 1. Screen Title This shows that you are currently in Performance Play Mode. If a multitimbral Plug-in board is installed, up to 35 Parts can be combined in a single Performance. However, the settings for the Plug-in Parts cannot be stored in memory. An overview of Performances is given on Page 39. 2. Performance Memory/Number (Bank/Number) Performance Play Mode Display The Memory/Performance Program Number (001 to 128) and Bank ([A] to [H])/Program Number ([1] to [16]) are shown for the selected Performance. For example, “INT: 128(H16)” shows that the Memory is “Internal,” the Performance/Program Number is “128,” the Bank is “H,” and the Bank’s Program Number is “16.” You will see the following screen when you enter Performance Play Mode. There are seven Performance Play Mode screens, as explained below. Use the [PAGE] knob to switch between screens. Details about how to enter Performance Play Mode are given on Page 21. Memory/Performance Program Number PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi - 1 + 0 SHIFT PAGE A B C 1 2 Internal Memories are shown as “INT” and External Memories are shown as “EXT.” Each Voice within a Memory is assigned a Performance Program Number of 001 to 128. DATA Details about Performance Memories are given on Page 29. PART/ELEMENT 1st screen: PFM Play (Performance Play) Main Performance screen Bank/Program Number Performance Program Numbers 001 to 128 are related to Banks A to H and Program Numbers 1 to 16 (for the Bank) as explained below. For example, you can select a Performance either directly by its Performance Program Number or by using a combination of Bank and Program keys. 2nd screen: PFM Srch (Performance Search) You can quickly search for a Performance by specifying the Performance Memory and Category. 117 Performance Mode In the 3rd to 7th screens, you can set the output levels, stereo pan position and other general parameters for each Part (Multi Part Edit). These are useful when using the synthesizer with a sequencer. Details are given on Page 119. 4. Knob Parameter Display Performance Mode Performance Number Bank Program Number Performance Number Bank Program Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 E E E E E E E E E E E E E E E E F F F F F F F F F F F F F F F F G G G G G G G G G G G G G G G G H H H H H H H H H H H H H H H H 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 This shows the function/Parameter value assigned to each knob ([A] to [C] and [1]/[2]). Setting/Viewing Knob Parameters In Performance Play Mode, you can use Knobs [A] to [C] and Knob [1]/[2] to adjust parameters assigned to them. When you use each knob, the value of its assigned parameter is displayed briefly ([knob [A] to [C]). PFM Play) INT:128(H16)[Pf:Init Perf ] +63 EQ Mid EQ Hi -1 +0 SHIFT A PAGE B C 1 2 DATA PART/ELEMENT Details about assigning parameters to Knobs [A] to [C] are given on Page 165. Details about assigning parameters to Knob [1]/[2] are given on Pages 51, 84. Setting/Viewing Octave and MIDI Transmit Channel Parameters In Performance Play Mode, the current Octave and MIDI Transmit Channel settings are shown while you hold down the [SHIFT] key. The display varies, depending on whether Master Keyboard Mode is on or off. Details about Master Keyboard Mode are given on Page 123. Master Keyboard Mode is off Octave MIDI Transmit Channel (Oct= +3) (Tch= 1) SHIFT INT:128(H16)[Pf:Init Perf ] A PAGE B C 1 2 DATA PART/ELEMENT 3. Performance Category/Name Use Knob [A] while holding down the [SHIFT] key to select the MIDI Transmit Channel (1 to 16). Performance Category Master Keyboard Mode is on A two-letter abbreviation of the Performance Category is shown to the left of the Performance Name. This gives you a rough idea of the Performance’s sound. Octave Zone 1 to 4 (Oct= +3) INT:128(H16)[Pf:Init Perf ] (Tch=MKB 1:ch01 2:ch01 3:ch03 4:off) Performance Name SHIFT PAGE A B C 1 2 DATA The name of a Performance can consist of up to 10 characters. PART/ELEMENT Use Knob [B]/[C]/[1]/[2] while holding down the [SHIFT] key to select the MIDI Transmit Channel (1 to 16). The notes you play in Performance Play Mode will be transmitted on this MIDI channel. 118 When the master keyboard mode is turned off, you can use the MIDI Ch screen in Utility Mode to set MIDI transmission channels (Page 166). Performance Program Selection Details about Banks are given on Page 29. 3Press a PROGRAM key ([1] to [16]) to select a Program Number. Performances can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The display also shows the selected Performance. Using the BANK/PROGRAM keys (CS6x) Using the [DEC/NO] and [INC/YES] keys Using the [DATA] knob Using the Category Search Using the [INC/YES] and [DEC/NO] keys, the [DATA] knob or the Category Search function is the same as selecting the Voice directly in Voice Play Mode. Refer to Page 75, replacing the word “Voice” with “Performance.” 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG PROGRAM PART Using the BANK/PROGRAM Keys (CS6x) 1Press the MEMORY [INT] or [EXT] key and select the Performance Memory. The selected Performance Memory indicator in the display will blink. Multi Edit (Volume, Pan, Reverb/Chorus Send, Note Shift) MEMORY PRE1 PRE2 You can set the output level (volume), stereo pan and other parameters for each Part using the graphic editors on screens 3 to 7. You can, for example, adjust each Part’s Volume and Pan parameters in real-time while using the synthesizer as a multitimbral tone generator with a sequencer. DRUM INT EXT DRUM PLG1 PLG2 Method of Setting Up The same procedure applies to screens 3 to 7. PFM Mlt) Volume L Part01 127 Ä ÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇ› PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 SHIFT PAGE A B C 1 2 DATA Details about Performance Memories are given on Page 29. 2Press a BANK key ([A] to [H]) to select a Bank. The Bank indicator in the display will blink. PART/ELEMENT 1 2Use Knob [A] to select the Part. You can choose from PartCL (Phrase Clip Part), PartAD (A/D Input Part), PartP1 (Plug-in 1 Part), PartP2 (Plug-in 2 Part), Part01 to Part16 (Voice Part 1 to 16). Apart from the 7th screen (Note Shift), the Common (Layer Common) parameters are the same for all Layer Parts. MEMORY PRE2 A B C D E 4 1 F G H BANK 1 DRUM INT EXT DRUM PLG1 PLG2 2 3 ELEMENT SELECT 2 3 ELEMENT ON/OFF 1 2 3 4 5 6 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 OSC PITCH FILTER AMPLITUDE LFO 4 7 8 14 15 16 EQ PLG 3 1Use the [PAGE] knob to select the screen. Press Bank keys [A] to [D] when selecting an EXT Performance. PRE1 2 PROGRAM PART The parameter settings for each Part are shown as a bar graph, giving you an idea of the overall sound balance. PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 You can also use the MEMORY and PART keys on the front panel to select each Part. The keys relate to each Part as follows. If you press the [EXIT] key here, the Performance selection process is canceled and the original Performance is reinstated. [PRE1/2] key ......................Common (Layer Common) [INT] key ..............................PartCL (Phrase Clip Part) [EXT] key ............................PartAD (A/D Input Part) [PLG1] key ..........................PartP1 (Plug-in 1 Part) [PLG2] key ..........................PartP2 (Plug-in 2 Part) PART keys [1] to [16] (CS6x)..Part01 to Part16 (Voice Parts 1 to 16) If the Bank has already been selected, this step is not required. 119 Performance Mode There are four ways in which you can select a Performance. 3Use Knob [B] or the [DATA] knob or the [DEC/NO] and [INC/YES] keys to adjust the parameter settings for each Part. ■ 3rd Screen: PFM Mlt) Volume (Performance Multi: Volume) Set the output level (volume) of each Part. 4Repeat steps 2 and 3 for each of the other Parts. PFM*Mlt) Volume Part01 127 To avoid losing the settings, make sure you store the Performance before exiting to another Mode or selecting another Performance. Details about how to store Performances are given on Page 141. L * › ❏ Settings: 0 ~ 127 ■ 4th Screen: PFM Mlt) Pan (Performance Multi: Pan) Set the stereo pan position for each Part. Reading the Displayed Settings Screens 3 to 7 have the following functions. Performance Mode PFM Mlt)NoteSft L * Part01 + 0 -__-_-_ PFM Mlt)ChoSend L * Part01 127 -__-_-_ PFM Mlt)RevSend L Part01 127 -__-_-_ PFM Mlt) Pan L Part01 L63 -__-_-_ PFM Mlt) Volume L Part01 127__ 2 * Common * L * › * _ ❏ Settings: L63 ~ C ~ R63 › 4 ■ 5th Screen: PFM Mlt) RevSend (Performance Multi: Reverb Send) For each Part, set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. 6 PartAD PartP2 Pan L63 1 3 5 PFM Mlt) Part01 PartP01 ~ 16 PartCL PartP1 1 Parameter: shows the parameter settings PFM Mlt)RevSend Part01 127 L * › 2 Part: shows the currently selected Part ❏ Settings: 0 ~ 127 3 Value: shows the setting for the currently selected Part ■ 6th Screen: PFM Mlt) ChoSend (Performance Multi: Chorus Send) For each Part, set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. 4 Bar graph: shows the settings for each Part as a bar graph Common (Layer Common) PartCL (Phrase Clip Part) PartAD (A/D Input Part) PartP1 (Plug-in 1 Part) PartP2 (Plug-in 2 Part) Part01 ~ Part16 (Voice Parts 1 ~ 16) PFM Mlt)ChoSend Part01 127 5 Layer Switch on/off: displays a “L” mark above the bar graph for Parts which have their Layer Switch set to “on.” * PFM Mlt)NoteSft Part01 + 0 ❏ Settings: -24 ~ 0 ~ +24 › PFM Mlt) Volume Part17 127 Part17~Part32 › ■ 7th Screen: PFM Mlt) NoteSft (Performance Multi: Note Shift) Set the amount (in semitones) by which the pitch of each Part is offset. You can adjust the offset up or down by up to two octaves. If a multitimbral Plug-in board is installed in Plug-in Slot 2, PartP2 (Plug-in 2 Part) will no longer be available. However, you will now be able to select Part17 to Part32 (Voice Parts 17 to 32). A “›” mark is displayed to the right of the bar graph, indicating that there are more Parts available. If you select Part17 to Part32, the bar graph shows the settings for those Parts. L * ❏ Settings: 0 ~ 127 6 Mute on/off: displays a “*” mark above the bar graph for Parts which are muted. Press the [ENTER] key to switch mute on/off for the currently selected Part. PFM Mlt) Volume Part01 127 L 120 L * › Performance Edit the Common Edit screen and screens for editing each Part individually. When editing individual Parts, the screens you see will vary depending on the Part selected. If the synthesizer is in Master Keyboard Mode (Pages 8, 67), you will be able to set parameters for each Zone. In Performance Edit Mode, use Knob [A] to switch between the screens for Common, Part and Zone settings. You can set Performance Edit parameters. These can roughly be divided into Common parameters, which apply to all Parts, and Part-specific parameters. Also, there are various zone settings for Master Keyboard Mode (Page 123). When you enter Performance Edit Mode, you will see the following screen. The actual display (number of screens) will vary depending on the Part selected. Basically, Knob [A] is used to select the type of parameter you wish to edit (Common/Part/Zone), the [PAGE] knob is used to switch between the parameter screens, and Knobs [B], [C], [1] and [2] are used to enter parameter settings. Alternatively, you can use the [DATA] knob, and [DEC/NO] and [INC/YES] keys to enter settings. a-Z QED Level) Common Vol 127 Common Part settings MIX Level) Part01 Vol 127 A PAGE B C Zone settings 0-? Cursor [--:Init Perf ] 1 2 Pan RevSend ChoSend C 64 0 Part MKB Transmit) Zone01 SHIFT Pan RevSend ChoSend C +63 -63 Performance Mode GEN Name) Ctgry Common Common settings TrnsCh 1 TG on MIDI on DATA Zone SHIFT A PAGE B C 1 2 DATA PART/ELEMENT Switch between screens Enter setting PART/ELEMENT Select Common/Part/Zone You can use Knobs [A] to [C] and Knob [1]/[2] while holding down the [SHIFT] key to move the cursor to each respective parameter. The cursor can also be moved using the [DATA] knob or the [DEC/NO] and [INC/YES] keys while holding down the [SHIFT] key. Master Keyboard/Tone Generator Mode (CS6x only) In Performance Mode, the connection with the CS6x’s internal tone generator (the signal flow) can be changed by pressing the [MASTER KEYBOARD] key on the front panel. If the [MASTER KEYBOARD] key LED is on, the CS6x enters Master Keyboard Mode and becomes useful for controlling external tone generators. If the LED is off, the CS6x exits Master Keyboard Mode and becomes useful for controlling its internal Parts from the internal tone generator. The signal flow for each Mode is as follows. You must select the Performance you wish to edit before entering Performance Edit Mode (Page 119). All parameter settings for each Performance can be stored. If a multitimbral Plug-in Board has been installed, the parameters for its Parts will not be stored. Details about how to enter Performance Edit Mode are given on Page 21. Master Keyboard Mode: [MASTER KEYBOARD] key LED on Menu Display When you use the [PAGE] knob while holding down the [SHIFT] key, the following menu will be displayed. Use the [PAGE] knob to move the cursor between items, then release the [SHIFT] key to jump to the selected item. MIDI IN Zone Split Layer Cursor MIX Level) Com:>GEN≥QED>ARP>CTL>MEQ>EFF Part01 Part:>MIX>TON>LYR>RCV >MKB SHIFT PAGE A B C 1 2 ARP MIDI channel Octave Transpose Note Limit etc. DATA TG PART/ELEMENT MIDI OUT Part 1 to 16 Common/Part/Zone Edit A Performance can consist of 16 Voice Parts, a Phrase Clip Part, an A/D Input Part or a Plug-in Part 1/2 (Page 39). The parameters common to all Parts are known as a Common Edit. The Performance Edit Mode screens can be divided into 121 Part CL Part AD Part P1 Part P2 Tone Generator Mode: [MASTER KEYBOARD] key LED off The “Compare” Function Use this to listen to the difference between the Performance with your edited settings and the same Performance prior to editing. MIDI IN MIDI channel Octave Transpose Note Limit etc. 1 Press the [EDIT/COMPARE] key while in Performance Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the [EDIT/COMPARE] key LED will blink. The Performance settings prior to editing will temporarily be reinstated for comparison purposes. ARP Performance Mode “Compare” indicator TG MIDI OUT MIXîLevel) Com:>GE Part01 Part:>MI Part 1 to 16 Part CL Part AD Part P1 Part P2 Editing will not be possible while the “Compare” function is enabled. 2 Press the [EDIT] key again to disable the “Compare” function and restore the settings for your edited Performance. The í (Edit) Indicator If you alter any parameters in Performance Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current Performance has been modified but not yet stored. Performance Store The edited settings for the current Performance will be lost if you exit to Performance Play Mode and then select another Performance or Mode. To avoid losing important data, you should always use Performance Store to store your edited Performances after exiting Performance Edit Mode. Details about the Performance Store procedure are given on Page 141. “Edit” indicator MIXíLevel) Com:>GE Part01 Part:>MI When creating a new Performance from scratch, it is useful, prior to editing, to clear the settings for the current Performance using the Initialize Performance function in Performance Job Mode (Page 140). Even if you exit to Performance Play Mode, the edited settings for the current Performance will not be lost so long as you do not select another Performance. The í indicator will also be displayed in Performance Play Mode. Common (Settings for all Parts) The í indicator will also be displayed in Voice Play Mode if any Sound Control knobs or Assignable knobs are used. Here we explain how to edit common settings for all Parts in a Performance. There are six Menus available, each of which consists of multiple screens. • Common General • Common Quick Edit • Common Arpeggio • Common Controller • Common Master EQ • Common Effect 122 Common General GEN M.Kbd (General Master Keyboard) You can set the Performance Name, MIDI channel and other general parameters in the Common Edit screens. The following three screens are available for general settings. You can set keyboard splits and layers when using a Performance in Master Keyboard Mode. You can set a Performance Name consisting of up to 10 characters (alphabetic or numeric) and/or symbols. You can also select the Category Name to the left of the Performance Name. GENíName) Ctgry C 1234 a-Z split: Splits the keyboard into a left-hand (lower) section and a right-hand (upper) section, assigning a different MIDI channel and Part to each section. Performance Name 0-? Cursor [Pf:Init Voice] 4zone: Splits the keyboard into a maximum of four zones, assigning a different MIDI channel and Part to each zone. Parameters can be set separately for each zone (Page 137) when you press the [ENTER] key. GEN MIDI (General MIDI) layer: Layers up to two Zone (Part) over the keyboard. This is useful for creating rich and thick sounds. You can set the MIDI In/Out channel parameters for the Performance. ArpOut on Point C 3 ❏ Settings: split, 4zone, layer The method of setting the Performance Name is the same as for the Voice Name. Details are given on Page 80. GENíMIDI) Common Upper ch02 ■ Mode Set the keyboard Mode. The following three Modes are available. If the [MASTER KEYBOARD] key LED on the front panel is off, these Modes are not available and brackets are shown in the display. GEN Name (General Name) Category Name Lower ch01 ■ Lower When the Mode (see above) has been set to “split,” this sets the MIDI channel assigned to notes at and below the split point. The Part or Voice set to this MIDI channel will be played when you press notes at and below the split point. When the Mode is set to “layer,” the MIDI channel for one layered Zone (Part) is set here. ArpCh LayerCh 1 BasicCh ■ ArpOut (Arpeggio Out) Switch the Arpeggiator phrase MIDI output on or off. ❏ Settings: off, on ■ ArpCh (Arpeggio Channel) Set the Arpeggiator’s MIDI Channel. The arpeggio will play to Parts and Voices set to this MIDI Channel. If you choose Kbdch (Keyboard Channel), the Arpeggiator will use the MIDI Transmit Channel set in Utility Mode (Page 166). ❏ Settings: ch01 ~ ch16 ■ Upper When the Mode (see above) has been set to “split,” this sets the MIDI channel assigned to notes above the split point. The Part or Voice set to this MIDI channel will be played when you press notes above the split point. When the Mode is set to “layer,” the MIDI channel for the other layered Zone (Part) is set here. ❏ Settings: 1 ~ 16, KbdCh (Keyboard Channel) ■ LayerCh (Layer Channel) Set the MIDI Channel of the Layer Part. All Layer Parts (up to four) will use the same MIDI Channel set here. If you choose BasicCh (Basic Receive Channel), all Layer Parts will use the Basic Receive Channel set in Utility Mode (Page 166). ❏ Settings: ch01 ~ ch16 You can also quickly set the Upper/Lower MIDI channels using the PART keys [1] to [16]. Press and hold one PART key, then press another. The number of the first key is set as the Upper MIDI channel while the number of the second key is set as the Lower MIDI channel. ❏ Settings: 1 ~ 16, BasicCh (Basic Receive Channel) 123 Performance Mode GENíM.Kbd) Mode Common (split) GEN Name (General Name) GEN MIDI (General MIDI) GEN M.Kbd (General Master Keyboard) ■ Point When the Mode (see earlier) has been set to “split,” this sets the split point. The actual note of the split point will be assigned to the upper section. QED Level (Quick Edit Level) You can set output level and pan parameters for each Layer Part. The settings are also available in the Part Edit screens. You can also select the split point by pressing the note while holding down the [SHIFT] key. QEDíLevel) Common ❏ Settings: C-2 ~ G8 Vol 127 Pan RevSend ChoSend C 63 63 Master Keyboard settings (for split/layer) Split Prameter Name ■ Vol (Volume) Set the output level of the Layer Part. Layer Zone1 Zone2 Zone3 Zone4 Zone1 Zone2 Zone3 Zone4 Performance Mode TrnsCh ch ch+1 ch ch ch ch+1 ch ch TG on on off off on on off off MIDI on on off off on on off off Octave +0 +0 +0 +0 +0 +0 +0 +0 Transpose +0 +0 +0 +0 +0 +0 +0 +0 Note Limit Low C-2 p C-2 C-2 C-2 C-2 C-2 C-2 Note Limit High p G8 G8 G8 G8 G8 G8 G8 Transmit Switch PB on on on on on on on on Transmit Switch MW on on on on on on on on Transmit Switch KnobA-C on on on on on on on on Transmit Switch Knob1/2 on on on on on on on on Transmit Switch RB on on on on on on on on Transmit Switch FC on on on on on on on on Transmit Switch BC on on on on on on on on Transmit Switch AT on on on on on on on on Transmit Switch FS on on on on on on on on Transmit Switch Sus on on on on on on on on Transmit Switch Vol/FV on on on on on on on on Transmit Switch Pan on on on on on on on on Transmit Switch Bank Select off off off off off off off off Transmit Switch Program Change off off off off off off off off Transmit Preset Volume 100 100 100 100 100 100 100 100 Transmit Preset Pan C C C C C C C C Transmit Preset Bank MSB 0 0 0 0 0 0 0 0 Transmit Preset Bank LSB 0 0 0 0 0 0 0 0 Transmit Preset PC 0 0 0 0 0 0 0 0 CS Control Number Assign 7 7 7 7 7 7 7 7 ❏ Settings: 0 ~ 127 ■ Pan Set the stereo pan position of the Layer Part. You can also adjust this parameter using the [PAN] knob on the front panel of the CS6x. ❏ Settings: L63 (Left) ~ C (Center) ~ R63(Right) ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the [REVERB] knob on the front panel of the CS6x. ❏ Settings: 0 ~ 127 ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel of the CS6x. ❏ Settings: 0 ~ 127 ch: Keyboard transmit channel p: split point Details about each parameter are given on page 137. QED EF (Quick Edit Effect) You can set the amount of Chorus applied to the Layer Part, as well as Portamento settings. For more information about Master Keyboard Mode, refer to page 67. Common Quick Edit QEDíEF) Common You can set various parameters governing the sonic properties of the Layer Part, and many can be edited using the Sound Control knobs on the front panel of the CS6x. The following four screens are only available when the Layer switch (Page 133) for each Part is set to “on.” Chorus Portamento-Time -63 off 127 ■ Chorus Set the Return level of the Chorus effect as an offset value. ❏ Settings: -64 ~ 0 ~ +63 QED Level (Quick Edit Level) QED EF (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) ■ Portamento Switch Portamento on or off. You can also set this using the PORTAMENTO [ON/OFF] key on the front panel of the CS6x. ❏ Settings: off, on 124 ■ Time Set the pitch transition time. Higher values mean longer transition times. You can also set this using the PORTAMENTO knob on the front panel of the CS6x. ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the output level of the Layer Part reaches its peak. You can also adjust this parameter using the [ATTACK] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: -64 ~ 0 ~ +63 QED Filter (Quick Edit Filter) QEDíFilter) Common Cutoff +63 Reso +63 ❏ Settings: -64 ~ 0 ~ +63 ■ Sustain Set the output level of the Layer Part maintained while the key on the keyboard is being held down. You can also adjust this parameter using the [SUSTAIN] knob on the front panel of the CS6x. ■ Cutoff Raise or lower the Cutoff frequency for each Voice of a Layer Part. You can also adjust this parameter using the [CUTOFF] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the transition time from the point at which the key on the keyboard is released to the point at which the output level of the Layer Part reaches zero. You can also adjust this parameter using the [RELEASE] knob on the front panel of the CS6x. ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. You can also adjust this parameter using the [RESONANCE] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: -64 ~ 0 ~ +63 Common Arpeggio QED EG (Quick Edit Envelope Generator) The following four screens govern the behavior of the Arpeggiator. The parameters are the same as those used in Voice Edit Mode. Details are given on Page 82. The EG (Envelope Generator) controls the transition in output level over time for each Voice in a Layer Part. There are four parameters governing the transition in output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the output level has faded to zero. These Layer Part settings make use the each of the Part Edit settings. QEDíEG) Common Attack +63 To use the Arpeggiator in Performance Mode, the Arpeggio and Layer Switches (Page 133) must be set to “on.” ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Decay Sustain Release +63 +63 +63 Common Controller Level You can assign MIDI Control Change Numbers to the controls and front panel knobs. For example, Knob [1]/[2] can be set to control the amount of effect applied to a sound and the Foot Controller can be set to control modulation. You can set different Control Set assignments for each Performance. The following two Control Set screens are available. Sustain Level Time Attack Time Key on Decay Time Release Time CTL Assign1 (Controller Assign 1) CTL Assign2 (Controller Assign 2) Key off 125 Performance Mode ■ Decay Set the transition time from the point at which the output level of the Layer Part reaches its peak to the point at which it levels off. You can also adjust this parameter using the [DECAY] knob on the front panel of the CS6x. These parameters control filters which govern the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter screen only affects LPF. ■ Mode Set the behavior of the Ribbon Controller. If you select “hold,” the parameter controlled by the Ribbon Controller will hold its value even after you release it. If you select “reset,” the value returns to its default setting at the center of the Ribbon Controller strip. CTL Assign1(Controller Assign 1) Use Knobs [C], [1] and [2] to assign Control Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected function is shown on the left of the display. Control Change Name CTLíAssign1) Common [FootCtrl] SHIFT PAGE A B Control Change Numbers BC 02 C Knob1 16 1 Knob2 17 2 ❏ Settings: hold, reset DATA Common EQ (Equalizer) Performance Mode You can assign any of five different Equalizer bands to the entire Performance. The following five screens are available. PART/ELEMENT ■ BC (Breath Controller) Set Control Change Number assigned to the Breath Controller. The Breath Controller is connected to the BREATH jack (Page 18). EQ Low EQ LowMid (Low-Middle Range) EQ Mid (Middle Range) EQ HighMid (High-Middle Range) EQ High ❏ Settings: Details are given in the separate Control List. ■ Knob1/2 Set Control Change Numbers assigned to Knobs [1] and [2] on the front panel. Q (Frequency Characteristic) Gain CTL Assign2 (Controller Assign 2) 0 Freq (Frequency) Use Knobs [C] and [1] to assign Control Change Numbers to the Foot Controller and Ribbon Controller, respectively. The selected function is shown on the left of the display. Use Knob [2] to select the Ribbon Controller Mode. EQ Low Mode Control Change Name CTLíAssign2) Common [FootCtrl] FC 04 This Equalizer covers low frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). RB----Mode PB reset Control Change Number SHIFT PAGE A B C 1 2 DATA MEQíLow) Common Shape peak Gain +12dB Freq 50Hz Q 12.0 PART/ELEMENT ■ Shape Select either a Shelving or Peaking equalizer. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. ■ FC (Foot Controller) Assign a Controller Change Number to the Foot Controller. The Foot Controller is connected to the FOOT CONTROLLER jack on the rear panel (Page 18). ❏ Settings: Details are given in the separate Control List. ❏ Settings: shelv (Shelving), peak (Peaking) ■ RB (Ribbon Controller) Assign a Control Change Number to the Ribbon Controller on the front panel. The Ribbon Controller’s behavior depends on the Mode parameter setting. shelv (Shelving) + 0 ❏ Settings: Details are given in the separate Control List. EQ Low EQ Low Freq1 Freq2 126 Frequency ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. peak (Peaking) + ❏ Settings: 100Hz ~ 10.0kHz 0 Gain ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. Frequency - ❏ Settings: 0.1 ~ 12.0 Freq This Equalizer covers high frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). ❏ Settings: -12dB ~ 0dB ~ +12dB MEQíHigh) Shape Common peak ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ❏ Settings: 0.1 ~ 12.0 ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. 0.1 12.0 0 ❏ Settings: -12dB ~ 0dB ~ +12dB Frequency ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. Freq ❏ Settings: 500Hz ~ 16.0kHz ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. EQ LowMid (Low-Middle Range) EQ Mid (Middle Range) ❏ Settings: 0.1 ~ 12.0 EQ HighMid (High-Middle Range) These Equalizers cover low-to-middle, middle and highto-middle frequency ranges. They can be used to adjust the signal level around the specified frequency. Common Effect You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following three screens are available. LowMid Gain +12dB Freq 100Hz Q 12.0 Gain +12dB Freq 100Hz Q 12.0 EFF Part EFF Rev (Reverb) EFF Cho (Chorus) Mid EFF Part HighMid MEQíHighMid) Common Q 12.0 ❏ Settings: shelv (Shelving), peak (Peaking) + MEQíMid) Common Freq 0.5kHz ■ Shape Select either a Shelving or Peaking equalizer. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. ❏ Settings: 32Hz ~ 2.0kHz MEQíLowMid) Common Gain +12dB Gain +12dB Freq 100Hz Q 12.0 EFFíPart) Common ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: -12dB ~ 0dB ~ +12dB 127 ---- InsEF ---part16 partP1 PLG-EF part10 Performance Mode EQ High ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ■ InsEF (Insertion Effect) Assign a Part to an Insertion Effect. Select “off” if you do not wish to assign the Part to an Insertion Effect. Furthermore, if Plug-in Boards have been installed, they will also be selectable as Plug-in Parts 1 and 2. ■ Type (Chorus Effect Type) Set the Chorus Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ toRev (To Reverb) Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings: normal Part: Part01 ~ Part16, PartAD (A/D Input Part), PartCL (Phrase Clip Part), off ❏ Settings: 0 ~ 127 Plug-in Part (if installed): PartP1 (Plug-in Part 1), PartP2 (Plug-in Part 2), off Performance Mode ■ Return Set the Return level of the Chorus Effect. ■ PLG-EF (Plug-in Effect) Assign a Part to the Plug-in Effect. Select “off” if you do not wish to assign the Part to a Plug-in Effect. These parameters are only available if an Insertion Effect Plug-in board has been installed. ❏ Settings: 0 ~ 127 If an Insertion Effect Plug-in Board has been installed, you will see the EFF Plg (Plug-in) screen following the EFF Cho (Chorus) screen. ❏ Settings: normal Part: Part01 ~ Part16, PartAD (A/D Input Part), PartCL (Phrase Clip Part), off Effect Parameter Settings The EFF Rev and EFF Cho parameter screens are available when you select the Effect and press the [ENTER] key. If an Insertion Effect Plug-in Board has been installed, you can enter the parameters for the Plug-in Effect at the EFF Plg (Plug-in) screen. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. EFF Rev (Reverb) You can select the Reverb Effect Type and set its parameters by pressing the [ENTER] key. EFFíRev) Type Common Basement Return [ENTER] 127 to Edit EFFíRev) Type Common Basement ■ Type (Reverb Effect Type) Set the Reverb Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. Return [ENTER] 127 to Edit EXIT ENTER ■ Return Set the Return level of the Reverb Effect. ❏ Settings: 0 ~ 127 EFFíRev)RevTime InitDly Basement 0.6s 4.8ms EFF Cho (Chorus) SHIFT PAGE A B C RevDly 5.05ms 1 Pan C 2 DATA You can select the Chorus Effect Type and set its parameters by pressing the [ENTER] key. PART/ELEMENT EFFíCho) Type Common Chorus1 toRev 127 Return [ENTER] 127 to Edit The number of Parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Types list of the separate Data List. 128 Part (Settings for each Part) Use Knob [B] to select PLG1/2INT (internal memory) and the MSB/LSB (Plug-in Board’s Bank), and use Knob [C] to select the Program Number. You can edit each Part in a Performance. Use Knob [A] to select the Part, then set its parameters. The following six screens are available, though their contents will vary according to the Part selected. MIXíVce) Bank Number Ctgry Search PartP1 NORM/001:128(H16)[Pf:GrandPiano] • Part Mixer • Part Tone • Part Layer • Part Receive switch • Part Controller • Part Insertion Effect ■ Bank For details about Plug-in Banks (Bank Select MSB/LSB), refer to the Owner’s Manual that came with your Plug-in Board. Part Mixer ■ Number (Program Number) You can set various Voice output parameters for each Part. The following two screens are available. ❏ Settings: PLG1/2 INT (Plug-in 1/2 Internal): 1 ~ 64 MSB/LSB (Plug-in Bank): 1 ~ 128 MIX Vce (Mix Voice) MIX Level There may be a delay when changing programs for Plug-in Parts (since voice data and default settings need to be sent). To change Voices for Plug-in Parts in a song, you should insert the Program Changes in the less data-intensive areas of the song. When selecting a Plug-in Board Voice, you should use the Program Number of the Parameter Change (multi-part). Details are given in the Owner’s Manual that comes with the Plug-in Board. The MIX Vce (Mix Voice) screen will change to the Mix Kit or Mix Template screen, respectively, if PartCL (Phrase Clip Part) or PartAD (A/D Input Part) has been selected. MIX Vce/Kit/Template (Mix Voice/Kit/Template) In Performance Mode, the Part assignments for Plug-in Boards are fixed at “16” for PLG1 and “15” for PLG2. You can assign a Voice/Kit/Template to each Part. Use Knob [A] to select the Part, then set its Voice/Kit/Template parameters. The display will vary as follows according to the Part selected. For details about Plug-in Voices, refer to the Owner’s Manual that came with your Plug-in Board. • If Part17 to Part32 has been selected • If Part01 to Part16 has been selected You can set Voices for Parts 17 to 32 if you have a multitimbral Plug-in board installed. Use Knob [B] to select the Voice Bank and Knob [C] to select the Program Number. You can use the same method as the Category Search (Page 77) to set the Voice. MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano] MIXíVce) Bank Number Part17 NORM/001:001(A01)[Pf:GrandPno] ■ Bank/Number (Bank/Program Number) ■ Memory (Voice Memory) ❏ Settings: Refer to the Owner’s Manual that came with the Plug-in board. ❏ Settings: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal Normal), EXT (External Normal), PRE (Preset Drum), INT (Internal Drum), EXT (External Drum) This setting is only held temporarily and cannot be stored with the Performance. ■ Number (Program Number) • If PartCL (Phrase Clip Part) has been selected ❏ Settings: 1 ~ 128 (for Normal Voices), DR1 ~ DR8 (for Preset Drum), DR1 ~ DR2 (for Internal/External Drum) Select the Phrase Clip Kit used for the Phrase Clip Part. Details about Categories are given in the Category List on Page 80. MIXíKit) PartCL • If PartP1/PartP2 (Plug-in 1/2) has been selected Number 001(A01)[Dr:Clip Kit] ■ Number (Kit Number) ❏ Settings: 1 ~ 4 Set the Voice for the Plug-in 1/2 Part. This screen is only displayed if a Plug-in Board has been installed. 129 Performance Mode ❏ Settings: PartP1/P2 (Plug-in 1/2): PLG1/2 INT (Plug-in 1/2 Internal), MSB/LSB (Plug-in Bank) ■ Vol (Volume) Set the output level of the Part. • If PartAD (A/D Input Part) has been selected ❏ Settings: 0 ~ 127 An audio source connected to the A/D INPUT jack can be used as a Part. There are 13 different templates for Effect Type and Gain settings. Select the A/D Input Part source and the template. ■ Pan Set the stereo pan position of the Part. ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) MIXíTemplate)Src Number PartAD keybaord --[InsEF off ] Performance Mode ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ■ Src (Source) Select the source connected to the A/D INPUT jack. ❏ Settings: 0 ~ 127 ❏ Settings: mic (microphone), guitar, keyboard, audio ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. ■ Number (Template Number) Select the Template Number. You can choose from 13 templates for each source. ❏ Settings: 0 ~ 12 Number Src 0 ❏ Settings: 0 ~ 127 1 2 3 4 5 6 MIC PresetName Off InputGain mic VariType - Mic mic - Reverb mic - Chorus mic - Cho+Rev Karaoke1 Karaoke2 mic mic mic Karaoke1 Karaoke2 GUITAR PresetName Off InputGain mic VariType - Guitar mic - Reverb mic - Chorus mic - Cho+Rev Tube Stack mic mic mic AmpSim. AmpSim. KEYBOARD PresetName Off InputGain line VariType - Keyboard Reverb line line - Chorus line - Cho+Rev PhaserEP PanEP line line line Phaser1 AutoPan AUDIO Audio line - Reverb line - Chorus line - Cho+Rev Audio line line - 8 9 10 11 Vocal mic Stage1 Studio mic Exciter OctUp OctDown mic mic PitChange1 PitChange1 PresetName Off InputGain line VariType - Number Src 7 MIC PresetName Karaoke3 Echo InputGain mic mic VariType Karaoke3 Echo GUITAR PresetName FlangGtr CleanGtr FuncGtr Tremolo InputGain mic mic mic mic VariType Flanger1 Celeste3 TouchWah2 Tremolo Phaser mic Phaser1 Part Tone You can set Filter, Envelope Generator and other parameters controlling the tonal characteristics of each Part. The following four screens are available. TON Filter (Tone Filter) TON EG (Tone Envelope Generator) TON Portamento (Tone Portamento) TON Other (Tone Other) Audio line - TON Filter (Tone Filter) 12 You can use filters to adjust the tone of each part. If the filter is an LPF and HPF combination, the Cutoff parameter applies to the LPF. 5thGuitar mic PitChange1 KEYBOARD PresetName WahClavi RotaryOrg SynthStr SynthPad SynthLead SFX InputGain line line line line line line VariType TouchWah1 RotarySp. Symphonic Flanger2 DelayLCR PitChange1 AUDIO PresetName Audio InputGain line VariType - Audio line - Audio line - Audio line - Audio line - TONíFilter) Part01 Audio line - Cutoff +63 Reso +63 This screen is not available for the A/D Input Part. If the InsEF parameter of the EFF Part screen is set to something other than PartAD, “InsEF Off” will be displayed and this parameter will not be available. Details about the Filter are given on Page 93. ■ Cutoff Raise or lower the Cutoff frequency for each Element of a Part. MIX Level You can set output level, pan, effect send and other parameters for each Part. This is useful when setting up the levels of each Part in a mix. For each Element, if a combined Low Pass and High Pass Filter is being used, this parameter adjusts the Cutoff frequency of the Low Pass Filter. ❏ Settings: -64 ~ 0 ~ +63 MIXíLevel) Part01 Vol 127 Pan RevSend ChoSend C 64 0 130 ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This adds further character to the sound. ■ Release Set the transition time from the point at which the note on the keyboard is released to the point at which the output level of the Part reaches zero. A positive value will lengthen the transition time and a negative value will shorten it. ❏ Settings: -64 ~ 0 ~ +63 This parameter is not available for Phrase Clip or Drum Voice Parts. TON EG (Tone Envelope Generator) You can set EG (Envelope Generator) parameters for each Part. There are four parameters governing the transition in output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the output level has faded to zero. TON Portamento (Tone Portamento) You can set the following three Portamento parameters for each Part. This screen is not available for the A/D Input Part. This screen is not available for A/D Input, Phrase Clip or Drum Voice Parts. For more information, refer to a diagram that illustrate the concept of Envelope Generator, which you can find in Voice or Phrase Clip Edit Mode sections. Part 1 to 16 Part 1 to 16 TONíEG) Part01 Attack + 0 TONíPortamento) Part01 Decay Sustain Release + 0 + 0 + 0 Attack + 0 Decay + 0 TONíPortamento) Part17 Release + 0 Attack + 0 Switch on Time 127 ■ Switch (Portamento switch) Switch Portamento on or off. With Portamento switched on, there will be a smooth transition in pitch from the first note played to the next note. Phrase Clip Part Drum Voice Part TONíEG) PartCL Time Mode 127 fulltime Plug-in 1/2 Part Multi Plug-in Part Plug-in 1/2 Part Multi Plug-in Part TONíEG) PartP1 Switch on Decay + 0 ❏ Settings: off, on ■ Time (Portamento Time) Set the pitch transition time. Higher values mean longer transition times. ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the output level of the Part reaches its peak. A positive value will lengthen the transition time and a negative value will shorten it. ❏ Settings: 0 ~ 127 ■ Mode (Portamento Mode) Select the Portamento Mode. The Portamento Mode behavior varies according to the Part Mode (mono/poly) setting in the LYR Mode screen (Page 133). ❏ Settings: -64 ~ 0 ~ +63 ■ Decay Set the transition time from the point at which the output level of the Part reaches its peak to the point at which it levels off. A positive value will lengthen the transition time and a negative value will shorten it. This parameter is not available for Plug-in 1/2 and Multi Plug-in Parts. ❏ Settings: fingered, fulltime If Part Mode is set to “mono”: fingered: Portamento is applied when the keyboard is played legato (a note is played before the previous note is released). ❏ Settings: -64 ~ 0~ +63 ■ Sustain Set the output level of the Part maintained while the key on the keyboard is being held down. full: Portamento is applied for all playing styles. If Part Mode is set to “poly”: Portamento is applied to multiple notes. This parameter is not available for Plug-in, Phrase Clip or Drum Voice Parts. ❏ Settings: -64 ~ 0 ~ +63 131 Performance Mode ❏ Settings: -64 ~ 0 ~ +63 Offset (Velocity Offset) TON Other (Tone Other) As illustrated below, the velocity will be increased by the specified amount. You can set Pitch Bend Range and Velocity Sensitivity parameters for each Part. Changes to velocity curve according to VelDepth (with offset set to 64) These screens are not available for the A/D Input Part. Velocity at tone generator Part 1 to 16 TONíOther) Part01 Pitch Bend -12 - +12 VelDepth-Offset 127 64 Performance Mode Pitch Bend +12 VelDepth-Offset 127 64 ■ Pitch Bend Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved. For example, a Lower setting of -12 means that the pitch of the Voice drops by up to an octave when the Pitch Bend Wheel is moved downwards. An Upper setting of +12 means that the pitch of the Voice rises by up to an octave when the Pitch Bend Wheel is moved upwards. The Lower parameter is only available for Normal Voice Parts (Parts 1 to 16). Offset=64 Velocity=1 Depends on offset Depth=64 Offset=32 Received Velocity You can set various MIDI parameters for each Part, including MIDI Receive Channel, Arpeggiator switch, note limit and velocity. These parameters are largely used when layering multiple Parts. The following four screens are available. LYR Mode (Layer Mode) LYR Limit (Layer Limit) LYR Tune (Layer Tune) LYR Out (Layer Out) Upper (Right): -48 ~ 0 ~ +24 (or –24 ~ 0 ~ +24 for Plug-in 1/2 and Multi Plug-in Parts) LYR Mode (Layer Mode) You can set the method by which each Part is output. The parameters will vary according to the Part selected. ■ VelDepth-Offset (Velocity Sensitivity Depth/Offset) Set the velocity sensitivity and velocity offset for each Part. Part 1 to 16 Plug-in 1/2 Part ❏ Settings: VelDepth (Velocity Sensitivity): 0 ~ 127 Offset (Velocity Offset): 0 ~ 127 LYRíMode) Part01 VelDepth (Velocity Sensitivity Depth) As illustrated below, a large setting will cause large changes in velocity when you play the keyboard. Mode poly Arp on Layer off RcvCh 1 Phrase Clip Part Drum Voice Part Changes to velocity curve according to VelDepth (with offset set to 64) LYRíMode) Part01 Arp on Layer off RcvCh 1 Depth=64 Offset=64 A/D Input Part Multi Plug-in Part LYRíMode) PartAD Depth=32 Offset=64 Depth=0 Offset=64 Offset=64 Depends on offset Part Layer Lower (Left): -48 ~ 0 ~ +24 Velocity at tone generator Offset=+96 Offset=-32 ❏ Settings: Depth=127 Offset=64 Depth=64 Offset=64 Offset=127 Plug-in 1/2 Part Multi Plug-in Part Phrase Clip Part Drum Voice Part TONíOther) PartP1 Depth=64 Offset=96 Received Velocity 132 RcvCh 1 ■ Mode Select whether each Part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ■ Vel Limit Set the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range. This parameter is only available for Normal Voice Parts 1 to 16 and Plug-in 1/2 Parts. ❏ Settings: 1 ~ 127 (for the minimum and maximum values) ❏ Settings: mono, poly If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.” ■ Arp (Arpeggio switch) Switch the Arpeggiator for the currently selected Part on or off. You can set note shift and tuning parameters for each Part. ❏ Settings: off, on These parameters are not available for the A/D Input Part. ■ Layer (Layer switch) When switched on, you can layer up to four Parts. LYRíTune) Part01 NoteShift +24 Detune +12.7 This parameter in not available for A/D Input and Plugin Parts. ❏ Settings: off, on ■ NoteShift Adjust the pitch of each Part in semitones. You can also set the overall output level and stereo pan position of the Layer when this is switched on (Page 119). ❏ Settings: -24 ~ +24 Layers may be slow to sound, depending on their component Parts. ■ Detune Offset (detune) the pitch of each Part by a very small amount. If you turn five or more Layer Switches “on,” only four Parts are enabled for the layer. These four Parts are determined in the priority of Part01 to Part16, PartCL, PartAD, PartP1, then PartP2. For disabled Parts, their Layer switch values will be shown in brackets like “(on).” ❏ Settings: -12.8Hz ~ +12.7Hz ■ RcvCh (MIDI Receive Channel) Set the MIDI Receive Channel for each Part. Select “off” for Parts that you do not want to respond to MIDI. LYR Out (Layer Out) You can select outputs for each Part. ❏ Settings: 1 ~ 16, off LYRíOut) Part01 Output L&R InsEF (off) LYR Limit (Layer Limit) You can set note ranges and velocity limits for each Part. ■ Output Assign each Part to an output. These parameters are not available for the A/D Input Part. LYRíLimit) Part01 Note Limit C-2 - G 8 ❏ Settings: L&R (Left and Right outputs), ind 1&2 (Individual Output 1&2) ind1 (Individual Output 1), ind2, ind3, ind4, ind5, ind6, drum Vel Limit 1 - 127 For example, if you choose “L&R,” the left channel will be output through OUTPUT L and the right channel will be output through OUTPUT R. Alternatively, if you choose “ind1,” the left and right signals will be merged and output monaurally through INDIVIDUAL OUTPUT 1. ■ Note Limit Set the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range. Settings “ind3 to “ind6” are for future expansion purposes and are currently not available. ❏ Settings: C-2 ~ G8 (for the lowest and highest notes) If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” You can select “drum” for Drum Voice and Phrase Clip Parts. If you select “drum” for a Drum Voice Part, the output settings for each Drum Key (Page 105) are used. If you select “drum” for the Phrase Clip Part, the output settings for each Clip key (Page 151) are used. You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. 133 Performance Mode LYR Tune (Layer Tune) This parameter is not available for A/D Input and Multi Plug-in Parts. ■ InsEF (Insertion Effect) Shows the on/off status of the Insertion Effects. If “on” is displayed, this means that the Part’s signal is being sent to the Insertion Effect Unit. Parts 1 to 16 Drum Voice Part Phrase Clip Part RCVíSw2) Part01 Insertion Effect switches for each Part are set in the EFF Part screen (Page 127). Each Part can be set to receive Control Change and Program Change messages. The following four screens are available. BC on FC off RCV Sw3 (Receive Switch 3) Performance Mode When set to “on,” each Voice in each Part will receive volume, pan, sustain pedal, foot switch and Control Change messages. RCV Sw1 (Receive Switch 1) RCV Sw2 (Receive Switch 2) RCV Sw3 (Receive Switch 3) RCV Sw4 (Receive Switch 4) Parts 1 to 16 RCVíSw3) Part01 RCV Sw1 (Receive Switch 1) When set to “on,” each Voice in each Part will receive Control Settings (PB, MW, RB, AT) and Control Change messages. The Controller parameters will vary according to the Part selected. Vol on Pan off Sus on FS off Vol on Pan off Sus on Vol on Pan off Plug-in 1/2 Part Multi Plug-in Part RCVíSw3) Part01 This screen is not available for the A/D Input Part. Drum Voice Part Phrase Clip Part A/D Input Part Parts 1 to 16 Drum Voice Part Phrase Clip Part RCVíSw3) PartAD PB on MW off RB on FS off AT off ❏ Settings: Vol (Volume): off, on Pan: off, on Sus (Sustain): off, on FS (Foot Switch): off, on Plug-in 1/2 Part Multi Plug-in Part RCVíSw1) PartP1 Knob2 off ❏ Settings: Knob1 (Knob [1]): off, on Knob2 (Knob [2]): off, on BC (Breath Controller): off, on FC (Foot Controller): off, on Part Receive Switch RCVíSw1) Part01 Knob1 on PB on MW off RCV Sw4 (Receive Switch 4) AT off When set to “on,” each Voice in each Part will receive Program Change and Control Change messages when you change Performance Bank/Program. ❏ Settings: PB (Pitch Bend Wheel): off, on MW (Modulation Wheel): off, on RB (Ribbon Controller): off, on AT (Aftertouch): off, on RCVíSw4) Part01 BankSel PgmChng CtrChng off on off ❏ Settings: BankSel (Bank Select): off, on PgmChng (Program Change): off, on CtrChng (Control Change): off, on RCV Sw2 (Receive Switch 2) When set to “on,” each Voice in each Part will receive messages from Knob [1]/[2], plus Breath Controller, Foot Controller and Control Change messages. This screen is only available for Parts 1 to 16 (including Drum Voice Parts) and the Phrase Clip Part. 134 Part Controller ■ Dest (Destination) Set the parameter to be controlled by the Controller specified in Src. You can set various Controller parameters for the A/D Input Part and Multi Plug-in Parts 17 to 32. The following two screens for A/D Input Part parameters and six screens for the Multi Plug-in Part parameters are available. ❏ Settings: see the separate Control List. ■ Depth (Depth) Set the amount by which the parameter selected in Dest can be controlled. CTL Set1 (Controller Set 1) (A/D Input Part only) CTL Set2 (Controller Set 2) (A/D Input Part only) Using Voice Control Sets 1 and 2, you can assign individual Src (Source) controllers to multiple Dest (Destination) parameters, or multiple Src controllers to individual Dest parameters. Details are given on Page 85. CTL MW Control (MW Control Depth) (Multi Plug-in Parts only) CTL MW Modulation (MW Modulation Depth) (Multi Plug-in Parts only) CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) CTL MW Control (MW Control Depth) (Multi Plug-in Parts only) The Modulation Wheel can be used to control Filter and Amp parameters for each Multi Plug-in Part (17 to 32). CTLíMW Control) Part17 CTL Set1/CTL Set2 (Control Set 1/2) (A/D Input Part only) Dest off ❏ Settings: -64 ~ +63 ■ Amp Set the amount by which the Modulation Wheel can be used to adjust the output level (amplitude). ❏ Settings: -64 ~ +63 CTL MW Modulation (MW Modulation Depth) (Multi Plug-in Parts only) Depth +63 The Modulation Wheel can be used to control the amount of pitch/filter/amplitude modulation applied to each Multi Plug-in Part (17 to 32). SET 2 SET 1 Src Src MW (Modulation Wheel) KN1 (Knob 1) CTLíMW Modulation) PMod Part17 127 Dest Dest RevSend ChoSend FMod 127 AMod 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when the Modulation Wheel is used. A/D Input ❏ Settings: 0 ~ 127 ■ Src (Source) Set the Controller used to control the parameter specified in Dest. The following controllers are available. ❏ Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (Aftertouch), FC (Foot Controller), FS (Foot Switch), RB (Ribbon Controller), BC (Breath Controller), KN1/2 (Knob [1]/[2]) Amp +63 ■ Filter Set the amount by which the Modulation Wheel can be used to adjust the filter’s Cutoff frequency. The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. These control assignments are called “Control Sets.” You can assign up to two different Control Sets to the A/D Input Part. Thus there are two screens, each for a separate controller: CTL Set1 and CTL Set2. CTLíSet1) Src PartAD FC(04) Filter +63 135 Performance Mode ❏ Settings: -64 ~ 0 ~ +63 ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the Modulation Wheel is used. ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when aftertouch is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when the Modulation Wheel is used. ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when aftertouch is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 Performance Mode CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) Keyboard aftertouch can be used to control the pitch/filter/amplitude parameters for each Multi Plugin Part (17 to 32). Control Changes (Assignable Controllers) can be used to control the filter/amplitude parameters for each Multi Plug-in Part (17 to 32). CTLíAT Control) Part17 Pitch +24 Filter +63 Amp +63 CTLíAC Control) Source Filter Part17 04[FootCtrl] +63 ■ Pitch Set the amount (in semitones) by which the pitch changes when aftertouch is applied. Amp +63 ■ Source Set the MIDI Control Change number used to control the Filter/Amp parameters. ❏ Settings: -24 ~ +24 ❏ Settings: off, 1 ~ 95 ■ Filter Set the amount by which the filter Cutoff frequency changes when aftertouch is applied. ■ Filter Set the amount by which the filter Cutoff frequency changes when the controller (Source) is used. ❏ Settings: -64 ~ +63 ❏ Settings: -64 ~ +63 ■ Amp Set the amount by which the output level (amplitude) changes when aftertouch is applied. ■ Amp Set the amount by which the output level (amplitude) changes when the controller (Source) is used. ❏ Settings: -64 ~ +63 ❏ Settings: -64 ~ +63 CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) Keyboard aftertouch can be used to control the amount of pitch/filter/amplitude modulation applied to each Multi Plug-in Part (17 to 32). CTLíAT Modulation) PMod Part17 127 FMod 127 Control Changes (Assignable Controllers) can be used to control the amount of pitch/filter/amplitude applied to each Multi Plug-in Part (17 to 32). AMod 127 CTLíAC Modulation) PMod Part17 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when aftertouch is used. FMod 127 AMod 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when the controller (Source) is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 136 ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the controller (Source) is used. Effect Parameter Settings These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when the controller (Source) is used. ❏ Settings: 0 ~ 127 Select Effect Type EFFíEF1) Ctgry Type Dry/Wet [ENTER] PartAD DLY:DelayLCR D<W63 to Edit You can set parameters for the Insertion Effects used by the A/D Input Part. If you have selected the A/D Input Part, as the InsEF (Insertion Effect) in the EFF Part screen, the following screens will be available. EXIT EFF EF1/2 (Insertion Effect 1/2) Performance Mode Part Insertion Effect (A/D Input Part only) ENTER Parameters Choose the type of effect used for the A/D Input Part. You can select the Effect Category for Insertion Effect 1/2 with the Ctgry parameter and the Effect Type with the Type parameter. After selecting the Effect Type, you can start setting its parameters by pressing the [ENTER] key. EFFíEF1) PartAD SHIFT PAGE A Delay 333.3 B Lch 500.0 C Cch 500.0 1 Rch 166.7 2 DATA PART/ELEMENT The number of parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type list of the separate Data List. EFFíEF1) Ctgry Type Dry/Wet [ENTER] PartAD DLY:DelayLCR D<W63 to Edit The connection between Insertion Effects 1 and 2 is fixed as 1 ➝ 2 (Serial). Zones (CS6x) ■ Ctgry (Effect Category) Set the Category of the Effect. The first Effect Type of the selected Category will blink. You can edit the zones used by Performances in Master Keyboard Mode. Use Knob [A] (or BANK [A]~[D] keys) to select the zone (1 to 4), then set the zone’s parameters. The following eight screens are available for Master Keyboard parameters. You can choose zones if “4zone” has been selected as the Mode at the GEN M.Kbd screen (Page 123), and if the [MASTER KEYBOARD] key LED is lit. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Type (Effect Type) Set the type of Effect. This depends on the selected Category. For certain Categories, the Effect Type will blink. In this case, you can press the [ENTER] key to set the Effect Type. • Master keyboard MKB Transmit (Master Keyboard Transmit) MKB Note (Master Keyboard Note) MKB TxSw1 (Master Keyboard Transmit Switch 1) MKB TxSw2 (Master Keyboard Transmit Switch 2) MKB TxSw3 (Master Keyboard Transmit Switch 3) MKB TxSw4 (Master Keyboard Transmit Switch 4) MKB TxPreset1 (Master Keyboard Transmit Preset 1) MKB TxPreset2 (Master Keyboard Transmit Preset 2) ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Dry/Wet Set the mix level of the wet signal (which has been passed through the Effects Unit) and the dry signal (which has not been passed through the Effects Unit). This may be unavailable, depending on the selected Effect Type. ❏ Settings: D63>W ~ D=W ~ D<W63 137 Master keyboard MKB TxSw1 (Master Keyboard Transmit Switch 1) MKB Transmit (Master Keyboard Transmit) For each zone, you can enable/disable the transmission of messages for the Pitch Bend Wheel, Modulation Wheel, Knobs [A] to [C] and Knob [1]/[2]. You can set parameters for transmitting keyboard data when in Master Keyboard Mode. MKBíTransmit) Zone01 TrnsCh 1 TG on MIDI on MKBíTxSw1) Zone01 PB off MW KnobA-C Knob1-2 on on on ❏ Settings: PB (Pitch Bend Wheel): off, on MW (Modulation Wheel): off, on KnobA-C (Knobs [A] to [C]): off, on Knob1/2 (Knob [1]/[2]): off, on ■ TrnsCh (Transmit Channel) Set the MIDI Transmit Channel for each zone. Performance Mode ❏ Settings: 1 ~ 16 ■ TG (Tone Generator) Select whether or not to transmit MIDI messages for each zone to each Part’s tone generator. MKB TxSw2 (Master Keyboard Transmit Switch 2) For each zone, you can enable/disable the transmission of messages for the Ribbon Controller, Foot Controller, Breath Controller and Aftertouch. ❏ Settings: off, on ■ MIDI (MIDI Transmit) Select whether or not to transmit MIDI messages to each zone’s MIDI Out port. MKBíTxSw2) Zone01 RB on FC on BC on AT on ❏ Settings: off, on ❏ Settings: RB (Ribbon Controller): off, on FC (Foot Controller): off, on BC (Breath Controller): off, on AT (Aftertouch): off, on MKB Note (Master Keyboard Note) You can set Octave, Transpose, Note Limit (key range) for each zone in Master Keyboard Mode. MKBíNote)Octave Transpose Zone01 +1 +11 MKB TxSw3 (Master Keyboard Transmit Switch 3) Note Limit C-2 - G 8 For each zone, you can enable/disable the transmission of messages for the Sustain Pedal, Foot Switch, Volume/Foot Volume and Pan knob. ■ Octave Shift the note range of each zone up or down (in octaves). MKBíTxSw3) Zone01 ❏ Settings: -3 ~ 0 (Default) ~ +3 Sus on FS on Vol/FV on Pan on ❏ Settings: Sus (Sustain): off, on FS (Foot Switch): off, on Vol/FV (Volume/Foot Volume): off, on Pan: off, on ■ Transpose Transpose the note range of each zone up or down (in semitones). ❏ Settings: -11 ~ 0 (Default) ~ +11 MKB TxSW4 (Master keyboard Transmit Switch 4) ■ Note Limit Set the upper and lower notes in each zone’s note range. For each zone, you can enable or disable the transmission of Bank Select and Program Change messages when you switch Performance Banks or Programs. ❏ Settings: C-2 ~ G8 (for both upper and lower notes) You can also select this parameter by pressing each note while holding down the [SHIFT] key. MKBíTxSw4) Zone01 ❏ Settings: Bank (Bank Select): off, on PC (Program Change): off, on 138 Bank on PC on ■ PC (MIDI Program Change) Set the Program Number transmitted when changing Bank/Program. MKB TxPreset1 (Master Keyboard Transmit Preset 1) You can set each zone’s initial volume and stereo pan settings when changing Performance Bank/Program. MKBíTxPreset1) Zone01 Volume 127 ❏ Settings: 1 ~ 128 Program Numbers 001 to 128 directly relate to MIDI Program Change Numbers 000 to 127. That is, Program Numbers and Program Change Numbers differ by a value of 1. Remember to take this into consideration. Pan C This setting is not transmitted if the PC (Program Change) parameter at the MKB TxSw4 screen has been set to “off.” Performance Mode ■ Vol (Volume) Set the output level of the zone. ❏ Settings: 0 ~ 127 This setting is not transmitted if the Vol/FV (Volume/Foot Volume) parameter of the MKB TxSw3 screen has been set to “off.” ■ Pan Set the stereo pan position of the zone. ❏ Settings: L64 (Left) ~ C (Center) ~ R63 (Right) This setting is not transmitted if the Pan parameter at the MKB TxSw3 screen has been set to “off.” MKB TxPreset2 (Master Keyboard Transmit Preset 2) For each zone, you can set the Bank Select and Program Change parameters transmitted when changing Bank/Program in a Performance. MKBíTxPreset2) Zone01 BankMSB BankLSB 127 127 PC 1 ■ BankMSB (MIDI Bank Select MSB) Set the Bank Select MSB transmitted when changing Bank/Program. ❏ Settings: 0 ~ 127 ■ BankLSB (MIDI Bank Select LSB) Set the Bank Select LSB transmitted when changing Bank/Program. ❏ Settings: 0 ~ 127 “Bank Select” is a type of MIDI message transmitted when changing Voice Bank. Control Change MSB and LSB messages are combined to form Bank Select messages, which are used to specify the Voice Bank. These message values will vary according to synthesizer. For more details, refer to the documentation that came with your synthesizer. This setting is not transmitted if the Bank (Bank Select) parameter at the MKB TxSw4 screen has been set to “off.” 139 Performance Job Mode PFM Initialize You can reset (initialize) all parameters of a Performance to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Part, and so on. Note that this is not the same as editing an existing Performance. Instead, it is useful when building a completely new Performance from scratch. You can execute various actions (Jobs) in Performance Job Mode. For example, you can “Initialize” Performances (including those currently being edited) or “Recall” previous edits. When you enter Performance Job Mode, you will first see the Initialize screen. The following four screens are available for each Performance Job. PFM Initialize) Job Current Perform Performance Mode Before entering Performance Job Mode and using the Initialize or Recall function, you must select the Performance you wish to operate on (Page 119). 1st screen: PFM Initialize 2nd screen: PFM Edit Recall 3rd screen: PFM Copy 4th screen: PFM Bulk Dump ■ Select type of parameter to Initialize Use Knob [B], the [DATA] knob or the [DEC/NO] and [INC/YES] keys to select the parameter to be initialized. Details about how to enter Performance Job Mode are given on Page 22. ❏ Settings: Current Perform, Current Common (Common Data: Data common to all Layer Parts), Current Part01 to Part16, Current PartCL (Phrase Clip Part), Current PartAD (A/D Input Part), Current PartP1/P2 (Plug-in Part 1/2), Zone1 to Zone4 Executing a Job 1In Performance Play Mode, select the Performance Number on which you will execute the Job. PFM Edit Recall 2Press the [JOB] key to enter Performance Job Mode. If you are editing a Performance but you do not store it before switching to another Performance, the edits you have made will be cleared. In such a situation, you can use the Recall function to reinstate the edits for the Performance. 3Use the [PAGE] knob and switch to the screen showing the Job you wish to execute. PFM Initialize) Job Current Perform PFM Edit Recall) Job 4Use Knobs [B]/[C] and Knobs [1]/[2] to select the parameter on which you will execute the Job. (Alternatively, use the [DATA] knob and the [DEC/NO] and [INC/YES] keys.) You can copy each Part’s parameters and Effects parameters from any Performance to the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance. 5When you press the [ENTER] key, you will be prompted for confirmation. [YES]/[NO] PFM Copy This step is not applicable for Recall and Bulk Dump Jobs. PFM Bulk Dump) << Are you sure? >> This function is not used for copying whole Performances from one location to another. It is used for copying parameter settings from an existing Performance to the current Performance you are editing. 6Press the [INC/YES] key to confirm. The message “Completed.” will be displayed when the Job has completed, and you will be returned to the original screen. PFM Copy) Job Press the [DEC/NO] key to cancel the Job. [Pf:GrandPiano] Current INT:128(H16) Part10 > Part16 1 For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power to your synthesizer while this message is displayed, you risk corrupting your data. 2 3 4 1Source Performance Memory Select the Performance Memory containing the Performance (source) from which you will copy parameter settings. 7Press the [PERFORM] key to exit Performance Job Mode and return to Performance Play Mode. ❏ Settings: INT (Internal), EXT (External) 140 2Source Performance Number Select the Performance Number of the source Performance. The Performance Name is shown in the top line of the display. Performance Store You can store the parameter settings for up to 128 Performances to each of your synthesizer’s Memories (INT: Internal) or up to 64 Performances to Memory Card (EXT: External). The procedure is as follows. ❏ Settings: 001 ~ 128 (INT), 001 ~ 064(EXT) When copying, you can set the current Performance number (destination) for the source Performance number. In this case, if you have edited several settings of the current Performance, you will copy those recent settings, not stored ones (before editing). Therefore, you can edit a Part and copy all edits to another Part. 1Press the [STORE] key after editing a Performance. You will see the Performance Store display. 3Source Performance Part Select the Part of the source Performance. ❏ Settings: Part01 to Part16, PartCL (Phrase Clip Part), PartAD (A/D Input Part), PartP1/P2 (Plug-in Part 1/2) PFMí Store The Memory, Bank Select and Program Number settings cannot be copied if you have set the source or destination to something other than Part01 to Part16. [Pf:GrandPiano] >[Pf:Init Perf ] INT:128(H16) 2Use Knob [1] to select the destination Performance Memory (INT or EXT). 4Destination Part Set the Part of the destination Performance. 3Use Knob [2] to select the destination Performance Number. This will set the Performance Memory/Number to which your Performance will be stored. ❏ Settings: Part01 to Part16, Arp (Arpeggio), Effect, PartCL (Phrase Clip Part), PartAD (A/D Input Part), PartP1/P2 (Plug-in Part 1/2) You can also use the [DATA] knob or [DEC/NO] and [INC/YES] keys to execute this operation. If you choose Arp (Arpeggio) or Effect, the Arpeggio and Effect settings for the Voice assigned to the source Part will be copied. 4When you press the [ENTER] key, you will be prompted for confirmation. The Memory, Bank Select and Program Number settings cannot be copied if you have set the source or destination to something other than Part01 to Part16. PFMí << [Pf:GrandPiano] >[Pf:Init Perf ] Are you sure? [YES]/[NO] >> PFM Bulk Dump You can send all the parameter settings for the current Performance to your computer or some other external MIDI device using Bulk Dump. PRF Bulk Dump) Job Current Perform 5Press the [INC/YES] key to confirm. The message “Executing…” will be displayed while the Job is being processed. When it has completed, you will see the message “Completed.” and you will be returned to Performance Play Mode. You can press the [DEC/NO] key to cancel the Job. This will return you to the original screen. You must set the correct MIDI Device Number in order to execute a Bulk Dump. Details are given on Page 166. 141 Performance Mode When you execute this, the settings for the destination Performance will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. Phrase Clip Mode Phrase Clip Play Clip Kit Name In Phrase Clip Play Mode, you can select one of four Clip Kits. A Clip Kit is a collection of Phrase Clips (external sounds recorded via microphone, from audio equipment or from other sources) assigned to notes across the keyboard for playback. A Clip Kit can consist of Drum loops or phrases, and can be assigned to a Part in a Performance (Page 39). The screens displayed in Phrase Clip Play Mode are explained here. 4. Knob Parameter This shows the name of the Clip Kit (up to 10 characters in length). This shows the names of the functions currently assigned to Knobs [A] to [C] and Knob [1]/[2]. Multiple parameters can be assigned to Knob [1]/[2], depending on the Control Set settings. In this case, the destination parameter of the lowest numbered Control Set is shown. Phrase Clip Mode You can record Phrase Clips in Phrase Clip Record Mode, and up to 256 Phrase Clips can be stored internally. You can also save these Phrase Clips to Memory Card. Knob Parameter Basic details about Phrase Clips are given on Page 53. In Phrase Clip Play Mode, Knobs [A] to [C] and Knob [1]/[2] can be used to adjust the settings of the parameters assigned to them. The parameter values are displayed briefly when you move each knob. The Phrase Clip Play Mode Display When you enter Phrase Clip Play Mode, you will see the following displayed. You can select and play back the Clip Kit here. PCLP Play) EQ Low EQ Mid Details about how to enter Phrase Clip Play Mode are given on Page 21. SHIFT A PAGE B + 0 1[Wv:Init Clip ] Cutoff RevTime C 1 2 DATA PCLP Play (Phrase Clip Play) 1 2 PCLP Play) EQ Low EQ Mid SHIFT PAGE A 4 B EQ Hi C PART/ELEMENT 3 1[Wv:Init Clip ] Cutoff RevTime 1 2 Details about assigning parameters to Knobs [A] to [C] are given on Page 165. Details about assigning parameters to Knob [1]/[2] are given on Page 84. DATA PART/ELEMENT Selecting a Clip Kit Program There are three ways in which you can select a Clip Kit Program. 1. Screen Title This shows that you are currently in Phrase Clip Play Mode. • Using the PROGRAM keys (CS6x) • Using the [DEC/NO] and [INC/YES] keys • Using the [DATA] knob 2. Clip Kit Number Using the PROGRAM Keys (CS6x) This shows the Program Number (001 to 004) for the selected Clip Kit. If you press a PROGRAM key (1 to 4), the Clip Kit corresponding to the Program Number is selected and displayed. 3. Clip Kit Category/Name 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG Clip Kit Category The two letters to the left of the Clip Kit Name are an abbreviation for the Clip Kit Category. The Category gives a rough idea of the kind of sounds in the Clip Kit. 142 PROGRAM PART Phrase Clip Record Using the [DEC/NO] and [INC/YES] Keys If you press the [INC/YES] key, the next Clip Kit is selected and displayed. Pressing the [DEC/NO] key selects the previous Clip Kit. DEC/NO INC/YES Previous Number Next Number Using the [DATA] Knob Turn the [DATA] knob clockwise to increment the Clip Kit Number and anti-clockwise to decrement it. C 1 2 Phrase Clips are stored to Memory Card in a proprietary file format. Details about saving files are given on Page 173. Using the included Card Filer software, Phrase Clips stored on Memory Card can also be saved to, and managed in, a computer connected to the synthesizer. DATA Previous Number Refer to Page 53 for a basic idea of Phrase Clip. Next Number Entering Phrase Clip Record Mode The CS6x/CS6R is factory-fitted with 4MB of internal DRAM-type memory. Since DRAM is volatile memory, its contents are cleared when you switch your synthesizer off. Therefore, there are no Phrase Clips contained in memory when you switch your synthesizer on. 1Press the [REC] key in Phrase Clip Play Mode. At the following screen, you can specify the note (Clip Key) on the keyboard used to play back the Phrase Clip. If you raise the pitch of a short Phrase Clip loop, you may hear noise during playback. In which case, you should lengthen of the loop time (Page 150). You may also hear noise at the loop end point of the Phrase Clip. In which case, you should adjust the end point of the loop to find the optimum position (Page 151). PHRASE CLIP REC PITCH SEQ PLAY PLAY/ STOP TEMPO PCLP Rec) >> >> Select Record Key C 3:001[CrntSmpl] << << 2Use Knob [C] while holding down the [REC] key (or press a note on the keyboard) to assign the Clip Key. When you have assigned the Clip Key, release the [REC] key and the Recording screen will appear. Press the [PHRASE CLIP] key or the [EXIT] key to return to Phrase Clip Play Mode. PCLP Rec) Source Trigger (Key=C 3)perform Key 143 [ENTER] toStandby Phrase Clip Mode In Phrase Clip Record Mode, you can record sounds into the synthesizer through a microphone or from audio equipment as Phrase Clips. You can then create a Clip Kit consisting of different Phrase Clips spread out across the range of the keyboard, and play the sounds just as you would a normal instrument sound. Furthermore, you can resample Voice/Performance sounds played via the keyboard or the Playback Sequencer. You can store a maximum of 256 Clips (in total of 4 megabytes) in the instrument's internal memory. You can also store them onto an external Memory Card. ■ Source Select the Source from which you will record. The Level Screen When you are recording from a “mic” or “line” level source in Phrase Clip Record Mode, use the [PAGE] knob to turn to the following screen. You will see the Input Level pointer and the Trigger Level pointer. Here, you can use the Input Level pointer and Trigger Level pointer to check the Trigger Level and the level of the signal at the A/D INPUT connector. If you have selected “level” in Trigger Mode, use Knob [1] to set the Trigger Level. The recording process begins the moment the Input Level Pointer reaches or passes the Trigger Level pointer. Using both the pointer, you can determine the starting point for recording based on the input signal’s level. Select “mic” if you are recording a microphone level device through the A/D INPUT jack. Select “line” if you are recording from a line level device, such as a CD player or other audio equipment, through the A/D INPUT jack. Select “voice”, “perform” or “pclip” when recording a Voice, Performance, or an existing Phrase Clip used by the synthesizer. For instance, if you have selected a Voice in Voice Play Mode before entering Phrase Clip Record Mode, you can play that Voice on the keyboard to record it as a Phrase Clip. ❏ Settings: mic, line, pclip (Phrase Clip), voice, perform (Performance) Phrase Clip Mode Turning the [PAGE] knob counterclockwise when the Level screen is shown takes you back to the previous screen. ■ Trigger Set the Mode by which you will trigger the recording process. The Trigger mode will vary according to the currently selected Source. If “mic” or “line” is currently selected as the Source, select either “level” or “manual.” If you select “level”, the recording process is automatically started when the input level reaches the designated threshold (Trigger Level). You will see a parameter on the right where you can specify the Trigger Level. Alternatively, if you choose “manual,” recording is started as soon as you press the [ENTER] key. Input Level pointer PCLP Rec) Source View Trigger Trigger Level pointer Example 1: Recording a Phrase Clip from a Microphone or Audio Equipment If you set the Source parameter value to any other than “mic” and “line,” Set this parameter to “key” or “manual.” If you set to “key,” recording will start the moment you hit a key on the keyboard. Connect a microphone or audio equipment to the A/D INPUT jack (Page 14). ❏ Settings: If Source is set to “mic” or “line”: level, manual If Source is set to “pclip”, “voice” or “perform”: key, manual 1In Phrase Clip Play Mode, press the [REC] key and the screen for selecting the Clip Key (which is used to play the Phrase Clip) will be shown. ■ Level (Trigger Level) This parameter is only available if you have selected “level” in the Trigger parameter. Recording will begin automatically when the signal at the A/D INPUT jack reaches the Trigger Level. The ï indicator is displayed to the left of the Trigger Level setting. Use the Trigger Level pointer and Input Level pointer to visually compare the input signal level with the Trigger Level setting. 2While still holding down the [REC] key, use Knob [C] or press a note on the keyboard to set the Clip Key. When you release the [REC] key, you will see the Recording screen. 3Select “mic” if recording from a microphone-level source or “line” if recording from a line-level source such as a CD player or other audio equipment. You can set the Trigger parameter to “level” or “manual.” If you set it to “level,” you will also need to set the Trigger Level parameter. ❏ Settings: 0 ~ 127 If the input signal level is too large, The displayed to the left of the ï indicator. [EXIT] toStop indicator is 4Turn the [PAGE] knob clockwise to show the Level screen. Here, you can check the Input Level pointer to monitor the level of the input signal. If necessary, you can use the [GAIN] knob on the rear panel to adjust the gain of the input signal. The recorded clip will automatically be assigned a vacant Clip Number in memory (DRAM). Therefore, you will not have to choose a Clip Number before recording. 144 If set to “manual”: Recording will begin when you press the [ENTER] key. PCLP Rec) Source Trigger << Now recording... >> [EXIT] toStop If set to “level”: Press the [ENTER] key to enter Recording Standby state. You will see the “Waiting for trigger” message displayed. When the level of the input signal reaches or passes the Trigger Level, recording begins automatically. PCLP Rec) Source Trigger-level << Waiting for trigger... >> [EXIT] toStop While recording, you will see the “Now recording...” message displayed. 6Press the [EXIT] key to stop recording. The “Now recording...” message will disappear. If the memory becomes full, recording will automatically stop, even before you press the [EXIT] key. 7You can now audition the Clip just recorded by pressing the Clip Key selected in step 2 while holding the [REC] key. 8If you are not satisfied with the result, you can re-record the Phrase Clip by pressing the [ENTER] key again. 9When you exit Phrase Clip Record Mode, the Phrase Clip you have recorded will automatically be assigned a new Clip Number and Clip Name, and saved to memory (DRAM) along with the Clip Key setting assigned in step 2. )Repeat steps 1 to 9 to record new Phrase Clips. Phrase Clip data held in memory (DRAM) will be lost if you switch off your synthesizer. You should always save important Phrase Clip data to Memory Card (Page 173). A recorded Clip can be edited in its tones, applied effects, assigned to a Clip Key from a Clip Kit in Phrase Clip Edit Mode. It can also be copied or even deleted in Phrase Clip Job Mode. The Clip Kit that includes the recorded Clip will be selected (from four Clip Kits) and assigned to the Phrase Clip Part in Performance Edit Mode (Page 121). Example 2: Recording a Phrase Clip from the Internal Tone Generator You can record a Voice, Performance, an existing Phrase Clip or a Song as a new Phrase Clip. 1Select a Voice, Performance or Clip Kit in Voice Play Mode, Performance Play Mode or Phrase Clip Play Mode. If you wish to record a phrase of a Song, you will need to prepare the Song file for playback and select the appropriate Performance. For a possibly best sound quality, you should maximize the volume of the Voice, Performance or Phrase Clip that you are recording. 145 2While still holding down the [REC] key, use Knob [C] or press a note on the keyboard to set the Clip Key. When you release the [REC] key, you will see the Recording screen. 3Select a recording source by specifying the value (pclip, voice, or perform) for the Source parameter in the Recording screen. Also select a method to start recording in the Trigger parameter — “key” for recording a Voice or Performance played by the keyboard or “manual” for a specific phrase or melody during playback of a song. The recorded clip will automatically be assigned a vacant Clip Number in memory (DRAM). Therefore, you will not have to choose a Clip Number before recording. 4Press the [ENTER] key to enter Recording Standby state. You will see the “Waiting for trigger” message displayed. 5Now follow the procedure according to the setting made in step 3. If set to “key”: Start playback of the song by pressing the SEQ PLAY [START/STOP] key. If set to “manual”: Start playback of the song by pressing the SEQ PLAY [START/STOP] key. Start recording of a Phrase Clip at any necessary moment by pressing the [ENTER] key. While recording, you will see the “Now recording...” message displayed. 6Press the [EXIT] key to stop recording. The “Now Recording...” message will disappear. If the memory becomes full, recording will automatically stop, even before you press the [EXIT] key. 7You can now audition the Clip just recorded by pressing the Clip Key selected in step 2 while holding the [REC] key. 8If you are not satisfied with the result, you can re-record the Phrase Clip by pressing the [ENTER] key again. 9When you exit Phrase Clip Record Mode, the Phrase Clip you have recorded will automatically be assigned a new Clip Number and Clip Name, and saved to memory (DRAM) along with the Clip Key setting assigned in step 2. )Repeat steps 1 to 9 to record new Phrase Clips. Phrase Clip and Clip Kit data held in memory (DRAM) will be lost if you switch off your synthesizer. You should always save important Phrase Clip and Clip Kit data to Memory Card (Page 173). After recording from the internal tone generator, the recorded Phrase Clip will automatically be normalized (Ratio = 100 %). For more information about normalization, refer to Page 157. A recorded Clip can be edited in its tones, applied effects, assigned to a Clip Key from a Clip Kit in Phrase Clip Edit Mode. It can also be copied or even deleted in Phrase Clip Job Mode. The Clip Kit that includes the recorded Clip will be selected (from four Clip Kits) and assigned to the Phrase Clip Part in Performance Edit Mode (Page 121). Phrase Clip Mode 5Now follow the procedure according to the setting made in step 3. Phrase Clip Edit Phrase Clip Edit Mode Common Clip Common General GEN Name (General Name) Clip Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Clip Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Clip Common Controller CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) Clip Common Effect EFF InsEF (Insertion Effect) EFF EF1 (Effect 1) EFF EF1 (Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Clip Key Clip Key OSC (Oscillator) OSC Asgn (Oscillator Assign) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) Clip Key Pitch PCH Tune (Pitch Tune) Clip Key Filter FLT Cutoff (Filter Cutoff) Clip Key Amplitude AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) Clip Key EQ (Equalizer) EQ Type EQ Param (EQ Parameter) The parameters available when editing a Clip Kit are explained here. A Clip Kit is a collection of Phrase Clips assigned across the keyboard (notes C0 to C6) for playback. For editing a Clip Kit, there are five Common Edit screens (for parameters which apply to the current clip kit). There are also five screens for Clip Key parameters (used to assign Phrase Clips to notes on the keyboard). Details about recording Phrase Clips are given on Pages 55, 143. Phrase Clip Mode When you enter Phrase Clip Edit Mode, you will see the following screen. Basically, Knob [A] is used to select the type of parameter you wish to edit (Common/Clip Key). The Clip Key is selected by pressing the relevant note on the keyboard. The [PAGE] knob is used to switch between the parameter screens, and Knobs [B], [C], [1] and [2] are used to enter parameter settings. Alternatively, you can use the [DATA] knob, and [DEC/NO] and [INC/YES] keys to enter settings. GEN Name) Ctgry Common SHIFT A PAGE B a-Z C 0-? Cursor [--:Init Voice] 1 2 DATA PART/ELEMENT Switch between screens Enter settings Select Common/Clip Key You can use Knobs [A] to [C] and Knob [1]/[2] while holding down the [SHIFT] key to move the cursor to each respective parameter. The cursor can also be moved using the [DATA] knob or the [DEC/NO] and [INC/YES] keys while holding down the [SHIFT] key. 80 80 147 147 148 148 148 82 82 83 83 83 148 149 149 149 149 149 88 88 88 88 89 89 149 149 151 151 151 152 152 152 152 152 153 153 101 101 101 Clip Common Edit and Clip Key Edit A Clip Kit consists of Phrase Clips (waves) assigned to notes C0 to C6 on the keyboard (Page 55). Parameters common to all Phrase Clips are known as a “Clip Common Edit.” In Phrase Clip Edit Mode, screens are available for Clip Common Edit and for each editing Clip Key. Use Knob [A] to switch between these screens. You must select the Clip Kit you wish to edit before entering Phrase Clip Edit Mode (Page 142). All parameter settings will be set for each Clip Kit, and can be stored. If you switch the synthesizer off, your Phrase Clip data in internal memory will be lost. You should always save important Phrase Clip data to Memory Card (Page 173). Clip Common settings QEDíLevel) Common Details about how to enter Phrase Clip Edit Mode are given on Page 22. Vol 127 Pan RevSend ChoSend C 127 127 Clip Common A general overview of Phrase Clips is given on Page 53. Most of these parameters are the same as for Drum Voices (the gray items in the tree diagram). Therefore, the parameters which differ are explained here. Clip Key settings OSC Asgn) Number Variation [ENTER] Key= C 3 001[InitSmpl] 1 to Edit Those parameters which do not differ are explained in the Voice Edit Mode section (Page 78). Clip Key SHIFT PAGE A PART/ELEMENT 146 B C 1 2 DATA Menu Display You will see the following if you use the [PAGE] knob while holding down the [SHIFT] key. Use the [PAGE] knob to move the cursor to the parameter you wish to edit, then release the [SHIFT] key to jump to the screen you were previously at. Clip Common General GEN Name (General Name) You can set a Clip Kit Name consisting of up to 10 characters. You can also select the Category Name to the left of the Clip Kit Name. Cursor SHIFT PAGE A Com:>GEN≥QED>ARP>CTL> Key:>OSC>PCH>FLT>AMP> B C 1 >EFF >EQ 2 GENíName) Ctgry Common DATA a-Z 0-? Cursor [Pf:Init Voice] Category Name PART/ELEMENT For CS6x, you can directly make access to a specific Menu screen using a PROGRAM/PART key (Page 80). Clip Kit Name The Clip Kit Name is set in the same way as the Voice Name. Details are given on Page 80. The í Indicator Clip Common Quick Edit If you alter any parameters in Phrase Clip Edit Mode, the í indicator will be displayed at the top left of the screen. This gives a quick indication that the current Clip Kit has been modified but not yet stored. Various parameters control the sonic properties of the Clip Kit, and many can be edited using the Sound Control knobs on the front panel of the CS6x. There are four screens. “Edit” indicator QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) GEN Name) Ctgry In Performance Mode, the Phrase Clip Part settings are used. Even if you exit to Phrase Clip Play Mode, the edited settings for the current Clip Kit will not be lost so long as you do not select another Clip Kit. QED Level (Quick Edit Level) These parameters control the output level and pan position of the Clip Kit. The í indicator will also be displayed in Phrase Clip Play Mode. QEDíLevel) Common Vol 127 Pan RevSend ChoSend C 127 127 The “Compare” Function Use this to listen to the difference between the Phrase Clip with your edited settings and the Phrase Clip prior to editing. ■ Vol (Volume) Set the output level of the Clip Kit. ❏ Settings: 0 ~ 127 1 Press the [COMPARE (EDIT)] key while in Phrase Clip Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the Phrase Clip settings prior to editing will temporarily be reinstated for comparison purposes. ■ Pan Set the stereo pan position of the Clip Kit. You can also adjust this parameter using the [PAN] knob on the front panel of the CS6x. Compare indicator ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the [REVERB] knob on the front panel of the CS6x. GENîName) Ctgry While the “Compare” function is enabled, editing will not be possible using Knobs [A] to [C] or Knob [1]/[2]. ❏ Settings: 0 ~ 127 2 Press the [EDIT] key again to disable the “Compare” function and restore the settings for your edited Phrase Clip. 147 Phrase Clip Mode OSC Out) Key=C 3 ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel of the CS6x. QED EG (Quick Edit Envelope Generator) These two parameters control the change in the output level of a Clip Kit over the time that a note is played. ❏ Settings: 0 ~ 127 QEDíEG) Common Attack +63 Decay +63 QED EffectCtrl (Quick Edit Effect) Set the amount of Chorus applied to the entire Clip Kit. QEDíEffectControl) Common Chorus +63 Attack Level Phrase Clip Mode ■ Chorus Set the Return level of the Chorus effect as an offset value. ■ Attack Set the transition time from the moment a note on the keyboard is pressed to the point at which the level of the Phrase Clip reaches its peak. You can also adjust this parameter using the [ATTACK] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 QED Filter (Quick Edit Filter) These parameters control filters which control the tonal quality of the Clip Kit. With the Low Pass Filter, frequencies falling below the set Cutoff frequency are passed, and frequencies above the Cutoff frequency are blocked. QEDíFilter) Common Cutoff +63 Relese Level ❏ Settings: -64 ~ 0 ~ +63 ■ Decay Set the transition time from the point at which the level of the Phrase Clip reaches its peak to the point at which it levels off. You can also adjust this parameter using the [DECAY] knob on the front panel of the CS6x. Reso +63 ❏ Settings: -64 ~ 0 ~ +63 Range passed Cutoff range Clip Common Arpeggio Cutoff frequency The following four parameters control the behavior of the Arpeggiator. These parameters are the same as those used in Voice Edit Mode, and more details about them are given on Page 82. Frequency ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) ■ Cutoff Set the Cutoff frequency. Only frequencies below this point are passed. You can also adjust this parameter using the [CUTOFF] knob on the front panel of the CS6x. ❏ Settings: -64 ~ 0 ~ +63 Clip Common Controller You can set up to five Controllers for each Clip Kit. The following five screens are available. ■ Reso (Resonance) Set the amount of Resonance (harmonic boost) applied to the signal around the Cutoff frequency. This is a useful way of adding further character to the sound. You can also adjust this parameter using the [RESONANCE] knob on the front panel of the CS6x. CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) ❏ Settings: -64 ~ 0 ~ +63 148 CTL Bend (Pitch Bend) Clip Common Effect You can set a range of pitch change controlled by Pitch Bend Wheel. You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following five screens are available. The parameters are the same as those used in Voice Edit Mode. Details are given on Page 88. Lower -12 Upper +12 EFF InsEF (Insertion Effect) EFF EF1 (Effect1) EFF EF2 (Effect2) EFF Rev (Reverb) EFF Cho (Chorus) ■ Lower Set a range of pitch change by semitone when you move the wheel downward. With a value of “-12,” you can lower the pitch at a maximum of one octave when you move the wheel downward. Clip Key OSC (Oscillator) ❏ Settings: -48~0~+24 You can set the parameters for the Phrase Clips which make up the Clip Kit. A Clip Kit can contain up to 73 Clips, each of which is assigned to a specific note (Clip Key) within a range of C0 to C6. In this Menu, you can assign a Clip to each Clip Key and make detailed settings using four screens below. ■ Upper Set a range of pitch change by semitone when you move the wheel upward. With a value of “+12,” you can raise the pitch at a maximum of one octave when you move the wheel upward. ❏ Settings: -48~0~+24 OSC Asgn (Oscillator Assign) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) CTL Set1 (Control Set 1) to CTL Set4 (Control Set 4) The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control the Reverb Send level and the Foot Switch (if connected) could be used to control other Effect parameters. These control assignments are called “Control Sets.” You can assign up to four different Control Sets per Clip Kit. Thus there are four screens, each for a separate controller: CTL Set1 to CTL Set4. CTLíSet1) Src Common FC(04) Controller Modulation Wheel Knob etc. Dest amp OSC Asgn (Oscillator Assign) You can select the Phrase Clips assigned to the Clip Keys in the Clip Kit. Use Knob [A] to select the Clip Key, then use Knob [B] to select the Phrase Clip. Use Knob [1] to select the Variation. The Variation controls the way in which a Phrase Clip is played back, and up to eight Variations can be assigned to each Phrase Clip. Press [ENTER] key at this screen to enter settings for Variations. Depth +63 OSC Asgn) Number Variation [ENTER] Key=C 3 001[InitSmpl] 1 to Edit Control Set 1~4 ■ Number (Clip Number) Select the Phrase Clip Number. The Phrase Clip Name will be displayed to the right of the Phrase Clip Number. The Phrase Clip can be played back in different ways, depending on the current Variation parameter setting. Set 1 These parameters are the same as for Normal Voices (except for The ElemSw parameter, which is available only for Normal Voices). For more information about parameters of a Normal Voices, see Page 84. ❏ Settings: 000 (off) ~ 256 If you select “off,” the Clip Key has no Phrase Clips assigned to it. Refer to Basics Section (Page 49) for more information about assignment of a Control Set. ■ Variation Select the Variation Number. This controls the way in which the Phrase Clip is played back. ❏ Settings: 1 ~ 8 149 Phrase Clip Mode CTLíPitchBend) C 1234 ■ Play (Play Mode) Select the Phrase Clip playback method. There are three modes. Variation Settings You can play back a Phrase Clip in up to eight different ways (Variations). They are related to the Clip Kit as shown in the illustration. ❏ Settings: loop: When you press a note on the keyboard, the Phrase Clip is played completely from its Start Point. Then its looped section is played back repetitively until you release the note. Clip1~256 Looped Section Data Top Variation 1 Variation 2 Start Point Variation 8 Loop Point End Point Data End oneshot: When you press a note on the keyboard, the Phrase Clip is played just once from its Start Point to its End Point (not looped). Phrase Clip Mode Clip 1~256 Variation 1~8 Data Top Start Point End Point Data End reverse: When you press a note on the keyboard, the Phrase Clip is played in reverse, just once, from its End Point to its Start Point (not looped). Clip kit 1~4 Data Top Select the Phrase Clip at the OSC Asgn (Oscillator Assign) screen, then press the [ENTER] key. You will see the Variation Edit screen. End Point Start Point Data End ■ Start (Start Point) Set the Start Point from which the Phrase Clip will be played back (as shown in the illustration below). In this case, you can avoid playback of the noise before the Start Point. Note that this setting does not eliminate the noise in the original Clip. • PCLP Var (Phrase Clip Variation) You can edit the settings of each Variation in the currently selected Phrase Clip. Select the Variation (1 to 8), set each of its parameters, then press the [EXIT] key. The settings will be applied and you will be returned to the OSC Asgn (Oscillator Assign) screen. Necessary portion Noise PCLP Var) Play Start Loop End (C 3)=1: oneshot 2097150 2097150 2097150 Start Point Record Start ■ Var (Variation Number) Select the Variation. Its settings will be reflected in each parameter. ❏ Settings: Depends on the length of the Phrase Clip ■ Loop (Loop Point) Set the starting point of the looped section. With a violin sound, for example, the Loop Point should be set after the distinctive attack portion and at the start of the sustained section of the sound. When playing back this loop, the distinctive attack portion of the violin sound is played back, followed by the looped section corresponding with the sustained section of the violin sound (between the Loop Point and the End Point.) On the other hand, if the sound does not have a distinctive attack portion, the Loop Point can be set to the same position as the Start Point. ❏ Settings: 1 ~ 8 If you change the Variation Number with this parameter, it will automatically change one that is set in the OSC Asgn (Oscillator Assign) screen. 150 ■ ChoSend (Chorus Send) Set the Send level of the Clip Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. Looped Section ❏ Settings: 0 ~ 127 Details about Effects are given on Page 65. OSC Pan (Oscillator Pan) End Point You can set the following Pan parameters for each Clip Key in the Clip Kit. ❏ Settings: Depends on the length of the Phrase Clip ■ End (End Point) Set the End Point of the Phrase Clip’s looped section. This can also be useful for removing unwanted noise at the end of the Phrase Clip. OSCíPan) Key=C 3 Pan C Altar Random L63 63 Output L&R ■ Pan Set the stereo Pan position for each Clip Key. This will also be used as the basic Pan position for the Alternate, Random and Scale settings. Necessary portion Noice ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) End Point Data End ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position. Record Start ❏ Settings: Depends on the length of the Phrase Clip. ❏ Settings: L64 ~ 0 ~ R63 OSC Out (Oscillator Out) ■ Random Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position. You can set the following output parameters for each Clip Key of a Clip Kit. OSC Out) Key=C 3 Level 127 ❏ Settings: 0 ~ 127 InsEF RevSend ChoSend thru 64 127 ■ Output Assign each Clip Key to an output. ■ Level Set the output level of each Clip Key. ❏ Settings: L&R (OUTPUT L and R), ind 1&2 (INDIVIDUAL OUTPUT 1 and 2), ind1 (INDIVIDUAL OUTPUT 1), ind2, ind3, ind4, ind5, ind6 ❏ Settings: 0 ~ 127 ■ InsEF (Insertion Effect) Set the Insertion Effect to which the output signal from each Clip Key is sent. The Insertion Effect is bypassed if you select thru. Settings “ind3 to “ind6” are for future expansion purposes and are currently not available. For example, if you select “ind 1&2,” the left channel will be output through INDIVIDUAL OUTPUT 1 and the right channel will be output through INDIVIDUAL OUTPUT 2. ❏ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) OSC Other (Oscillator Other) ■ RevSend (Reverb Send) Set the Send level of the Clip Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can set parameters which govern the sound of each Clip Key of a Clip Kit. ❏ Settings: 0 ~ 127 OSCíOther) Key=C 3 151 KeyOn normal Assign single AltGrp off Phrase Clip Mode Loop Point Start Point ■ KeyOn Select the Key On method. There are two methods: normal and hold. Clip Key Filter You can apply filter settings to Clip Keys. A Low Pass Filter and High Pass Filter can be applied per Phrase Clip to change its tonal characteristics. ❏ Settings: normal: Pressing a Clip Key starts playback of a Clip. Playback will continue until the key is released. FLT Cutoff (Filter Cutoff) hold: Pressing a Clip Key triggers playback of a Clip. Playback will continue after the key is released, until another Clip Key is pressed. FLTíCutoff) LPF VelSens Key=C 3 255 +63 ■ Assign Set Key Assign to “single” to prevent the doubled playback of the same received notes. Select “multi” to consecutively assign each instance of the same received note to a separate channel. Reso 31 HPF 0 Phrase Clip Mode ■ LPF (Low Pass Filter) Set the Cutoff frequency of the Low Pass Filter. Only frequencies below this point are passed. You can then use the Reso (Resonance) parameter to add further character to the sound. ❏ Settings: single, multi ❏ Settings: 0 ~ 255 ■ AltGrp (Alternate Group) You can prevent different Phrase Clips from playing back simultaneously by assigning them to the same Alternate Group. This is useful, for example, when you want to prevent drum loops from overlapping during playback. Up to 127 Alternate Groups can be defined. You can also select “off” here if you wish to allow the simultaneous playback of all Phrase Clips. Details about the Low Pass Filter are given on Page 93. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to become higher when you play the keyboard harder (for a large Velocity value), resulting in a drastic change in tones. Negative settings will cause it to become lower. ❏ Settings: off, 1 ~ 127 ❏ Settings: -64 ~ 0 ~ +63 Clip Key Pitch ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This can be used in combination with the Cutoff frequency of the Low Pass Filter to add further character to the sound. Set the pitch of each Clip Key. The tunings and Pitch EG parameters can be set for each Clip Key. PCH Tune (Pitch Tune) ❏ Settings: 0 ~ 31 PCHíTune) Key=C 3 Coarse + 0 Details about Resonance are given on Page 40. Fine VelSens + 0 +63 ■ HPF (High Pass Filter) Set the Cutoff frequency of the High Pass Filter. Only frequencies above this point are passed. ■ Coarse Adjust the pitch of each Phrase Clip in semitones. ❏ Settings: 0 ~ 255 ❏ Settings: -48 ~ 0 ~ +48 Details about the High Pass Filter are given on Page 94. ■ Fine Fine-tune the pitch of each Phrase Clip. Clip Key Amplitude ❏ Settings: -64 ~ 0 ~ +63 You can set amplitude (output level) parameters for each Phrase Clip. The following two screens are available. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the pitch. Positive settings will cause the pitch to become raised when you play the keyboard harder (for a large Velocity value). Negative settings will cause it to become lowered. AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) ❏ Settings: -64 ~ 0 ~ +63 152 AMP AEG (Amplitude Envelope Generator) Amplitude Envelope Generator Settings The Amplitude Envelope Generator controls the change in amplitude from the moment a note in pressed on the keyboard to the moment it is released. By setting the Attack Time, Decay 1/2 Time and the Decay 1 Level, you can determine how fast the sound reaches its peak amplitude and how it fades out. Parameters can be set for each Clip Key. Decay1---Level 127 127 Decay2 127 ■ Attack (Attack Time) Set the Attack Time. The Attack Level is fixed at its maximum value. ❏ Settings: 0 ~ 127 Pitch Attack Level Decay1 Level ■ Decay1 (Decay 1 Time) Set the Decay Time. ❏ Settings: 0 ~ 127 0 ■ Level (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: 0 ~ 127 Decay1 Time Decay2 Time Decay2=hold ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. With this parameter set to “hold,” the volume level will be held at Decay 1 Level (shown in the following illustration) until the key is released. Pitch ❏ Settings: 0 ~ 126, hold Attack Level Decay1 Level 0 Attack Time Key on AMP VelSens (Amplitude Velocity Sensitivity) You can define how the amplitude (output level) varies according to the velocity of the received notes. AMPíVelSens) Key=C 3 Time Attack Time Key on Time Decay1 Time Decay2 Time Clip Key EQ (Equalizer) You can set Equalizer parameters for each Clip Key. The following two screens are available. These parameters are the same as those in Voice Edit Mode, and details are given on Page 101. Level +63 ■ Level Set the velocity sensitivity of the Amplitude’s output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall. EQ Type (EQ Type) EQ Param (EQ Parameter) ❏ Settings: -64 ~ 0 ~ +63 153 Phrase Clip Mode AMPíAEG) Attack Key=C 3 127 The Amplitude Envelope Generator has three Time parameters and one Level parameter. These govern the transitions between output levels for the duration of a note. The Attack Time is the time taken for the sound to reach its peak output level from the moment a note is played on the keyboard. The Decay 1/2 Time and the Decay 1 Level parameters are used to set the behavior of the remainder (between the sound’s peak output level and the point at which it fades to zero). Furthermore, you can set these parameters to be sensitive to note velocity. 5When you press the [ENTER] key, you will see a confirmation message. Phrase Clip Job Mode In the Mode, you can execute various operations (jobs) on the Phrase Clips that you have created/edited in Phrase Clip Edit Mode, such as delete, copy and normalize. You will see the 1st screen (PCLP Status) when you enter Phrase Clip Job Mode. There are 14 screens for Phrase Clip Jobs, as follows. PCLP LoopRemix) << Are You Sure The Job will be canceled if you press the [DEC/NO] key. Phrase Clip Mode 1st screen: PCLP Status 2nd screen: PCLP Rename 3rd screen: PCLP VariationSet 4th screen: PCLP LoopRemix 5th screen: PCLP Normalize 6th screen: PCLP FreqConvert (Frequency Convert) 7th screen: PCLP Extract 8th screen: PCLP Delete 9th screen: PCLP Copy 10th screen: PCLP SampleRcv (Sample Receive) 11th screen: PCLP AutoKeyMap 12th screen: PCLP Kit Key Copy 13th screen: PCLP Kit Key Initialize 14th screen: PCLP Kit Initialize If the Phrase Clip Job takes some time to execute, you will see the message “Executing...” If you switch the power off in this state, the data may be damaged. 7If you press the [EXIT] key, you will be taken out of Phrase Clip Job Mode and returned to Phrase Clip Play Mode. The steps in each procedure may vary slightly, depending on the Job being performed. Refer to the explanation of each Job for details. The following Jobs are available only when the Phrase Clip has been recorded in 16-bit format. 3rd screen: PCLP VariationSet 4th screen: PCLP LoopRemix 5th screen: PCLP Normalize 6th screen: PCLP FreqConvert (Frequency Convert) 7th screen: PCLP Extract Details about how to enter Phrase Clip Job Mode are given on Page 22. Executing a Job 1In Phrase Clip Play Mode, select the Clip Kit on which you wish to execute a Job. PCLP Status At this screen, you can check the amount of free memory (DRAM) for Phrase Clips and the amount of free memory left on the Memory Card. These factors govern the size/number of Phrase Clips that can be opened/recorded, as well as whether or not the currently selected Clip Kit can be saved to Memory Card. This screen has no adjustable parameters. 2Press the [JOB] key to enter Phrase Clip Job Mode. 3Use the [PAGE] knob to switch to the screen for the Phrase Clip Job you wish to execute. The selected Job will be displayed. Type 1 Vari >> 6Press the [INC/YES] key to execute each Job. The message “Completed.” will be displayed after the job has executed, and you will be returned to the previous screen. Before you can execute a Phrase Clip Job in Phrase Clip Job Mode, you need to select the Clip Kit (Page 142). PCLP LoopRemix) JOB C 2:001[SmplName] Type [YES]/[NO] Vari A PCLP Status) Free Used CardFree 1.1MB 2.9MB(70%)1.8MB ■ Free Shows the amount of free memory (DRAM) for Phrase Clips. 4Use Knobs [A], [B], [C], [1] and [2] to enter each of the parameter settings. (You can also use the [DATA] knob and the [DEC/NO] and [INC/YES] keys.) Most Jobs are executed to a Clip Key or Clip assigned to a Clip Key. You can select a target Clip Key Number using Knob [A] or a target Clip Number using Knob [B]. ■ Used Shows the amount of memory used by Phrase Clips and Clip Kits if you store them in Memory Card. When you specify a Phrase Clip by its number, you can select a Clip not assigned to a key note on the keyboard. You may assign that Clip to a key note in Phrase Clip Edit Mode so that you can play it in Phrase Clip Edit Mode (Page 146). ■ CardFree Shows the amount of free memory on the Memory Card. If the [-x›] indicator is displayed to the right of the Used parameter, this means that the amount of used memory exceeds the free space available on the Memory Card. You will not need to follow the next two steps at the 1st screen (PCLP Status). 154 PCLP Rename PCLP LoopDivide You can change the Phrase Clip Name for each Phrase Clip. A Phrase Clip Name can consist of up to eight characters. To select each Phrase Clip, use Knob [A] to select the Clip Key and use Knob [B] to select the Phrase Clip Number. For each Phrase Clip, you can set the Variation length as a percentage. The Phrase Clip can be divided into a number of equal-sized sections which make up a Variation Set. These sections can then be assigned to consecutive notes on the keyboard. This is particularly useful when, for example, splitting up a four-bar breakbeat pattern into four one-bar sections, which you can then play back in whichever order you choose. You can also select the Clip Key directly by pressing a note on the keyboard. The Name is set in the same way as the Voice Name. Details are given on Page 80. After the Name has been entered, press the [ENTER] key to apply it. PCLP Rename) a-Z JOB C 2:001[ClipName] Cursor PCLP LoopDivide) Division Job C 2:001[ClipName] 1/8 Length toEnd Phrase Clip Number Example: A loop divided into 4 divisions (Division: 1/4) as each division is played back to the end of the loop (Length: toEnd) After recording a Phrase Clip, you have it named automatically. PCLP VariationSet 1 You can set a Variation Set for each Phrase Clip. A Variation Set is a collection of up to eight different playback methods for the Phrase Clip. These offer further variations in to the Start, Loop and End Points (Page 149) set in Phrase Clip Edit Mode. Select the target Phrase Clip and set the Variation Mode. 2 To select each Phrase Clip, use Knob [A] to select the Clip Key and Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, set the Mode and press the [ENTER] key to enter the Mode settings screen. 3 You can also select the Clip Key directly by pressing a note on the keyboard. PCLP VariationSet) Job C 2:001[SmplName] Clip Key 4 Mode loop divide Phrase Clip Number 1 2 34 ■ Clip Key Set the Clip Key of the Phrase Clip on which you wish to perform the Job. ❏ Settings: C0 ~ C6 ■ Phrase Clip Number Set the Phrase Clip on which you wish to perform the Job. ■ Division Set the number of Phrase Clip sections. The area between the Loop and End Points of the Phrase Clip will be separated into equal-sized sections of the size set here. The Points of each of these sections will be used as the Start, Loop and End Points of each Variation. ❏ Settings: 1 ~ 256 ■ Mode Select the Variation Mode. There are four Modes available (explained later). ❏ Settings: loop divide, auto, realtime, manual The following Jobs are available only when the Phrase Clip has been recorded in 16-bit format. ❏ Settings: 1/2 ~ 1/8 155 Phrase Clip Mode Clip Key 0-? At this screen, you can press the white notes on the keyboard between C3 and C4 to select Variation Sets 1 to 8, then set its parameters. Press the [ENTER] key to execute the Job. 1At this screen, you can play back the currently selected Phrase Clip as a loop. ■ Length Set the Variation length ratio. You can change the length of all the equal-sized sections by the amount set here. If you select “toEnd,” the End Point of the source Phrase Clip will be used as the End Point of the Variation (after it has been divided). 2Set the Start Points for Variations 1 to 8 by pressing notes C3 to C4 on the keyboard. By pressing the white notes (C3 to C4) on the keyboard corresponding to Variation Sets 1 to 8, you can set the Start Point while listening to the sound. ❏ Settings: toEnd, 10 ~ 800% If this setting is outside the End Point of the Phrase Clip, it will be automatically limited to the End Point setting. 3In the same way, press the notes when setting the Start Points for the other Variation Sets. PCLP VarAuto (Variation Auto-set) 4When you press the [EXIT] key, you will see the confirmation message. At this screen, you can verify by playing Variation Sets 1 to 8 by pressing the white notes on the keyboard between C3 and C4. The Start Point of the Variation is assigned automatically. The Loop and End Points are the same as those set in the original Phrase Clip. Phrase Clip Mode There may be cases that automatic setting is not available when the Clip has a narrow dynamic range (no big difference between loudest and smallest volume levels) because of the entire recorded level is too low, etc. 5Press the [INC/YES] key to set each Variation, or press the [DEC/NO] key to cancel the operation and return the Variation to its original state. At this screen, Variation Set 1 to 8 are assigned to each of the white notes of the keyboard in the range C3 to C4. Press each note to switch to the respective Variation Set, then set each Set’s parameters. Finally, press the [ENTER] key to execute the Job. PCLP Var (Variation Manual) You can change the settings for the Variation of the currently selected Phrase Clip. Use Knob [A] to select from Variation Sets 1 to 8 and use Knobs [B], [C], [1] and [2] to set its parameters. Then press the [ENTER] key to execute the Job. At this screen, the white notes on the keyboard between C3 and C4 can be used to select and play Variation Sets 1 to 8. If you are not satisfied with the result, try repeating the process as you may get different results. PCLP VarAuto) Threshold Job C 2:001[SmplName] 255 Adjust -255 PCLP Var) Play Start Loop End Var=1: oneshot 2097150 2097150 2097150 ■ Threshold Set the threshold level at which the Auto-set process is started. The Start Point is automatically set when the average level of the Phrase Clip reaches or exceeds this value. ■ Var (Variation Number) Select the Variation you wish to set. The settings for the selected Variation will be reflected in all parameters. ❏ Settings: 0 ~ 255 ❏ Settings: 1 ~ 8 ■ Adjust Set the amount by which the automatically-set Start Point is adjusted (moved forward). ■ Play (Play Mode) Select the Phrase Clip playback mode. There are three modes. ❏ Settings: -255 ~ 0 ❏ Settings: loop: When you press a note on the keyboard, the Phrase Clip is played completely from its Start Point. Then its looped section is played back repetitively until you release the note. If the automatic setting is incorrect, Variation Set 1 will be set such that the entire length of the Phrase Clip will be played back. In this case the Start, Loop and End Points for Variation Sets 2 to 8 will be set to zero. oneshot: When you press a note on the keyboard, the Phrase Clip is played just once from its Start Point to its End Point (not looped). PCLP VarRealTime (Variation Real-time) You can set the Start Point of the Variation in real-time while listening to the Loop. The Loop and End Points remain in the same positions as set for the Phrase Clip. The procedure is as follows. PCLP VarRealTime) Hit[C3-C4] Job C 2:001[SmplName] toVar1-8 reverse: When you press a note on the keyboard, the Phrase Clip is played in reverse, just once, from its End Point to its Start Point (not looped). [EXIT] toStop Basic details about each mode are given on Page 54. 156 4When you press the [ENTER] key, you will see a confirmation message. Press the [INC/YES] key to execute the Loop Remix Job. The Job will be canceled if you press the [DEC/NO] key. ■ Start (Start Point) Set the Start Point from which the Phrase Clip will be played back. By finely adjusting the Start Point, you can avoid playback of the noise before the Start Point. This setting, however, does not eliminate the noise in the original Clip. 5After executing the Loop Remix Job, you will see the following Retry message. ❏ Settings: Depends on the length of the Phrase Clip. PCLP LoopRemix) << Retry? [YES]/[NO] >> ■ Loop (Loop Point) Set the starting point of the looped section. With a violin sound, for example, the Loop Point should be set after the distinctive attack portion and at the start of the sustained section of the sound. When playing back this loop, the attack portion of the violin sound is played back, followed by the looped section corresponding with the sustained section of the violin sound (between the Loop Point and the End Point). On the other hand, if the sound does not have a distinctive attack portion, the Loop Point can be set to the same position as the Start Point. Type 1 Vari A At this screen, you can use the keyboard to audition the Loop Remix. If you are not satisfied with the result, try creating another Loop Remix by repeating steps 2 to 4 but using different Variation settings. PCLP Normalize ❏ Settings: Depends on the length of the Phrase Clip. You can normalize each Phrase Clip. This maximizes the output level of the recorded Phrase Clip without causing distortion. ■ End (End Point) Set the End Point of the Phrase Clip’s looped section. This can also be useful for removing unwanted noise at the end of the Phrase Clip. To select each Phrase Clip, use Knob [A] to select the Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, set the Ratio parameter and press the [ENTER] key to normalize. ❏ Settings: Depends on the length of the Phrase Clip. Details about the Start, Loop and End Points are given on Page 150. You can also select the Clip Key directly by pressing a note on the keyboard. PCLP Normalize) Job C 2:001[SmplName] PCLP LoopRemix The Phrase Clip data can be edited and a new Phrase Clip can be automatically created with a new Loop. The procedure is as follows. Ratio 100% ■ Clip Key Select the Clip Key of the target Phrase Clip. ❏ Settings: C0 ~ C6 PCLP LoopRemix) JOB C 2:001[SmplName] Type 1 ■ Clip Number Select the target Phrase Clip. Vari A ❏ Settings: 1 ~ 256 The following Jobs are available only when the Phrase Clip has been recorded in 16-bit format. ■ Ratio Set an amplitude ratio in normalization of a volume level. With a value of “100” (%), a peak level will be normalized into full 16 bits, which means there is virtually no distortion in resulting levels. If the volume level in an original Clip is extremely low, set a value less than “100” (%) for a waveform smoother in level changes. You can set a value more than “100” (%) for an intentionally distorted sound. 1Select the Phrase Clip by using Knob [A] to select the target Clip Key or Knob [B] to set the Phrase Clip Number. You can also select the target Clip Key directly by pressing its note on the keyboard. 2Select the Type parameter which specifies the section of the Loop to be changed. Five Types are available. ❏ Settings: 0 ~ 200% Once you perform this operation on a Phrase Clip, its original data will be overwritten and you will not be able to undo the changes. Important data should always be backed up or copied to a separate Phrase Clip Number before performing this operation. 3Select the Vari (Variation) parameter, which is the degree of change to be applied to the Loop. Four Variations (A to D) are available, each offering increasing degrees of change. 157 Phrase Clip Mode 6When you are satisfied with the result, press the [DEC/NO] key. A new Phrase Clip will be created and you will be returned to the first screen. ■ TargetVari (Target Variation) Set the areas to be removed by PCLP Extract. PCLP FreqConvert (Frequency Convert) You can perform a Frequency Convert operation on each Phrase Clip. This halves its sampling rate and therefore its size. ❏ Settings: all Unused areas of all eight Variations are removed. To select each Phrase Clip, use Knob [A] to select the Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, press the [ENTER] key to execute the Frequency Convert operation. 1~8 Unused areas of the Variation specified here are removed. Removed when set to “all” You can also select the Clip Key directly by pressing a note on the keyboard. Not removed when set to “all” Removed when set to “all” Vari 1 Start End Everything outside this area is removed when set to “2” Vari 2 PCLP FreqConvert) Job C 2:001[SmplName] Vari 3 Vari 4 ■ Clip Key Select the Clip Key of the target Phrase Clip. Vari 5 Vari 6 Phrase Clip Mode ❏ Settings: C0 ~ C6 Vari 7 ■ Clip Number Select the target Phrase Clip. Vari 8 When set to “all,” the Start End points of all Variations are compared. Then the areas before the Start point and after the End point are removed. ❏ Settings: 1 ~ 256 Once you perform this operation on a Phrase Clip, its original data will be overwritten and you will not be able to undo the changes. Important data should always be backed up or copied to a separate Phrase Clip Number before performing this operation. PCLP Delete You can delete the data of each Phrase Clip individually, or all Phrase Clips simultaneously. To select each Phrase Clip, use Knob [A] to select Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, press the [ENTER] key to delete it. PCLP Extract You can perform an Extract operation on each Phrase Clip. This removes unused sections of the Phrase Clip (sections which are not used in Variations). You can also select the Clip Key directly by pressing a note on the keyboard. To select each Phrase Clip, use Knob [A] to select the Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, press the [ENTER] key to execute the Extract operation. PCLP Delete) Job C 2:001[SmplName] You can also select the Clip Key directly by pressing a note on the keyboard. PCLP Extract) Job C 2:001[SmplName] ■ Clip Key Set the Clip Key that is assigned with a target Clip for this Job. Or, you have other options for maintenance purpose. If you want to delete all (up to 256) Clips that have been recorded, regardless of their assignments in Clip Kits, select "all." When deleting all Clips that are NOT assigned to any Clip Key from any Clip Kit, select "unused." TargetVari all ■ Clip Key Select the Clip Key of the target Phrase Clip. ❏ Settings: C0 ~ C6 ❏ Settings: C0 ~ C6, unused, all ■ Clip Number Select the target Phrase Clip. If you select “unused” or “all,” you will see “---” displayed for the Clip Key parameter. ❏ Settings: 1 ~ 256 If you delete a Phrase Clip used in other Clip Kits or Clip Keys, you will never be able to use those Clip Kits or Clip Keys. Once you perform this operation on a Phrase Clip, its original data will be overwritten and you will not be able to undo the changes. Important data should always be backed up or saved to a separate Phrase Clip Number before performing this operation. ■ Clip Number Set the Phrase Clip you wish to delete. ❏ Settings: 1 ~ 256 158 PCLP Copy PCLP AutoKeyMap You can copy the data of each Phrase Clip to another Phrase Clip. Auto Key Map is used to automatically assign Variations of a Phrase Clip to notes on the keyboard, starting at the Clip Key note. To select each Phrase Clip, use Knob [A] to select Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, press the [ENTER] key to copy it to an automatically allocated (vacant) Phrase Clip Number. To select the Phrase Clip of the Variations, use Knob [A] to select the Clip Key or Knob [B] to select the Phrase Clip Number. After selecting the Phrase Clip, set the Clip Key and Type parameters, then press the [ENTER] key to execute the Auto Key Map operation. You can also select the Clip Key directly by pressing a note on the keyboard. 050[NewSampl] PCLP AutoKeyMap) Job C 2:001[SmplName] Key C 3 Type white ■ Clip Key Select the Clip Key of the Phrase Clip to be copied. ❏ Settings: C0 ~ C6 ■ Clip Key Set the Clip Key assigned to the Phrase Clip of the source Variation. ■ Clip Number Select the Phrase Clip to be copied. ❏ Settings: C0 ~ C6 ❏ Settings: 1 ~ 256 ■ Clip Number Set the Phrase Clip of the source Variation. PCLP SampleRcv (Sample Receive) ❏ Settings: 1 ~ 256 You can receive Phrase Clip (sample) data from external MIDI devices, such as samplers and computers, using the MIDI Sample Dump Standard. ■ Key Set the first Clip Key to be assigned. Assignments will be made from this note upwards when you perform the Auto Key Map operation. The Device Number must be set correctly in order to perform this operation. Details are given on Page 166. ❏ Settings: C0 ~ C6 Select the sample you wish to receive, select the Clip Key to which it will be assigned, then press the [ENTER] key to start the Sample Receive process. The received sample will be assigned to the specified Clip Key of the current Clip Kit. ■ Type Set the Type. If you select “white,” the assignments will be applied only to white notes upwards from the note set in the “Key” parameter. If you select “all,” the assignments will be applied to both black and white notes upwards from that point. PCLP SampleRcv) ReqSmpl > Key[InitSmpl] Job 16383 C 3:001 ❏ Settings: white, all ■ ReqSmpl (Request Sample) Set the sample data to be received from an external MIDI device. PCLP Kit Key Copy You can copy Clip key data from one Clip key to another. ❏ Settings: 1 ~ 16384 After selecting the source and destination Clip key, press the [ENTER] key. This setting is not necessary when you directly send sample data from an external MIDI device to the instrument (without requesting it using this parameter). You can only receive mono samples recorded at 44.1 kHz in 16-bit (linear) format. PCLP Kit Key Copy) Job ■ Key (Clip Key) Select the Clip Key to which the sample will be assigned. ❏ Settings: C0 ~ C6 C 3 ■ Source Clip Key Select the Clip Key to be copied. 159 ❏ Settings: C0 ~ C6 > B 3 Phrase Clip Mode PCLP Copy) Job C 2:001[SmplName] > You can also select the Clip Key directly by pressing a note on the keyboard. ■ Destination Clip Key Select the Clip Key to which the Source Clip Key will be copied. Clip Kit Store You can store up to four edited Clip Kits to internal memory as follows. ❏ Settings: C0 ~ C6 Existing Clip Kit data will be overwritten with the new data when stored. You should save important data to Memory Card beforehand. PCLP Kit Key Initialize Clip Kit data stored in internal memory will be lost when you switch the synthesizer off. You should save important Clip Kit and Phrase Clip data to Memory Card before switching the power off. This operation is performed in Card Mode. Details are given on Page 173. You can initialize each Clip Key to return it to its default state. This is useful when creating a new Phrase Clip from scratch before editing. After selecting the Clip Key you wish to initialize, press the [ENTER] key. 1Press the [STORE] key after editing a Clip Kit. The Clip Kit Store screen will be displayed. PCLP Kit Key Initialize) Job C 3 PCLP) Store Phrase Clip Mode ■ Clip Key Select the Clip Key you wish to initialize. [Wv:Init Clip ] >[Wv:Init Clip ] 1(A01) 2Use Knob [2] to select the location Clip Kit Number (1 to 4) at which to store the Clip Kit. The Clip Kit Number will be displayed. ❏ Settings: C0 ~ C6 You can also use the [DATA] knob and the [INC/YES] and [DEC/NO] keys to select the Store location. PCLP Kit Initialize You can initialize each Clip Kit to return it to its default state. This is useful when creating a new Phrase Clip from scratch before editing. You can initialize the current Clip Kit, or all Clip Kits simultaneously. 3Press the [ENTER] key. You will see a confirmation message. PCLP) << After selecting the Clip Kit you wish to initialize, press the [ENTER] key. [Wv:Init Clip ] >[Wv:Init Clip ] Are you sure? [YES]/[NO] >> 4Press the [INC/YES] key to Store. The “Executing...” message will be displayed, followed by the “Completed.” message on completion. You will then be returned to Phrase Clip Play Mode. PCLP Kit Initialize) Job Current Kit Press the [DEC/NO] key to cancel the Store operation and return to the previous screen. ■ Clip Kit Set the Clip Kit you wish to initialize. ❏ Settings: Current Kit, All kit 160 Sequence Play Mode In this Mode, you can play back the built-in demo songs and Song files stored on Memory Card. Up to 100 Song files can be played back end-to-end by using the Chain Step feature. This Chain Step data can also be saved to Memory Card. The Demo Songs contain preset tempos by default. When you switch to another Demo Song, its preset tempo will be used. You can change the playback tempo. To restore the default tempo, select “***” as the tempo setting. 3Press the [PLAY/STOP] key to play back the selected Demo Song from the beginning. A Memory Card containing Song files must already be slotted in the Card Slot. 4Press the [PLAY/STOP] key again to stop the Demo Song playback. Basic details about the sequencer are given on Page 31. When you enter Sequence Play Mode, you will see the 1st screen (Demo Song). The following two screens are available. If you press the [PLAY/STOP] key once again, playback will resume from the current position. Demo Songs will playback continuously until stopped. 1st screen: SEQ Demo (Sequence Demo) 2nd screen: SEQ (Sequence Chain) SEQ (Sequence Chain) If you load Sequence Chain data in Card Mode (Page 174) or using the Auto Loading feature (Page 172), the 2nd screen will be displayed first. Details about how to enter Sequence Play Mode are given on Page 22. Sequence Play Mode You can set up to 100 Steps in a Chain here. Each Chain Step is assigned a Song file and a Performance (Voices for each Part used in the Song). You can play back one particular Chain Step or multiple Chain Steps end-to-end. Chain Step Number 1~100 SEQ Demo (Sequence Demo) The Demo Song data is contained in internal memory. When you attempt to enter the SEQ Demo (Sequence Demo) screen, you will have an alert screen shown below, since you lose your data for System, internal Voices and Phrase Clip by loading the demo song. Song File Sequence Track 1 MIDI CH 1 2 3 16 16 Performance MIDI CH 1 Part 1 2 2 2 3 16 3 SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice will be changed. Press the [YES] key to accept the alert and proceed to the SEQ Demo screen. You can play the demo song in this screen. Demo Song Name SEQ Demo) Song:[DEMOSONG] ≥ 001 ⁄= 120 5 16 3 Plug-in Part 1 4 Plug-in Part 2 10 Phrase Clip Part 6 A/D Input Part Chain settings can be saved to Memory Card. Song File Name SEQ) Chain00 Demo Song Number Playback tempo Chain Step Number File:[ 001 ⁄= 120 Playback tempo ■ Playback Tempo ] Perf Meas=001 INT:128 Measure Performance Bank/Number ■ Chain Step Number Change each Chain Step. If you choose a Step Number here, the screen for the selected Chain Step will be displayed. ❏ Settings: *** (default tempo), 25 ~ 300 1Use Knob [B] and the [ENTER] key to select the Demo Song Number. 2Set the tempo (if necessary). ❏ Settings: 00 ~ 99 You can jump to the next Chain Step screen and change the Chain settings in advance, even while a Song is being played back. A “ë” indicator is displayed to the right of the Chain Step Number at the Chain Step screen of the Song file currently being played back. 161 ■ Song File Number Assign a Song file to the Chain Step. Any Song files with the “.MID” extension can be selected. When you select a file Number here, the file name is shown in the top line of the display. For continuous (chained) playback of multiple Chain Steps, you can specify how to play this Chain Step after playback of a previous one by selecting an option from among “skip,” “end” and “stop.” If you select “skip,” the Chain Step is skipped and playback will jump to the next Chain Step. If you choose to skip the 99th Chain Step, playback will jump back to the first Chain Step after the 98th Chain Step. If you select “end,” when the Song reaches this Chain Step, chained playback is stopped and you are returned to the first Chain Step. If you select “stop,” the Song stops when it reaches this Chain Step. When the Song playback is resumed, it starts at the next Chain Step. Performances can be changed while Songs are playing or have been stopped. However, it does not change in real time during playback if you specify a Chain Step other than the current one. In stead, it changes when playback reaches the song at the specified Chain Step. Song File Playback 1Use Knob [B] to select the Song file you wish to play back. When playing back a single Song, you do not need to select a Chain Step Number (You can have any Chain Step screen open). 2Set the tempo (if necessary). 3Set the starting point (measure) for the Song (if necessary). 4Select the Performance Bank/Number (if necessary). 5Press the [PLAY/STOP] key to playback the Song from the set position (or from the beginning). ❏ Settings: skip, end, stop, 001 ~ 997 6Press the [PLAY/STOP] key again to stop the Song playback. Sequence Play Mode ■ Playback Tempo Set the playback tempo of the Chain Step. When you start playback of the song, it is normal that a tempo value contained in the song file is automatically set to this parameter. If necessary, you can change the playback tempo here. To restore the Song’s own playback tempo, select “***.” Chained Playback 1Use Knob [A] to select the Chain Step Number of the first Song you wish to play back. 2Set the tempo (if necessary). ❏ Settings: *** (default tempo), 25 ~ 300 3Set the starting point (measure) for the Song (if necessary). When playing back a Song file using its own tempo data, the tempo setting is shown in brackets. These brackets disappear when you change the tempo. 4Select the Performance Bank/Number (if necessary). 5Press the [PLAY/STOP] key to play back the Song from the set position (or from the beginning). ■ Meas (Measure) The Song measure in the current Chain Step is shown during playback. If you stop playback, you can use Knob [1] to enter a measure number and press the [ENTER] key to resume playback at that measure. When the Chain Step playback has finished, the Song of the next Chain Step Number will automatically be started. Songs can be played back continuously this way. ❏ Settings: 001 ~ 999 6Press the [PLAY/STOP] key again to stop the chained playback. ■ Performance Bank/Number Set the Performance (Bank/Program Number) to be used in the Chain Step. The Voices of each Part in the selected Performance will be used when playing back the Song file. Use Knob [2], the MEMORY [INT]/[EXT] keys, BANK keys [A] to [H] and PROGRAM keys [1] to [16] to select the Memory Bank and Program Number of the Performance. Also, if an “end” or “stop” Chain Step is reached, playback will stop. ❏ Settings: *** (not set), INT/EXT (Bank), 1 ~ 128 (Program Number) If no Performance changes are contained within a Song file, “***” is displayed as the Bank/Number when the Song File is selected. In this case, the Song file will use the Program set in the currently selected Mode (Voice Mode/Performance Mode/Phrase Clip Mode). 162 Utility Mode The parameters in Utility Mode are explained here. Utility Mode can roughly be divided into a screen for settings common to the entire system, a screen for Voice Mode settings and a screen for Plug-in Board settings. MSTR (System Master) You can set the overall parameters, including volume and pitch, which mainly relate to the synthesizer’s tone generator section. The following four screens are available. You will first see the following screen when you enter Utility Mode. Each of the three Utility Mode screens contain further sub-screens. Basically the [PAGE] knob is used to switch between parameter screens and Knobs [B], [C] and [1]/[2] are used to set the values for each parameter. You can also use the [DATA] knob or the [DEC/NO] and [INC/YES] keys to enter values. MSTR TG (Master Tone Generator) MSTR Kbd (Master Keyboard) MSTR EF Bypass (Master Effect By-pass) MSTR Other (Master Other) MSTR TG (Master Tone Generator) Set the parameters which control the synthesizer’s tone generator section. Sys (System): System settings MSTR TG) Sys Vol 127 NoteShift Tune +63 +102.3c MSTR TG) Sys • Master • Control • MIDI Vol 127 NoteShift Tune +24 +102.3c ■ Vol (Master Volume) Set the synthesizer’s overall volume. Vce (Voice): Voice Mode settings Gain +12dB Freq 50Hz Q 12.0 ■ NoteShift (Master Note Shift) Set the amount (in semitones) by which the note pitch is shifted. This parameter only affects the synthesizer’s internal tone generator. It does not affect information transmitted via MIDI. • Master Equalizer • Control Plg (Plug-in): Plug-in Settings PLG Status) Plugin PLG1:PLG100-VH PLG2:PLG150-AN ❏ Settings: -24 ~ 0 ~ +24 Expand part ■ Tune (Master Tune) Adjust the keyboard tuning (in 0.1 cent steps). • Plug-in Board Status • Plug-in Board 1 System • Plug-in Board 2 System ❏ Settings: -102.4 ~ +102.3 Details about how to enter Utility Mode are given on Page 22. MSTR Kbd (Master Keyboard) Set the parameters related to the keyboard. Menu Display When you use the [PAGE] knob while holding down the [SHIFT] key, the following menu will be displayed. Use the [PAGE] knob to move the cursor (≥) between items, then release the [SHIFT] key to jump to the selected item. MSTR Kbd) Sys SHIFT PAGE A Vel fixed = 127 ■ Oct (Master Octave Shift) Shift the octave range of the keyboard up or down. Cursor MSTR TG) Sys Oct Trnspose +3 +11 ❏ Settings: -3 ~ 0 ~ +3 Sys:>MSTR≥CTRL>MIDI Vce:>M.EQ>CTRL Plg:>PLG>1>2 B C 1 2 ■ Trnspose (Master Transpose) Transpose the pitch of the keyboard up or down (in semitones). This affects information transmitted via MIDI. DATA PART/ELEMENT ❏ Settings: -11 ~ +11 If you transpose beyond the note range limits (C-2 and G8), the notes will be wrapped over. This parameter is not available in the CS6R. 163 Utility Mode M.EQ Low) Shape Vce peak ❏ Settings: 0 ~ 127 ■ Vel (Keyboard Velocity Curve) Set the Velocity Curve determining how the strength of the notes played will affect the sound output. MSTR EF Bypass (Master Effect By-pass) Set the parameters related to the [EF BYPASS] key on the front panel. ❏ Settings: norm, soft, hard, wide, fixed norm (Normal) The velocity is in proportion to the strength. MSTR EF Bypass) Sys Insert off Reverb on Chorus on Volume ■ Insert (Insertion), Reverb, Chorus When the [EF BYPASS] key is pressed (its LED is lit), various effects can be bypassed. Keyboard Playing Strength soft A softer playing style increases the volume level. Volume ❏ Settings: off, on (for Insert (Insertion), Reverb and Chorus effects) Plug-in Board Variations (Variation Effects) will be bypassed according to the Insert setting. MSTR Other (Other Setup) Set other parameters common throughout the system. Keyboard Playing Strength hard A stronger playing style increases the volume level. MSTR Other) PowerOnMode Sys Voice(INT) Ctrl BCCurve hold thru Volume ■ PowerOnMode Select the Mode entered when you switch the synthesizer on. Keyboard Playing Strength Utility Mode wide A softer playing style lowers the volume level and a stronger playing style increases the volume level. As a result, you feel a wider dynamic range. Volume ❏ Settings: Performance: Performance Play Mode is entered and the first Program Number (INT: 001) is selected automatically. Voice (INT): Voice Play Mode is entered and the first Program Number of the Internal Memory (INT: 001) is selected automatically. Voice (PRE1): Voice Play Mode is entered and the first Program Number of Preset Memory 1 (PRE1: 001) is selected automatically. Keyboard Playing Strength fixed Select this curve when you want the tone generator to respond (sound) in a specific volume, tone or the like. With this setting, any velocity value will be changed into a fixed one you specify with the Fixed (Keyboard Fixed Velocity) parameter below. Volume Keyboard Playing Strength ■ Fixed (Keyboard Fixed Velocity) The velocity is fixed at the Vel setting. The sound output is always the same, regardless of how hard or gently you play the keyboard. The Vel parameter is only available if you select the “fixed” Velocity Curve. ❏ Settings: 1 ~ 127 (Only available if Vel is set to “fixed” ) 164 last: The Voice/Performance Program selected before you switched the power off is recalled. However, if you were in Phrase Clip Play Mode before you switched the power off, the previously selected Voice in Voice Mode will be selected automatically. ■ Ctrl (Controller) Select whether or not the controller (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Ribbon Controller (CS6x), Knobs) state/position is maintained (hold) or reset when you switch between Voices. ❏ Settings: hold, reset If you select “reset,” the controllers will be reset to the following states/positions: Pitch Bend ....................Center Modulation Wheel ........Minimum Aftertouch ....................Minimum Foot Controller ..............Maximum Breath Controller ..........Maximum Ribbon Controller ........Center Foot Switch....................Off Expression ....................Maximum ■ BCCurve (TG Breath Curve) Set the Breath Curve determining how the strength with which you blow into the Breath Controller will affect the sound output. ■ CC# (Control Number) Assign MIDI Control Change Numbers to Assignable Knobs [A] to [C]. ❏ Settings: 000 ~ 095 (see the separate Data List for details) ❏ Settings: thru, soft, hard, wide ■ Dest (Control Destination) Set the function to be controlled by Assignable Knobs [A] to [C]. Adjusted Breath Control ❏ Settings: see the separate Data List for details thru The positions of Knobs [A]/[B]/[C] can be memorized for each Voice, Performance and Phrase Clip. Received Breath Control If a Master Equalizer parameter is selected as the destination, the M.EQ settings of “vce” (in Utility Mode) are increased/decreased Using Knobs [A]/[B]/[C]. Adjusted Breath Control soft CTRL Scene (Controller Scene) (CS6x) Set the SCENE [CONTROL] knob parameters. Received Breath Control CTRL Scene) Sys Adjusted Breath Control Scene Control 65[Porta Sw] hard Received Breath Control ❏ Settings: 000 ~ 095 (see the separate Data List for details) Adjusted Breath Control CTRL Other (Controller Other) wide Set the Foot Switch and Foot Volume parameters. Received Breath Control CTRL Other) Sys FS 65[Porta Sw] FV volume CTRL (System Controller) In Voice Mode, you can set parameters for Controllers. The following five screens are available. ■ FS (Foot Switch) Assign a Control Change message to the Foot Switch. CTRL KnobA (Control Knob [A]) CTRL KnobB (Control Knob [B]) CTRL KnobC (Control Knob [C]) CTRL Scene (Control Scene) CTRL Other (Control Other) ❏ Settings: 000 ~ 100 (000/032 = off, 096 = Arp Sw, 097 = Arpeggio Hold, 098 = Sequence PLAY/STOP, 099/100 = Program Change INC/DEC) The available settings for the CS6R are 000 to 095. Details about Control Numbers and Control Changes are given in the separate Data List. CTRL Knobs [A] to [C] ■ FV (Foot Volume) (CS6x only) Select whether Foot Volume controls the Main Volume or Expression parameter. You can assign various control functions to Assignable Knobs [A] to [C] on the front panel. CTRL KnobA) Sys CC# 67[--------] ❏ Settings: volume (Main Volume), expression Dest EQLow-G Details about the Main Volume and Expression parameters are given in the separate Data List. 165 Utility Mode ■ Scene Control (Scene Control Number) Assign a MIDI Control Change Number to the SCENE [CONTROL] knob. ■ Switch Select the Control Change Number used to control the ARPEGGIO [ON/OFF] key. MIDI (System MIDI) You can set overall MIDI parameters for the system. The following five screens are available. ❏ Settings: 000 ~ 095 (000, 032 = off) MIDI Ch (MIDI Channel) MIDI Arp (MIDI Arpeggio) MIDI RxSW (MIDI Receive Switch) MIDI Other MIDI GM/XG Receive ■ Hold Select the Control Change Number used to control the ARPEGGIO [HOLD] key. MIDI Ch (MIDI Channel) ■ Out (Vce) Enable/disable the output or Arpeggiator data to external MIDI devices through the MIDI Out. ❏ Settings: 000 ~ 095 (000/032 = off) Set the MIDI Channel parameters. ❏ Settings: off (disabled), on (enabled) MIDI Ch) Sys Recv omni Trans 1 Local on ■ Ch (Vce) (Arpeggio Transmit Channel) Select the MIDI channel through which Arpeggio data will be sent. DevNo all ❏ Settings: 1 ~ 16 ■ Recv (Basic Receive Channel) Set the MIDI Receive channel for using the synthesizer with an external sequencer, computer and so on, and for using it as a MIDI tone generator. MIDI Sw (MIDI Receive Switch) Set the MIDI Receive parameters. ❏ Settings: 1 ~ 16, omni (all channels), off MIDI Sw)RcvBulk BankSel PgmChng Control Sys on perform off mode1 ■ Trans (Keyboard Transmit Channel) Set the MIDI Transmit channel for transmitting MIDI from the keyboard, controllers and so on. ■ RcvBulk (Receive Bulk) Select whether or not Bulk Dump data can be received. ❏ Settings: protect (off), on ❏ Settings: Ch1 ~ Ch16, off Utility Mode ■ BankSel (Bank Select) Set to enable or disable transmission and reception of Bank Select messages between the instrument and an external MIDI device. With any setting other than “off,” the instrument can receive a Bank Select massage coming in, and it can also send a Bank Select massage out to an external MIDI device when you select a Bank using a MEMORY key or the like on its front panel. ■ Local (Local On/Off) If you set Local to “off,” the keyboard and controllers are internally disconnected from the synthesizer’s tone generator section so that no sound is output when you play the keyboard or use the controllers. However, the data will be transmitted through the MIDI OUT. Also, the tone generator section will respond to messages received at the MIDI IN. ❏ Settings: off on, ❏ Settings: off, all, part, perform off: Ignores (does not receive) a Bank Select message. The instrument does not send this message, either. ■ DevNo (Device Number) Set the MIDI Device Number. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. all: Receives all Bank Select messages coming in. When the instrument receives only a Program Change message in Performance Mode, that message selects a Part’s Voice. ❏ Settings: 1 ~ 16, all, off part: Receives only Bank Select messages for selecting a Voice Bank, whichever mode you are working in. MIDI Arp (MIDI Arpeggio) perform: Receives only Bank Select messages for selecting a Performance Bank when you are working in Performance Mode. When you are working in Voice Mode, the instrument only receives Bank Select messages for selecting a Voice Bank. Set the arpeggiator’s MIDI parameters. MIDI Arp) Sys[ Switch ] 67 Hold Out(Vce)Ch(Vce) 68 off 16 166 ■ PgmChng (Program Change) Set to enable or disable reception of a Program Change message coming in. With this parameter set to “on,” the instrument can receive a Program Change massage coming in, and it can also send a Program Change out to an external MIDI device when you select a Voice or Performance (using a [PROGRAM/PART] key, etc.) on its front panel. MIDI GM/XG Receive (if a Multi-Part Plug-in Board has been installed) Set GM On and XG Reset Receive parameters. This screen is only available if a Multi-Part XG Plug-in Board has been installed. MIDI GM/XG Receive) Sys Sw on InternalPart layer-part ❏ Settings: off (disable), on (enable) ■ Sw (Receive Switch) Select whether or not to receive GM On and XG Reset messages. The XG Plug-in Board will receive GM On and XG Reset messages if you set this to “on.” ■ Control Set the MIDI transmit/receive parameters for the CS6x’s 14 Sound Control knobs. ❏ Settings: mode1, mode2 mode1: If the knob’s Control Change message is not a standard MIDI message, it is transmitted as a Parameter Change message instead. ❏ Settings: off, on ■ InternalPart The sound for each of the synthesizer’s Parts can be output in the following three ways. when a GM On/XG Reset message is received. Whichever setting you choose, the Parts of the XG Plug-in Board will always be output. mode2: The [SUSTAIN] knob transmits a Control Change message. MIDI Other ❏ Settings: all part: All Parts of the synthesizer and the Plug-in Board will be output when MIDI messages are received. Set other MIDI parameters. Sync SeqCtrl int on layer part: Parts which have their Layer Switch parameters set to “on” and all XG Plug-in Board Parts will be output when MIDI messages are received. ■ In (MIDI Input) Select whether to use the MIDI In/Out/Thru connectors or other (future) connectors. At present, you can only select “MIDI.” all off: No Parts of the synthesizer will be output but all XG Plugin Board Parts will be output when MIDI messages are received. ❏ Settings: MIDI By default the Sw parameter is set to “on” and the InternalPart parameter is set to “all off.” If you play a song file containing a GM On message, the XG Plug-in Board will be used to play back the song. ■ ThruPort You can connect your synthesizer to a computer via a dedicated serial cable on the TO HOST connector. In which case, MIDI messages received via the TO HOST connector can be passed through the MIDI OUT connector of the synthesizer. Set the port number here. M.EQ (Voice Master Equalizer) You can assign any of five different Equalizer bands in Voice Mode. The following five screens are available. ❏ Settings: 1 ~ 8 ■ Sync To synchronize playback with an external MIDI device, you can use either the synthesizer’s internal clock (int) or MIDI clock signals from the external device (midi). Select “int” if you are using the synthesizer as the master, or if you have no other MIDI devices connected to it. Select “MIDI” when slaving your synthesizer to another MIDI Clock source connected to the MIDI IN connector. M.EQ Low M.EQ LowMid (Low-Middle) M.EQ Mid (Middle) M.EQ HighMid (High-Middle) M.EQ High Q (Frequency Characteristic) Gain ❏ Settings: MIDI, int (internal) 0 ■ SeqCtrl (Sequencer Control) Select whether or not to transmit/receive Song Start, Stop and Continue messages via MIDI. This also switches the transmission of MIDI Clock messages on and off. Freq (Frequency) ❏ Settings: off, on 167 Utility Mode MIDI Other) In ThruPort Sys MIDI 1 M.EQ Low (Master EQ Low) ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. This Equalizer covers low frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). M.EQ Low) Shape Vce peak Gain +12dB Freq 50Hz ❏ Settings: -12dB ~ 0dB ~ +12dB ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. Q 12.0 ❏ Settings: 100Hz ~ 10kHz ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ■ Shape Select either a Shelving or Peaking equalizer. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. ❏ Settings: 0.1 ~ 12.0 M.EQ High (Master EQ High) ❏ Settings: shelv (Shelving), peak (Peaking) This Equalizer covers high frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). Details about the shapes of the Shelving and Peaking Types are given on Page 126. ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. M.EQ High)Shape Vce peak ❏ Settings: -12dB ~ 0dB ~ +12dB Gain +12dB Freq 0.5kHz Q 12.0 ■ Shape Select either a Shelving or Peaking equalizer. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings: 32Hz ~ 2.0kHz ❏ Settings: shelv (Shelving), peak (Peaking) Utility Mode ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: 0.1 ~ 12.0 ❏ Settings: -12dB ~ 0dB ~ +12dB M.EQ LowMid (Master EQ Low-Middle Range) ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. M.EQ Mid (Master EQ Middle Range) ❏ Settings: 500Hz ~ 16kHz M.EQ HighMid (Master EQ High-Middle Range) ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. These Equalizers cover low-to-middle, middle and highto-middle frequency ranges. They can be used to adjust the signal level around the specified frequency. M.EQ LowMid) Vce Gain +12dB Freq 100Hz ❏ Settings: 0.1 ~ 12.0 CTRL (Voice Controller) Q 12.0 M.EQ Mid) Vce Gain +12dB Freq 100Hz Q 12.0 M.EQ HighMid) Vce Gain +12dB Freq 100Hz Q 12.0 You can assign MIDI Control Change Numbers to the controllers and front panel knobs. For example, Knob [1]/[2] can be set to control the amount of effect applied to a sound and the Foot Controller can be set to control modulation. These Control Change Number assignments are known as “Controller Assign.” The following two screens are available. CTRL Assign1 (Controller Assign 1) CTRL Assign2 (Controller Assign 2) 168 ■ RB (Ribbon Controller) Assign a Control Change Number to the Ribbon Controller on the front panel. The Ribbon Controller’s behavior depends on the Mode parameter setting. Details about Controller Assign settings in Performance mode are given on Page 126. CTRL Assign1 (Controller Assign 1) Use Knobs [C], [1] and [2] to assign Control Change Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected Control Change Name is shown on the left of the display. CTRL Assign1) Vce [FootCtrl] BC 02 Control Change Name Knob1 16 ❏ Settings: 00 ~ 95 (see the separate Data List for details) Details about the Ribbon Controller are given on Page 48. ■ Mode (CS6x only) Set the behavior of the Ribbon Controller. If you select “hold,” the parameter controlled by the Ribbon Controller will hold its value even after you release it. If you select “reset,” the value returns to its default setting at the center of the Ribbon Controller strip. Knob2 17 Control Change Number ❏ Settings: hold, reset ■ BC (Breath Controller) Assign Control Change Number to the Breath Controller. The Breath Controller is connected to the BREATH connector (Page 18) on the rear panel. When the Breath Controller is used, this Control Change Number is transmitted. Also, if this Control Change Number is received, the destination parameter of the Breath Controller is controlled. PLG (Plug-in) (if a Plug-in Board has been installed) If you have a Plug-in Board installed, the following three screens are available for setting its parameters. However, the number of sub-screens and parameters will vary depending on the type of Plug-in Board installed. PLG Status (Plug-in Status) PLG1/2 MIDI (Plug-in 1/2 MIDI) PLG1/2 System (Plug-in 1/2 System) ❏ Settings: 00 ~ 95 (see the separate Data List for details) ■ Knob1/2 (Knob [1]/[2]) Assign Control Change Numbers to Knobs [1] and [2] on the front panel. PLG Status (Plug-in Status) ❏ Settings: 00 ~ 95 (see the separate Data List for details) PLG Status) Plugin CTRL Assign2 (Controller Assign 2) PLG1:PLG100-VH PLG2:PLG150-AN Expand ---- ■ PLG1 (Plug-in 1) The name of the Plug-in Board in the Plug-in 1 slot is displayed. Use Knobs [C] and [1] to assign Control Change Numbers to the Foot Controller and Ribbon Controller, respectively. The selected function is shown on the left of the display. Use Knob [2] to select the Ribbon Controller Mode. ■ PLG2 (Plug-in 2) The name of the Plug-in Board in the Plug-in 2 slot is displayed. Nothing is displayed for vacant Plug-in slots. CTRL Assign2) Vce [--------] Control Change Name FC 04 RB----Mode 22 reset Control Change Number ■ Expand This parameter is accessible only when you have two identical Plug-in boards installed on the instrument. The “part” setting enables two boards to work separately (you can select them in two different Parts). The “poly” setting enables two boards to work together to double polyphonic notes (you can only use them in a single Part with double polyphony). Mode ■ FC (Foot Controller) Assign a Control Change Number to the Foot Controller. The Foot Controller is connected to the FOOT CONTROLLER connector on the rear panel (Page 18). ❏ Settings: part, poly ❏ Settings: 00 ~ 95 (see the separate Data List for details) PLG1 MIDI (Plug-in 1 MIDI) PLG2 MIDI (Plug-in 2 MIDI) Set the MIDI parameters of the Plug-in Board. PLG2 MIDI) PLG150-AN 169 Clock on DevNo all Utility Mode The name of the Plug-in Board is displayed. ■ Clock Select whether or not to transmit MIDI Clock messages to the Plug-in Board. Now, the tempo of the Plug-in Board is synchronized with the MIDI clock signal received from the CS6x/CS6R. To synchronize with an external MIDI clock source, enter Utility Mode and set the Sync parameter of the MIDI Other screen to “MIDI.” ❏ Settings: off, on ■ DevNo (Device Number) Set the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. Utility Job Mode In Utility Job Mode, you can restore your synthesizer’s factory default settings (Factory Set). There is only one screen in this Mode. ❏ Settings: 1 ~ 16, all, off Factory Set (Restore Factory Defaults) PLG1/2 System (Plug-in 1/2 System) Set the system parameters for each Plug-in Board. Use Knob [C]/[2] to change the parameter. The number of screens and parameters will vary depending on the type of Plug-in Board installed. In the following example, a PLG150-AN Plug-in Board has been installed in the Plug-in 2 slot. PLG2 System) Vel Curve PLG150-AN norm You can restore the synthesizer’s default Internal Voices and Performances, as well as its System and other settings. Once you edit any settings, their factory defaults will be overwritten and lost. Mrph CtrlNo off You can restore the factory default settings as follows. When you restore the factory default settings, all the current settings for the all the Internal Voices and Performances will be overwritten with the factory defaults. Make sure you are not overwriting any important data. You should back up any important data to Memory Card, or to some external device beforehand. The system settings for the PLG100-VH Plug Board (Harmony Channel and Melody Channel) are set in Performance Mode. Select an effect type using knob [1] in the EFF plg screen of Common Effect. Then press the [ENTER] key to enter the settings screen. Utility Mode 1Press the [JOB] key in Utility Mode. You will see the Factory Set screen. Part Assign (assignment) for a Single-Part Plug-in Board is fixed as follows: • Voice Mode: 1 • Performance Mode: PLG1:16 PLG2:15 MODE Synchronize the tempo settings of the CS6x/CS6R and the Plug-in Board. If you are using a Plug-in Board capable of generating arpeggio patterns, you can synchronize its tempo with that of the CS6x/CS6R. VOICE PERFORM UTILITY CARD EDIT JOB COMPARE STORE 1 Enter Utility Mode and select either PLG1 MIDI screen or the PLG2 MIDI screen for the respective Plug-in Board. Then use the appropriate knob to set the Clock parameter to “on.” 2 Enter Voice Mode, select the Plug-in Voice of the respective Plug-in Memory, then enter Voice Edit Mode. UTIL Factory Set) Job 3 Use knob [A] to select “Elem,” as shown at the bottom left of the screen. 2When you press the [ENTER] key, you will see a confirmation message. 4 Use the [PAGE] knob to select the name of the Plug-in Board, as shown at the bottom left of the screen. Then enter the Plug-in native part parameter screen. 3Press the [INC/YES] key to execute the Factory Set job. You will see the “Completed.” message displayed after the job has completed. You can cancel a job while it is being executed by pressing the [DEC/NO] key. 5 Use the [PAGE] knob to select the Plug-in native part parameter for the tempo. Then use the appropriate knob to select MIDI (midi). 4Press the [EXIT] key to return to Utility Mode. 170 Card Mode In Card Mode, you can use Memory Card, a SmartMedia™ card available at a consumer electronics shop, etc., to save or load data from/to the instrument or perform other data exchange operations between memories on the instrument and the Card. Using the included Card Filer software, you can use a computer to manage data on Memory Card. You can also use it to exchange data between the computer and Memory Card. ■ About the Memory Cards • To handle Memory Cards with care: There are times when static electricity affects Memory Cards. Before you handle Memory Cards, to reduce the possibility of static electricity, touch the metal parts such as a door knob and aluminum sash. Be sure to remove the Memory Card from the Memory Card slot when it is not in use for a long time. Do not expose the Memory Card to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids. Do not place heavy objects on a Memory Card or bend or apply pressure to the Memory Card in any way. Do not touch the metal part (gold) of the Memory Card or put any metallic plate onto the metal part. Do not expose the Memory Card to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the Memory Card, rendering it unreadable. Do not attach anything other than the provided labels to a Memory Card. Also make sure that labels are attached in the proper location. Handling the Memory Card(SmartMedia™*) Be sure to handle Memory Cards with care. Follow the important precautions below. * SmartMedia is a trademark of Toshiba Corporation. ■ Compatible Memory Card Type 3.3V(3V) Memory Cards can be used. 5V type Memory Cards are not compatible with this instrument. A blank 4MB Memory Card has been included in your instrument. ■ Memory Capacity There are five types of Memory Cards: 2MB/4MB/8MB/16MB/32MB. A Memory Card with the memory capacity exceeding 32MB can also be used if it conforms to the standards of SSFDC (Solid State Memory Card Card: another name of SmartMedia) Forum. • To protect your data (Write-protect): ■ Inserting/Removing Memory Cards • To insert a Memory Card: To prevent inadvertent erasure of important data, stick the write-protect seal (provided in the Memory Card package) onto the designated area (within a circle) of the Memory Card. Conversely speaking, to save data on the Memory Card, make sure to remove the write-protect seal from the Card. Do not reuse the seal that is peeled off. Hold the Memory Card so that the connector section (gold) of the Memory Card is facing downward and forward, towards the Memory Card slot. Carefully insert the Memory Card into the slot, slowly pushing it all the way in until it is fitted in place. ■ Data Backup - Don’t insert the Memory Card in wrong direction. For maximum data security Yamaha recommends that you keep two copies of important data on separate Memory Cards. This gives you a backup if one Memory Card is lost or damaged. - Don’t insert anything other than a Memory Card in the slot. • To remove a Memory Card: This instrument is equipped with a burglarproof lock for the Memory Card. If necessity arises, mount the burglarproof lock onto the instrument. Always the instrument must be turned off before removing the Memory Card. To mount the burglarproof lock: However, if the Memory Card's memory is full and you want to exchange it with a new one to save your currently edited data, follow the following procedure: Before removing the Memory Card, be sure to confirm that the Memory Card is not in use, or it is not being accessed by the instrument. Then pull the Memory Card out slowly by hand. If the Memory Card is being accessed*, a message indicating that it is in use appears on the instrument's display. * 1 Remove the metallic part using a Phillips screwdriver. 2 Turn the metallic part upside down and then mount it again. The device is not attached to the CS6R initially. Fit it as illustrated below. It includes saving, loading, formatting, deleting and making directory. Also, be aware that the instrument will automatically access the Memory Card to check the media type when it is inserted while the instrument is turned on. Never attempt to remove the Memory Card or turn the power off during accessing. Doing so can damage the data on the instrument/Memory Card and possibly the Memory Card itself. ■ Formatting Memory Cards Before using a Memory Card with your instrument it must first be formatted. Once it is formatted all data on it will be erased. Be sure to check if the data is unnecessary for you or not, beforehand. The Memory Cards formatted with this instrument may become unusable with other instruments. 171 Card Mode ■ Burglarproof Lock Make sure to turn the instrument off and pull the Memory Card out of the slot. ■ SMF (Standard MIDI Files) Format 0 Standard MIDI Files (SMFs) can be played back in Song Mode. However, they cannot be saved. You will see the 1st screen (Status) when you enter Card Mode. The following seven screens are available, each for a different operation. ❏ Extension: “.MID” 1st screen: Status 2nd screen: Save 3rd screen: Load 4th screen: Rename 5th screen: Delete 6th screen: MkDir (Make Directory) 7th screen: Format The SMF is a standardized sequence file format used by musical instrument manufacturers, computer software companies and other parties. An SMF can easily be exchanged between SMF-compatible sequencers, regardless of the manufacturer. The following two types of SMF exist, though this synthesizer will only play back Format 0 SMFs. Details about how to enter Card Mode are given on Page 22. • Format 0: Data for multiple MIDI channels is contained within a single track. File Types • Format 1: Data for multiple MIDI channels is contained within multiple tracks. If the SMF you wish to play back is in Format 1, use the included Card Filer software to convert to Format 0 via computer. Details of how to convert SMFs are given in the Card Filer documentation (in PDF format). Details about installing the Card Filer software are given in the separate Installation Guide. You can handle the following eight types of files to your synthesizer. ■ all (All Data) All data in the synthesizer and in External Memory data are treated as a single file, and can be saved/loaded as such. ❏ Extension: “.S2A” ■ WAV (WAV Files) WAV is an audio file format commonly used by computers. WAV files can be loaded into the synthesizer and used as Phrase Clips. Plug-in Board data cannot be saved. System, Performance and Plug-in voice data can only be saved in this format. ❏ Extension: “.WAV” ■ all-voice (All Voice Data) All Voice data in the synthesizer (128 Normal Voices + 2 Drum Voices) and in External Memory (128 Normal Voices + 2 Drum Voices) are treated as a single file, and can be saved/loaded as such. Phrase Clip and Plug-in Voice data are not included. ■ AIFF (AIFF Files) AIFF is an audio file format commonly used by computers. AIFF files can be loaded into the synthesizer and used as Phrase Clips. ❏ Extension: “.AIF” ❏ Extension: “.S2V” Card Mode ■ all-pclip (All Phrase Clip Data) All Phrase Clip data (4 Clip Kits + up to 256 Phrase Clips) are treated as a single file, and can be saved/loaded as such. Automatically Loading Files The synthesizer can automatically load certain files (All/Plug-in data) when you switch it on. Name the file to be loaded automatically as follows, then save it to the highest directory of the Memory Card. Insert the card into the CARD slot before switching the synthesizer on. ❏ Extension: “.S2W” ■ plugin All Plug-in Board data is treated as a single file, and can be saved/loaded as such. Data for Plug-in Voice settings are not included. To prevent the automatic loading of files, hold down the [EXIT] key when powering up the synthesizer. Release the key when the “Now checking plug-in board.” message is displayed. ❏ Extension: “.S2B” ■ chain (Sequence Chain) Chain data for Standard MIDI Files (SMFs) are treated as a single file, and can be saved/loaded as such. This data is used for playing back multiple songs in succession. ■ All (all data): Name the file “AUTOLOAD.S2A” to automatically load all data. ■ ❏ Extension: “.S2C” Plugin (Plug-in data): Name the file “AUTOLD1.S2B” to automatically load Plug-in 1 Board data, or “AUTOLD2.S2B” for Plug-in 2 Board data. 172 Card Mode Operations Status 1Insert the Memory Card into the CARD slot. You can view the amount of free and used on the Memory Card. There are no settings. 2Press the [CARD] key to enter Card Mode. 3Use the [PAGE] knob to switch to the screen for the operation you wish to perform. SHIFT PAGE A Type all B File A-? Cursor ***[NEWFILE .S2A] C 1 2 DATA ■ Free Shows the amount of free memory on the Memory Card. In the first “Status” screen, you don’t need any further operation described in step 2 and after. 4Use Knobs [B], [C], [1] and [2] to set each parameter. Alternatively, you can use the [DATA] knob and the [DEC/NO] and [INC/YES] keys. Save You can save files to Memory Card as follows. To save, load, rename or delete a file, use Knob [B] to select the File Type and Knob [C] to select the File Number. Save) Card Type all Data to be saved (File Type) File Directories Directories are denoted by “DIR” next to the directory name. To open a directory, use Knob [C] to move the cursor to it and press the [ENTER] key. All the files in the directory are displayed. If you select File Number 000, “up dir” will be displayed. By pressing the [ENTER] key, you will be returned to the parent directory (i.e., moved up one directory level). File:/VOICEDIR/SUBDIR-1/ 001[NEWFILE .S2A] File number of file to be saved New file name ■ Type (File Type) ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin1, plugin2, all-pclip (All Phrase Clip), Details about each File Type are given on Page 172. The Memory Card must be formatted before you can save data to it (Page 176). When saving or renameing, the directory for the currently selected file is displayed if you press the [SHIFT] key. 1Use Knob [B] to select the File Type to which the data will be saved. 5When you press the [ENTER] key, you will see a confirmation message. 2To overwrite an existing file, use Knob [C] to select the File Number. To save a file with a new name, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob or [DEC/NO] and [INC/YES] keys to enter the new file name (see next Page). Type File:/VOICEDIR/SUBDIR-1/ Are you sure? [YES]/[NO] >> If you press the [SHIFT] key, the directory for the currently selected file is displayed. Further details are given in the section “Card Mode Operations”. 6Press the [INC/YES] key to execute the operation. The message “Completed.” will be displayed after it has executed, and you will be returned to the previous screen. 3Press the [ENTER] key to execute a saving operation. If you attempt to overwrite an existing file by pressing the [ENTER] key, you will see a confirmation message. In this case, go to next step. The operation will be canceled if you press the [DEC/NO] key during execution. If the operation takes some time to execute, you will see the message “Executing...” If you switch the power off in this state, the data may be damaged. The steps in the procedure may vary slightly, depending on the operation being performed. Refer to the explanation of each operation for details. Free 1.1MB ■ Used Shows the amount of Memory Card memory used. The amount is shown as a percentage in parentheses. PART/ELEMENT Load) << Used 2.9MB(70%) 173 Card Mode Save) Card Status) Card 4Press the [INC/YES] key to save the file. The message “Completed.” will be displayed after it has been saved, and you will be returned to the previous screen. The save operation will be canceled if you press the [DEC/NO] key during execution. 1Use Knob [B] to select the File Type of the data to be loaded. 2Use Knob [C] to select the File Number. 3When you press the [ENTER] key, the following will be displayed, depending on the selected File Type. When saving a file, the “Card full” message will be displayed if the space left on the Memory Card is insufficient. Free up space by deleting unwanted data and so on, then try saving the file again. • If you have selected a File Type other than “perf”, “voice” or “pclip”: A confirmation message is displayed before loading. If you enter the name of a file that already exists, you will see the “Overwrite? Are you sure?” confirmation message before saving. Load) << Take care not to overwrite important data held on Memory Card. The synthesizer will automatically select an appropriate location in its internal memory, according to the file type being loaded. File Name Settings The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters, and the name can only be up to eight characters in length. Details about renaming Voices are given on Page 80. • If you have selected “perf”, “voice” or “pclip” as the File Type: You will further have to specify the type of data and the location to which the file will be loaded. Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving. Use Knobs [B], [C], [1] and [2] to select the file and the location to which it will be loaded. Alternatively, you can use the [DATA] knob and the [DEC/NO] and [INC/YES] keys. When you press the [ENTER] key, you will see a confirmation message. Load The types of data that you can select for each File Type, and the locations to which they will be loaded, are as follows. You can load files from Memory Card to the synthesizer is as follows. Card Mode perf (Performance) Load) Type File:/VOICEDIR/SUBDIR-1/ Card all-voice 001[NEWFILE .S2V] Data to be loaded (File Type) Type File:/VOICEDIR/SUBDIR-1/ Are you sure? [YES]/[NO] >> Load) Card File Number of file to be loaded [Pf:Init Perf ] [Pf:Init Perf ] EXT:064(D16) > INT:128(H16) Performance Memory of file to be loaded (source) Performance Number of file to be loaded (source) ■ Type (File Type) Performance Number to which file will be loaded (target) ❏ Settings: all (all data), perf (Performance), all-voice, voice, chain (Sequence Chain), plugin1, plugin2, allpclip (all Phrase Clips), pclip (single Phrase Clip), WAV (WAV files), AIFF (AIFF files). ❏ Settings: Source Performance Memory: INT (Internal), EXT (External) Source Performance Number: all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT) Target Performance Memory: INT (Internal), EXT (External) Target Performance Number: all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT) The supported WAV/AIFF file formats are as follows. Format 8bit, linear, mono 16bit, linear, mono 12bit, linear, mono 8bit, linear, stereo 16bit, linear, stereo 12bit, linear, stereo Performance Memory to which file will be loaded (target) Comments Converted to 16-bit 2Phrase Clip created 2Phrase Clip created Converted to 16-bit, 2Phrase Clips created If you set the source Performance Number to “all,” the target Performance Number will also be set to “all.” 174 voice [Pf:Init Voice] [Pf:Init Voice] EXT:064(D16) > INT:128(H16) Voice Memory of Voice Memory to file to be loaded (source) which file will be loaded (target) Voice Number of file to be loaded (source) Voice Number to which file will be loaded (target) The synthesizer can automatically load files when you switch it on. (You will need to insert the card into the CARD slot before switching the synthesizer on.) Details are given in the section “Automatically Loading Files” (Page 172). ❏ Settings: Source Voice Memory: INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2 (Plug-in 2) Source Voice Number: all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64 (PLG1/PLG2) Target Voice Memory: INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2 (Plug-in 2) Target Voice Number: all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64 (PLG1/PLG2) If there is already data in the synthesizer, it will be completely lost when you load a file. Take care not to erase important data when performing operations. When loading a file, the “Memory full!” message will be displayed if the space left in your synthesizer’s internal memory is insufficient. Free up space by deleting unwanted data and so on, then try loading the file again. When loading a file, the “File not found!” message will be displayed if the File Type you have selected does not exist on the Memory Card. If you select PLG1/PLG2 as the source (or target) Voice Memory, the target (or source) Voice Memory will also be set to PLG1/PLG2. If you set the source Voice Number to “all,” the target Voice Number will also be set to “all.” Rename You can rename files using up to eight alphabetic and numeric characters. pclip (Phrase Clip) Load) Card [Wv:Init Clip ] [Wv:Init Clip ] KIT:001(A01) > KIT:001(A01) Clip Memory of file to be loaded (source) Rename) Type Card all Clip Memory to which file will be loaded (target) File Type Clip Kit Number/Clip Number of file to be loaded (source) File: A-? Cursor 001[NEWFILE .S2A] File Number File Name ■ Type (File Type) Clip Kit Number/Clip Number to which file will be loaded (target) ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin, other, all-pclip (All phrase Clip) ❏ Settings: Source Clip Memory: KIT (Clip Kit), CLIP (single Phrase Clip) Source Clip Kit Number/Clip Number: 1 ~ 4 (KIT)/all (all Clip Kits), 1 ~ 256 (single Phrase Clip)/all (all Clip Kits) Target Clip Memory: KIT (Clip Kit), CLIP (single Phrase Clip) Target Clip Kit Number/Clip Number: 1 ~ 4 (KIT)/all (all Clip Kits), 1 ~ 256 (single Phrase Clip) Details about File Types are given on Page 172. 1Use Knob [B] to select the File Type and Knob [C] to select the File Number. If you press the [SHIFT] key, the directory for the currently selected file is displayed. Further details are given in the section “Card Mode Operations” (Page 173). 2To rename the file, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob and [DEC/NO] and [INC/YES] keys to enter the new file name. The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters, and the name can only be up to eight characters in length. Details about renaming Voices are given on Page 80. The source and target Clip Memories settings will always be the same. If you set the source Clip Number to “all,” the target Clip Number will also be set to “all.” If you set it to anything else, the target Clip Number will automatically be assigned the next free number. 3Press the [ENTER] key to rename the file. The message “Completed.” will be displayed after it has been renamed, and you will be returned to the previous screen. When you select any other than “all” for the source Clip Number, you have the destination Clip Number automatically assigned to an empty Number (where there is nothing stored). Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving. 175 Card Mode Load) Card 4Press the [INC/YES] key to load the file. The message “Completed.” will be displayed after it has been loaded, and you will be returned to the previous screen. The load operation will be canceled if you press the [DEC/NO] key during execution. 3Press the [ENTER] key to create the directory. The message “Completed” will be displayed after it has been created, and you will be returned to the previous screen. Delete You can delete files saved on Memory Card. Delete) Type Card all File Type File:/VOICEDIR/SUBDIR-1/ 001[NEWFILE .S2A] File Number Directories are denoted by “Dir” next to the directory name. To open a subdirectory, use Knob [C] to move the cursor to it and press the [ENTER] key. All the files in the subdirectory are displayed. If you select File Number 000, “up dir” will be displayed. By pressing the [ENTER] key, you will be returned to the parent directory (i.e., moved up one directory level). File Name ■ Type (File Type) ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin, other, all-pclip (All phrase clip) Details about File Types are given on Page 172. 1Use Knob [B] to select the File Type and Knob [C] to select the File Number. Format Before you can use a new Memory Card with the synthesizer, you will need to format it. 2When you press the [ENTER] key, you will see a confirmation message. Format) Card 3Press the [INC/YES] key to delete the file. The message “Completed.” will be displayed after it has been deleted, and you will be returned to the previous screen. The delete operation will be canceled if you press the [DEC/NO] key during execution. Press [ENTER] Insert a new Memory Card into the CARD slot. When you press the [ENTER] key, you will see a confirmation message. Press the [INC/YES] key to start formatting the Card. You will see the “Executing...” message while the Card is being formatted. MkDir (Make Directory) You can create new directories and subdirectories (new directories within existing ones). This allows you to store files in separate directories according to File Type. If there is already data on the Memory Card, it will be completely lost when you format it. Do not remove the Memory Card while it is being formatted, since this could result in damage to the synthesizer and the card. MkDir) /VOICEDIR/SUBDIR-1/ A-? Cursor Card Dir:***[NEWDIR-3] Directory Name After formatting, an EXT Memory file will automatically be created. During this process, the message “Now saving...” will be displayed. The directory hierarchy can have up to 27 levels. Card Mode You cannot create a directory with the same name as one that already exists. The hierarchy display (directory path) will not be shown if the Memory Card has no directory other than the “root” directory. 1Use Knob [C] to select an existing directory and repeat until you have reached the level in the hierarchy at which you wish to create a new directory. 2To create a new directory, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob and [DEC/NO] and [INC/YES] keys to enter the new directory name. The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters. Details about renaming Voices are given on Page 80. Directory names can only be up to 8 characters long. 176 About the Plug-in Boards (Optional) A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The following types of Plug-in boards can be used with your instrument. ● ● ● ● ● ● PLG150-AN PLG150-PF PLG100-XG PLG150-VL PLG150-DX PLG100-VH How to Install the Optional Plug-in Board The installation method is different depending on the instrument types, keyboard (CS6x) and EIA sized module (CS6R). Both methods are explained separately on the following pages. Read the explanation carefully for the instrument that you will use. n See page 32 for detailed explanations for each board. Available slot (PLG1, PLG2) differs depending on the type of the Plug-in boards. Please take it into consideration before installation. PLG1/PLG2 Single-part Plug-in Boards (PLG150-AN, PLG150-PF, PLG150-VL, PLG150-DX) PLG1 only Effect Plug-in Board (PLG100-VH) PLG2 only Multi-part Plug-in Board (PLG100-XG) n Although the PLG100-VL and PLG100-DX can also be installed, some of the functions are not available. Precautions When Installing the Optional Boards Installation in CS6x n For information on how to handle the EIA sized module type, go to page 179. 1 Turn the keyboard power off, and disconnect the power cord. Also, if the keyboard is connected with other external device(s), disconnect the device(s). 2 Turn over the keyboard so you can have direct access to the underside. To protect the Knobs and Wheels, place the keyboard so the four corners are supported by something that provides sufficient support like magazines or cushions. View of the keyboard from the bottom. Remember the following precautions and install the Plug-in boards properly by following the steps as written. • Be careful of static electricity. There are times when static electricity affects the IC chips on the Plug-in board. Before you lift the optional Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the devices that are grounded. • Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact. Place the supports at all four corners, without touching the Knobs and the Wheels. Be careful not to drop or bump the keyboard and make sure that it is well balanced before proceeding. 3 Move to a position facing the rear panel of the keyboard, and remove the screws from the Plug-in board cover at the bottom center side with a coin or phillips screwdriver (eight flat-head screws only). Do not remove the other screws. • When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause damage, or result in a malfunction. • Be careful not to misplace any of the screws since all of them are used. • Do not use any screws other than what are installed on the instrument. • When inserting Plug-in boards and connecting cables, make sure that you check that they are inserted and connected properly. Improperly inserted Plug-in boards and cables may cause faulty contacts and an electrical short circuit which may cause damage or result in a malfunction. • After mounting the Plug-in board be sure to tighten the screws as directed so it is completely stable and does not move in any way. 177 n Keep the removed (8) screws in a safe place. They will be used when attaching the Plug-in board cover to the keyboard again. 4 Remove the Plug-in board cover. Plug-in board plate appears. Two Plug-in boards can be accommodated: PLG1 at the left and PLG2 at the right. Available slot (PLG1, PLG2) differs depending on the type of the Plug-in boards. For details, refer to the table above in the left column. Appendix • Handle the Plug-in boards with care. Dropping or subjecting the Plug-in board to any kind of shock may cause damage or result in a malfunction. 8 Mount the Plug-in board onto the plate as detailed in the following steps. 8-1 Insert one side of the Plug-in board (the connector side) into the hooks 1 as shown in the illustration. When installing the optional Plug-in board (from when you remove the cover to when the cover is replaced securely) all operations must be done with the AC power cord disconnected. Hooks 1 Hook 1 5 Remove the cable from the hook-shaped bundle tie on the plate. Hook 1 8-2 Press down the other side until it is securely settled on the hooks 2. Hooks 2 6 Take out the Plug-in board from the anti-static bag. When installing the board, the side with a connector and ICs must be on top. Hooks 2 7 Carefully plug the cable connector into the Plug-in board connector until the two notches on the cable connector lock into the sockets on the board as shown in the illustration. 9 Fix the connector cable to the hook-shaped bundle tie on the plate. Appendix ) Replace the Plug-in board cover by fastening the eight flat-head screws you removed in the step 3 above. Use a coin or a Phillips screwdriver to secure the cover. 178 Installation in CS6R Removing the Plug-in board from the keyboard n For information on how to handle the CS6x, go to page 177. 1 Remove the cable from the hook-shaped bundle tie. 1 Turn the keyboard power off, and disconnect the power cord. Also, if the keyboard is connected with other external device(s), disconnect the device(s). 2 Press down the hooks 2 in the direction as shown in the illustration and take the board out from the hooks 2 by lifting up the one side. 2 Move to a position facing the front panel of the device, and remove the screws (six flat-head screws) from the Plug-in board cover at the top panel with a coin or a Phillips screwdriver. 3 Pull out the other side of the board from the hooks 1. 4 Pull out the cable connector from the Plug-in board connector. n Keep the removed (6) screws in a safe place. They will be used when attaching the Plug-in board cover to the device again. 3 Remove the Plug-in board cover. Plug-in board plate appears. Two Plug-in boards can be accommodated: PLG1 at the right and PLG2 at the left. Available slot (PLG1, PLG2) differs depending on the type of the Plug-in boards. See 177 for more information. PLG2 5 Fix the connector cable to the hook-shaped bundle tie. PLG1 PLG 2 LG1 P 4 Remove the tape which is used to fasten the cable to the plate. tape PLG 2 1 PLG 179 Appendix When installing the optional Plug-in board (from when you remove the cover to when the cover is replaced securely) all operations must be done with the AC power cord disconnected. 5 Take out the Plug-in board from the anti-static bag. When installing the board, the side with a connector and ICs must be on top. Hooks 2 6 Carefully plug the cable connector into the Plug-in board connector until the two notches on the cable connector lock into the sockets on the board as shown in the illustration. PLG 2 8 Replace the Plug-in board cover by fastening the six flathead screws you removed in the step 2 above. Removing the Plug-in board from the keyboard 1 Press down the hooks 2 in the direction as shown in the illustration and take the board out from the hooks 2 by lifting up the one side. 7 Mount the Plug-in board onto the plate as detailed in the following steps. 7-1 Insert one side of the Plug-in board (the connector side) into the hooks 1 as shown in the illustration. Hooks 2 Hooks 1 2 PLG PLG Hooks 1 2 2 Pull out the other side of the board from the hooks 1. 2 PLG Appendix 7-2 Press down the other side until it is securely settled on the hooks 2. 3 Pull out the cable connector from the Plug-in board connector. 180 Display Messages >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> Meaning Failed to process the MIDI data because too much data was received at once. Error occurred when receiving MIDI data. Error occurred when receiving bulk data. Internal backup battery needs to be replaced. No more available memory on the Memory Card. Can’t find the specified type of file. Memory Card is faulty. Memory Card has not been inserted, or an incompatible card (5V type) has been inserted. Memory Card has not been formatted. Memory Card is write protected. Memory Card has been wrongly formatted. File with the same name already exists. There are no files containing Phrase Clip data. Data in the file is corrupted and cannot be used. The specified file name is not in MS-DOS format. File is a read-only type, and cannot be deleted, renamed or saved. A file could not be created on the Memory Card. No further directories can be created. Directory cannot be entered because it is too deep. File format is not recognized. Bulk data cannot be received because protection is enabled. Bulk data cannot be transmitted/received because the device number is set to "off." Bulk data cannot be transmitted/received because the device numbers don’t match. All remaining memory has been used up. Maximum number of Phrase Clips has been reached and no more can be created. The Clip is too short to execute the “FreqConvert” Job. Sampling Frequency of the Clip is too low to execute the “FreqConvert” Job. Cannot be used because Slot 1 contains a Multi-Part Plug-in Board. Cannot be used because Slot 2 contains a Effect Plug-in Board. Plug-in Board in Slot 1 is not working properly. Plug-in Board in Slot 2 is not working properly. Sound requires a different Plug-in Board to that inserted in Slot 1. Sound requires a different Plug-in Board to that inserted in Slot 2. When used with a PLG100 series Plug-in Board, a data file of which File Type is “plugin” cannot be stored on a Memory Card. Format of the sample file or sample dump data is unsupported. Operation is being executed. Memory Card operation is being executed. File is being loaded from Memory Card. File is being saved to Memory Card. Plug-in Board(s) is/are being checked (after powering up the synthesizer). Phrase Clip is being recorded. Waiting for input signal to reach the trigger level to start recording a Phrase Clip. Recording has automatically stopped because no more free memory was available. The instrument is receiving sample dump data via MIDI In. MIDI Bulk data is being received. MIDI Bulk data is being transmitted. Scene has been stored. (The sound itself is not stored.) Sound has been stored. Operation has completed. Repeat the operation? Create a file? Final confirmation. There is a file already stored with the same name. Replace it with a newer one with that name? 181 Appendix Message << ! MIDI buffer full. << ! MIDI data error. << ! MIDI checksum error. << ! Change internal battery. << ! Card full. << ! File not found. << ! Bad card. << ! Card not ready. << ! Card unformatted. << ! Card write protected. << ! Illegal card. << ! File already exists. << ! Data not exist. << ! Illegal file. << ! Illegal file name. << ! Read only file. << ! Can't make "EXT" file. << ! Can't make directory. << ! Too deep directory. << ! Unknown file format. << ! Bulk protected. << ! Device number is off. << ! Device number mismatch. << ! Memory full. << ! Too many clips. << ! Too short clip. << ! Too low Fs clip. << ! Multi plugin in slot 1. << ! Effect plugin in slot 2. << ! Plugin1 communication error. << ! Plugin2 communication error. << ! Plugin1 type mismatch. << ! Plugin2 type mismatch. << ! PLG100 not supported. << ! Illegal data. << Executing... << Now working... << Now loading... << Now saving... << Now checking plug-in board. << Now recording... << Waiting for trigger... << Recording stopped.(No free mem.) << Sample dump receiving... << MIDI bulk receiving... << MIDI bulk transmitting... << Scene stored. << C 3:128[ ] Stored. << Completed. << Retry? [YES]/[NO] << Make file ? [YES]/[NO] << Are you sure ? [YES]/[NO] << Overwrite? [YES]/[NO] Troubleshooting The following table provides troubleshooting hints and page references for some common problems. Most problems may be simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem. No sound. • • • • • • • • • • • • • • • • • • • • • • Is the volume set appropriately? (Pages 6 and 20) With the CS6x, if a Foot Controller has been connected to the FOOT VOLUME jack, has it been fully depressed? (Page 18) Is the Vol (volume) parameter of the QED Level screen of Voice Edit Common sufficiently high? (Page 81) Has the WaveNumber parameter of the OSC Wave screen of Voice Edit Element been set to 000 (off)? (Page 89) Is the Level parameter of the OSC Out screen in Voice Edit Element sufficiently high? (Page 89) Have the note range/velocity (note) range of the ZONE, OSC screen in Voice Edit been set appropriately? (Page 90) Are any of the Elements muted? (Page 61) Have the Element filters been set to cut almost all the sound? (Page 93) Have the effects parameters been set appropriately? (Pages 81, 88, 89, 127, 130, 151) Have the MIDI receive channels been set correctly? (Pages 133 and 166) Has the audio equipment been connected correctly? (Page 13) Has the Local switch been set to OFF? (Page 166) Have the Velocity Sensitivity, Note Limit and Velocity Limit parameters been set appropriately? (Pages 90, 112, 133 and 138) When playing back a song using the internal sequencer or an external MIDI device, have the volume and expression parameters been set appropriately? When playing performances using the internal sequencer or an external MIDI device, have the transmit channels for each sequencer track and the receive channels for each Part in the Performance, been set correctly? (Page 133) For Performances, is the volume of each Part sufficiently high? (Page 130) For Performances, has the output for each Part been set correctly? (Page 133) Is the selected Phrase Clip empty? (Page 142) Have you selected EXT Memory without having inserted a Memory Card? (Page 28) Has the [ATTACK] knob been turned fully clockwise (resulting in a very slow attack)? Has the [CUTOFF] knob been turned fully anti-clockwise (resulting in a very low cutoff frequency)? With the Arpeggiator enabled, has the Arpeggio Category parameter been set to “Ct” and the Key Mode parameter set to something other than “direct”? (Page 82) There is no arpeggiator sound. • Has the Arpeggiator’s note range been set appropriately? (Page 83) • In Performance Mode, have the Layer Switch and Arpeggio Switch parameters for the Part(s) been set to ON? (Page 133) • Has the Tempo parameter in the ARP Type screen been set to “MIDI,” despite no MIDI clock signals being received? Appendix Arpeggiator settings (On/Off, Hold, Tempo) cannot be changed. • Plug-in Boards feature their own built-in arpeggio pattern generators. Details are given on Page 170, and also in the Owner’s Manual that comes with each Plug-in Board. (For the PLG150-AN Plug-in Board the settings are found in the Arp/SEQ Sw screen. Details are given on Page 29 of the PLG150-AN Owner’s Manual.) Sounds are distorted sounds. • Have the effects been set appropriately? (Pages 81, 88, 89, 127, 130, 151) • Has the volume been set too high? (Pages 6 and 20) • Has the GAIN knob of the A/D INPUT been turned up too high? (Page 11) 182 Sound is very quiet. • Has the MIDI volume or MIDI expression been set too low? • Has the filter cutoff frequency been set too high/low? (Pages 40, 82, 106, 125, 130, 148, 152) The pitch is wrong. • • • • • • • Have the NoteShift and Tune parameters in the MSTR TG screen of Utility Mode been set correctly? (Page 163) Have the Oct and Trnspose parameters in the MSTR Kbd screen of Utility Mode been set appropriately? (Page 163) Have the pitch related parameters in PITCH menu (Voice Edit) been set appropriately? (Page 90) Has the Micro Tuning parameter in Voice Edit Mode been set to an unconventional scale? (Page 81) Has the Pitch Modulation Depth in the LFO screen (Voice Edit Mode) been set too high? (Page 101) For Performances, has the Note Shift parameter in the LYR (Layer) screen been set to a value other than 0? (Page 133) For Performances, has the Detune parameter for each Part been set to a value other than 0? (Page 133) Sound is choppy and intermittent. • Has the maximum polyphony been exceeded? (Page 33) Only one note sounds at a time. • Has the Mode parameter in the GEN Other screen of Voice Edit Common been set to “mono”? (Page 81) • In Performance Mode, has the Mode parameter in the LYR Mode screen been set to “mono” for each Part? (Page 132) No effects are applied. The Element switches do not work for the Control Set • Have Element-specific parameters been selected as Dest (Destination)? (Page 85) The Plug-in Board does not work. • Has the Effect Plug-in Board been installed in PLG2? (Page 177) • Has the Multi-Part-type Plug-in Board been installed in PLG1? (Page 177) • If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance’s Common Effect been set to something other than “off”? (Page 128) • If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance’s Common Effect been set to something other than “THRU”? (Page 128) 183 Appendix • Has the [EF BYPASS] key been set to OFF? (Page 66) • Has the Insertion Effect Element Switch parameter in the EFF screen of Voice Edit been set to ON? Also in this Mode, has the effect type been set to something other than “thru” or “off”? (Page 88) • For Performances, have the Insertion Effect Parts been specified? (Page 127) • For Reverb and Chorus, have the effect types in the Common Edit screens been set to ON? (Pages 89, 128) • If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance been set to something other than OFF? (Page 127) • If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance been set to something other than “THRU”? • Have the [REVERB] and [CHORUS] been turned fully anti-clockwise? (Page 128) Cannot find the Drum Voice. • Drum Voices are selected differently to Normal Voices (Page 76). Cannot enter small values. • Have you only tried entering values using Assignable Knobs [A] to [C] or Knob [1]/[2]? (Page 24) Cannot move the cursor without the settings being affected. • Hold down the [SHIFT] key while using Knobs [A] to [C], Knob [1]/[2], and the [DATA] knob or the [INC/YES] and [DEC/NO] keys (Page 24). Cannot receive bulk data. • When using the CS6x/CS6R Voice Editor, have you set a sufficient Dump Interval? The Dump Interval in the Voice Editor Setup dialog must be set to 10ms or greater. Macintosh users: Card Filer for Macintosh does not work correctly. • Are you using MIDI Time Piece? Card Filer is not compatible with MIDI Time Piece. You need to disable the use of MIDI Time Piece on the Macintosh. Appendix 184 Specifications KEYBOARD Number of Keys Touch CS6x CS6R 61 — Initial touch, Aftertouch — AWM2, Phrase Clip, Modular Synthesis Plug-in System TONE GENERATION SYSTEM Tone Generators 64 Polyphony VOICE Number of Voice Normal voices (256 Presets, 128 Internals [Users], 128 Externals [Memory Cards]), Drum voices (8 presets, 2 Internals [Users], 2 Externals [Memory Cards]), Plug-in voices (64 x 2 Plug-in Boards [If installed]) 16 MByte Wave ROM PERFORMANCE 20 (16 Voice Parts, Phrase Clip Part, A/D Input Part, Plug-in 1/2 Parts) Multi-Timbres 128 Internals, 64 Externals Number of Performance 4 Zones Master Keyboard Mode PHRASE CLIP 256 (Max) Number of Clip 4 (73 Keys [C0-C6] x 4 Kits) Number of Clip Kits 16 bits linear, 44.1 kHz Sampling EFFECT Memory 4 Mbyte (DRAM) Reverb 12 23 Chorus 24 (Insertion 1), 92 (Insertion 2), 24 (Insertion for Plug-in Voices) Insertion Scene 1/2, Scene Control, Scene Store SCENE SEQUENCE PLAY 100 Steps (100 Songs) Number of Sequence Chains ARPEGGIATOR Number of Arpebbios Card File Type 128 All Data, All Voice Data, All Phrase Clip Data, Plug-in, Sequence Chain, SMF, WAV, AIFF Save, Load, Rename, Delete, Make Directory, Format Functions CONTROLS — SMF Format 0 (Direct Play only), Sequence Chain (Load/Save) Format Volume Knob, Octave Up/Down (CS6x), Pitch (CS6x), Modulation (CS6x), Ribbon Controller (CS6x), Scene 1, 2 (CS6x), Scene Control (CS6x), 2 Filter Knobs (CS6x), 2 Effect Knobs (CS6x), 4 EG Knobs (CS6x), Pan Knob (CS6x), Portamento ON/OFF (CS6x), Arpeggio Gate Time (CS6x), Arpeggio Hold (CS6x), Arpeggio ON/OFF (CS6x), Phrase Clip Pitch (CS6x), Phrase Clip, Phrase Clip Rec, Tempo (CS6x), Sequence Play, Sequence PLAY/STOP, Shift, Page, Knob A/B/C/1/2, Data, Effect Bypass, Master Keyboard (CS6x), Exit, Enter Dec/No, Inc/Yes, 7 Mode Keys, 6 Memory Keys, 8 Bank Keys (CS6x), 16 Program/Part Keys (CS6x), Power, Card Slot, Gain, Host Select CONNECTORS & TERMINALS MIDI In, Out, Thru, To Host, Breath, Footswitch (CS6x), Sustain (CS6x), Foot Controller (CS6x), Foot Volume (CS6x), Individual Output 1, 2, Output L/Mono R, Phones, A/D Input (LINE 1, MIC/LINE 2), AC Inlet, 2 Connectors for Plug-in Boards 40 x 2 (Backlit) DISPLAY INCLUDED ACCESSORIES Owner's Manual, Data List , Memory Card, CD-ROM, AC Power Cord OPTIONAL ACCESSORIES PLG150 Plug-in Boards Series, PLG100 Plug-in Boards Series, FC4/5 Footswitch, FC7 Foot Controller, BC3 Breath Controller Output: +18.1 ±2dbm (10k ohms), Phones: +17.2 ±2dbm (33 ohms) OUTPUT IMPEDANCE DIMENSIONS WEIGHT 1019(W) x 357(D) x 109(H) mm 480(W) x 366(D) x 88(H) mm 11.6 kg 6.0 kg * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. 185 Appendix 16watts POWER CONSUMPTION Index 0~9 Clip Kit Store ..........................................................................................160 Common (Settings for all Parts) ............................................................122 Common Arpeggio ...........................................................................82, 125 Common Controller ........................................................................84, 125 Common Edit and editing each Element ................................................78 Common Edit and Element Edit .............................................................60 Common Effect ................................................................................88, 127 Common EQ (Equalizer) .......................................................................126 Common General .............................................................................80, 123 Common LFO (Low Frequency Oscillator) ............................................85 Common Quick Edit ........................................................................81, 124 Common/Part/Zone Edit .....................................................................121 Connecting a Microphone or Other Audio Equipment .........................14 Connecting External MIDI Equipment ..................................................15 Connecting Stereo Powered Speakers .....................................................13 Connecting to a Mixer .............................................................................13 Connecting to a Personal Computer .......................................................16 Connecting to External Audio Equipment .............................................13 Connecting Various Controllers ..............................................................18 Connections ..............................................................................................13 Control Sets ..............................................................................................49 Control Sets and External MIDI Control ...............................................50 Controller Section ..............................................................................31, 47 Controlling Parameters by Foot Controller (CS6x) ................................52 Controlling Scenes by Foot Controller (CS6x) .......................................46 Creating a Clip Kit ...................................................................................55 CTL AC Control (AC Control Depth) ...................................................111 CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) ......136 CTL AC Modulation................................................................................111 CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) .....136 CTL Assign1(Controller Assign 1) .......................................................126 CTL Assign2 (Controller Assign 2) ......................................................126 CTL AT Control (AT Control Depth) ...................................................110 CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) ......136 CTL AT Modulation................................................................................111 CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) .....136 CTL Bend (Pitch Bend) ...................................................................84, 149 CTL MW Control (MW Control Depth) ..............................................110 CTL MW Control (MW Control Depth) (Multi Plug-in Parts only) ......135 CTL MW Modulation .....................................................................110, 135 CTL Pitch (Pitch Bend) .........................................................................110 CTL Portamento .......................................................................................84 CTL Set1 (Control Set 1) to CTL Set4 (Control Set 4) .......................149 CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6) .........................84 CTL Set1 (Control Set 1)/CTL Set2 (Control Set 2) ...........................110 CTL Set1/CTL Set2 (Control Set 1/2) (A/D Input Part only) ...........135 CTRL (System Controller) ...................................................................165 CTRL (Voice Controller) .......................................................................168 CTRL Assign1 (Controller Assign 1) ...................................................169 CTRL Assign2 (Controller Assign 2) ...................................................169 CTRL Knobs [A] to [C] .........................................................................165 CTRL Other (Controller Other) ...........................................................165 CTRL Scene (Controller Scene) (CS6x) ...............................................165 4 Zones .....................................................................................................68 A A/D INPUT jacks......................................................................................11 About Memory Cards ......................................................................20, 171 About Modular Synthesis Plug-in System ..............................................33 About Note Limit (Key Range) ...............................................................71 About the Modes ......................................................................................35 About the Plug-in Boards (Optional) .............................................32, 177 About the Tone Generator ......................................................................32 AC Control Depth ...........................................................................111, 136 AC INLET terminal ..................................................................................10 AC Modulation Depth.....................................................................111, 136 AEG Level ................................................................................................98 AEG Release .............................................................................................98 AEG Time ................................................................................................98 AEG VelSens (AEG Velocity Sensitivity) ...............................................98 Aftertouch ................................................................................................49 AMP AEG (Amplitude Envelope Generator) ..............................107, 153 AMP KeyFlw (AMP Key Follow) ...........................................................99 AMP Scale (AMP Scaling Break Point) ................................................100 AMP Scale (AMP Scaling Offset) .........................................................100 AMP VelSens (Amplitude Velocity Sensitivity) ...........................107, 153 An Overview of the CS6x/CS6R ............................................................31 An Overview of Voices/Waves ................................................................37 ARP Limit (Arpeggio Note Limit) ..........................................................83 ARP Mode (Arpeggio Mode) ..................................................................83 ARP PlayEF (Arpeggio Play Effects) ......................................................83 ARP Type (Arpeggio Type) ....................................................................82 Arpeggiator ...............................................................................................42 ARPEGGIO controls...................................................................................7 Assigning Parameters to Knobs [1] and [2] ...........................................51 Assigning Parameters to Knobs [A], [B] and [C] ..................................50 AT Control Depth ...........................................................................110, 136 AT Modulation Depth......................................................................111,136 Automatically Loading Files ..................................................................172 B BANK [A] to [H] keys (CS6x only) ...........................................................9 Bank/Program Number ...................................................................74, 117 Basic Operations .......................................................................................21 Breath Controller .....................................................................................48 BREATH jack ............................................................................................11 Appendix C Card Mode ..................................................................................22, 35, 171 CARD slot..................................................................................................10 Chained Playback ...................................................................................162 Chorus Unit ...............................................................................65, 84, 128 Clip Common Arpeggio .........................................................................148 Clip Common Controller .......................................................................148 Clip Common Edit and Clip Key Edit ...................................................146 Clip Common Effect ...............................................................................149 Clip Common General ...........................................................................147 Clip Common Quick Edit ......................................................................147 Clip Key Amplitude ...............................................................................152 Clip Key EQ (Equalizer) .......................................................................153 Clip Key Filter .......................................................................................152 Clip Key OSC (Oscillator) ......................................................................149 Clip Key Pitch .........................................................................................152 Clip Kit Category ....................................................................................142 Clip Kit Name .........................................................................................142 Clip Kit Number .....................................................................................142 D [DATA] Knob ........................................................................8, 25, 76, 143 [DEC/NO] key ........................................................................9, 24, 76, 143 Delete ......................................................................................................176 Demo Playback .........................................................................................26 Display Messages ....................................................................................181 Drum Common Arpeggio ......................................................................104 Drum Common Controllers ...................................................................104 Drum Common Edit and Drum Key Edit ............................................103 Drum Common Effects ..........................................................................104 Drum Common General ........................................................................103 Drum Common Quick Edit ...................................................................103 186 G Drum Key Amplitude ............................................................................106 Drum Key EQ (Equalizer) .....................................................................107 Drum Key Filter .....................................................................................106 Drum Key OSC (Oscillator) .................................................................104 Drum Key Pitch ......................................................................................106 Drum Voices ......................................................................................76, 102 GAIN knob ................................................................................................11 GEN M.Kbd (General Master Keyboard) .............................................123 GEN MIDI (General MIDI) ..................................................................123 GEN Name (General Name) ..........................................80, 123, 147, 109 GEN Other (General Other) ...........................................................81, 109 E H Edit Modes ................................................................................................21 Editing Plug-in Board Voices .................................................................114 [EF BYPASS] key.........................................................................................8 EFF Cho (Chorus) ...........................................................................89, 128 EFF EF1/2 (Insertion Effect 1/2) ...................................................88, 137 EFF InsEF (Insertion Effect) ..................................................................88 EFF Part ..................................................................................................127 EFF Rev (Reverb) ............................................................................89, 128 Effect Bypass ............................................................................................66 EFFECT knobs ............................................................................................6 Effect Parameter Settings ........................................................88, 128, 137 Effect Plug-in Boards ..............................................................................33 Effects .......................................................................................6, 34, 40, 65 Effects in Performance Mode ..................................................................65 Effects in Voice Mode ..............................................................................65 EG knobs .....................................................................................................6 Element Amplitude ..................................................................................98 Element Filter ...........................................................................................93 Element Pitch ...........................................................................................90 Element EQ (Equalizer) ........................................................................101 Element LFO (Low Frequency Oscillator) ...........................................100 Element OSC (Oscillator) ........................................................................89 End.....................................................................................................54, 151 Entering Data ...........................................................................................24 [ENTER] Key .................................................................................9, 24, 25 EQ High ..................................................................................................127 EQ HighMid (High-Middle Range) ......................................................127 EQ Low ..................................................................................................126 EQ LowMid (Low-Middle Range) ........................................................127 EQ Mid (Middle Range) ........................................................................127 EQ Param (EQ Parameter) ....................................................................113 EQ Type ..................................................................................................101 Example of Control Set Assignment .......................................................85 Executing a Job ................................................................................58, 115 [EXIT] Key ...........................................................................................8, 23 HOST SELECT switch..............................................................................11 I [INC/YES] key........................................................................9, 24, 76, 143 INDIVIDUAL OUTPUT 1 and 2 jacks ...................................................10 Insertion Effects ........................................................................65, 88, 127 J Job Modes .................................................................................................22 K Knob Parameter .....................................................................142, 118, 142 Knob Parameter Display .........................................................75, 118, 142 Knobs [A], [B], [C], [1] and [2] .....................................................8, 24, 48 L Layer (Master keyboard Mode)................................................................70 Layer (Performance Mode).....................................................................132 LCD (Liquid Crystal Display) ....................................................................8 LFO Depth .............................................................................................101 LFO Dest1 (LFO Destination 1) ..............................................................87 LFO Dest2 (LFO Destination 2) .............................................................87 LFO Fade ..................................................................................................87 LFO Param (LFO Parameter) ................................................................111 LFO Wave .........................................................................................85, 100 Load .......................................................................................................174 Loop ...................................................................................................54, 150 LYR Limit (Layer Limit) ........................................................................133 LYR Mode (Layer Mode) .......................................................................132 LYR Out (Layer Out) .............................................................................133 LYR Tune (Layer Tune) ........................................................................133 M.EQ (Voice Master Equalizer) ............................................................167 M.EQ High (Master EQ High) ..............................................................168 M.EQ HighMid (Master EQ High-Middle Range) ...............................168 M.EQ Low (Master EQ Low) ................................................................168 M.EQ LowMid (Master EQ Low-Middle Range)..................................168 M.EQ Mid (Master EQ Middle Range) .................................................168 Master keyboard ......................................................................67, 138, 163 Master Keyboard/Tone Generator Mode (CS6x only) ........................121 [MASTER KEYBOARD] key (CS6x only) ...............................................8 Maximum Polyphony ...............................................................................33 MEMORY keys............................................................................................9 Memory/Performance Program Number ..............................................117 Memory/Voice Program Number ............................................................74 Menu Display ............................................61, 80, 103, 108, 121, 147, 163 MIDI (System MIDI) .............................................................................166 MIDI Arp (MIDI Arpeggio) ..................................................................166 MIDI Ch (MIDI Channel) .....................................................................166 MIDI GM/XG Receive (if a Multi-Part Plug-in Board has been installed) ....167 MIDI IN, OUT, and THRU connectors...................................................10 MIDI Interface to MIDI IN and OUT ....................................................17 MIDI Other ............................................................................................167 MIDI Sw (MIDI Receive Switch) .........................................................166 MIX Level ...............................................................................................130 MIX Vce/Kit/Template...........................................................................129 MKB Note (Master Keyboard Note) .....................................................138 MKB Transmit (Master Keyboard Transmit) ......................................138 MKB TxPreset1 (Master Keyboard Transmit Preset 1) ......................139 F Factory Set (Restore Factory Defaults) .................................................170 FEG Level (FEG Level) ............................................................................96 FEG Release (FEG Release) ....................................................................96 FEG Time .................................................................................................96 FEG VelSens (FEG Velocity Sensitivity) ................................................95 File Directories .......................................................................................173 File Name Settings .................................................................................174 File Types ...............................................................................................172 Filter Envelope Generator Settings .........................................................96 FILTER knobs .............................................................................................6 Filter Scaling Settings ..............................................................................97 FLT Cutoff (Filter Cutoff) .............................................................106, 152 FLT HPF (High Pass Filter) ....................................................................95 FLT KeyFlw (Filter Key Follow) .............................................................96 FLT Scale (Filter Scale Break Point) .......................................................97 FLT Scale (Filter Scale Offset) ................................................................97 FLT Sens (Filter Sensitivity) ...................................................................95 FLT Type (Filter Type) ...........................................................................93 Foot Controller (CS6x) ............................................................................48 FOOT CONTROLLER jack (CS6x only) ................................................10 Foot Switch (CS6x) ..................................................................................48 FOOT SWITCH jack (CS6x only) ...........................................................11 Foot Volume (CS6x) .................................................................................48 FOOT VOLUME jack (CS6x only) ..........................................................10 Format ..............................................................................................20, 176 187 Appendix M MKB TxPreset2 (Master Keyboard Transmit Preset 2) ......................139 MKB TxSw1 (Master Keyboard Transmit Switch 1) ..........................138 MKB TxSw2 (Master Keyboard Transmit Switch 2) ..........................138 MKB TxSw3 (Master Keyboard Transmit Switch 3) ..........................138 MKB TxSW4 (Master keyboard Transmit Switch 4) .........................138 MkDir (Make Directory) .......................................................................176 MODE keys .................................................................................................7 MODULAR SYNTHESIS PLUG-IN SYSTEM .......................................33 MODULATION wheel (CS6x only) ..........................................................6 Monitoring Board Voices .......................................................................108 Moving the Cursor .............................................................................24, 25 MSTR (System Master) .........................................................................163 MSTR EF Bypass (Master Effect By-pass) ...........................................164 MSTR Kbd (Master Keyboard) .............................................................163 MSTR Other (Other Setup) ..................................................................164 MSTR TG (Master Tone Generator) ...................................................163 Multi Edit.................................................................................................119 Multi-Part Plug-in Board .........................................................................33 MW Control Depth .........................................................................110, 135 MW Modulation Depth ..................................................................110, 135 PCLP VarRealTime (Variation Real-time) ............................................156 PEG Level .................................................................................................91 PEG Release ..............................................................................................91 PEG Time .................................................................................................91 PEG VelSens (PEG Velocity Sensitivity) ................................................91 Performance Category ............................................................................118 Performance Edit ............................................................................21, 121 Performance Job Mode ....................................................................22, 140 Performance Memory/Number (Bank/Number) .................................117 Performance Mode ..........................................................................35, 117 Performance Name .................................................................................118 Performance Play Mode Display ...........................................................117 Performance Program Selection ............................................................119 Performance Store ..........................................................................122, 141 Performances ......................................................................................29, 39 PFM Bulk Dump ....................................................................................141 PFM Copy ...............................................................................................140 PFM Edit Recall .....................................................................................140 PFM Initialize .........................................................................................140 PFM Play (Performance Play) ................................................................117 PHONES jack ............................................................................................11 PHRASE CLIP controls ..............................................................................7 Phrase Clip Edit ...............................................................................22, 146 Phrase Clip Job Mode .....................................................................22, 154 Phrase Clip Mode .............................................................................35, 142 Phrase Clip Play ...............................................................................21, 142 Phrase Clip Record ................................................................................143 Phrase Clips ..............................................................................................53 Phrase Clips Overview .............................................................................53 PITCH bend wheel (CS6x only) ..........................................................6, 47 Pitch Envelope Generator Settings .................................................92, 113 Play Modes ................................................................................................21 Playing Back Phrase Clips .......................................................................54 PLG (Plug-in) (if a Plug-in Board has been installed) .........................169 PLG Status (Plug-in Status) ..................................................................169 PLG-NATIVE (Plug-in Native) .............................................................113 PLG1 MIDI (Plug-in 1 MIDI) ...............................................................169 PLG1/2 System (Plug-in 1/2 System) ...................................................170 PLG2 MIDI (Plug-in 2 MIDI) ...............................................................169 Plug-in Common Arpeggio ....................................................................109 Plug-in Common Controller ...................................................................110 Plug-in Common Effect ..........................................................................112 Plug-in Common General ......................................................................109 Plug-in Common LFO (Low Frequency Oscillator) .............................111 Plug-in Common Quick Edit .................................................................109 Plug-in Element EQ (Equalizer) ...........................................................113 Plug-in Element Native ..........................................................................113 Plug-in Element OSC (Oscillator) .........................................................112 Plug-in Element Pitch ............................................................................112 Plug-in Voices .........................................................................................108 Portamento ...............................................................................................59 PORTAMENTO controls............................................................................6 Power Supply ............................................................................................12 POWER switch..........................................................................................10 Powering Up .............................................................................................19 PROGRAM/PART [1] to [16] keys (CS6x only) ......................................9 [PROGRAM/PART] keys ........................................................................23 N Normal Voice ............................................................................................79 O Octave and MIDI Transmit Channel Settings ...............................75, 118 Octave Shifting (CS6x only) ....................................................................28 OCTAVE [UP] and [DOWN] keys (CS6x only) ........................................6 OSC (Oscillator) Screens .........................................................................62 OSC Asgn (Oscillator Assign) ...............................................................149 OSC Assign (Oscillator Assign) ............................................................112 OSC Limit (Oscillator Limit) ...................................................................90 OSC Other (Oscillator Other) .......................................................105, 151 OSC Out (Oscillator Out) .......................................................89, 104, 151 OSC Pan (Oscillator Pan) ........................................................90, 105, 151 OSC Velocity (Oscillator Velocity) ........................................................112 OSC Wave (Oscillator Wave) ...........................................................89, 104 OUTPUT L/MONO and R jack ...............................................................11 P Appendix [PAGE] Knob ........................................................................................8, 23 Pan .............................................................................................................59 [PAN] knob..................................................................................................6 Part (Settings for each Part) ..................................................................129 Part Controller .......................................................................................135 Part Insertion Effect (A/D Input Part only) .......................................137 Part Layer ...............................................................................................132 Part Mixer ..............................................................................................129 Part Receive Switch ..............................................................................134 Part Tone ................................................................................................130 PCH PEG (Pitch Envelope Generator) .................................................112 PCH Scale (Pitch Scale) ...........................................................................92 PCH Tune (Pitch Tune) .........................................................90, 106, 152 PCLP AutoKeyMap ................................................................................159 PCLP Copy ..............................................................................................159 PCLP Delete ...........................................................................................158 PCLP Extract ..........................................................................................158 PCLP FreqConvert (Frequency Convert) .............................................158 PCLP Kit Initialize .................................................................................160 PCLP Kit Key Copy ................................................................................159 PCLP Kit Key Initialize ..........................................................................160 PCLP LoopDivide ...................................................................................155 PCLP LoopRemix ...................................................................................157 PCLP Normalize .....................................................................................157 PCLP Rename .........................................................................................155 PCLP SampleRcv (Sample Receive) ......................................................159 PCLP Status ............................................................................................154 PCLP Var (Variation Manual) ...............................................................156 PCLP VarAuto (Variation Auto-set) .....................................................156 PCLP VariationSet ..................................................................................155 Q QED EF (Quick Edit Effect) .................................................................124 QED EffectCtrl (Quick Edit Effect) ...............................81, 103, 109, 148 QED EG (Quick Edit Envelope Generator) ..........82, 103, 109, 125, 148 QED Filter (Quick Edit Filter) ..............................82, 103, 109, 125, 148 QED Level (Quick Edit Level) ...............................81, 103, 109, 124, 147 R RCV Sw1 (Receive Switch 1) RCV Sw2 (Receive Switch 2) RCV Sw3 (Receive Switch 3) RCV Sw4 (Receive Switch 4) 188 ................................................................134 ................................................................134 ................................................................134 ................................................................134 V Reading the Displayed Settings .............................................................120 Rear Panel ..................................................................................................10 Recording a Phrase Clip ...........................................................................55 Rename ...................................................................................................175 Reverb Unit ................................................................................65, 89, 128 Ribbon Controller (CS6x only) ............................................................6, 48 Variation Settings ...................................................................................150 VCE Bulk Dump .....................................................................................116 VCE Copy ................................................................................................115 VCE Edit Recall ......................................................................................115 VCE Initialize .........................................................................................115 Voice Category ..........................................................................................75 Voice Edit .....................................................................................21, 60, 78 Voice Job Mode ................................................................................22, 115 Voice Memory/Number (Bank/Number) Display .................................74 Voice Mode .........................................................................................35, 75 Voice Name ...............................................................................................75 Voice Play Mode Display ...................................................................21, 74 Voice Program Selection ..........................................................................75 Voice Store ..............................................................................................116 Voices ..................................................................................................27, 36 Voices and Performances .........................................................................27 [VOLUME] Knob ........................................................................................6 S Sampling Rate and Bit Resolution ..........................................................54 Save .........................................................................................................173 SCENE controls ....................................................................................6, 46 Scene Settings ...........................................................................................45 Screen Title ..............................................................................74, 117, 142 Selecting a Menu ......................................................................................80 Selecting a Mode ......................................................................................21 Selecting a Screen .....................................................................................23 Selecting Drum Voices .....................................................................76, 102 Selecting Elements (CS6x) ................................................................61, 79 Selecting Preset Drums (PRE:DR1~DR8) ..........................................76 Selecting the Arpeggio Type .............................................................43, 82 Selecting User Drums (INT:DR1/2 and EXT:DR1/2) .........................77 SEQ (Sequence Chain) ..........................................................................161 SEQ controls................................................................................................7 SEQ Demo (Sequence Demo) ...............................................................161 Sequence Play Mode ..................................................................22, 35, 161 Setting the Note Limit .............................................................................44 Setting the Tempo ....................................................................................44 Setting the Voice Name ............................................................................80 Setting/Viewing Knob Parameters .........................................75, 118, 142 Setting/Viewing Octave and MIDI Transmit Channel Parameters ....118 [SHIFT] Key .........................................................................................8, 23 Single Part Plug-in Boards .......................................................................32 Song File Playback .................................................................................162 Sound Control Knobs (CS6x only) .....................................................7, 40 Split ...........................................................................................................67 Start ...................................................................................................54, 150 Status ......................................................................................................173 Storing Scenes ..........................................................................................45 Sustain (CS6x) .........................................................................................48 SUSTAIN jack (CS6x only) ......................................................................11 Switching Between Programs by Foot Switch (CS6x) ...........................52 Switching Elements On/Off (CS6x) .......................................................61 Switching the Arpeggiator On/Off .........................................................42 W Waves ........................................................................................................38 Z Zones (CS6x) ..........................................................................................137 T Appendix The “Compare” Function .......................................................79, 122, 147 The í Indicator ........................................................................79, 122, 147 The Level Screen ....................................................................................144 TO HOST connector...........................................................................11, 16 TON EG (Tone Envelope Generator) ..................................................131 TON Filter (Tone Filter) .......................................................................130 TON Other (Tone Other) .....................................................................132 TON Portamento (Tone Portamento) ..................................................131 Tone Generator Section ...........................................................................32 Troubleshooting .....................................................................................182 Types of Parameters (Absolute and Relative) ........................................25 U Using as a Multitimbral Tone Generator (Performance Mode) ...........72 Using the A/D Input Part ........................................................................73 Using the Arpeggiator Hold ....................................................................44 Using the BANK/PROGRAM Keys (CS6x) ...................................75, 119 Using the Voice Category Search ...........................................................77 Utility Job Mode ...............................................................................22, 170 Utility Mode ...............................................................................22, 35, 163 189 MEMO 190 MEMO 191 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. FRANCE ASIA Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 HONG KONG Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 ITALY Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 SPAIN/PORTUGAL Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 KOREA 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 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 ARGENTINA Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panama S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: 507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 SINGAPORE Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 TAIWAN Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 THAILAND Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 OCEANIA AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 Cosmos Corporation 1461-9, Seocho Dong, Seocho Gu, Seoul, Korea Tel: 02-3486-0011 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-81-5868 AUSTRALIA Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, International Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445 SY20 IMPORTANT SAFETY INSTRUCTIONS INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. WARNING- When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following: 1. Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply. 2. Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. 3. Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual. 8. This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement. 9. This product should be used only with the components supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product. 10. The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity. 11. Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist. 12. Electrical/electronic products should be serviced by a qualified service person when: a. The power supply cord has been damaged; or 4. b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or DANGER-Grounding Instructions: This product must be grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type! 5. WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician. 6. Ventilation: Electronic products, unless specifically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required. 7. Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided. c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. 13. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. 14. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. PLEASE KEEP THIS MANUAL 92-469-3 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. (class B) * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. IMPORTANT NOTICE FOR THE UNITED KINGDOM ADVARSEL! WARNING: THIS APPARATUS MUST BE EARTHED Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: VARNING Connecting the Plug and Cord GREEN-AND-YELLOW :EARTH BLUE :NEUTRAL BROWN :LIVE Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion. As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires) NEDERLAND / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. (lithium disposal) VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. (lithium caution) Analog Physical Modeling Plug-in Board PLG150-AN Piano Plug-in Board PLG150-PF Reproduce the fat and funky sounds of vintage analog synths! This board gives you a synth engine similar to the one featured in Yamaha’s amazing AN1x Analog Physical Modeling Synthesizer. On top of its full array of wave algorithms, resonant filters, LFOs, and envelope generators, it also has distortion and a 3-band equalizer. With the PLG150-AN, project and professional studios alike will be able to produce the killer synth sounds featured in today’s hot dance tracks. For the serious piano player, this Plug-in Board is loaded with hundreds of painstakingly sampled piano and keyboard voices—from concert grands and uprights to electric pianos and harpsichords. Two piano boards can be used together, effectively doubling piano polyphony to an incredible 128 notes! Tone Generator Type Polyphony Voices Effects Interface Accessories Dimensions (W) x (D) x (H) Weight AN (Analog Physical Modeling Synthesis ) 5 notes 256 Preset 128 User Guitar Amp. Simulator (Distortion), 3-Band EQ, XG Part EQ Plug-in Connector (15-pin digital I/F connector) FD (AN Easy Editor, AN Expert Editor, Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80, Performance Data for the MU128) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 65 g (2.3 oz) Tone Generator Type Polyphony Voices Effects Interface Accessories Dimensions (W) x (D) x (H) Weight AWM2 64 notes 136 Preset Reverb, Chorus, Insertion, 2-Band EQ Plug-in Connector (15-pin digital I/F connector) FD (PF Easy Editor, Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 72 g (2.5 oz) Virtual Acoustic VL Plug-in Board PLG150-VL Advanced DX/TX Plug-in Board PLG150-DX The Virtual Acoustic Modular Synthesis Plug-in Board lets you create incredibly expressive, natural-sounding voices by digitally simulating the physical characteristics of acoustic instruments. Thanks to its fabulous synthesis architecture, extensive realtime performance control of the voices is possible, making it the ideal Plug-in Board for keyboard soloists. Add the classic sounds of Yamaha’s world-famous DX-7 synthesizer to the CS6x/6R. The PLG150-DX features the same 6-operator 16-note polyphonic FM tone generation system that took the synthesizer industry by storm. This board is a must-have for performing keyboard players and producers of contemporary music. Tone Generator Type Polyphony Voices Interface Accessories Dimensions (W) x (D) x (H) Weight S/VA (Self-oscillating Virtual Acoustic Synthesis) 1 note monophonic 256 Preset 70 User Plug-in Connector (15-pin digital I/F connector) CD-ROM (VL Visual Editor), FD (Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80, Performance Data for the MU128) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 56 g (2.0 oz) Tone Generator Type Polyphony Voices Effects Interface Accessories Dimensions (W) x (D) x (H) Weight FM Synthesis 16 notes 912 Preset 64 User Part EQ, Lowpass, Highpass Plug-in Connector (15-pin digital I/F connector) CD-ROM (DX Easy Editor, DX Simulator), FD (Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80, Performance Data for the MU128) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 63 g (2.2 oz) Vocal Harmony Plug-in Board PLG100-VH XG Plug-in Board PLG100-XG The PLG100-VH adds powerful harmony or vocoder effects to your voice by simply plugging a microphone into the CS6x/6R’s A/D input and playing chords on the keyboard. Harmony interval changes can be recorded in a sequencer track for automated playback—a dream tool for performing vocalists or for singer/songwriters who want to compose and record songs at home. This Plug-in Board gives you over 400 professional-quality sampled voices and 12 drum kits as well as 32 additional notes of polyphony. Plus it fully supports XG MIDI specifications, so you can use it to play back XG SMF MIDI song files from an external sequencer or the CS6x/6R’s internal sequencer. Home recording hobbyists in particular will find this Plug-in Board an indispensable addition to the CS6x/6R. Maximum Harmony Effects Voice Control Interface Dimensions (W) x (D) x (H) Weight CS6x/6R 3 voices Vocoder Harmony, Detune Harmony Chordal Harmony, Chromatic Harmony Gender change (male → female, female → male) Vibrato, Volume, Pan, Detune Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 53 g (1.9 oz) Tone Generator Type Polyphony Voices Effects Connector Accessories Dimensions (W) x (D) x (H) Weight AWM2 32 notes 480 Preset + 12 Drum Kits Reverb, Chorus, Variation Plug-in Connector (15-pin digital I/F connector) CD-ROM (XGworks lite V3.0, XG Editor for Mac), FD (Demonstration Songs) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 56 g (2.0 oz) OWNER’S MANUAL OWNER’S MANUAL M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V484950 This document is printed on chlorine free (ECF) Paper. 910MWCP3.3-01A0 Printed in Japan