Yamaha TG500 Manual de usuario

Marca: Yamaha

Modelo: TG500

Categoría: Instrumentos musicales

Tipo: Manual de usuario

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, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

Dette apparat overholder det gaeldende EF-direktiv

vedrørende radiostøj.

Cet appareil est conforme aux prescriptions de la

directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/

499/EWG und/oder 87/308/EWG.

This product complies with the radio frequency

interference requirements of the Council Direc-

tive 82/499/EEC and/or 87/308/EEC.

Questo apparecchio è conforme al D.M.13 aprile

1989 (Direttiva CEE/87/308) sulla soppressione

dei radiodisturbi.

Este producto está de acuerdo con los requisitos

sobre interferencias de radio frequencia fijados

por el Consejo Directivo 87/308/CEE.

YAMAHA CORPORATION

Connecting the Plug and Cord

IMPORTANT. The wires in this mains lead are coloured in accordance with the following

code:

BLUE : NEUTRAL

BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the

coloured markings identifying the terminals in your plug proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with

the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked

with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of the three pin plug.

* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Litiumbatteri!

Bör endast bytas av servicepersonal.

Explosionsfara vid felaktig hantering.

VAROITUS!

Lithiumparisto, Räjähdysvaara.

Pariston saa vaihtaa ainoastaan alan

ammattimies.

ADVARSEL!

Lithiumbatteri!

Eksplosionsfare. Udskiftning må kun foretages

af en sagkyndig, – og som beskrevet i

servicemanualen.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO

NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFER-

ENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES

DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE

B” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE

EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.

* This applies only to products distributed by YAMAHA CANADA MUSIC LTD.

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic prod-

ucts 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.

methods used to produce them, meet these goals. In keeping

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

to be aware of the following:

Battery Notice: This product MAY contain a small non-

rechargcable battery which (if applicable) is soldered in

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

approximately five years. When replacement becomes

neccessary, 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 knowl-

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

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

facturer’s warranty, and are therefore the owners responsi-

bility. 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 nunber, and the

date of purchase in the spaces provided below and retain this

manual as a permanent record of your purchase.

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

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

The exclamation point within the equilateral

triangle is intended to alert the user to the

presence of important operating and mainte-

nance (servicing) instructions in the litera-

ture 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 magni-

tude to constitute a risk of electrical shock.

IMPORTANT NOTICE: All Yamaha electronic products are

tested and approvend by an independent safety testing labo-

ratory 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 author-

ized 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.

SPECFICATIONS SUBJECT TO CHANGE: The informa-

tion 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

Model

Serial No.

Purchase Date

● Explanation of Graphical Symbols

This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countires.

92-4691

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIER HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

PLEASE KEEP 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 swim-

ming 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 accom-

pany the accessory product.

10.The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left

unused for extended periods of time. Cords should also be

disconnected when there is a high probability of lightening

and/or electrical storm activity.

11.Care should be taken that objects do not fall and liquids

are not spilled into the enclosure through any openings

that may exist.

12.Electrical/electronic products should be serviced by a

qualified service person when:

a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or

c. The product has been exposed to rain; or

d. The product does not operate, exhibits a marked change

in performance; or

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

product has been damaged.

13.Do not attempt to service this product beyond that de-

scribed in the user-maintenance instructions. All other

servicing should be referred to qualified service personnel.

14.This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be capable of

producing sound levels that could cause permanent hear-

ing 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 cars, you

should cousult an audiologist. IMPORTANT: The louder

the sound, the shorter the time period before damage

occurs.

15.Some Yamaha products may have benches and/or acces-

sory 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.

WARNING — When using any electrical or electronic prod-

uct, basic precautions should always be followed. These

precautions include, but are not limited to, the following:

1. Read all Safety Instructions, Installation Instructions, Spe-

cial Message Section items, and any Assembly Instruc-

tions found in this manual BEFORE making any connections,

including connection to the main supply.

2. Main Power Suplly Verifications: 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 volt-

age is printed on the name plate. For name plate location,

please refer to the graphic found in the Special Message

Section of this manual.

3. This product may be equipped with a polarized plug (one

blade wider than the other). If you are unable to insert the

plug into the outlet, turn the plug over and try again. If the

problem persists, contact electrician to have the obsolete

outlet replaced. Do NOT defeat the safety purpose of the

plug.

4. Some electronic products utilize external power supplies

or adapters. DO NOT connect this type of product to any

power supply or adapter other than one described in the

owners manual, on the name plate, or specifically recom-

mended by Yamaha.

5. WARNING: Do not place this product or any other objects

on the power cord or place it in a position where anyone

could walk on, trip over, or roll anything over power or

connecting cords of any kind. The use of an extension cord

is not recommended! If you must use an extension cord,

the minimume 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 de-

signed 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 significantly contribute to

their operating temperature. Placement of this product

close to heat sources such as; radiators, heat registers and

other devices that produce heat should be avoided.

This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countires.

92-4692

The TG500 Tone Generator delivers the incredible Yamaha AWM2 sound

with improved quality and versatility. In addition to superior sound, the TG500

features “Quick Edit” modes that provide fast, easy access to the most impor-

tant voice and performance editing jobs so you can customize the sound with-

out having to deal with the details. Of course, you still have full programming

power when you want to do some serious voicing. In terms of sound and

programming power, the TG500 offers unprecedented levels of quality and

performance.

We urge you to read the owner’s manuals thoroughly in order to realize the

full potential of the TG500 (see “About the Manual” on page 5), and keep the

manuals in a safe place for future reference.

MAIN FEATURES

● AWM2 Sound, 64-note Polyphony

2nd-generation Advanced Wave Memory (AWM2) technology delivers

dazzling, true-to-life sound with 64-note polyphony.

● Large-capacity Waveform ROM

A huge 8-megabyte waveform ROM provides the kind of capacity required

for stunning, true-to-life sound.

● Expandable Waveform RAM

Up to 1-megabyte of waveform RAM can be installed to allow loading of

external samples via waveform cards or the MIDI Sample Dump protocol.

● 4-layer Performance Combinations

Voices can be played individually, or up to four voices can be combined

and “layered” to form performance combinations.

● 384 Presets and 192 User RAM Locations

The TG500 has 384 presets including 252 voices, 4 multi-instrument drum

voices, and 128 performance combinations. 192 internal RAM locations addi-

tionally store 126 voices, 2 drum voices, and 64 performance combinations.

The TG500 also provides RAM memory for 16 multi-play setups.

● Advanced Digital Filters

Programmable digital filters allow the TG500 sound to be tailored as re-

quired. The filters also feature a resonance parameter equivalent to that found

on the SY77 and SY99 Music Synthesizers.

● Top-quality Effects

The basic quality of the TG500 voices is further enhanced by a range of

programmable effects offering quality rivalling some of the finest separate

signal processing systems.

● Other Features

• Slots for dual external memory card sets (VOICE and WAVE).

• Easy-to-read 24-character × 2-line backlit LCD display.

• Recognizes individual key aftertouch.

• Stereo L/R and 4 individual audio outputs.

iii

APPENDIX

UTILITY MODE / WAVE EDIT MODE

MULTI EDIT MODE

DRUM VOICE EDIT MODE

VOICE EDIT MODE

PERFORMANCE EDIT MODE

GETTING STARTED

FEATURE REFERENCE

4. The Multi Mode ...................... 35

•WHAT’S IN A MULTI SETUP? .........35

•MULTI PLAY POLYPHONY &

DYNAMIC VOICE ALLOCATION ......36

•SELECTING A MULTI SETUP..........36

■ Editing a Multi Setup ...........................36

•THE MULTI PARAMETER EDIT

SCREENS ............................................37

•SELECTING DIFFERENT

INSTRUMENTS FOR EDITING.........38

•NO STORE OPERATION

REQUIRED ..........................................38

■ Further Possibilities… ..........................38

5. Voice Editing & Effects ............. 39

■ Bypassing the Effects While

Editing ....................................................41

■ Further Possibilities… ..........................41

Precautions .................................. 3

About the Manual .......................... 5

■ The Getting Started Section .................5

■ Icons.........................................................6

■ The Feature Reference Section ...........7

The Controls & Connectors.............. 8

■ Front Panel..............................................8

■ Rear Panel.............................................11

1. Setting Up Your System ............ 12

■ Connections...........................................12

■ Power-on Procedure.............................15

2. Selecting And Playing Voices..... 16

■ The Preset, Internal, & Card Voice

Memories ...............................................16

■ Select a Voice & Play..........................17

■ Internal Voice List.................................19

3. The Performance Mode............. 22

■ The Preset, Internal, & Card

Performance Memories ........................22

■ Play the Performance

Combinations.........................................24

■ Internal Performance List ....................25

■ Programming Your Own Performance

Combinations.........................................26

■ Further Possibilities… ..........................34

CONTENTS

Getting Started

General Editing Procedure

■ Edit Mode Access.................................45

■ Selecting Specific Edit Functions .......46

■ Selecting & Editing Parameters..........48

Performance Edit Mode

Layer Selection & Muting

•Layer Selection ..............................................50

•Layer Muting ..................................................50

1: Quick Edit

1-1: Voice Amplitude EG Offset .............52

1-2: Voice Filter Offset.............................54

1-3: Voice LFO Offset ..............................55

1-4: Voice Controller ................................56

1-5: Voice Setting .....................................57

1-6: Effect 1...............................................58

1-7: Effect 2...............................................58

1-8: Effect Wet:Dry Balance....................59

2: Level/Name

2-1: Performance Total Level..................60

2-2: Performance Name...........................61

3: Full Edit

3-1: Layer

3-1-01: Voice.........................................62

3-1-02: Volume......................................63

3-1-03: Pan............................................64

3-1-04: Note Shift .................................65

3-1-05: Tune..........................................66

3-1-06: Note Limit-L .............................67

3-1-07: Note Limit-H.............................67

3-1-08: Velocity Limit-L........................69

3-1-09: Velocity Limit-H .......................69

3-1-10: MC3 Enable .............................71

3-1-11: MC4 Enable .............................71

3-1-12: Layer Initialize .........................73

3-1-13: Layer Exchange ......................74

Layer Data Copy...................................75

Feature Reference

3-2: Effect

3-2-01: Mode.........................................76

3-2-02: Type..........................................77

3-2-03: Send..........................................78

3-2-04: Send Sensitivity.......................79

3-2-05: Output.......................................80

3-2-06: Output Level ............................81

3-2-07: Wet:Dry.....................................82

3-2-08: Mix Level..................................83

3-2-09: Parameter 1 .............................84

3-2-10: Parameter 2 .............................84

3-2-11: Control 1 ..................................85

3-2-12: Control 2 ..................................85

3-2-13: Control LFO .............................88

Effect Data Copy ..................................89

Effect Signal Flow Display ..................90

4: Recall/Init.

4-1: Recall..................................................91

4-2: Initialize ..............................................92

Performance

Performance Compare..............................93

Performance Store....................................94

Voice Edit Mode

1: Quick Edit

1-1: Wave Select ......................................96

1-2: Amplitude EG ....................................98

1-3: Filter................................................. 100

1-4: LFO.................................................. 102

1-5: Effect 1............................................ 103

1-6: Effect 2............................................ 103

1-7: Effect Wet:Dry ................................ 104

2: Level/Name

2-1: Level ................................................ 105

2-2: Name ............................................... 106

3: Full Edit

3-1: Oscillator

3-1-01: Wave Select.......................... 107

3-1-02: Parameter.............................. 109

3-2: AEG

3-2-01: Level ...................................... 111

3-2-02: Rate ....................................... 111

3-2-03: Scale Point............................ 115

3-2-04: Scale Offset .......................... 116

3-2-05: Sensitivity .............................. 117

AEG Data Copy ................................. 118

3-3: Filter

3-3-01: Parameter.............................. 119

3-3-02: Level ...................................... 124

3-3-03: Rate ....................................... 124

3-3-04: Scale Point............................ 127

3-3-05: Scale Offset .......................... 128

3-3-06: Sensitivity .............................. 129

Filter Data Copy ................................ 130

3-4: PEG

3-4-01: Level ...................................... 131

3-4-02: Rate ....................................... 131

3-4-03: Sensitivity .............................. 134

Pitch EG Data Copy.......................... 135

3-5: LFO

3-5-01: Parameter.............................. 136

3-5-02: Depth ..................................... 138

3-5-03: Sensitivity .............................. 139

LFO Data Copy.................................. 140

3-6: Controller

3-6-01: Pitch Bend, After Touch...... 141

3-6-02: After Touch Depth ............... 142

3-6-03: MIDI Controller 1 ................. 145

3-6-04: MIDI Controller 2 ................. 145

3-6-05: MIDI Controller 3 ................. 147

3-6-06: MIDI Controller 4 ................. 147

Controller Data Copy ........................ 149

3-7: Effect

3-7-01: Mode...................................... 150

3-7-02: Type....................................... 151

3-7-03: Send....................................... 152

3-7-04: Output Level ......................... 153

3-7-05: Wet:Dry.................................. 154

3-7-06: Mix Level............................... 155

3-7-07: Parameter 1 .......................... 156

3-7-08: Parameter 2 .......................... 156

3-7-09: Control 1 ............................... 157

3-7-10: Control 2 ............................... 157

3-7-11: Control LFO .......................... 160

Effect Data Copy ............................... 161

Effect Signal Flow Display ............... 162

4: Recall/Init.

4-1: Recall............................................... 163

4-2: Initialize ........................................... 164

Voice

Voice Compare....................................... 165

Voice Store ............................................. 166

Drum Voice Edit Mode

1: Key Parameter

1-1: Parameter ....................................... 168

1-2: Initialize ........................................... 171

1-3: Exchange ........................................ 172

Drum Key Copy...................................... 173

2: Level/Name

2-1: Level ................................................ 174

2-2: Name ............................................... 175

3: Quick Edit

3-1: Effect 1............................................ 176

3-2: Effect 2............................................ 176

3-3: Effect Wet:Dry ................................ 177

4: Effect

4-01: Mode.............................................. 178

4-02: Type............................................... 179

4-03: Send .............................................. 180

4-04: Send Sensitivity ........................... 181

4-05: Output............................................ 182

vii

4-06: Output Level............................. 183

4-07: Wet:Dry..................................... 184

4-08: Mix Level .................................. 185

4-09: Parameter 1 ............................. 186

4-10: Parameter 2 ............................. 186

4-11: Control 1................................... 187

4-12: Control 2................................... 187

4-13: Control LFO.............................. 190

Effect Data Copy ............................... 191

Effect Signal Flow Display ............... 192

5: Recall/Init.

5-1: Recall............................................... 193

5-2: Initialize ........................................... 194

Drum Voice Compare ............................ 195

Drum Voice Store .................................. 196

Multi Edit Mode

Multi Instrument Selection .......................... 198

1: Parameter................................................ 199

2: Name ........................................................ 202

3: Initialize ................................................... 203

4: Effect

4-01: Mode ......................................... 204

4-02: Type .......................................... 205

4-03: Send.......................................... 206

4-04: Output ....................................... 208

4-05: Output Level............................. 209

4-06: Wet:Dry..................................... 210

4-07: Mix Level .................................. 211

4-08: Parameter 1 ............................. 212

4-09: Parameter 2 ............................. 212

4-10: Control 1................................... 213

4-11: Control 2................................... 213

4-12: Control LFO.............................. 216

Effect Data Copy ............................... 217

Effect Signal Flow Display ............... 218

Utility Mode

1: System

1-1: Setup ............................................... 220

1-2: Effect Bypass ................................. 221

1-3: Output.............................................. 222

2: Controller

2-1: MIDI Control ................................... 223

2-2: Volume Control .............................. 225

3: MIDI

3-1: Parameter ....................................... 227

3-2: Filter................................................. 230

3-3: Bulk Dump ...................................... 231

3-4: Program Change Table................. 232

4: Card

4-1: Bank................................................. 233

4-2: Load................................................. 234

4-3: Save................................................. 235

4-4: Format ............................................. 236

5: Wave ........................................................ 237

The Wave Edit Mode .................................. 238

1: Waveform

1-1: Assign.............................................. 239

1-2: Enable ............................................. 240

1-3: Name ............................................... 241

2: Sample..................................................... 242

3: Initialize ................................................... 245

4: Sample Dump

4-1: Sample Receive ............................. 246

4-2: Sample Transmit ............................ 247

5: Card Load ............................................... 248

viii

Appendix

INITIAL PERFORMANCE LIST

(Preset 1) ................................................ 300

INITIAL PERFORMANCE LIST

(Preset 2) ................................................ 301

INITIAL PERFORMANCE LIST

(Internal).................................................. 302

INITIAL VOICE LIST (Preset 1)........... 303

INITIAL VOICE LIST (Preset 2)........... 304

INITIAL VOICE LIST (Preset 3)........... 305

INITIAL VOICE LIST (Preset 4)........... 306

INITIAL VOICE LIST (Internal 1)......... 307

INITIAL VOICE LIST (Internal 2)......... 308

WAVE LIST (Preset 1).......................... 309

WAVE LIST (Preset 2).......................... 310

SPECIFICATIONS........................................ 311

ERROR MESSAGES ................................... 312

TROUBLE SHOOTING................................ 315

INDEX ........................................................... 317

EFFECTS ...................................................... 251

Effect Signal Flow Diagrams —

Voice Mode............................................. 253

Effect Signal Flow Diagrams —

Drum Voice, Performance, and

Multi Modes ............................................ 261

The Effects & Their Parameters.......... 271

INSTALLATION OF THE SYEMB06

EXPANSION MEMORY BOARD .......... 282

INITIAL DATA

INITIAL PERFORMANCE “InitPerf.” .... 283

INITIAL NORMAL VOICE “Init Vce” .... 284

INITIAL DRUM VOICE “DR Kit”........... 285

INITIAL DRUM VOICE “DR Zones”..... 287

INITIAL DRUM VOICE “DR GMIDI” .... 289

INITIAL DRUM VOICE “DR Efect” ...... 291

INITIAL MULTI “Init Mlt” ....................... 293

SYSTEM SETUP.................................... 294

PERFORMANCE BLANK CHART........ 295

NORMAL VOICE BLANK CHART........ 296

DRUM VOICE BLANK CHART ............ 297

MULTI BLANK CHART.......................... 298

SYSTEM SETUP BLANK CHART ....... 299

Getting Started

Precautions

■ Location

Do not expose the instrument to the following conditions to avoid deforma-

tion, discoloration, or more serious damage.

• Direct sunlight (e.g. near a window).

• High temperatures (e.g. near a heat source, outside, or in a car during the

daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■ Power Supply

• Turn the power switch OFF when the instrument is not in use.

• The power supply cord should be unplugged from the AC outlet if the

instrument is not to be used for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC outlet as appliances with

high power consumption, such as electric heaters or ovens. Also avoid using

multi-plug adapters since these can result in reduced sound quality and

possibly damage.

■ Turn Power OFF When Making Connections

• To avoid damage to the instrument and other devices to which it is con-

nected (a sound system, for example), turn the power switches of all related

devices OFF prior to connecting or disconnecting audio and MIDI cables.

■ MIDI Connections

• When connecting the TG500 to MIDI equipment, be sure to use high-quality

cables made especially for MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters. Longer cables can pick up

electrical noise that can causes data errors.

■ Handling and Transport

• Never apply excessive force to the controls, connectors or other parts of the

instrument.

• Always unplug cables by gripping the plug firmly, not by pulling on the

cable.

• Disconnect all cables before moving the instrument.

• Physcal shocks caused by dropping, bumping, or placing heavy objects on

the instrument can result in scratches and more seious damage.

■ Cleaning

• Clean the cabinet and panel with a dry soft cloth.

• A slightly damp cloth may be used to remove stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

• Avoid placing vinyl objects on top of the instrument (vinyl can stick to and

discolor the surface).

!! PLEASE READ THIS BEFORE PROCEEDING !!

■ Electrical Interference

• This instrument contains digital circuitry and may cause interference if

placed too close to radio or television receivers. If this occurs, move the

instrument further away from the affected equipment.

■ Data Backup

• The TG500 contains a special long-life battery that retains the contents of

its internal voice, performance, multi, and wave memory (when installed)

even when the power is turned OFF. The backup battery should last for

several years. When the backup battery needs to be replaced “Change bat-

tery!” will appear on the display when the power is turned on. When this

happens, have the backup battery replaced by qualified Yamaha service

personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY

YOURSELF!

• Internal memory data can be corrupted due to incorrect operation. Be sure to

“save” important data to memory card frequently so you have a backup to

revert to if something happens to damage the data in memory.

■ Service and Modification

• The TG500 contains no user serviceable parts. Opening it or tampering with

it in anyway can lead to irreparable damage and possibly electric shock.

Refer all servicing to qualified YAMAHA personnel.

■ Third-party Software

• Yamaha can not take any responsibility for software produced for this prod-

uct by third-party manufacturers. Please direct any questions or comments

about such software to the manufacturer or their agents.

YAMAHA is not responsible for damage caused by improper handling

or operation.

About the Manual

The TG500 manual has two sections —

Getting Started

and

Feature

Reference

■ The Getting Started Section

In addition to an overview of the TG500 controls and connectors (page 8),

the Getting Started section contains five chapters that take you through the

main procedures you will need to know to become familiar with your TG500:

1. Setting Up Your System [Page 12]

Basic system connections, MIDI settings, and powering up your system.

2. Selecting And Playing Voices [Page 16]

Selecting and playing voices from the INTERNAL, PRESET and CARD

memories.

3. The Performance Mode [Page 22]

Selecting and playing performance combinations from the INTERNAL,

PRESET and CARD memories, and programming original performance

combinations.

4. The Multi Mode [Page 35]

Creating and using multi setups that allow up to 16 separate “instru-

ments” to be independenty controlled from an external sequencer, com-

puter, or similar device.

5. Voice Editing & Effects [Page 39]

Some ideas to help you program original voices in a smooth and effi-

cient manner.

We recommend that you go through the chapters in sequence while actually

carrying out the procedures on your TG500. Once you’ve gone through the

entire Getting Started section in this way, you should be familiar enough with

the TG500 to need only the Feature Reference section in future.

■ Icons

The following simple icons are used throughout the Getting Started section

of the manual to draw attention to important points and information where

necessary. The icons also make it easier to differentiate between information

that you should read immediately and information that can be skipped until

later, hopefully helping you to become familiar with the TG500 in the quickest,

most efficient manner possible.

This icon warns of possible hardware damage, software mal-

function, or any other serious problem that may occur due to

improper operation or set up.

This icon marks information that you must read — i.e. impor-

tant steps or procedures that are essential for proper, efficient,

or easy operation.

The magnifying-glass icon indicates information that may not

be essential for general operation, but is a more detailed

explanation of a feature, a description of the principle involved,

etc. You can skip this information if full details are not required

immediately.

Hints or ideas that are not specifically musical but may make

operation easier or more interesting are marked by the light-

bulb icon.

IMPORTANT

CAUTION

DETAIL

HINT

■ The Feature Reference Section

The Feature Reference section is the “nuts and bolts” reference for the

TG500, individually describing its many functions in detail. The Feature Refer-

ence section is divided into 5 main chapters, each describing the various func-

tions within a particular TG500 edit or utility mode.

1. Performance Edit Mode ................... [Page 49]

2. Voice Edit Mode ................... .............[Page 95]

3. Drum Voice Edit Mode........ .............[Page 167]

4. Multi Edit Mode..................... .............[Page 197]

5. Utility Mode/Wave Edit Mode........... [Page 219]

Once you have become familiar with the way the TG500 works by going

through the Getting Started section, you should only need to refer to the Fea-

ture Reference section from time to time to get details on functions you’ve

never used before, or refresh your memory about functions that you don’t use

very often.

Each chapter of the Feature Reference section has its own table of contents,

so you should be able to locate any particular function quickly and easily.

Functions and references can also be located by referring to the index at the

back of the manual.

The Controls & Connectors

■ Front Panel

1 [POWER] Switch

Press to turn the TG500 power on or off.

page 15.

2 PHONES Jack

Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for

headphone monitoring of the TG500 sound without the need for external ampli-

fication equipment.

3 VOLUME Control

Adjusts the volume of the sound delivered via the rear-panel OUTPUT

jacks as well as the PHONES jack.

page 12.

4 Liquid Crystal Display Panel

This 24-character × 2-line backlit liquid crystal display panel shows all

essential information for easy operation and programming.

page 17.

5 [PLAY MODE] Key

Alternately selects the TG500’s voice, performance, and multi play modes.

page 14.

1[POWER] Switch

2PHONES

3VOLUME Control

4Liquid Crystal Display Panel

6 [EDIT/COMPARE] Key

Accesses the edit mode for the currently selected play mode. If the voice

play mode is selected, for example, pressing the [EDIT/COMPARE] key en-

gages the voice edit mode. When an edit mode is already selected, the [EDIT/

COMPARE] key turns the edit compare function on and off.

page 27.

7 [STORE/COPY] Key

Used to store edited data to an internal or card memory location. When an

appropriate edit mode is engaged the [STORE/COPY] key is also used call the

corresponding data copy function.

page 33.

8 [UTILITY/SELECT] Key

This key selects the TG500 utility mode, containing a range of utility

functions and the wave edit mode. In the performance edit mode the

[UTILITY/SELECT] key is also used for layer selection and muting, while in

the mutli edit mode it is used for multi instrument selection.

page 29.

$DATA & WAVEFORM Card Slots

8[UTILITY/SELECT] Key

7[STORE/COPY] Key

6[EDIT/COMPARE] Key

5[PLAY MODE] Key

![MEMORY] Key

9[ ] and [ ] Key

0[PAGE] Key

#[ENTER] and [EXIT] Key

@[-1/NO] and [+1/YES] Key

9 [ ] and [ ] Keys

These keys do not function in the TG500 play modes (voice, performance, or

multi), but in the edit and utility modes they are used to move the cursor to the

parameter to be edited. Logically, the [ ] key moves the cursor to the left and the

[ ] key moves it to the right. In the edit mode the [ ] and [ ] keys can also be used

while holding the [PAGE] key to switch directly between edit screens.

page 14.

0 [PAGE] Key

In any of the edit and utility modes this key calls a menu that allows the

desired screen to be specified and accessed by number.

page 13.

! [MEMORY] Key

Selects the memory area — internal 1, internal 2, or card — from which

voices or performance combinations will be selected.

page 18.

@ [-1/NO] and [+1/YES] Keys

Used to select voices, performance combinations, multi setups, and editing

functions. These keys are also used to edit parameter values in any of the

TG500 edit modes. Either key can be pressed briefly for single stepping in the

specified direction, or held for continuous scrolling. Even faster scrolling is

achieved by pressing the opposite key while holding the key corresponding to

the direction you want to scroll in.

The [-1/NO] and [+1/YES] keys are also used to respond to the “Sure?”

confirmation prompt when saving or initializing data.

page 13.

# [ENTER] and [EXIT] Keys

The [ENTER] key is used to engage a variety of modes and functions,

while the [EXIT] key can generally be used to exit from any mode or function.

page 13 and 28.

$ DATA & WAVEFORM Card Slots

The DATA slot accepts Yamaha MCD64 Memory Cards for storage and re-

trieval of TG500 voices and performance combinations. It will also accept pre-

programmed ROM voice/performance cards. The WAVEFORM slot accepts pre-

programmed ROM cards containing wave data that can be used by the TG500. The

card wave data can be loaded into the TG500’s internal wave RAM memory.

CAUTION: Do not attempt to plug a waveform card into a

data card slot, and vice versa. Plugging the wrong card into the

wrong slot can result in physical damage.

page 17.

% OUTPUT L/MONO and OUTPUT R Jacks

These are the main stereo outputs from the TG500. If a plug is inserted

only into the L/MONO jack, the left and right-channel signals are combined

and delivered via this jack (for connection to a monaural sound system).

page 12.

^ INDIVIDUAL OUTPUT 1, 2, 3, & 4 Jacks

These are most ideally used as “additional outputs” for multi-play setups in

which each multi instrument can be individually assigned to the normal stereo

outputs described above, or a specified INDIVIDUAL OUTPUT. The multi-play

voices can thus be distributed to four outputs and send to a mixing console.

Drum voice instruments can also be separately assigned to the stereo and indi-

vidual outputs.

page 12.

& MIDI IN, OUT and THRU Connectors

The MIDI IN connector receives the data from an external keyboard,

sequencer or other MIDI device which is to control or transmit data to the

TG500. The MIDI THRU connector simply re-transmits the data received at the

MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI

OUT connector transmits bulk data when one of the MIDI data transmission

functions are activated.

page 13.

* Wave RAM Expansion Slots (top panel)

One or two Yamaha SYEMB06 Memory Expansion Boards can be installed

here to provide 512 kilobytes (1 board) or 1 megabyte (2 boards) of extra

RAM for storage of waveforms loaded either from a waveform card plugged

into the WAVEFORM2 slot or via the MIDI Sample Dump protocol.

page 282.

■ Rear Panel

%OUTPUT L/MONO and

OUTPUT R Jacks

^INDIVIDUAL OUTPUT

1, 2, 3, & 4 Jacks

&MIDI IN, OUT and

THRU Connectors

* Wave RAM Expansion Slots (top panel)

12 1. Setting Up Your System

1. Setting Up Your System

■ Connections

The diagram below shows the basic connections in a setup using the

TG500, a MIDI keyboard (with built-in sequencer), and a stereo sound system.

Make sure that the TG500, your keyboard, and your sound

system are turned OFF when making connections.

CAUTION

● AUDIO CONNECTIONS

If your TG500 is to be connected to a stereo sound system only, use the

OUTPUT L/MONO and R jacks. These are the main stereo outputs from the

TG500, and the ones controlled by the panel [VOLUME] control. If you have a

monaural sound system, connect only the L/MONO jack.

If you plan to use the TG500 with a mixing console or an integrated

multitrack recorder/mixer, you might want to take advantage of the INDI-

VIDUAL OUTPUT jacks (1, 2, 3 and 4) in addition to the OUTPUT L/MONO

and R output jacks. These six outputs can be connected to separate input chan-

nels of the mixer. In the multi mode, for example, you could assign instruments

you want to process separately to the INDIVIDUAL OUT jacks while the

remaining instruments are delivered in stereo to the OUTPUT L/MONO and R

outputs (see page 201 for multi instrument output assignment).

MIDI KEYBOARD

L/MONO R

OUTPUT

MIDI OUT

MIDI IN

STEREO SOUND SYSTEM

TG500

1. Setting Up Your System

● MIDI CONNECTIONS & SETTINGS

The MIDI OUT connector of the keyboard, sequencer, or other controller

which is to control the TG500 must be connected to the MIDI IN connector of

the TG500. You’ll also have to make sure that the receive channel of the

TG500 is set to match the transmit channel of your keyboard.

Basic MIDI Settings

1 Select the UTILITY mode.

Press the [UTILITY/SELECT] key to select the UTILITY mode.

2 Select the MIDI functions.

Use the [-1/NO] and [+1/YES] keys to select “3:MIDI”.

3 Press [ENTER].

4 Select the “Parameter” screen.

Press the [PAGE] key and then use the [-1/NO] and [+1/YES] keys to

select the “3-1:Parameter” screen.

5 Press [ENTER].

Press [ENTER] to select the UTILITY mode MIDI functions PARAMETER

screen.

14 1. Setting Up Your System

6 Set the MIDI parameters.

Use the [ ] to move the underline cursor to the leftmost parameter

(“<Rch >” will appear in the upper right corner of the display). This is the

receive channel parameter. Use the [-1/NO and [+1/YES] keys to set it to the

appropriate channel number (1 through 16) or “omni” to receive on all chan-

nels.

If the center parameter is not already set to “normal” as shown in the

display above, press the [ ] key to move the cursor to that parameter

(“<PgmCh >” will appear in the upper right corner of the display), then use the

[-1/NO] and [+1/YES] keys to set it to “normal”. This allows program change

numbers transmitted from your MIDI keyboard or controller to select voices or

performance combinations 0 through 63.

7 Press [PLAY MODE] when done.

Press the [PLAY MODE] key to exit from the UTILITY mode and return to

the TG500 play mode.

If your system requires more detailed MIDI settings, first read “General

Editing Procedure” on page 45, then study the MIDI parameters described on

pages 227 through 232 of the UTILITY MODE section.

● PLAY THE DEMO

The TG500 includes a demonstration playback function that you can try out

once your system is set up.

1 Engage the demo mode.

Press the [EXIT] key while holding the [PLAY MODE] key to engage the

demo mode. The following display will appear:

This display warns that if you actually enter the demo mode the internal

voice and performance memory will be re-loaded with the initial factory-preset

voices and performance combinations. Any edited voices and performance

combinations will therefore be erased. Press [+1/YES] if you want to go ahead,

or [-1/NO] if you want to cancel and return to the previous mode.

1. Setting Up Your System

2 Select a DEMO and press [ENTER].

Use the [-1/NO] and [+1/YES] keys to select one of the three demo se-

quences provided, then press [ENTER] to start playback.

3 Press [EXIT] to stop playback.

Press [EXIT] when you want to stop playback. You can now select and

play a different demo, or press [EXIT] again to exit from the demo mode.

■ Power-on Procedure

Believe it or not, there’s actually a “right” way to turn on a sound system

that will minimize the possibility of damage to the equipment (and your ears!).

1 Make sure your sound system’s volume control and the TG500 volume

control are turned all the way down prior to turning power on.

2 Turn on your keyboard or other MIDI controller.

3 Turn on the TG500.

4 Turn on the sound system.

5 Raise the sound system volume to a reasonable level.

6 Gradually raise the TG500 VOLUME control while playing the keyboard/

controller to set the desired listening level.

16 2. Selecting And Playing Voices

One of the first things you’ll want to do with your TG500 is select and

play some of its outstanding voices … this section will show you how to do

just that.

■ The Preset, Internal, & Card Voice Memories

Voices played by the TG500 can come from three different sources: the

PRESET voice memory, the INTERNAL voice memory, or CARD voice

memory. Each of these memory areas further contains a number of “banks,”

each containing 64 voices. Any voice in any of these voice memories can be

selected and played while the TG500 is in the VOICE PLAY mode.

PRESET VOICE MEMORY

Voice numbers that begin with a “P” are in the PRESET voice memory.

The PRESET voice memory contains 256 pre-programmed voices in ROM

(Read Only Memory) that cannot be overwritten or changed in any way. The

256 voices are organized in 4 banks of 64 voices each.

PRESET VOICE MEMORY

.............................

Preset voice bank 1 (00 … 63).

............................

Preset voice bank 2 (00 … 63).

III

...........................

Preset voice bank 3 (00 … 63).

...........................

Preset voice bank 4 (00 … 63).

INTERNAL VOICE MEMORY

INTERNAL voice numbers begin with the letter “I”. The INTERNAL voice

memory is a RAM (Random Access Memory) area which initially contains 128

voices that you can use “as-is” or edit to create variations or totally new

voices. The 128 voices are organized as 2 banks of 64 voices each. Voices in

the INTERNAL memory can also be moved around and stored in different

INTERNAL memory locations, or new voices can be loaded from an external

memory card. The initial factory-set INTERNAL voices are different from the

PRESET voices, and will be lost if edited or changed in any way. The initial

INTERNAL voices are automatically reloaded when the TG500 demonstration

is played (page 14).

INTERNAL VOICE MEMORY

...............................

Internal voice bank 1 (00 … 63).

..............................

Internal voice bank 2 (00 … 63).

2. Selecting And Playing Voices

CARD VOICE MEMORY

CARD memory voice numbers begin with the letter “C”. The CARD

memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro-

grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot.

Memory cards are convenient for external storage and transportation of voices

you or others create. You can also store sets of related voices on different

memory cards. An MCD64 Memory Card holds four banks of 64 voices each

— a total of 256 voices per card. Each card is also divided into two banks,

each holding two voice banks of 64 voices each. The card bank to be accessed

(1 or 2) must be selected via the UTILITY mode “4:Card” function “4-1:Bank”

parameter (page 233). Thus, 128 of the 256 voices stored on a card can be

accessed at a time.

DATA 1 CARD VOICE MEMORY

.............................

Card voice bank 1 (00 … 63).

............................

Card voice bank 2 (00 … 63).

DATA 2 CARD VOICE MEMORY

III

...........................

Card voice bank 3 (00 … 63).

..........................

Card voice bank 4 (00 … 63).

A properly formatted Yamaha MCD64 memory card (or an

appropriate pre-programmed voice card) must be inserted in

the DATA 1 and/or DATA 2 slot before the card memory can be

selected.

■ Select a Voice & Play

1 Select the Voice Play Mode

Press the [PLAY MODE] key as many times as necessary to select the

voice play mode. “VCE PLAY” will appear on the top line of the LCD panel.

The information displayed on the bottom display line tells you

about the current effect mode and what effects are assigned to

the TG500’s two effect processors. See the “Effects” section

beginning on page 251 for more details.

IMPORTANT

DETAIL

18 2. Selecting And Playing Voices

2 Select a Memory Area & Bank

The [MEMORY] key is used to access the TG500’s internal, preset, and

card memory areas, and the different memory banks they contain. Try pressing

the [MEMORY] key a few times while watching the voice number on the

display.

The voice number and name appear on the upper line of the display. “I” at

the beginning of the number stands for “Internal,” “P” stands for Preset,” and

“C” stands for “Card” (“C” only appears if an appropriate voice card is

plugged into either or both the DATA 1 or DATA 2 card slots). Notice that in

each memory area several roman-numeral subscripts appear below the letter at

the beginning of the voice number. These indicate the individual voice banks

within each memory area.

Pressing the [MEMORY] key should call the following voice number pre-

fixes in sequence (the card memory, shown in parentheses below, only appears

if cards are inserted in the DATA slots):

… I

→ I

→ P

III

→ P

→ (C

→ C

III

→ C

) → I

…

3 Select a Voice

After selecting a voice bank, you can select any of the 64 voices it contains

by using the [-1/NO] and [+1/YES] keys.

Either key can be pressed briefly to single-step in the specified direction, or

held for continuous scrolling. Even faster scrolling is achieved by pressing the

opposite key while holding the key corresponding to the direction you want to

scroll in.

4 Play

Try playing the selected voice on the keyboard or controller. Select a

number of different voices and try them out. Here’s an abbreviated voice list

for easy reference.

Voice NameVoice Number

2. Selecting And Playing Voices

● Preset Voice Lists 1

■ Voice List

● Preset Voice Lists 2 ● Preset Voice Lists 3

No. Voice Name

00 AP Grand

01 AP Chors

02 AP Dance

03 AP Rock

04 AP Tack

05 AP Touch

06 BA Wood

07 BA Pitz

08 BA Fingr

09 BA Frtls

10 BA Pick1

11 BA Pick2

12 BA Slap

13 BA Thump

14 BA Syn 1

15 BA Syn 2

16 BA Syn 3

17 BA Syn 4

18 BA Syn 5

19 BA Syn 6

20 BA Syn 7

21 BA Syn 8

22 BA Syn 9

23 BA Syn 10

24 BA Syn 11

25 BA Syn 12

26 BR Trump

27 BR Mute

28 BR Horn

29 BR Tromb

30 BR Tuba

31 BR TpEns

No. Voice Name

32 BR Tpts

33 BR TpSfz

34 BR Stab

35 BR EnsSF

36 BR East

37 BR Syn 1

38 BR Syn 2

39 BR Syn 3

40 BR Syn 4

41 BR Saw

42 BR SawSF

43 BR Swell

44 BR Tooth

45 BR Rezz

46 BR Toto

47 BR Wow

48 CH Aah

49 CH Ooh

50 CH Pure

51 CH Breth

52 CH Ghost

53 CH Quire

54 CH Vespa

55 CH Vocod

56 Fl Blue1

57 Fl Blue2

58 Fl Dudel

59 Fl DulcD

60 Fl DulcM

61 Fl Harp

62 Fl Kalim

63 DR Kit

No. Voice Name

00 Fl Lip

01 Fl Sitar

02 GT Nylon

03 GT Dark

04 GT Steel

05 GT 12Str

06 GT Jazz

07 GT Strt1

08 GT Strt2

09 GT Strt3

10 GT Mute

11 GT Harm

12 GT Comp1

13 GT Comp2

14 GT Dist

15 GT Warm

16 GT Wah

17 GT Feed

18 KY EP 1

19 KY EP 2

20 KY EP 3

21 KY EP 4

22 KY EP 5

23 KY EP 6

24 KY EP 7

25 KY EP 8

26 KY EP 9

27 KY EP 10

28 KY EP 11

29 KY EP 12

30 KY Clav1

31 KY Clav2

No. Voice Name

32 KY Hrpsi

33 KY Acrdn

34 KY Cali1

35 KY Cali2

36 ME Bottl

37 ME Gizmo

38 ME Grind

39 ME Hand

40 ME Kali

41 ME Mello

42 ME Orch1

43 ME Orch2

44 ME OrchR

45 ME Soro

46 ME Templ

47 ME Tink

48 ME Tomi

49 ME Voics

50 OR Jaz B

51 OR Smoke

52 OR Airy

53 OR Dist

54 OR Cheap

55 OR Pipes

56 OR Click

57 OR Perc

58 SC Aha!

59 SC Bari

60 SC Bell

61 SC Clav

62 SC Digi1

63 DR Zones

No. Voice Name

00 SC Digi2

01 SC Digi3

02 SC Ecko

03 SC Fingr

04 SC Housy

05 SC Jrney

06 SC Metal

07 SC Mute

08 SC Pan

09 SC Perc

10 SC Rezz

11 SC Spike

12 SC Sqiff

13 SC Synnr

14 SC Topia

15 SC Vocal

16 SC Vox

17 SC Wires

18 SC Wondr

19 SE Alert

20 SE Templ

21 SE BDup

22 SE Chou

23 SE Demon

24 SE Dropr

25 SE Gobln

26 SE Heli

27 SE Hell

28 SE Hyena

29 SE Indus

30 SE It

31 SE Noize

No. Voice Name

32 SE Pops

33 SE Rain

34 SE Rezo

35 SE S&H

36 SE Star

37 SE Up&Up

38 SE Wind

39 SL Cutty

40 SL Digi

41 SL Dist

42 SL Hamma

43 SL Lead

44 SL Lyle

45 SL Pulse

46 SL Saw 1

47 SL Saw 2

48 SL Squar

49 SL Sync

50 SL Whisl

51 SP Abyss

52 SP Big

53 SP Exita

54 SP Freqs

55 SP Glass

56 SP Goner

57 SP Hyper

58 SP Makro

59 SP Mello

60 SP Movie

61 SP Nasty

62 SP Nehan

63 DR GMIDI

20 2. Selecting And Playing Voices

● Preset Voice Lists 4 ● Internal Voice Lists 1 ● Internal Voice Lists 2

No. Voice Name

00 SP Paddy

01 SP Phaze

02 SP Poly

03 SP SawSt

04 SP Slow

05 SP Smoky

06 SP Space

07 SP Sqare

08 SP Sweep

09 SP Sweet

10 SP Vizon

11 SP Wine

12 ST Violn

13 ST JeanL

14 ST Sectn

15 ST Power

16 ST Deep

17 ST Dark

18 ST Brite

19 ST Arco

20 ST Sfz

21 ST Pizz

22 ST Tron

23 ST Anlog

24 ST Sizzl

25 ST Synth

26 ST Thin

27 ST Combo

28 TP Glock

29 TP Xylo

30 TP Vibes

31 TP Tubal

No. Voice Name

32 TP Hands

33 TP Siam

34 TP Steel

35 TP Loggy

36 TP Bambu

37 TP Mrmba

38 TP Timp

39 TP Syn

40 TP SynDr

41 TP Tinkl

42 TP Agone

43 TP Angle

44 WN Sopr

45 WN Alto

46 WN Tenor

47 WN Bari

48 WN SaxSF

49 WN Picc

50 WN Flute

51 WN Pan

52 WN Clari

53 WN Oboe

54 WN Basso

55 WN Recor

56 WN Breth

57 Ml Crash

58 MI EPNP

59 Ml Hiss

60 Ml Ride

61 MW EGBia

62 AT EGBia

63 DR Efect

No. Voice Name

00 AP Brite

01 AP Dark

02 AP Chrs2

03 BA Pluck

04 BA Soul

05 BA Stick

06 BA Low

07 BA Head

08 BA Tri

09 BR Punch

10 BR TpSf1

11 BR Movin

12 BR Ruber

13 BR CS80

14 BR Strai

15 BR Lush

16 BR TpSf2

17 CH Quiet

18 CH Kwire

19 CH Spirt

20 CHAnalg

21 CH VoxPc

22 DR Tom

23 Fl Banjo

24 Fl Koto

25 Fl Sitr2

26 Fl Tamba

27 GT Fingr

28 GT Amod

29 GT Strat

30 GT Pedal

31 GT Dist2

No. Voice Name

32 KY Hrpzi

33 KY EP 13

34 KY EP 14

35 KY EP 15

36 KY EP 16

37 KY EP 17

38 KY EP 18

39 KY Harm

40 KY SyClv

41 ME Bnshe

42 ME Bubbl

43 ME Hit

44 ME Marin

45 ME Mojo

46 ME Poot

47 ME Sweep

48 ME Tabla

49 ME Treml

50 ME Angel

51 ME Whisl

52 OR Door0

53 OR Jazz

54 OR Pipe

55 OR Rock

56 OR Smoth

57 SC Anti

58 SC Bell2

59 SC Bhind

60 SC Blot

61 SC Chop

62 SC Klav

63 DR Revrs

No. Voice Name

00 SC Hool

01 SC Hand

02 SC WooDX

03 SC Wire

04 SC Pain

05 SC Pluck

06 SC Reflx

07 SC Sprkl

08 SC Thumb

09 SC Uzzy

10 SC Vxcla

11 SC Walk

12 SC Wits

13 SC Wow

14 SE Alien

15 SE Clox

16 SE Crck

17 SE Crsh

18 SE Duel

19 SE Fear

20 SE Roll

21 SE Lava

22 SE Laze

23 SE Mono

24 SE Saw

25 SE Swmp

26 SE Vaqum

27 SE Vektr

28 SE Zip

29 SL lck

30 SL 2VCO1

31 SL Ash

No. Voice Name

32 SL Glnt

33 SL Oth

34 SL Sqsaw

35 SL Ut

36 SP 1980

37 SP Decay

38 SP Ear

39 SP Glas2

40 SP It

41 SP Lash

42 SP Latt

43 SP Lonly

44 SP Lyle

45 SP Melo

46 SP Nsty2

47 SP Oscil

48 SP Ray

49 SP SloMo

50 ST Cello

51 ST Cntra

52 ST Chamb

53 ST Arco2

54 ST High

55 ST Anlg2

56 TP Bell

57 TP Clock

58 TP GSvib

59 TP Tabla

60 TP Boink

61 WN Flut1

62 WN Flut2

63 DR Voice

2. Selecting And Playing Voices

Note that the voices are arranged in categories for easier access. The cat-

egory of each voice is identified by a two-character prefix, as follows:

AP ...............Acoustic Piano

OR...............Organ

KY ...............Keyboard

BR ...............Brass

ST................Strings

BA ...............Bass

GT ...............Guitar

FI .................Folk Instruments

WN ..............Wind

CH ...............Chorus

TP................Tuned Percussion

SP ...............Synth Pad

SC ...............Synth Comp

SL................Synth Lead

ME...............Musical Effect

SE ...............Sound Effect

DR ...............Drums

A more detailed voice list is provided in the appendix (page 303).

If you don’t get any sound at this point: Make sure your sound

system is turned ON and the volume is turned up to a

reasonable level, make sure that the TG500 VOLUME control is

turned up to a reasonable level, and check all connections

carefully.

HINT

22 3. The Performance Mode

The TG500 PERFORMANCE mode makes it possible to combine up to four

voices in “performance combinations” that significantly enhance the instru-

ment’s performance capabilities. 128 performance combinations can be stored in

internal memory and recalled in the same way as the voices. Before we look at

how you can create your own performance combinations, try selecting and

playing some of the combinations provided with the TG500.

■ The Preset, Internal, & Card Performance Memories

TG500 performance combinations can come from three different sources:

the PRESET performance memory, the INTERNAL performance memory, or

CARD performance memory. The PRESET performance memory area further

contains 2 “banks,” each containing 64 voices. Any performance combination in

any of these memory areas can be selected and played while the TG500 is in

the PERFORMANCE PLAY mode.

PRESET PERFORMANCE MEMORY

Performance numbers that begin with a “P” are in the PRESET performance

memory. The PRESET performance memory contains 128 pre-programmed

performance combinations in ROM (Read Only Memory) that cannot be

overwritten or changed in any way. The 128 performance combinations are

organized in 2 banks of 64 voices each.

PRESET PERFORMANCE MEMORY

.............................

Preset performance bank 1 (00 … 63).

............................

Preset performance bank 2 (00 … 63).

INTERNAL PERFORMANCE MEMORY

INTERNAL performance numbers begin with the letter “I”.

The INTERNAL

voice memory is a RAM (Random Access Memory) area which initially con-

tains 64 performance combinations that you can use “as-is” or edit to create

variations or totally new voices. Performance combinations in the INTERNAL

memory can also be moved around and stored in different INTERNAL memory

locations, or new performance combinations can be loaded from an external

memory card. The initial factory-set INTERNAL performance combinations are

different from the PRESET performance combinations, and will be lost if edited

or changed in any way. The initial INTERNAL performance combinations are

automatically reloaded when the TG500 demonstration is played (page 14).

INTERNAL PERFORMANCE MEMORY

I .....................Internal performance bank 1 (00 … 63).

3. The Performance Mode

CARD PERFORMANCE MEMORY

CARD memory performance numbers begin with the letter “C”. The CARD

memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro-

grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot.

An MCD64 Memory Card holds 128 performance combinations in addition to

256 voices per card. Each card is divided into two banks, each holding two

voice banks of 64 performance combinations each. The card bank to be

accessed (1 or 2) must be selected via the UTILITY mode “4:Card” function

“4-1:Bank” parameter (page 233). Thus, 64 of the 128 performance combina-

tions stored on a card can be accessed at a time.

DATA 1 CARD PERFORMANCE MEMORY

.............................

Card performance bank 1 (00 … 63).

DATA 2 CARD PERFORMANCE MEMORY

............................

Card performance bank 2 (00 … 63).

A properly formatted Yamaha MCD64 memory card (or an

appropriate pre-programmed voice card) must be inserted in

the DATA 1 and/or DATA 2 slot before the card memory can be

selected.

IMPORTANT

24 3. The Performance Mode

■ Play the Performance Combinations

1 Select the Performance Play Mode

Press the [PLAY MODE] key as many times as necessary to select the

performance play mode. “PFM PLAY” will appear on the top line of the LCD

panel.

The information displayed on the bottom display line tells you

about the current effect mode and what effects are assigned to

the TG500’s two effect processors. See the “Effects” section

beginning on page 251 for more details.

2 Select a Memory Area & Bank

The [MEMORY] key is used to access the internal, preset, and card per-

formance memory areas in exactly the same way as in the VOICE PLAY mode.

Pressing the [MEMORY] key should call the following performance number

prefixes in sequence (the card memory, shown in parentheses below, only

appears if cards are inserted in the DATA slots):

… I → P

→ P

→ (C

→ C

) → I …

3 Select a Performance Combination

As in the VOICE PLAY mode, the [-1/NO] and [+1/YES] keys are used to

select any of the 64 performance combinations in the currently selected bank.

4. Play

Try playing some of the performance combinations. In some cases you’ll

hear several voices “layered” on top of one another, in others you’ll get a split

keyboard effect with one voice on the left-hand side of the keyboard and an-

other on the right. Select a number of different performance combinations and

try them out. Here’s an abbreviated performance list for easy reference.

DETAIL

3. The Performance Mode

No. Voice Name

32 CO Jazzr

33 OR Gimme

34 SP Lite

35 SC Buzz

36 CH Munch

37 BA Rezzo

38 ST Dark

39 BR Saw

40 CO E.S.P

41 KY Elek

42 SP Stars

43 SC Snaps

44 CH Abyss

45 BA Mini

46 ST 2002

47 BR Obie

48 CO Pnooh

49 OR Nave

50 SP Ace

51 SC Point

52 CH Comet

53 BA Guppy

54 ST Big

55 BR Fatti

56 CO Inca

57 KY Funky

58 SP Vekta

59 SC Pizza

60 CH Oral

61 BA Doom

62 ST Tron

63 BR Swell

No. Voice Name

00 CO Dream

01 KY Piano

02 SP Aztec

03 SC Wyrz

04 CH Choir

05 BA Pick1

06 ST Rosin

07 BR Stab

08 CO Soire

09 OR Bee

10 SP Lush

11 SC Rude

12 CH Breth

13 BA Swap

14 ST Octvs

15 BR Pro5

16 CO Orch

17 KY Digi1

18 SP Faery

19 SC Talk

20 CH OohAh

21 BA Pick2

22 ST Pitz

23 BR Sfz

24 CO Sable

25 KY Roady

26 SP Slide

27 SC Klav

28 CH Vespa

29 BA -Fret

30 ST Rings

31 BR Forte

● Preset Performance Lists 1

No. Voice Name

32 CO Gospl

33 OR Cheap

34 SP Pluto

35 SC Clank

36 ME Ecko

37 GT Harm

38 SE Zoom

39 BR Reeds

40 CO Ethos

41 KY PnoMW

42 SP Synth

43 FI Santo

44 ME Alien

45 GT El12

46 SE Delay

47 BR Lips

48 CO Kings

49 KY Calio

50 SP Anlog

51 SC Wind

52 ME Spark

53 GT 12Str

54 SE Flies

55 BR Miles

56 CO Happi

57 KY Digi3

58 SP Arpeg

59 TP Bells

60 ME Hit

61 GT Acstc

62 SE Hero

63 BR Fanfr

No. Voice Name

00 CO Ncert

01 KY Loud

02 SP Carol

03 SL Mitey

04 ME Orion

05 GT Amped

06 SE Rolls

07 WN Tenor

08 CO DXStr

09 OR Sine

10 SP Venus

11 SL Chick

12 ME Glitz

13 GT Strat

14 SE C-tar

15 WN Sacks

16 CO Stass

17 KY Digi2

18 SP Whino

19 SL L7

20 ME Honto

21 GT Phunk

22 SE Xeno

23 WN Alto

24 CO Megin

25 KY Jerry

26 SP Hinx

27 SL Eazy

28 ME Mars

29 GT Rock

30 SE Storm

31 WN Panic

● Preset Performance Lists 2

■ Performance List

No. Voice Name

32 SP Atrio

33 SC Woody

34 ME Chorl

35 GT Round

36 BR Sfz2

37 SE Rado

38 ST LgSm

39 SL Meteo

40 CO Clock

41 OR Mite

42 SP Wind

43 SC Arred

44 ME Chom

45 CO FMpad

46 BR Tpts

47 SE Indst

48 CO Nuage

49 SP Lodge

50 SC Oz

51 CO Japan

52 KY Hrpzi

53 SL Sqsaw

54 BR CShrn

55 CO Laura

56 CO Orch2

57 ME Hits

58 ST Solo

59 CO Soul

60 GT Wires

61 OR Pan

62 BR 3 Osc

63 CO Fire

No. Voice Name

00 CO Aster

01 AP Piano

02 SP Mtrix

03 SC Skank

04 ME Sprk2

05 BA Drive

06 BR Fnfr2

07 SE Devil

08 ST Moin

09 FI Dulcm

10 CO Bells

11 KY Knock

12 SP Fanta

13 SC Elec1

14 ME Gokrk

15 BA Susud

16 BR Forth

17 SE Swmp

18 ST Legat

19 GT Pedal

20 CO Gloom

21 OR Cool

22 SP Flash

23 SC Gob

24 ME Max

25 BA Sldge

26 BR Synth

27 SE Wall

28 ST Accat

29 GT Steel

30 CO India

31 OR Rock

● Internal Performance Lists

Note that the performance combinations are arranged in categories for easier

access. The category of each performance combinations is identified by a two-

character prefix, as follows:

AP ...............Acoustic Piano

OR...............Organ

KY ...............Keyboard

BR ...............Brass

ST................Strings

BA ...............Bass

GT ...............Guitar

FI .................Folk Instruments

WN ..............Wind

CH ...............Chorus

TP................Tuned Percussion

SP ...............Synth Pad

SC ...............Synth Comp

SL................Synth Lead

ME...............Musical Effect

SE ...............Sound Effect

CO...............Combination

A more detailed performance list is provided in the appendix (page 300).

26 3. The Performance Mode

■ Programming Your Own Performance Combinations

A single TG500 “performance combination” can have one, two, three, or

four “layers,” each having a different voice and several other important

attributes.

In addition to the individual attributes that can be programmed for each

layer, overall characteristics such as volume, effects, and the performance name

can also be programmed.

Layers can be played simultaneously across the entire keyboard, limited to

specific ranges to create split keyboard setups, or overlapped in any way re-

quired. It’s also possible to use “velocity switching” to assign different velocity

ranges to different layers so that, for example, one voice sounds when you play

softly and a completely different voice takes over (or overlaps the first voice)

when you play harder.

• VOICE "A"



• Volume

• Pan

• Tune

• Note limit

• Velocity limit

• Controller

• AEG offset

• Filter offset

• LFO offset

• Sustain on/off

• Pitch EG enable

• Oscillator mode

LAYER D

• VOICE "A"



• Volume

• Pan

• Tune

• Note limit

• Velocity limit

• Controller

• AEG offset

• Filter offset

• LFO offset

• Sustain on/off

• Pitch EG enable

• Oscillator mode

LAYER C

• VOICE "A"



• Volume

• Pan

• Tune

• Note limit

• Velocity limit

• Controller

• AEG offset

• Filter offset

• LFO offset

• Sustain on/off

• Pitch EG enable

• Oscillator mode

LAYER B

• VOICE "A"



• Volume

• Pan

• Tune

• Note limit

• Velocity limit

• Controller

• AEG offset

• Filter offset

• LFO offset

• Sustain on/off

• Pitch EG enable

• Oscillator mode

LAYER A

1 PERFORMANCE

• Performance Name

• Overall Volume

• Effects



3. The Performance Mode

● AN EXAMPLE

Follow these steps to create a 3-layer voice in which you play a bass voice

on the lower octaves of the controlling keyboard (below C3), and piano plus

strings on the upper octaves.

Although we won’t use anywhere near the TG500’s full complement of

performance parameters, this exercise will help you get a feel for the perform-

ance mode and standard editing procedures.

1 Select a Performance Combination

Engage the PERFORMANCE PLAY mode and select any performance

combination, as described in the preceding section.

2 Initialize the Selected Performance Combination

2-1

Make sure that the PERFORMANCE PLAY mode is selected, and then

press the [EDIT/COMPARE] key. Use the [-1/NO] and [+1/YES] keys to select

the “4:Recall/Init.” screen.

LAYER A (Bass)

LAYER B (Piano) +

LAYER C (Strings)

28 3. The Performance Mode

2-2

Press [ENTER], then [PAGE], and then use the [-1/NO] and [+1/YES] keys

to select the “4-2:Initialize” screen.

2-3

Press [ENTER].

2-4

Press [ENTER] again.

2-5

Press [+1/YES] to execute the performance initialize job. “Completed!” will

appear briefly when the performance data has been initialized.

3 Select the Performance Edit “LAYER” Mode

3-1

Press [EXIT] to return to the performance edit menu, then use the [-1/NO]

and [+1/YES] keys to select the “3:Full Edit” screen.

3. The Performance Mode

3-2

Press [ENTER], then use the [-1/NO] and [+1/YES] keys to select the “3-

1:Layer” screen.

When you’ve located this screen, press [ENTER] to engage the performance

edit “Layer” mode.

4 Select the Voices for Each Layer

If the “PFM Voice” display doesn’t appear as soon as you engage the

performance layer mode, press [PAGE], use the [-1/NO] and [+1/YES] keys to

select the “3-1-01:Voice” screen, then press [ENTER].

The voice numbers assigned to each layer are shown across the bottom of

the display. After initialization, voice “P

00” is assigned to all four layers.

Use the [ ] key to place the underline cursor under the layer-A voice

number (note that the selected layer is shown in square brackets and the voice

name is shown in the upper right corner of the display), then use the [-1/NO]

and [+1/YES] keys to select voice number “P

06” (BA Wood).

Next press the [ ] key to select the layer-B voice number, and use the

[-1/NO] and [+1/YES] keys to select voice number “P

04” (AP Tack).

Next press the [ ] key to select the layer-C voice number, and select voice

number “P

21” (ST Pizz).

Finally, move the cursor to the layer-D voice number and, while holding

the [UTILITY/SELECT] key, press the [MEMORY] key to turn layer-D “off”

(page 50).

Layer “A”

voice.

Layer “B”

voice.

Layer “C”

voice.

Layer “D”

voice.

30 3. The Performance Mode

5 Lower the Volume of the Strings Voice

Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the

“3-1-02:Volume” screen, then press [ENTER].

You can now use the [ ] and [ ] keys to move the cursor to the volume

parameters for each layer, and use the [-1/NO] and [+1/YES] keys to set the

volume levels as required. The volume range is from “0” to “127”, with “127”

being maximum volume.

For now, just lower the volume of the layer-C strings voice to “98”. Notice

that since layer D is turned “off”, no parameter appears for the layer-D voice.

Instead of pressing the [PAGE] key, then selecting the number

of the screen you want, and the pressing [ENTER], it is possible

to move directly between screens in the same function group

by using the [ ] and [ ] keys while holding the [PAGE] key. From

the “PFM Voice” screen, for example, you can go straight to the

“PFM Volume” screen by pressing [ ] while holding [PAGE].

6 Pan the Piano & Strings Voices

Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-

1-03:Pan” screen, then press [ENTER] (or simply press [ ] while holding

[PAGE]).

Set the layer-B pan parameter to “-15” and the layer-C pan parameter to

“+15”. This pans the piano voice slightly to the left and the strings voice

slightly to the right for a broader, more spacious sound (the bass voice is left

in the center — “+0”).

HINT

Layer “B”

voice.

Layer “C”

voice.

Layer “D”

voice.

Layer “A”

voice.

Layer “B”

voice.

Layer “C”

voice.

Layer “D”

voice.

Layer “A”

voice.

3. The Performance Mode

7 Shift the Bass Voice Up One Octave

Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the

“3-1-04:Note Shift” screen, then press [ENTER] (or simply press [ ] while

holding [PAGE]).

Since the bass voice we have selected will sound too low if played only on

the lower octaves of the controlling keyboard, we’ll shift its pitch up one

octave. Move the cursor to the layer-A “NtShft” (Note Shift) parameter and set

it to “+12”.

8 Set the Low Note Limits

Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the

“3-1-06:Note Limit-L” screen, then press [ENTER] (or simply press [ ] two

times while holding [PAGE]).

Set the layer-B and layer-C low note limits to “C3”.

Layer “D”

voice.

Layer “D”

voice.

Layer “A”

voice.

Layer “B”

voice.

Layer “C”

voice.

Layer “C”

voice.

Layer “B”

voice.

Layer “A”

voice.

32 3. The Performance Mode

9 Set the High Note Limits

Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the

“3-1-07:Note Limit-H” screen, then press [ENTER] (or simply press [ ] while

holding [PAGE]).

Set the upper note limit for the layer-A voice to “B2”.

Although the current layer-A lower limit (C-2) as well as the

layer-B and layer-C upper limits (G8) extend beyond the range

of most keyboards, these settings won’t adversely affect our

performance combination so we won’t bother to change them.

10 Play

Try playing our new performance combination on the controlling keyboard.

You should hear only the “I

05” (BA Stick) voice when playing on the lower

octaves (notes up to B2), and a combination of the “I

01” (AP Dark) and “I

53”

(ST Arco2) voices when playing on the upper octaves (C3 and above).

The COMPARE Function

The COMPARE function lets you compare the sound of the edited perform-

ance combination with that of the original performace combination. To engage

the COMPARE mode, press the [EDIT/COMPARE] key while in the perform-

ance edit mode. The EDIT indicator will flash and you’ll hear the original pre-

edit performance combination when you play on the keyboard.

Press the [EDIT/COMPARE] key again to exit from the COMPARE mode

and return to the edited data.

11 Go Back And Customize the Parameters

Now you know what the parameters we’ve just edited do, go back and

modify them to create a performance combination that suits your musical needs.

Layer “D”

voice.

DETAIL

Layer “A”

voice.

Layer “B”

voice.

Layer “C”

voice.

3. The Performance Mode

12 Store Your Performance Combination

Once you’re satisfied with the sound of your original performance combina-

tion, you can store it to an internal performance memory location as follows:

12-1

Press the [PLAY MODE] key to return to the PERFORMANCE PLAY

mode.

12-2

Press the [STORE/COPY] key.

Use the [-1/NO] and [+1/YES] keys to select the internal performance

number to which you want to store your new performance combination (you

can also use the [MEMORY] key to select the card memory if a properly

formatted and write-enabled MCD64 memory card is inserted into one or both

of the DATA slots).

12-3

Press [ENTER].

34 3. The Performance Mode

12-4

Press [+1/YES] again.

“Completed !” will appear briefly when the data has been stored, then the

TG500 will return to the PERFORMANCE PLAY mode.

When you return to the PERFORMANCE PLAY mode, an inverse

letter “E” will appear to the right of the performance number,

indicating that it has been edited but not stored. You can call

the STORE function at this point and proceed as described

above. If you select a different performance combination before

storing, however, the edited data will be lost. Also note that any

previous data in the performance memory location you store to

will be overwritten by the new data.

You can use the PERFORMANCE NAME function described on

page 61 to give your performance combination an original name

before storing it.

■ Further Possibilities …

When you’re ready to explore the many other possibilities the TG500

provides for performance programming, read through the “PERFORMANCE

EDIT MODE” mode (page 49).

IMPORTANT

HINT

4. The Multi Mode

If you’ve been going through the tutorials section in sequence as we recom-

mended, so far you’ve used the VOICE PLAY, PERFORMANCE PLAY, and

PERFORMANCE EDIT modes. If, however, your intention is to use the TG500

with a sequencer or computer to play a number of different voices simultane-

ously, the modes you’ll use most frequently are the MULTI PLAY and MULTI

EDIT modes.

The TG500 provides16 INTERNAL memory locations for complete “multi”

setups. This allows you to create up to 16 original “orchestras” with different

combinations of voices that can be recalled whenever needed.

● WHAT’S IN A MULTI SETUP?

A single multi setup can consist of up to 16 different voices assigned to

“instruments” 1 through 16. Each instrument is controlled via the correspond-

ingly numbered MIDI channel. These voices can then be controlled independ-

ently from a sequencer, music computer, or other controller transmitting on the

appropriate channels.

Each instrument has several parameters that can be individually edited in

the MULTI EDIT mode:

Voice/performance number............. page 200.

Volume .............................................. page 200.

Stereo pan position ......................... page 200.

Effect send level .............................. page 200.

Note shift .......................................... page 201.

Fine tuning........................................ page 201.

Output assignment........................... page 201.

Name ................................................. page 202.

There are also a range of effect settings that affect the entire setup (page

204).

4. The Multi Mode

The Multi Mode

36 4. The Multi Mode

● MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION

The TG500 actually consists of two 32-note tone generator units (“A” and

“B”), giving it a total polyphony of 64 notes. Some of the preset waves are

produced by tone gerator “A,” while others are produced by tone generator

“B.” Thus, each voice is produced by one or the other tone geneator depending

on which wave is assigned to it. To find out which of the tone generator units

a voice is produced by, select either the voice edit mode “1-1:Wave Select” or

“3-1-01:Wave Select” function (pages 107 and 108) and look at the inverse

letter following the assigned wave name — it will be either “ A ” or “ B ”

corresponding to the tone generator unit it is produced by. The wave assign-

ments are also listed in the complete voice list given in the Appendix (page

303). In terms of multi polyphony this means that if all the voices assigned to

a multi setup are generated by the same tone generator unit (“A” or “B” only),

the maximum polyphony for that multi setup will be 32 notes. It is therefore a

good idea to use a well-balanced combination of voices produced by both tone

generator units to ensure maximum polyphony.

● SELECTING A MULTI SETUP

MULTI PLAY setups are selected in essentially the same way as voices and

performance combinations: first use the [PLAY MODE] key to engage the

MULTI PLAY mode, then use the [-1/NO] and [+1/YES] keys to select the

desired multi setup (00 … 15).

The information displayed on the bottom display line tells you

about the current effect mode and what effects are assigned to

the TG500’s two effect processors. See the “Effects” section

beginning on page 251 for more details.

■ Editing a Multi Setup

After selecting the multi setup you want to edit, press the [EDIT/COM-

PARE] key to enter the MULTI EDIT mode, press the [PAGE] key to call the

menu, use the [-1/NO] and [+1/YES] keys to select the “1:Parameter” screen,

then press [ENTER].

You now have access to the three multi parameter edit screens shown

below. To move from screen to screen simply move the cursor past the end of

the current screen. A flashing arrow at either or both ends of the screen indi-

cates that the cursor can be moved in that direction to access another screen.

Simply move the cursor to the required parameter and edit using the [-1/NO]

and [+1/YES] keys.

DETAIL

4. The Multi Mode

● THE MULTI PARAMETER EDIT SCREENS

Stereo pan position. “0” for center,

“-” values pan left; “+” values

pan right. Feature Reference page 200.

Volume. “0” is no sound;

“127” is maximum volume.

Feature Reference Page 200.

Place the cursor here and

select “V” to assign a voice

to the current instrument or

“P” to assign a performance

combination. Feature Reference

page 200.

The voice or performance

number. The [MEMORY] key

can be used to select the

memory area. Feature

Reference page 200.

Effect send level.

“0” for no effect

send; “127” for

maximum send.

Feature Reference

page 200.

Fine tuning. “-” values

tune down; “+” values

tune up. Feature

Reference page 201.

Note shift in semitone

increments. “-” values

shift down; “+” values

shift up. Feature

Reference page 201.

Output select. “off” or “Ind1” … “Ind4” (individual

1 through 4) for normal voices. “off” or “drm” for

drum voices. Feature Reference page 201.

38 4. The Multi Mode

● SELECTING DIFFERENT INSTRUMENTS FOR EDITING

The currently selected multi instrument (1 of 16) is shown in square brack-

ets in the lower left hand corner of each screen. A different instrument can be

selected for editing in this mode by using the [-1/NO] and [+1/YES] keys while

holding the [UTILITY/SELECT] key.

● NO STORE OPERATION REQUIRED

When you’re finished editing a multi setup, simply press the [PLAY

MODE] key to return the MULTI PLAY mode. The edited data is automatically

stored in the multi setup you selected prior to editing — there is no need to

specifically “store” the edited data as there is in the VOICE and PERFORM-

ANCE modes.

The [STORE/COPY] key can, however, be used to copy the current multi

setup to a different location. Operation is the same as in the store procedure

described on page 33.

■ Further Possibilities …

Be sure to read through the “MULTI EDIT MODE” (page 197) for full

details on all parameters available for multi programming.

5. Voice Editing & Effects

For the programmer who wants to get serious about voice programming, the

TG500 offers an extensive range of parameters that allow extremely fine con-

trol. All parameters are discussed in detail in the VOICE EDIT mode (page

95), and we recommend that the dedicated programmer study the Feature Refer-

ence section carefully before embarking on any major voicing projects. The

TG500’s dual-processor effect system is also quite complex, allowing detailed

effect setups to be programmed for each voice. The effect system is described

in detail in the Feature Reference section (page 251).

The following is an outline of the steps you should normally follow when

programming any new voice.

1: Oscillator Parameters

Page 107 … 110

The first thing you’ll need to do when programming a new voice is to

decide what “wave” you’re going to use. The TG500 provides 244 (Preset 1) +

50 (Preset 2) waves in ROM memory from which you can choose. Others can

be loaded into optional wave RAM memory. The wave you select determines

the fundamental sound of the voice.

Other oscillator parameters determine whether the selected wave will be

played as a pitched voice or fixed at a specified pitch, fine tuning, note shift in

semitone increments, random pitch variation, and whether the wave will be

played in the normal forward direction or in reverse.

2: Amplitude Envelope Generator

Page 111 … 118

Next to the basic wave you use, the amplitude envelope generator settings

have the greatest effect on the final sound of your voice. It is the amplitude

envelope generator that determines the speed and shape of the sound’s attack,

how fast it decays while a key is held, how fast it decays once the key is

released, etc.

The AEG parameters also include level scaling parameters that can be used

to produce natural level variations across the range of the keyboard, and sensi-

tivity parameters that determine how the envelope responds to changes in note

velocity.

40 5. Voice Editing & Effects

3: Filter

Page 119 … 130

Once you’ve set up the oscillator and shaped the amplitude envelope as

required, the TG500’s sophisticated filter system can be used to determine both

the static and dynamic timbre of the voice. Low-pass, high-pass, band-pass, and

band-elimination response can be selected as required, and a complex 6-seg-

ment filter envelope generator makes it possible to produce dynamic filtering

patterns. There’s also a resonance parameter that allows you to boost the cut-

off-frequency peak … all the way into oscillation if you like. The filter cutoff

frequency can be also be controlled via MIDI control change data or keyboard

aftertouch for real-time timbre control.

4: Pitch Envelope Generator

Page 131 … 135

Not all voices will need it, but the pitch envelope generator can be applied

to produce time based pitch variations. These can be used to simulate the slight

pitch rise that occurs naturally on the attack of some instruments, or to create

more pronounced pitch slides. Like the amplitude and filter envelope genera-

tors, the pitch envelope generator also has sensitivity parameters that determine

how it responds to note velocity.

5: Low Frequency Oscillator

Page 136 … 140

Most voices benefit from a touch of vibrato, tremolo, or wah-wah modula-

tion, and it is the LFO parameters that produce these effects. The LFO is

usually set up to apply the desired type of modulation via a controller such as

a modulation wheel or foot controller. Which controller produces what type of

modulation is determined by the “Controller” parameters, below.

6: Controller

Page 141 … 149

Since the TG500 has no controllers of its own, all modulation and bias

control must be applied by MIDI control change data received from the control-

ling keyboard or other device. The TG500 accepts control from four different

control devices, and it is the parameters in this section that determine how

these four controllers function. Pitch bend range and aftertouch depth param-

eters are also provided.

5. Voice Editing & Effects

7: Effects

Page 150 … 162

The last step in programming any voice is selecting and adjusting the

effects you need to give your sound the required warmth and “spaciousness”.

Of course, you might simply want to edit the effects applied to an existing

voice, in which case this will be the only step!

The TG500 offers 90 digital effects with two high-performance internal

digital signal processors. The two effect processors can be interconnected in

several ways, providing a wide range of parallel and series processing configu-

rations. A range of programmable parameters for each effect make it possible

to customize the sound over a wide range.

8: Give Your Voice a Name

Page 106

Always use the “Name” function to give any new voice an original name that

makes it easily identifiable. If you don’t change the name you’re likely to end

end up with more than one voice that has the same name … very confusing!

9: Store the Voice

Page 166

Don’t forget this obvious but important step!

If you select a different voice before storing, the edited data will

be lost. Also note that any previous data in the voice memory

location you store to will be overwritten by the new data.

■ Bypassing the Effects While Editing

Since effects can alter the sound of a voice and make editing difficult, the

internal effect system can be bypassed (turned off) in the voice, performance,

and multi edit modes by pressing the [PLAY MODE] key while holding the

[UTILITY/SELECT] key. “>BYP<” will apear in the upper right corner of the

display while the [UTILITY/SELECT] key is held when the effects are by-

passed. Simply repeat this step to turn the effects back on. The effects are

automatically turned back on when you exit from the edit mode.

■ Further Possibilities …

When you’re ready to explore the many possibilities the TG500 provides

for voice programming, read through the “VOICE EDIT MODE” (page 95).

IMPORTANT

Feature Reference

45GENERAL EDITING PROCEDUTRE

GENERAL EDITING PROCEDURE

The TG500 makes editing easy by providing a consistent, logical control interface

via which parameters can be located and edited. Once you’ve learned the general

procedure, you can locate and edit any of the TG500’s many parameters quickly and

easily.

■ Edit Mode Access

The TG500 voice, performance, and multi edit modes are are accessed by

first selecting the corresponding play mode via the [PLAY MODE] key, and

then pressing the [EDIT/COMPARE] key. This takes you to the top level of the

edit mode function “tree.”

The only exception is the “Wave Edit” mode which is accessed by pressing

the [EDIT/COMPARE] key from the Utility mode “5:Wave” screen (page 237).

46 GENERAL EDITING PROCEDUTRE

■ Selecting Specific Edit Functions

The uppermost layer of the edit mode function tree is a menu that is used

to select the desired group of functions. Use the [-1/NO] and [+1/YES] keys to

select the function group you want to access, then press [ENTER] to go di-

rectly to the last edit screen that was selected in that function group.

Once you’re in a function group, you can select different functions within

the group by first pressing the [PAGE] key to call the function menu, then

using the [-1/NO] and [+1/YES] keys to select the function you want, and

finally pressing [ENTER] to access the selected function screen.

VOICE PLAY MODE

The previously selected

“2: Level/Name” edit screen.

2: Level/Name1: Quick Edit

3: Full Edit 4: Recall/Init

GENERAL EDITING PROCEDUTRE

An alternative method is to use the [ ] and [ ] keys while holding the

[PAGE] key. This lets you switch directly between adjacent edit screens with-

out having to go to the menu first.

In some cases there is another layer of functions below the first layer (the

voice edit mode “3:Full Edit” functions, for example). But these are accessed

and selected in the same way.

The [EXIT] key will always take you up to the next highest layer, until

finally you return to the corresponding play mode. You can also return directly

to the play mode by pressing the [PLAY MODE] key.

Any “2: Level/Name” edit screen.

The voice edit “Level” screen.

2-1: Level 2-2: Name

GENERAL EDITING PROCEDUTRE

■ Selecting & Editing Parameters

Most TG500 edit screens contain several parameters that can be selected

and edited. The parameters are edited by first moving the cursor to the required

parameter by using the [ ] and [ ] keys, and then by using the [-1/NO] and [+1/

YES] keys to adjust the parameter’s value. In most cases the name of the

currently selected parameter will appear between triangular brackets in the

upper right corner of the display, while in others the name of each parameter

appears directly above the parameter.

Currently selected

parameter name appears

here (“Type” in this case).

If there are more parameters than will fit on a single screen, a flashing

pointer (“ ” or “ ”) will appear at either or both ends of the bottom display

line, indicating that more parameters are available. Move to the next screen by

simply moving the cursor beyond the last parameter on the current screen, in

the indicated direction.

Cursor at “Type”

parameter.

Screen title: “voice quick edit

amplitude envelope generator”

in this case.

PERFORMANCE

EDIT MODE

3: Full Edit

3-1: Layer

3-1-01: Voice.........................62

3-1-02: Volume .....................63

3-1-03: Pan............................64

3-1-04: Note Shift.................65

3-1-05: Tune..........................66

3-1-06: Note Limit-L ............67

3-1-07: Note Limit-H ............67

3-1-08: Velocity Limit-L.......69

3-1-09: Velocity Limit-H.......69

3-1-10: MC3 Enable..............71

3-1-11: MC4 Enable..............71

3-1-12: Layer Initialize .........73

3-1-13: Layer Exchange .......74

Layer Data Copy....................75

2-1: Performance Total Level .....60

2-2: Performance Name ..............61

2: Level/Name

1: Quick Edit

1-1: Voice Amplitude EG Offset .52

1-2: Voice Filter Offset ................54

1-3: Voice LFO Offset ..................55

1-4: Voice Controller....................56

1-5: Voice Setting ........................57

1-6: Effect 1..................................58

1-7: Effect 2..................................58

1-8: Effect Wet:Dry Balance........59

3-2: Effect .....................................76

3-2-01: Mode.........................76

3-2-02: Type..........................77

3-2-03: Send .........................78

3-2-04: Send Sensitivity.......79

3-2-05: Output.......................80

3-2-06: Output Level ............81

3-2-07: Wet:Dry ....................82

3-2-08: Mix Level .................83

3-2-09: Parameter 1.............84

3-2-10: Parameter 2.............84

3-2-11: Control 1..................85

3-2-12: Control 2..................85

3-2-13: Control LFO .............88

Effect Data Copy ...................89

Effect Signal Flow Display ...90

4-1: Recall.....................................91

4-2: Initialize.................................92

Performance Compare................ 93

Performance Store ..................... 94

4: Recall/Init. ............................... 91

PERFORMANCE EDIT MODE

LAYER SELECTION & MUTING

The display will return to the current edit screen as soon as you release the

[UTILITY/SELECT] key. The currently selected layer is shown in square

brackets in appropriate layer edit screens.

Programming All Layers Simultaneously

In some cases you may want to set all the same parameters for all four

layers to the same value. This can be done easily by activating the “layer sync”

mode: press the [STORE/COPY] key while holding the [UTILITY/SELECT]

key. When the layer sync mode is active the current layer will appear as an

inverse character (A, B, C, or D) in the layer edit screens. Simply repeat this

procedure to return to the normal individual layer editing mode.

● Layer Muting

It is also possible to mute (turn the sound off) specific layers while editing

so you can more easily hear the effect of parameter changes on the active

layers. Layers are muted or re-activated by using the [-1/NO], [+1/YES],

[ENTER], and [EXIT] keys while holding the [UTILITY/SELECT] key:

• [-1/NO] mutes or re-activates Layer A.

• [+1/YES] mutes or re-activates Layer B.

• [ENTER] mutes or re-activates Layer C.

• [EXIT] mutes or re-activates Layer D.

● Layer Selection

Many functions in the performance edit mode allow a single layer to be

edited individually (see page 26 of the “Getting Started” section to learn about

peformance combinations and layers). The layer to be edited is selected by

using the [ ], [ ], [PAGE], and [MEMORY] keys while holding the

[UTILITY/SELECT] key:

• [ ] selects Layer A.

• [ ] selects Layer B.

• [PAGE] selects Layer C.

• [MEMORY] selects Layer D.

PERFORMANCE EDIT MODE

LAYER SELECTION & MUTING

Active layers appear as upper-case characters and muted layers appear as

lower-case characters while the [UTILITY/SELECT] key is held. In the follow-

ing display, for example, layers “A” and “C” are active while layers “b” and

“d” are muted.

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-1: VOICE AMPLITUDE EG OFFSET

These parameters allow the amplitude envelopes of the voices assigned to each

layer to be modified to some degree. The actual amplitude EG parameters of the

voices are not affected. These “offset” values are only effective in the performance

mode.

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

R1 (Attack rate)

Range: -63 … +63

Modifies the “R1” parameter of the voice amplitude EG — see page 112.

Plus (+) values produce a faster attack rate while minus (–) values produce a

slower attack rate.

No matter how much offset is applied, the minimum and maximum EG

attack rates cannot be exceeded.

R23 (Decay 1 rate)

Range: -63 … +63

Modifies the “R2” and “R3” parameters of the voice amplitude EG — see

page 112. Plus (+) values produce a faster decay rate while minus (–) values

produce a slower decay rate.

No matter how much offset is applied, the minimum and maximum EG

decay rates cannot be exceeded.

R4 (Decay 2 rate)

Range: -63 … +63

Modifies the “R4” parameter of the voice amplitude EG — see page 112.

Plus (+) values produce a faster decay rate while minus (–) values produce a

slower decay rate.

No matter how much offset is applied, the minimum and maximum EG

decay rates cannot be exceeded.

R1 R23

R4 RR

Vel

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-1 : Voice AEG -> [ENTER]

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-1: VOICE AMPLITUDE EG OFFSET

RR (Release rate)

Range: -63 … +63

Modifies the “RR” parameter of the voice amplitude EG — see page 112.

Plus (+) values produce a faster release rate while minus (–) values produce a

slower release rate.

No matter how much offset is applied, the minimum and maximum EG

release rates cannot be exceeded.

Vel (Velocity sensitivity)

Range: -14 ... +14

Modifies the amplitude EG velocity sensitivity setting (see page 117). Plus

“+” settings increase sensitivity while minus “–” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity

values cannot be exceeded.

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-2: VOICE FILTER OFFSET

These parameters allow the main filter parameters of the voices assigned to each

layer to be modified to some degree. The actual filter parameters of the voices are

not affected. These “offset” values are only effective in the performance mode.

Res

Cof

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Cof (Filter cutoff frequency)

Range: -127 … +127

Modifies the filter cutoff frequency (this corresponds to the voice filter

“Cof” parameter — see page 122). Plus (+) values increase the cutoff frequency

while minus (–) values lower the cutoff frequency. This parameter cannot be

used if the filter is set to “Thru”. In this case “---” appears in place of the

parameter value.

No matter how much offset is applied, the minimum and maximum cutoff

frequency values cannot be exceeded.

Res (Filter resonance)

Range: -99 … +99

Modifies the height of the filter’s resonant peak (this corresponds to the filter

“Res” parameter — see page 122). Plus (+) values increase resonance while minus

(–) values reduce resonance. This parameter cannot be used if the filter is not set to

“LPF”. In this case “---” appears in place of the parameter value.

No matter how much offset is applied, the minimum and maximum resonance

values cannot be exceeded.

Vel (Velocity sensitivity)

Range: -127 ... +127

Modifies the filter velocity sensitivity setting (see page 129). Plus “+”

settings increase sensitivity while minus “–” settings reduce sensitivity.

No matter how much offset is applied, the minimum and maximum velocity

values cannot be exceeded.

Vel

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-2 : Voice Filter -> [ENTER]

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-3: VOICE LFO OFFSET

These parameters allow the main LFO parameters of the voices assigned to each

layer to be modified to some degree. The actual LFO parameters of the voices are not

affected. These “offset” values are only effective in the performance mode.

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Depth (LFO depth)

Range: -99 … +99

Modifies the amplitude, pitch, and frequency modulation depth of the LFO

(this corresponds to the “Pmod”, “Amod”, and “Fmod” parameters of the main

voice LFO — see page 138). Plus (+) values produce greater modulation depth

while minus (–) values reduce the modulation depth.

No matter how much offset is applied, the minimum and maximum LFO

depth values cannot be exceeded.

Speed (LFO speed)

Range: -99 … +99

Modifies the speed of the LFO (this corresponds to the “Speed” parameter

of the main voice LFO — see page 136). Plus (+) values increase the LFO

speed while minus (–) values reduce the speed.

No matter how much offset is applied, the minimum and maximum LFO

speeds cannot be exceeded.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-3 : Voice LFO -> [ENTER]

1-4: VOICE CONTROLLER

These parameters determine how the performance layers are affected by keyboard

aftertouch response and the control devices assigned to MIDI Controller 1 and MIDI

Controller 2 (MIDI controller assignments are made via the “UTILITY” mode

“2:Controller” screen — page 223).

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-4: VOICE CONTROLLER

MC1AT MC2

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

AT (Aftertouch)

Range: off, LayerA, LayerB, LayerC, LayerD

The aftertouch control settings from the voice assigned to the selected layer

(LayerA, LayerB, LayerC, or LayerD) are applied to the layer being edited.

Select “off” to turn aftertouch control off for the layer being edited.

MC1 (MIDI controller 1)

Range: off, LayerA, LayerB, LayerC, LayerD

The MIDI Controller 1 settings from the voice assigned to the selected

layer (LayerA, LayerB, LayerC, or LayerD) are applied to the layer being

edited. Select “off” to turn MIDI Controller 1 off for the layer being edited.

MC2 (MIDI controller 2)

Range: off, LayerA, LayerB, LayerC, LayerD

The MIDI Controller 2 settings from the voice assigned to the selected

layer (LayerA, LayerB, LayerC, or LayerD) are applied to the layer being

edited. Select “off” to turn MIDI Controller 2 off for the layer being edited.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-4 : Voice Control -> [ENTER]

1-5: VOICE SETTING

Other parameters that can be individually set for each performance layer are

provided in this screen: sustain enable, pitch envelope generator enable, oscillator

fixed note mode and note number.

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-2: VOICE SETTING

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Sus (Sustain)

Range: off, on

Turns sustain off or on for the selected layer. Interesting effects can be

produced by setting some layers to respond to the sustain footswitch in the

normal way, while others do not sustain at all.

PEG (Pitch EG enable)

Range: off, on

Turns pitch envelope generator control of the selected layer off or on.

Fix (Oscillator fix)

Range: off, on

Turns the oscillator fixed-pitch mode off or on (see page 109). The “FNt”

parameter described below can be used to set the note produced when the “fix”

mode is turned on.

FNt (Oscillator fix note number)

Range: C-2 … G8

Sets the frequency (note) at which the selected layer will be played when

the “fix” mode is turned on (“---” is displayed in place of the note when the

“fix” mode is turned off).

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3”

corresponds to “middle C” on a keyboard.

Sus PEG FNt

Fix

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-5 : Voice Setting -> [ENTER]

1-6: EFFECT 1 / 1-7: EFFECT 2

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-6: EFFECT 1 / 1-7: EFFECT 2

The TG500 features a complex, high-performance effect system that can be pro-

grammed easily via the parameters presented here and in the following screen.

For full effect parameters see page 84.

Type

Type (Effect type)

Range: 0 … 90

The “Type” parameter selects any of the TG500’s 90 effect types for the

effect 1 or effect 2 processor, depending on whether the “Effect 1” or “Effect

2” edit screen is selected. See page 251 for more details on the TG500 effect

system.

Parameters 1 … 3

Range: Depends on the selected effect and parameter.

Use the [ ] key to scroll to the parameter screen. This screen provides

access to the three main parameters each for the current selected effect 1 or

effect 2, depending on whether the “Effect 1” or “Effect 2” edit screen is

selected. As usual, the name of the selected parameter is shown in the upper

right corner of the display, while in this screen the parameter unit (“s” for

seconds, “%” for percent, “dB” for decibels, etc.) is shown in parentheses in

the lower right corner.

The parameters are different for each effect (refer to page 271 for details).

The Full Edit Parameters screens described on page 84 provides full access to

all 8 effect parameters.

Parameter 1 Parameter 2 Parameter 3

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-6 : Effect 1 -> [ENTER]

-> 1-7 : Effect 2 -> [ENTER]

591-8: EFFECT WET:DRY BALANCE

PERFORMANCE EDIT MODE / 1: QUICK EDIT

1-8: EFFECT WET:DRY BALANCE

The balance between the direct sound of the voice and the effect sound is a

delicate thing. Even slight changes can make a big difference to the final sound.

The parameters provided in this screen provide precise balance control.

Out1

Out2

Out1, Out2 (Out 1 & Out 2 Wet:Dry Balance)

Range: 0 … 100

Balances the effect (“wet”) and direct (“dry”) signals delivered via the

corresponding effect processors. Higher “Wet” values produce more effect

sound in relation to the direct, dry sound of the voice.

The “Wet” and “Dry” parameters are adjusted simultaneously (their total is

always 100%).

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE

-> 1-8 : Effect Wet:Dry -> [ENTER]

2-1: PERFORMANCE TOTAL LEVEL

This parameter sets the overall volume level of the current performance combina-

tion in relation to the others, making it possible to match levels for smooth transition

when switching between performance combinations.

PERFORMANCE EDIT MODE / 2: Level/Name

2-1: PERFORMANCE TOTAL LEVEL

Total Level

Range: 0 … 127

Adjusts the volume level of the current performance combination.

A setting of “0” produces no sound while a setting of “127” produces

maximum volume.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> PAGE

-> 2-1 : Total Level -> [ENTER]

2-2: PERFORMANCE NAME

Your original performance combinations should naturally have original names.

This function can be used to assign a name of up to 8 characters to the current

performance.

PERFORMANCE EDIT MODE / 2: Level/Name

2-2: PERFORMANCE NAME

Name

Range: See character list, below

Assigns a name of up to 8 characters to the current performance.

Use the [ ] key to move the character cursor to the left, and the [ ] key to

move the cursor to the right. Use the [-1/NO] and [+1/YES] keys to select a

character for the current cursor position. The available characters are listed

below.

The entire name can be cleared by pressing the [EDIT/COMPARE] key

while holding the [UTILITY/SELECT] key, and a space can be entered at the

cursor position by pressing the [STORE/COPY] key while holding the

[UTILITY/SELECT] key.

(Space)

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE]

-> 2-2 : Name -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-01: VOICE

TG500 performance combinations can have up to four voices assigned to different

“layers” — A, B, C and D. This screen lets you assign voices to the layers.

Voice (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

Voice Number A, B, C, D

Range: off, 00 … 62 (internal banks I … II,

preset & card banks I … IV)

After moving the cursor to the layer you want to edit, use the [MEMORY]

key to select the memory area from which the voice is to be selected, and then

use the [-1/NO] and [+1/YES] keys to select the voice. Please note that only

internal and preset voices can be used in internal performance combinations,

only card banks 1 and 2 and preset voices can be used in card bank 1 perform-

ance combinations, and only card banks 3 and 4 and preset voices can be used

in card bank 2 performance combinations.

The voices can individually turned on or off by using the [ ], [ ], [PAGE],

and [MEMORY] keys while holding the [UTILITY/SELECT] key (this is the

same procedure used to select layers for editing — see page 50).

Re-selecting the layer that is already selected alternately turns the voice off and

on.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-01 : Voice -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-02: VOLUME

For optimum balance between the voices in a performance combination, this

screen allows the volume of each voice to be adjusted individually.

Volume (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

Volume

Range: 0 … 127

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to adjust the

volume levels of the voice assigned to that layer. A setting of “0” produces no

sound, while a setting of “127” produces maximum volume.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-02 : Volume -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-03: PAN

In multi-layer performance combinations, interesting stereo effects can be pro-

duced by placing the output from different layers at different locations in the stereo

sound field. The parameters in this screen determine the position in the stereo sound

field in which the sound from each active layer will be heard (left to right).

Pan (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

Pan

Range: -31 … +31

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to adjust the

pan position of the voice assigned to that layer. Minus values represent panning

to the left, and positive values represent panning to the right. “0” positions the

sound of the selected layer in the center of the stereo sound field.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-03 : Pan -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-04: NOTE SHIFT

The note shift parameters individually shift the pitch of each layer up or down in

semitone steps, making it possible to create harmony effects between layers.

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

NtShft (Note shift)

Range: -63 … +63

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to adjust the

pitch of the voice assigned to that layer. A setting of “-12,” for example, shifts

the pitch of the selected layer down by one octave; a setting of “+4” shifts the

pitch up by a major third.

The Note Shift parameter can be used to transpose a voice to its most

useful range, or to create harmony (intervals) between different layers in a

performance combination.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

NtShft (layer A)

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-04 : Note Shift -> [ENTER]

3-1-05: TUNE

The fine tune parameters allow slight upward or downward pitch adjustment of

each layer, making it possible to create voice-thickening detune effects between

layers.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3: Full Edit. 3-1: Layer

Tune (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

Fine (Fine tuning)

Range: -7 … +7

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to adjust the

pitch of the voice assigned to that layer. The maximum minus setting of

“-7” produces a downward pitch shift of approximately 2 cents (a “cent” is 1/

100th of a semitone), and the maximum plus setting of “+7” produces an

upward pitch shift of approximately 2 cents. A setting of “0” produces no pitch

change.

The Fine parameter allows different layers in a performance combination to

be slightly detuned in relation to each other, thereby “thickening” the overall

sound.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-05 : Tune -> [ENTER]

3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H

The low and high note limit parameters make it possible to create a range of split

keyboard effects using the performance layers. You could have two layers on either

side of a single split point, a four-way split keyboard, or any other possible combina-

tion.

NtLmt-L (layer A)

NtLmt-H (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

NtLmt-L (Low note limit)

Range: C-2 … G8

Individually sets the low note limit for each active layer (the lowest note

that each layer will produce).

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to set the low

note limit of the voice assigned to that layer.

The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3”

corresponds to “middle C” on a keyboard.

This parameter, in conjunction with the High Note Limit parameter de-

scribed below, allows the sound from a layer to be limited to a specific region

of the keyboard. If the Low Note Limit is set to C3 and the High Note Limit

for the same layer is set to C4, for example, the sound from that layer will

only be produced between C3 and C4 — the octave immediately above middle

C. This makes it simple to produce split voices.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-06 : Note Limit-L -> [ENTER]

-> 3-1-07 : Note Limit-H -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H

If the High Note Limit is set to a note that is lower than the Low Note

Limit for the same layer, it will set a range of notes in the middle that the

layer will not play.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

NtLmt-H (High note limit)

Range: C-2 … G8

Individually sets the high note limit for each active layer (the highest note

that each layer will produce).

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to set the high

note limit of the voice assigned to that layer.

See the “NtLmt-L” parameter, above, for more details.

3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H

The high and low velocity limit parameters make it possible to produce a range of

“velocity switching” effects in which different layers of a performance combination

are set up to produce sound only when the keyboard is played at a certain velocity.

You could, for example, produce a flute sound by playing softly, and a horn sound

by playing harder.

VelLmt-L (layer A)

VelLmt-H (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

VelLmt-L (Low velocity limit)

Range: 1 … 127

Sets the lowest velocity value for a range of velocity values over which

each active layer will produce output.

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to set the low

velocity limit of the voice assigned to that layer.

Every note played on a keyboard or other MIDI controller produces a

“velocity” value that tells the tone generator how hard the note has been

played. The range of MIDI velocity values is from 1 to 127 — thus the 1 ...

127 range of this parameter.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-08 : Vel Limit-L -> [ENTER] 3-1-09 : Vel Limit-H ->

[ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H

The Low Velocity Limit parameter, in conjunction with the High Velocity

Limit parameter described below, makes it possible to specify a range of veloc-

ity values over which the selected layer will produce sound. You could, for

example, set Low Velocity Limit to “60” and High Velocity Limit to “127.”

This would cause that layer to produce output only when a velocity value

between 60 and 127 was received — i.e. when a fairly loud note is played. A

second layer could then be set to produce output only when velocity values

below 60 are received, so that completely different sounds are produced on soft

and loud notes.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

VelLmt-H (High velocity limit)

Range: 1 … 127

Sets the highest velocity value for a range of velocity values over which

each active layer will produce output.

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to set the high

velocity limit of the voice assigned to that layer.

See the “VelLmt-L” parameter, above, for more details.

3-1-10: MC3 ENABLE / 3-1-11: MC4 ENABLE

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-10: MC3 ENABLE / 3-1-11: MC4 ENABLE

MIDI control change data received by the TG500 can be used to control the level

of individual layers or specified groups of layers in the performance play mode. This

screen specifies which MIDI control device (assigned via the “UTILITY” mode

“2:Controller” screen) controls which layers.

MC3 (layer A)

The layer to be edited can be selected as described on page 50. The currently

selected layer is shown in square brackets on the upper display line.

MC3 (MIDI controller 3 enable)

Range: on, off

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to turn MIDI

control of that layer on or off.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

MC4 (layer A)

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-10 : MC3 Enable -> [ENTER]

3-1-11 : MC4 Enable -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-10: MC3 ENABLE / 3-1-11: MC4 ENABLE

MC4 (MIDI controller 4 enable)

Range: on, off

Use the [ ] and [ ] keys (or the standard layer selection procedure) to select

the layer to be edited, then use the [-1/NO] and [+1/YES] keys to turn MIDI

control of that layer on or off.

The name of the currently selected voice is shown in the upper right corner

of the display (“--------” appears if the voice is turned off). An animated musi-

cal note appears to the right of voices that are on and active (i.e. not muted).

3-1-12: LAYER INITIALIZE

When you want to program a totally new performance combination “from

scratch,” rather than editing an existing combination, use this function to initialize

layer data.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-12: LAYER INITIALIZE

Use the [-1/NO] and [+1/YES] keys to select “all” if you want to initialize layer

data currently in the edit buffer, or select “A”, “B”, “C”, or “D” if you only want to

initialize one specific layer.

Press [ENTER] to begin the initialize procedure. The following confirmation

display will appear:

Press [+1/YES] to confirm that you want to go ahead with the initialize operation

(which will erase all current edited data), or press [-1/NO] to cancel.

“Completed!” will appear briefly on the display when the layer data has been

initialized.

For initial layer data, see page 283.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-12 : Initialize -> [ENTER]

3-1-13: LAYER EXCHANGE

This function can be used to eliminate the audible effects of slight note delays

that can occur in the performance play mode. The notes played by layers A, B, C,

and D are sounded in sequence in the performance play mode. Normally the delay is

so slight that it is not audible. If a voice with a sharp attack is assigned to one of the

later layers (C or D), however, the delay can “soften” the attack of the voice. The

problem can be overcome by using this function to exchange layers A and D, for

example, so that the voice with the strong attack is assigned to layer A instead of

layer D. Since layer A is sounded first, the sharpness of the attack will be retained.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-1-13: LAYER EXCHANGE

Use the [ ] and [ ] keys to position the cursor, and the [-1/NO] and [+1/YES]

keys to select the layers to be exchanged (A through D), then press [ENTER] to

begin the layer exchange procedure. The following confirmation display will appear:

Press [+1/YES] again to confirm that you want to go ahead with the layer ex-

change operation, or press [-1/NO] to cancel.

“Completed!” will appear briefly on the display when the data has been ex-

changed.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [PAGE] -> 3-1-13 :Exchange -> [ENTER]

LAYER DATA COPY

This function facilitates performance editing by allowing the layer parameters

from any layer in any other performance (the “source” performance) to be copied to

the current layer. You can copy a layer setup that is close to the type you want, then

edit it to produce the required sound.

Press the [STORE/COPY] key while in the layer edit mode.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

LAYER DATA COPY

Position the cursor at the left parameter (press the [ ] key) and then use the

[MEMORY] key to select the internal, preset, or card memory; then use the [-1/NO]

and [+1/YES] keys to select the performance combination from the which the data is

to be copied. Move the cursor to the right parameter (press the [ ] key) and use the [-

1/NO] and [+1/YES] keys to select layer from which the data is to be copied (A, B,

C, or D).

Once the source performance combination and layer have been selected, press the

[ENTER] key. “Sure?” will appear on the display.

Press the [+1/YES] key to copy the layer data, or press [-1/NO] to cancel the

copy operation. Once the copy operation has finished, “Completed!” will appear on

the display briefly, then the display will return to the layer edit mode.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER]

-> [STORE/COPY]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-01: MODE

The TG500 features a dual-processor effect system that includes 90 top-quality

digital effects. Two different effects can be connected in series or parallel, providing

an extensive range of possible configurations.

Mode

Range: 0:off, 1:serial, 2:parallel

Determines whether the TG500’s two effect processors are connected in

series (“1:serial”) or in parallel (“2:parallel”), or whether the entire effect

system is turned off (“0:off”).

See page 251 for effect mode diagrams.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-01 : Mode -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-02: TYPE

These parameters assign any of the TG500’s 90 effects independently to the

EFECT 1 and EFFECT 2 signal processors.

Ef1 Type

Range: 0 … 90

Selects any of the TG500’s 90 effect types for the EFFECT 1 processor.

The name of the selected effect is shown in parentheses in the upper right

corner of the display when this parameter is selected. See page 251 for more

details on the TG500 effect system, and page 271 for a complete list of the

available effects.

Ef2 Type

Range: 0 … 90

Selects any of the TG500’s 90 effect types for the EFFECT 2 processor.

The name of the selected effect is shown in parentheses in the upper right

corner of the display when this parameter is selected. See page 251 for more

details on the TG500 effect system, and page 271 for a complete list of the

available effects.

Ef2 Type

Ef1 Type

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-02 : Type -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-03: SEND

The parameters provided here determine to which of the TG500 effect stages the

output from the voice assigned to each layer is sent, and at what level.

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Lvl (Send level)

Range: 0 … 127

This parameter adjusts the amount of direct voice signal that is sent to the

effect processors, determining the strength of the final effect sound. A setting

of “0” results in no effect, leaving only the “dry” sound of the voice. The

maximum setting of “127” produces the maximum amount of effect.

1a, 1b, 2a, and 2b (Send switches)

Range: See text below.

Determines to which of the EFFECT 1 and EFFECT 2 effect stages the

output from the current layer is sent. The [-1] and [+1] keys can then be used

to turn the selected stage on or off.

If a “single” type effect is selected then only stage “a” can be selected. If a

“dual” type effect is selected, then both stages “a” and “b” can be selected. An

effect stage that cannot be selected is represented by “---” on the display.

See the “EFFECTS” section beginning on page 251 for more details.

Lvl

1b 2a

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-03 : Send -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-04: SEND SENSITIVITY

These parameters determine how the effect send level is affected by keyboard

dynamics and key scaling.

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Vel (Send velocity sensitivity)

Range: -7 … +7

Determines how the send level from the selected layer is affected by veloc-

ity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher send levels in response to higher velocity

values — i.e. the harder a key is played, the higher the send level, and there-

fore the deeper the effect. The maximum setting of “+7” produces the maxi-

mum level variation in response to velocity changes. Minus “–” settings pro-

duce the opposite effect: lower send level in response to higher velocity. A

setting of “+0” results in no send level variation.

Scl (Send key scaling)

Range: -7 … +7

Allows the send level for the selected layer to be varied across the entire

pitch range (i.e. keyboard range).

Plus (“+”) settings produce a higher send level for the high notes and a

lower send level for the low notes. The maximum “+7” setting provides the

greatest send level variation across the pitch range. Minus (“–”) settings pro-

duce the opposite effect — a lower high-note send level and higher low-note

send level. A setting of “+0” results in no send level variation.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-04 : Send Sens. -> [ENTER]

3-2-05: OUTPUT

These parameters turn the “dry lines” (i.e. the signal paths which bypasses each

effect processor) on or off, determining whether any dry signal output can occur at

the OUTPUT.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-05: OUTPUT

The layer to be edited is selected as described on page 50. The currently selected

layer is shown in square brackets on the upper display line.

Dry1

Range: off, on

Turns the “dry line” bypassing the EFFECT 1 signal processor on or off.

When this parameter is turned “off,” the “WET:DRY” parameters (page 154)

have no effect.

Dry2

Range: off, on

Turns the “dry line” bypassing the EFFECT 2 signal processor on or off.

When this parameter is turned “off,” the “WET:DRY” parameters (page 154)

have no effect.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-05 : Output -> [ENTER]

3-2-06: OUTPUT LEVEL

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-06: OUTPUT LEVEL

Depending on the selected effects the TG500 effect system can have up to four

separate output levels that are adjusted by the parameters provided in this screen.

1a, 1b, 2a, and 2b (Effect output levels)

Range: 0 … 100

A setting of “0” turns output from the corresponding effect stage off, while

a setting of “100” produces maximum output level.

If the selected effect is a “single” type, then only the “1a” or “2a” output

level is available. If it is a “cascade” type, then only the “1b” or “2b” output

level is available. Both the “1a” and “1b” or “2a” and “2b” levels are available

only if the selected effect is a “dual” type. See page 251 for details on the

effect stages and the TG500 effect system in general.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-06 : Output Level -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-07: WET:DRY

The balance between the direct sound of the voice and the effect sound is a

delicate thing. Even slight changes can make a big difference to the final sound. The

parameters provided in this screen provide precise balance control.

Out1, Out2 (Out 1 & Out 2 Wet:Dry Balance)

Range: 0 … 100

Balances the effect (“wet”) and direct (“dry”) signals delivered via the

corresponding effect processors. Higher “Wet” values produce more effect

sound in relation to the direct, dry sound of the voice.

The “Wet” and “Dry” parameters are adjusted simultaneously (their total is

always 100%).

Out1 Out2

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-07 : Wet:Dry -> [ENTER]

3-2-08: MIX LEVEL

These parameters determine the mix level between each effect send and the output

of the preceding effect stage. Refer to the section beginning on page 251 for details

on the overall TG500 effect system.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-08: MIX LEVEL

EF2Mix (Effect 2 mix level)

Range: 0 … 100

Mixes the output of the EFFECT 2 processor with that of the EFFECT 1

processor. This parameter can only be used with the “serial” effect mode is

selected. If any other mode is selected (“off” or “parallel”), “---” appears on

the display in place of the value.

1b Ins, 2a Ins, 2b Ins (Insert levels)

Range: 0 … 100

These parameters mix the dry signal sent to the corresponding effect stage

with the output of the preceding effect stage. The higher the value the greater

mix level. If the current effect configuration does not allow one of these mix

parameters, “---” will appear in place of the mix level parameter.

Ef2Mix

1b Ins 2b Ins2a Ins

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-08 : Mix Level -> [ENTER]

3-2-09: PARAMETER 1 / 3-2-10: PARAMETER 2

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-09: PARAMETER 1 / 3-2-10: PARAMETER 2

Each of the TG500’s 90 effects has 8 parameters that can be edited via the

parameters in these three screens to fine-tune the effect.

Use the [ ] and [ ] keys to select the parameters and switch between the three

parameter screens. The name of the selected parameter is shown in the upper right

corner of the display, while the parameter unit (“s” for seconds, “%” for percent,

“dB” for decibels, etc.) is shown in parentheses in the lower right corner.

The parameters are different for each effect (refer to page 271 for details).

Parameters

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-09 : Parameter 1 -> [ENTER] -> 3-2-10 : Parameter 2 -> [ENTER]

3-2-11: CONTROL 1 / 3-2-12: CONTROL 2

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-11: CONTROL 1 / 3-2-12: CONTROL 2

MIDI control change data received by the TG500 can be assigned to control two

different effect parameters in real time while playing in the voice or performance

modes. The parameters provided in these screens determine which effect parameters

are to be controlled by which MIDI control devices. It is also possible to select the

minimum and maximum parameter values.

Device (MIDI control device)

Range: 000 … 120, AfterTch, Velocity, KeyScale, LFO

This parameter specifies which MIDI control change number will control

the parameter selected via the “EF Param” parameter, below. Some control

change numbers are already defined (modulation wheel, foot controller, etc.),

while others are not assigned to any specific controller (see chart below).

Additional settings include “AfterTch” for keyboard aftertouch control, “Veloc-

ity” for keyboard velocity control, “KeyScale” for key scaling control, and

“LFO” for internal LFO control.

Device

EF Param Min Max

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-11 : Control 1 -> [ENTER]

-> 3-2-12 : Control 2 -> [ENTER]

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-2-11: CONTROL 1 / 3-2-12: CONTROL 2

91: “Effect D”

92: “TremoloD”

93: “Chorus D”

94: “CelesteD”

95: “Phaser D”

96: “Inc. ”

97: “Dec. ”

98: “NRPN LSB”

99: “NRPN MSB”

100: “RPN LSB”

101: “RPN MSB”

121: “AfterTch”

122: “Velocity”

123: “KeyScale”

124: “LFO ”

EF Param (Effect parameter)

Range: Depends on selected effects.

Selects the effect parameter to be controlled by the specified MIDI device.

“Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1”

through “effect 1 parameter 8”. Likewise “Ef2Prm1” through “Ef2Prm8” on the

display stand for “effect 2 parameter 1” through “effect 2 parameter 8”. The

parameters available for each effect are different, but the name of the selected

parameter will be shown between the parentheses on the top line of the display.

Parameters that can not be assigned to the sliders are indicated by dashes

(“--------”) instead of a parameter name. In addition to the indivual effect

parameters a range of send level, balance, and LFO parameters are also avail-

able, as listed below:

0: “off”

1: “Mod.Whl.”

2: “Breath C”

4: “Foot Cnt”

5: “Porta.Sp”

6: “Data Ent”

7: “Foot Vol”

8: “Balance ”

10: “Panpot ”

11: “Express.”

64: “Hold 1 ”

65: “Porta.Sw”

66: “Sostenut”

67: “Soft ”

69: “Hold 2 ”

MIDI CONTROL CHANGE NUMBER/DEVICE

PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer

3-2-11: CONTROL 1 / 3-2-12: CONTROL 2

Ef1Prm1

Ef1Prm2

Ef1Prm3

Ef1Prm4

Ef1Prm5

Ef1Prm6

Ef1Prm7

Ef1Prm8

Ef_Out1a

Ef_Out1b

Ef2Prm1

Ef2Prm2

Ef2Prm3

Ef2Prm4

Ef2Prm5

Ef2Prm6

Ef2Prm7

Ef2Prm8

Ef_Out2a

Ef_Out2b

Ef2_Mix

Out1_Wet

Out2_Wet

Ctrl1Min

Ctrl1Max

LFO_Wave

LFO_Spd

LFO_Dly

Ef_Ins1b

Ef_Ins2a

Ef_Ins2b

Min (Minimum parameter value)

Range: 0 … 100

Sets the lower limit of the control range. A setting of “0”, for example,

means that when the lowest control change value is received the assigned

parameter will also be set to its lowest value. A setting of “50” means that the

lowest control change value will set the assigned parameter to about 50% of its

range (a parameter with a range of 0 to 127, for example, would be set to

about 63).

Max (Maximum parameter value)

Range: 0 … 100

Sets the upper limit of the control range. A setting of “100”, for example,

means that when the highest control change value is received the assigned

parameter will also be set to its highest value. A setting of “80” means that the

highest control change value will set the assigned parameter to about 80% of

its range (a parameter with a range of 0 to 127, for example, would be set to

about 102).

3-2-13: CONTROL LFO

All of the modulation-type effects — chorus, flanging, etc. — require LFO con-

trol. The TG500 has an independent effect LFO that is set up by the following pa-

rameters.

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

3-2-13: CONTROL LFO

Wave (LFO waveform)

Range: tri, dwn, up, squ, sin, S/H, 1tm

Determines the waveform of the effect LFO.

“tri” = Triangle. “dwn” = Downward sawtooth.

“up” = Upward sawtooth. “squ” = Square.

“sin” = Sine. “S/H” = Sample and hold.

“1tm” = Upward 1-shot.

Speed (LFO speed)

Range: 0 … 99

Sets the speed of the effect LFO.

“0” is the slowest speed setting, producing an LFO speed of approximately

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25

Hertz.

Delay

Range: 0 … 99

Sets the delay time between the beginning of a note and the beginning of

effect LFO operation for the selected element.

The minimum setting “0” results in no delay, while the maximum setting of

“99” produces a delay of approximately 2.66 seconds before the LFO begins

operation (5.3 seconds before it reaches maximum depth).

∆≈∆

Delay

Speed

Wave

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [PAGE] -> 3-2-13 :Control LFO -> [ENTER]

EFFECT DATA COPY

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

EFFECT DATA COPY

This function facilitates performance effect editing by allowing the effect

parameters from any other performance combination, voice, or multi setup to be

copied to the current performance combination. You can copy an effect setup

that is close to the type you want, then edit it to produce the required sound.

Move the cursor to the left parameter (press the [ ] key) and use the

[-1/NO] and [+1/YES] keys to select the mode containing the desired voice and

effect data (“PFM” = PERFORMANCE, “VCE” = VOICE, and “MLT” =

MULTI). Move the cursor to the right parameter (press the [ ] key) and, if a

voice or performance combination is selected as the source, use the

[MEMORY] key to select the memory area from which the source voice or

performance combination is to be selected. Use the [-1/NO] and [+1/YES] keys

to select the source voice or performance number. The [-1/NO] and [+1/YES]

keys can be used to select the source multi number (0 … 15) when “MLT” is

selected.

Once the source performance combination, voice, or multi setup has been

selected, press the [ENTER] key. “Sure?” will appear on the display.

Press the [+1/YES] key to copy the effect data, or press [-1/NO] to cancel

the copy operation. Once the copy operation has finished, “Completed!” will

appear on the display briefly, then the display will return to the effect edit

mode.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [STORE/COPY]

EFFECT SIGNAL FLOW DISPLAY

PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect

EFFECT SIGNAL FLOW DISPLAY

This function provides a graphic indication of the current effect system

configuration while in the effect edit mode.

In the effect edit mode press the [EDIT/COMPARE] key while holding the

[UTILITY/SELECT] to see the overall effect system signal flow.

Refer to the section beginning on page 251 for details on the effect system.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER]

-> [UTILITY/SELECT] + [EDIT/COMPARE]

4-1: RECALL

PERFORMANCE EDIT MODE / 4: Recall/Init.

4-1: RECALL

If you’re dissatisfied with the results of edits you’ve made to a performance

combination, or have accidentally lost track of changes made, use the RECALL

function to recall the pre-edit performance data from the TG500’s backup

buffer memory.

Press [ENTER] to begin the recall procedure. The following confirmation

display will appear:

Press [+1/YES] to confirm that you want to go ahead with the recall opera-

tion (which will erase all current edited data), or press [-1/NO] to cancel.

“Completed!” will appear briefly on the display when the original voice

data has been recalled.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-1 : Recall ->

[ENTER]

4-2: INITIALIZE

PERFORMANCE EDIT MODE / 4: Recall/Init.

4-2: INITIALIZE

When you want to program a totally new performance combination “from

scratch,” rather than editing an existing combination, use this function to initial-

ize all performance parameters.

Press [ENTER] to begin the initialize procedure. The following confirmation

display will appear:

Press [+1/YES] to confirm that you want to go ahead with the initialize

operation (which will erase all current edited data), or press [-1/NO] to cancel.

“Completed!” will appear briefly on the display when the performance data

has been initialized.

For initial performance parameter, see page 283.

[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2 : Initialize

-> [ENTER]

PERFORMANCE COMPARE

PERFORMANCE EDIT MODE / PERFORMANCE

PERFORMANCE COMPARE

The performance compare function makes it possible to compare the sound

of a performance combination being edited with the same performance combi-

nation prior to editing.

To temporarily recall the original performance data while editing, press the

[EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the com-

pare mode is engaged. Press [EDIT/COMPARE] a second time to return to the

edit mode and the performance combination being edited.

[EDIT/COMPARE]

PERFORMANCE STORE

PERFORMANCE EDIT MODE / PERFORMANCE

PERFORMANCE STORE

When you’re satisfied with a new performance combination you’ve created

in the performance edit mode, use the store function described below to store

the new performance combination to an internal or card memory location.

When you’ve finished editing, return to the performance play mode (press

the [PLAY MODE] key), and before selecting a different performance combina-

tion press the [STORE/COPY] key. You can now use the [MEMORY], [-1/NO]

and [+1/YES] keys to select the memory location to which your new perform-

ance combination is to be stored.

Once the store location has been specified, press [ENTER] to begin the

store procedure. The following confirmation display will appear:

Press [+1/YES] to confirm that you want to go ahead with the store opera-

tion (which will erase all previous data in the specified memory location), or

press [-1/NO] to cancel.

When the performance data has been stored, “Completed!” will appear

briefly on the display, then the display will return to the performance play

mode.

[STORE/COPY]

VOICE EDIT MODE

1: Quick Edit

2: Level/Name

3: Full Edit

3-3: Filter

3-3-01: Parameter...............119

3-3-02: Level .......................124

3-3-03: Rate ........................124

3-3-04: Scale Point.............127

3-3-05: Scale Offset ...........128

3-3-06: Sensitivity...............129

Filter Data Copy ..................130

3-4: PEG

3-4-01: Level .......................131

3-4-02: Rate ........................131

3-4-03: Sensitivity...............134

Pitch EG Data Copy............135

3-5: LFO

3-5-01: Parameter...............136

3-5-02: Depth......................138

3-5-03: Sensitivity...............139

LFO Data Copy ....................140

3-6: Controller

3-6-01: Pitch Bend,

After Touch...................141

3-6-02:

After Touch Depth ....

142

1-1: Wave Select ..........................96

1-2: Amplitude EG........................98

1-3: Filter ....................................100

1-4: LFO ......................................102

1-5: Effect 1................................103

1-6: Effect 2................................103

1-7: Effect Wet:Dry ....................104

2-1: Level ....................................105

2-2: Name ...................................106

3-1: Oscillator

3-1-01: Wave Select ...........107

3-1-02: Parameter...............109

3-2: AEG

3-2-01: Level .......................111

3-2-02: Rate ........................111

3-2-03: Scale Point.............115

3-2-04: Scale Offset ...........116

3-2-05: Sensitivity...............117

AEG Data Copy....................118

3-7: Effect

3-7-01: Mode.......................150

3-7-02: Type........................151

3-7-03: Send .......................152

3-7-04: Output Level ..........153

3-7-05: Wet:Dry ..................154

3-7-06: Mix Level ...............155

3-7-07: Parameter 1...........156

3-7-08: Parameter 2...........156

3-7-09: Control 1................157

3-7-10: Control 2................157

3-7-11: Control LFO ...........160

Effect Data Copy .................161

Effect Signal Flow Display...

162

3-6-03: MIDI Controller 1..145

3-6-04: MIDI Controller 2..145

3-6-05: MIDI Controller 3..147

3-6-06: MIDI Controller 4..147

Controller Data Copy ..........149

4: Recall/Init.

4-1: Recall...................................163

4-2: Initialize...............................164

Voice Compare .......................... 165

Voice Store................................ 166

1-1: WAVE SELECT

VOICE EDIT MODE / 1: Quick Edit

1-1: WAVE SELECT

Grp (Wave group)

Range: 0 … 15

For fast, easy selection of the preset TG500 waves this parameter selects 16

different wave categories or “groups”, each containing a number of waves that

can be individually selected by using the “No” parameter, below.

Wave Groups

01:Piano Acoustic pianos.

02:Key Other keyboards.

03:Brass Brass instruments.

04:Wind Wind instruments.

05:Str. Strings.

06:A.Gtr Acoustic guitars.

07:E.Gtr Electric guitars.

08:Bass Acoustic & electric bass.

09:Folk Folk & ethnic instruments.

10:Synth Synthesizer sounds.

11:Choir Choir & human voice.

12:Tprc Tuned percussion.

13:Drum Drums.

14:Perc. Percussion instruments.

15:SE Sound effects.

16:OSC Basic oscillator waveforms.

Grp

These parameters provide a fast, easy way to select a new wave for the current

voice.

For full oscillator parameters see page 109.

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-1 : Wave Select -> [ENTER]

No (Wave number)

Range: 1 … 244 (Preset 1), 1 … 50 (Preset 2)

Selects the wave (AWM waveform) to be used in the current voice. Use the

“Grp” parameter, above, to select the group containing the wave that is to be

selected. The [MEMORY] key can also be used to select the memory area from

which the wave is to be selected, including internal wave memory if SYEMB06

memory expansion board are installed (page 282) or card if an appropriate

wave card is plugged into the waveform 1 or 2 card slot. A complete listing of

the preset waves is given in the Appendix, on page 309 and 310.

The TG500 actually incorporates two 32-note polyphonic tone generator

units — “A” and “B”. The inverse character “ A ” or “ B ” that appears to the

right of the wave name indicates whether that wave is produced by tone gen-

erator unit A or tone generator unit B. This information is useful, for example,

when creating performance combinations. Combining two “A” voices results in

a maximum polyphony of 32 notes because both voices are produced by the

same tone generator unit. An “A” voice combined with a “B” voice, however,

results in a maximum polyphony of 64 notes. The same basic principle applies

when combining voices in multi setups.

VOICE EDIT MODE / 1: Quick Edit

1-1: WAVE SELECT

Type (Envelope type)

Range: 00 … 21

Selects either the envelope defined by the current amplitude envelope pa-

rameter settings (page 111), or one of 21 preset amplitude envelope types for

the current voice. The envelope types are:

Quick Edit Envelope Types

00:-------- Full-edit envelope.

01:Piano Acoustic piano.

02:Brass Brass.

03:SfzBrass Sforzando brass.

04:SynBrass Synthesizer brass.

05:StFast Fast-attack strings.

06:StSlw/Pd Slow-attack strings (pad).

07:E.Bass Electric bass.

08:SynBass1 Synthesizer bass 1.

09:SynBass2 Synthesizer bass 2.

10:Organ Organ.

11:Guitar Guitar.

12:Pluck1 Plucked instrument 1.

13:Pluck2 Pluched instrument 2.

VOICE EDIT MODE / 1: Quick Edit

1-2: AMPLITUDE EG

Rather than having to set numerous level and rate values via the full-edit ampli-

tude EG parameters, these parameters let you select from a range of preset envelope

types, and then modify the overall attack, sustain, and release characteristics as re-

quired.

For full amplitude EG parameters see page 111.

Type

SusLvl

AtkRate

RlsRate

Vel

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-2 : AEG -> [ENTER]

VOICE EDIT MODE / 1: Quick Edit

1-2: AMPLITUDE EG

14:SynPad Synthesizer pad.

15:SynComp Synthesizer comping (backing).

16:Percusiv Percussive.

17:S.Ideal1 Sound ideal envelope 1.

18:S.Ideal2 Sound ideal envelope 2.

19:S.Ideal3 Sound ideal envelope 3.

20:S.Ideal4 Sound ideal envelope 4.

21:Init Initialized envelope.

AtkRate (Attack rate)

Range: 0 … 63

Sets the attack rate for the selected envelope. “63” produces the fastest

attack, while “0” produces the slowest attack.

SusLvl (Sustain level)

Range: 0 … 63

Sets the sustain level for the selected envelope.

RlsRate (Release rate)

Range: 0 … 63

Sets the release rate for the selected envelope.

Vel (Velocity sensitivity)

Range: -7 … +7

Determines how the output level of the current voice changes in response to

velocity changes (e.g. keyboard dynamics).

Plus “+” settings produce higher output level in response to higher velocity

values — i.e. the harder a key is played, the louder the sound. The maximum

setting of “+7” produces the maximum level variation in response to velocity

changes. Minus “–” settings produce the opposite effect: lower level in response

to higher velocity. A setting of “+0” results in no level variation.

100

VOICE EDIT MODE / 1: Quick Edit

1-3: FILTER

The simplified filter parameters provided here have been specifically created for

fast, efficient filter programming.

For full filter parameters see page 119.

Type (Filter type)

Range: 0 … 15

Selects either the filter defined by the current filter parameter settings

(page 119), or one of 15 preset filter types for the current voice. The filter

types are:

Quick Edit Filter Types

00:-------- Full-edit filter.

01:VeloSoft Velocity sensitive, soft response.

02:VeloWide Velocity sensitive, wide response.

03:VeloHard Velocity sensitive, hard response.

04:VeloReso Velocity sensitive, resonant.

05:SynBass1 Synthesizer bass 1.

06:SynBass2 Synthesizer bass 2.

07:SynBras1 Synthesizer brass 1.

08:SynBras2 Synthesizer brass 2.

09:Sweep Sweep-frequency filter.

10:SlowAtak Slow-attack filter.

11:LPF_Init Initialized LPF.

12:HPF_Init Initialized HPF.

13:BPF_Init. Initialized BPF.

14:BEF_Init Initialized BEF.

15:Thru No filter.

Cof (Cutoff frequency)

Range: 0 … 127

Sets the cutoff frequency of the selected filter.

Lower cutoff values produce a lower cutoff frequency and higher values

produce a higher cutoff frequency. If the “Thru” filter type is selected, no

cutoff frequency can be set and “---” appears on the display in place of the

parameter.

Type

Cof

Res

Vel

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-3 : Filter -> [ENTER]

101

VOICE EDIT MODE / 1: Quick Edit

1-3: FILTER

Res (Resonance)

Range: 0 … 99

Determines the degree of filter resonance.

This parameter has a similar effect to the “resonance” settings on traditional

analog synthesizer filters — i.e. it determines the height of a peak in the filter

response at the cutoff frequency. If a filter type other than “LPF” is selected,

no resonance can be produced and “--” appears on the display in place of the

parameter.

Higher resonance values produce a higher resonant peak and reduce the

overall bandwidth of the filter, passing a narrow band of frequencies at the

filter’s cutoff.

Vel (Velocity sensitivity)

Range: -63 … +63

Determines how the filter cutoff frequency changes in response to velocity

changes (e.g. keyboard dynamics).

Plus “+” settings produce higher cutoff frequencies in response to higher

velocity values — i.e. the harder a key is played, the higher the cutoff fre-

quency. The maximum setting of “+63” produces the maximum level variation

in response to velocity changes. Minus “–” settings produce the opposite effect:

lower cutoff in response to higher velocity. A setting of “+0” results in no

cutoff variation.

Cutoff

frequency.

LEVEL

LPF

Response

Resonant

Peak

Lower

Resonance

Higher

Resonance

102

1-4: LFO

VOICE EDIT MODE / 1: Quick Edit

1-4: LFO

Here, the main LFO parameters are simplified and concentrated in a single screen

for quick, easy programming.

For full LFO parameters see page 136.

Type (LFO modulation type)

Range: --------, 1: vibrato, 2: tremolo, 3: wahwah

Determines whether the LFO will produce vibrato (pitch modulation),

tremolo (amplitude modulation), or wahwah (filter cutoff modulation) effects.

The current LFO parameter settings (page 136) are selected when this param-

eter is set to “--------”.

Speed

Range: 0 … 99

Sets the speed of the LFO.

“0” is the slowest speed setting, producing an LFO speed of approximately

0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25

Hertz.

Depth

Range: 0 … 127

Sets the maximum amount of amplitude (tremolo), pitch (vibrato), or filter

cutoff (wahwah) modulation that can be applied to the current voice.

A “0” setting produces no modulation while a setting of “127” produces

maximum modulation.

Type Speed Depth

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-4 : LFO -> [ENTER]

103

1-5: EFFECT 1 / 1-6: EFFECT 2

VOICE EDIT MODE / 1: Quick Edit

1-5: EFFECT 1 / 1-6: EFFECT 2

The TG500 features a complex, high-performance effect system that can be pro-

grammed easily via the parameters presented in these screens.

For full effect parameters see page 156.

Type (Effect type)

Range: 0 … 90

The “Type” parameter selects any of the TG500’s 90 effect types for the

effect 1 or effect 2 processor, depending on whether the “Effect 1” or “Effect

2” edit screen is selected. See page 251 for more details on the TG500 effect

system.

Parameters 1 … 3

Range: Depends on the selected effect and parameter.

Use the [ ] key to scroll to the parameter screen. This screen provides

access to the three main parameters each for the current selected effect 1 or

effect 2, depending on whether the “Effect 1” or “Effect 2” edit screen is

selected. As usual, the name of the selected parameter is shown in the upper

right corner of the display, while in this screen the parameter unit (“s” for

seconds, “%” for percent, “dB” for decibels, etc.) is shown in parentheses in

the lower right corner.

The parameters are different for each effect (refer to page 271 for details).

The Full Edit Parameters screens described on page 156 provides full access to

all 8 effect parameters.

Type

Parameters

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-5 : Effect 1 -> [ENTER]

-> 1-6 : Effect 2 -> [ENTER]

104

1-7: EFFECT WET:DRY

VOICE EDIT MODE / 1: Quick Edit

1-7: EFFECT WET:DRY

The balance between the direct sound of the voice and the effect sound is a

delicate thing. Even slight changes can make a big difference to the final sound. The

parameter provided in this screen provides precise balance control.

Out1 (Out 1 Wet:Dry Balance)

Range: 0 … 100

Balances the effect (“wet”) and direct (“dry”) signals delivered via the

corresponding effect processors. Higher “Wet” values produce more effect

sound in relation to the direct, dry sound of the voice.

The “Wet” and “Dry” parameters are adjusted simultaneously (their total is

always 100%).

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE]

-> 1-7 : Effect Wet : Dry -> [ENTER]

105

VOICE EDIT MODE / 2: Level/Name

2-1: LEVEL

The ability to independently adjust the volume of each voice makes it possible to

match levels for smooth transition when switching between voices. It is also possible

to set the minimum volume level that can be set via MIDI control.

Total (Total level)

Range: 0 … 127

Adjusts the volume of the current voice.

A setting of “0” produces no sound while a setting of “127” produces

maximum volume.

VolLoLim (Minimum controller volume level)

Range: 0 … 127

Determines the minimum volume level that can be set by a MIDI control

device assigned to volume control. If this parameter is set to “0,” the minimum

MIDI control value will produce no sound. A setting of “63” will result in

about half volume when the control device is set to its minimum position.

Total VolLoLim

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE]

-> 2-1 : Level -> [ENTER]

106

VOICE EDIT MODE / 2: Level/Name

2-2: NAME

Your original voices should naturally have original names. This function can be

used to assign a name of up to 8 characters to the current voice.

Name

Range: See character list, below

Assigns a name of up to 8 characters to the current voice.

Use the [ ] key to move the character cursor to the left, and the [ ] key to

move the cursor to the right. Use the [-1/NO] and [+1/YES] keys to select a

character for the current cursor position. The available characters are listed

below.

The entire name can be cleared by pressing the [EDIT/COMPARE] key

while holding the [UTILITY/SELECT] key, and a space can be entered at the

cursor position by pressing the [STORE/COPY] key while holding the

[UTILITY/SELECT] key.

Name

(Space)

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE]

-> 2-2 : Name -> [ENTER]

107

3-1-01: WAVE SELECT

VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator

3-1-01: WAVE SELECT

This parameters provided in this screen are used to select the waveform on which

the voice will be based.

Grp (Wave group)

Range: 0 … 15

For fast, easy selection of the preset TG500 waves this parameter selects 16

different wave categories or “groups”, each containing a number of waves that

can be individually selected by using the “No” parameter, below.

Wave Groups

01:Piano Acoustic pianos.

02:Key Other keyboards.

03:Brass Brass instruments.

04:Wind Wind instruments.

05:Str. Strings.

06:A.Gtr Acoustic guitars.

07:E.Gtr Electric guitars.

08:Bass Acoustic & electric bass.

09:Folk Folk & ethnic instruments.

10:Synth Synthesizer sounds.

11:Choir Choir & human voice.

12:Tprc Tuned percussion.

13:Drum Drums.

14:Perc. Percussion instruments.

15:SE. Sound effects.

16:OSC Basic oscillator waveforms.

Grp

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1: Oscillator -> [ENTER]

-> [PAGE] -> 3-1-01: Wave Select -> [ENTER]

108