Wichtiger Hinweis für die Benutzung in der Bundesrepublik Deutschland.
Bescheinigung des Importeurs
Hiermit wird bescheinigt, daß der/die/das
CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B”
LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS
SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE
CANADIAN DEPARTMENT OF COMMUNICATIONS.
Musikinstrument Typ: PSR-510
(Gerät, Typ, Bezeichnung)
in Übereinstimmung mit den Bestimmungen der
VERFÜGUNG 1046/84
(Amtsblattverfügung)
funk-entstört ist.
Der Deutschen Bundespost wurde das Inverkehrbringen dieses Gerätes
angezeigt und die Berechtigung zur Überprüfung der Serie auf
Einhaltung der Bestimmungen eingeräumt.
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.
• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Music Ltd.
Yamaha Europa GmbH
Name des Importeurs
• This applies only to products distributed by Yamaha Europa GmbH.
• Dies bezieht sich nur auf die von der Yamaha Europa GmbH vertriebenen Produkte.
The serial number of this product may be found on the bottom of the unit.
You should note this serial number in the space provided below and
retain this manual as a permanent record of your purchase to aid identification in the event of theft.
Entsorgung leerer Batterien (nur innerhalb Deutschlands)
Leisten Sie einen Beitrag zum Umweltschutz. Verbrauchte Batterien oder
Akkumulatoren dürfen nicht in den Hausmüll. Sie können bei einer
Sammelstelle für Altbatterien bzw. Sondermüll abgegeben werden.
Informieren Sie sich bei Ihrer Kommune.
Model No.
PSR-510
Serial No.
SPECIAL MESSAGE SECTION
This product utilizes batteries or an external power supply (adapter). DO
NOT connect this product to any power supply or adapter other than one
described in the manual, on the name plate, or specifically recommended by
Yamaha.
This product should be used only with the components supplied or; a cart,
rack, or stand that is recommended by Yamaha. If a cart, etc., is used,
please observe all safety markings and instructions that accompany the
accessory product.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to be correct at the time
of printing. However, Yamaha reserves the right to change or modify any of
the specifications without notice or obligation to update existing units.
This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could
cause permanent hearing loss. DO NOT operate for long periods of time at a
high volume level or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time period before
damage occurs.
NOTICE:
Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered
by the manufacturer’s warranty, and are therefore the owners responsibility.
Please study this manual carefully and consult your dealer before requesting
service.
which (if applicable) is soldered in place. The average life span of this type
of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement.
This product may also use “household” type batteries. Some of these may
be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.
When installing batteries, do not mix batteries with new, or with batteries of
a different type. Batteries MUST be installed correctly. Mismatches or
incorrect installation may result in overheating and battery case rupture.
Warning: Do not attempt to disassemble, or incinerate any battery. Keep
all batteries away from children. Dispose of used batteries promptly and as
regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.
Disposal Notice: Should this product become damaged beyond repair, or
for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of
products that contain lead, batteries, plastics, etc. If your dealer is unable
to assist you, please contact Yamaha directly.
NAME PLATE LOCATION:
The name plate is located on the bottom of the product. The model
number, serial number, power requirements, etc., are located on this plate.
You should record the model number, serial number, and the date of
purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
Model
ENVIRONMENTAL ISSUES:
Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production
methods used to produce them, meet these goals. In keeping with both the
letter and the spirit of the law, we want you to be aware of the following:
Battery Notice: This product MAY contain a small non-rechargeable battery
Serial No.
Purchase Date
PLEASE KEEP THIS MANUAL
FCC INFORMATION (U.S.A.)
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.
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.
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 guaran• This applies only to products distributed by Yamaha Corporation of America.
tee that interference will not occur in all installations. If this product is found
to be the source of interference, which can be determined by turning the unit
“OFF” and “ON”, please try to eliminate the problem by using one of the
following measures:
• Relocate either this product or the device that is being affected by the
interference.
• Utilize power outlets that are on different branch (circuit breaker or fuse)
circuits or install AC line filter/s.
• In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial
type cable.
If these corrective measures do not produce satisfactory results, please
contact the local retailer authorized to distribute this type of product. If you
can not locate the appropriate retailer, please contact Yamaha Corporation
of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena
Park, CA90620
Congratulations!
You are the proud owner of a Yamaha PSR-510. Your PSR-510 is a highquality musical instrument that incorporates advanced Yamaha digital technology and many versatile features. In order to obtain maximum
performance and enjoyment from your PSR-510, we urge you to read this
Owner’s Manual thoroughly while trying out the various features described.
Keep the Owner’s Manual in a safe place for later reference.
Contents
Panel Controls
2
Taking Care of Your PortaTone
4
Preparation
5
■
■
■
■
Power Supply .................................................................. 5
Using Headphones Or an External Sound System ......... 6
The Sustain Pedal ........................................................... 6
The Music Stand ............................................................. 6
Listen to the Demo!
7
Basic Editing Procedure
8
Selecting & Playing the Voices
■
■
■
■
■
■
■
■
■
■
■
10
Orchestration ................................................................ 10
Voice Assignment ......................................................... 12
Volume .......................................................................... 13
Octave ........................................................................... 13
DSP Depth .................................................................... 14
Pan ................................................................................ 14
Auto Harmony ............................................................... 15
Effects ........................................................................... 16
Keyboard Percussion .................................................... 17
Pitch Bend ..................................................................... 18
Sustain .......................................................................... 18
Overall Control
19
Split Point Change ......................................................... 19
Transpose ..................................................................... 20
■ Tuning ........................................................................... 20
■ DSP Type ...................................................................... 21
■ Touch Sensitivity ........................................................... 22
■
■
Auto Accompaniment
■
■
■
■
■
■
■
■
Record Functions
37
Song Memory .................................................................... 37
■ Realtime Accompaniment Track Recording .................. 38
■ Realtime Melody Track Recording ................................ 40
■ Accompaniment And Melody Playback ......................... 41
■ The [RESET] Button ..................................................... 42
■ Record Or Play from a Specified Measure ................... 42
The Multi Pads .................................................................. 43
■ Realtime Recording ...................................................... 43
■ Playback ....................................................................... 44
Custom Accompaniment ................................................. 45
■ Realtime Custom Accompaniment Recording .............. 45
■ Using a Custom Accompaniment .................................. 47
Step Recording ................................................................. 48
Editing Functions ............................................................. 48
■ Quantization .................................................................. 51
■ Clearing Tracks ............................................................. 52
■ Changing the Recorded Settings .................................. 52
Page Memory
54
MIDI
55
MIDI Bulk Dump ................................................................ 56
■ Page Copy .................................................................... 57
MIDI Reception Modes ..................................................... 58
■ Channel Reception Modes ............................................ 58
■ Clock Mode ................................................................... 59
■ Start/Stop Mode ............................................................ 59
MIDI Transmission ............................................................ 60
■ MIDI Transmit Channels ............................................... 60
■ Local & MIDI Output ON/OFF ....................................... 60
23
Selecting a Style ........................................................... 23
Setting the Auto Accompaniment Split Point ................ 24
Auto Accompaniment Fingering .................................... 24
Tempo Control .............................................................. 27
Accompaniment Control ................................................ 28
Accompaniment Volume ............................................... 31
The Track Buttons ......................................................... 31
Re-voicing the Tracks ................................................... 32
One Touch Setting
34
Registration Memory
35
Appendix ............................................................................... 61
■ Voice & Polyphony List ................................................. 61
■ Style List ....................................................................... 62
■ Reset Procedures & Page Memory Default Settings .... 65
■ Troubleshooting ............................................................ 67
Index
................................................................................ 68
Percussion Kit List .......................................................... 274
MIDI Implementation Chart ............................................ 276
Specifications ................................................................. 279
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1
Taking Care of Your PortaTone
Your PortaTone will give you years of playing pleasure if you follow the
simple rules given below:
■ Location
Do not expose the instrument to the following
conditions to avoid deformation, 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.
• A power adaptor, if used, should be unplugged
from the AC outlet if the instrument is not to be
used for an extended period of time.
• Unplug the power adaptor during electric storms.
• Avoid plugging the power adaptor into the same
AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also
avoid using multi-plug adaptors 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 connected (a sound system,
for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables.
■ 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.
• Physical shocks caused by dropping, bumping, or
placing heavy objects on the instrument can result in scratches and more serious 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).
■ 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.
■ Service and Modification
• The PSR-510 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.
YAMAHA is not responsible for damage caused by improper handling or operation.
4
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Preparation
This section contains information about setting up your PSR-510 and preparing to play.
Be sure to go through this section carefully before using your PSR-510.
SUSTAIN PEDAL HEADPHONES/
AUX OUT
DC 10-12V IN
■ Power Supply
Your PSR-510 will run either from an optional power adaptor or batteries*. Follow the instructions below
according to the power source you intend to use.
* When batteries are used the sound of the PSR-510 may be distorted at high volume
levels. This is because the power of the amplifier is reduced when batteries are used.
CAUTION
• Never interrupt the power supply (e.g. remove the batteries or unplug the AC adaptor) during any PSR-510 record operation! Doing so
can result in a loss of data.
● Using An Optional AC Power Adaptor .................................................................................................
DC 10-12V IN
PA-3,
PA-4,
PA-5,
PA-5B,
or
PA-40
AC power
socket
Plug the DC output cable from an optional Yamaha PA-3, PA-4, PA-5, PA5B, or PA-40 AC Power Adaptor into the DC IN jack on the rear panel of the
PSR-510, then plug the Power Adaptor (or the AC cable of the Power Adaptor)
into a convenient wall AC power socket. The internal batteries are automatically disconnected when an AC Power Adaptor is used.
CAUTION
NOTES
• Use ONLY a Yamaha PA-3, PA-4, PA-5, PA-5B, or PA-40 AC Power
Adaptor to power your instrument from the AC mains. The use of
other adaptors may result in irreparable damage to both the adaptor
and the PSR-510.
• Using the PA-5 with the PSR-510 will provide a slight increase in the
overall volume.
● Using Batteries .......................................................................................................................................
For battery operation the PSR-510 requires six 1.5V SUM-1, “D” size, R-20 or equivalent batteries.
When the batteries need to be replaced the volume may be reduced, the sound may be distorted, and other
problems may occur. When this happens, turn the power off while either the batteries are replaced or an AC
adaptor is connected.
When the batteries fail, replace them as follows:
Z Open the battery compartment cover located on the instrument’s bottom
panel.
X Insert the six new batteries, being careful to follow the polarity markings on
the inside of the compartment.
C Replace the compartment cover, making sure that it locks firmly in place.
CAUTION
• When the batteries run down, replace them with a complete set of
six new batteries. NEVER mix old and new batteries.
• Do not use different kinds of batteries (e.g. alkaline and manganese)
at the same time.
• To prevent possible damage due to battery leakage, remove the
batteries from the instrument if it is not to be used for an extended
period of time.
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5
Preparation
■ Using Headphones Or an External Sound System
HEADPHONES/
AUX OUT
A standard pair of stereo headphones can be plugged into the rear-panel
HEADPHONES/AUX OUT jack for private practice or late-night playing.
The internal speaker system is automatically shut off when a pair of headphones is plugged into the HEADPHONES/AUX OUT jack. The HEADPHONES/AUX OUT jack can also be used to deliver the output of the
PSR-510 to a keyboard amplifier, stereo sound system, mixing console or
tape recorder.
Stereo sound
system
■ The Sustain Pedal
SUSTAIN PEDAL
An optional Yamaha FC4 or FC5 footswitch can be plugged into the
rear-panel SUSTAIN PEDAL jack. The sustain pedal functions as a damper
pedal, controlling sustain. Press the pedal to sustain notes after the keys are
released.
NOTES
• Be sure that you do not press the pedal while inserting the plug
into the SUSTAIN PEDAL jack or while turning the power on. If
you do, the ON/OFF status of the footswitch will be reversed.
This function has been implemented to allow either press-tomake or press-to-break contact type footswitches to be used with
the PSR-510.
■ The Music Stand
Insert the bottom edge of the music stand into the slot located at the rear
of the PSR-510 control panel.
6
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Listen to the Demo!
Once you’ve set up your PSR-510, try listening to the pre-programmed demonstration songs —
they’ll give you a good idea of what the PSR-510 can do!
DEMO
SONG #
ON/
OFF
MIN
POWER
MAX
MASTER VOLUME
START/
STOP
ZTurn the Power ON & Set the Volume ..................................................................................................
Before playing the demo turn the power ON by pressing the POWER
switch (the panel indicators and MULTI DISPLAY will light), and turn the
MASTER VOLUME control up (clockwise) about a quarter-turn from its
minimum position.
ON/
OFF
POWER
MIN
MAX
MASTER VOLUME
XSelect a Song ..........................................................................................................................................
DEMO
SONG #
Press the DEMO [SONG #] button a few times until the number of the
desired demo song appears on the MULTI DISPLAY.
ALL (0): Repeat playback of all demo songs in sequence.
1-6: Repeat playback of the selected demo song number.
START/
STOP
NOTES
• “ALL” is automatically selected whenever the power switch is turned
on.
CPress DEMO [START/STOP] to Start ....................................................................................................
DEMO
SONG #
Press the DEMO [START/STOP] button to start playback, and use the
MASTER VOLUME control to set the ideal listening level. The selected
demonstration will play repeatedly.
NOTES
• During demo playback you can select different voices and play along
on the keyboard — see the “Selecting & Playing the Voices” section
beginning on page 10.
START/
STOP
VPress DEMO [START/STOP] to Stop ....................................................................................................
Press the DEMO [START/STOP] button again to stop demo playback.
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7
Basic Editing Procedure
The PSR-510 features a flexible-but-consistent interface that lets you edit just about all of its
parameters using the same basic procedure. Once familiar with the system, you’ll be able to
edit any parameter quickly and easily. Here’s the basic procedure:
BEAT
RESET
MULTI DISPLAY
–
+
0
1
2
3
4
5
6
7
8
9
+–
1_ _
ZPress a Function Button ........................................................................................................................
VOICE
SELECT
First press the button corresponding to the function or parameter you
want to edit. To select voice numbers, for example, press the [VOICE SELECT] button (its indicator will light). The number shown on the MULTI
DISPLAY will be the current value of the selected parameter.
KEYBOARD
PERCUSSION
XEdit the Parameter ..................................................................................................................................
The PSR-510 lets you edit parameters using four different methods. Use
the one that best suits the parameter you have selected:
2-1: The Function Button
VOICE
SELECT
Each time you press a function button (except for the SPLIT POINT
button) after initially selecting the function, the value of the corresponding
parameter will be incremented (increased) by one. If you hold the function
button for a few seconds, the parameter will begin to increment continuously as long as you hold the button.
If, for example, you press the [VOICE SELECT] button and MULTI
DISPLAY shows that voice number 36 is currently selected, you can select
voice number 37 simply by pressing the [VOICE SELECT] button again.
KEYBOARD
PERCUSSION
8
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2-2: The [+] and [−] Buttons
RESET
–
+
2-3: The Number Buttons
0
1
2
3
The number buttons — to the right of the [+] and [−] buttons — allow
direct numeric entry of the desired value, and are therefore the fastest way
to edit in many situations.
To select a voice, for example, choose one of the 128 voices — numbered “01” through “128” — shown on the panel VOICE list, then enter its
number using the number buttons. To select “HARMONICA” (number 23),
for example, first press [2] then [3]. The number “23” should then appear
on the MULTI DISPLAY.
4
9
The [+] and [−] buttons immediately to the right of the MULTI DISPLAY can be used to increment (increase by one) or decrement (decrease
by one) the currently selected parameter. Press the [+] button briefly to increment the parameter value, or the [−] button to decrement. If you hold the
[+] or [−] button down, the value will increment or decrement continuously
— simply release the button when the desired value has been reached.
+–
1_ _
The [+/−] button is used to switch between positive and negative values
with parameters that allow negative values (Transpose, Tuning, Octave, and
Pan, for example). A “−” appears before negative values on the MULTI
DISPLAY.
When selecting voice numbers the [+/−] button is used to enter the hundreds digit of the voice number (the button alternately selects no hundreds
digit or “1”), as required, prior to entering the tens and ones digits. The [1]
number button cannot be used to enter the hundreds digit when selecting
voices.
Values outside the range of the selected parameter can not be entered.
This is undoubtedly the easiest way to edit most parameters. Simply rotate the dial clockwise to increment or counter-clockwise to decrement.
2-4: The Data Dial
NOTES
• After editing a parameter other than [VOICE SELECT], the [VOICE
SELECT] parameter will automatically be re-selected after a brief
delay.
• If you attempt to change a parameter that can not be edited in the
current mode, “---” will appear on the MULTI DISPLAY.
● Yes/No Confirmation
ARE YOU SURE ?
YES
NO
Some operations that change important settings or erase data may require you
to confirm your choice by pressing the [YES] or [NO] button. When a choice needs
to be confirmed the ARE YOU SURE? indicator will flash and a digitally sampled
voice will ask “Are you sure?”. Press the [YES] button to execute the specified operation or the [NO] button to cancel and leave the settings or data unaffected.
If you don’t want to hear the “Are you sure?” confirmation sound, hold down the
[NO] button while initially turning the power switch on. To restore the confirmation
sound, turn the power switch off, then turn it back on again while holding down the
[YES] button. The on/off status of the confirmation sound is retained in memory
even when the power switch is turned off as long as batteries are installed on an
AC adaptor is connected.
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9
Selecting & Playing the Voices
The PSR-510 has 128 stunning voices plus 8 different drum and percussion kits that
you can select and play in a number of ways.
VOICE
SELECT
VOICE
VOL
OCTAVE DSP
DEPTH
PAN
ORCHESTRATION
L1
HARMONY EFFECT
TYPE
TYPE
R1
EDIT
L2
KEYBOARD
PERCUSSION
ONE TOUCH
SETTING
R2
HARMONY EFFECT
■ Orchestration
The unique ORCHESTRATION button group in the PSR-510’s VOICE control section lets you select and
play from one to four “parts” at the same time using a variety of “orchestrations”. One of the PSR-510’s 128
voices is assigned to each part.
● Single: One voice over the entire keyboard.
● Dual: Two voices simultaneously over the entire keyboard.
● Split: Different voices with the left and right hands.
● Split & Dual: Combinations of the Split and Dual modes.
There are actually a number of variations on
each of the above orchestrations. The ORCHESTRATION buttons are used to choose the type of
orchestration you want.
Right-hand voice 1
(or single voice)
Left-hand voice 1
ORCHESTRATION
L1
R1
EDIT
L2
Left-hand voice 2
R2
Right-hand voice 2
(or single voice)
The four available parts are turned on and off by
the [R1], [R2], [L1], and [L2] buttons. The indicators next to each of these buttons tell you which
parts are on and which are off, and therefore indicate the current orchestration mode. The [EDIT]
button determines which of the four orchestration
parts is to be edited. You can, for example, assign
any of the PSR-510’s 128 voices to each of the orchestration parts. But before we discuss voice assignment and editing, let’s take a look at the various
orchestration modes:
10
● Single Modes
In the “single” modes either the [R1] or [R2] part
voice can be played over the entire keyboard. The R1
and R2 single-voice modes are selected simply by
pressing either the [R1] or [R2] button if neither the
[L1] or [L2] indicators are lit. If the [L1] and/or [L2]
indicators are lit, press them so that both indicators
go out.
Note that when you select the [R1] or [R2] singlevoice mode, the triangular EDIT indicator for the selected voice also lights. This means you can select a
different voice number or otherwise edit the current
voice using the procedures described on page 12.
L1
R1
EDIT
L2
R2
L1
The R1 voice is played across the
entire keyboard.
R1
EDIT
L2
R2
The R2 voice is played across the
entire keyboard.
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● Dual Mode
● Split & Dual Modes
In the dual mode both the [R1] and [R2] part
voices are selected so they can be played simultaneously across the entire keyboard. To select the dual
mode, make sure that both the [L1] and [L2] indicators are out, then press both the [R1] and [R2] buttons simultaneously (or hold one while pressing the
other).
You can switch back to either of the single modes
from the dual mode simply by pressing the [R1] or
[R2] button, as required.
L1
There are five possible combinations of the split
and dual modes, as shown below. The part for the
single-voice side of the combination is selected simply by pressing the appropriate part button, while for
the dual-voice side both buttons must be pressed
simultaneously (or one while holding the other).
▼
L1
R1
EDIT
L2
R2
L1
R1
L1 voice.
R1 & R2 voices.
R1
▼
EDIT
L2
R2
The R1 & R2 voices are played
across the entire keyboard.
EDIT
L2
R2
L1
R1
R1 & R2 voices.
L2 voice.
▼
● Split Modes
EDIT
The PSR-510 allows four different split modes,
with one voice played on the left-hand section of the
keyboard ([L1] or [L2]) and a different voice on the
right-hand section of the keyboard ([R1] or [R2]).
Selecting a split mode is simply a matter of pressing
the buttons corresponding to the desired left- and
right-hand parts.
The split point (i.e. the key at which the voices
change over) can be set at any desired key by using
the SPLIT POINT CHANGE function described on
page 19.
L2
R2
L1
R1
R2 voice.
L1 & L2 voices.
▼
EDIT
L2
R2
L1
R1
L1 & L2 voices.
R1 voice.
▼
EDIT
L2
R2
L1 & L2 voices.
R1 & R2 voices.
▼
L1
R1
EDIT
L2
R2
L1
R1
R1 voice.
L1 voice.
▼
EDIT
L2
R2
L1
R1
L2 voice.
R1 voice.
▼
EDIT
L2
R2
L1
R1
L1 voice.
R2 voice.
▼
EDIT
L2
R2
L2 voice.
R2 voice.
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11
Selecting & Playing the Voices
■ Voice Assignment
You can assign any of the PSR-510’s 128 voices to each of the ORCHESTRATION parts, whether the part is
currently ON or OFF.
ZPress the [VOICE SELECT] Button .......................................................................................................
VOICE
SELECT
You don’t need to do this if the [VOICE SELECT] indicator is already
lit. Also make sure that the [KEYBOARD PERCUSSION] indicator is
out.
KEYBOARD
PERCUSSION
XSelect the Part You Want to Edit ...........................................................................................................
Use the ORCHESTRATION [EDIT] button to select the part to which
you want to assign a new voice. The [EDIT] indicators light in sequence in
the clockwise direction each time the [EDIT] button is pressed.
EDIT
NOTES
• You can edit the voice number of a part that is OFF while playing a
different part.
• Actually, the [VOICE SELECT] mode is automatically selected whenever the [EDIT] button is pressed, so you don’t really need to press
[VOICE SELECT] as described in step 1 if you’re going to use the
[EDIT] button prior to selecting a voice number.
CSelect a Voice Number ...........................................................................................................................
RESET
–
+
0
1
2
Example: Voice number “120”
+–
1_ _
2
0
Referring to the VOICE list printed on the PSR-510 panel, use the [+]
and [−] buttons, the number buttons, the data dial, or the [VOICE SELECT] button itself to select the required voice number (see page 8 for
editing procedure details).
When entering voice numbers higher than 99, use the [+/−] button to
enter the hundreds digit prior to entering the tens and ones digits: the button
alternately selects no hundreds digit or “1”.
NOTES
12
• The optimum keyboard range is preset for each voice.
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■ Volume
You can individually set the volume of each orchestration part to set up the ideal balance between parts.
ZSelect the Part You Want to Edit ...........................................................................................................
Use the ORCHESTRATION [EDIT] button to select the part you want
to edit.
XPress the [VOL] Button ..........................................................................................................................
Press the VOICE control section [VOL] button. The current volume
value of the selected part will appear on the MULTI DISPLAY.
VOL
CSet the Volume .......................................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[VOL] button itself to set the desired volume. The volume range is from 00
(no sound) to 24 (maximum volume). The default volume value (21) can be
recalled instantly by pressing both the [+] and [−] buttons at the same time.
■ Octave
You can individually shift the octave of each orchestration part up or down by up to two octaves. This makes
it easy, for example, to lower the pitch of a bass voice to an appropriate octave without affecting the other parts
in your orchestration.
ZSelect the Part You Want to Edit ...........................................................................................................
Use the ORCHESTRATION [EDIT] button to select the part you want
to edit.
XPress the [OCTAVE] Button ..................................................................................................................
OCTAVE
Press the VOICE control section [OCTAVE] button. The current octave
value of the selected part will appear on the MULTI DISPLAY.
CSet the Octave ........................................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[OCTAVE] button itself to set the desired octave. The octave range is from
−2 (down two octaves) to +2 (up two octaves). The normal octave value for
the selected voice can be recalled instantly by pressing both the [+] and [−]
buttons at the same time.
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13
Selecting & Playing the Voices
■ DSP Depth
The PSR-510 features a built-in digital signal processor (DSP) that can be used to apply a range of reverb and
delay effects to the PSR-510 voices. The [DSP TYPE] button in the OVERALL CONTROL section (page 21)
determines the type of effect to be applied, while the VOICE section [DSP DEPTH] button lets you individually
set the amount of effect applied to each orchestration part.
ZSelect the Part You Want to Edit ...........................................................................................................
Use the ORCHESTRATION [EDIT] button to select the part you want
to edit.
XPress the [DSP DEPTH] Button .............................................................................................................
DSP
DEPTH
Press the VOICE control section [DSP DEPTH] button. The current
DSP depth value of the selected part will appear on the MULTI DISPLAY.
CSet the DSP Depth ..................................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[DSP DEPTH] button itself to set the desired DSP depth. The depth range
is from 00 (no effect, direct sound only) to 15 (maximum effect).
The default DSP depth value (06) can be recalled instantly by pressing
both the [+] and [−] buttons at the same time.
■ Pan
The PSR-510 delivers true stereo sound, and you can use this parameter to individually set the stereo (pan)
position of each orchestration part to create a broad stereo image of your sound.
ZSelect the Part You Want to Edit ...........................................................................................................
Use the ORCHESTRATION [EDIT] button to select the part you want
to edit.
XPress the [PAN] Button ..........................................................................................................................
PAN
Press the VOICE control section [PAN] button. The current pan value of
the selected part will appear on the MULTI DISPLAY.
CSet the Pan Position ...............................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[PAN] button itself to set the desired pan value. The pan range is from −7
(full left) to +7 (full right). A setting of “0” places the sound of the selected
part in the center of the stereo sound field. Other settings produce in-between positions. “−4”, for example, would place the sound between center
and full left.
The center pan position (0) can be recalled instantly by pressing both the
[+] and [−] buttons at the same time.
NOTES
14
• The new pan value will apply from the next note played — i.e. you
can’t pan the sound of a note while it is playing.
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■ Auto Harmony
Auto Harmony is used with the PSR-510’s Auto Accompaniment feature except for Full fingering mode (see
page 23). It automatically adds appropriate harmony notes to a single-note melody line you play on the keyboard. You can choose from 10 different types of harmony that can be assigned to the right-hand orchestration
parts.
ZTurn Auto Harmony ON .........................................................................................................................
Press the [HARMONY] button so that its indicator lights. This turns
Auto Harmony ON.
HARMONY
TYPE
NOTES
• The HARMONY can’t be engaged when Keyboard Percussion is ON.
HARMONY
XPress the [HARMONY TYPE] Button ....................................................................................................
Press the VOICE control section [HARMONY TYPE] button. The
number of the currently selected harmony type will appear on the MULTI
DISPLAY.
HARMONY
TYPE
HARMONY
CSelect a Harmony Type ..........................................................................................................................
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[HARMONY TYPE] button itself to select the desired effect.
RESET
–
+
0
1
2
The Harmony Types
01
02
03
04
05
Duet
1+5
Country
Trio
Block
06
07
08
09
10
4-way close 1
4-way close 2
4-way open
Octave
Strum
VTurn Auto Harmony ON or OFF as Required .......................................................................................
HARMONY
TYPE
Use the [HARMONY] button to turn Auto Harmony ON or OFF. Auto
Harmony is ON when the [HARMONY] button indicator is lit.
NOTES
HARMONY
• When Auto Harmony is used in the dual mode, the R1 voice responds
to notes played on the keyboard while the harmony notes are played
by the R1 and R2 voices, depending on the selected harmony type.
• Only a single note can be played at a time on the keyboard (or the
right-hand section of the keyboard) when the Auto Harmony feature is
used.
• If you play more than one note at the same time while Auto Harmony
is ON, only the highest note will sound.
• Auto Harmony will only function when the Auto Accompaniment function is being used (page 23).
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15
Selecting & Playing the Voices
■ Effects
The PSR-510 has a range of 12 delay-based effects — in addition to the DSP effects (pages 14 and 21) — that
can be selected and applied to the right-hand orchestration parts (the left-hand orchestration parts are not affected).
ZTurn the Effect ON ..................................................................................................................................
EFFECT
TYPE
Press the [EFFECT] button so that its indicator lights. This turns ON
the effect.
NOTES
• The EFFECT can’t be engaged when Keyboard Percussion is ON.
EFFECT
XPress the [EFFECT TYPE] Button .........................................................................................................
Press the VOICE control section [EFFECT TYPE] button. The number
of the currently selected effect will appear on the MULTI DISPLAY.
EFFECT
TYPE
EFFECT
CSelect an Effect .......................................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[EFFECT TYPE] button itself to select the desired effect.
The Effects
01
Echo
05
Tremolo
09
Trill
3
02
Echo
06
Tremolo
10
Trill
03
Echo
07
Tremolo
11
Trill
04
Echo
08
Tremolo
12
Trill
3
3
VTurn the Effect ON or OFF as Required ...............................................................................................
EFFECT
TYPE
Use the [EFFECT] button to turn the effect ON or OFF. The selected
effect is ON when the [EFFECT] button indicator is lit.
NOTES
• You can change the effect type whether the effect is ON or OFF.
EFFECT
16
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■ Keyboard Percussion
The PSR-510 has 8 different drum and percussion “kits” that can be played on the keyboard when the Keyboard Percussion function is turned ON. The types of drum and percussion instruments played by the various
keys when Keyboard Percussion function is selected are marked by symbols above the keys.
ZTurn Keyboard Percussion ON .............................................................................................................
VOICE
SELECT
Press the [KEYBOARD PERCUSSION] button so that its indicator
lights to turn Keyboard Percussion ON. The percussion kit number will
appear on the MULTI DISPLAY.
KEYBOARD
PERCUSSION
XSelect a Percussion Kit ..........................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[VOICE SELECT] button to select the desired percussion kit (1 through
8). See page 274 for a complete list of the percussion kit instruments.
The Percussion Kits
1
2
3
4
5
6
7
8
Standard
Room
Rock
Electronic
Analog
Jazz
Brush
Classic
NOTES
• The HARMONY, EFFECT and TRANSPOSE functions (pages 15, 16
and 20) do not affect the percussion sounds. The HARMONY and
EFFECT functions will be canceled when Keyboard Percussion is
turned ON.
• The ORCHESTRATION [EDIT] button does not function when Keyboard Percussion is turned ON.
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17
Selecting & Playing the Voices
■ Pitch Bend
PITCH BEND
The PITCH BEND wheel to the left of the keyboard allows the note
pitch to be bent up or down — roll the wheel away from you to bend up,
and toward you to bend down (this situation can be reversed, as described
below). When the PITCH BEND wheel is moved almost all the way in
either direction, the current pitch bend range value will appear on the
MULTI DISPLAY (see below).
+
–
● Setting the Pitch Bend Range
The maximum amount of pitch bend produced by the PITCH BEND wheel can be set anywhere from ±1
semitone to ±12 semitones (i.e. plus or minus one octave).
ZCall the Pitch Bend Range Parameter ..................................................................................................
PITCH BEND
To set the pitch bend range, roll the PITCH BEND wheel all the way in
either direction so that the current range value appears on the MULTI DISPLAY.
+
–
XSet the Pitch Bend Range ......................................................................................................................
RESET
–
+
0
1
2
While holding the PITCH BEND wheel at its maximum position, use
the [+] and [−] buttons, the number buttons, or the data dial to select the
desired pitch bend range. The pitch bend range value is displayed in semitones (−12 through 12). If a minus setting is selected pitch bend wheel operation is reversed — i.e. roll the wheel away from you to lower pitch. The
default pitch bend range (02) can be instantly recalled by pressing [+] and
[−] buttons simultaneously.
CRelease the PITCH BEND Wheel ...........................................................................................................
Release the PITCH BEND wheel when you’ve set the required pitch
bend range.
■ Sustain
SUSTAIN PEDAL
18
If you have plugged an optional Yamaha FC4 or FC5 footswitch into the
PSR-510’s rear-panel SUSTAIN PEDAL jack, the footswitch can be used
as a damper pedal, controlling sustain. Press the pedal to sustain notes after
the keys are released.
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Overall Control
The OVERALL CONTROL section includes a range of parameters that,
as their title suggests, apply to the overall sound of the PSR-510.
OVERALL CONTROL
TEMPO SPLIT TRANSDSP
POINT POSE TUNING TYPE
TOUCH
SENSE
0 OFF
DSP TYPE
.....................................
1 HALL 1
2 HALL 2
3 ROOM 1
4 ROOM 2
METRONOME
5 PLATE 1
6 PLATE 2
7 DELAY 1
8 DELAY 2
TOUCH
RESPONSE
■ Split Point Change
This function lets you set the split point (the key that separates the left-hand and right-hand orchestration
parts) to any key on the keyboard.
ZTurn Auto Accompaniment OFF ...........................................................................................................
STYLE
SELECT
To set the split point for the left- and right-hand orchestration parts,
make sure that the [AUTO ACCOMP] indicator is off before proceeding.
NOTES
• The PSR-510 actually memorizes two separate split points: one for
the left- and right-hand orchestration parts, and one for Auto Accompaniment mode. See page 24 for details on setting the Auto Accompaniment split point.
AUTO
ACCOMP
XPress the [SPLIT POINT] Button ...........................................................................................................
SPLIT
POINT
Press the OVERALL CONTROL section [SPLIT POINT] button. The
key number of the current split point will appear on the MULTI DISPLAY.
NOTES
• The key numbers for each note are listed above the keyboard. The C3
(middle C) key number, for example, is 60.
CSet the Split Point ...................................................................................................................................
SPLIT
POINT
The easiest way to set the split point is to press the key you want to set
as the split point while holding the [SPLIT POINT] button. The number of
the selected key will appear on the MULTI DISPLAY.
As with all other parameters, you can also use the [+] and [−] buttons,
the number buttons, or the data dial to select the desired split point. The
default split point (69) can be recalled instantly by pressing both the [+] and
[−] buttons at the same time.
NOTES
• The split-point key becomes the lowest key in the right-hand section of
the keyboard.
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19
Overall Control
■ Transpose
The PSR-510 [TRANSPOSE] button makes it possible to shift the pitch of the PSR-510 up or down in semitone intervals up to a maximum of 12 semitones (one octave). Transposing the pitch of the PSR-510 keyboard
makes it easier to play in difficult key signatures, and you can easily match the pitch of the keyboard to the
range of a singer or other instrumentalist.
ZPress the [TRANSPOSE] Button ...........................................................................................................
Press the OVERALL CONTROL section [TRANSPOSE] button. The
current transpose value will appear on the MULTI DISPLAY.
TRANSPOSE
XSet the Desired Degree of Transposition .............................................................................................
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[TRANSPOSE] button itself to set the desired degree of transposition.
RESET
–
+
0
1
2
The transposition range is from −12 to +12, with −12 corresponding to
downward transposition by 12 semitones (one octave), and +12 corresponding to upward transposition by 12 semitones. 00 is the “normal” keyboard
pitch value. The normal transpose value (00) can be recalled instantly by
pressing both the [+] and [−] buttons at the same time.
NOTES
• The new transpose value will apply from the next note played — i.e.
you can’t transpose the sound of a note while it is playing.
■ Tuning
The PSR-510 [TUNING] button makes it possible to tune the pitch of the PSR-510 to match other instruments. Tuning can be accomplished over a ±50-cent range (that’s 100 cents total, or one semitone) in 33 steps.
ZPress the [TUNING] Button....................................................................................................................
TUNING
Press the OVERALL CONTROL section [TUNING] button. The current
tuning value will appear on the MULTI DISPLAY.
XSet the Tuning ........................................................................................................................................
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[TUNING] button itself to set the desired tuning value.
RESET
–
+
0
1
2
The tuning range is from −16 (−50 cents) to +16 (+50 cents). “00” (±0
cents) is the “normal” tuning value. The normal tuning value (00) can be
recalled instantly by pressing both the [+] and [−] buttons at the same time.
NOTES
20
• The tuning setting is retained in memory even when the power switch
is turned off, as long as batteries are installed or an AC adaptor is
connected.
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■ DSP Type
The [DSP TYPE] button selects one of eight digital effects that you can use for extra depth and expressive
power. This button determines the type of effect to be used, while the [DSP DEPTH] button in the VOICE section allow the depth of the effect to be individually set for each orchestration part.
ZPress the [DSP TYPE] Button ...............................................................................................................
Press the OVERALL CONTROL section [DSP TYPE] button. The
number of the current DSP type will appear on the MULTI DISPLAY.
DSP
TYPE
0
OFF
DSP TYPE
.....................................
1 HALL 1
5 PLATE 1
2 HALL 2
6 PLATE 2
3 ROOM 1 7 DELAY 1
4 ROOM 2 8 DELAY 2
XSelect a DSP Type ..................................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[DSP TYPE] button itself to select the desired DSP type (0 for OFF, or 1 …
8 as listed below). The default DSP type (1) can be recalled instantly by
pressing both the [+] and [−] buttons at the same time.
The DSP Types
1
Hall 1
2
Hall 2
3
Room 1
4
Room 2
5
Plate 1
6
Plate 2
7
Delay 1
8
Delay 2
NOTES
For a spacious reverb sound use one of the Hall settings. These
effects simulate the natural reverberation of a concert hall. Hall 2
has a longer reverb time and therefore simulates a larger hall
than Hall 1.
These settings add relatively short reverb effects to the sound
that are similar to the type of acoustic reverberation you might
hear in different rooms.
These are simulations of the large plate reverb devices traditionally used in professional recording studios.
Delay 1 produces a distinct series of delay repeats, while Delay 2
produces a smoother multiple-delay sound.
• DSP effects may sound different with different voices.
• The DSP type setting is retained in memory even when the power
switch is turned off, as long as batteries are installed or an AC adaptor
is connected.
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21
Overall Control
■ Touch Sensitivity
This function varies the touch sensitivity of the keyboard. Use this capability to adjust the PSR-510’s touch
sensitivity for the best results with your own particular playing style.
ZPress the [TOUCH SENSE] Button .......................................................................................................
Press the OVERALL CONTROL section [TOUCH SENSE] button. The
current sensitivity setting will appear on the MULTI DISPLAY.
TOUCH
SENSE
TOUCH
RESPONSE
XTurn Touch Sensitivity ON ....................................................................................................................
Press the [TOUCH RESPONSE] button so that its indicator lights. This
turns touch sensitivity ON.
TOUCH
SENSE
TOUCH
RESPONSE
CSet the Sensitivity ..................................................................................................................................
Use the [+] and [−] buttons, the number buttons, the data dial, or the
[TOUCH SENSE] button itself to set the desired sensitivity value (1 … 5).
RESET
–
+
0
1
2
A setting of “1” produces the least touch sensitivity, and therefore the
smallest dynamic range. A setting of “5” produces the greatest sensitivity
and broadest dynamic range. The default touch sensitivity value (4) can be
recalled instantly by pressing both the [+] and [−] buttons at the same time.
VTurn Touch Sensitivity ON or OFF as Required ..................................................................................
TOUCH
SENSE
Use the [TOUCH RESPONSE] button to turn touch sensitivity ON or
OFF as required. When OFF (i.e. when the indicator is off) the same volume is produced no matter how hard you play on the keyboard. Touch sensitivity can be turned OFF to produce a more realistic effect with voices
that normally do not have touch response: e.g. organ and harpsichord.
TOUCH
RESPONSE
22
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Auto Accompaniment
The PSR-510 has 103 accompaniment styles that can be used to provide fully-orchestrated Auto
Accompaniment.
When the Auto Accompaniment function is turned ON, the PSR-510 creates fully-orchestrated
rhythm, bass, and chord accompaniment based on chords you play with the left hand in the Auto
Accompaniment section of the keyboard (i.e. all keys to the left of the Auto Accompaniment split
point). The right-hand section of the keyboard is available for normal playing.
The default Auto Accompaniment split point
is the G2 (55) key. The Auto Accompaniment
AUTO ACCOMPANIMENT
section of the keyboard consists of all keys to
Auto Accompaniment
Normal
▼
its left. The Auto Accompaniment split point
can be set to any other key as described in
“Setting the Auto Accompaniment Split Point”
on page 24.
Left-hand fingering specifies
The right-hand plays
the auto accompaniment chords.
NOTES
normally.
• The PSR-510 also has a special “Full” Auto Accompaniment fingering mode in which chords played anywhere
on the keyboard determine the Auto Accompaniment chords. See page 27 for details.
AUTO ACCOMPANIMENT
STYLE FINGE- ACCOMP
SELECT RING VOLUME
RHYTHM
1
2
BASS
RHYTHMIC
CHORD
1
2
PAD
CHORD
PHRASE
1
2
1 CHORD 1
2 CHORD 2
3 SINGLE
4 MULTI
5 FULL
AUTO
ACCOMP
SYNC-START/STOP
START/STOP
FADE IN / OUT
INTRO
FILL IN 1
FILL IN 2
REVOICE
TRACK
ENDING
MAIN
A
B
ACCOMPANIMENT CONTROL
■ Selecting a Style
Any of the PSR-510’s 103 accompaniment styles can be selected via the normal editing procedure. This can
be done either before or during accompaniment playback. See page 62 for descriptions of all 103 styles.
ZPress the [STYLE SELECT] Button ......................................................................................................
STYLE
SELECT
When you press the [STYLE SELECT] button the currently selected
style number will appear on the MULTI DISPLAY.
AUTO
ACCOMP
XSelect a Style Number ............................................................................................................................
RESET
–
+
0
1
2
Referring to the STYLE list printed on the PSR-510 panel, use the [+]
and [–] buttons, the number buttons, the data dial, or the [STYLE SELECT] button itself to select the required style number (see page 8 for editing procedure details).
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23
Auto Accompaniment
■ Setting the Auto Accompaniment Split Point
To set the Auto Accompaniment split point, first turn Auto Accompaniment ON — press the [AUTO ACCOMP] button so that its indicator lights
— then proceed with steps 2 and 3 as described in “Split Point Change” on
page 19. The default Auto Accompaniment split point (55) can be recalled
instantly by pressing both the [+] and [–] buttons at the same time.
SPLIT
POINT
STYLE
SELECT
AUTO
ACCOMP
Auto Accompaniment split point
Orchestration split point
▼
▼
Auto
Accompaniment
Left voice
Right voice
NOTES
• If the Auto Accompaniment split point is set at a lower key than
the orchestration split point, the L1 and/or L2 voice will sound
between the Auto Accompaniment and orchestration split
points.
Auto Accompaniment split point
Orchestration split point
▼
▼
• If the Auto Accompaniment split point is set at a higher key
than the orchestration split point, the L1 and/or L2 voice will
sound throughout the entire Auto Accompaniment section.
Left voice
Auto Accompaniment
Right voice
Orchestration split point
▼
Left voice
Right voice
Auto Accompaniment
• If the Auto Accompaniment “Full” fingering mode is selected,
the L1 and/or L2 voice will sound to the left of the orchestration
split point while the R1 and/or R2 voice will sound to the right of
the orchestration split point.
■ Auto Accompaniment Fingering
The PSR-510 has 5 Auto Accompaniment fingering modes, selected via the [FINGERING] button.
ZPress the [FINGERING] Button .............................................................................................................
FINGERING
When you press the [FINGERING] button the currently selected Auto
Accompaniment fingering number will appear on the MULTI DISPLAY.
1 CHORD 1
2 CHORD 2
3 SINGLE
4 MULTI
5 FULL
XSelect a Fingering Mode ........................................................................................................................
RESET
–
24
+
0
1
2
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[FINGERING] button itself to select the required fingering mode (see page
8 for editing procedure details).
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● Mode 1: Chord 1
The Chord 1 mode is ideal if you already know how to play chords on a
keyboard, since it allows you to supply your own chords for the Auto Accompaniment feature.
The PSR-510 will accept the following chord types:
Example for “C” chords
CM 9
C6 9
(
(
)
CMadd 9
CM7 #11
(
CM 7
)
CM 6
)
C
(
(
)
)
Caug
Cm 6
Cm 7
Cm add 9
Cm 9
Cm 11
Cm 7 b5
(
)
Cm
)
(
(
(
)
)
(
)
CmM 7
Cdim
Cdim 7
C7
C 7 sus4
C7 9
C 7 #11
C 7 13
C 7 b9
C 7 b13
C 7 #9
Csus 4
C 1+2+5
)
)
(
(
)
(
)
)
(
(
)
C 7 aug
CM 7 aug
(
(
)
(
)
(
(
)
)
CmM 9
Major [M] ................................................................... 1 - 3 - 5
Major sixth [M6] .................................................... 1 - 3 - 5 - 6
Major seventh [M7] ........................................... 1 - 3 - (5) - 7
Major seventh sharp eleventh [M7#11] .. 1 - (2) - 3 - #4 - (5) - 7
Major add ninth [Madd9] ...................................... 1 - 2 - 3 - 5
Major ninth [M9] ........................................... 1 - 2 - 3 - (5) - 7
Major sixth add ninth [6 9] ............................ 1 - 2 - 3 - (5) - 6
Augmented [aug] ..................................................... 1 - 3 - #5
Minor [m] ................................................................. 1 - b3 - 5
Minor sixth [m6] .................................................. 1 - b3 - 5 - 6
Minor seventh [m7] ........................................ 1 - b3 - (5) - b7
Minor seventh flatted fifth [m7b5] ................... 1 - b3 - b5 - b7
Minor add ninth [madd9] .................................... 1 - 2 - b3 - 5
Minor ninth [m9] ........................................ 1 - 2 - b3 - (5) - b7
Minor eleventh [m11] ........................ 1 - (2) - b3 - 4 - 5 - (b7)
Minor major seventh [mM7] ............................. 1 - b3 - (5) - 7
Minor major ninth [mM9] ............................ 1 - 2 - b3 - (5) - 7
Diminished [dim] .................................................... 1 - b3 - b5
Diminished seventh [dim7] ............................... 1 - b3 - b5 - 6
Seventh [7] ....................................................... 1 - 3 - (5) - b7
Seventh suspended fourth [7sus4] .................... 1 - 4 - 5 - b7
Seventh ninth [7 9] ..................................... 1 - 2 - 3 - (5) - b7
Seventh sharp eleventh [7#11] ......... 1 - (2) - 3 - #4 - (5) - b7
Seventh thirteenth [7 13] ............................ 1 - 3 - (5) - 6 - b7
or 2 - 3 - 5 - 6 - b7
Seventh flatted ninth [7b9] ........................ 1 - b2 - 3 - (5) - b7
Seventh flatted thirteenth [7b13] ................ 1 - 3 - 5 - b6 - b7
Seventh sharp ninth [7#9] ...................... (1) - #2 - 3 - (5) - b7
Major seventh augmented [M7aug] ................... 1 - 3 - #5 - 7
Seventh augmented [7aug] ............................ (1) - 3 - #5 - b7
Suspended fourth [sus4] ........................................... 1 - 4 - 5
One plus two plus five [1+2+5] .................................. 1 - 2 - 5
NOTES
• Notes in parentheses can be omitted.
• A perfect fifth produces accompaniment based only on the
root and fifth which can be used with many major and minor
chords.
• An octave produces accompaniment based only on the
root.
• If three adjacent keys are played simultaneously (white and
black keys), chord accompaniment will be cancelled and
only the rhythm accompaniment will sound. (Chord 1/Chord
2 mode)
* 6 9 chords are only recognized in root position. All other
inversions are interpreted as m11.
* m6 chords are only recognized in root position. All other
inversions are interpreted as m7b5.
* 1+2+5 chords are only recognized in root position. All
other inversions are interpreted as sus4.
* With aug and dim7 chords the lowest note played is assumed to be the root.
* With 7#11 chords the lowest note played is assumed to be
the root or b7.
• The chord fingerings listed are all in “root position”, but
other inversions can be used — with the following exceptions:
* M6 chords are only recognized in root position. All other
inversions are interpreted as m7.
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25
Auto Accompaniment
● Mode 2: Chord 2
C
● Mode 3: Single
C
Cm
C7
Cm7
This is essentially the same as the Chord 1 mode, above, except that the
lowest note played in the Auto Accompaniment section of the keyboard will
be played by the bass part rather than the chord root.
C on E
C on G
SINGLE mode fingering makes it simple to produce beautifully orchestrated accompaniment using major, seventh, minor and minor-seventh
chords by pressing a minimum number of keys in the Auto Accompaniment
section of the keyboard. The accompaniment produced is perfectly matched
to the currently selected accompaniment style.
Major Chords:
If you press a “C” key in the left-hand section of the keyboard, for example, a C-major accompaniment will be played. Press another key in the
left-hand section of the keyboard to select a new chord. The key you press
will always determine the “root” of the chord played (i.e. “C” for a C
chord).
Minor Chords:
Simultaneously press the root key and a black key to its left.
Seventh Chords:
Simultaneously press the root key and a white key to its left.
Minor-seventh Chords:
Simultaneously press the root key and both a white and black key to its
left.
NOTES
• The Auto Accompaniment will continue playing even if you lift your
fingers from the Auto Accompaniment keys. You only need to press
the Auto Accompaniment keys when changing chords.
● Mode 4: Multi
This is a combination of the Single and Chord 1 modes. In this mode the
PSR-510 automatically discriminates between Single and Chord 1 mode
fingerings and generates the appropriate accompaniment.
NOTES
• If more than two keys are played and all but the highest key are black
keys, and the chord is not recognized by the Chord 1 mode, the highest note will be interpreted as the root of a minor (m) chord.
• If more than three keys are played and, excluding the highest key, are
a mixture of black and white keys, and the chord is not recognized by
the Chord 1 mode, the highest note will be interpreted as the root of a
minor-seventh (m7) chord.
• If more than two keys are played and all but the highest key are white
keys, and the chord is not recognized by the Chord 1 mode, the highest note will be interpreted as the root of a seventh (7) chord.
26
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● Mode 5: Full
In this mode chords played anywhere on the keyboard are detected and
used for Auto Accompaniment. Otherwise the keyboard functions normally,
and the entire range is available for playing. Chord recognition is the same
as in the Chord 1 mode. Please note that in this mode all notes you play on
the keyboard at any one time will be interpreted as the Auto Accompaniment chord.
NOTES
Stop Accompaniment
function
• A single note one octave lower than the lowest note of the chord is
recognized as a bass note, and a single note eleven notes upper is
recognized as a melody note.
Chords played in the Auto Accompaniment section of the keyboard are
also detected and played by the PSR-510 Auto Accompaniment system
when the accompaniment is stopped (except for Full fingering mode). In
this case the bass note and chord voices are selected automatically.
■ Tempo Control
The [TEMPO] button can be used to control the tempo of AUTO ACCOMPANIMENT, SONG MEMORY,
and MULTI PAD playback (see pages 41 and 44 respectively).
ZPress the [TEMPO] Button.....................................................................................................................
Press the OVERALL CONTROL section [TEMPO] button. The current
tempo (beats per minute) will appear on the MULTI DISPLAY.
TEMPO
METRONOME
XSet the Tempo .........................................................................................................................................
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[TEMPO] button itself to set the desired tempo.
RESET
–
+
0
1
2
● The [METRONOME] Button
TEMPO
The available tempo range is from 040 to 240 beats per minute. Each
accompaniment style has a different “default” tempo which is automatically
set whenever a new style is selected (but not when a new style is selected
while the accompaniment is playing). The default tempo for the currently
selected accompaniment style can be recalled instantly by pressing both the
[+] and [–] buttons at the same time.
The PSR-510 includes a metronome function that you’ll use primarily
with the recording functions described on page 37. If you press the [METRONOME] button so that its indicator lights when using Auto Accompaniment, the metronome will sound at the currently set tempo when the
synchro-start mode is engaged, and while the accompaniment is playing.
METRONOME
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27
Auto Accompaniment
■ Accompaniment Control
The PSR-510 provides a range of accompaniment “sections” — introduction, fill-ins, variations on the main
pattern, ending — that you can select to control the “flow” of the accompaniment to achieve the desired musical
results. Accompaniment start/stop and sections are controlled by the ACCOMPANIMENT CONTROL buttons.
● Straight Start ...........................................................................................................................................
STYLE
SELECT
AUTO
ACCOMP
The [START/STOP] button starts the selected accompaniment style
immediately.
Press the [AUTO ACCOMP] button so that its indicator lights before
starting the accompaniment. The accompaniment will start with the rhythm
sound only when the [START/STOP] button is pressed, then the bass and
chord parts will begin playing as soon as the first note or chord is played on
the Auto Accompaniment section of the keyboard.
NOTES
START/STOP
• A different accompaniment style can be selected at any time while the
accompaniment is playing. The style number on the MULTI DISPLAY
will change as soon as the selection is made, but the new style will
begin playback from the top of the next measure. The only exception
is if you change styles while an intro is playing (see page 29), in which
case the new style begin playing after the intro has finished. The
tempo will not change when the new style begins playing.
4/4 time
BEAT
1st beat
2nd beat
3rd beat
4th beat
3/4 time
BEAT
1st beat
2nd beat
3rd beat
The Beat Indicator
The three BEAT indicator dots along the top of the MULTI DISPLAY
flash to indicate the tempo and beat as the accompaniment plays. All three
dots flash together on the first beat of each measure, then the dots flash individually in sequence on the remaining beats. In 4/4, 3/4, and 6/8 time, for
example, the beat indicator dots will flash as shown to the left.
NOTES
6/8 time
BEAT
1st beat
2nd beat
3rd beat
4th beat
5th beat
6th beat
• Each accompaniment style has a preset “normal” tempo which is automatically selected whenever the style is selected while the accompaniment is stopped. The current tempo is maintained if you select a
different style during accompaniment playback (excepting the playback by One Touch settings). You can change the tempo as required
by using the TEMPO function described on page 27.
● Synchro Start ..........................................................................................................................................
SYNC-START/STOP
Press the [SYNC-START/STOP] button if you want the accompaniment to start when you play the first note or chord on the keyboard. In this
case the accompaniment is started by playing in the left-hand section of the
keyboard.
NOTES
• If the AUTO ACCOMP mode is OFF, playing anywhere on the keyboard causes the rhythm-only accompaniment to start.
If you press the [SYNC-START/STOP] button, the BEAT indicator dots
will flash at the current tempo. The synchro start mode can be disengaged
by pressing the [SYNC-START/STOP] button again so that its indicator
goes out.
28
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● Starting the Accompaniment with an Introduction .............................................................................
Any of the PSR-510 accompaniment patterns can be started with an appropriate introduction by pressing the [INTRO] button and then the [START/
STOP] button.
INTRO
Once the [INTRO] button is pressed, the [INTRO] indicator will be lit
continuously and the MAIN [A] or [B] indicator will flash to indicate which
section will play when the introduction has finished. You can change the “destination” section by pressing the MAIN [A] or [B] button while its indicator is
flashing. When the introduction ends, the [INTRO] indicator will go out and
the [A] or [B] indicator will light continuously.
MAIN
INTRO
A
B
NOTES
• It is possible to start the accompaniment from any section — even the
ending — by pressing the corresponding button prior to pressing the
[START/STOP] button. The destination MAIN [A] or [B] section can be
selected as described above.
• The [INTRO] button can be used to select the introduction pattern even
while the accompaniment is playing.
• If you press the [SYNC-START/STOP] button and then the [INTRO] button, the accompaniment will start from the introduction as soon as a chord
is detected in the Auto Accompaniment section of the keyboard.
● The MAIN [A] and [B] Sections..............................................................................................................
Each accompaniment style has two main sections — [A] and [B]. If the
MAIN [A] or [B] button is pressed while the accompaniment is playing, the
corresponding section will begin from the top of the next measure. You can
also select [A] or [B] before starting the accompaniment.
MAIN
A
B
NOTES
• The MAIN [A] section is automatically selected whenever the power
switch is turned on.
● Adding Fill-ins .........................................................................................................................................
FILL IN 1
FILL IN 1
The PSR-510 provide two types of fill-ins (rhythmic variations) — one
which plays and then returns to the current MAIN section, and one which leads
to the other MAIN section. Press the [FILL IN 1] button at any time while the
accompaniment is playing to add a one-measure fill-in and or return to the current MAIN section, or press the [FILL IN 2] button to add a one-measure fillin and go to the other MAIN section.
FILL IN 2
If the MAIN A section is playing, for example, the [A] indicator will flash while FILL IN 1 plays, and the [B] indicator will
flash while FILL IN 2 plays. You can change the section that will
begin playing after the fill-in by pressing the desired section button while the indicator is still flashing.
MAIN
FILL IN 2
A
B
NOTES
• If you hold the [FILL IN 1] or [FILL IN 2] button, the fill-in pattern will repeat until the button is released, then the MAIN A or B section will play
from the beginning of the next measure.
• If the [FILL IN 1] or [FILL IN 2] button is pressed after the last beat of a
measure, the fill-in will begin from the first beat of the next measure. If
pressed at any other time the fill-in will begin immediately.
• It is also possible to start the accompaniment with a fill-in by pressing the
desired FILL IN button prior to pressing the [START/STOP] button. The
destination MAIN [A] or [B] section can be selected in the normal way.
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29
Auto Accompaniment
● Stopping the Accompaniment ...............................................................................................................
SYNC-START/STOP
START/STOP
An accompaniment in progress can be stopped immediately by pressing
the [START/STOP] button or the [SYNC-START/STOP] button. In the
latter case the synchro start mode will be engaged when the accompaniment
stops. The accompaniment can also be stopped with an appropriate ending
by pressing the [ENDING] button.
ENDING
NOTES
• The ending will begin from the first beat of the next measure.
• If the [FILL IN 1] or [FILL IN 2] button is pressed while the ending
pattern is playing, a fill-in will be played, followed by a return to the
MAIN A or B pattern.
Accompaniment Structure Diagram
FILL IN 1A
MAIN A
INTRO
FILL IN 2A
FILL IN 2B
ENDING
MAIN B
FILL IN 1B
● Fade In & Fade Out .................................................................................................................................
The [FADE IN/OUT] button can be used to produce smooth accompaniment and melody fade-ins or fadeouts.
FADE IN / OUT
FADE IN/OUT
FADE IN/OUT
30
FADE IN/OUT
FADE IN/OUT
Start Playback with a Fade-in
You can start the accompaniment with a fade-in by pressing the
[FADE-IN/OUT] button before starting playback. The [FADE-IN/
OUT] button indicator will light continuously until the accompaniment is started. The fade-in will begin automatically as soon as the
accompaniment is started. The [FADE-IN/OUT] button indicator
will flash during the fade-in, and will go out when the fade-in is
complete.
Fade-out to stop the accompaniment during Playback
Press the [FADE-IN/OUT] button during accompaniment playback to fade out the accompaniment and melody sound. The
[FADE-IN/OUT] button indicator will flash during the fade-out,
and will go out when the fade-out is complete.
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■ Accompaniment Volume
While the VOICE control section [VOL] button can be used to set the volume levels of the orchestration
parts, the [ACCOMP VOLUME] button can be used to adjust the volume of the selected accompaniment in
relation to the voices.
ZPress the [ACCOMP VOLUME] Button .................................................................................................
Press the AUTO ACCOMPANIMENT control section [ACCOMP VOLUME] button. The current accompaniment volume value will appear on the
MULTI DISPLAY.
ACCOMP
VOLUME
XSet the Volume .......................................................................................................................................
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[ACCOMP VOLUME] button itself to set the desired volume. The volume
range is from 00 (no sound) to 24 (maximum volume). The default volume
value (21) can be recalled instantly by pressing both the [+] and [–] buttons
at the same time.
RESET
–
+
0
1
2
■ The Track Buttons
RHYTHM
1
2
BASS
RHYTHMIC
CHORD
1
2
PAD
CHORD
PHRASE
1
2
TRACK
The PSR-510 Auto Accompaniment system includes eight
TRACK buttons which allow you to control the accompaniment arrangement in real time. You can turn tracks on or off while playing
for extra accompaniment variety.
The various tracks are turned on or off by pressing the corresponding TRACK button. When a part is turned off the corresponding
indicator will go out. To silence the bass part, for example, press the
TRACK [BASS] button so that its indicator goes out. Press the button
again to turn that part back on.
NOTES
• The indicators for all tracks that contain data in any section will
light whenever an accompaniment style is selected. (Depending on the selected accompaniment style, some tracks may not
contain any data.)
● What’s In the Tracks...............................................................................................................................
Here’s how the tracks are normally used:
RHYTHM 1:
This is the main rhythm track, and usually plays a drum kit.
RHYTHM 2:
Additional rhythm. Turning the RHYTHM 2 track ON will usually increase
the “energy” of the rhythm. In many styles this track plays percussion instruments such as congas, bongos, etc. This means you can turn off the
RHYTHM 1 track and use only RHYTHM 2 for a “light” rhythm sound.
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31
Auto Accompaniment
BASS:
RHYTHMIC CHORD 1 & 2:
PAD CHORD:
PHRASE 1 & 2:
The BASS track always plays a bass line, but the voice will change to fit
the selected style … acoustic bass, synth bass, tuba, etc.
Both these tracks provide the rhythmic chordal accompaniment required by
each style. You’ll find guitar, piano, and other chordal instruments here.
This track plays long chords where necessary, using sustained instruments
such as strings, organ, choir.
This is where the musical embellishments reside. The PHRASE tracks are
used for punchy brass stabs, arpeggiated chords, and other extras that make
the accompaniment more interesting.
Try different combinations of tracks with each style. Some styles will sound best with the full arrangement
(all tracks ON), while others might suit your needs better if a smaller arrangement is used. To “thin out” an
arrangement, the PHRASE 1 and PHRASE 2 tracks are the first ones you’ll want to turn OFF.
Another way to use the tracks is to gradually build up the arrangement during the course of a song. Start
with a small arrangement — e.g. RHYTHM 1, BASS, and RHYTHMIC CHORD 1 — then add tracks one by
one as you want to thicken the musical texture.
Some styles will actually sound quite different depending on the combination of tracks you choose. Try,
for example, just RHYTHM 1, BASS, and PAD CHORD.
■ Re-voicing the Tracks
To make the TRACK buttons even more versatile, the PSR-510 features a REVOICE function that lets you
individually change the voices and several related VOICE section parameters assigned to each track. The parameters that can be changed using the REVOICE function are as follows:
• Voice Number (Percussion Kit Number)
• Volume
• Pan
• DSP Depth
• Octave
ZSelect a Track to Re-voice .....................................................................................................................
RHYTHM
1
2
REVOICE
BASS
RHYTHMIC
CHORD
1
2
TRACK
Press the TRACK button corresponding to the track you want to re-voice
while holding the [REVOICE] button. Both the selected TRACK and
[REVOICE] button indicators will flash. At the same time, the number of
the voice currently assigned to the selected track will appear on the MULTI
DISPLAY.
NOTES
• At this point you can play the selected track’s voice on the keyboard.
• Keyboard percussion is automatically turned on if the RHYTHM 1 or 2
track is selected.
32
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XMake the Required Voice Settings ........................................................................................................
VOICE
SELECT
VOL
OCTAVE DSP
DEPTH
PAN
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[VOICE SELECT] button itself to select a new voice for the selected
track. You can also use the [VOL], [OCTAVE], [DSP DEPTH], and [PAN]
buttons to change the corresponding parameters for the selected voice.
NOTES
• You can use the REVOICE function either while the accompaniment is
playing or stopped.
• You cannot edit the orchestration parts while the REVOICE indicator
is flashing.
KEYBOARD
PERCUSSION
• You can play the keyboard and hear the re-voiced voice except for
OCTAVE changes.
CRepeat For All Tracks To Be Re-voiced ...............................................................................................
Repeat steps 1 and 2 to re-voice all the tracks you want to change.
VConfirm the Re-voiced Data ..................................................................................................................
Press the [REVOICE] button when you've finished re-voicing the desired tracks to confirm the re-voiced data. The [REVOICE] button and
selected track indicators will light.
BTurn REVOICE OFF to Restore the Original Voices ............................................................................
RHYTHM
1
2
REVOICE
BASS
RHYTHMIC
CHORD
1
2
Press the [REVOICE] button so that its indicator goes out to disengage
the REVOICE function when done. The re-voiced settings will be cancelled
and the original voices for the selected accompaniment style will be restored.
TRACK
NOTES
• ALL REVOICE settings are reset to their default values if you
changes styles while the REVOICE function is OFF. If you want to
keep a re-voiced setup so that it can be easily recalled later,
store it in the PSR-510 REGISTRATION MEMORY, described on
page 35.
• As long as you don’t change styles while the REVOICE function is
OFF, the re-voiced settings are maintained and can be recalled at any
time simply by turning the REVOICE function ON.
• If you change styles while the REVOICE function is engaged, the revoiced settings will be maintained.
• In some cases it may not be possible to re-voice a Custom Accompaniment during accompaniment playback. If this problem occurs, try revoicing the style while the accompaniment is stopped.
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33
One Touch Setting
Each PSR-510 accompaniment style has a suitable preset voice and other settings that can be
instantly recalled by pressing the [ONE TOUCH SETTING] button in the VOICE control section.
This makes it simple to recall the optimum settings for each style in one quick operation.
To use the One Touch Setting function: select a style, press the [ONE TOUCH SETTING] button
so that its indicator lights, then play. As long as the [ONE TOUCH SETTING] indicator is lit the
ideal voice and other settings (see list below) will be automatically recalled whenever you select
a new style.
ONE TOUCH
SETTING
The One Touch Setting function recalls the following settings:
ONE TOUCH
SETTING
• The preset voice settings for the currently selected style — including orchestration,
voice assignments, volume, octave, DSP depth, pan, harmony, and effect settings.
• The ACCOMP VOLUME level (21).
• AUTO ACCOMP is turned ON.
• The default tempo for the currently selected style.
• The track ON/OFF status for the currently selected style.
• [REVOICE] is turned OFF.
• KEYBOARD PERCUSSION is turned OFF.
• The Auto Accompaniment split point (55) is selected.
• The orchestration split point is set to 69.
You can, of course, create your original setting by editing the One Touch
Setting data, and store it into the Registration Memory. (See page 35 for
more information on the Registration Memory.)
Pressing the [ONE TOUCH SETTING] button again turns OFF the
One Touch Setting function.
NOTES
• If you press [ONE TOUCH SETTING] while rhythm-only accompaniment is playing, AUTO ACCOMP will be turned ON.
• The synchro start mode will be engaged if the [ONE TOUCH SETTING] button is turned on while the accompaniment is stopped.
• The [ONE TOUCH SETTING] button cannot be turned on when style
number “00” is selected. This applied to all PAGE MEMORY numbers.
34
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Registration Memory
The PSR-510 REGISTRATION MEMORY can be used to store four complete sets of VOICE
and AUTO ACCOMPANIMENT settings that can be recalled anytime at the touch of a button.
The REGISTRATION MEMORY stores the following parameters:
VOICE
AUTO ACCOMPANIMENT
1. Voice numbers for all four orchestration parts.
2. Keyboard percussion ON/OFF &
percussion kit number.
3. Volume (all four orchestration parts
and percussion).
4. Pan (all four orchestration parts
and percussion).
5. DSP Depth (all four orchestration
parts and percussion).
6. Octave (all four orchestration parts
and percussion).
7. Harmony ON/OFF & Harmony
type.
8. Effect ON/OFF & Effect type.
9. Orchestration & Edit ON/OFF.
10. Split point.
11. Touch sense & Touch response.
12. Pitch bend range.
13. Local ON/OFF status (L & R)
14. MIDI OUT ON/OFF (L & R)
MEMORIZE
1
1.
2.
3.
4.
5.
6.
7.
8.
9.
2
Style number.
Accompaniment volume.
Track button settings.
Tempo.
REVOICE ON/OFF and settings.
Split point.
Transpose.
Accomp. ON/OFF.
Fingering mode.
3
4
VOICE
ACCOMP
REGISTRATION MEMORY
FREEZE
● Memorizing the Settings ........................................................................................................................
MEMORIZE
1
2
3
4
The panel settings listed above can be stored to any one
of the four REGISTRATION MEMORY buttons by pressing the button — [1], [2], [3], or [4] — while holding the
[MEMORIZE] button. The indicator of the selected button
will light continuously indicating that the data has been
stored.
NOTES
• Please note that anytime you store to a REGISTRATION MEMORY button, all settings previously stored in that button will be erased and
replaced by the new settings.
• The indicator of the selected REGISTRATION
MEMORY will flash as soon as any change is made
to the panel settings. In other words, if the REGISTRATION MEMORY indicator is flashing, the current panel settings are different from those stored in
the memory.
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35
Registration Memory
● Recalling the Settings ............................................................................................................................
1
2
3
The settings stored to a REGISTRATION MEMORY button
can be recalled at any time simply by pressing the appropriate
button. The indicator of the selected button will light continuously when initially recalled, but will flash as soon as any
change is made to the panel settings. A flashing REGISTRATION MEMORY indicator therefore indicates that the current
panel settings do not correspond to those stored in the REGISTRATION MEMORY.
4
● The FREEZE Function ............................................................................................................................
2
3
4
VOICE
ACCOMP
FREEZE
The [FREEZE] button can be used to “freeze” the VOICE or
AUTO ACCOMPANIMENT settings so that they are not recalled when a REGISTRATION MEMORY button is pressed. If
you press the [FREEZE] button so that only the VOICE indicator is lit, for example, then only the stored AUTO ACCOMPANIMENT settings will be recalled when a REGISTRATION
MEMORY button is pressed.
To use the [FREEZE] button, simply press it as many times
as necessary to cause the appropriate indicators to light. When
an indicator is lit, then the corresponding group of settings is
“frozen”.
NOTES
36
• The FREEZE ON/OFF status is retained in memory even
when the power switch is turned off, as long as batteries
are installed or an AC adaptor is connected.
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Record Functions
The PSR-510 RECORDING section controls three recording functions:
● The SONG MEMORY:
Record complete songs including an accompaniment track and up to five melody tracks. Each
PAGE MEMORY holds a different song.
● MULTI PADS:
Record short chord, melody, or rhythm sequences that can be played back anytime by simply
pressing a button. Each PAGE MEMORY holds different MULTI PAD data.
● CUSTOM ACCOMPANIMENT:
Create your own accompaniment style for use with the PSR-510 Auto Accompaniment feature.
Each PAGE MEMORY holds a different custom accompaniment.
Operation of all three functions is essentially the same, so once you’re familiar with the basic procedure, recording songs, multi-pad phrases, or custom accompaniments should be easy. We’ll start with
the SONG MEMORY.
CAUTION
• Turning the PSR-510 power OFF during recording or recordready mode can result in a loss of recording data.
Song Memory
The PSR-510 SONG MEMORY allows you to record and play back complete songs including chord sequences
created using the Auto Accompaniment feature and melody lines you play on the keyboard. The SONG MEMORY
has one ACCOMP track and five MELODY tracks. You also have a choice of realtime and step recording modes: the
realtime mode records what you play as you play it; the step mode lets you record one step at a time.
Each PAGE MEMORY holds a different song, so the PSR-510 can retain up to 4 complete songs in memory, and
these can be selected and played back simply by selecting the appropriate PAGE MEMORY.
NOTES
• Material recorded using the SONG MEMORY is retained in memory
even when the POWER switch is turned OFF if batteries are present
or an AC adaptor is connected (see “PAGE MEMORY” on page 54 for
more details).
SONG MEMORY
RECORDING
MEASURE #
ACCOMP
1
2
MELODY
3
4
GATE
TIME
REC REWRITE CLEAR
SETTING
STEP
REC
STEP
SIZE
5
TRACK
RESET
CUSTOM ACCOMP
SONG MEMORY
MULTI PADS
QUANTIZE
PLAY/STOP
STEP
BWD
STEP
FWD
SONG
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37
Record Functions
■ Realtime Accompaniment Track Recording
The SONG MEMORY ACCOMP track records the following operations and data:
• Chord changes.
• Intro, Main, Fill in, & Ending sections.
• Accompaniment volume.
• Fade-in/out.
• Auto accompaniment TRACK button operations.
• Tempo.
• Style number.
• Revoice.
ZSelect a PAGE MEMORY .......................................................................................................................
PAGE
MEMORY
If necessary, press the [PAGE #] button to select the PAGE MEMORY
number to which you want to record. When a new PAGE MEMORY number is
selected the ARE YOU SURE? indicator will flash and the “Are you sure?”
prompt will sound. Press the [YES] button to select the specified page number
or the [NO] button to cancel (see page 54 for more details).
PAGE #
MIDI BULK
DUMP/
PAGE COPY
NOTES
• After the “Are you sure?” prompt, the PortaTone will wait until you press
[YES] or [NO] .
ARE YOU SURE ?
YES
NO
XSelect a Style ..........................................................................................................................................
STYLE FINGESELECT RING
Select an accompaniment style that is appropriate for the type of music you
want to record. Also select the fingering mode you want to use, if necessary.
1 CHORD 1
2 CHORD 2
3 SINGLE
4 MULTI
5 FULL
AUTO
ACCOMP
CEngage the Accompaniment Track Record Ready Mode ...................................................................
ACCOMP
1
MELODY
3
2
REC
TRACK
Press the SONG MEMORY section [ACCOMP] track button while holding
the RECORDING section [REC] button. This engages the record ready mode
for the accompaniment track. If [AUTO ACCOMP] is not already turned on,
it will be automatically engaged. The [REC], [ACCOMP], and [SYNCSTART/STOP] button indicators will flash, and the MULTI DISPLAY BEAT
indicator dots will flash at the currently selected tempo. If the OVERALL
CONTROL section [METRONOME] button indicator is lit, the metronome
will sound at the currently selected tempo. The current measure number – in
this case “001” – will be shown on the MULTI DISPLAY.
NOTES
• Accompaniment track recording is carried out using the currently selected
Auto Accompaniment fingering mode (page 24).
• The record-ready mode of the ACCOMP track can be disengaged by
pressing the [ACCOMP] track button. Pressing the [SYNC-START/STOP]
button does not cancel the record-ready mode.
ACCOMP
1
2
MELODY
3
TRACK
REC
• It is also possible to record one MELODY track at the same time as you
record the ACCOMP track. Hold the [REC] button and press the MELODY
track button on which you want to record after engaging the ACCOMP
track record ready mode. Refer to “Realtime Melody Track Recording” on
page 40.
• Turning the power OFF during record-ready mode of the Song
Memory erases the song data in the currently selected page.
38
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VRecord .....................................................................................................................................................
SYNC-START/STOP
START/STOP
Recording will begin as soon as you play a chord on the Auto Accompaniment section of the keyboard. If you’ve selected a MELODY track to record
with the ACCOMP track, a right-hand note will also start the recording process. The [REC] indicator lights continuously once recording has started, and
the current measure number will appear on the MULTI DISPLAY.
Recording can also be started by pressing the ACCOMPANIMENT CONTROL [START/STOP] button. In this case only the rhythm will begin without
bass and chord accompaniment until you play the first chord on the Auto Accompaniment section of the keyboard.
Play the required chords in the Auto Accompaniment section of the keyboard. If you’ve also selected a MELODY track to be recorded, play the
melody on the right-hand section of the keyboard.
FADE IN/OUT
NOTES
• Whenever you record using the SONG MEMORY, any previously
recorded material in the same track will be erased and replaced by
the new material.
• You can also start recording from any specified measure number — see
page 42.
• If the SONG MEMORY becomes full while recording, “End” will appear on
the MULTI DISPLAY and recording will stop. Up to approximately 1,600
notes can be recorded in all MELODY tracks in each PAGE MEMORY.
Up to approximately 1,600 chords can be recorded in each PAGE
MEMORY. These figures only apply, however, if only chords or notes are
recorded. The total is reduced when notes and chords are recorded together.
• If you start recording by pressing the [PLAY/STOP] button, nothing will be
recorded until you begin playing on the keyboard.
ACCOMP
1
2
MELODY
3
4
• Previously-recorded SONG MEMORY tracks that are turned ON (their
indicators are lit) can be monitored while recording. If you don’t want to
hear any of the previous tracks while recording, simply press the corresponding SONG MEMORY TRACK buttons so their indicators go out.
5
TRACK
• If you use a function button during recording the corresponding value will
appear on the MULTI DISPLAY when the button is pressed. The measure
number display will resume a few seconds after the button is released.
• The SONG MEMORY ACCOMP track can also be recorded using the
Step Record mode (page 48).
BStop Recording .......................................................................................................................................
ACCOMP
1
2
MELODY
3
4
5
TRACK
ENDING
Stop recording by pressing the [ACCOMP] track button. Recording can
also be stopped by pressing the [ENDING] button, [FADE IN/OUT] button,
or the SONG [PLAY/STOP] button. The [REC] indicator will go out and the
voice number will be shown on the MULTI DISPLAY a few seconds after recording is stopped. Song memory will return to the measure at which recording
was started.
NOTES
RESET
STEP
BWD
• “---” will appear on the MULTI DISPLAY while the PSR-510 is processing
recorded data.
PLAY / STOP
STEP
FWD
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39
Record Functions
■ Realtime Melody Track Recording
The SONG MEMORY MELODY tracks record the following operations and data:
• Key on/off
(i.e. notes played on the keyboard).
• Key velocity.
• Voice number
(Percussion Kit Number).
• Volume.
• Pan.
• DSP depth.
• Harmony on/off & harmony type.
• Effect on/off & effect type.
• Sustain (footswitch) on/off.
• Pitch bend.
• Octave.
* MULTI PAD data cannot be recorded to SONG MEMORY.
ZSelect a Voice and Set the Voice Parameters ......................................................................................
Select the voice you want to record with (the R1 and R2 voices can be
used), and set the voice effects and other parameters as required.
XSelect a Track and Engage the Record Ready Mode ..........................................................................
ACCOMP
1
MELODY
3
2
REC
TRACK
Press one of the MELODY track buttons — [1] through [5] — while
holding the RECORDING section [REC] button. Both the [REC] button
indicator and the selected MELODY track indicator will flash, indicating
that the SONG MEMORY is ready to record. If the OVERALL CONTROL
section [METRONOME] button indicator is lit the metronome will also
begin to sound at the currently selected tempo, while the MULTI DISPLAY
BEAT indicator dots flash at the current tempo. The current measure
number – in this case “001” – will be shown on the MULTI DISPLAY.
NOTES
• Previously-recorded SONG MEMORY tracks that are turned ON (their
indicators are lit) can be monitored while recording. If you don’t want
to hear any of the previous tracks while recording, simply press the
corresponding SONG MEMORY TRACK buttons so their indicators go
out.
• Only one melody track can be recorded at a time.
• If the MELODY track record ready mode is engaged, Auto Accompaniment is automatically turned off.
CRecord .....................................................................................................................................................
Recording will begin as soon as you play a note on the keyboard or
press the SONG [PLAY/STOP] button, and the BEAT indicator dots will
begin to indicate the current beat as in the Auto Accompaniment mode, and
the current measure number will appear on the MULTI DISPLAY.
Play the melody using the entire keyboard if you are recording only a
MELODY track, or on the right-hand section of the keyboard if you are
recording a MELODY track at the same time as the ACCOMP track.
NOTES
• The SONG MEMORY MELODY tracks can also be recorded using the
Step Record mode — see page 48.
VStop Recording .......................................................................................................................................
ACCOMP
1
2
MELODY
3
4
5
TRACK
RESET
STEP
BWD
40
Stop recording by pressing the TRACK button of the melody track being recorded, or the SONG [PLAY/STOP] button. The [REC] indicator
will go out and the voice number will be shown on the MULTI DISPLAY a
few seconds after recording is stopped. Song memory will return to the
measure at which recording was started.
PLAY /STOP
STEP
FWD
NOTES
• “---” will appear on the MULTI DISPLAY while the PSR-510 is
processing recorded data.
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■ Accompaniment And Melody Playback
ZSelect a PAGE MEMORY .......................................................................................................................
If necessary, press the [PAGE #] button to select the PAGE MEMORY
number containing the song you want to play back. When a new PAGE
MEMORY number is selected the ARE YOU SURE? indicator will flash
and the “Are you sure?” prompt will sound. Press the [YES] button to select the specified page number or the [NO] button to cancel (see page 54 for
more details).
PAGE
MEMORY
PAGE #
MIDI BULK
DUMP/
PAGE COPY
NOTES
• After the “Are you sure?” prompt, the PortaTone will wait until you
press [YES] or [NO].
ARE YOU SURE ?
YES
NO
XSelect the Tracks to Play Back .............................................................................................................
ACCOMP
1
2
MELODY
3
4
5
TRACK
Any number of MELODY tracks and/or the ACCOMP track can be
played back at the same time. Press the SONG MEMORY TRACK buttons
corresponding to the tracks you want to play back — the indicators of the
selected tracks will light.
NOTES
• All SONG MEMORY tracks that contain recorded data are automatically turned ON when a PAGE MEMORY is selected.
CStart Playback .........................................................................................................................................
RESET
PLAY/ STOP
STEP
BWD
STEP
FWD
Playback will begin as soon as the SONG [PLAY/STOP] button is
pressed. You can turn the ACCOMP and MELODY tracks on and off during
playback by pressing the appropriate TRACK buttons. During playback the
current measure number will appear on the MULTI DISPLAY.
NOTES
• Use the [RESET] button to return to the first measure of the song at
any time (see page 42).
• You can also start playback from any specified measure by using the
[MEASURE #] button (see page 42).
VPlay Along If You Like ............................................................................................................................
Play along on the keyboard if you like. You can also change the tempo
during playback.
NOTES
• The maximum polyphony is 28. If more than 28 notes are played at
the same time, some notes may be truncated.
BStop Playback .........................................................................................................................................
RESET
STEP
BWD
PLAY / STOP
STEP
FWD
Accompaniment and melody playback will stop automatically when all
recorded data has been played back. You can also stop playback at any time
by pressing the SONG [PLAY/STOP] button.
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41
Record Functions
■ The [RESET] Button
RESET
PLAY/STOP
STEP
BWD
STEP
FWD
Press the SONG [RESET] button to go directly to the first measure of
the song and turn ON all tracks that contain data. Measure number “001”
will appear on the MULTI DISPLAY. The [RESET] button also functions
during playback or realtime recording.
■ Record Or Play from a Specified Measure
You can start SONG MEMORY recording or playback from any specified measure, as long as the specified
measure is within the range of measures that has already been recorded:
ZPress the [MEASURE #] Button If Necessary ......................................................................................
MEASURE #
If the measure number is not currently shown on the MULTI DISPLAY,
press the [MEASURE #] button. If the measure number is already showing,
go directly to step X.
XEnter the Desired Measure Number .....................................................................................................
RESET
–
+
0
1
2
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[MEASURE #] button itself to enter the desired measure number.
CStart Playback or Recording .................................................................................................................
Start playback or recording. You can now start playback or recording
from the specified measure number.
NOTES
• This function allows you to “punch-in” and “punch-out” at any measure
to re-record a section of a previously-recorded track.
Example:
Before Punch In/Out
VOICE
VOICE
A
B
1
2
3
4
5
6
Start Recording ▲
(Punch In)
After Punch In/Out
VOICE
VOICE
A
C
1
2
3
Old Data
(Same as Before)
NOTES
42
7
8
9
▲ Stop Recording
(Punch Out)
4
VOICE
B
5
New Data
6
7
8
9
Old Data
(Same as Before)
• Voice, volume, pan, pitch
bend, tempo, harmony on/off,
DSP depth, effect on/off, dual
on/off, and revoice data
changes made during the
punch-in remain in effect
even after the punch-out
point, until further parameter
changes are encountered in
the old data.
• Recording is carried out in 1-measure units, so if you punch out in the
middle of measure rests will be recorded for the remainder of that
measure.
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The Multi Pads
The PSR-510 MULTI PADS can be used to record short rhythmic or melodic sequences, percussion fill-ins, or
single percussion sounds that can be played at any time simply by pressing the appropriate pad. Pads [1] and [2]
play back exactly as recorded, while pads [3] and [4] are “CHORD MATCH” types which are automatically transposed to match chords played using the PSR-510 Auto-accompaniment feature.
Each PAGE MEMORY holds a different set of MULTI PAD data, and these can be selected and played back simply by selecting the appropriate PAGE MEMORY.
The MULTI PADs record the following operations and data:
• Key on/off
(i.e. notes played on the keyboard).
• Key velocity.
• Voice number (Percussion Kit Number).
• Volume.
• Pan.
• DSP depth.
• Octave.
• Harmony on/off & harmony type.
• Effect on/off & effect type.
• Sustain on/off.
• Pitch bend.
NOTES
• Before recording, each PAGE MEMORY contains a preset set of MULTI PAD data — 16
phrases in all — that will be erased when new
MULTI PAD data is recorded. The original
preset data can be restored by using the “Page
Reset” function described on page 65.
RECORDING
CUSTOM ACCOMP
SONG MEMORY
MULTI PADS
GATE
TIME
REC REWRITE CLEAR
SETTING
STEP
REC
1
RESET
PLAY/STOP
STEP
BWD
STEP
SIZE
QUANTIZE
2
3
4
STOP
STEP
FWD
SONG
MULTI PADS
CHORD MATCH
■ Realtime Recording
ZSelect a PAGE MEMORY .......................................................................................................................
PAGE
MEMORY
If necessary, press the [PAGE #] button to select the PAGE MEMORY
number to which you want to record. When a new PAGE MEMORY
number is selected the ARE YOU SURE? indicator will flash and the “Are
you sure?” prompt will sound. Press the [YES] button to select the specified page number or the [NO] button to cancel (see page 54 for more
details).
PAGE #
MIDI BULK
DUMP/
PAGE COPY
NOTES
ARE YOU SURE ?
YES
• After the “Are you sure?” prompt, the PortaTone will wait until you
press [YES] or [NO] .
NO
XSelect a Voice to Record and an Appropriate Tempo .........................................................................
Select the voice you want to record on the MULTI PADS. Only the [R1]
and [R2] voices can be used. You might also want to set a tempo that will
be easy to record at.
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43
Record Functions
CEngage the MULTI PAD Record Ready Mode ......................................................................................
Press one of the MULTI PAD buttons — [1] through [4] — while holding
the [REC] button. The [REC] button indicator and the selected MULTI PAD
indictor will flash to indicate that the record ready mode is engaged, and the
metronome will begin to sound at the currently selected tempo if the OVERALL CONTROL section [METRONOME] button indicator is lit.
REC
1
2
3
4
CHORD MATCH
NOTES
• Only the R1 and R2 orchestration parts can be recorded to the MULTI
PADS.
• If the MULTI PAD record ready mode is engaged, Auto Accompaniment is automatically turned off.
• Turning the power OFF during record-ready mode of the Multi Pad
erases the Multi Pad data in the currently selected page and restores its default data.
VRecord .....................................................................................................................................................
Play a short sequence. The MULTI PADS can record up to approximately
450 quarter notes in each PAGE MEMORY. The [REC] button indicator will
light during recording, and the BEAT indicator will indicate the current beat
as in the Auto Accompaniment mode.
NOTES
• Whenever you record to a MULTI PAD, all previous data in the same pad will be
completely erased and replaced by the new material.
• Recording can also be started by pressing the [PLAY/STOP] button.
• The MULTI PADS can also be recorded using the Step Record mode — see page 48.
• When recording the CHORD MATCH pads — [3] and [4] — base all melodic and
chordal phrases on a CM7 chord so that the sound will be properly transposed when
used with the Auto Accompaniment feature (see “Playback” below).
BStop Recording .......................................................................................................................................
1
2
3
4
STOP
CHORD MATCH
RESET
PLAY/STOP
STEP
BWD
Press the MULTI PAD button being recorded, the MULTI PADS
[STOP] button or the [PLAY/STOP] button to stop recording. Recording will also stop automatically and “End” will appear on the MULTI
DISPLAY when the pad memory becomes full.
STEP
FWD
■ Playback
1
2
3
4
STOP
CHORD MATCH
Simply tap any of the MULTI PADS at any time to play back the data
they contain. MULTI PAD playback begins as soon as the button is
pressed. You can even play two, three, or four MULTI PADS at the same
time. Also, you can create “retriggered sample” effects by repeatedly
pressing a pad before its contents are completely played back.
The MULTI PAD voices are independent from the voices you have currently selected for keyboard performance. You could, for example, play piano on the keyboard while a MULTI PAD plays a brass chord stab.
MULTI PADS [3] and [4] are “CHORD MATCH” types, and the data they contain will be automatically
transposed to match chords played using the PSR-510 Auto Accompaniment feature.
MULTI PAD playback can be terminated by pressing the MULTI PADS [STOP] button.
NOTES
• MULTI PAD playback speed is determined by the current TEMPO setting.
• The contents of the MULTI PAD memory are retained in memory even when the power is turned off as long
as batteries are present or an AC adapter is connected to the PSR-510 (see “PAGE MEMORY” on page 54
for details).
• Percussion data recorded to either of the CHORD MATCH pads will play back in the same way as the normal pads.
44
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Custom Accompaniment
Style number “00” in each PAGE MEMORY is a “custom accompaniment” that you can record yourself and use
with the PSR-510’s Auto Accompaniment feature. Custom accompaniments can be created only using the tracks
which have the preset accompaniment style data.
The CUSTOM ACCOMPANIMENT records the following operations and data:
• Key on/off
(i.e. notes played on the keyboard).
• Key velocity.
• Voice number (Percussion Kit Number).
• Volume.
NOTES
• Pan.
• DSP depth.
• Sustain (footswitch) on/off.
• Pitch Bend
• Before recording, each PAGE MEMORY contains a
preset accompaniment in style number “00” that will
be erased when a custom accompaniment is recorded. The original preset accompaniment can be
restored by using the “Page Reset” function described on page 65.
AUTO ACCOMPANIMENT
RECORDING
STYLE FINGE- ACCOMP
SELECT RING VOLUME
RHYTHM
1
2
BASS
RHYTHMIC
CHORD
1
2
PAD
CHORD
CUSTOM ACCOMP
SONG MEMORY
MULTI PADS
GATE
TIME
REC REWRITE CLEAR
SETTING
STEP
REC
STEP
SIZE
PHRASE
1
2
1 CHORD 1
2 CHORD 2
3 SINGLE
4 MULTI
5 FULL
AUTO
ACCOMP
SYNC-START/STOP
START/STOP
FADE IN/OUT
INTRO
FILL IN 1
REVOICE
TRACK
FILL IN 2
ENDING
QUANTIZE
MAIN
A
B
ACCOMPANIMENT CONTROL
■ Realtime Custom Accompaniment Recording
ZSelect a PAGE MEMORY .......................................................................................................................
PAGE
MEMORY
If necessary, press the [PAGE #] button to select the PAGE MEMORY
number to which you want to record. When a new PAGE MEMORY
number is selected the ARE YOU SURE? indicator will flash and the “Are
you sure?” prompt will sound. Press the [YES] button to select the specified page number or the [NO] button to cancel (see page 54 for more details).
PAGE #
MIDI BULK
DUMP/
PAGE COPY
NOTES
• After the “Are you sure?” prompt, the PortaTone will wait until you
press [YES] or [NO] .
ARE YOU SURE ?
YES
NO
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45
Record Functions
XSelect a Style & Section .........................................................................................................................
Select an accompaniment style that will serve as an appropriate foundation for the type of accompaniment you want to record. Also use the ACCOMPANIMENT CONTROL buttons to select the particular section you
want to record: INTRO, MAIN A, MAIN B, FILL 1 (for MAIN A or B),
FILL 2 (for MAIN A or B), ENDING. When selecting a fill in, be sure to
also select the main A or main B section.
INTRO
FILL IN 1
FILL IN 2
ENDING
MAIN
A
B
ACCOMPANIMENT CONTROL
CEngage the Custom Accompaniment Record Ready Mode ...............................................................
RHYTHM
1
2
BASS
RHYTHMIC
CHORD
1
2
TRACK
REC
ARE YOU SURE ?
YES
NO
Press the AUTO ACCOMPANIMENT section TRACK button corresponding to the accompaniment track you want to record while holding the RECORDING section [REC] button. (If the selected section’s track contains no
preset data, “---” will appear on the MULTI DISPLAY and the custom accompaniment record-ready mode can not be engaged.) Both the [REC] and track
indicators will flash and, if you’ve selected a preset accompaniment style on
which to base your custom accompaniment (not number “00”), the ARE YOU
SURE? indicator will light and the PSR-510 will ask “Are you sure?” (see
NOTES, below). Press the [YES] button if you want to go ahead with the
record procedure, thus erasing the previous contents of the custom accompaniment. This engages the record ready mode for the specified track. If the
OVERALL CONTROL section [METRONOME] button indicator is lit, the
metronome will sound at the currently selected tempo. Press [NO] to cancel
the operation and preserve the contents.
NOTES
• If you select a style number other than “00” on which to base your
custom accompaniment, the selected style is copied to the custom
accompaniment being recorded as soon as the [YES] button is
pressed and the record ready mode is engaged, thus erasing all
previous custom accompaniment data in the current page.
• Auto Accompaniment, Auto Harmony, and Effect are turned OFF, the R1
orchestration part is selected, and the [EDIT] button is disabled when the
custom accompaniment record ready mode is engaged.
• If a track containing rhythm data is specified for recording, Keyboard Percussion is automatically turned on.
• When the record-ready mode for the selected track is engaged, other
track(s) of the corresponding section having no accompaniment style data
will automatically be turned off.
• A track that does not contain data in any section (the track indicator is
off), cannot be used for custom accompaniment recording.
• Turning the power OFF while the custom accompaniment recordready mode is engaged erases the custom accompaniment data in
the currently selected page.
VSelect a Voice & Set the Tempo as Required ......................................................................................
If necessary, select the voice you want to record with, and set a comfortable
recording tempo.
NOTES
46
• The specified voice parameters can be changed later by using the REWRITE SETTING and REVOICE functions (pages 52 and 32).
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BRecord .....................................................................................................................................................
SYNC-START/STOP
RHYTHM
1
2
START/STOP
BASS
FADE IN/OUT
RHYTHMIC
CHORD
1
2
TRACK
CLEAR
Recording will begin as soon as you press the ACCOMPANIMENT CONTROL section [START/STOP] button or play a chord or note on the keyboard.
The preset accompaniment style data in the track being recorded will be entirely erased (except the data you have entered). The accompaniment will play
repeatedly, and you can add new material to the selected track by playing on
the keyboard.
During recording, you can clear a track if you want to record new material
from scratch: press the TRACK button corresponding to the track you want to
clear while holding the [CLEAR] button. Individual notes, including
Keyboard Percussion instruments, can be cleared by pressing the
corresponding key while holding the [CLEAR] button.
NOTES
• Be sure to record your CUSTOM ACCOMPANIMENT based on a CM7
chord. The parts will be automatically transposed to match the chord
played when the CUSTOM ACCOMPANIMENT is played back.
• When you clear recorded data while recording, the PSR-510 will not ask
you “Are you sure?”.
• Custom accompaniments can also be recorded using the Step Record
mode — see page 48.
• With some styles there may be a slight delay between the end of the
section and beginning of the next cycle when recording.
NRepeat to Complete the Accompaniment ............................................................................................
Repeat steps 3, 4, and 5, selecting and recording the various tracks as
required until your custom accompaniment is complete. You can also switch
sections while recording, so you can record an entire custom accompaniment without having to stop recording.
NOTES
• If you change the sections while recording and the current track contains no preset data, “---” will appear on the MULTI DISPLAY to indicate that recording is not possible.
MStop Recording .......................................................................................................................................
Stop recording by pressing the TRACK button being recorded or the
ACCOMPANIMENT CONTROL section [START/STOP] button. The
[REC] indicator will go out, and the recorded accompaniment data will
automatically be stored in the CUSTOM ACCOMPANIMENT (style
number “00”) of the currently selected PAGE MEMORY.
Pressing the [SYNC-START/STOP] button while recording stops recording and returns to step 3 above (record ready mode).
START/STOP
NOTES
• “---” will appear on the MULTI DISPLAY while the PSR-510 is
processing recorded data.
■ Using a Custom Accompaniment
STYLE
SELECT
To use a custom accompaniment, simply select the PAGE MEMORY in
which it is stored, select style number “00”, and use the Auto Accompaniment feature in the normal way (page 23).
AUTO
ACCOMP
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47
Record Functions
Step Recording
In addition to the realtime-recording procedures described above, the PSR-510 has a “step recording” mode in
which notes can be entered one at a time with precise timing and length.
NOTES
• Only chord sequences can be step-recorded to Song Memory Accomp track. The REWRITE SETTING function (page 52) can be used after step recording to change other
parameters as required.
• You can specify the measure from which you want to start song memory step-recording
as described on page 42.
• Metronome does not function while recording in step-record mode.
• The following parameters cannot be changed during song memory ACCOMP track step
recording: style number, section, track on/off, revoice on/off, registration memory, fade
in/out.
ZEngage the Step Record Ready Mode ..................................................................................................
GATE
TIME
STEP
SIZE
Press the track or pad button corresponding to the track or pad you want to
record (see NOTES below) while holding the RECORDING section [STEP
REC] button. This engages the record ready mode for the specified track or
pad. Both the [STEP REC] and track/pad button indicators will flash.
NOTES
STEP
REC
QUANTIZE
• When the step record-ready mode for Song Memory Accomp track is
engaged, the indicator of MAIN A section will light.
• To step record a SONG MEMORY track press the appropriate SONG
MEMORY track button; to step record a CUSTOM ACCOMPANIMENT
track press the appropriate AUTO ACCOMPANIMENT track button; to
step record a MULTI PAD press the appropriate pad.
XSpecify the Required Step Size .............................................................................................................
GATE
TIME
STEP
REC
STEP
SIZE
QUANTIZE
“Step Size” refers to the length of the note to be entered. To enter an eighth
note and advance to the next eighth note, for example, the step size should be
set to “8”, which corresponds to “1/8” as shown in the list below.
Press the [STEP SIZE] button and the current step size will appear on the
MULTI DISPLAY. Then use the [+] and [–] buttons, the data dial, or the
[STEP SIZE] button itself to select the required step size
(4 … 32). The “16” step size can be instantly selected by pressing the [+] and
[–] buttons simultaneously.
Step Size Settings
MULTI
DISPLAY
STEP SIZE
4
1/4-note
6
1/6-note
8
1/8-note
12
1/12-note
16
1/16-note
24
1/24-note
32
1/32-note
3
3
NOTES
48
3
• The currently selected step size is retained in
memory even when the power switch is turned
off, as long as batteries are installed or an AC
adaptor is connected.
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CSpecify the Required Gate Time ...........................................................................................................
GATE
TIME
STEP
REC
“Gate Time” refers to the actual length of the note to be entered in relation to the note’s step size — i.e. whether the note is staccato, legato, etc.
Gate times are specified as percentages of the total note length, as shown in
the list below.
Press the [GATE TIME] button and the current gate time will appear on
the MULTI DISPLAY. Then use the [+] and [–] buttons, the number buttons, the data dial, or the [GATE TIME] button itself to select the required
gate time (00 … 10). The “08” gate time can be instantly selected by pressing the [+] and [–] buttons simultaneously.
STEP
SIZE
QUANTIZE
Gate Time Settings
MULTI
DISPLAY
00
01
02
03
04
05
GATE TIME
MIN. (Most staccato)
10%
20%
30%
40%
50%
NOTES
MULTI
GATE TIME
DISPLAY
06
60%
07
70%
Normal
08
80%
09
90%
10
MAX. (Most legato)
• The current gate time setting is retained in memory even when the
power switch is turned off, as long as batteries are installed or an AC
adaptor is connected.
VPlay a Note or Chord ..............................................................................................................................
PLAY / STOP
STEP
FWD
Play the note on the keyboard corresponding to the pitch of the note you
want to enter, or a chord if you want to enter a chord. You can then press
the [STEP FWD (PLAY/STOP)] button while still holding the note or
chord as many times as necessary to extend the length of the note or chord
by the specified step size.
NOTES
RESET
PLAY / STOP
STEP
BWD
STEP
FWD
RESET
STEP
BWD
To Enter a Rest …
Rests can be entered by pressing only the [STEP FWD (PLAY/STOP)]
button immediately after specifying the required step size for the rest.
The MULTI DISPLAY During Step Record
During step recording the leftmost digit on the MULTI DISPLAY represents the current beat, and the rightmost two digits represent the current
clock within the current beat (each beat consists of 96 clocks). The BEAT
indicator dots function in the same way as they do in the Auto Accompaniment mode.
BEAT
Beat
• When several notes are played simultaneously, all the notes will be
recorded at one time as a chord after the last key pressed is released.
This is a handy technique for the chord progression recording.
Clock
PLAY / STOP
STEP
FWD
Stepping Backward
In the STEP RECORD mode the [RESET] button functions as the
[STEP BWD] (step backward) button. You can use this button to step backward through the recording by the currently specified step size while erasing the data.
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49
Record Functions
The following chart shows the step size and gate time settings required
to enter a variety of notes:
Example
MULTI DISPLAY
(Beat/Clock)
MULTI DISPLAY
(Step Size)
MULTI DISPLAY
(Gate Time)
Note
Hold
Hold
PLAY/STOP
PLAY/STOP
STEP
FWD
PLAY/STOP
STEP
FWD
Hold
PLAY/STOP
STEP
FWD
STEP
FWD
Press
[PLAY/STOP]
Once
Twice
Twice
Three
times
It’s also possible to specify the step sizes for all notes by specifying the
shortest required step size and then using the [STEP FWD] button to enter
all other note lengths.
NOTES
• In the case shown to the left, press and hold , press
[STEP FWD] and then , and then release .
BRepeat .....................................................................................................................................................
Repeat steps 2, 3, and 4 until the required number of notes has been entered.
NOTES
• Previously-recorded tracks can not be monitored during step recording.
NStop Recording .......................................................................................................................................
Stop recording by pressing the track or MULTI PAD button being recorded. The [STEP REC] indicator will go out.
NOTES
50
• PSR-510 allows you to “punch-in” and “punch-out” at any measure to
step re-record Song Memory data. Step recording is carried out in 1measure units, so if you punch out in the middle of measure rests will
be recorded for the remainder of that measure.
• “---” may appear on the MULTI DISPLAY while the PSR-510 is
processing step-recorded data.
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Editing Functions
The following functions make it possible to “edit” recorded data to polish and refine your sound.
NOTES
• When using any of the editing functions on a custom style, be sure to
select style number 00 before engaging the editing function.
■ Quantization
It is possible to “quantize” recorded data to straighten out the timing of a track or pad.
ZSet the Quantize Step Size ....................................................................................................................
GATE
TIME
STEP
REC
Set the required quantize step size in the same way as the step-record
step size (see page 48).
STEP
SIZE
QUANTIZE
XSelect the Track or Pad to Be Quantized .............................................................................................
GATE
TIME
STEP
REC
STEP
SIZE
Press the track or pad button corresponding to the track or pad you want
to quantize while holding the RECORDING section [QUANTIZE] button.
Both the [QUANTIZE] and track/pad button indicators will flash. The
ARE YOU SURE? indicator will light and the PSR-510 will ask “Are you
sure?”
QUANTIZE
NOTES
• You can quantize several Song Memory or Custom Accompaniment
tracks at the same time. Press the required track buttons one after
another while holding the [QUANTIZE] button.
CConfirm or Cancel the Quantize Operation
ARE YOU SURE ?
YES
NO
Press the [YES] button if you want to go ahead with the quantize operation, thus irreversibly altering the selected track or pad. Press [NO] to cancel the operation and preserve the contents of the track or pad. “---” will
appear on the MULTI DISPLAY while the data is being quantized.
NOTES
• Your recorded data can be quantized. The preset accompaniment
track data can not be quantized.
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51
Record Functions
■ Clearing Tracks
The [CLEAR] button can be used to completely erase the following data:
• All data after the current measure in the specified SONG MEMORY track.
• All data from the specified CUSTOM ACCOMPANIMENT track.
• All data from the specified MULTI PAD.
ZFor a SONG MEMORY Track, Set the Start Measure ..........................................................................
MEASURE #
Use the [MEASURE #] button to set the first measure to be cleared
(page 42). All subsequent measures up to the end of the song will be
cleared.
XSpecify the Track or Pad to Be Cleared ...............................................................................................
Press the appropriate track or pad button while holding the [CLEAR]
button. The ARE YOU SURE? indicator will light and the PSR-510 will ask
“Are you sure?”
CLEAR
CAUTION
NOTES
• Turning the power OFF in the clear-ready mode can result in a
loss of recorded data.
• You can clear several Song Memory or Custom Accompaniment
tracks at the same time. Press the required track buttons one after
another while holding the [CLEAR] button.
CConfirm or Cancel the Clear Operation ................................................................................................
ARE YOU SURE ?
YES
NO
Press the [YES] button if you want to go ahead with the clear operation,
thus erasing the selected track or pad. Press [NO] to cancel the operation
and preserve the contents of the track or pad. “---” will appear on the
MULTI DISPLAY while the data is being cleared.
NOTES
• Track indicators in the custom accompaniment clear mode will light
when the tracks contain data in any section. A track indicator may
remain lit even though the custom accompaniment data for that track
has been cleared if the track contain data in other sections.
■ Changing the Recorded Settings
The [REWRITE SETTING] button can be used to change the settings of all recordable parameters for any
specified track or pad. You could, for example, use this function to change the voice or effect used in a SONG
MEMORY track.
Rewritable Data
All recorded data in the following tracks and pads except note on/off,
octave, sustain, pitch bend, and chord changes:
• Song Memory Accompaniment Track
• Song Memory Melody Tracks
• Custom Accompaniment
• Multi Pad
ZFor Song Memory Settings Set the Start Measure ..............................................................................
MEASURE #
52
Only if you will be rewriting Song Memory settings, use the [MEASURE #] button in conjunction with the [+] and [–] buttons, the number buttons, or the data dial to specify the measure at which you want the settings
to be rewritten. The specified measure number will appear on the MULTI
DISPLAY.
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XSelect the Track or Pad to be Altered ...................................................................................................
Press the track or pad button corresponding to the track or pad you want
to alter while holding the RECORDING section [REWRITE SETTING]
button (for a Custom Accompaniment, first select the section you want to
edit). Both the [REWRITE SETTING] and track/pad button indicators
will flash.
REWRITE
SETTING
CChange the Settings as Required .........................................................................................................
■ SONG MEMORY/ MULTI PADS
RESET
PLAY/STOP
STEP
BWD
STEP
FWD
■ CUSTOM ACCOMPANIMENT
SYNC-START/STOP
START/STOP
FADE IN/OUT
For the Song Memory or Multi Pads use the [PLAY/STOP] button to
start playback. Make the required setting changes to the recordable parameters at the appropriate point during playback.
If you make any changes during rewrite standby — i.e. after engaging
the Rewrite Setting function but before starting playback — the specified
changes will be at the very beginning of the track/pad data (at the beginning
of the specified measure for the Song Memory).
For a Custom Accompaniment, use the ACCOMPANIMENT CONTROL
section [START/STOP] button or play a note on the keyboard to start playback and then make the required setting changes to the recordable parameters. Rewriting data in the middle of a Custom Accompaniment pattern
affects the entire track.
NOTES
• Song memory (Accomp track) section and track on/off changes can
be rewritten after chord progression recording.
• Your recorded data can be rewritten. The preset accompaniment track
data can not be rewritten.
VStop .........................................................................................................................................................
Press the track or pad button for which the settings have been rewritten.
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53
Page Memory
REGISTR
ATION
MEMOR
Y
SONG
MEMO
RY
In addition to the REGISTRATION MEMORY described
on page 35, the PSR-510 has a PAGE MEMORY that
stores panel control and parameter settings plus the
contents of the SONG MEMORY, CUSTOM ACCOMPANIMENT, and MULTI PADS. There are four PAGE
MEMORY locations, each holding a complete set of
parameters and recorded data. The PAGE MEMORY
locations are selected as follows:
MULT
I PADS
1
2
3
4
1
2
3
4
CUS O
M
ACCOTM
P.
SONG
MEMO
RY
CUS O
M
ACCOTM
P.
SONG
MEMO
RY
CUS O
M
ACCOTM
P.
SONG
MEMO
RY
CUS O
M
ACCOTM
P.
Page
1
Page
2
Page
3
Page
4
PAGE
MEMORY
PAGE #
PAGE MEMORY Data
MIDI BULK
DUMP/
PAGE COPY
• Registration Memory contents.
• Song Memory contents.
• Custom Accompaniment contents.
• Multi Pad contents.
ZPress the [PAGE #] Button ....................................................................................................................
PAGE
MEMORY
Press the [PAGE #] button once and the current page number will appear on
the MULTI DISPLAY.
PAGE #
NOTES
• Page 1 is automatically selected whenever the power switch is turned on.
• The Page Memory settings are retained in memory even when the power
is turned OFF as long as batteries are installed or an AC adaptor is connected to the PSR-510.
MIDI BULK
DUMP/
PAGE COPY
XSelect a Page Number ............................................................................................................................
RESET
–
+
0
1
2
Use the [+] and [–] buttons, the number buttons, the data dial, or the
[PAGE #] button itself to select the required page number (1 ... 4). When a
new PAGE MEMORY number is selected the ARE YOU SURE? indicator will
flash and the “Are you sure?” prompt will sound.
NOTES
• The PAGE MEMORY page number cannot be changed while Auto Accompaniment or DEMO function is engaged.
CConfirm the Selection ............................................................................................................................
ARE YOU SURE ?
YES
NO
Press the [YES] button to select the specified page number or the [NO]
button to cancel.
NOTES
54
• The panel settings remain the same unless you press the [YES] button.
• All Registration Memory and recorded data changes are automatically
stored in the currently selected PAGE MEMORY, so there’s no particular
PAGE MEMORY recording procedure.
• Data can be copied from one PAGE MEMORY location to another by
using the MIDI BULK DUMP/PAGE COPY function described on page 57.
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MIDI
MIDI, the Musical Instrument Digital Interface, is a world-standard communication interface that
allows MIDI-compatible musical instruments and equipment to share musical information and
control one another. This makes it possible to create “systems” of MIDI instruments and equipment that offer far greater versatility and control than is available with isolated instruments.
PAGE
MEMORY
MIDI
PAGE #
RECEIVE
CH/CL/
COM
TRANSMIT
CH
L
R
MODE
................
LOCAL
MIDI
OUT
0 RX OFF
1 MULTI
2 REMOTE
3 CHORD
4 ROOT
MIDI BULK
DUMP/
PAGE COPY
LOCAL /
MIDI OUT
● The PSR-510 MIDI Connectors ...............................................................................................................
The PSR-510 MIDI IN connector receives MIDI data from an external
MIDI device which can be used to control the PSR-510. The MIDI OUT
connector transmits MIDI data generated by the PSR-510 (e.g. note and
velocity data produced by playing the keyboard).
OUT
MIDI
IN
● Simple MIDI Control ................................................................................................................................
Most MIDI keyboards (including the PSR-510, of course) transmit note
Tone Generator
and velocity (touch response) information via the MIDI OUT connector
MIDI IN
whenever a note is played on the keyboard. If the MIDI OUT connector is
connected to the MIDI IN connector of a second keyboard (synthesizer,
MIDI OUT
etc.) or a tone generator (essentially a synthesizer with no keyboard), the
PSR-510
second keyboard or tone generator will respond precisely to notes played on
the original transmitting keyboard. The result is that you can effectively
play two instruments at once, providing thick multi-instrument sounds. The
PSR-510 also transmits “program change” data when one of its voices is
selected. Depending on how the receiving device is set up, the correspondMIDI Keyboard
ing voice will be automatically selected on the receiving keyboard or tone
generator whenever a voice is selected on the PSR-510.
MIDI OUT
MIDI IN
PSR-510
The PSR-510 is capable of receiving the same MIDI data, so a second
MIDI keyboard connected to the PSR-510 MIDI IN connector can be used
to remotely play the PSR-510 and select voices as required.
● MIDI Sequence Recording ......................................................................................................................
Sequencer
MIDI IN
MIDI OUT
PSR-510
Although the PSR-510 features a built-in “sequencer” (the SONG
MEMORY is a type of sequencer), the same type of musical information
transfer described above can be used for more sophisticated MIDI sequence
recording using an external sequencer or music computer. A MIDI sequence
recorder or music computer can be used to “record” MIDI data received
from a PSR-510, for example. When the recorded data is played back, the
PSR-510 automatically “plays” the recorded performance in precise detail.
NOTES
• Never use MIDI cables longer than about 15 meters, since cables
longer than this can pick up noise which can cause data errors.
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55
MIDI
MIDI Bulk Dump
MIDI bulk dump operations allow large amounts of MIDI data to be transmitted from one device to another.
The entire contents of the currently selected PSR-510 PAGE MEMORY (CUSTOM ACCOMP, MULTI PADS,
SONG MEMORY, REGISTRATION MEMORY) can be dumped to a second PSR-510 or to a bulk storage device such as a MIDI data recorder or MIDI computer.
ZMake the Required MIDI Connections ..................................................................................................
Connect the PSR-510 MIDI OUT terminal to the MIDI IN terminal of
the device which is to receive the bulk data.
Data Recorder
MIDI IN
NOTES
MIDI OUT
PSR-510
• You may also have to set up the receiving device to receive the bulk
data. Refer to the receiving device’s operation manual for MIDI bulk
dump reception details.
XSelect a PAGE MEMORY .......................................................................................................................
PAGE
MEMORY
Select the PAGE MEMORY number you want to transmit (page 54).
PAGE #
MIDI BULK
DUMP/
PAGE COPY
CPress the [MIDI BULK DUMP/PAGE COPY] Button .............................................................................
PAGE
MEMORY
Press the [MIDI BULK DUMP/PAGE COPY] button. The “ARE YOU
SURE?” indicator will flash and the PSR-510 will ask “Are you sure?”. At
the same time “1dP”, “2dP”, “3dP”, or “4dP” will appear on the MULTI
DISPLAY, depending on the selected PAGE MEMORY number.
PAGE #
MIDI BULK
DUMP/
PAGE COPY
VPress [YES] to Transmit ........................................................................................................................
Press the [YES] button to execute the bulk dump operation, or the [NO]
button to cancel and return to the VOICE SELECT mode.
ARE YOU SURE ?
YES
NO
The [MIDI BULK DUMP/PAGE COPY] button indicator will light
during bulk dump transmission, and will go out when the transmission has
finished. The progress of the bulk dump transmission ([-A-]m[-S-]m[-n-]
m[-r-]) will also be indicated on the MULTI DISPLAY. When all the data
has been transmitted the PSR-510 will automatically return to the VOICE
SELECT mode.
NOTES
56
• All of the PSR-510 panel controls are disabled during bulk dump
transmission.
• Each letter, appears in oder on the MULTI DISPLAY, indicates that
the following data is sent: [-A-] for Custom Accompaniment data, [-S-]
for Song Memory data, [-n-] for Multi Pad data, [-r-] for Registration
Memory data.
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● Bulk Dump Reception ............................................................................................................................
The PSR-510 will automatically receive bulk dump data from another PSR-510 or MIDI data storage device as long as the MIDI OUT terminal of the external device is properly connected to the MIDI IN connector
of the PSR-510, and PSR-510 MIDI reception is enabled.
When this occurs the [MIDI BULK DUMP/PAGE COPY] indicator will light and all panel controls will
be disabled during reception. The progress of the bulk dump reception ([-A-]m[-S-]m[-n-]m[-r-]) will be
indicated on the MULTI DISPLAY in the same as for bulk dump transmission. When all the data has been
received, the [MIDI BULK DUMP/PAGE COPY] indicator will go out and all panel settings will correspond with the received bulk dump data (the received data is saved to the currently selected PAGE
MEMORY).
NOTES
• If an error occurs during bulk dump reception, “Err” will appear on the MULTI
DISPLAY and all data in the block in which the error occurred will be initialized
(i.e. the corresponding settings will be reset to their power-on values).
• When a bulk dump is received, the contents of the currently selected PAGE
MEMORY are erased and replaced by the received data.
• A bulk dump from an external device cannot be received during recording or Auto
Accompaniment playback.
• “-A-”, “-S-”, “-n-”, or “-r-” will remain on the MULTI DISPLAY for a short time while
after bulk dump reception has finished while the received data is being processed.
■ Page Copy
The [MIDI BULK DUMP/PAGE COPY] button can also be used to copy the entire contents of one PAGE
MEMORY number to any other, rather than transmitting the data via the MIDI OUT terminal.
ZSelect the PAGE MEMORY Number You Want to Copy .....................................................................
Select the PAGE MEMORY number you want to copy to a different
number (page 54).
XPress the [MIDI BULK DUMP/PAGE COPY] Button .............................................................................
PAGE
MEMORY
Press the [MIDI BULK DUMP/PAGE COPY] button. The “ARE YOU
SURE?” indicator will flash and the PSR-510 will ask “Are you sure?”. At
the same time “1dP”, “2dP”, “3dP”, or “4dP” will appear on the MULTI
DISPLAY, depending on the selected PAGE MEMORY number.
PAGE #
MIDI BULK
DUMP/
PAGE COPY
CSelect the Destination PAGE MEMORY Number .................................................................................
Source
number
Destination
number
Use the [+] and [–] buttons or the data dial to select the PAGE
MEMORY number to which you want to copy the data. The source PAGE
MEMORY number appears on the left digit of the MULTI DISPLAY while
the destination PAGE MEMORY number appears on the right digit.
The Page Reset Function
When “cL” appears to the right of the page number on the MULTI DISPLAY the page reset function is selected. If you press [YES] to execute the
operation as described in the next step, all settings in the selected page will
be reset to their initial values.
VPress [YES] to Copy ...............................................................................................................................
ARE YOU SURE ?
YES
NO
Press the [YES] button to execute the page copy operation, or the [NO]
button to cancel and return to the VOICE SELECT mode.
When the data has been copied (this only takes about a second) the PSR510 will automatically return to the VOICE SELECT mode.
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57
MIDI
MIDI Reception Modes
The [RECEIVE CH/CL/COM] button is used to specify the reception mode for each of the 16 MIDI channels,
the internal or external clock mode, and MIDI start/stop command reception mode.
■ Channel Reception Modes
The PSR-510 allows any of five reception modes to be individually assigned to MIDI channels 1 through 16.
The five modes are:
Mode “0” RX OFF: Reception disabled.
Mode “1” MULTI: Received MIDI note data directly controls the PSR-510 tone generator. Different voices can be played on different channels.
Mode “2” REMOTE: Received MIDI note data is handled in the same way as data from the
PSR-510’s own keyboard.
Mode “3” CHORD: Received MIDI note data is interpreted as Auto Accompaniment chord
commands.
Mode “4” ROOT: Received MIDI note data is interpreted as Auto Accompaniment bass note
commands.
NOTES
• The send channel must correspond to the channel set for the modes
2-4.
• If the PSR-510 receives more than one note at the same time while
mode “4” (ROOT) is selected, the last note will be interpreted as the
Auto Accompaniment bass note.
ZPress the [RECEIVE CH/CL/COM] Button & Select a Channel ...........................................................
RECEIVE
CH/CL/
COM
Channel number
MODE
................
0 RX OFF
1 MULTI
2 REMOTE
3 CHORD
4 ROOT
Press the [RECEIVE CH/CL/COM] button, then use the [+] and [–]
buttons, the number buttons, the data dial, or the [RECEIVE CH/CL/
COM] button itself to select the MIDI channel (1 … 16) for which you
want to specify a new reception mode. The channel number appears on the
right of the MULTI DISPLAY.
NOTES
• “cL” and “cd” will appear on the right of the display if you increment
above channel number 16 or below channel number 1. These selections are used for the Clock Mode and Start/Stop Mode functions
described below.
XSelect the Desired Mode ........................................................................................................................
9
+–
1_ _
Use the [+/–] button in the number-button row to select the desired reception mode for the selected channel. The modes are selected in sequence
each time the [+/–] button is pressed, and the mode number appears on the
left digit of the MULTI DISPLAY.
Mode number
NOTES
58
• The currently selected reception mode is retained in memory even
when the power switch is turned off, as long as batteries are installed
or an AC adaptor is connected.
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■ Clock Mode
Reception of an external MIDI clock signal can be enabled or disabled as required. When disabled, all of the
PSR-510’s time-based functions (Auto Accompaniment, SONG MEMORY, etc.) are controlled by its own internal clock, the speed of which is set by the PSR-510 [TEMPO] button. When MIDI clock reception is enabled,
however, all timing is controlled by an external MIDI clock signal received via the PSR-510 MIDI IN terminal
(the PSR-510 [TEMPO] setting has no effect).
NOTES
• If clock reception is enabled but no MIDI clock signal is received for
more than 400 milliseconds, external clock reception is automatically
disable and normal internal clock operation resumes.
• If you attempt to change the tempo setting when MIDI clock reception
is enabled, “EC” will appear on the MULTI DISPLAY.
ZPress the [RECEIVE CH/CL/COM] Button & Select “cL” ....................................................................
Press the [RECEIVE CH/CL/COM] button, then use the [+] and [–]
buttons, the number buttons, the data dial, or the [RECEIVE CH/CL/
COM] button itself to select “cL” on the MULTI DISPLAY (“cL” is the
next step above MIDI channel 16).
RECEIVE
CH/CL/
COM
MODE
................
0 RX OFF
1 MULTI
2 REMOTE
3 CHORD
4 ROOT
XSelect the Desired Mode ........................................................................................................................
+–
1_ _
9
Clock mode
Use the [+/–] button in the number-button row to select the desired clock
mode. The disable and enable modes are selected alternately each time the
[+/–] button is pressed, and the selected mode appears on the left digit of
the MULTI DISPLAY (“d” for disable; “E” for enable).
■ Start/Stop Mode
This function determines the effect of external MIDI start and stop signals. There are three start/stop modes,
as follows:
Mode “0” Start/stop reception disabled.
Mode “1” MIDI start and stop commands start and stop the PSR-510 Auto Accompaniment feature.
Mode “2” MIDI start and stop commands start and stop the PSR-510 SONG MEMORY feature.
ZPress the [RECEIVE CH/CL/COM] Button & Select “cd” ....................................................................
RECEIVE
CH/CL/
COM
MODE
................
Press the [RECEIVE CH/CL/COM] button, then use the [+] and [–]
buttons, the number buttons, the data dial, or the [RECEIVE CH/CL/
COM] button itself to select “cd” on the MULTI DISPLAY (“cd” is the
next step above “cL” — or the next step below MIDI channel 1).
0 RX OFF
1 MULTI
2 REMOTE
3 CHORD
4 ROOT
XSelect the Desired Mode ........................................................................................................................
9
Mode number
+–
1_ _
Use the [+/–] button in the number-button row to select the desired start
mode. The start/stop modes are selected in sequence each time the [+/–]
button is pressed, and the selected mode number appears on the left digit of
the MULTI DISPLAY.
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59
MIDI
MIDI Transmission
The PSR-510 allows independent MIDI transmit channels to be assigned to the L and R ORCHESTRATION
voices. It is also possible to independently turn local control and MIDI output on or off for the L and R voices.
■ MIDI Transmit Channels
The L and R ORCHESTRATION voices can be independently set to transmit on any of the 16 MIDI channels as
follows:
ZPress the [L] or [R] TRANSMIT CH .......................................................................................................
TRANSMIT
CH
L
R
LOCAL
MIDI
OUT
Press the [L] button if you want to set the L voice transmit channel, or the
[R] to set the R voice transmit channel. The currently selected channel for the
selected voice will appear on the MULTI DISPLAY.
NOTES
LOCAL /
MIDI OUT
• After selecting L or R, as described above, the default transmit channel
can be recalled by simultaneously pressing the [+] and [-] buttons. The
default “L” channel number is “2”, and the default “R” channel is “1”.
XSelect the Desired Transmit Channel ...................................................................................................
RESET
–
+
0
1
2
NOTES
Use the [+] and [–] buttons, the number buttons, the data dial, or the [L] or
[R] button itself to select the desired transmit channel.
• The currently selected transmit channel is retained in memory even when the power
switch is turned off, as long as batteries are installed or an AC adaptor is connected.
• To record the Song Memory data to an external sequencer, start the sequencer running
in the record mode, press the [RESET] button, and then press the [PLAY/STOP] button.
• To record the Auto Accompaniment data to an external sequencer, start the sequencer
running in the record mode, select the style you want to record, then start Auto Accompaniment playback.
• Notes played on the keyboard are transmitted on channel 1 or 2 (selectable), Auto Accompaniment data is transmitted on channels 10 - 16, and Song Memory melody data is
transmitted on channel 3-7. Normally the Auto Accompaniment Rhythm 1 and Rhythm 2
data are both transmitted on channel 10. To transmit these tracks separately, hold the
C1 key while turning the power on. When this is done the Rhythm 1 data will be transmitted on channel 9 while the Rhythm 2 data will be transmitted on channel 10.
■ Local & MIDI Output ON/OFF
The [LOCAL/MIDI OUT] buttons and indicators below the TRANSMIT CH [L] and [R] buttons can be
used to turn local control and MIDI output ON or OFF as required. The status of the LOCAL and MIDI OUT
indicators changes as shown below each time the corresponding [LOCAL/MIDI OUT] button is pressed:
TRANSMIT
CH
L
R
LOCAL
MIDI
OUT
LOCAL /
MIDI OUT
60
NOTES
• When “LOCAL” control is turned ON (indicator lit), the PSR-510 is controlled by its own
keyboard. When “LOCAL” control is off, playing the PSR-510 keyboard produces no
sound — it can only be played by MIDI data received via the MIDI IN terminal.
• When MIDI OUT is turned ON (indicator lit), operating the PSR-510 produces MIDI output. When MIDI OUT is turned OFF (indicator out) no MIDI output is produced by the
PSR-510.
• LOCAL & MIDI OUT ON/OFF controls note on/off only. All other data is always output
automatically.
• Since LOCAL & MIDI OUT ON/OFF status is memorized in the Registration Memory, you
can select the tone generator to be used (PSR-510 or an external tone generator) by
changing the registration memory.
• Auto accompaniment will not function when Left LOCAL OFF is selected. Auto accompaniment note on/off data will not be output when Left MIDI OUT OFF is selected.
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Appendix
■ Voice & Polyphony List
The PSR-510 can play up to 28 individual notes at the same time (i.e. it has a maximum “polyphony” of 28).
This number includes all voices used: dual, split, auto accompaniment, song memory, and multi pads. If the
maximum polyphony of the PSR-510 is exceeded, the excess notes will be truncated (they will not sound).
Another feature affecting polyphony is the fact that some PSR-510 voices actually use two voices at once, as
shown in the voice list below. The effective maximum polyphony of the PSR-510 is correspondingly reduced
when these voices are used.
NOTES
MIDI
Voice
Program
Number Number
• The voice list includes the MIDI program numbers that control each voice when the PSR-510 is played from an
external MIDI device.
Voice Name
Piano
01
02
03
04
05
06
07
08
0
1
2
3
4
5
6
7
Acoustic Grand Piano
Bright Acoustic Piano
Electric Grand Piano
Honky-tonk Piano
Electric Piano 1
Electric Piano 2
Harpsichord
Clavi
Chromatic Percussion
09
10
11
12
13
14
15
16
8
9
10
11
12
13
14
15
Celesta
Glockenspiel
Music Box
Vibraphone
Marimba
Xylophone
Tubular Bells
Dulcimer
17
18
19
20
21
22
23
24
16
17
18
19
20
21
22
23
Drawbar Organ
Percussive Organ
Rock Organ
Church Organ
Reed Organ
Accordion
Harmonica
Tango Accordion
25
26
27
28
29
30
31
32
24
25
26
27
28
29
30
31
Acoustic Guitar (nylon)
Acoustic Guitar (steel)
Electric Guitar (jazz)
Electric Guitar (clean)
Electric Guitar (muted)
Overdriven Guitar
Distortion Guitar
Guitar Harmonics
33
34
35
36
37
38
39
40
32
33
34
35
36
37
38
39
Acoustic Bass
Electric Bass (finger)
Electric Bass (pick)
Fretless Bass
Slap Bass 1
Slap Bass 2
Synth Bass 1
Synth Bass 2
41
42
43
44
40
41
42
43
Violin
Viola
Cello
Contrabass
Organ
Guitar
Bass
Strings
Number
MIDI
Voice
of Voices
Program
Number
Used
Number
45
44
1
46
45
47
46
1
2
48
47
2
49
48
2
50
49
2
51
50
1
52
51
1
53
52
54
53
1
1
55
54
56
55
2
1
57
56
1
58
57
1
1
59
58
60
59
2
61
60
62
61
2
63
62
2
2
64
63
2
1
65
64
2
66
65
1
67
66
2
68
67
69
68
1
70
69
71
70
1
1
72
71
2
73
72
1
1
74
73
75
74
1
76
75
1
77
76
1
78
77
1
79
78
1
80
79
1
1
81
80
1
82
81
1
83
82
1
84
83
85
84
1
86
85
1
87
86
1
88
87
1
Voice Name
Tremolo Strings
Pizzicato Strings
Orchestral Harp
Timpani
Ensemble
Strings Ensemble 1
Strings Ensemble 2
Synth Strings 1
Synth Strings 2
Choir Aahs
Voice Oohs
Synth Voice
Orchestra Hit
Brass
Trumpet
Trombone
Tuba
Muted Trumpet
French Horn
Brass Section
Synth Brass 1
Synth Brass 2
Reed
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Clarinet
Pipe
Piccolo
Flute
Recorder
Pan Flute
Blown Bottle
Shakuhachi
Whistle
Ocarina
Synth Lead
Lead 1 (square)
Lead 2 (sawtooth)
Lead 3 (calliope)
Lead 4 (chiff)
Lead 5 (charang)
Lead 6 (voice)
Lead 7 (fifth)
Lead 8 (bass+Lead )
Number
MIDI
Number
Voice
of Voices
Program
Voice Name
of Voices
Number
Used
Number
Used
2
Synth Pad
2
89
88
Pad 1 (new age)
2
1
90
89
Pad 2 (warm)
2
1
91
90
Pad 3 (polysynth)
2
92
91
Pad 4 (choir)
2
1
93
92
Pad 5 (bowed)
2
1
94
93
Pad 6 (metallic)
2
2
95
94
Pad 7 (halo)
2
2
96
95
Pad 8 (sweep)
2
2
Synth Effects
1
97
96
FX 1 (rain)
2
1
98
97
FX 2 (soundtrack)
2
1
99
98
FX 3 (crystal)
2
100
99
FX 4 (atmosphere)
2
1
101
100
FX 5 (brightness)
2
1
102
101
FX 6 (goblins)
2
1
103
102
FX 7 (echoes)
2
1
104
103
FX 8 (sci-fi)
2
1
Ethnic
1
105
104
Sitar
1
2
106
105
Banjo
1
2
107
106
Shamisen
1
108
107
Koto
1
1
109
108
Kalimba
1
1
110
109
Bagpipe
2
1
111
110
Fiddle
1
1
112
111
Shanai
1
1
Percussive
1
113
112
Tinkle Bell
2
1
114
113
Agogo
1
1
115
114
Steel Drums
2
116
115
Woodblock
1
1
117
116
Taiko Drum
1
1
118
117
Melodic Tom
1
1
119
118
Synth Drum
1
1
120
119
Reverse Cymbal
1
2
Sound Effects
1
121
120
Guitar Fret Noise
1
1
122
121
Breath Noise
1
1
123
122
Seashore
2
124
123
Bird Tweet
2
2
125
124
Telephone Ring
1
126
125
Helicopter
2
2
2
127
126
Applause
2
2
128
127
Gunshot
1
2
* The following voices use only one voice
2
in the indicated ranges: 46 (Pizzicato
2
2
Strings): all notes below C#2 and above
F5. 110 (Bagpipe): all notes above A#2.
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61
Appendix
■ Style List
# Name
Pop
Panel Name
Rhythm
Comments
01
16-Beat Pop
16BEAT POP
16-Beat
Contemporary 16-beat pop.
02
8-Beat Pop
8BEAT POP
8-Beat
Bright piano/guitar-based ’70s pop.
03
8-Beat Light
8BEAT LIGHT
8-Beat
Eight-beat easy-listening style with arpeggiated piano part.
04
FolkRock
FOLKROCK
16-Beat
Guitar-based folk-rock.
05
Detroit Pop
DETROIT POP
12-Beat
Motown-style rhythm, with modern touches.
06
Pop Shuffle
POP SHUFFLE
12-Beat
’70s European pop-shuffle.
07
Pop Rock
POP ROCK
12-Beat
Upbeat, fast pop-rock. Try using your own chords in the intro and ending.
08
Showtune
SHOWTUNE
8-Beat
Bouncy, fully orchestrated style from ’40s/’50s musicals. Use SYNC-START and press
desired starting key for elaborate intro.
Pop Ballad
09
16-Beat Ballad 16BT BALLAD
16-Beat
10
Pop Ballad
POP BALLAD
8-Beat
11
Big Ballad
BIG BALLAD
8-Beat
Slow ballad with full arpeggios and fancy organ fills.
12
Piano Ballad
PNO BALLAD
8-Beat
Piano-based ballad with slow arpeggios. Huge drum fills in Intro and Fill In 2.
13
Epic Ballad
EPIC BALLAD
8-Beat
Pop ballad style from the ’60s and ’70s, featuring gentle strings accompaniment in MAIN
A and full orchestra in MAIN B.
14
6/8 Ballad
6/8 BALLAD
Six-Eight
Warm, romantic American soul ballad style.
Romantic pop ballad
Slow rock ballad with triplet feel and classical overtones.
Dance
15
Eurobeat
EUROBEAT
16-Beat
Fast, 16-beat Eurobeat sound, for disco and house music.
16
Dance Pop
DANCE POP
16-Beat
80s English disco sound.
17
Casa
CASA
16-Beat
Italian house music.
18
Dance Shuffle
DANCE SHFL
24-Beat
Rap/dance feel, especially for one-chord songs. Try playing with CHORD 1 & 2 off.
19
Groundbeat
GROUNDBEAT
24-Beat
Contemporary soul ballad with funky bass. PHRASE 1 adds high string lines and PHRASE
2 adds bass.
20
Synth Boogie
SY BOOGIE
Six-Eight
Fast, machine-like 6/8 computer groove with synth bass.
Disco
21
Disco Party
DISCO PARTY
16-Beat
Big band disco party style, hugely popular in Europe.
22
Disco Soul
DISCO SOUL
16-Beat
Philadelphia disco style from the ’70s.
23
Disco Tropical
DISCO TROP
16-Beat
Disco sound with a Latin feel — echoes of American TV themes from the ’80s.
24
Disco Funk
DISCO FUNK
16-Beat
Late ’70s New York disco style.
25
Disco Pop
DISCO POP
16-Beat
The world-famous (and recently revived) ’70s Swedish disco sound.
26
Polka Pop
POLKA POP
8-Beat
Updated Polka style. Latin percussion in Rhythm 2.
Rhythm & Blues
27
R&B
R&B
28
R&B Ballad
R&B BALLAD
8-Beat
29
Fast Gospel
FAST GOSPEL
30
Gospel
GOSPEL
Six-Eight
Gospel ballad groove for slow tempo songs.
31
6/8 Blues
6/8 BLUES
Six-Eight
New Orleans R&B from the ’50s.
32
Blues Shuffle
BLUES
12-Beat
Chicago-type blues shuffle.
33
Soul
SOUL
8-Beat
34
Funk
FUNK
16-Beat
Oakland’s East Bay funk style, with fat horn section and big finale for ending.
35
Funk Shuffle
FUNK SHFL
24-Beat
Funky guitar and funky brass stabs in a funky organ-driven shuffle. Funky!
36
Hard Rock
HARD ROCK
8-Beat
37
Rock Boogie
RK BOOGIE
12-Beat
38
Rock Pop
ROCK POP
8-Beat
39
Rock Shuffle
RK SHUFFLE
12-Beat
40
6/8 Rock
6/8 ROCK
Six-Eight
41
Rock Ballad
RK BALLAD
42
Rock Classical RK CLASSIC
16-Beat
8-Beat
Eight-beat rhythm and blues from the ’60s .
Upbeat West Coast soul ballad.
Bright and brassy ’60s Chicago Rhythm & Blues style.
Simple-but-effective Memphis R&B groove.
Rock
62
Fast, hard-driving rock. P2 brings in cymbal crashes with every chord change.
Hard-driving boogie with distorted guitar.
Mid-tempo guitar-based rock.
Smooth pop-rock style. Try bringing in the instrument parts one by one.
Slow rock pattern with triplet feel and ”House of the Rising Sun”-style arpeggios.
8-Beat
Slow rock ballad. Use RHYTHM 2 to add crash cymbal at chord changes. Take out
PHRASE 1 & 2 (guitars) for smoother sound.
16-Beat
Classical instruments like harpsichord and strings over a pop music rhythm section.
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# Name
Rock & Roll
Panel Name
Rhythm
Comments
ROCK&ROLL
12-Beat
Old-time ’60s Rock&Roll.
12-Beat
Late ’50s piano-based rock ‘n’ roll, with boogie woogie bass. Brass in
piano bass in PAD.
43
Rock & Roll
44
Boogie Woogie BOOGIE
45
Twist
TWIST
46
Rockabilly
ROCKABILLY
12-Beat
Simple, updated version of the Memphis ”Sun” sound.
47
16-beat
Rock & Roll
16RK&ROLL
16-Beat
Hard rock & roll — bringing the ”Bo Beat” into the ’90s. Bring in more complex guitar,
brass comping by playing more complex chords.
8-Beat
PHRASE 1 &2,
Straight-eight boogie, with a ”Twist.”
Traditional Jazz
48
Ragtime
RAGTIME
49
Dixieland
DIXIELAND
12-Beat
8-Beat
Old-time New Orleans jazz. Trumpet at PHRASE 1, Trombone at PHRASE 2, and
Clarinets at PAD.
Turn-of-the-century piano style. Piano fills at PHRASE 1, piano bass at PHRASE 2.
50
Big Band
BIG BAND
12-Beat
Big Band orchestra style and instrumentation. Piano at CHORD 1, guitar at CHORD 2,
trumpets at PHRASE 1, trombones at PHRASE 2, and saxes at PAD.
51
Big Band Ballad
B B BALLAD
12-Beat
Slowly swaying Big Band sound. Use in medley with Jazz Ballad to switch to piano/guitar
quartet.
52
Swing
SWING
12-Beat
European big-band swing style. Good for all mid-tempo swing tunes.
53
Swing Waltz
SWING WALTZ
Nine-Eight
Mid-tempo 9/8 waltz.
Contemporary Jazz
54
BeBop
BEBOP
12-Beat
’40s New York fast Bepop style. Good also for instantly adding a double-time feel to any
style!
55
Jazz Ballad
JAZZ BALLAD
12-Beat
Slow jazz style with piano, guitar, bass and brush drums. Turn off PHRASE 1 & 2 when
playing piano melody. Use in medley with Big Band Ballad to change orchestration.
56
Jazz Waltz
JAZZ WALTZ
Nine-Eight
Swing style in 3/4 time for playing jazz waltz standards.
57
Fusion
FUSION
16-Beat
Latin flavored 16-beat fusion.
58
Fusion Shuffle
FUSION SHFL
24-Beat
West Coast type funk shuffle.
Mambo
MAMBO
8-Beat
Latin
59
Contemporary Latin dance music. If playing the melody with a piano sound, turn off
CHORD 2.
60
Merengue
MERENGUE
8-Beat
High-energy Latin style with lots of percussion and punchy brass.
61
Beguine
BEGUINE
8-Beat
Slow rumba rhythm, a la ”Begin the Beguine.”
62
Bomba
BOMBA
16-Beat
Puerto Rican dance rhythm, cousin to the Merengue.
63
Guaguanco
GUAGUANCO
16-Beat
Another high-powered Latin dance style, usually played with drums/percussion only. Use
RHYTHM 1 & 2, PHRASE 1 & 2 to bring individual percussion in and out.
Latin Pop
64
Pop Bossa
POP BOSSA
8-Beat
Soft, electric-piano based Latin pop sound.
65
Bossa Nova Slow
66
Jazz Samba
SLOW BOSSA
8-Beat
Mellow and jazzy Bossa Nova style, good for mid to slow tempos.
JAZZ SAMBA
16-Beat
67
Traditional Brazilian samba with an added drum set.
Modern Cha Cha
MOD CHA CHA
16-Beat
Afro-Cuban dance style for medium slow tempos.
68
Latin Rock
LATIN ROCK
16-Beat
Contemporary Cha Cha with electric bass and drum kit.
Caribbean
69
Ska
SKA
70
Calypso
CALYPSO
16-Beat
8-Beat
Ska rhythm. Minor keys add doubled ”skank.”
Traditional Jamaican Calypso music from the ’60s.
71
Reggae 16
REGGAE 16
16-Beat
Modern Jamaican Reggae rhythm with fat synth bass.
72
Reggae 12
REGGAE 12
12-Beat
Reggae shuffle.
BLUEGRASS
16-Beat
Try this one with just CHORD 1 and RHYTHM 1 at first, then build up the arrangement by
adding different instruments.
Country & Western
73
Bluegrass
74
Country Pop
C POP
8-Beat
Contemporary country style.
75
Country Rock
C ROCK
8-Beat
Soft country style with pedal steel sound. Guitar voicings are most authentic for simple
chords, like major, minor, 7th, etc.
76
Country Ballad C BALLAD
77
Country Waltz
78
79
C WALTZ
8-Beat
Especially suited to slow tempos. Also, try playing with CHORD 1 only.
Nine-Eight
Simple, versatile country style with acoustic guitar. Guitar voicings are most authentic for
simple chords, like major, minor, 7th, etc.
Country Shuffle C SHUFFLE
12-Beat
Traditional country style using acoustic guitar. Guitar voicings are most authentic for
simple chords, like major, minor, 7th, etc.
Western Shuffle
12-Beat
Down-home Country and Western shuffle, with a modern touch.
W SHUFFLE
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63
Appendix
■ Style List
# Name
World Music
Panel Name
Rhythm
8-Beat
Comments
80
Polka
POLKA
81
Traditional Waltz
TRAD WALTZ
Three-Four
European waltz with guitar, accordion, clarinet, bass, drums and a string pad. Use
CHORD 1 & 2 and PHRASE 1 for guitar/accordion arrangement.
82
Sevillianas
SEVILLIANAS
Three-Four
Fast waltz time — almost flamenco style.
83
Bolero Lento
BOLEROLENTO
84
Rumba Espagnole ESPAGNOLE
85
Dangdut
8-Beat
16-Beat
Traditional Polka style with acoustic instruments. Try altering the arrangement by bringing
the accordion and the horn parts in and out.
Guitar-based style, quite romantic. Bolero Lento is related to Rumba and can be used as
a slower variation.
Spanish guitar style, with relatively full orchestration.
DANGDUT
8-Beat
Contemporary Indonesian pop sound.
MARCH
8-Beat
Traditional march style. Trombones at CHORD 1, trumpets at CHORD 2, french horn at
PHRASE 1, piccolo at PHRASE 2, xylophone at PAD.
March
86
Military March
87
6/8 March
6/8 MARCH
Six-Eight
Marching brass band. Change chords during the drum intro to add brass accents.
88
Tarantella
TARANTELLA
Six-Eight
Named after the Tarantula spider, whose bite might cause one to dance in this style, this
rhythm is used in the popular song ”Funiculi Funicula.”
SLOW WALTZ
Three-Four
This slow waltz (or English waltz) style has been arranged in the style of a small band.
Ballroom Standard
89
Slow Waltz
90
Tango Argentina TANGO ARGN
8-Beat
Traditional ballroom style Tango.
91
Tango Habanera TANGO HABA
8-Beat
Latin rhythm best known from the opera ”Carmen.”
92
Slowfox
SLOWFOX
12-Beat
A standard ballroom dance. This style is suitable for many ballads and slow mellow jazz or
swing tunes.
93
Viennese Waltz
VIEN WALTZ
Three-Four
Relaxed, ballroom waltz. Guitar is at CHORD 1, accordion at CHORD 2, pizzicato strings
at PHRASE 1, clarinets at PHRASE 2 and mid-register strings at PAD.
94
Foxtrot
FOXTROT
12-Beat
Strict tempo Foxtrot for ballroom dancing.
95
Jive
JIVE
12-Beat
Jive (or Boogie) is a fast ballroom dance.
Ballroom Latin
96
Rumba
RUMBA
8-Beat
Rumba played in the style of a ballroom orchestra. Related to Beguine and Bolero
Lento.
97
Samba
SAMBA
16-Beat
98
Cha Cha
CHA CHA
8-Beat
Strict tempo ChaCha style for ballroom dancing. Try starting only with RHYTHM 2, BASS
and CHORD , then bring in other instruments one by one.
99
Pasodoble
PASODOBLE
8-Beat
Flamenco-style rhythm, featuring Spanish guitar. Turning RHYTHM 2 on/off provides
additional variation.
Standard ballroom Samba. Guitar is at CHORD 1 & 2, with 2 playing the lower strings.
Turning RHYTHM 2 on/off provides additional variation.
Custom Accomp
00 Rap
(Page1)
RAP
16-Beat
Modern rap/hip-hop rhythm with turntable scratching and other effects. RHYTHM 1 & 2
can stand on their own as basic rhythm tracks.
00 Rave
(Page2)
RAVE
16-Beat
Hard-driving synth bass and ”space bleep” synth percussion.
00 Enka
(Page3)
ENKA
8-Beat
00 Zouk
(Page4)
ZOUK
16-Beat
64
Modern arrangement of old Japanese pop style.
Upbeat Afro-Caribbean dance rhythm with kalimba at PHRASE 1 and xylophone at
PHRASE 2.
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■ Reset Procedures & Page Memory Default Settings
All PSR-510 page memory settings are retained in memory even when the power switch is turned OFF as
long as the PSR-510 is powered by batteries or an AC adapter. You can, however, restore the factory default settings for all four page memories or a single specified page memory by following the procedures outlined below.
● System Reset
Z Press the POWER switch to turn the PSR-510 power OFF.
RESET
–
ON/
X Turn the power back ON while holding both the [+] and [–] buttons.
+
“clr” will appear on the MULTI DISPLAY while the data is being reset.
OFF
POWER
IMPORTANT
• Executing the System Reset function will erase any existing settings all page memory locations!
● Page Reset
ZSelect the PAGE MEMORY Number You Want to Reset .....................................................................
Select the PAGE MEMORY number you want to reset (page 54).
XPress the [MIDI BULK DUMP/PAGE COPY] Button .............................................................................
PAGE
MEMORY
Press the [MIDI BULK DUMP/PAGE COPY] button. The “ARE YOU
SURE?” indicator will flash and the PSR-510 will ask “Are you sure?”. At
the same time “1dP”, “2dP”, “3dP”, or “4dP” will appear on the MULTI
DISPLAY, depending on the selected PAGE MEMORY number.
PAGE #
MIDI BULK
DUMP/
PAGE COPY
CSelect a “cL” Display .............................................................................................................................
Use the [+] and [–] buttons or the data dial to select “1cL”, “2cL”,
“3cL”, or “4cL” (the number corresponds to the selected page number).
RESET
–
+
0
VPress [YES] to Reset ..............................................................................................................................
ARE YOU SURE ?
YES
NO
Press the [YES] button to execute the page reset function, or the [NO]
button to cancel and return to the PAGE MEMORY number selection mode
(step 1, above). All settings in the selected page will be reset to their initial
values.
When the data has been reset the PSR-510 will automatically return to
the VOICE SELECT mode.
IMPORTANT
• Executing the Page Reset function will erase any existing settings all selected page memory location!
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65
Appendix
● Page Memory Default Settings
ORCHESTRATION
REGIST1
REGIST2
PAGE1
REGIST3
REGIST4
REGIST1
REGIST2
PAGE2
REGIST3
REGIST4
REGIST1
REGIST2
PAGE3
REGIST3
REGIST4
REGIST1
REGIST2
PAGE4
REGIST3
REGIST4
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
R1
R2
L1
L2
PERCUSS.
On/Off VOICE
No.
O
01
X
52
X
33
X
06
Off
1
O
06
O
53
O
37
X
35
Off
1
O
19
O
18
O
35
X
33
Off
1
O
57
O
89
O
51
O
48
Off
1
O
63
O
96
O
88
O
64
Off
1
O
30
O
85
X
86
O
102
Off
1
O
83
O
123
O
26
O
89
Off
1
O
13
O
115
X
12
O
33
Off
1
O
23
X
106
O
26
X
04
Off
1
O
62
O
67
O
33
X
01
Off
1
O
25
O
53
O
25
O
52
Off
1
O
06
O
05
O
06
O
51
Off
1
O
20
O
53
X
21
X
54
Off
1
O
04
X
01
X
02
X
03
Off
1
O
62
O
57
O
48
O
59
Off
1
O
54
O
92
O
53
O
92
Off
1
VOICE
VOL
PAN
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
10
21
14
21
21
21
21
13
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
10
21
10
21
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
-2
2
-2
0
3
-3
0
0
0
0
0
0
0
0
0
0
0
0
0
-3
3
0
0
0
0
0
0
0
0
3
-3
0
0
0
2
-2
-2
2
0
3
2
-3
0
0
4
-4
0
0
0
1
1
0
0
0
3
-2
-2
2
0
4
1
-4
0
0
OCTAVE
0
0
-1
0
-1
0
-1
-1
-1
-1
0
-1
-1
-1
-1
0
-1
0
-1
-1
-1
-1
-1
0
-1
0
0
1
0
-1
0
0
0
0
-1
-1
0
1
-1
-1
0
-1
0
0
-1
-1
-1
-1
0
-1
-1
-1
-1
-1
-1
0
0
0
0
-1
0
-1
0
1
-1
0
0
0
0
-1
0
0
-1
-1
-1
0
-1
0
-1
-1
DSP
HARMONY
DEPTH On/Off TYPE
6
6
6
Off
01
6
6
8
8
6
Off
01
6
6
6
6
6
Off
01
6
6
12
8
8
Off
04
8
6
10
12
6
Off
01
6
6
10
12
12
Off
01
12
6
15
12
12
Off
01
12
6
10
10
12
Off
01
6
6
10
8
8
Off
01
6
6
10
10
8
Off
01
6
6
10
15
8
Off
01
15
6
9
9
7
Off
01
6
6
15
15
15
Off
01
15
6
6
6
7
Off
01
6
6
10
12
10
Off
02
12
6
12
10
12
Off
02
10
6
* The song memory has no default data, so all data it contains will
be erased when a reset operation is executed.
* The MIDI local on/off default settings are R=ON, L=ON.
66
AUTO
OVERALL CONTROL
MULTI CUSTOM
ACCOMPANIMENT
PADS ACCOMP
EFFECT
STYLE VOL TEMPO SPLIT POINT P.B.
TOUCH
1/2/3/4 style00
On/Off TYPE
No.
Split mode Accomp. Range On/Off SENSE
Off
04
08
21
128
61
55
2
On
4
Off
04
19
21
94
63
55
2
On
4
preset Rap
x4
Off
01
22
21
120
61
55
2
On
4
Off
04
87
21
126
61
55
2
On
4
Off
04
17
21
120
61
55
2
On
4
Off
04
36
21
180
61
55
2
On
4
preset Rave
x4
Off
04
13
21
78
61
55
2
On
4
On
12
97
21
108
61
55
2
On
4
Off
04
75
21
130
61
55
2
On
4
Off
04
50
21
155
61
55
2
On
4
preset Enka
x4
Off
04
83
21
102
61
55
2
On
4
Off
04
18
21
112
69
55
2
On
4
Off
01
42
21
114
69
55
2
On
4
Off
01
49
21
180
69
55
2
On
4
preset Zouk
x4
Off
03
81
21
180
61
55
2
On
4
Off
03
29
21
128
61
55
2
On
4
* The MIDI OUT default settings are R=ON, L=ON.
* The default [EDIT] button indicator setting is R1.
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■ Troubleshooting
Something not working as it should? In many cases what appears to be a malfunction can be traced to a simple error that can be remedied immediately. Before assuming that your PSR-510 is faulty, please check the following points.
PROBLEM
POSSIBLE CAUSE/SOLUTION
• The PSR-510 speakers produce a “pop”
sound whenever the power is turned ON or
OFF.
• This is normal and is no cause for alarm.
• Reduced volume
• Poor sound quality.
• Improper demo or song memory playback.
• MULTI DISPLAY has gone out and the
panel setting has been set to default.
• The batteries probably need to be replaced. Replace all six batteries
with new ones of the same type, as described on page 5.
• Not all simultaneously-played notes sound.
• You are probably exceeding the maximum polyphony of the PSR-510.
The PSR-510 can play up to 28 notes at the same time — including
split, dual, auto-accompaniment, and multi pad notes. Notes exceeding
this limit will not sound.
• Auto accompaniment won’t function properly. No lower keyboard sound.
• Auto accompaniment won’t sound right if you’re using SINGLE type
fingering when the SINGLE mode is not selected (page 26).
• Are you sure you’re playing in the Auto-Accompaniment section of the
keyboard?
• Are you playing chords that the PSR-510 can recognize (see chord
types on pages 25, 26, and 27)?
• The selected voice does not sound when
the keyboard is played.
• The orchestration part to which the voice is assigned must be turned
ON (page 10).
• Make sure that the voice volume parameter for the orchestration part to
which the voice is assigned is set to an appropriate level (page 13).
• Voice parameter changes do not affect the
desired voice.
• The edit mode for the voice to which the changes are to be applied must
be turned ON (page 12).
• No sound when rhythm started.
• Some sections of some styles have no data in the rhythm track.
Try turning Auto Accompaniment on and fingering an appropriate chord.
The Auto Accompaniment should begin to play.
• Sustain ON/OFF status has been reversed.
• Sustain ON/OFF status will be reversed when POWER is turned on with
the Footswitch pressed or the footswitch is plugged in while it is being
pressed.
Turn POWER OFF and turn it back ON to return to normal status.
• Song Memory track indicator does not go
out when the track is cleared.
• You may have executed the clear function from a point in the middle of
the track, thus only clearing the data after that point. Press the [RESET]
button to go to the beginning of the track, then clear.
• MIDI bulk reception of separate data
blocks fails.
• When sending Custom Accompaniment, Song Memory, Multi Pad, and/
or Registration Memory data to the PSR-510 as separate blocks from a
sequencer or other MIDI device, either send all blocks in succession
leaving no more than a 2-second break between blocks, or wait until the
voice display appears on the PSR-510 after each block and send the
blocks separately.
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67
Index
+ and – buttons ................................... 9
I
R
Introduction (Intro) ............................. 29
Local & MIDI output .......................... 60
Re-voice ............................................ 32
Reception modes, MIDI .................... 58
Record functions ......................... 37-52
Registration memory ......................... 35
Reset button ...................................... 42
Reset procedures .............................. 65
Rest entry, step ................................. 49
Rewrite settings ................................. 52
M
S
Main A & B sections .......................... 29
Measure number ............................... 42
Melody track recording ...................... 40
Metronome ........................................ 27
MIDI ......................................... 55-60
MIDI implementation chart .............. 276
Multi pads .......................................... 43
Music stand ......................................... 6
Service & modification ........................ 4
Single modes .................................... 10
Song memory .................................... 37
Sound system, external ...................... 6
Split & dual modes ............................ 11
Split modes ....................................... 11
Split point , orchestration .................. 19
Split point, auto accompaniment ....... 24
Start/stop mode, MIDI ....................... 59
Step recording ................................... 48
Step size ........................................... 48
Stopping accompaniment ................. 30
Straight start ...................................... 28
Style list ....................................... 62-64
Style selection ................................... 23
Sustain .......................................... 6, 18
Synchro start ..................................... 28
A
AC power adaptor ............................... 5
Accompaniment control .................... 28
Accompaniment track recording ....... 38
Are you sure? .............. 9, 46, 51, 52, 54
Auto accompaniment ........................ 23
Auto harmony .................................... 15
B
Batteries .............................................. 5
Beat indicator .................................... 28
Bulk dump, MIDI ................................ 56
C
Cleaning .............................................. 4
Clearing tracks .................................. 52
Connectors, MIDI .............................. 55
Custom accompaniment ................... 45
K
Keyboard percussion ........................ 17
L
N
Note & chord entry, step ................... 49
Number buttons .................................. 9
D
Data dial .............................................. 9
Demo song .......................................... 7
DSP depth ......................................... 14
DSP type ........................................... 21
Dual mode ......................................... 11
O
Octave ............................................... 13
One touch setting .............................. 34
Orchestration ..................................... 10
Overall control ................................... 19
E
Edit part selection ............................. 12
Editing procedures .............................. 8
Effect types ....................................... 16
Effects ............................................... 16
Electrical interference ......................... 4
Ending ............................................... 30
F
Fade-in & fade-out ............................ 30
Fill-ins ............................................... 29
Fingering modes ......................... 24-27
Freeze function ................................. 36
Function button ................................... 8
G
P
Page number .................................... 54
Page copy ......................................... 57
Page memory .................................... 54
Page memory default settings .......... 66
Pan
............................................... 14
Panel controls (control names) ....... 2-3
Percussion kits .................................. 17
Percussion kit list ............................ 274
Pitch bend range ............................... 18
Pitch bend wheel ............................... 18
Playback, accompaniment & melody 41
Playback, custom accompaniment ... 47
Playback, multi pad ........................... 44
Power supply .................................. 4, 5
T
Tempo control ................................... 27
Touch sensitivity ................................ 22
Tracks (Auto Accompaniment) .......... 31
Transmission, MIDI ........................... 60
Transpose ......................................... 20
Troubleshooting ................................ 67
Tuning ............................................... 20
V
Voice & polyphony list ....................... 61
Voice assignment (Voice select) ....... 12
Volume, accompaniment .................. 31
Volume, master ................................... 7
Volume, voice ................................... 13
Gate time ........................................... 49
Q
Quantization ...................................... 51
H
Harmony types .................................. 15
Headphones ........................................ 6
68
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Percussion Kit List / Verzeichnis der Schlagzeug- und Percussion-Set
* “<——” indicates the content is the same as that of Standard Kit.
* Only 1 note can be played at a time when Keyboard Percussion is engaged.
* The number in parentheses () after the percussion kit name is the MIDI program
number.
* The corresponding MIDI note numbers for the notes listed in the chart below are
actually one octave lower. For example, the MIDI note number for note #36 (C1)
in the chart is note #24 (C0).
Note#
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
274
* “<——” zeigt an, daß der Inhalt identisch mit dem Standardset ist.
* Bei aktivierter Keyboard Percussion-Funktion kann zu einem Zeitpunkt jeweils
nur eine Note gespielt werden.
* Bei der neben dem Namen des Percussion-Sets in Klammern ( ) gesetzten
Nummer handelt es sich um die Programmnummer.
* Die entsprechenden MIDI-Notennummern für die in der unteren Tabelle
aufgeführten Noten liegen tatsächlich eine Oktave tiefer. So ist beispielsweise
die MIDI-Notennummer von Note #36 (C1) in der Tabelle die Note #24 (C0).
Note
1: Standard (0)
2: Room (8)
3: Rock (16)
4: Electronic (24)
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
Click (Square wave)
Brush Tap
Brush Swirl
Brush Slap
Brush Swirl W/Attack
Snare Roll
Castanet
Snare H Soft
Sticks
Bass Drum H Soft
Open Rim Shot
Bass Drum L
Bass Drum H Hard
Closed Rim Shot
Snare L
Hand Clap
Snare H Hard
Floor Tom L
Hi-Hat Closed
Floor Tom H
Hi-Hat Pedal
Low Tom
Hi-Hat Open
Mid Tom L
Mid Tom H
Crash Cymbal 1
High Tom
Ride Cymbal 1
Chinese Cymbal
Ride Cymbal Cup
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
Bongo H
Bongo L
Conga H Mute
Conga H Open
Conga L
Timbale H
Timbale L
Agogo H
Agogo L
Cabasa
Maracas
Samba Whistle H
Samba Whistle L
Guiro Short
Guiro Long
Claves
Wood Block H
Wood Block L
Cuica Mute
Cuica Open
Triangle Mute
Triangle Open
Shaker
Jingle Bell
Bell Tree
Voice ‘One’
Voice ‘Two’
Voice ‘Three’
Voice ‘Four’
Voice ‘Are You Sure?’
<——
<——
<——
<——
<——
<——
<——
Snare Room L
<——
Bass Drum Room L
<——
Bass Drum Room M
Bass Drum Room H
<——
Snare Room M
<——
Snare Room H
Room Tom 1
<——
Room Tom 2
<——
Room Tom 3
<——
Room Tom 4
Room Tom 5
<——
Room Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Snare Rock L
<——
Bass Drum Rock L
<——
Bass Drum Rock M
Bass Drum Rock H
<——
Snare Rock M
<——
Snare Rock H
Rock Tom 1
<——
Rock Tom 2
<——
Rock Tom 3
<——
Rock Tom 4
Rock Tom 5
<——
Rock Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Reverse Cymbal
<——
Hi-Q
Snare Gate L
<——
Bass Drum Gate L
<——
Bass Drum Gate M
Bass Drum Gate H
<——
Snare Gate M
<——
Snare Gate H
Electronic Tom 1
<——
Electronic Tom 2
<——
Electronic Tom 3
<——
Electronic Tom 4
Electronic Tom 5
<——
Electronic Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Scratch H
Scratch L
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
ts /
Liste des kits de percussion / Lista de juegos de percusión
* “<——” indique que le contenu est le même que celui du kit standard.
* Une seule note peut être jouée à la fois lorsque le mode de percussion au
clavier est activé.
* Le nombre entre parenthèses ( ) indiqué après le nom du kit de percussion est
le numéro de programme MIDI.
* Les numéros de note MIDI correspondant aux notes indiquées dans le tableau
suivant sont en réalité une octave plus basse. Par exemple, le numéro de note
MIDI de la note #36 (C1) indiquée dans le tableau est la note #24 (C0).
Note#
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
* “<——” indica que el contenido es el mismo que el del juego estándar.
* Sólo puede reproducirse 1 nota al mismo tiempo cuando la percusión del
teclado está activada.
* El número entre paréntesis ( ) después del nombre del juegod e percusión es el
número de programa MIDI.
* Los números de nota MIDI correspondientes para las notas listadas en la gráfica
de abajo son en realidad una octava más bajas. Por ejemplo, el número de nota
MIDI para la nota #36 (C1) en la gráfica es #24(C0).
Note
5: Analog (25)
6: Jazz (32)
7: Brush (40)
8: Classic (48)
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
<——
<——
<——
<——
Reverse Cymbal
<——
Hi-Q
Snare Analog L
<——
Bass Drum Analog L
<——
Bass Drum Analog M
Bass Drum Analog H
Closed Rim Shot Analog
Snare Analog M
<——
Snare Analog H
Analog Tom 1
Analog Hi-hat Closed 1
Analog Tom 2
Analog Hi-hat Closed 2
Analog Tom 3
Analog Hi-hat Open
Analog Tom 4
Analog Tom 5
<——
Analog Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Scratch H
Scratch L
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Natural Tom 1
Dark Hi-Hat Closed
Natural Tom 2
Dark Hi-Hat Pedal
Natural Tom 3
Dark Hit Hat Open
Natural Tom 4
Natural Tom 5
<——
Natural Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Brush Slap L
<——
<——
<——
<——
<——
<——
Brush Slap H
<——
Brush Tap
Brush Tom 1
Dark Hi-Hat Closed
Brush Tom 2
Dark Hi-Hat Pedal
Brush Tom 3
Dark Hit Hat Open
Brush Tom 4
Brush Tom 5
<——
Brush Tom 6
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
Snare Classic L
<——
Gran Casa L
<——
Gran Casa M
Gran Casa H
<——
Snare Classic M
<——
Snare Classic H
Natural Tom 1
Dark Hi-Hat Closed
Natural Tom 2
Dark Hi-Hat Pedal
Natural Tom 3
Dark Hit Hat Open
Natural Tom 4
Natural Tom 5
Hand Cymbal Long L
Natural Tom 6
Hand Cymbal Short L
<——
<——
<——
<——
<——
Hand Cymbal Long H
<——
Hand Cymbal Short H
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
<——
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
275
MIDI Implementation Chart / Implementierungstabelle / Table
[Portable Keyboard]
Model: PSR-510
MIDI Implementation Chart
Function
Transmitted
Recognized
Basic
Channel
Default
Changed
1~16 CH
1~16 CH
1~16 CH (*1)
1~16 CH (*1)
Mode
Default
Messages
Altered
Mode 3
X
*****************
(*1)
X
X
: True voice
0~127
*****************
0~127
0~127
Velocity
Note on
Note off
O 9nH, v=1~127
X 9nH, v=0
O 9nH, v=1~127
X 9nH, v=0 or 8nH
After
Touch
key’s
Ch’s
X
X
X
O (*2)
O
O
O (*3)
X
O
O
O
O
O
X
O
X
O
X
X
O (*6)
O
X
O (*4)
O
O
O
O
O
O
O
O (*5)
O
O
O
O
O (*7)
O
O (*8)
Program
Change : True #
O 0~127
*****************
O 0~127
0~127 (*9)
System Exclusive
O (*10)
O (*10)
System
: Song Position
: Song Select
Common : Tune
X
X
X
X
X
X
System : Clock
Real Time : Commands
O
O (*12)
O (*11)
O (*12)
Aux
X
O
O
X
X
O
O
X
Note
Number
Pitch Bender
Control Change
0, 32
1
6, 38
7
10
11
64
66
84
90
91
96
97
100, 101
120
121
: Local ON/OFF
: All Notes Off
Messages : Active Sense
: Reset
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
276
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
Date: 1993. 6. 15
Version: 1.00
Remarks
Bank select MSB, LSB
Modulation depth
Data entry MSB, LSB
Volume
Pan
Expression
Sustain
Sostenuto
Portamento control
Reverb send level
RPN data increment
RPN data decrement
RPN MSB, LSB
All sound off
Reset all controllers
O: Yes
X: No
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
d’implémentation / Gráfico de implememtación
*1. The following modes can be set individually for each channel via
the panel control:
Mode 00: Reception OFF.
Mode 01: Direct tone generator control.
Mode 02: Same as keyboard note on/off operation.
Mode 03: Same as auto-accompaniment chord fingering.
Mode 04: Same as the lowest-note (bass note) played in the
auto-accompaniment chord fingerings.
*2. Channel pressure handled as vibrato.
*3. For bank selection transmission only the MSB changes.
The LSB is fixed at 00H.
*4. Bank select reception.
The bank select MSB is used for melody voice and rhythm voice
switching.
The bank select LSB is ignored.
MSB 00H: GM melody voice.
MSB 7FH: GM rhythm voice.
The default for all the channels excepting channel 10 is 00H. Bank
select reception with channel 10 is not possible since channel 10
is assigned to the rhythm accompaniment. However, bank select
reception with channel 10 will be possible when you do the following operation: turning the POWER back on while holding the C1
key down.
When the bank select MSB is 01H … 7EH, all subsequent key-ons
received will be ignored.
No voice change will occur when only a bank select is received.
When a program change is received the latest bank select value is
used.
*5. Portamento control is effective only when Reception is set in the
Multi mode.
*6. A pitch bend sensitivity message is transmitted when a panel pitch
bend range setting is made.
Pitch bend sensitivity:
BnH, 64H, 00H, 65H, 00H
*7. RPN receives the following data:
Pitch bend sensitivity:
BnH, 64H, 00H, 65H, 00H
Default: 02H, 00H
Fine tuning:
BnH, 64H, 01H, 65H, 00H
Default: 40H, 00H
Coarse tuning:
BnH, 64H, 02H, 65H, 00H
Default: 40H, 00H
Null:
BnH, 64H, 7FH, 65H, 7FH
*8. Reset all controllers.
Pitch bend, channel pressure, modulation, expression, sustain,
and sostenuto are returned to their default values.
All RPN data is set to NULL.
Portamento is reset.
*9. GM melody voices 0 through 127 become panel voices 1 through
128.
Rhythm voices 0, 8, 16, 24, 25, 32, 40, and 48 become panel
voices 1 through 8.
*10. Exclusive.
<GM1 System ON>
F0H, 7EH, 7FH, 09H, 01H, F7H
All parameters except MIDI Master Tuning are reset to their
default values.
<MIDI Master Volume> F0H, 7FH, 7FH, 04H, 01H, ll, mm, F7H
Allows the volume of all channels to be changed simultaneously
(universal system exclusive).
mm is used as the MIDI Master Volume value (ll is ignored).
The default value for mm is 7FH.
This message is receive-only.
<MIDI Master Tuning>
F0H, 43H, 1nH, 27H, 30H, 00H, 00H, mm, ll, cc, F7H
Allows the pitch of all channels to be changed simultaneously
(panel tuning).
mmll is used as the MIDI Master Tuning value, an the actual
tuning is shown by the expression:
T=Mx200/256-100
Where T is the actual tuning value in cents. M is decimal value
represented by 1-byte using bits 0…3 of mm as the MSB and
bits 0…3 of ll as the LSB.
The default values of mm and ll are 07H and 0FH, respectively.
n and cc are also recognized.
This value is not reset by a GM System ON or Reset All Controllers message.
This message is transmitted and received.
<Bulk Dump>
bl and bh represent the total byte count as bl+bh*128.
CS: Checksum.
Custom accompaniment:
Multi pad:
Song memory:
Registration memory:
F0H, 43H, 76H, 11H, bl, bh, <Data>, cs, F7H
F0H, 43H, 76H, 12H, bl, bh, <Data>, cs, F7H
F0H, 43H, 76H, 13H, bl, bh, <Data>, cs, F7H
F0H, 43H, 76H, 14H, bl, bh, <Data>, cs, F7H
<Panel Control>
Dual data change:
Dual ON/OFF:
Harmony/Effect:
DSP type:
Chord/Bass:
F0H, 43H, 76H, 17H, 04H, <Data>, F7H
F0H, 43H, 76H, 17H, 05H, <Data>, F7H
F0H, 43H, 76H, 17H, 0EH, <Data>, F7H
F0H, 43H, 76H, 17H, 0EH, 00H, 01H, <Data>, F7H
F0H, 43H, 76H, 17H, 0BH, <Data>, F7H
*11. Internal/external clock selectable.
*12. Operation when a start/stop command is received is determined by
the RECEIVE CHANNEL, CLOCK, AND COMMAND panel settings.
0. Start/stop command ignored.
1. Auto-accompaniment start/stop.
2. Song memory start/stop.
Continue neither transmitted nor received.
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
277
■ GM System Level 1
The existing MIDI protocol allows performance and
other data to be transferred between different instruments,
even if they are from different manufacturers. This means,
for example, that sequence data that was originally created
to control a tone generator from manufacturer A can also
be used to control a different tone generator from manufacturer B. Since the voice allocation in different devices from
different manufacturers is usually different, however, appropriate program change data must be transmitted to select
the right voices.
The General MIDI protocol was developed to minimize
confusion and the need for re-programming when playing
software created by one MIDI device on another. This has
been achieved by defining a standard voice allocation in
which the same or similar voices are accessed by the same
program change numbers or MIDI channels. The current
standard recognized by the International MIDI Association
is known as “GM System Level 1.” The PSR-510 voice allocation complies with the GM System Level 1 standard.
Le protocole MIDI existant permet le transfert des
données d’exécution et autres entre plusieurs instruments,
même s’ils ne sont pas de la même marque. Ceci signifie,
par exemple, qu’un générateur de marque A peut être
utilisé pour commander un générateur de sons de marque
B. Du fait que l’assignation des voix est généralement
différente d’une marque à l’autre, il est nécessaire de
transmettre des données de changement de programme
appropriées pour sélectionner la voix qui convient.
Le protocole “General MIDI” a été mis au point pour
éliminer la confusion et la nécessité de reprogrammer en
cas de reproduction sur un appareil MIDI d’un logiciel créé
sur un autre appareil. Ceci a été réalisé en définissant une
assignation de voix standard dans laquelle des voix
identiques ou similaires sont accédées par les mêmes
numéros de changement de programme ou de canal MIDI.
La norme actuelle, reconnue par l’association MIDI
internationale, est appelée “GM System Level 1”.
L’assignation des voix du PSR-510 est conforme à la norme
“GM System Level 1”.
Das Kommunikationsprotokoll des MIDI-Standards
garantiert problemlosen Austausch von Spieldaten und
allgemeinen Daten zwischen kompatiblen Instrumenten und
Geräten, auch wenn sie von unterschiedlichen Herstellern
stammen. Dies wiederum bedeutet, daß beispielsweise
Sequenzdaten, die ursprünglich zur Steuerung eines
Tongenerators von Hersteller A aufgezeichnet wurden,
auch zur Steuerung eines Tongenerators von Hersteller B
verwendet werden können. Da jedoch die StimmenProgrammwechselzuordnung geräte- und
herstellerspezifisch unterschiedlich ist, müssen
Programmwechseldaten bei der Übertragung in Werte
umgesetzt werden, die vom Zielgerät verstanden und zur
Wahl der richtigen Stimme genutzt werden können.
Das “General MIDI”-Protokoll wurde ins Leben gerufen,
um beim Einsatz von Software, die mit einem Gerät eines
anderen Herstellers erstellt wurde, eine größere Verwirrung
zu vermeiden und erforderliche Umprogrammierarbeiten
auf ein Minimum zu beschränken. Als Grundlage dient eine
Standard-Stimmenzuordnung, gemäß der über allgemein
definierte Programmwechselnummern bzw. MIDI-Kanäle
auf identische bzw. ähnliche Stimmen zugegriffen werden
kann. Der gegenwärtig vom internationalen MIDI-Verband
anerkannte Standard trägt die englische Bezeichnung “GM
System Level 1”. Die Stimmenzuordnung im PSR-510
entspricht diesem Standard.
El protocolo existente de MIDI permite la transferencia
de los datos de interpretación y otros entre instrumentos
distintos, aunque sean de marcas diferentes. Esto significa
que, por ejemplo, los datos de secuencia que se crearon
originalmente para controlar un generador de tonos del
fabricante A pueden también usarse para controlar otro
generador de tonos del fabricante B. Puesto que
normalmente la asignación de voces es distinta en cada
aparato de distintas marcas diferentes, deben transmitirse
los datos de cambio de programa para seleccionar las
voces correctas.
El protocolo MIDI General fue desarrollado para
minimizar la confusión y la necesidad de reprogramar
cuando se reproducen los programas creados por un
aparato MIDI en otro aparato. Esto se ha logrado
definiendo una asignación estándar de vcoes en la que las
mismas voces o voves similares se acceden por los
mismos números de cambio de programa o canales MIDI.
La norma actual reconocida por la asociación MIDI
internacional se conoce como “GM System Level 1”. La
asignación de voces del PSR-510 satisface la norma del
‘GM System Level 1’.
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Specifications / Technische Daten / Spécifications / Especificaciones
Keyboards:
61 standard-size keys (C1~C6) with touch response.
VOICE:
AWM128 voices: 01~128
Polyphony: 28
KEYBOARD PERCUSSION: 1~8
VOL: 00~24
OCTAVE: -2~2
DSP DEPTH: 00~15
PAN: –7~7
ONE TOUCH SETTING
ORCHESTRATION: R1/R2/L1/L2
HARMONY: TYPE 01~10, ON/OFF
EFFECT: TYPE 01~12, ON/OFF
Setup:
POWER: ON/OFF
MASTER VOLUME: MIN~MAX
PAGE MEMORY:
PAGE #: 1~4
MIDI BULK DUMP/PAGE COPY
OVERALL CONTROL:
TEMPO: 040~240
METRONOME: ON/OFF
SPLIT POINT
TRANSPOSE: -12~12
TUNING: -16~16
DSP TYPE: 1~8
TOUCH: SENSE 1~5, TOUCH RESPONSE ON/OFF
PITCH BEND: -12~12
AUTO ACCOMPANIMENT:
103 styles: 01~99, 00 in pages 1~4. (00: Custom)
AUTO ACCOMP: ON/OFF
FINGERING: 1~5
ACCOMP VOLUME: 00~24
REVOICE
TRACK: RHYTHM 1/2, BASS, RHYTHMIC CHORD 1/2,
PAD CHORD, PHRASE 1/2
ACCOMPANIMENT CONTROL: SYNC-START/STOP,
START/STOP, FADE IN/OUT, INTRO, FILL IN 1, FILL IN 2,
ENDING, MAIN A/B
REGISTRATION MEMORY:
MEMORIZE
1~4
FREEZE
MULTI PADS:
STOP
1~4 (including 2 chord-match types).
SONG MEMORY:
MEASURE #
TRACK: ACCOMP, MELODY 1~5
SONG:
RESET (STEP BWD), PLAY/STOP (STEP FWD)
RECORDING:
REC, REWRITE SETTING, CLEAR, STEP REC,
QUANTIZE, GATE TIME, STEP SIZE
ARE YOU SURE ?:
YES, NO
MULTI DISPLAY:
Number Buttons: [+], [–], [0]~[9], [+/–]
Data Dial
MIDI:
RECEIVE CH/CL/COM, TRANSMIT CH L/R (LOCAL/MIDI
OUT)
Auxiliary Jacks:
DC IN, HEADPHONES/AUX OUT, SUSTAIN PEDAL,
MIDI IN/OUT
Main Amplifiers:
4.5W x 2 (when using PA-5 AC power adaptor)
1.5W x 2 (when using batteries)
HEADPHONES/AUX OUT output: 75Ω impedance.
Speakers:
12cm (4-3/4") x 2
Batteries:
Six SUM-1, “D” size, R-20 or equivalent batteries
Rated Voltage:
DC 10-12V
Dimensions (W x D x H):
939mm x 397mm x 113mm (37" x 15-5/8" x 4-1/2")
Weight:
6.0kg (13.2 lbs.) excluding batteries
Supplied Accessories:
• Music Stand
• Owner’s Manual
Optional Accessories:
• Headphones
• Keyboard Stand
• AC Power Adaptor
• Foot switch
HPE-3, HPE-150
L-2C
PA-3, PA-4, PA-5, PA-5B, PA-40
FC4, FC5
DEMO:
SONG #: ALL, 1~6
START/STOP
* Specifications subject to change without notice.
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M.D.G., EMI Division © 1993 Yamaha Corporation