Casio CTK-691 User`s guide

Casio CTK-691 User`s guide
CTK691ES01-01_cover1-4.fm 1 ページ 2003年9月29日 月曜日 午後4時56分
CTK691ES01-01_cover1-4.fm 2 ページ 2003年10月23日 木曜日 午後5時2分
CTK691E01-01.book
1 ページ
2003年9月29日 月曜日 午後4時47分
Safety Precautions
Safety Precautions
Congratulations on your selection of the CASIO electronic
musical instrument.
Š Before using the instrument, be sure to carefully read
through the instructions contained in this manual.
Alkaline Batteries
Š Please keep all information for future reference.
Perform the following steps immediately if
fluid leaking from alkaline batteries ever gets
into your eyes.
Symbols
Various symbols are used in this user’s guide and on the
product itself to ensure that the product is used safely and
correctly, and to prevent injury to the user and other
persons as well as damage to property. Those symbols
along with their meanings are shown below.
1.
Do not rub your eyes! Rinse them with
water.
2.
Contact your physician immediately.
Leaving alkaline battery fluid in your eyes can
lead to loss of sight.
DANGER
This symbol indicates information that, if ignored or
applied incorrectly, creates the danger of death or serious
personal injury.
WARNING
This indication stipulates matters that have the risk of
causing death or serious injury if the product is operated
incorrectly while ignoring this indication.
CAUTION
This indication stipulates matters that have the risk of
causing injury as well as matters for which there is the
likelihood of occurrence of physical damage only if the
product is operated incorrectly while ignoring this
indication.
Smoke, Strange Odor, Overheating
Continued use of the product while it is
emitting smoke, a strange odor, or heat creates
the risk of fire and electric shock. Take the
following steps immediately.
1.
Turn off power.
2.
If you are using the AC adaptor for
power, unplug it from the wall outlet.
3.
Contact your original retailer or an
authorized CASIO Service Provider.
AC Adaptor
Symbol Examples
This triangle symbol (
) means that the user
should be careful. (The example at left
indicates electrical shock caution.)
This circle with a line through it (
) means
that the indicated action must not be
performed. Indications within or nearby this
symbol are specifically prohibited. (The
example at left indicates that disassembly is
prohibited.)
Misuse of the AC adaptor creates the risk of fire
and electric shock. Always make sure you
observe the following precautions.
Š Be sure to use only the AC adaptor that is
specified for this product.
Š Use only a power source whose voltage is
the within the rating marked on the AC
adaptor.
Š Do not overload electrical outlets and
extension cords.
The black dot (
) means that the indicated
action must be performed. Indications within
this symbol are actions that are specifically
instructed to be performed. (The example at
left indicates that the power plug must be
unplugged from the electrical socket.)
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Safety Precautions
AC Adaptor
Water and Foreign Matter
Misuse of the AC adaptor’s electric cord can
damage or break it, creating the risk of fire and
electric shock. Always make sure you observe
the following precautions.
Water, other liquids, and foreign matter (such
as pieces of metal) getting into the product
create the risk of fire and electric shock. Take
the following steps immediately.
Š Never place heavy objects on the cord or
subject it to heat.
Š Never try to modify the cord or subject it to
excessive bending.
1.
Turn off power.
2.
If you are using the AC adaptor for
power, unplug it from the wall outlet.
3.
Contact your original retailer or an
authorized CASIO Service Provider.
Š Never twist or stretch the cord.
Š Should the electric cord or plug become
damaged, contact your original retailer or
authorized CASIO Service Provider.
AC Adaptor
Never touch the AC adapter while your hands
are wet.
Doing so creates the risk of electric shock.
Disassembly and Modification
Never try to take this product apart or modify it
in any way. Doing so creates the risk of electric
shock, burn injury, or other personal injury.
Leave all internal inspection, adjustment, and
maintenance up to your original retailer or
authorized CASIO Service Provider.
Dropping and Impact
Batteries
Misuse of batteries can cause them to leak,
resulting in damage to nearby objects, or to
explode, creating the risk of fire and personal
injury. Always make sure you observe the
following precautions.
Continued use of this product after it has been
damaged by dropping or subjecting it to strong
impact creates the risk of fire and electric shock.
Take the following steps immediately.
1.
Turn off power.
Š Never try to take batteries apart or allow
them to become shorted.
2.
If you are using the AC adaptor for
power, unplug it from the wall outlet.
Š Never expose batteries to heat or dispose of
them by incineration.
3.
Contact your original retailer or an
authorized CASIO Service Provider.
Š Never mix old batteries with new ones.
Plastic Bags
Š Never mix batteries of different types.
Never place the plastic bag the product comes
in over your head or in your mouth. Doing so
creates the risk of suffocation.
Particular care concerning this precaution is
required where small children are present.
Š Do not charge the batteries.
Š Make sure the positive (+) and negative (–)
ends of the batteries are facing correctly.
Do not incinerate the product.
Never throw the product into fire.
Doing so can cause it to explode, creating the
risk of fire and personal injury.
E-2
Keep off of the product and stand.*
Climbing onto the product or stand can cause it
to tip over or become damaged. Particular care
concerning this precaution is required where
small children are present.
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Safety Precautions
Location
Batteries
Avoid locating the product on an unstable
stand, on an uneven surface, or any other
unstable location. An unstable location can
cause the product to fall over, creating the risk
of personal injury.
Misuse of batteries can cause them to leak
resulting in damage to nearby objects, or to
explode, creating the risk of fire and personal
injury. Always make sure you observe the
following precautions.
Š Use only batteries that are specified for use
with this product.
AC Adaptor
Misuse of the AC adaptor creates the risk of fire
and electric shock. Always make sure you
observe the following precautions.
Š Do not locate the electric cord near a stove
or other sources of heat.
Š Never pull on the cord when unplugging
from the electrical outlet. Always grasp the
AC adaptor when unplugging.
AC Adaptor
Misuse of the AC adaptor creates the risk of fire
and electric shock. Always make sure you
observe the following precautions.
Š Insert the AC adaptor into the wall outlet as
far as it will go.
Š Unplug the AC adaptor from the wall
outlet during lightening storms or before
leaving on a trip or other long-term
absence.
Š At least once a year, unplug the AC
Adaptor from the wall outlet and wipe
away any dust that is built up in the area
around the prongs of the plug.
Relocating the Product
Before relocating the product, always unplug
the AC adaptor from the wall outlet and
disconnect all other cables and connecting
cords. Leaving cords connected creates the risk
of damage to the cords, fire, and electric shock.
Cleaning
Before cleaning the product, always unplug the
AC adaptor from the wall outlet first. Leaving
the AC adaptor plugged in creates the risk of
damage to the AC adaptor, fire, and electric
shock.
705A-E-005A
Š Remove batteries from the product if you
do not plan to use it for a long time.
Connectors
Connect only the specified devices and
equipment to the product’s connectors.
Connection of a non-specified device or
equipment creates the risk of fire and electric
shock.
Location
Avoid the following locations for this product.
Such locations create the risk of fire and electric
shock.
Š Areas subject to high humidity or large
amounts of dust
Š In food preparation areas or other areas
subject to oil smoke
Š Near air conditioning equipment, on a
heated carpet, in areas exposed to direct
sunlight, inside of a vehicle parked in the
sun, or any other area that subjects the
product to high temperatures
Display Screen
Š Never push on the display screen’s LCD
panel or subject it to strong impact. Doing
so can cause the LCD panel’s glass to crack,
creating the risk of personal injury.
Š Should the LCD panel ever crack or break,
never touch the liquid inside of the panel.
LCD panel liquid can cause skin irritation.
Š Should LCD panel liquid ever get inside
your mouth, immediately wash out your
mouth with water and contact your
physician.
Š Should LCD panel liquid ever get into your
eyes or onto your skin, rinse with clear
water for at least 15 minutes, and then
contact a physician.
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2003年9月29日 月曜日 午後4時47分
Safety Precautions
Sound Volume
Do not listen to music at very loud volumes for
long periods. Particular care concerning this
precaution is required when using headphones.
High volume settings can damage your
hearing.
Heavy Objects
Never place heavy object on top of the product.
Doing so can make the product top heavy,
causing the product to tip over or the object to
fall from it, creating the risk of personal injury.
Correct Stand* Assembly
An incorrectly assembled stand can tip over,
causing the product to fall and creating the risk
of personal injury.
Make sure you assemble the stand correctly,
following the assembly instructions that come
with it. Make sure you mount the product on
the stand correctly.
* Stand is available as an option.
When using batteries, be sure to replace them or shift to one of
the alternate power sources whenever you notice any of the
following symptoms.
Š
Š
Š
Š
Š
Š
Š
Š
Š
Š
Š
Š
E-4
Dim power indicator
Instrument does not turn on
Display that is flickering, dim, or difficult to read
Abnormally low speaker/headphone volume
Distortion of sound output
Occasional interruption of sound when playing at high
volumes
Sudden power failure when playing at high volumes
Flickering or dimming of the display when playing at high
volume
Continued sound output even after you release a key
A tone that is totally different from the one that is selected
Abnormal rhythm pattern and demo tune play
Loss of power, sound distortion, or low volume when
playing from a connected computer or MIDI device
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Introduction
Introduction
Congratulations upon your selection of this CASIO musical instrument. This keyboard provides you with the following features
and functions.
J
516 Tones Include Rich Advanced Tones
A total of 300 Advanced Tones are programmed with DSP tones to make them richer and more powerful. Advanced tones like
Stereo Piano and Tremolo Electric Piano enhance the Piano and Electric Piano tones to create a totally new sound.
J
50 Drawbar Organ Tones
In addition to the 516 standards tones, the keyboard also includes 50 realistic drawbar organ tones. Drawbar organ tones can be
controlled using nine digital drawbars. You can also select percussion or key click, and even edit the parameters of preset tone and
save up to 100 original tones in user tone memory.
J
Flash Memory
Built-in Flash memory lets you expand your selection of tones and rhythms by downloading data from the CASIO MUSIC SITE, or
from other sources. You can also store up to 200 SMF format music files for playback.
J
PIANO SETTING Button
The press of a button optimizes the keyboard setup for piano play.
J 140 Preset Rhythms + 16 User Rhythms
A selection of 140 rhythms includes accompaniments for everything from rock to pops and jazz.
You can also transfer accompaniment data from your computer and store up to 16 of them as user rhythms in keyboard memory.
J Auto Accompaniment
Simply play a chord and the corresponding rhythm, bass and chord parts play automatically. One-touch Preset instantly recalls the
most suitable tone and tempo settings to match the rhythm you are using.
J Big, Information-packed Display
A big built-in display shows chord names, tempo setting, keyboard information, staff notation of notes played, and more for full
support of all your keyboard play. A built-in backlight keeps the display easy to read, even in total darkness.
J Song Memory
Record up to six parts in memory, along with their tone, volume, pan position, and other parameters for later playback. Realistic
ensemble play can also be created using the Auto Accompaniment function.
J Synthesizer Mode
Edit built-in sounds to produce your own original creations. Up to 120 of your own sounds can be stored in memory for recall, just
like the built-in tones.
J General MIDI compatibility
The General MIDI tones of this keyboard let you connect to a personal computer to enjoy “desktop music” capabilities. This
keyboard can be used as a desktop music input device or sound source, and it's just the thing for playback of commercially available
pre-recorded General MIDI music software.
J Powerful effects
A collection of powerful effects, such as DSP, reverb, chorus, and more, give you total control over the type of sound you want. You
can even change the parameters of an effect to create your own, original effects. A 4-band equalizer is also included.
J Mixer
You can specify tone, volume, pan position, and other parameters for each built-in Auto Accompaniment part. You can also control
the same parameters for each channel during MIDI input.
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Introduction
J Registration Memory
Keyboard setups can be stored in memory for later recall and instant set up whenever you need them. Up to 32 setups (4 setups x
8 banks) can be stored in registration memory.
J Data download from your computer
You can use your computer to download data from the CASIO MUSIC SITE.
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Contents
Safety Precautions ........ E-1
Introduction ................... E-5
Selecting a DSP Type ........................ E-26
DSP Button......................................... E-28
Selecting REVERB ............................. E-28
General Guide ................ E-9
Selecting CHORUS ............................ E-29
Attaching the Score Stand ..................E-10
Using the Equalizer ............................ E-30
Playing a Demo Tune..........................E-11
Auto Accompaniment ... E-31
About the display.................................E-12
About the MODE button ..................... E-31
Power Supply .............. E-14
Selecting a Rhythm ............................ E-32
Using batteries ....................................E-14
Playing a Rhythm ............................... E-32
Using the AC Adaptor .........................E-15
Adjusting the Tempo .......................... E-32
Auto Power Off....................................E-16
Using Auto Accompaniment ............... E-33
Turning Off the Keyboard ....................E-16
Using an Intro Pattern ........................ E-35
Memory Contents................................E-16
Using a Fill-in Pattern ......................... E-35
Connections ................ E-17
Basic Operations ......... E-19
To play the keyboard...........................E-19
Selecting a Tone .................................E-19
PIANO SETTING Button .....................E-21
Using the Drawbar
Organ Mode ................. E-22
To select a drawbar organ tone ..........E-23
To edit a drawbar organ tone ..............E-23
Parameter Details ...............................E-24
To save an edited drawbar organ
tone .....................................................E-25
Using a Rhythm Variation................... E-36
Synchro Starting Accompaniment
with Rhythm Play................................ E-36
Finishing with an Ending Pattern........ E-36
Using One-touch Preset ..................... E-37
Using Auto Harmonize ....................... E-37
Adjusting the Accompaniment
Volume ............................................... E-38
Mixer Function ............. E-39
What you can do with the Mixer ......... E-39
Turning Channels On and Off ............ E-40
Using the Parameter Edit Mode ......... E-40
How Parameters Work ....................... E-41
Applying Effects to
Tones ............................ E-26
Synthesizer Mode ........ E-44
Effect Blocks .......................................E-26
Creating a User Tone ......................... E-47
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Synthesizer Mode Functions .............. E-44
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Contents
Storing a User Tone In Memory ..........E-49
Registration Memory .. E-50
Registration Memory Features............E-50
To Save a Setup in Registration
Memory ...............................................E-51
To Recall a Setup from Registration
Memory ...............................................E-52
Song Memory
Function ....................... E-53
Using the SMF
Player .......................... E-76
Playing Back an SMF ......................... E-78
Configuring Other Settings ................. E-78
MIDI ............................... E-80
What is MIDI?..................................... E-80
General MIDI ...................................... E-80
Sending and Receiving MIDI
Messages ........................................... E-81
Tracks .................................................E-53
MIDI Settings...................................... E-81
Basic Song Memory operations ..........E-54
Using the Data Download Service...... E-82
Using Real-time Recording .................E-54
Mixer Mode Settings ...........................E-55
Troubleshooting .......... E-83
Playing Back from Song Memory........E-56
Specifications .............. E-85
Recording Melody and Chords
with Step Recording ............................E-56
Care of your
Instrument .................... E-87
Recording Multiple Tracks...................E-59
Correcting Mistakes While Step
Recording............................................E-61
DSP Algorithm List ...... E-88
Editing Memory Contents....................E-62
Appendix ........................A-1
Editing a Song.....................................E-64
Tone List............................................... A-1
Keyboard Settings ...... E-66
Drum Assignment List ....................... A-12
Using Layer .........................................E-66
Using Split ...........................................E-67
Using Layer and Split Together...........E-68
Transposing the Keyboard ..................E-69
Rhythm List ........................................ A-14
Fingered Chord Chart......................... A-16
Effect List............................................ A-18
MIDI Implementation Chart
Using Touch Response.......................E-69
Tuning the Keyboard...........................E-70
Changing Other Settings.....................E-71
E-8
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General Guide
General Guide
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General Guide
1 POWER button
cl SPLIT button
2 Power indicator
cm LAYER button
3 SONG MEMORY button
cn [
4 SYNTH button
co DEMO button (*3)
5 TRANSPOSE/FUNCTION button
cp Speaker
6 MIXER button
cq Rhythm list
7 EFFECT button
cr Tone list
8 SMF PLAYER button
cs Display
9 VOLUME knob
ct CHORD root names
bk MODE button
dk Percussion instrument list
bl ONE TOUCH PRESET button
dl Chord types name
bm ACCOMP VOLUME button
dm INTRO/ENDING 1/2 buttons
bn DATA ACCESS indicator
dn VARIATION/FILL-IN 1/2 buttons
bo RHYTHM button
do SYNCHRO/FILL-IN NEXT button
bp TONE button
dp START/STOP button
bq DRAWBAR ORGAN button
dq TEMPO buttons
br DSP button
dr REGISTRATION buttons
]/[
]/[
]/[
bs PIANO SETTING button
a) BANK button
bt EXIT button
b) STORE button
ck AUTO HARMONIZE button
]CURSOR buttons
ds SONG MEMORY TRACK buttons
J Attaching the Score stand (*1)
Insert the score stand into the slot at the top of the keyboard as shown in the illustration.
E-10
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General Guide
*2
dt Number buttons
Š For input of numbers to change displayed settings.
ek [+]/[–] buttons (YES/NO)
Š Negative values can be changed only by using [+] and [–] to
increment and decrement the displayed value.
Rear Panel
el MIDI OUT terminal
em MIDI IN terminal
en SUSTAIN/ASSIGNABLE JACK terminal
eo PHONES/OUTPUT terminal
ep DC 9V jack
J Playing a Demo Tune (*3)
Pressing the DEMO button starts demo tune play. There are 3 demo tunes, which continuously play in sequence. To stop demo tune
play, press either the DEMO button or the START/STOP button.
Š Pressing the [+]/[–] buttons skips to the next demo tune.
Š The PIANO SETTING button, Layer, and Split are disabled while a demo tune is playing.
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General Guide
About the display
1.
2.
3.
Pointers appear here to show when Transpose, the Keyboard Setting Mode, the Mixer Mode, Synthesizer,
Effect, Song Memory, or SMF player is being used.
The TONE indicator appears when you are selecting or viewing the TONE setting, while RHYTHM appears
for the RHYTHM setting.
Tone number (Numeric Area)/Tone name (Text Area)
Š The numeric area and text area are also used to indicate the rhythm number and rhythm name, and to indicate various
functions in the Synthesizer Mode, Mixer Mode, Registration Mode, and Song Memory Mode.
4.
Octave Symbol
Appears when the note produced by the keyboard is one octave higher than the note indicated on the staff.
5.
6.
7.
Notes you play on the keyboard, notes being played back from Song Memory, chord forms, and received MIDI
data* are shown in the staff on the display.
Pointers appear here to show when the layer, split, or auto harmonize is being used.
Level Meter
Š The velocity of each channel is indicated as one of three levels. This display also shows the Mixer channel’s on/off status.
Drawbar Organ Mode
Š In the Drawbar Organ Editing Mode, the level meter shows the position of each drawbar and the status of each
percussion parameter.
8.
9.
10.
The beat number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode is being used.
The measure number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode is being used.
The number of beats per minute are indicated while a rhythm, Auto-accompaniment, or Song Memory Mode
is being used.
Š The tempo area is also used to indicate the Song Memory function’s clock.
11.
E-12
REC flashes on the display during Song Memory record standby. REC remains on the display without flashing
while recording is in progress. STEP is displayed during step recording.
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General Guide
12.
13.
14.
You can turn on the metronome to provide a reference beat for your keyboard play.
This display shows the note played on the keyboard, notes being played back from Song Memory, chord
forms, and received MIDI data*.
The name of the chord being played is shown on the display while Auto Accompaniment is being used.
* These items do not appear when a note outside the display range (C2 to C7) is received.
Š Display examples shown in this User’s Guide are intended for illustrative purposes only. The actual text and values that appear on
the display may differ from the examples shown in this User’s Guide.
Š Due to LCD element characteristics, display contrast changes depending on the angle from which you view it. The initial default
contrast setting is one that allows easy viewing for a musician seated directly in front of the display. You can also adjust the contrast
to the level that suits your particular needs. For more information, see page E-74.
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Power Supply
Power Supply
This keyboard can be powered by current from a standard
household wall outlet (using the specified AC adaptor) or by
batteries. Always make sure you turn the keyboard off
whenever you are not using it.
Using batteries
Always make sure you turn off the keyboard before loading
or replacing batteries.
To load batteries
1.
Important Battery Information
„ The following shows the approximate battery life.
Š Manganese batteries:
Approximately 4 hours
The above value is standard battery life at normal
temperature, with the keyboard volume at a medium
setting. Temperature extremes or playing at very loud
volume settings can shorten battery life.
„ Any of the following symptoms indicate low battery
power. Replace batteries as soon as possible whenever
any of the following occurs.
Š Dim power indicator
Š Instrument does not turn on
Remove the battery compartment cover.
Š Display that is flickering, dim, or difficult to read
Š Abnormally low speaker/headphone volume
Š Distortion of sound output
Š Occasional interruption of sound when playing at
high volumes
Š Sudden power failure when playing at high volumes
2.
Š Flickering or dimming of the display when playing at
high volume
Load six D-size batteries into the battery
compartment.
Š Make sure that the positive (+) and negative (–)
ends are facing correctly.
Š Continued sound output even after you release a key
Š A tone that is totally different from the one that is
selected.
Š Abnormal rhythm pattern and demo tune play
Š Loss of power, sound distortion, or low volume when
playing from a connected computer or MIDI device
3.
Insert the tabs on the battery compartment
cover into the holes provided and close the
cover.
Misuse of batteries can cause them to leak, resulting in damage
to nearby objects, or to explode, creating the risk of fire and
personal injury. Always make sure you observe the following
precautions
Š Never try to take batteries apart or allow them to
become shorted.
Š Never expose batteries to heat or dispose of them by
incineration.
1
Tab
Š Never mix old batteries with new ones.
Š Never mix batteries of different types.
Š Do not charge the batteries.
Š The keyboard may not function correctly if you load or
replace batteries with power turned on. If this happens,
turning the keyboard off and then back on again should
return functions back to normal.
E-14
Š Make sure the positive (+) and negative (–) ends of the
batteries are facing correctly.
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Power Supply
Misuse of batteries can cause them to leak resulting in damage
to nearby objects, or to explode, creating the risk of fire and
personal injury. Always make sure you observe the following
precautions
Š Use only batteries that are specified for use with this
product.
Š Remove batteries from the product if you do not plan
to use it for a long time.
Misuse of the AC adaptor creates the risk of fire and electric
shock. Always make sure you observe the following
precautions.
Š Be sure to use only the AC adaptor that is specified for
this product.
Š Use only a power source whose voltage is within the
rating marked on the AC adaptor.
Š Do not overload electrical outlets and extension cords.
Š Never place heavy objects on the cord or subject it to
heat.
Using the AC Adaptor
Make sure that you use only the AC adaptor specified for this
keyboard.
Specified AC Adaptor: AD-5
Š Never try to modify the cord or subject it to excessive
bending.
Š Never twist or stretch the cord.
Š Should the electric cord or plug become damaged,
contact your original retailer or authorized CASIO
Service Provider.
Š Never touch the AC adaptor while your hands are
wet. Doing so creates the risk of electric shock.
Rear Panel
Misuse of the AC adaptor creates the risk of fire and electric
shock. Always make sure you observe the following
precautions.
Š Do not locate the electric cord near a stove or other
sources of heat.
Š Never pull on the cord when unplugging from the
electrical outlet. Always grasp the AC adaptor when
unplugging.
1
2
3
DC 9V jack
AC adaptor AD-5
AC outlet
Also note the following important warnings and precautions
when using the AC adaptor.
Š Insert the AC adaptor into the wall outlet as far as it
will go.
Š Unplug the AC adaptor from the wall outlet during
lightening storms or before leaving on a trip or other
long-term absence.
Š At least once a year, unplug the AC adaptor from the
wall outlet and wipe away any dust that is built up in
the area around the prongs of the plug.
Š Make sure that the keyboard is turned off before
connecting or disconnecting the AC adaptor.
Š Using the AC adaptor for a long time can cause it to
become warm to the touch. This is normal and does not
indicate malfunction.
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Power Supply
Auto Power Off
When you are using battery power, keyboard power turns off
automatically whenever you leave it on without performing
any operation for about 6 minutes. When this happens, press
the POWER button to turn power back on.
Š Auto Power Off is disabled (it does not function) when you
are using the AC adaptor to power the keyboard.
Turning Off the Keyboard
Š Be sure to press the POWER button to turn off power and
make sure that the LCD backlight is off before
disconnecting the AC adaptor or doing anything else.
Š Never disconnect the AC adaptor while the keyboard is turned
on or try to turn off power using any other technique besides
pressing the POWER button. Doing so can cause the contents of
the keyboard's Flash memory to become corrupted. Strange
keyboard operation and abnormal startup when power is
turned on are symptoms of corrupted Flash memory contents.
See “Troubleshooting” on page E-83 for more information.
To disable Auto Power Off
Š Never press the POWER button while the following
message is on the keyboard’s display.
(message) “Pls Wait” or “Bulk In”
Hold down the TONE button while turning on the keyboard
to disable Auto Power Off.
Turning off the keyboard while the above message is on the
display can cause user data (user tones, song memory data,
etc.) currently stored in keyboard memory to become corrupted.
Once corrupted, you may not be able to recall the data again.
Š When Auto Power Off is disabled, the keyboard does not
turn off automatically no matter how long it is left with no
operation being performed.
Š Auto Power Off is automatically enabled whenever you
turn on keyboard power.
Settings
Tone, rhythm, and other “main keyboard settings” in effect
when you turn off the keyboard manually by pressing
POWER button or when Auto Power Off turns off power are
still in effect the next time you turn power back on.
Memory Contents
In addition to the above settings, data stored in the
Registration Mode and Song Memory Mode is also retained
when keyboard power is turned off.
Saving Setups and Memory Contents
J
Main Keyboard Settings
Tone number, layer, split, split point, drawbar organ
tone settings, transpose, tuning, contrast settings, touch
response, reverb, chorus, DSP, equalizer, rhythm
number, tempo, keyboard channel, MIDI In Chord
Judge on/off, accomp MIDI out on/off, assignable jack
setting, accompaniment volume, user area tones
(Synthesizer Mode), user area accompaniments, user
DSP area, Auto Harmonize on/off, Auto Harmonize
type, Mixer hold, DSP hold, Auto Accompaniment
mode, all Mixer parameters, all Synthesizer Mode
parameters, Song Memory song numbers, SMF player
settings (play mode, manual play part, SMF playback
volume)
About Flash memory
Your keyboard comes with built-in Flash memory, which can continue
to hold data even when electrical power is totally cut off. This means
that even after batteries go completely dead, you can attach the AC
adaptor, turn on power, and still recall data stored in memory.
Š When running under battery power, be sure to replace batteries
as soon as possible after the first signs of low battery power (dim
power indicator lamp, dim display characters, etc.) Though the
keyboard’s Flash memory is non-volatile (which means that data
is not lost when power is interrupted), data can be lost if power
suddenly fails while data is being written to flash memory*.
* While storing or deleting user data, while recording with the
synthesizer, while transferring data from a computer, etc.
Initializing the Keyboard
Use the procedure on page E-75 to initialize the keyboard,
which clears all memory data and returns settings to their
initial factory defaults.
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Connections
Connections
Phones/Output Terminal
Connection Example
Before connecting phones or other external equipment, be
sure to first turn down the volume settings of the keyboard
and the connected equipment. You can then adjust volume to
the desired level after connections are complete.
Rear Panel
Š You can also connect the keyboard to a computer or
sequencer. See “MIDI” on page E-80 for details.
Sustain/Assignable jack Terminal
You can connect an optional sustain pedal (SP-2 or SP-20) to
the SUSTAIN/ASSIGNABLE JACK terminal to enable the
capabilities described below.
For details on how to select the pedal function you want, see
“Changing Other Settings” on page E-71.
J Connecting Phones 1
Connecting phones cuts off output from the keyboard’s builtin speakers, so you can play even late at night without
disturbing anyone.
J Audio Equipment 2
Connect the keyboard to a audio equipment using a
commercially available connecting cord with a standard plug
on one end and two PIN plugs on the other end. Note that the
standard plug you connect to the keyboard must be a stereo
plug, otherwise you will be able to output only one of stereo
channels. In this configuration, you normally set the input
selector of the audio equipment to the terminal (usually
marked AUX IN or something similar) where the cord from
the keyboard is connected. See the user documentation that
comes with your audio equipment for full details.
J Musical Instrument Amplifier 3
Use a commercially available connecting cord to connect the
keyboard to a musical instrument amplifier.
Š Be sure to use a connecting cord that has a stereo
standard plug on the end you connect to the keyboard, and
a connector that provides dual channel (left and right) input
to the amplifier to which you are connecting. The wrong
type of connector at either end can cause one of the stereo
channels to be lost.
Š When connected to a musical instrument amplifier, set
the volume of the keyboard to a relatively low level and
make output volume adjustments using the amplifier’s
controls.
705A-E-019A
1
SUSTAIN/ASSIGNABLE JACK Terminal,
J Sustain Pedal
Š With piano tones, depressing the pedal causes notes to
linger, much like a piano’s damper pedal.
Š With organ tones, depressing the pedal causes notes to
continue to sound until the pedal is released.
J Sostenuto Pedal
Š As with the sustain pedal function described above,
depressing the sostenuto pedal causes notes to be
sustained.
Š This difference between a sostenuto pedal and sustain
pedal is the timing.
Š With a sostenuto pedal, you press the keys and then
depress the pedal before you release the keys. Only the
notes that are sounding when the pedal is depressed are
sustained.
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Connections
J Soft Pedal
Depressing the pedal softens the sound of the notes being
played.
J Rhythm Start/Stop Pedal
In this case, the pedal performs the same functions as the
START/STOP button.
Accessories and Options
Use only the accessories and options specified for this
keyboard. Use of non-authorized items creates the danger of
fire, electrical shock, and personal injury.
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Basic Operations
Basic Operations
1
VOLUME
2
POWER
3
TONE
4
7
DSP
5
8
PIANO SETTING
6
START/STOP
Number buttons
[+]/[–]
This section provides information on performing basic
keyboard operations.
To play the keyboard
1.
2.
3.
Press the POWER button to turn the keyboard
on.
Use the VOLUME knob to set the volume to a
relatively low level.
Play something on the keyboard.
Selecting a Tone
This keyboard comes with tones built-in, as shown below.
A partial list of the available tone names is printed on the
keyboard console. See the “Tone List” on page A-1 of this
manual for a complete list.
“Advanced Tones” are variations of standard tones, which
are created by programming in effects (DSP) and other
settings.
For details about drawbar organ tones, see “Using the
Drawbar Organ Mode” on page E-22.
Tone Types
Standard Tones: 516 Preset Tones + 124 User Tones
705A-E-021A
Number
Number of
Tones
000-299
300
Advanced Tones
On
300-499
200
Preset Tones
Off
500-515
16
Drum Sets
Off
600-699
100
User Tones (*2)
On/Off (*3)
700-719
20
User Tones with Waves
(*4)
On/Off (*3)
800-803
4
User Drum Sets with
Waves (*4)
On/Off (*5)
Tone Type
DSP Line On/Off
(*1)
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Basic Operations
Drawbar Organ Tones:
50 Preset Tones + 100 User Tones
To select a tone
Number
Number of
Tones
000-049
50
Preset Tones
On/Off (*5)
100-199
100
User Tones (*6)
On/Off (*3)
Tone Type
DSP Line On/Off
(*1)
*1: See “Changing Tones and Configuring DSP Effect
Settings” on page E-21.
*2: Memory area for tones created by you. See “Synthesizer
Mode” on page E-44. User tone areas 600 through 699
initially contain the same data as DSP types 000 through
099.
*3: Depends on source tone or user setting. See “Synthesizer
Mode” on page E-44 for more information.
1.
2.
3.
Find the tone you want to use in the tone list and
note its tone number.
Press the TONE button.
Use the number buttons to input the three digit
tone number for the tone you want to select.
Example:
To select “332 ACOUSTIC BASS GM”, input 3, 3
and then 2.
*4: Area for data transferred from a computer. See “Using
the Data Download Service” on page E-82 for more
information. For information about waveforms, see
“Creating a User Tone” on page E-47.
*5: Depends on tone. This status can be checked by viewing
the DSP button. See “DSP Button” on page E-28 for more
information.
*6: Memory area for tones created by you. See “To edit a
drawbar organ tone” on page E-23. User drawbar organ
tone areas initially contain two sets of the same data as
drawbar organ tones types 000 through 049.
Š You cannot select tone numbers not included in the above
ranges (standard tones 516 through 599 and 720 through
799, and drawbar organ tones from 050 to 099). When you
use the [+] and [–] buttons to scroll through tone numbers,
scrolling jumps across the unused numbers. Pressing [+]
when 515 is selected, for example, jumps to 600.
E-20
Š Always input all three digits for the tone number, including
leading zeros (if any).
Š You can also increment the displayed tone number by
pressing [+] and decrement it by pressing [–].
Š When one of the drum sets is selected (tone numbers 500
through 515), each keyboard key is assigned a different
percussion sound. See page A-12 for details.
Polyphony
The term polyphony refers to the maximum number of notes
you can play at the same time. The keyboard has 32-note
polyphony, which includes the notes you play as well as the
rhythms and auto-accompaniment patterns that are played
by the keyboard. This means that when a rhythm or autoaccompaniment pattern is being played by the keyboard, the
number of notes (polyphony) available for keyboard play is
reduced. Also note that some of the tones offer only 10-note
polyphony.
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Basic Operations
J
Digital Sampling
A number of the tones that are available with this keyboard
have been recorded and processed using a technique called
digital sampling. To ensure a high level of tonal quality,
samples are taken in the low, mid, and high ranges and then
combined to provide you with sounds that are amazingly
close to the originals. You may notice very slight differences
in volume or sound quality for some tones when you play
them at different positions on the keyboard. This is an
unavoidable result of multiple sampling, and it is not a sign
of malfunction.
Changing Tones and Configuring DSP
Effect Settings
This keyboard has only a single DSP sound source. Because of
this, selecting tones for which DSP is enabled for multiple
parts when layering or splitting tones (page E-66, 67) can
cause conflicts. To avoid conflicts, DSP is allocated to the last
DSP enabled tone, and DSP is disabled (DSP line OFF) for all
other parts.
DSP line is a parameter that controls whether or not the
currently selected DSP effect is applied to a part.* Each tone
has a DSP line parameter. Selecting a tone for a part applies
the tone’s DSP line parameter setting to all parts.
To optimize keyboard settings for piano play
1.
2.
Press the PIANO SETTING button.
Now try playing something on the keyboard.
Š The notes you play will sound with a piano tone.
3.
If you want to play with rhythm accompaniment,
press the START/STOP button.
Š This causes a rhythm that is optimized for piano
will start to play.
Š To stop rhythm play, press the START/STOP
button again.
Š Pressing the PIANO SETTING button while a rhythm is
playing stops rhythm play and then changes the keyboard
setup.
Š Pressing the PIANO SETTING button while the keyboard is
in the Synthesizer Mode or other mode exits the current
mode and then changes the keyboard setup.
Š The setup of the keyboard does not change if you press the
PIANO SETTING button when any one of the following
exists.
* During real-time recording, step recording, or while
using the editing function of the Song Memory
* While the data save or overwrite message is on the
display
* During a registration data save operation
* The DSP line parameter is turned on (DSP effect is
applied) for the 300 Advanced Tones numbered 000
through 299, and turned off (DSP effect not applied) for
the 200 preset tones from 300 to 499. For information
about other tones, see “Tone Types” on page E-19.
PIANO SETTING Button
Pressing this button changes the setup of the keyboard to
optimize it for piano play.
Settings
Tone number:
Rhythm number:
Accompaniment Mode:
Layer:
Split:
Auto Harmonize:
Transpose:
Touch Response:
Assignable Jack:
Local Control:
Mixer Channel 1 Parameter
Setup:
705A-E-023A
“000 St.GrPno”
“120 Pf Bld 1”
Normal
Off
Off
Off
0
Off: Returns to initial default
On: No change
SUS
On
Depends on tone
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Using the Drawbar Organ Mode
Using the Drawbar Organ Mode
1
DRAWBAR ORGAN
2
[
4
Number buttons
5
[+]/[–]
]/[
]/[
]/[
] CURSOR
3
EXIT
Your keyboard has built-in “drawbar organ tones” that can be altered using nine digital drawbars whose operations are similar to
the controls on a drawbar organ. You can also select percussion or key click. There is room in memory for storage of up to 100 usercreated drawbar tone variations.
Drawbar Organ Mode Operational Flow
* You can also display the drawbar organ tone selection screen from the Song Memory Mode or SMF Playback Mode screen.
In this case, however, the Drawbar Organ Tone Editing Screen does not appear.
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Using the Drawbar Organ Mode
Š There are a total of 13 parameters. You can use
the [ ] and [ ] CURSOR buttons to cycle
through them. See “Parameter Details” on page
E-24 for more information.
To select a drawbar organ tone
1.
2.
Find the drawbar organ tone you want to use in
the tone list and note its tone number.
Š While the “More?” screen is on the display, you
can advance to the synthesizer and DSP effect
editing screens by pressing the [
] CURSOR
button or the [+] button.
Press the DRAWBAR ORGAN button.
Š This causes the drawbar organ tone selection
screen to appear.
3.
Use the [ ] and [ ] CURSOR buttons or the
[+] and [–] buttons to change the setting of the
currently displayed parameter.
Š You can also change a parameter setting by
entering a value with the number buttons.
Š You can monitor the changes in a tone by playing
notes on the keyboard as you adjust parameter
settings.
1
2
3.
Tone Number
Tone Name
Use the number buttons to input the three digit
tone number for the tone you want to select.
Š Always input all three digits for the tone number, including
leading zeros (if any).
Š You can also increment the displayed tone number by
pressing [+] and decrement it by pressing [–].
Š Selecting a different tone after you edit parameters
replaces parameter settings with those of the newly
selected tone.
Š If you have drawbar organ tones assigned to more than
one channel, changing the drawbar organ tone setting for
one of the channels causes the same setting to be applied
to all of the other channels as well.
Š See “To save an edited drawbar organ tone” on page E-25
for information about saving your edits.
Editing Synthesizer Mode Parameters and
DSP Parameters of Drawbar Organ Tones
To edit a drawbar organ tone
1.
2.
Select the drawbar organ tone (000 to 049, 100
to 199) you want to edit.
Use the [ ] and [ ] CURSOR buttons to display
the drawbar organ tone editing screen. Select the
parameter whose setting you want to change.
Example:
Selecting the “Ft16’” parameter
As with standard (non-drawbar) tones, you can edit the
Synthesizer Mode parameters and DSP parameters of
drawbar organ tones (See “Drawbar Organ Mode
Operational Flow” on page E-22).
1.
Use the [ ] and [ ] CURSOR buttons to
display “More?”, and then press the [
]
CURSOR button.
Š This enters the Synthesizer Mode, which is
indicated by the pointer next to SYNTH on the
display screen.
Š For the remainder of this procedure, perform the
steps starting from step 3 under “Creating a User
Tone” on page E-47.
1
2
705A-E-025A
Parameter Setting
Parameter Name
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Using the Drawbar Organ Mode
Parameter Details
The following provides details about the parameters you can
configure using the drawbar organ tone editing screen.
Drawbar Position
This parameter defines the position of each drawbar, and the
volume of each overtone. The larger the value, the greater the
corresponding overtone’s volume.
Parameter Display
Indication
Parameter Name
Parameter Display
Indication
Parameter Name
Settings
Drawbar 16’
Ft16’
0 to 3
Drawbar 5 1/3’
Ft 5 1/3’
0 to 3
Drawbar 8’
Ft 8’
0 to 3
Drawbar 4’
Ft 4’
0 to 3
Drawbar 2 2/3’
Ft 2 2/3’
0 to 3
Drawbar 2’
Ft 2’
0 to 3
Drawbar 1 3/5’
Ft 1 3/5’
0 to 3
Drawbar 1 1/3’
Ft 1 1/3’
0 to 3
Drawbar 1’
Ft 1’
0 to 3
2nd Percussion
oFF: Off
Second
3rd Percussion
Third
Percussion Decay Time
Decay
Settings
on:
On
oFF: Off
on:
On
000 to 127
J Display Contents in the Drawbar Organ Mode
In the Drawbar Organ Mode, the current status of the
drawbar positions, key click, and percussion parameters are
indicated on the display’s bar graph as shown in the
illustrations below. There is one line for each parameter, and
the bottom segment of the selected parameter line flashes.
The bottom segment of the bar graph column that represents
the currently selected parameter flashes to indicate that it is
selected.
None of the channel numbers (1 to 16) are displayed in the
drawbar organ tone selection mode and editing mode.
Drawbar Position Graph
Setting Value
0
1
2
3
Display
(Ft: Feet)
Off
On
Flash
Click
The parameter determines whether or not a key click is added
when a sustained tone configured using the drawbars is
played.
Parameter Name
Click
Setting Value
Off
On
Display
Parameter Display
Indication
Click
Click and Percussion On/Off Graph
Settings
oFF: Click Off
on:
Click On
Percussion Decay Time Graph
Setting Value
Percussion
0-31
32-63
64-95 96-127
Display
This parameter lets you add percussion sound, which
provides modulation to sustained tones that you create.
When you hold down a key on the keyboard, the sound
produced decays until it is no longer audible. Pressing the key
again sounds the note again at a louder volume. Percussion
has “2nd Percussion” (2nd overtone pitch) and “3rd
Percussion” (3rd overtone pitch) settings, each of which can
be turned on or off.
You can also specify the percussion decay time, which
controls how long it takes for the percussion sound to decay.
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Using the Drawbar Organ Mode
To save an edited drawbar
organ tone
1.
2.
3.
After editing parameters, use the [ ] and [
CURSOR buttons to display “More?”.
]
Press the [
] CURSOR button three times to
display the screen for inputting a tone name and
assigning a tone number.
Use the [+] and [–] buttons to select a tone
number.
Š You can select a tone number in the range of 100
to 199.
4.
After the tone name is the way you want, press
the [ ] CURSOR button to store the tone.
Š Use the [+] and [–] buttons to scroll through
letters at the current cursor location.
Š Use the [ ] and [ ] CURSOR buttons to move
the cursor left and right.
Š See the page E-49 for information about inputting
text.
5.
After everything is the way you want, press the
[
] CURSOR button to store the tone.
Š This will display a confirmation message asking
whether you really want to save the data. Press
the YES button to save the data.
Š After the save operation is complete, the message
“Complete” appears and then the display returns
to the tone selection or rhythm selection screen.
Š To cancel save, press the EXIT button.
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Applying Effects to Tones
Applying Effects to Tones
1
EFFECT
4
[
]/[
]/[
]/[
] CURSOR
2
EXIT
3
DSP
5
Number buttons
6
[+]/[–]
This keyboard provides you with a selection of effects that
you can apply to tones.
The built-in effects include a wide variety of variations that
give you access to a selection of general digital effects.
Effect Blocks
The following shows how the effects of this keyboard are
organized.
J CHORUS
The chorus effect gives sound greater depth by causing it to
vibrate. You can choose from among 16 different chorus
effects, including “Chorus” and “Flanger.”
The equalizer is another type of effect that you can use to
make adjustments in tone quality. Frequencies are divided
among a number of bands, and raising and lowering the level
of each frequency band alters the sound.
You can reproduce the optimal acoustics for the type of music
you are playing (classics, for example) by selecting the
applicable equalizer setting.
Selecting a DSP Type
J DSP
DSP effects are applied to the connection between the sound
source and output. You can select distortion and modulation
effects. You can create DSP effect setups and also transfer
downloaded DSP data from your computer. The keyboard
has memory that lets you store up to 100 DSP effect setups.
See “Using the Data Download Service” on page E-82 and
“Saving the Settings of DSP Parameters” on page E-28 for
more information.
J REVERB
Reverb simulates the acoustics of specific types of
environments. You can choose from among 16 different
reverb effects, including “Room” and “Hall.”
In addition to the 100 built-in effect types, you can also edit
effect types to create your own and store them in user
memory. You can have up to 100 effect types in user memory
at one time. You can also select the DSP type of the last DSP
enabled tone that you used. This means you always have
access to the DSP type of Advanced Tones and tones you
download over the Internet. To select the DSP type of the last
DSP enabled tone that you used, select “ton” in step 3 of the
procedure below.
Perform the following steps to select a DSP type.
Š When using a DSP effect, you should use the Mixer to
confirm that the DSP lines of the required parts are turned
on. See “Mixer Function” on page E-39 for more
information.
1.
E-26
Press the EFFECT button so the pointer
appears next to EFFECT on the display.
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Applying Effects to Tones
2.
Press the [
] CURSOR button.
Š The DSP type setting screen will appear
automatically about fives seconds after you press
the button.
3.
Use the [+] and [–] buttons or the number
buttons to select the type of DSP you want.
Š See the “Effect List” on page A-18 for information
about the DSP types that can be selected.
Š Here you could also change the parameters of the
effect you selected, if you want. See “Changing
the Settings of DSP Parameters” for more
information.
Š The DSP type display area shows the DSP number (000 to
199) or “ton” (user tone created using DSP).
Changing the Settings of DSP Parameters
You can control the relative strength of a DSP and how it is
applied. See the following section titled “DSP Parameters” for
more information.
1.
After selecting the DSP type you want, use the
[ ] and [ ] CURSOR buttons to display the
parameter whose setting you want to change.
Š This displays the parameter setting screen.
2.
Use the [+] and [–] buttons or the number
buttons to make the parameter setting you
want.
z DSP Reverb Send (Range: 000 to 127)
Specifies how much of the post-DSP sound should be sent
to reverb.
z DSP Chorus Send (Range: 000 to 127)
Specifies how much of the post-DSP sound should be sent
to chorus.
Š Whether or not an effect is applied to the parts that are
sounding also depends on Mixer Mode Reverb Send,
Chorus Send, and DSP on/off settings. See “Mixer
Function” on page E-39 for more information.
Š Playing a demo tune (page E-11) automatically changes
the effect to the one that is assigned to the tune. You
cannot change or cancel a demo tune effect.
Š Changing the effect setting while sound is being output by
the keyboard causes a slight break in the sound when the
effect changes.
Š A number of tones, called “Advanced Tones,” automatically
turn on the DSP line for richer, higher quality sound. If you
assign an Advanced Tone to a keyboard part (Channels 1
through 4), the DSP line turns on automatically and the
DSP selection changes in accordance with the settings of
the Advanced Tone. Also, the Mixer Mode DSP line on/off
setting for the keyboard part to which the Advanced Tone
is assigned is turned on.*
* The Mixer DSP line setting is automatically turned off
for each part that does not have an Advanced Tone
assigned.
Because of this, DSP effects previously applied to
these parts are cancelled, which can make their tone
sound different. In this case, display the Mixer screen
and turn DSP back on.
Š Pressing the [+] and [–] buttons at the same time
returns the parameter to its recommended
setting.
3.
Press the EFFECT or EXIT button.
Š This exits the tone or ryhthm setting screen.
DSP Parameters
The following describes the parameters for each DSP.
J DSP
z Parameter 0 to 7
These parameters differ in accordance with the
algorithm* of the selected DSP type. See the “Effect List”
on page A-18 and the “DSP Algorithm List” on page E-88
for more information.
* Effector structure and operation type
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Applying Effects to Tones
Saving the Settings of DSP Parameters
You can save up to 100 modified DSPs in the user area for
later recall when you need them.
Š User DSP areas 100 through 199 initially contain the same
data as DSP types 000 through 099.
1.
To turn DSP line on and off
1.
Selecting REVERB
Perform the following steps to select REVERB.
After making the DSP parameter settings you
want, press the [
] CURSOR button.
1.
Š This causes the DSP number of the user area
where the DSP will be saved to flash on the
display.
2.
Press the DSP button to toggle DSP line for the
currently selected part on and off.
Press the EFFECT button, so the pointer
appears next to EFFECT on the display screen.
Use the [+] and [–] buttons to select the user
DSP area number where you want to save the
new DSP.
Š You can select a user DSP area number in the
range of 100 to 199 only.
3.
After the user DSP area number you want is
selected, press the [ ] CURSOR button.
Š Use the [+] and [–] buttons to scroll through
letters at the current cursor location.
Š Use the [ ] and [ ] CURSOR buttons to move
the cursor left and right.
1
2.
After everything is the way you want, press the
[
] CURSOR button to store the effect.
Š This will display a confirmation message asking
whether you really want to save the data. Press
the YES button to save the data.
Š The message “Complete” appears momentarily
on the display, followed by the tone or rhythm
selection screen.
DSP Button
Checking the DSP button will tell you whether or not DSP is
enabled for the tone that is currently selected for a part. The
DSP button will be lit for a tone that is DSP enabled (DSP line
ON), and unlit for a tone that is DSP disabled (DSP line OFF).
For example, when you move each part while using the split/
layer function, the DSP button lights or goes out in
accordance with that parts setting.
Press the [
] CURSOR button once.
Š This displays the reverb editing screen.
3.
Press the [
] CURSOR button.
Š The reverb type setting screen will appear
automatically about fives seconds after you press
the button.
Š See the page E-49 for information about inputting
text.
4.
Pointer
4.
Use the [+] and [–] buttons or the number
buttons to scroll through the reverb types until
the one you want is displayed, or use the
number buttons to input the reverb number you
want to select.
Š See the list on page A-18 for information about
the types of REVERB effects that are available.
Š Here you could also change the parameters of the
effect you selected, if you want. See “Changing
the Settings of REVERB Parameters” for more
information.
Changing the Settings of REVERB
Parameters
You can control the relative strength of a reverb and how it is
applied. See the following section titled “REVERB
Parameters” for more information.
Pressing the DSP button toggles the tone of the part you are
currently playing on the keyboard between enabled (DSP line
ON) and disabled (DSP line OFF).
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Applying Effects to Tones
1.
After selecting the reverb type you want, use
the [ ] and [ ] CURSOR buttons to display
the parameter whose setting you want to
change.
Š This displays the parameter setting screen.
Example:
To set the Reverb Time parameter
2.
3.
Use the [+] and [–] buttons or the number
buttons to input the parameter setting you want.
Press the EFFECT or EXIT button.
Š This returns to the tone or rhythm selection
screen.
z High Damp
Same as Reverb Type
Š Whether or not an effect is applied to the parts that are
sounding also depends on Mixer Mode Reverb Send,
Chorus Send, and DSP on/off settings. See “Mixer
Function” on page E-39 for more information.
Selecting CHORUS
Perform the following steps to select CHORUS.
1.
2.
REVERB Parameters
z Reverb Level (Range: 000 to 127)
3.
4.
z Reverb Time (Range: 000 to 127)
This parameter controls the initial reverb volume.
The initial echo sound is the first sound reflected
from the walls and ceiling when a sound is output
by this keyboard. A larger value specifies a larger
echo sound.
z Delay Level (Range: 000 to 127)
Specifies the size of the delay sound. A higher value
produces a larger delay sound.
z ER Level
Same as Reverb Type
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Use the [+] and [–] buttons or the number
buttons to scroll through the chorus types until
the one you want is displayed, or use the
number buttons to input the chorus number you
want to select.
Changing the Settings of CHORUS
Parameters
You can control the relative strength of an effect and how it is
applied. The parameters you can control depend on the effect.
See the following section titled “CHORUS Parameters” for
more information.
1.
z Delay Feedback (Range: 000 to 127)
Adjusts delay repeat. A higher value produces a
greater number of repeats.
] CURSOR button.
Š Here you could also change the parameters of the
effect you selected, if you want. See “Changing
the Settings of CHORUS Parameters” for more
information.
z ER Level (Initial Echo Sound) (Range: 000 to 127)
„ Delay Type (No. 6, 7, 14, 15)
Press the [
Š See the list on page A-18 for information about
the types of CHORUS effects that are available.
Controls how long reverb continues. A larger
number produces longer reverb.
Adjusts the damping of high frequency
reverberation (high sound). A smaller value damps
high sounds, creating a dark reverb. A larger value
does not damp high sounds, for a brighter reverb.
] CURSOR button twice.
Š The chorus type setting screen will appear
automatically about fives seconds after you press
the button.
Controls the reverb size. A larger number produces
larger reverb.
z High Damp (Range: 000 to 127)
Press the [
Š This displays the chorus editing screen.
Reverb effects are associated with either a reverb type or
delay type. Parameter settings depend upon the associated
type.
„ Reverb Type (No. 0 to 5, 8 to 13)
Press the EFFECT button, so the pointer
appears next to EFFECT on the display screen.
2.
After selecting the chorus type you want, use
the [ ] and [ ] CURSOR buttons to display
the parameter whose setting you want to
change.
Use the [+] and [–] buttons or the number
buttons to input the parameter setting you want.
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Applying Effects to Tones
3.
Press the EFFECT or EXIT button.
4.
Š This returns to the tone or rhythm selection
screen.
Use the [+] and [–] buttons or the number
buttons to select the equalizer type you want.
Š See the list on page A-18 for information about
the equalizer types that are available.
Example:
CHORUS Parameters
To select Jazz
„ Chorus Level (Range: 000 to 127)
Specifies the size of the chorus sound.
„ Chorus Rate (Range: 000 to 127)
Specifies the undulation speed of the chorus sound. A
higher value produces faster undulation.
Š Pressing the EXIT or EFFECT button exits the
equalizer setting screen.
„ Chorus Depth (Range: 000 to 127)
Specifies the undulation depth of the chorus sound. A
higher value produces deeper undulation.
Š Whether or not an effect is applied to the parts that are
sounding also depends on Mixer Mode Reverb Send,
Chorus Send, and DSP on/off settings. See “Mixer
Function” on page E-39 for more information.
To adjust the gain (volume) of a band
1.
After selecting the equalizer type you want, use
the [ ] and [ ] CURSOR buttons to select
the band whose gain you want to adjust.
Example:
To adjust the HIGH band
Using the Equalizer
This keyboard has a built-in four-band equalizer and 10
different settings from which you can choose. You can adjust
the gain (volume) of all four equalizer bands within the range
of –12 to 0 to +12.
2.
Use the [+] and [–] buttons or the number
buttons to adjust the band gain.
Example:
To adjust the gain to 10
To select the equalizer type
1.
2.
Press the EFFECT button so the pointer
appears next to EFFECT on the display screen.
Press the [
] CURSOR button three times.
Š Pressing the EXIT or EFFECT button exits the
equalizer setting screen.
Š This displays the equalizer editing screen.
3.
Press the [
] CURSOR button.
Š The equalizer type setting screen will appear
automatically about fives seconds after you press
the button.
E-30
Š Changing to another equalizer type causes the band gain
settings to change to the initial settings for the newly
selected equalizer type automatically.
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Auto Accompaniment
Auto Accompaniment
1
MODE
2
ONE TOUCH PRESET
3
ACCOMP VOLUME
4
7
RHYTHM
EXIT
6
9
INTRO/ENDING 1/2
VARIATION/FILL-IN 1/2
5
8
bk
bn
TEMPO
bl AUTO HARMONIZE
bm
Number buttons
SYNCHRO/FILL-IN NEXT
START/STOP
[+]/[–]
This keyboard automatically plays bass and chord parts in
accordance with the chords you finger. The bass and chord
parts are played using sounds and tones that are
automatically selected to select the rhythm you are using. All
of this means that you get full, realistic accompaniments for
the melody notes you play with your right hand, creating the
mood of a one-person ensemble.
About the MODE button
Use the MODE button to select the accompaniment mode you
want to use. Each press of the MODE button cycles through
the available accompaniment modes as shown in the
illustration below.
Š Only rhythm sounds are produced when all
accompaniment mode lamps are off.
Š The currently selected accompaniment mode is shown by
the mode lamps above the MODE button. Information on
using each of these modes starts from page E-33.
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Auto Accompaniment
Selecting a Rhythm
This keyboard provides you with 140 exciting rhythms that
you can select using the following procedure.
You can also transfer accompaniment data from your
computer and store up to 16 of them as user rhythms in
keyboard memory. See “Using the Data Download Service”
on page E-82 for more information.
Playing a Rhythm
To play a rhythm
1.
Press VARIATION/FILL-IN button 1 or 2.
Š This starts the play of the selected rhythm.
Š To stop rhythm play, press the START/STOP
button.
Š Initially, nothing is stored in the user rhythm memory area.
To select a rhythm
1.
Find the rhythm you want to use in the rhythm
list and note its rhythm number.
Š Not all of the available rhythms are shown on the
rhythm list printed on the keyboard console. For a
complete list, see the “Rhythm List” on page A-14.
2.
Press the RHYTHM button.
Š Chords will sound along with the rhythm if any of the three
accompaniment mode lamps above the MODE button is lit.
if you want to play the rhythm pattern without chords, press
the MODE button until all of the lamps are off.
Adjusting the Tempo
You can adjust the tempo of rhythm play within a range of 30
to 255 beats per minute. The tempo setting is used for Auto
Accompaniment chord play, and song memory operations.
To adjust the tempo
Press one of the TEMPO buttons (
1
2
3.
Number and name of selected rhythm
Appears when RHYTHM button is pressed
or
).
: Increments displayed value (increases tempo)
: Decrements displayed value (decreases tempo)
Use the number buttons to input the three digit
rhythm number for the rhythm you want to
select.
Example:
To select “041 ROCK 2”, input 0, 4 and then 1.
Š Pressing both TEMPO buttons (
and
) at the same
time resets the tempo to the default value of the currently
selected rhythm.
Š You can also increment the displayed rhythm number by
pressing [+] and decrement it by pressing [–].
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Auto Accompaniment
Using Auto Accompaniment
J CASIO CHORD Accompaniment Keyboard and
Melody Keyboard
The following procedure describes how to use the keyboard’s
Auto Accompaniment feature. Before starting, you should
first select the rhythm you want to use and set the tempo of
the rhythm to the value you want.
To use Auto Accompaniment
1.
2.
3.
Use the MODE button to select FULL RANGE
CHORD, FINGERED, or CASIO CHORD as the
accompaniment mode.
Press the START/STOP button to start play of
the currently selected rhythm.
Play a chord.
Š The actual procedure you should use to play a
chord depends on the currently selected
accompaniment mode. Refer to the following
pages for details on chord play.
CASIO CHORD
: Page E-33
FINGERED
: Page E-34
FULL RANGE CHORD : Page E-34
Š The accompaniment keyboard can be used for playing
chords only. No sound will be produced if you try playing
single melody notes on the accompaniment keyboard.
J Chord Types
CASIO CHORD accompaniment lets you play four types of
chords with minimal fingering.
Chord Types
Minor chords (m)
To play a minor chord, keep the
major chord key depressed and
press any other accompaniment
keyboard key located to the right
of the major chord key.
1
2
3
4.
Chord name
Current measure number and beat number
Basic fingering of current chord
(May be different from chord actually being played
on the keyboard.)
To stop Auto Accompaniment play, press the
START/STOP button again.
Example
Major chords
C Major (C)
Major chord names are marked
above the keys of the
accompaniment keyboard. Note
that the chord produced when you
press an accompaniment keyboard
does not change octave, regardless
of which key you use to play it.
Seventh chords (7)
To play a seventh chord, keep the
major chord key depressed and
press any other two
accompaniment keyboard keys
located to the right of the major
chord key.
Minor seventh chords (m7)
To play a minor seventh chord,
keep the major chord key
depressed and press any other
three accompaniment keyboard
keys located to the right of the
major chord key.
C minor (Cm)
C seventh (C7)
C minor seventh (Cm7)
CASIO CHORD
This method of chord play makes it possible for anyone to
easily play chords, regardless of previous musical knowledge
and experience. The following describes the CASIO CHORD
“accompaniment keyboard” and “melody keyboard,” and
tells you how to play CASIO CHORDs.
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Š It makes no difference whether you press black or white
keys to the right of a major chord key when playing minor
and seventh chords.
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Auto Accompaniment
FINGERED
FINGERED provides you with a total of 15 different chord
types. The following describes the FINGERED
“accompaniment keyboard” and “melody keyboard”, and
tells you how to play a C-root chord using FINGERED.
J FINGERED Accompaniment Keyboard and
Melody Keyboard
Š Except for the chords specified in note*1above, inverted
fingerings (i.e. playing E-G-C or G-C-E instead of C-E-G)
will produce the same chords as the standard fingering.
Š Except for the exception specified in note*2 above, all of the
keys that make up a chord must be pressed. Failure to
press even a single key will not play the desired
FINGERED chord.
FULL RANGE CHORD
Š The accompaniment keyboard can be used for playing
chords only. No sound will be produced if you try playing
single melody notes on the accompaniment keyboard.
This accompaniment method provides a total of 38 different
chord types: the 15 chord types available with FINGERED
plus 23 additional types. The keyboard interprets any input of
three or more keys that matches a FULL RANGE CHORD
pattern to be a chord. Any other input (that is not a FULL
RANGE CHORD pattern) is interpreted as melody play.
Because of this, there is no need for a separate
accompaniment keyboard, so the entire keyboard, from end
to end, functions as a melody keyboard that can be used for
both melody and chords.
J FULL RANGE CHORD Accompaniment Keyboard
and Melody Keyboard
Chords Recognized by This Keyboard
The following table identifies patterns that are recognized
as chords by FULL RANGE CHORD.
Pattern Type
Number of Variations
FINGERED
The 15 chord patterns shown under
FINGERED on page E-34. See the
“Fingered Chord Chart” on page A-16
for details on playing chords with other
roots.
23 standard chord fingerings. The
following are examples of the 23 chords
available with C as the bass note.
See the “Fingered Chord Chart” on page A-16 for details on
playing chords with other roots.
Standard
Fingerings
*1: Inverted fingerings cannot be used. The lowest note is
the root.
*2: The same chord can be played without pressing the 5th
G.
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Auto Accompaniment
Example:
To play the chord C major.
Any of the fingerings shown in the illustration below will
produce C major.
Using a Fill-in Pattern
Fill-in patterns let you momentarily change the rhythm
pattern to add some interesting variation to your
performances.
The following procedure describes how to use the Fill-in
feature.
To insert a fill-in
1.
Š As with the FINGERED mode (page E-34), you can play
the notes that form a chord in any combination (1).
Š When the lowest note of a chord is separated from its
neighboring note by six or more semitones, the lowest note
becomes the bass note (2).
2.
Press the START/STOP button to start rhythm
play.
Select the fill-in variation you want.
Š To insert Fill-in 1, press the VARIATION/FILLIN 1 button while Variation 1 of the rhythm is
playing.
Š To insert Fill-in 2, press the VARIATION/FILLIN 2 button while Variation 2 of the rhythm is
playing.
Using an Intro Pattern
This keyboard lets you insert a short intro into a rhythm
pattern to make startup smoother and more natural.
The following procedure describes how to use the Intro
feature. Before starting, you should first select the rhythm you
want to use, set the tempo, and use the MODE button to select
the chord play method you want to use (NORMAL, CASIO
CHORD, FINGERED, FULL RANGE CHORD).
Š Only the SYNCHRO/FILL-IN NEXT button is operational
while an intro is playing.
Š Holding down the SYNCHRO/FILL-IN NEXT or
VARIATION/FILL-IN 1/2 buttons causes the fill-in pattern to
repeat.
To insert an intro
1.
Press INTRO/ENDING button 1 or 2.
Š With the above setup, the intro pattern is played
and the auto accompaniment with intro pattern
starts as soon as you play chords on the
accompaniment keyboard.
Š The standard rhythm pattern starts to play after the intro
pattern is complete.
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Auto Accompaniment
Using a Rhythm Variation
In addition to the standard rhythm pattern, you can also
switch to a secondary “variation” rhythm pattern for a bit of
variety.
To insert the variation rhythm pattern
1.
2.
Press the START/STOP button to start rhythm
play.
Press the SYNCHRO/FILL-IN NEXT button.
Š If a Variation 1 rhythm is currently playing, this
plays Fill-in 1, followed by Fill-in 2, and then
switches to the Variation 2 rhythm.
Š If a Variation 2 rhythm is currently playing, this
plays Fill-in 2, followed by Fill-in 1, and then
switches to the Variation 1 rhythm.
Š Holding down the SYNCHRO/FILL-IN NEXT
button causes the fill-in pattern to repeat.
Synchro Starting Accompaniment
with Rhythm Play
You can set up the keyboard to start rhythm play at the same
time you play the accompaniment on the keyboard.
The following procedure describes how to use synchro start.
Before starting, you should first select the rhythm you want to
use, set the tempo, and use the MODE button to select the
chord play method you want to use (NORMAL, CASIO
CHORD, FINGERED, FULL RANGE CHORD).
To use synchro start
1.
2.
E-36
Š If the MODE button is set to NORMAL, only the rhythm
plays (without a chord) when you play on the
accompaniment keyboard.
Š If you press the INTRO/ENDING button 1 or 2 before
playing anything on the keyboard, the rhythm starts
automatically with an intro pattern when you play
something on the accompaniment keyboard.
Š To cancel synchro start standby, press the SYNCHRO/
FILL-IN NEXT button one more time.
Finishing with an Ending
Pattern
You can end your performances with an ending pattern that
brings the rhythm pattern you are using to a naturalsounding conclusion.
The following procedure describes how to insert an ending
pattern. Note that the actual ending pattern played depends
on the rhythm pattern you are using.
To finish with an ending pattern
1.
While the rhythm is playing, press INTRO/
ENDING button 1 or 2.
Š The timing when the ending pattern starts
depends on when you press the INTRO/
ENDING button 1 or 2. If you press the button
before the second beat of the current measure, the
ending pattern starts playing immediately.
Š Pressing the INTRO/ENDING button prior to the first half
beat at the beginning of a measure plays the ending
immediately. Pressing the button after the first half beat of
a measure causes the ending to be played from the
beginning of the following measure.
Press the SYNCHRO/FILL-IN NEXT button to
put the keyboard into synchro start standby.
Play a chord and the rhythm pattern starts to
play automatically.
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Auto Accompaniment
Using One-touch Preset
One-touch preset automatically makes the main settings
listed below in accordance with the rhythm pattern you are
using.
Š Keyboard tone
Using Auto Harmonize
When you are using Auto Accompaniment, Auto Harmonize
automatically adds additional notes to your melody in
accordance with the chord that is being played. The result is a
harmony effect that makes your melody line richer and fuller.
Š Layer on/off
Š Split on/off
Š Auto Harmonize on/off
Š Auto Harmonize type
Š Accompaniment volume level
To use Auto Harmonize
1.
Š Tempo
Use the MODE button to select FINGERED or
CASIO CHORD as the accompaniment mode.
Š The currently selected accompaniment mode is
the one whose lamp is lit. See “About the MODE
button” on page E-31 for details.
Š Effect settings
To use one-touch preset
1.
2.
3.
Select the rhythm you want to use.
Use the MODE button to select the
accompaniment mode you want to use.
Press the ONE TOUCH PRESET button.
Š This automatically makes the one-touch preset
settings in accordance with the rhythm you
selected.
2.
Š This causes a pointer to appear next to AUTO
HARMONIZE on the display.
Š The keyboard automatically enters synchro
standby at this time.
4.
Press AUTO HARMONIZE to turn on Auto
Harmonize.
Start rhythm and Auto Accompaniment, and
play something on the keyboard.
Š Accompaniment is played using the one-touch
preset settings.
3.
4.
Start Auto Accompaniment play, and play
something on the keyboard.
To turn off Auto Harmonize, press AUTO
HARMONIZE once.
Š This causes the pointer next to AUTO
HARMONIZE to disappear.
Š Auto Harmonize turns off temporarily whenever you start
demo tune play. It turns back on as soon as the operation
or function that caused it to turn off is finished.
Š Auto Harmonize is enabled only when the Auto
Accompaniment mode is FINGERED or CASIO CHORD.
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Auto Accompaniment
Auto Harmonize Types
Auto Harmonize lets you select from among the 10 Auto
Harmonize types. Type changing is performed by the setting
item using the TRANSPOSE/FUNCTION button.
See “Changing Other Settings” on page E-71 for more
information.
Adjusting the Accompaniment
Volume
You can adjust the volume of the accompaniment parts as a
value in the range of 000 (minimum) to 127 (maximum).
1.
Press the ACCOMP VOLUME button.
About Auto Harmonize notes and tones
The notes you play on the keyboard are called “melody
notes,” while the notes added to the melody by Auto
Harmonize is called the “harmonize notes.” Auto Harmonize
normally uses the tone you selected for the melody notes as
the tone for the harmonize notes, but you can use the Mixer
(page E-39) to specify a different tone for the harmonize notes.
The harmonize note tone is assigned to Mixer Channel 5, so
change Channel 5 to the tone you want to use for the
harmonize notes.
In addition to the tone, you can also use the Mixer to change
a number of other parameters, such as volume balance. See
“Using the Parameter Edit Mode” on page E-40 for details on
these procedures.
Š The default harmonize note tone when you first turn on
Auto Harmonize is the same tone as the melody note tone.
Š Changing the melody tone setting automatically changes
the harmonize note tone to the same setting.
E-38
1
2.
Current accompaniment volume setting
Use the number buttons or the [+]/[–] buttons to
change the current volume setting value.
Example:
110
Š Pressing the ACCOMP VOLUME button or EXIT button
returns to the tone or rhythm setting screen.
Š Any channel balance settings you make with the Mixer are
maintained when you change the accompaniment volume
setting.
Š Pressing [+] and [–] buttons at the same time automatically
sets an accompaniment volume of 100.
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Mixer Function
Mixer Function
1
MIXER
2
DRAWBAR ORGAN
3
TONE
4
7
EXIT
5
[
6
Number buttons
]/[
]/[
]/[
]/ CURSOR
[+]/[–]
What you can do with the Mixer
This keyboard lets you play multiple different musical
instrument parts at the same time during auto-accompaniment
play, song memory playback, receipt of data through the MIDI
terminal, etc. The Mixer assigns each part to a separate channel
(1 through 16) and lets you control the channel on/off, volume,
and pan pot parameters of each channel.
In addition to channels 1 through 16, the Mixer also has a DSP
channel that you can use to adjust the DSP level, DSP pan, and
other DSP parameters.
See page E-66 and E-67 for information on layered, split, and
layered/split tones.
See page E-53 for information on the song memory.
Š Normally, keyboard play is assigned to Channel 1. When
Auto Accompaniment is being used, each part of the
accompaniment is assigned to Channels 6 through 10.
Š When this keyboard is being used as the sound source for
an externally connected computer or other MIDI device, all
16 channels are assigned musical instrument parts. The
notes played over the channel selected by steps 1 and 2
under “Turning Channels On and Off” on page E-40 are
shown on the displayed keyboard and staff.
Channel Assignments
The following shows the parts that are assigned to each of the
16 channels.
Channel
Number
Channel 1
Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
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Part
Main tone
Layered tone
Split tone
Layered/split tone
Harmonize Tone
Auto Accompaniment chord part 1
Auto Accompaniment chord part 2
Auto Accompaniment chord part 3
Auto Accompaniment bass part
Auto Accompaniment rhythm part
Song Memory track 1
Song Memory track 2
Song Memory track 3
Song Memory track 4
Song Memory track 5
Song Memory track 6
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Mixer Function
Turning Channels On and Off
Turning a channel off mutes any instrument recorded in the
channel.
To turn channels on and off
1.
Press the MIXER button.
Š This causes a pointer to appear on the display
next to MIXER.
2.
Use the [
channel.
]/[
How Channel On/Off Works
The following describes what happens and what appears on
the display when you turn a channel on or off.
z On (on)
This setting turns on the currently selected channel, which is
indicated by a bar appearing at the bottom of the level meter
for that channel. This is also the default setting for all channels
when the keyboard is turned on.
z Off (oFF)
This setting turns off the currently selected channel, which is
indicated by the absence of the bar at the bottom of the level
meter for that channel.
] CURSOR buttons to select a
Example:
To select Channel 2.
1
2
1
Off
Flash
Š This causes the upper three segments of the
selected channel's level meter to flash.
3.
On
Press the [
]/[
] CURSOR buttons to
display the on/off selection screen.
Using the Parameter Edit Mode
Editing the Parameters for Channels 1
through 16
4.
In the Parameter Edit Mode, you can change the settings of
ten different parameters (including tone, volume, and pan
pot) for the channel you selected on the Mixer screen.
Use the [+]/[–] buttons to select on or off.
Example:
To turn the channel off.
To change parameters
1.
Press the MIXER button.
Š This causes a pointer to appear on the display
next to MIXER.
Š Press the [
] CURSOR button to return to the
channel selection screen.
2.
Use the [ ] and [ ] CURSOR buttons to
select the channel you want.
Š Pressing the MIXER button returns to the Tone
Screen.
Š The MIDI data display shows only the data for the channels
selected with the Mixer.
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Mixer Function
3.
Use the [
] and [
] CURSOR buttons to
select the parameter whose setting you want to
change.
Example:
Select volume setting by displaying “Volume”.
Š Each press of the [
] or [
] CURSOR buttons
cycles through the parameters.
Š You can use the [ ] and [ ] CURSOR buttons
to change to another channel at any time during
this procedure.
How Parameters Work
The following are the parameters whose settings can be
changed in the Parameter Edit Mode.
Tone Parameters
z Tone (Range: 000 to 803, Drawbar organ tones 000 to 199)
This parameter controls the tones assigned to each part.
Anytime the tone is on the display, you can use the TONE
button or DRAWBAR ORGAN button and then select a
different tone, if you want.
1
4.
Indicates channel volume of 127
Use the number buttons or [+] and [–] to change
the parameter setting.
Example:
z Part On/Off (Settings: on, oFF)
Change the setting to “060”.
This parameter can be used to turn each part on (sounds) and
off (does not sound). The current on/off status of each part is
indicated on the display as described below.
Š Pressing the MIXER or EXIT button exits the
parameter edit mode.
z Volume (Range: 000 to 127)
Editing DSP Channel Parameters
1.
While Channel 16 is selected, press the [
CURSOR button.
This is the parameter that controls the volume of the selected
channel.
]
Š This selects the DSP channel.
Š Pressing the [ ] CURSOR button while the DSP
channel is selected returns to Channel 16.
z Pan Pot (Range: –64 to 00 to +63)
This parameter controls the pan pot, which is the center point
of the left and right stereo channels. Setting “00” specifies
center, a value less than “00” moves the point left, and a value
greater than “00” moves it right.
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Mixer Function
z Octave Shift (Range: –2 to 0 to +2)
You can use octave shift to shift the range of the tone up or
down. When using the piccolo tone, there may be cases when
very high notes you want to play are not included within the
range of the keyboard. When this happens, you can use
octave shift to shift the keyboard range one octave up.
Effect Parameters
The Mixer lets you control the effects applied to each
individual part, making it different from the Effect Mode,
whose settings are applied to all parts in general.
z Reverb Send (Range: 000 to 127)
This parameter controls how much reverb is applied to a part.
A setting of “000” turns reverb off, while a setting of 127
applies maximum reverb.
–2 :Range shifted two octaves down.
Š “Reverb Send” does not work with some drum sounds.
–1 :Range shifted one octave down.
0 :No shift
+1 :Range shifted one octave up.
+2 :Range shifted two octaves up.
Tuning Parameters
z Chorus Send (Range: 000 to 127)
This parameter controls how much chorus send is applied to
a part. A setting “000” turns chorus send off, while a setting
of 127 applies maximum chorus send.
Š “Chorus Send” does not work with drum sounds.
You can use these parameters to tune each of the parts
individually.
z Coarse Tune (Range: –24 to 00 to +24)
This parameter controls the coarse tuning of the selected
channel’s pitch in semitone units.
z DSP Line (Settings: on, oFF)
You can use this parameter to turn DSP line off for a particular
channel, or to turn it on.
z Fine Tune (Range: –99 to 00 to +99)
This parameter controls the fine tuning of the selected
channel’s pitch in cent units.
DSP Part Parameters
z DSP Level (Range: 0 to 127)
Sets the post-DSP volume.
z DSP Pan (Range: –64 to 0 to 63)
Sets the post-DSP stereo pan.
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Mixer Function
z DSP System Reverb Send (Range: 000 to 127)
This parameter adjusts how much reverb is applied to all
parts.
z DSP System Chorus Send (Range: 000 to 127)
This parameter adjusts chorus.
Š Changing the tone, volume, pan pot, coarse tune, fine tune,
reverb send, or chorus send setting causes the
corresponding MIDI message to be output from the MIDI
terminal.
Š Changing the tone settings changes the tone, octave shift,
reverb send, chorus send, and DSP line* parameter
settings.
* When DSP is off (See the note on page E-27).
Š Turning on the Mixer’s DSP line parameter (page E-27)
causes the settings of the DSP Pan, DSP System Reverb
Send, and DSP System Chorus parameters to be used in
place of the Pan Pot, Reverb Send, and Chorus Send
parameter’s settings.
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Synthesizer Mode
Synthesizer Mode
1
SYNTH
2
EXIT
4
Number buttons
5
[+]/[–]
3
[
]/[
]/[
]/[
] CURSOR
The Synthesizer Mode of this keyboard provides the tools for
creating your own original tones. Simply select one of the
built-in tones and change its parameters to create your own
original sound. You can even store your sounds in memory
and select it using the same procedure as that used to select a
preset tone.
Synthesizer Mode Functions
The following describes how to use each of the functions
available in the Synthesizer Mode.
Synthesizer Mode Parameters
The preset tones that are built into this keyboard consist of a
number of parameters. To create a user tone, you first recall
an advanced tone (000 to 299) or a preset tone (300 to 499) and
then change its parameters to change it to your own tone.
Note that drum set tones (500 through 515) cannot be used as
the basis of a user tone.
The illustration nearby shows the parameters that make up
the preset tones and what each parameter does. As can be
seen in the illustration, parameters can be divided into four
groups, each of which is described in detail below.
E-44
Š Note that the tone whose parameter you can edit is the one
assigned to the channel (1 through 4) that is currently
selected with the Synthesizer Mode.
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Synthesizer Mode
J Tone Characteristic Waveform
z Tone Setting
Specifies which of the preset tones should be used as the
original tone.
z Resonance
Resonance enhances the harmonic components in the vicinity
of the cutoff frequency, which creates a distinctive sound. A
larger resonance value enhances the sound as shown in the
figure.
J Volume Characteristic Parameters
These parameters control how the tone changes over time,
from when the keyboard key is pressed until the tone decays.
You can specify changes in volume and sound characteristics.
z Attack time
This is the rate or time it takes for the tone to reach its highest
volume level. You can specify a fast rate, where the tone
reaches its highest volume level immediately, a slow rate
where it gradually rises, or something in between.
z Release time
Š With some tones, a large resonance value can cause
distortion or noise during the attack part of the tone.
J Tone Pitch Parameters
z Vibrato Type, Vibrato Delay, Vibrato Rate, Vibrato Depth
These parameters adjust the vibrato effect, which causes
periodic changes in the tone.
z Octave Shift
This parameter controls the octave of all tones.
J Tone Characteristic Setting Parameters
z Level
z Cutoff Frequency
The cutoff frequency is a parameter for adjusting timbre by
cutting any frequency that is higher than a specific frequency.
A larger cutoff frequency produces a brighter (harder) timbre,
while a smaller frequency produces a darker (softer) timbre.
This parameter controls the overall volume of the tone.
z Touch Sense
This parameter controls changes in volume and timbre in
accordance with the relative amount of pressure applied to
the keyboard keys. You can specify more volume for stronger
pressure and less volume or a lighter pressure, or you can
specify the same volume regardless of how much pressure is
applied to the keys.
z Reverb Send, Chorus Send, DSP Line , DSP Type, DSP
Parameter
These parameters control the effects applied to tones.
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Synthesizer Mode
Saving User Tones
The group of tone numbers from 600 through 699 (User 001 through User 100) is called the “user area” because they are reserved
for storage of user tones. After you recall a preset tone and change its parameters to create your own user tone, you can store it in
the user area for later recall. You can recall your tones using the same procedure that you use when selecting a preset tone.
*1: You can select any Advanced Tone, preset tone, or user tone. User tone areas 600 through 699 initially contain the same data
as DSP types 000 through 099.
*2: Area where data transferred from computer is stored (see “Using the Data Download Service” on page E-82). After transfer,
you can use the keyboard to edit parameters, but you can only overwrite existing parameters. You cannot save the data to
another number. Initially, nothing is stored in the user tone with wave memory area.
*3: Area where data transferred from computer is stored (see “Using the Data Download Service” on page E-82). Transfer only is
allowed, and no parameter editing is allowed. Initially, nothing is stored in the user drum set with wave memory area.
*4: User tones created by modifying parameters of one of the preset tones (000 to 049). User drawbar organ tone areas initially
contain two sets of the same data as drawbar organ tones types 000 through 049.
Š You can create an original tone using a user tone that includes a waveform (tone number 700 to 719). In this case, the storage area
is the same as the source tone area. For example, an original tone created using tone number 700 as a source tone is stored in user
area number 700.
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Synthesizer Mode
Creating a User Tone
Use the following procedure to select a preset tone and
change its parameters to create a user tone.
1.
2.
First, select the preset tone you want to use as
a basis for your user tone.
Parameters and Their Settings
The following describes the function of each parameter and
provides its setting range.
z Attack Time (Range: –64 to 00 to +63)
Time it takes before the tone sounds after a key is pressed
Press the SYNTH button.
Š This enters the Synthesizer Mode, which is
indicated by the pointer next to SYNTH on the
display screen.
z Release Time (Range: –64 to 00 to +63)
Time the tone continues to sound after a key is released
1
2
3.
Parameter setting value
Currently selected parameter
Use the [ ] and [ ] CURSOR buttons to
display the parameter whose setting you want
to change.
z Cutoff Frequency
(Range: –64 to 00 to +63)
High-band cutoff for the harmonic components of the tone
z Resonance (Range: –64 to 00 to +63)
Š Each press of the [ ] or [ ] CURSOR buttons
changes to the next parameter. See “Parameters
and Their Settings” on page E-47 for information
on setting range for each parameter.
4.
Use [+] and [–] to change the setting of the
currently selected parameter.
Š You can also use the number buttons to input a
value to change a parameter setting. See
“Parameters and Their Settings” on page E-47 for
information on setting range for each parameter.
5.
Resonance of the tone
z Vibrato Waveform (Range: See below.)
Specifies the vibrato waveform.
After you are finished editing the sound, press
the SYNTH button to exit the Synthesizer Mode.
Value
Š See “Storing a User Tone In Memory” on page E-49 for
details on saving user tone data to memory so it is not
deleted.
705A-E-049B
Meaning
Sin
Sine Wave
tri
Triangle Wave
SAU
Sawtooth Wave
Sqr
Square Wave
Waveform
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Synthesizer Mode
z Vibrato Delay (Range: –64 to 00 to +63)
Specifies the amount of time before vibrato starts.
z Vibrato Rate (Range: –64 to 00 to +63)
Rate (speed) of the vibrato effect
z Vibrato Depth (Range: –64 to 00 to +63)
Depth of the vibrato effect
z Reverb Send (Range: 000 to 127)
This parameter adjusts reverb.
z Chorus Send (Range: 000 to 127)
This parameter adjusts chorus.
z DSP Line (Settings: on, oFF)
This parameter controls whether or not the DSP effect is used.
z Octave Shift (Range: –2 to 0 to +2)
Up/down octave shift
DSP Settings
Use the DSP editing screen to select the DSP type and to edit
parameters.
z Level (Range: 000 to 127)
This parameter controls the overall volume of the tone. The
greater the value, the greater the volume. Setting a level of
zero means that the tone does not sound at all.
1.
2.
Select a tone, press the SYNTH button, and
then configure parameter settings.
After everything is the way you want, press the
[
] CURSOR button once. This advances to
the DSP parameter editing screen.
Pressing the [ ] CURSOR button returns to the Synthesizer
Mode parameter screen.
„ Touch Sensitivity (Range: –64 to 00 to +63)
This parameter controls changes in the volume of the tone in
accordance with the pressure applied to the keyboard keys. A
greater positive value increases the volume of the output as
pressure increases, while a negative value decreases volume
with increased keyboard pressure. A setting of zero specifies
no change in output volume in accordance with keyboard
pressure.
E-48
This setting specifies DSP parameters. See “DSP Parameters”
on page E-27, “Effect List” on page A-18, and “DSP Algorithm
List” on page E-88 for more information.
Š If you store an original tone with the DSP line turned on
(see next page), simply recalling the tone automatically
changes the DSP line, DSP type, and DSP parameter
settings. This simplifies the recall of original tones that
include a DSP effect.
Š An indicator appears next to DSP on the display while you
are making DSP type or DSP parameter settings.
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Synthesizer Mode
User Tone Creation Hints
The following hints provide helpful advice on making user
tone creation a bit quicker and easier.
Use a preset tone that is similar to the one you are trying to
create.
Whenever you already have a rough idea of the tone you are
trying to create, it is always a good idea to start with a preset
tone that is similar.
z Experiment with various different settings.
There are no real rules about what a tone should sound like.
Let your imagination run free and experiment with different
combinations. You may be surprised at what you can achieve.
Storing a User Tone In Memory
The following procedure shows how to store a user tone in
memory. Once a tone is stored, you can call it up just as you
do with a preset tone.
5.
Press the [
user tone.
] CURSOR button to save the
Š This will display a confirmation message asking
whether you really want to save the data. Press
the YES button to save the data.
Š The message “Complete” appears momentarily
on the display, followed by the tone or rhythm
selection screen.
Š To abort the save operation at any time, press the
SYNTH button or the EXIT button to exit the
Synthesizer Mode. Pressing the SYNTH button
again (before selecting another tone) returns to
the Synthesizer Mode with all of your parameter
settings still in place.
Inputting Characters
The following are the types of characters you can input when
saving data to the user area.
To name a user tone and store it in memory
1.
2.
3.
Select a preset tone to use as the basis for the
user tone, press the SYNTH button to enter the
Synthesizer Mode, and make the parameter
settings you want.
After making parameter settings to create the
user tone, press the [
] CURSOR button
twice.
Use [+] and [–] to change the user area tone
number on the display until the one where you
want to store the tone is shown.
Š You can select any tone number from 600 to 699.
4.
After the tone name is the way you want, press
the [ ] CURSOR button to store the tone.
Š Use the [+] and [–] buttons to scroll through
letters at the current cursor location.
Š Use the [ ] and [ ] CURSOR buttons to move
the cursor left and right.
Š See “Inputting Characters” for information about
inputting text.
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Registration Memory
Registration Memory
1
MODE
2
BANK
4
STORE
5
Number buttons
Registration Memory Features
Registration memory lets you store up to 32 keyboard setups
(4 sets x 8 banks) for instant recall whenever you need them.
The following is a list of settings that are saved in registration
memory.
3
REGISTRATION
Š Each bank of registration memory initially contains data
when you first use the keyboard. Simple replace the
existing data with your own data.
Š Registration memory functions are disabled while you are
using the SMF Player, Song Memory or demo tune
function.
Registration Memory Settings
Š Tone
Š Rhythm
Š Tempo
Š Layer on/off
Š Split on/off
Š Split point
Š Auto Harmonize on/off
Š Mixer settings (Channels 1 to 10)
Š Effect settings
Š Touch Response settings
Š Assignable jack setting
Š Transpose
Š Tuning
Š Accompaniment volume setting
Š Auto Harmonize type
Š MODE button setting
Š Synchro standby state
Š Mixer Hold
Š DSP Hold
Š Synthesizer Mode parameters (Vibrato Waveform,
Vibrato Delay, Vibrato Rate, and Vibrato Depth only)
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Registration Memory
Setup Names
You can assign setups into one of 32 areas, which you can
select using BANK buttons 1 through 4 and the four
REGISTRATION buttons. Area names range from 1-1
through 8-4 as shown below.
To Save a Setup in Registration
Memory
1.
Select a tone and rhythm, and otherwise set up
the keyboard the way you want it.
Š See “Registration Memory Settings” on page E-50
for details on what data is stored in the
registration memory.
2.
Use the BANK button or the number buttons to
select the bank you want.
Š If you do not perform any operation for about
five seconds after pressing the BANK button, the
display returns to the contents in step 1, above.
Š Bank 1 selected.
3.
While holding down the STORE button, press a
REGISTRATION button (1 to 4).
Š The following display appears when you press
the 2 button.
1 Use the BANK button to select the bank. Each press of
BANK cycles through the bank numbers from 1 to 8.
2 Pressing one of the REGISTRATION buttons (1 to 4)
selects the corresponding area in the currently selected
bank.
4.
Š Whenever you save a setup and assign it a setup name,
any setup data previously assigned to that name is
replaced with the new data.
Š You can use the keyboard’s MIDI capabilities to save your
setup data to a computer or other external storage device.
See “Using the Data Download Service” on page E-82 for
details.
705A-E-053B
Release the STORE and REGISTRATION
buttons.
Š The setup is saved as soon as you press a
REGISTRATION button in step 3, above.
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Registration Memory
To Recall a Setup from
Registration Memory
1.
Use the BANK button or the number buttons to
select the bank.
Š If you do not perform any operation for about
five seconds after pressing the BANK button, the
keyboard automatically clears the registration
memory recall screen.
2.
Press the REGISTRATION button (1 to 4) for
the area whose setup you want to recall.
Š The setup name along with the message “Recall”
appears on the display.
Š If you press a REGISTRATION button without using the
BANK button to select a bank first, the last bank number
selected is used.
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Song Memory Function
Song Memory Function
1
MODE
2
SONG MEMORY
4
7
DRAWBAR ORGAN
[
VARIATION/FILL-IN 1/2
5
8
3
TONE
INTRO/ENDING 1/2
SYNCHRO/FILL-IN NEXT
6
9
bk
bn
TEMPO
bl SONG MEMORY TRACK
bm
Number buttons
]/[
]/[
]/[
] CURSOR
START/STOP
[+]/[–], YES/NO
This keyboard lets you record up to five separate songs in
song memory for later playback. There are two methods you
can use to record a song: real-time recording where you
record the notes as you play them on the keyboard, and step
recording where you input chords and notes one-by-one.
Š Layer and split cannot be used while standing by for
recording or while recording is being performed in the Song
Memory Mode. Also, layer and split are automatically
turned off whenever the keyboard goes into record standby
or starts recording.
Tracks
Keyboard song memory records and plays back much like a
standard tape recorder. There are a total of six tracks, each of
which can be recorded separately. Besides notes, each track
can have its own tone number. Then when you play back the
tracks together, it sounds like an entire six-piece band. During
playback, you can adjust the tempo to change the speed of
playback.
705A-E-055A
Š With this keyboard, Track 1 is the basic track, which can be
used to record keyboard play, along with Auto
Accompaniment. Tracks 2 through 6 can be used for
keyboard play, so they are called melody tracks. Tracks 2
through 6 are used to add other parts to what is recorded
in Track 1.
Š Note that each track is independent of the others. This
means that even if you make a mistake while recording,
you only need to re-record the track where the mistake was
made.
Š You can use different Mixer settings for each track (page
E-39).
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Song Memory Function
Selecting a Track
Use the SONG MEMORY TRACK buttons marked CHORD/
TR1 through TR6 to select the track you want.
Using Real-time Recording
With real-time recording, the notes you play on the keyboard
are recorded as you play them.
J SONG MEMORY TRACK Buttons
To record with real-time recording
1.
1
2
3
4
5
6
Press the SONG MEMORY button twice to
enter real-time record standby.
Š Perform step 2, below, within five seconds after
entering record standby.
Track 1
Track 2
Track 3
Track 4
Š The level meters for tracks 11 through 16 are
shown on the display while the keyboard is in
record standby, so you can easily check which
tracks are already recorded. See “Level Meter
Contents During Record/Edit Standby” on page
E-61 for details.
Track 5
Track 6
Basic Song Memory operations
The status of the Song Memory changes each time you press
the SONG MEMORY button.
2.
Use the number buttons to select a song
number (0 to 4).
1
Song number
Š The above song number screen remains on the
display for about five seconds.
3.
Make the following settings.
Š Tone number
Š Rhythm number
Š Tempo
Š MODE button
4.
Press the START/STOP button to start
recording.
Š Real-time recording without a rhythm starts. If you
want to record with a rhythm, press the INTRO/
ENDING 1/2 or VARIATION/FILL-IN 1/2.
Š When recording starts, the REC indicator flashes
on the display. After a few moments the indicator
stops flashing, and remains on the display.
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Song Memory Function
5.
Play something on the keyboard.
Š You can also record Auto Accompaniment
chords by selecting the applicable mode with the
MODE button.
Š Optional pedal operation is also recorded. See
“Track 1 Contents After Real-time Recording”.
6.
Press the START/STOP button to end
recording when you are finish playing.
Š If you make a mistake while recording, you can
stop the record operation and begin over again
from step 1, or you can use the editing function
(page E-62) to make corrections.
Š Using real-time recording to record to a track that already
contains recorded data replaces the previous recording
with the new one.
Mixer Mode Settings
Channel 1 Mixer parameters (page E-39) are automatically
recorded to Track 1. You can use the Mixer to change each of
the parameters.
Memory Capacity
The keyboard has memory for approximately 10,000 notes.
Š The measure number and note number flash on the
display whenever remaining memory is less than 100
notes.
Š Recording automatically stops (and auto-accompaniment
and rhythm stops playing if they are being used)
whenever memory becomes full.
Š Initially, nothing is stored in song memory.
Track 1 Contents After Real-time Recording
In addition to keyboard notes and accompaniment chords,
the following data is also recorded to Track 1 during real-time
recording. This data is applied whenever Track 1 is played
back.
Š Tone number
Š Rhythm number
Š INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2
button, SYNCHRO/FILL-IN NEXT button operations
Memory Data Storage
Š Whenever you make a new recording, anything
previously stored in memory is replaced.
Š Turning off the keyboard while a record operation is in
progress causes the contents of the track your are
currently recording to be lost.
Š Remember that you can dump memory contents to
another MIDI device using the procedure described
under “Using the Data Download Service” on page E-82.
Š Pedal operations (option)
The following data is recorded in the header whenever you
start a recording of a track.
Š Mixer settings of other tracks
Š Effect type
Š Accompaniment volume
Š Reverb Level
Track 1 Real-time Recording Variations
The following describes a number of different variations you
can use when recording to Track 1 using real-time recording.
All of these variations are based upon the procedure
described under “To record with real-time recording” on
page E-54.
Š Chorus Level
Š DSP Hold On/Off
J To start recording with synchro start
Š Mixer Hold On/Off
In place of step 4, press the SYNCHRO/FILL-IN NEXT
button. Auto-accompaniment and recording will both start
when you play a chord on the accompaniment keyboard.
J To record using an intro, ending, or fill-in
During recording, the INTRO/ENDING 1/2, SYNCHRO/
FILL-IN NEXT, and VARIATION/FILL-IN 1/2 buttons (pages
E-35 to E-36) can all be used as they normally are.
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J To synchro start Auto Accompaniment with an
intro pattern
In place of step 4, press the SYNCHRO/FILL-IN NEXT button
and then INTRO/ENDING 1 or INTRO/ENDING 2 button.
Auto-accompaniment will start with the intro pattern when
you play a chord on the accompaniment keyboard.
J To start Auto Accompaniment part way into a
Š You can play along on the keyboard using layer (page
E-66) and split (page E-67) during playback.
Š Pressing the START/STOP button to start playback from
song memory always starts from the beginning of the song.
Š The entire keyboard functions as a melody keyboard,
regardless of the accompaniment mode setting.
recording
In place of step 4, press the SYNCHRO/FILL-IN NEXT button
and then play something on the melody keyboard to start
recording without Auto Accompaniment. When you reach
the point where you want accompaniment to start, play a
chord on the accompaniment keyboard to start Auto
Accompaniment.
Playing Back from Song
Memory
Once you record tracks to song memory, you can play them
back to see what they sound like.
To play back from song memory
1.
Use the SONG MEMORY button to enter
playback standby, and then use the number
buttons to select a song number (0 to 4).
To turn off a specific track
Press the SONG MEMORY TRACK button of the track you
want to turn off, or use the Mixer (Page E-39) to turn off the
channel of the track.
Recording Melody and Chords
with Step Recording
With step recording, you can record Auto-Accompaniment
chords and notes, and even specify note lengths one by one.
Even those who find it difficult to play along on the keyboard
with an Auto-Accompaniment can create AutoAccompaniments based on their own original chord
progressions. The following shows the type of data that can
be recorded in Tracks 1 through 6.
Track 1
: Chords and Auto-Accompaniment
Tracks 2 through 6 : Keyboard play
With step recording, first record the chords and AutoAccompaniment in Track 1. Next, record the melody in
Tracks 2 through 6.
1
2
Song number
Playback standby
Š The above song number screen remains on the
display for about five seconds. If it disappears
before you have a chance to select a song number,
use the [
] CURSOR button to re-display it.
2.
Š Use the procedure under “To record to Tracks 2 through 6
using real-time recording” on page E-59 for details on how
to record to Tracks 2 through 6.
Press the START/STOP button to playback the
song you selected.
Š You can use the TEMPO buttons to adjust the
playback tempo.
Š Press the START/STOP button again to stop
playback.
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Song Memory Function
To record chords with step recording
1.
6.
Input the length of the chord (how long it should
be played until the next chord is played).
Š Use the number buttons to specify the length of
the chord. See “Specifying the Length of a Note”
on page E-58 for details.
Press the SONG MEMORY button three times
to enter step recording standby, and then use
the number buttons to select the song number
(0 to 4).
Š The specified chord and its length are stored in
memory and the keyboard stands by for input of
the next chord.
Š Repeat steps 5 and 6 to input more chords.
7.
After you are finished recording, press the
START/STOP button.
Š This enters playback standby for the song you
have just recorded.
1
2.
Flash
Make the following settings.
Š Rhythm number
Š MODE button
3.
Press the CHORD/TR1 button, which is one of
the SONG MEMORY TRACK buttons, to select
Track1.
Š When recording starts, the REC indicator flashes
on the display. After a few moments the indicator
stops flashing, and remains on the display.
4.
5.
Š To play back the song at this time, press the
START/STOP button.
Press the SYNCHRO/FILL-IN NEXT button.
Š Use the procedure under “Correcting Mistakes While Step
Recording” on page E-61 to correct input mistakes you
make during step recording.
Š You can add on to a track that already contains recorded
data by selecting that track in step 3 of the above
procedure. Doing so automatically locates the step
recording start point at the first beat immediately following
the previously recorded data.
Š Inputting “0” as the chord length in steps 5 and 6 of the
above procedure specifies a rest, but the rest is not
reflected in the accompaniment contents when the
accompaniment is played.
Play a chord.
Š Use the chord play method that is specified by the
current MODE setting (FINGERED, CASIO
CHORD, etc.).
Š When the accompaniment mode is set to
NORMAL, specify the chord using the root input
keyboard and chord type input keyboard. See
“Specifying Chords in the Normal Mode” on
page E-58 for details.
Track 1 Contents After Step Recording
In addition to chords, the following data is also recorded to
Track 1 during step recording. This data is applied whenever
Track 1 is played back.
Š Rhythm number
Š INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2
button, SYNCHRO/FILL-IN NEXT button operations
1
2
Chord name
Measure, beat, and clock at current location*
* 96 clocks = 1 beat
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Š You can also use number buttons 1 through 7, and button
9 to specify the button release timing for the VARIATION/
FILL-IN 1, VARIATION/FILL-IN 2, and SYNCHRO/FILL-IN
buttons. For more information, see “Specifying the Length
of a Note” on page E-58. Specifying release timing
specifies that the applicable button remains depressed for
a particular amount of time. If you do not specify the
release timing, it is assumed that the button is pressed and
then immediately released.
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Song Memory Function
Specifying Chords in the Normal Mode
When the accompaniment mode is set to NORMAL during
step recording, you can specify chords using a method that is
different from CASIO CHORD and FINGERED fingerings.
This chord specification method can be used to input 18
different chord types using only two keyboard keys, so
chords can be specified even if you don’t know how to
actually play them.
Example 2:
To input Gm/C, hold down C and G on the root input
keyboard and press the m key on the chord type input
keyboard.
Specifying the Length of a Note
1
2
3
4
5
6
7
8
9
bk
bl
bm
bn
bo
bp
bq
br
bs
Major
Minor
Augmented
Diminished
Suspended four
Seventh
Minor seventh
Major seventh
Minor major seventh
Seventh flat five
Minor seventh flat five
Seventh suspended four
Diminished seventh
Minor add ninth
Add ninth
Minor sixth
Sixth
Six ninth
During step recording, the number buttons are used to
specify the length of each note.
J Note lengths
Use number buttons [1] through [6] to specify whole notes ( ),
half notes ( ), quarter notes ( ), eighth notes ( ), 16th notes
( ), and 32nd notes ( ).
Example:
To specify a quarter note ( ), press [3].
J Dots ( ) and triplicates (
)
While holding down the [7] (dot) or [9] (triplicate), use
buttons [1] through [6] to input the lengths of the notes.
Example:
To input a dotted eighth notes ( ), hold down [7] and
press [4].
J Ties
To specify a chord, hold down the key on the root input
keyboard that specifies the root, and press the key in the
chord type input keyboard to specify the chord type. When
inputting a chord with a specified bass note, pressing two
keys of the root input keyboard causes the lower note to be
specified as a bass note.
Input the first and then the second note.
Example 1:
J Rest
To input Gm7, hold down G on the root input keyboard
and press the m7 key on the chord type input keyboard.
Example:
To input
, press [4] and then [8]. Next, press [5]. This
note will be tied to the next note you input (16th note in
this example).
Hold down [0] and then use number buttons [1] through [9]
to specify the length of the rest.
Example:
To input an eighth note rest, hold down [0] and press [4].
Š Pressing the [ ] CURSOR button inputs rests up to the
beginning of the next measure
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Song Memory Function
Track 1 Step Recording Variations
The following describes a number of different variations you
can use when recording to Track 1 using step recording. All
of these variations are based upon the procedure described
under “To record chords with step recording” on page E-57.
J To start accompaniment with an intro pattern
In step 4, press INTRO/ENDING 1 or INTRO/ENDING 2
button after the SYNCHRO/FILL-IN NEXT button.
Recording Multiple Tracks
Track 1 of the keyboard’s song memory records Auto
Accompaniment and keyboard play. In addition, there are
five other melody tracks that you can use to record melody
parts only. You can record different tones to the melody
tracks and build a full ensemble of instruments for your
recordings. The procedure you use for recording to Tracks 2
through 6 is identical to the one you use when recording to
Track 1.
J To switch to a rhythm variation
In step 5, press VARIATION/FILL-IN 1 or VARIATION/
FILL-IN 2 button immediately before inputting the chord.
To record to Tracks 2 through 6 using realtime recording
J To insert a fill in
In step 5, press VARIATION/FILL-IN 1 or VARIATION/
FILL-IN 2 button at the measure or beat immediately before
the chord or beat where you want to insert the fill in.
J To insert an ending
You can record to Tracks 2 through 6 while playing back what
you originally recorded on Track 1 and any other tracks that
are already recorded.
1.
In step 5, press INTRO/ENDING 1 or INTRO/ENDING 2
button at the measure or beat immediately before the chord
where you want to insert the ending.
Š The song number you select should be the one
where you previously input Track 1.
2.
Š The length of the ending depends on the rhythm you are
using. Check the length of the pattern you are using and set
the length of the chord accordingly in step 6. Making the
chord too short in step 6 can result in the ending pattern
being cut off.
J To add chord accompaniment part way through
rhythm play
In place of step 4 at the start of the recording, press
VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button
and input rests. Then in step 5, input the chords. Only rhythm
is played where you input the rests, and then chord play
starts after the rests.
3.
Make the following settings.
Š Tone number
Š Tempo
4.
Press the START/STOP button to start
recording.
Š At this time, the contents of any tracks that are
already recorded start to play back
Š Optional pedal operation you perform is also
recorded.
5.
6.
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Use the SONG MEMORY TRACK buttons to
select the track you want to record to (2 through
6).
Š While the keyboard is in record standby, the
display shows the level meters for channels 11
through 16, so you can check which tracks have
already been recorded. See “Level Meter
Contents During Record/Edit Standby” on page
E-61 for details.
J To step record chords without rhythm
Skip step 4. The specified chord of the length specified by the
number buttons is recorded. A rest can be specified here, so
an original chord pattern can be created.
Press the SONG MEMORY button twice to
enter record standby, and then use the number
buttons to select a song number (0 to 4).
Use the keyboard to play what you want to
record the track you selected.
Press the START/STOP button to end
recording when you are finished.
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Song Memory Function
Track Contents After Real-time Recording
3.
Š Pressing a TONE button or the DRAWBAR
ORGAN button displays the tone number and
name on the display. You can then use the
number buttons, or the [+] (increase) and [–]
(decrease) buttons to change the tone.
In addition to keyboard notes, the following data is also
recorded to the selected track during real-time recording.
This data is applied whenever the track is played back.
Š After changing the tone number, press any
keyboard key to clear the tone number and name
screen, and return to the note input screen.
Š Tone number
Š Optional pedal operations
The following data is recorded in the header whenever you
start a recording of a track.
Specify a tone number.
4.
Š Mixer settings of other tracks
Use the keyboard keys to input notes, or the [0]
button to input rests.
Š Accompaniment volume
Š At this time, the display shows the keyboard
pressure (velocity). Use the [+] (increase) and [–]
(decrease) buttons to change the velocity.
Š Reverb Level
Š You can also input a chord.
Š Effect type
Š Chorus Level
Š DSP Hold On/Off
Š Mixer Hold On/Off
To record to Tracks 2 through 6 using step
recording
This procedure describes how to input notes one-by-one,
specifying each note’s pitch and length.
1.
Press the SONG MEMORY button three times
to enter real-time record standby, and then use
the number buttons to select a song number (0
to 4).
Š The song number you select should be the one
where you previously input Track 1.
2.
Use the SONG MEMORY TRACK buttons to
select the track you want to record to (2 through
6).
Example:
Select Track 2.
1
E-60
5.
6.
7.
Use the number buttons to input the length of
the note or rest (page E-58).
Repeat steps 4 and 5 to input more notes.
Press the START/STOP button to end
recording when you are finished.
Š Use the procedure under “Correcting Mistakes While Step
Recording” on page E-61 to correct input mistakes you
make during step recording.
Š You can add on to a track that already contains recorded
data by selecting that track in step 2 of the above
procedure. Doing so automatically locates the step
recording start point at the first beat immediately following
the previously recorded data.
Š Whenever you are recording to Tracks 2 through 6, the
entire keyboard functions as a melody keyboard,
regardless of the current MODE button setting.
Track Contents After Step Recording
In addition to notes and rests, the following data is also
recorded to the track during step recording. This data is
applied whenever the track is played back.
Š Tone number
Flash
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Song Memory Function
Level Meter Contents During Record/Edit
Standby
To correct mistakes while step recording
1.
Channels 11 through 16 correspond to Tracks 1 through 6.
Whenever the keyboard is in record or edit (page E-62)
standby, the level meter display shows which tracks already
contain recorded data and which are still empty. Tracks with
four lit segments already contained recorded data, while
tracks with one lit segment are not yet recorded.
1
2
Without exiting step recording, use the [ ]
CURSOR button to move the input point to the
left.
Š The REC indicator disappears from the display,
and the STEP indicator flashes.
Recording track
Not recording track
Correcting Mistakes While Step
Recording
Memory data can be thought of as a musical score that
progresses from left to right, with the input point normally at
the far right of the recorded data.
The procedure described here lets you move the input point
to the left in order to make changes in data you have already
input. Note, however, that moving the input point to the left
and changing data automatically deletes all of the data
recorded to the right of the input point.
2.
Monitoring the data on the display, use the [ ]
and [ ] CURSOR buttons to move the input
point to the data you want to change.
Example:
To re-record all note data following the note A3
located at Measure 120, Beat 1, Clock 0.
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Song Memory Function
3.
Press the [
] CURSOR button.
The following types of data can be edited.
Š Note intensity
Š Notes
Š Chords
Š Tone numbers
4.
Š Rhythm number
Press the YES button.
Š This deletes all data from the location you
specified and enters step record standby.
Š Pressing the [
] CURSOR button or the NO
button cancels deleting the data.
Š INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2
button, SYNCHRO/FILL-IN NEXT button operations
To edit memory contents
1.
Š When you reach the end of the recording by pressing the
[ ] CURSOR button, the REC indicator appears and the
STEP indicator flashes on the display, indicating that you
can add more data using step recording.
1
2.
To delete specific note data
1.
2.
3.
Perform steps 1 and 2 under “To correct
mistakes while step recording” above to display
the note you want to delete.
Press the [
] CURSOR button twice.
In response to the “Delete?” message that
appears on the screen, press the YES button to
delete the displayed note.
Press the SONG MEMORY button three times
to enter step recording standby, and then use
the [+] and [–] buttons to select a song number
(0 to 4).
3.
Flash
Use the SONG MEMORY TRACK buttons to
select the recorded track that you want to edit.
Press the [ ] CURSOR button to enter the
editing mode.
Š The REC indicator disappears from the display,
and the STEP indicator flashes.
4.
Use the [ ] and [ ] CURSOR buttons to
move to the location in track where the note or
parameter you want to change is located.
Note editing example
Editing Memory Contents
After you record to keyboard memory, you can recall
individual notes and parameter settings (such as tone
number) and make any changes you want. This means you
can correct misplayed notes, make changes in tone selections,
etc.
E-62
1
2
Velocity
Pitch
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Song Memory Function
5.
Make any changes in the value that you want.
Š The actual procedures you use to change a
parameter depend on the type of data it contains.
See “Editing Techniques and Display Contents”
on page E-63 for details.
Š Repeat steps 4 and 5 to edit other parameters.
6.
Press the START/STOP button to end editing
when you are finished.
Š The only parameters that can be editted for Tracks 2
through 6 are notes and tone numbers.
Š In the case of real-time recording, you later can change
tone numbers you specified while recording to Tracks 1
through 6 is in progress.
Š You can only change tone numbers that were originally set
for Tracks 2 through 6 using step recording.
Š In the case of real-time recording, you later can change
rhythm numbers you specified while recording to Track 1 is
in progress.
Š You can only change rhythm numbers that were originally
set for Track 1 using step recording.
Š You cannot use the edit procedure to add more data to a
recording.
Š You cannot move portions of a recording to a different
location within the recording.
Š Note lengths cannot be changed.
Editing Techniques and Display Contents
The following describes the editing techniques you can use to
change the various parameters stored in memory.
Š Whenever editing memory contents, never change a note
so it is identical to the note before or after it. Doing so may
alter the length of the changed note and the note before or
after it. Should this happen, you will have to re-record the
entire track.
J To change a chord
Use the chord fingering method selected by the MODE button
(FINGERED, CASIO CHORD, etc.) to input a chord.
J To change a tone number
Use the number buttons or [+] and [–] buttons to change a
tone number.
Š In the case of real-time recording, you later can change
tone numbers you specified while recording to Tracks 1
through 6 is in progress.
Š You can only change tone numbers that were originally set
for Tracks 2 through 6 using step recording.
J To change the key pressure (velocity) of a note
Use the number buttons or [+] and [–] to adjust the key
pressure.
J To change a rhythm number
Use the number buttons or [+] and [–] buttons to change a
rhythm number.
J To change the pitch of a note
Input a new note on the keyboard to change the pitch of a
note. The pitch you specify here is reflected in the keyboard
and the notes shown in the staff on the display.
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Š In the case of real-time recording, you later can change
rhythm numbers you specified while recording to Track 1 is
in progress.
Š You can only change rhythm numbers that were originally
set for Track 1 using step recording.
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Song Memory Function
J To change a rhythm controller operation *
3.
* INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL IN 1 button, VARIATION/FILL IN 2
button, SYNCHRO/FILL IN NEXT button operations
Press the [
] CURSOR button. If there is no
song number on the display, press the [
]
CURSOR button three times.
Š This displays the song delete screen.
Press the rhythm controller button you want to change to.
1
Editing a Song
2
4.
You can perform the following operations in the song editing
mode.
Š Delete a song
Number of the song that contains the track (cannot
be changed)
Track delete standby
Use the SONG MEMORY TRACK buttons to
select the recorded track or tracks whose data
you want to delete.
Track delete standby
Š Delete a track
Š Song header data rewrite (Panel Record)
To delete a song
1.
2.
3.
1
2
Press the SONG MEMORY button once to
enter playback standby.
Use the [+] and [–] buttons to select the number
of the song you want to delete.
Press the [ ] CURSOR button. If there is no
song number on the display, press the [
]
CURSOR button twice.
Š To deselect a track, simply press its track select
button again.
5.
5.
Press the YES button to delete the song and
return to playback standby.
Press the YES button.
Š This causes the message “Sure?” to appear,
confirming whether you really want to delete the
track.
Press the YES button.
Š This causes the message “Sure?” to appear,
confirming whether you really want to delete the
song.
Track being deleted (Multiple tracks can be
specified.)
Š You can specify more than one track for deletion
by pressing more than one track select button.
Š This displays the song delete screen.
4.
Recorded track
6.
Press the YES button to delete the track.
Š You cannot change the song number while in track delete
standby.
Š Pressing the SONG MEMORY button while in track delete
standby returns to record standby.
To delete a specific track
1.
2.
E-64
Press the SONG MEMORY button once to
enter playback standby.
Use the [+] and [–] buttons to select the number
of the song that contains the track you want to
delete.
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Song Memory Function
To rewrite song header data (Panel Record)
You can use a procedure called “Panel Record” to change the
initial Mixer, tempo and other settings stored in the song
header.
1.
2.
3.
4.
Press the SONG MEMORY button once to
enter playback standby.
Use the [+] and [–] buttons to select the number
of the song that contains the header data you
want to rewrite.
Make the changes you want to the header data.
Press the [
] CURSOR button three times.
Š This displays the song delete screen.
Š This causes the message “Pnel Rec?” to appear on
the display.
5.
Press the YES button to rewrite the header
data.
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Keyboard Settings
Keyboard Settings
1
MODE
2
TRANSPOSE/FUNCTION
3
TONE
4
7
EXIT
5
8
DSP
6
9
SPLIT
bk
[+]/[–], YES/NO
LAYER
[
]/[
Parts
Up to four parts (numbered 1 through 4) can be used
simultaneously during keyboard play. These parts can be
used by the layer and split functions explained below.
]/[
]/[
] CURSOR
Number buttons
To layer tones
1.
First select the main tone.
Example:
To select “361 BRASS GM” as the main tone,
press the TONE button and then use the number
buttons to input 3, 6 and then 1.
Part 1: Main tone part
Part 2: Layered tone part
Part 3: Split tone part
Part 4: Layered and split tone part
Using Layer
2.
Layer lets you assign two different tones (a main tone and a
layered tone) to the keyboard, both of which play whenever
you press a key. For example, you could layer the FRENCH
HORN GM tone on the BRASS GM tone to produce a rich and
brassy sound.
J LAYER
Press the LAYER button.
1
2
3.
Selected layer tone
Pointer
Select the layered tone.
Example:
To select “360 FRENCH HORN GM” as the
layered tone, use the number buttons to input 3,
6 and then 0.
4.
Now try playing something on the keyboard.
Š Both tones are played at the same time.
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Keyboard Settings
5.
Press the LAYER button again to unlayer the
tones and return the keyboard to normal.
To split the keyboard
1.
Š Turning on layering switches the currently selected part
from Part 1 to Part 2, and displays the layered tone. At that
time, you can use the [ ] and [
] CURSOR buttons to
switch between parts. Turning off layering returns to Part 1.
Š The main tone sounds over Channel 1, while the layered
tone sounds over Channel 2. You can also use the Mixer to
change the tone and volume settings for these channels.
Š Note that layering is not possible during record standby or
recording in the Song Memory Mode, or while you are
using the SMF Player Mode.
First select the main tone.
Example:
To select “348 STRINGS 1” as the main tone,
press the TONE button and then use the number
buttons to input 3, 4 and then 8.
2.
Press the SPLIT button.
Using Split
With split you can assign two different tones (a main tone and
a split tone) to either end of the keyboard, which lets you play
one tone with your left hand and another tone with your right
hand. For example, you could select STRINGS 1 as the main
(high range) tone and PIZZICATO GM as the split (low
range) tone, putting an entire string ensemble at your
fingertips.
Split also lets you specify the split point, which is the location
on the keyboard where the changeover between the two tones
occurs.
1
2
3.
Selected split tone
Pointer
Select the split tone.
Example:
To select “345 PIZZICATO GM” as the split tone,
use the number buttons to input 3, 4 and then 5.
Š Leave the MODE button in the NORMAL or FULL RANGE
CHORD position.
J SPLIT
4.
Specify the split point. While holding down the
SPLIT button, press the keyboard key where
you want the leftmost key of the high end range
to be.
Example:
To specify G3 as the split point, press the G3 key.
5.
Now try playing something on the keyboard.
Š Every key from F#3 and below is assigned the
PIZZICATO GM tone, while every key from G3
and above is assigned the STRINGS 1 tone.
6.
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Press the SPLIT button again to unsplit the
keyboard and return it to normal.
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Keyboard Settings
2.
Š Turning on split switches the currently selected part to Part
3, and displays the split tone. At that time, you can use the
[ ] and [ ] CURSOR buttons to switch between parts.
Turning off split returns to Part 1.
Š The main tone sounds over Channel 1, while the split tone
sounds over Channel 3. You can also use the Mixer to
change the tone and volume settings for these channels.
Š Note that split is not possible during record standby or
recording in the Song Memory Mode, or while you are
using the SMF Player Mode.
Š When the accompaniment mode is set to CASIO CHORD
or FINGERED, the accompaniment keyboard range is in
accordance with the split point you specify with the above
procedure.
Press the SPLIT button and then input the
number of the split tone.
Example:
To set “345 PIZZICATO GM” as the split tone.
Š After specifying the split tone, press the SPLIT
button to unsplit the keyboard.
3.
Press the LAYER button and then input the
number of the layered tone.
Example:
To set “360 FRENCH HORN GM” as the layered
tone.
Using Layer and Split Together
You can use layer and split together to create a layered split
keyboard. It makes no difference whether you layer tones first
and then split the keyboard, or split the keyboard and then
layer tones. When you use layer and split in combination, the
high range of the keyboard is assigned two tones (main tone
+ layered tone), and the low range two tones (split tone +
layered split tone).
4.
5.
To specify the “348 STRINGS 1” tone, enter 3, 4,
8.
6.
1.
7.
While holding down the SPLIT button, press the
keyboard key where you want the lowest note
(the leftmost key) of the upper range (right side
range) to be.
Play something on the keyboard.
Š Press the LAYER button to unlayer the keyboard,
and the SPLIT button to unsplit it.
Press the TONE button and then input the tone
number of the main tone.
Example:
To set “361 BRASS GM” as the main tone.
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Input the number of the layered split tone.
Example:
J LAYER SPLIT
To split the keyboard and then layer tones
Press the SPLIT button or the LAYER button so
both of the SPLIT and LAYER indicators are
displayed.
Š Turning on layer+split switches the currently selected part
to Part 4, and displays the layered tone. At that time, you
can use the [ ] and [
] CURSOR buttons to switch
between parts. Turning off layer returns to Part 3, while
turning off split returns to Part 2. Turning off both layer and
split returns to Part 1.
Š The main tone sounds over Channel 1, the layer tone over
Channel 2, the split tone over Channel 3, and the layer/split
tone over Channel 4. You can also use the Mixer to change
the tone and volume settings for these channels.
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Keyboard Settings
Transposing the Keyboard
Transpose lets you raise and lower the overall key of the
keyboard in semitone units. If you want to play an
accompaniment for a vocalist who sings in a key that’s
different from the keyboard, for example, simply use
transpose to change the key of the keyboard.
Using Touch Response
When touch response is turned on, the relative volume of
sound output by the keyboard is varied in accordance with
the amount of pressure applied, just like an acoustic piano.
To turn touch response on and off
To transpose the keyboard
1.
Use [+] and [–] to change the transpose setting
of the keyboard.
Example:
To transpose the keyboard five semitones
upwards.
Press the TRANSPOSE/FUNCTION button.
Š This causes a pointer to appear on the display
next to TRANSPOSE/FUNCTION.
Press the TRANSPOSE/FUNCTION button.
Š This causes a pointer to appear on the display
next to TRANSPOSE/FUNCTION, and displays
the transpose setting screen.
2.
1.
2.
3.
Use the [ ] and [ ] CURSOR buttons to
display the touch response setting screen.
Use the [+] and [–] buttons to select the touch
response sensitivity level.
Š “1” outputs powerful sound even with light key
pressure, while “3” requires very heavy key
pressure to output powerful sound.
Š Pressing [+] and [–] at the same time returns
sensitivity to the “2” setting.
Š When you select “oFF”, the tone does not change
regardless of how much pressure you apply to
the keyboard.
Š Pressing the TRANSPOSE/FUNCTION button
exits the transpose screen.
Š The keyboard can be transposed within a range of –24 (two
octave downwards) to +24 (two octave upwards).
Š The transpose setting also affects playback from song
memory and Auto Accompaniment.
Š The allowable pitch range you can transpose within
depends on the tone you are using. If a transpose
operation causes a note to be outside of the pitch range for
the tone being used, the keyboard automatically plays the
same note in the nearest octave that falls within the pitch
range of the tone you are using.
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Š Touch response not only affects the keyboard’s internal
sound source, it also is output as MIDI data.
Š Song Memory playback, accompaniment, and external
MIDI note data do not affect the touch response setting.
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Keyboard Settings
Tuning the Keyboard
The tuning feature lets you fine tune the keyboard to match
the tuning of another musical instrument.
To tune the keyboard
1.
2.
3.
Press the TRANSPOSE/FUNCTION button.
Use the [ ] and [ ] CURSOR buttons to
display the tuning screen.
Use [+] and [–] to change the tuning setting of
the keyboard.
Example:
To lower the tuning by 20.
Š Pressing the TRANSPOSE/FUNCTION button
exits the transpose screen.
Š The keyboard can be tuned within a range of –99 cents to
+99 cents.
* 100 cents is equivalent to one semitone.
Š The tuning setting also affects playback from song memory
and Auto Accompaniment.
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Keyboard Settings
Changing Other Settings
Setting Types
The table below shows the parameters whose settings you can change.
Setting menu
Description
Page
Transpose
(Trans.)
Adjusts overall keyboard tuning by semitone units.
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Auto Harmonize
(AutoHarm)
Selects the Auto Harmonize Type.
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Touch Response
(Touch)
Specifies how sound should change with keyboard pressure.
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Tune
(Tune)
Fine adjustment of overall keyboard tuning.
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Display
(Contrast)
Adjusts display brightness.
E-74
Pedal
(Jack)
Assigns effects to pedals.
E-74
Mixer Hold
(MixHold)
Turns mixer hold on or off.
E-74
DSP Hold
(DSP Hold)
Turns DSP hold on or off.
E-74
MIDI
(MIDI)
MIDI settings
E-75
Delete/Initialize
(Del/Init)
Initializes all settings to initial factory defaults, resets specific settings or deletes user rhythms.
E-75
Š The above settings are all saved whenever you turn off the keyboard. For details, see “Memory Contents” on page E-16.
Š MIDI settings and Delete/Initialize settings are disabled while you are using the SMF Player or Song Memory function.
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Keyboard Settings
To use the keyboard settings menu
1.
Press the TRANSPOSE/FUNCTION button.
This causes a pointer to appear on the display next to TRANSPOSE/FUNCTION.
2.
E-72
Use the [ ] and [ ] CURSOR buttons, and the [
settings you want to change.
] and [
] CURSOR buttons to recall the items whose
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Keyboard Settings
3.
Use the [+] and [–] buttons or the number buttons to change the values.
Š Settings you make are applied even if you do not press the EXIT button.
Š See the following section titled “Setting Menu Items” for details on each setting.
Š After making the settings you want, press the TRANSPOSE/FUNCTION button or EXIT button to return to the tone or
rhythm selection screen.
z In case of a delete or initialize procedure
4.
Press the YES button.
Š This displays the user area number and data name of the data to be deleted.
Š The data size value represents kilobyte units.
5.
6.
Now use the number buttons, or the [+] (increase) and [–] (decrease) buttons to select the data you want.
Press the [
] CURSOR button.
Š This causes the message “Sure?” to appear, confirming whether you really want to perform the delete or initialize
operation.
7.
Press the YES button to complete the operation.
Š This performs the delete or initialize operation and returns to the step 5 screen.
8.
After making the settings you want, press the TRANSPOSE/FUNCTION button or EXIT button to return to the
tone or rhythm selection screen.
Š It can take more than one minute to perform a delete or initialize procedure after you pressing the YES button in step 7 above. The
message “Pls Wait” will remain on the display to indicate that a procedure is being performed. Never try to perform any operation while
“Pls Wait” is displayed.Performing any operation can damage the keyboard's memory and cause it to malfunction.
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Keyboard Settings
Setting Menu Items
J Auto Harmonize Types
You can select from among the 10 different types of auto harmonize listed below.
No.
Type
Description
0
Duet1
Adds a 1-part harmony to keyboard play.
1
Duet2
Adds a 1-part harmony to keyboard play. Duet2 harmony is more open than Duet1.
2
Country
Adds a country-flavor harmony to keyboard play.
3
Octave
Adds notes one octave below notes played on the keyboard.
4
5th
Adds fifth notes above notes played on the keyboard.
5
3-Way Open
Adds two open harmony parts to notes played on the keyboard (creating three-part harmony).
6
3-Way Close
Adds two close harmony parts to notes played on the keyboard (creating three-part harmony).
7
Strings
Adds harmony suitable for strings.
8
Block
Adds block chord notes.
9
Big Band
Adds harmony suitable for big band play.
J Other Settings
Setting menu
Contrast
(Contrast)
Assignable Jack
(Jack)
Mixer Hold
(MixHold)
DSP Hold
(DSP Hold)
E-74
Range
Default
00 to 15
07
SUS
SUS
SoS
—
Assigns the sostenuto pedal effect to a pedal.
SFt
—
Assigns the soft pedal effect to a pedal.
rhy
—
Assigns the START/STOP button function to a pedal.
on/oFF
oFF
on/oFF
Description
Adjusts display contrast.
Assigns the sustain pedal effect to a pedal.
When Mixer Hold is turned on, the parameters of accompaniment parts
(Part 6 through Part 10) cannot be modified by accompaniment data.
on:
Current DSP line setting is maintained, even when the tone is
changed.
oFF:
Changing the tone switches to the DSP line setting of the new
tone.
oFF
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Keyboard Settings
J MIDI Settings
Setting menu
Range
Default
Description
Keyboard Channel
(Keybd Ch)
01 to 16
01
MIDI In Chord Judge
(Chord)
on/oFF
oFF
Specifies whether accompaniment range MIDI Note On messages
received from an external device should be interpreted as auto
accompaniment chords.
Accomp/Song MIDI Out
(Ac/sg Out)
on/oFF
oFF
Specifies whether this keyboard’s auto accompaniment or song
memory is sent as MIDI messages.
Local Control Setting
(Local)
on/oFF
on
Specifies whether the keyboard should sound the parts played on it.
Range
Default
SMF Delete
—
—
Deletes selected SMF data.
User Rhythm Delete
—
—
Deletes selected user rhythm data.
User Tone Delete
—
—
Deletes selected user tone data.
Mixer Reset
(InitMix?)
—
—
Initializes parameters assigned by the Mixer or by input from an
external sequencer.
Parameter Reset
(InitPar?)
—
—
Initializes all parameters, except for the display contrast setting.
System Reset
(InitSys?)
—
—
Specifies the send channel for main tone play.
J Delete/Initialize Settings
Setting menu
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Description
Initializes to initial factory defaults.
Deletes all data in the user area.
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Using the SMF Player
Using the SMF Player
1
SMF PLAYER
2
MIXER
3
EXIT
4
7
ACCOMP VOLUME
5
8
START/STOP
6
[
Number buttons
]/[
]/[
]/[
] CURSOR
[+]/[–]
The letters “SMF” stand for Standard MIDI File, which is a file format that allows MIDI data to be shared between different software
and sequencers. There are actually three SMF formats, named SMF 0, SMF 1, and SMF 2. This keyboard supports the SMF 0 format,
which is the one that is most widely used today, and so all mentions of “SMF data” in this manual refer to SMF 0 format data.
The Flash Memory built into your keyboard lets you store SMF format music data for playback whenever you want. You can have
up to 200 music files* in Flash Memory at one time. You can download SMF data from the CASIO MUSIC SITE and then transfer it
from your computer to the keyboard’s flash memory. See “Using the Data Download Service” on page E-82 for more information.
Initially, your keyboard comes with one sample SMF tune in memory.
* Note that the number of files you can store in memory also depends on the size of each file. If your files are very large, you may
be able to store fewer than 200.
Š Note that CASIO COMPUTER CO., LTD. shall not be held liable for any loss of data stored in this keyboard's Flash Memory.
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Using the SMF Player
SMF Player Mode Operational Flow
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Using the SMF Player
Playing Back an SMF
2.
Use the [+] and [–] buttons or the number
buttons to adjust the SMF volume.
Š You can specify a setting in the range of 000
(minimum) to 127 (maximum).
Š Pressing [+] and [–] at the same time returns the
SMF volume setting to 100.
To play back an SMF
1.
Š This causes the SMF player pointer to appear on
the display.
Š SMF are those whose file names end with the
extension “MID”. An error message appears at
this time if there are no SMF files currently in
Flash Memory.
2.
Use the [ ] and [ ] CURSOR buttons or the
[+] and [–] buttons to select the file you want to
play.
Š The name of the currently selected file appears in
the text area of the display. The number area of
the display shows the size of the file in kilobytes.
3.
Š Note that this setting does not affect the volume
of the notes you play on the keyboard.
Press the SMF PLAYER button to display the
file selection screen.
Configuring Other Settings
To configure other settings
1.
Š Perform steps 1 through 2 under “To play back an
SMF” to select a file.
2.
Press the START/STOP button.
Š The number area shows the number of the part to
be played by hand.
Š Press the MIXER button to enter the Mixer Mode.
Š Turn off the channel that corresponds to the play
along part you selected above. See “Turning
Channels On and Off” on page E-40 for more
information. Performing this step turns off the
applicable part so you can play it on the keyboard
along with the rest of the SMF playback.
Š You can use the TEMPO buttons to adjust the
tempo within the range of 30 to 255.
Š You can turn channels 1 through 16 on and off,
regardless of whether file playback is in progress
or stopped. For more information, see “Turning
Channels On and Off” on page E-40.
To stop file playback, press the START/STOP
button again.
Š Entering the SMF Player Mode initializes all parts by
turning on all Mixer Mode channels.
Š After configuring Mixer Mode settings, press the
MIXER button or EXIT button to return to the
SMF Player Mode.
Adjusting SMF Playback Volume
The following procedure explains how to control the overall
volume of SMF data playback. You can adjust volume while
playback is stopped or ongoing.
1.
Press the ACCOMP VOLUME button.
Š This causes the “SMF Vol.” indicator to appear on
the display, along with a value that indicates the
current SMF volume setting.
Press the [
] CURSOR button to display a
screen for selecting the part you want to play on
the keyboard (play along part).
Š Use the [ ] and [ ] CURSOR buttons or the [+]
and [–] buttons to select the play along part.
Š This starts playback of the selected file.
4.
Select the file you want to play back.
3.
Press the [
] CURSOR button to display the
playback mode selection screen.
Š Use the [ ] and [ ] CURSOR buttons or the [+]
and [–] buttons to select the playback mode.
You can select from among the following four
playback modes.
S1: One file, one time
SL: One file, repeat
A1: All files, one time
AL: All files, repeat
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Using the SMF Player
4.
Press the [
] CURSOR button to display the
output mode selection screen.
Š Use the [ ] and [ ] CURSOR buttons or the [+]
and [–] buttons to select the output mode.
Š You can select from among the following two
output types.
int:
Keyboard’s built-in speakers
out: MIDI OUT
Š Layer, split, and Auto Harmonize are automatically turned
off in the SMF Player Mode.
SMF Player Error Messages
The following explains what you should do when an error
message appears in the SMF Player Mode.
Error
Message
Cause
Action
Err
Not SMF0
You are attempting to play
Use only Format
SMF data that is not Format 0. 0 SMF data.
Err
WrongDat
There is a problem with the Use different
SMF data you are trying to
data.
play or the data is corrupted.
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MIDI
MIDI
What is MIDI?
The letters MIDI stand for Musical Instrument Digital
Interface, which is the name of a worldwide standard for
digital signals and connectors that make it possible to
exchange musical data between musical instruments and
computers (devices) produced by different manufacturers.
MIDI compatible equipment can exchange keyboard key
press, key release, tone change, and other data as messages.
Though you do not need any special knowledge about MIDI
to use this keyboard as a stand-alone unit, MIDI operations
require a bit of specialized knowledge. This section provides
you with an overview of MIDI that will help to get you going.
MIDI Connections
MIDI messages are send out through the MIDI OUT terminal
of one device to the MIDI IN terminal of another machine
over a MIDI cable. To send a message from this keyboard to
another device, for example, you must use a MIDI cable to
connect the MIDI OUT terminal of this keyboard to the MIDI
IN terminal of the other device. To send MIDI messages back
to this keyboard, you need to use a MIDI cable to connect the
other device’s MIDI OUT terminal to the MIDI IN terminal of
this keyboard.
To use a computer or other MIDI device to record and
playback the MIDI data produced by this keyboard, you must
connect the MIDI IN and MIDI OUT terminals of both devices
in order to send and receive data.
MIDI Channels
MIDI allows you to send the data for multiple parts at the
same time, with each part being sent over a separate MIDI
channel. There are 16 MIDI channels, numbered 1 through 16,
and MIDI channel data is always included whenever you
exchange data (key press, pitch bend operation, etc.).
Both the sending device and the receiving machine must be
set to the same channel for the receiving device to correctly
receive and play data. If the receiving device is set to Channel
2, for example, it receives only MIDI Channel 2 data, and all
other channels are ignored.
This keyboard is equipped with multi-timbre capabilities,
which means it can receive messages over all 16 MIDI
channels and play up to 16 parts at the same time. Tone and
volume settings for each channel can be made using the
keyboard’s onboard Mixer, or by an external source that
sends required MIDI control messages.
Keyboard operations performed on this keyboard are sent out
by selecting a MIDI channel (1 to 16) and then sending the
appropriate message.
General MIDI
General MIDI standardizes MIDI data for all sound source
types, regardless of manufacturer. General MIDI specifies
such factors as tone numbering, drum sounds, and available
MIDI channels for all sound sources. This standard makes it
possible for all MIDI equipment to reproduce the same
nuances when playing General MIDI data, regardless of the
manufacturer of the sound source.
This keyboard supports General MIDI, so it can be used to
play commercially available pre-recorded General MIDI data
and General MIDI data send to it from a personal computer.
See the “Tone List” on page A-1 for details about the tones
that are available with GM tones numbered 000 to 127.
If a MIDI THRU function provided by the software is being
run on a connected computer or other MIDI device, be sure to
turn this keyboard’s “Local Control Setting” off (page E-75).
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MIDI
Sending and Receiving MIDI
Messages
This keyboard can send notes you play on the keyboard, as
well as auto accompaniment patterns and Song Memory
playback as MIDI messages to another device.
MIDI Send Data
z Keyboard Play
Each keyboard part (Channels 1 through 4) is sent over its
own individual MIDI channel. When Auto Harmonize is
turned on, harmonize notes are also sent over each individual
MIDI channel.
z Auto Accompaniment or Song Memory Play
Each accompaniment part is sent over its own individual
MIDI channel. The “Accomp/Song MIDI Out” parameter
(page E-75) is used to specify whether a part is sent.
MIDI Message Receive
z Multi Channel Receive
The 16 mixer parts can be used to receive data over 16 MIDI
message channels at the same time.
z Chord Changes when Using Auto Accompaniment
MIDI messages received from an external device can be
interpreted as chord changes as specified by the fingerings
supported by the auto accompaniment system of this
keyboard. Use the “MIDI In Chord Judge” parameter (page E75) to turn this capability on and off.
Š See the MIDI Implementation Chart at the back of this
User’s Guide for more information about each MIDI
message.
MIDI Settings
You can change the settings of a number of parameters that
control how MIDI messages are sent and received.
MIDI Parameters
You can use the parameter setting procedure (page E-72) to
change the settings of the MIDI parameters described below.
See page E-75 for details about the setting menu and
procedure.
z MIDI In Chord Judge
This parameter determines whether note data received from
an external device should be interpreted as an auto
accompaniment chord fingering. Turn on this parameter
when you want to control auto accompaniment chords from
a computer or other external device.
Š on :
Causes note data input through MIDI IN to be
interpreted as auto accompaniment chord
fingerings. The channel specified by the keyboard
channel is used for specifying chords.
Š oFF : Turns off “MIDI In Chord Judge”.
z Accomp/Song MIDI Out (Accompaniment/Song MIDI
Out)
Turn on this parameter when you want sound auto
accompaniment or Song Memory on an external devices
sound source.
Š on :
Outputs auto accompaniment or Song Memory as
MIDI messages through the keyboard’s MIDI
OUT terminal.
Š oFF : Does not output auto accompaniment or Song
Memory.
Š For details about MIDI specifications, visit the CASIO
Website.
http://world.casio.com
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MIDI
Using the Data Download
Service
You can download the following type of data from CASIO
MUSIC SITE (http://music.casio.com) to your computer, and
then transfer it to the keyboard.
To connect to a computer
Be sure to turn off the keyboard and your computer before
connecting them. You should also set the volume controller of
the keyboard to a relatively low volume.
1.
Š Tones
Connect the keyboard’s MIDI interface to your
computer’s MIDI interface.
Š Tones with waves
Š Drum sets with waves
Š DSP
Š Rhythms
Š Registrations
Š Songs
Š SMF
z Data and Application Software
Data itself as well as application software for transferring
data between your computer and the keyboard are available
for download at the CASIO MUSIC SITE.
z Application Software
You can run the application software on your computer and
transfer data you download from the CASIO MUSIC SITE to
the keyboard, and also use your computer’s hard disk for
long-term storage of data you transfer from the keyboard to
your computer.
Š See the instructions provided at the CASIO MUSIC SITE
for full information about how to download the
application software and data.
Š See the application software’s online help for information
about how to use the software.
*CASIO MUSIC SITE
http://music.casio.com/
1.
2.
3.
2.
Go to the above URL.
Select a region or country.
3.
Turn on the keyboard, and then turn on your
computer or other connected device.
Start up the software you want to use on your
computer.
Select a download service for the INTERNET
DATA EXPANSION SYSTEM data.
Š Note that the service you should use depends on
the area or country.
Š When using the application software, make sure that the
tone setting screen (the screen that appears after turning
on power) is on the keyboard’s display screen.
DATA ACCESS Lamp
Š The DATA ACCESS lamp lights whenever the keyboard
is exchanging data with a connected computer over a
MIDI cable connection. Never disconnect the MIDI cable
while the DATA ACCESS lamp is lit.
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Troubleshooting
Troubleshooting
Problem
No keyboard Sound
Any of the following symptoms
while using battery power.
Possible Cause
Action
See page
1. Power supply problem.
1. Correctly attach the AC
E-14, 15
adaptor, make sure that
batteries poles (+/–) are facing
correctly, and check to make
sure that batteries are not dead.
2. Power is not turned on.
2. Press the POWER button to
turn on power.
E-19
3. Volume setting is too low.
3. Use the VOLUME knob to
increase volume.
E-19
4. Playing in the accompaniment
keyboard area while the MODE
button setting is CASIO CHORD or
FINGERED.
E-31
4. None of the accompaniment
mode indicators are lit, which
means Auto Accompaniment is
turned off.
5. Local Control is off.
5. Turn on Local Control.
6. Mixer channel 1 is turned off.
6. Use the Mixer to turn channel 1 E-40
on.
7. Mixer channel 1 volume setting is too
low.
7. Use the Mixer to raise the
volume setting for channel 1.
E-40, 41
Replace the batteries with a set of
new ones or use the AC adaptor.
E-14, 15
Low battery power
E-75
Š Dim power indicator
Š Instrument does not turn on.
Š Display that is flickering, dim,
or difficult to read
Š Abnormally low speaker/
headphone volume
Š Distortion of sound output
Š Occasional interruption of sound
when playing at high volumes
Š Sudden power failure when
playing at high volumes
Š Flickering or dimming of the
display when playing at high
volume
Š Continued sound output even
after you release a key
Š A tone that is totally different
from the one that is selected.
Š Abnormal rhythm pattern and
demo tune play
Š Loss of power, sound distortion,
or low volume when playing
from a connected computer or
MIDI device
Auto Accompaniment does not
sound.
Sound output does not change
when key pressure is varied.
705A-E-085A
1. Accompaniment volume is set to 000.
1. Use the ACCOMP VOLUME
button to increase the volume.
E-38
2. Auto Accompaniment part Channels
6 through 10 are turned off.
2. Use the Mixer to turn the
channels on.
E-40
3. Auto Accompaniment part Channels 6
through 10 volume setting is too low.
3. Use the Mixer to raise the volume E-40, 41
setting for the applicable channel.
Touch response is turned off.
Press the TRANSPOSE/FUNCTION E-69
button to turn it on.
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Troubleshooting
Problem
Possible Cause
Action
See page
Playing the keyboard sounds two tones. Layer is turned on.
Press the LAYER button to turn off layering. E-66
Different tones sound when keys in
Split is turned on.
different keyboard ranges are pressed.
Press the SPLIT button to turn off
split.
The key or tuning does not match
when playing along with another
MIDI machine.
Parts suddenly drop out during
song memory playback.
Some parts do not play at all
during song memory playback.
Nothing happens when the
LAYER or SPLIT button is
pressed.
No sound is produced when
playing MIDI data from a
computer.
E-67
1. The tuning or transpose parameter is
set to a value other than 00.
1. Change the transpose or tuning E-69, 70
parameter value to 00.
2. Mixer coarse tune, fine tune, and/or
octave shift settings are values other
than 00.
2. Use the Mixer to change the
coarse tune, fine tune, and/or
octave shift settings to 00.
The number of tones being played at the
same time exceeds the keyboard’s
limitation.
Use the Mixer to turn unneeded
channels off and decrease the
number of parts being played.
E-42
E-40
1. Channels are turned off.
1. Use the Mixer to turn channels
on.
E-40
2. Volume setting is too low.
2. Use the Mixer to check the
volume setting.
E-40, 41
1. One or more of the melody channels
(2 through 4) is turned off.
1. Use the Mixer to turn on
Channels 2 through 4.
E-40
2. The volume setting of one or more of the
melody channels (2 through 4) is too low.
2. Use the Mixer to raise the volume E-40, 41
setting of Channels 2 through 4.
3. The keyboard is in record standby.
3. The LAYER and SPLIT buttons E-66, 67
are disabled during recording
and record standby.
4. The SMF Player Mode is currently
being use.
E-76
4. Turn off the SMF Player Mode.
LAYER and SPLIT are not available
while the SMF Player Mode is in use.
1. MIDI cables are not connected
properly.
1. Connect MIDI cables properly. E-80
2. Channel is turned off, or volume
setting is too low.
2. Use the Mixer to turn the channel E-40, 41
on, or raise the volume setting.
Playing on the keyboard produces The computer’s MIDI Thru function is
an unnatural sound when
turned on.
connected to a computer.
Turn off the MIDI Thru function on E-75
the computer or turn off Local
Control on the keyboard.
Cannot record chord
Accomp/Song MIDI Out is turned off.
accompaniment data on a computer.
Turn on Accomp/Song MIDI Out.
The keyboard starts up
abnormally when it is turned on.
Flash memory is corrupted.
E-75
1. Remove the batteries from the
E-75
keyboard and disconnect the AC
adaptor and press the POWER button.
2. Reload the batteries and/or
reconnect the AC adaptor, and
then press the POWER button
again to turn on power
3. Use the TRANSPOSE/
FUNCTION button to perform
the system reset operation
Š If this does not solve the
problem, contact your nearest
authorized CASIO Service
Provider to request repair.
A downloaded tone with
waveform contains noise or
keyboard operations become
abnormal when user data is
selected.
E-84
Someone may have turned off the
keyboard while data was being stored in
Flash memory or something else has
caused Flash memory contents to become
corrupted for some reason.
Use the TRANSPOSE/FUNCTION button E-75
to perform the system reset operation.
If this does not correct the problem,
contact your nearest authorized CASIO
Service Provider to request maintenance.
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Specifications
Specifications
Model:
CTK-691
Keyboard:
61 standard-size keys, 5 octaves with touch response (Off / 1 / 2 / 3)
Tones:
300 Advanced Tones + 200 Preset Tones + 16 Drum Sets + 100 standard user tones + 20
user tones with waves* + 4 drum sets with waves* + 50 drawbar organ tones + 100 user
drawbar organ tones (790 tones total); layer/split
Rhythm Instrument Tones:
61
Polyphony:
32 notes maximum (10 for certain tones)
Effects:
DSP (200 types: internal, 100 user areas) + Reverb (16 types) + Chorus (16 types) +
Equalizer (10 types, 4 bands)
Auto Accompaniment
Š Rhythm Patterns:
156 (internal, 16 user areas*)
Š Tempo:
Variable (226 steps, = 30 to 255)
Š Chords:
3 fingering methods (CASIO CHORD, FINGERED, FULL RANGE CHORD)
Š Rhythm Controller:
START/STOP, INTRO/ENDING 1 and 2, VARIATION/FILL-IN 1 and 2, SYNCHRO/
FILL-IN NEXT
Š Accomp Volume:
0 to 127 (128 steps)
Š One-touch Presets:
Recalls settings for tone, tempo, layer on/off, and harmonize on/off in accordance with
rhythm.
Š Auto Harmonize:
10 types: Automatic addition of notes that harmonize with melody note in accordance
with specified Auto Accompaniment chords.
Memory Function
Š Songs:
5
Š Recording Tracks:
6 (2 through 6 are melody tracks)
Š Recording Methods:
Real-time, step
Š Memory Capacity:
Approximately 10,000 notes (total for 5 songs)
Š Edit Function:
Equipped
Demo Tunes:
3
Synthesizer Function
Š Parameters:
Attack time; release time; resonance; cutoff frequency; vibrato type; vibrato delay;
vibrato depth; vibrato rate; octave shift; level; touch sense; reverb send; chorus send;
DSP line; DSP type and DSP parameter, DSP level.
Registration Memory
Š Number of Setups:
32 (4 setups x 8 banks)
Š Memory Contents:
Tone, Rhythm, Tempo, Layer on/off, Split on/off, Split point, Harmonize on/off, Mixer
settings (Channels 1 to 10), Effect settings, Touch Response settings, Assignable jack
setting, Transpose, Tuning, Accompaniment volume setting, Auto Harmonize type,
MODE button setting, Synchro standby state, Mixer Hold, DSP Hold, Synthesizer
Mode parameters
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Specifications
Mixer Function
Š Channels:
16
Š Parameters:
Tone; part on/off; volume; pan pot; octave shift; coarse tune; fine tune; reverb send;
chorus send; DSP line; DSP level; DSP pan; DSP system reverb send; DSP system
chorus send
MIDI:
16 multi-timbre receive, GM Level 1 standard
Other Functions
Š Transpose:
49 steps (–24 semitones to +24 semitones)
Š Tuning:
Variable (A4 = approximately 440Hz ±100 cents)
Š LCD:
Adjustable contrast
SMF Player
Flash memory storage for up to 200 files*
Š Supported Format: SMF0
Flash Memory
Capacity: 2MB
Shared Area: Approximately 1.5MB (waveform data, accompaniment data, SMF data)
Š Further storage of waveform, accompaniment, and SMF data becomes impossible
after the total of such data reaches approximately 1.5MB.
Terminals
Š MIDI Terminals:
IN, OUT
Š Sustain/Assignable Terminal:
Standard jack (sustain, sostenuto, soft, rhythm start/stop)
Š Headphone/Output Terminal:
Stereo standard jack
Output Impedance: 140Ω
Output Voltage: 4.5V (RMS) MAX
Š Power Supply Terminal:
Power Supply:
9V DC
Dual power supply system
Š Batteries:
6 D-size batteries
Š Battery Life:
Approximately 4 hours continuous operation on manganese batteries
Š AC Adaptor:
AD-5
Š Auto Power Off:
Turns power off approximately six minutes after last key operation. Enabled under
battery power only, can be disabled manually.
Speaker Output:
3W + 3W
Power consumption:
9V
Dimensions:
96.0 x 37.5 x 14.6 cm (37 13/16 x 14 3/4 x 5 3/4 inch)
Weight:
Approximately 5.6 kg (12.3lbs) (without batteries)
7.7W
* The same memory area is used to store waveform data, accompaniment data, and SMF data.
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Care of your Instrument
J Avoid heat, humidity or direct sunlight.
Care of your Instrument
Do not overexpose the instrument to direct sunlight, or place it near an air conditioner, or in any extremely hot place.
J Do not use near a TV or radio.
This instrument can cause video or audio interference with TV and radio reception. If this happens, move the instrument away from
the TV or radio.
J Do not use lacquer, thinner or similar chemicals for cleaning.
Clean the instrument with a soft cloth dampened in a weak solution of water and a neutral detergent. Soak the cloth in the solution
and squeeze until it is almost dry.
J Avoid use in areas subjected to temperature extremes.
Extremely high or low temperature can cause figures on the LCD screen to become dim and difficult to read. This condition should
correct itself when the instrument is brought back to normal temperature.
Š You may notice lines in the finish of the case of this instrument. These lines are a result of the molding process used to shape the
plastic of the case. They are not cracks or breaks in the plastic, and are no cause for concern.
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DSP Algorithm List
DSP Algorithm List
J 00 :Auto Pan
0:
Low Frequency (Range: 0 (200Hz), 1 (400Hz), 2
(800Hz))
Adjusts the cutoff frequency of the low-band
equalizer.
1:
Low Gain (Range: –12, –11, –10 to 0 to +10, +11,
+12)
Adjusts the gain of the low-band equalizer.
2:
Mid Frequency (Range: 0 (1.0KHz), 1 (1.3KHz),
2 (1.6KHz), 3 (2.0KHz), 4 (3.0KHz), 5 (4.0KHz),
6 (6.0KHz), 7 (8.0KHz))
Adjusts the center frequency of the mid-band
equalizer.
3:
Mid Gain (Range: –12, –11, –10 to 0 to +10, +11,
+12)
Adjusts the gain of the mid-band equalizer.
4:
High Frequency (Range: 0 (6.0KHz), 1
(8.0KHz), 2 (10KHz))
Adjusts the cutoff frequency of the high-band
equalizer.
5:
High Gain (Range: –12, –11, –10 to 0 to +10, +11,
+12)
Adjusts the gain of the high-band equalizer.
Š Function
Continually performs left-right panning of the input
signal in accordance with an LFO.
Š Parameters
0:
Rate (Range: 0 to 127)
Adjusts the panning rate.
1:
Depth (Range: 0 to 127)
Adjusts the panning depth.
J 01 :Tremolo
Š Function
Adjusts volume of input signal in accordance with an
LFO.
Š Parameters
0:
Rate (Range: 0 to 127)
Adjusts the tremolo rate.
1:
Depth (Range: 0 to 127)
Adjusts the tremolo depth.
J 02 :2BandEQ
Š Function
This is a two-band equalizer.
Š Parameters
0:
Low Frequency (Range: 0 (200Hz), 1 (400Hz), 2
(800Hz))
Adjusts the cutoff frequency of the low-band
equalizer.
1:
Low Gain (Range: –12, –11, –10 to 0 to +10, +11,
+12)
Adjusts the gain of the low-band equalizer.
2:
High Frequency (Range: 0 (6.0KHz), 1
(8.0KHz), 2 (10KHz))
Adjusts the cutoff frequency of the high-band
equalizer.
3:
High Gain (Range: –12, –11, –10 to 0 to +10, +11,
+12)
Adjusts the gain of the high-band equalizer.
J 03 :3BandEQ
Š Function
This is a three-band equalizer.
Š Parameters
J 04 :LFO Wah
Š Function
This is a “wah” effect that can automatically affect the
frequency in accordance with an LFO.
Š Parameters
0:
Input Level (Range: 0 to 127)
Adjusts the input level. The input signal can
become distorted when the level of the sound
being input, the number of chords, or the
Resonance value is large. Adjust this parameter
to eliminate such distortion.
1:
Resonance (Range: 0 to 127)
Adjusts the resonance of the sound.
2:
Manual (Range: 0 to 127)
Adjusts the frequency used as the basis for the
wah filter.
3:
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
4:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
J 05 :Auto Wah
Š Function
This is a “wah” effect that can automatically affect the
frequency in accordance with the level of the input signal.
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DSP Algorithm List
Š Parameters
0:
Input Level (Range: 0 to 127)
Adjusts the input level. The input signal can
become distorted when the level of the sound
being input, the number of chords, or the
Resonance value is large. Adjust this parameter
to eliminate such distortion.
1:
Resonance (Range: 0 to 127)
Adjusts the resonance of the sound.
2:
3:
Manual (Range: 0 to 127)
Adjusts the frequency used as the basis for the
wah filter.
Depth(Range: –64 to 0 to +63)
Adjusts the depth of the wah in accordance
with the level of the input signal.
Setting a positive value causes the wah filter to
open in direct proportion with the size of the
input signal, producing a bright sound.
Setting a negative value causes the Wah filter to
close in accordance with the size of the input
signal, which produces a dark tone quality.
However, large input re-opens the Wah filter,
even if it is closed.
3:
J 07 :Limiter
Š Function
This is an effector that you can use to set an upper limit
value on the level of the input signal.
Š Parameters
0:
Limit (Range: 0 to 127)
Adjusts the volume level from which the limit is
applied.
1:
Attack (Range: 0 to 127)
Adjusts the attack amount of the input signal.
2:
Release (Range: 0 to 127)
Adjusts the time from when the input signal
drops below a certain level until the limit
operation stops.
3:
Level (Range: 0 to 127)
Adjusts the level being output.
The output volume changes in accordance with
the Limit setting and the characteristics of the
input tone. Use this parameter to correct for
such changes.
J 06 :Compressor
Š Function
Compresses the input signal, which can have the effect of
suppressing level variation and making it possible to
sustain dampened sounds longer.
Š Parameters
0:
1:
2:
Depth (Range: 0 to 127)
Adjusts compression of the audio signal.
Attack (Range: 0 to 127)
Adjusts the attack amount of the input signal.
A smaller value causes prompt compressor
operation, which suppresses the attack of the
input signal.
A larger values delays compressor operation,
which causes attack to be output as-is.
Release (Range: 0 to 127)
Adjusts the time from the point when the input
signal drops below a certain level until the
compression operation is stopped.
When an attack feeling is desired (no
compression at the onset of the sound), set this
parameter to as low a value as possible.
To have compression applied at all times, set a
high value.
Level (Range: 0 to 127)
Adjusts the output level.
The output volume changes in accordance with
the Depth setting and the characteristics of the
input tone. Use this parameter to correct for
such changes.
J 08 :Distortion
Š Function
This effect provides Distortion + AmpSimulator.
Š Parameters
0:
Gain (Range: 0 to 127)
Adjusts the input gain.
1:
Low (Range: 0 to 127)
Adjusts the low-band gain.
The cutoff frequency differs according to the
preset DSP.
2:
High (Range: 0 to 127)
Adjusts the high-band gain.
The cutoff frequency differs according to the
preset DSP.
3:
Level (Range: 0 to 127)
Adjusts the output level.
J 09 :Stereo Phaser
Š Function
This is a stereo phaser that modulates the phase in
accordance with a sine wave LFO.
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DSP Algorithm List
Š Parameters
0:
Resonance (Range: 0 to 127)
Adjusts the resonance of the sound.
1:
Manual (Range: –64 to 0 to +63)
Adjusts the phaser shift volume, which is used
for reference.
2:
Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
3:
Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
4:
Wet Level (Range: 0 to 127)
Adjusts the volume level of the effect.
J 10 :Phaser
4:
Slow Rate (Range: 0 to 127)
Adjusts speaker rotation speed of the slow
speed mode.
5:
Fast Rate (Range: 0 to 127)
Adjusts speaker rotation speed of the fast speed
mode.
J 12 :Drive Rotary
Š Function
This is an overdrive - rotary speaker simulator.
Š Parameters
0:
Overdrive Gain (Range: 0 to 127)
Adjusts overdrive gain.
1:
Overdrive Level (Range: 0 to 127)
Adjusts the output level of the overdrive.
2:
Speed(Range: Slow, Fast)
Switches the speed mode between fast and
slow.
Š Function
This is a monaural phaser that modulates the phase in
accordance with a sine wave LFO.
Š Parameters
0:
Resonance (Range: 0 to 127)
Adjusts the resonance of the sound.
3:
Break (Range: Rotate, Stop)
Stops speaker rotation.
1:
Manual (Range: –64 to 0 to +63)
Adjusts the phaser shift volume, which is used
for reference.
4:
Fall Accel (Range: 0 to 127)
Adjusts acceleration when the speed mode is
switched from fast to slow.
2:
Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
5:
Rise Accel (Range: 0 to 127)
Adjusts acceleration when the speed mode is
switched from slow to fast.
3:
Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
6:
4:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
Slow Rate (Range: 0 to 127)
Adjusts speaker rotation speed of the slow
speed mode.
7:
Fast Rate (Range: 0 to 127)
Adjusts speaker rotation speed of the fast speed
mode.
J 11 :Rotary
Š Function
This is a rotary speaker simulator.
Š Parameters
0:
Speed (Range: Slow, Fast)
Switches the speed mode between fast and
slow.
J 13 :Enhancer
Š Function
Enhances the outlines of the low range and high range of
the input signal.
Š Parameters
1:
Break (Range: Rotate, Stop)
Stops speaker rotation.
0:
Low Frequency (Range: 0 to 127)
Adjusts the low range enhancer frequency.
2:
Fall Accel (Range: 0 to 127)
Adjusts acceleration when the speed mode is
switched from fast to slow.
1:
Low Gain (Range: 0 to 127)
Adjusts the low range enhancer gain.
2:
3:
Rise Accel (Range: 0 to 127)
Adjusts acceleration when the speed mode is
switched from slow to fast.
High Frequency (Range: 0 to 127)
Adjusts the high range enhancer frequency.
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DSP Algorithm List
3:
High Gain (Range: 0 to 127)
Adjusts the high range enhancer gain.
J 14 :Ring Modulator
Š Function
This is a ring modulator (AM modulator) that makes it
possible to modulate the frequency of internal oscillator
(OSC) in accordance with an internal LFO.
Š Parameters
7:
Level (Range: 0 to 127)
Adjusts the output level.
J 16 :1-Phase Chorus
Š Function
This is monaural chorus in accordance with a sine wave
LFO.
Š Parameters
0:
OSC Frequency (Range: 0 to 127)
Sets the reference frequency of the internal
OSC.
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
1:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
2:
Feedback (Range: –64 to 0 to +63)
Adjusts the feedback of the sound.
2:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
3:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
3:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
4:
Dry Level (Range: 0 to 127)
Adjusts the level of the original sound.
0:
1:
J 15 :Lo-Fi
Š Function
This is an effector that reproduces a retro-type Lo-Fi
sound using Noise Generator 1 (phonograph record
player type scratch noise generator) and Noise Generator
2 (FM radio type white noise and pink noise continuous
noise generator), and by noise modulation (amplitude
modulation = AM) and distortion of frequency
characteristics.
Š Parameters
0:
Noise Level 1 (Range: 0 to 127)
Adjusts the level of Noise Generator 1.
J 17 :Sin 2-Phase Chorus
Š Function
This is stereo chorus in accordance with a sine wave LFO.
Š Parameters
0:
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
1:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
2:
Feedback (Range: –64 to 0 to +63)
Adjusts the feedback of the sound.
3:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
J 18 :3-Phase Chorus
Noise Density 1 (Range: 0 to 127)
Adjusts the noise density of Noise Generator 1.
Š Function
2:
Noise Level 2 (Range: 0 to 127)
Adjusts the level of Noise Generator 2.
Š Parameters
3:
Noise Density 2 (Range: 0 to 127)
Adjusts the noise density of Noise Generator 2.
4:
Tone (Range: 0 to 127)
Adjusts the tone.
5:
Resonance (Range: 0 to 127)
Adjusts the resonance of the sound.
6:
Bass(Range: –64 to 0 to +63)
Adjusts the volume of low sounds.
1:
705A-E-093A
This is 3-phase chorus in accordance with two LFOs of
with different sine wave rates.
0:
Rate1 (Fast LFO Rate) (Range: 0 to 127)
Adjusts the rate of LFO1.
1:
Depth1 (Fast LFO Depth) (Range: 0 to 127)
Adjusts the depth of LFO1.
2:
Rate2 (Slow LFO Rate) (Range: 0 to 127)
Adjusts the rate of LFO2.
3:
Depth2 (Slow LFO Depth) (Range: 0 to 127)
Adjusts the depth of LFO2.
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DSP Algorithm List
4:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
J 19 :Tri 2-Phase Chorus
Š Function
This is stereo chorus in accordance with triangular wave
LFO.
1:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the delay.
3:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range delay
sound.
The smaller the value, the greater the damping
of high-range delay sound.
4:
Ratio L (Range: 0 to 127)
Adjusts the delay time of the left channel.
Š Parameters
0:
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
1:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
2:
Feedback(Range: –64 to 0 to +63)
Adjusts the feedback of the sound.
3:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
J 20 :Stereo Delay 1
Š Function
Proportional to the value set for Delay Time.
5:
Ratio R (Range: 0 to 127)
Adjusts the delay time of the right channel.
Proportional to the value set for Delay Time.
J 22 :3-Tap Delay
Š Function
This is left/center/right 3-tap delay.
Š Parameters
This is delay of stereo input and output.
Š Parameters
0:
Delay Time (Range: 0 to 127)
Adjusts the delay time.
0:
Delay Time (Range: 0 to 127)
Adjusts the delay time.
1:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
1:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the delay.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the delay.
3:
3:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range delay
sound.
The smaller the value, the greater the damping
of high-range delay sound.
High Damp (Range: 0 to 127)
Adjusts damping of the high-range delay
sound.
The smaller the value, the greater the damping
of high-range delay sound.
4:
Ratio L (Range: 0 to 127)
Adjusts the delay time of the left channel.
Proportional to the value set for Delay Time.
Ratio L (Range: 0 to 127)
Adjusts the delay time of the left channel.
Proportional to the value set for Delay Time.
5:
Ratio R (Range: 0 to 127)
Adjusts the delay time of the right channel.
Proportional to the value set for Delay Time.
Ratio C (Range: 0 to 127)
Adjusts the delay time of the center channel.
Proportional to the value set for Delay Time.
6:
Ratio R (Range: 0 to 127)
Adjusts the delay time of the right channel.
Proportional to the value set for Delay Time.
4:
5:
J 21 :Stereo Delay 2
Š Function
This is cross feedback delay of stereo input and output.
Š Parameters
0:
E-92
Delay Time (Range: 0 to 127)
Adjusts the delay time.
J 23 :Gate Reverb
Š Function
This is a fader that creates artificial reverb that sounds like
it is being cut with a gate.
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DSP Algorithm List
Š Parameters
0:
1:
LPF (Range: 0 to 127)
Adjusts the cutoff frequency of the low-pass
filter.
A smaller value cuts the high range.
HPF (Range: 0 to 127)
Adjusts the cutoff frequency of the high-pass
filter.
A larger value cuts the low range.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the reverb.
3:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range delay
sound.
The smaller the value, the greater the damping
of high-range delay sound.
4:
Diffusion (Range: 0 to 127)
Provides fine adjustment of the reverb.
5:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
6:
Dry Level (Range: 0 to 127)
Adjusts the level of the original sound.
6:
Dry Level (Range: 0 to 127)
Adjusts the level of the original sound.
J 25 :Reflection
Š Function
This is an effector that extracts the first reflected sound
from a reverb sound.
Š Parameters
0:
Type (Range: 0 to 7)
Selects from among the eight available
reflection patterns.
1:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the reflected sound.
3:
Tone (Range: 0 to 127)
Adjusts the tone of the reflected sound.
J 26 :Flanger
Š Function
This is a flanger in accordance with a sine wave LFO.
Š Parameters
J 24 :Reverse Gate Reverb
0:
LFO Rate (Range: 0 to 127)
Adjusts the rate of the LFO.
1:
LFO Depth (Range: 0 to 127)
Adjusts the depth of the LFO.
2:
Feedback (Range: –64 to 0 to +63)
Adjusts the feedback of the sound.
3:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
Š Function
This is gate reverb with a reverse rotation effect.
Š Parameters
0:
1:
LPF (Range: 0 to 127)
Adjusts the cutoff frequency of the low-pass
filter.
A smaller value cuts the high range.
HPF (Range: 0 to 127)
Adjusts the cutoff frequency of the high-pass
filter.
A larger value cuts the low range.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the reverb.
3:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range reverb
sound.
The smaller the value, the greater the damping
of high-range reverb sound.
J 27 :Reverb
Š Function
This is an effector that preserves the breadth of a sound by
adding a reverb sound.
Š Parameters
4:
Diffusion (Range: 0 to 127)
Provides fine adjustment of the reverb.
5:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
705A-E-095A
0:
Tone (Range: 0 to 127)
Adjusts the tone of the reverb sound.
1:
Time (Range: 0 to 127)
Adjusts the reverb time.
2:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range reverb
sound.
The smaller the value, the greater the damping
of high-range reverb sound.
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DSP Algorithm List
3:
4:
ER Level (Range: 0 to 127)
Adjusts the level of the initial reflection.
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
J 28 :2-Tap Delay
Š Function
J M01 :Multi01 (3-Phase Chorus – 3-Tap Delay)
Š Function
This is a multi effector that is related to 3-Phase Chorus –
3-Tap Delay.
Š Parameters
0:
Chorus Rate 1
1:
Chorus Depth 1
2:
Chorus Rate 2
3:
Chorus Depth 2
4:
Chorus Wet Level
5:
Delay Time
6:
Delay Wet Level
7:
Delay Feedback
This is left/right 2-tap delay.
Š Parameters
0:
Delay Time (Range: 0 to 127)
Adjusts the delay time.
1:
Wet Level (Range: 0 to 127)
Adjusts the level of the effect sound.
2:
Feedback (Range: 0 to 127)
Adjusts the repeat of the delay.
3:
4:
5:
High Damp (Range: 0 to 127)
Adjusts damping of the high-range delay
sound.
The smaller the value, the greater the damping
of high-range delay sound.
Ratio L (Range: 0 to 127)
Adjusts the delay time of the left channel.
Proportional to the value set for Delay Time.
Ratio R (Range: 0 to 127)
Adjusts the delay time of the right channel.
Proportional to the value set for Delay Time.
‰ The following “Multi” algorithms are used in
combination with the algorithms described above.
Parameters are shared by both types of algorithms.
J M00 :Multi00 (Sin 2-Phase Chorus – 2-Tap Delay)
Š Function
This is a multi effector that is related to Sin 2-Phase
Chorus – 2-Tap Delay.
Š Parameters
0:
Chorus LFO Rate
1:
Chorus LFO Depth
2:
Chorus Feedback
3:
Chorus Wet Level
4:
Delay Time
5:
Delay Wet Level
6:
Delay Feedback
7:
Delay High Damp
J M02 : Multi02 (Phaser – 3-Phase Chorus)
Š Function
This is a multi effector that is related to Phaser – 3-Phase
Chorus.
Š Parameters
0:
Phaser Resonance
1:
Phaser Manual
2:
Phaser Rate
3:
Phaser Depth
4:
Chorus Rate 1
5:
Chorus Depth 1
6:
Chorus Rate 2
7:
Chorus Depth 2
J M03 : Multi03 (Flanger – 2-Tap Delay)
Š Function
This is a multi effector that is related to Flanger – 2-Tap
Delay.
Š Parameters
E-94
0:
Flanger LFO Rate
1:
Flanger LFO Depth
2:
Flanger Feedback
3:
Flanger Wet Level
4:
Delay Time
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DSP Algorithm List
5:
Delay Wet Level
1:
Enhancer Low Gain
6:
Delay Feedback
2:
Enhancer High Frequency
7:
Delay High Damp
3:
Enhancer High Gain
4:
Delay Time
5:
Delay Wet Level
6:
Delay Feedback
7:
Delay High Damp
J M04 : Multi04 (Stereo Phaser – Stereo Delay 1)
Š Function
This is a multi effector that is related to Stereo Phaser –
Stereo Delay 1.
Š Parameters
0:
Phaser Resonance
1:
Phaser Manual
2:
Phaser Rate
3:
Phaser Depth
4:
Phaser Wet Level
5:
Delay Time
6:
Delay Wet Level
7:
Delay Feedback
J M05 :Multi05 (Enhancer – 1-Phase Chorus)
Š Function
This is a multi effector related to Enhancer – 1-Phase
Chorus.
J M07 : Multi07 (Enhancer – Flanger)
Š Function
This is a multi effector related to Enhancer – Flanger.
Š Parameters
0:
Enhancer Low Frequency
1:
Enhancer Low Gain
2:
Enhancer High Frequency
3:
Enhancer High Gain
4:
Flanger LFO Rate
5:
Flanger LFO Depth
6:
Flanger Feedback
7:
Flanger Wet Level
Š Parameters
0:
Enhancer Low Frequency
1:
Enhancer Low Gain
2:
Enhancer High Frequency
3:
Enhancer High Gain
4:
Chorus LFO Rate
5:
Chorus LFO Depth
6:
Chorus Feedback
7:
Chorus Wet Level
J M08: Multi08 (Sin 2-Phase Chorus – Flanger)
Š Function
J M06 : Multi06 (Enhancer – 2-Tap Delay)
Š Function
This is a multi effector that is related to Enhancer – 2-Tap
Delay.
This is a multi effector that is related to Sin 2-Phase
Chorus – Flanger.
Š Parameters
0:
Chorus LFO Rate
1:
Chorus LFO Depth
2:
Chorus Feedback
3:
Chorus Wet Level
4:
Flanger LFO Rate
5:
Flanger LFO Depth
6:
Flanger Feedback
7:
Flanger Wet Level
Š Parameters
0:
705A-E-097A
Enhancer Low Frequency
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DSP Algorithm List
J M09 :Multi09 (Sin 2-Phase Chorus – Tremolo)
Š Function
This is a multi effector that is related to Sin 2-Phase
Chorus – Tremolo.
Š Parameters
0:
Chorus LFO Rate
1:
Chorus LFO Depth
2:
Chorus Feedback
3:
Chorus Wet Level
4:
Tremolo Rate
5:
Tremolo Depth
J M10 : Multi10 (Stereo Phaser – Auto Pan)
J M12 :Multi12 (Ring Modulator – Sin 2-Phase
Chorus – 2-Tap Delay)
Š Function
This is a multi effector that is related to Ring Modulator –
Sin 2-Phase Chorus.
Š Parameters
0:
Ring OSC Frequency
1:
Ring LFO Rate
2:
Ring LFO Depth
3:
Ring Wet Level
4:
Ring Dry Level
5:
Chorus LFO Depth
6:
Delay Time
7:
Delay Wet Level
Š Function
This is a multi effector that is related to Stereo Phaser –
Auto Pan.
Š Parameters
0:
Phaser Resonance
1:
Phaser Manual
2:
Phaser Rate
3:
Phaser Depth
4:
Phaser Wet Level
5:
Auto Pan Rate
6:
Auto Pan Depth
J M11 : Multi11 (Compressor – Lo-Fi)
J M13 : Multi13 (Ring Modulator – Distortion)
Š Function
This is a multi effector related to Ring Modulator –
Distortion.
Š Parameters
0:
Ring OSC Frequency
1:
Ring LFO Rate
2:
Ring LFO Depth
3:
Ring Wet Level
4:
Ring Dry Level
5:
Distortion Gain
6:
Distortion Tone
7:
Distortion Level
Š Function
This is a multi effector related to Compressor – Lo-Fi.
Š Parameters
0:
Compressor Depth
1:
Compressor Attack
2:
Compressor Level
3:
Lo-Fi Noise 1
4:
Lo-Fi Noise 2
5:
Lo-Fi Tone
6:
Lo-Fi Resonance
7:
Lo-Fi Bass
E-96
J M14 :Multi14 (Lo-Fi – Reflection)
Š Function
This is a multi effector related to Lo-Fi – Reflection.
Š Parameters
0:
Lo-Fi Noise1
1:
Lo-Fi Noise2
2:
Lo-Fi Tone
3:
Lo-Fi Resonance
4:
Reflection Type
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DSP Algorithm List
5:
Reflection Wet Level
3:
Rotary Fast Rate
6:
Reflection Feedback
4:
Reflection Wet Level
7:
Reflection Tone
5:
Reflection Feedback
6:
Reflection Tone
J M15 : Multi15 (Distortion – Lo-Fi)
Š Function
This is a multi effector related to Distortion – Lo-Fi.
Š Parameters
0:
Distortion Gain
1:
Distortion Low
2:
Distortion High
3:
Distortion Level
4:
Lo-Fi Noise1
5:
Lo-Fi Noise2
6:
Lo-Fi Tone
7:
Lo-Fi Resonance
J M16 : Multi16 (Drive Rotary – Reflection)
Š Function
This is a multi effector related to Drive Rotary –
Reflection.
Š Parameters
0:
Drive Rotary Gain
1:
Drive Rotary Level
2:
Drive Rotary Speed
3:
Drive Rotary Slow Rate
4:
Drive Rotary Fast Rate
5:
Reflection Wet Level
6:
Reflection Feedback
7:
Reflection Tone
J M17 : Multi17 (Rotary – Reflection)
Š Function
J M18 :Multi18 (Compressor – Enhancer – 2-Tap
Delay)
Š Function
This is a multi effector that is related to Compressor –
Enhancer – 2-Tap Delay.
Š Parameters
0:
Compressor Depth
1:
Compressor Attack
2:
Compressor Level
3:
Enhancer Low Gain
4:
Enhancer High Gain
5:
Delay Time
6:
Delay Wet Level
7:
Delay Feedback
J M19 : Multi19 (Compressor – Stereo Delay 1)
Š Function
This is a multi effector related to Compressor – Stereo
Delay 1.
Š Parameters
0:
Compressor Depth
1:
Compressor Attack
2:
Compressor Release
3:
Compressor Level
4:
Delay Time
5:
Delay Wet Level
6:
Delay Feedback
7:
Delay High Damp
This is a multi effector related to Rotary – Reflection.
Š Parameters
0:
Rotary Speed
1:
Rotary Break
2:
Rotary Slow Rate
705A-E-099A
J M20 :Multi20 (Phaser – 1-Phase Chorus – Auto
Pan)
Š Function
This is a multi effector that is related to Phaser – 1-Phase
Chorus – Auto Pan.
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DSP Algorithm List
Š Parameters
0:
Phaser Resonance
1:
Phaser Manual
2:
Phaser Rate
3:
Phaser Depth
4:
Chorus LFO Rate
5:
Chorus LFO Depth
6:
Auto Pan Rate
7:
Auto Pan Depth
J M21 :Multi21 (Auto Wah – Tri 2-Phase Chorus – 2Tap Delay)
Š Function
This is a multi effector that is related to Auto Wah – Tri 2Phase Chorus – 2-Tap Delay.
Š Parameters
6:
Delay Wet Level
7:
Delay Feedback
J M23 :Multi23 (Compressor – Sin 2-Phase Chorus
– Reflection)
Š Function
This is a multi effector that is related to Compressor – Sin
2-Phase Chorus – Reflection.
Š Parameters
0:
Compressor Depth
1:
Compressor Attack
2:
Compressor Level
3:
Chorus LFO Rate
4:
Chorus LFO Depth
5:
Reflection Wet Level
6:
Reflection Feedback
7:
Reflection Tone
0:
Wah Resonance
1:
Wah Manual
2:
Wah Depth
3:
Chorus LFO Rate
4:
Chorus LFO Depth
5:
Delay Time
6:
Delay Wet Level
0:
Distortion Gain
7:
Delay Feedback
1:
Distortion Low
2:
Distortion High
3:
Distortion Level
4:
Chorus LFO Depth
5:
Delay Time
6:
Delay Wet Level
7:
Delay Feedback
J M22 :Multi22 (LFO Wah – Tri 2-Phase Chorus – 2Tap Delay)
Š Function
This is a multi effector that is related to LFO Wah – Tri 2Phase Chorus – 2-Tap Delay.
Š Parameters
0:
Wah Resonance
1:
Wah Manual
2:
Wah LFO Rate
3:
Wah LFO Depth
4:
Chorus LFO Depth
5:
Delay Time
E-98
J M24 :Multi24 (Distortion – 1-Phase Chorus – 2Tap Delay)
Š Function
This is a multi effector that is related to Distortion – 1Phase Chorus – 2-Tap Delay.
Š Parameters
J M25 :Multi25 (Compressor – Distortion – 2-Tap
Delay)
Š Function
This is a multi effector that is related to Compressor –
Distortion – 2-Tap Delay.
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DSP Algorithm List
Š Parameters
0:
Compressor Depth
1:
Distortion Gain
2:
Distortion Low
3:
Distortion High
4:
Distortion Level
5:
Delay Time
6:
Delay Wet Level
7:
Delay Feedback
J M26 :Multi26 (Auto Wah – Distortion – 2-Tap
Delay)
6:
Delay Wet Level
7:
Delay Feedback
J M28 : Multi28 (Distortion – 3-Tap Delay)
Š Function
This is a multi effector that is related to Distortion – 3-Tap
Delay.
Š Parameters
0:
Distortion Gain
1:
Distortion Low
2:
Distortion High
3:
Distortion Level
4:
Delay Time
5:
Delay Wet Level
6:
Delay Feedback
7:
Delay High Damp
Š Function
This is a multi effector that is related to Auto Wah –
Distortion – 2-Tap Delay.
Š Parameters
0:
Wah Manual
1:
Wah Depth
2:
Distortion Gain
Š Function
3:
Distortion Tone
Š Parameters
4:
Distortion Level
0:
Distortion Gain
5:
Delay Time
1:
Distortion Low
6:
Delay Wet Level
2:
Distortion High
7:
Delay Feedback
3:
Distortion Level
4:
Phaser Resonance
5:
Phaser Manual
6:
Phaser Rate
7:
Phaser Depth
J M29 : Multi29 (Distortion – Phaser)
This is a multi effector related to Distortion – Phaser.
J M27 :Multi27 (LFO Wah – Distortion – 2-Tap
Delay)
Š Function
This is a multi effector that is related to LFO Wah –
Distortion – 2-Tap Delay.
Š Parameters
0:
Wah Manual
1:
Wah LFO Rate
2:
Wah LFO Depth
3:
Distortion Gain
4:
Distortion Level
5:
Delay Time
J M30 :Multi30 (Distortion – Sin 2-Phase Chorus)
Š Function
705A-E-101A
This is a multi effector that is related to Distortion – Sin 2Phase Chorus.
Š Parameters
0:
Distortion Gain
1:
Distortion Low
2:
Distortion High
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DSP Algorithm List
3:
Distortion Level
4:
Chorus LFO Rate
5:
Chorus LFO Depth
6:
Chorus Feedback
7:
Chorus Wet Level
J M31 : Multi31 (Distortion – Flanger)
Š Function
This is a multi effector related to Distortion – Flanger.
Š Parameters
0:
Distortion Gain
1:
Distortion Low
2:
Distortion High
3:
Distortion Level
4:
Flanger LFO Rate
5:
Flanger LFO Depth
6:
Flanger Feedback
7:
Flanger Wet Level
E-100
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Appendix-ES.fm
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Appendix/Apéndice
Appendix/Apéndice
Tone List/Lista de sonidos
Advanced Tones/Sonidos avanzados
No./
Nº
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
Tone Group/
Grupo de
Sonido
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
E.PIANO
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
CHROM.PERC.
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
705A-E-211A
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Polyphony/
Tipo de
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Tipo DSP
de programa
de banco
Polifonía máxima
gama
STEREO GRAND PIANO
0
51
16
N
RvbHall1
STEREO MELLOW PIANO
0
52
16
N
GateRvb2
STEREO BRIGHT PIANO
1
50
16
N
Equalize
GRAND PIANO
0
48
32
N
RvbHall1
MELLOW PIANO
0
50
32
N
Equalize
BRIGHT PIANO
1
48
32
N
Enhancer
GRAND PIANO WIDE
0
49
32
N
Reflect
HARPSICHORD
6
51
32
N
CmpChoRf
ELEC. GRAND PIANO
2
48
32
N
Equalize
SYNTH-STR PIANO
0
54
16
N
Cho Flan
MODERN PIANO
1
51
16
N
Equalize
STRINGS PIANO
1
52
16
N
RvbHall1
VOICE PIANO
0
53
16
N
Reflect
DANCE PIANO
1
53
16
N
Enha Dly
MODERN E.G.PIANO
2
50
16
N
ChoDly 1
HONKY-TONK 1
3
48
16
N
Chorus 4
1 OCTAVE PIANO
3
51
16
N
Equalize
2 OCTAVE PIANO
3
50
16
N
RvbRoom2
COUPLED HARPSICHORD
6
49
16
N
CmpChoRf
ELEC. PIANO 1
4
48
32
N
Chorus 3
MODERN EP 1
5
48
16
N
Chorus 3
TREMOLO E.PIANO
4
55
32
N
Cho Trem
60’S E.PIANO
4
51
32
N
Auto Pan
MELLOW E.PIANO
4
52
16
N
CmpChoRf
SYNTH-STR. E.PIANO 2
5
52
16
N
Equalize
CLAVI
7
48
32
N
CmpChoRf
SOFT E.PIANO
5
50
16
N
Equalize
AUTO WAH E.PIANO
4
56
32
N
Auto Wah
PHASER E.PIANO
4
57
32
N
PhaAPan1
GLASS E.PIANO
4
50
16
N
Equalize
E.PIANO PAD
4
53
16
N
StPhaser
SYNTH-STR. E.PIANO 1
4
54
16
N
Equalize
MODERN EP 2
5
49
16
N
Enha Dly
STRINGS E.PIANO
5
53
16
N
ChoDly 1
RESONANCE CLAVI
7
50
32
N
Auto Wah
PULSE CLAVI
7
49
32
N
CmpEnDly
TREMOLO VIBRAPHONE
11
48
32
N
Cho Trem
MARIMBA
12
48
32
N
Reflect
GLOCKENSPIEL
9
48
32
+1
Reflect
CELESTA
8
48
32
N
Reflect
VIBRAPHONE
11
50
32
N
Reflect
PHASER MARIMBA
12
50
32
N
PhaDly 2
DELAY GLOCKENSPIEL
9
49
32
+1
PhaDly 2
DELAY CELESTA
8
49
32
N
3Tap Dly
ROTARY DRAWBAR
16
52
32
N
RotRef 1
ROTARY PERC. ORGAN 1
17
52
16
N
RotRef 2
70’S ORGAN
17
49
32
N
Rotary 1
TREMOLO ORGAN
16
49
32
N
Cho Trem
JAZZ DRAWBAR
17
53
16
N
RotRef 1
A-1
Appendix-ES.fm
2 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
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
102
103
104
105
A-2
Tone Group/
Grupo de
Sonido
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
ORGAN
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
GUITAR
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
ROCK ORGAN
18
48
16
N
Rotary 2
ROTARY ELEC. ORGAN
16
53
32
N
Rotary 2
ROTARY PERC. ORGAN 2
17
54
16
N
RotRef 1
CHURCH ORGAN 1
19
48
16
N
RvbHall2
CHAPEL ORGAN
19
51
32
N
GateRvb2
ACCORDION
21
48
16
N
Reflect
HARMONICA
22
48
32
N
Reflect
BANDONEON
23
48
16
N
Reflect
DRAWBAR ORGAN 1
16
48
32
N
Reflect
ELEC. ORGAN
16
51
32
N
Reflect
DRAWBAR ORGAN 2
16
50
32
N
Rotary 1
OVD ROTARY ORGAN
16
54
32
N
Od Rot 2
PERC. ORGAN 1
17
48
16
N
Reflect
PERC. ORGAN 2
17
51
16
N
Rotary 2
JAZZ ORGAN
17
50
16
N
Reflect
OVD ROCK ORGAN
18
49
16
N
OdRtRef1
CHURCH ORGAN 2
19
49
16
N
GateRvb2
OCTAVE ACCORDION
21
49
16
N
CmpChoRf
SLOW HARMONICA
22
49
32
N
RvbRoom2
NEO BANDONEON
23
49
16
N
ChoDly 4
NYLON GUITAR
24
48
32
-1
Equalize
STEEL GUITAR
25
48
32
-1
Equalize
JAZZ GUITAR
26
48
32
-1
CmpChoRf
CHORUS CLEAN GUITAR
27
49
32
-1
CmpChoRf
CRUNCH ELEC. GUITAR
27
52
32
-1
CrnDelay
OVD FRONT GUITAR
29
49
32
-1
CmpCrDly
FEEDBACK DIST. GT
30
52
16
-1
DistDly1
ROTARY GUITAR
27
53
32
-1
Rotary 2
MUTED DIST. GUITAR
28
49
32
-1
MetalDly
MELLOW NYLON GUITAR
24
51
16
-1
ChoDly 3
ENHANCED STEEL GUITAR
25
51
32
-1
Enha Dly
12 STRING GUITAR
25
49
16
-1
Equalize
CHORUS STEEL GUITAR
25
50
16
-1
ChoDly 4
UKULELE
24
49
32
N
CmpChoRf
BANJO
105
48
32
N
Equalize
OCT JAZZ GUITAR
26
50
16
-1
RvbRoom3
OVERDRIVE GUITAR
29
48
16
-1
CmpDelay
AUTO WAH OVERDRIVE GT
29
51
16
-1
AWhOdDly
OVD REAR GUITAR
29
50
32
-1
Ovrdrive
MORE DISTORTION GT
30
51
16
-1
DistDly2
DISTORTION FRONT GT
30
50
32
-1
DistDly2
CLEAN GUITAR
27
48
32
-1
Equalize
ELEC. GUITAR FRONT
27
51
32
-1
Equalize
ELEC. GUITAR REAR
27
50
32
-1
Equalize
MUTED GUITAR
28
48
32
-1
Equalize
DISTORTION GUITAR
30
48
16
-1
CmpDelay
FEEDBACK GUITAR
30
49
16
-1
CmpCrDly
DISTORTION CLEAN GT
30
53
32
-1
CmpCrDly
ACOUSTIC BASS
32
48
32
-1
Reflect
FINGERED BASS
33
48
32
-1
Limiter
PICKED BASS
34
48
32
-1
Comp 2
FRETLESS BASS
35
48
32
-1
ChoDly 1
SLAP BASS
37
48
32
-1
Comp 2
SAW SYNTH-BASS 1
38
48
16
-1
Chorus 1
ANALOG SYNTH-BASS
38
52
32
-1
PhaCho 1
SQR SYNTH-BASS 1
39
48
32
-1
Od Rot 1
RESO. SQR BASS 1
39
50
32
-1
Enha Cho
705A-E-212A
Appendix-ES.fm
3 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
Tone Group/
Grupo de
Sonido
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
BASS
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ORCHESTRA
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
ENSEMBLE
705A-E-213A
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
RESO. SAW BASS 1
38
53
32
-1
AWhChDly
DISTORTION SQR BASS
39
51
16
-1
DistDly1
RESO. SAW BASS 2
38
49
16
-1
PhaDly 2
DIGITAL BASS 1
39
52
32
-1
Comp 2
RIDE BASS
32
49
16
-1
RvbRoom1
CHORUS FINGERED BASS
33
49
16
-1
Crn Cho
COMP. PICKED BASS
34
49
16
-1
CmpEnDly
FLAN. FRETLESS BASS
35
49
16
-1
Cho Flan
MORE SLAP BASS
37
49
16
-1
Comp 2
ACID BASS
38
50
32
-1
Enhancer
SAW SYNTH-BASS 2
38
54
32
-1
Equalize
TRI SYNTH-BASS 1
39
53
32
-1
Equalize
SINE BASS
39
54
32
-1
Limiter
ORGAN BASS 1
38
55
32
-1
Comp 1
DIGITAL BASS 2
39
55
16
-1
Chorus 2
VIOLIN
40
48
32
N
GateRvb2
CELLO
42
48
32
-1
GateRvb2
VIOLA
41
48
32
N
GateRvb2
PIZZICATO ENSEMBLE
45
49
16
N
RvbHall1
HARP
46
48
32
N
Reflect
SLOW VIOLIN
40
49
32
N
RvbHall2
SLOW CELLO
42
49
32
-1
RvbHall2
PIZZICATO
45
48
32
N
Reflect
HARPS
46
49
16
N
Reflect
STEREO STRINGS
48
51
16
N
RvbHall1
STRING ENSEMBLE
48
48
32
N
RvbRoom3
SLOW STRINGS
49
48
32
N
ChoDly 3
CHAMBER
49
49
16
N
Reflect
PURE SYNTH-STRINGS 1
50
50
16
N
ChoDly 3
SYNTH-STRINGS 1
50
48
32
N
ChoDly 3
STEREO CHOIR
52
50
16
N
RvbHall1
VOICE UUH
53
49
16
N
RvbRoom1
SYNTH-VOICE 1
54
48
32
N
Chorus 4
SYNTH-VOICE 2
54
49
32
N
ChoDly 3
POP HIT 1
55
52
16
N
Equalize
POP HIT 2
55
53
16
N
FlanDly1
RESO SYNTH-STRINGS
51
48
32
N
ChoDly 3
SYNTH-CHOIR
52
51
16
N
StXDelay
VOICE DOO
53
48
32
N
RvbRoom1
BRIGHT STRINGS
48
49
32
N
RvbHall1
WIDE STRINGS
48
52
16
N
RvbHall1
MELLOW STRINGS
49
50
32
N
RvbHall1
ORCHESTRA STRINGS 1
49
51
16
N
RvbRoom3
PURE SYNTH-STRINGS 2
50
51
16
N
DistDly1
PHASER SYNTH-STRINGS
51
49
16
N
PhaAPan2
SYNTH-DOO
53
50
16
N
DistDly1
SYNTH-VOICE 3
54
52
16
N
DistDly1
VOICE PAD
54
53
16
N
FlanDly3
CHOIR STRINGS
48
53
16
N
RvbHall1
ORCHESTRA STRINGS 2
49
52
16
N
RvbHall1
BLOW VOICE
54
51
16
N
DistDly1
NOISY SYNTH-VOICE
54
54
16
N
FlanDly2
BASS HIT
55
49
16
N
DistDly1
PIANO HIT
55
54
16
N
GateRvb2
ORGAN HIT
55
55
16
N
Rotary 2
ORCHESTRA HIT 1
55
48
16
N
RvbHall1
TECHNO HIT
55
56
16
N
MetalDly
A-3
Appendix-ES.fm
4 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
A-4
Tone Group/
Grupo de
Sonido
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
BRASS
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
REED
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
PIPE
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
VELO. TRUMPET
56
51
16
N
GateRvb2
VELO. TROMBONE
57
50
16
-1
GateRvb2
MUTE TRUMPET
59
48
32
N
Enhancer
OCTAVE FRENCH HORN
60
50
16
-1
RvbHall1
STEREO BRASS
61
50
16
N
Enha Dly
BRASS + SYNTH
61
51
16
N
Enha Dly
DEEP SYNTH-BRASS 1
62
51
16
N
Enha Dly
SOFT SYNTH-BRASS
63
51
16
N
Enha Dly
VINTAGE SYNTH-BRASS
63
48
16
N
RvbHall2
TRUMPET 1
56
48
32
N
RvbHall1
TRUMPET P
56
50
16
N
RvbHall1
TROMBONE
57
48
16
-1
RvbHall1
TROMBONE F
57
49
32
-1
RvbHall1
WAH MUTE TRUMPET
59
49
32
N
LFO Wah
FRENCH HORN
60
48
16
-1
RvbHall1
BRASS SFZ
61
53
16
N
Comp 2
DEEP SYNTH-BRASS 2
62
53
16
N
Enha Dly
TUBA
58
48
32
-1
RvbHall1
SQR SYNTH-BRASS
62
52
16
N
Delay
WARM SYNTH-BRASS
63
52
16
N
Delay
ANALOG BRASS 1
62
48
32
N
Comp 2
BRASS + TRUMPET
61
52
16
N
RvbHall2
SLOW SYNTH-BRASS
63
49
16
N
ChoDly 4
TROMBONE SECTION
57
51
16
N
GateRvb2
BRASS
61
48
32
N
RvbHall2
OCTAVE BRASS
61
54
16
N
RvbHall2
ANALOG BRASS 2
62
54
32
N
Equalize
BRASS + FRENCH HORN
61
55
16
N
RvbHall2
STACK TUBA
58
49
16
-1
Comp 2
BREATHY TENOR SAX
66
49
16
-1
Enhancer
BREATHY ALTO SAX
65
49
16
-1
Enhancer
MELLOW SOPRANO SAX
64
49
16
N
CmpEnDly
VELO. TENOR SAX
66
50
16
-1
GateRvb2
VELO. ALTO SAX
65
51
32
-1
GateRvb2
VELO. CLARINET
71
49
16
N
Reflect
OBOE
68
48
32
N
GateRvb2
SOPRANO SAX
64
48
32
N
Equalize
ALTO SAX
65
48
32
-1
Equalize
TENOR SAX
66
48
32
-1
Equalize
ALTO SAX FF
65
50
32
-1
Equalize
BARITONE SAX
67
48
32
-1
Equalize
CLARINET
71
48
32
N
GateRvb2
ALTO SAXYS
65
52
16
-1
Equalize
TENOR SAXYS
66
51
16
-1
Equalize
STACK BARITONE SAX
67
49
16
-1
Comp 2
SYNTH-OBOE
68
49
16
N
ChoDly 4
VELO. FLUTE
73
49
16
N
GateRvb2
PICCOLO
72
48
32
+1
Equalize
PAN FLUTE
75
48
32
N
GateRvb2
BOTTLE BLOW
76
48
32
N
Equalize
RECORDER
74
48
32
N
GateRvb2
WHISTLES
78
49
16
N
ChoDly 4
FLUTE
73
48
32
N
Reflect
PICCOLO ENSEMBLE
72
49
16
+1
Equalize
MELLOW FLUTE
73
50
16
N
Reflect
OCTAVE FLUTE
73
51
16
N
Equalize
FLUTE + REED
73
52
16
N
StXDelay
705A-E-214A
Appendix-ES.fm
5 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
Tone Group/
Grupo de
Sonido
PIPE
PIPE
PIPE
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-LEAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
705A-E-215A
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
SYNTH-PAN FLUTE
75
49
16
N
AWhChDly
SYNTH-RECORDER
74
49
16
N
ChoDly 4
WHISTLE
78
48
32
N
Od Rot 2
SAW TOOTH LEAD
81
48
16
N
Enha Dly
MELLOW SAW LEAD
81
53
16
N
Enha Dly
GR LEAD 1
81
54
16
N
PhaDly 2
SQUARE LEAD 1
80
48
16
N
ChoDly 2
SQUARE LEAD 2
80
51
16
N
ChoDly 2
VOX SQR LEAD
80
52
16
N
ChoDly 4
CALLIOPE LEAD
82
48
16
N
Equalize
CHIFF LEAD 1
83
48
16
N
Comp 1
CHARANG LEAD
84
48
16
N
Equalize
GT SYNTH-LEAD 1
84
49
16
N
PhaAPan1
SOLO VOX
85
48
16
N
PhaDly 1
FIFTH LEAD
86
48
16
N
Auto Wah
HUSKY SAW
86
49
16
N
PhaDly 1
BASS LEAD 1
87
48
16
N
Chorus 2
BASS LEAD 2
87
50
16
N
LFO Wah
VOX SAW LEAD
81
57
16
N
RgChoDly
SQUARE LEAD 3
80
53
16
N
FlanDly1
MELLOW SQR LEAD
80
54
16
N
Tremolo
ADVANCED CALLIOPE
82
49
16
N
RvbPlate
SEQ SAW 1
81
55
16
N
Equalize
REED SAW
81
56
16
N
Enha Cho
PIPE LEAD
82
50
16
N
Reflect
ATTACK SQR 1
80
55
16
N
Comp 2
PERC. CHIFF 1
83
49
16
N
Comp 1
PLUCK LEAD 1
84
50
16
N
FlanDly2
VOX LEAD 1
85
50
16
N
FlanDly2
5TH MELLOW
86
50
16
N
StXDelay
4TH LEAD
86
51
16
N
Auto Pan
REED LEAD
87
51
16
N
Equalize
RESO. SAW LEAD
81
58
16
N
Phaser
GR LEAD 2
81
59
32
N
CmpCrDly
DETUNED SAW
81
51
16
N
Chorus 2
ATTACK SQR 2
80
56
16
N
3Tap Dly
SQUARE WAVE 1
80
49
32
N
Auto Pan
SQUARE WAVE 2
80
57
32
N
AWhChDly
CHIFF LEAD 2
83
50
16
N
Comp 1
PLUCK LEAD 2
84
51
16
N
FlanDly2
TECH POLYSYNTH 1
86
52
16
N
Ring Mod
RESO LEAD
86
53
16
N
Enha Dly
FRET LEAD
87
52
16
N
Enha Dly
TECH POLYSYNTH 2
86
54
32
N
LoFi Ref
7TH SEQ
86
55
16
N
Phaser
FANTASY PAD
88
48
16
N
PhaDly 2
WARM PAD
89
48
32
N
Equalize
POLYSYNTH PAD
90
48
16
N
Cho Trem
NOISY SAW
90
49
16
N
Lo-Fi
SINE PAD
89
49
16
N
Phaser
SPACE VOICE 1
91
48
16
N
RotRef 1
COSMIC VOICE
91
50
16
N
Rotary 2
BOWED PAD
92
48
16
N
3Tap Dly
METAL PAD 1
93
48
16
N
St Delay
HALO PAD
94
48
16
N
StPhaser
SWEEP PAD
95
48
32
N
Equalize
RAIN PAD
96
48
16
N
Comp 1
A-5
Appendix-ES.fm
6 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
Tone Group/
Grupo de
Sonido
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
SYNTH-PAD
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Polyphony/
Tipo de
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Tipo DSP
de programa
de banco
Polifonía máxima
gama
VIBE PAD
96
49
16
N
CmpDelay
MOVIE SOUND
97
48
16
N
FlanDly1
CRYSTAL PAD 2
98
50
16
N
St Delay
ATMOSPHERE PAD
99
48
16
N
GateRvb1
BRIGHTER
100
49
16
N
Delay
GOBLIN PAD
101
48
16
N
Flanger
STAR THEME
103
48
16
N
PhaAPan2
NEW FANTASY
88
49
16
N
ChoDly 3
WARM VOX
89
50
16
N
Equalize
FLUTE PAD
89
51
16
N
Equalize
ATTACK POLYSYNTH
90
50
16
N
Equalize
CHIFF CHOIR
91
51
16
N
Cho Flan
STAR VOICE
91
52
16
N
DsChoDly
SPACE VOICE 2
91
49
16
N
RgChoDly
GLASS PAD
92
50
16
N
Equalize
BOTTLE PAD
92
49
16
N
LFO Wah
METAL VOICE
93
49
16
N
RotRef 1
BRIGHTNESS PAD
100
48
16
N
ChoDly 2
CRYSTAL PAD 1
98
48
16
N
PhaDly 2
POLY SAW
90
51
16
N
ChoDly 3
BOUNCE PAD
94
49
16
N
Dist Cho
SLOW SWEEP
95
49
16
N
RgChoDly
STEEL PAD
99
49
16
N
ChoDly 3
Preset Tones/Sonidos preajustados
No./
Nº
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
A-6
Tone Group/
Grupo de
Sonido
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Polyphony/
Tipo de
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Tipo DSP
de programa
de banco
Polifonía máxima
gama
PIANO 1
0
64
32
N
–
PIANO 2
1
64
32
N
–
PIANO 3
2
64
32
N
–
HONKY-TONK GM
3
64
16
N
–
ELEC. PIANO 1 GM
4
64
32
N
–
MODERN EP 1 GM
5
64
16
N
–
HARPSICHORD GM
6
64
32
N
–
CLAVI GM
7
64
32
N
–
CELESTA GM
8
64
32
N
–
GLOCKENSPIEL GM
9
64
32
N
–
MUSIC BOX
10
64
16
N
–
VIBRAPHONE GM
11
64
32
N
–
MARIMBA GM
12
64
32
N
–
XYLOPHONE
13
64
32
N
–
TUBULAR BELL
14
64
32
N
–
DULCIMER
15
64
16
N
–
DRAWBAR ORGAN 1 GM
16
64
32
N
–
PERC. ORGAN 1 GM
17
64
16
N
–
ROCK ORGAN GM
18
64
16
N
–
CHURCH ORGAN 1 GM
19
64
16
N
–
REED ORGAN
20
64
32
N
–
ACCORDION GM
21
64
16
N
–
HARMONICA GM
22
64
32
N
–
BANDONEON GM
23
64
16
N
–
NYLON GUITAR GM
24
64
32
N
–
705A-E-216A
Appendix-ES.fm
7 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
Tone Group/
Grupo de
Sonido
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
705A-E-217A
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
STEEL GUITAR GM
25
64
32
N
–
JAZZ GUITAR GM
26
64
32
N
–
CLEAN GUITAR GM
27
64
32
N
–
MUTED GUITAR GM
28
64
32
N
–
OVERDRIVE GT GM
29
64
16
N
–
DISTORTION GT GM
30
64
16
N
–
GUITAR HARMONICS
31
64
32
N
–
ACOUSTIC BASS GM
32
64
32
N
–
FINGERED BASS GM
33
64
32
N
–
PICKED BASS GM
34
64
32
N
–
FRETLESS BASS GM
35
64
32
N
–
SLAP BASS 1
36
64
32
N
–
SLAP BASS 2 GM
37
64
32
N
–
SAW SYNTH-BASS 1 GM
38
64
16
N
–
SQR SYNTH-BASS 1 GM
39
64
32
N
–
VIOLIN GM
40
64
32
N
–
VIOLA GM
41
64
32
N
–
CELLO GM
42
64
32
N
–
CONTRABASS
43
64
32
N
–
TREMOLO STRINGS
44
64
32
N
–
PIZZICATO GM
45
64
32
N
–
HARP GM
46
64
32
N
–
TIMPANI
47
64
32
N
–
STRINGS 1
48
64
32
N
–
STRINGS 2
49
64
32
N
–
SYNTH-STRINGS 1 GM
50
64
32
N
–
RESO SYNTH-STRINGS GM
51
64
32
N
–
CHOIR
52
64
32
N
–
VOICE DOO GM
53
64
32
N
–
SYNTH-VOICE 1 GM
54
64
32
N
–
ORCHESTRA HIT 1 GM
55
64
16
N
–
TRUMPET 1 GM
56
64
32
N
–
TROMBONE GM
57
64
32
N
–
TUBA GM
58
64
32
N
–
MUTE TRUMPET GM
59
64
32
N
–
FRENCH HORN GM
60
64
16
N
–
BRASS GM
61
64
32
N
–
SYNTH-BRASS 1
62
64
32
N
–
SYNTH-BRASS 2
63
64
16
N
–
SOPRANO SAX GM
64
64
32
N
–
ALTO SAX GM
65
64
32
N
–
TENOR SAX GM
66
64
32
N
–
BARITONE SAX GM
67
64
32
N
–
OBOE GM
68
64
32
N
–
ENGLISH HORN
69
64
32
N
–
BASSOON
70
64
32
N
–
CLARINET GM
71
64
32
N
–
PICCOLO GM
72
64
32
N
–
FLUTE GM
73
64
32
N
–
RECORDER GM
74
64
32
N
–
PAN FLUTE GM
75
64
32
N
–
BOTTLE BLOW GM
76
64
32
N
–
SHAKUHACHI
77
64
16
N
–
WHISTLE GM
78
64
32
N
–
OCARINA
79
64
32
N
–
SQUARE LEAD
80
64
16
N
–
PLAIN SAW LEAD
81
64
16
N
–
A-7
Appendix-ES.fm
8 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
A-8
Tone Group/
Grupo de
Sonido
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
GM
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
CALLIOPE
82
64
16
N
–
CHIFF
83
64
16
N
–
CHARANG
84
64
16
N
–
PLAIN SOLO VOX
85
64
16
N
–
FIFTH SAW
86
64
16
N
–
BASS LEAD
87
64
16
N
–
FANTASY
88
64
16
N
–
WARM SYNTH
89
64
32
N
–
POLYSYNTH
90
64
16
N
–
SPACE VOX
91
64
16
N
–
BOWED GLASS
92
64
16
N
–
METAL SYNTH
93
64
16
N
–
HALO SYNTH
94
64
16
N
–
SWEEP
95
64
32
N
–
RAIN DROP
96
64
16
N
–
SOUND TRACK
97
64
16
N
–
CRYSTAL
98
64
16
N
–
ATMOSPHERE
99
64
16
N
–
BRIGHTNESS
100
64
16
N
–
GOBLIN
101
64
16
N
–
ECHOES
102
64
32
N
–
SF
103
64
16
N
–
SITAR
104
64
16
N
–
BANJO GM
105
64
32
N
–
SHAMISEN
106
64
32
N
–
KOTO
107
64
32
N
–
THUMB PIANO
108
64
32
N
–
BAG PIPE
109
64
16
N
–
FIDDLE
110
64
32
N
–
SHANAI
111
64
32
N
–
TINKLE BELL
112
64
32
N
–
AGOGO
113
64
32
N
–
STEEL DRUMS
114
64
16
N
–
WOOD BLOCK
115
64
32
N
–
TAIKO
116
64
32
N
–
MELODIC TOM
117
64
32
N
–
SYNTH-DRUM
118
64
32
N
–
REVERSE CYMBAL
119
64
32
N
–
GT FRET NOISE
120
64
32
N
–
BREATH NOISE
121
64
32
N
–
SEASHORE
122
64
16
N
–
BIRD
123
64
16
N
–
TELEPHONE
124
64
32
N
–
HELICOPTER
125
64
32
N
–
APPLAUSE
126
64
16
N
–
GUNSHOT
127
64
32
N
–
PIANO 1 WIDE
0
65
32
N
–
MELLOW PIANO GM
0
66
32
N
–
PIANO 2 WIDE
1
65
32
N
–
TECHNO PIANO
1
70
32
N
–
MODERN E.G.PIANO WIDE
2
65
32
N
–
HONKY-TONK 2
3
65
32
N
–
ELEC. PIANO 2
4
65
16
N
–
60’S E.PIANO GM
4
67
16
N
–
MODERN EP + E.G.PIANO
5
65
32
N
–
MODERN EP 3
5
67
16
N
–
HARPSICHORD WIDE
6
66
16
N
–
705A-E-218A
Appendix-ES.fm
9 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
Tone Group/
Grupo de
Sonido
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
VARIOUS
705A-E-219A
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
PULSE CLAVI GM
7
65
32
N
–
VIBRAPHONE WIDE
11
65
32
N
–
MARIMBA WIDE
12
65
32
N
–
TREMOLO ORGAN GM
16
65
32
N
–
DRAWBAR ORGAN 2 GM
16
66
32
N
–
70’S ORGAN GM
17
65
32
N
–
JAZZ ORGAN GM
17
66
16
N
–
CHURCH ORGAN 2 GM
19
65
16
N
–
CHURCH ORGAN 3
19
66
16
N
–
PUFF ORGAN
20
65
16
N
–
NYLON GUITAR RLS
24
66
16
N
–
12 STRING GUITAR GM
25
65
16
N
–
PEDAL STEEL
26
65
16
N
–
DETUNED CLEAN GT
27
65
16
N
–
PLAIN ELEC. GUITAR REAR
27
66
32
N
–
PLAIN ELEC. GUITAR FRONT
27
67
32
N
–
FEEDBACK GUITAR GM
30
65
16
N
–
GUITAR FEEDBACK
31
65
32
N
–
SAW SYNTH-BASS 3
38
67
16
N
–
RESO. SAW BASS 3
38
72
16
N
–
SAW SYNTH-BASS 4
38
73
16
N
–
ORGAN BASS 2
38
74
16
N
–
SQR SYNTH-BASS 2
39
65
16
N
–
KICK BASS 1
39
72
16
N
–
SQR SYNTH-BASS 3
39
73
16
N
–
ATTACK SQR BASS
39
74
16
N
–
BRIGHT STRINGS GM
48
65
32
N
–
OCTAVE STRINGS
48
66
16
N
–
SYNTH-STRINGS 2
50
65
16
N
–
PURE SYNTH-STRING
50
66
16
N
–
CHOIR + UUH
52
65
16
N
–
VOICE UUH GM
53
65
16
N
–
SYNTH-VOICE 2 GM
54
65
32
N
–
SEQ VOX
54
66
32
N
–
BASS HIT GM
55
65
16
N
–
POP HIT 3
55
66
16
N
–
ORCHESTRA HIT 2
55
67
16
N
–
TIMPANI HIT
55
73
16
N
–
TRUMPET 2
56
65
32
N
–
TROMBONE F GM
57
65
32
N
–
MELLOW FRENCH HORN
60
65
16
N
–
BRASS + TROMBONE
61
65
16
N
–
SYNTH-BRASS 3
62
65
32
N
–
OCTAVE SYNTH-BRASS
62
66
16
N
–
SYNTH-BRASS SFZ
63
65
16
N
–
BS SYNTH-BRASS
63
66
16
N
–
SQUARE WAVE
80
65
32
N
–
TRIANGLE WAVE
80
66
32
N
–
SQUARE WAVE 3
80
74
32
N
–
SAW WAVE
81
65
32
N
–
SAW + SQR
81
66
16
N
–
SEQ SAW 2
81
68
16
N
–
PERC. CHIFF 2
83
67
16
N
–
GT SYNTH-LEAD 2
84
68
16
N
–
VOX LEAD 2
85
65
16
N
–
BASS LEAD 3
87
65
16
N
–
SINE SYNTH
89
65
16
N
–
A-9
Appendix-ES.fm
10 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Nº
496
497
498
499
Tone Group/
Grupo de
Sonido
VARIOUS
VARIOUS
VARIOUS
VARIOUS
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Polyphony/
Tipo de
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Tipo DSP
de programa
de banco
Polifonía máxima
gama
SOPRANO PAD
89
68
16
N
–
FAST SWEEP
95
66
16
N
–
WOOD PAD
96
66
16
N
–
SYNTH-MALLET
98
65
16
N
–
Drum Sets/Ajustes de batería
No./
Nº
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
Tone Group/
Grupo de
Sonido
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
DRUM
Program
Bank Select MSB/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
de programa
de banco
STANDARD SET 1
0
120
STANDARD SET 2
1
120
ROOM SET
8
120
POWER SET
16
120
ELEC. SET
24
120
SYNTH SET 1
25
120
SYNTH SET 2
30
120
JAZZ SET
32
120
BRUSH SET
40
120
ORCHESTRA SET
48
120
HIP-HOP SET 1
64
120
HIP-HOP SET 2
65
120
TECHNO SET 1
66
120
TECHNO SET 2
67
120
DANCE SET 1
68
120
DANCE SET 2
69
120
Drawbar Organ Tones/Sonidos del órgano con Drawbar
No./
Nº
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
Tone Group/
Grupo de
Sonido
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
A-10
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Polyphony/
Tipo de
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Tipo DSP
de programa
de banco
Polifonía máxima
gama
Drawbar Organ 1
0
96
10
N
Rotary
Jazz Organ 1
1
96
10
N
Rotary
Full Drawbar
2
96
16
N
Rotary
Perc. Organ 1
3
96
16
N
Rotary
16’+1’ Organ
4
96
16
N
Rotary
Soul Organ 1
5
96
10
N
Rotary
Overdrive Organ 1
6
96
16
N
OvdRotry
Drawbar Organ 2
7
96
16
N
Rotary
Block Organ 1
8
96
16
N
OvdRotry
Theater Organ 1
9
96
16
N
Rotary
Jazz Organ 2
10
96
10
N
Rotary
Soul Organ 2
11
96
16
N
Rotary
Gospel Organ 1
12
96
16
N
Rotary
Chorus Organ 1
13
96
16
N
Rotary
Overdrive Organ 2
14
96
10
N
OvdRotry
Block Organ 2
15
96
16
N
Rotary
Drawbar Organ 3
16
96
16
N
Rotary
Perc. Organ 2
17
96
16
N
Rotary
Theater Organ 2
18
96
16
N
Rotary
Gospel Organ 2
19
96
16
N
Rotary
705A-E-220A
Appendix-ES.fm
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Appendix/Apéndice
No./
Nº
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
Tone Group/
Grupo de
Sonido
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
DRAWBAR
Program
Bank Select MSB/
Maximum
Range Type/
DSP Type/
Tone Name/Nombre de sonido Change/Cambio MSB de selección
Polyphony/
Tipo de
Tipo DSP
de programa
de banco
Polifonía máxima
gama
Even Organ
20
96
16
N
Rotary
Flute Organ 1
21
96
16
N
Rotary
Chorus Organ 2
22
96
16
N
Rotary
Overdrive Organ 3
23
96
16
N
Rotary
16’ Organ
24
96
16
N
Rotary
Soul Organ 3
25
96
16
N
Rotary
Perc. Organ 3
26
96
16
N
Rotary
Drawbar Organ 4
27
96
16
N
Rotary
Perc. Organ 4
28
96
10
N
Rotary
Odd Organ
29
96
16
N
Rotary
Reed Organ 1
30
96
16
N
Rotary
Block Organ 3
31
96
10
N
Rotary
Overdrive Organ 4
32
96
10
N
OvdRotry
Drawbar Organ 5
33
96
10
N
Rotary
Gospel Organ 3
34
96
16
N
Rotary
8’ + 4’ Organ
35
96
32
N
Rotary
Block Organ 4
36
96
32
N
Rotary
String Organ 2
37
96
16
N
Rotary
Pure Organ 1
38
96
32
N
Rotary
Drawbar Organ 6
39
96
10
N
Rotary
Delay Organ 1
40
96
10
N
StXDly 2
Deep Chorus Organ
41
96
32
N
Cho.Dly4
Tremolo Organ
42
96
16
N
Cho.Trem
Delay Organ 2
43
96
16
N
Cho.Dly6
LFO Wah Organ
44
96
16
N
LWhChDl2
Dist. Organ Lead
45
96
16
N
MetalDly
Ring Organ
46
96
16
N
RingMod2
Mad Rotary Organ
47
96
10
N
RgChDly2
Old Organ
48
96
16
N
LoFiRef2
Dist. Ring Organ
49
96
10
N
DistRing
Range
Gama
Symbol
Meaning
Símbolo
Significado
N
Normal
N
Normal
-1
1 Octave Down
-1
1 Octave Down
-2
2 Octave Down
-2
2 Octave Down
1
1 Octave Up
1
1 Octave Up
2
2 Octave Up
2
2 Octave Up
1/2
1/2 Octave
1/2
1/2 Octave
1/4
1/4 Octave
1/4
1/4 Octave
705A-E-221A
A-11
Appendix-ES.fm
12 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
Drum Assignment List/Lista de asignación de batería
“ ” indicates the same sound as STANDARD SET./“ ” indica el mismo sonido que STANDARD SET.
A-12
705A-E-222A
Appendix-ES.fm
13 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
705A-E-223A
A-13
Appendix-ES.fm
14 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
Rhythm List/Lista de Ritmo
No./
Rhythm Name/Nombre de Ritmo
Nº
8 BEAT
0
8 BEAT 1
1
8 BEAT 2
2
8 BEAT 3
3
8 BEAT POP 1
4
8 BEAT POP 2
5
8 BEAT POP 3
6
60’S SOUL
7
8 BEAT DANCE
8
POP ROCK 1
9
POP ROCK 2
16 BEAT
10
16 BEAT 1
11
16 BEAT 2
12
16 BEAT 3
13
SLOW 16 BEAT
14
16 BEAT SHUFFLE 1
15
16 BEAT SHUFFLE 2
16
FUNK 1
17
FUNK 2
18
FUSION
19
LATIN FUSION
POPS
20
POP
21
SOUL
22
POP SHUFFLE 1
23
POP SHUFFLE 2
24
SOUL POP
25
WORLD POP
26
MELLOW R&B
27
60’S POP
28
80’S POP
29
POP WALTZ
BALLAD
30
8 BEAT BALLAD 1
31
8 BEAT BALLAD 2
32
8 BEAT BALLAD 3
33
16 BEAT BALLAD 1
34
16 BEAT BALLAD 2
35
16 BEAT BALLAD 3
36
6/8 BALLAD
37
POP BALLAD
38
OLDIES BALLAD
39
SERENADE
A-14
No./
Rhythm Name/Nombre de Ritmo
Nº
ROCK
40
ROCK 1
41
ROCK 2
42
R&B
43
SHUFFLE ROCK
44
SLOW ROCK
45
HEAVY METAL
46
60’S ROCK
47
SHUFFLE BOOGIE
48
BLUES
49
TWIST
DANCE
50
TRANCE 1
51
TRANCE 2
52
AMBIENT 1
53
AMBIENT 2
54
AMBIENT 3
55
RAVE
56
TECHNO
57
DIGITAL ROCK
58
HOUSE
59
LATIN HOUSE
60
DANCE 1
61
DANCE 2
62
MODERN R&B
63
HIP-HOP
64
TRIP-HOP
65
ELECTRIC POP
66
DANCE POP 1
67
DANCE POP 2
68
DANCE POP 3
69
DISCO SOUL
JAZZ
70
FAST BIG BAND
71
MIDDLE BIG BAND
72
SLOW BIG BAND
73
JAZZ COMBO 1
74
SWING
75
SLOW SWING
76
MODERN JAZZ
77
FOX TROT
78
QUICKSTEP
79
JAZZ WALTZ
EUROPEAN
80
POLKA
81
POLKA FOX
82
POP POLKA
83
1-Mar
84
2-Mar
85
GERMAN MARCH
86
WALTZ 1
87
WALTZ 2
88
VIENNESE WALTZ
89
FRENCH WALTZ
705A-E-224A
Appendix-ES.fm
15 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
No./
Rhythm Name/Nombre de Ritmo
Nº
LATIN/VARIOUS
90
BOSSA NOVA 1
91
BOSSA NOVA 2
92
SAMBA
93
MERENGUE
94
CUMBIA
95
CHA-CHA-CHA
96
SALSA
97
BEGUINE
98
BOLERO
99
MAMBO
100 RHUMBA
101 TANGO 1
102 TANGO 2
103 REGGAE 1
104 REGGAE 2
105 SKA
106 BLUEGRASS
107 COUNTRY
108 COUNTRY SHUFFLE
109 COUNTRY WALTZ
110 FAST GOSPEL
111 SLOW GOSPEL
112 BROADWAY
113 JIVE
114 DIXIE
115 PASODOBLE
116 SIRTAKI
117 HAWAIIAN
118 ADANI
119 BALADI
FOR PIANO
120 PIANO BALLAD 1
121 PIANO BALLAD 2
122 PIANO BALLAD 2
123 EP BALLAD 1
124 EP BALLAD 2
125 BLUES BALLAD
126 MELLOW JAZZ
127 JAZZ COMBO 2
128 RAGTIME
129 BOOGIE WOOGIE
130 ARPEGGIO 1
131 ARPEGGIO 2
132 ARPEGGIO 2
133 PIANO BALLAD 4
134 6/8 MARCH
135 3-Mar
136 2 BEAT
137 WALTZ 3
138 WALTZ 4
139 WALTZ 5
705A-E-225A
A-15
Appendix-ES.fm
16 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
Fingered Chord Chart/Cuadro de acordes Fingered
This table shows the fingerings for commonly used chords, including inverted fingerings.
Esta tabla muestra las digitaciones para los acordes usados comúnmente, incluyendo las digitaciones invertidas.
A-16
705A-E-226A
Appendix-ES.fm
17 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
* You can change the keyboard range of dim7 chords for roots A, Bb, and B, and aug chords for roots Bb and B by adjusting the
split point setting (page E-67).
* Puede cambiar la gama del teclado de los acordes dim7 para las notas fundamentales A, Bb y acordes aumentados (augment)
para las notas fundamentales Bb y B mediante el ajuste del punto de división (página S-70).
705A-E-227A
A-17
Appendix-ES.fm
18 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
Effect List/Lista de efecto
No./
Nº
Display Name/Nombre
de display
TypeName/Nombre de
tipo
14
SDelay 3
Standard
15
SDelay 4
Bass +
REVERB Effect List/
Lista de efectos de reverberación
(REVERB)
No./
Nº
Display Name/Nombre
de display
TypeName/Nombre de
tipo
Standard
Bass +
Bass +
2
Treble +
Treble +
3
Loudness
Loudness
4
Mellow
Mellow
5
Bright
Bright
Delay
6
Rock
Rock
PanDelay
7
Dance
Dance
Plate 2
8
Jazz
Jazz
9
Classic
Classic
1
Room 2
Room 2
2
Room 3
Room 3
3
Hall 1
Hall 1
4
Hall 2
Hall 2
5
Plate 1
Plate 1
6
Delay
Plate 2
9
Plate 3
Plate 3
10
LrgRoom 1
LrgRoom 1
11
LrgRoom 2
LrgRoom 2
12
Stadium 1
Stadium 1
13
Stadium 2
Stadium 2
14
LongDly 1
LongDelay 1
15
LongDly 2
LongDelay 2
Lista de efectos de chorus (CHORUS)
Display Name/Nombre
de display
TypeName/Nombre de
tipo
0
Chorus 1
Chorus 1
1
Chorus 2
Chorus 2
2
Chorus 3
Chorus 3
3
Chorus 4
Chorus 4
4
FBChorus
Feedback Chorus
5
Flanger1
Flanger 1
6
SDelay 1
Short Delay 1
7
SDelay 2
Short Delay 2
8
SFChorus
Soft Chorus
9
BRChorus
Bright Chorus
10
DPChorus
Deep Chorus
11
Flanger 2
Flanger 2
12
Flanger 3
Flanger 3
13
Flanger 4
Flanger 4
A-18
DSP Effect List/Lista de efectos DSP
Settable parameters depend on the DSP type. Also, the
parameters for each DSP type depend on the algorithm*
associated with the DSP type. See the DSP Algorithm List on
page E-88 for more information.
* Effector structure and operation type
CHORUS Effect List/
No./
Nº
TypeName/Nombre de
tipo
Standard
Room 1
8
Display Name/Nombre
de display
1
Room 1
PanDelay
No./
Nº
0
0
7
Equalizer List/Lista de ecualizador
Los parámetros que pueden ajustarse dependen en el tipo
DSP. También, los parámetros para cada tipo DSP depende
en el algoritmo* asociado con el tipo DSP. Para mayor
información vea la “Lista de algoritmos DSP” en la página
S-92.
* Estructura de generador de efectos y tipo de operación.
Algorithm
ID/
Identificación
(ID) de
algoritmo
Dynamics Fx
[00]
03
[01]
06
[02]
06
[03]
07
[04]
13
Phaser
[05]
10
[06]
09
DSP
No./
Nº
DSP
Display
Name/
DSP Name/Nombre DSP
Nombre de
display
Equalize
Comp 1
Comp 2
Limiter
Enhancer
Equalizer
Compressor 1
Compressor 2
Limiter
Enhancer
Phaser
StPhaser
Phaser
Stereo Phaser
705A-E-228A
Appendix-ES.fm
19 ページ 2003年9月29日 月曜日 午後5時13分
Appendix/Apéndice
DSP
No./
Nº
DSP
Algorithm
Display
ID/
Name/
Identificación
DSP Name/Nombre DSP
Nombre de
(ID) de
display
algoritmo
Chorus
[07]
16
Chorus 1
Chorus 1
[08]
17
Chorus 2
Chorus 2
[09]
19
Chorus 3
Chorus 3
[10]
18
Chorus 4
Chorus 4
[11]
M05
Enha Cho Enhancer - Chorus
Flanger
[12]
26
Flanger
Flanger
[13]
M07
EnhaFlan Enhancer - Flanger
Delay
[14]
28
Delay
Delay
[15]
22
3Tap Delay 3-Tap Delay
[16]
20
St Delay
Stereo Delay
[17]
21
StXDelay
Stereo Cross Delay
[18]
M06
EnhaDly
Enhancer - Delay
[19]
25
Reflect
Reflection
Cho/Flanger/Delay Combination
[20]
M02
PhaCho 1 Phaser - Chorus 1
[21]
M02
Pha Cho 2 Phaser - Chorus 2
[22]
M04
PhaDly 1
Phaser - Delay 1
[23]
M04
PhaDly 2
Phaser - Delay 2
[24]
M00
ChoDly 1 Chorus - Delay 1
[25]
M00
ChoDly 2 Chorus - Delay 2
[26]
M01
ChoDly 3 Chorus - Delay 3
[27]
M01
ChoDly 4 Chorus - Delay 4
[28]
M19
CmpDelay Compressor - Delay
[29]
M18
CmpEnDly Compressor - Enhancer - Delay
[30]
M23
CmpChoRf Compressor - Chorus - Reflection
[31]
M08
Cho Flan
Chorus - Flanger
[32]
M03
FlanDly 1 Flanger - Delay 1
[33]
M03
FlanDly 2 Flanger - Delay 2
Reverb
[34]
27
RvbRoom 1 Reverb Room 1
[35]
27
RvbRoom 2 Reverb Room 2
[36]
27
RvbRoom 3 Reverb Room 3
[37]
27
RvbHall 1 Reverb Hall 1
[38]
27
RvbHall 2 Reverb Hall 2
[39]
27
RvbPlate
Reverb Plate
[40]
23
GateRvb 1 Gate Reverb 1
[41]
23
GateRvb 2 Gate Reverb 2
[42]
24
GateRvb 3 Gate Reverb 3
[43]
24
GateRvb 4 Gate Reverb 4
Pan/Tremolo Fx
[44]
01
Tremolo
Tremolo
[45]
M09
Cho Trem Chorus - Tremolo
[46]
00
Auto Pan Auto Pan
[47]
M10
PhaAPan 1 Phaser - Auto Pan 1
[48]
M10
PhaAPan 2 Phaser - Auto Pan 2
[49]
M20
PhaChoAP Phaser - Chorus - Auto Pan
705A-E-229A
Algorithm
ID/
Identificación
(ID) de
algoritmo
Rotary Fx
[50]
11
[51]
11
[52]
12
[53]
12
[54]
M17
[55]
M17
[56]
M17
[57]
M16
[58]
M16
[59]
M16
Wah Fx
[60]
04
[61]
05
[62]
M21
[63]
M22
Guitar Fx
[64]
08
[65]
08
[66]
08
[67]
08
[68]
08
[69]
08
[70]
M29
[71]
M29
[72]
M30
[73]
M30
[74]
M30
[75]
M30
[76]
M31
[77]
M31
[78]
M28
[79]
M28
[80]
M28
[81]
M28
[82]
M28
[83]
M28
[84]
M24
[85]
M24
[86]
M25
[87]
M26
[88]
M26
[89]
M26
[90]
M27
[91]
M27
SFX
[92]
14
[93]
M12
[94]
M13
[95]
15
[96]
M11
[97]
M14
[98]
M15
[99]
M15
DSP
No./
Nº
DSP
Display
Name/
DSP Name/Nombre DSP
Nombre de
display
Rotary 1
Rotary 2
Od Rot 1
Od Rot 2
RotRef 1
RotRef 2
RotRef 3
OdRtRef 1
OdRtRef 2
OdRtRef 3
Rotary 1
Rotary 2
Overdrive - Rotary 1
Overdrive - Rotary 2
Rotary - Reflection 1
Rotary - Reflection 2
Rotary - Reflection 3
Overdrive - Rotary - Reflection 1
Overdrive - Rotary - Reflection 2
Overdrive - Rotary - Reflection 3
LFO Wah
Auto Wah
AWhChDly
LWhChDly
LFO Wah
Auto Wah
Auto Wah - Chorus - Delay
LFO Wah - Chorus - Delay
Crunch
Ovrdrive
Dist 1
Dist 2
Metal
Fuzz
CrnPhase
Od Phase
Crn Cho
OdChorus
Dist Cho
MetalCho
DistFlan
Met Fan
CrnDelay
Od Delay
DistDly 1
DistDly 2
MetelDly
Fuzz Dly
CrChoDly
DsChoDly
CmpCrDly
AWhCrDly
AWhOdDly
AWhDsDly
LWhOdDly
LWhDsDly
Crunch
Overdrive
Distortion 1
Distortion 2
Metal
Fuzz
Crunch - Phaser
Overdrive - Phaser
Crunch - Chorus
Overdrive - Chorus
Distortion - Chorus
Metal - Chorus
Distortion - Flanger
Metal - Flanger
Crunch - Delay
Overdrive - Delay
Distortion - Delay 1
Distortion - Delay 2
Metal - Delay
Fuzz - Delay
Crunch - Chorus - Delay
Distortion - Chorus - Delay
Compressor - Crunch - Delay
Auto Wah - Crunch - Delay
Auto Wah - Overdrive - Delay
Auto Wah - Distortion - Delay
LFO Wah - Overdrive - Delay
LFO Wah - Distortion - Delay
Ring Mod
RgChoDly
RingDist
Lo-Fi
CompLoFi
LoFi Ref
Crn LoFi
DistLoFi
Ring Modulator
Ring Modulator - Chorus - Delay
Ring Modulator - Distortion
Lo-Fi
Compressor - Lo-Fi
Lo-Fi - Reflection
Crunch - Lo-Fi
Distortion - Lo-Fi
A-19
CTK691E01-01.book
1 ページ
2003年9月29日 月曜日 午後4時47分
705A-E-234A
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