Radio Shack 42-4058 Electronic Keyboard User Manual

Radio Shack 42-4058 Electronic Keyboard User Manual
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42-4058
OWNER’S MANUAL — Please read before using this equipment.
Mixer Function — lets you make the
keyboard sound multiple tones for auto
accompaniment or memory playback, or to
play MIDI data received from another MIDI
device (see “Using the Mixer” on Page 12).
32-Note Polyphonic Sound — lets you play
248 Tones — uses technology usually found only on
and hear up to 32 notes at the same time, so you professional equipment to allow you to set your
can play or create almost any type of music.
keyboard to sound like anything from a harpsichord to a
honky-tonk piano. 100 of these tones have
Large Display — shows you the notes and
corresponding advanced tones, created by
chords as you play them, along with the current programming in digital signal processor (DSP) effects
100 Auto-Rhythms — provide a steady beat for tone, rhythm, and tempo. The built-in backlight and other settings. You can even create up to 32 of
many styles of music, from rhumba to rock (see makes it easy to read, even in dim light.
your own tones with the custom tone synthesizer
“Using the Preset Auto-Rhythms” on Page 9).
feature (see “Using the Tone Synthesizer” on Page 13).
61 Full-Sized Keys with Touch Response — provide the feel of a fine musical instrument.
The keyboard’s volume varies in response to the force of your touch, just like an acoustic
piano, so you can add emotion to your music.
Data Expansion System — lets you download
additional tones, up to four sets of accompaniment
data, DSP settings, and registration from your PC
and store them in your keyboard’s memory (see
“Using the Data Download Service” on Page 21).
Auto Accompaniment — lets you automatically play a
preset harmonic pattern to match the selected autorhythm (see “Using Auto Accompaniment” on Page 10).
This Owner’s Manual explains how to use this electronic keyboard. It does not teach music.
The keyboard conforms to most, but not all, General MIDI specifications. Because of this, you might
experience some incompatibility when using the keyboard with another General MIDI device. For
more information, see “Using MIDI” on Page 19. Your keyboard also includes a MIDI (Musical
Instrument Digital Interface) feature, which lets you connect it to other MIDI-equipped musical
instruments or devices — even your personal computer.
%106'065
The FCC Wants You to Know .....................
Connecting Power .......................................
Installing Batteries ...................................
Using AC Power ......................................
Connecting Headphones ............................
Listening Safely .......................................
Connecting an External Amplifier ................
Using the Sheet Music Stand ......................
A Quick Look at Your Keyboard ..................
Basic Operation ..........................................
Playing the Demonstration Tunes ............
Using the Preset Tones ............................
Using an Advanced Tone .........................
Using Reverb and Chorus ...........................
Selecting Reverb/Chorus .........................
Changing the Reverb or
Chorus Parameters ..................................
DSP (Digital Signal Processor) ...................
Selecting a DSP Type ..............................
Setting Basic DSP Parameters ................
Changing DSP Parameters .....................
Saving DSP Parameter Settings ..............
Using the Equalizers ...................................
Selecting the Equalizer Type ...................
Adjusting the Gain ...................................
Using SPLIT ................................................
Using LAYER ..............................................
Using SPLIT and LAYER Together .............
Using the Preset Auto-Rhythms ..................
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Selecting/Playing an Auto-Rhythm ........... 9
Using SYNCHRO ..................................... 9
Using INTRO ............................................ 9
Using FILL-IN ........................................... 9
Using FILL-IN NEXT ............................... 10
Using ENDING ....................................... 10
Using Auto Accompaniment ...................... 10
Adjusting the Accompaniment Volume ... 10
Concert Chord ........................................ 10
Standard Fingering ................................. 11
Full-Range Chords ................................. 11
Using Auto Harmonize ........................... 12
Using One-Touch Preset ........................ 12
Using the Mixer .......................................... 12
Using the Tone Synthesizer ....................... 13
Using the Registration Memory ................. 14
Storing a Setup ....................................... 14
Recalling a Setup ................................... 14
Special Features ........................................ 14
Changing Keys ....................................... 14
Tuning the Keyboard .............................. 14
Using Touch Response .......................... 15
Using a Sustain Pedal ............................ 15
Adjusting the Display Contrast ............... 15
Resetting the Keyboard .......................... 15
Using the Song Memory ............................ 16
Real-Time Recording .............................. 16
Playing Back from Song Memory ........... 17
Step Recording ....................................... 17
Recording Multiple Tracks ......................
Editing Memory Contents .......................
Editing a Song ........................................
Using MIDI .............................................
About MIDI .............................................
Making the MIDI Connections ................
MIDI Data ...............................................
Changing MIDI Settings .........................
Notes About the
MIDI Implementation Chart ....................
Using the Data Download Service .........
Troubleshooting .........................................
Care ..........................................................
Service and Repair ....................................
Tone List ....................................................
Panel Tones ...........................................
Advanced Tones ....................................
GM Tones ...............................................
Drum Sounds .........................................
User Tones .............................................
Drum Assignment List ............................
Fingered Chord Chart ............................
Effect List ...................................................
Reverb ...................................................
Chorus ...................................................
DSP ........................................................
DSP Algorithm List .................................
MIDI Implementation Chart .......................
Specifications ............................................
© 2002 RadioShack Corporation.
All Rights Reserved.
RadioShack and RadioShack.com are trademarks
used by RadioShack Corporation.
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The
TheFCC
FCC Wants
Wants You
Youto
toKnow
Know
6*'(%%9#065;1761-019
+/2146#06
If an icon appears at the end of a paragraph,
go to the box on that page with the
corresponding icon for pertinent information.
R— Warning
— Caution
± — Note
— Important
° — Hint
This equipment has been tested and found
to comply with the limits for a Class B digital
device, pursuant to Part 15 of the FCC
Rules. These limits are designed to provide
reasonable protection against harmful
interference in a residential installation. This
equipment generates, uses and can radiate
radio frequency energy and, if not installed
and used in accordance with the
instructions, may cause harmful interference
to radio communications.
However, there is no guarantee that
interference will not occur in a particular
installation. If this equipment does cause
harmful interference to radio or television
reception, which can be determined by
turning the equipment off and on, the user is
encouraged to try to correct the interference
by one or more of the following measures:
• Reorient or relocate the receiving
antenna.
• Increase the separation between the
equipment and receiver.
• Connect the equipment into an outlet on
a circuit different from that to which the
receiver is connected.
• Consult your local RadioShack store or
an experienced radio/TV technician for
help.
• If you cannot eliminate the interference,
the FCC requires that you stop using
your keyboard.
Changes or modifications not expressly
approved by RadioShack may cause
interference and void the user’s authority to
operate the equipment.
You must use shielded interface cables with
this equipment.
%100'%6+0)219'4
You can power your keyboard using internal
batteries or with standard AC power using
an optional AC adapter.
The keyboard retains the following settings
in its memory even when the power is turned
off as long as power is supplied to it (either
by the batteries or AC adapter):
• tone number
• layer and split
R
R
9#40+0)
Dispose of old batteries promptly and properly.
Do not burn or bury them.
• reverb/chorus
3. Replace the cover.
• DSP
• rhythm number
• tempo
• mixer mode
•
Use only fresh batteries of the required size
and recommended type.
• MIDI keyboard channel
•
Do not mix old and new batteries, different
types of batteries (standard, alkaline, or
rechargeable), or rechargeable batteries of
different capacities.
If you do not plan to use the keyboard with
batteries for a week or more, remove the
batteries. Batteries can leak chemicals that
can destroy electronic parts.
Using AC Power
You must use a Class 2 power
source that supplies 9V DC and
delivers at least 800 mA. Its
center tip must be set to negative and its
plug must fit the keyboard's DC 9V jack.
Using an adapter that does not meet these
specifications could damage the keyboard
or the adapter.
!
•
2
Always connect the AC adapter to the
keyboard before you connect it to AC
power. When you finish, disconnect the
adapter from AC power before you
disconnect it from the keyboard.
1. While pressing the tabs on the battery
compartment cover on the bottom of the
keyboard, pull up the cover to remove it.
• touch response
Installing Batteries
•
Your keyboard can use 6 D batteries (not
supplied) for power. For the best performance and longest life, we recommend
RadioShack alkaline batteries. 2. Place the batteries in the compartment
as indicated by the polarity symbols (+
and –) marked next to the compartment.
• split point
• equalizer
%#76+10
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• MIDI in chord judge
• MIDI accompaniment out
• assignable jack
• accompaniment volume
• user area tone (synthesizer tone)
• user area accompaniment
• user area DSP
• song memory
When the keyboard stops operating
properly, replace the batteries. R
75+0)#%219'4
You can power the keyboard using a 9V,
800 mA AC adapter and a size M
Adaptaplug™ adapter (neither supplied).
Both are available at your local RadioShack
store. Connecting an AC adapter
automatically disconnects any internal
batteries. 1. Set the AC adapter’s voltage switch to
9V.
2. Insert the Adaptaplug adapter into the
adapter’s cord so it reads – TIP.
• registration mode
If the keyboard loses power (by
disconnecting the AC adapter when
batteries are not installed or the batteries
lose power), these settings are lost or
initialized to factory settings.
You can also delete or initialize some
settings independently. See “Resetting the
Keyboard” on Page 15.
3. Connect the AC adapter’s barrel plug to
DC 9V on the back of the keyboard.
4. Plug the AC adapter’s other end into a
standard AC outlet.
%100'%6+0)*'#&2*10'5
.+56'0+0)5#('.;
To protect your hearing, follow these
guidelines when you use headphones.
• Set the volume to the lowest setting
before you begin listening. After you
begin listening, adjust the volume to a
comfortable level.
• Do not listen at extremely high volume
levels. Extended high-volume listening
can lead to permanent hearing loss.
• Once you set the volume, do not
increase it. Over time, your ears adapt
to the volume level, so a volume level
that does not cause discomfort might
still damage your hearing.
Connecting Headphones
To listen to your keyboard without disturbing
others, you can connect an optional pair of
stereo headphones with a 1/4-inch (6.35 mm)
plug. Your local RadioShack store sells a
wide selection of headphones. Insert the
headphones’ plug into PHONES/OUTPUT on
the back of the keyboard. Connecting
headphones disconnects the keyboard’s
built-in speakers.
%100'%6+0)#0':6'40#.#/2.+(+'4
To amplify your keyboard’s sound, you can
connect it to an optional external amplifier
using an audio cable with a 1/4-inch (6.35
mm) plug (not supplied). To connect an
external amplifier to your keyboard, insert
the cable’s plug into PHONES/OUTPUT on
the back of the keyboard, then connect the
other end of the cable to the amplifier’s input
jack(s) (such as AUX IN or TAPE IN). Your
local RadioShack store sells a full line of
amplifiers, speakers, and cables.
75+0)6*'5*''6/75+%56#0&
To easily view sheet music while playing
your keyboard, insert the supplied sheet
music stand into the slot on the top back
panel.
#37+%-.11-#6;174-';$1#4&
Preset 4-Band Equalizers —
lets you easily set the tone to
your favorite sound mix
(Standard, Jazz, Rock,
Dance, Classic, Mellow,
Bright, and so on). You can
even tailor the response of
each frequency band (see
“Using the Equalizers” on
Page 7).
Registration Memory — lets
you store up to 32 different
setups of the keyboard’s
controls, so you can instantly
recall them when you need
them (see “Using the
Registration Memory” on
Page 14).
3
Song Memory — lets you set the keyboard to record up to two songs, six
tracks, and 3,500 notes. The recording remains stored even while the
keyboard is off (see “Using the Song Memory” on Page 16).
(Back of Keyboard)
A Quick Look at Your Keyboard
MIDI In/Out Jacks —
let you connect the
keyboard to another
MIDI-equipped
device. To connect a
MIDI device to your
keyboard, see
“Making the MIDI
Connections” on
Page 20.
Automatic Intro/Ending Rhythm
— you can set the keyboard so it
automatically adds a 3- to 8measure introduction or 3- to 8measure ending to the selected
auto-rhythm (see “Using INTRO”
on Page 9).
Headphones/Output Jack —
lets you connect headphones
so you can play without
disturbing others, or an external
amplifier so you can play for a
crowd (neither supplied).
Sustain/Assignable Jack — lets you
connect a sustain pedal (not supplied,
available at your local RadioShack
store or at RadioShack.com) to the
keyboard so you can sustain or soften
your keyboard’s sound, or start/stop
an auto-rhythm (see “Using a Sustain
Pedal” on Page 15).
Fill-In Rhythm — lets you insert a
short variation into any auto-rhythm
(see “Using FILL-IN” on Page 9).
Tempo Control — lets
you speed up or slow
down the tempo of any
selected music pattern.
Tune Control — lets you adjust the pitch of your
keyboard so you can play in tune with other
instruments (see “Tuning the Keyboard” on Page 14).
Effects — lets you add reverb, chorus, and more powerful
sound effects – even tailor a parameter to create your own
effect (see “Using the Preset Tones” on Page 5).
Auto Harmonize — lets you automatically add harmony to your
melodies (see “Using Auto Harmonize” on Page 12).
Split Function — lets you use different sounds for the
low- and high-end keys (see “Using SPLIT” on Page 8).
Layer Function — lets you set the keyboard to play two
different tones at the same time, giving your music a
“layered” effect (see “Using LAYER” on Page 8).
4
Transpose Function — lets you instantly
change the key of the music, even while
you are playing (see “Changing Keys” on
Page 14).
$#5+%12'4#6+10
2. To turn on the keyboard, press POWER.
The POWER indicator lights and the
display turns on. ±
3. Slide MODE to NORMAL.
4. Slide VOLUME toward MAX slightly and
begin playing the keyboard.
To save power, the keyboard automatically
turns off after about 6 minutes if you do not
press a key. To turn on the keyboard again,
press POWER. To cancel auto power off,
turn on the keyboard while holding down
TONE. The next time you turn the keyboard
off then back on again, it will automatically
turn off after about 6 minutes.
• To select an auto-rhythm, see “Using
the Preset Auto-Rhythms” on
Page 9.
To prevent hearing damage, always set the
keyboard’s volume to MIN before you turn it on.
±016'±
Basic Operation
The keyboard automatically selects the tone
GRAND PIANO (No. 000) when you turn the
power on. Each time you turn it on after that, it
selects the last selected tone. To select a
different tone, see “Using the Preset Tones”.
Using the Preset Tones
•
The keyboard has 32-note (maximum)
polyphonic sound. This means that you can
play up to 32 different notes at the same
time with most of the keyboard’s preset
tones. Some tones are only capable of 16note polyphony.
•
Most tones on 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 are then
combined to sound amazingly close to the
originals. You might 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
is not a malfunction.
•
Repeatedly press + or – to select the next
highest or lowest numbered tone.
•
If you enter an incorrect first digit, press
TONE to clear your entry, then enter the
correct digit.
•
When you select one of the drum sets (tone
numbers 228–237), each key plays a
different percussion sound. See “Drum
Assignment List” on Page 30. The drum set
sounds change when you change the
rhythm number, play back data stored in
memory, or receive MIDI program change
data.
•
Tone numbers 238–247 are the user tone
area. See “Using the Tone Synthesizer” on
Page 13.
• To play auto accompaniment, see
“Using Auto Accompaniment” on
Page 10.
5. Slide VOLUME toward MAX to increase
the sound level or toward MIN to
decrease it.
6. To turn off the keyboard, press POWER.
The POWER indicator and the
keyboard’s display turn off.
2.#;+0)6*'
&'/10564#6+10670'5
Your keyboard can play two preprogrammed demonstration tunes. To start the
demonstration, press DEMO. The keyboard
plays the first demonstration tune (No. 0).
To select the other tune, press – or + on the
keypad. The selected tune’s number
appears and the tune plays.
The demo tune number appears here.
The keyboard at the bottom of the display
shows the location of the keys being pressed.
75+0)6*'24'5'6610'5
Your keyboard can sound like 248 different
musical instruments or sound effects. The
TONES list on the keyboard’s top panel
shows the name and three-digit number for
the first 100 preset tones. For tones 100227, see “GM Tones” on Page 27. ±
Follow these steps to select and play a
preset tone.
The treble and bass
clefs show the notes as
they play.
Basic Operation
1. Slide VOLUME to MIN (minimum). +/2146#06
The bar graph shows the
sound level on each of the
16 channels. See “Using the
Mixer” on Page 12.
1. Press TONE. JED; and the current
tone’s number appear. ±
2. To play a different tone, choose a
preset tone from the TONES list and
enter its three-digit number on the
keypad. Precede a single- or two-digit
number with zeroes. As you press the
keys, the selected digits appear. ±
3. Play the keyboard to hear the selected
tone and adjust VOLUME to the desired
level.
5
4. To select a different tone, repeat Step 2
while JED; appears.
75+0)#0#&8#0%'&610'
The first 100 tones (numbers 00 to 99) have
corresponding advanced tones. The
advanced tones use variations of standard
tones created by programming in effects
(DSP) and other settings. For example,
PIANO is modified into STEREO PIANO,
ORGAN becomes ROTARY SPEAKER
ORGAN, and so on. See “Advanced Tones”
on Page 25.
If a tone number outside the range of 000 to
099 is selected when you press ADVANCED
TONE, the tone automatically changes to the
advanced tone version of tone number 00.
Only one of the channels (1 to 16) can have
an advanced tone. If you assign an
advanced tone to another channel, the tone
in the currently assigned channel becomes
the standard tone.
Press ADVANCED TONE to select the
advanced tone. 7: appears, and the
currently selected tone changes to its
advanced version. Repeatedly press + or –
to scroll through the advanced tones, or use
the number buttons to enter the two-digit
tone number.
Press TONE to return to the standard tone.
7: disappears.
75+0)4'8'4$#0&%*1475
The reverb feature creates ambience by
causing the sound to linger and reverberate.
You can choose from 16 different reverb
effects. See “Reverb” on Page 32 for details.
long reverb continues. A larger number
produces longer reverb.
The chorus feature gives sound greater
depth by causing it to vibrate. You can
choose from 16 different chorus effects. See
“Chorus” on Page 32 for details.
;HB[l[b (Initial Echo Sound) (&&& to '(-)
— Controls the initial reverb volume.
The initial echo sound is the first sound
reflected from the walls and ceiling. A
larger value specifies a larger echo
sound.
5'.'%6+0)4'8'4$%*1475
>_]^:Wcf (&&& to '(-) — – Adjusts the
1. Press REVERB or CHORUS. The
indicator next to REVERB or CHORUS
lights.
2. Repeatedly press + or – or use the
number buttons to enter a number to
display the effect you want. See
“Reverb” or “Chorus” on Page 32 for the
type of the effects and the
corresponding numbers.
%*#0)+0)6*'4'8'4$14
%*14752#4#/'6'45
Using Reverb and Chorus
You can control the parameters of an effect
to change how it sounds. The parameters
you can control vary depending on the effect
type.
1. After selecting the effect you want,
press G (ENTER). The parameter
setting screen appears.
2. Repeatedly press I or J (CURSOR) to
display the parameter you want to
change.
Reverb Parameters
Reverb effects are classified as reverb
or delay type. Parameter settings vary
depending on the type.
Reverb Type Parameters (No. 0 to 5, 8
to 13)
HlX (Reverb) B[l[b (&&& to '(-) —
Controls the reverb size. A larger
number produces larger reverb.
6
HlX J_c[ (&&& to '(-) —Controls how
damping of high frequency
reverberation. A smaller value damps
high sounds, creating a dark reverb. A
larger value does not damp high
sounds, creating a brighter reverb.
Delay Type Parameters (No. 6, 7, 14,
15)
:[bWoB[l[b (&&& to'(-) — Specifies the
size of the delay sound. A higher value
produces a larger delay sound.
:[bWo<8 (Feedback) (&&& to '(-) —–
Adjusts delay repeat. A higher value
produces a greater number of repeats.
;HB[l[b(Initial Echo Sound) (&&& to '(-)
— Controls the initial reverb volume.
The initial echo sound is the first sound
reflected from the walls and ceiling. A
larger value specifies a larger echo
sound.
>_]^:Wcf (&&& to '(-) — – Adjusts the
damping of high frequency
reverberation. A smaller value damps
high sounds, creating a dark reverb. A
larger value does not damp high
sounds, creating a brighter reverb.
Chorus Parameters
9^e (Chorus) B[l[b (&&& to '(-)—Sets the
size of the chorus sound.
9^e HWj[ (&&& to '(-)—Sets the
undulation speed of the chorus sound.
A higher value produces faster
undulation.
3. Repeatedly press + or – or use the
number buttons to input the parameter
setting you want.
4. Press H (EXIT). This returns to the
effect selection screen. ±
&52
&+)+6#.5+)0#.241%'5514
DSP effects are applied to the path between
the sound source and output. You can add
the effect to any sound, even after you
added reverb or chorus effect. See “DSP”
on Page 32 for more details.
3. Repeatedly press + or – or enter a
number using the number buttons to
change the parameter setting.
You can also create your own DSP effects
or download the data from
www.radioshack.com and transfer it to the
keyboard. The keyboard has ten DSP effect
memories so you can store custom DSP
effects. See “Saving DSP Parameter
Settings” on this page and “Using the Data
Download Service” on Page 21 for more
information.
%*#0)+0)&522#4#/'6'45
5'.'%6+0)#&526;2'
1. Press DSP. The indicator next to DSP
lights.
2. Repeatedly press + or – to select the
DSP type you want. See “DSP” under
“Effect List” on Page 32 for the type of
the effects and the corresponding
numbers. The DSP number (&&& to '&/),
7Z (advanced tone), or Kih (user tone
created using DSP) appears.
4. Press H (EXIT).
You can control the relative strength of a
DSP and how it is applied.
2. Repeatedly press I or J (CURSOR) to
display the parameter you want to
change.
:$HlXIdZ(DSP Reverb Send) (&&& to
'(-) — Sets how much of the DSPprocessed sound is sent to reverb.
:$9^eIdZ (DSP Chorus Send) (&&& to
'(-) — Sets how much of the DSP-
processed sound is sent to chorus. ±
You can change these basic DSP
parameters.
4. Press H (EXIT).
:IFFWd(#,* to !,)) — Sets the post DSP
stereo pan (relative position between left
and right channels).
:IF>ebZed%e<<—Select ed to keep the
current DSP line after you change the tone.
Select e<< to change the DSP line to the
original setting of the newly selected tone.
For advanced tones, changing the tone
turns off all DSP line settings except on the
currently selected channel.
1. Press DSP.
2. Repeatedly press I or J (CURSOR) to
display the parameter you want to
change.
You can turn effects on/off or change the effect
level for each keyboard channel separately.
See “Using the Mixer” on Page 12 for more
information.
Selecting a DSP Type
You must turn on the DSP lines of the required
parts using the mixer function. See “Using the
Mixer” on Page 12.
Changing DSP Parameters
•
The effects can be turned on/off or have
their levels set separately for each
keyboard channel. See “Using the Mixer”
on Page 12.
•
Playing a demo tune automatically changes
the effect to the one assigned to the tune.
You cannot change or cancel a demo tune
effect.
•
Changing the effect setting while the
keyboard is playing causes a slight break in
the sound when the effect changes.
•
The advanced tones automatically turn on
the DSP line for more effective tones. 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 according to the advanced tone
settings.
•
In the mixer mode, the DSP line on/off
setting for a part with an advanced tone is
on, while the setting for a part that does not
have an advanced tone is off. DSP effects
previously applied to these parts are
cancelled and the tone might sound
different. Use the mixer editing sequence to
turn DSP back on (see“Using the Mixer” on
Page 12).
Parameters 0 to 7 — These depend on
the algorithm of the selected DSP. See
“DSP Algorithm List” on Page 34.
3. Repeatedly press + or – or enter a
number using the number buttons to
change the parameter setting.
post DSP volume.
Changing the Reverb or Chorus
Parameters
1. After selecting the DSP type you want,
press G (ENTER).
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:IFLeb (Volume) (&&& to '(-) — Sets the
±016'±
5#8+0)&522#4#/'6'4
5'66+0)5
You can save up to 10 modified DSP
settings in the user area for later recall.
1. After making the DSP parameter
settings you want, press G (ENTER).
The DSP number of the user area
flashes.
2. Repeatedly press + or – to select the
user area DSP number (100-109) you
want to save.
3. Press G (ENTER) to store the effect.
IWl[EA briefly appears and the display
returns to the tone or rhythm selection
screen.
DSP (Digital Signal Processor)
9^e :[fj^ (&&& to '(-)—Sets the
undulation depth of the chorus sound. A
higher value produces deeper
undulation.
75+0)6*''37#.+<'45
The keyboard has 10 preset four-band
equalizers. You can also adjust the gain of
each of the four bands to suit your personal
preference.
5'.'%6+0)6*''37#.+<'4
6;2'
1. Press EQUALIZER. The currently
selected equalizer type appears.
7
2. Repeatedly press + or – or enter a
number using the number buttons to
select the equalizer type you want.
Using SPLIT
±016'±
Adjusting the Gain
Gain settings apply only to the current
equalizer type. When you change the
equalizer type, the default gain settings for the
newly selected equalizer type take effect.
Using Split
•
If SPLIT is on when you turn off the
keyboard, it remains on the next time you
turn the keyboard back on.
•
When you turn on SPLIT, the last selected
settings appear.
•
When you select Concert Chord or
Fingered auto accompaniment, the
accompaniment keyboard range is shifted
to the split point you set.
Using Layer
•
•
If LAYER is on when you turn off the
keyboard, LAYER will still be on the next
time you turn on the keyboard.
When you turn on LAYER, the previous
tone settings appear.
The equalizer type (IjWdZWhZ, 8Wii!,
Jh[Xb[!, BekZd[ii, C[bbem, 8h_]^j, HeYa,
:WdY[, @Wpp, or 9bWii_Y) appears. The bar
graph on the display shows the
frequency response of the type that
appears.
Press H (EXIT) or EQUALIZER to exit the
equalizer setting screen.
#&,756+0)6*')#+0
1. After selecting the equalizer type, press
G (ENTER).
2. Repeatedly press I or J (CURSOR) to
select the band you want to adjust (Bem,
C_ZBem, C_Z>_]^, or >_]^). The bar
graphs for the corresponding frequency
range flash.
3. Repeatedly press + or – or enter a
number using the number buttons to
make the adjustment for the band you
want. You can adjust within the range of
–12 to +12. The bar graphs change in
magnitude as you adjust.
4. Press H (EXIT) to return to the equalizer
type selection screen, then press
EQUALIZER to exit the equalizer mode.
±
75+0)52.+6
The SPLIT feature lets you play two different
tones on opposite ends of the keyboard, so
the low-end keys play one tone, and the
high-end keys play another. The main tone
sounds in Channel 1 and the split tone
sounds in Channel 3. You can use the mixer
function to change the volume or other
settings in each channel. See “Using the
Mixer” on Page 12. You can change the split
point at any time.
1. Press TONE.
2. Use the number buttons to enter the
three-digit number for the tone you want
the high-end keys to play.
3. Press SPLIT. The SPLIT indicator
appears.
4. Enter the three-digit number for the
tone you want the low-end keys to play.
5. Hold down SPLIT, and press the key
where you want the high-end tones to
begin. The selected key’s name
appears.
For example, if you set the split point to
be F below middle C, <) appears. ±
6. Play both the low and high-end keys to
hear the selected split tones.
To select a different low-end tone, enter
the three-digit number for the new lowend tone while the SPLIT indicator
appears.
To select a different high-end tone,
press SPLIT to turn off its indicator, then
enter the three-digit number for the new
high-end tone. Then press SPLIT again
so the SPLIT indicator appears.
To cancel SPLIT, repeatedly press
SPLIT until its indicator disappears. ±
75+0).#;'4
The keyboard lets you play two different
preset tones at the same time, creating a
“layered” effect when you press one key.
The first tone you select is called the base
tone and the second tone is called the layer
tone.
1. Press TONE.
2. Enter the three-digit number for the
base tone then press LAYER. The
LAYER indicator appears.
3. Enter the three-digit number for the
layer tone.
4. Play the keyboard to hear the selected
layered tones.
To select a different layer tone, enter
the three-digit number for the new layer
tone while the LAYER indicator
appears.
To select a different base tone, press
LAYER to turn off its indicator, then enter
the three-digit number for the new base
tone. Then press LAYER again so the
LAYER indicator appears.
To cancel LAYER, repeatedly press
LAYER until its indicator disappears. ±
75+0)52.+6#0&.#;'461)'6*'4
You can combine the split and layer
features, so you can play one layered
combination of tones on the low-end keys
and another on the high-end keys.
8
1. If the SPLIT or LAYER indicator is on,
press SPLIT or LAYER to turn it off.
2. Enter the number for the high-end base
tone on the keypad.
8. Press SPLIT. The SPLIT indicator
appears.
4. Enter the number for the low-end base
tone.
9. Enter the number of the layered tone for
the low-end keys.
5. Repeatedly press SPLIT until the SPLIT
indicator disappears.
6. Repeatedly press LAYER until the
LAYER indicator appears.
7. Enter the number of the layered tone for
the high-end keys.
You can play a preset auto-rhythm on the
keyboard in any of the following ways:
• Select and play a rhythm (see
“Selecting/Playing an Auto-Rhythm”)
• Synchronize the start of a rhythm with
your music (see “Using SYNCHRO”)
• Start a rhythm with a special
introduction (see “Using INTRO”)
• Briefly vary the pattern of a rhythm (see
“Using FILL-IN”)
• Play an alternate version (variation) of a
rhythm (see “Using FILL-IN NEXT” on
Page 10)
• Stop a rhythm with a special ending
(see “Using ENDING” on Page 10)
5'.'%6+0)2.#;+0)#0
#7614*;6*/
1. Press RHYTHM. H>OJ>C and the name
and number of the current auto-rhythm
appear. ±
2. To select a different rhythm, choose an
auto-rhythm from the 100 RHYTHMS
list and enter its three-digit number on
the keypad. Precede a single- or twodigit number with zeroes. Or, repeatedly
press + or – to move to the next higher
or lower numbered rhythm. ±
3. Set MODE to NORMAL, then press
START/STOP to start the selected autorhythm.
Or, you can press VARIATION/FILL-IN 1
or 2 to start the rhythm. Each of the
keyboard’s preset auto-rhythms has a
built-in variation (alternate) to its normal
beat pattern. The variation differs
Selecting/Playing an Auto-Rhythm
•
10. If desired, hold down SPLIT then press
the key where you want the high-end
tones to begin.
The keyboard automatically selects the
rhythm 8 BEAT 1 (No. 000) when you turn
the power on. Each time you turn it on after
that, it selects the last selected rhythm.
•
11. Play the keyboard to hear the selected
tones.
If you incorrectly enter the first digit of the
rhythm, press RHYTHM to clear the entry
and return to the last selected auto-rhythm.
•
You can also adjust the tempo by first
pressing TEMPO ¼ or ¹, then entering the
desired number of beats per minute in three
digits (030 to 255), or by holding down + or
– on the keypad.
•
To reset the tempo to its default (original)
speed, press TEMPO ¼ and ¹ at the same
time.
To cancel the SPLIT/LAYER combination,
press each button so both the SPLIT and
LAYER indicators disappear.
75+0)6*'24'5'6#7614*;6*/5
Your keyboard has 100 preset auto-rhythms
that provide a steady beat for your music.
The name and two-digit number of each
preset auto-rhythm is listed on the
keyboard’s top panel. You can also
download up to 4 sets of accompaniment
data and store them into the keyboard’s
memory. See “Using the Data Download
Service” on Page 21.
±016'±
Using the Preset Auto-Rhythms
3. Repeatedly press SPLIT until the SPLIT
indicator appears.
slightly from the normal rhythm, so it is
almost like having two rhythms in one!
4. Adjust VOLUME to the desired level.
5. To change the auto-rhythm speed,
press (or hold down) TEMPO ¼ or ¹.
The current tempo setting appears. ±
6. Play the keyboard along with the autorhythm.
7. To select a different rhythm, repeat
Steps 1 and 2.
8. To stop the auto-rhythm, press START/
STOP.
75+0)5;0%*41
This feature lets you synchronize the start of
an auto-rhythm with the beginning of your
music.
After you select and enter an auto-rhythm,
press SYNCHRO/FILL-IN NEXT, then begin
playing the keyboard. The keyboard automatically begins to play the rhythm when
you press any key in the accompaniment
keyboard range (see “Using Auto
Accompaniment” on Page 10).
75+0)+0641
This feature lets you start the selected autorhythm with a light, 3- to 8-measure introduction that blends easily into the selected
rhythm.
To start a rhythm with an introduction, select
and enter the rhythm, then press INTRO/
ENDING 1 or 2. The introduction for the
selected variation (1 or 2) plays, then the
selected auto-rhythm automatically starts.
75+0)(+..+0
This feature lets you insert a short (1- to 2measure) variation in the beat pattern of a
selected auto-rhythm. While the autorhythm is playing, press and release
VARIATION/FILL-IN 1 or 2, corresponding to
the variation you started with. The keyboard
inserts a 1- to 2-measure fill-in of either
variation, then the original rhythm
9
±016'±
Using Auto Accompaniment
•
You can use the keyboard’s rhythm controls
(INTRO/ENDING 1 or 2, VARIATION/FILLIN 1 or 2, and SYNCHRO/FILL-IN NEXT)
with all three types of auto accompaniment.
•
After you press the auto accompaniment
keys while using concert chord or standard
fingering, the keyboard plays the same
chord until you press other accompaniment
keys to play a different chord or press
START/STOP.
•
automatically resumes at the end of the
current measure.
When you press another variation button
(VARIATION/FILL-IN 2 while you are playing
variation 1, for example), the keyboard starts
to play the newly-selected variation and
does not insert a fill-in.
75+0)(+..+00':6
To switch to the other variation of the
selected auto-rhythm during play, press
SYNCHRO/FILL-IN NEXT while the rhythm is
playing. The fill-in pattern of the current
variation plays, then fill-in of the other
variation, and the rhythm switches to the
other variation.
75+0)'0&+0)
To end the selected rhythm with a special
flourish, press INTRO/ENDING 1 or 2 while
the auto-rhythm is playing. The keyboard
plays a special ending of the selected type
(1 or 2), then automatically stops the rhythm.
When you select Concert Chord or
Standard Fingering mode, the range of the
accompaniment keys is set by the split
point. See “Using SPLIT” on Page 8.
The ending pattern starts immediately if you
press the button before the second beat of
the current measure. If you press after the
second beat, the ending pattern starts from
the next measure.
Concert Chord
You can press any labeled note(s) to the right
of the lowest note in the chord to produce a
minor, a dominant seventh, or minor seventh
chord.
Using Auto Accompaniment
75+0)#761#%%1/2#0+/'06
The 18 keys on the left side of the keyboard
with note labels above them are called
accompaniment keys.
Accompaniment
Keyboard
Melody
Keyboard
You can set the keyboard to play three
different types of auto accompaniment using
the accompaniment keys. ±
• Concert Chord — lets you play chords
on the accompaniment keys using
chord formations of from one to four
notes. The number of keys you press
determines the type of chord that plays
(see “Concert Chord”).
• Standard Fingering — lets you play
chords on the accompaniment keys
using standard chord formations of
three or four notes (see “Standard
Fingering” on Page 11).
• Full-Range Chord — lets you play the
melody using the entire keyboard while
the keyboard plays accompaniment
based on your auto-rhythm selection.
The auto-accompaniment patterns consist of
four parts: chord 1, chord 2, bass, and
rhythm. You can delete any of the parts by
using the mixer function. See “Using the
Mixer” on Page 12.
#&,756+0)6*'
#%%1/2#0+/'0681.7/'
2. Within 5 seconds, enter a number from
0 0 0 (softest) to 1 2 7 (loudest) on the
keypad. The numbers appear as you
press the keys.
Or, press ACCOMP VOLUME then
repeatedly press – or + to select the
next lowest or highest accompaniment
volume setting.
To reset the accompaniment volume to
its default value of 87, press ACCOMP
VOLUME then press – and + at the same
time.
%10%'46%*14&
The concert chord method lets beginning keyboard players easily select and play a chord.
The number of accompaniment keys you
press determines the type of chord that
plays. This chart shows the chord type that
plays when you press one, two, three, or
four accompaniment keys at the same time.
CDEFGABCDEF
CDEFGABCDEF
CDEFGABCDEF
The keyboard lets you adjust the volume of
your accompaniment separately from the
overall volume of the keyboard.
1. Press ACCOMP VOLUME. The current
accompaniment volume setting
appears.
10
CDEFGABCDEF
1. Set MODE to CONCERT CHORD.
2. Enter a two-digit auto-rhythm number.
3. To start the auto-rhythm before the auto
accompaniment, press START/STOP or
INTRO/ENDING 1 or 2.
Or, to synchronize the start of the
selected auto-rhythm with your
accompaniment, press SYNCHRO/FILLIN NEXT.
4. Begin the accompaniment at the
desired interval by pressing the desired
accompaniment key(s).
Follow these steps to start standard
fingering auto accompaniment.
±016'±
Standard Fingering
1. Set MODE to FINGERED.
•
You do not have to press the key marked
with parentheses on the keyboard in the
chart to produce a 7, m7, M7, mM7, add9,
or madd9 chord.
•
Although the chart shows only one possible
fingering position for each chord, it is
possible to play a chord using several
different positions. For example, the
following three positions produce the same
C chord.
•
When you play an aug, 7 5, or dim7 chord,
the lowest note you play determines the
root of the chord. Be sure that your
fingering correctly defines the root you
want.
•
See “Fingered Chord Chart” on Page 31 for
all the chords you can play on your
keyboard using standard fingering
accompaniment.
2. Select and enter an auto-rhythm.
3. To start the auto-rhythm before your
auto accompaniment, press START/
STOP or INTRO/ENDING 1 or 2.
Or, to synchronize the start of the
selected auto-rhythm with your
accompaniment, press SYNCHRO/FILLIN NEXT.
4. Begin the accompaniment at the
desired interval by pressing at least
three accompaniment keys to play the
desired chord.
To play a melody along with the
accompaniment, press any key(s) to
the right of the accompaniment keys.
To play a melody along with the
accompaniment, press any key(s) to
the right of the accompaniment keys.
5. Adjust the tempo and VOLUME to the
desired levels.
5. Adjust TEMPO and VOLUME to the
desired levels.
6. To change chords without interrupting
the rhythm, simply press the auto
accompaniment key(s) required to form
the new chord.
6. To change chords without interrupting
the rhythm, simply press the auto
accompaniment keys required to form
the new chord.
7. To stop auto accompaniment and the
auto-rhythm, press START/STOP.
7. To stop auto accompaniment and the
auto-rhythm, press START/STOP.
J
Full-Range Chords
56#0&#4&(+0)'4+0)
(7..4#0)'%*14&5
The standard fingering method uses
standard formations of three or four notes,
and lets the experienced musician play a
wider variety of accompaniment chords. ±
While the concert chord and standard
fingering methods limit chord formations to
the accompaniment keys, the full-range
chord method lets you play chords of any
type using any of the keyboard’s keys.
This chart shows the 15 chord types you
can play on your keyboard by using
standard fingering.
•
You cannot use inverted fingerings. The
lowest note is the root.
•
You can play the same chord without
pressing the 5th G.
•
When the notes of a chord are more than 5
notes apart, the lowest sound becomes the
base note.
Set MODE to FULL RANGE CHORD and
follow the steps under “Standard Fingering”.
If you press three or more keys that form a
chord anywhere on the keyboard, the
keyboard plays that chord. The keyboard
responds with melody sounds if you press
fewer than three keys. ±
In the full-range chord mode, the keyboard
recognizes 23 more chords (in addition to
the 15 in the fingered chord mode). The
following is an example of those chords with
C as the base note.
C6 Cm6 C69.
C
_
C
B
_
C
J
Dm
_
7
C
D
_
C
C_m
C
J
A_
7
5
C
E
_
C
Dm
_
C
F
_7
C
F
_
C
Fm
_
C
Fm
_7
C
G
_
C
Gm
_
C
Gm
_7
C
J
A
_
C
Am
_
C
J
A_
J
B
_
C
J
B_m
C
add9
C
11
Using Auto Accompaniment
The lowest note you play determines the
key of the chord. For example, if the lowest
note is C, the keyboard plays a C chord. ±
±016'±
Using Auto Harmonize
•
Auto harmonize does not work when you
select full range chord auto accompaniment
or no auto accompaniment.
•
The harmony melody in auto harmonize
mode uses Channel 5. You can change the
tone or volume setting of the harmony by
using the keyboard’s mixer function (see
“Using the Mixer”).
Using the Mixer
•
Normally, keyboard play is assigned to
Channel 1. When you use auto
accompaniment, parts are assigned to
Channels 6–10.
•
When you use the keyboard as the sound
source for another MIDI device, all 16
channels are assigned musical instrument
parts, Channel 10 is reserved for drum
parts only, per MIDI standard.
•
The mixer settings also affect the
corresponding MIDI output.
75+0)#761*#4/10+<'
When using auto-accompaniment in the
fingered or concert chord modes, press
AUTO HARMONIZE to automatically add
harmony to your melodies. The indicator
next to AUTO HARMONIZE lights, and the
keyboard adds harmony based on the chord
playing on the accompaniment key section.
±
75+0)10'617%*24'5'6
•
•
•
•
•
tone
tempo
layer on/off
effect type
auto harmonize on/off
After selecting a rhythm, press ONE TOUCH
PRESET. The keyboard enters synchro
standby mode. Start the accompaniment.
The rhythm plays at a suitable setting and
the keyboard sounds the selected tone for
the selected rhythm.
The keyboard’s one-touch preset feature
recalls these characteristics for a selected
rhythm:
75+0)6*'/+:'4
The keyboard plays multiple parts at the
same time in up to 16 separate channels
during auto accompaniment, or memory
playback, or when receiving MIDI data. You
can control the on/off setting, volume, and
parameters of each of the keyboard’s
channels just as you would with a sound
mixer.
This table shows the parts assigned to each
channel. ±
%JCPPGN
2CTV
1
Main tone
2
Layered tone
3
Split tone
4
Layered/split tone
5
Harmonize tone
Using the Mixer
6
Auto accompaniment part 1
7
Auto accompaniment part 2
8
Auto accompaniment part 3
9
Auto accompaniment bass part
10
Auto accompaniment rhythm part
11
Memory track 1
e<<: Turns off the current channel. The
bar at the bottom of the level meter
disappears.
5. To edit other channels, press H (EXIT)
to return to the channel selection
screen, then repeat steps 2–4.
To exit the edit mode, press MIXER. The
display shows the edited status of the
channels.
'FKVKPI2CTCOGVGTU
You can change the settings of six parameters for the selected channel.
1. Select the channel you want to edit as
described in Steps 1 and 2 of “Editing
the Status of a Channel”.
2. Press G (ENTER) to enter the
parameter edit mode.
3. Repeatedly press I or J to select the
parameter you want to change.
Tone Parameters
12
Memory track 2
Jed[De$ (&&&to (*-) — sets the tone
13
Memory track 3
14
Memory track 4
15
Memory track 5
assigned to the channel. When the
assigned tone is an advanced tone, the
display shows only two digits.
16
Memory track 6
FWhjed%e<< – turns each channel on or
off.
'FKVKPIVJG5VCVWUQHC%JCPPGN
You can turn a channel off to delete a
specific part.
1. Press MIXER. The MIXER indicator and
the last selected channel appear.
2. Repeatedly press + or – to select the
channel you want to edit.
FWd (#,* to !,)) — controls the pan
(relative position of the tone between
left and right speaker channels). #,* is
fully left, & is the center position, and
!,) is fully right.
3. Repeatedly press G (ENTER) then J
(CURSOR) to display the current status
of the channel — ed or e<<.
EYj (Octave) I^_\j (#( to !() – shifts the
4. Press + to turn on the channel or – to
turn it off.
9 (Coarse) Jkd[ (¶(* to !(*) — coarsely
ed (default): Turns on the current
channel. A bar appears at the bottom of
the level meter for the selected channel.
12
Lebkc[ (&&& to '(-) — controls the
volume of the selected channel.
range of the tone up or down by octave.
Tuning Parameters
tunes the pitch of the selected channel
in semitone units.
<_d[Jkd[ (¶'&& to !'&&) — fine tunes the
pitch of the selected channel in cent
Effect Parameters
HlX (Reverb) I[dZ (&&& to '(-) – controls
how much reverb is applied. &&& is
reverb off, '(-is maximum.
9^e (Chorus) I[dZ (&&& to '(-) – controls
how much chorus is applied. &&& is no
chorus, '(- is maximum.
:IFB_d[ed/e<< – use to turn the DSP
line on or off for a particular channel.
±016'±
Using the Tone Synthesizer
• You cannot use tones 228–237 (drum set
4. Repeatedly press + or – or enter a
number using the number buttons to
change the parameter setting.
tones) as base tones.
5. To edit other channels, press H (EXIT)
to return to the channel selection
display, select the channel, then repeat
Steps 2–4.
The parameters you can change are divided
into the following groups. ±°
• Volume Characteristic — Attack Time,
Release Time, Resonance, Cutoff
Frequency
• Tone Pitch — Vibrato type, Vibrato
Delay, Vibrato Depth, Vibrato Rate,
Octave Shift
• Tone Characteristic — Level, Touch
Sense, Reverb Send, Chorus Send,
DSP Line, DSP Type, DSP Parameter
%TGCVKPICPF5VQTKPIC
7UGT6QPG
1. Select the preset tone (except 228–
237) you want to use as a basis for your
user tone.
2. Press SYNTH. The keyboard enters the
Custom Tone Synthesizer mode and
7jaJ_c[ (Attack Time, the first
parameter) appears.
3. Repeatedly press I or J (CURSOR) to
display the parameter you want to
change.
Attack Time (7jaJ_c[) (#,* to !,)) —
Sets the speed of the attack (the period
from when you press a key to when the
tone reaches its maximum volume). The
greater the value, the quicker the attack.
Release Time (H[b$J_c[) (¶,* to !,)) —
Controls the speed of a tone’s release
(the period from when you release a
key to when the tone stops sounding).
The greater the value, the quicker the
release.
Vibrato Type (L_X$Jof[) I_d, jh_, I7K, or
Igh — Sets the vibrato type as sine
wave (I_d), triangle wave (jh_), sawtooth
wave (I7K), or square wave (Igh).
The preset tone you use as the basis for a
user tone is not changed.
•
Tone locations 238–247 initially contain the
tone number 000. The user tone you store
in any of those locations replaces it.
Creating and Storing a User Tone
6. To exit the parameter edit mode, press
MIXER.
75+0)6*'610'5;06*'5+<'4
The keyboard’s custom tone synthesizer
lets you create up to 32 of your own original
tones. To create a “user” tone, you simply
select one of the keyboard’s 100 preset
tones or 127 GM tones, change its parameters, then store the new tone in a
memory location from 238 to 247. You
select and use a user tone as you would a
preset tone. ±
•
Vibrato Delay (L_X:[bWo) (#,* to !,)) —
Sets the amount of time before vibrato
starts.
Vibrato Depth (L_X:[fj^) (#,* to !,)) —
Sets the depth of vibrato effect.
Vibrato Rate (L_X$HWj[) (#,* to !,)) —
Sets the speed of the vibrato effect.
•
A new or revised user tone replaces the
existing user tone.
•
Layer, split, auto accompaniment, demo
tune play, and MIDI functions are all
disabled while the keyboard is in the
Custom Tone Synthesizer mode.
•
For some tones, setting the resonance too
high might cause distortion or noise. If you
encounter this, lower the resonance setting.
•
While you are setting the three DSP
parameters, an indicator appears next to
DSP.
Cut Off Frequency (9#e\\<hg) (#,* to
!,)) — – Adjusts the timbre of the
sound. A higher cut off frequency gives
brighter timber, lower cut off frequency
produces a softer timbre.
Resonance (H[iedWd) (#,* to !,)) —
Sets the resonance of the tone.
Resonance enhances the harmonic
component around the cut off frequency
to create a distinctive sound. The larger
the value, the more distinctive the
sound. ±
Octave Shift (EYjI^_\j) (#( to !()—
Shifts the range of the tone up or down
by octave.
Level (B[l[b) (& to '(-) — 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.
Touch Sensitivity (JY^I[di[) (¶,* to
!,)) — Controls changes in the volume
°*+06°
•
To make it easier to create your own tone,
start with a preset tone that is similar to the
one you are trying to create.
•
Experiment with 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 might be surprised at what you can
achieve!
of the tone depending on how hard you
strike the keys. You can specify more
volume for stronger striking and less
volume for lighter striking, or you can
specify 00 to set the same volume regardless of how hard you strike the keys.
Reverb Send (HlXI[dZ) (& to '(-) —
Controls the reverb effects.
Chorus Send (9^eI[dZ) (& to '(-) —
Controls the chorus effects.
DSP Line (:IFB_d[) ed/e<< — Sets DSP
line on or off.
DSP Type (Number and name of the
applied DSP appears) — Selects the
DSP type.
DSP Parameter — Sets DSP
parameters. See “DSP (Digital Signal
Processor)” on Page 7. ±
13
Using the Tone Synthesizer
units. A cent is one hundredth of a
semitone. There are 12 semitones per
octave.
±016'±
Using the Registration Memory
•
You cannot use the registration memory
while you are using the synthesizer,
memory, or demo tune functions.
•
You cannot delete a registration setup from
memory, but you can store a different setup
in its place.
•
You can use the keyboard’s MIDI function
to save your setup data to your PC or other
storage device.
Changing Keys
•
You cannot change the key while a
prerecorded tune is selected or playing.
•
A semitone is a measurement that
represents the acoustical interval between
the tones of any two keys on the keyboard.
For example, the difference between C and
C# or B and C is one semitone.
•
•
The transpose setting also affects memory
playback (see “Playing Back from Song
Memory” on Page 17) and auto
accompaniment.
The keyboard automatically resets the key
to the default value of 0 (middle C) each
time you play a pre-recorded tune.
When you store a tone with DSP line
turned on, all the DSP parameters are
recalled as you select the tone.
4. Repeatedly press + or – to change the
parameter’s setting, or use the number
buttons to directly enter a value for the
parameter.
If you want to change another
parameter, repeat Steps 3, 4, and 5.
Or, press H (EXIT) to exit the Custom
Tone Synthesizer mode without storing
a new tone.
75+0)6*'4')+564#6+10/'/14;
Your keyboard can save different setups of
controls in its registration memory. This lets
you instantly recall your favorite settings.
The registration memory consists of four
banks (0 – 3), each with four memory
locations (1 – 4), totaling up to 16 settings.
You can save each of the following settings
in each registration memory: ±
• tone
• rhythm
•
You cannot tune the keyboard while a
prerecorded tune is displayed or playing.
• tempo
The tuning setting also affects memory
playback (see “Playing Back from Song
Memory” on Page 17) and auto
accompaniment.
• split point
The keyboard automatically resets the
tuning pitch to the default value of 00
(cents) each time you turn off the keyboard.
• effect settings
•
7. Press G (ENTER) to save the user tone.
IWl[EA appears briefly and the
keyboard exits the Custom Tone
Synthesizer mode.
5. To store the settings, press G (ENTER)
to display the tone number ((). – (*-)
where you want to save the user tone. ±
Tuning the Keyboard
•
6. Repeatedly press + or – until the tone
number you want appears.
• accompaniment volume
• auto harmonize on/off
5614+0)#5'672
1. Set the desired controls to the setting
you want to store.
2. Within 5 seconds, repeatedly press
BANK until the desired bank number
appears.
• layer on/off
3. While holding down STORE, press the
desired REGISTRATION button (1, 2, 3,
or 4). Ijeh[appears after the selected
bank/location number/letter.
• mixer settings (Channels 1–10)
4. Release STORE and REGISTRATION.
• split on/off
• equalizer settings
• touch response settings
• assignable jack setting (see “Using a
Sustain Pedal” on Page 15)
• transpose (see “Changing Keys” on
Page 14)
• tuning (see “Tuning the Keyboard” on
Page 14)
5. Repeat Steps 1–4 to store more setups.
4'%#..+0)#5'672
1. Repeatedly press BANK until the
desired bank number appears.
2. Within 5 seconds, press the desired
REGISTRATION button (1, 2, 3, or 4).
H[YWbbappears after the selected bank/
location number/letter.
52'%+#.('#674'5
%*#0)+0)-';5
The keyboard automatically selects the key
of middle C each time you turn it on. For
added flexibility as you play, the keyboard
lets you change (transpose) the musical key
in which it plays. You can transpose the key
up or down 24 semitones (two octaves). ±
Using the Registration Memory
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until &&JhWdi appears. The displayed
number is the number of semitones to
which the keyboard is set, compared to
its default key.
2. Within 5 seconds, repeatedly press
– or + to lower or raise the key. Each
time you press – or +, the key changes
by 1 semitone. As you raise the key, 1 is
14
J
C#, 2 is D, and so on. As you lower the
key, –1 is B, –2 is B , –3 is A, and so on.
3. Press TOUCH/TRANSPOSE/SETTING to
exit the menu setting mode.
670+0)6*'-';$1#4&
Although your keyboard never goes out of
tune, it lets you adjust its pitch to match
other instruments or musical recordings.
A cent is the measurement that represents
the acoustical interval between two tones.
1,200 cents equal 1 octave. You can tune
the keyboard to within –99 to +99 of its
default pitch.±
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until &&Jkd[ appears. The number on
the display is the number of “cents” to
which the keyboard is currently tuned,
compared to its default pitch.
2. Within 5 seconds, repeatedly press – or
+ to lower or raise the keyboard’s pitch.
Each time you press the key, the
number decreases or increases by 1
cent.
75+0)617%*4'52105'
Your keyboard’s touch response feature lets
you adjust the volume of your music’s tone
based on how hard you strike the key(s), so
you can add emotion to your music.
1. Press TOUCH/TRANSPOSE/SETTING.
JekY^ and the current setting (default: (
DehcWb) appear.
2. Within 5 seconds, repeatedly press – or
+ to select the touch response level, e<<
JekY^, 'B_]^j, (DehcWb, or )>[Wlo.
At the B_]^jsetting, light key pressure
results in a loud sound, and very heavy
key pressure results in a more powerful
sound. When you select e<<JekY^, the
indicator next to TOUCH RESPONSE
disappears and the tone does not
change regardless of how you press
the key. ±
75+0)#5756#+02'&#.
For added flexibility and control as you
make music, you can connect an optional
sustain pedal, available through your local
RadioShack store or online at
www.radioshack.com. A sustain pedal lets
you sustain or soften the keyboard’s sound,
or even start and stop an auto-rhythm.
To connect a sustain pedal to your
keyboard, insert the pedal’s plug into
SUSTAIN/ASSIGNABLE JACK on the back of
the keyboard.
You can adjust the keyboard to these
settings when you use a sustain pedal.
IKI (Sustain)—Causes one or more
notes to linger after they are played.
Iei (Sostenuto)—Similar to sustain, but
only sustains the key that was pressed
when you press the pedal.
I<j (Soft)—Softens the sound.
3. Within 5 seconds, repeatedly press + or
– until the desired setting (IKI, IeI, I<j,
or h>o) appears.
Press the sustain pedal as you play to
hear the desired sound or to start/stop
the selected auto-rhythm.
±016'±
•
The touch response setting does not affect
memory playback, auto accompaniment, or
received MIDI data.
•
The MIDI data sent out from the keyboard is
affected by the touch response setting.
#&,756+0)6*'
&+52.#;%1064#56
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until B9:%@WYa appears.
2. Press G (ENTER). &,9edjhWijappears.
3. Within 5 seconds, repeatedly press + or
– until you can view the display clearly.
The number changes from 0 to 12.
4'5'66+0)6*'-';$1#4&
The keyboard retains various settings even
when you turn the power off, so long as you
do not disconnect power. You can, however,
delete or initialize some settings without
deleting others.
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until ?d_j%:[b appears.
2. Press G (ENTER). ?d_jC_n5 appears.
3. Within 5 seconds, repeatedly press
I or J (CURSOR) until the item you want
to reset appears.
?d_jC_n5— Initializes the mixer
parameters you assigned by the mixer
function or by input from an external
sequencer.
?d_jFWh5— Initializes all parameters,
except for the display contrast setting.
h>oddd:[b5— Deletes the data of the
user rhythm number nnn. See “Using
the Data Download Service” on
Page 21.
?d_jIoi5— Deletes all data in the user
area.
4. Press YES. Ikh[5 appears, prompting
you to confirm the initialization/deletion.
Press YES again. The keyboard
completes initialization/deletion and
exits the menu setting mode.
h^o— Starts or stops the selected
Special Features
rhythm.
Follow these steps to change the setting for
SUSTAIN/ASSIGNABLE JACK.
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until B9:%@WYa appears.
2. Repeatedly press G (ENTER) then
repeatedly press I or J (CURSOR) until
@WYa and the current setting (default:
IKI) appear.
15
Using the Song Memory
±016'±
•
SONG MEMORY is a four-way switch.
When you press it once, the keyboard
enters the memory playback mode. When
you press it again, it enters the real-time
memory record mode. When you press the
button a third time, it enters the step
recording mode. When you press the button
a fourth time, it turns off the memory
function.
•
When you record on a track that contains
data, the new recording replaces the
previous recording.
•
The touch response setting (on/off) is not
recorded. However, the strength of the
strike is recorded.
•
Channel 1 mixer parameters are
automatically recorded to Track 1.
•
Check the display for Channels 11–16 to
see which memory tracks contain data and
which are empty.
°*+06°
To record using an intro, ending, or fill-in, use
INTRO/ENDING 1 or 2, SYNCHRO/FILL-IN
NEXT, VARIATION/FILL-IN 1, or VARIATION/
FILL-IN 2 as you normally would.
75+0)6*'510)/'/14;
The keyboard lets you record up to two
separate songs (with up to about 3,500
notes) in memory for later playback. You
can use either of two methods to record a
song — real-time recording (you record as
you play) or step recording (you enter notes
and chords one-by-one).
You can record on each of the keyboard’s
six tracks 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. Also,
you can use different mixer settings for each
track.
Track 1 is the main track, and you can use it
to record auto accompaniment, as well as
keyboard play. Tracks 2 through 6 are
melody tracks, and you can use these for
recording a secondary melody that includes
keyboard play.
Because each track is independent of the
others, you only need to re-record a single
track if you make a mistake while recording
on it.
If the remaining memory is less than 100
notes, the measure and beat numbers flash.
When memory becomes full, recording
automatically stops (and autoaccompaniment or rhythm stops playing, if
used).
Memory contents are saved as long as
power is supplied to the keyboard.
Unplugging the adapter without batteries or
with weak batteries erases the memory. To
prevent data loss, connect an adapter
before replacing the batteries.
Turning off the keyboard while recording
erases the contents of the track you were
recording.
You can transfer memory contents to
another MIDI device.
4'#.6+/'4'%14&+0)
With real-time recording, the notes are
recorded as you play them on the keyboard.
°
1. Repeatedly press SONG MEMORY until
H[YehZ appears. ±
2. Within 5 seconds, press + or – (or 0 or 1)
to select a song number.
3. Press CHORD/TR 1 to select Track 1.
While the keyboard is in memory record
mode, the level meters for channels 11
through 16 correspond to memory
tracks 1 through 6. When all four bars
are lit, that channel has something in
memory: if only one bar is lit, that track
is empty.
4. If desired, you can change the following
settings:
16
• Tone number
• Rhythm number. (To record without
an auto-rhythm, skip Step 5 of “RealTime Recording.” Recording starts
when you press a key.)
• Tempo. (Do not change the tempo
unless you already know the desired
tempo. Pressing START/STOP to hear
the tempo causes recording to
begin).
• MODE
5. Press START/STOP to start recording.
°
To start recording with synchro start,
press SYNCHRO/FILL-IN NEXT instead of
START/STOP. Recording starts when
you play a note or a chord on the
accompaniment keys.
To synchro start auto accompaniment
with an intro pattern, press SYNCHRO/
FILL-IN NEXT and then INTRO/ENDING 1
or 2 instead of START/STOP. Recording
starts with the intro pattern when you
play a note or a chord on the
accompaniment keys.
To start auto accompaniment during a
recording, press INTRO/ENDING 1 or 2
instead of START/STOP. Play the melody
keys to start recording. When you reach
the point where you want
accompaniment to start, play a chord on
the accompaniment keys.
6. Play the keyboard. You can also record
auto accompaniment chords, tuning,
and pedal operations.
7. Press START/STOP to end recording.
If you make a mistake, press START/
STOP to stop recording and begin again
from Step 1, or you can edit the
contents. See “Editing Memory
Contents” on Page 18.
This data is stored on Track 1 along
with the notes you played:
• tone number
• rhythm number
• rhythm controller (INTRO/ENDING 1
or 2, VARIATION/FILL-IN 1 or 2, etc.)
operations
• pedal operations
• accompaniment volume
• effect type
See “Recording Multiple Tracks” on
Page 18 to record on the other five
tracks. ±
1. Repeatedly press SONG MEMORY until
FbWo appears.
2. Within 5 seconds, repeatedly press + or
– (or 0 or 1) to select a song number.
3. Within 5 seconds, press START/STOP to
play back the song you selected. You
can use TEMPO to adjust the playback
tempo.
4. Press START/STOP again to stop
playback. ±
56'24'%14&+0)
With step recording, you can record a chord
progression one chord at a time. (If you
want to record one note at a time, refer to
“Recording Multiple Tracks” on Page 18.)
Follow these steps to record chords with
step recording.
1. Repeatedly press SONG MEMORY until
Ij[fH[Y appears.
2. Within 5 seconds, repeatedly press
+ or – to select a song number.
3. If desired, you can change the rhythm
number and MODE settings.
4. Press CHORD/TR1 to select Track 1.
The REC indicator flashes briefly, then
lights steadily.
5. Press SYNCHRO/FILL-IN NEXT, then
play a chord using the chord play
method determined by the current
MODE setting (Fingered, Concert
Chord, Full Range Chord, or Normal).
When MODE is set to NORMAL,
specify the chord using the root keys
and chord-type keys. See “Specifying
Chords in the Normal Mode”.
To start accompaniment with an intro
pattern, press INTRO/ENDING 1 or 2
after SYNCHRO/FILL-IN NEXT.
To switch to a rhythm variation, press
VARIATION/FILL-IN 1 or 2 immediately
before playing the chord.
To insert an ending or fill in, press
INTRO/ENDING 1 or 2, or VARIATION/
FILL-IN 1 or 2 immediately before
entering the chord.
To step-record chords without a rhythm,
skip this step. The chord of the
specified length is recorded. A rest can
be specified there, so you can create an
original chord pattern.
To add chord accompaniment during
rhythm play, enter rests from the
beginning of the recording up to where
you want accompaniment to start. Then
enter only the chords (no rests).
6. Use the number buttons to specify the
length of the chord. See “Specifying the
Length of a Note.”
±016'±
Playing Back from Song Memory
7. For each additional chord you want to
enter, play the chord and use the
number buttons to specify its length.
•
You can use change the rhythm, use layer
and/or split during memory playback.
•
Pressing START/STOP during the song
restarts the song from the beginning.
8. When you finish recording, press
START/STOP. The keyboard is now in
playback standby mode. You can try
playing back the song by pressing
START/STOP. ±
•
You can set the volume and pan position of
the playback tracks using the mixer. This
setting data is output through MIDI OUT.
•
The entire keyboard functions as a melody
keyboard during playback, regardless of the
MODE setting.
5RGEKH[KPI%JQTFUKPVJG0QTOCN
/QFG
To enter chords when MODE is set to
NORMAL during step recording, you must
specify them using a method other than
Concert Chord or Fingered. That way, you
can enter 18 chord types using only two
keys.
While holding down the desired chord root
key, press the chord key to specify the chord.
The root and chord types are labeled above
each key. The chord root letter and type of
chord also appear as you play a chord.
5RGEKH[KPIVJG.GPIVJQH
C0QVG
During step recording, repeatedly press
+ or – or enter a number using the number
buttons to specify the length of each note.
Use numbers 1 through 6 to specify whole
notes (1), half notes (2), quarter notes (3),
eighth notes (4), 16th notes (5), and 32nd
notes (6).
Step Recording
•
If you make a mistake, see “Correcting
Mistakes”.
•
When you record on a track that already
contains data, the keyboard automatically
locates the end of the previous recording —
measure, beat, or clock (1/48 of a beat) —
and adds your new entry to it.
•
You can enter a 0 (a rest) in Step 5 of “Step
Recording”, but the rest is ignored when the
accompaniment plays.
•
The rhythm number and INTRO/ENDING 1
or 2, SYNCHRO/FILL-IN NEXT, and
VARIATION/FILL-IN 1 or 2 operations are
stored on Track 1, along with the notes you
played. See “Recording Multiple Tracks” to
record on the other five tracks.
•
During recording on Tracks 2 through 6, the
entire keyboard functions as a melody
keyboard, regardless of the current MODE
setting.
•
The tone number is stored on the selected
track in addition to the notes you played.
•
You can turn off a track during playback by
using the mixer function (see “Using the
Mixer” on Page 12).
To enter a dot or triplicate, hold down 7 (dot)
or 9 (triplicate), then press 1 through 6.
Correcting Mistakes
To enter a tie, press 8 then enter the first
and second notes.
The REC indicator lights and the STEP
indicator stops flashing when you move to the
end of the recording.
To enter a rest, press 0, then press 1
through 9 to specify the length of the rest.
%QTTGEVKPI/KUVCMGU
Before finishing your step recording entry,
you can move the entry point back to correct
the data you entered. This deletes all data
after the point where you make corrections.
1. Before you press START/STOP to end
recording, press I (CURSOR). This moves
the entry point back one “space.” The
data recorded at the current entry point
appears, the REC indicator turns off,
and the STEP indicator flashes.
2. While monitoring the data on the
display, repeatedly press I or J
(CURSOR) to move the entry point to
the data you want to change.
3. Press G (ENTER) then press J
(CURSOR). H[mh_j[5 appears.
4. Press YES to clear all data after the
current entry point. Press NO or H
17
Using the Song Memory
2.#;+0)$#%-(41/
510)/'/14;
Using the Song Memory
(EXIT) to cancel the rewrite operation.
±
4'%14&+0)/7.6+2.'
64#%-5
±016'±
•
•
•
•
Do not change a note identical to the
preceding or succeeding note. Doing so
might alter the length of the note and you
will have to re-record the entire track.
When you change note, key pressure, or
chord, the keyboard sounds the new setting
so you can hear what it sounds like.
Some parameters are stored in the initial
portion of the memory, called “Panel
Record.” You cannot edit data in this field
using the procedure described here. See
“Rewriting Song Data (Panel Record)” on
Page 19.
The tone and rhythm you selected before
beginning recording are stored in the panel
record. You can only change tone or rhythm
during recording.
•
The only parameters that can be edited for
Tracks 2–6 are notes and tone numbers.
•
You cannot add data to a recording.
•
You cannot move portions of a recording to
a different location within the recording.
•
You cannot change note lengths.
In addition to Track 1, where you record auto
accompaniment as well as keyboard play,
there are five other tracks you can use to
record melody parts only. You can record
different tones on these tracks and build a
full ensemble of instruments.
You can play back what you already
recorded on Track 1 (or any other track)
while you record on Tracks 2–6.
4GCN6KOG4GEQTFKPI
7. Continue entering notes by playing
them and specifying their length.
8. Press START/STOP to end recording.
'&+6+0)/'/14;%106'065
You can recall and change individual notes
and parameter settings from a song in
memory. ±
1. Repeatedly press SONG MEMORY until
Ij[fH[Yappears.
2. Within 5 seconds, repeatedly press
+ or – to select a song number.
1. Repeatedly press SONG MEMORY until
H[YehZ appears.
3. Use SONG MEMORY TRACK (1–6) to
select the track you want to edit.
2. Within 5 seconds, repeatedly press
+ or – to select a song number.
4. Press I (CURSOR) to enter edit mode.
3. Press the desired SONG MEMORY
TRACK (2–6) to select the track you
want to record on.
4. If desired, you can change the tone
number and tempo settings. You can
change the tempo to one that is easy
for you to follow.
5. Press START/STOP to start recording.
The contents of any tracks already
recorded start to play.
6. Play on the keyboard what you want to
record on the selected track.
7. Press START/STOP to end recording.
If you used them, tone number and optional
pedal operation are also stored on the
selected track in addition to the notes you
played.
5VGR4GEQTFKPI
1. Repeatedly press SONG MEMORY until
Ij[fH[Y appears.
2. Within 5 seconds, repeatedly press
+ or – to select a song number.
3. Press the desired SONG MEMORY
TRACK (2–6) to select the track you
want to record on.
4. Change the tone, if desired. After
selecting a tone, press any keyboard
key to clear the tone selection display
and return to the note input screen.
5. Use the keyboard to enter notes or 0 to
enter rests.
• When you enter a note using the
keyboard with touch response turned
on, the key pressure is also
recorded.
• To delete a rest entry, press 0 again.
18
6. Use 1–9 to enter the length of the note
or rest.
5. Repeatedly press I or J (CURSOR) to
move to the entry you want to change.
You can change the parameter that is
flashing on the display. To change a
different parameter, repeatedly press I
or J (CURSOR) so the parameter you
want to edit flashes.
6. Make the desired changes to the
selected parameter.
The procedures you use to change a
parameter depend on the type of data it
contains. See “Editing Techniques and
Display Contents”.
7. Repeat Steps 5 and 6 to edit other
parameters.
8. Press START/STOP when you are
finished.
'FKVKPI6GEJPKSWGUCPF&KURNC[
%QPVGPVU
Key Pressure (Velocity) — Repeatedly
press + and – or use the number buttons to
adjust the key pressure.
Pitch — Enter a new note on the keyboard
or repeatedly press + or – to change to the
next higher or lower note. The keyboard and
the staff on the display show your new entry.
Chord — Use the appropriate chord
fingering method for the MODE setting.
Tone Number/Rhythm Number —
Repeatedly press + or – or use the number
buttons to enter a number.
Rhythm Controller (INTRO/ENDING 1 or 2,
VARIATION/FILL-IN 1 or 2, SYNCHRO/FILL-IN
NEXT) — Press the button for the function
you want to change to.
'&+6+0)#510)
You can delete an entire song, a specific
track, or data associated with the song.
1. Repeatedly press SONG MEMORY until
FbWo appears.
2. Repeatedly press + or – to select the
song number.
3. Press G (ENTER). Ied]:[b5 appears
4. Press YES. Ikh[5 appears, prompting
you to confirm the deletion.
5. Press YES again.
&GNGVKPI#NN&CVCKPC
5RGEKHKE6TCEM
1. Repeatedly press SONG MEMORY until
FbWo appears.
2. Repeatedly press + or – to select the
song number.
3. Press G (ENTER). Ied]:[b5 appears
4. Repeatedly press I or J (CURSOR) until
Jh$:[b5 appears.
5. Press the appropriate SONG MEMORY
TRACK (1-6) to select the track(s) you
want to delete. You can specify more
than one track by pressing more than
one button. ±
6. Press YES. Ikh[5 appears, prompting
you to confirm the deletion.
7. Press YES again to delete the track(s).
4GYTKVKPI5QPI&CVC
2CPGN4GEQTF
Each song in the keyboard’s memory has a
section in its header called the panel record.
This section contains initial data for the
recording. You can rewrite this portion if
necessary.
The settings stored in panel records are:
• Rhythm
• Tempo
• Accomp Volume
• Reverb On/Off
• Reverb Type
• Chorus On/Off
• Chorus Type
• DSP Type
• Equalizer Type
The following mixer parameters are also
stored in the panel record:
• Tone
• Part On/Off
• Volume
• Pan
• Oct Shift
• Coarse Tune
• Fine Tune
• Reverb Send
1. Repeatedly press SONG MEMORY until
FbWo appears.
2. Repeatedly press + or – to select the
song number.
±016'±
•
To deselect a track, simply press its button
again.
•
3. Make the changes in settings as
desired.
You cannot change the song number while
in track delete standby.
•
4. Press G (ENTER). Ied]:[b5 appears.
You cannot select a track that does not
contain recorded data.
•
Pressing SONG MEMORY while in track
delete standby mode returns to record
standby mode.
5. Repeatedly press I or J (CURSOR) until
Fd[bH[Y5appears.
6. Press YES to rewrite the header data.
Using the Song Memory
&GNGVKPIC5QPI
75+0)/+&+
Your keyboard includes a feature called
MIDI (Musical Instrument Digital Interface).
MIDI is the universal standard for sending
and receiving performance data between all
types of electronic musical instruments,
regardless of manufacturer. Using MIDI, you
can play music on your keyboard and
another instrument at the same time while
pressing the keys on only one, record your
music to a sequencer, acquire a wider
selection of preset tones from a sound
module, and much more.
Connecting your keyboard to another MIDI
device requires a MIDI cable (not supplied).
For detailed specifications of the MIDI
function, see the “MIDI Implementation
Chart” on Page 41. For more information
about MIDI parameters, visit
www.radioshack.com and download the
“MD-1121 MIDI Implementation.”
#$176/+&+
Every MIDI-equipped instrument has MIDI
OUT and IN terminals, and some also have
a MIDI THRU terminal. Each of these
terminals serves a different purpose.
MIDI OUT sends MIDI data to (“talks to”)
other MIDI instrument(s).
MIDI IN receives (“listens to”) MIDI data sent
by other MIDI instrument(s).
MIDI THRU lets you connect (“network”)
additional MIDI instruments, and sends
other MIDI devices a copy of all data it
receives through its MIDI IN terminal.
Your keyboard has MIDI OUT and MIDI IN
terminals.
The cable that connects MIDI devices does
not actually carry sound between them, like
a speaker wire carries sound from a receiver
to a speaker. Instead, MIDI-equipped
devices communicate with each other using
digital codes (instructions). One MIDI device
sends digital instructions representing
exactly what is being played on it. The other
MIDI device receives and translates those
instructions, then produces (or records) the
sound exactly as it was played on the first
device.
• Chorus Send
19
/#-+0)6*'/+&+
%100'%6+105
To connect your keyboard to another MIDIequipped device, you must use a MIDI cable
(available at RadioShack). ±016'±
You do not need to make both connections if
you are only either sending or receiving.
Using the Song Memory
%#76+10
•
Always turn off power to your keyboard and
the other MIDI device before you connect or
disconnect MIDI cables.
•
As you make the cable connections, be
sure to align the MIDI cable pins with the
matching holes on your keyboard’s MIDI
OUT and MIDI IN terminals. If you have
trouble plugging in the cable, do not force it!
You might damage the plug or the
instrument.
To send MIDI data from your keyboard, use
a MIDI cable to connect the keyboard’s MIDI
OUT terminal to the other device’s MIDI IN
terminal.
To receive MIDI data on your keyboard, use
a MIDI cable to connect the keyboard’s MIDI
IN terminal to the other device’s MIDI OUT
terminal. ±
/+&+&#6#
Your keyboard can send and receive several
different types of MIDI data. The keyboard’s
tones, rhythms, and other types of MIDI data
are sent automatically as you play.
The keyboard parts (Channels 1 through 4)
are sent over the corresponding channels.
When you turn auto harmonize on (see
“Using Auto Harmonize” on Page 12), the
harmonized notes are sent.
You can set accompaniment parts to be sent
over the corresponding channels (Channels
6 – 10). See “Changing MIDI Settings.” The
keyboard’s prerecorded tunes cannot be
sent as MIDI data.
The keyboard can receive data over all 16
MIDI mixer channels at the same time.
The received message is interpreted as
chord change data when you set MODE to
CONCERT CHORD or FINGERED. See
“Changing MIDI Settings.”
%*#0)+0)/+&+5'66+0)5
1. Press TOUCH/TRANSPOSE/SETTING,
then repeatedly press I or J (CURSOR)
until C?:?appears.
2. Press G (ENTER). &'A[oXZ9^ appears.
3. Within 5 seconds, repeatedly press I or
J until the parameter you want to
change appears.
A[oXZ9^ (Keyboard Basic Channel)
(Default: &') — Sets the channel for
sending MIDI data to an external
device.
9^ehZ (MIDI In Chord Judge) (Default:
E\\) — When set to on, the keyboard
interprets the received basic channel
note data as auto accompaniment
chords using the current chord fingering
method.
4. Repeatedly press + or – or use the
number buttons to change the setting
as required. Then press H (EXIT).
016'5#$1766*'/+&+
+/2.'/'06#6+10%*#46
The “MIDI Implementation Chart” on
Page 41 shows specific details about how
your keyboard is compatible with the MIDI
standard. The following notes explain how
the keyboard works within the MIDI
standard.
Basic Channel — The MIDI standard
allows for the use of up to 16 channels to
exchange data. Like a TV broadcast, each
of these channels can contain different data.
The keyboard can send and receive data on
all 16 of these channels.
Mode — The MIDI standard allows for four
separate modes of operation. The keyboard
sends and receives data in Mode 3. This
means that the data sent and received by
the keyboard can be polyphonic and can be
sent or received on only one channel at a
time.
Note Number — The MIDI standard allows
for note numbers from 0 through 127. This
number represents each possible note that a
device can play. The lowest note number (0)
is five octaves below middle C and the
highest note number (127) is three octaves
above middle C. The keyboard can send
and receive all 128 note numbers.
Velocity — The MIDI standard allows for
velocity numbers from 0 through 127.
Velocity is how fast a key is pressed (or if
the key is pressed at all) or how loud a note
sounds. A velocity of 0 means that the key is
not pressed. The lowest velocity (1) is
pianissimo and the highest velocity (127) is
fortissimo. The keyboard can send and
receive all 128 velocity numbers.
Pitch Bender — The keyboard receives
(but cannot send) pitch bending signals.
Control Change — This feature sends data
on various controllers, each having its own
number. For the details of each parameter,
see “MIDI Data”.
Program Change — This feature changes
the preset sounds. Each sound number
corresponds to a program number between
0 and 127. See “MIDI Data”.
7YecfEkj (Accompaniment Out)
(Default: E\\) — Set to ed to send auto
accompaniment as MIDI data.
System Exclusive — This feature sends
special signals unique to the keyboard.
BeYWb (Local Control) (Default: Ed) — Set
to ed to send data to the keyboard’s
All Notes Off — This feature is a kind of
panic button: it stops the current sounds
from playing. Only the keyboard receives
this message.
speakers and another MIDI device
20
simultaneously. Set to e<< to send data
only to another MIDI device (the
keyboard’s speakers are muted).
Active Sense — This means the
keyboard’s sound turns off in the event the
connection cable to the MIDI IN terminal is
accidentally disconnected.
75+0)6*'&#6#&190.1#&
5'48+%'
Using the Song Memory
Visit www.radioshack.com to download the
preset accompaniments, tones, DSPs, and
registration data, as well as the software to
transfer the downloaded data from your PC
to the keyboard.
The software not only allows you to transfer
the downloaded data to the keyboard, but
also to store the various settings you made
on the keyboard onto your PC’s storage
device. See the instructions provided with
the software.
21
6417$.'5*116+0)
6TQWDNG
No sound, even if keys
are pressed.
2QUUKDNG%CWUG
The keyboard has turned off
automatically.
Press POWER.
The volume is turned down.
Adjust VOLUME.
The headphones are connected.
Disconnect the headphones.
Power supply problem.
Make sure the batteries are fresh and
inserted correctly, or the AC adapter is
connected securely.
You are pressing too few
accompaniment keys while
MODE is set to FINGERED.
Set MODE to NORMAL or CONCERT
CHORD. Or press 3 or 4 keys to form a
chord while MODE is set to FINGERED.
Local control is off.
Set local control to ON (see “Changing
MIDI Settings” on Page 20).
Mixer channel 1 is turned off or its
volume is set too low.
Turn on Channel 1 or raise the volume
setting (see “Using the Mixer” on
Page 12).
No sound when
The volume is turned down.
connected to an external
Defective connection cord.
amplifier.
Adjust VOLUME.
Replace the connection cord.
MIDI cables are not connected
properly.
Check the connection.
Mixer channel is turned off or its
volume is too low.
Turn channel 1 ON or raise the volume
setting (see “Using the Mixer” on
Page 12).
The key or tuning does
not match when playing
along with another MIDI
instrument.
The tuning or transpose
parameter is set to a value other
than 0 or 00.
Set the tuning or transpose parameter to
0 or 00.
Some parts do not play
during song memory
playback.
Channels are turned off or volume Use the mixer function to turn the
set too low.
channel on or to raise the volume.
Cannot record autoaccompaniment.
A track other than Track 1 is
selected. (Tracks 2 through 6 are
for melody only.)
Select Track 1.
Sounds sent to another
MIDI device by the
keyboard do not sound
correct.
The other device’s MIDI THRU
function is turned on.
Turn off the MIDI THRU function on the
other device.
Cannot record chord
accompaniment data on
a computer.
Accomp MIDI Out is set to e<<.
Set MIDI Out to ed.
Troubleshooting
No sound when
receiving and playing
MIDI data.
%#4'
Keep the keyboard dry; if it gets wet, wipe it
dry immediately. Use and store the
keyboard only in normal temperature
environments. Handle the keyboard
carefully; do not drop it. Keep the keyboard
away from dust and dirt, and wipe it with a
damp cloth occasionally to keep it looking
new.
5'48+%'#0&4'2#+4
If your keyboard is not performing as it
should, take it to your local RadioShack
store for assistance. Modifying or tampering
with the keyboard’s internal components can
cause a malfunction and might invalidate its
warranty and void your FCC authorization to
operate it.
22
4GOGF[
610'.+56
Tone List
2#0'.610'5
23
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Tone List
24
Tone List
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25
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Tone List
26
Tone List
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27
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Tone List
28
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Tone List
75'4610'5
29
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Tone List
30
Tone List
(+0)'4'&%*14&%*#46
31
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Effect List
32
Effect List
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33
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0WODGT
(WPEVKQP
2CTCOGVGTU
00
Auto Pan
Continually performs left-right panning of the
input signal in accordance with an LFO.
0: Rate (0 to 127) – Adjusts the panning rate.
1: Depth (0 to 127) – Adjusts the panning depth.
01
Tremolo
– Adjusts volume of input signal in accordance
with an LFO.
0: Rate (0 to 127) – Adjusts the tremolo rate.
1: Depth (0 to 127) – Adjusts the tremolo depth.
This is a two-band equalizer.
0: Low Frequency [0 (200Hz), 1 (400Hz), 2 (800Hz)] – Adjusts the cutoff
frequency of the low-band equalizer.
1: Low Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the low-band
equalizer.
2: High Frequency [0 (6.0kHz), 1 (8.0kHz), 2 (10kHz)] – Adjusts the cutoff
frequency of the high-band equalizer.
3: High Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the high-band
equalizer.
3BandEQ
This is a three-band equalizer.
0: Low Frequency [0 (200Hz), 1 (400Hz), 2 (800Hz)] – Adjusts the cutoff
frequency of the low-band equalizer.
1: Low Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the low-band
equalizer.
2: Mid Frequency [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 midband equalizer.
3: Mid Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the mid-band
equalizer.
4: High Frequency [0 (6.0kHz), 1 (8.0kHz), 2 (10kHz)] – Adjusts the cutoff
frequency of the high-band equalizer.
5: High Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the high-band
equalizer.
LFO Wah
0: Input Level (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.
This is a “wah” effect that can automatically
1: Resonance (0 to 127) – Adjusts the resonance of the sound.
affect the frequency in accordance with an LFO.
2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter.
3: LFO Rate (0 to 127) – Adjusts the rate of the LFO.
4: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
Auto Wah
0: Input Level (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 (0 to 127) – Adjusts the resonance of the sound.
2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter.
3: Depth (-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.
02
03
04
05
Effect List
06
07
08
34
0COG
2BandEQ
This is a “wah” effect that can automatically
affect the frequency in accordance with the
level of the input signal.
Compresses the input signal, which can
Compressor suppress level variation and make it possible to
sustain dampened sounds longer.
Limiter
Distortion
0: Depth (0 to 127) – Adjusts compression of the audio signal.
1: Attack (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.
2: Release (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 apply compression at all
times, set a high value.
3: Level (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.
0: Limit (0 to 127) – Adjusts the volume level from which the limit is applied.
1: Attack (0 to 127) – Adjusts the attack amount of the input signal.
2: Release (0 to 127) – Adjusts the time from when the input signal drops below
This is an effector that you can use to set an
a certain level until the limit operation stops.
upper limit value on the level of the input signal.
3: Level (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.
This effect provides Distortion + AmpSimulator.
0: Gain (0 to 127) – Adjusts the input gain.
1: Low (0 to 127) – Adjusts the low-band gain. The cutoff frequency differs
according to the preset DSP.
2: High (0 to 127) – Adjusts the high-band gain. The cutoff frequency differs
according to the preset DSP.
3: Level (0 to 127) – Adjusts the output level.
0WODGT
09
10
11
12
0COG
Stereo
Phaser
Phaser
Rotary
(WPEVKQP
2CTCOGVGTU
This is a stereo phaser that modulates the
phase in accordance with a sine wave LFO.
0: Resonance (0 to 127) – Adjusts the resonance of the sound.
1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for
reference.
2: Rate (0 to 127) – Adjusts the rate of the LFO.
3: Depth (0 to 127) – Adjusts the depth of the LFO.
4: Wet Level (0 to 127) – Adjusts the volume level of the effect.
This is a monaural phaser that modulates the
phase in accordance with a sine wave LFO.
0: Resonance (0 to 127) – Adjusts the resonance of the sound.
1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for
reference.
2: Rate (0 to 127) – Adjusts the rate of the LFO.
3: Depth (0 to 127) – Adjusts the depth of the LFO.
4: Wet Level (0 to 127) – Adjusts the level of the effect sound.
This is a rotary speaker simulator.
0: Speed (Slow, Fast) Switches the speed mode between fast and slow.
1: Break (Rotate, Stop) Stops speaker rotation.
2: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched
from fast to slow.
3: Rise Accel (0 to 127) – Adjusts acceleration when the speed mode is switched
from slow to fast.
4: Slow Rate (0 to 127) – Adjusts speaker rotation speed in the slow speed
mode.
5: Fast Rate (0 to 127) – Adjusts speaker rotation speed in the fast speed mode.
Drive Rotary This is an overdrive-rotary speaker simulator.
0: Overdrive Gain (0 to 127) – Adjusts overdrive gain.
1: Overdrive Level (0 to 127) – Adjusts the output level of the overdrive.
2: Speed (Slow, Fast) Switches the speed mode between fast and slow.
3: Break (Rotate, Stop) Stops speaker rotation.
4: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched
from fast to slow.
5: Rise Accel (0 to 127) – Adjusts acceleration when the speed mode is switched
from slow to fast.
6: Slow Rate (0 to 127) – Adjusts speaker rotation speed of the slow speed mode.
7: Fast Rate (0 to 127) – Adjusts speaker rotation speed of the fast speed mode.
0: Low Frequency (0 to 127) – Adjusts the low range enhancer frequency.
1: Low Gain (0 to 127) – Adjusts the low range enhancer gain.
2: High Frequency (0 to 127) – Adjusts the high range enhancer frequency.
3: High Gain (0 to 127) – Adjusts the high range enhancer gain.
Enhancer
14
Ring
Modulator
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.
0: OSC Frequency (0 to 127) Sets the reference frequency of the internal OSC.
1: LFO Rate (0 to 127) – Adjusts the rate of the LFO.
2: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
3: Wet Level (0 to 127) – Adjusts the level of the effect sound.
4: Dry Level (0 to 127) – Adjusts the level of the original sound.
15
Lo-Fi
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 using noise
modulation (amplitude modulation = AM) and
distortion of frequency characteristics.
0: Noise Level 1 (0 to 127) – Adjusts the level of Noise Generator 1.
1: Noise Density 1 (0 to 127) – Adjusts the noise density of Noise Generator 1.
2: Noise Level 2 (0 to 127) – Adjusts the level of Noise Generator 2.
3: Noise Density 2 (0 to 127) – Adjusts the noise density of Noise Generator 2.
4: Tone (0 to 127) – Adjusts the tone.
5: Resonance (0 to 127) – Adjusts the resonance of the sound.
6: Bass (-64 to 0 to +63) – Adjusts the volume of low sounds.
7: Level (0 to 127) – Adjusts the output level.
16
1-Phase
Chorus
This is a monaural chorus in accordance with a
sine wave LFO.
0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.
1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound.
3: Wet Level (0 to 127) – – Adjusts the level of the effect sound.
17
Sin 2-Phase This is a stereo chorus in accordance with a
Chorus
sine wave LFO.
Effect List
13
Enhances the outlines of the low range and
high range of the input signal.
0: LFO Rate (0 to 127) – – Adjusts the rate of the LFO.
1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound.
3: Wet Level (0 to 127) – Adjusts the level of the effect sound.
18
3-Phase
Chorus
0: Rate1 (Fast LFO Rate, 0 to 127) – Adjusts the rate of LFO1.
1: Depth1 (Fast LFO Depth, 0 to 127) – Adjusts the depth of LFO1.
This is a 3-phase chorus in accordance with two
2: Rate2 (Slow LFO Rate, 0 to 127) – Adjusts the rate of LFO2.
LFOs of with different sine wave rates.
3: Depth2 (Slow LFO Depth, 0 to 127) – Adjusts the depth of LFO2.
4: Wet Level (0 to 127 – Adjusts the level of the effect sound.
19
Tri 2-Phase
Chorus
This is a stereo chorus in accordance with
triangular wave LFO.
0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.
1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
2: Feedback (-64 to +63) – Adjusts the feedback of the sound.
3: Wet Level (0 to 127) – Adjusts the level of the effect sound.
This is a delay of stereo input and output.
0: Delay Time (0 to 127) – Adjusts the delay time.
1: Wet Level (0 to 127) – Adjusts the level of the effect sound.
2: Feedback (0 to 127) – Adjusts the repeat of the delay.
3: High Damp (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 (0 to 127) – Adjusts the delay time of the left channel, proportional to
the value set for Delay Time.
5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to
the value set for Delay Time.
20
Stereo
Delay 1
35
0WODGT
21
Stereo
Delay 2
(WPEVKQP
This is a cross feedback delay of stereo input
and output.
2CTCOGVGTU
0: Delay Time (0 to 127) – Adjusts the delay time.
1: Wet Level (0 to 127) – Adjusts the level of the effect sound.
2: Feedback (0 to 127) – Adjusts the repeat of the delay.
3: High Damp (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 (0 to 127) – Adjusts the delay time of the left channel, proportional to
the value set for Delay Time.
5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to
the value set for Delay Time.
3-Tap Delay This is left/center/right 3-tap delay.
0: Delay Time (0 to 127) – Adjusts the delay time.
1: Wet Level (0 to 127) – Adjusts the level of the effect sound.
2: Feedback (0 to 127) – Adjusts the repeat of the delay.
3: High Damp (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 (0 to 127) – Adjusts the delay time of the left channel. Proportional to
the value set for Delay Time.
5: Ratio C (0 to 127) – Adjusts the delay time of the center channel. Proportional
to the value set for Delay Time.
6: Ratio R (0 to 127) – Adjusts the delay time of the right channel. Proportional to
the value set for Delay Time.
Gate
Reverb
This is a fader that creates artificial reverb that
sounds like it is being cut with a gate.
0: LPF (0 to 127) – Adjusts the cutoff frequency of the low-pass filter. A smaller
value cuts the high range.
1: HPF (0 to 127) – Adjusts the cutoff frequency of the high-pass filter. A larger
value cuts the low range.
2: Feedback (0 to 127) – Adjusts the repeat of the reverb.
3: High Damp (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 (0 to 127) Provides fine adjustment of the reverb.
5: Wet Level (0 to 127) – Adjusts the level of the effect sound.
6: Dry Level (0 to 127) – Adjusts the level of the original sound.
Reverse
Gate
Reverb
This is gate reverb with a reverse rotation
effect.
0: LPF (0 to 127) – Adjusts the cutoff frequency of the low-pass filter. A smaller
value cuts the high range.
1: HPF (0 to 127) – Adjusts the cutoff frequency of the high-pass filter. A larger
value cuts the low range.
2: Feedback (0 to 127) – Adjusts the repeat of the reverb.
3: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The
smaller the value, the greater the damping of high-range reverb sound.
4: Diffusion (0 to 127) Provides fine adjustment of the reverb.
5: Wet Level (0 to 127) – Adjusts the level of the effect sound.
6: Dry Level (0 to 127) – Adjusts the level of the original sound.
25
Reflection
0: Type (0 to 7) Selects from among the eight available reflection patterns.
This is an effector that extracts the first reflected 1: Wet Level (0 to 127) – Adjusts the level of the effect sound.
sound from a reverb sound.
2: Feedback (0 to 127) – Adjusts the repeat of the reflected sound.
3: Tone (0 to 127) – Adjusts the tone of the reflected sound.
26
Reflection
This is a flanger in accordance with a sine wave
LFO.
0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.
1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.
2: Feedback (-64 to +63) – Adjusts the feedback of the sound.
3: Wet Level (0 to 127) – Adjusts the level of the effect sound.
This is an effector that preserves the breadth of
a sound by adding a reverb sound.
0: Tone (0 to 127) – Adjusts the tone of the reverb sound.
1: Time (0 to 127) – Adjusts the reverb time.
2: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The
smaller the value, the greater the damping of high-range reverb sound.
3: ER Level (0 to 127) – Adjusts the level of the initial reflection.
4: Wet Level (0 to 127) – Adjusts the level of the effect sound.
22
23
24
Effect List
27
28
36
0COG
Reverb
2-Tap Delay This is left/right 2 tap delay.
0: Delay Time (0 to 127) – Adjusts the delay time.
1: Wet Level (0 to 127) – Adjusts the level of the effect sound.
2: Feedback (0 to 127) – Adjusts the repeat of the delay.
3: High Damp (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 (0 to 127) – Adjusts the delay time of the left channel, proportional to
the value set for Delay Time.
5: Ratio R (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
previously in this section. Parameters are shared by both types of algorithms.
M00
M01
M02
M03
M04
M05
M06
M07
0COG
Multi00
(Sin 2-Phase Chorus — 2-Tap Delay)
Multi01
(3-Phase Chorus — 3-Tap Delay)
Multi02
(Phaser — 3-Phase Chorus)
Multi03
(Flanger — 2-Tap Delay)
Multi04
(Stereo Phaser — Stereo Delay 1)
Multi05
(Enhancer — 1- Phase Chorus)
Multi06
(Enhancer — 2- Tap Delay)
Multi07
(Enhancer — Flanger)
(WPEVKQP
2CTCOGVGTU
This is a multi effector that is related to Sin 2-Phase Chorus —
2-Tap Delay.
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
This is a multi effector that is related to 3-Phase Chorus — 3-Tap Delay.
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 a multi effector that is related to Phaser — 3-Phase Chorus.
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
This is a multi effector that is related to Flanger — 2-Tap Delay.
0: Flanger LFO Rate
1: Flanger LFO Depth
2: Flanger Feedback
3: Flanger Wet Level
4: Delay Time
5: Delay Wet Level
6: Delay Feedback
7: Delay High Damp
This is a multi effector that is related to Stereo Phaser — Stereo Delay 1.
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
This is a multi effector related to Enhancer — 1- Phase Chorus.
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
This is a multi effector that is related to Enhancer — 2-Tap Delay.
0: Enhancer Low
Frequency
1: Enhancer Low Gain
2: Enhancer High
Frequency
3: Enhancer High Gain
4: Delay Time
5: Delay Wet Level
6: Delay Feedback
7: Delay High Damp
This is a multi effector related to Enhancer — Flanger.
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
Effect List
0WODGT
37
0WODGT
M08
M09
M10
M11
M12
M13
M14
0COG
Multi08
(Sin 2-Phase Chorus — Flanger)
Multi09
(Sin 2-Phase Chorus — Tremolo)
Multi10
(Stereo Phaser — Auto Pan)
Multi11
(Compressor — Lo- Fi)
Multi12
(Ring Modulator — Sin 2-Phase
Chorus — 2-Tap Delay)
Multi13
(Ring Modulator — Distortion)
Multi14
(Lo- Fi — Reflection)
(WPEVKQP
This is a multi effector that is related to Sin 2-Phase Chorus — Flanger.
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
This is a multi effector that is related to Sin 2-Phase Chorus — Tremolo.
0: Chorus LFO Rate
1: Chorus LFO Depth
2: Chorus Feedback
3: Chorus Wet Level
4: Tremolo Rate
5: Tremolo Depth
This is a multi effector that is related to Stereo Phaser — Auto Pan.
0: Phaser Resonance
1: Phaser Manual
2: Phaser Rate
3: Phaser Depth
4: Phaser Wet Level
5: Auto Pan Rate
6: Auto Pan Depth
This is a multi effector related to Compressor — Lo-Fi.
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
This is a multi effector that is related to Ring Modulator —
Sin 2-Phase Chorus.
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
This is a multi effector related to Ring Modulator — Distortion.
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
This is a multi effector related to Lo-Fi — Reflection.
0: Lo-Fi Noise1
1: Lo- Fi Noise2
2: Lo- Fi Tone
3: Lo- Fi Resonance
4: Reflection Type
5: Reflection Wet Level
6: Reflection Feedback
7: Reflection Tone
This is a multi effector related to Distortion — Lo- Fi.
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
This is a multi effector related to Drive Rotary — Reflection.
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
Effect List
M15
M16
38
Multi15
(Distortion — Lo- Fi)
Multi16
(Drive Rotary — Reflection)
2CTCOGVGTU
M17
M18
M19
M20
M21
M22
M23
M24
M25
0COG
Multi17
(Rotary — Reflection)
Multi18
(Compressor - Enhancer —
2-Tap Delay)
Multi19
(Compressor — Stereo Delay 1)
Multi20
(Phaser - 1-Phase Chorus —
Auto Pan)
Multi21
(Auto Wah - Tri 2 Phase Chorus — 2Tap Delay)
Multi22
(LFO Wah -Tri 2-Phase Chorus — 2Tap Delay)
(WPEVKQP
2CTCOGVGTU
This is a multi effector related to Rotary — Reflection.
0: Rotary Speed
1: Rotary Break
2: Rotary Slow Rate
3: Rotary Fast Rate
4: Reflection Wet Level
5: Reflection Feedback
6: Reflection Tone
This is a multi effector that is related to Compressor - Enhancer —
2-Tap Delay.
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
This is a multi effector related to Compressor — Stereo Delay 1.
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 that is related to Phaser - 1-Phase Chorus —
Auto Pan.
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
This is a multi effector that is related to Auto Wah - Tri 2-Phase Chorus —
2-Tap Delay.
0: Wah Resonance
1: Wah Manual
2: Wah Depth
3: Chorus LFO Rate
4: Chorus LFO Depth
5: Delay Time
6: Delay Wet Level
7: Delay Feedback
This is a multi effector that is related to LFO Wah - Tri 2-Phase Chorus —
2-Tap Delay.
0: Wah Resonance
1: Wah Manual
2: Wah LFO Rate
3: Wah LFO Depth
4: Chorus LFO Depth
5: Delay Time
6: Delay Wet Level
7: Delay Feedback
Multi23
This is a multi effector that is related to Compressor - Sin 2-Phase Chorus
(Compressor - Sin 2-Phase Chorus —
— Reflection.
Reflection)
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
Multi24
(Distortion - 1-Phase Chorus — 2-Tap
Delay)
This is a multi effector that is related to Distortion - 1-Phase Chorus — 2Tap Delay.
0: Distortion Gain
1: Distortion Low
2: Distortion High
3: Distortion Level
4: Chorus LFO Depth
5: Delay Time
6: Delay Wet Level
7: Delay Feedback
This is a multi effector that is related to Compressor - Distortion —
2-Tap Delay.
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
Multi25
(Compressor - Distortion — 2-Tap
Delay)
Effect List
0WODGT
39
0WODGT
M26
M27
M28
M29
M30
M31
Effect List
40
0COG
(WPEVKQP
2CTCOGVGTU
Multi26
This is a multi effector that is related to Auto Wah - Distortion —
(Auto Wah - Distortion — 2-Tap Delay) 2-Tap Delay.
0: Wah Manual
1: Wah Depth
2: Distortion Gain
3: Distortion Tone
4: Distortion Level
5: Delay Time
6: Delay Wet Level
7: Delay Feedback
Multi27
This is a multi effector that is related to LFO Wah - Distortion —
(LFO Wah - Distortion — 2-Tap Delay) 2-Tap Delay.
0: Wah Manual
1: Wah LFO Rate
2: Wah LFO Depth
3: Distortion Gain
4: Distortion Level
5: Delay Time
6: Delay Wet Level
7: Delay Feedback
Multi28
(Distortion — 3-Tap Delay)
This is a multi effector that is related to Distortion — 3-Tap Delay.
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
Multi29
(Distortion — Phaser)
This is a multi effector related to Distortion — Phaser.
0: Distortion Gain
1: Distortion Low
2: Distortion High
3: Distortion Level
4: Phaser Resonance
5: Phaser Manual
6: Phaser Rate
7: Phaser Depth
Multi30
(Distortion — Sin 2-Phase Chorus)
0: Distortion Gain
1: Distortion Low
2: Distortion High
3: Distortion Level
This is a multi effector that is related to Distortion — Sin 2-Phase Chorus.
4: Chorus LFO Rate
5: Chorus LFO Depth
6: Chorus Feedback
7: Chorus Wet Level
Multi31
(Distortion — Flanger)
This is a multi effector related to Distortion — Flanger.
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
MIDI Implementation Chart
/+&++/2.'/'06#6+10%*#46
41
52'%+(+%#6+105
Specifications
Number of Keys .............................................. 61
Headphones ..................... Stereo Standard Jack
Polyphonic Sound ....................... 32-note (Max.)
Output Impedance: ............................. 140 Ohms
Preset Tones ................................................. 348
(100 panel tones, 128 General MIDI,
10 drum sounds, 10 user,
100 advanced tones)
with Layer and Split
Output Voltage ........................ 4.5 V (RMS) MAX
at 47K ohm load
Rhythm Instrument Tones ............................... 61
Effects ......................................................... DSP
(110 types: internal, 10 user areas)
Reverb (16 types)
Chorus (16 types)
Demo Tunes ..................................................... 2
Auto Accompaniment
Rhythm Patterns ................... 100 + 4 user areas
Tempo ................ Variable (226 steps, 30 to 255)
Chords ................................ 3 fingering methods
(Concert Chord, Fingered, Full Range)
Rhythm Controller .............................. Start/Stop,
Intro/Ending 1/2
Variation/Fill-In 1/2
Synchro/Fill-In Next
Accompaniment Volume ..... 0 to 127 (128 steps)
One-Touch Preset ......... Recalls tone and tempo
settings best suited for the selected rhythm
Registration Memory
Number of Setups ........ 16 (4 locations, 4 banks)
Memory Contents ............... Tone, rhythm, tempo
split setting, split point, layer setting
mixer settings, mixer settings
effect setting, equalizer setting
touch response setting
SUSTAIN/ASSIGNABLE JACK setting
transpose setting, tuning setting
accompaniment volume setting
harmonize setting
Memory Function
Songs ................................................................ 2
Recording Tracks .............................................. 6
(2 through 6 are melody tracks)
Recording Methods .................... Real-time, Step
Memory Capacity ..... Approximately 3,500 notes
(total for two songs)
Edit Function ........................................ Equipped
Custom Tone Parameter Function
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,
DSP parameter
Mixer Function
Channels ......................................................... 16
Parameters ................ Program change number,
volume, expression, pan, coarse tuning,
fine tuning, on/off/solo
MIDI .............................. 16 multi-timbre receive,
GM Level 1 standard
Transpose ....... –24 semitones to +24 semitones
Tuning ......... Adjustable A4 = 440 Hz ±100 cents
Built-In Speakers ................................. 12 cm × 2
Terminals
MIDI Terminals ....................................... IN, OUT
Assignable Terminal ............ 1/4-Inch Phone Jack
(sustain, sostenuto, soft, rhythm start/stop)
Power Supply ................................... 9V DC Jack
42
Power Sources ........................ DC: 6 D batteries
AC: 9V with AC adapter
Power Consumption .................................. 7.7 W
Dimensions (HWD) 513/16 × 377/8 × 143/4 Inches
(14.7 × 96 × 37.5 cm)
Weight (Without Batteries) ............... 12 lbs 12 oz
(5.8 kg)
Included Accessories ........... Sheet Music Stand
Specifications are typical; individual units might
vary. Specifications are subject to change and
improvement without notice.
Notes
016'5
43
Limited One-Year Warranty
This product is warranted by RadioShack against manufacturing defects in material and workmanship under normal use for one (1) year from the date of purchase from RadioShack company-owned stores and authorized RadioShack franchisees and dealers. EXCEPT AS PROVIDED HEREIN, RadioShack MAKES NO EXPRESS
WARRANTIES AND ANY IMPLIED WARRANTIES, INCLUDING THOSE OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO THE DURATION OF THE WRITTEN
LIMITED WARRANTIES CONTAINED HEREIN. EXCEPT AS PROVIDED HEREIN, RadioShack SHALL HAVE
NO LIABILITY OR RESPONSIBILITY TO CUSTOMER OR ANY OTHER PERSON OR ENTITY WITH RESPECT
TO ANY LIABILITY, LOSS OR DAMAGE CAUSED DIRECTLY OR INDIRECTLY BY USE OR PERFORMANCE
OF THE PRODUCT OR ARISING OUT OF ANY BREACH OF THIS WARRANTY, INCLUDING, BUT NOT LIMITED TO, ANY DAMAGES RESULTING FROM INCONVENIENCE, LOSS OF TIME, DATA, PROPERTY, REVENUE, OR PROFIT OR ANY INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, EVEN IF
RadioShack HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
Some states do not allow limitations on how long an implied warranty lasts or the exclusion or limitation of incidental or consequential damages, so the above limitations or exclusions may not apply to you.
In the event of a product defect during the warranty period, take the product and the RadioShack sales receipt as
proof of purchase date to any RadioShack store. RadioShack will, at its option, unless otherwise provided by law:
(a) correct the defect by product repair without charge for parts and labor; (b) replace the product with one of the
same or similar design; or (c) refund the purchase price. All replaced parts and products, and products on which a
refund is made, become the property of RadioShack. New or reconditioned parts and products may be used in the
performance of warranty service. Repaired or replaced parts and products are warranted for the remainder of the
original warranty period. You will be charged for repair or replacement of the product made after the expiration of
the warranty period.
This warranty does not cover: (a) damage or failure caused by or attributable to acts of God, abuse, accident, misuse, improper or abnormal usage, failure to follow instructions, improper installation or maintenance, alteration,
lightning or other incidence of excess voltage or current; (b) any repairs other than those provided by a RadioShack Authorized Service Facility; (c) consumables such as fuses or batteries; (d) cosmetic damage; (e) transportation, shipping or insurance costs; or (f) costs of product removal, installation, set-up service adjustment or
reinstallation.
This warranty gives you specific legal rights, and you may also have other rights which vary from state to state.
RadioShack Customer Relations, 200 Taylor Street, 6th Floor, Fort Worth, TX 76102
12/99
RadioShack Corporation
Fort Worth, Texas 76102
MD1121E-1
42-4058
MA0206-A
04A02
Printed in Malaysia
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