Yamaha TG-33 Manual
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YAMAHA
==
free manual
YAMAHA
TONE GENERATOR
I eg
OPERATING MANUAL
FCC INFORMATION (USA)
| IMPORTANT NOTICE: 130 NOT MODIF Y THIS ЦА
This product. whom instaiiel as indicated the instonctions coniniacd 16 this mannal, meets FCC regurenients. Aindificallons int expressiy aparovell by
Yarasha nay void your amtbority, granted by he FCC, Le nse Мне рт нес,
2 IMPORTANT Wien eoniectng Uns produrl lo ancessnries aodfor another product vse only high quality shiclded cables. Cablafs supplisd with this
proctucl MUST be used. Follow all metallmon motractons. Банго 0 folly instructions conld void your FCO suthorization 0 use his product ig
tre LISA,
4 NOTE: This preshecy bas been rest and fannc oe comply with the requirements Hsted in FOX Regulatinos, Part 15 for Class CB” digital devices,
Compliance wilh ese requirements provides a reasonable level of assurance thal your use of this product a a residential covicourment veill net resuit ir
Вага ин беге ст, with other electronic devices, This cguipment gencratgsfuscs radio fregrencies and, 1f not installed and used according Lo ha
instructions fool in the users mannal, may canse interfcsonce hacia) to the operaringn of alter electronic devices, Compliznee with РОС regnlations
dies nol guarantee that interference will not pocar in all nstallatons, 15 UNs product is Found io be the spwree of inference, which can be determined by
tuning the unl "OFF" and “ON”, please try Lo eliminale Whe problem by nsing one of the following measures:
Eelveate cither Us ponluct or Ie device iba is beim affected by the interference,
LIE power poddets test ze on different branch £cisonit breaker or Tuse) cireaits or install AC ae Dlerds.
Ire the case of rubio or TY interference, relocalefreoienl He antenna. If the antenna lead-io 15 300 ohm ribbou lead, change the lead-in: to co-axial 1ype
cable,
IN these CoTrechve Meystres do nol prodnee sausfictory results, please omnlaet the Ineal ætiler salhorized Lo iistribule Uns ype nf provluct. i you can
AG! lalo the appropiate eller, pieasy cnmtact Yamaba Corporation of America, Electronic Service Division, 5600 OQrangethorpe Ave, Bucas Fark, CA
0620
+ This applies only 10 products distributed by YAMAHA CORPORATION OF AMERICA.
Derle apparal overbolder det gacldende EF-dircksiv
vedréreude rudiostés
Cel appareil est conforme aux preseripiions de la direc-
tve communautaire 877508/CEE.
Diese Geräte enispreches der BEG-Richihinie
S2/A99/EWG und/oder 87/308/EW6,
This produc) complies with lhe radio frequency
interference requirements of the Council Directive
82/499/EEC and/or 87/308/EEC,
Questo apparecchio $ conforme aí D.M. [3 aprile 1989
(Diretliva CEE/87/308) sulla soppressione del redio-
disturbl.
Este producto está de acuerdo con los requisitos sobre
interferencias de radio freguencia fijados por el Consejo
Directivo 27/308/C EE,
YAMAHA CORPORATION
CANADA
THIS DIGITAL APPARATUS DOES NOT EXCEES THE
“CLASS B” LIMITS FOR RADIO NOISE EMISSIONS
FROM DIGITAL APPARATUS SET OUT IN THE RADIO
INTERFERENCE REGULATION OF THE CANADIAN
DEPARTMENT OF COMMUNICATIONS,
LE PRESENT APPAREIL. NUMERIQUE NEMET PAS DE
BRUITS RADIVELECTRIQUES DEPASSANT LES LIMITES
APPLICABLES AUX APPAREILS NUMERIQUES DE LA
“CLASSE 57 PRESCRITES DANS LE REGLEMENT SUR LE
ERCUILLAGE RADICELECTRIQUE EDICTE PAR LE
MINISTERE DES COMMUNICATIONS BU CANADA,
This applies only to products distributed by YAMAHA
CANADA MUSIC LTD.
Lhitiumbatter:!
Bar endast bytas av servicepersonal,
Explosionstara vid felakiig hantering.
VARO TUS!
Lithiumparisto, Rajahdysvasra,
Fariston saa vaihiaa ainoastaan alan
ammattimies,
ADVARSEL!
Lilliumbatteri!
Eksplosionsfare. Udskifining ma kun foretages
af en sagkyndig, — og som beskrevet |
servicemanualen.
ok
49
SPECIAL MESSAGE SECTION
This product nmitlizes batteries aran external power sup-
piy (adanter}, DO NOT connect this prodict to uny power
supply ar adapter other tn one described mr tie manual,
on the name plate, ar specifically recommended by
Yaurelha.
WARNING: Da vat place this produet ts a position where
anyone cold walk on, trip over, or ral anything over
power ar connecting cords of any kind, The nse of an exten-
sion cord is rot recommended! If von must use ar exten-
stan care, he minima wire size for a 25 card for В си) 15
18 AWG, NOTE: The smaller the AWG number. the larger
the current handling capacity. Far longer extension cords,
comsuit a local electrician,
This pradoet should be nsed andy with the components
supplied MMM a cart, rack, or stmd tat is recommended
by Yara. Jf a cart. ete is nsed, please observe all safety
markings and instructions that accampuny the accessory
product
SPECIFICATIONS SUBJECT TO CHANGE: The infor-
mation cantarned in Uns nrarual ds helteved to be carrect al
the time of printing, Tknwever, Yatnabka reserves the right
lo change Or madıfy any of tic specifications without
notice or obfigatian to npomite esistine nmits.
De nat allempi (& service this product beyoud sha
cescribed my the mermamenanos mstractrens, AL other
servicing sheukd be referred ta qualified service persarmel,
This product, cither diane er in combination with an
araphitier and hezdphanes or speakers, may he capañie of
pracucing sound levels that conil cause perniadent Acaring
loss. DO NOT operate tar fang periads of time at a high
volume level or at a level that is uncamfortahle, If von
experience any hearing lass or ringing in the cars, vou
shoulé const an анк. IMPORTANT: The louder
the sound. the sharter te tine periad before damage
DECUPS,
e Some Yamaha products may have hesches and/or accessory
mounting fixtures that are either supplied with the prod-
uel or as aptianal accessories, Some of these Hems arg
gesigaed to be dealer assembled or installed. Please make
sure that benches are stable and any optional fixtures
{where applicable] are well MMM BEFORE using.
Benches supplied by Yamaha are designed for MMM only,
NO Aer nses are recommended,
NOTICE: Service cliarges incurred due to lack of knawi-
edge relaging ta how a funclion ar effect works {when the
Unit is aperating as designed) are nor cavered by de marie
facturers warranty, and are therefore the owners responsi-
bitiy, Please study this manual curefuiby and consult your
dealer before requesting servico,
ENVIRONMENTAL ISSUES: Yamaha strives to produce
products thai are both user safe and environmentally
Insuciy. We siacèrely believe that our products and the
production methads used to produce them, meet these
coals. In Keeping with both tie letter and the spirit of the
liw, we want yal io be aware of the Tollowing:
Buttery Notice: This prodoct MAY contain a small non-
rechargeable battery which (if applicable is soldered ie
place. Tae average life span of this type of ballery is
approximately five ycars. When replacement becomes
NECESSATY, contact 1 Qualified service representative Lo
perform the replacement,
This product may also use “hauschold™ type batteries.
same of these may be rechargeable, Make sure that the bat-
ery beng charged Is a rechargeable type and that the
charger 1s intended far the battery being charged.
When installing batteries, do not mix ald batteries with
new, or with batteries of à different type, Batteries MUST
be installed correctiy. Mismatches or incorrect installa-
Наб тпау rest in overicaling arkd battery case rupiure.
Warning: Do na attempt ta disassemble, or incinerate any
battery, Keep ail batteries away from children. Dispose of
used batteries promptly and as regulated hy the laws in
yor arca, Note: Check with any retailer of household type
batteries 11 yaur area for battery dispasal information,
Dispasal Notice: Shankd this product become damaged
beyond repair, ar for some reason its useful life is con-
sidered to be at an end, please observe all focal, state, and
federal regulations that relate to the disposal of products
thal contain lead, hatteries, plastics, etc. EF your dealer ts
NRAbie (0 assist vou, please contact Yamaha directly.
NAME PLATE LOCATION: The graphic below indicates
the location of the name plate for this model. The model
nMunbder, serial number, power requirements, elc., are
lacated on this plate. Yaoi shouid record the model mun -
her, serial number, and the date of purchase in the spaces
provided belaw and retain this manual as a permanent
recard al your purchase.
Made]
Serial No.
Purchase Dale _
PLEASE KEEP THIS MANUAL
Э2 ВР
Congratulations!
You're about fo enter an exciting new world of vector synthesis combining
Yarmiha's advanced AWM sample playback technology with high-performance
FM tone generation. Vector synthesis allows you to create und control synthe-
sized sound with unprecedented euse In ad very intimate, “himan” way,
pulting you more closely in touch with your music, The vector contred lets you
biend sounds manuaily in real time, and dynamic vectors let you “record”
dynamic vector sweeps that will play automatically whenever yor píay a note,
The TG33 also provides plenty of versatility for even complex sequenced
compositions, Hs MULTI mode allows up to 16 different “mstruments” to be
controlled simufianeously on different MID] cliannels — with up to 32-note
polyphony!
The more you use tlie TC33, the more you H find that “vectors” will become
an indispensable part ol vour musical repertoire.
e Yamaho AWM and FM tone generators for superior sound and tonal
versatility,
® bully programmable [H-channel mulii-play mode with 32-note polyphony pro-
vides extraordinary versaftlily for sequencer-driven applications.
e 16 memory locations for multi-play setups.
e 2-clement or d-element voice architecture allows AWM and FM waveforms
to be used in à simule voice,
e Vector control Tor 2-1x1s control of element level and detuning,
¢ Dynamic level and detune vectors can be easily recorded in real time,
e 128 preset AWM waveforms and 256 preset FM waveforms provide an
extensive library of some “building blocks™ from which to create new voices,
® U8 preset vores and 64 user voice memory locations,
External memory cards provide limitless backup and storage capabihty.
Fasy-cdi features make creating new voices quick and virtually program-
ming-1rce,
When necessary, detailed, in-depth programming parameters are available,
16 infernal digital effects including reverb, delay and distortion,
Duai stereo outpuls.
Desk-top or rack-monnt use
+ +
+ + SP +
rack-mount adapters provided,
$4
7
CONTENTS
HOW TO USE THIS OPERATION Front Panel. …3
MANUAL erro ooo oonertertertecoone ercer te reee ee es I Rear Panel............. EEE nn ©
PRECAUTIONS rreerrr er rerrr EREEEEKEEREKERKKERRRRKKRRKKERKKRURUER 2 Rack Mounting the 1G33... sancaseccsesensesanesseccneenr» À
THE CONTROLS 8 CONNECTOR Sasse À
TUTORIALS SECTION
В SHTTING UP YOUR SYSTEM ...…uccossreussenssres il Storing Edited Voice Data to the INTERNAL 6 9
Connections ...............eereenneneee ene een E MeITIOTY are nr ern eee caserne 29
Power-on Procedure oii, il CORCÍUSION,....nee EEE LEERE REEL EEE eres 30
MIDI Channel Malching ……eenenennsennn 12 4. INSTANT YOICE PROGRAMMING 2... 31
[Эетаю ere een 12 Conclusion... менее 2
2. SELECTING AND PLAYING VOICES... 13 5. THE MULTE PLAY & EDIT MODES... svossousrans 33
The PRESET, INTERNAL and CARD What's In a MULTI PLAY Setuip?............ore 34
Voice Memories .......... e. REEL EEE 13 MULTI PLAY Polyphony & Dynamic
Selecting the VOICE PLAY Mode, Voice Allocation .. .. ocre … 35
a Voice Memory, and Voice eee 15 Selecting a MULTI PLAY Setup... A
3. YELCTORS .ще не 17 Creating a Simple 4-voice MULTI PLAY
Voice Configurations ............ „еее ВЯ Setup... Deer DO
Two Types of Vectors: Manual ra Dynamic... . 7 Storing Edited MULTI PLAY Setup
Manual Vector Controf............ emmm. 18 Data to the INTERNAL Memory... 39
An Exercise ............. Dire 19 CONnciUsION .................eeceneenicenene merece A
Recording an Or iginal Dynamic Vector... ne Al
REFERENCE SECTION
VOICE COMMON … pebecebereneceroreanare rononossueu 43 VOICE VECTOHNR …vsvsosssssssvarsr sure ssssenserssranaua uns eunnuees 51
CONFIGURATION .. me... „ен 93 LEVEL SPEED (Vector Rate)... 53
EFFECT (Type, Balance & Send Level)... … 45 LEVEL RECORD eee .... 33
PITCH BEND eee, 46 LEVEL EDIT (Step, X -йх15, Yi ах15 E Time)... … 53
WHEEL {Amplitude & Pitch Modulation) .......... 46 DETUNE SPEED {Vector Bate)... 58
AFTER TOUCH (Amplitude 4 Pitch DETUNE RECORD oie BE
Modulation, Pitch & Level Control ann... 46 DETUNE EDIT
ENVELOPE (Auack & Release Rates)... 47 (Step, X-axis, Y -axis él Time)... e... 55
RANDOM (Element, Level Vectors &
Deine Vettori 98 ELEMENT TONE een En ET
VOICE INITIAL ZE. pétésenane enero reEA Don eran enorecer erroneo. 49 FREQUENCY SHIT essen SZ
VOICE RECALL oe. 30 VOLUME ress rrr 62
PAN...
TONE (Level & Feedback: FM Elements B
and DD Only}...
LFO {Low Frequency Oscillator) AM Depth,
PM Depth, Type, Delay, Rate & Speed...
ELEMENT ENVELOPE...
Q
DELAY {Delay Rate & ON/OFF) ori.
INITIAL LEVEL 2er
DECAY 2 (Leve! E REX... een
LEVEL SCALING. cove,
RATE SCALING...........
VOICE NUMBER.
VOLUME...
NOTE SHIFT ................
PAN...
ASSIG N MODE...
SEND GROUP SELECT.
OUTPUT SELECT...
Send Levels)...
NAME... .
MULTI INIT IAL ZE...
VEL OCITY SENSITIVITY. reer pas
63
63
... 04
04
‚„ 67
69
… 70
ATTACK (Level & Rate) e...
DECAY | (Level E Rate... csserrenesnen sans
e TÍ
cn 72
… 72
… 72
70
73
7a
....+. ı |
+ A nn ; ı
DEI 1°] [E + ++ + + + + + + Жанин нон мон + нон онон ож + + + + + + + + + + + + + + + + + + + + + + и Жан ния + ++ + + + + +
F7
accuse TO
W000 78
… 79
… 79
EFFECT (Type, Balance & GuG2
or... 80
ni... B1
MULTI RECALL ooo EEE RER RER RER eee
£2
UTILITY SYSTEM. неее
MASTER TUNE............
+ IEEE EEE EEE EEE TN FEN
. чо
TRANSPOSE Le ccccrecerearsepsss cs sea rs reseau se
CONTROLLER RESET
ok LRN EE IEEE Er EEE EE EE NE EEL EE EEE NEY ++
UTILITY MIDI... меннее
VOICE RECEIVE CHANNEL...
VECTOR CHANNEL seen enn ны
MIDI PROGRAM CHANGE...
EXCLUSIVE ON/OFF & DEVICE
NUMBER
+ ++ + ++ + hE om tu REE + кн + +
"+ + + +о+ + оно о+ нон ож о+ + rE TEE TEE +
UTILITY CARD vrs once een re nee
SAVE TO CARD mee...
LOAD DATA SELECT &
LOAD FROM CARE...
CARD FORMAT e... mn...
CARD BANK SELECT o.oo,
ERROR MESSAGES seyn rer nenn Eee en anna nenn on
SPECIFICATIONS sr nen.
MIDI DATA FORMAT rss
… 85
EEE + и + + + + + +
+ + - + +и Fe sun un un 85
85
reno. 87
... 89
.. 89
87
„ 90
+ о"о+о+ + + ++ ++ + + + + +
+ + + + + + + + + + + + Жанна Gi
93
.... 95
.... 9
+ + + + + + + + + + + + +в +
+ + + + + Жнн ++ + + + + + + + 56
... 96
‚ 97
... 99
enserio LO
HOW TO USE THIS OPERATIONAL MANUAL
This operation manual is broadly divided into two main sections — TUTORIALS and REFERENCE,
What’s In the
TUTORIALS Section
What's In the
REFERENCE Section
The TUTORIALS section contains five separate tutorials that take you step-by -
sicp through the main procedures you will need to know to become familiar with
vour TG33:
i. SETTING UP YOUR SYSTEM {Page 11]
Basic system connections.
2. SELECTING AND PLAYING VOICES [Page 13]
Selecting and playing voices from the PRESET, INTERNAL and CARD
voice banks.
3. VECTORS [Page 17]
Understanding and using manual and dynamic vectors,
+ INSTANT VOICE PROGRAMMING {Page 31]
The fast way to create an unlimited range of new voices for the TG33,
3 THE MULTI PLAY & EDIT MODES [Page 33)
How to set up and use the TG233's extensive “MULTI PLAY” capabilities
witll a sequencer or music computer,
We recommend that you go through the tutorials in seguence, while actually
carrymg out the procedures on your TG33, Once you've gone through the entire
TUTORIALS section m this way, you should be familiar enough with the TG33
to need only the REFERENCE section in future.
The REFERENCE section is the “nuts and bolts” section of the manual, indi-
vidually describing each of the TG33's many functions in detail. The
REFERENCE section is divided into eight sub-sections, each describing the
various functions within à particular TG33 edit or utility mode.
VOICE COMMON [Page 43]
VOICE VECTOR [Page 311
ELEMENT TONE [Page 37]
ELEMENT ENVELOPE [Page 67]
MULTI {Page 75]
UTILITY SYSTEM {Page 83]
UTILITY MIDI [Page 87]
UTILITY CARD [Page 93]
ES ÓN A LA UR e
Once you have become familiar with the way the TG33 works by going
through the TUTORIALS section, you should only need to refer to the
REFERENCE section from time to time to get details on functions you’ve never
used before, or refresh your memory about functions that you don’t use very
often,
Lach sub-section has its own table of contents, so you can locate any par-
ticular function quickly and easily. Functions and references can also be located
by referring to the INDEX ai the back of the manual.
PRECAUTIONS
Y,
Атом Excessive Heat,
Humidity, Dust and
Vibration
Avoid Physical Shocks
bo Not Open The Case
Or Attempt Repairs Or
Modifications Yourself
Make Sure Power Is Off
Before Making Or
Removing Connections
Handle Cables Carefully
Clean With a Soft Dry
Cloth
Always Use the Correct
Power Supply
Electrical Interference
Memory Backup
10. Third-party Software
!! PLEASE READ THIS BEFORE PROCEEDING !!
Keep the umt away from locations where it is likely to be exposed to high tem-
peratures or humidity -— such as near radiators, stoves, ete. Also avoid loca-
tions which are subject 10 excessive dnst accumulation or vibration which could
cause mechanical damage.
Strong physicaí shocks to the nnit can canse damage, Handle it with care.
Tins product contains no user-serviceable parts, Refer all maintenance to quali-
flied Yamaha service personnel. Opening the case and/or tampering with the
ternal circuitry will void the warranty,
Always turn the power OFF prior to connecting or disconnecting cables.
e
Always plug and unplug cables by gripping the connector, not the cord.
Never use solvents such as benzine or thinzer to clean the mit. Wipe clean with
a soft, dry cloth.
Always use the supplied AC Adaptor to power your TG33 or, if the original
adaptor 15 lost or broken, a replacement or equivalent type obtained from your
Yamaha dealer. Also, make sure thar the adaptor you bave is appropriate for the
AC mains supply voltage in the area where vou intend to use the TG33 (the
correct INPUT voltage 1s marked on the adaptor.
Since the TG33 contains digital circuitry, it may cause interference and noise if
placed too close to TY sets, radios or similur equipment. F such a problem does
occur, move the TG33 further away from the uffected equipment.
The TG33 contains a special backup battery that retains the contents of the
internal RAM memory even when the power is tumed off. Under normal condi-
tions, the backup battery should last for approximately 5 years,
When the backup battery voltage drops below rhe safe level, the “Change
Int bat!” display will appear on the TG33 LCD. When this occurs, have the
miemal battery replaced Бу qualified Yamaha service personnel. Do net attempt
to replace the battery yourself, as opening the TG33 cabinet and tampering with
the mternal circuitry will void the vwearraniy!
Yamaha can not take any responsibility for software produced for this product by
third-party manufacturers,
Please direct any questions or comments about such software to the manu -
facturer or their agents.
e
THE CONTROLS 8: CONNECTORS
Ш FRONT PANEL
q
2
®
MASTER VOLUME
A
a
VECTOR CONTROL PAGE
Cyan © MULTI ау + [>=
©)
ил ER Le
ЦИ E; a CURSOR
O EDIT STORE <> =>
Ie so
COMPARE COPY
© LEVEL о EF BY EATS
oe UNE
DYNAMIC VECTOR SYNTHESIS
POWER] Switch
Press to turn the TG33 power ON or OFF.
[MASTER VOLUME] Control
The IMASTER VOLUME] control adjusts the
volume of the sound delivered via the rear-pane!
OUTPUT 1 jack and the front-panel PHONES
Jack. The [MASTER VOLUME] control does
no: affect the output level of the rear-panel
OUTPUT 2 jack.
Liquid Crystal Display Panel {LCD}
Ныз 16-character x 2-line backlit liquid crystal
display panel shows the selected voice or multi-
play setup name in the voice or multi-piay
modes, as well as function names and param-
eters in the utility and edit modes.
PHONES Jack
Accepts a standard pair of stereo headphones
(1/47 stereo phone plug) for headphone monitor
ing of the TG33 sound without the need for
external amplification equipment,
Es
2
-
"E
E
[VECTOR CONTROL]
This is the key to TG33's remarkable vector
synthesis system. The {VECTOR CONTROL]
allows manual control of level or detune for 2 or
4 voice “elements” simultaneously. It also
allows realtime recording of dynamic level and
detune vectors.
[VECTOR] Key & LEVEL/DETUNE
Indicators
The [VECTOR] key selects level or detune vec-
tor control, or turns vector operation off,
[VOICE] Key & Indicator
Selects tlie normal voice play mode in which any
of the TG33 s preset, internal or card voices can
be played via a master keyboard or other con-
troller connected to the MIDI IN connector,
¡MULTI! Key € Indicator
Selects the multi-play mode in which up 10 16
voices can be played simultaneously via different
MIDI channels,
т
e
1
чт
a
ON OFF 7 MASTER VOLUME
5)
VECTOR CONTADL 3 5 Lot
А VOUCE MUETI UTILITY <= [=
CC
1: DE STORE > >
13 5 ID)
COMPARE COPY
Sirve; er ayrass - NO +1YES
В OPETUNE
DYNAMIC VECTOR SYNTHESIS
47
[CTILIFY] Key @ [EDIT/COMPARE! Key € Indicator
Selects the UTILITY mode which provides Accesses the TGI3's VOICE EDIT or MULTI
access to all system, MIDI, and card utility EDIT modes. Also activates the compare func-
functions. tion when in any edit mode, allowing quick com-
parison of the original and edited voice or multi-
PAGE 1<] and [>] Keys play setup,
Select the various functions in the VOICE EDIT,
MULTI EDIT or UTILITY modes. The PAGE à ISTORE/COPY] Key
|=] key steps forward through the functions Used to store edited data to an internal or card
while the PAGE [4] key steps in the reverse memory location, and to access a range of useful
direction, copy functions in the voice and multi edit modes.
CURSOR [3] and [>] Kevs ás ¡EF BYPASS] Key de [adicater
Moves the screen cursor from parameter to When this key is pressed and lts indicator is hit,
parameter in many of the TG33 editing and all internal TG33 effects are bypassed and the
utility functions, direct sound of the voices will be heard, Press
N again to turn the indicator off and restore nornal
{—1/NO] and [+1/YES] Keys effect operation.
Can be used to select voices and multi-play se-
tups, and are used conjunction with the DATA ® HNTERNAL] [CARI}], and [PRESET] Keys
ENTRY control to edit parameter values in any
of the TG33 edit modes. Either key can be
pressed briefly for single stepping in the
specified direction, or heid for continuous
scroiling. These keys are also used to answer
ihe “Are you sure?” confirmation prompt when
savmg orimtabizme data,
& Indicators
Select the data bank — preset 1 or 2, internal, or
card — from which voices or muiti-piay setups
will be selected,
TB;
MERE
O arena: Dcano Vrarser
o o
LOMRGH VECTOR
VOICE ELEMENT
У 10 11 tz 13 14 15 15
LJ Ce]
# В = 5 & : e E
Ey
od
BAM ULF CHANNEE,
= 3 A 6
(U) CL)
TONE EC
6 у Le
[СЭС
SYSTEM hi IA CAR
LTIE TY
ELEMENT SELECT
CLEMENT COsDEF
[BANK/MULTI CHANNEL] Select, Edit/
Utility Mode Access, and Element Control
Keys
In the VOICE PLAY or MULTI PLAY mode.
the keys 111 the top row— [1] through [8] — are
used to select the bank of the voice or multi-piay
setup to be selected, while the borrom-row keys
— also [1] through [8] — are used to select the
number of the voice or multi-play setup to be
selected,
In the VOICE EDIT or UTILITY mode, the
keys in tlie top row are used to select tlie de-
sired edit or utility function group (refer to the
green labels below the keys).
In the ELEMENT TONE or ELEMENT
ENVELOPE edit mode the keys in the bottom
row are used lo select individual elements and
tum mdividual elements on and off for editing
(green labels below the keys).
in the MULTI EDIT mode, the small white
numbers above the keys [1] through [16] refer
to MIDI channel numbers, and the keys are used
to select the MIDI channel data to be edited.
0
9
a
E
[DEMO] Kev
Activates the TG33 built-in demonstration — a
great way to hear what the TG33 can do after
YOU sel up your system,
(DATA ENTRY] Control
The fast, easy way to make coarse value
changes in the VOICE or MULTI EDIT mode,
as well as the UTILITY mode. In general, rotat-
ing the {DATA ENTRY] contro! clockwise in-
creases the value of the selected parameter,
while counterclockwise rotation decreases the
value, Fine single-step adjustments can be car-
ried out using the |-!/NO] and |+1/YES] keys.
Card Slot
The Card slot accepts Yamaha MCD64 or
MCD32 Memory Cards for storage and retrieval
of TG33 voices and multi-play data.
Mm REAR PANEL
TELAS D Y
3 . 00,00 |
on А EPOC A MOINE
RAN
PR Су ih i. nF
any a ” ue
27
a DC 10V 700mA IN Jack
07 OUTPUT 1 and
OUTPUT 2 (R and
MONO) Jacks
@ MIDI IN, OUT and
THRU Connectors
The DC output cable from the supplied AC adaptor should be connected here.
When connecting the power supply, make sure that the TG33 POWER switch is
in the OFF position (extended), then plug the AC adaptor output cable into the
DC 10Y 700mA IN jack, and finally the adaptor's AC plug into a convenient AC
wall outlet.
CAUTION!
Do not attempt te use a different AC adaptor to power the TG33. The use of an
incompatible adaptor may cause irreparable damage to the TG33, aná might
pose a serlous shock hazard:
The TG33 has 1wo pairs of stereo outputs — OUTPUT ! and OUTPUT 2 — 10
which different voice groups can be assigned in the MULTI EDIT mode, Please
note that the TG33 effects arc only applied to voices assigned to OUTPUT 1.
If a plug is inserted only into the L/MONO jack of an output pair, the left and
right-channel signals are combined and delivered via this Jack (for connection fo
a monaural sound system),
The MIDI IN connector receives the data from a seguencer or other MIDI con-
troller which 15 to control the TG33. The MIDI THRU connector simply re-
transmis the data received at the MIDI IN connector, allowing convenient
chaining of MIDI devices. The MIDI OUT connector transmits data correspond -
ing to all TG33 performance operations, or bulk data when one of the MIDI voice
data transmission functions are activated.
Rack Mounting the TG 33
The TG33 is supplied with a pair of rack-mount brackets that can be attached to
the sides of the TG33 in a number of ways to provide a choice of mounting posi -
tons and angles,
Attach the brackets as required by temporarily removing two of the three
bracket-mounting screws provided on each side of the TG33, hold the angles in
place, then replace the screws — fremly — as shown in the illustrations below
Since each bracket requires two screws and three are provided on either
side of the TG33, vou have two spares. If you do need extra mounting screws,
please contact your Yamaha dealer.
Hack Mount Bracket {1 of 21
Bracket-mounting Screws
4 Hack Mount Variations
Hack Side View
9
+
10
1. SETTING UP YOUR SYSTEM
Connections The diagram below shows the basic connections in a setup using the TG33, a
master keyboard, a MIDI sequencer, and a stereo sound system.
CAUTION!!: Make sure that both the TG33 and your sound system are turned
OFF when making connections.
To AG AC ADAPTER
wil)
outlet.
MIDEIN
" 9 DC 10V 700mA IN MIDI MIDI
TG33 | | Mo
SEQUENCER
GUTPUT 1
L/MONO В
STEREO SOUND SYSTEM
NOTE: Always use high-quality MIDI! cables when making MIDI connections,
y” 4 and avoid using cables longer than about 15 meters since longer cables can
pick up noise that might cause data errors,
Power-on Procedure |. Make sure your sound system’”s volume control and the TG33 volume con-
trol are turned all the way down prior to turning power on.
e
Turn on the master keyboard.
3. Turn on the sequencer.
4. Turn on the TG33,
3. iurnon the sound system.
6. Raise the sound systems volume to a reasonable level.
7. Gradually raise the TG33 VOLUME control while playing the keyboard to
set the desired listening level,
11
MIDI Channel Matching Be sure to refer to your master keyboard and sequencer operation manuals to
ensure that they are connected properly and that the MIDI transmit channel of
the keyboard is matched to the receive channel of the sequencer. You may also
have to make special settings to ensure that the MIDI data received from the
keyboard by your sequencer is simultaneously “echoed” to the TG33 via Its
MIDI OUT connector.
Also make sure that the TG33 is set to receive on the appropriate MIDI channel
as follows:
1. Press the [UTILITY] key to select the UTILITY mode.
2. Press the UTILITY MIDI key (BANK/MULTI CHANNEL key {7]) to select
the utility MIDI function group.
3. Use the PAGE [1] and [<i keys to locate the following display:
UF HIDE
fr: = rh PL paa я
poe lus Lea |
нь
4. Use the DATA ENTRY control or -1/NO] and [+1/YES] keys to set the
receive channel number to the channel on which your sequencer is currently
transmitting -— or select “omni” to allow reception on all 16 MIDI channels.
5. Press the [VOICE] key to return to the VOICE PLAY mode,
Demo The TG33 is programmed with a demonstration sequence that you might like to
listen to after setting up your system, Take a short break and enjoy the demo:
|. Press the [DEMO] key, ““YES” to START” will appear on the LCD display.
% Press the [+1/YES] key to start demo playback. “NO” to STOP” wili appear Pp
on the LCD display,
3, Press the [-1/NO] key when you want to siop demo playback.
12
2. SELECTING AND PLAYING VOICES
The PRESET, Here's an overview of the TG33 VOICE PLAY mode:
INTERNAL and CARD
Yoice Memories
mar
MIDI IN
te Seen te a
FUMA Te
apa to
EAU
PE LEERE
CARD EL a:
MEMORY E Ве
FANNING
PELE PEI
PRESET
}
Эа]
nie
Pr
INTERNAL
MEMORY
ee Doe O eee eT ee Ta NM im
TTL LID ere TT TE OT OUI ere йо, Тр.
NE rr eed UR eee Не
TN e; De Пре TR A IDE
: LTH TE .. e WEL CTA IT АН
MEL:
--
STEREO
OUTPU
Please note that the voices played by the TG33 can come from three different
sources! the PRESET voice memory (PRESET 1 ог 2), the INTERNAL voice
memory, ora CARD voice memory:
PRESET The PRESET voice memory contains 128 pre-programmed voices in ROM (Read
Only Memory) that cannot be overwritten or changed in any way. The PRESET
voice memory has two banks — PRESET 1 and PRESET 2 — containing 64
voices each. The PRESET 1 and PRESET 2 banks are represented on the dis-
play by letter “P1” and “P2”. For easier identification the indicator above the
™ 9 [PRESET] key Lights when PRESET | is selected, and the indicator below the
| IPRESET] key lights when PRESET 2 is selected.
13
PRESET VOICE LIST
I
PRESET ‘EL = No. of elements.
No, Voice Name Er” No. Voice Name EL* No, | Voice Name EL” No. Voice Name EL*
1; 1.4 SP«Fro33 4 17) 31 | SC:Groov 2 33151 1 SisSvync 4 145 7.1 SE “Mount 4
2 | 1.2 SP*Echo 4 181 3.2 SC+Airy 4 34: 52: SE=VCC 4 55) 72 5-5 °M 4 €
3 1.3 SP.BelSt 4 19 | 3.3 | SC+Sold 4 135 5.3 | SL«Chic à 51| 7.3 | SErFlvy 4
4 14 | SP+Full 4 | 29): 3.4 | SC+Swsaep à 36; 54 : SL:Mini 2 152: 74 LEsFear 4
5: 15 SF+ice 4 21! 3.5: SCaLtrops 4 1 37| 55 SL+#Wisui 4 53; 75 SE:Wolvs 2
5:16 SPsDandy 4 : 22 36 SC+Euro à | 38| 85 | SL+Blues 4 |54| 7.6 | SE+Hades 4
7 : 47 | SPsArkle 4 ¡ 23| 37 | SC+Decay 4 | 39: 57 | SL onsmo 2 |55| 7.7 | SEsNeuro 4
8 1.8 | SPeBrvec 4 | 24: 385 | SC-Steel 2 : 40: 5.8 | Si+Super 4 86; 7.8 | SE»Arngel 4
3 | 21 | SP:Matrx 4 25: 41 | SCrRude 4 41; 61: MEsVecta 4 157: 8.1% E SOMrSeg 2
10: 22 | SP+«Gut 4 26: 4.2 | SL+Baiz 4 AZ| 62 ME=NuAge à 158: 82: SC 2
11 2.3 $P:Dmn 4 27, 43 : SC+Pluck 4 | 43 6.3 ME-Hit+ 4 |59| 83 Sci 4
12; 24 SP+O#ed & 128| 44 SC-Glass 4 44: 64! ME+Glare 4 6): 84: ScrWrapa 4
131 25 SPrAca 4 |129 | 4.5 : SCxWwoo 4 8331 65: MEsAsto 4 161 8.5 SQ+TG8C9 4
14 | 26 | SPrGuiro 4 | 5350| 46 SC+Wire 4 1461] 66 ME»Voer 4 62] BE SCHDevel 4
15 | 2.7 | SPaDigit 4 | 31 4.7 . Se+Cave 4 147 | 6.7 : ME-fiitch 4 ¡631 67: DR 2
18! 28 SP+Swel à 92 48 SC-Wispa 4 |48| 8.8 ME+Indus 4 |84| 88 DMEFX 4 @
PRESET 2 "EL = No. of elements.
NG. Voice Name Fi” No. Voice Name EL" No. Voice Name EL No. Voice Name =
$ 1.3 EPrñrlad 4 117 31 BA+Siap à 33 51 ВА+Ромег 4 |49 71: ST*Arco 4
2:12 APFianc 2 18 32 BA-Atack 4 ¡34 52) BR+Fanfr 4 50 72 | ST:Chmbr 2
3: 13 EPaMalet 4 19: 33 | BA+«Seq 4 | 35: 53 | BA-Ciass 4 51 | 7,3 ST+Fuil 4 <
4 14: AP-:Apsitr 4 20 34 | BA«Trad 4 36 54 | BR+Reeds 4 52 74 ST:Pizza 2 F
E | 4.5 | EP:DxGop 2 121: 35 | BA:Pick 2 137: 55 BA-Chill 4 53 75 | ST-CelSt 4 N
6 : 16) EP=«Fin 4 22 365, BA-Swn 4 38 56: BRrZous 4 :54: 76 | STsbxel 4
7: 1.7 | EPs«New DX 4 1237 7 . BAHezz 2 138: 57 BR:Moot 4 55: 7.7 | ST=Hynth 4
81.8 | ЕР+Роы а 4 124! 3.8 : BArCrisn 4 140: 5.8 1 BRE«Anlog 4 56 7.8 | Si+kroid 4
8: 2.1 | OR#Gospl 4 | 25 461 BAFingr 2 | 41 81 BR:FrHm 2 157 81 CHs+Modm 4
10 2.2 ¢ ОЧеВБоск 4 26 4.2 BA=Frils 4 | 42: 6.2 BRTrmp! 2 0158 | 8.2 CH=+Duwop 4
11 2.3 Of:Pipe 4 127 43 BAWood 2 |43| 6.3: BA:Tromb 4 (58! 83 CHaliopy 4
12 24 OR+Perc 4 281 44 | PL«Foksy 4 | 44 | 6.4 | WN+Sax 4 180 84 CHsAsiir 4
13| 25 KY-Squez 4 | 29| 45 PL+l2St 4 45| 85 | WN:Pan 2 11 85 PC:Marm 2 9
14; 28 | KY-Hrpsi 2 |30| 46 Fis<Mute 4 1046| 8.6 | WN:Choe 2 |881 8.5 PCWVibes 2
15: 2.7 |. Ky=Ceist 4 | 31] 47 PLsNylon 4 47 6.7 | WN.Clan 2 | 63] 8.7 PC+Hels 4
16 28 1 KY Claw 2 | 32 4.8 Fist 4 148. 5.8 | WN Fute 2 0164 | 8.8 PC+Ciang 4
14
INTERNAL
CARD
e
9
%
Selecting the VOICE
PLAY Mode, a Voice
Memory, and Voice
The INTERNAL voice memory is a RAM (Random Access Memory) area into
which you can store up to 64 voices that you create or load from an external
memory card. The INTERNAL voice memory is represented on the display by
the letter “TI”.
The CARD memory bank is a Yamaha MCD64 or MCD32 Memory Card (or
pre-programmed voice card) plugged into the TG33 card siot. Memory cards are
convenient for external storage and transportation of voices you or others create.
You can also store seis of related voices on different memory cards. An MCD32
Memory Card allows storage of up to 64 voices {in addition to 16 MULTI setups
— see page 33). An MCIDG4 Memory Card holds two banks of 64 voices esch
— for a total of 128 voices per card (REFERENCE SECTION, page 95). The
CARD voice banks are represented on the display by “C1” and *“C27 For
easier identification the indicator above the [CARD] key lights when CARD
bank 11s selected, and the indicator below the [CARD] key lights when CARD
bank 2 ts selected.
NOTE: Yamaha SY22 Music Synthesizer voice cards can afso be used with the
TG33, Smee the 5SY22 does not have Effect Balance and Effect Send level
parameters, however, these parameters are automatically set to their default
values (Effect Balance = 64; Effect Level = 127) when SY22 voices are used
with the TG33 {REFERENCE SECTION, page 45).
Any voxe mn any of these locations can be selected and played wliile the
143338 mm the VOICE PLAY mode,
1, If the VOICE PLAY mode is not already selected — as indicated by a lit
[VOICE] key LED and “VOICE PLAY” across the top of the LCD —
press the [VOICE] key to select it.
SUILE PLE
LO PEPA
2. The ¡INTERNAL], [CARD], and [PRESET] keys are used to select the
desired voice memory,
NOTE: The CARD memory cannot be selected if an appropriate memory card is
not plugged into the card slot.
3. The 64 voices in each voice memory area are organized into 8 banks of 8
voices each (8 x 8 = 64). Any voice can be selected by specifying its bank
using the top row of BANK/MULTI CHANNEL keys, and its number using
the bottom row of BANK/MULTI CHANNEL keys,
Voice numbers are displayed on the LCD in the same way. “F125,” for
example, is not preset voice number 25, but rather preset voice bank 2, num-
ber 3, The 64th voice in PRESET 1, therefore, is displayed as “P88” on the
LCD,
To select voice bank 4 number 7, for example, press the top-row
BANK/MULTI CHANNEL [4] key and the bottom-row BANK/MULTI
CHANNEL [7] key -— in any order.
15
16
BANK/MULT] CHANNEL
| Le J Le Je 10s 10s 1027] [=]
————
ke TS sae
To select a different number within the same bank it is only necessary to
press the appropriate botom-row key. In the same way, to select the same
number in a different bank all you have to do is press the appropriate upper»
row key.
The !-1/NO] and [+1/YES] keys can also be used to select a voice in the я
VOICE PLAY mode, Holding the [-1/NO] or {+1/YES] key causes con-
tintuous scroihne in the specified direction.
Piay the master or other MIDI controiler keyboard.
II you don’t get any sound at this point:
Make sure your sound system is turned ON and the volume 1s turned up to a
reasonable level,
Make sure that the TG33 VOLUME control is turned up to a reasonable
level,
Check ali MIDI channel assignments.
Check all connections carefully.
3. VECTORS
Voice Configurations
o 9
"e
Two Types of Vectors:
Manual & Dynamic
TG33 voices can have either a 2-element or 4-element configuration
(REFERENCE SECTION, page 45). Each “element” is actually an inde-
pendent sound or “waveform,” and vector control allows the 2 or 4 different
waveforms in a voice to be blended and detuned in a variety of ways — manually
or automatically.
VECTOR CONTROL.
A
NO90 Js
В
For the sake of clarity, we'll represent the TG33 vector control by a simple
graph like the one shown to the right for the rest of the tutorial.
The “A,” “B,” “C” and “D” markines around the [VECTOR CONTROL
correspond to the voice elements. À 2-element voice uses only elements A and
B, whiie a 4-element voice uses all four elements — À, B, € and D.
tlements A and Care always AWM elements, while B and D are always
FM elements, When you start programming your own voices you can assign any
of 128 preset AWM waveforms to elements A and C, and any of 256 preset FM
waveforms to elements B and D (REFERENCE SECTION, page 60).
AWM & FM: AWM stands for “Advanced Wave Memory,” Yamaha's
sophisticated sampling technology that aliows high-fidelity reproduction of
digitaily recorded “live” sound. FM is Yamaha's proven Frequency
Modulation synthesis technology which is capable of creating extraordinarily
warm, vibrant simulations of actual instruments, as well as an infinite
variety of original sounds.
Vector control can be accomplished in two ways: manually by operating the
| VECTOR CONTROL] while playing, or automatically. Automatic vectors are
called “dynamic vectors” in the TG33, and these play automatically whenever
you play a note on the keyboard. Dynamic vectors can be recorded in real time
via the ¡VECTOR CONTROL] by using the procedure described in the
“Recording an Original Dynamic Vector” section on page 27. Dynamic vectors
funciion whenever the VECTOR PLAY mode is OFF — ie. when both the
VECTOR LEVEL! and [DETUNE) indicators are out.
Manual vector control is possible whenever the VECTOR mode is ON —
Le. when either the VECTOR [LEVEL] or [DETUNE] indicator is lit.
17
Manual Vector Control
18
Manual vector control while playing can be accomplished by turning the vector
play mode on -— press the [VECTOR] key so that either the [LEVEL] or
[DETUNE] indicator lights — the [I. EVEL] and [DETUNE] indicators hight and
then go out in sequence each time the [VECTOR] key is pressed.
®
O LEVEL LEVEL Q LEVEL O LEVEL
{> VECTOR Lu* VECTOR I» VECTOR
o DETUNE O DETLINE e CE LENE: o DETUNE
The [VECTOR CONTROL! can then be used to control the selected
parameter — level or detune — along the vertical axis only 1f a 2-element voice
is selected, or along both the vertical and horizontal axes ¡f a 4-element voice ts
selected.
ELEMENT VOICE 4-ELEMENT VOICE
A (AWM)
A (AWM)
+++ € DE) | © (AM)
B {FM} B {FM}
When level vector control 1s selected, moving the control towards one ele-
ment (A, B, C or D) increases the level of that element while decreasing the
level of the others proportionally. The | VECTOR CONTROL] works in a similar
way when detune vector control is selected — moving the control towards one
element increases the pitch of that element while decreasmg the pitch of the
others.
The following diagrams should give you a rough Idea of how the level or
pitch of each element in a 4-element vorce 15 affected by [YECTOR CONTROL
motion.
NOTE: Manual vector control is automatically turned OFF whenever a new
voice 1s selected.
я
PRESET 1
¿ 9 An Exercise
|
VECTOR CONTROL
MOTION
LEVEL OR PITCH CHANGE
LEVEL OR FITCH
TIME
The best way fo discover what vector control can do for you is to listen and
experiment. Here's a list of the preset voices including the configuration of each
(2 or 4-element) and the names of the waveforms assigned to each element.
PRESET VOICE. Performance Notes
No.
Voice Name
EL"
Vaciar?
Wave
Effect
Comments
1 41
Spa Proa
Ё
Yea Yas
=. =.
. 083 HornBody
121 Move 4
096 Pac wv
: 2% Move 4
SP*Foho
Yes Yes
021 Steel
(073 Vibes 4
044 Hopia
054 Bass 1
Fav Hall
‘Rev Metal
Warm sweeping synth voice. Best with long chords
Play arpegakos with sustamed notes — vectors wil
bring in harmonics for aach note.
ЭРеВе! 5!
Yas Yes
038 Strings
086 Metal 2
038 Strings
130 Decay 6
Rav Half
Pera E
Yes'Yas
112 Pulse 3
113 Attack 1
104 Saw 3
113 Attack |
Price
=
| Yes as
G43 Choir
121 Move 4
043 Choir
122 Move 5
Pan Ве!
Jump if you must.
Rey Metal
| Rest with long chords.
SP=lDarey
No/Neo
096 Pad ww
156 Saw 2
413 Fr Horn
190 Sus. 3
Rev Adam
This voice is simple but heavy with a crisp attack.
Great for backing.
SP Arkle
Yes/No
042 Syn Sir
069 Sir 7
(343 Choir
190 Sus. 3
Mav Room
Synih strings with a fast attack. Hold notes to shift to
a chorus sound.
SP+BrVec
Yes/Ÿ65
056 Marmonic
021 Srass a
038 Strings
123 Move 6
Pan Raï
Complex vactor voices sweeping from brass fo
strings to bells. features panning, fltering, and more!
“= Vector
Bl = No. of elements.
Yos/Yes
T 4
LEVEL VECTOR DETUNE VECTOR
19
b
No.
Et"
Vector”
Wave
Effect
Comments
2.1
Voice Name
SP»Matrx
Уве ес
039 Vn Ens.
121 Move 4
D138 SITES
12 Move 5
Rev Hall
Big orchestra wilh sweeping brass.
10
2.2
SPp«QGut
Yas/Yas
1%
2.3
SP-Cmr
No Yes
“085 Str. Body
£20 Cit
052 Guitar 7
139 Vn.Ens,
068 St7 6
Delay à
Classic guitar with string ensemble.
091 Laad 1
085 Str Body
091 Lead 1
Mev Hoom
12
13
2.4
Er alee
SP*iled
SP+Âce
Yes/Yos
043 Chol
: 125 Decay 1
: D24 Mute Gt:
: 050 Guitar 5
Hev Hall
Yes/Yes
| 056 Harmonic
: 073 Vibes 4
044 Itopia
068 Str 6
À “square wave” choir.
Rev Mela
14
2.6
SPGuira
Yas/ Yes
038 Strings
104 Sus. 7
044 Îtopia
DES Sir 1
Rev Hal
[a
A “space vector,” just as the name implies.
Very expressive pad sound responds wel io different
playing styles. "Gihosties” in background,
15
2.7
SP+igit
16
28
Preu nd
: NoYres
023 # Gt 2
065 Str 3
023 Er 2
065 Sir 3
Rev Room
| Yes/Yes
083 HomBody
06% Bass 6
012 Flugel
121 Move 4
Delay 2
"ane oeneeeeneee eee nent e nement ete meme ete mem t0 te Un mm E
À digital pad with a guitar-Tiks envelope,
17
3.1
18
3.2
SC.Grooy
NoYes
SC+Airy
036 SynBass 1
567 Bass 9
=
Gate Rov
rr —
Funky synth pad,
No/Yes
19
3.3
.
SC+Soïd
20
3.4
SCS”
957 Mix
185 Wava5-2
044 Itopia
199 Wavetl-1
Hey Hall
A breathy chorus-ike voice with considerable "puff"
on the attack.
YasiYas
113 Pulsa d
014 Brass 1
02 Saw 7
136 Waved1
Rev Ciub
An excellent comping voice with a brassy feel.
Yas/Yes
112 Pulse 3
113 Attack 1
104 Saw 3
113 Attack 1
Pan Ref
À Good example of vectors used io imitate a filter
sweep,
21
35
PC #0FODS
22
3.6
SO:Euro
Yes/Yes
23
3.7
24
sa ;(
sLsDecay
Nos No
103 Sus. 6
062 Noise 1
050 Guitar 5
090 En wy
036 SynBass 1
059 Bass &
038 Strings
042 Syn Str
: 298 Wave7-1
Der Syn Sir
139 Decay 15
Hey Hal
Musical water droplets in à resonant cavern.
| Rev Hall
Percussive sound vectorina to string pad.
‘Rey Hall
No/Yas
021 Steel
001 E. Panoz |
Rev Hall
Cigital orchestra with a relatively quick decay.
Mod wheel vibrato,
Ar acoustic guitar type sound that is ideally suited to
stow phrases and ballads.
es
4.1
SC: Rude
' Yos/Yas
036 SynBass 1
094 Lead 4
111 Puise 2
132 Decay B
Fav Hall
; Araspy digital sound, gradually fading to à harmonic-
like tone,
“EL = No. af elements.
"7 Vector
20
YagiYes
T 7
LEVEL VECTOR DETUNE VECTOR
No.
Voice Name
EL”
Vector"?
Wave
ЕНес!
Comments
26
4.2
SC+Bellz
Noa
968 Coin
130 Decay b
: 068 Coin
: 130 Decay 6
27
4.3
SC» Pluck
NoYes
Hov Hail
“Rude” combination of percussive sounds, Good for
metal lead, Mod whee! vibraio & major 2nd pitch
band.
086 AirBlown
£98 Sus. |
086 ArBlown
088 Sus. 1
28
4.4
8C+Glass
No/Yes
046 Vibes
188 Waveg-2
046 Vines
188 Waveb-2
Rev Hall
Mev Moon
—_——
Musical wine glasses.
Space-age harpsichord with a distinet pluck sound.
Pluck is more audible in lower register.
4.5
SU» Wood
Yes'Yas
085 Str.Eody
118 Move 1
042 Syn.Sir
118 Move 2
4.6
SO Wire
Yes: Yas
015 SynBrass
Dan (Guitar 4
D85 Str Body
100 Sus 3
31
4.7
SC+Cave
№УМо
Pan Ref
"Woody" string pad with percussive attack.
Pan Ref |
A percussive synth composite.
044 loma
155 Saw 1
Gdd Hopia
151 Sin 8
Rev Hall
Mysterious cave adventure, Mod wheel adds
“warble”
4.8
SL VVis pa
; YONYES
5.1
SL =Svac
| Yes Yes
059 Bell Mix
047 Guitar 2
070 Bottle
100 Sus. 3
Pan Ref
Comp bass parts With the Ней hand a pad with the
right. The “wispa® will appear aver right-hand notes.
038 SynBass 1
058 Hass 5
108 Square t
093 Lerd 2
Pan Ref
2.2
5.3
S L*VCO
==.
. Yes/Yes
d42 Syn Sir
. 997 Lead?
: 100 Digital 4
037 Lead 7
: Delay 2
| Si sChic
Yas Yes
042 Syn Str
017 Brass 4
102 Saw t
— 017 Brass 4
54
Yes/ Yes
108 Square 3
157 Square
Brass with lois of ambience. Good lead voice.
Mod whsel vibrato,
Fev Gib
Analog square-wave lead voice with aftertouch
vibrato.
a7
55
SL+Wisgl
No'Yes
146 Tri
144 SEX 2
116 Fri
| 144 SFX 2
Rev Hall
Sight wiisting simulation. Mod wheel vibrato,
36
5.6
CS Blues
34
5.7
Noa
097 Digital
171 Digi 11
097 Digital
171 Digi 11
| No/No
068 Coin
003 Lead 3
5.8
SE Super
41
6,1
M E+Vecta
J a
[ Yes/Yes
Yes'Yes
102 Saw |
061 Bass 8
015 SynBrass
061 Bass 8
056 Harmonie
121 Move 4
058 Sync
1723 Move 6
PT
ev Най
Blues harp harmonica).
Lhd Hey 1
— Arelatively thick, versatile voice with aftertouch
vibrato.
Pan Ref
Fev Hall
PERRET RER EEE EEE PRET
Powertel fal synth pad. Use the VECTOR CONTROL
for a wide range of timbres.
long notes. Try vector control tor moro variety.
42
5.2
MEsNuAge
Yes Yes
070 Bottle
055 Str 6
643 Choir
088 Mal 4
Fav Metal
spacey "blown bottle” effect. Good new-age
Huted ead voice,
= Vector
'EL = No. of elements.
Yes Yes
CEVEL VECTOR DETUNE VECTOR
21
No. | Voice Name ! EL" Vector": Wave Eitect Comments
43 | 6.3 PC Hit 4 Yes/No 064 Oh Hit © Pan Ref Play short orchestra type hits in double octaves —
145 SFX 3 i hold for the "+",
048 Timpani
158 LFünoise | В:
ád 1 64 ME+Glace 4 Yas/Yas D05 #Organ | Hey Matai Here's how vectors can create multipie effects —
071 Vibes 2 echo on quarter notes, pan and resolve or longer
028 Wood B 2 notes.
211 Wavel4-1
45 ES ME+Astro 4 Yes/Yes 044 Вора : Delay 3 Play sustained noles in double octaves. A new-age
147 SFX 5 pad/maovie score type effect,
056 Harmonie
075 Marimba?
46 | 68 “ME+Vger 4 Ne/No 044 ltapia Rev Plate Choir with “sizzle.” Play long notes.
196 Sus, y |
059 Beil Mix
CHE Dass 3
47 ; 67 ME+Hitch 4 Ne Yos 056 Hi Delay 3 Play siacento for nice bell EP — hold notes for
: 141 Decay 17 horros-siyle entry.
055 Hit
132 Бесау & ВО ВЕ u .
48 68 | MEsindus 4 | Yes/Yes 125 SEQ7 Rav Hall Strings with sequence wave, Bast with long chords.
104 Sus. 7 |
038 Strings |
| tea Moved | .
49 | 71 e Mount 4 Yes/Yes 057 Stream . Rev Metal This one brings up the image of cool grassy fields in
143 SFX 1 the mountains.
067 Siream |
. 154 Sing |
50 72 SE+5,PM 4 | YesNo 083 Noise2 RevPlate | Rush hour in the city,
14 Brass 1
: 053 Winstle
014 Brass 1
51 | 73 | SE+FlyBy 4 . Yes/Yes : 600 Piano Rev Hal Hoid down C4 and use volume control to bring in “fy
— 211 Waveld-1 in” effect. May take some practice, but can be very
G38 VEINE effective,
220 Wavet7-1 a _ N
B2 : 74 SE+Fear 4 Yes/Yes 062 Noise 1 Delay 3 Good ScHR type effect. Play slow arpeggío, nolding
249 Wave26-3 gach note.
057 Mix
0789 Bols 3
53 | 75 SE:Woivs 2 NosNo . 052 Cuica Hev Mal Here come the Baskerville houndst Play individual
193 Waves-1 © __ Potes beiween C3 and Ca,
54 : 7/4 SE»Hades 4 Yes/Yes 082 Noise 1 Pan Ref Hear what it sounds like to fali into a bottomless pit.
144 SEX 2 May C4 hard for maximum efect.
074 Metal
Of ? Bells 1 alee eens . .
55 77 | SE:Neuro 4 , No/No — 067 Stream Rev Metal Play long notes ... if you dare.
148 GFX 6
- 055 Hit
360 Noise 2 PP --— = . = u.
56 78 SE+Angel 4 No Yes {44 itopia Pan Het Bast with long notes. Features LEC pitch bend.
127 Move 5
044 licpia
122 Моме 3 ен mm es
57 | 81 - SQ:MrSeg 2 No/Ne (372 Cracker Rev Room À snanpy short-decay voice that lends itself well to
_664 52 |... un, SéGUENCEd phrases,
58 | 8.2 | SCH 2 Mo/No ; 108 Square 4 Rev Hall A percussive plucked effect,
155 Saw 1
59 ; 85 SCHI 4 No/No 031 E Bass 2 Gate Rev. An interesting vector blend of percussive waveforms.
167 Digi 7 Mod wheei vibrato.
047 Marimba
235 Waveze-1l
*EL = No, of elements.
"2 = Vector
22
Yes Yas
1
LEVEL VECTOR DETUNE VECTOR
No. Voice Name | EL* Vector” Wave Effect
8.4 SQ:Wrapa : 4 | No/No 087 Reverse 1 Early Rel
| 143 SFX 1 i
| - 086 Meverse 2 —. |
143 SEX 1 |
o j
: Gate Rev
Comments
Rap percussion,
: Analog drum machine. Lower cclaves for kicks and
toms. Upper octaves for snares and hand claps.
054 Clans
144 SFX 2
055 Noise 2
144 SFX 2
127 Brum set
150 Noise 2
| 124 5SFC6
61 1 85 | SGTGS09 4 | NoNo
8.0 SG Devol 4 Yos/Ho Fev Hall Hap drums,
| NoiNo
127 Drum sel
008 E Plano
127 Drum set
255 Waved(
127 Drum set
160 Noise 2
8.7 DR:KH 2 A fairly orthodox drum and percussion kit.
DRSERX 4
8.8 Yes Yes Diy&Rey 2 90°s phased drums. Play hard for full phase effect.
“El = No, of elements,
"= Vactor Yes Yes
+ +
19 LEVEL VECTOR DETUNE VECTOR
PRESET 2
No.
{1 11
Effet
av Hall
Wave
500 Piano
179 Hells a
901 E. Mano
070 Vives |
000 Fiano
D02 E Planos
001 E.Piano Rav Halt
| 071 Vibes 7 |
00% E Plano -
07% Vihes 2
Vector”
Yau Yoo
Voice Name : EL"
EPs Artad 4
Comments
; An interesting blend of acoustic and electric piano.
Yes/No Fev Floom Acoustic piano,
EP+:Maie! á | No/No Electric plang with a sharp attack.
APxApSir 4 YesYes Rev Mail | Acoustic viano plus violin section.
002 E.Pianos
039 Vri.Ens,
068 Str 6
15
EP-DX60p
1.6
КР + Ру
о 004 Celesta
1 001 E.Piano?
188 Wave6-2
This is à 1G35 version of the classic DX? electric
plane.
DE
“prepared piano.”
000 Piano
005 E.Flanoé
001 BE Plano
001 E Pilarno2
048 Vibes
- 077 Vibes 3
EP-NewDX 4
A new-age electric piano wilh a vibes-like feel.
--—-—— -— -
Ep. Es DNS Ter da” TE
001 E.Piana?
000 Plano
. 05 E Fanos |
ee aulucseseeeceeneenene me ue фене...
OR«Gosnt a!
. 006 E Organt
487 E Organ
003 F Organ
O13 F.Organd
а. енкныннннеееее. sesssessmdesesssssrsssseers 1% am. 4 sesesseresssress
; Classic rockichurch organ with afieriouch retary
speaker effect.
OR=Rock 4
10 22 Frock organ. Mod whee! adds rotary speaker effect.
| т Ваней
C008 B.Organt
006 E.Organ
: 8 007 E. Crganz
“tL = No. of elements.
Tx Vecior
YES YO
Tf
LEVEL VECTOR DETUNE VECTOR
23
A.
No.
Voice Name -
EL
Vector
Wave
Effect
Comments
11 | 23
DH=Fipea
4
Noo
905 P.0rgan
: 011 E.Organ6
DOS P.Crgan
| 250 Wave27-1
Rev Hall
Big church organ.
12 24
СР его
| Yes Yas
007 E.Crgane
d06 E.Organ
007 E.Organz
007 E.Organz
Hav Hail
Forcussive organ. Mod wheel vibrato.
13 22
KYSSQUEZ
f Ne/No
008 Mead
; 166 Digi 6
006 Reed
166 Digi 6
Pan Ret
aaa
: *Saqueaza box" type accordión.
14 | 2.6
KY: Hrpsi Ш
| No'Yas
003 Cembalo
048 Guar 3
“Rev Foor —
Harpsichord.
15 27
KY=Celst
' Nodo
004 Celestá
072 Yibes 3
304 Celesta
0772 Vibes 3
Fev Plate
The fight, sparkling timbre of celeste. Mod wheel
vibrato.
16 E
KY Clavi
17 : 31
TEC. À.
18
BArAtack
18 23
BA: Sed
| No/No
Yas/Yes
| No/No
: 009 Clavi
045 Clavi 4
. 030 E dass 1
055 Bass 2
© 031 F Rass 7
naaa ee
001 E.Piano
: 059 Bass 6
031 E.Bass 2
; 059 bass 6
Mav Hall
Two different wavaiorms vaecior-combined to create
| a fast-attack clavi.
LA dynamic fusion-stye electric bass,
[ Rey Mail
Comewhare batweern acoustic and alectric bass —
with a crisp attack.
Yes Yes
20 : 34
: 3.5
22 ; 34
BAxTrad
| BAPick
23 37
BA:Rezz
. 080 Slam
036 SynBass |
059 Bass 6
036 SynBass 1
059 Bass 6
— Rev Hall
Percussive synth bass.
| 055 Bass 2
: 037 E.Bass 3
06% Dass 9
Gate Hew
| A super bass sound with mod whee vibrato and
: major 2nd pitch bend,
| Mo/Ne
032 E Bass 3
055 BassZ —
Ya SI YES
Е 300 Piano
151 Sing
{38 Vr Ens.
152 Sin 4
— 438 Decay 14
Early Het
Mod wheel! vibrato.
Rey Hal
‘ Fich pulse-wave type synthesizer bass.
“Delay +
Resonant synth bass with pitch modulation on mod
wheel.
3.8
41
4.2
TE nn ann -————
4.3
4.4
т BA:Fingr
ВА+! nian
— BAsFrils
SA Wo ye
DL ¿Foley
—No/No
— Yes/Yes
036 Hyritiass 1
059 Bass 6
936 SynBass 1
O58 Bass 6
TO
030 E. Bass 1
‚ 999 Вазз ©
G13 Fr Horn
103 Sus. 6
0325 Frates
055 Bass 2
| Nono
| 028 \Моса В 1
Eariy Ref
Rey Plate
. Unison analog synih bags.
Fingered electric Dass with mod wheel vibrato and
major 2nd pitch bend,
Rey Hail
Fretless bass with affertouch vibrato.
{55 Bass 2
Mo/No
021 ее!
206 Wavel2-2
Get Steal
206 Wave12-2
Rev Room
=
Wood bass with affertouch vibrato.
Нем На!
Steel-string folk guar.
ad ; 45
PL+1281#
Yas/Yas
021 Sire
044 Clavi 3
027 Steel
196 WavoG-1
Pan Ref
Full 12-sting guitar,
“EL + Ho, of stements,
"E — Vector
Yeas
Es
T
LEVEL VECTOR DETUNE VECTOR
24
No. | Voice Name :
0
PLaMute
EL"
Vector
Wave
Effect
Comments
д
31
4.7
| PLeNylon |
52
4.8
PLaDist |
Mono
: 021 Steel
| 049 Guitar 4
| 024 Mute Gtr
: 050 Guitar 5
Неу На!
Light touch for muted, heavy for normat electric guitar,
Aftertouch vibrato.
No/No
226 Gui
949 Guitar 4
023 E.Gir 2
045 Clavi 4
Delay 3
N ee nee eee meme m ne neee
vibrato,
| Yeso
022 E.Gir 1
157 Square
098 Digital 2
Dist&Rev
Heavy guitar with slow fade té feedback, Vector level
control can be used for manual feedback,
33
>
BRs«Power
Notes
102 Saw 1
501 Load 1
102 Saw 1
091 head]
34
52
BA Farnfr
No/Yes
35
5.3
shH=Class
Saz TE Body
G16 Brass 3
211 Trombone
017 Brass 4
May Mai
Powerful symih brass. Mod wneei vibralc-detune.
“Rev Hal
Yes Yes
5.4
37
55
BAxfiecds
3.6
38
= ол
e... а
| Yes/Yes
019 Sax
217 Wave i164
COS Trumpet
217 Wave it
Rev Hall
; Classical drass section with affertouch vibrato.
Classical brass section,
Va”
G86 AirBlowr
241 Reed 6
019 Sax
37 Reed 2
019 Sax
038 Reed Y
014 BrasAtak
046 Frass 3
— He Fioom
Early Ве!
No/Yes
BR:Moot
104 Saw 3
GA1 Lead 1
104 Saw 3
C91 Load 1
516 ie Tí ее
206 Wavetz-2
G81 Tp Body
242 Wave24. 2
— Rev Hall
DE
Fardare-like brass in the high register, rumbling
power brass in the low range. Mod wheel vibrato,
vIDralo.
41
6.1
- BR-Frbim
62
En Trenpt a ;
6.3
| BR«Tromb `
6.4
£5
47
6.7
48
6.0
sex res
WN Clart
WA Flute
Noves”
15 SynBrass
0159 Brass 6
215 Synbrass
027 Brass 14
: Panfief
Cassic analog brass sound. Álso useful for lead.
213 Fr Horn
236 Wave2z-2
©09 Trumpet
217 Brass 4
Fev Hall
French horn ensemble with aftartouch vibrato,
Solo trumpet with aftertouch vibrato,
{11 Trombone
: 017 Brass 4
911 Frombone
| 024 Brass 11
- M9 Sax
. 040 Heed 5
‚ 018 Obos
196 Waveg-1
070 Bottle
Hey Room ;
; Hard sax with aftertouch vibrato,
Solo trombone with aftertouch vibrato.
| 034 Wond 7
No Yes
| : 018 Sboe
O Heed?
017 Clarinet
157 Sauare
039 Heed 4
Delay 2
‘Rev Hal
"Rov Hat
Rev Halt:
Clarinet
Pan flute.
Sols flute.
"EL = No. of elements.
"a Vector
Yes Yes
T +
LEVEL VECTOR DETUNE VECTOR
25
|
Ме.
Voice Name
EL”
Vector”?
Wave
Effect
Comments
49
7.3
SisArco
No/Yas
G38 Vrkns.
168 Sir 6
038 Strings
ed Sir 2
Pan Hal
Arco strings with a realistic “edge.”
50
Te
ST Chmbr
Yes Yas
039 vn.Ens.
963 Sir i
Вау Вост
“Arco” type string sound. Beast played with quick
attack.
5%
7.3
ST=Full
DZ
7.4
STPizza |
No"Yes
038 Strings
1558 Saw 1
038 Strings
155 Saw 1
Rev Hail
Vary useful fill string sound can be used as pad or
moving strings.
Del Pizz,
052 Guitar 7 _
© Rev Hall
Pizzicato strings. Best played around C2 or higher
with very short notes.
7.5
ST+CeiSt
040 Celle
967 Str 5
085 Str Body
001 Lead 1
7.6
ST+Exet
Yes/Yos
038 Strings
155 Saw
035 Vr.Ens.
156 Saw 2
Pan Ref
Celio section ar solo cella.
Hev Mail
“Sophisticated” classical strings.
55
7.7
ST+Synth
No/Yes
Ln
(42 SynSir
063 Sir 1
, 042 Gynst
063 Str 1
Rev Hall
Classic synth sirings.
56
7.8
ST«Eraid
57
BA
ChsModr —
Ya Yas
078 Strings
; 104 Bus, 7
| 044 Itopia
104 Sus. 7
Hev Hall
Aly chorus plus strings, Á great mood-setter,
Yes/Yaes
43 Chair
122 Move 5
(44 tops
247 Wavesb-1
Hey Plate
'90s poprsynif choir sound.
58
Be
CH+Luwop
: No/Yes
043 Choir
026 Reed *
0:43 Choir
036 Reed 1
Rey Club
“doo-wop” chorus.
5%
8.3
CHsltopy
69
8.4
ei
8.5
ele
CH+Astiz
YeauiYeas
No/Yes
PO:Marim
044 Hopia
103 Sus. 6
044 fopia
. 233 Wave2i-2
Hev Hall
Breathy choir with aftertouch volume control.
LE
044 liopla
132 Decay B
044 Вора
132 Decay 8
Par Ref
Clock chime choir,
No/No
079 Bamboo
thi) Sin 16
8.6
PC Vibes
63
8.7
Yes Yes
{46 Vibes
082 Balls 5
Rev Hall
A tainly orthodox marimba sound,
Rev Plate
Classic vibes.
PC+Belis
Nahe
118 Sin B+4
077 Bella |
118 Sin 844
077 Вей 1
Hev Halt
Tubular belis in the lower range, almost celeste-Jike
on the high-notes.
3,3
PC+CIang
Mo/Ne
348 Bealls
G78 Bells 2
068 Coin
371 Vibes 2
Pan Rat
Quickiy hii notes for beit — echoes sound. Hold notes
for clock towar strikes.
"EL = No. of elements.
*? — Vector
26
YES YES
LEVEL VECTOR DETUNE VECTOR
== О =
Voice number *187 provides a complete drum kit plus a range of valuable
percussion sounds. The voice is set up so that each note produces a different
drum sound, as shown in the list below. The DR:KR voice can be used on its
OWI, Or as a source of drums and percussion in a multi-play setup (TUTORIALS
section, page 33; REFERENCE section, page 77},
voice Number P187 DR:Kit: Drumset Voice
9
Key Wave Name Key Wave Name Key Wave Name
а a eee | В ява 4 F & ES CE ED
нося | Triangle closed | | ee | ora | Splash | — C#5 Low Scratch
Di SD 1 D3 Cup D5 505
-—— Di Triangle open — | D# Ride —— Das High Scratch
El E. Tomi £3 Low Conga ES Reverse Cymbal
ET memes Cr a = High Conga — re {ls Si 3
I - Fa EToma AL | Р#3 Mute Conga a — Frs Coin
Gi _ETom4s _ 163 | DigiAtack Gs — Siam 2
—— Ga gps | 1 143 _ Ooo! | G 45 Water Drop
Al BD 3 A3 Low Timbales AS Low Timpani
|| А Cross Sticks — + ARS High Timbales | |... | AnS Cracker
8! Tom 1 в tambourine} | B5 High Timpani
Gyn Tao _ с Finger snape e Menta —
| С ssa Pe [ Cata Claves
De Tom 3 F4 Law Agogo
— DE Rim Ben — Da High Agogo
@ TT — M8 | Low Cuca
= — ut Tom | am FR Guia
— Бу as TT 117 = de si
A EL ——— Ga Fin Won
(OT state || Bam —
A2 _Hiiciosed ———— Ad Bottle
жи Thi cman | REET kas ”
во Hope TT Ba mc ca GT 8
Recording an Original
Dynamic Vector
Select the MEsVecta voice, turn the VECTOR mode ON, seleci level
controi, and use the [VECTOR CONTROL] to listen carefully to the sound of
the various elements and how they interact when the [VECTOR CONTROL] is
moved. Repeat this process with a number of different voices and youw’li quickly
begm to hear how powerful and versatile vector synthesis can be,
Before you begin recording your own dynamic vector, select the “ME+*Vecta”
voice (161), make sure the manual VECTOR mode is tumed OFF (neither the
LEVEL] or [DETUNE] indicators should be lit), and play a nice long note or
chord. Notice how the various elements are gradually brought in and blended
automatically — this is the result of a dynamic vector. Now press the
[VECTOR] key to select LEVEL] control. Now set the [VECTOR CONTROL]
to center position and play another note or chord. You should hear all 4 elements
at the same time, in approximately equal proportions. Play with the [VECTOR
CONTROL] a bit to get a feel for this particular combination of elements,
Now we'll go ahead and record an original dynamic level vector for the
"ME * Vecta” voice |.
27
28
1. The first step 1s to enter the VOICE VECTOR edit mode, which we do by
pressing the [EDIT] key and then the [VOICE VECTOR] key while in the
VOICE PLAY mode (REFERENCE SECTION, page 52).
CR eh er Ye
Ня ЗЕ fraiche) : |
ES PS y “м
о MMON
EN TR
COMPA!
AR VOICE
2. H the LEVEL SPEED function does not appear immediately when you enter
the VOICE VECTOR edit mode, press the [VOICE VECTOR] key a few
times until tt does appear, or use the PAGE :<] and [>I Keys to locate it
(REFERENCE SECTION, page 53}.
PRE LEVEL SFEECL
motor Mate ТЕН
Vectors are recorded by “sampling” the position of the [VECTOR
CONTROL] at evenly-spaced steps. This function allows you to set the time
between each sample step — Le. the “Vector rate”. Quite logically, short
vector rates are best for quick control movements while longer vector rates
are better for siow control movements. If vou set the vector rate to {oo long a
value for a rapid control movement, you may end up with a “jerky” sounding
vector. The diagrams below show the same control movement recorded at
10-millisecond and 160-miilisecond vector rates,
Step 1
Step |
Step 2
Use the [DATA ENTRY] control or {-1/NO} and {+1/YES] kevs to set the
vector rate parameter to “30ms.” This is a fairly “average” vector rate, and
15 а good place to start experimenting with dynamic vectors.
JU LEUEL SPEED
+ EL HE,
Wen art Rate TM
3. Press the [VOICE VECTOR] key or PAGE [>] key once to move ahead to
the LEVEL REC display (REFERENCE SECTION, page 53).
Use the CURSOR |<! and [5] keys to move the cursor fo the STBY
(standby) parameter, At this point the [VECTOR CONTROL] will be active
in the level control mode, and vou can rehearse the level vector you are
about to record.
4. Move the cursor to the REC parameter. Vector recording wiil begin the
Instant you play a note. A rectangular block will flash at the cursor position
while recording. Recordmg will end automatically when the maximum of 50
sampling steps has been reached — how long this takes depends both on
the vector rate setting and how fast you move the [VECTOR CONTROL],
When recording finishes, the cursor will move automatically to the PLAY
parameter position. At the same time the VECTOR mode will automatically
be turned OFF so that the dynamic vector just recorded is active,
Now you can play on the master keyboard to hear how Your dynamic level
vector Mumed oní. I you don't like the results, simply move the cursor back
to REC and record again,
Detune Vectors: Although you've just recorded a dynamic level vector, dy-
iY namic detune vectors can be recorded in exactly the same way using the
DETUNE SPEED and DETUNE REC functions which are also accessible in
the VOICE VECTOR edif mode (REFERENCE SECTION, page 55)
>. When youre satisfied with your first vector masterpiece, you can retum to
the VOICE PLAY mode by pressing the [VOICE] key and then store the
voice you have just edited into one of the TG33's INTERNAL Memory
locations.
Storing Edited Voice Data When you return to the VOICE PLAY mode after editing a volee in the VOICE
to the INTERNAL, EDIT mode, you'll see a reverse letter “EF” {white on a black back ground)
Memory following the voice number on the display.
CUITE PLAY |
AE СОВЫ ВРУ
This mdicates that the voice has been edited. If you want to keep the edited
voice, It raust be stored either to an internal or card memory location before you
19 select another voice, or ali your editing work will be lost,
To store your creation 10 an internal memory location:
1. Press the iISTORE/COPY] key from the VOICE PLAY mode.
FH буи rma a. rr To Lotte In nes
E rr 1 E
= I & {pr pe i H iif in
med EA RRE EE |
TEO", 1 . чтит я
+ + La = ‘= . + ;
| Fai : и Жо Sl ии
= Ë
The number of the voice you edited will be shown to the left of the lower
display line, and the cursor will be placed under the equivalent INTERNAL
voice number to the right of the arrow. The arror to the far right of the screen
mdicates that other parameters can be accessed by pressing me CURSOR
>] key,
29
Conclusion
30
2. Select the memory location fo which you want to store the new voice using
the standard voice selection procedure, the [DATA ENTRY] control, or the
-1/NO] and +1/YES] keys. For the sake of example, if you choose to store
your voice in INTERNAL memory bank 1 number 1, then the display wiii
look something hike this:
STIRE VOTCE |
Patil > E
NOTE: lt is also possible select CARD bank 1 or 2 for voice storage by press-
ing the [CARD] key, if a properly formatted memory card has been inserted
into the 'TG33 card siat (REFERENCE section, page 90).
3, When the target memory location has been selected, press the CURSOR [>]
key. “Are you sure?” will appear on the display.
pe er фени
k PE " k ra" UA A
e PEJE LE PEL LEY
re vou sure
Hala A EN a
4. Confirm your mtention to store the new voice by pressing the | YES] key,
and the store operation will begin. ‘“>>Completed!!<<" will appear on the
display briefly when the store operation is finished, und the TG33 will return
to the VOICE PLAY mode.
STORE НЕЕ
LM a 1 ния us = mam ci = L + i i = = a"
"7 + "eya! EME Im de E : NC E td : : E Ns
um
ь
Fr
NOTE: You can exit the STORE mode and return to the VOICE PLAY mode at
any time simply by pressing the [VOICE] key.
You now have an edited version of "ME=Vecta” featuring your own original
dynamic level vector. You could use the VOICE COMMON edit mode NAME
function (REFERENCE SECTION, page 48) to give the voice a new name —
“Vecta?” for example. Lising the same procedure you could create an infinite
range of variations on the preset voices.
The method of dynamic vector recording just described 18 quick and easy —
all vou have to do is operate the | VECTOR CONTROL} and use your ears. This
quick-and-easy method is recommended for most applications. If you want really
line control, however, the TG33 oflers a number of level and detune vector edit-
ing functions that allow the position and length of each vector step fo be pre-
cisely programmed as required. See pages 51 through 56 of the REFERENCE
SECTION for details,
4, INSTANT VOICE PROGRAMMING
Although the TG33 allows you to program voices mm considerable detail, in this
section we'll present a simple wav to create an unlimited range of new and use -
fui voices.
Detalled parameters for programming individual elements are available in
the ELEMENT TONE and ELEMENT ENVELOPE edit modes described in the
REFERENCE SECTION, beginning on pages 57 and 67, respectively, Every-
thing we need to have loads of fun — and to create some very serions voices
i avaliable in the VOICE COMMON edit mode.
|. Select any preset voice while in the VOICE PLAY mode to serve as a
“piuform” for your new voce. “ME+ Vecta” (*:61) 15 a good choice to start
with.
2. Enter the VOICE COMMON edit mode by pressing the [EDIT] key and
then the [VOICE COMMON] key while in the VOICE PLAY mode
9 (REFERENCE SECTION, page 44).
E
Ep > COMMON VECTOR
VOICE
The [VOICE] and [EDIT] keys da not need
to be pressed if both thar LEDs are ON.
The VOICE COMMON edit mode provides access to the following func
tions, of which we're going fo use just one!
CONFIGURATION
EFFECT (Type, Balance £ Send Level)
PITCH BLIND
WHEEL (Amplitude & Pitch Modulation)
AFTER TOUCH (Amphtude & Pitch Modulation, Puch & Level Control)
ENVELOPE (Attack & Release Rates)
al RANDOM (Element, Level Vectors & Detune Vectors)
NAME
VOICE INITIALIZE
VOICE RECALL
3. Press the [VOICE COMMON] key a few times or use the PAGE [<] and
[>] keys to locate he “YC RANDOM” function (REFERENCE SECTION,
page 48).
4 If if 18 not already selected, select “ELEMENT” using the [-1/NO] and/or
[+1/YES] kevs (the other RANDOM options are LEVEL VEC and
DETUNE VED.
37
|
5, Press the CURSOR [>] key once so that the cursor appears as a flashing
block to the right of the “Y/N7” parameter,
gE PTE
1
1
deed
“rar
e
Ist
[HHH
6. Now, each time you press the i+1/YES] key the TG33 will randomly assign
different waveforms to the four elements in what used to be the ME=Vecta
voice, An asterisk (*) will appear in place of the flashing block cursor briefly
while the waveforms are being assigned.
Try it a few times: press [+1/YES] then play a few noles via your master
keyboard to hear a totally new voice. Since the eicment combinations are
generated randomly, some are not particularly useful ... but others will sar-
prise you, Every few tries you'll probably come up with a combination which,
if not ready to use without furiher modification, can be tumed into a very fine
voice with a little “brushing up” in the various TG33 editmg modes,
Please note that the RANDOM ELEMENT function only replaces the ele-
ment waveforms in the voice you siarted with, so, unless you go Into further 0
programming, the voice you choose as your platform will determine how
controllers like the pitch and modulation wheels function {REFERENCE
SECTION, page 46), the shape of the amplitude envelopes used for each
element (REFERENCE SECTION, page 69), the type of effect (reverb,
delay, etc.) applied to the voice (REFERENCE SECTION, page 45), and
HOC.
7. While trying out the new voices you create, you can turn the VECTOR
PLAY mode ON and experiment manually with different vectors. You can
also enter the VOICE VECTOR mode by pressing the [VOICE VECTOR]
key and record a dynamic vector as described in the previons section.
8. If vou come up with something you want fo keep, use the same voice store
procedure as described on page 29 after returning to the the VOICE PLAY
mode,
Concinsion You're now equipped to create a world of vibrant and very useful new voices
with very little actual programming indeed, if vou do want 10 get deep into the
details and fine tune vour voices until they are perfect, please take the time to
read through the REFERENCE SECTION of this manual. In it, cach editing
function is described individually, often with a few helpful hints that will help you
use it most effectively,
Гы
5. THE MULTI PLAY & EDIT MODES
If you've been going through the tutorials section in sequence as we recom-
mended, you've only used the VOICE PLAY and VOICE EDIT modes thus far.
If, however, your tention 1s to use the TG33 with a sequencer to play a number
of different voices simultaneously, the modes you'll use most frequently are the
MULTI PLAY and MULTI EDIT modes.
The TG33 provides 16 INTERNAL memory tocatrons for compiete “MULTI
PLAY” setups. This allows you to create up to 16 original “orchestras” with
different combinations of voices thal can be recalled whenever needed. MULTI
PLAY setups can also be stored on external memory cards in the same way as
ordinary voices.
Here's an overview of the TG33 MULTI PLAY mode:
MIDI IN
an
CARD Co
MEMORY E
e] PANNING
Channel | voice Fa
Channel 2 voice rin be E
*
INTERNAL LS .
MEMORY EE
Channel 16 voice Curie ef
Ata
e a tt tie
tele A E ta PE dati rit as
ere US ea : РО O1
x
A GROUP/OUTPUT ASSIGNMENT
TE.
XL Yr
OUTPUT 1 OUTPUT 2
Note that TG33 MULTE PLAY setups can come from two different sources: the
INTERNAL memory, or CARD memory (CARD bank 1 or 2):
33
INTERNAL
CARD
Whats In a MULTI
PLAY Setup?
34
The INTERNAL MULTI memory is a RAM (Random Access Memory) area
into which you can store up to 16 MULTI PLAY setups that you create or oad
from an external memory card, The INTERNAL MULTI memory is represented
on the display by the letter “T”,
INTERNAL memory locations 111 through 118 are initially programmed with
a range of multi-play setups designed for different types of music. Locations 121
through 128 contain “Initial” data.
HI Popular
112 Modern
113 Funky
114 Bailad
115 Jazz
116 Big Band
ity Symphony
118 WindEns,
Ii... 128 Inma
The CARD memory bank is a Yamaha MCD64 or MCD32 Memory Card
plugged into the TG33 card slot, An MCD32 Memory Card allows storage of up
to 16 MULTI PLAY setups in addition to 64 voices. An MCD64 Memory Card
holds two banks of 16 MULTI PLAY setups each —— in addition to 64 voices In
cach bank {REFERENCE SECTION, page 96). The CARD voice banks are rep-
resented on the display by “C17 and “C2”. For easier identification the indi-
cator above the [CARD] key lights when CARD bank 1 18 selected, and the
indicator below the [CARD] key lights when CARD bank 2 is selected,
A single MULTI PLAY setup can consist of up to 10 different voices assigned to
different MIDI channels. These voices can then be controlled mdependently from
a sequencer, music computer, or other controller transmitting on the appropriate
channels.
Fach voice alse has several settings that can be individually adjusted in the
MULTI EDIT mode:
® Voice number
® Volume
* Detune
e Note shift
® Pan
e Send group select
There are also several settings that affect the entire setup;
e Assien mode select
e Output select
e Effect type, balance, and send level for each group
® Мате
TT
ok
MULTI PLAY Polyphony
& Dynamic Voice
Allocation
Selecting a MULTI PLAY
Setup
Since the TG33 can produce a maximum of 32 notes at the same time (32-note
polyphony), the number of simultaneous notes that each voice in a MULTI
PLAY setup can produce depends on the number of voices being played at the
time. If all 16 voices are played at once, each can produce 2 maximum of two
notes. On the other hand, if only one voice is being played the TG33's “Dynamic
Voice Allocation” feature allows 32 notes to he played simultaneously by that
one voice even if 16 voices are assigned, *
The only thing you have to be concerned about in programming sequences [о
drive the T(G33, 1s that the maximum polyphony of 32 notes is never exceeded,
* 4-element voices reduce the total number of notes available.
MULTI PLAY setups are selected in essentially the same way as voices.
1. If the MULTI PLAY mode is not already selected — as indicated by a lit
[MULTI] key LED and “MULTI PLA Y” across the top of the LCD — press
the [MULTI] key to select it.
HUE TI PLIS
Til Fomrulzar
2. The [INTERNAL] and [CARD] keys are used to select the desired MULTI
memory. The CARD memory cannot be selected if an appropriate memory
card 15 not plugged into the card slot.
3. The 16 MULTI PLAY setups in each memory area are organized into 2
banks of 8 setups each (2 x 8 = 16). Any MULTI PLAY setup can be
selected by specifying its bank using the top-row BANK/MULTI CHANNEL
keys {1} or [2], and its number using the botiom-row BANK/MULTI
CHANNEL keys [1] through [8].
To select MULTI PLAY bank 2 number 5, for example, press the top-row
BANK/MULTI CHANNEL [2] key and the bottom-row BANK/MULTI
CHANNEL [3] key ~— in any order.
BANK/MLULTI CHANNEL.
The display should look something bike this:
MULTI PLAY
Exa Initial
35
Creating a Simple 4-voice
MULTI PLAY Setup
36
To select a different number within the same bank it ts only necessary to
press the appropriate bottom-row key, in the same way, to select the same
number in a different bank all vou have to do is press the appropriate upper-
row Key,
The —1/NO] and [+]/YES! keys can also be used to select a MULTI PLAY
setup in the MULTI PLAY mode, Holdmmg the |-1/NO! or [-+i/YE5] key
causes continuous scrolling 1 tie specified direction.
To familiarize you with the process of creating MULTI PLAY setups, here's
how vou would program a simple four-voice setup that we'll call, reasonably
enough, “Quartet.”
The Quartet setup will basically be something like this:
MHZ Channel Mequirec Voice Type TG33 Voice
; = — pino В
2 | Sax PoB4 Wh+Sax
| ; aa A a EO LL.
; SIT ca PE Dian Ya mn
* See page 27 of the TUTORIALS section for the DR:KH note assignments.
i. After selecting the MULTI PLAY setup you want to program, as described
in the preceding section, press the [EDIT] key to enter the MULTI EDIT
made.
O pum
o bam MULTI EDIT mode
COMPARE
The [MULTI] key does not need
to be pressed if ds LED is ON.
2. We been by “mmalizmeg” the selected MULTI PLAY setup to ensure
that all parameters are set to their default parameters. You don’t always
have to do this — but it's handy to know how.
Press the PAGE [pl key us many times as necessary until the “iNIT
MULTI” function appears (vou can also hold the PAGE [>] for continuous
scroling). “Are vou sure?” should be showing on the bottom line of the
display.
Press the |+1/Y ES] Key and wan for me “>>Completed!!<<” display to
disappear. The MULTI PLAY setup parameters have now been imitalized to
their default values (see “MULTI INITIALIZE” on page 81 of the
REFERENCE section for a full list of the miialized parameters),
mode function list — VOICE NO (hold the PAGE [a] key for continuous
scroilme).
This function allows vou to assign different voices to as many as 16 different
MIDI channels, The channel number in the upper right-hand corner of the
display (CH 1) is the currently selected MIDI channel number,
4, The small white numbers above the BANK/MULTI CHANNEL kevs corre-
spond to the 16 available MIDI channels. Pressing any of these while in the
MULT! EDIT mode selects the corresponding channel for programming,
BANK/MUL TI: CHANNEL
NL AL E IICA!
If a channel number other than “CH 1” is showing in the upper right-hand
corner of the display, press the BANK/MULTI CHANNEL [1] kev to select
clianneti 1.
> At this point the underline cursor should be located below the Memory area
indicator, so you can use the [DATA ENTRY] control or [-1/NO] and
+1/Y ES] keys to select any of the available memory areas — D P,, Pa €
or €2 (the latter two only if an appropriate memory card is present in the card
slot). Since the voice we want to assign to channel 1 is “Pal? AF Piano,”
make sure that “P>" is selected.
Next move the cursor one step to the right (below the voice bank} by
pressing the CURSOR [>] key once, and use the [DATA ENTRY] control or
-1/NO] and 1+1/YES] keys to make sure that bank 1 is selected.
Move the cursor one more step to the right (to below the voice number), and
lise the (DATA ENTRYI control or [=1/NOI and [+1/YES] keys to select
number 2. The “AP:Plano” voice name should appear to the right ef the
voice number,
| Ea 10 O JU 11. Eg 1 |
E 11 a = E + TE
Poo Hi RE PEDÍ A do
= doc pe Pete Ро
Rd za I EL |
6. You can now press the BANK/MULT! CHANNEL 12] key to select MIDI
channel 2, and select the “F264 WN+Sax” voice as described in the previous
step.
37
7. Co ahead and select the next two channels — 3 and 4 — and assign the
required voces to each:
PI VOICE HO LADOS
У
“а ts Ll E ] ' j N° r 3 ri
od E m ©
ЗН un ae Car a =
TRICE HO CHA
REO DNS
E
That completes the basic voice assigmments for “Quarter” For a Dif more
experience, let's go on and set the PAN positions for cach voice, und give
our MULTI PLAY setup (ts rightlul name.
8. Press the PAGE Ib] key four times to reach the PAN function, bypassing the
VOLUME, DETUNE, and NOTE SHIFT functions on the way,
MO FAR ENT
| L--X-—R 0
You can now select each of the four channels we've used Dy pressing the
corresponding BANK/MULTI CHANNEL keys, and set an appropriate PAN
position for cach by using either the [DATA ENTRY] control or the [-1/NO]
and [+I/YES] keys. PAN can be ser to five different positions from left £L)
to right (R), indicated by the position marker in the pan display on the
bottom line of the LCD. If you move the marker “past” the rightmost post-
tion, the word “voice” will appear, indicating that the PAN position specified
in the VOICE ELEMENT TONE EDIT mode wiil be retained.
eE op De
Our suggestions for the “Quarter” setup”
Channel 1 (AP:Plano)
MI FR CH 1
Le
Channel 72 (WN +Sax3 В
SÍ PAN EST
| те
Channel 3 (BA: Wood)
Channel 4 {DR:Kit}
MLS kin A
| ue ph
3 murio rr = PE
`
=
Tee
fu
35
9. Finally, skip ahead to the NAME function (press the PAGE [>] key six
times) and enter the name “Quarter” This is done simply by using the
CURSOR [<i and [>] keys to move the underline cursor to the appropriate
character position, and then using the IDATA ENTRY] control or [1/NO]
and {+1/YES] keys to select the desired character.
Here's a hist of the available characters:
(Space) ! "HELE C EA. —, ELIAS: pl TA
RECDEFGHT IEL PARCPORS TULA E +
Eee ERE OP PS LL LEE | e
10. When youre satisfied with your MULTI PLA Y Setup, You can retum to the
MULTI PLAY mode by pressing the [MULTI] Key and then store the setup
@ 19 vou have just edited into one of the TG33's INTERNAL MULTI memory
¥ locations.
NOTE: The [VECTOR CONTROL] can be used to control any voice in a MULTI
PLAY setup — set the UTILITY mode VECTOR CHANNEL parameter to
the channel number of the voice you wish to control (REFERENCE
SECTION, page 89), Also note that manual vector control is automatically
turned OFF whenever a new MULTI PLAY setup is selected,
Storing Edited MULTI When you return to the MULTI PLAY mode after editing in the MULTI EDIT
PLAY Setup Data to the mode, you'll see a reverse letter “E” (white on a black background) following
INTERNAL Memory the MULTI PLAY number on the display.
MULTI PLE 0 |
ALLE Бава.
This indicates that the setup has been edited. If you want to keep the edited
setup, i must be stored either to an internal or card memory location before you
select another setup, or all your editing work will be lost.
To store your creation to an internal memory location:
|. Press the [STORE/COPY! key from the MULTI PLAY mode.
STORE MULTI |
11
E11 + Eli
fa E
|
The number of the voice you edited will be shown to the left of the lower
display line, and the cursor will be placed under the equivalent INTERNAL
voice number to the right of the arrow. The arrow to the far right of the
screen indicates that other parameters cun be accessed by pressing the
CURSOR [>] key.
39
Conchision
40
2. Select the memory location to which you want to store the new MULTI
PLAY setup using the BANK/MULTI CHANNEL keys, the [DATA
ENTRY] control, or the |—-1/NO] and +1/YES] keys.
NOTE: His also possible to selec: CARD bank 1 or 2 for MULTI PLAY setup
storage by pressing the [CARD] key, if a properly formatted memory card
has been inserted into the TG33 card slot (REFERENCE section, page 96).
2. When the target memory location has been selected, press the CURSOR >]
key, “Are vou sure?” will appear on the dispiay.
STORE MEN TÍ
* fre vou 3
4. Confirm your intention to store the new setup by pressing the [+1/YES] key,
and the store operation will begin. “>>Completed!i<<” will appear on the
display briefly when the store operation is finished, and the TG33 will return
to the MULTI PLA Y mode.
PURE PILE
HT
"a, "ue a] ellen = an =
momo Nr 1 Jad
y lara" ad 11 at”
нее
NOTE: You can exit the STORE mode and return to the MULTE PLAY mode
at any time simply by pressing the MULTI] key.
Now that you've created and stored your first, albeit simple, MULTI PLAY
setup, you should be able to create more complex setups customized fo suit your
own musical needs by referring to the MULTI EDIT mode function descriptions
between pages 75 and 82 of the REFERENCE section. Pay particular attention
to the SEND GROUP SELECT. OUTPUT SELECT and ASSIGN MODE func-
Hons, us these allow you to divide the MULTI PLAY setup voices into two
groups which can independently be assigned to the TG33s two pars of stereo
outputs — OUTPUT | and OUTPUT 2,
VOICE COMMON
41
VOICE COMMON
VOICE COMMON
VOICE COMMON
The VOICE COMMON mode provides access to a range of parameters that affect the
selected voice as a whole. Detailed programming of individual elements is provided by the
ELEMENT TONE and ELEMENT ENVELOPE edit modes.
19
2 CONFIGURATION er ee sss sss onsen 45
EFFECT (Type, Balance & Send Level) A a sess rsa rs sears seessressressnrrnaesansesnrrsnee | BE)
WHEEL (Amplitude & Pitch Meodulation) ......———... EEE ET 46
AFTER TOUCH {Amplitude & Pitch Modulation, Pitch & Level Control)... 46
ENVELOPE (Attack & Release RALEs) ereroroocacnnnnanoononneennanas ene eee 47
RANDOM (Element, Level Vectors & Detune Vectors)
VOICE INITIALYZE coon
VOICE RECALL
TETU Ten E E E 44
71444444 744 7 EE A A EAT RA an AN Mm ag 49
Ee SGB mm sme 50
VOICE COMMON
Selecting the VOICE COMMON Edit Mode
VECTOR
VOICE
From another VOICE EDIT mode sunpiy press
[VOICE COMMON].
Selecting the VOICE COMMON Edit Mode
Functions
The various VOICE COMMON edit mode func-
tions can be selected in sequence by pressing
the [VOICE COMMON] key, or by using the
PAGE |<] and [>] keys.
44
The COMPARE Functien
While in any VOICE EDIT mode, you can com-
pare the sound of the edited voice with the
sound of the voice before it was edited by press-
ing the IEDIT/COMPARE] key to activate the
COMPARE function, The [EDIT/COMPARE
key indicator will flash while the COMPARE
function is active, and the sound of the voice
prior to editing will be heard when you play the
master keyboard or controller. Press the
[EDIT/COMPARE] key again to return to Lhe
edit mode.
Su:
Set
Pr
Sui
Set
VOICE COMMON
CONFIGURATION
EUG CONF TERMT ION
EE
É
HELL
Details: In the 2-element “A-B” configuration,
element A 18 AWM and element В 18 FM. In the
4-element “A-B-C-D” configuration elements A
and B are the same as in the “A-D” configura-
tion, while element C is AWM and element D 1s
FM,
4 Summary: Selects the two-element (A-B) or four-
element (A-B-C-D) voice configuration,
E Seltings: A-B, A-B-C-D _
3 A-B: A= AWM, B = FM.
: Procedure: Use the [DATA ENTRY) control or A-B-C-D: A= AWM. B =FM, C= AWM. D =
> [-1/NO] and +]/YES] keys to select the de- FM.
sired configuration,
Refer ta: page 60.
EFFECT (Type, Balance & Send Level)
Details: The balance parameter determines the
balance between the “dry” sound of the voice
' pr VOICE EFFECT |
: Turesfiles; Hall =)
CARE SE
E Summary: Seicets one of sixteen digital eflects, and
sets the balance und send level of thé selected
effect for the current VOICE.
| Settings: Effect type:
and the effect sound. A setting of “0” produces
only the voice with no effect, while the maximum
setting of “17277 produces oniy the effect sound,
The send level parameter determines the level of
the signal sent to the effect processor. A setting
of “0” menns that fhe voice signal is not sent to
3 3 Rev Hall (Reverb Hall) the effect processor, while the maximum setting
A RO oom overs pt of “127” sends full effect level to the effect
; Rev Club {Feverb Club) Processor,
$. Delay Short Single Delay) No sound will be produced if the send parameter
, a . ии .
E Detay 2 {long Delay) is set to “0 and the balance parameter 15 set to
Delay 3 {Long Delay) EPT
VE Doubler {Doubler)
IE Fing-Pong {Ping Pong Delay)
E. Panel {Panned Fetlections) Refer to: page 62, 78, 79.
6: Early Ref {Early Reflections}
E. E : H В aa . . . 67 .
; wo + Delay & Sve 1) NOTE: Some voice waveforms may exhibit a drop in
Ea Did itey 2 Dist & Reverb 3, level when distortion is applied, This 15 due to
isiá-Hev Istortion aver
internal dara overflow, and can be compensated
for by reducing the effect send level or effect
Balance (Bai): UU... 127
Send Level £Sndy: O... 127
Procedure. Use the CURSOR |< and [>] keys to
place the underline cursor under the eflect type,
balance, or send level parameter. Use the
DATA ENTRY] control or -1/NO] and
[+I/YES] keys to select the desired effect,
balance, or ser level,
balance setting.
45
VOICE COMMON
Summary: Seis the available pitch bend range.
Settings: Y ... 12 max.”
Procedure: Use the [DATA ENTRY control or
[-1/NO? and [+1/YES]| keys 10 select the de-
sired pitch bend range.
ya Pitch Mo
Details: Fach increment from “07 to “12” repre-
sents a semitone. A setting of “0” produces no
pitch bend. A setting of “12” allows a maximum
pitch bend of plus or minus one octave, while a
setting of “47 allows a maximum prtch bend of
plus or minus a major third.
* This range may be more limited in some cases.
An exclamation mark (1) will appear after the
range value when ¡he limit 8 reached.
TAI AAA EE
Summary: Assigns modulation wheel control to
amplitude and/or pitch modulation.
Settings: AM {Amplitude Modulation): off, on
PM {Pitch Modulation): off, on
Procedure: Use the CURSOR [M4] and [>] cursor
keys to place the underline cursor under the AM
or PM parameter. Use the [DATA ENTRY!
control or i—-i/NOi and [+1/Y ES] keys te tum
the selected parameter on or off.
Prizon >
summary: Assigns keyboard alter touch control to
amplitude modulalinn, pitch modulation, puch
cottroi, or level control Or any combination of
the above.
Settings: AM (Armphtrde Modulation): off, on
PM (Pitch Modulution!: off, on
Pit {Puch Control): +12... 0... +12 max *
Lev (Level Control} off, on
46
Details: Amplitude modulation produces a tremolo
effect while piich modulation produced a vibrato
effect. This function allows a modulation wheel
to be assigned to produce either or both. This 1s
only an “offfon ” switch, however, and the maxi
mum depth of moduiation to be appiied must be
set usine the LEC? AM Depth and PM Depth
parameters 1% the ELEMENT TONI: edit mode,
Refer fo: page 64.
NOTE: Deep pitch modulation Settings may produce
Reise with some voices. If this happens, reduce
the modulation depth until the noixe disappears.
Procedure: Use the CURSOR |<) and ibi Keys 10
place me underime cursor under the AM, PM,
Pit, or Lev parameter. The arrows at either end
Gl fe display mean that more parameters can be
accessed бу устоев in the indicated direction.
Esc the [DATA ENTRY] control or [-1/NO]
and [+1/YES} keys to tum the AM, PM, and/or
Lev parameter on or off, or to select the desired
Pu control range.
Si
Se
Details: As with modulation wheel control, ampli -
tude modulation produces a fremolo effect while
3 pitch modulation produced a vibraro effect. The
| harder you press a key on the muster keyboard,
the deeper the modulation. This is only dr
off/on” switch, however, and the MAX Ire
depth of modulation to be apphed must be set
using the LFO AM Depth and PM Depth
parameters in the ELEMENT TONE edit mode.
The Pit parameter allows keyboard after-touch
to be used for note bending. The greater the key
pressure the greater the amount of pitch bend.
Positive values produce an upwurd bend when
key pressure is applied, and minus values pro-
duce a downward bend. Bach increment from
. 3 FOPIESCIIS a semitone. A setting of “0” pro-
#7 dices no pitch bend. A setting of “12” allows a
Summary: Sets the overall attack and release rates
for the current voice.
Settings: AR (Attack Rute) „90 +0... +99
max,”
RR (Release Rate): -99 ... +0... +99 max +
Procedure: Use the [4] and [>] cursor keys to
place the underline cursor under the AR or RR
parameter. Use the [DATA ENTRY) control or
- ММО! und [+1/YES] keys to set the selected
parameter as required,
Details: Although much more derailed envelope
f programming capability is available for individual
elements (see the ELEMENT ENVELOPE edi
mode), these functions provide an easy way to
adjust the most important envelope parameters
for the overall voice. Positive values produce a
; faster attack or release time, while negative
values produce a slower attack or release time.
You might want to lengthen the release time of à
voice, for example, to produce à lingerine sustain
effect after you release the Keys,
VOICE COMMON
Maximum upward pitch bend of one octave, while
a setting of 4” allows a maximum downward
pitch bend of à major third.
When the Lev parameter is turned on it becomes
possible to control the level! of the sound over a
limited range by Keyboard after-touch. The
amount and direction (Le. an increase or de -
crease; of level change depends on the setting of
the AFTER TOUCH SENSITIVITY parameter
in the ELEMENT TONE edit mode.
Refer to: page 63, 64,
* This range may be more limited in SOME Causes.
An exclamation mark (1) will appear after the
range vaiue when the limit is reached.
Please note that the AR parameter will have no
effect on elements in which the INITIAL LEVEL
parameters (page 70% is set to 99.
Faster Slower
attack, AR attack,
ff Key OFF
ml A
LE У” 4
Dar +
LLY +
wad 1
Envelope + ',
+ \
1 "o
TIME
+98 {J e
Faster RA Sinwer
rebase, release
Refer to: page 69... 73,
* This range may be more limited in SOME CASES,
An exclamation mark (3 will appear after the
range value when the limit is reached,
NOTE: The effect of the AR parameter may be more
or fess pronounced depending on the setfines of
пе ELEMENT EG edit mode INFFIAL LEVEL
una ATTACK LEVEL parameters.
47
VOICE COMMON
RANDOM (Element, Level Vectors & Detune Vectors)
UE RAMON Details: This Function is actually a very useful
BEL FMERT HE programmmg ard, lt allows you try out a virtually
unlimited variety of element combinations or
Summary: Automatically produces random combi- level/detune vectors by simply pressing a single
nations of elements, level vectors, or detune key. The random element combinations, in
veetors particular, can produce some very surprising and
often pleasant resuEs,
Settings: None. When the “A-B” voice configuration is selected
(see CONFIGURATION on page 45}, random
Procedure: Use the CURSOR [<] and [>] keys to element combinations will always consist of only
piace the cursor to the left of the leftmost two elements. When the “A-B-C-D” voice con-
parameter on the lower display ling, then use the figuration is selected, random element genera
[-1/NO] and [+1/YES] keys to select tion will produce combinations of four elements.
ELEMENT, LEVEL VEC or DETUNE VEC,
Press the [>] key to move the cursor to *Y/N,” Refer to: page 53 ... 56.
then press the [+I/YES] Key to generate ran-
dom values of the select type. A new set of
random values is generated euch time the
{+ 17955} key 1s pressed while the cursor 1s in
this position. Pressing the [-1/NO] returns the
cursor to the left parameter,
LE CPE HEEE Procedure: Use the CURSOR |<} and [>] keys to
Ali РРР place the underline cursor nnder the character to
be changed. Use the {DATA ENTRY] control or
Summary: Assigns a name of up 10 8 characters to [-1/NO] and [+1/YES] keys to select ihe de
the current voice. sired character. Continue until the entire voice
name has been programmed,
Settings: The following characters are available for | ,
use in voice names: Details: It's a good ides lo give your voices names
that make them easily identifiable. If you've
(Space) ! "EFEC eb. ETA A (бат created < new Des thal combines piano and
= = sa 15 LO HEAR Clé Tit, EC и ;
AECDEFGHIJKLMNOPARSTUVAZ № 3^_ organ elements, пог example. you could call i
someting like “PianOrg”.
H
3
=
Sb de FRE LEOBEN | ee
Fan
Summary: Initializes all parameters of the current
voice.
Settings: None.
VOICE COMMON
VOICE INITIALIZE
Procedure: When the “INIT. VOICE” display is
selected, “Are you sure?” will appear on the
lower line. Press the [+1/YES] to initialize.
“>> Compietedii<<” will appear briefly when
the initialization 18 finished.
Details: When Voice Initialize is executed, the
voice parameters are initialized to the following
values:
A В C DD
VOICE NAME Initial
CONFIGURATION AECE
EFFECT Fev. Hall
Balance Gé
Send Lv! 127
FITCH BEND 2
WESEL AM off
РМ en
AFTER TOUCH AM off
PM off
Pit 0
M off
ENVELOPE AR D
RH 0
VECTOR |
VECTOR LEVEL SPEED 30 ms
STEPOGY/TIME 1 0 0 End >
2 ` 50 STEP
50 A
VECTOR DETUNE SPEED 30 ms
STEPAGYTIME 12 0 End A
2 ; BOSTEP
50 7
{ELEMENT TONE |
WAVE DOOR IANO PIANO 151:0801 5nd 038.5 Vn Ens 152.0581 sind’
FREQ. shift (3 G 0 O
VOLUME 98 99 89 99
РАМ |---В LIA LE ha EP
VELOCITY Sense 2 2 2 2
АРТЕВ Sense O 0 G (3
TONE Level — 92 — 32
TONE FB wn 0 so 0
РО АМ Ö 0 0 G
ЦРО РМ 16 if 16 16
LFO TYPE PEN NA A A
РО Ре! ау D D 0 0
LFO Rate a aß 99 ag
LFO Speed 20 20 20 20
49
VOICE COMMON
A В С D
ELEMENT ENV
ТУРЕ PRESET PRESET FRESET FRESET
DELAY Rate 99 99 99 99
DELAY onvoff off off off off
INITIAL Level 67 o 90 {
ATTACK AL ga 92 97 92
ATTACK AR 99 99 64 89
DECAY1 DIL sy G2 5 a
DECAY1 D1H 0 O de {}
DECAY? D2L 0 ap a5 92
DECAY2 D2R 26 0 9 0
RELEASE Rate 60 76 52 76
SCALING Lvl Type 2 1 4 1
Hate Type 3 1 2 1
The voice mitialize function is useful if you want
to begin programming a voice “from scratch.”
VOICE RECALL
UE RÉCOLL VOICE
Ha sii super?
Summary: Recalls the last voice edited from the
FG33 edit buffer memory.
Settings: None
Procedure: When the “RECALL VOICE” function
is selected, “Are you sure?” appears on the
lower display line. Press the [+1/YES] key to
recail.
“>>Completed!!<<” will appear briefly when the
recali operation is finished.
50
Details: Even if you've exited the edit mode and
called a different voice, this function will recall the
last voice edited with all parameters as they
were af the time the edit mode was exited. A
handy “safety net” to help you recover acciden-
tally lost data,
VOICE VECTOR
VOICE VECTOR
The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and
detune vectors,
LEVEL SPEED (Vector Rate)...
LEVEL EDIT (Step, X-axis, Y-axis € Time) .....e. m.eeeecermee eee. censenamneoe eee 53
DETUNE SPEED (Vector Rate) ...............eeccuconm 55
DEFUNE RECORD... pésshssun ste tebn ana na nues essuscesseseners essoscesenseer 55
a EE
- E
DETUNE EDIT (Step, X-axis, Y-axis & Time} 35
A li a li li lil al lili lili lil le e e Mi ll li lili a o lll li ll le dl de e A a a
A E ls il: ls lie: ll e ll e A e EA E ьь 53
51
VOICE VECTOR
Selecting the VOICE VECTOR Edit Mode
@ Voice
= COMMON
VOICE
From another VOICE EDIT mode simply press
[VOICE VECTOR].
Selecting the VOICE VECTOR Edit Mode
Functions
The various VOICE VECTOR edit mode func-
tions can be selected in sequence by pressing
the [VOICE VECTOR] key, or by using the
PAGE |<] and [>] Keys.
The COMPARE Function
While in any VOICE EDIT mode, you can com-
pare the sound of the edited voice with the
sound of the voice before 11 was edited by press-
ing the [EDIT/COMPARE] Key to activate the
COMPARE function, The [EDIT/COMPARE]
key indicator wii fiash while the COMPARE
function 1s active, and the sound of the voice
prior to editing will be heard when vou play the
master keyboard or controller. Press the
[EDIT/COMPARE] key again to return to the
edit mode,
Mi:
AV LEVEL SPEED
Vector Fate Jes
1 Summary. Sets the time between level vector
E steps.
j Settings: 10... 160 miiliseconds (in 10-millisecond
steps)
Procedure: Use the [DATA ENTRY] control or
E PIANO] and [+1/YES] keys to select the de-
sired vector rate,
VOICE VECTOR
BAAS SA PUN
Details: Fach dynamic vector is composed of up to
50 “steps” corresponding to points along the
path followed by the vector control. This function
sets the mmial time between each step. The
Time parameter in the LEVEL EDIT function,
described later, allows the length of individual
steps to be edited. The vector rate parameter
can be changed even after recording a vector
producing a corresponding change in the spacing
between the steps.
>
Refer to, page 28,
LEVEL RECORD
| UL LEVEL REC
| PTE: RED РЕМ
Summary. Allows recording of a dynamic level
vector.
1 Settings: STBY, REC, PLAY
: Procedure: Use the CURSOR [a] and >] keys to
[place the cursor to the left of STBY. The vector
control LEVEL mode will be automatically
selected and you can rehearse the vector sweep
you wish to record.
| Smmary: Selects any of the 50 steps In a recorded
evel vector for editing.
l Settings: 1... 50
Move the cursor to REC. Recording will actually
begin as soon as you play a note. When you
release the note or when 50 steps have been
recorded (See “LEVEL SPEED” above), re-
cording will end and the cursor will move to the
PLAY position. You can now play the keyboard
to hear how the vector sweep you just recorded
sounds.
Details: The amount of time available for recording
depends both on the vector rate setting and how
much the vector control is moved.
Kefer to: page 28, 29,
LEVEL EDIT (Step, X-axis, Y-axis & Time)
Procedure: Use the [4] and {»] cursor keys to
piace the underline cursor under the leftmost
value on the lower display line (Step). Use the
-1/NO] and [+1/YES] keys to select the step
te be edited.
Details: Step ! is the first step recorded and step
0 15 the last, Experience will give you a feel for
relating specific points in a dynamic vector to the
corresponding steps,
VOICE VECTOR
® X-axis & Y-axis
ОНР L.ED Hemme
1 M+ BOW 5 End
Summary: These parameters define the position of
the currently selected step on the X and Y axes
of the leve] vector control range,
Settings; 31... 50... +31
Procedure: After selecting the step to be recorded
as described in the previous function, use the
CURSOR [<i and [>] keys to place the underline
cursor under the X or Y parameler. Use the
[DATA ENTRY]; control or {—1/NOI and
1+1/YES] keys to set the value as required,
Details: On the X (D-C) axis, a setting of —31
places the step as far as possible toward the D
element while a selting of +31 places it as far as
possible toward the C element. The Y (A-B)
axis values work in the same way: a seiting of
-31 places the step as far as possible toward
the B element while a setting of +31 places it us
far as possible toward the A elemen. in both
axes 2 selting of +0 places the step al center
position.
A
— +31
X axis wf Di Fri 94 + À с
—31 + +31
al 31
В
Y axis
54
Summary: Multiplies the vector rate selling of the
current level vector step only. Also allows vec-
tors to be looped or ended at the current step.
Settings: |... 234, Repeat, End
Procedure: Use the CURSOR [di and [>] keys to
place the underline cursor under the rightmost
value on the lower display line (Time). Use the
[DATA ENTRY] control or [-1/NO] amd
[+1/YES] keys to select the required time value,
repeat, or end.
Details: Time values muluply the veclor rate set-
ting for the current step, If the vector rate
parameter is set to 30ms, for example, setting
the time parameter to 2 results in a step length
of 60ms, setting it to 3 results in à step length of
Q0ms, and so on, Since the maximum time value
is 254, extremely long steps can be created.
H you select the “End” setting, the vector will
end at the current step.
The “Repeat” selling causes the vector to loop
back to the first step [rom the current step, re-
peating continuously,
NOTE: Extreme LEVEL EDIT settings that are be-
vond a reasonable range for the current vector
may not produce the expected results.
Fan
fF
VOICE VECTOR
{ I 1 Te 1 Pir Form ret
ОЕ! 13 yal "т
hr a" Fans * Fo crus ". + HAH]
IR LL. pre a 1 Neue
Li" Y E y 11 + TIE
вия `
Summary: Sets the time between detune vector
steps.
Settings: 10... 160 milliseconds
Procedure: Usc the [DATA ENTRY] control or
[-1/NO] and [+1/YES| keys to select the de-
sired vector mie.
un TIRE я EF
EEE pen pe oo, yy
ENTES RECO PLE
[ Summary: Allows recording of a dynamic detune
vector,
| Settings: STBY, REC, PLAY
| Procedure: Usc the CURSOR [a] and [>] keys to
E place the cursor to the left of STBY. The vector
control DETUNE mode will be automatically
selected and you can rehearse the vector sweep
you wish to record.
Details: Each automatic vector sweep Is composed
of up to 50 “steps,” corresponding to equally-
spaced points along the path followed by the
vector control. This Tunction sets the initial time
between cach step.
Refer to: page 28.
Move the cursor to REC. Recording will actually
begin us soon as you play u note. When you re-
lease the note or when all 50 steps have been
recorded (See “DETUNE SPEED” above), re-
cording will end and the cursor will move to the
PILA Y position. You can now play the keyboard
to hear how the vector sweep you just recorded
sounds.
Details: The amount of time available for recording
depends both on the vector rate setting and how
much the vector control is moved
Refer to: page 28, 29,
DETUNE EDIT (Step, X-axis, Y-axis & Time) —
E Step
UN DIED Dafa mle
3 Но" hr" ==
tdo . 11. Ha Be us
Loss 8 Ye Евы
Summary: Selects uny of the 50 steps in a recorded
| бейте vector for editine.
| Settings; 1... 30
Procedure: Use the CURSOR [<] and ip] keys to
place the underline cursor under the leftmost
value on the lower display line (Step). Use the
¡DATA ENTRY] control or [-1/NO! and
|+1/YES] keys to select the step to be edited.
Details: Step 1 is the first step recorded and step
50 is the last. Experience will give you a feel for
relating specific points in a dynamic vector to the
corresponding steps.
VOICE VECTOR
® X.axis & Y-axis
DEL Pebble
1 x+ D y+ © End
Summary: These parameters define the position of
the currently selected step on the X and Ÿ axes
of the detune vector control range.
Seitings; 31... +0... +31
Procedure; Use the CURSOR [< and ib] keys to
piace the underline cursor under the X or Y
parameter. Use the [DATA ENTRY] control or
[-1/NO] and [+1/YES] keys to set the value as
required.
Details: On me X (D-C) axis, a setting of —31
places the step as far as possible toward the 13
element while a setting of +31 places ir as far as
possible toward the C element. The Y (A-B)
axis values work in the same way: a setting of
—31 places the step as far as possible toward
the B element while a setting of +31 places if as
far as possible toward the À element. In both
axes a setting of +0 places the step at center
position.
X axis D [popa] €
ЕВЕ am
56
® Time
SDE Feel
ist 6 y+ € End
Summary: Multiplies the vector rate setting of the
current detune vector step only. Also allows
vectors to be looped or ended at the current
step.
Settings: 1... 254, Repeat, End
Procedure: Use the CURSOR [<] and [>] keys to
place the underline cursor under the rightmost
value on the lower display line (Time). Use the
[DATA ENTRY] control or ¡-I/NO] and
[+1/YES] keys to select the required time value,
Details: Time values multiply the vector rate set-
ting for the current step. M the vector rate
parameter is set to 30ms, for example, setting
the time parameter 10 2 results in a step length
of 60ms, setting 1t to 3 results in a step length of
Y0ms, and so on, Since the maximum time value
is 254, extremely long steps can be created.
If you select the “End” setting, the vector will
end at the current sep,
The “Repeat” setting causes the vector to 1oep
back to the first step from the current step, re-
peating continuously.
NOTE: Extreme DETUNE EDIT settings that are
be yond a reasonable range jor the current vector
may not produce the expected results.
Eat q ere is = mm
EA TA br e A pt, as ON
жары цены, = ель paa SY
ELEMENT TONE
ELEMENT TONE
The ELEMENT TONE edit mode allows editing many of the most important sound-deter-
mining parameters of each individual element — A and B in a 2-element voice: A, B, C and
D in a 4-element voice,
WAVE TYPE vr overs . peneroonoDerocroneeneeanenees vr 60
FREQUENCY SHIFT....... peorroreooroorenoecaccocons rorrrenren seuvens worsens 62%
YOLUME .erereeenenone enn TA ceoenenen eoeneaeco cone re o robes 62
PAN .......... ... Cepero reee ee remecuea merino ee vou 62%
VELOCITY SENSITIVITY .... .. ver... vo … 63
AFTER TOUCH SENSITIVITY .... TA нннненннннннныые 63
TONE (Level & Feedback: FM Elements B and D Only)...... O AT 64*
LFO (Low Frequency Oscillator} AM Depth,
PM Depth, Type, Delay, Rate 8: Speed... nn rre. 64*
* These four parameters are not available for an AWM element in which wave number 127
(Drum Set) is selected — “Cannot edit” display appears.
57
ELEMENT TONE
Selecting the ELEMENT TONE Edit Mode
o VOICE
= TONE - ENVELOPE
ELEMENT
From another VOICE EDIT mode simply press
[ELEMENT TONE].
Selecting Elements for Editing
Different elements can be selected for editing by
pressing the appropriate [ELEMENT SELECT]
key — [A], iB], [Cl or [D]. If a 2-element voice
is being edited, only clemenis A and B can be
selected. The currently selected element 15
shown in the upper right-hand comer of the LCD
as a reversed (white on black) character.
Any of the available elements can aiso be turned
on or off by pressing the appropriate
[ELEMENT ON/OFF] key. Each key alter-
nately turns the associated element on and off,
and the on/off status of the elements ts shown to
the right of the upper LCD line. If the element
character is showing, the associated element is
ON, 1f a dash appears in place of the element
character, that element 15 OFF, The ability to
tum elements on or off while editing makes it
easier to hear the effect of parameter changes on
a single element.
in this example elements A, B and [ are ON,
while element C is OFF. Element A is currently
selected for editing.
ET WAVE pèse 66E-D
Piano: Pa
=,
Selecting the ELEMENT TONE Edit Mode
Functions
The various ELEMENT TONE edit mode func-
tions can be selected in sequence by pressing
the [ELEMENT TONE] key, or by using the
PAGE [<] and [>] keys.
The ELEMENT COPY Function
This function facilitates editing by copying all
element parameters from an element of the same
type (AWM or FM) in another voice to the cur-
rent element of the current voice.
To call the ELEMENT COPY function, press the
ISTORE/COPY; key while in the ELEMENT
TONE edit mode.
ET COPYreos DE
511 SF*Frocs H=
In the ELEMENT COPY display, the source,
bank and number parameters are shown in the
standard TG33 voice number format. “P,12,” for
example, is preset !, bank 1, number 2; “135” is
internal bank 3, number 5, etc,
Data can only be copied between elements of
the same type. If the clement currently being
edited is an AWM clement (A ог С), only ele-
ment A or C of the source voice can be copied
from. The same applies to FM elements.
The data for all parameters contamed in the
ELEMENT TONE mode will be copied.
Use the CURSOR [<] and IP} keys to move the
cursor to the source, bank, or number of the
source voice (the voice from which the element
parameters are to be copied) to the left of the
lower display Tine. Use the ¡DATA ENTRY]
control or [»]/NO!] and [+1/YES] keys to set
the selected parameter as necessary.
3. Next move the cursor to the element type
parameter to the right of the lower display line,
and select the element from which the data is to
be copied using the [DATA ENTRY] control or
[-1/NO] and {+1/YES] keys.
Press the [>] cursor key one more time and the
“Are you sure?” display will appear. Press
[+1/YES] to execute the element copy operation
or [—1/NO1 to cancel. “>>Completed!i<<” will
appear briefly when the copy operation has
finished.
. Press the ELEMENT [TONE] key to return to
the ELEMENT TONE edit mode.
- The COMPARE Function
E While in any VOICE EDIT mode, you can com-
pare the sound of the edited voice with the
sound of the voice before it was edited by press-
ing the [EDIT/COMPARE] key to activate the
COMPARE function. The [EDIT/ COMPARE]
key indicator will flash while the COMPARE
ELEMENT TONE
function 1s active, and the sound of the voice
prior to editing will be heard when you play the
master keyboard or controller. Press the
¡ELDITCOMPARE] key again to return to the
edit mode.
59
ELEMENT TONE
WAVE TYPE
ET WAVE B00 GRCD
Piano: Fiano
Summary: Assigns a preset wave to the selected
element.
Settings: Elements A and C (AWM): 0... 127
Elements B and D (FM): 0... 285
Procedure: Use the CURSOR |<] and [>] keys to
piace the underline cursor under the left parame -
fer on the lower display line to directly select the
AWM WAVEFORM LIST
different wave categories, or under the right
parameter 10 select individual waves. Use the
¡DATA ENTRY] control or i-1/NO] amd
I+1/YES] keys to select the desired wave (refer
to the wave list, below),
Details: The number of waves available depends on
whether the currently selected element is an
AWM element (A or СЗ ог ап FM element (B or
D). The TG33 has 128 preset AWM waves (0
… 127} and 256 preset FM waves (0... 255).
Catagory | No, Name Category | No. Name Category | No. Name Category No. Name
Fiano © | Plano Hass 32 | E.Bass 3 Synih 54 | Oh Hit 0506 86 | Pad wy
1 | Epiano 33 | EBass 4 SEX 66 | Water) 97 | Digital!
e | ам 34 | Sap 86 | Water? 98 | Digital?
3 Cembalo 35 Fretiess 57 Stream LG Окна
4 | Celesta 36 SvynBass! 68 | С vin 100 | Digitale
Organ 5 | P.organ 37 SynBass2 86 | Crash 101 | Digitals
6 | E.organt Str. 38 Strings 70 | Bottie 102 | Saw 1
7 | E.organ? 39 VnEns. 71 | Tear 103 | Saw?
8 | Feed 40 Cello 72 | Cracker | oe Saw 3
Brass Эт 41 ГЧ#7. a Scratch aw
10 | Mote Trp 42 Syn Str Hits | 74 | Metal: 106 | Square1
11 | Trombone Vocal da Choir 75 | Metal? 108 Square 3
12 ; Fluge! dd Hopia 76 | Metai3 109 Square 4
13. Fr kom 45 | Dood Tr Metal 4 116 Pulse 1
14 BrasAtak Pare, 46 | Vibes 78 | Wood 111 | Pulse 2
15 | SynBrass 47 | Marimba 79 | Bamboo 112 Puise3
Wood 16 | Flute 48 | Bells 80 | Sam 113 Puíse4
17 Ciarnet 49 | Timpani Tran. 8i | Tp. Body 114 Puise5
18. Oboe 50 | Tom 82 | 15. Воду $15 | Pulses
19 | Bax 51 | E. Tom 83 | MornBoéy 116 Ta
Gar 20 Gu 52 | Cuica 84 | Fi. Body 117 Sing
24 Steel 53 | Whistle ES | StrBody 118 | Sing+4
22 EGU 1 54 | Ulaps 86 | ArBlown SEQ 119 | SEQ
23 EGr2 Synih 55 | Hit 8” Reverses 120 | SEQ 2
24 | Mute Gir 56 | Harmonic 88 © Reverse? 121 | SEQ3
25 | Sitar 57 | Mix 89 | Reversed 122 | SEQ 4
26 | Pluck t 58 | Sync DSC 30 EPwy 123 SÈQS
27 | Pluck 2 59 | Sel Mix ЭФ Отдам му 124; SEO 6
Bass 28 | Wood В 3 60 | Siyroll : 82. MTpw 125 SEO7
54 | Wood B 2 61 | DigiAtak ‚ 98 Gr ww 1258 SkUB
30 | E Bass? G2 | Noise 1 ; 94 Strwv1 ry
31 | E Bass? 63 | Noise 2 | 9% Srwyz um 127 | Drum sel
AWM Wavetorm Category Descriptions
Piano Plano, clavi, ard other decay-type keyboard sounds. Synth A range of synth sounds (including noise).
Organ Pipe, electric and reed organs. SFX Special eltects — water, bottles, etc.
Brass Acoustic and synihesized brass sounds. Hits Struck metal ang woods.
Wood Fluis, sax and other woodwind sounds, Tran. Transient attack waves and some reverse sounds.
or uste “electric, und sonih bass ose Standard synth waveforms and the basic waveforms from
; : : some aciual instruments.
Ser, Violin ensemble and other strings. SEG Sequences ot sampled sounds.
Vocal Choir and other vocal-type sounds. Drum Drum set waves.
Perc. Vilas, tympani, etc.
ELEMENT TONE
FM VOICE LIST
Category | No, Name Category ‘No. Name Category | No. Name Category | No. Name
Piano CG | E.Pl&no1 Pluck 49 | Guitar 4 Syr.S 98 Bus, 1 SFX 147 | SFX 5
1 | E.Pianoz 50 : Guitar 5 | 99 | Sus. 2 148 SFX 46
à EPiano3 51 | Guitar & | 109 sus : 148 | SFX 7
2 E.Pians4 52 Cauitar 7 : +01 Us. OSC 1 15 Si 6
4 EPianoë 53 | Guitar 8 102 Sus. > > + or Sin >
>_.Piano6 Bass 54 Bass 1 104 Ss 152 | Sin 4'
Organ 6 | E.organt 55 | Bass 2 10€ Sue 8 153 | Sin2 2/3
7 | E.organ2 56 Bass 3 106 sua, а 154 Sin?
8 | F.organ3 57 | Bass 4 107 Sus. 10 155: Sawi
9 Eorgan4 | 58 Bass 108 Eo 1 156 | Saw2
10. Eorgans - 59 | Bass6 100 Sus 1 157 | Square
11 Eorgans 60 Bass7 1201 ee 158 ! LFOnoise
12 | E.organ? 61 | Bass 8 us. 13 159 | Noise 1
13 Ecorgan 62 | Bass 9 111 | Sus 14 160 | Noise 2
Brass YA TEL oe - (covers cvs 12 | Sus. 18 181 Digi 4
rass 14 | Brass | Ser, 63 Sir! 113 | Atinckt 182 | Digi?
15 | Brass 2 54 | Str2 114 ABack 2 z Ig:
16 | Brass 3 65 St3 115 | Attack 3 163 ки 3
17 | Brass 4 BG | Sirá 118 ; Attack 4 164 Digi 4
19 Brass 6 67 | Sir & 117 | Attack 5 186 Did а
4 +
J | Brass 6 Se SynM 1118 | Move 1 187 | Digi 7
20 | Brass 7 69 Gir? E
21 Brass 8 - 115 Move = 168 Digg 8
20 | Brass Parc. 70 Vibes 1 120 | Move3 168 | Digi S
ass 71 | Vibes 2 121 Move 4 170 Digi 10
23 | Brass i0 753 | Vibes 9 ; » igi
24 Brass 11 73 | Vibas a 122 Moves 17% | Digi 11
25 Brass 17 74 Marimba 1 Mave : OSC2 172 | wavel-i
26 | Brags 13 ove I 173 | wave1-2
: 75 | Marimbaz
27 Brass 14 76 | Marimba3 Syn.D 125 | Decay | 174 | wavel-3
Wood 28 | Wood 1 77 | Вейс | 126 | Decay 2 175 | wavez-1
20 Wood 2 78 Bails 2 te; Decay 3 176 | wavegz-2
30 Wood 3 75 Bells 3 128 Decay 4 177 waves-3
31 Wood 4 80 | Balls 4 129 | Decay 5
32 Wood 5 8% | Bells 5 130 | Decay 6
33 Wood 6 82 | Bells 6 131 | Decay 7 | 220 | wavei7-4
34 | Wood 7 83 Belle 7 187 | Decay 8 | 221 | wave17-2
35 | Wood 8 84 | Bells & 138 | Decay9 | 222 wavel?-3
Reed 46. Reed] 85 | Metal i 138 | Decay o Osc3 | 223 | waves 1
37 | Read? 85 Metal 2 136 D y 19 2cà | wavaiB-2
38 Reed 3 87 | Меза! 3 Эсву 225 | wavel8-3
39 Reed4 89 Metal 5 138 | Decay 14 |
40 | Read 5 ota 139 Decay 15 | |
4% | Вова 6 90 | Metal 6 120 | Bacay 16 250 | wave27-1
= | | Sy 8 01 TLead] + | раса 251 | wave27-2
вск 42 | Clavi 1 ya, 141 | Decay 17 252 wavez7.3
43 | Clavi 2 | 92 | Lead2 142 Decay 18
i e | waves
44 | Clavi 3 98 | Lead3 av
ar SFX 143 | SFX 1 254 wave79
45 Ciavi 4 94 : Lead 4
; 95 | Lead 5 1dé | SFX 2 25 | Wave30
: Lead 6
47 | Guitar 2 96 | 146 | SFX 4
48 | Guitar 3 97 Lead? f
1 | FM Voice Category Descriptions
: | Pano Electric oianos. Pero. Vibes, marimba, bells and other PRICLISSION sounds,
Organ Electric Organs, Syn.5 Sustained lead synth sounds.
Brass A variety of brass sounds. Syr.M Synth sounds that vary with Eme.
Wood Woodwind instrument sounds, Syn Decay-type synth sounds.
Ased Sax, oboe and other reed instruments, SFX A range of sound-effect type synth sounds.
1 Pluck Guitar, clavi, and other plucked instrument sounds. 0501 Sine, sawtooth, and other standard synth waveforms,
+ Bass Bass sounds. OSCE Basic FM timbres, group 1.
"St. — Strings. : 0503 Basic FM timbres, group 2.
If the TYPE parameter in the ELEMENT
ENVELOPE edit mode (page 69) is set to
PRESET, selecting a WAVE TYPE also selects
the corresponding preset envelope. I a different
envelope type is selected, the preset envelope is
not selected together with the wave,
Refer to: page 19... 77 45.
61
ELEMENT TONE
FREQUENCY SHIFT
ET FRE, NBC
Shift=+ 0
Summary: Shifts the frequency (pitch} of the
selected element up or down in semitone steps,
settings: -12 ... +0... +12,
Procedure: Use the [DATA ENTRY] control or
LINO] and +1/YES] keys to select the de-
sired amount of frequency shift
Details; A setting of *-12,7 for example, shifts the
plich of the selected element down by one
octave: a setting of “+4” shifts the pitch up by a
major third.
The Frequency Shift function can be used to
transpose an element to Its most useful range,
orto create harmony tintervals) between differ-
ent elements.
BET LLL AECE
| ле || ==
“per
эт
ГЕ
F
Summary: Adjusts the volume of the selected
element,
Settings: 0... 99
Procedure: Use the [DATA ENTRY] control or
I-1/NO] and [+1/YES] keys to select the de-
sired volume level,
Details: A setting of “0” produces no sound while
à setting of “99” produces maximum volume,
The ability to independently adjust the volume of
each element makes it simple to set up the
optimum balance or “mix” between elements.
ET FAN “BECA
| ~~ TR
Summary: Determines the position in the stereo
sound field in which the sound from selected
clement will be heard (left to right).
Seftings: Graphic Display: L--I--R, 5 positions
from left to right
Procedure: Use the [DATA ENTRY] control or
-I/NO] and i+1/YES] keys to select the de-
sired pan position.
Details: The lower line of the display shows a
graphic representation of the stereo sound field
62
with “L” representing “left” and “R” repre-
senting “right.” As you edit the pan parameter
the position indicator will appear at the corre-
spondmg position on the graphic display. À total
of five different positions are available, corre-
sponding to left, lefl-center, center, right-center,
and right,
Interesting stereo effects can be produced by
placing the output from different elements at
different locations in the stereo sound field.
Please note that when the EFFECT Balance
parameter 1s set to or close to its maximum
value (127), the PAN setting has no effect.
Refer to: pase 43, 78 ... 80.
TTT
ELEMENT TONE
VELOCITY SENSITIVITY
ET LELOCTTY HBC
Pes + ———
Summary: Determines how the output level of the
selected element changes in response to veloc-
ity changes (keyboard initial touch response).
Settings: —5 +0 1. +5
Procedure: Use the [DATA ENTRY] control or
(~1/NG] and [+1/YES! keys to select the de-
sired velocity sensitivity,
E Details: Plus “+” settings produce higher output
a level in response to higher velocity values — Le.
the harder a key is played, the louder the sound.
Minus “— settings produce the opposite effect:
lower level in response to higher velocity, A
setting of “0” results in no level variation.
H No response.
+1 Narrow change between mediur-lard and hard
velocity,
+2 Broader change between medium and hard
velocity,
+3 Smooth change all the way from soft to hard
velocity,
+4 Large change over small velocity range.
+5 Sudden change from no sound to maximum level
at about medium velocity.
HM
Settings have the same effect, but the
sound level decreases rather than increasing
with increased key velocity. A graphic display to
the right of the sensitivity value provides a
visual clue as to the type of change produced Бу
each setting.
Туре -5 Type -4 Type 3 Type —2
в Th, To a
Type —1 Type +0 Type +1 Type +2
Type +3 Type +4 Type +5
=n a i
ET ML TOUCH OECD
isper + ==
Summary: Determines how the output level of the
™ selected element changes in response 1o after-
touch pressure changes when the Lev (Level)
parameter of the AFTER TOUCH function in the
VOICE COMMON mode is set to “on” (see
page 46).
Settings: 3... +0... +3
Procedure: Use the [DATA ENTRY] control or
[~1/NOJ and 1+1/YES] keys to select the de-
sired after touch sensitivity.
Details: Plus “+” settings produce higher output
level in response to higher after touch pressure.
Minus “— settings produce the opposite effect:
lower level in response to higher pressure. A
setting of “O” results in no level variation.
+0 Мо response.
+] Narrow change between medium-high and high
pressure,
+2 Broader change between medium and high
pressure,
+3 Smooth change all the way from low to high
pressure,
"=" Settings have the same effect, but the
sound level decreases rather than Increasing
with increased after touch pressure. A graphic
display to the right of the sensitivity value pro-
vides a visual clue as to the type of change pro-
duced by each setting.
Туре -3 Type -2 Type —1 Type +0
~~ Erik e pr
ds
Type +1 Type +2 Type +3
. +
Refer to: page 46.
63
ELEMENT TONE
TONE (Level & Feedback: FM Elements B and D Only)
ET TUNE MECO
Ley= Y Fs
Summary: Adjusts the tone of the selected PM
element — В ог D.
Settings: Lev (Level): 0... 99
FB (Feedback); O ... 7
Procedure: Use the CURSOR [dj and [>] keys to
place the underline cursor under the Lev or FB
parameter. Use the [DATA ENTRY] control or
[-1/N01] and [+1/YES] keys to set the level or
feedback as required.
Details: The Lev parameter adjusts the modulation
level of the select FM element, so higher values
produce a brighter, sharper tone while lower
values produce a rounder, more mellow tone.
The effect of the feedback parameter varies from
element to element, but in general higher values
make the sound morc brassy or noisy, while
lower values make the sound smoother,
Refer fo: page 45.
LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed
e AM (Amplitude Modulation Depth)
ET ЦРО MELD
As E Pis Y A
Summary: Determines the maximum amount of
amplitude modulation that can be applied to the
selected element by a modulation wheel or key-
board after touch.
Settings: 0... 15
Procedure: Use the CURSOR [<] and [>] keys to
select the AM parameter. Use the [DATA
ENTRY] control or [-1/NO! and [+1/Y ES] keys
to set the desired degree of amplitude
modulation.
Details: À “0” setting produces no modulation
while a setting of “157 produces maximum
modulation. Amplitude modulation produces a
periodic variation in the volume of the sound,
thus creating 2 tremolo effect.
Please nole that the AM parameter of the
WHEEL and/or AFTER TOUCH function in the
VOICE COMMON edit mode must be set fo
“on” before amplitude moduiation can be applied
manually (see page 46). Amplitude modulation
is applied automatically when these parameters
are off.
Refer to: page 40,47,
e PM (Piich Modulation Depth)
ET LF TRE
Sd E Ps В Вов
Summary: Determines the maximum amount of
pitch modulation that can be applied to the
selected element by a modulation wheel or key-
board after touch.
Settings: 0... 31
Procedure: Use the CURSOR [<] and i>] Keys to
select the PM parameter. Use the [DATA
ENTRYT control or [~1/NO] and [+1/YES} keys
to set the desired degree of pitch modulation.
Details: A “07 setting produces no modulation
while a setting of “31” produces maximum
modulation. Pitch modulation produces a periodic
pitch variation, thereby creating a vibrato effect,
Please note that the PM parameter of the
WHEEL and/or AFTER TOUCH function in the
VOICE COMMON edit mode must be set to
“on” before pitch modulation can be applied
manually (see page 46). Pitch modulation is
applied automatically when these parameters
are off.
e Type
ci LED NE
Hd E Pis 8 Bhs
Summary: Determines the waveform of the LFO for
the selected element.
Settings:
SAW UP SAW DOWN TRIANGLE
ET РРР. “и”
SQUARE SAMPLESHOLO
ALI ле
Procedure: Use the CURSOR [<<] and [>] keys to
select the waveform parameter, Use the ¡DATA
ENTRY | control or [I/O] and i+I/YES] keys
to select the desired LFO waveform.
Details:
iii = Upward sawtooth,
MRE Downward sawtooth.
Ta = Triangle,
JAN = Square.
+
k ыы ыы
E. = Sample and hold.
ELEMENT TONE
® Diy (Delay)
ET LFD RECT
Ela E Rates ba
Summary: Sets the delay time between the begin -
ning of à note and the beginning of LFO opera-
tion for the sclected element.
Settings: 0... 99
Procedure: Use the CURSOR [<] and i>] keys to
select the Diy parameter. Use the ¡DATA
ENTRY control or [--1/NO] and [+1/YES] keys
fo set the desired LFO delay.
Details: The minimum setting “07 resuits in no
delay, while the maximum setting of “99” pro-
duces maximum delay before the LITO begins
operation.
Refer to: page 46, 47.
® Rate
ELFO EHC
#lu= В alos H-
Summary: Sets the rate of LFO “fade in” for the
selected element.
Settings: 0... 99
Procedure: Use the CURSOR [«f and fr} keys to
select the Kate parameter. Use the [DATA
ENTRY] control or [-1/NO1 and [+1/YES] keys
to set the desired LFO fade-in rate.
Details: “99” 15 the fastest rate, causme the LEO
to start operation at fuil depth immediately. À
setting of Ô produces the longest LFO fade in.
Refer to: page 46, 47.
65
ELEMENT TONE
® Spd (Speed)
ET LEO Dr la
Reed E
Summary: Sets the speed of the LFO for the
selected element.
Settings: 0 ... 31
66
Procedure; Use the CURSOR [«} and >] keys to
select Ihe Speed parameter. Use the [DATA
ENTRY] control or i-1/NO! and [+1/YES] keys
to set the desired LFO speed.
Details: “0” is slowest LFO speed setting; “317
15 the fastest.
The speed parameter can not be edited when the
sample-and-hoid (7-7) LFO TYPE is selected,
ELEMENT ENVELOPE
ELEMENT ENVELOPE
The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude
envelopes for each element in the selected voice,
TYPE... ...e. e... TAs reser sree eseres cena porrasenseneene ae ane ene eme sn rnans HE en 69
DELAY (Delay Rate & ON/OFF herr EEE eeoco ene aoa ron oe een ooo. 70
INITIAL LEVEL............. TANT NEN E TE EES E IIE SEES psn srr STRSTR STIRS TRESS AS versrarssrrens seen... 70
ATTACK (Level € Rate)... arésenéenrenmencencen annee nsenen eee EEE evescacacocanenenere non. ZU
DECAY 1 (Level € Rate) uu... emm... o re DDD DDD. anne WE 71
DECAY 2 (Level & Rattan EEE Es
LEVEL SCALTINGS cocsseressenersessssensans reee ano oe DI TTD DADA Ken assonennasarsassssasaannamenerses seno... 72
RATE SCALENCS nnsmeccnanessensemensentensensensententenmenmen reee Te aréssédonddannentennen annrn ne 04005 00000000 00008 72
NOTE: The ELEMENT ENVELOPE parameters are not available for AWM elements in
which wave number 127 (Drum Set) is selected (the “Cannot edit” display will
appear).
67
ELEMENT ENVELOPE
Selecting the ELEMENT ENVELOPE Edit Mode
O voir O cor
COMPARE
> Le
ELEMENT
From another VOICE EDIT mode simply press
[ELEMENT ENVELOPE].
Selecting Elements for Editing
Different elements can be selected for editing by
pressing the appropriate [ELEMENT SELECT]
key — [A], {B], [C] or [D]. If a 2-element voice
is heing edited, only elements A and B can be
selected. The currently selected element is
shown in the upper right-hand corner of the LCD
as a reversed (white on black) character,
Any of the available elements can also be turned
on or off by pressing the appropriate
[ELEMENT ON/OFF] key. Each key alter-
nately turns the associated element on and off,
and the on/off status of the elements is shown to
the right of the upper LCD line. 1f the element
character is showing, the associated element is
ON, If a dash appears in place of the element
character, that element 15 OFF. The ability to
turn elements on or off while editing makes 1t
gasier to hear the effect of parameter changes on
a single element.
in this example elements A, Band D are ON,
while element CG 18 Ole, element À 5 currently
selected for editing.
ER VPE MEE
LEER
Selecting the ELEMENT ENVELOPE Edit Mode
Functions
The various ELEMENT ENVELOPE edit mode
functions can be selected in sequence by press-
ing the [ELEMENT ENVELOPE] key, or by
using the PAGE [<i and [>] keys.
The ENVELOPE COPY Function
This function facilitates editing by copying enve-
lope parameters from a selected element to the
current element. ENVELOPE COPY can save a
lot of programming time by allowmg easy copy-
ing of complex USER type envelope data be-
{ween elements.
1. To call the ENVELGPE COPY function, press
the [STORE/COPY] while in the ELEMENT
ENVELOPE edit mode,
EE COPYreoms BEC
Team E +
2. Use the CURSOR |<] and ip] keys to move tie
curser to the “from” clement parameter. Use the
DATA ENTRY] control or [-1/NO] and
i+1/YES] keys to select the element from which
the envelope data 1s to be copied,
3. Press the CURSOR ‘pi key one more time and
the “Are you sure?” display will appear. Press
(+1/YES] to execute the copy operation or
appear briefly when the copy operation has
finished.
4, Press the ELEMENT [EG] key to return to the
ELEMENT EG edit mode,
The COMPARE Function
While in any VOICE EDIT mode, you can com-
pare the sound of the edited voice with the
sound of the voice before it was edited by press-
ing the [EDIT/COMPARE] key to activate the
COMPARE function. The [EDIT/COMPARE]
key indicator will flash while the COMPARE
function Es active, and the sound of the voice
prior to editing will be heard when you play the
master keyboard or controller. Press the
¡EDIT/COMPARE] key again to return to the
edit mode.
ELEMENT ENVELOPE
ЕЕ ТУРЕ МЕН:
USER
LEVEL
Summary: Selects a user or preset amplitude enve-
tope for the selected element.
Settings: PRESET, PIANO, GUITAR, PLUCK,
BRASS, STRINGS, ORGAN, USER
Procedure: Use the [DATA ENTRY] control or
[-1/NO] and [+1/YES] keys to select the de-
stred envelope.
LEVEL
р E Details: When “PRESET” is selected, the original
| envelope of the wave selected for the current
element is used. For example, if the current
clement uses a guitar wave the corresponding
guitar envelope will be selected,
When “PIANO,” “GUITAR,” “PLUCK.”
“BRASS,” “STRINGS,” or “ORGAN” is
selected, a generic envelope of the appropriate
type 1s used. The envelopes are roughly as
shown below:
LEVEL
LEVEL
LEVEE
When “USER” is selected, an original envelope
can be programmed using the attack, decay, and
release parameters described on pages 70, 71
and 72,
LEVEL
TIME
Refer to: page 47,
ELEMENT ENVELOPE
DELAY (Delay Rate & ON/OFF)
Summary: Sets a delay before the envelopes of all
elements begin.
Settings: Delay: 0... 99
Mode: on/off
Procedure. Use the CURSOR |<] and [>] keys to
move the cursor to the “Kate” parameter, Use
the [DATA ENTRY! contro! or i-1/NO] and
[+1/YES] keys to select the desired delay rate.
Press the [>] cursor key one more time to move
to the on/off mode parameter, and use the
IDATA ENTRY] control or [-1/NO] and
I+1/YES! keys to set as required,
Details: The envelope delay rate parameter affects
al envelopes simulfaneously. A setiing of “997
produces almost no delay while a setting of “0”
produces maximum delay,
Refer fo: page 47.
INITIAL LEVEL
E
|.
В
d
|
Summary: Sets the starting level of the amplitude
envelope for the current element.
Settings: O... 99
Procedure. {ise the ¡DATA ENTRY] control or
I-1/NO] and [+1/YES] Keys to set the initial
level.
Detalis: A setting of “07 means that the envelope
wIl begin from zero (minimum) level, while a
setting of “99” causes the envelope to begin
immediately from maximum level. The highest
setting produces the sharpest attack.
; Attack rate
:
i Attack level
ы Decay
e 1 leve!
wd ! Decay 2
i
Le Ё Ë Fialeaso
Iria hear ui :
oe ; Decay Decay rate
t rate 2 rate
TIME
Key ON Key OFF
Refer to: page 47,
ATTACK (Level & Rate)
Summary: Sets the rate and peak level of the attack
of the amplitude envelope for the current
element.
70
Settings: Al CÁtack Level): 0... 99
AR (CAtrack Kate О... 99
Procedure: Use the CURSOR [<] and [>] keys to
move the cursor to the “AL” or “AR” parame-
ter. Use the ¡DATA ENTRY] control or
(~1/NQOJ and {+1/YES] kevs to set the selected
level or rate parameter,
Details: Refer to the INITIAL LEVEL function for a
complete envelope diagram.
_ DECAY 1
FE DECHWYIL BEC)
Cil= e DiR= 6
Summary: Sets the rate and final level of the first
decay of the amplitude cnvelope for the current
element,
Settings; DIL (Decay | Level): 0... 99
DIR (Decay 1 Rate): 0... 99
Procedure: Use the CURSOR [<] and [>] kevs to
move the cursor to the “DIL” or “DIR”
parameter, Use the [DATA ENTRY] contro] or
-1/NO] and [+1/YES] keys 10 set the selected
level or rate parameter,
ELEMENT ENVELOPE
A rate setting of “0” produces the slowest
attack, and a setting of “99” produces the
fastest attack.
A level setting of “0” produces the lowest
attack level, while a setting of “99” produces
the highest level.
Refer to: page 47,
IC] & Rate) |
Details. Refer to the INITIAL LEVEL function for a
complete envelope diagram.
A rate setting of “0” produces the slowest de-
cay, and a setting of “99” produces the fastest
decay.
A level setting of “0” produces the lowest de-
cay level, while a setting of “99” produces the
highest level.
Refer to: page 47.
DECAY2 (Level & Rate)
= FO a e Man ps
ES DERE НН
р2ц= В (ке ой |
Summary: Sets the rate and final level of the second
decay ol the amplitude envelope for the current
element.
Settings, D2L (Decay 2 Leveb: 0... 99
DZR (Decay 2 Rate): 0... 99
Procedure: Use the CURSOR [<] and [>] keys 10
move the cursor to the “D2L” or “DR”
parameter. Use the [DATA ENTRY] control or
[-1/NO] and [+1/YES] keys to set the selected
level or rate parameter.
Details: Refer to the INITIAL LEVEL function for a
complete envelope diagram.
À rate setting of “0” produces the slowest de-
cay, and a setting of “99” produces the fastest
decay.
A level setting of “0” produces the lowest de-
cay level, while a setting of “99” produces the
highest level.
The decay 2 level parameter also sets the hold
level at which the note is sustained until
released.
Refer to: page 47.
7
ELEMENT ENVELOPE
RELEASE RATE
BEE KELERSE DECO
Rates of
Summary: Sets the release rate of the amplitude
envelope for the current element.
Settings: 0... 99
Procedure: Use the [DATA ENTRY] contro! or
[-1/NO] and [+1/YES] keys to set the release
rate.
Details. Refer to the INITIAL LEYEL function for a
compiete envelope diagram.
À release rate setting of “07 produces the
slowest release, and a setting of “99” produces
the fastest release.
Refer to: page 47.
#
LEVEL SCALING
BE OSCE Thm Вбр
Let! Types 1 eee
Summary: Determines how the level of the current
element changes across the range of the
keyboard.
Settings: 1... 16
Procedure: Use the [DATA ENTRY! control or
[--1/NO] and [+1/YES] keys to set the desired
level scaling curve.
Details: Most acoustic instruments do not produce
a uniform sound level throughout their pitch
range. This results in a level curve that can be
simulated by appropriate settings of the level
scaling parameter. Often, for example, the level
decreases slightly as the pitch increases.
Lach of the 16 available level scaling curves 1s
shown in graphic form on the LCD when
selected, making it easy to locate and select the
optimum curve for each application.
Type 1 Туре & Туре 3 Type à
Type 5 Type 6 Type 7 Type a
туре 9 Туре 10 Туре 11 туре 12
“a ; a yee
Type 13 Type 14 Type 15 Type 16
e ¿N we эн |
мены ‘от —
Refer to: page 47.
~~
RATE SCALING
ES
=
E DHL 15 SCD
Fate Td
pe= | ---
Summary: Determines how the overall rate of the
amplitude envelope for the current element
changes across the range of the keyboard.
72
Cettings: 1... 8
Procedure. Use the [DATA ENTRY] control or
[--1/NO] and [+1/YES] keys to set the desired
rate sealing curve,
Details: Many acoustic instruments do not produce
uniform note length throughout their pitch range.
This results in a rate curve that can be simulated
by appropriate settings of the rate scaling
parameter. Often, for example, the overall note
length decreases shightly as the pitch increases.
Each of the 8 available rate scaling curves is
shown im graphic form on the LCD when
selected, making it easy to locate and select the
optimurn curve for each application.
Type 1
Type 5
Na
ELEMENT ENVELOPE
Type Type 3 Type 4
Type 8 Туре 7 Туре 8
+
Refer to: page 47.
73
ELEMENT ENVELOPE
74
MULTI
The MULTT edit mode allows 16 different voices to be assigned to different MIDI channels,
and a range of parameters including volume, detuning, pan position, and others, to be set for
each voice. The assigned voices can then be individually controlled over the appropriate
channels from an external MIDI sequence recorder or other controller, Refer to “5. THE
MULTI PLAY & EDIT MODES” beginning on page 33 of the TUTORIALS section for more
details.
VOICE NUMBER ... . . AQ 77
VOLUME........ . entataaos ... pwosvevreveweaaces 77
DETUNE... Re . ne... w 77
NOTE SEIFT .................... e... eee... me... . 78
PAN ne... process evoseressuts . .. . 78
ASSIGN MODE es venus we 79
SEND GROUP SELECT penmanoonoos .. . 79
OUTPUT SELECT pecooocneene cono. .. . 50
EFFECT (Type, Balance & G1/G2 Send Levels) arovrerveees 80
NAME nu... revente se .. ne... enanos 81
MULTI INITIALIZE,..............eeeeeesmec.e. vos ‚ . . 81
MULTE RECALL.. . recono ena „ 82
MULTI
75
MULTI
Selecting the MULTI Edit Mode
O MULTI
RUN TI EDIT
mods.
Selecting Different MULTE Channels for Editing
The small white numbers above the
BANK/MULTI CHANNEL keys correspond to
the 16 available MIDI channels. Pressing any of
these while in the MULTI EDIT mode selects
the corresponding channel for programming.
BANIKAAULTT CHANNEL
1 2 3 4 5 e 7 8
The currently selected channel number is shown
in the upper right-hand corner of the display —
e.g. “CH 17 is channel 1, “CH 2” is channel 2,
etc.
Selecting the MULTI Edit Mode Functions
The various MULTI edit mode functions can be
selected by using the PAGE [< зоб [>] keys.
The CHANNEL, COPY Function
This function facilitates MULTI PLAY setup
editing by copying parameters from a selected
channel to the current channel.
76
1. To cali the CHANEL COPY function, press the
ISTORE/COPY | winle m the MULTI EDIT
mode.
CHU COPYFron EH A
2 +
Г" Ey ны = Ч E Kit Я
wr? Fwd I AF Frias te
2. Use the CURSOR [<] and i>] keys to move the
cursor to the “Channel” element parameter. Use
the [-1/NO] and [+i/Y ES] Keys to select the
channel from which the data is to be copied,
“bd
Press the CURSOR [bp] key one more time and
the “Are vou sure?” display will appear. Press
[+ 1/YES] to execute the copy operation or
1-1/NO] to cancel, “>>Completed!!<<" will
appear briefly when the copy operation has
finished,
4, Press the [EDIT] key 10 return to the MULTI
edit mode.
The COMPARE Function
While in the MULTI EDIT mode, you can com-
pare the sound of the edited MULTI PLAY
setup with the sound of the setup before 1£ was
edited by pressing the [EDIT/COMPARE] key
to activate the COMPARE function, The
{EDIT/COMPARE] key indicator will flash
while the COMPARE function is active, and the
sound of the setup prior to editing will be heard
when you play the master keyboard or controller.
Press the [EDIT/COMPARE] key again to re-
turn to the edit mode.
|
MULTI
MU VOICE HO OH 1
Ali SEES CE
E Settings. Source: 1, 51, ©, Pi, Pa
E Summary: Assigns a preset, card or internal voice
to the selected multi-play part.
Bank: 1... 8
Number: 1...8
Procedure: Press the [BANK/MULTI CHANNEL?
I
key corresponding to the desired MULTI
channel.
Use the CURSOR 13] and PD] keys to move the
cursor Lo (he source, bank, or number parameter,
Use the [DATA ENTRY! control or i—1/NO]
and {+1/YES] keys to set the selected parame-
ler as necessary,
iñe number parameter can be decrement below
“17 (by pressing the [-1/NO] key while “1” is
showing, for example) to turn the selected
channel “off.”
ML OLE LH 1
Heir Ir Teal lia "A
tit ———
| 1 al mn . 13
Summary: Adjusts the volume ol the selected
MULTE channel,
Settings: O... 99
Procedure: Press the [BANK/MULTI CHANNEL]
key corresponding to the desired MULTI
channel.
Details: In this display the source, bank and num-
ber parameters are shown in the standard TG33
voice number format. “Pi 12,7 for example, 15
preset 1, bank 1, number 2; “1337 is internal
bank 3, number 5, etc.
Please note that although preset voices can
be assigned to any muit-play setup, internal
voices can only he assigned to miernal multi -
play setups and card voices can only be
assigned to multi-play setups tii card memory,
as follows:
MUELE VOICE
] cen. EPL
Cy oo Cy Py Py
La 0 La Pe Po
Refer fo: page 13,
Use the [DATA ENTRY] contro! or 1-1/NO]
and :+1/YFS] Keys lo select the desired volume
level,
Details: À setting of “0” produces no sound while
à setting of “99” produces maximum volume,
The ability 10 independently adjust the volume of
gach MULT] channel makes 1t simple to set up
the optirum balance or “mix” between paris.
Summary. Allows slight upward or downward pitch
adjustment of the selected MULTI channel.
Settings: 30... +0... +30
77
MULTI
Procedure: Press the [BANK/MULTI CHANNEL] Detuning occurs in 3 or 4-cent steps, Since 100
key corresponding to the desired MULTI cents equals one semitone, the overall detune
channel. range i$ approximately one semitone. Plus set-
Use the ¡DATA ENTRY) control or FH HNO] tings tune upward from normal pitch, and minus
and [+1/YES] keys to select the desired amount settings tune downward. A setting of “+0” pro-
of detuning. duces normal pitch,
Details: The Detune function allows different parts
tra MULTI PLAY setup to be silghtly detuned
in relation to each other, thereby “thickening”
the overall sound,
NOTE SHIFT
PY MOTE SFT DH j Details: A setting of “12,” for example, shifts the #
+ В pitch of the selected voice down by one octave; a *
Summary: Shifts the pitch of the selected MULTI
channel up or down in semitene steps,
Settings: —24 ... +0... +24,
Procedure: Press the [BANK/MULTI CHANNEL]
key corresponding to the desired MULTI
channel,
Use the [DATA ENTRY] coutrol or [-1/NO]
and [+1/YES] keys to select the desired degree
of note shift.
setting of “+47 shifts the pitch up by a major
third. The maximum range is plus or minus two
octaves,
The Note Shift function can be used to transpose
a voice fo 1fs most useful range, or to create
harmony (intervals) between different channels
ina MULTI PLA Y setup.
ML PEN Hi
[La
Summary: Determines the position in the stereo
sound tield in which the sound from selected
MULTI channel will be heard (left to right).
Settings: Graphic Display; E——T——F, 5 positions
from left to right, voice
Procedure: Press the IBANK/MULTI CHANNEL]
key corresponding to the desired MULTI
channel,
Use the [DATA ENTRY] control or |-1/N0]
and {+1/YES] keys to select the desired pan
Position,
78
if you pan past the “R” end of the graphic pan
display, the word “voice” will appear. In this
case the original PAN position of the voice as
determined by the VOICE ELEMENT TONE
edit mode PAN function will be retained.
Details: The lower line of the display shows a
graphic representation of the stereo sound field
with “L7 representing “left” and “R” repre-
senting “right.” As you edit the pan parameter
the position indicator will appear at the corre-
sponding position on the graphic display, A total
of five different positions are available, corre-
sponding to left, left-center, center, right-center,
and right. The PAN function will not affect the
stereo position of drum voice instruments,
y | Interesting stereo effects can be produced by
placing the output from different channels at
different locations in the stereo sound field.
HU ASSIS МОРЕ
_51-62=32-0
Summary: Determines how the TG33 DVA
(Dynamic Voice Allocation) system will dis-
tributé notes to the two output groups (see
SEND GROUP SELECT, below).
Settings: 32/0, 24/8, 16/16
Procedure: Use the [DATA ENTRY] controi or
Li/NO] and [+1/YES] keys to select the de-
sired note distribution.
Details: The ASSIGN MODE settings work as
follows:
G1/G2=32/0 32 notes to group 1, none to group
2.
MUS SERIE CH 1
ВРЕД
Summary: Determines whether the current MULTI
channel 1s assigned to output group 1 or 2. This
function 1s only available if the ASSIGN MODE
function (above) 1s set to other than “32/0.”
Settings: Group: 1, 2
Procedure: Press the [BANK/MULTI CHANNEL]
key corresponding to the desired MULTI chan-
nel. Use the [DATA ENTRY] control or
-1/NO] and [+1/YES] keys fo select the de-
sired group.
MULTI
Please note that when the EFFECT Balance
parameter is set to or close to its maximum
value (127), the PAN settmg has no effect.
Refer ta: page 45, 79, 80.
ASSIGN MODE
G1/22=24/8 24 notes to group 1, 8 to group 2.
G1/G2=16/16 16 notes each to group 1 and
group 2.
NOTE: 4-element voices reduce the total number of
available notes.
Always make sure this function 15 set so that a
sutticient number of notes is available for the
volces assigned 10 each group.
When the ASSIGN MODE setting is “32/0” no
notes are assigned to group 2, therefore other
MULTI EDIT mode parameters related to group
à — Le. those in the OUTPUT GROUP SELECT
and OUTPUT SELECT functions — will not be
available.
Refer to: page 80.
SEND GROUP SELECT
Details, The two groups to which each channel can
be assigned using this function can further be
assigned to either the QUTPUT 1 or OUTPUT 2
stereo outputs using the OUTPUT SELECT
function described on page 80. The ASSIGN
MODE function, described above, determines
how the polyphonic output of a MULTI PLAY
setup is distributed to the two groups,
The parameter will appear as “*” on the display
if the ASSIGN MODE parameter (above) is set
to “32/07,
Refer to: page 80.
79
MULTI
ML UTR SELECT
1 =outi L2=outs
Summary: Determines to which of the TG33's two
pairs of stereo outputs — OUTPUT 1 und
OUTPUT 2 — the voices assigned to output
group 1 and output group 2 (see SEND GROUP
SELECT, page 79) will be sent.
Settings: Group 1 (G1): out], out?
Group 2 (G2): outl, out?
Procedure: Use the CURSOR i] key to move the
cursor to the G1 or G2 parameter. Use the
[DATA ENTRY] control or [-1/NO! and
[+i/YES] keys to assign the selected group to
the desired output Dar.
Details: The TG35's group assignment ability can
be used In conjunction with the PAN function to
assign individual voices to specific outputs for
processing via an external mixing console or
other equipment. Or you could simply feed sepa-
rate stereo signals to two stereo sound sys-
tems. When making output assignments, keep in
mind the fact that effects will only apply to
OUTPUT 1.
Group 2 can only be assigned using this function
if the ASSIGN MODE function, described next
ts Sel to u value other han “32/0.” 1F ASSIGN
MODE 18 set to 732/07 the G2 parameter will |
appear as "588" on the display,
Refer to: page 79.
M 53200) (Type, Balance & G1/G2 PE Levels)
MIT EFFECT
Tasso Hallo =
Summary: Selecis one of sixteen digital effects, and
sets the balance and group 1 and group 2 send
leves] of the selected effect for the current
MULTI channel.
Settings: Effect type:
Fev Hall {Reverb Half)
Rey Koom {Reverb Room)
Rev Plate {Reverb Piaie)
Rav Club {Reverb Club)
fev Melai {Reverb Metal}
Delay 1 {Short Single Delay)
Delay 2 (Long Delay:
Delay 3 (Long Delay;
Doubler {Doubler}
Ping-Pong (Ping Pong Delay)
Pan Ret (Panned Reflections)
Early Ref (Eany Reflections)
Gate Hov (Gated Reverb)
Div&tev 1 (Delay & Reverb 1}
DiyAHeav 2 (Delay & Feverb 2}
Dist&Rey (Distortion & Reverb)
Balance (Bal: 0... 127
Group | Send Level (1): O... 127
Group 2 Send Level (02): 6... 127
80
Procedure: Press the [BANK/MULTI CHANNEL!
Key corresponding to the desired MULTI chan-
nel. Use he CURSOR |<] and |>] keys to place
the underline cursor under the effect type, bai-
ance, or G1 or G2 send level parameter. Use the
¡DATA ENTRY] control or i-1/NO] amd
+IYES] kevs to select the desired effect, bal-
ance, or send level.
Details: The balance parameter determines the bal-
ance between the “dry” sound of the voice and
the effect sound, À setting of “0” produces only
the voice with no effect, while the maximum set-
ting of “127” produces only the effect sound.
The send level parameter determines the level of
the signal sent via the effect processor to the
corresponding output group. À setting of "0"
means that the voice signal is not sent to the
effect processor, while the maximum setting of
“t27 sends fuli effect level to the effect
processor,
MULTI
| NOTE: Some voice waveforms may exhibit a drop in
level when distortion is applied. This is due to
internal data overflow, and can be compensated
for by reducing the effect send level or effect
balance setting.
Please note that effects onfy apply to OUTPUT],
so If a group is assigned to OUTPUTZ (out2)
using the OUTPUT SELECT function, described
above, its level send parameter will not be avar-
able and will be shown on the display as “+”,
The G2 send level parameter will also not be
available :f the ASSIGN MODE function
described on page 79 18 set to 32/0,
Refer lo: page 45, 79.
M MORE
Kilo LIS" te
AE
Procedure: Use the CURSOR [<] and [>] keys to
place the underline cursor under the character to
be changed. Use the ¡DATA ENTRY] control or
[I/NO] and 1+1/YES | keys to select the
desired character, Continue until the entire name
has been programmed.
Summary: Assigns a name of up to 8 characters to
the current MULTI PLAY setup.
Settings: The following characters are available for | |
use in multi-play names: Defails: It’s a good ides to give vour mulli-play
- setups names that make them easily identifi-
able. If you ve created a new setup usmg three
voices intended for rock music, vou could cail it
something like “Rockirio”,
(Space) 1 "HEEE" £ A, ALIADO TONI TE
RECTEFEHI JELMPOFER'S TULL Y 4 >
авг ЗРК мине at. ací fte
MULTI INITIALIZE
SOLA PAUL TL TG33 MULTI INITIAL
mE SOLE SAS 2 MULTI NAME Initial
ASSIGN MODE 32poly
Ce QUTPUT SELECT G1 Out
Summary, Initializes all parameters of the current (OUTPUT SELECT G2 cui
MULTI PLAY setup, EFFECT Rev.Hall
Balance 64
; Send 1 127
Settings: None. { Send? 127)
Procedure: When the “INIT MULTI" display is Charme! *...... Channel 16
selected “Are you sure?” will appear on the VOICE NUMBER P1 11
lower lime. Press the 1+1/YES! to mitialize. DE TUNE e
. . . +
>> Lompletedi <<” wiil appear briefly when NOTE SHIFT +0
the imtatization 15 finished. PAN LEA
(SEND GROUP 1)
Details: When mulii-play Initzalize 1s executed, the
multi-piay setup parameters are Imtmilzed to the
following values.
81
MULTI
1633 System Parsmeter The multi initialize function is useful if you want
EP o: to begin programming a setup “from scratch.”
MASTER TUNE +0
TRANSPOSE +0
CONTROLLER AESET hold
MIDI
VOICE RECEIVE CH omy
VECTOR CHANNEL 1
PHOG.CHANGE on
EXCLUSIVE Off
“DEVICE NUMBER Perr
MULTI RECALL
Mid RECHLL PLN TT Details; Even if you've exited the edit mode and `
Hre wid Sop called a different MULTI PLAY setup, this fune-
tion will recall the last setup edited with all
Summary: Recalls the last MULTI PLAY setup parameters as they were at the time the edit
edited from the TG33 edit buffer memory. mode was exited.
Settings: None
Procedure: When the “RECALL MULTI” function
is selected “Are you sure?” appears on the
lower display line. Press the [+1/YES] key to
recall .
“>>Completed!!<<” will appear briefly when
the initialization is finished.
82
UTILITY SYSTEM
UTILITY SYSTEM
The UTILITY SYSTEM mode provides access to the TG33 MASTER TUNE, TRANS-
POSE, and CONTROLLER RESET functions.
MASTER TUNE .................. ESL HS Kita... 85
TRANSPOSE eee mee... TNT TT ee eoeeeea ee eee me... 85
CONTROLLER RESET... ..ene....... ees mena. 85
UTILITY SYSTEM
Selecting the UTILITY SYSTEM Mode Selecting the UTILITY SETUP Mode Functions
The various UTILITY SETUP mode functions
UTILITY | | can be selected in sequence by pressing the
uE E “SYSTEM TD CARD {UTILITY SYSTEM] key, or by using the
TY PAGE [< and [>] keys.
From another UTILITY mode simply press
¡UTILITY SYSTEM.
84
UTILITY SYSTEM
MASTER TUNE
Lt MEST ER TLE Details: Tuning occurs in 3 or 4-cent steps. Since
+ Bm ent, 100 cents equals one semitone, the overall tun-
ing range is approximately one semitone — ie.
Summary: Tunes the overall pitch of the TG33 over plus or minus a quarter tone. Plus settings tune
approximately a 100-cent range. upward from normal pitch, and minus settmes
tune downward. A setting of “+0” produces nor-
Settings: —50 ... +0... +30 mai pitch,
Procedure: Use the (DATA ENTRY! contro! or
[-1/NO} and [+1/YES] keys to set the desired
degree of tuning.
К
TUS
Les GRRE PORE Procedure: Use the [DATA ENTRY] control or
+ В [-1/NO] and [+1/YES] keys to set the desired
degree of transposition,
Summary; Transposes the overall pitch of the TG33
up or down in semitone steps. Details: À setting of “-12,” for example, trans-
poses down by one octave; a setting of “+4”
Settings: 12... +0... +12 transposes up by a major third.
CONTROLLER RESET
US CONT RESET Details: If this function is set to “hold,” then if, for
Ear exampie, you have applied modulation to à voice
via the modulation wheel and switch to a new
Summary. Determines whether controller settings voice while maintaining the same modulation
{modulation wheel, pitch bend, breath controller, wheel position, then the same amount of modu-
foot controller, etc.) are held or reset when lation will be applied to the new voice. If “reset”
voices or multi-play setups are switched. is selected, than all controller values are reset
when a new voice or multipiay setup is
Settings: hold, reset selected.
Procedure: Use the [DATA ENTRY] control or
I-1/NO] and [+1/YES] keys to select the
desired controller made.
85
UTILITY SYSTEM
UTILITY MIDI
The UTILITY MIDI mode provides access to all of the TG33’s MIDI control functions.
YOICE RECEIVE CHANNEL ..........
UTILITY MIDI
uu.........:.. 89
. 89
VECTOR CHANNEL
MIDI PROGRAM CHANGE
EXCLUSIVE ON/OFF & DEVICE NUMBER
BULK TRANSMIT ......
EEE REE НН
de e de ade dde «dde dde de dede dede de de de dd
Ч РН 0 0 EE
mana
89
30
91
UTILITY М
Selecting the UTILITY MIDI Mode
y SYSTEM
CARD
UTILITY
From another UTILITY mode simply press
[UTILITY MIDI].
88
Selecting the UTILITY MIDI Mode Functions
The various UTILITY MIDI mode functions can
be selected in sequence by pressing the
[UTILITY MIDI] key, or by using the PAGE id
and [>! keys.
#
T
+
A
A
UTILITY MIDI
VOICE RECEIVE CHANNEL
LIM AIDE
Receive Che |
Summary: Sets the TG33 MIDI VOICE MODE re-
ceive channel to any channel between 1 and 16,
or the “omni” mode for reception on all
channels.
Settings: | ... 16, omni
Procedure: The DATA ENTRY! control or
I/NO] and [+1/YES] keys are used to select
the desired MIDI channel or the omni mode,
Details: When the TG33 is operating in the VOICE
PLAY mode and is to receive data from an
external MIDI device such as a sequencer, make
sure that the TG33 MIDI voice receive channel
15 either set to the channel that the external
device is transmitting on, or the omni mode.
Refer to: page 12.
VECTOR CHANNEL
UM MIC
Die ann Fe i
Summary: Sets the MIDI channel on which data
relating to VECTOR CONTROL operation will
be transmitted or received.
Settings; 1... 16.
Procedure: Use the IDATA ENTRY] control or
(1/NO] and [+|/YES] keys to select the
desired MIDI transmit channel number.
Details: This function allows the TG33 VECTOR
CONTROL to control other compatible devices
such as a second TG33 or an 8Y22 synthesizer,
or vice versa, Make sure that both the TG33 and
external device VECTOR CHANNEL numbers
are sef to the same number. Further, if an
exiernal device is to control level or detune
vectors, use the TG33 VECTOR] button to turn
the corresponding vector control function ON —
LEVEL or DETUNE, When receiving LEVEL
VECTOR information, internal dynamic detune
vectors will still play automatically, and vice
versa.
Refer to: page 12.
IDE ELO NO
UM MIÉ
ros Chandemarf
Summary: Determines how the TG33 will respond
to MIDI program change messages for remote
voice/muiti selection.
Settings: off, on
Procedure. The IDATA ENTRY] control or
[-1/NO] and [+1/YES] keys are used to select
the desired MIDI program change mode.
UTILITY CARD
Details: The “off” setting turns MIDI program
change reception off, so MIDI program change
messages received from extemal equipment will
not cause the corresponding TG33 voice to be
selected.
When MIDI PROGRAM CHANGE is tumed
“on,” program change data received by the
1G33 has the following effects in the VOICE
PLAY, MULTI PLAY, and MULTI EDIT modes:
VOICE PLAY Program change numbers O through 63
received from externai equipment will select
TG33 voices 1.1 through 8.8 in the currently
selected memory area. All other program change
numbers will be ignored.
MULTI PLAY Program change numbers 0 through 63
received from external equipment will select
TG33 voces 1.1 through 8.8 for the correspond -
ing MIDI channel, and program change numbers
64 through 79 received on the VOICE RECEIVE
CHANNEL, select multi-play setups 1.1 through
2.8. The card, internal or preset voice banks can-
not be selected via MIDI control.
MULTI EDIT Operation is basically the same as in
the MULTI PLAY mode except that program
change numbers 64 through 79 will be ignôred
ALL MODES For more detailed technical informa-
tion on Bank Select operation, refer to “2.2.2
Control Change” in the “MIDI DATA FOR.
MAT” section, page 104.
Bank Data | Select Value Mode & Memory
ar 0-63 VOICE PLAY/PRESET 1
o 0-83 VOICE PLAYANTERNAL
+ 0-63 VOICE PLAY/CARD 4
Br 0-53 VOICE PLAY/PRESET 2
4* 0-63 VOICE PLAY/CARD 2
16” 64-79 MULTE PLAY setup/iNTERNAL
17” 34-79 PALLY PLAY setup/CARD 1
20" 54-79 MULTI FLAY setup/CARD 2
34** 0-63 MULTI PLAY voice/PRESEY 1
a 0-63 MULTI PLAY voice/INTERNAL
(or CARD 172 if curranthy selected;
a 0-63 MULTI PLAY volce/CARD Y ore
for INTERNAL # currently selected)
37 0-64 MULTI PLAY volce/PRESET 2
* Must be received on the VOICE RECEIVE CHANNEL.
** HZ, 33, M, or 37 are received in the VOICE PLAY mods, they
will be interpreted as 0, 1, 2, and 5, respectively.
If the above bank select data are immediately
followed by a program change number (0 — 79),
the corresponding voice or multi-play setup can
be selected.
Bank select numhers other than 16, 17, and 20
can only be followed by program change numbers
0 through 63.
Bank select numbers 16, 17, and 20 can only be
followed by program change numbers 64 through
79,
Refer to: page 12.
EXCLUSIVE ON/OFF & DEVICE NUMBER
UM MIDI BULLE
ff [evicef#=all
Summary. Turns transmission/reception of MIDI
system exclusive data (including bulk data} on
or off, and sets the DEVICE NUMBER fer
exclusive data transfer,
Settings: Exclusive ON/OFF: on, off.
Device *; 1... 16, ай,
90
Procedure: When the underline cursor is under the
left parameter, use the [DATA ENTRY] control
or [-1/NO] and [+1/YES] keys to turn exclusive
data transmisston/reception “on” or “off.” Use
the CURSOR [>] Key to move the underline cur-
sor to the DEVICE # parameter, and use the
[DATA ENTRY! control or [-1/NO! and
[+I/YES] keys to set the device number.
pli
A
Details: MIDI system exclusive data is transmitted
by the TG33 when one of the BULK TRANSMIT
functions described below is used. The same
type of data will also be automatically loaded
into the TG33 memory when received from a
second TG33 or other MIDI device, thus erasing
previous data. This function can be turned “off”
to prevent accidental erasure of the interna!
memory, or the memory of external equipment,
do to mistaken exclusive data reception or
transmission,
The device number makes it possible to limit the
devices in a MIDI system between which exciu-
sive can be exchanged, Exclusive data can only
be received by the TG33 if it is set to the same
UTILITY MIDI
device number as the transmitting device. If the
device number is set to “ali,” exclusive data can
be received front any lransmittimg device.
NOTE: The TG33 will recognize and receive “1
Voice” and “Voice & Multi" bulk data from a
Yamaha 5Y22 Music Synihesizer, Since the 5Y22
do not have Effect Balance and Effect Send level
parameters, however, these parameters are auío-
matically set 10 their default values (Effect
Balance = 64; Effect Level = 127) when 5Y22
voices are used with the TG33. When "Voice &
Multi” data is received from an 5Y22, onty the
voice data will be recognized. The SY22 MULTI
data will be ignored.
BULK TRANSMIT
LM MILD BULLE
Trarns=fluitj E12
Summary: Initiates MIDI bulk transmission of the
selected voice, mulii-play, and/or system data.
Settings: Voice, Multi, l6mlt, 64vce, V & M, Sys,
All.
Procedure: Use the [DATA ENTRY! control or
[--1NO] and [+1/YES] keys to select the data
to be transmitted,
If vou select “lómk”, “édvce”, “V & M”,
“Sys”, or “ALL”, press the CURSOR [Ib] key
to move the cursor to the “Are you sure?” dis.
play. Press the [+1/YES] key to begin transmis-
sion, or the [-I/NO] key to cancel. “Now
Transmitting” will appear on the display during
transmission.
H you select “Voice”, move the cursor to the
media, bank, and number parameters at the right
of the display and select the voice you wish to
send before moving to the “Are you sure?” dis-
play and starting the transmission
Transmission procedure is the same as above.
If you select “Multi”, move the cursor to the
bank and number parameters at the right of the
display and select the multi-play setup vou wish
to send before moving to the “Are you sure?”
display and starting the transmission.
Transmission procedure is the same as above.
Details: The data corresponding to the various data
group setlines provided bv this function are as
follows:
Voice A single voice from I, Р1, or Pa.
Muit A single mulfi-play setup from I only.
16mlt AI 16 multi-play setups.
6dvee All 64 internal voices.
V &M All 64 internal voices and 16 multi-play
setups.
Svs Basic system setup data.
Al All data — 64 veices, 16 multi-play se-
tups, and system data.
This function is useful for transferring voice,
multi-piay, and/or system data from one TG33 to
another, If the MIDI OUT of the transmitting
TG33 1s connected to the MIDI IN of the receiv.
ing TG33 via a MIDI cable, the receiving unit
will automatically receive and load the data us
long as its EXCLUSIVE ON/OFF function is
turned “on” and 1£ 15 sel lo the same device
number as the transmitting TG33. Another
possibility 1s to transfer the data to a MIDI bulk
data storage device for long-term storage.
91
UTILITY MIDI
92
Thm но" нана ALA AE аи аи нм
UTILITY CARD
UTILITY CARD
The UTILITY CARD mode provides access to all functions necessary for saving and loading
memory card data,
SA Е ro CARD necios sra sorreoraoetaa ssnsssstnssssssssessssssss rrbssrsrsess rere reyes sess rersersssrrereres errs reese rrer GA
LOAD DATA SELECT & LOAD FROM CARD
A A ; AE FAA A Mo ai li lo li li ll li ill ll ll ll ll A EA A Se a5
CARD FORMAT 6
Mi li ió «e il ll ll e + de a e й Mel RAE li il ll lali ll il ll ll ll lll dl 9
CARD BANK SELECT
1 A k +A. er li li li lil il ii ill li lali ll ll ll Ml lil MÍ e dl je e de еж A 06
93
UTILITY CARD
Selecting the UTILITY CARD Mode
94
UTILITY
= SYSTEM MIDI CARD
FL Tv
From another UTILITY mode simply press
{UTILITY CARD]
Selecting the UTILITY CARD Mode Functions
The various UTILITY CARD mode functions car
be selected in sequence by pressing the
[UTILITY CARD] key, ог by using the PAGE
| 4] and [>] keys,
UTILITY CARD
SAVE TO CARD
Hi CRIED When an MCD64 Memory Card is used, the
ERE TD CER bank to which the data is to be saved can be
selected using the CARD BANK SELECT func-
tion described on page 96.
Excreise caution when saving data 10 a memory
card — the previous card data will be erased and
completely replaced by the saved data
If an error is encountered, one of the following
Procedure: When this function 15 selected the displays may appear:
"SAVE TO CARD?" display will appear. Press
1 Summary: Saves all voice, multi-play, and system
data to a memory card.
Settings: None
the [+/YES] key to start the save operation. Card not ready! No card in card slot.
SAVE NOW *#7” will appear on the dis- Card protected! Card protect switch is ON.
Card rot format! Card not formatted for use
with TG33.
“>>Completed!!<<" will appear briefly when
! ” play while the operation is in progress, and
the save operation has finished.
Change card bat! Card battery is low and
must be replaced.
Details: The SAVE operation can only be executed
if the WRITE PROTECT switch of the MCD32 Refer to: page 13... 15,33, 34.
or MCDS4 Memory Card loaded in into the card
siof 1s tumed “off.”
LOAD DATA SELECT & LOAD FROM CARD
LN DIR Exercise caution when loading data from a
LOOT] > memory card — the corresponding internal TG33
data will be erased and completely replaced by
Summary: Loads voice, voice & multi-play, system, the loaded data.
or all data from a memory card into the TG33 If an error 1s encountered, one of the following
™ intemal memory. displays may appear:
Settings: All, Vee&Multi, System, SY22Voice. Card not ready! No card in card slot.
Card not format! Card not formatted for use
Procedure: Use the [DATA ENTRY! control or
—I/NO] and |-+1/YES) keys to select the data
group to be loaded, then press he CURSOR [>] ,
key to move to the “LOAD FROM CARD?” Refer to: page 13... 13, 33, 34.
display. Press the |+/YES] key to start the load
operation, or the i-I/NO] key to cancel.
RR AD NOW will appear on the dis-
play while the operation 1s in progress, and
“>>Compieted!!<<” will appear briefiy when
with 1633,
NOTE: Voices from Yamaha 5Y22 Music Synthesizer
voice cards can also be loaded into the TG33.
Since the SY22 does not have Effect Balance and
Effect Send level parameters, however, these
parameters are automatically set to their default
the load operation has finished. values (Effect Balance = 64; Effect Level = 127)
Details: When an MCD64 Memory Card is used, when SY22 voices are used with the TG33.
the bank from which the data is to be loaded can The TG33 will load only voice data from an SY22
be selected using the CARD BANK SELECT card. Other SY22 data (MULTI, etc.) will be
function described on page 96. ignored.
35
UTILITY CARD
CARD FORMAT
UE CARE Details: Formatting can only be carried out if the
FORMAT 7 memory card WRITE PROTECT switch is
turned OFF (refer to your MCD64 or MCD32
Summary: Formats an MCD32 memory card or the Memory Card mstructions for details).
currently selected BANK of a MCD64 memory If an error is encountered, one of the following
card so that it can be used by the TG33 to save displays may appear:
ard loud voice and muldti-play data. |
Card net ready! No card in card slot.
Settings: None Card protected! Card protect switch 15 ON.
Change Card Bank 32k card inserted and C2 is
Procedure: When this function is selected the selected,
“FORMAT ?” display will appear. Press the
[+/YES] key to start the format operation.
“>>Completed <<” will appear briefly when
the format operation has finished.
CARD BANK SELECT
LL CRED Procedure: Use the [DATA ENTRY] control or
PIRE, i -1/NO] and [+1/YES] keys to select the
destred bank,
Summary; Selects bank ! or bank 2 of a Yamaha
MCD64 type memory card prior to formatting or Detaiis: MCD32 memory cards oniy have a single
load/save operations. bank, so bank 7 settings are ignored 1f this type
of card is used. MCD64 memory cards allow
Settings: 1, 2 selection of bank 1 or 2. Each bank holds 64
voices and 16 multi-play setups.
96
ral,
A
ERROR MESSAGES
ERROR MESSAGES
Things do go wrong from time to time, and people do make mistakes, When an error occurs, the TG33 will usually
display a message that describes the type of error so you can easily take steps to rectify the problem, The follow.
Ing are quiek summaries of the TG33 error displays.
The internal memory backup battery voltage has
dropped to an unsafe level. Have the backup battery
replaced by gualified Yamaha service personnel.
Caged Pa, Раваны!
You have attempted to perform a data card opera-
tion (save, load, format, etc.) while no data card 15
presemt in the TG33 card siot.
Caro protecied!
You have attempted to perform an operation that
writes to the data card {save or format) while the
card protect switch 1s ON,
Land rot format |
You have attempted to save or load using a card
that has not been properly formatted for use with
TG33.
Charde Caro tank
You have attempted to save to, compare or format a
32k card while card bank 2 (F7) is selected.
Cares caro hat!
The data card battery is low and must be replaced
— refer to the operating instructions that came with
your data card for details.
ori fg eprops |
Unrecognizable data has been received by the
1G33,
97
SPECIFICATIONS
SPECIFICATIONS
Tone Generator Systems: AWM (Advanced
Wave Memory) & FM (Frequency Modulation)
internal Memory: Wave ROM: 128 preset AWM
& 236 preset FM waveforms
Preset ROM; 128 preset voices
Internal RAM; 64 user voices 4 16 user multi
setups
External Memory: Voice & Muiti data; MCD64 or
MCD32 --—— write & read
Displays: ¡6-character X 2-line backlit LCD
Controls: MASTER VOLUME, VECTOR CON.
TROL
Keys & Switches: POWER ON/OFF; MODE
VOICE, MULTI and UTILITY: EDIT/
COMPARE; STORE/COPY; VECTOR PLAY
LEVEL/DETUNE; EF BYPASS ON/OFF:
PAGE <and >, CURSOR <and >; -1/NO and
+1/YES; MEMORY INTERNAL, CARD and
PRESET; BANK/MULTI CHANNEL 1-16
(VOICE COMMON and VECTOR: ELEMENT
TONE and EG; UTILITY SYSTEM, MIDI and
CARD, ELEMENT SELECT A, B. C and D:
ELEMENT ON/OFF A, B, Cand I)
Connectors: DC 10V IN: PHONES: OUTPUT |
(L/MONOR) and OUTPUT 2 (L/MONO, R)
MII Connectors; IN, QUT, THRU
Power Requirement/Consumption: DC 10V,
700 mA
Dimensions (W x H x D): 439 x 80.4 x 229.9 mm
Weight: 2.8 kg
hn pl
N
h
À
-1/NO and +1/YES Keys 4
A
After Touch
Amplitude Modulation 46
Level Control 46
Pitch Control 46
Pitch Modulation 46
Sensitivity 63
Assign Mode 79
Attack 47,69, 70
Level 70
Rate 70
AWM 17
Category Descriptions 60
Waveform List 60
B
Bank/Multi Channel Keys 5, 15, 35
Bulk Transmit 91
C
Card 15, 34
Bank Select 96
Format 96
Key 4
Siot 5
Channel Copy 76
Configuration 17,45
Cursor Keys 4
D
Data Entry Controi 5
DC 10V 700mA In Jack 6 11
Decay 47,70, #1
i Level 7
1 Rate 71
2 Level 71
2 Rate 71
Delay Rate 70
Demo
Demo Key
Detune
Edit Step
Edit Time
Ван X-Axis
Edit Y-Axis
Indicator
Record
speed
Device Number
Dynamic Vectors
Dynamic Voice Allocation
E
Edit/Compare Key
I-ffect
Balance
Bypass Key
send Level
Type
Element
Copy
Envelope
On/Off
Tone
Envelope
Attack Rate
Copy
Release Rates
Туре
Exclusive On/Off
F
FM
Category Descriptions
Wavelorm List
Frequency Shift
Initial Level
INDEX
INDEX
12
5
18, 29, 77
55
56
56
56
3
55
35
90
17
33
4
19~26
43, 80
4
43, 80
45, 80
17
38
67
68
57
47,69, 70
47,70
68
47,72
69
90
17
61
61
62
70
99
INDEX
Internal
Key
Multi Memory
Voice Memory
Level
Edit Step
Edit Time
Edit X-Axis
Edit Y-Axis
Indicator
Record
Scaling
Speed
LFO (Low Frequency Oscillator)
AM Depth
Delay
PM Depth
Rate
Speed
Type
Liquid Crystal Display
Load Data Select
Load From Card
Manual Vectors
Master
Tune
Volume Control
Memory
Backup
Cards
MIDI
Channel Matching
Connectors
Program Change
Multi
Effect Balance
Effect Send Level
Effect Type
Initialize
Key
Name
Recall
Multi-piay
Setup Selection
Setup, What's In a
100
15, 34
34
15
18, 28, 72
33
54
54
54
3
28,53
72
28,53
64, 63, 66
64
65
64
65
66
65
3
9
95
17
85
3
13,33
À
3, 13, 34, 93
87, 98~115
12
6
89
33,75
80
80
80
Bi
3
81
82
33
34
N
Name
Voice 48
Multi 81
Note Shaft 78
O
Output
I and 2 Jacks 6
Select 80
P
Page Keys 4
Pan
Voice 52
Muir TS
Phones Jack 3
Pitch Bend “46
Polyphony 35, 79
Power-on Procedure 11
Preset
Key 4
Voices 14, 19
R
Rack Mounting 7
Random 31, 32, 48
Detune 48
Element 48
Level 48
Rate Scaling 72
Reference Section, What's In the E
Release Rate 47,72
5
Save To Card 95
Selecting
Edit Functions 44, 52, 58, 68, 76
Elements for Editing 58, 63
Send Group Select 79
Store/Copy Key 4
Storing
Multi-play Setup Data 39
Voice Data 29
System Setup H
EL Et ré eee nm
Tone
Feedback
Level
Transpose
Tutorial Section, What's Tn the
Type
Utility
Card
Key
MIDI
System
Vector
Key
Channel
Control
57
64
85
69
93
87
83
17,18, 19
3
37, 89
3
INDEX
Velocity Sensitivity 63
Voice 3,14
Common 43
Configurations 17,45
Initialize 49
Key 3
Number 77
Recall 50
Receive Channel 59
Selection 15
Vector 19~26
Volume 3,02, 77
W
Wave Type 60
Wheel
Amplitude Modulation 46
Pitch Moduiation 46
101
MIDI DATA FORMAT
MIDI DATA FORMAT
1, MIDI reception/transmission block diagram
<MIDI reception conditions> 1/2
Von... ‘ace Receive ch.
PC... Program Change on/off
VM ........... Vector Mode offfevel/detune
$FE ACTIVE SENSING
VOICE
D et tan NOTE CFF
G-———«egach ата
MELTI sen NOTE ONVOFF
VOICE
ocn GF FEN 540 SUSTAN SW
en} «ММ $81.510 VECTOR CONTROL X-axis{*}
off
(ru u HET CRANE —— Y ————— Ban 11 VECTOR CONTROL Y-axis{*}
PEL TÍ ot
$En 501 MODI ATION WHEEL
587,507 VOLUME
dm 670 BESET ALL CONTROLLERS
pra PE EA E Hank Sodect MSE
| «off
МН! — === Pls 300 $20 Bank Select LSE
OF
VOICE
К «МЕН» Hon FHOGHAM CHANGE
«РС ECE C2, 21, and P2 are not switched.
“off
{frre gt IE ES TU MIE —
RALIETI
VOICE
Dee ci $n AFTER TOUCH
Вас! Нате оне
MULT]
VOICE
D «YCh> SEN ETO BENDER
;
G——eaach chennai ummm j
MULTE
{*) In the case of MULTI, only the channel which matches the vector channel can be received.
102
=
A Мы
<MIDI reception conditions» 2/2
MID! SFO. $43 $1,526,507
0.543.500. 57E
EFC. 343.500 ТЕ
(LM _0012ML)
$FD,$43 $00,378
(LM 001259}
SFO,$43,$0n $76
(LM_ _0012VE)
$F0 343 500, $75
(PK 2203AE)
PELI42 $0n,S7E
{LM _0012ME)
$FC.843.51n,$26,500
$F0.$43.51n,$26,501
EFO,$43,$1$26,$02
$F0,843,$1n.$26,$03
$F0,$43,$1n7,$25,504
$F1,$43,$1n,$26, 505
$+0,543,51n,526,506
$F0.$43,51n,526,508
$FD,$43,52n $7E
(МО 0012 С)
$50,343,520 $7E
$50,543,500 $7E
(LM_ 00125Y)
$F0,$43,52n,57E
{LM _0012VE)
Exclusive — Exciusive on/off $50,543, $20 $7
, (LM_ 0012ME)
УМЕМ = Voice memory
MMEM = Multi memory
MIDI DATA FORMAT
11393 SW Remote
$F0,843,510,515,55A 500 $F7 test code
VOICE bulk
VMEM};
VOICE bulk ++)
(VMEM)}
MULTE balk
(ММЕМ}
System bulk
1 VOICE bulk
f VOICE Suik ges"
1 MLETI bulk
Parameter change
(VOICE common data!
Parameter change
(VOICE vector data)
Farameter change
(VOICE element tone data)
Parameter change
VOICE element op data)
Parameter change
{MULTI data}
Parameter change
(System data)
Parameter change
(System MIE data)
Parameter change
{Vector mode!
VOICE bulk dump request
MULTI bulk dump request
System bulk dump request
1 VOICE bulk dump request
T MULTI bulk dump request
i (**} Only 64 voice dala of $¥22 is expanded into the TG33 forma: and i$ received,
{***} Only 1 voice data of 5Y22 is expanded into the TG33 formal and is received,
<MIDE transmission conditions
VECTOR CONTROL Xcaxis 58n,810 ——— ve
VECTOR CONTROL Y-axis $8n.511 «1 Ch + MIDI
VECEDF 6
‘ice bulk <EXxciHusive
+0
Ми! БЫК ~~
1 Yoaice Buil — — пене
1 Muili bulk
Syslem bulk ————
103
MIDI DATA FORMAT
2. Channel messages
2.1 Transmission
2.1.1 Control change
Data is output te the MIDI port when you operale the following
controller,
Co parameter data rng
16 Vector control X-axis Q~127
17 Vector control Y -axis Он РР
2.2 Reception
2.2.1 Note on/off
Reception note range
Velocity range
CR
1-127 {Only note on can be received
for velocity.)
2.2.2 Control change
The following paramelers can be controlled via MIDI
entri parameter data rng
О Bank Select MSH 5... 127 #
1 Modulation Wheel 0... 427
7 Volume 0...127
16 Vector Control X-axis (...127
17 Vector Control Y-axis (3... 127
32 Bank Select LSB 0... 127 #
64 Sustain Switch 0...127
121 Roget All Controliars G
# The following Bank Select Dala can be used for changing
mode and the mode and voice wre changed when receiving the
succeeding program changes 00-79.
bank select HX
data value l4bit
* #2 {Gx0G023 Voice Mode PRESET]
* #0 (0x0000) Voice Mode INTERNAL
* #3 {0x0601) Voice Mode CARD!
* #5 (OxG605) Voice Mode PRÉSETZ
* #4 (0x0004) Voice Mode CARD:
* #16 (0x0010) Multi Mode Multi INTERNAL
* #17 (Ox00115 Mali Mode Multi CARD
* #20 {0x0014) Multi Mode Ми CARTE
#34 {(0x0022) Ме Mode Voice PRESETI
#32 (0x2020; Muli Mode Voice INTERNAL or
CARD CARD? (15e one selected
by MULTE currently)
#33 (0x0021) Multi Mode Voice CARD! (CARD2
or INTERNAL (№ one selected by
MULTE currently)
#37 {0x0025) Multi Mode Voice PRISETZ
However, when the receiving device is in Voice mode, #32—#34,
#37 will be interpreted as
#32 — #0
#33 — #]
#34 — #2
#37 =» #5
and will be received while remaining in Voice mode.
104
When 0-79 arc received as the Program Change Data ити
diately afler the Bank Select Dalz is received, the Mode, Voice,
and Multi are switched according to the above (able.
However, when the Bank Select Dalz is those other thas 16, 17,
and 20, the succeeding Program Change Data mus! de equal to
0-63,
In the similar manner, when (he Bank Select Data 18 16, 17, and 20,
the succeeding Program Change Deta must be equal to 64-79,
Those marked by ar asterisk mark (*) are valid only when data is
received through thé Voice Receive Channel.
24.3 Program change
When a program change 1s received, this unit operates as follows,
The Utility System aliows the following two types of receplion
modes,
l off: Mo program changes are received,
ЗУ еп
| Voice Play Mode]
When the Program Change Data 0-63 are received, the Media
selection slays as if is, thus swiiching only the voice numbers
Fi~BH.
The Program Change Dala 64-127 are ignored,
Oniy te Program Change Dala reserved (hrough the voice
Receive Channel is valid,
[Mula Play Mode]
When the Program Change Data 0-63 are received, the Media of
Voice corresponding to that Channel slays as it is, thus swilch-
ing (0 the Voice 11-88.
When the Program Change Dala 64-79 is received through 1he
Voice Receive Channel, the Media seleclion stays as if 1, thus
switching lo the Maiti 11-78.
The Program Change Data 80~127 are ignored.
{Multi Edit Mode}
it is the same as in lhe case of the Mult Play Mode, However, the
Program Change Dala 64-709 arc ignored.
[Cautions:
% |n the case of fhe Voice Edit Mode, even If fhe Voice program
change and multi program change are received, they are
Ignored.
® In the case of tne Mult Fdit Mode, when the Voice (mode)
program change and multi program change are received, they
are ignored,
+ When data is received in Utility Mode, Voice Play or Multi
Play mode is selected, thus receiving data.
® No data is received during Vector recording, Compare, Card
Ioadfsave execution, and Bulk fransmil execution.
2.2.4 Pitch bend
Reception of pitch bend is operated al the MSE side only,
2.2.5 After touch
2.2.60 Charmed mode message
No data 15 received.
REE tL TE NE
LD AE AAA
3, System exchisive message
3.1 Parameter change
This unit receives the following Y types of parameler changes.
Aiso, when 8), Remole Switch is received, the corresponding
display will appear just as if the switch had actually be pressed.
1) Yoice Common Data parameter change
à} Voice Vector Data parameter change
3) Voice Element Tone Data parameter change
4} Voice Element Envelope Data parameter change
5) Multi Data parameter change
6) System Data parameter change
7} System MIDH Data parameter change
$) Switch Remote parameter change
9) Vector Mode parameter change
Reception of parameter change cannot be turned off by each MIDI
switch other than Exclusive = off,
81 The Switch Remote parameter change can be receives even if
the exclusive 15 off,
[Cautions]
e No data is received during Vector recording, Compare, Card
load/save execution, and Bulk transmit execution,
3.1.1 Voice Comman Data parameter change
SANS
L
1151050 FG
GIQOBEIL 63
GO lea rin = Device Number
ООО 26
CARO Go
Gaaddang gaessaas =» 57 af дыре ей Cole ei
GOOD Ce
fececnes cocoon = (MEBFoiEsY T1 of appended tabis de]
Cocteles cogoaan = CLSBBitsS FR of avpended babies 1-3
CRISTO oo = {MY} BI of dppunded tabie del
Celtel d = (SR IOIESS BE of aoponded table 1:3
CONTEO Ÿ Satá Yale [MED]
бучМуммуМу VU VUS Data Value [LSE7RYES;
PREG F7
‘This message ıs used to change the Voice Common Data for cach
parameter,
When lkis message is received, the following automatically
results,
Voice Play Mode Shifts to Voice Edit Mode and receives
data (Screen shift),
Voice Edit Mode
Multi Play Mode
Multi Edit Mode
Litility Mode
The Mode stays as Ц 1s, receiving data
(Screen Shit.
shifts to the Voice Edit Mode and re-
ceives data (Screen shift),
Shifts to the Voice Edit Mode and re-
ceives data (Screen shifty
Shifts to the Voice Edit mode and re-
cerves data fScreen shifts
3.1.2 Voice Veolor Dala parameter change
11210900 ED
DIGHEITY El
Doit pane « Déyiré Number
002009110 Fn
OCT 91
Jzzaacaa adasexa + ST of apvendes table 1-2
DOC) O1
derenzos creccec + IMSArbirc) Fi of appended rable 1-2
Octecces coctces — CLSAThits)> F2 of aprerded table 102
JLÉCUGUE à = (MLBb: Bi of aspended fable 1-4
Oüddéddé ddciddd - (LSBhiLss BE oF appended fable 3-2
JOSE ov = Gata Vaiue (MLB)
Jayuya y viwvevyv — Dala Value (LSE7D:t5)
11510153 ЕЙ
This message 15 used to change the Voice Common Data for each
parameter.
MIDI DATA FORMAT
When this message is received, the following results auto-
matically.
Voice Play Mode : Shifts to Voice Edit Mode and receives
data {Screen shift),
The Mode stays as it is, receiving data
(Screen shift,
Shifts to the Voice Fdit Mode and re-
ceives data (Screen shift).
Shifts to the Voice Fdit Mode and re-
ceives data (Screen shift.
Shifts to the Voice Edit mode and re-
celves data (Screen shaft),
Voice Edit Mode
Миши Play Mode
Multi Edir Mode
Utility Mode
3.1.3 Voice Element Tone Data parameter change
ТЕР TE
ОЗС: 43
Sofisean feas + Gevice Nustar
SO100I10 26
ООО de
Catzsosé sagësas
ZUG) be
CCE Coronas
Vuceroce goood
SONT à
ld засос
SOS y
yyy yyy REY
15115513 FF
= 57 gf appended tac'ie 1-3
“ Element Humber
mo {MSBFLIitS! F1 af appeased table 1-3
= (LSEfbitah РЗ of appended Lable 1-3
= [МОУ ВФ оо? appended table 1-1
w {LGRTRITeY BY af appsnded fable 101
= Data Yalye (MEN)
- Pato Yalus (L5EFLivs?
This message 15 used to change the Voice Element Tone Data for
each parameter,
When this message is received, the following results auto-
maticathy,
Voice Play Mode : Shifts to Voice Edit Mode and receives
data (Screen shit).
The Mode stavs as it is, receiving data
(Screen shifty,
Shifts to the Voice Edit Mode and re-
cerves data (Screen shift.
Shifts to the Voce Edit Mode and re-
cerves data (Screen shift),
Shifts to the Voice Edit mode and re-
cerves data (Screen sHifti
Voice Edit Mode
Multi Play Mode
Multi Féil Mode
Utility Mode
[Cattions]
When the element © data is received in the A-B {2 element) mode,
Guiv the soreen cliznges lo the element À, When the clement D data
is received, only the screen changes to the element B.
If there is no parameter agreeing with the corresponding element,
it is ignored,
3.1.4 Voie Element Envelope Data parameter change
3110000 FU
GLCDESI I 53
Олл sea = feyice Number
COIGELID 26
GRODEO11 13
Gagasass a&ddaza = ST dé asperded tabim Erd
COSCOORD be = Element Nurber
Сессссто ссесссо = {MBB/bits} FL of appended table 1-4
GCOLECCOS COLOCO = {LSETRiILe: FE 0° angended tabie id
EOS = = (ЗА) ВУ ОГ appended table 1-4
Giddddid dodidid = {{5BTRie: BY of apoendeg table 1-4
MONTON wv - Dats Yale (MEN)
Ey ey UN YY Date Yalue £LSBIEStS:
PlliVEILi +7
This message is used to change the Voice Element Envelope Data
for each parameter,
When this message is received, the following results auto-
matically.
105
MIDI DATA FORMAT
Voice Play Mode Shifts to Voice Edit Mode and receives
date (Screen shift).
The Mode stays as if is, receiving data
{Screen shift),
shifts to the Voice Edit Mode and re-
ceives data (Screen shift),
Shifts 10 the Voice Edit Mode and re-
céives dats (Screen shifts.
Shifts to the Voice Edit mode and re
ceives data (Screen shuit>.
Voice Edit Mode
Multi Play Mode
Multi Edir Mode
Utility Mode
MCartlons]
When the elemen; € data is received in the A-B (2 element) mode,
only the screen changes to the element A. When the element D data
is received, only the screen changes to the clement B.
3.1.5 Multi Data parameter change
11330006 Fi
DICH: 43
STA estr m Géeyvicé Humber
CRIM tL 26
ROUTINE ad
Dagdgaag dasûaga
VSS0bushb vbbt
BLOOD réteceu
Giceytrse terecee
BOC à
Géddddes ddégédd
ENDRENGE y
Оучумуу у VW YY
РНЕ Вл
al 97 apSendeí Labig 1-5
Channa] Number
IMEEI?biL] Fl St apcgenzed Lente !-
158703] Te of appended Заре +:
EMERY BI of appended labio 1-5
{L5RVE ER) EZ af epnended fable 1-5
Nata Yaine (MSR;
data Yatue [iSA7bits!
ле:
14 FE 1 1 FE § F
This message is used 10 change the Multi Data for each
parameter,
When this message is received, the following results auto-
matically,
Shifts to Multi Edir Mode and receives
data (Screen shalt).
Shifts to Multi Edit Mode and receives
data {Screen shift).
Shifts to Multr Edit Mode and receives
data {Screen shift).
The Mode stays as 1t 15, receiving datz
{Screen shill.
Shifts te the Multi Edit Mode amd re
ceives data (Screen shift).
Voice Play Mode
Voice Edit Mode
Multi Play Mode
Multi Exit Mode
Utility Mode
[Cautions]
The Chanel Number is ignored if not the parameter for cach
charmed,
3.1.6 System Data parameter change
31110066 E
DIEGO #2
EC Pen w Perico Number
Quicimag 26
ОКНЕ 16
Cananazó aasadsa = ST of
ОКНО 130
Gecyoroo wenneons = IMSAIRIES) F] sf anpouxed Labíe PÉ
Urnérioce 06620520 = (L5RThILsY F7 al annended table 1-6
(HAUTES à CESEN Bl af appended tabte 176
Uddéudéd defdddad SESBTRYLS) Dé LÉ anpéndes table 2-6
EICHE y Deia Vaiue :MÉ6}
Sesa YY YY + Date Vive 1iSATLit:])]
IIED FP?
appendey fishies 106
This message is used to change the System Data for each
parameter.
When this message is received, the following resuils auto-
matically.
106
Voice Play Mode
Voice Edit Mode
Multi Play Mode
Ми! Ван Mode
Utility Mode
Shifts to Titility System Mode and re-
ceives data {Screen shalt),
Shifts to Utility System Mode and re-
celyes data (Screen shift).
Shifts to Utiiny Systers Mode and re-
celves data (Screen shift),
Shifts to Utility System: Mode and re-
ceives data {Screen shift).
The Mode stays as it is, receiving data
{Screen shift,
3.1.7 System MIDI Data parameter change
PIE 599 Fo
ООС: £3
REX arn nema “a Deva Ce NANDCT
G2I09159 #6
СОР 6
Caamagas ssadpsa = GT ul apperded tante 1-7
ОСИ On
Brocuony cevoooe © IMSE/5IDo) FL oof appended table 1-7
Orvegice centoen = (1ISB7EIto) FZ of appended table 1-7
ODO € m MIOS DY uf appended tabie 177
ООН dd = 1155/0551 BE OT scperdéet Leable 1-7
WIM y = fafa Value [MAR
dan + Datz Valve 7ESEYET rs:
EEE
YY YY
This message is used to change the System MIDI Data for each
parameter,
When this message 15 received, the following resuits auto
matically,
Yoice Play Mode © Shifts to Utility System Mode and re-
cerves data {Screen shift),
Shifts to Utility System Mode and re-
ceives dats Screen shift,
Shifts to Utility System Mode and Te-
ceives data {Screen shift),
Shifts to Utility System Mode and re-
ceives data {Screen Shift}
The Mode stays as 1t 1s, receiving data
(Sorgen shift},
Vence Edit Moxie
Mult Play Mode
Multi Edit Mode
Utility Mode
3.3.8 Switch Remote parameter change
135
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