Yamaha | S90 | manual | Yamaha S90 User manual

Basics Section
Quick Guide
Appendix
Reference
OWNER’S MANUAL
MUSIC SYNTHESIZER
Yamaha Web Site (English only)
www.yamahasynth.com
Yamaha Manual Library
http://www2.yamaha.co.jp/manual/english/
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2002 Yamaha Corporation
This document is printed on chlorine free (ECF) paper with soy ink.
V943760 206MWCP25.2-01A0
Printed in Japan
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products
ENVIRONMENTAL ISSUES: Yamaha strives to produce products
may have either labels similar to the graphics shown below or
molded/stamped facsimiles of these graphics on the enclosure. The
explanation of these graphics appears on this page. Please
observe all cautions indicated on this page and those indicated in
the safety instruction section.
that are both user safe and environmentally friendly. We sincerely
believe that our products and the production methods used to
produce them, meet these goals. In keeping with both the letter and
the spirit of the law, we want you to be aware of the following:
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Battery Notice: This product MAY contain a small nonrechargable battery which (if applicable) is soldered in place. The
average life span of this type of battery is approximately five years.
When replacement becomes necessary, contact a qualified service
representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incinerate
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
this type of battery. Keep all batteries away from children. Dispose
of used batteries promptly and as regulated by applicable laws.
Note: In some areas, the servicer is required by law to return the
defective parts. However, you do have the option of having the
servicer dispose of these parts for you.
Disposal Notice: Should this product become damaged beyond
repair, or for some reason its useful life is considered to be at an
end, please observe all local, state, and federal regulations that
relate to the disposal of products that contain lead, batteries,
plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge
The lightning flash with arrowhead symbol,
within the equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude
to constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are tested
and approved by an independent safety testing laboratory in order
that you may be sure that when it is properly installed and used in
its normal and customary manner, all foreseeable risks have been
eliminated. DO NOT modify this unit or commission others to do so
unless specifically authorized by Yamaha. Product performance
and/or safety standards may be diminished. Claims filed under the
expressed warranty may be denied if the unit is/has been modified.
Implied warranties may also be affected.
relating to how a function or effect works (when the unit is operating
as designed) are not covered by the manufacturer’s warranty, and
are therefore the owners responsibility. Please study this manual
carefully and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the
location of the name plate. The model number, serial number, power
requirements, etc., are located on this plate. You should record the
model number, serial number, and the date of purchase in the
spaces provided below and retain this manual as a permanent
record of your purchase.
POWER
ON/ OFF
BREATH ASSIGNABLE SUSTAIN
Plug-in SLOT
SPECIFICATIONS SUBJECT TO CHANGE: The information
contained in this manual is believed to be correct at the time of
printing. However, Yamaha reserves the right to change or modify
any of the specifications without notice or obligation to update
existing units.
Model
Serial No.
Purchase Date
92-469-1(rear)
3
2
1
GREEN
YELLOW
ORANGE
THRU
OUT
MIDI
2
1
IN
FOOT SWITCH
A/D INPUT
GAIN
R
L
ASSIGNABLE OUTPUT
R
L/MONO
OUTPUT
PHONES
FOOT CONTROLLER
USB
AC INLET
3.3V
CARD
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING- When using any electrical or electronic product,
basic precautions should always be followed. These precautions
include, but are not limited to, the following:
1.
Read all Safety Instructions, Installation Instructions, Special
Message Section items, and any Assembly Instructions found in
this manual BEFORE making any connections, including
connection to the main supply.
2.
Do not attempt to service this product beyond that described in
the user-maintenance instructions. All other servicing should be
referred to qualified service personnel.
3.
Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area where
they are to be sold. If you should move, or if any doubt exists about
the supply voltage in your area, please contact your dealer for
supply voltage verification and (if applicable) instructions. The
required supply voltage is printed on the name plate. For name
plate location, please refer to the graphic found in the Special
Message Section of this manual.
4.
DANGER- Grounding Instructions: This product must be
grounded and therefore has been equipped with a three pin
attachment plug. If this product should malfunction, the ground pin
provides a path of low resistance for electrical current, reducing the
risk of electrical shock. If your wall socket will not accommodate this
type plug, contact an electrician to have the outlet replaced in
accordance with local electrical codes. Do NOT modify the plug or
change the plug to a different type!
8.
This product was NOT designed for use in wet/damp locations
and should not be used near water or exposed to rain. Examples of
wet /damp locations are; near a swimming pool, spa, tub, sink, or
wet basement.
9. This product should be used only with the components supplied
or; a cart, rack, or stand that is recommended by the manufacturer.
If a cart, rack, or stand is used, please observe all safety markings
and instructions that accompany the accessory product.
10. The power supply cord (plug) should be disconnected from
the outlet when electronic products are to be left unused for
extended periods of time. Cords should also be disconnected when
there is a high probability of lightning and/or electrical storm
activity.
11.
Care should be taken that objects do not fall and liquids are
not spilled into the enclosure through any openings that may exist.
12.
Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have
been spilled into the enclosure through openings; or
c. The product has been exposed to rain; or
d. The product does not operate, exhibits a marked
change in performance; or
e. The product has been dropped, or the enclosure of
the product has been damaged.
13.
5.
WARNING: Do not place this product or any other objects on
the power cord or place it in a position where anyone could walk on,
trip over, or roll anything over power or connecting cords of any
kind. The use of an extension cord is not recommended! If you must
use an extension cord, the minimum wire size for a 25’ cord (or less)
is 18 AWG. NOTE: The smaller the AWG number, the larger the
current handling capacity. For longer extension cords, consult a
local electrician.
6. Ventilation: Electronic products, unless specifically designed for
enclosed installations, should be placed in locations that do not
interfere with proper ventilation. If instructions for enclosed
installations are not provided, it must be assumed that unobstructed
ventilation is required.
This product, either alone or in combination with an amplifier
and headphones or speaker/s, may be capable of producing sound
levels that could cause permanent hearing loss. DO NOT operate
for a long period of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time period
before damage occurs.
14.
Some Yamaha products may have benches and/or accessory
mounting fixtures that are either supplied as a part of the product or
as optional accessories. Some of these items are designed to be
dealer assembled or installed. Please make sure that benches are
stable and any optional fixtures (where applicable) are well secured
BEFORE using. Benches supplied by Yamaha are designed for
seating only. No other uses are recommended.
7.
Temperature considerations: Electronic products should be
installed in locations that do not seriously contribute to their
operating temperature. Placement of this product close to heat
sources such as; radiators, heat registers etc., should be avoided.
PLEASE KEEP THIS MANUAL
92-469-3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
Water warning
• Only use the voltage specified as correct for the instrument. The
required voltage is printed on the name plate of the instrument.
• Check the electric plug periodically and remove any dirt or dust
which may have accumulated on it.
• Do not expose the instrument to rain, use it near water or in damp
or wet conditions, or place containers on it containing liquids
which might spill into any openings.
• Never insert or remove an electric plug with wet hands.
• Use only the supplied power cord/plug.
• Do not place the power cord near heat sources such as heaters
or radiators, and do not excessively bend or otherwise damage
the cord, place heavy objects on it, or place it in a position where
anyone could walk on, trip over, or roll anything over it.
Fire warning
• Do not put burning items, such as candles, on the unit. A burning
item may fall over and cause a fire.
If you notice any abnormality
Do not open
• This instrument contains no user-serviceable parts. Do not
attempt to disassemble or modify the internal components in any
way.
• If the power cord or plug becomes frayed or damaged, or if there
is a sudden loss of sound during use of the instrument, or if any
unusual smells or smoke should appear to be caused by it,
immediately turn off the power switch, disconnect the electric
plug from the outlet, and have the instrument inspected by
qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to
the instrument or other property. These precautions include, but are not limited to, the following:
Power supply/Power cord
Location
• Always connect the three-pin attachment plug to a properly
grounded power source. (For more information about the main
power supply, see page 14.)
• When removing the electric plug from the instrument or an outlet,
always hold the plug itself and not the cord. Pulling by the cord
can damage it.
• Remove the electric plug from the outlet when the instrument is
not to be used for extended periods of time, or during electrical
storms.
• Do not connect the instrument to an electrical outlet using a
multiple-connector. Doing so can result in lower sound quality, or
possibly cause overheating in the outlet.
• Do not expose the instrument to excessive dust or vibrations, or
extreme cold or heat (such as in direct sunlight, near a heater, or
in a car during the day) to prevent the possibility of panel
disfiguration or damage to the internal components.
• Do not use the instrument in the vicinity of a TV, radio, stereo
equipment, mobile phone, or other electric devices. Otherwise,
the instrument, TV, or radio may generate noise.
• Do not place the instrument in an unstable position where it might
accidentally fall over.
• Before moving the instrument, remove all connected cables.
• Use only the stand specified for the instrument. When attaching
the stand or rack, use the provided screws only. Failure to do so
could cause damage to the internal components or result in the
instrument falling over.
• Do not place objects in front of the instrument’s air vent, since this
may prevent adequate ventilation of the internal components,
and possibly result in the instrument overheating.
(2)-8
1/2
Connections
Saving data
• Before connecting the instrument to other electronic components,
turn off the power for all components. Before turning the power on
or off for all components, set all volume levels to minimum. Also,
be sure to set the volumes of all components at their minimum
levels and gradually raise the volume controls while playing the
instrument to set the desired listening level.
Saving and backing up your data
• DRAM data (see page 27) is lost when you turn off the power to
the instrument. Save the data to the Flash ROM (USER memory;
see page 73).
Saved data may be lost due to malfunction or incorrect operation.
Save important data to a Memory Card (SmartMedia).
Maintenance
• When cleaning the instrument, use a soft, dry cloth. Do not use
paint thinners, solvents, cleaning fluids, or chemical-impregnated
wiping cloths.
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or “Please
keep power on” message is shown). Turning the power off in
this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash
ROM).
Handling caution
• Do not insert a finger or hand in any gaps on the instrument.
• Never insert or drop paper, metallic, or other objects into the
gaps on the panel or keyboard. If this happens, turn off the power
immediately and unplug the power cord from the AC outlet. Then
have the instrument inspected by qualified Yamaha service
personnel.
When you exit from the Utility mode or Favorite Category
function, the parameter you changed in the display is
automatically stored. However, this edited data is lost if you
turn off the power without properly exiting from the display.
• Do not place vinyl, plastic or rubber objects on the instrument,
since this might discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the
instrument, and do not use excessive force on the buttons,
switches or connectors.
• Do not operate the instrument for a long period of time at a high
or uncomfortable volume level, since this can cause permanent
hearing loss. If you experience any hearing loss or ringing in the
ears, consult a physician.
Backing up the Memory Card (SmartMedia)/
external media
• To protect against data loss through media damage, we
recommend that you save your important data onto two Memory
Cards (SmartMedia)/external media.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
(2)-8
2/2
Introduction
Thank you for purchasing the Yamaha S90 Music Synthesizer. In order to get the most out of your new S90 and its
sophisticated functions, we suggest you read through this manual thoroughly. Also keep it in a safe, convenient place
so that you can regularly refer to it when necessary.
Package Contents
• AC Power cord
• Owner’s Manual
• CD-ROM x 2
• Data List
• Installation Guide
About the Included CD-ROM
Application software for your S90 is included on this CD-ROM. The Voice Editor lets you edit the Voices of the S90
with a highly intuitive graphical interface, and a File Utility, which lets you easily transfer data between the memory
card and a computer. With the included sequencing software (Windows only), you can easily create and edit your
own original songs on your computer. For details, refer to the separate Installation Guide or the on-line manual
included with the software.
Never attempt to play back the CD-ROM on an audio CD player. Doing so may result in damage to your hearing as well as
to your CD player/audio speakers.
Main Features
• Wide range of dynamic and authentic voices — over 512 in total, with 49 drum kits (page 25). Use the Category
Search function to quickly call up the sounds you want, based on their instrument type (page 38).
• Performance mode lets you use four different voices together — in layers or in a keyboard split (page 25).
• Extensive effect processing, with Reverb (12 types), Chorus (25 types), two separate Insertion sections (total 104
types), a Variation section (25 types), and a Master 5-band EQ (page 67).
• Comprehensive real-time control with four sliders — letting you adjust filter, levels, effects, EG, and more, while
you play (page 53).
• The built-in Arpeggio feature not only puts a wealth of hip rhythmic sequences at your fingertips, it even has
special “human” patterns — such as guitar strumming and woodwind trills (page 45).
• Master mode for using the S90 as a master keyboard controller (with independent Zones), and for easily
reconfiguring the instrument between Voice/Performance play and Sequence Play in live applications (page 48).
• Exceptionally easy-to-understand interface with two-tiered operation buttons: [F1] - [F6] and [SF1] - [SF5]
(page 32)
• Remote Control — for operating your favorite sequencing software from the panel controls of the S90. Mute
tracks, control transport (Play, Stop, etc.), mix both MIDI and audio tracks (up to 16) with the S90’s sliders, pan
the tracks, control EQ, and tweak effect sends — all without ever touching the mouse (page 57).
• Three Modular Synthesis Plug-in System slots let you upgrade the S90 with a completely new synthesizer or
sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more
instrument parts. Plus, special Plug-in voices have already been programmed and stored to the S90, ready to be
played as soon as you install the proper board (page 25).
• Comprehensive I/O terminals — including assignable outputs, audio inputs, MIDI, USB for multi-port connection
to a computer, and SmartMedia card slot for data storage.
• Expansion bay for optional mLAN — Yamaha’s new mLAN interface technology makes it possible to transfer all
your digital audio and MIDI data via a single broad-band cable.
• Naturally responsive 88-Key Balanced Hammer Effect Keyboard (with Aftertouch), drawing on our extensive
experience and expertise in piano-making.
6
About This Manual
This manual consists of the following sections.
■ Basics Section (page 12)
This section provides an overview of the main functions and features of the S90 and introduces you to the basic
operating conventions.
■ Quick Guide (page 36)
This section explains how to use the basic functions.
■ Reference (page 98)
The S90 encyclopedia. This section explains all functions and parameters.
■ Appendix (page 114)
This section contains detailed information on the S90 such as MIDI, instructions for installing optional
equipment, Display Messages, Troubleshooting and Specifications.
■ Installation Guide (separate booklet)
Refer to this for instructions on installing the included software programs (on the CD-ROM) to your computer.
■ Data List (separate booklet)
This contains various important lists such as the Voice List, Wave List, Performance List, and MIDI
Implementation Chart.
About the Reference Numbers
In addition to the regular page references, this manual also includes special Reference Numbers (e.g., Ref. #15).
These let you easily and quickly cross-reference the corresponding parameters in the Parameter Table on page 93.
(For more information, also see page 96.)
● Copying of commercially available music sequence data and/or digital audio files for any purpose other than your
own personal use, is strictly prohibited.
● This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or
with respect to which it has license to use others’ copyrights. Such copyrighted materials include, without
limitation, all computer software, styles files, MIDI files, WAVE data and sound recordings. Any unauthorized
use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of
copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES.
● The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may
appear somewhat different from those on your instrument.
● The name “mLAN” and its logo are trademarks of Yamaha Corporation.
● The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of
their respective companies.
7
Application Index
This convenient, easy-to-use index is divided to general categories to help you when you want to find information on
a specific topic or function.
■ Listening/Playing
• Listening to Demo songs .............................................................................................................................................. Demo Playback (Page 19)
• Playing the voices ..................................................................................................................................................................................... (Page 36)
• Calling up Voices in a desired instrument group .......................................................................Using the Voice Category function (Page 38)
• Playing songs from memory cards ......................................................................................................................................................... (Page 75)
• Converting Standard MIDI file from format 1 to format 0 ...... The separate Installation Guide and the File Utility Owner’s Manual (PDF)
• Using as a Master keyboard .................................................................................................................................................................... (page 48)
• Splitting the keyboard – Setting upper and lower ranges for the Voices
· In Master mode ..................................................................................................................................................................................... (Page 51)
· In Performance mode ........................................................................................................................................................................... (Page 42)
· In Voice mode .................................................................................................................................................................... Note Limit (Page 62)
• Layering several voices (Parts together)
· In Master mode ..................................................................................................................................................................................... (Page 51)
· In Performance mode ........................................................................................................................................................................... (Page 42)
• Changing the keyboard played part
In Master mode .................................................................................................................................. TransCh (Master Zone Edit [F1] Ref. #25)
In Sequence Play mode ......................................................................................................................................... Song track selection (Page 76)
• Selecting the touch sensitivity (Global setting) ................................................................................................................................... (Page 87)
• Changing the volume response to your playing strength — getting high volume from soft playing or soft volume from strong playing
(for each Voice/Performance) ......................... Velocity Depth/Velocity Offset (Performance/Mixing Part Edit [F1]→[SF5] Ref. #39, #40)
• Playing Arpeggios ..................................................................................................................................................................................... (Page 45)
• Setting Arpeggio MIDI OUT on/off
· Voice setting ............................................................................................................................... Output Switch (Utility [F3]→[SF2] Ref. #86)
· Performance/Mixing setting .................................................... Output Switch (Performance/Mixing Common Edit [F3] →[SF4] Ref. #86)
• Changing the Arpeggio tempo (compared to Song tempo) .........................................................................................................................
................................................................................................ Unit Multiply (Voice/Performance/Mixing Common Edit [F3] →[SF3] Ref. #83)
■ Using controllers
• Connecting controllers ..................................................................................................................................................................(Page 18)
• Setting the Pitch Bend Range..............PB Upper/Lower (Voice Common Edit, Performance/Mixing Part Edit [F1]→[SF5] Ref. #14)
• Using a Foot Controller/Footswitch to control parameters.........................................................................................................(Page 54)
• Using a Footswitch to start/stop the sequencer..................................................................................FS (Utility [F4]→[SF3] Ref. #130)
• Using a Footswitch to advance through Voice/Performance/Master programs................................FS (Utility [F4]→[SF3] Ref. #130)
• Using a Footswitch to start/stop the Arpeggio ...................................................................................FS (Utility [F4]→[SF3] Ref. #130)
• Using Remote Control function for external sequencer..............................................................................................................(Page 57)
• Maintaining the controller state/position when you switch between voices .............. Controller Reset (Utility [F1]→[SF4] Ref. #24)
• Setting the Controllers...................................................................................................................................................................(Page 55)
• Using Control Sliders.....................................................................................................................................................................(Page 53)
■ Copying
• Copying the Voice Effect/Arpeggio settings to the Performance mode ............................................. Using the copy function (Page 71)
• Copying Performance Part parameters to Parts in the Mixing mode.......................................................... Performance Copy (Page 72)
• Copying Element/Key parameter settings of the Voice to another Element/Key ...................................................................... (Page 71)
• Copying Part parameter settings of the Performance/Mixing to another Part........................................................................... (Page 71)
■ Changing the sound
• Editing a Voice ............................................................................................................................................................. Voice Edit (Page 60)
• Effect structure and signal flow .............................................................................................................................Using Effects (Page 67)
• Editing the effect settings................................................................................................................. Example of Effect Settings (Page 67)
• Adjusting the Voice sustain..............................................................................................................................AEG REL TIME (Page 66)
• Getting a brighter sound ................................................................................................................................................... Cutoff (Page 63)
• Getting a more pronounced effect ............................................................................................................................. Resonance (Page 63)
8
Application Index
• Simulating monophonic instruments .............Mono/Poly (Voice Common Edit, Performance/Mixing Part Edit [F1]→[SF2] Ref. #3)
• Setting the stereo pan position............................................................................................................................................. Pan (Ref. #44)
• Changing the Element/Part that is sounded according to the velocity............................................................................... Velocity Limit
In Voice Mode ................................................................................................................................................................................(Page 62)
In Performance/Mixing Mode ............................................................................ (Performance/Mixing Part Edit [F1]→[SF3] Ref. #33)
• Getting a smooth transition in pitch from one note to the next .................................................................................................................
......................... PORTA Switch/Time (Voice /Performance Common Edit, Performance/Mixing Part Edit [F1]→[SF4] Ref. #7-#11)
• Synchronizing the LFO to the tempo of the Arpeggio or sequencer .......... Tempo Sync (Voice Common Edit [F5]→[SF1] Ref. #161)
• Modulating the Resonance according to the LFO settings....................... LFO Dest (Voice Common Edit [F5]→[SF3/4/5] Ref. #170)
• Editing Voices using a computer............................ See separate Installation Guide and Voice Editor for S90 Owner’s Manual (PDF)
• Setting the User LFO ...........................COMMON LFO (See separate Installation Guide and Voice Editor for S90 Owner’s Manual)
■ Changing the pan position
• Moving the pan position alternately each time a key is played .........Alternate Pan (Voice Element/Key Edit [F4]→[SF1] Ref. #136)
• Moving the pan position randomly each time a key is played .............Random Pan (Voice Element/Key Edit [F4]→[SF1] Ref. #137)
• Moving the pan position according to the key position .........................Scaling Pan (Voice Element/Key Edit [F4]→[SF1] Ref. #138)
• Modulating the pan position according to the LFO settings .................... LFO Dest (Voice Common Edit [F5]→[SF3/4/5] Ref. #170)
■ Changing the pitch
• Transposing the sound/Adjusting the pitch (tone generator settings)
· Voice (Element) settings ............................................................... Coarse/Fine (Voice Element/Key Edit [F2]→[SF1] Ref. #59, #60)
· Plug-in Voice, Performance/Mixing (Part) settings ...................................................................................................... (Ref. #41, #153)
· Global setting .......................................................................................................................... Note Shift (Utility [F1]→[SF1] Ref. #41)
• Transposing the keyboard
· Global Setting..........................................................................................................................Transpose (Utility [F1]→[SF2] Ref. #18)
· Master Setting................................................................................................................... Transpose (Master Zone Edit [F2] Ref. #18)
• Adjust the tuning to other instruments ......................................................................................... Tune (Utility [F1]→[SF1] Ref. #216)
• Setting the all notes (keys) to the same pitch ......................................................PitchSens (Voice Element Edit [F2]→[SF4] Ref. #70)
• Setting the tuning system for the voice ......................................................... Micro Tuning (Voice Common Edit [F1]→[SF2] Ref. #5)
■ Setting the volume/level
• Adjusting the total volume.............................................................................................................. MASTER VOLUME slider (Page 14)
• Adjusting the global volume.......................................................................................................... Volume (Utility [F1]→[SF1] Ref. #43)
• Adjusting the Performance volume (affects all parts) ..................................................... Volume (Common Edit [F2]→[SF1] Ref. #43)
• Adjusting each part’s volume.................................................................................................... Volume (Part Edit [F2]→[SF1] Ref. #43)
• Adjusting the Voice volume (affects all elements)........................................................................Volume (Common Edit [F2] Ref. #43)
• Adjusting each element/key’s volume ......................................................................... Level (Element/Key Edit [F4]→[SF1] Ref. #135)
• Adjusting the volume by using Control Sliders ...........................................................................................................................(Page 53)
• Adjusting the output gain of OUTPUT jacks ................................. L & R Gain, Assign L/R Gain (Utility [F2]→[SF2] Ref. #55, #56)
■ Setting the sound of a drum voice
• Setting the drum key for independent open and closed hi-hat sounds ............. Altnate Group (Voice Key Edit [F1]→[SF5] Ref. #38)
• Setting the key release response: Enabling a sound to decay naturally even when a key is released, or having the sound cut off when
key is released ......................................................................................................... Rcv Note Off (Voice Key Edit [F1]→[SF5] Ref. #37)
■ Selectively disabling sounds
• Keeping certain elements from sounding temporarily during editing....................................................... Mute function (Pages 30, 61)
• Disabling the sound of specific elements/parts........... Element Sw/Part Sw (Voice Element/Key Edit, Performance Part Edit [F1]→[SF1] Ref. #28)
• Keeping certain Performance parts from sounding temporarily................................................Performance Part on/off (Pages 30, 42)
• Keeping certain Song parts from sounding temporarily.......................................................................Song Track on/off (Pages 30, 76)
• Disabling the sound of specific Song parts.......................................................................................................................RcvCh (Page 80)
■ Convenient editing functions
• Creating a completely new Voice/Performance from scratch...................................................................................... Initialize (Page 70)
• Listening to the difference between the Voice/Performance with your edited settings and the same Voice/Performance prior to
editing.............................................................................................................................................................Compare Function (Page 61)
• Restore the voice/Performance with your latest edits intact ........................................................................................... Recall (Page 71)
Application Index
9
■ Entering data
• Entering characters (Program/File Name Settings) ............................................................................................................ (Pages 34, 84)
■ Saving data
• Storing the edited data to the S90’s internal (USER) memory...................................................................................................(Page 73)
• Saving S90 settings to Memory Card............................................................................................................................................(Page 82)
• Saving S90 settings to an external device such as a computer............................................................................... Bulk Dump (Page 72)
• Saving Board voices .......................................................................................................................................................................(Page 73)
■ Connecting the S90 to other devices
• Connecting a computer ..........................................................................................................Connecting a Personal computer (Page 17)
• Setting Local Control On/Off............................................................................................. Local Control (Pages 18, Utility [F5]→[SF2])
• Using the S90 as a multitimbral tone generator ..........................................................................................................................(Page 80)
• Editing Voices using a computer........................... The separate Installation Guide and Voice Editor for S90 Owner’s Manual (PDF)
• Using the included sequencing software (Windows only)............ The separate Installation Guide and the application’s on-line help
• Setting the S90 to either receive or ignore program changes from an external device
· Voice settings ...........................................................................................Pgm Change/BankSel (Utility [F5]→[SF2] Ref. #180, #181)
· Performance/Mixing settings...................................................................... RCV SW (Performance/Mixing Part Edit [F5] Ref. #175)
• Determining whether or not the S90 sends program changes to an external device
· Voice settings ...........................................................................................Pgm Change/BankSel (Utility [F5]→[SF2] Ref. #180, #181)
· Master settings........................................................................................................................ TXSW (Master Zone Edit [F3] Ref. #89)
• Determining whether or not an external sequencer starts/stops when starting/stopping the S90’s sequencer .....................................
.....................................................................................................................................................SeqCtrl (Utility [F5] → [SF3] Ref. #187)
• Determining whether or not the S90’s sequencer starts/stops when starting/stopping an external sequencer ....................................
.....................................................................................................................................................SeqCtrl (Utility [F5] → [SF3] Ref. #187)
• Determining whether or not Song/Arpeggio playback is synchronized to an external MIDI device’s clock
...............................................................................................................................................MIDI Sync (Utility [F5] → [SF3] Ref. #185)
■ Resetting parameters (Initializing)
• Initializing Voice/Performance/Mixing/Master parameters....................................................................................... Initialize (Page 70)
• Formatting Memory Card..............................................................................................................................................................(Page 82)
• Resetting the S90 to its default settings....................................................................... Factory Set (Restore Factory Defaults) (Page 72)
■ Installing and using optional hardware
• Installing the Plug-in Board ........................................................................................................................................................(Page 124)
• Using two or three identical Plug-in Boards as one board to increase polyphony.....................................................................................
.............................................................................................................................................. Poly Expand (Utility [F6]→[SF1] Ref. #206)
• Installing the mLAN8E ...............................................................................................................................................................(Page 126)
■ Quick solutions and reference materials
• Global functions of the Function List ............................................................................................................................ (Pages 88 and 98)
• S90 parameter structure and the Reference Number ......................................................................................Parameter Table (Page 92)
• Reference Number (Ref. #) and its page reference ......................................................................................................................(Page 96)
• Function Tree ................................................................................................................................................................................(Page 88)
• Display Indications........................................................................................................................................................................(Page 30)
• NUMBER Button functions..........................................................................................................................................................(Page 30)
• Memory Structure – indicating where various settings are stored............................................................................... (Pages 25 and 27)
• Voice/Performance Structure........................................................................................................................................................(Page 26)
• Filter Types. ...................................................................................................................................................................................(Page 63)
• Category List
· Voice/Performance .....................................................................................................................................................................(Page 35)
· Arpeggio......................................................................................................................................................................................(Page 45)
• Lists of the Voices, Performances, Waves, Arpeggio types, Effect types, etc. .......................................................The separate Data List
• File types that can be handled.......................................................................................................................................................(Page 83)
• General information on MIDI .............................................................................................................................. About MIDI (Page 118)
• Information Displays................................................................................................................................................................... (Page 114)
• Meaning of the display messages ..................................................................................................................Display Messages (Page 116)
• Troubleshooting...........................................................................................................................................................................(Page 128)
10
Application Index
Top Panel ...................................................................................12
Rear Panel .................................................................................13
Setting Up ................................................................ 14
Pitch Bend Wheel & Modulation Wheel .................................53
Control Sliders (CS) .................................................................. 53
Foot Controller ..........................................................................54
Footswitch (assignable) ............................................................54
Footswitch (sustain) .................................................................54
Breath Controller ...................................................................... 54
Aftertouch .................................................................................54
Power Supply .............................................................................14
Power-on Procedure ..................................................................14
Turning on the S90 ...................................................................14
Remote Control for external sequencer ................... 57
Connections .............................................................. 15
Setting Up ..................................................................................57
Using the Remote Control function .........................................58
Demo Playback ........................................................ 19
Voice Edit ................................................................. 60
Overview of the S90 ................................................ 20
Using Effects ............................................................ 67
Controller ...................................................................................20
Tone Generator .........................................................................20
Effects ........................................................................................ 24
Card Drive/Sequencer ..............................................................24
Effect structure ..........................................................................67
Effect connection ......................................................................68
Using the Jobs .......................................................... 70
Voices & Performance ............................................. 25
Saving the Settings (Store) ...................................... 73
Bank (Memory) Structure ........................................................25
Overview of Voice/Element/Performance ..............................26
Normal Voices & Drum Voices ................................................27
GM Voices .................................................................................27
Playing the Songs ..................................................... 75
Internal Memory and File Management .................. 27
Touch Sensitivity ..................................................... 87
Basic Operations ...................................................... 29
Function Tree ........................................................... 88
Modes .........................................................................................29
Mode Table ................................................................................29
Selecting a Mode ........................................................................30
Display Indications ...................................................................30
Selecting Functions and Parameters ........................................32
Display-based Controls .............................................................33
Parameter Table ....................................................... 92
Using Memory Cards................................................ 82
Parameter/Function List ..........................................................97
Reference ...................................98
Appendix .................................114
Playing Voices .......................................................... 36
Selecting a voice ........................................................................36
Using the Category Search function ........................................38
Voice editing in the Voice Play mode (Quick Edit) .................39
Information Displays ............................................. 114
Playing Performances .............................................. 41
About MIDI ............................................................ 118
Selecting a Performance ............................................................41
Layering Voices (Parts) Together (Layer)
Splitting the Keyboard (Split) ...................................................42
Editing Performances in the Performance Play mode
(Quick Edit)................................................................................44
Installing Optional Hardware ................................ 123
Using the Arpeggio function .................................... 45
Basics Section
Mixing mode ..............................................................................77
Reference (Function List) ........................................ 98
Quick Guide .............................. 36
Quick Guide
The Controls & Connectors ..................................... 12
Using Controllers ..................................................... 53
Display Messages ................................................... 116
Optional units that can be installed to the S90 .................... 123
Installation locations .............................................................. 123
Installation Precautions ......................................................... 123
Optional Plug-in Board Installation ...................................... 124
Optional mLAN8E Installation ............................................. 126
What is the Arpeggio function? ...............................................45
Arpeggio playback ..................................................................... 46
Arpeggio Type, Tempo, and Limit ...........................................46
Troubleshooting ..................................................... 128
Using as a Master Keyboard .................................... 48
Index ...................................................................... 132
Specifications ......................................................... 131
What is the Master Mode? ........................................................48
Playing the Master Demo (Selecting Masters) ........................49
Memorize to a Master ...............................................................50
Using Zones — Creating a Layer/Split with an external
tone generator ...........................................................................51
Table of Contents
11
Appendix
Basics Section ............................. 12
Reference
Table of Contents
Basics Section
Basics Section
The Controls & Connectors
Top Panel
Quick Guide
8
4
CONTROL
FUNCTION
PAN
REVERB
CUTOFF
MASTER
VOLUME
RESONANCE
CHORUS
9
@ &
!
#
ATTACK
¡
•
MODE
TEMPO
PROGRAM
SLOT 1
SLOT 2
SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
A
B
C
D
E
F
G
H
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
VOICE
DEC/NO
Reference
SF1
SF2
SF3
SF4
SF5
PERFORM
UTILITY
CARD
EDIT
JOB
MASTER
SEQ PLAY
DRUM KITS
F2
F3
F4
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
STORE
1
2
3
4
5
6
7
8
PLAY/
STOP
9
12
13
14
15
16
5
6
TRACK
SELECT
INFORMATION
F5
EXIT
F6
ARPEGGIO
ENTER
ELEMENT / PERF.PART / ZONE
EFFECT
BYPASS
10
11
7
% $
)
MUTE
SOLO
EXECUTE
3
REMOTE
CONTROL
INC/YES
COMPARE
F1
CATEGORY
SEARCH
^ *( º ™
¢
∞
§
¶
£
12
3.3V CARD
USB
PHONES
L/MONO
OUTPUT
R
L
R
GAIN
A/D INPUT
ASSIGNABLE OUTPUT
1
2
FOOT CONTROLLER
SUSTAIN ASSIGNABLE
BREATH
FOOT SWITCH
IN
OUT
THRU
POWER
ON/ OFF
MIDI
Appendix
CONTROL
FUNCTION
PAN
CUTOFF
MASTER
VOLUME
REVERB
RESONANCE
CHORUS
ATTACK
MODE
TEMPO
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
VOICE
PERFORM
MASTER
SLOT 1
SLOT 2
SLOT 3
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
DRUM KITS
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
CATEGORY
SEARCH
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
UTILITY
DEC/NO
PITCH
PROGRAM
RELEASE
ASSIGN A
MEQ LOW
VOLUME 1
EDIT
SF2
SF3
SF4
SF5
SEQ PLAY
JOB
STORE
1
PLAY/
STOP
9
F2
F3
F4
F5
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
INFORMATION
ELEMENT / PERF.PART / ZONE
COMPARE
F1
REMOTE
CONTROL
INC/YES
MODULATION
SF1
CARD
F6
EXIT
ENTER
ARPEGGIO
EFFECT
BYPASS
10
11
EXECUTE
MUTE
SOLO
A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B5 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7
1 [PITCH] Bend wheel (page 53)
% [EXIT] button (page 32)
2 [MODULATION] wheel (page 53)
^ [ENTER] button (page 32)
3 [MASTER VOLUME] slider (page 14)
& MODE buttons (page 29)
4 [CONTROL FUNCTION] button (pages 53, 59)
* [ARPEGGIO] button (page 45)
5 [CS1] - [CS4] (Control Slider) (pages 53, 56)
( [EFFECT BYPASS] button (page 67)
6 LCD Contrast control (page 14)
º [PLAY/STOP] button (page 75)
7 [F1] - [F6] (Function) buttons (page 32)
¡ BANK buttons (pages 36, 38, 41)
8 [SF1] - [SF5] (Sub Function) buttons (page 32)
™ GROUP [A] - [H] buttons (pages 37, 41)
9 LCD (Liquid Crystal Display) (pages 30, 114)
£ NUMBER [1] - [16] buttons
(pages 30, 37, 42, 49, 58, 61, 76, 80)
) [INFORMATION] button (pages 33, 34, 35)
! Data dial (pages 33, 76)
@ [INC/YES] button (page 33)
# [DEC/NO] button (page 33)
$ Cursor buttons (page 33)
12
The Controls & Connectors
¢ [CATEGORY SEARCH] button (page 38)
∞ [REMOTE CONTROL] ON/OFF button (page 57)
§ [TRACK SELECT] button (pages 30, 37, 76)
¶ [MUTE] button (pages 30, 42, 61, 76)
• SLOT 1-3 lamps (page 125)
ª
⁄
‹
›fifl ‡ °· H
I J K
Basics Section
Rear Panel
L
POWER
ON/ OFF
BREATH ASSIGNABLE SUSTAIN
GREEN
YELLOW
ORANGE
THRU
OUT
MIDI
2
1
IN
FOOT SWITCH
A/D INPUT
GAIN
L
R
ASSIGNABLE OUTPUT
R
L/MONO
OUTPUT
PHONES
FOOT CONTROLLER
3.3V
CARD
Quick Guide
USB
AC INLET
‚
¤
ª [POWER] switch (page 14)
‚ AC INLET (AC power cord socket) (page 14)
⁄ Plug-in Board cover (page 126)
¤ mLAN Expansion Board (mLAN8E) cover (page 126)
‹ MIDI IN/OUT/THRU terminals (page 16)
› BREATH Controller jack (page 18)
USB
USB is an abbreviation for Universal Serial Bus.
It is a serial interface for connecting a computer with
peripheral devices.
It allows “hot swapping” (connecting peripheral
devices while the power to the computer is on).
fi FOOT SWITCH jack (ASSIGNABLE) (pages 18, 54)
fl FOOT SWITCH jack (SUSTAIN) (pages 18, 54)
‡ FOOT CONTROLLER 1, 2 jacks (pages 18, 54)
° A/D INPUT jack (page 15)
· [GAIN] knob (page 15)
H ASSIGNABLE OUT L & R jacks (page 15)
mLAN
“mLAN” is a digital network designed for musical
applications. It uses and extends the industry standard
IEEE 1394 high performance serial bus.
For details, refer to the Guide Book of the mLAN8E.
I OUTPUT L/MONO & R jacks (page 15)
J PHONE jack (page 15)
K USB terminal (page 17)
L CARD slot (page 82)
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or
“Please keep power on” message is shown). Turning the
power off in this state results in loss of all user data and
may cause the system to freeze (due to corruption of data
in the Flash ROM).
The Controls & Connectors
13
Reference
3
2
1
Appendix
Plug-in SLOT
Basics Section
Setting Up
Power Supply
When using the S90 as MIDI receiver:
Quick Guide
MIDI master (transmitting device)
POWER
ON!
AC INLET terminal
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Power cord
(included)
1 Make sure the POWER switch on the S90 is set to OFF.
S90 as MIDI slave (MIDI receiving device)
Reference
2 Connect the supplied power cord to the AC INLET
terminal on the instrument’s rear panel.
3 Connect the other end of the power cord to an AC
outlet. Make sure your S90 meets the voltage
requirement for the country or region in which it is
being used.
Appendix
Make sure your S90 is rated for the AC voltage supplied
in the area in which it is to be used (as listed on the rear
panel). Connecting the unit to the wrong AC supply can
cause serious damage to the internal circuitry and may
even pose a shock hazard!
Use only the AC power cord supplied with the S90. If
the supplied cord is lost or damaged and needs to be
replaced, contact your Yamaha dealer. The use of an
inappropriate replacement can pose a fire and shock
hazard!
The type of AC power cord provided with the S90 may be
different depending on the country in which it is
purchased (a third prong may be provided for grounding
purposes). Improper connection of the grounding
conductor can create the risk of electrical shock.
Do NOT modify the plug provided with the S90. If the
plug will not fit the outlet, have a proper outlet installed
by a qualified electrician. Do not use a plug adapter
which defeats the grounding conductor.
Power-on Procedure
Once you’ve made all the necessary connections (page
15) between your S90 and any other devices, make
sure that all volume settings are turned down all the
way to zero. Then, turn on the every device in your
setup in the order of MIDI masters (senders), MIDI
slaves (receivers), then audio equipment (mixers,
amplifiers, speakers, etc.). This ensures smooth signal
flow from the first device to the last (first MIDI, then
audio). When powering down the setup, first turn
down the volume for each audio devices, then switch
off each device in the reverse order (first audio devices,
then MIDI).
14
Setting Up
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
L
R
Audio equipment (first mixer, then amplifier)
Turning on the S90
Before you switch your S90 on or off, first turn down the
volume of any connected audio equipment.
1 Press the POWER switch.
POWER
ON/ OFF
AC INLET
After a while, the default display appears (as set in
the Utility parameter, Power On Mode Display).
n Adjusting the display contrast if the LCD is difficult
to read, adjust the contrast with the LCD contrast
control knob (page 12).
2 Raise the sound system volume to a reasonable
level.
3 Gradually raise the MASTER VOLUME control
while playing the keyboard to set the desired
listening level.
Before connecting the S90 to other electronic components, turn off the power to all the components. Before turning the power on
or off to all components, set all volume levels to minimum (0). Otherwise, electrical shock or damage to the components may occur.
Connecting to External
Audio Equipment
A/D input
Since the S90 has no built-in speakers, you’ll need an
external audio system or a set of stereo headphones to
properly monitor it. The following illustrations show
various connection examples; use the one most similar
to your intended setup.
You can import external sounds (page 44). When
importing from an external audio source, connect a
microphone or the audio source to the A/D INPUT
jack.
Quick Guide
■ Connecting a microphone or other audio
equipment (analog input)
Basics Section
Connections
Audio Device (merged to mono internally)
Connecting stereo powered speakers
Powered speaker
(Right)
OUTPUT L/MONO
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Headphones
S90
INPUT
INPUT
A/D INPUT
Mic (MONO)
OUTPUT R
PHONES
Apply effects to the microphone sound by
using the Vocal Harmony Plug-in Board
(PLG100-VH).
Appendix
Powered speaker
(Left)
Reference
L/MONO
A pair of powered speakers can accurately produce the
instrument’s rich sounds with their own pan and effect
settings. Connect your powered speakers to the
OUTPUT L/MONO and R jacks on the rear panel.
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
A/D INPUT
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
S90
n When using just one powered speaker, connect it to the
OUTPUT L/MONO jack on the rear panel.
Connecting to a mixer
There are extra audio outputs in addition to the
OUTPUT (L/MONO and R) jacks. Connect these
outputs to a mixer for separately controlling the
outputs of up to four Parts in Performance mode
(pages 29, 41).
L
Mixer
OUTPUT L
Speaker
R
S90
n After the above connections are complete, you are ready
to set up for importing. When starting an importing, you
may need to adjust the input gain of the audio source by
using the GAIN knob.
■ Connecting to mLAN-compatible audio
equipment (When an optional mLAN8E has
been installed)
R
Amplifier
mLAN audio device
mLAN jacks
1
2
3
4
5
ASSIGNABLE
L
OUTPUT
6
7
8
R
9
10
11
12
13
14
15
16
OUTPUT
L/MONO
L
MUSIC SYNTHESIZER
R
Modular Synthesis Plug-in System
R
PHONES
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
S90
Headphones
S90
n Sound can be input via either the mLAN jacks or the
A/D INPUT jacks. Which jacks are used is determined
in the Utility mode ([F2]→[SF1] A/DSource Ref. #53).
Connections
15
Basics Section
Connecting External MIDI
Equipment
Quick Guide
Using a standard MIDI cable (available separately), you
can connect an external MIDI device, and control it
from the S90. Likewise, you can use an external MIDI
device (such as a keyboard or sequencer) to control the
sounds on the S90. Below are several different MIDI
connection examples; use the one most similar to your
intended setup.
■ Controlling another MIDI device via MIDI
THRU
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
External MIDI synthesizer 1
External MIDI sequencer
MIDI OUT
MIDI IN
MIDI IN
MIDI THRU
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
■ Controlling from an external MIDI keyboard
MIDI OUT
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
S90
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI IN
MIDI IN
Reference
External MIDI synthesizer 2
S90
In the above setup, Synthesizer 2 can be played from
the S90 (via MIDI OUT), while the external sequencer
plays Synthesizer 1 (via MIDI THRU).
MIDI OUT
External MIDI keyboard or synthesizer
Appendix
■ Controlling an external MIDI keyboard
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI OUT
n The MIDI cable should be no greater than 15 meters in
length, and there should be no more than three devices in
a MIDI chain (chained in series via each unit’s MIDI
THRU). To connect more units, use a MIDI Thru Box
for parallel connections. You may encounter errors if the
MIDI cables are too long or if too many devices are
chained together via their MIDI THRU connectors.
■ Using an mLAN interface (when an optional
mLAN8E has been installed)
UTILITY [F5]→[SF4] MIDI IN/OUT=mLAN
S90
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Sur face
Modular Synthesis Plug-in System
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI IN
External MIDI keyboard or synthesizer
S90
IEEE1394 (mLAN) cable
■ Recording and playback using an external
MIDI sequencer
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
External MIDI sequencer
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
S90
16
Connections
Transmit & Receive
mLAN keyboard
n Any one of the following interfaces can be used for MIDI
data transmission/reception: the MIDI connectors, the
mLAN terminal connector, or the USB connector.
However, they cannot be used at the same time. Select
which connector is used for MIDI data transfer in the
Utility mode ([F2]→[SF1] AD/Source Ref. #53).
UTILITY [F5]→[SF4] MIDI IN/OUT=USB
USB cable
USB terminal
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Computer with a
USB Interface
S90
n If you are using the Remote Control function to control
operations on a computer sequencer, we recommend
making connections with a USB cable.
n The USB connection can only be used for transfer of
MIDI data. No audio data can be transferred via USB.
Data send/receive
S90
Basics Section
Disconnecting/connecting the USB cable or turning
the power off/on may cause the computer operation
to hang-up, or may stop the S90 from functioning
properly. Be careful NOT to disrupt the USB
connection or turn the power on/off in the following
operating conditions.
• While the S90 is recognizing the device or while
loading the driver.
• While starting or shutting down the operating
system.
• While computer operation is suspended (with
power management controls such as sleep or
hibernation).
• While a MIDI application is starting.
The computer may also hang up and/or the S90’s
functions may stop if you do the following:
• Turn the power on/off, or connect/disconnect the
cable too often.
• Enter the sleep mode while transmitting the MIDI
data, and resume operation.
• Disconnect/connect the cable while the S90 is on.
• Turn the S90 on/off, start the computer, or install
driver software while a huge amount of data is
being transferred.
USB cable
USB terminal
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI OUT
MIDI IN
Computer with a
USB Interface
■ Using an IEEE1394 interface (when an
optional mLAN8E has been installed)
MIDI cable
MIDI OUT
MIDI IN
Quick Guide
■ Using an USB interface
USB cables have different connectors on each end:
an A type and a B type. When using the USB
connection, connect the A type to your computer
and the B type to the S90.
Reference
By connecting a computer, you can transfer data
between the S90 and the computer via MIDI, and use
the computer to control, edit and organize data on the
S90. For example, you can use the included Voice
Editor program to edit the S90’s voices. There’s also a
special File Utility program that lets you use your
computer to manage files in the Memory Card inserted
in the S90’s CARD slot.
About the USB connector
UTILITY [F5]→[SF4] MIDI IN/OUT=mLAN
IEEE1394 cable
External MIDI synthesizer
External MIDI sequencer
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
n For details about the signal flow of this setting, see page
113 (*67).
S90
Computer with an
IEEE1394 interface
Connections
17
Appendix
Connecting to a Personal
Computer
n When transmitting or receiving System Exclusive
data (such as with the Bulk Dump function), use
the setting example below, making sure that MIDI
“Echo” on the computer software is set to “off.”
■ Using a MIDI interface
Basics Section
Using the computer’s MIDI interface
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
MIDI cable
MIDI IN
When MIDI “Echo” is disabled on the software/
computer, set the S90 Local Control to “on.”
MIDI OUT
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
MIDI OUT
Computer with
Application Software
Quick Guide
MIDI IN
Computer with
MIDI Interface
S90
Using an external MIDI interface
USB
Tone
Generator
UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI
OUT
Keyboard
IN
Local On
Echo Back On
S90 Local Control=on
MIDI Interface
MIDI OUT
Computer
Reference
MIDI IN
MIDI IN
MIDI OUT
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Serial port
(modem or printer port)
or USB port
S90
n Make sure to use the appropriate MIDI interface for your
computer.
Appendix
n If you are using a computer that has a USB interface,
make sure to connect the computer and the S90 by USB.
(The data transfer rate is faster than MIDI and you’ll
have access to multiple MIDI ports.)
Local On/Off - When Connected to a
Computer (Utility [F5]
[SF2])
When connecting the S90 to a computer, the
keyboard performance data is generally sent to the
computer, and then returned from the computer to
play the tone generator or sound source. If the Local
Control is set to “on,” a “double” sound may result,
since the tone generator is receiving performance
data from both the keyboard directly and the
computer. Use the setting suggestions below as a
guideline; specific instructions may differ depending
on your computer and the software used.
n Although not indicated in the illustration above,
the S90 actually receives and responds to MIDI
data from the computer application (sequencer),
regardless of the Local Sw setting on the S90.
* MIDI “Echo” is a function on sequencers that takes
any data received via the MIDI IN and “echoes” it
(or sends it as is) through the MIDI OUT. In some
software, this function is also called “MIDI Thru.”
n Refer to the owner’s manual of your particular
software for specific instructions.
Connecting Various
Controllers
The S90 features several controller jacks on the rear
panel — letting you independently control various
aspects of the sound and a variety of functions with
optional controllers (page 53).
BC3
FC4 or FC5
FC7
When MIDI “Echo” is enabled on the software/
computer, set the S90 Local Control to “off.”
USB
IN
Computer with
Application Software
OUT
BREATH ASSIGNABLE SUSTAIN
Tone
Generator
Keyboard
Local Off
S90 Local Control=off
18
Connections
FOOT SWITCH
OUT
IN
Echo Back On
2
1
FOOT CONTROLLER
Basics Section
Demo Playback
The S90 features a variety of demo songs, showcasing its dynamic sound and sophisticated functions.
DEC/NO
SF1
SF2
SF3
SF4
SF5
VOICE
PERFORM
MASTER
UTILITY
CARD
SEQ PLAY
EDIT
JOB
Quick Guide
n Make sure the synthesizer is ready for playback. Details are given in the section “Setting Up” on page 14.
1
INC/YES
STORE
INFORMATION
COMPARE
F2
F3
F4
F5
F6
EXIT
ENTER
ARPEGGIO
EFFECT
BYPASS
PLAY/
STOP
Reference
F1
EXECUTE
2
(34)
5
34
1 Press the [SEQ PLAY] button to call up the CHAIN screen.
2 Press the [SF5] (DEMO) button to call up the Demo data.
Appendix
n You can select the first song for playback by using the [▲ ▼] buttons.
3 Press the [PLAY/STOP] (or [SF5]) button to start playback of the Demo song.
n You can set the song tempo or the song position. The operations are the same as the ones in SEQ PLAY mode (page 76).
4 The [PLAY/STOP] (or [SF5]) button lets you pause playback and then start again from the same point in the song.
5 To exit from the Demo mode, stop playback, then press one of the [MODE] buttons or [EXIT] button.
n Demo song playback continues indefinitely until stopped.
Demo Playback
19
Basics Section
Overview of the S90
The S90 has a wide variety of advanced and convenient features. This section gives you an overview of these
features. The following diagram shows the various component sections or “blocks” of the S90.
Controller
Quick Guide
Keyboard
MIDI OUT
Controllers
Memory Card
Load
Song
(SMF)
File
S90
Data
Save
Sequencer
Effect
Tone Generator
(Playback)
AWM2
Plug-in Board
Arpeggiator
Reverb
Insertion 1
Chorus
Insertion 2
Variation
Output
Master Equalizer
Reference
Controller
Appendix
This block consists of the keyboard, Pitch Bend and Modulation wheels, Control Sliders, and so on (page 53).
The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the S90’s tone
generator section for the notes you play. The controllers also send non-note performance data. Information from the
keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector.
Tone Generator
This block plays back sounds according to information received from the keyboard and controllers. The following
example illustrates the path taken by the signal from an Element in the Voice Mode (page 26).
Controls the output level (amplitude) of
each Element output from the FILTER
section. The signals are then sent at this
level to the Effects Unit.
Controls the pitch of each Element
output from the OSC section.
Tone Generator
OSC
(Oscillator)
PITCH
Outputs the waveform of each
Element. Each Voice consists of up to
four Elements.
20
Overview of the S90
FILTER
AMP
(Amplitude)
Changes the tonal quality of each
Element output from the PITCH section.
To Effects units
Plug-in Boards (optional)
Internal AWM2
Tone Generator
● AWM2 (Advanced Wave Memory2) & Waveform
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in
many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s
waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be
applied to the basic waveform.
Basics Section
The tone generator block in the S90 consists of the built-in AWM2 and optional Plug-in Boards.
Quick Guide
Internal AWM2 Tone Generator and Optional Plug-in Boards
Plug-in board line-up
● Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by using a single
part of the S90.
• Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of
analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as
well as the very latest sounds heard in today’s club-oriented music.
• Piano Plug-in Board (PLG150-PF)
A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including
a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install three of these boards to triple the
polyphony to 192 notes.
• Advanced DX/TX Plug-in Board (PLG150-DX)
The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM
Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile and dynamic sound shaping
potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.
• Virtual Acoustic Plug-in Board (PLG150-VL)
With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of
realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an
optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.
• Drums Plug-in Board/Percussion Plug-in Board (PLG150-DR/PLG150-PC)
Incorporates the highly-acclaimed AWM2 engine dedicated to the reproduction of drum/percussion sounds. This board also
has its own dedicated effects processing. This means that you can apply Reverb and Insertion effect to the voice, letting you
use all of the effects on the “mother” device for the other Parts.
Overview of the S90
21
Appendix
● Plug-in Boards
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work
seamlessly and transparently within the system of the S90 — meaning that you can use their sounds and functions
just as if they were built right into the S90 at the factory.
Up to three Plug-in Boards can be installed to the S90 (see box below for available boards). These boards are not
simply a source of more Voices; they are also tone generators in their own right and extend the system-level
specifications such as maximum polyphony. In addition, they allow you to use synthesis systems besides AWM2.
You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (page 25).
The S90 is compatible with the Modular Synthesis Plug-in System. There are three types of Modular Synthesis Plugin System-compatible Plug-in Boards: Single Part, Multi-Part and Effect. Using these, you can build your own system
based on the sounds you require.
Reference
n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive
instruments (Drum Voices). For details on Normal and Drum Voices, see page 27.
Basics Section
● Effect Plug-in Board
• Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects.
Backing chorus parts for your vocals can be created automatically from chords that have been prepared and stored as MIDI
data. You can also use the S90 like a vocoder by connecting and using a microphone while playing the keyboard.
● Multi-Part Plug-in Board
Multi-Part Plug-in Boards let you expand the voice polyphony of the S90 by giving you a full 16 independent instrumental parts.
By using this type of board to play back sequencer tracks, you can reserve the maximum polyphony of the S90 for your
keyboard performance.
Quick Guide
• XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and
effects on this board.
About MODULAR SYNTHESIS PLUG-IN SYSTEM
Reference
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-incompatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest
and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in
modern music production.
Maximum Polyphony
Appendix
The maximum sonic polyphony is 64 for AWM2, plus the polyphony of the Plug-in Board(s) (if installed). The
actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the
Voice, and the note polyphony of the Plug-in Boards.
In the case of AWM2 Voices, the polyphony figure of 62 is divided by the number of Elements in the Voice.
Part Structure of the Tone Generator Block
The S90 plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller
block or Sequencer block. MIDI data is assigned to one of sixteen channels, and the S90 is capable of simultaneously
playing sixteen separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit
by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the S90 (internal
tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.
Tone Generator block
Part for Voice mode
Port 1
Port 2
Port 3
part 1
part 17
part 33
part 2
part 18
part 34
part 14
part 15
part 30
part 16
part 32
part 46
part 47
part 48
part 31
These parts are used in
modes other than the
Voice mode.
As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode).
However, the number of parts that are actually used is a maximum of 34 in the Sequence Play mode, as we’ll see later
in some examples.
n See page 29 for details about the modes.
n The USB cable supports up to eight separate MIDI ports. The S90’s Tone Generator block supports three separate ports as
illustrated above, and the S90’s MIDI Thru function supports eight separate MIDI ports.
n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle independent MIDI port data.
22
Overview of the S90
● Voice mode
Controller block
Basics Section
Part Structure – Voice/Performance/Sequence Play Modes
Tone Generator block
(Internal / Plug-in)
Part for Voice mode
Quick Guide
Controllers
Keyboard
The sequencer block is not
available in the Voice mode.
Port 2
Port 3
part 1
part 17
part 33
part 2
part 18
part 34
part 30
part 46
part 31
part 47
part 32
part 48
Reference
Parts 1-48 are not used.
Port 1
Output
part 3
part 4
part 5
part 16
n In the Voice mode, the MIDI port number is 1.
Appendix
n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used.
● Performance mode
Controller block
Keyboard
Controllers
A maximum of four parts can be used among parts 1-4 and 14-16.
Parts that are set to on in the Performance Play mode are used.
Tone Generator block (Internal / Plug-in)
PLG3 part
Port 1
Port 2
Port 3
Part 1
Part 17
Part 33
Part 2
Part 18
Part 34
Part 3
The sequencer block is not
available in the Performance
mode.
Parts 5-13 and 17-48
are not used.
Part 4
Part 5
Output
PLG2 part
PLG1 part
Part 14
Part 30
Part 46
Part 15
Part 31
Part 47
Part 16
Part 32
Part 48
n In the Performance mode, the MIDI port number is 1.
n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used.
Overview of the S90
23
● Sequence Play mode
Basics Section
Controller block
External sequencer
Controllers
Keyboard
MIDI cables by themselves cannot handle
data from multiple ports. If a MIDI cable is
used to transmit data from an external
sequencer, only the Port 1 parts are used.
To take advantage of the multiple ports of
the S90, use a USB cable.
Quick Guide
In the Sequence Play Mixing mode, the only parts that
sound are the currently selected (edited) part, and parts
having the same receive channel as the selected one.
Tone Generator block (example)
Sequencer block
MIDI sequence data
When the Multi-Part Plug-in board and two Single Part Plug-in boards
have been installed:
Port 1
Port 2
Port 3
(Multi-Part Plug-in
Board)
(Single Part Plug-in
Board)
Reference
Track 1
Part 1
Part 17
Part 33
Track 2
Part 2
Part 18
Part 34
Track 3
Part 3
Track 4
Part 4
Part 30
Part 46
Track 15
Part 15
Part 31
Part 47
Track 16
Part 16
Part 32
Part 48
Appendix
Each track of music (MIDI) data sounds a
corresponding part on the S90, according to the
MIDI channel/Port settings.
(The receive channel/Port for each part must match
the transmit channel/Port of each track.)
Parts 33-46
are not
used.
PLG1 part
PLG2 part
These Port settings are available in Utility mode (PORT NO. [F6] → {SF2} Ref. #207).
Effects
Utilizing sophisticated DSP (digital signal processing) technology, the effects of the S90 can be used to change or
enhance the sound.
n For more details about the effects, see page 67.
Card Drive/Sequencer
The Card Drive block lets you transfer or load data to and from the Memory Card (page 82).
The sequencer block can be used to play back Standard MIDI Files contained on Memory Card (page 75).
24
Overview of the S90
Basics Section
Voices & Performance
Bank (Memory) Structure
Voices
Performance
Preset Voice
(384 Normal Voices + 48 Drum Voices)
User
(128)
Quick Guide
A Voice is a single instrument sound, created by using the Elements and setting various parameters. In the Voice
Play mode (page 36), you can select and play any of these Voices. Performances, on the other hand, combine Voices
in various ways. In the Performance Play mode (page 41), you can select and play any of these Performances.
Group A~H
Preset 3
(128 Normal Voices)
Preset 1
(48 Drum Voices)
Group A~H
Group A~H
Group A~H
Group A~C
Number 1~16
Number 1~16
Number 1~16
Number 1~16
Voice
Voice
Voice
GM Preset Voice
(128 Normal Voices+1Drum Voice)
GM Preset
(128 Normal Voices)
User
(128 Normal Voices)
User
(16 Drum Voices)
Group A~H
Group A
Number 1~16
Number 1~16
Group A~H
Number 1~16
Voice
Voice
Voice
User Voice
(128 Normal Voices+16 Drum Voices)
GM Preset
(1 Drum Voice)
Number 1~16
Performance
Reference
Preset 2
(128 Normal Voices)
Voice
Indicates the separate
“Banks” of Voices/
Performances.
Appendix
Preset 1
(128 Normal Voices)
Voice
Plug-in Voice
(The maximum amount of Preset and Users Banks is three, depending on
the number of Plug-in Board that are installed.)
PLG1
PLG2
Preset
(AN/PF/DX/DR/PC board:
64 voices
VL board: 192 voices)
Number 1~16
Voice
User
PLG3
Preset
(AN/PF/DX/DR/PC board:
64 voices
VL board: 192 voices)
Number 1~16
Voice
Preset
(AN/PF/DX/DR/PC board:
64 voices
VL board: 192 voices)
Number 1~16
Voice
(64 Voices)
User
(64 Voices)
Group A~D
Group A~D
Group A~D
Number 1~16
Number 1~16
Number 1~16
Voice
Voice
User
(64 Voices)
Voice
Voices & Performance
25
Basics Section
Overview of Voice/Element/Performance
Each Voice can consist of up to four Elements. Each Element itself is a high-quality waveform or instrument sound.
Voice & Element
Quick Guide
Each Voice can consist of up to four Elements. Elements are made from waveforms, and the quality of the Elements
is high enough that each can be used on its own as a voice. Since you can combine up to four Elements together in a
voice, highly expressive and richly textured sounds are possible. You can also split different instrument sounds
across the keyboard to be playable separately with your left and right hands — without having to specially set up a
Performance program (Voice Element Edit [F1]→[SF3] NoteLimit Ref. #32).
Performance
Reference
A Performance consists of up to four Parts, each of which can play a Normal Voice or Drum Voice Part. By assigning
different Voices to each part, you can play these four Parts simultaneously from the keyboard — either in layers of
different Voices, or special key splits in which your right and left hands can play separate Voices (page 42).
n Song playback settings are available in Mixing setup of Sequence Play mode.
One Voice
One Performance
Up to four elements
Up to four parts
Element 1~4
Different Voice
for each part
One Part
Appendix
+
Voice
Common Edit parameters
+
Part Edit parameters
+
Common Edit parameters
(Channel setting affects
all parts.)
One Mixing (Template) (CH1-16)
Different Voice
for each part
Up to 16 parts (Up to 34 parts if the optional Multi Part Plug-in
Board & Single Part Plug-in Boards have been installed)
One Part
Voice
+
CH1
CH16
Part Edit parameters
+
(Each Part can be
assigned to a different
MIDI channel.)
Common Edit parameters
One Element
Element Edit parameters
Sequencer
LFO
Low Frequency
Oscillator
Song File
Playback
(SMF Format 0)
MIDI CH 1~16
Oscillator
Wave (AWM2)
PITCH
AMP
FILTER
Song File Playback
via MIDI/USB MIDI
(Amplitude)
Computer
PEG
Pitch Envelope
Generator
FEG
Filter Envelope
Generator
AEG
Amplitude Envelope
Generator
SMF
Format1→0
Sequencer
(Playback/
Recording)
Voice Editor
EG
Included CD-ROM
Element 1
Element 2
Element 3
Element 4
C-2
26
Voices & Performance
G8
Voice Edit
Sequencer software
(Windows)
Voice Editor
File Utility
Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical
instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum
sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum wave or
Normal Voice is known as a Drum Kit.
Drum Voice
Quick Guide
Normal Voice
Voice
Element 1-4
Key 2
Key 3
Key 4
Key 5
Key 76
GM Voices
GM is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It was
designed primarily to ensure that any song data created with a specific GM device would sound virtually the same on
any other GM device — no matter the manufacturer or the model. The GM Voice bank on the S90 is designed to
appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played
by the original tone generator.
Appendix
Internal Memory and File Management
In this section, how to store the various types of data and use the memory media for storing them.
This diagram details the relationship among the S90’s functions and the internal memory and memory card.
S90 Internal Memory
* Bulk transmission cannot be used to
transfer the data of User Arpeggios
and part of the System settings.
Preset Data (ROM)
Recall Buffer
(DRAM)
• Voice
• Plug-in Voice
• Preset Arpeggio
• Demo
* Voice/Performance only
External MIDI device
MIDI bulk
User Memory
Edit Buffer
(DRAM)
• User Voice
(Normal 128, Drum 16)
• User Plug-in Voice
(64 Voices x 3 boards)
• User Performance (128)
• Master Edit
• User Master (128)
• Mixing Edit
• Chain
• User Arpeggio (128)
(Load only)
Put (save)
• System setting
(Utility setting)
Computer
PS/V
IBM
Personal System/V
Personal System/V
File extensions “.W4V”
Plug-in board
(DRAM)
Load / Save
Store
• Performance Edit
For editing Plug-in
Voices
Memory Card
Flash ROM
• Voice Edit
File extensions
“.W4C”
File extensions
“.W2G”
File extensions “.W4A”
File extensions
“.W2B”
• Plug-in All Bulk
Internal Memory and File Management
Reference
Key 1
• Plug-in Voice Edit
Basics Section
Normal Voices & Drum Voices
27
Internal Memory
Basics Section
● ROM and RAM
ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be
written to it. This is the location where preset data for the instrument is permanently stored.
On the other hand, RAM (Random Access Memory) allows both reading and writing of data. This is the location for
the edit buffer data.
Quick Guide
● Flash ROM and DRAM
The data contained in Flash ROM can be read and written and maintained indefinitely, even if the power is off. This
is the location where the data created by editing is stored. On the other hand, data contained in DRAM is lost when
the power is turned off. Because of this, you should always store any data residing in DRAM to Flash ROM or a
memory card before turning off the power.
Never attempt to turn off the power while data is being written to Flash ROM (while an “Executing...” or “Please keep power on”
message is shown). Turning the power off in this state results in loss of all user data and may cause the system to freeze (due to
corruption of data in the Flash ROM).
Reference
Edit Buffer (DRAM) and Recall Buffer (DRAM)
● Edit Buffer and User Memory
The edit buffer is the memory location for edited data of these types: Voice, Performance and Master. Data edited in
this location will be stored to the User Memory.
If you select another Voice, Performance, Master, or Mixing setup, the entire contents of the edit buffer will be
rewritten with the newly selected Voice/Performance/Master/Mixing setup. Make sure to store any important data
before selecting another Voice, etc.
Appendix
● Edit Buffer and Recall Buffer
If you’ve selected another Voice or Performance without storing the one you were editing, you can recall your
original edits, since the edit buffer’s contents are stored in backup memory. Keep in mind that the recall buffer is
available only in the Voice or Performance mode.
Memory Card
To properly protect and store your valuable User data, you should save it to Memory Card for indefinite safekeeping
(page 82).
There are two different ways to save data created on the S90 to memory card:
• By saving all data in the User memory as a single file (with the extension “.W4A”).
• By saving the files separately according to their specific functions (with the extensions corresponding
to each type).
28
Internal Memory and File Management
Basics Section
Basic Operations
In this section, you’ll learn about the structure of the modes of the S90, its panel display indications and its
fundamental operations.
Quick Guide
Modes
The S90 is organized into various modes, each covering a different set of operations and functions.
Voice Mode
Master Mode
MODE
Voice Play Mode
Voice Edit Mode
Voice Job Mode
Voice Store Mode
VOICE
PERFORM
Master Play Mode
Master Edit Mode
Master Job Mode
Master Store Mode
MASTER
Sequence Play Mode
Performance Play Mode
Performance Edit Mode
Performance Job Mode
Performance Store Mode
UTILITY
CARD
EDIT
JOB
SEQ PLAY
Utility Mode
Sequence Play Mixing Mode
Sequence Play Mixing
Edit Mode
Sequence Play Mixing
Job Mode
Reference
Performance Mode
Card Mode
STORE
Edit Mode
Store Mode
COMPARE
Appendix
Job Mode
Mode Table
Play
EDIT (LED lights.
When comparing,
it flashes.)
JOB (Displayed)
STORE (Displayed)
VOICE (LED lights)
page 36
page 60
page 70
page 73
Play/Edit/Save the Voice
PERFORMANCE (LED lights)
page 41
page 98
page 70
page 73
Play/Edit/Save the Performance
MASTER (LED lights)
page 48
page 51
page 70
page 73
Register/Recall the settings that are often
used in the Voice, Performance and
Sequence Play mode to User Master.
Make/Register Master Keyboard
function settings.
SEQ PLAY (LED lights)
page 75
Mode (Status)
SEQ PLAY MIXING (Displayed)
UTILITY (LED lights)
CARD (LED lights)
Relevant function
Song playback (from memory card)
page 79
page 70
Set the tone generation parameters of
each part in Sequence Play mode
(page 77).
page 72
Global settings for the entire system
(page 98)
Save/Load the S90 data (page 82)
n You need to select the Voice/Performance/Master before entering Edit mode. All parameters can be set and stored per Voice/
Performance/Master.
n Utility mode is a sub-mode of the Voice/Performance/Sequence Play mode. For example, if you press the [UTILITY] button while
in the Performance mode, you enter the Utility mode as a sub-mode of the Performance mode — allowing you to select and play
performances while in the Utility mode.
Parameters are divided into two basic groups: 1) functions that are related to each Voice, Performance etc., and 2)
functions that affect all Voices, Performances etc. The former are set in the Edit mode and latter in the Utility mode.
Utility mode settings can be saved to memory card along with the Voices and Performances.
Basic Operations
29
Basics Section
Selecting a Mode
Display Indications
There are separate Play modes for Performances/
Voices and Sequence Play mode. To enter each of these
modes, use the appropriate MODE button.
Here we explain how to read the display indications.
In the Sequence Play mode, there is a Mixing mode. To
enter the Mixing mode, press the [F6] button while
selecting the Sequence play mode.
Quick Guide
To enter the Master mode, press the [MASTER]
button. Depending on the Master program, the
indicator of the VOICE/PERFORMANCE/SEQ PLAY
lights.
There are also separate Edit and Job modes for
Performances, Voices, Masters and Mixing setups. To
enter the Edit or Job mode, simply press the [EDIT] or
[JOB] button while in each respective mode.
Reference
Similarly, pressing the [STORE] button in the Voice,
Performance, Master mode takes you into the Store
mode where you can store Performances, Voices and
Masters.
In addition, the modes mentioned above, there is also a
Utility mode, which is for making global settings to the
instrument and the Card mode, which contains Card
related settings.
Appendix
n Keep in mind that the particular displays and parameters
in the Utility mode differ depending on which main
mode was active before calling up the sub-mode.
n Note that the Mixing settings are memorized with the
“Put” function (not “Store”) (page 79).
To exit to another mode, press the respective button for
that mode or the [EXIT] button.
Functions of the NUMBER [1] - [16] buttons
Use of these buttons differs depending on the on/off
status of the [TRACK SELECT] and [MUTE]
buttons.
When [TRACK
SELECT] is on
transmit
Voice Play mode Keyboard
channel setting
When [MUTE]
is on
—
selection (1 - 4) and Element
Voice Edit mode Element
Mute setting (9 - 12)
Performance
Play mode
Voice Play Mode (Quick Edit)
@
2
3
4
1
9
)
9
)
Voice Edit Mode
@ !
)
2
3
4
1
)
9
9
8
7
Performance Play Mode
4
5
1
2
3
6
7
Performance Play Mode (Quick Edit)
@
2
3
4
1
9
)
9
)
—
Master Play
mode
Zone selection
(1 - 4)
—
Master selection,
according to Groups
A-H
Master Edit
mode
Zone selection
(1 - 4)
Zone Mute setting
(1 - 4)
—
Sequence Play
mode
Mixing mode
Mixing part
selection
Mixing part Mute
setting
—
Basic Operations
1
2
3
6
Voice selection,
according to Groups
A-H
Performance or Voice
selection (if cursor is
located at Voice
name), according to
Groups A - H
30
5
When both
[TRACK SELECT]
[MUTE] are off
Keyboard transmit
channel setting
Performance part
Mute setting
Performance part (1 - 4)
selection (1 - 4)
Performance
Edit mode
4
Voice Play Mode
Performance Edit Mode
@ !
)
2
3
4
1
9
8
7
)
9
Indicates the bank
number assigned to
the Master
1
2
Store Mode (Ex. Voice Store)
5
Basics Section
Indicates the mode
assigned to the
Master
Master Play Mode
£
6
Naming List
2
4
1
Quick Guide
Master Quick Edit Mode
#
1 Mode (PERF=PERFORMANCE)
Master Edit Mode
2 Bank/Number
P1-P3 =PLG1-PLG3
4
1
Reference
2
!
3 Category (page 35)
4 Name (refer to the separate Data List)
Sequence Play Mode
%
^
&
6 Functions assigned to the respective Control sliders
(3rd row). AS=ASSIGN (page 53)
1
7 Function (selected via [F1]-[F6]buttons)
$
8 Sub-Function (selected via [SF1]-[SF5]buttons)
¡
*
(
º
9 Parameter/function name (page 98)
) Settings
™
! Edit type
COMMON=Common Edit status
EL1-EL4=Element Edit status
KEY=Key Edit Status
PART01-PART16=Part Edit status
Sequence Play Mixing Mode
1
9
@ Edit indicator (Indicates the current Voice/
Performance has been modified but not yet stored; page
39. In the Compare condition, the
indicator is
shown; page 61.)
Sequence Play Mixing Edit Mode
!
# Pop-up character list (page 35)
1
$ Chain Step number (page 75)
9
)
% Settings (Song file/Mix template)
^ Tempo
& Song position
Job Mode (Ex. Voice Copy)
1
* Tempo button (page 76)
( Measure button (page 76)
º Folder setting button (page 75)
¡ Press the button to enter the Demo mode (page 19)
™ Press the button to enter the Mixing mode (page 77)
Source Voice Destination Data Type Source Data Type
£ Destination for Store operation
Basic Operations
31
Appendix
5 Keyboard MIDI transmit channel (page 37)
Keyboard Octave setting set via the Octave parameter
(UTILITY [F1]→[SF1] Octave Ref. #17)
Basics Section
Selecting Functions
and Parameters
Quick Guide
Each mode described above contains various displays,
with various functions and parameters. To navigate
your way through these displays and select a desired
function, use the [F1] - [F6] buttons and the [SF1] [SF5] buttons.
When you select a mode, the available displays or
menus appear directly above the buttons at the bottom
of the display (as shown below).
Using the Sub-Function
buttons [SF1] - [SF5]
These functions can be selected via the
corresponding button ([SF1]-[SF5]).
SF1
Using the Function buttons
[F1] - [F6]
Reference
Appendix
F1
SF2
F2
SF3
F3
SF4
F4
F2
SF3
F3
SF4
F4
SF5
F5
INFORMATION
F6
In this example, press the [SF5]
button to go to the SCALE display.
Depending on the currently selected mode, up to five
functions (sub-functions) are available and can be
called up with the [SF1] - [SF5] buttons. Keep in mind
that the available functions differ depending on the
selected mode. (Some displays may not have any subfunctions for these buttons.)
These functions can be selected via the
corresponding button ([F1] - [F6]).
SF1
F1
SF2
SF5
F5
INFORMATION
How to leave the
current display
F6
In this example, press the [F5]
button to go to the LFO display.
Depending on the currently selected mode, up to six
functions are available and can be called up with the
[F1] - [F6] buttons. Keep in mind that the available
functions differ depending on the selected mode.
n In some cases, the function buttons are used for special
operations, such as the ones in the Sequence Play
(CHAIN) display (page 76).
For most operations (especially editing and Job- or
Store-related), pressing the [EXIT] button will let you
leave the current display and return you to the next
highest level or to the normal play mode display.
DEC/NO
INC/YES
EXIT
ENTER
EXECUTE
[ENTER] button
Use this button to execute a Job or a Store operation.
Also use this button to actually enter a number when
selecting a Bank or Group for Voice or Performance. In
the File mode, use this button to go to the next lowest
level in the selected directory.
DEC/NO
INC/YES
EXIT
ENTER
EXECUTE
32
Basic Operations
Data Entry
This convenient function lets you call up relevant
details about the selected mode — simply by pressing
the [INFORMATION] button. For example, when the
Voice mode is active, you can quickly check
information about which voice bank is selected, what
Play mode (poly or mono) is being used, which effects
are applied, and so on.
Changing (editing) values
Rotating the data dial to the right
(clockwise) increases the value, while
rotating it to the left (counterclockwise) decreases it.
DEC/NO
INC/YES
EXIT
ENTER
For parameters with large value
ranges, you can increase the value by
10 by simultaneously holding down the
[INC/YES] button and pressing the
[DEC/NO] button. To decrease by 10,
do the opposite; simultaneously hold
down the [DEC/NO] button and press
the [INC/YES] button.
EXECUTE
Basics Section
Information Display
Quick Guide
Display-based Controls
INFORMATION
Reference
Moving the cursor
Use these four cursor buttons to navigate the display, moving the cursor
around the various selectable items and parameters in the screen.
When selected, the relevant item is highlighted (the cursor appears as a
dark block with inverse characters).
In the Sequence Play mode, you can confirm the
selected (current) folder (directory).
Appendix
When you exit from the Utility mode or Favorite
Category function, the parameter you changed in the
display is automatically stored. However, this edited data
is lost if you turn off the power without properly exiting
from the display.
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or
“Please keep power on” message is shown). Turning the
power off in this state results in loss of all user data and
may cause the system to freeze (due to corruption of data
in the Flash ROM).
INFORMATION
Confirmation Message
When you execute certain operations, such as those in
the Job, Store, and File modes, the S90 shows a
confirmation message. This lets you actually execute
the operation or cancel it if desired.
For details about Information Display, see page 114.
If a confirmation message (like the one illustrated above)
appears, press the [INC/YES] button to execute the
operation or press the [DEC/NO] button to cancel it.
Basic Operations
33
Basics Section
Note (Key) settings
Quick Guide
Several S90 parameters let you set a key range for a
function — for example, in setting up a keyboard split
— by specifying certain note values. You can use the
[INC/YES] and [DEC/NO] buttons or data dial to set
these parameters, or you can directly enter the values
from the keyboard by pressing the appropriate keys (as
shown below). In the example display here, Element 1
of a voice is being edited.
Reference
When Note Limit is selected, the [KBD] mark appears,
indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button and
press the appropriate key.
1 Move the cursor to the first position of the name by
using the cursor buttons.
DEC/NO
INC/YES
EXIT
ENTER
EXECUTE
2 Select a character by using the [INC/YES] button,
[DEC/NO] button or the data dial.
INFORMATION
DEC/NO
INC/YES
Appendix
Naming (Entering Characters)
The S90 allows you to create your own original data
such as voices, performances, masters. You can also
freely name the data as desired.
The following data types can be named.
• User voices
• User performances
• User masters
• Mix templates
• Files saved to memory card
page 66
page 43
pages 50, 52
page 79
page 85
3 Move the cursor to the next position of the name by
using the cursor buttons.
DEC/NO
INC/YES
EXIT
ENTER
The example below applies when naming a User voice.
EXECUTE
4 Enter the other characters as desired by repeating
steps 1 - 3 above.
34
Basic Operations
When the cursor is located at the Name, this [LIST] icon appears and
you can call up the Character List display by holding the
[INFORMATION] button. Release the [INFORMATION] button to return
back to the original display.
INFORMATION
INFORMATION
There are many ways to set parameters. Some
parameters require you to directly enter numerical
settings or alphabetic characters. With others, you
can choose from a number of available settings.
Furthermore, some types of parameters are
“absolute” whereas others are “relative.”
For example, the absolute parameter in the following
illustration can be set to either “mono” or “poly.”
For other absolute parameters such as Volume, the
setting can be any value between zero and 127. The
Volume setting has a linear, one-to-one relationship
with the actual volume, as shown in the graph on the
left. However, relative parameters do not follow the
same relationship. The graph on the bottom shows
the role of the Velocity Offset parameter. The value
you have set here, known as an “offset,” is added to,
or subtracted from, the actual value. With Velocity
Offset, the specified offset value is added to, or
subtracted from, the actual velocity of the notes you
play on the keyboard. Sometimes, these types of
relative parameters are set as a percentage.
Appendix
While holding the [INFORMATION] button....
Select a character by using the
[INC/YES] button, [DEC/NO]
button or the data dial.
DEC/NO
INC/YES
EXIT
ENTER
Move the cursor to the desired position.
Use these two buttons to navigate the
display, moving the cursor around the
various selectable items and parameters in
the screen. When selected, the relevant
item is highlighted (the cursor appears as a
dark block with inverse characters).
EXECUTE
1. Volume (absolute)
LCD
--
Category
LCD
Category
Unassigned
Ld
Synth Lead
Ap
Acoustic Piano
Pd
Synth Pad
Kb
Keyboard
Sc
Synth Comping
Or
Organ
Cp
Chromatic Percussion
Gt
Guitar
Dr
Drums
Ba
Bass
Se
Sound Effects
St
Strings/Orchestral
Me
Musical Effects
Br
Brass
Co
Combination
Volume
0
127
2. Velocity Sensitivity offset (relative)
Offset
+64
Offset added (+10)
Actual velocity
Offset subtracted (-10)
0
Volume
Rp
Basics Section
Types of Parameters (Absolute and
Relative)
Quick Guide
In steps 2 and 3 above, you can use the special popup Character List, which shows you all the available
characters, making it exceptionally easy to enter names
and text. To call up the list, press and hold down the
[INFORMATION] button. To select a character, keep
holding down the [INFORMATION] button and use
the [INC/YES] and [DEC/NO] buttons or data dial.
Reference
Using the Character List
Reed/Pipe
-64
Basic Operations
35
Basics Section
Quick Guide
Playing Voices
Here, you’ll learn how to select and play Voices (instrument sounds) from the PRESET1-3, GM, USER and PLG 1-3
memory groups (Banks).
Quick Guide
n For details about voices, see pages 25, 26. For information on the Voice List, see the separate Data List.
n Up to 128 Normal Voices and 16 Drum Voices can be stored to User memory (pages 25, 27, 73). The Voice settings can be
changed in the Voice Edit mode (page 60).
Selecting a voice
4 1
Reference
3.3V CARD
USB
PHONES
L/MONO
OUTPUT
R
L
R
ASSIGNABLE OUTPUT
GAIN
A/D INPUT
1
2
FOOT CONTROLLER
SUSTAIN ASSIGNABLE
FOOT SWITCH
BREATH
IN
OUT
THRU
POWER
ON/ OFF
MIDI
CONTROL
FUNCTION
PAN
CUTOFF
MASTER
VOLUME
REVERB
RESONANCE
CHORUS
ATTACK
MODE
TEMPO
PROGRAM
SLOT 1
SLOT 2
SLOT 3
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
VOICE
PERFORM
MASTER
UTILITY
CARD
SEQ PLAY
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
DRUM KITS
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
STORE
1
2
3
4
5
6
7
8
PLAY/
STOP
9
12
13
14
15
16
CATEGORY
SEARCH
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
DEC/NO
PITCH
234
MODULATION
EDIT
SF1
SF2
SF3
SF4
SF5
JOB
F2
F3
F4
F5
TRACK
SELECT
INFORMATION
ELEMENT / PERF.PART / ZONE
COMPARE
F1
REMOTE
CONTROL
INC/YES
F6
EXIT
ARPEGGIO
ENTER
EFFECT
BYPASS
10
11
MUTE
SOLO
EXECUTE
Appendix
5
1 Enter the Voice Play mode.
● Normal Voice
MODE
VOICE
PERFORM
2 Select a Voice Bank.
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
Bank name
MASTER
Select a Normal Voice Bank.
Select a Plug-in Voice Bank.
● Drum Voice
DRUM KITS
When the Voice Play mode is active, the currently
selected voice is shown in huge letters — so you can
easily check which voice you’re about to play.
Bank name
PRE 1
PRE 2
PRE 3
GM
USER
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
n When shipped from the factory, the S90 contains a full
set of specially programmed User voices in the User
bank. Naturally, you can edit these and overwrite them
if you want. You can also restore them to the original
factory set from the Utility Job (page 72). For details
about Voice Banks and Groups, see page 25.
36
Playing Voices
3 Select a Voice Group.
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
4 Select a Voice number.
Decreases
number
Decreases
number
1
2
Increases
number
DEC/NO
3
INC/YES
Increases
number
4
5
6
7
8
12
13
14
15
16
ELEMENT / PERF.PART / ZONE
9
10
11
Number
Program
Number
Group
Number
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Quick Guide
B
Group
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Reference
Group
A
Program
Number
Appendix
Voices in each Bank are divided into Groups [A] - [H].
Select the desired Group, and all the Voices of that
Group are shown in the display.
Basics Section
● Program numbers and the corresponding
Group/Numbers
Keyboard MIDI transmit channel setting
5 Play the keyboard.
Press the [TRACK SELECT] button so that its
indicator lights, and press any of the NUMBER [1] [16] buttons to change the Keyboard MIDI transmit
channel.
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
n You can set this parameter also in the Utility mode
([F5]→ [SF1] KBDTransCh Ref. #177). This
parameter cannot be stored in the Store mode.
Playing Voices
37
Basics Section
Using the Category Search function
The S90 features a powerful Category Search function that gives you quick access to the sounds you want,
irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can
browse through all related voices one by one — and audition each of them, too. Plus, you can use the special
Favorites category to store the voices you use most.
3
3.3V CARD
USB
PHONES
L/MONO
R
OUTPUT
L
R
GAIN
A/D INPUT
ASSIGNABLE OUTPUT
1
2
SUSTAIN ASSIGNABLE
FOOT CONTROLLER
BREATH
IN
FOOT SWITCH
OUT
1
POWER
ON/ OFF
Quick Guide
CONTROL
FUNCTION
PAN
CUTOFF
MASTER
VOLUME
REVERB
RESONANCE
CHORUS
ATTACK
MODE
TEMPO
PROGRAM
SLOT 1
SLOT 2
SLOT 3
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
VOICE
PERFORM
MASTER
UTILITY
CARD
SEQ PLAY
EDIT
JOB
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
DRUM KITS
A
B
C
D
E
F
G
H
MUSIC SYNTHESIZER
SF1
SF2
SF3
SF4
SF5
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
STORE
1
2
3
4
5
6
7
8
F2
F3
F4
F5
PLAY/
STOP
9
12
13
14
15
16
TRACK
SELECT
INFORMATION
ELEMENT / PERF.PART / ZONE
COMPARE
F1
REMOTE
CONTROL
INC/YES
MODULATION
F6
EXIT
ENTER
ARPEGGIO
EFFECT
BYPASS
10
11
MUTE
SOLO
EXECUTE
Reference
1 Turn the Category Search
function on by pressing the
[CATEGORY SEARCH] button.
CATEGORY
SEARCH
Modular Synthesis Plug-in System
DEC/NO
PITCH
2
THRU
MIDI
■ Select a Sub Category
All Categories are divided into two or three Sub
Categories for further ease in selection. The Sub
Category names are displayed at the bottom of the
Category Search display. Press the [F1] - [F3] buttons to
select the first voice in the corresponding Sub Category.
CATEGORY
SEARCH
Appendix
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
SF1
F1
n To turn the function off, press [CATEGORY SEARCH]
button again.
2 Select a Category.
■ Select a Category
Press the Category buttons to display the Category name and
the voice list. The first voice in this Category is selected.
Category
names
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
SF2
F2
SF3
F3
3 Select a voice and play it.
Step through the available voices by using the data dial.
You can also use the [INC/YES] and [DEC/NO] buttons,
or use the cursor [▲]/[▼] buttons. Remember, you can
play and audition each Voice as you select it — without
having to leave the Category Search function.
DEC/NO
INC/YES
EXIT
ENTER
EXECUTE
Category name
38
Playing Voices
Voice list
When you exit from the Favorite Category
function, the parameter you changed in the display
is automatically stored. However, this edited data
is lost if you turn off the power without properly
exiting from the display.
Never attempt to turn off the power while data is
being written to Flash ROM (while an
“Executing...” or “Please keep power on” message
is shown). Turning the power off in this state
results in loss of all user data and may cause the
system to freeze (due to corruption of data in the
Flash ROM).
The Voice Play mode lets you perform a variety of
general editing operations on the selected voice. For
more detailed and comprehensive editing operations,
use the Voice Edit mode.
1 Select the desired Voice (page 36).
2 Select the menu you wish to edit by pressing the
[F4] - [F6] buttons and edit the parameters in each
display.
n When the Plug-in voice is selected (when the Single
part Plug-in board is installed), you can press the [F2]
button to call up the BANK display.
3 Store the settings edited in step 2 to the User
Memory as required (page 73).
F1
SF2
F2
SF3
F3
SF4
F4
n Depending on the particular Plug-in Voice, certain
parameters may not be available for editing.
n Parameters in the Voice Play mode and Voice Edit mode
having the same name also have the same functions and
settings.
The [
] Indicator
If you alter any parameters, the [ ] indicator will
appear in the top left of the display. This indicates
that the current settings have been modified but not
yet stored.
SF5
F5
F6
DRUM KITS
FAVORITES
Pressing this toggles
between the two settings:
Checkmark on
Checkmark off
Basics Section
4 Press the [F1] button to return to the original
display.
Edit indicator
SF1
Quick Guide
Use this convenient function to store all your favorite,
often-used voices in a single, easy-to-access location —
and call them up by pressing the [FAVORITES] button.
Select any voice you want, from any desired category,
and enter each to the Favorites Category. In this way,
you can go directly to all the voices you use the most,
without having to hop around other Categories — a
great aid when playing live.
Select the desired Category, then move the cursor to
your favorite voice in the Category list, and press the
[F5] button to checkmark the box next to the voice
name. (You can un-checkmark it by pressing the [F5]
button again.) Go on to other Categories and continue
registering your favorites. After you’ve checkmarked
all the voices you want, press the [FAVORITES] button
to store them to the Favorites Category. All the voices
you’ve checkmarked — and only those voices — will be
shown in the list. To exit from the Favorites Category,
simply press the [FAVORITES] button again.
Reference
Favorite Category
Voice editing in the
Voice Play mode
(Quick Edit)
If you select another program or mode during
editing, the [ ] indicator will disappear and all
your edits will be lost. It is a good idea to store the
edited data from the Store mode (page 73). Even if
you lose the edited data, you can restore it by using
the Edit Recall function (page 71).
Playing Voices
39
Appendix
To actually call up the Voice and return to the Play
mode, press the [ENTER] button.
● [F6] Voice Play Arpeggio
● [F2] Voice Play Plug-in Bank
Basics Section
From this display you can select the particular bank
on the Plug-in board, and determine whether you
will be using a Plug-in voice or a “Board” voice.
Simply put, the difference between the two types of
voices is this:
• Board voices are unprocessed, unaltered voices of
the Plug-in board — the “raw material” for Plugin voices.
Quick Guide
• Plug-in voices are edited Board voices — voices
that have been specially programmed and
processed for optimum use with the S90.
Reference
❏ Settings (with Plug-in Board installed to Slot 1)
PLG1USR (User Plug-in voice), PLGPRE1
(Preset Plug-in voice), 032/000... (Indicates
the Bank Select MSB/LSB of the Board voice.
These values differ depending on the installed
Plug-in board)
This display contains the basic settings for Arpeggio
playback, including Type and Tempo (page 45).
About Plug-in voices and Board voices
The voices of a Plug-in Board installed to the S90
can be divided into two types: Board voices and
Plug-in voices. Board voices are unprocessed,
unaltered voices of the Plug-in board — the “raw
material” used for the Plug-in voices. Plug-in voices,
on the other hand, are edited Board voices — voices
that have been specially programmed and processed
for optimum use with the S90.
Included among the Board voices is a special set of
voices — called Board Custom voices — which can
be edited by a computer connected to the S90, using
special editing software included with the Plug-in
board. (See page 73.)
Plug-in voice
Plug-in preset voice
Plug-in user voice
Appendix
n This display is available only when the Plug-in board
is installed to the S90 and the Plug-in voice is
selected.
From this display you can select monophonic or
polyphonic playback and set the Portamento
parameters (Voice Edit Common [F1]→ [SF4] Ref.
#7, 8, 10, 11).
This display contains the basic EG settings, both
volume and filter, for the voice, as well as the filter’s
cutoff frequency and resonance settings. The
settings made here are applied as offsets to the AEG
and FEG settings in the Edit mode (pages 65, 66).
The full names of the available parameters are
shown in the chart below, as they appear in the
display.
AEG
FEG
40
Attack
time
Decay
time
Playing Voices
SUS
Sustain
level
---
REL
Release
Time
Store
S90 voice parameter
Cannot be edited
DEPTH
Board preset voice
Save
Board custom voice
Bulk send/
edit
Computer
(Voice Editor in CD-ROM
supplied with the Plug-in board)
● [F5] Voice Play EG (Envelope Generator)
DCY
Plug-in
Voice Edit
Board voice
● [F4] Voice Play Portamento
ATK
Copy
CUTOFF
RESO
---
---
---
Depth
Cutoff
frequency
Resonance
n Depending on the particular Plug-in board you are
using, some of the parameters may not be available.
For details, refer to the relevant owner’s manual of
the Plug-in board.
n For details on the current lineup of available Plugin boards, see page 21.
Basics Section
Playing Performances
In the Performance mode, you can select and play individual User performances.
n For details about the performances and their memory (bank) structure, see page 26.
3 1
3.3V CARD
USB
PHONES
L/MONO
OUTPUT
R
L
R
ASSIGNABLE OUTPUT
GAIN
A/D INPUT
1
2
FOOT CONTROLLER
SUSTAIN ASSIGNABLE
FOOT SWITCH
BREATH
IN
OUT
23
THRU
POWER
ON/ OFF
MIDI
CONTROL
FUNCTION
PAN
CUTOFF
MASTER
VOLUME
REVERB
RESONANCE
CHORUS
ATTACK
MODE
TEMPO
PROGRAM
SLOT 1
SLOT 2
SLOT 3
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
VOICE
PERFORM
MASTER
UTILITY
CARD
SEQ PLAY
EDIT
JOB
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
DRUM KITS
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
CATEGORY
SEARCH
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
DEC/NO
PITCH
Quick Guide
Selecting a Performance
SF1
SF2
SF3
SF4
SF5
STORE
F2
F3
F4
F5
1
PLAY/
STOP
9
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
INFORMATION
ELEMENT / PERF.PART / ZONE
COMPARE
F1
REMOTE
CONTROL
INC/YES
MODULATION
F6
EXIT
ENTER
ARPEGGIO
EFFECT
BYPASS
10
11
MUTE
SOLO
Reference
EXECUTE
1 Enter the Performance
Play mode.
Performances in each Bank are divided into Groups
A~H. Select the desired Group, and all the
Performances of that Group are shown in the display.
MODE
VOICE
PERFORM
2 Select a Performance
Group.
MASTER
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
Group
When the Performance Play mode is active, the
currently selected performance is shown in huge letters
— so you can easily check which performance you’re
about to play.
Performance
n All performances are stored to a single bank, so you need
not select a bank here.
Playing Performances
41
Appendix
4
Basics Section
3 Select a Performance
number.
To solo part
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
1
2
3
4
5
6
7
NUMBER
8
9
10
11
MUTE
ELEMENT / PERF.PART / ZONE
SOLO
9
10
11
12
13
14
15
16
Quick Guide
Simultaneously hold down the [MUTE] button and
press one of the NUMBER buttons [1] to [4] to solo
the corresponding part.
Reference
Decreases
number
Decreases
number
Once you’ve selected a part for soloing, the [MUTE]
button’s lamp flashes, indicating the Solo function is
active. While Solo is active, you can change the
soloed track simply by pressing the corresponding
NUMBER button [1] to [4].
To exit from the Solo function, press the [MUTE]
button again.
Increases
number
DEC/NO
INC/YES
Increases
number
Appendix
4 Play the keyboard.
n The Category Search function (page 38) can be used also
in the Performance Play mode in the same way as in the
Voice Play mode.
n The MIDI transmit channel can be set in the same way
as in the Voice mode.
Performance Part on/off
Each performance can contain a maximum of four
parts, selected from a total of seven — internal Parts
1 - 4 and Plug-in Parts 1 - 3.
n This operation is available also in the Edit mode.
1 Press the [MUTE] button so that its indicator
lights.
1
2
3
4
5
6
7
8
12
13
14
15
16
Layering Voices (Parts)
Together (Layer)
Splitting the Keyboard
(Split)
Performances can be made up of a maximum of four
parts (voices), selected from the internal tone
generator Parts 1 - 4 and Plug-in board Parts 1 - 3.
You can create a performance by layering several voices
together, and/or by assigning different voices to
separate ranges of the keyboard. You can then store up
to 128 of your original, edited performances (page 73)
to internal User memory (page 28).
Layer
Built-in tone generator parts
PRE1
PRE2
PRE3
USER
Plug-in parts
PL1
PL2
PL3
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
Split
2 Press any of the [1] - [4] buttons you wish to
mute. The part corresponding to the unlit
indicator is muted.
3 Press the [MUTE] button again so that its
indicator goes out.
42
Playing Performances
Built-in tone generator parts
PRE1
PRE2
PRE3
USER
Plug-in parts
PL1
PL2
PL3
F1
SF2
SF3
F2
F3
SF4
F4
SF5
F5
INFORMATION
Basics Section
You can set the lowest note of the range over which the
voice of the selected part sounds by pressing the
desired key while holding the [SF4] button. To set the
highest note of the range, press the desired key while
holding the [SF5] button.
This lets you create a split keyboard, with up to four
different parts (voices) sounding in four different
ranges. You can also overlap parts to create layers.
F6
Note Limit Low
SF4
Note Limit High
Reference
SF1
3 Specify the note range of
each part, as required.
Quick Guide
1 Call up the VOICE display
by pressing the [F3] button in
the Performance Play mode.
SF5
2 Assign the desired voice to
each part.
Appendix
Move the cursor to the desired part and select a voice
by pressing the [F1] or [F2] button.
DEC/NO
4 Change the volume of each
part and adjust the relative
balance among the four parts
INC/YES
Edit indicator (page 39)
When the CONTROL FUNCTION is set to VOLUME,
you can adjust the volume of each part by using the
Control sliders.
Assign the
built-in voice
to the
selected part.
SF1
F1
SF2
F2
SF3
F3
SF4
F4
SF5
F5
Delete the voice assignment
of the selected part.
Assign the Plug-in voice
to the selected part.
INFORMATION
F6
n The Portamento, EG (Envelope Generator), and
Arpeggio parameters can be edited by calling up the
corresponding display via the [F4] - [F6] buttons in the
same way as in the Voice mode.
A wider variety of detailed editing controls is also
available in the Performance Edit mode. See page 98.
5 Store the settings.
Before exiting from the Performance Edit mode, make
sure to store the settings you made to the Performance
(page 73).
Playing Performances
43
Basics Section
Editing
Performances in the
Performance Play
mode (Quick Edit)
Quick Guide
The Performance Play mode lets you perform a variety
of general editing operations on the selected
performance. For more detailed and comprehensive
editing operations, use the Performance Edit mode.
n Parameters in the Performance Play mode and
Performance Edit mode having the same name also have
the same functions and settings.
Reference
● [F2] Performance Play A/D
From this display you can make settings for the A/D
input parts. The A/D input feature lets you input
external audio (such as from a microphone or
guitar), then process and mix it with the other
sounds of the S90. The audio signal can be input via
the A/D INPUT jack or the mLAN terminal (if an
optional mLAN8E has been installed).
Appendix
n For details about effect connection, see page 67.
• Mono/Stereo (mLAN Input)
Determines the signal configuration for the mLAN
audio (input), or how the signal or signals are routed
(stereo or mono). This parameter can be set only
when the mLAN terminal (with the optional
mLAN8E installed) is set as the input source for the
A/D part.
❏Settings
stereo
Audio received via mLAN terminal is processed in stereo.
L (left) mono
Audio received the L (left) channel via mLAN terminal is
processed in mono.
R (left) mono
Audio received the R (right) channel via mLAN terminal
is processed in mono.
L+R mono
Audio received via mLAN terminal is mixed and
processed in mono.
• OutputSel (Output Select)
Determines the output jack assignment for the A/D
part.
❏ Settings (below)
LCD
L&R
n In the Utility mode, you can set whether you use the A/
D INPUT jack or the mLAN8E terminal as an input jack
for the A/D part ([F2] → [SF1] A/DSource Ref. #53).
as L&R
• Volume
Determines the output level of the A/D part.
• Pan
Determines the stereo pan position of the A/D part.
• RevSend
Determines the Send level of the A/D part signal
sent to the Reverb effect.
• ChoSend
Determines the Send level of the A/D part signal
sent to the Chorus effect.
• VarSend(Variation Send)
Determines the Send level of the A/D part signal
sent to the Variation effect.
• DryLevel
Determines the level of the unprocessed A/D part
— in other words, the signal not affected by the
System Effects (Reverb, Chorus, Variation; Utility
[F1]→[SF3] Ref. #21).
Output Jack
OUTPUT L&R
Stereo/
Mono
Stereo
ASSIGNABLE OUTPUT L&R
Stereo
as1&2
mLAN8E ASSIGNABLE OUTPUT 3&4
Stereo
1:L
2:R
*
as3&4
mLAN8E ASSIGNABLE OUTPUT 3&4
Stereo
3:L
4:R
*
asL
ASSIGNABLE OUTPUT L
Mono
asR
ASSIGNABLE OUTPUT R
Mono
as1
mLAN8E ASSIGNABLE OUTPUT1
Mono
*
as2
mLAN8E ASSIGNABLE OUTPUT2
Mono
*
as3
mLAN8E ASSIGNABLE OUTPUT3
Mono
*
as4
mLAN8E ASSIGNABLE OUTPUT4
Mono
*
* Available only when the optional mLAN8E board has been installed.
● [F3] Performance Play Voices
From this display you can select a voice for each
part and determine the note range it can be played
from (page 43).
● [F4] Performance Play Portamento
From this display you can set the Portamento
parameters for each part (Performance Edit
[F1]→[SF4] Ref. #7-10).
● [F5] Performance Play EG (Envelope Generator)
Same as in Voice Play mode. See page 40.
● [F6] Performance Play Arpeggio
This display contains the basic settings for Arpeggio
playback, including Type and Tempo (page 45).
44
Playing Performances
Arpeggio structure
The following illustration shows the Arpeggio structure.
In the Voice
mode
Voice
Arpeggio data
Preset 1
(128)
In the Performance
mode
Performance
Arpeggio
Voice
Voice
Performance
Preset 2
(128)
Performance
Arpeggio
Voice
Voice
Performance
User *
(128)
Four playback categories
of Arpeggio
Arpeggio types are divided into the four following
categories.
Sq: Sequence
Creates a general arpeggio phrase. Mainly octave up/
down phrases.
Ph: Phrase
Creates phrases that are more musical and
rhythmically varied than Sequence. Starting with
“Techno,” there are phrases for a wide variety of
musical genres, and for creating backing tracks for
guitar, piano and other instruments.
Dr: Drum Pattern
Creates drum pattern-type phrases. Any note produces
the same drum pattern.
This type is ideal for use with drum and percussion
sounds.
Ct: Control
Creates dynamic tonal and volume changes by using
control change data. No note data is created — the
tonal variations affect the played notes.
Performance
Arpeggio
Voice
Quick Guide
Arpeggio On/Off can be set individually for each
part of a Song (Mixing mode). Just like playing
Arpeggios manually from the keyboard, this inserts
Arpeggios in the playback of Song sequence data
(page 79).
Reference
This function automatically triggers preset arpeggio
phrases, according to the keys you play.
It is particularly suited to dance/techno music genres.
You can assign the desired Arpeggio Types to each
Voice/Performance, and adjust the tempo. You can also
set the Arpeggio playback method, Velocity range and
Play Effects to create your own original grooves.
What’s more, Arpeggio playback can be transmitted
through the MIDI Out (Ref. #86), letting you record
the Arpeggio data to a sequencer or play it back from
another tone generator.
Arpeggio on/off during Song playback
Appendix
What is the Arpeggio
function?
Basics Section
Using the Arpeggio function
Performance
Different Arpeggio types can assigned
to each Voice/Performance.
* User Arpeggio data of the MOTIF can be loaded.
Using the Arpeggio function
45
Basics Section
Arpeggio playback
1 Select a Voice/
Performance (pages 36, 41).
Quick Guide
2 Turn the Arpeggio on by
pressing the [ARPEGGIO]
button.
ARPEGGIO
EFFECT
BYPASS
PLAY/
STOP
Arpeggio Type,
Tempo, and Limit
A variety of Arpeggio types are provided with the S90.
You can change the tempo of Arpeggio as desired.
The Arpeggio function is available in all modes.
The explanation below applies to the Performance Play
mode.
1 Call up the ARP (Arpeggio)
display by pressing the [F6]
button in the Performance
Play mode.
Reference
n When you select a voice or performance for which the
Arpeggio Switch is set to on, the [ARPEGGIO] button is
automatically turned on.
n The on/off status of the [ARPEGGIO] button can be
stored to each voice or performance setup
(page 73).
Appendix
3 Play the keyboard.
SF1
F1
SF2
F2
SF3
F3
SF4
F4
SF5
F5
INFORMATION
F6
While holding the key(s), the Arpeggio is played back
according to the played note, Arpeggio type, tempo,
note limit settings, and so on.
n In the Voice Play mode, the Arpeggio is played back via
the selected voice.
n In the Performance/Mixing mode, the Arpeggio is played
back via the voice assigned to the selected part when the
Arpeggio Switch (Part Edit [F1]→[SF2] Ref. #77) of the
selected part is set to on (page 47).
2 Select an Arpeggio Bank.
Move the cursor to the Bank parameter and select.
3 Select an Arpeggio Type.
Move the cursor to the Type parameter and select.
46
Using the Arpeggio function
Basics Section
4 Set the Tempo for Arpeggio
playback.
Move the cursor to the Tempo parameter and set it.
Quick Guide
5 Set the Velocity Limit for
Arpeggio playback.
Move the cursor to the Velocity Limit parameter and set it.
High Limit
Reference
Low Limit
The Arpeggio is played back only when the
key is played at a velocity within this range
(stronger than normal).
127
High Limit
Appendix
Low Limit
0
6 Set the Arpeggio part
switch. (Performance only)
You can set the Arpeggio playback on or off for each
part. Move the cursor to the box of the desired part
and checkmark the box to turn the part on.
7 Store the Arpeggio settings
to the desired User
Performance (page 73).
Using the Arpeggio function
47
Basics Section
Using as a Master Keyboard
What is the Master
Mode?
Quick Guide
The S90 is loaded with such a wealth of different
features, functions and operations, you may find it
difficult to locate and call up the particular feature you
need. This is where the Master mode comes in handy.
You can use it to memorize the operations you use
most often in each mode, and call them up instantly
anytime you need them with a single button press.
The S90 has space for a total of 128 of your own User
Master settings.
Reference
Master number
Setting examples
Master 001
Voice mode
Voice number 102
Master 002
Voice mode
Voice number 88
Master 003
Performance mode Performance number 043 *Zone Switch Off
Master 004
Performance mode Performance number 059 *Zone Switch Off
Four Zones
In the Master mode, the keyboard can be divided into a
maximum of four separate Zones (as shown below) —
each with its own MIDI channel setting. In this way,
you can use just a single keyboard to control several
different instrument parts independently. Moreover,
you can have these independent Zones control
different channels on connected MIDI devices as well.
You can set these four Zones and store them as a User
Master in the Master mode.
n MIDI channel of each Zone for internal tone generator
(including plug-in board) is available only when the
Mode is set to Sequence Play (SeqPlay) from the
MEMORY display.
External Tone Generator
Performance mode Performance number 077 *Zone Switch On
Master Zone Edit
MIDI Switch
(Ref. #27)
MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4
Appendix
Master 005
MIDI OUT
MIDI OUT
Tone Generator block
Performance mode Performance number 093 *Zone Switch On
MIDI ch8
Master 006
•
•
•
Master 128
MIDI OUT
Keyboard (Max 4 zones)
MIDI ch1
MIDI ch2
MIDI ch3
MIDI ch4
Master Zone Edit
TG Switch
(Ref. #26)
MIDI ch9
Tone Generator block
Master 007
MIDI OUT
Tone Generator block (Internal/Plug-in)
Sequence Play mode Mix template number 7
•
•
•
Sequence Play mode Mix template number 24
* Parameters other than those shown above (e.g., Slider settings) can be stored
(Master Common Edit [F2] Ref. #58).
The four Zones can also be configured as Voice “layers”
— letting you have more than one Voice sound at the
same time when you play within a single Zone. (See
the example below.)
External Tone Generator
Master Zone Edit
MIDI Switch
(Ref. #27)
MIDI OUT
ZONE4
MIDI OUT
ZONE1
MIDI ch1
MIDI OUT
ZONE2
MIDI ch2
MIDI ch4
ZONE3
MIDI ch3
MIDI OUT
Master Zone Edit
TG Switch
(Ref. #26)
Tone Generator block (Internal/Plug-in)
48
Using as a Master Keyboard
VOICE
PERFORM
MASTER
Ch2
Part 2
For playing a Voice
Quick Guide
Upper
2 Select a Master.
1
■ Layer
You can also use the Zone settings to create a “Layer”
— in which the keyboard is used to play two separate
parts simultaneously, in unison with each other.
In the example below, the keyboard plays two Voices in
unison — one an internal Voice, and the other a Plugin Voice.
2
3
4
5
6
7
8
12
13
14
15
16
Reference
Ch1
Part 1
For playing
Arpeggios
Split point
(C3)
MODE
ELEMENT / PERF.PART / ZONE
9
10
11
Mode
Appendix
Lower
1 Enter the Master mode.
Basics Section
■ Split
You can use the Zone settings to create a “Split” —
dividing the keyboard into two key ranges, at a specific
note (split point).
In the example below, the keyboard is split at C3, with
the lower range used to trigger Arpeggios, and the
upper range used conventionally to play a Voice.
Layer (Upper)
Layer (Lower)
Decreases
number
Part 1
Plug-in 1 Part
Voice
Plug-in Voice
Playing the Master Demo
(Selecting Masters)
The S90 has so many powerful features, functions, and
modes, it may seem difficult to understand them all and
grasp how they work together. One good place to start
learning about the various pieces in the S90 puzzle is
the Master mode.
We’ve programmed a variety of Master programs to
show you how this powerful feature can be used. Try
some of these out now. (You’ll be setting up your own
Master programs later in this Guide.)
Decreases
number
Increases
number
DEC/NO
INC/YES
Increases
number
3 Play the selected Master
program.
When the Mode is set to
Voice or Performance,
play the keyboard.
When the Mode is set to
Sequence Play, press the
[PLAY/STOP] button.
ARPEGGIO
EFFECT
BYPASS
PLAY/
STOP
Using as a Master Keyboard
49
Basics Section
Memorize to a Master
The selected mode and program are memorized to a
Master in the Master Play mode.
4 Select the desired program
/template to be memorized
(pages 36-38).
1 Enter the Master mode and
select a Master number
(page 49).
DRUM KITS
Quick Guide
DEC/NO
2 Call up the MEMORY
display by pressing the [F2]
button.
PRE 1
PRE 2
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
FAVORITES
A. PIANO
KEYBOARD
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
COMMON
A
B
C
D
E
F
G
H
SYN LEAD
SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE
MUSICAL FX
COMBI
1
2
3
4
5
6
7
8
12
13
14
15
16
INC/YES
or
ELEMENT / PERF.PART / ZONE
9
10
11
Program
Reference
SF1
Appendix
F1
SF2
F2
SF3
F3
SF4
F4
SF5
F5
INFORMATION
5 Name the Master.
F6
You can name the Master in the Master Edit mode
(page 34).
You can also set the functions assigned to the Control
Sliders (Common [F2] Ref. #58, Zone [F5] Ref. #134).
3 Select the mode to be
memorized.
DEC/NO
Mode
50
Using as a Master Keyboard
INC/YES
6 Store the settings as a User
Master (page 73).
INC/YES
EXIT
ENTER
EXECUTE
3 Enter the Master Edit mode.
Zone 2
(Piano)
Zone 3
(Vibraphone)
External tone
generator
C3
EDIT
JOB
STORE
COMPARE
Appendix
Internal tone
generator
Zone 1
(Bass + Cymbal)
Common Edit and Individual zone Edit
To edit parameters common to all of the zones,
press the [DRUM KITS] button (which serves as a
“COMMON” button here).
1 Select a Voice in the
Master Play mode.
Set the Mode to Voice, then select the PRE1 bank and
voice 123.
DRUM KITS
FAVORITES
To edit parameters of the individual zones, select the
desired zone with the corresponding NUMBER
button, [1] - [4].
1
2
3
4
ELEMENT / PERF.PART / ZONE
DEC/NO
INC/YES
Basics Section
DEC/NO
Quick Guide
In the example below, we’ll set up three Zones as
shown below. We’ll program a split at the note C3. In
the lower range (B2 and lower), a bass voice and
cymbal voice will sound. In the upper range (C3 and
above), we’ll layer piano and vibraphone voices —
played from an external MIDI tone generator. Using
this sophisticated setup, you can easily sound like an
entire jazz group, with just your two hands.
In the example instructions here, we’ll use the Voice
mode for the Master.
2 Set the Zone Switch to on.
Reference
Using Zones —
Creating a Layer/
Split with an external
tone generator
n This operation is available only when the Zone
Switch is set to on in the [F2] (MEMORY) display
in the Master Play mode.
4 Call up the display for
Zone editing.
Press any of the buttons.
1
2
3
4
ELEMENT / PERF.PART / ZONE
Using as a Master Keyboard
51
Basics Section
5 Call up the TRANS display.
1 Set the Note Limit H (High) of Zone 1 to B2. Set
the Note Limit L (Low) of Zone 1 to C-2.
2 Set the Note Limit H (High) of Zones 2 and 3 to G8.
Set the Note Limit L (Low) of Zones 2 and 3 to C3.
Each Zone will sound the assigned voice within the
note range set above.
n You can also set other parameters if necessary.
SF1
Quick Guide
F1
SF2
F2
SF3
F3
SF4
F4
SF5
F5
INFORMATION
F6
Reference
1 Set the TG Switch of Zone 1 to on and set those for
all other Zones to off. This enables the data played
only in Zone 1 to affect the S90 voices; other Zones
will not play the S90.
2 Set the MIDI Switch of the Zone 2 and 3 to on and
set the ones of the other Zones to off. This is for
transmitting the data played in Zones 2 and 3 to the
external tone generator.
Appendix
3 Set the MIDI transmit channel of Zone 1 to 1. Set
the MIDI transmit channel of Zones 2 and 3 to
match the Receive channel of the external tone
generator (slave).
7 Store the settings to a
Master (page 73).
Control Number settings (Zone)
Here in the CS display of the Master Edit mode, you
can set how the Control sliders will affect each Zone.
This lets you specify a MIDI Control number for
each slider. In the example below, the Control
sliders have been set to 11 (Expression). In this way,
you can use the sliders to adjust the relative volume
balance among the Zones.
This setting is available only when the Zone Switch
is set to on from the Memory display in the Master
Play mode.
4 Make sure the external tone generator is set to
multi-timbral operation (different voices for each of
the 16 MIDI channels), and select the appropriate
voices on the tone generator, corresponding to the
MIDI channels you set in 3 above.
6 Call up the NOTE display.
SF1
F1
SF1
F1
52
SF2
F2
SF3
F3
Using as a Master Keyboard
SF4
F4
SF5
F5
INFORMATION
F6
SF2
F2
SF3
F3
SF4
F4
SF5
F5
INFORMATION
F6
The Pitch Bend wheel’s prime function is to control
pitch. Move the wheel up or down to bend the pitch up
or down.
The Modulation wheel is generally used to add
modulation effects (tremolo, vibrato, filter variations,
etc.) to the sound. The more you move Modulation
wheel up, the greater the modulation that is applied to
the sound.
Pitch Bend
Wheel
Modulation
Wheel
Deeper
Pitch Up
Control Sliders (CS)
These sliders let you change various aspects of the
Voice’s sound in real time — while you play. You can
change which particular group of functions or
parameters the sliders are assigned to by pressing the
[CONTROL FUNCTION] button. Selecting the
ASSIGN group (A, B, 1, 2) lets you control a group of
user-assignable functions.
n You can also determine which row of Controls is
automatically made active when you select a particular
program (Ref. #12, 58).
n Common system parameters are assigned to Sliders [A]
and [B] ([F4]→[SF2] Ref. #128). Voice-specific
parameters are assigned to Sliders [1] and [2] (page 55).
Sliders [1] and [2] can be assigned to Control Set Source
(page 55).
n A preset of suitable parameter settings is assigned to each
Voice. By using each Sliders [1] and [2], you are in effect
adjusting these settings by a certain amount. If these
parameters are already preset at their minimum or
maximum settings, the settings cannot be exceeded.
Pitch Down
PITCH
MODULATION
n Pitch Bend Range can be set for each Voice/Performance
(Ref. #14). The wheel can also be assigned to other
parameters (page 55).
n Even if a different parameter is assigned to the wheel,
Pitch Bend messages are still transmitted through MIDI
OUT when it is being used.
n Modulation depth can also be set beforehand. Also, the
wheel can be assigned to different parameters, such as
volume or pan (page 55).
Control Sliders & Tracks
(when selecting VOLUME)
In the Voice mode, these are used to control the
volume of each of the four Elements (page 26).
In the Performance mode, these are used to control
the volume of the four parts. In the Sequence Play
mode, these let you adjust the volume of specific
tracks (parts), depending on which group of tracks is
currently selected.
CS1
CS2
CS3
CS4
When the selected tracks
(parts) are 1-4:
1
2
3
4
When the selected tracks
(parts) are 5-8:
5
6
7
8
When the selected tracks
(parts) are 9-12:
9
10
11
12
When the selected tracks
(parts) are 13-16:
13
14
15
16
When the Zone Switch is set to on in the Master
Play mode, various functions (Control Number) can
be assigned to these Control Sliders (Master Zone
Edit [F5] Ref. #134).
Using Controllers
53
Basics Section
Quick Guide
Pitch Bend Wheel
& Modulation
Wheel
Reference
The S90 gives you an amazing amount of control options. Not only is it equipped with the conventional Pitch Bend
and Modulation Wheels, it also features special sliders — and has an additional set of rear-panel jacks for connecting
foot controllers and footswitches. You can connect controllers to the rear panel jacks to control various parameters
by foot as well as by hand. This section explains the basic functions of each controller.
Appendix
Using Controllers
Basics Section
Example of Control Slider Settings
Quick Guide
1 Select the row of functions you wish to control by
pressing the [CONTROL FUNCTION] button.
The corresponding indicator lights, showing you
which row is active. For example if you want to
use the Sliders to control Pan, Reverb, Chorus
and Tempo, press the [CONTROL FUNCTION]
button (repeatedly if necessary) until the top
indicator is lit.
1 Pan, Effect Send and Tempo
2 Filter and EG
3 Assign
4 Master EQ
5 Volume
6 Zone
CONTROL1
FUNCTION
Reference
Press this
repeatedly to
select each
function row.
2
3
4
5
6
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
2 Move the appropriate slider ([CS1] - [CS4]) to
adjust the desired function.
Foot Controller
An optional Foot Controller (such as the FC7),
connected to the FOOT CONTROLLER jacks (page
13) on the rear panel, can be assigned to a number of
controller parameters. By using a foot controller for
parameter control, both your hands are left free to play
the keyboard (or to operate other controllers), —
exceptionally convenient when you’re playing live.
n Foot Controller parameters can be set for each Voice
(page 55).
Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch
connected to the rear panel FOOT SWITCH
ASSIGNABLE jack (page 13) can be assigned to a
range of parameters. It is suited for switch-type (on/
off) controls, such as Portamento Switch, increment/
decrement of a Voice or Performance Number, start/
stop of the Sequencer, and holding the Arpeggiator on
or off.
n The parameter assigned to the Footswitch is set in the
Utility mode ([F4]→ [SF3] Ref. #130).
Appendix
Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the
SUSTAIN jack on the rear panel (page 13) lets you
control sustain — particularly useful when playing
piano and strings voices.
The available functions are shown at the top of the
display, and the value changes as you move the
corresponding Slider. For example, to change the
amount of Reverb (in the top row), move Slider 2
(CS2). To change the Pan position, move Slider 1
(CS1).
(A)
(B)
If the “Pan” slider in the display is dark (A), any
tweaking you do to the Slider immediately affects
the sound. However if the Slider in the display is
light (B), moving the slider will not have any effect
until you reach the current setting.
Control Sliders can be used for controlling Zones
(page 52) or as remote controls for an external
sequencer (page 57).
54
Using Controllers
n You cannot assign a function other than Sustain to the
SUSTAIN jack.
Breath Controller
You can connect an optional Breath Controller (BC3)
to the BREATH jack (page 13) on the rear panel. Then
use it to control a large number of the S90’s
parameters, particularly those controlled by a wind
player’s breath: dynamics, timbre, pitch and so on.
The Breath Controller is ideally suited for realistic
expression with wind instrument type Voices.
n Breath Controller parameters can be set for each Voice.
Aftertouch
Aftertouch lets you change the sound (adding vibrato,
for example) by applying further pressure to a note on
the keyboard while it is being held down. This allows
real-time expression and control. Aftertouch can be
used to control a wide variety of parameters (page 55).
Voice
Source
Control sets
1-6
Controller
PB, MW, etc.
Destination
SET 2
SET 1
Control Parameters
Depth
Depth of control
Elements
ON/OFF
ON/OFF
ON/OFF
ON/OFF
1
2
3
4
Within each Control Set, the controller is known as
the Source (Src) and the parameter controlled by the
Source is known as the Destination (Dest). There
are various Dest parameters available; some will
apply to the Voice as a whole, while some will be
specific to each of its Elements. Details are given in
the Controls List of the separate Data List.
n Details about the available Dest parameter settings
are given in the Destination Parameter List of the
separate Data List.
n The Element Switches (Voice Common Edit [F4]
Ref. #117) will be disabled if the Dest parameter
setting is not specified for the Elements (i.e., to
settings 00 to 33).
n Elements ON/OFF switch is available only when a
Normal Voice is selected.
Src
Src
MW
(Modulation Wheel)
MW
(Modulation Wheel)
Dest
ELFO-PM
Dest
ELM PAN
Moving the
Modulation Wheel
changes both the
amount of Pitch
Modulation and
the pan position.
■ Using several sources to control one
destination
Continuing from the example above, now create
another Control Set where Src is set to FC (Foot
Controller) and Dest is set to ELFO-PM (Element
LFO Pitch Modulation Depth). Again, specify the
Element to be controlled and also the depth of
control.
Doing this assigns Pitch Modulation to both the
Modulation wheel and Foot Controller. In this way,
you can assign several different Src controllers to a
single Dest parameter.
SET 1
SET 3
Src
Src
MW
(Modulation Wheel)
FC
(Foot Controller)
Dest
ELFO-PM
You can control
the pitch
modulation effect
using either of
Modulation
Wheel (MW) and
Foot Controller
(FC).
By assigning all six Control Sets, you will have a
stunning degree of real-time control over the
synthesizer’s sounds.
Using Controllers
Basics Section
Quick Guide
By creating Control Sets, you can change sounds in a
variety of ways.
For example, set the Src (Source) parameter of
Control Set 1 to MW (Modulation Wheel) and the
Dest (Destination) parameter to ELFO-PM (Element
LFO Pitch Modulation Depth). Then set the Src
parameter of Control Set 2 also to MW, but set the
Dest parameter to ELM PAN (Element Pan). You
will also need to specify the Element to be controlled
and also the depth (amount) of control.
In this example, when you move the Modulation
Wheel upward, the amount of Pitch Modulation
increases accordingly, and the Element is panned
from left to right. In this way, you can have the
sound change in several different ways, simply by
adjusting a single controller.
Reference
Keyboard aftertouch, the controllers and some of the
sliders on the front panel can be assigned to control
various parameters other than the ones set as
defaults, as explained on page 53. For example, the
Modulation wheel could be assigned to control filter
resonance, while aftertouch could be used to apply
vibrato. This provides enormous flexibility in
controlling parameters and setting up the controllers
to suit the kind of sound being played.
These controller assignments are known as Control
Sets. As the following illustration shows, you can
assign up to six different Control Sets per Voice.
■ Using one source to control several
destinations
Appendix
Control Sets (Voice Common Edit [F4])
55
Basics Section
■ Control Sets and External MIDI Control
Quick Guide
In a Control Set, the controllers are assigned to the
internal parameters of the synthesizer. However,
some controllers were originally designed for a
particular purpose, and send pre-defined MIDI
Control Change messages when used, regardless of
their Control Set allocations within the synthesizer.
For example, the Pitch Bend Wheel, Modulation
Wheel and keyboard aftertouch were originally
designed to control pitch bend, modulation and
aftertouch. Therefore, when you use these
controllers, pitch bend, modulation and aftertouch
information is always sent to the MIDI Out.
Let’s say the Pan parameter is assigned to the Pitch
Bend Wheel in a Control Set. Now, when you move
the Pitch Bend Wheel, the internal tone generator of
the synthesizer will pan the sound; however, at the
same time, the original pre-defined Pitch Bend
messages will still be sent to the MIDI Out.
Reference
\
MIDI
OUT
IN
MIDI Control
Appendix
Pitch Bend
Wheel
Controller Set
Tone Generator
Pitch LFO1 PAN
The controllers can also send MIDI Control Change
messages to control the parameters of external MIDI
devices. These assignments can be set in the Utility
Mode.
n Since Pitch Bend Wheel, Modulation Wheel and
keyboard aftertouch are pre-defined with specific
MIDI controls, other MIDI Control Change
numbers cannot be assigned to them.
You can also set up a controller such that it sends
one kind of Control message to the synthesizer’s
internal tone generator yet another kind to the MIDI
Out.
For example, in a Control Set you could assign
resonance to Assignable 1 Slider. Then, in the
Utility Mode, you could assign Control Number 1
(Modulation) to the same controller. Now, when
you use the controller, resonance will be applied to
the sound of the internal tone generator; however, at
the same time, modulation information will be sent
to the external MIDI device connected to the MIDI
Out.
56
Using Controllers
Primary control number and function
MW/AC1/FC (Variable control)
FS (on/off switch)
7 Volume
64 Hold 1 (Sustain)
10 Pan
65 Portamento Switch
11 Expression
66 Sostenuto
71 Harmonic Contents (Resonance)
96 Arpeggio Switch
72 Release Time
97 Arpeggio Hold
73 Attack Time
98 PLAY/STOP
74 Brightness
99 Program Change INC
75 Decay Time
100 Program Change DEC
91 Reverb Send Level
101 Octave Reset
93 Chorus Send Level
See page 119
Setting Up
2 Call up the OTHER display in the MIDI menu
([F5] → [SF4]).
Basics Section
The Remote Control function lets you use the hardware controls on the panel of the S90 to control fundamental
operations on the sequencing software of your computer. You can mute your tracks, control the sequencer transport
(Play/Stop), mix both MIDI and audio tracks (up to 16) with the S90’s control sliders, pan the tracks, control EQ,
and tweak effect sends — all without ever touching the mouse. Not only is this a more convenient and efficient way
to work — since it gives you dedicated controls for the functions you use the most — it also (with the control sliders)
gives you finer control over crucial level parameters. If you’ve ever used a mixing console or a hardware sequencer,
you’ll love being able to finally control your sequencing software with buttons and sliders.
Quick Guide
Remote Control for external sequencer
Before you can use the Remote Control function, you’ll
need to set up the system as described below.
Reference
1 Connect your computer to
the S90 via USB cable.
See page 17.
2 Install the setup file.
4 Call up the REMOTE display in the CTLASN
menu ([F4] → [SF4]).
Install the USB MIDI driver and the setup file for the
sequence software (contained in the included CDROM) to your computer. For details on how to install,
see the separate Installation Guide.
3 Select the template for
your particular sequence
software in the Utility mode
on the S90.
5 Select the Template type, then press the
[ENTER] button.
1 Enter the Utility mode.
UTILITY
CARD
SEQ PLAY
Remote Control for external sequencer
57
Appendix
3 Move the cursor to the MIDI IN/OUT
parameter and set to USB.
Basics Section
Using the Remote
Control function
3 Control the level of selected track of the
sequencer by using the Control sliders
(page 59).
CONTROL
FUNCTION
Quick Guide
1 Turn the Remote Control
function on by pressing the
[REMOTE CONTROL] button so
that its lamp flashes.
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
MASTER
VOLUME
REMOTE
CONTROL
Reference
2 Operate the Control sliders
or the buttons on the S90’s
panel as required.
4 Control the transport functions on the
sequencer.
The operations below can be used to control Play,
Stop, Forward and Rewind on the computer
sequence software.
PLAY/STOP
Appendix
1 Select a track on your computer’s sequencer
from the S90.
The [1]~[16] buttons correspond to the respective
numbered tracks on your computer’s sequence
software.
ARPEGGIO
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
F4
2 Turn the track of the sequencer on or off
(mute).
The [1]~[16] buttons correspond to the respective
numbered tracks on your computer’s sequence
software.
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
58
Remote Control for external sequencer
PLAY/
STOP
FORWARD/REWIND
(CHAIN display in Sequence Play mode)
UTILITY
1
EFFECT
BYPASS
CARD
SEQ PLAY
Each
parameters
Logic Audio Platinum Ver5
When the template is set to “Logic,” the following
functions can be controlled by the S90.
These control the track selected via the NUMBER [1] - [16] buttons.
Each
parameters
Set via
[CONTROL
FUNCTION]
CS1
CS2
CS2
CS4
1st row
PAN
SEND1
SEND2
SEND3
2nd row
PAN
EQ1 Freq
EQ1 Gain
EQ1 Q
3rd row
PAN
EQ2 Freq
EQ2 Gain
EQ2 Q
4th row
PAN
EQ3 Freq
EQ3 Gain
EQ3 Q
These control the four tracks selected via the NUMBER [1] - [16] buttons.
Selected
tracks
VOLUME
(5th row)
CS1
CS2
CS3
CS4
1~4
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
5~8
VOLUME 5
VOLUME 6
VOLUME 7
VOLUME 8
9 ~ 12
VOLUME 9
VOLUME 10 VOLUME 11 VOLUME 12
13 ~ 16
VOLUME 13 VOLUME 14 VOLUME 15 VOLUME 16
SEQ
TRANSPORT
These control PLAY, STOP, G, H of the computer sequence
software.
TRACK
MUTE
When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button on the S90 is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
Cubase VST/32, Cubase VST 5.1r1, SQ01
When the template is set to “Cubase/SQ01” the
following functions can be controlled by the S90.
Each
parameters
CS1
CS2
CS2
CS4
1st row
PAN
SEND1
SEND2
SEND3
EQLo Freq
EQLo Gain
EQLo Q
2nd row
PAN
3rd row
PAN
4th row
PAN
CS2
CS2
CS4
1st row
PAN
SEND1
SEND2
SEND3
2nd row
---
---
---
---
3rd row
---
---
---
---
4th row
---
---
---
---
VOLUME
(5th row)
Selected
tracks
CS1
CS2
CS3
CS4
1~4
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
VOLUME 7
VOLUME 8
5~8
VOLUME 5
VOLUME 6
9 ~ 12
VOLUME 9
VOLUME 10 VOLUME 11 VOLUME 12
13 ~ 16
VOLUME 13 VOLUME 14 VOLUME 15 VOLUME 16
SEQ
TRANSPORT
Control PLAY, STOP, G, H of the computer sequence software.
TRACK
MUTE
When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] buttons on the S90 is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
Pro Tools V5.0
When the template is set to “ProTools,” the following
functions can be controlled by the S90.
Each
Not available.
parameters
These control the four tracks selected via the NUMBER [1] - [16] buttons.
VOLUME
(5th row)
Selected
tracks
CS1
CS2
CS3
CS4
1~4
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
VOLUME 7
VOLUME 8
5~8
VOLUME 5
VOLUME 6
9 ~ 12
VOLUME 9
VOLUME 10 VOLUME 11 VOLUME 12
13 ~ 16
VOLUME 13 VOLUME14
VOLUME 15 VOLUME 16
SEQ
TRANSPORT
These control PLAY, STOP, G, H of the computer sequence
software.
TRACK
MUTE
When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button on the S90 is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
EQMidLo Fre EQMidLo Gai EQMidLo Q
EQHi Freq
EQ3Hi Gain
EQ3Hi Q
These control the four tracks selected via the NUMBER [1] - [16] buttons.
VOLUME
(5th row)
Selected
tracks
CS1
CS2
CS3
CS4
1~4
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
5~8
VOLUME 5
VOLUME 6
VOLUME 7
VOLUME 8
9 ~ 12
VOLUME 9
VOLUME 10 VOLUME 11 VOLUME 12
13 ~ 16
VOLUME 13 VOLUME 14 VOLUME 15 VOLUME 16
SEQ
TRANSPORT
These control PLAY, STOP, G, H of the computer sequence
software.
TRACK
MUTE
When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence
software.
TRACK
SELECT
When the [TRACK SELECT] button on the S90 is turned on, the
NUMBER [1] - [16] buttons select the track of the computer sequence
software.
Remote Control for external sequencer
59
Basics Section
CS1
These control the four tracks selected via the NUMBER [1] - [16] buttons.
These control the track selected via the NUMBER [1] - [16] buttons.
Set via
[CONTROL
FUNCTION]
Set via
[CONTROL
FUNCTION]
Quick Guide
n For certain software programs, it may be necessary to
install the setting file in the included CD-ROM.
These control the track selected via the NUMBER [1] - [16] buttons.
Reference
Functions to be controlled by the S90 differ depending
on the software you use. When the appropriate
template is selected, the following functions on the
corresponding software can be controlled.
SONAR2/Cakewalk ProAudio Ver9.0
When the template is set to “SONAR,” the following
functions can be controlled by the S90.
Appendix
Remote Control Assignments
Basics Section
Voice Edit
The following procedure shows you the fundamentals in creating and editing Voices.
Of course, this is just one example; you are free to set any parameters in any way you like. Details about each
parameter are given in the Reference section of this manual (page 98).
n All parameter settings are stored along with the Voice itself.
Quick Guide
1
1 Selecting a Voice to Edit
In Voice Play mode, select the Voice you wish to edit.
Enter the Voice Play mode by pressing a [VOICE]
button.
2
MODE
Enter the Voice Edit mode.
VOICE
PERFORM
MASTER
Reference
3
Set the common parameters
● Set the parameters common to all Elements in the
Voice (volume, pitch, tone, etc.) You can also set
parameters related to Arpeggio, Controllers,
Effects, and so on.
Appendix
4
Set the element parameters
● From the OSC (Oscillator) screens, select the
Waves used by the Elements in the Voice, as well
as the volume, pan, note range and other basic
parameters.
● From the PITCH screens, set the tuning and other
pitch-related parameters used by the Elements.
Also set the PEG (Pitch Envelope Generator)
parameters as necessary.
● From the FILTER screens, adjust the parameters of
the filters used by the Elements. Also set the FEG
(Filter Envelope Generator) parameters as
necessary.
● From the AMP (Amplitude) screens, set the volume
and other output level-related parameters used by
the Elements. Also set the AEG (Amplitude
Envelope Generator) parameters as necessary.
● From the LFO (Low Frequency Oscillator) screens,
set the modulation-related parameters used by the
Elements.
Select the Voice Number of the Voice you wish to edit
(page 36).
n When you’re creating a Voice by editing an existing one,
it helps to select a Voice with a sound that’s relatively
similar to the one you intend to create. In this way, you
can avoid having to make large changes and many
parameter edits — allowing you to create a Voice quickly
and easily. If you are creating a Voice from scratch, use
the convenient Initialize function (in the Voice Job
mode) to initialize a Voice in internal user memory. For
details, see page 70.
2 Entering the Voice Edit Mode
All Voice creation and editing is carried out in Voice
Edit Mode.
To enter the Voice Edit mode, press the [EDIT] button
while in the Voice Play mode.
MODE
VOICE
PERFORM
MASTER
UTILITY
CARD
SEQ PLAY
EDIT
JOB
STORE
COMPARE
● From the EQ (Equalizer) screens, adjust the
sounds as necessary.
5
6
60
Set the effect parameters.
Store the edited Voice.
Voice Edit
ARPEGGIO
EFFECT
BYPASS
PLAY/
STOP
Switching Between Screens and
Entering Settings
Voices can consist of up to four Elements (page 26).
Use Common Edit to edit the settings common to all
four Elements.
2Select the desired parameter by using
[ ▲ ▼ EF] buttons.
1Select the menu you wish to edit by pressing
the [F1] - [F6] and [SF1] - [SF5] buttons.
3Use the [INC/YES] and [DEC/NO] buttons to
set each parameter value.
Quick Guide
To edit parameters common to all four elements, press
the [DRUM KITS] button (which serves as a
“COMMON” button here).
Basics Section
Common Edit and Editing Individual
Elements
Switching Elements (or Keys)
On/Off (Mute)
n For details about the Edit indicator, see page 39.
DRUM KITS
FAVORITES
COMMON
1
2
3
4
Element selection
ELEMENT / PERF.PART / ZONE
9
10
11
12
Element mute setting
You can mute other elements (those you aren’t
editing and don’t wish to hear) by using the
NUMBER [9] - [12] buttons (Normal Voice only).
Muted elements are indicated by lit buttons; the
indicator of the button corresponding to the muted
element lights.
2
3
1 Press the [COMPARE (EDIT)] button while in
Edit mode. The EDIT LED will flash and the
settings prior to editing will temporarily be
reinstated for comparison purposes.
(The
indicator is shown at the top of the
display in place of the indicator.)
n While the Compare function is enabled, the [DEC/NO]
and [INC/YES] buttons cannot be used for editing.
2 Press the [EDIT] button again to disable the
Compare function and restore your recently
edited settings.
n The Compare function is also available in the
Performance Edit mode.
To solo an element
1
Use this to listen to the difference between the
Voice/Performance with your edited settings and the
same Voice/Performance prior to editing.
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
Simultaneously hold down the [MUTE] button and
press one of the NUMBER buttons [9] to [12] to solo
the corresponding element.
Once you’ve selected an element for soloing, the
[MUTE] button’s lamp flashes, indicating the Solo
function is active. While Solo is active, you can
change the soloed element simply by pressing the
corresponding NUMBER button [9] to [12].
To exit from the Solo function, press the [MUTE]
button again.
Voice Edit
61
Appendix
To edit parameters of the individual elements, select
the desired element with the corresponding NUMBER
button ([1] - [4]).
Reference
Compare Function
Basics Section
3 Set the Common
Parameters
Each Voice consists of up to four Elements. Here, the
parameters common to all Elements are explained.
● GENERAL [F1]
For setting general parameters in Common Edit, such
as the Voice Name.
Quick Guide
● OUTPUT [F2]
For setting the Voice output parameters such as the
output level (volume) and pan position.
● ARP [F3]
By setting these parameters, you can control how the
Voice is arpeggiated (page 45).
Reference
● CTL SET [F4]
For assigning various functions to the controllers on
the front/rear panel. For example, you can assign
parameters to the Pitch Bend Wheel and a Foot
Controller so that you can change the tone of the Voice
in real time (page 55).
Appendix
● LFO [F5]
For setting the LFO parameters. The LFO uses a low
frequency waveform to vary the pitch/filter/amplitude
characteristics, and can be used to create vibrato, wah,
tremolo and other effect.
● EFFECT [F6]
For setting the Effects parameters for the Voice. There
are two Insertion Effects plus two System Effects
(Reverb and Chorus).
4 Set the Element Parameters
Element Edit Process
PEG
FEG
AEG
PITCH
FILTER
AMP
Element
1-4
Effect
OSC
LFO
● OSC (Oscillator) [F1]
You can set the various parameters controlling the
waveforms on which the Voice is based. You can select
the Wave used for the Element, the volume and note
range of each Element and so on.
ElementSw (Element Switch)
Determines whether each Element sounds or not.
WaveNo. (Wave Number)
Select the Wave for each Element.
NoteLimit (Note Limit Low/High)
VelocityLimit (Velocity Limit Low/High)
Set the note range for each Element (the range of notes
on the keyboard over which the Element will sound)
and also the velocity response (the range of note
velocities within which the Element will sound). You
can assign different settings for each Element. With
these parameters, you can layer Elements and control
their output.
For example, you could set one Element to sound in an
upper range of the keyboard, and another Element to
sound in a lower range. Thus, even within the same
Voice, you can have two different sounds for different
areas of the keyboard or you can make the two Element
ranges overlap so that their sounds are layered over a
set range.
Furthermore, you can set each Element to respond to
different velocity ranges so that one Element sounds
for lower note velocities, whereas another Element
sounds for higher note velocities.
Element 3
Element 2
Element 1
Velocity
Element 4
C-2
G8
n In the Performance mode, similar settings can be
assigned for each Part (Ref. #42, 43).
62
Voice Edit
PEG (Pitch Envelope Generator) [F2] → [SF3]
Using the PEG, you can control the transition in pitch
from the moment a note is pressed on the keyboard to
the point at which it is released. As illustrated below,
the Pitch Envelope consists of five Time (transition
speed) parameters and five Level (pitch) parameters.
This is useful for creating automatic changes in pitch.
Furthermore, different PEG parameters can be set for
each Element.
Cutoff Frequency and Resonance
Filters work by allowing the portion of the signal lower
than a given frequency to pass, and cutting the portion
of the signal above that frequency. This frequency is
referred to as the cutoff frequency. You can produce a
relatively bright or darker sound by setting the cutoff.
Resonance, on the other hand, boosts the level of the
signal at the cutoff frequency. By emphasizing the
overtones in this area, this can produce a distinctive
“peaky” tone, making the sound brighter and harder.
Basics Section
● FILTER [F3]
You can use the filter to change the tonal
characteristics of each Element, by adjusting overtones
(harmonic tones) included in the waveform of the
Element.
Quick Guide
● PITCH [F2]
You can set the basic pitch parameters for each
Element. You can detune Elements, apply Pitch
Scaling and so on. Also, by setting the PEG (Pitch
Envelope Generator), you can control how the pitch
changes over time.
Level
The full names of the available parameters are shown
in the chart below, as they appear in the display.
ATK
DCY1
DCY2
REL
DEPTH
TIME
Hold time
Attack time
Decay 1
time
Decay 2
time
Release
time
---
LEVEL
Hold level
Attack level
Decay 1
level
Decay 2
(Sustain)
level
Release
level
Depth
Attack
Level
Pitch
Decay1
Level
Decay2
(Sustain)
Level
Key off
Release
Level
Frequency (pitch)
These frequencies are
“passed” by the filter.
Appendix
HOLD
Reference
Cutoff frequency
Level
Resonance
Frequency (pitch)
Cutoff frequency
Hold Level
0
Time
Hold
Time
Attack Decay1 Decay2
Time
Time
Time
Release
Time
About the Filter types
The Low Pass Filter is shown in the illustration above —
however, the S90 features other Filter types as well.
LPF24D (Low Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic LPF with a strong resonance.
Resonance
Voice Edit
63
Basics Section
LPF24A (Low Pass Filter 24dB/oct Analog)
A 4-pole (-24db/oct) dynamic LPF with a character similar
to those found on analog synthesizers
BPF12D (Band Pass Filter 12dB/oct Digital)
Level
Range passed
Resonance
-12db/oct
Frequency
Cutoff range
Quick Guide
LPF18 (Low Pass Filter18dB/oct)
A 3-pole (-18db/oct) dynamic LPF.
LPF18s (Low Pass Filter [18dB/oct Staggered)
Also a 3-pole (-18db/oct) dynamic LPF, but with a
shallower frequency curve.
Cutoff range
BPF12s (Band Pass Filter 12dB/oct Staggered)
Basically same as BPF12D, but with a shallower frequency
curve.
BPF6 (Band Pass Filter 6dB/oct)
Level
Range passed
Resonance
-6db/oct
Reference
Frequency
LPF18
LPF18S
Cutoff range
LPF12 (Low Pass Filter12dB/oct)
A 2-pole (-12db/oct) dynamic LPF, designed to be used in
combination with an HPF (High Pass Filter).
Cutoff range
BPFw (Band Pass Filter Wide)
Also the combination of –12dB/oct HPF and LPF, but
allows a wider frequency band.
Level
Range passed
Appendix
Resonance
width can be
increased
Frequency
Cutoff range
Cutoff range
LPF6 (Low Pass Filter 6dB/oct)
A 1-pole (-6db/oct) dynamic LPF with no resonance, designed
to be used in combination with an HPF (High Pass Filter).
BEF12 (Band Elimination Filter 12dB/oct)
BEF6 (Band Elimination Filter 6dB/oct)
Level
Cutoff range
Range passed
HPF24D (High Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic HPF with strong resonance.
Center frequency
Frequency
Range passed
Dual LPF
A combination of two sets of –12dB/oct LPF in parallel.
Resonance
Level
Distance
HPF12 (High Pass Filter 12dB/oct)
A 2-pole (-12db/oct) dynamic HPF.
Resonance
64
Voice Edit
The cutoff frequency
can be set directly on
the display.
Frequency
HPF12 (High Pass Filter 12dB/oct)+ BPF6 (Band Pass
Filter)
A combination of a HPF and BPF.
Basics Section
Dual HPF
A combination of two sets of –12dB/oct HPF in parallel.
Level
Level
Distance
Frequency
Dual BPF
A combination of two sets of –6dB/oct BPF in parallel.
thru
The filters are bypassed and the entire signal is unaffected.
n Filter parameters are also available in Part editing.
Level
Quick Guide
Frequency
The cutoff frequency can be
set directly on the display.
Dual BEF
A combination of two sets of –6dB/oct BEF in parallel.
Level
Frequency
Distance
FEG (Filter Envelope Generator) [F3] → [SF3]
Using the FEG, you can control the transition in tone
from the moment a note is pressed on the keyboard to
the point at which it is released. As illustrated at right,
the Filter Envelope consists of five Time (transition
speed) parameters and five Level parameters (for the
amount of filtering). When you press a note on the
keyboard, the cutoff frequency will change according to
these envelope settings. This is useful for creating
automatic wah effects, for example. Furthermore,
different FEG parameters can be set for each Element.
The cutoff frequency can be
set directly on the display.
LPF12 (Low Pass Filter 12dB/oct)+ HPF12 (High Pass
Filter)
A combination of a LPF and HPF.
Level
The full names of the available parameters are shown
in the chart below, as they appear in the display.
Distance
HOLD
Frequency
The cutoff frequency can be
set directly on the display.
TIME
Hold time
LEVEL
LPF12 (Low Pass Filter 12dB/oct)+ BPF6 (Band Pass Filter)
A combination of a LPF and BPF.
Hold level
ATK
DCY1
DCY2
REL
DEPTH
Attack time
Decay 1
time
Decay 2
time
Release
time
---
Decay 1
level
Decay 2
(Sustain)
level
Release
level
Depth
Attack
level
Attack
Level
Cutoff
Frequency
Decay2
Decay1 (Sustain)
Level
Level
Key off
Release
Level
Level
Hold Level
Frequency
Time
0
Hold
Time
Attack Decay1 Decay2
Time
Time
Time
Release
Time
Voice Edit
65
Appendix
Frequency
The cutoff frequency can be
set directly on the display.
You can also set the Filter Envelope Generator (FEG) for
time variance of how the filter works, which results in a
dynamic change in tonal characteristics. Here, we’ll
show you how the FEG works.
Reference
Distance
Basics Section
Quick Guide
Reference
● AMP (Amplitude) [F4]
You can set the volume of each Element after the OSC
(Oscillator), PITCH and FILTER parameters have been
applied, as well as the final overall volume of the signal
sent to the outputs.
The signal of each Element is sent at the specified
volume to the next Effect section.
Also, by setting the AEG (Amplitude Envelope
Generator), you can control how the volume changes
over time.
● EQ (Equalizer) [F6]
Adjusting the sound can serve to draw out the special
characteristics of the sound and help achieve the
proper balance among the Elements (Ref. #210-215).
AEG (Amplitude Envelope Generator) [F4] → [SF3]
Using the AEG, you can control the transition in
volume from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated below, the Amplitude Envelope consists of
four Time (transition speed) parameters and three
Level parameters (for the amount of filtering). When
you press a note on the keyboard, the volume will
change according to these envelope settings.
Furthermore, different AEG parameters can be set for
each Element.
6 Storing Edited Voices
5 Set the Effect Parameters
For an application example showing how to use the
effect, see page 67.
Up to 128 new/edited Normal Voices and 16 new/
edited Drum Voices can be stored to internal user
memory.
Voice
Store
Normal Voice
USER (US)
1-128
Drum Voice
USER DRUM (USDR)
1-16
Appendix
When storing a Voice, any existing data at the storage
location will be lost. You should always back up
important data to Memory card or computer.
The full names of the available parameters are shown
in the chart below, as they appear in the display.
INIT
TIME
---
LEVEL
ATK
DCY1
DCY2
REL
DEPTH
Attack time
Decay 1
time
Decay 2
time
Release
time
---
Decay 1
level
Decay2
(Sustain)
level
---
Initial level
---
Attack
Level
Level
Decay1
Level
Decay2
(Sustain)
Level
Key off
n Select the Part Number of the Editor software to
“1” when using the software with the Voice mode.
Also make sure to match the basic MIDI receive
channel of the S90 (Ref. #176) to the MIDI
channel of the Editor software.
Init
Level
Time
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
● LFO (Low Frequency Oscillator) [F5]
As its name suggests, the LFO creates waveforms of a
low frequency.
These waveforms can be used to vary the pitch, filter or
amplitude of each Element to create effects such as
vibrato, wah and tremolo. LFO can be set
independently for each Element; it can also be set
globally for all Elements (Ref. #159-174).
66
Voice Edit
About Board Custom Voice Editing
You can edit Board Custom voices of the Plug-in
Board by using the Editor software included with
the board.
Release
Level
0
n For details about storing Voices, see page 73.
The original Board Custom voices you’ve edited can
be saved and controlled from the computer.
Make sure to save the edited data to a memory card,
since any edited data in the DRAM of the Plug-in
board will be lost when you turn off the power on
the S90 (page 82).
n For details about how to use the Editor software
included with the Plug-in board, refer to the Online
help of the Voice Editor.
n Editing the above parameters may or may not have
much effect on the sound, depending on the
particular Plug-in board you’ve installed.
The S90’s effect processing features the following
effect units.
■ System Effects (Reverb, Chorus, Variation)
System Effects are applied to the overall sound,
whether it be a voice, an entire performance setup, a
song, etc. With System effects, the sound of each part
is sent to the effect according to the effect Send Level
for each part. The processed sound (referred to as
“wet”) is sent back to the mixer, according to the
Return Level, and output — after being mixed with the
unprocessed “dry” sound. This arrangement lets you
prepare an optimum balance of the effect sound and
the original sound of the parts.
Reverb
The Reverb effects add a warm ambience to the sound,
simulating the complex reflections of actual
performance spaces, such as a concert hall or a small
club. A total of 12 different Reverb types are available.
Chorus
The Chorus effects use modulation to create a rich
ensemble sound — as if one part were being played by
several instruments simultaneously. A total of 25
different Chorus types are available.
Variation
The Variation effects provide a wide variety of sound
transformations and enhancements. A total of 25
different Variation types are available. Variation is not
available in the Voice mode.
■ Insertion Effects (1, 2)
Insertion effects can be applied individually to each
part. Insertion effects are mainly used to directly
process a single part. The depth of the effect is
adjusted by setting the dry/wet balance. Since an
Insertion effect can only be applied to one particular
part, it should be used for sounds you want to
drastically change. You can also set the balance so that
only the effect sound is heard, by setting Wet to 100%.
The S90 features two Insertion effect systems — one
with a total of 104 internal effect types and the other
with 25.
■ Master Equalizer
Usually an equalizer is used to correct the sound
output from amps or speakers to match the special
character of the room. The sound is divided into
several frequency bands, then by raising or lowering
the level for each band, the correction is made.
Adjusting the sound you play according to the genre—
classical music being more refined, pops music more
crisp, and rock music more dynamic—can also serve to
draw out the special characteristics of the music and
make your performance more enjoyable.
The S90 possesses a high grade five-band digital
equalizer function. The four sliders can be used to
adjust the gain of the four bands (among five).
Example of Effect Settings
Here we’ll show an example of editing effect settings
in the Voice Edit mode (page 60). In this example,
we’ll change the Insertion1 setting of the Voice Or:
BreathPipe (PRE1: E13) from Thru to FLANGER
(a jet-like sound).
1 Select the Voice Number of the Voice you wish to
edit (Here, Or: BreathPipe=PRE1: E13), then
enter the Voice Edit mode (pages 36 and 60).
2 Press the [COMMON] button to select the
Common Edit display (page 61).
3 Press the [F6]→[SF1] buttons to call up the
CONNECT display.
4 Use the [▲ ▼ EF] button to select the INS1
(INS1 Type) screen.
■ Plug-in Insertion Effects
This is a special effect system, only available when an
effect-type Plug-in Board (page 22) is installed. Plug-in
Board effects are not available in the Voice mode.
Using Effects
67
Appendix
Effect structure
Reference
In the final stage of programing, you can set the effects parameters to further change the sound’s character.
Quick Guide
Basics Section
Using Effects
Basics Section
5 Use the data dial to select “FLG: FLANGER1”
then play the keyboard. Try out other different
Effect Types, referring to the Effect Type List in
the separate Data List.
n You can listen to and compare the difference
between the edited Voice with your edited settings
and the same Voice prior to editing (page 61).
n To bypass effect processing, press the [EFFECT
BYPASS] button (the LED lights).
Quick Guide
n In the effect parameter screens ([SF2]-[SF5]), you
can make various detailed parameter settings. You
can scroll through the screens by using the
[EF] buttons. For information on the Effect
Parameters, refer to the separate Data List.
Reference
6 If you wish to save your new settings, store the
settings as a single Voice before you leave the
Voice Edit mode. For details about storing Voices,
see page 73.
Effect connection
Appendix
● In the Voice mode:
Three different Insertion connection types are available, as shown below.
System Effects
Reverb
Tone Generator
block
Element 1
Chorus
Insertion Effects
Send Level
Return Level
Element 2
1
Master Equalizer
Element 3
2
Element 4
You can select the Insertion connection
from the three types shown below.
This determines which Insertion
system, 1 or 2, is applied to
each Element (or to each key
when the Drum voice is
selected). The Insertion effect
can also be bypassed.
1 to 2
Using Effects
parallel
1
1
2
2
2
n The parallel connection type is not available for Plug-in voices.
68
2 to 1
1
Output
Select the part to which the
Insertion effect is applied from
parts 1-4 and Plug-in parts 2-3.
The connection type depends
on the setting of the Voice
assigned to the selected part.
Basics Section
● In the Performance mode:
The diagram below indicates the internal signal flow when the Vocal Harmony Plug-in Board (PLG100-VH) is
installed to slot 1.
System Effects
Reverb
Chorus
Tone Generator
block
Insertion Effects
Return Level
Send Level
1
Parts 1-4,
Plug-in parts 2-3
Quick Guide
Variation
Master Equalizer
Output
2
Reference
Insertion Effect
(Plug-in)
PLG 100-VH
Select the part to which
the Plug-in Insertion
effect is applied from
parts 1-4, Plug-in parts
2-3 and A/D Input part.
A/D
Appendix
• External audio source
• Microphone sound
n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.
● In the Sequence Play/Mixing mode:
The diagram below indicates the internal signal flow when the Vocal Harmony Plug-in Board (PLG100-VH) is
installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.
Tone Generator
block
Select the part to which the
Insertion effect is applied. The
connection type depends on the
setting of the Voice assigned to
the selected part.
System Effects
Reverb
Chorus
Part 1~16
Variation
Insertion Effects
Part 17-32 *
Send Level
1
(When the Multi-part Plugin board has been installed)
Return Level
Master Equalizer
Output
2
Insertion Effect
(Plug-in)
Plug-in Part 2
(When the Single part Plugin board has been installed)
PLG100-VH
Select the part to which the
Plug-in Insertion effect is
applied.
A/D
• External audio source
• Microphone sound
* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effects cannot be applied to parts 17~32
(using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master Equalizer.
Using Effects
69
Basics Section
Using the Jobs
You can perform various operations (Jobs) in the Job mode. For example, you can initialize Voices/Performances to
their original settings (including those currently being edited) or copy Elements/Parts.
7 Press one of the MODE buttons (or the [EXIT]
button) to exit the Job mode and return to the Play
mode.
Job (PAGES)
JOB
Quick Guide
MODE
Initialize
Recall Copy
Bulk
Dump
Performance
Copy
Factory
Set
F6
-
F1
F2
F3
F4
VOICE
Yes
Yes
Yes
Yes
PERFORMANCE
Yes
Yes
Yes
Yes
MASTER
Yes
Yes
MIXING ([SEQ
PLAY] → [F6])
Yes
Yes
Yes
UTILITY
page 72
Reference
Performing a Job
1 In each mode, select the Voice/Performance/Master
Number or Mixing you wish to perform the Job on.
Appendix
2 Press the [JOB] button to enter the Job mode.
3 Use the function buttons and switch to the screen
showing the Job you wish to perform (excluding
Utility mode).
Resetting (initializing) parameters
of a Voice/Performance to their
default settings [F1]
This is useful for setting up a “blank slate” when you
want to build a completely new Voice/Performance
from scratch. Keep in mind that this does not return
the Performance to its original state prior to editing.
Select parameter Type to be Initialized
Settings in the LCD
Target
Normal
Voice
Drum
Voice
Plug-in
Performance
Voice
Whole currently
selected data
Master
Part1-16/
PLG1-3
ZONE*
ALL
Common data for
currently
selected program
Part/Element/
Key/Zone/Mixing
EL1-EL4
data for currently
selected program
Mixing
Common
EL/key
(Note
Name)
EL
Part1-4/
PLG1-3
* Parameters available when the parameter type to be initialized is set to
Split or Layer. They can be designated the MIDI transmit channel or the
Split Point as a result of the job.
4 Use the [DEC/NO], [INC/YES] and [▲ ▼ EF]
buttons to select the parameter you wish to perform
the Job on.
5 When you press the [ENTER] button,
a confirmation prompt appears.
6 Press the [INC/YES] button to confirm.
A “Completed” message appears when the Job has
been completed, and operation returns to the
original screen.
Press the [DEC/NO] button to cancel the Job.
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or
“Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data
and may cause the system to freeze (due to corruption
of data in the Flash ROM).
70
Using the Jobs
UpperCh, LowerCh
When the Parameter Type above is set to “Zone - Split,” you can set
separate MIDI transmit channels for the upper and lower keyboard
sections (right of Split Point and left of Split Point,
respectively).When the Parameter Type above is set to “Zone Layer,” you can set separate MIDI transmit channels for two layers.
SplitPoint
This is available only when the parameter type to be initialized is
set to “Split.” The range is C - 2~G8.
Edit Recall [F2]
If you are editing a voice/performance and select a
different voice/performance without storing your
edited one, all the edits you’ve made will be erased.
If this happens, you can use Edit Recall to restore the
voice/performance with your latest edits intact.
From this display you can copy Common and Part
parameter settings from any performance to the
performance you are editing. This is useful if you are
creating a performance and wish to use some
parameter settings from another performance.
Basics Section
Performance
Source performance
Quick Guide
Using the Copy function [F3]
Voice
Source Voice
Destination performance
(currently selected performance)
Source performance
Select a performance and data type to be copied.
❏ Data type
Reference
From this display you can copy Common and Element/
Drum Key parameter settings from any Voice to the
Voice you are editing. This is useful if you are creating
a Voice and wish to use some parameter settings from
another Voice.
Part 1 ~ 4, Plug 1 ~ 3
Data type of Destination performance
(currently selected performance)
Set the Part of the destination Performance.
Source voice
Select a Voice and data type to be copied.
❏ Data type
Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb, Chorus)
n If you choose Arp (Arpeggio) or Effect, the Arpeggio
data or Effect settings for the Voice assigned to the source
Part will be copied.
❏ Data type
When a Normal voice is selected:
Common, Element 1 ~ 4
When a Drum voice is selected:
Common, Drum key C0 ~ C6
When a Plug-in voice is selected:
Common, Element
n If the source Voice type (Normal/Drum/Plug-in) differs
from one of the Voice you are currently editing
(destination), you will only be able to copy Common
parameters.
Data type of Destination voice
(currently selected voice)
If the source is a Normal or Drum Voice and data type
is set to Element or Drum Key, you can set the data
type of the destination Voice.
❏ Data type
When a Normal voice is selected:
Common, Element 1 ~ 4
When a Drum voice is selected:
Common, Drum key C0 ~ C6
n If you choose to copy Common parameters from the
source, this display will change to “Common.”
Using the Jobs
71
Appendix
Destination Voice
(currently selected Voice)
Basics Section
Saving Data to an External
Device (Bulk Dump) [F4]
You can backup your custom settings of all Programs
(voices, performances and other settings) by using
Bulk Dump to transmit the data to your computer or
some other external MIDI device.
Quick Guide
n In order to perform a Bulk Dump, the appropriate MIDI
Device Number must be set (Utility [F5]→[SF1] Ref.
#178).
n After receiving the current voice/performance as bulk
data, the data will be lost if you select another voice/
performance or Mode. To avoid losing the data, you
should use Store function to store your received data
(page 73).
Reference
Copying Performance Part
parameter settings to Parts in
the Mixing mode
(Performance Copy) [F5]
Appendix
This convenient operation lets you copy certain
settings of the four parts in a performance to the
Mixing program currently being edited. This would
come in handy when a certain performance has
settings that you want to use in your Mixing program.
Use this Job to simply copy the settings you need.
The MIDI receive channel settings are set to match the
basic channel settings (Utility [F5]→[SF1] Ref. #176).
When the basic channel is set to “omni,” the receive
channel here is set to 1. To select a group of
parameters for copying, checkmark the appropriate box
in the display.
72
Using the Jobs
Factory Set (Restore Factory
Defaults)
This lets you restore the synthesizer’s default
Internal Voices (User Memory) and Performances,
as well as its System and other settings.
Once you edit any settings, the corresponding
factory defaults will be overwritten and lost.
Use the procedure below to restore the factory
default settings.
When you restore the factory default settings, all the
current settings for the all the Performances and
User Voices will be overwritten with the factory
defaults. Make sure you are not overwriting any
important data. You should back up any important
data to Memory Card or to your computer
beforehand.
1 In the Utility mode (page 29), press the [JOB]
button to enter the Utility Job mode.
2 Press the [ENTER] button. (The display
prompts you for confirmation.)
n To cancel the Job, press the [DEC/NO] button.
3 Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the
original display.
4 Press the [UTILITY] button to exit from the
Utility Job mode back to the Utility mode.
n All settings in the Utility mode that are related
to the Plug-in boards and the mLAN8E are
stored only to the memory on those respective
devices, and not to the User memory of the S90.
Because of this, the Factory Set operation
cannot be used to restore settings for those
devices.
Up to three Plug-in boards can be installed to the
S90. If the Plug-in Board has been correctly
installed, the corresponding SLOT lamp will light.
PROGRAM
n When changing the Name, refer to page 34.
n The edited Mixing data can be stored by using the Put
function (page 79).
1 Press the [STORE] button after editing a Voice/
Performance. The Store screen appears.
ex. Voice
SLOT 1
SLOT 2
SLOT 3
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
Quick Guide
When you perform this, the settings for the destination
data will be overwritten. Important data should always
be backed up to computer, a separate memory card or
some other storage device (page 82).
Plug-in Voices
CATEGORY
SEARCH
The Plug-in voices can be edited via the S90’s panel
operation in much the same way as User voices.
After editing, up to 64 Plug-in voices for each Plugin slot can be stored.
Reference
You can store (save) your original parameter settings to
User Memory. The procedure is as follows.
Basics Section
Saving the Settings (Store)
Destination Program (Voice)
2 Use [DEC/NO] and [INC/YES] buttons to select the
destination program.
3 When you press the [ENTER] button, you will be
prompted for confirmation.
Included among the Board voices is a special set of
voices — called Board Custom voices — which can
be edited by a computer connected to the S90, using
special editing software included with the Plug-in
board.
Because the Plug-in boards do not have SRAM and
the edited voice data will be lost when turning the
power off, the edited Board Custom voice data
should be saved to a Memory Card inserted to the
S90. The Board Custom voice data saved to the
memory card can be loaded automatically when
turning the power on by using the Auto Load
function.
1 Edit the Board voice by using the Editor software.
n You can press the [DEC/NO] button to cancel the
Store operation and return to the original screen.
4 Press the [INC/YES] button to confirm. When it
has been completed, a “Completed” message
appears, and operation returns to the original
screen.
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or
“Please keep power on” message is shown). Turning the
power off in this state results in loss of all user data and
may cause the system to freeze (due to corruption of data
in the Flash ROM).
2 Transmit the edited data to the memory
(DRAM) on the Plug-in board.
1 Edit
Computer with
application software
2 Transmit
Plug-in board
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
S90
Saving the Settings (Store)
73
Appendix
Editing and saving Board voices
Basics Section
3 Save the data in the memory (DRAM) to the
memory card.
Memory card
3
Plug-in board
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Quick Guide
S90
4 If necessary, set Auto Load to on in the Utility
mode (page 84).
Reference
Set this to on.
Appendix
5 When turning the power on next time, the Board
Custom voice data saved to the memory card is
automatically loaded to the memory on the Plugin board.
74
Saving the Settings (Store)
Make sure to read the section “Using Memory Cards” on
page 82.
n The S90 is compatible with and can play back Standard
MIDI Files or Format 0. If necessary, you can use the
included File Utility software to convert Standard MIDI
files on your computer from format 1 to format 0.
Never attempt to remove/insert the Memory Card while
in the SEQ PLAY mode.
Setting the Chain (CHAIN)
❏ Settings: skip, end, stop, song file, mix template
n You need to have already specified (in Card mode) the
directory containing the song files you wish to select.
1 Press the [SEQ PLAY] button to enter the Sequence
Play mode.
2 Use the [▲ ] and [▼] buttons to select the chain step
number.
3 Use the [DEC/NO] and [INC/YES] buttons to
assign the song file/mix template or skip/end/stop
to the chain step.
n Song files on the same directory can be played back
with chain.
Quick Guide
n Make sure to insert a Memory Card containing
appropriate Song data to the Card Slot.
If you select “stop,” the Song stops when it reaches this
Chain Step.
Reference
You can directly play back the Song files stored on
Memory Card. Up to 100 Song files can be played back
end-to-end by using the Chain Step feature. This Chain
Step data can also be saved to Memory Card (page 82).
Basics Section
Playing the Songs
4 Repeat steps 2 and 3 above to set up the chain.
Chain Step
Number
Mix Template
Song Playback
Appendix
Chain Step Number
Change each Chain Step by using the [▲ ]/ [▼]
buttons.
1 Select the desired Song file for playback, in the
same manner as you did 1 to 3 above.
n When playing back a single Song, you do not need
to select a Chain Step Number (any Chain Step
screen can be open).
2 Set the tempo (if necessary).
Song File
n You can jump to the next Chain Step and change the
Chain settings in advance, even while a Song is being
played back.
n When a Song is being played back, a [
appears for the current Song.
] indicator
Song File/Mix Template
Assign a Song file to the Chain Step. Any Song files
with the “.MID” extension can be selected. Mix
Templates (page 79) can also be selected to call up the
tone generator settings for each part.
For continuous (chained) playback of multiple Chain
Steps, you can specify how to play this Chain Step after
playback of a previous one by selecting one of the
commands: “skip,” “end,” or “stop.”
If you select “skip,” the Chain Step is skipped and
playback will jump to the next Chain Step. If you
choose to skip the 100th Chain Step, playback will
jump back to the first Chain Step after the 99th Chain
Step. If you select “end,” when the Song reaches this
Chain Step, chained playback is stopped and you are
returned to the first Chain Step.
3 Follow the two secondary steps below if the Play
directory and the Current directory are not the
same. (You can check this from the
INFORMATION screen.)
n Keep in mind that the Play directory (for
Sequence playback) and the Current directory
(in the Card mode) can be set to different
folders. For proper Chain Step operation, they
must be set to the same folder.
1 Press the [F5] button from the CHAIN screen.
A confirmation message appears.
2 Execute the operation by pressing the [INC/YES]
button.
4 Press the [PLAY/STOP] button to playback the Song.
5 Press the [PLAY/STOP] button again to stop the
Song playback.
Playing the Songs
75
Basics Section
Chained Playback
Song track on/off — Solo and Mute
1 Use the [▲] and [▼] buttons to select the Chain
Step Number of the first Song you wish to play
back, or of the Mix Template.
To mute a track
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
2 Set the tempo (if necessary).
9
10
11
MUTE
SOLO
Quick Guide
3 Follow the two secondary steps below if the Play
directory and the Current directory are not the
same. (You can check this from the
INFORMATION screen.)
n Keep in mind that the Play directory (for
Sequence playback) and the Current directory
(in the Card mode) can be set to different
folders. For proper Chain Step operation, they
must be set to the same folder.
1 Press the [MUTE] button so that its lamp lights.
2 Press any of the NUMBER [1] - [16] buttons to
select the track number to be muted.
To solo a track
Reference
1 Press the [F5] button from the CHAIN screen.
A confirmation message appears.
1
2 Execute the operation by pressing the [INC/YES]
button.
9
Appendix
4 Press the [PLAY/STOP] button to play back the
Song. When the Chain Step playback has
finished, the Song of the next Chain Step Number
will automatically be started. Songs can be
played back continuously this way.
5 Press the [PLAY/STOP] button again to stop the
chained playback.
Also, if an “end” or “stop” Chain Step is reached,
playback will stop.
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
10
11
MUTE
SOLO
Simultaneously hold down the [MUTE] button and
press one of the NUMBER buttons [1] to [16] to solo
the corresponding track.
Once you’ve selected a track for soloing, the
[MUTE] button’s lamp flashes, indicating the Solo
function is active. While Solo is active, you can
change the soloed track simply by pressing the
corresponding NUMBER button [1] to [16].
To exit from the Solo function, press the [MUTE]
button again.
Moving the Song position/
Changing the Tempo
Song track selection
You can move the Song position or change the playback
tempo for the Song at the currently selected Chain
Step. When the Song is played back, the tempo setting
made here automatically takes precedence over the
original tempo setting of the Song.
In order to edit the Mixing data, you’ll need to select
a track for editing.
Press the [TRACK SELECT] button so that its
indicator lights and press any of the NUMBER [1] [16] buttons to select a track to be edited.
Move through the measures
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
F4
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
The measure be specified when releasing the [F4] button.
Change the tempo
F3
76
Playing the Songs
n The keyboard transmit channel in the Sequence
Play mode corresponds to the track number you
select here.
From this display you can confirm the MIDI channel,
and determine which MIDI port the channel data is
sent to.
In this mode, you can set up mixing data, and set
various parameters for the tone generator parts —
including the desired voice, as well as its level, pan, EQ,
effect and other settings.
How the Mixing mode affects the tone generator parts,
and how it is affected by other elements is made clear
by the following diagram.
Basics Section
● [F2] Sequence Play Output Channel
Mixing mode
Quick Guide
Song editing in the Sequence
Play mode
Sequencer block
Song Data
Playback of song data affects
the Mixing settings.
Tone Generator
block
Indicates channel transmission to the MIDI OUT
terminal (Display only).
n In the Sequence play mode, the MIDI data created by
playing the keyboard/wheels is sent to the tone generator
block or the external MIDI devices via the MIDI output
channel of the currently selected track.
Mixing
MIDI data from external
devices affects the Mixing
settings.
Reference
OUT CH (Output Channel)
Editing in the Mixing mode
determines the Mixing
settings.
Tone
Generator
Determines the MIDI transmission port for the
corresponding channel. This is useful for sending data
to external tone generators over multiple MIDI ports in
an extended MIDI setup. Keep in mind that this
parameter is available for channels having assignments
to Plug-in parts 1 - 3 (for installed single-part boards)
or Plug-in parts 17 -32 (for installed multi-part boards).
The internal tone generator parts of the S90 are
automatically fixed at port 1.
Mixing parameters are not actually part of the song
data, but rather are settings for the tone generator, as it
is played back by the song data. As such, the Mixing
parameter settings are not recorded to the song tracks.
n Even if the selected song has no sequence data, this
Mixing data can be stored (put) to Mix template as
system data (page 79). Playing back such song data
transmits the mixing setup to the external MIDI
instrument.
❏ Settings off, 1 ~ 3
n Port data can be output only through the USB terminal.
Mixing mode (Simple Mixer
functions)
n The parameters that have the same name in the Mixing
mode and in the Mixing Edit mode have the same
functions and settings.
Basic Procedure
1 In the CHAIN display, press the [F6] (MIX) button
to enter the Mixing mode.
2 Select the desired Mix Template for editing (page
79), then exit from the TEMPLATE display.
Playing the Songs
77
Appendix
Port
Basics Section
3 Select a display for the parts you wish to mix by
using the [F6] button.
Internal Tone Generator Parts 1~16
● [F1] VOL/PAN
From this display you can set the Pan and Volume for
each part.
Quick Guide
[F6]
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
n You can select a part by moving the cursor or by using
the NUMBER buttons while the [TRACK SELECT]
indicator is on (page 76).
n You can also adjust the Volume/Pan by using the Control
Sliders. See page 53 for details.
[F6]
Single Part Plug-in Parts 1~3
When the Single Part Plug-in board has been installed)
PAN
Reference
Determines the stereo pan position for each part.
VOLUME
Determines the volume for each part.
[F6]
Appendix
n Please note that the Multi-Part Plug-in Part (17~32)
settings apply not to one individual song but to all
templates.
4 Select the menu you wish to edit by pressing the
[F1] - [F5] buttons, then edit parameters in each
display.
● [F2] AD
From this display you can set various mixing
parameters for the A/D part, input via the A/D INPUT
jack or the mLAN terminal (when the optional
mLAN8E has been installed).
n If you wish to edit more detailed Mixing parameters,
you can enter the Mixing Edit mode by pressing the
[EDIT] button. For details, refer to page 98 in the
“Reference” section.
5 Save (put) the settings edited in step 4 to the Flash
Memory as required.
Same as in the Performance Play mode. See page 44.
6 Press the [EXIT] button to exit from the Mixing
mode and return to the CHAIN display.
● [F3] VOICE
From this display you can select a voice for each part.
n You can select a part by moving the cursor or by using
the NUMBER buttons while the [TRACK SELECT]
indicator is on (page 76).
n The Category Search function can also be used to select
voices here (with the exception of the Multi-part Plug-in
parts 17 - 32).
78
Playing the Songs
Mixing Edit mode (Detailed
Mixer functions)
Basics Section
From this display you can make basic effect settings for
each track — the Reverb, Chorus and Variation Send
levels, as well as the Dry Level.
Common edit and Part edit
Use Common Edit to edit the settings common to all
parts. There are two types of Mixing displays: those
for Common Edit, and those for editing individual
parts.
Part 1
Quick Guide
● [F4] SEND (Effect Send)
Part 2
● [F5] TEMPLATE
Part 3
COMMON
Part 16
Reference
This convenient function lets you store your mixing
settings as a template — allowing you to easily set up
similar mixes by calling up the proper template, then
tweaking it as needed. You can also assign the template
to Chain steps in Sequence Play mode to call up the
settings according to the playback. Templates are part
of the System data (page 27) in the Utility mode and
cannot be saved as part of the Song data.
Plug-in Part 1
Plug-in Part 2
Plug-in Part 3
Appendix
Indicates a Common Edit display.
Template
Number
Pressing the [SF4] button
lets you call up the
template selected at left.
Template
Name
Indicates a display for editing Part(s).
Press the [SF5] button
lets your save the current
setting to the template
selected at left.
n Since the Mixing templates are stored as System data
(page 27) in the Flash ROM, the data is maintained even
when the power is turned off.
n Common Edit operations cannot be performed on
the Multi-part Plug-in parts 17 - 32.
Template number
Determines the template number. Up to 50 templates
can be created.
Basic Procedure
Template name
Determines the name of the template. For details about
naming, see page 34 in the “Basic Operations” section.
1 In the CHAIN display, press the [F6] button to enter
the Mixing mode.
2 Select the desired Mix Template for editing.
3 Press the [EDIT] button to enter the Mixing Edit
mode. (The indicator lights.)
Playing the Songs
79
Basics Section
4 Select a part to be edited.
To edit parameters common to all parts, press the
[DRUM KITS] button (which serves as a
“COMMON” button here).
DRUM KITS
FAVORITES
COMMON
Quick Guide
To edit parameters of the individual parts, select the
desired part with the corresponding NUMBER
button ([1] - [16]). You can select parts for the Plugin board by using the [F6] button (as shown below).
1
2
3
4
5
6
7
8
12
13
14
15
16
TRACK
SELECT
ELEMENT / PERF.PART / ZONE
9
10
11
MUTE
SOLO
Using the S90 as a Multitimbral Tone Generator
(Mixing Edit)
Reference
Mixing mode lets you configure the S90 as a Multitimbral tone generator for use with computer-based
music software or internal/external sequencers. If each
track in a song file uses a different MIDI channel, then
the Parts in a Mixing setup can be each assigned to
those MIDI channels correspondingly. Therefore, you
can play back a song file on an external sequencer and
have different Voices playing on different tracks
simultaneously.
In the following example, we will create a Mixing setup
suited to playing back a song file consisting of three
Parts: piano, bass and drums. The piano track is
assigned to MIDI channel 1, the bass track to channel 2,
and the drums to channel 10.
n The particular part(s) can be switched on/off
temporarily (Mute) (page 76).
Internal Tone Generator Parts 1~16
n For details about MIDI channels, see page 118.
Song File
[F6]
Appendix
Multi Part Plug-in Parts 17~32
(When the Multi Part Plug-in board has been installed)
Track 1
Track 2
Mixing
Piano
Bass
Transmit Ch.2
Track 10 Drums Transmit Ch.10
Part 1
Part 2
Piano Voice Receive Ch.1
Bass Voice Receive Ch.2
Part 10
Drum Voice
Receive Ch.10
Tone
generator
[F6]
Single Part Plug-in Parts 1~3
(When the Single Part Plug-in board has been installed)
Transmit Ch.1
Computer
(sequencer software)
S90
[F6]
n Please note that the Multi-Part Plug-in Part (17~32)
settings apply not to one individual template but to all
Mixings.
5 Select the menu you wish to edit by pressing the
[F1] - [F5] buttons and edit parameters in each
display.
6 Save (put) the settings edited in step 5 to the Mix
Template as required.
7 Press the [EXIT] button to exit from the Mixing
mode and return to the CHAIN display.
For details about each parameter, see the “Reference”
section (page 98). In the following section, we’ll show
you how to get started with Mixing Edit.
80
Playing the Songs
n You can use the included sequencer software (Windows
only; see the attached Installation Guide) to play
multiple Parts on the S90. Before doing that, however,
make sure that all connections between the computer
and the S90 have been properly made (page 17).
n Before entering the Mixing Edit mode, you need to
select a Mixing Template for editing (page 79).
n You can initialize the Mixing settings, if necessary
(page 70).
2 If the Common Edit display is shown, press the
appropriate NUMBER button [1] - [16] to switch to
the Part Edit display.
Here, we’ll select Part 1 for the piano, Part 2 for bass
and Part 10 for drums. First, let’s select Part 1.
3 Press [F1] → [SF1] to switch to the VOICE screen,
then specify the Voice to be used as the piano Part.
n For Parts that have single-note passages only and do
not require polyphony, the Mode parameter can be
set to “mono” (monophonic).
8 Press the [F1] → [SF3] to call up the NoteLimit
(Note Limit) and VelLimit (Velocity Limit) settings,
and check whether or not the Part of each Voice is
set appropriately — in other words, make sure that
the Note or Velocity settings do not prevent the
Voice from being played normally. Except in special
cases, you should generally avoid setting limits on
the note and velocity ranges, in order to ensure that
notes are sounded properly and are not cut off.
Quick Guide
Basics Section
7 Use the [▲] and [▼] buttons and switch to the
Mono/Poly setting. Set the parameter to “Poly”
(polyphonic).
Reference
1 After pressing the [SEQ PLAY] button, press [F6]
(MIX) to enter the Mixing mode, then enter the edit
mode (page 29).
5 Press [F2] → [SF1] to switch to the VOLUME
screen, then set the volume for each Part as well as
its Pan position, Chorus and Reverb Send levels, if
necessary. For details, see Ref. #43 - 48.
n There are many other Part-specific parameters in the
Mixing Edit mode. For details, see the “Reference”
section.
9 Before exiting the Edit Mode, you need to save the
settings for the Mix Template. For details about
saving Mix Templates, see page 79.
6 Press [F1] → [SF2] and switch to the MODE screen.
Set the relevant parameters to the appropriate
values: 1, 2, and 10.
Now, when you select this Mix Template in the
Sequence Play mode, you can play back the song file on
computer (sequencer), and the piano, bass and drum
Parts will be played back according to each track’s
MIDI channel.
Playing the Songs
81
Appendix
4 Similarly, assign Part 2 to the Bass Voice and Part 10
to the Drum Voice.
Basics Section
Using Memory Cards
Quick Guide
In the Card mode, you can use a Memory Card
(commercially available SmartMedia™ cards) for saving
and loading data from/to the instrument, as well as
perform other data-exchange operations. With the
included File Utility software, you can use a computer to
manage data on Memory Card. You can also use it to
exchange data between the computer and Memory Card.
Never attempt to remove/insert the Memory Card in the
card mode.
n To select the Song file you wish to play, use the Sequence
Play mode. In the Card mode, designate the folder that
includes the Song files for playback (page 83).
■ Formatting Memory Cards
Before using a Memory Card with your instrument it
must first be formatted. Once it is formatted all data on
it will be erased. Be sure to check if the data is
unnecessary or not, beforehand.
n The Memory Cards formatted with this instrument
may become unusable with other instruments.
■ About Memory Cards
Handle Memory Cards with care!
Reference
There are seven types of Memory Cards: 2MB/4MB/
8MB/16MB/32MB/64MB/128MB.
There are times when static electricity affects Memory
Cards. Before you handle Memory Cards, to reduce the
possibility of static electricity, touch a metal object,
such as a door knob and aluminum sash.
Be sure to remove the Memory Card from the Memory
Card slot when it is not in use for a long time.
Do not expose the Memory Card to direct sunlight,
extremely high or low temperatures, or excessive
humidity, dust or liquids.
Do not place heavy objects on a Memory Card or bend
or apply pressure to the Memory Card in any way.
Do not touch the metal part (gold) of the Memory Card
or put any metallic plate onto the metal part.
Do not expose the Memory Card to magnetic fields,
such as those produced by televisions, speakers,
motors, etc., since magnetic fields can partially or
completely erase data on the Memory Card, rendering it
unreadable.
Do not attach anything other than the provided labels
to a Memory Card. Also make sure that labels are
attached in the proper location.
■ Inserting/Removing Memory Cards
To protect your data (Write-protect):
Handling the Memory Card
(SmartMedia™*)
Be sure to handle Memory Cards with care. Follow
the important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
Appendix
■ Compatible Memory Card Type
3.3V(3V) Memory Cards can be used. 5V type Memory
Cards are not compatible with this instrument.
■ Memory Capacity
To insert a Memory Card:
Hold the Memory Card so that the connector section
(gold) of the Memory Card is facing downward and
forward, towards the Memory Card slot. Carefully
insert the Memory Card into the slot, slowly pushing it
all the way in until it is fitted in place.
• Don’t insert the Memory Card in wrong direction.
• Don’t insert anything other than a Memory Card in the slot.
To remove a Memory Card:
Before removing the Memory Card, be sure to confirm
that the Memory Card is not in use, or it is not being
accessed by the instrument. Then pull the Memory
Card out slowly by hand. If the Memory Card is being
accessed*, a message indicating that it is in use appears
on the instrument’s display.
* This includes saving, loading, formatting and deleting.
Also, be aware that the instrument will automatically
access the Memory Card to check the media type when
it is inserted while the instrument is turned on.
Never attempt to remove the Memory Card or turn
the power off during accessing. Doing so can
damage the data on the instrument/Memory Card
and possibly the Memory Card itself.
82
Using Memory Cards
To prevent inadvertent erasure of important data, stick
the write-protect seal (provided in the Memory Card
package) onto the designated area (within a circle) of
the Memory Card. To save data on the Memory Card,
make sure to remove the write-protect seal from the
Card. Do not reuse the seal that is peeled off.
■ Data Backup
For maximum data security Yamaha recommends that
you keep two copies of important data on separate
Memory Cards. This gives you a backup if one
Memory Card is lost or damaged.
■ Burglarproof Lock
This instrument is equipped with a burglarproof lock
for the Memory Card. If necessary, mount the
burglarproof lock onto the instrument.
To mount the burglarproof lock:
1 Remove the metallic part using a Phillips
screwdriver.
2 Turn the metallic part upside down and then mount
it again.
New Folder Creation
1 Press the [CARD] button to enter the Card mode.
(The indicator lights.)
From the Save display (called up via the [F2] button)
and the Rename display (called up via the [F4] button),
you can create new folders. This function lets you
conveniently and easily organize the numerous
important data files you create on the S90.
Quick Guide
3 Press any other mode button to exit from the Card
mode.
File/Folder selection
Move the cursor to the desired file or folder by using
the [INC/YES] and [DEC/NO] buttons or the data dial.
File types that can be
handled by the S90
File types that can be saved from the S90
to a Memory Card
Display
To return to the
next highest level,
press the [EXIT]
button.
To go to the next
lowest level,
highlight the
desired folder
Extension
Explanation
All
.W4A
All data in the S90’s internal User Memory are treated
as a single file, and can be saved to a Memory Card.
All Voice
.W4V
All the User Voice data in the S90’s internal User
Memory are treated as a single file, and can be saved
to a Memory Card.
Plugin All
Bulk1,2,3
.W2B
All the data in a Plug-in board are treated as a single
file, and can be saved to a Memory Card.
Chain
(Sequence
chain)
.W4C
Chain data are treated as a single file, and can be
saved as such. This data is used for playing back
multiple songs in succession.
Voice Editor
(Voice data
for Voice
Editor)
.W4E
All the User Voice data can be treated as a single file
and saved to a Memory Card. The saved file can be
loaded to the Voice Editor software (included in the
CD-ROM) on your computer.
Move the cursor to the desired file or folder by using
the [INC/YES] and [DEC/NO] buttons or the data dial.
n Make sure that the desired song file (the one to be
assigned to the Chain Step in the Sequence Play mode) is
contained in the appropriate folder (Current) selected in
the Card mode. Since the song file name is not indicated
in the S90 display, make sure to assign a properly
descriptive or appropriate name to the folder containing
the file. You can check through the folders and files using
the File Utility software. (Refer to the separate
Installation Guide.)
File types that can be loaded from a
Memory Card to the S90
Display
Extension
Explanation
All
.W4A
A file that is saved to a Memory Card as “All” type can
be loaded and restored to the S90.
All Voice
.W4V
A file that is saved to a Memory Card as “All Voice”
type can be loaded and restored to the S90.
Voice
.W4A/.W4V
A specified voice in a file that is saved to a Memory
Card as “All” or “All Voice” type can be individually
selected and loaded to the S90.
Performance .W4A
A specified performance in a file that is saved to a
Memory Card as “ALL” type can be individually
selected and loaded to the S90.
Plugin All
Bulk1,2,3
.W2B
A file that is saved to a Memory Card as “Plugin All
Bulk 1, 2, 3” type can be loaded and restored to the
Plug-in board installed to the S90.
Usr ARP
.W2G
A file that is saved to a Memory Card from the MOTIF
as “Usr ARP” type can be loaded and restored to the
S90.
Chain
(Sequence
chain)
.W4C
A file that is saved to a Memory Card as “Chain” type
can be loaded to the S90.
Voice Editor
.W4E
The Voice data edited via the included Voice Editor
software on your computer can be loaded to the S90.
Using Memory Cards
83
Reference
The illustrations and instructions below show you how
to select files and folders on the Memory Card within
the Card mode.
You can create a new folder by pressing
the [F6] button and naming it.
Appendix
2 Select the desired menu by using the [F1] - [F6]
buttons and execute each operation (Save, Load,
and so on).
Basics Section
Basic Procedure
Basics Section
■ File types that can be loaded from the
Memory Card to the S90 when turning the
power on (Auto Load file)
Among the file types described on page 83, “All”,
“Plugin All Bulk 1”, “Plugin All Bulk 2” and “Plugin
All Bulk 3” can be loaded from the Memory Card to the
S90’s User Memory automatically when turning the
power on.
Quick Guide
Data will be loaded automatically and any existing data
in memory will be overwritten, therefore, you should
save important data to Memory Card beforehand.
1 Name the files you wish to have load automatically
when the power is turned on as described below,
and save them together in a single folder.
Reference
File type
File name
All
AUTOLOAD.W4A
Plugin All Bulk 1
(for slot 1)
AUTOLD1.W2B
Plugin All Bulk 2
(for slot 2)
AUTOLD2.W2B
Plugin All Bulk 3
(for slot 3)
AUTOLD3.W2B
n After you’ve finished naming the appropriate files,
keep the corresponding folder selected in the display
and go to step 2.
8 Turn the power on. The S90 searches the specified
folder for the auto-load files (the files you named
and saved in step 1), and automatically loads them
to User memory.
n Any files in the folder registered in step 4 that do
not have appropriate auto-load names are ignored.
■ File names
Files are named according to the MS-DOS naming
convention. If the file name contains spaces and other
characters unrecognized in MS-DOS, these characters
will automatically be replaced by “_” (underscore)
characters when saving.
For specific instructions on naming files, see page 34.
[F1] Formatting Memory
Cards (FORMAT)
The explanations here apply to step 2 of the Basic
Procedure on page 83.
Before you can use a new Memory Card with the S90,
you will need to format it. Use this operation to format
the memory card and assign a Volume Label to it.
Appendix
2 Press the [UTILITY] button to enter the Utility
mode.
3 Press the [F1] button, then press the [SF4] button to
show the Auto Load file display.
4 Set “Auto Load” to on, and press the [SF5] button.
Set this to on.
While formatting is in progress, do not eject the Memory
Card or turn off the power to the S90.
If data is already saved on the memory card, be careful
not to format it. If you format the memory card, all the
previously recorded data will be deleted.
Press the [SF5] button to register the folder selected in step
#1 (the folder containing the desired files for auto loading).
5 To apply the newly made parameter settings, exit
from the Utility mode.
Never attempt to turn off the power while data is being
written to Flash ROM (while an “Executing...” or
“Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data
and may cause the system to freeze (due to corruption
of data in the Flash ROM).
6 Turn the power off.
7 Before turning the power on next time, make sure
that the appropriate data is available to the S90. In
other words, make sure Memory Card specified in
step 1 is properly inserted.
84
Using Memory Cards
1 Name the Volume Label. For instructions on
naming, see page 34 in the “Basic Operations”
section.
2 Press the [ENTER] button. (The display prompts
you for confirmation.)
n To cancel the Format operation, press the [DEC/NO]
button.
3 Press the [INC/YES] button to execute the Format
operation. After formatting has been completed, a
“Completed” message appears and operation
returns to the original display.
[F3] Loading the S90 Data
from Memory Card (Load)
This operation lets you save files to a Memory Card.
The explanations here apply to step 2 of the Basic
Procedure on page 83.
This operation lets you load files from a memory card
to the S90.
The explanations here apply to step 2 of the Basic
Procedure on page 83.
When the file type is set to All, All Voice, Plugin All
Bank 1~3, Usr ARP, Chain or Voice Editor, go to
step 3. For any other file types, go to step 2.
n When “All” is selected as a file type to be loaded,
“ without System” appears in the display. If this
box is checked and the Load is executed, all data with
the exception of the system settings in the Utility
mode are loaded.
Reference
If you wish to create a new file, move the cursor to
this position and enter the desired name. For
instructions on naming, see page 34 in the “Basic
Operations” section.
If you wish to create a new folder, press
the [SF6] button to name a new folder.
For instructions on naming, see page 34
in the “Basic Operations” section.
2 If you wish to overwrite the existing file, move the
cursor to the desired file to which the data is saved
by using the Cursor buttons or the data dial.
While the data is being saved, do not eject the Memory
Card or turn off the power of the S90.
3 Press the [ENTER] button to execute the Save
operation.
Quick Guide
1 Select a file type (page 83) and a file to be loaded.
2 Specify the data to be loaded and the destination
location in the User memory of the S90.
When the file (data) type is set to Voice, for
example, follow the instructions as shown below.
This is an “virtual” folder, shown in the
display to contain the file(s) you’ll be loading.
If you are about to overwrite an existing file, the
display prompts you for confirmation. Press the
[INC/YES] button to execute the Save operation, or
press the [DEC/NO] button to cancel it.
[ENTER] button
After the data has been saved, a “Completed”
message appears and operation returns to the
original display.
Specify the destination
location in the User memory
of the S90.
Select a voice number
to be loaded.
When the file (data) type is set to Performance, an
“virtual” file appears — just as with Voice above.
Select the imaginary file and press the [ENTER] button
to call up the list of Performance. Then select the
desired Performance and specify the destination User
memory location.
Using Memory Cards
85
Appendix
1 Select the file type to be saved in the Save display
(page 83).
Basics Section
[F2] Saving the S90 data to
Memory Card (SAVE)
Basics Section
3 Press the [ENTER] button to execute the Load
operation. After the data has been loaded, a
“Completed” message appears and operation
returns to the original display.
Never eject the Memory Card or turn off the power of
the S90 while data is being loaded.
Quick Guide
Loading data to the S90 automatically erases and
replaces any existing data in the User memory. Make
sure to save any important data to a memory card
BEFORE performing any Load operations.
[F5] Deleting the Files
(DELETE)
From this display you can delete files from the selected
memory card. Select the desired file as shown below,
then press the [ENTER] button.
Select the desired file type.
n The S90 features a convenient Auto-load function
that automatically loads user-specified files when you
turn the power on. For details, see page 84.
Select the file to be deleted.
Reference
[F4] Renaming the Files
(RENAME)
From this display you can rename files in the selected
memory card, using up to eight alphabetic and numeric
characters.
Select the desired file type.
Appendix
Select the file
to be renamed.
Rename the selected file
here. See “Basic
Operation” on page 34.
If you wish to create a new folder in
which the data is, press the [F6] button
to name a new folder. For instructions
on naming, see “Basic Operation” on
page 34.
n Files are named according to the MS-DOS naming
convention (page 84).
86
Using Memory Cards
Basics Section
Touch Sensitivity
Different types of keyboard sensitivity can be selected to match different playing styles and preferences.
1 Press the [UTILITY] button to enter the Utility mode.
3 Use the [▲ ▼ EF] buttons to select the Vel Curve, then press the [INC/YES] and [DEC/NO] buttons to select
the desired setting (see below).
4 Press the [EXIT] button to exit from the Utility mode.
Quick Guide
2 Press the [F1] → [SF2] buttons to select the KBD screen.
The velocity is in proportion to
playing strength (how hard you
play the keyboard).
Volume
Keyboard playing strength
soft
This curve provides increased
response, especially for lower
velocities. In other words, playing
softly results in higher response
than the “norm” curve. Use this
curve if you want greater control
in the low velocity range.
hard
This curve effectively lessens the
overall response compared to the
“norm” curve. Use this curve if
you tend to play strongly and want
the sound change to be less
sensitive.
Volume
Keyboard playing strength
Volume
Keyboard playing strength
wide
This setting provides opposite
response curves for lower and
higher velocities. It widens the
apparent dynamic range of the
controller, producing less sound
change in the softer range and
more change in the higher range.
fixed
This setting produces the same
amount of sound change (set in
Fixed Velocity), no matter what
your playing strength. For
example, you can use this to
emulate the key response of
conventional organs, or ensure
that the sound change is absolutely
uniform, no matter how hard or
softly you play.
Volume
Keyboard playing strength
Appendix
norm (Normal)
Reference
Never attempt to turn off the power while data is being written to Flash ROM (while an “Executing...” or “Please keep power on”
message is shown). Turning the power off in this state results in loss of all user data and may cause the system to freeze (due to
corruption of data in the Flash ROM).
Volume
Keyboard playing strength
n You can also set sensitivity types for the Breath
Controller (UTILITY [F1] → [SF1] BCCurve).
Touch Sensitivity
87
Basics Section
Function Tree
The Reference Numbers let you easily and quickly cross-reference the corresponding parameters in the Parameter Table (page
92) and Reference section (page 98). For more on the Information display, see page 33; for more on the Category Search
function, see page 38. For Job operations, see page 70; for Store operations, see page 73; for Card operations, see page 82.
Function
Sub-Function
Parameter Name
(Display)
Ref. #
Page
Function
Sub-Function
Parameter Name
(Display)
Quick Guide
Ref. #
Page
ElementSw
117
103
■ Voice Play Mode
Source
118
→Voice Selection (page 36)
[VOICE]→
Settings...MIDI Data Table 8-1 and 8-2 in the separate Data List
Dest
[SF2]
[F1] (PLAY)
[SF3]
–
SET3/4
SET5/6
36
[F2] (BANK)
Bank
36
99
[F4] (PORTA)
Function
Sub-Function
Parameter Name
(Display)
Ref. #
Page
PitchSens
70
101
103
CenterKey
71
101
119
103
EGTimeSens
72
101
Depth
120
103
CenterKey
73
101
ElementSw
117
103
[F3] (FILTER)
[SF1]
[SF4]
KEY FLW
Source
118
103
Type
90
101
Dest
119
103
Gain
91
102
Depth
120
103
Cutoff
92
102
Resonance
93
102
TYPE
[F5] (LFO)
Mono/Poly
3
98
Wave
159
105
Width
94
102
PortaSw
7
98
Speed
160
105
Distance
95
102
[SF1]
WAVE
Reference
PortaTime
8
98
TempoSync
161
105
HPFCutoff
96
102
PortaMode
10
98
TempoSpeed
162
105
HPFKeyFlw
97
102
KeyOnReset
163
105
EGTime
98
102
–
40
Phase
164
105
Segment
99
102
Delay
165
105
EGLevel
100
102
65
100
[F5] (EG)
AEG/FEG
[F6] (ARP)
[SF2]
DELAY
[SF2]
VEL SENS
Bank
74
101
FadeIn
166
105
Curve
Type
75
101
Hold
167
105
Cutoff
101
102
Tempo
76
101
FadeOut
168
105
Resonance
102
102
VelocityLimit
82
101
ElementSw
169
105
TIME/LEVEL
103/104
102
Switch
77
101
Dest
170
105
Hold
78
101
Depth
171
105
[SF3]
DEST1
[SF3]
[SF4]
FEG
KEY FLW
Depth
105
102
CutoffSens
106
102
ElementSw
169
105
CenterKey
107
102
■ Voice Edit Mode (Normal)
Dest
170
105
EGTimeSens
108
102
Common...Settings that apply to all four Elements
Depth
171
105
CenterKey
109
102
ElementSw
169
105
BREAKPOINT
110
102
Settings...MIDI Data Table 8-1 in the separate Data List
Dest
170
105
OFFSET
111
102
[F1] (GENERAL)
Depth
171
105
Level
135
103
EL: (INS EF) OUT 1-4
190
106
Pan
44
100
[SF4]
Appendix
→Normal Voice Selection (page 36)→
→[EDIT]→
→[COMMON]
[VOICE]→
[SF1]
[SF2]
[SF3]
[SF4]
[SF5]
NAME
PLY MODE
MEQ OFS
PORTA
OTHER
[SF5]
DEST2
DEST3
[SF2]
[SF3]
LIMIT
PLAY FX
88
SET1/2
[SF1]
LVL/PAN
1
98
[F6] (EFFECT)
1
98
[SF1]
Name
2
98
InsEF Connect
191
106
AlternatePan
136
104
Mono/Poly
3
98
Ins1 Ctgry
192
106
RandomPan
137
104
KeyAsgnMode
4
98
Ins1 Type
192
106
ScalingPan
138
104
M.TuningNo.
5
98
Ins2 Ctgry
193
106
EGTime
139
104
MEQ OFFSET (LOW/
LOWMID/HIGHMID/
HIGH)
6
98
Ins2 Type
193
106
Segment
140
104
Reverb Type
194
106
EGLevel
141
104
Chorus Type
194
106
Curve
142
104
Switch
7
98
Reverb Send
195
106
[SF3]
AEG
TIME/LEVEL
143/144
104
Time
8
98
Chorus Send
195
106
[SF4]
KEY FLW
LevelSens
145
104
CONNECT
[SF2]
VEL SENS
Mode
10
98
Reverb Return
196
106
CenterKey
146
104
TimeMode
11
98
Chorus Return
196
106
EGTimeSens
147
104
CSAssign
12
98
Reverb Pan
197
106
CenterKey
148
104
Chorus Pan
197
106
BREAKPOINT
149
104
OFFSET
150
104
ChoCtrl
13
98
PB Upper
14
98
PB Lower
14
98
[SF2]
INS1
AssignA
15
98
[SF3]
INS2
(Effect Parameters)
205
107
Wave
159
105
AssignB
15
98
[SF4]
REVERB
(Effect Parameters)
205
107
Speed
160
105
Assign1
15
98
[SF5]
CHORUS
(Effect Parameters)
205
107
KeyOnReset
163
105
Assign2
15
98
Element...Settings of individual four Elements
KeyOnDelay
165
105
→Normal Voice Selection (page 36)→
→[EDIT]→
→[1]-[4]
[VOICE]→
PMod
172
105
Volume
43
100
Settings...MIDI Data Table 8-2 in the separate Data List
FMod
173
105
Pan
44
100
[F1] (OSC)
AMod
174
105
RevSend
46
100
[SF1]
ChoSend
47
100
WAVE
Bank
74
101
Type
75
101
Tempo
76
101
Chorus to Reverb
198
106
(Effect Parameters)
205
107
[SF5]
SCALE
[F5] (LFO)
ElementSw
28
99
WaveNo.
29
99
Type
210
107
WaveCtgry
29
99
211
107
30
99
L.Freq/Gain
(Type=EQ L/H)
[SF2]
OUTPUT
KeyOnDelay
InsEffectOut
31
99
[SF3]
LIMIT
NoteLimit
32
99
[F6] (EQ)
H.Freq/Gain
(Type=EQ L/H)
212
107
Freq (Type=P.EQ)
213
107
Gain (Type=P.EQ)
214
107
Q (Type=P.EQ)
215
107
Switch
77
101
VelocityLimit
33
99
Hold
78
101
VelCrossFade
34
99
KeyMode
79
101
[F2] (PITCH)
VelMode
80
101
[SF1]
Coarse
59
100
NoteLimit
81
101
Fine
60
100
VelocityLimit
82
101
Random
61
100
Common...Settings that apply to all drum keys
UnitMultiply
83
101
EGTime
62
100
→Drum Voice Selection (page 36)→
→[EDIT]→
→[COMMON]
[VOICE]→
VelocityRate
84
101
Segment
63
100
Settings...MIDI Data Table 9-1 in the separate Data List
GateTimeRate
85
101
EGLevel
64
100
[F1] (GENERAL)
Curve
65
100
[SF1]
MainCtgry
1
98
Pitch
66
100
SubCtgry
1
98
67/68
100
Name
2
98
69
100
MEQ OFFSET (LOW/
LOWMID/HIGHMID/
HIGH)
6
98
[SF2]
TUNE
VEL SENS
[F4] (CTL SET)
[SF1]
[F4] (AMP)
SubCtgry
[F3] (ARP)
TYPE
SCALE
MainCtgry
[F2] (OUTPUT)
[SF1]
[SF5]
ElementSw
117
103
Source
118
103
Dest
119
103
Depth
120
103
Function Tree
[SF3]
PEG
TIME/LEVEL
Depth
■ Voice Edit Mode (DRUM)
[SF3]
NAME
MEQ OFS
12
98
[F4] (AMP)
ChoCtrl
13
98
[SF1]
PB Upper
14
98
Pan
PB Lower
14
98
AlternatePan
AssignA
15
98
RandomPan
AssignB
15
98
[SF2]
VEL SENS
Level
Assign1
15
98
[SF3]
AEG
AttackTime
Assign2
15
98
DecayTime
Volume
43
100
Pan
44
100
RevSend
46
100
Type
210
ChoSend
47
100
211
InsRevSend
49
100
L.Freq/Gain
(Type=EQ L/H)
InsChoSend
50
100
H.Freq/Gain
(Type=EQ L/H)
212
107
Freq (Type=P.EQ)
213
107
Gain (Type=P.EQ)
214
107
Q (Type=P.EQ)
215
107
LVL/PAN
[SF2]
[SF3]
LIMIT
PLAY FX
Bank
74
101
Type
75
101
Tempo
76
101
Switch
77
101
Hold
78
101
KeyMode
79
101
VelMode
80
101
NoteLimit
81
101
VelocityLimit
82
101
UnitMultiply
83
101
VelocityRate
84
101
GateTimeRate
85
101
[F4] (CTL SET)
[SF1]
SET1/2
Source
Dest
[SF2]
[SF3]
SET3/4
SET5/6
118
119
CONNECT
106
143
104
Chorus Pan
197
106
143
104
Chorus to Reverb
198
106
107
DecayLevel1
144
104
[SF2]
INS1
(Effect Parameters)
205
Decay2Time
143
104
[SF3]
INS2
(Effect Parameters)
205
107
[SF4]
REVERB
(Effect Parameters)
205
107
107
[SF5]
CHORUS
(Effect Parameters)
205
107
107
Element
→Plug-in Voice Selection (page 36)→
→[EDIT]→
→[1]
[VOICE]→
Settings...MIDI Data Table 10 in the separate Data List
[F1] (OSC)
[SF1]
[SF5]
WAVE
OTHER
Bank
36
Number
29
99
VelocityDepth
39
99
40
99
NoteShift
41
99
67/68
100
HPFCutoff
96
102
[F2] (PITCH)
(PEG)
TIME/LEVEL
[F3] (FILTER)
MainCtgry
1
98
SubCtgry
1
98
[F4] (NATIVE)
(Native Parameters)
152
104
Name
2
98
[SF2]
PLY MODE
Mono/Poly
3
98
Speed
160
105
KeyAsgnMode
4
98
Delay
165
105
[SF3]
MEQ OFS
MEQ OFFSET (LOW/
LOWMID/HIGHMID/
HIGH)
6
98
PMod
172
105
[SF4]
PORTA
Switch
7
98
L.Freq/Gain
211
107
Time
8
98
H.Freq/Gain
212
107
CSAssign
12
98
[F5] (LFO)
[F6] (EQ)
118
103
ChoCtrl
13
98
■ Performance Play Mode
119
103
PB Range
14
98
→Performance Selection (page 41)
[PERFORM]→
Depth
120
103
AssignA
15
98
Settings...MIDI Data Table 6 and 7 in the separate Data List
AssignB
15
98
[F1] (PLAY)
[SF5]
OTHER
KEY: (INS EF) OUT
190
106
Assign1
15
98
InsEF Connect
191
106
Assign2
15
98
Ins1 Ctgry
192
106
Ins1 Type
192
106
Volume
43
100
Ins2 Ctgry
193
106
Pan
44
Ins2 Type
193
106
RevSend
Reverb Type
194
106
ChoSend
Chorus Type
194
106
[F3] (ARP)
Reverb Send
195
106
[SF1]
Bank
74
101
Chorus Send
195
106
Type
75
101
Reverb Return
196
106
Tempo
76
101
[F3] (VOICE)
Chorus Return
196
106
Switch
77
101
[SF1]
Reverb Pan
197
106
Hold
78
101
[SF2]
Chorus Pan
197
106
KeyMode
79
101
Chorus to Reverb
198
106
VelMode
80
(Effect Parameters)
205
107
NoteLimit
(Effect Parameters)
205
107
→Drum Voice Selection (page 36)→
→[EDIT]→
→[1]→
→[INC]/[DEC]
[VOICE]→
(Drum key can be selected by pressing the appropriate key)
Settings...MIDI Data Table 9-2 in the separate Data List
35
99
ElementSw
28
99
Bank
36
99
Number
29
99
Category
29
99
InsEffectOut
31
99
RevSend
46
100
ChoSend
47
100
OutputSel
117
103
AssignMode
4
98
RcvNoteOff
37
99
AltnateGroup
38
99
Coarse
60
100
Fine
61
100
Pitch
66
100
[SF2]
[SF3]
TYPE
LIMIT
PLAY FX
LPFCutoff
112
102
LPFReso
113
102
HPFCutoff
96
102
LPFCutoff
114
102
41
Volume
–
44
Pan
–
44
100
RevSend
–
44
46
100
ChoSend
–
44
47
100
VarSend
–
44
DryLevel
–
44
Mono/Stereo
–
44
OutputSel
–
44
ADD INT
(Voice Bank)
–
43
ADD PLG
(Voice Bank)
–
43
[SF3]
DELETE
(Delete Voice)
–
43
101
[SF4]
LIMIT L
(Note Limit Low)
–
43
81
101
[SF5]
LIMIT H
(Note Limit High)
–
43
VelocityLimit
82
101
[F4] (PORTA)
UnitMultiply
83
101
PortaSw
7
98
VelocityRate
84
101
PortaTime
8
98
GateTimeRate
85
101
PartSwitch
9
98
AEG/FEG
–
44
[F5] (EG)
[F4] (CTL SET)
[SF1]
SET1/2
[SF2]
[SF3]
[SF4]
MW
AT
AC
[F2] (PITCH)
[F3] (FILTER)
–
[F2] (AD)
[F2] (OUTPUT)
[F1] (OSC)
Type
99
VelocityOffset
Dest
CHORUS
VEL SENS
106
197
[F1] (GENERAL)
Key...Settings of individual drum keys
[SF2]
196
Reverb Pan
Source
[SF5]
CUTOFF
Chorus Return
103
107
[SF1]
104
104
120
107
VEL SENS
137
151
Depth
205
[SF2]
106
103
205
TUNE
106
196
119
(Effect Parameters)
[SF1]
195
Reverb Return
Dest
(Effect Parameters)
OTHER
Chorus Send
103
REVERB
[SF5]
100
104
103
INS2
OUTPUT
44
136
120
[SF4]
[SF2]
106
118
[SF3]
WAVE
195
Depth
INS1
[SF1]
106
Reverb Send
Source
[SF2]
Page
103
135
Settings...MIDI Data Table 10 in the separate Data List
NAME
Ref. #
194
→Plug-in Voice Selection (page 36)→
→[EDIT]→
→[COMMON]
[VOICE]→
[SF1]
Parameter Name
(Display)
Chorus Type
Common
[F6] (EFFECT)
[SF1]
Function
Sub-Function
■ Voice Edit Mode (Plug-in)
103
103
Page
[F6] (EQ)
[F3] (ARP)
TYPE
Level
Ref. #
Source
118
103
Dest
119
103
[F6] (ARP)
Depth
120
103
Bank
74
101
Filter
121
103
Type
75
101
PMod
122
103
Tempo
76
101
FMod
123
103
VelocityLimit
82
101
AMod
124
103
Switch
77
101
Pitch
125
103
Hold
78
101
Filter
121
103
PartSwitch
–
44
PMod
122
103
FMod
123
103
■ Performance Edit Mode
AMod
124
103
Common...Settings that apply to all four Parts
Src
126
103
→Performance Selection (page 41)→
→[EDIT]→
→[COMMON]
[PERFORM]→
Filter
121
103
Settings...MIDI Data Table 6 in the separate Data List
PMod
122
103
[F1] (GENERAL)
FMod
123
103
[SF1]
AMod
124
103
NAME
[F6] (EFFECT)
[SF1]
CONNECT
Basics Section
CSAssign
[F2] (OUTPUT)
[SF1]
Parameter Name
(Display)
Page
Quick Guide
OTHER
Function
Sub-Function
Ref. #
Reference
[SF5]
Parameter Name
(Display)
InsEF Connect
191
106
Ins1 Ctgry
192
106
Ins1 Type
192
106
Ins2 Ctgry
193
106
Ins2 Type
193
106
Reverb Type
194
106
MainCtgry
1
98
SubCtgry
1
98
Name
2
98
[SF3]
MEQ OFS
MEQ OFFSET (LOW/
LOWMID/HIGHMID/
HIGH)
6
98
[SF4]
PORTA
PortaSw
7
98
PortaTime
8
98
PartSwitch
9
98
Function Tree
89
Appendix
Function
Sub-Function
Basics Section
Function
Sub-Function
[SF5]
OTHER
Parameter Name
(Display)
Ref. #
Page
12
98
CSAssign
[SF2]
OUT
MEQ
Quick Guide
TYPE
115
103
■ Sequence Play Mixing Edit Mode
InsEF
116
103
Common...Settings that apply to all 16 Parts
AssignB
15
98
[F4] (TONE)
Assign1
15
98
[SF1]
TUNE
NoteShift
41
99
→Chain Step settings (page 75)→
→[F6]
[SEQ PLAY]→
→[EDIT]→
→[COMMON]
(MIX)→
Assign2
15
98
Detune
153
104
Settings...MIDI Data Table 11 in the separate Data List
[SF2]
FILTER
Cutoff
92
102
[F1] (GENERAL)
[SF1]
MEQ OFS
MEQ OFFSET (LOW/
LOWMID/HIGHMID/
HIGH)
6
98
[SF5]
OTHER
CSAssign
12
98
ChoCtrl
13
98
AssignA
15
98
AssignB
15
98
Assign1
15
98
Assign2
15
98
SHAPE/FREQ/GAIN/Q
(LOW/LOWMID/HIGH/
HIGHMID/HIGH)
51
100
Reference
Volume
43
100
Resonance
93
102
Pan
44
100
FEGDepth
154
104
RevSend
46
100
Attack
155
105
ChoSend
47
100
Decay
155
105
SHAPE/FREQ/GAIN/Q
(LOW/LOWMID/HIGH/
HIGHMID/HIGH)
51
100
Sustain
156
105
Release
155
105
Attack
157
105
Decay
157
105
Sustain
158
105
Release
157
105
CtrlChange
175
105
PB
175
105
[F3] (ARP)
MW
175
105
[SF1]
Bank
75
101
ChAT
175
105
Type
76
101
BC
175
105
Switch
77
101
AS1
175
105
Hold
78
101
AS2
175
105
KeyMode
79
101
FC1
175
105
FC2
175
105
Exp
175
105
Sus
175
105
[SF3]
[SF4]
Bank
74
101
Type
75
101
Tempo
76
101
Switch
77
101
Hold
78
101
KeyMode
79
101
VelMode
80
101
81
101
VelocityLimit
82
101
UnitMultiply
83
101
VelocityRate
84
101
GateTimeRate
85
101
OutputSwitch
86
101
TransmitCh
87
101
FEG
AEG
BC
88
101
AS1
88
101
AS2
88
101
FC1
88
101
FC2
88
101
EFF PART→VCE INS
199
106
EFF PART→PLG-EF
200
106
PlugEF Type
200
106
Variation Type
201
107
Variation Return
202
107
Variation Pan
203
107
Variation to Reverb
204
107
Variation to Chorus
204
107
Chorus Type
194
106
Chorus Return
196
106
101
[F6]
(PLG1-3/PART1-4)
175
105
OutputSwitch
86
101
TransmitCh
87
101
Appendix
BC
88
101
AS1
88
101
AS2
88
101
[F1] (CHAIN)
FC1
88
101
FC2
88
101
106
Sequence Chain
–
75
DEMO/PLAY/STOP
–
19, 75
EFF PART→VCE INS
199
[F3]
(TEMPO)
–
76
EFF PART→PLG-EF
200
106
[F4]
(MEAS)
–
76
PlugEF Type
200
106
[F5]
(GET FOLDER)
–
75
Variation Type
201
107
[F6]
MIX (Press [F6] to
enter the Mixing mode
below.)
–
77
Variation Return
202
107
[SF5]
[F6] (EFFECT)
[SF1]
[F2] (OUTPUT)
Chorus Pan
197
106
Chorus to Reverb
198
106
Reverb Type
194
106
■ Sequence Play Mixing Mode
Reverb Return
196
106
Reverb Pan
197
106
Mixing...Settings of the tone generation parameters of each part in
Sequence Play mode
(Plug-in Effect
Parameters)
200
106
→Chain Step settings (page 75)→
→[F6] (MIX)
[SEQ PLAY]→
CONNECT
[F1] (VOL/PAN)
100
44
100
[SF5]
CHORUS
(Effect Parameters)
205
107
[F2] (AD)
Part...Settings of individual four Parts
Volume
–
78
→Performance Selection (page 41)→
→[EDIT]→
→[1]-[4]
[PERFORM]→
Pan
–
78
Settings...MIDI Data Table 7 in the separate Data List
RevSend
–
78
[F1] (VOICE)
ChoSend
–
78
PartSw
28
99
VarSend
–
78
Bank
36
99
DryLevel
–
78
Variation Pan
203
107
Variation to Reverb
204
107
Variation to Chorus
204
107
Chorus Type
194
106
Chorus Return
196
106
Chorus Pan
197
106
Chorus to Reverb
198
106
Reverb Type
194
106
Reverb Return
196
106
Reverb Pan
197
106
(Plug-in Effect
Parameters)
200
106
[SF2]
PLG-EF
[SF3]
VAR
(Effect Parameters)
205
107
[SF4]
REVERB
(Effect Parameters)
205
107
[SF5]
CHORUS
(Effect Parameters)
205
107
Part...Settings of individual 16 Parts
Number
29
99
Mono/Stereo
–
78
→Chain Step Settings (page 75)→
→[F6] (MIX)→
→
[SEQ PLAY]→
→[1]-[16]
[EDIT]→
Mono/Poly
3
98
OutputSel
–
78
*Settings...MIDI Data Table 12 in the separate Data List
ArpSwitch
77
101
NoteLimitH
32
99
VOICE NUM
–
78
NoteLimitL
32
99
BANK MSB/LSB
–
78
VelLimitH
33
99
VelLimitH
33
99
REV SEND
46
Switch
7
98
CHO SEND
47
Time
8
98
VAR SEND
48
100
DRY LEVEL
52
100
[F3] (VOICE)
[F1] (VOICE)
Bank
36
Number
29
[SF1]
99
Mono/Poly
3
98
100
ArpSwitch
77
101
100
ReceiveCh
42
99
NoteLimitH
32
99
[SF2]
[F4] (EF SEND)
Mode
10
98
PB Upper
14
98
PB Lower
14
98
Template
–
79
VelSensDpt
39
99
[SF4]
(GET)
–
79
VelSensOfs
40
99
[SF5]
(PUT)
–
[F6]
(PLG1-3/PART1-16/
17-32)
–
[F2] (OUTPUT)
90
OUT CH
→Chain Step settings (page 75)/DEMO (←
←→
[SEQ PLAY]→
→[PLAY/STOP]
[EXIT])→
43
EF SEND
[SF4]
[F4] (CTL ASN)
■ Sequence Play Mode
Pan
[SF2]
101
85
Volume
VOL/PAN
101
84
107
[SF1]
83
GateTimeRate
107
OTHER
101
UnitMultiply
VelocityRate
205
[SF5]
82
PLAY FX
105
205
PORTA
VelocityLimit
[SF3]
105
(Effect Parameters)
[SF4]
101
175
(Effect Parameters)
LIMIT
81
175
REVERB
[SF3]
101
NoteLimit
FS
VAR
MODE
80
LIMIT
(1PART/4PART)
[SF4]
[SF2]
VelMode
[SF2]
[SF5]
[SF3]
VOICE
TYPE
CHAIN
[F6] (EFFECT)
[SF1]
[F2] (MEQ)
[F5] (RCV SW)
[F4] (CTL ASN)
PLG-EF
Page
OutputSel
PLAY FX
[SF2]
Ref. #
[F3] (OUTSEL)
98
[SF3]
CONNECT
Parameter Name
(Display)
98
NoteLimit
[SF1]
Function
Sub-Function
13
LIMIT
OUT CH
Page
15
[SF2]
[SF4]
Ref. #
AssignA
[F3] (ARP)
[SF1]
Parameter Name
(Display)
ChoCtrl
[F2] (OUT/MEQ)
[SF1]
Function
Sub-Function
[SF3]
VOICE
MODE
LIMIT
[F5] (TEMPLATE)
99
NoteLimitL
32
99
VelLimitH
33
99
VelLimitL
33
99
Switch
7
98
79
Time
8
98
79
Mode
10
98
[SF4]
PORTA
Volume
43
100
PB Upper
14
98
Pan
44
100
PB Lower
14
98
VoiceELPan
45
100
VelSensDpt
39
99
RevSend
46
100
VelSensOfs
40
99
ChoSend
47
100
[F2] (OUTPUT)
[SF1]
Volume
43
100
Pan
44
100
VarSend
48
100
DryLevel
52
100
Function Tree
[SF5]
OTHER
VOL/PAN
Page
45
100
Vol
89
101
RevSend
46
100
Pan
89
101
ChoSend
47
100
Sus
89
101
VarSend
48
100
FS
89
101
DryLevel
52
100
(1ZONE/4ZONE)
89
101
OutputSel
115
103
Bank MSB
132
103
InsEF
116
103
Bank LSB
132
103
PgmChange
133
103
[SF5]
[F4] (PRESET)
[F4] (TONE)
[SF2]
[SF3]
[SF4]
TUNE
FILTER
FEG
AEG
Basics Section
Ref. #
VoiceELPan
[F3] (OUTSEL)
[SF1]
Parameter Name
(Display)
Page
NoteShift
41
99
Volume
43
100
Detune
153
104
Pan
44
100
Cutoff
92
102
Resonance
93
102
CtrlSlider
134
103
FEGDepth
154
104
Attack
155
105
■ Utility Mode [UTILITY]
Decay
155
105
Settings... MIDI Data Table 4 in the separate Data List.
Sustain
156
105
[F1] (GENERAL)
Release
155
105
[SF1]
Volume
43
Attack
157
105
NoteShift
41
99
Decay
157
105
Tune
216
107
Sustain
158
105
Release
157
105
BankSel
175
105
PgmChange
175
105
CtrlChange
175
105
PB
175
105
MW
175
ChAT
BC
[F5] (CS)
TG
100
BCCurve
16
98
Octave
17
98
Transpose
18
98
VelCurve
19
98
FixedVelociy
20
99
Insertion Internal
21
99
Insertion PLG-EF
21
99
105
System Reverb
21
99
175
105
System Chorus
21
99
175
105
System Variation
21
99
AS1
175
105
AutoLoad
22
99
AS2
175
105
PowerOnMode
23
99
FC1
175
105
CtrlReset
24
99
FC2
175
105
[SF5]
(GET FOLDER)
22
99
Vol
175
105
[F2] (I/O)
Pan
175
105
[SF1]
A/D Source
53
100
Sus
175
105
Mic/Line
54
100
FS
175
105
L&RGain
55
100
[SF5]
(1PART/4PART)
175
105
AssignLGain
56
100
[F6]
(PLG1-3/PART1-4)
175
105
AssignRGain
56
100
(mLAN)
57
100
[SF2]
KBD
[F5] (RCV SW)
[SF3]
[SF4]
[SF2]
[SF3]
EF BYPS
OTHER
INPUT
OUTPUT
MLAN
■ Master Play Mode
[F3] (VOICE) → [VOICE] → [UTILITY]
→Master Selection (page 49)
[MASTER]→
[SF1]
MEQ
SHAPE/FREQ/GAIN/Q
(LOW/LOWMID/HIGH/
HIGHMID/HIGH)
51
100
[SF2]
ARP CH
OutputSwitch
86
101
TransmitCh
87
101
AS1
88
101
AS2
88
101
BC
88
101
FC1
88
101
FC2
88
101
Switch
127
103
Hold
127
103
ASA
128
103
Settings...MIDI Data Table 5 in the separate Data List
[F1] (PLAY)
–
49
[F2] (MEMORY)
Mode
–
50
(Program Number)
–
50
ZoneSwitch
–
50
■ Master Edit Mode
[SF3]
CTL ASN
Quick Guide
EF SEND
Function
Sub-Function
Ref. #
Reference
[SF2]
Parameter Name
(Display)
Appendix
Function
Sub-Function
[F4] (CTL ASN)
Common...Settings that apply to all 4 Zones
[SF1]
→Master Selection (page 49)→
→[EDIT]→
→[COMMON]
[MASTER]→
Settings...MIDI Data Table 5 in the separate Data List
[SF2]
ARP
ASSIGN
[F1] (NAME)
Name
2
98
Slider
58
100
[F2] (OTHER)
Zone...Settings of individual 4 Zones
→Master Selection (page 49)→
→[F2] (MEMORY)
[MASTER]→
Dest
129
103
ASB
128
103
103
Dest
129
[SF3]
FT SW
FS
130
103
[SF4]
REMOTE
Remote Template
131
103
BasicRcvCh
176
105
KBDTransCh
177
105
DeviceNo.
178
105
FileUtilID
179
106
BankSel
180
106
PgmChange
181
106
CtrlChange
182
106
LocalCtrl
183
106
RcvBulk
184
106
MIDI Sync
185
106
ClockOut
186
106
SeqCtrl
187
106
MIDI IN/OUT
188
106
ThruPort
189
106
107
[F5] (MIDI)
→[EDIT]→
→[1]-[4]→
→scrolled by [▲ ▼](TX SW)
ZoneSwitch=on→
Settings...MIDI Data Table 5 in the separate Data List
[SF1]
CH
[F1] (TRANS)
TransCh
25
99
TGSwitch
26
99
MIDISwitch
27
99
Octave
17
98
Transpose
18
98
NoteLimitH
32
99
NoteLimitL
32
99
Bank (TG)
89
101
PC (TG)
89
101
Bank (MIDI)
89
101
PC (MIDI)
89
101
PB
89
101
MW
89
101
ChAT
89
101
[SF2]
SWITCH
[F2] (NOTE)
[SF3]
SYNC
[F3] (TX SW)
BC
89
101
Slider
89
101
FC1
89
101
FC2
89
101
[SF4]
OTHER
[F6] (PLUG)
[SF1]
STATUS
PolyExpand
206
[SF2]
MIDI
DEV NO.
178
105
PORT NO.
207
107
GM/XG
208
107
[SF3]
NATIVE1
(Native Parameter)
209
107
[SF4]
NATIVE2
(Native Parameter)
209
107
[SF5]
NATIVE3
(Native Parameter)
209
107
Function Tree
91
Basics Section
Parameter Table
This convenient table lets you quickly and easily find
any desired parameter — spotting its location in the
various Edit modes of the S90 and confirming how to
call it up.
Quick Guide
The setting displays for parameters are selected with
the Function buttons ([F1] - [F6]) and the Sub
Function buttons ([SF1] - [SF5]). The table below
makes it exceptionally easy to call up the desired
parameter in the intended mode. You can also easily
see in which modes similar or related parameters are
distributed.
Reference
The table may come in handy when you want to
duplicate settings for one parameter in the Voice mode,
for example, to the same parameter in the Performance
mode, or when you want to make more detailed and
complex settings in the Performance mode while
maintaining the Voice mode settings.
Appendix
Page references and parameter reference numbers are
given for each parameter as well, making it easy to find
the corresponding explanation in the Owner’s Manual.
While using the S90, simply note the currently selected
mode, the edit status (Common, Part, etc.), and the
Function number — then refer to this table.
■ Using the table
• The parameters are organized in the display according to the
corresponding Function buttons ([F1] - [F6]) — each of
which is represented by the dark rows in the table. For
example, you can see that the Mono/Poly parameter (third
parameter in the F1 section) belongs to the [F1] button.
Likewise, Pan (second parameter in the F2 section) is called
up by first pressing [F2].
• The dark row of each function button shows the name of
that button’s tab for the corresponding mode (indicated by
the column title). For example, Mono/Poly is in the
GENERAL tab (for Voice Edit - Common), and in the
VOICE tab (for Performance Edit and Seq. Play Mixing
Edit).
• Taking a look at the Mono/Poly row, there are four
corresponding [SF2] entries. This means that Mono/Poly
can be called up by pressing [SF2] after pressing [F1] in the
corresponding Edit mode.
• In general, most of the table entries are in bold letters,
indicating that the parameter can be found at the specified
location (button press). Normal type for an entry indicates
that the parameter is not available in for the corresponding
Function button, but can be found at another Function
button. For example, the ArpSwitch parameter entry near
the bottom of the F1 section reads “F3→SF1,” indicating
that (for the Voice Edit - Common mode) it can be called up
by pressing [F3] followed by [SF1].
92
Parameter Table
• When a similar effect can be gained or different parameters
share a common aspect, an entry is put in parentheses. The
page references and parameter reference numbers are for
standard (bold) parameters; when you find an entry in
parentheses, check the corresponding Function button’s
section in the table as well.
• Entries labeled “Direct” indicate that there are no Sub
Function tabs on the corresponding display and the
parameter can be set directly from the Function display.
■ Example Uses
• When you want to check which parameters are
available in a certain mode:
Look down the column of Voice Edit - Element - Normal to
see which parameters have entries. If there is an entry, the
parameter exists in the corresponding mode.
• When you want to find a certain parameter in
the table:
Refer to the Parameter/Function List on page 98. This lists
all parameters in alphabetical order, and shows which
Function key each is assigned to. Once you know the
Function key, go to the section of the table corresponding to
that key.
• When you want to check which Edit modes
contain a certain parameter:
Find the desired parameter and look across to see which
columns have entries. For example, LFO Speed (second
parameter in the F5 section) can be found in both Voice Edit
- Common (Normal) and Voice Edit - Element. You can also
easily see that the parameter isn’t available for Drum Voices.
• When you want to check or edit a certain
parameter’s settings in a specific mode:
Let’s say you want to edit the Pan setting in a Performance,
but you only want to change one particular sound (Element)
and not the entire Performance. First, make sure you’re at
“home base” in one of the Play modes. (If you’ve called up
the Performance Common display where Pan is set for the
entire performance, make sure to exit from that display.)
Then, check the row of entries for Pan in the table (in the F2
section) and look in the Voice Edit - Element - Normal
columns. You’ll see that the Pan entry there shows “[F4]→
[SF1].” This indicates that to edit Pan for an Element, you
call up the Voice Edit Element mode, then press [F4]
followed by [SF1].
... Can be edited by Control Sliders in real time.
... Can be edited by Quick Edit function and Control Sliders in real time.
PLUG-IN
NORMAL
GENERAL
DRUM
PLUG-IN
OSC
PART
COMMON
PART
COMMON
ZONE
GENERAL
VOICE
GENERAL
VOICE
NAME
TRANS
MainCtgry/SubCtgry
SF1
SF1
SF1
SF1
Name
SF1
SF1
SF1
SF1
Mono/Poly
SF2
SF2
KeyAsgnMode/AssignMode
SF2
SF2
M.TuningNo.
SF2
UTILITY
Page
1
98
GENERAL
Direct
SF2
No.
SF2
SF5
2
98
3
98
4
98
5
98
6
98
MEQ OFFSET
SF3
SF3
SF3
(PORTA) Switch
SF4
SF4
SF4
SF4
SF4
7
98
(PORTA) Time
SF4
SF4
SF4
SF4
SF4
8
98
9
98
SF4
SF4
10
98
SF3
(PORTA) PartSwitch
SF1
SF4
(PORTA) Mode
SF4
(PORTA) TimeMode
SF4
CSAssign
SF5
SF5
SF5
SF5
ChoCtrl
SF5
SF5
SF5
SF5
PB Upper/Lower, PB Range
SF5
SF5
SF5
AssignA/B/1/2
SF5
SF5
SF5
11
98
12
98
13
98
14
98
15
98
SF1
16
98
(F2 Direct)
SF5
SF5
SF5
SF5
SF5
SF5
BCCurve
Octave
F2 Direct
SF2
17
98
Transpose
F2 Direct
SF2
18
98
VelCurve
SF2
19
98
Fixed Velocity
SF2
20
99
(EF BYPS)
SF3
21
99
AutoLoad
SF4
22
99
PowerOnMode
SF4
23
99
CtrlReset
SF4
24
99
Direct
(F5→SF1)
25
99
TGSwitch
Direct
(F5→SF2)
26
99
MIDISwitch
Direct
27
99
TransCh
ElementSw/PartSw
SF1
SF1
WaveNo./Ctgry/Number
SF1
SF1
KeyOnDelay
SF2
InsEffect(Eff)Out
SF2
SF1
SF1
SF1
SF1
SF2
NoteLimit (L/H)
SF3
SF3
SF3
VelocityLimit (L/H)
SF3
SF3
SF3
VelCrossFade
SF3
Type
SF1
Bank
SF1
RevSend
F2 Direct
F2 Direct
SF2
ChoSend
F2 Direct
F2 Direct
SF2
SF1
SF1
SF5
(F2→SF1) (F2→SF1)
(F2→SF1)
F4→SF1
(F4 Direct)
F4→SF1
F3→SF1
F3→SF1
SF2
SF2
PITCH
Direct
RevSend
Direct
Direct
ChoSend
Direct
Direct
(F4→SF1) (F4→SF1)
OUT/MEQ
OUTPUT
41
99
107
77
101
(F5→SF1)
42
99
F1→SF1
SF1
(F4 Direct)
SF1
(F4 Direct)
SF1
Direct
F1→SF2
SF1
SF2
Direct
F1→SF2
SF1
43
100
44
100
SF1
45
100
SF2
46
100
SF2
SF2
47
100
SF2
SF2
48
100
49
100
50
100
Direct
(UTILITY)
(UTILITY)
(UTILITY)
100
216
I/O
SF1
99
43
SF1
NOTE
SF1
40
SF1
Direct
InsChoSend
DryLevel
OTHER
SF1
VarSend
SHAPE/FREQ/GAIN/Q
OUTPUT
SF1
VoiceELPan
InsRevSend
MEQ
F4→SF1
F4→SF1
SF1
SF2
ReceiveCh
Direct
100
99
SF5
SF5
Direct
99
46
99
NoteShift
Direct
99
36
39
F3 Direct
Tune
Direct
35
99
SF5
Direct
99
38
(F2 Direct) (F2 Direct) (F2 Direct) (F4→SF1) (F4→SF1)
Pan
99
34
37
VelocityOffset
Volume
99
33
SF5
F3 Direct
SF5
OUTPUT
32
SF5
VelocityDepth
F2 (Tab Name)
99
99
100
AltnateGroup
F3→SF1
30
31
103
RcvNoteOff
F3→SF1
99
47
SF2
ArpSwitch (Switch)
99
29
115
OutputSel
Volume
SF1
F2 Direct
28
SF2
F3→SF1
Direct
SF2
SF2
51
100
52
100
A/DSource
SF1
53
100
Mic/Line
SF1
54
100
L&RGain
SF2
55
100
AssignL/RGain
SF2
56
100
(MLAN)
SF2
57
100
Parameter Table
93
Quick Guide
F1 (Tab Name)
DRUM
MASTER EDIT
COMMON
Reference
NORMAL
PERFORMANCE EDIT SEQ PLAY MIXING EDIT
ELEMENT/KEY
Appendix
VOICE EDIT
COMMON
Display
Basics Section
... Can be edited by Quick Edit function (editing in Play mode).
VOICE EDIT
Basics Section
Display
COMMON
NORMAL
Slider
DRUM
PERFORMANCE EDIT SEQ PLAY MIXING EDIT
ELEMENT/KEY
PLUG-IN
NORMAL
DRUM
PLUG-IN
(F1→SF5) (F1→SF5) (F1→SF5)
COMMON
PART
PART
ZONE
UTILITY
No.
Page
58
100
Direct
F1→SF2
17
98
Transpose
Direct
F1→SF2
18
98
F1→SF3
Coarse
(F1→SF5)
MASTER EDIT
COMMON
Octave
NoteLimitL/H
(F1→SF5)
COMMON
F1→SF3
SF1
SF1
SF1
Direct
F1→SF3
(F1→SF1)
99
59
100
Quick Guide
Fine
SF1
60
100
SF1
61
100
EGTime
SF2
62
100
Segment
SF2
63
100
EGLevel
SF2
64
100
Curve
SF2
65
100
Pitch (VEL SENS)
SF2
66
100
(PEG) TIME
SF3
Direct
67
100
(PEG) LEVEL
SF3
Direct
68
100
(PEG) Depth
SF3
69
100
PitchSens
SF4
70
101
CenterKey
SF4
71
101
EGTimeSens
SF4
72
101
CenterKey
SF4
73
101
ARP
(F4→SF1)
32
Random
F3 (Tab Name)
(F4→SF1)
Direct
SF2
FILTER
ARP
OUTSEL
ARP
OUTSEL
TX SW
VOICE
Reference
Appendix
Bank
SF1
SF1
SF1
SF1
SF1
74
101
Type
SF1
SF1
SF1
SF1
SF1
75
101
Tempo
SF1
SF1
SF1
SF1
Switch (ArpSwitch)
SF1
SF1
SF1
SF1
Hold
SF1
SF1
SF1
SF1
KeyMode
SF1
SF1
SF1
SF1
VelMode
SF1
SF1
SF1
SF1
NoteLimit
SF2
SF2
SF2
VelocityLimit
SF2
SF2
UnitMultiply
SF3
VelocityRate
SF3
GateTimeRate
76
101
77
101
SF1
78
101
SF1
79
101
SF1
80
101
SF2
SF2
81
101
SF2
SF2
SF2
82
101
SF3
SF3
SF3
SF3
83
101
SF3
SF3
SF3
SF3
84
101
SF3
SF3
SF3
SF3
SF3
85
101
OutputSwitch
(UTILITY)
(UTILITY)
(UTILITY)
SF4
SF4
SF2
86
101
TransmitCh
(UTILITY)
(UTILITY)
(UTILITY)
SF4
SF4
SF2
87
101
SHAPE/FREQ/GAIN/Q
(UTILITY)
(UTILITY)
(UTILITY)
F2→SF2
F2 Direct
SF1
51
100
BC/AS1/AS2/FC1/FC2
(UTILITY)
(UTILITY)
(UTILITY)
F4 Direct
(F5 Direct)
SF3
88
101
Selected
by [▲/▼]
(F5→SF2)
89
101
F1→SF2
SF1
F1→SF2
(Transmit Switch)
Type
SF1
90
101
Gain
SF1
91
102
Cutoff
SF1
(SF1)
F4→SF2
F4→SF2
92
102
Resonance
SF1
(SF1)
F4→SF2
F4→SF2
93
102
102
Width
SF1
94
Distance
SF1
95
102
HPFCutoff
SF1
96
102
102
SF1
SF1
HPFKeyFlw
SF1
97
EGTime
SF2
98
102
Segment
SF2
99
102
EGLevel
SF2
100
102
Curve
SF2
65
100
Cutoff (VEL SENS)
SF2
101
102
Resonance (VEL SENS)
SF2
102
102
(FEG) TIME
SF3
(F4→SF3)
(F4→SF3)
103
102
(FEG) LEVEL
SF3
(F4→SF3)
(F4→SF3)
104
102
(FEG) Depth
SF3
F4→SF2
F4→SF2
105
102
CutoffSens
SF4
106
102
CenterKey
SF4
107
102
EGTimeSens
SF4
108
102
CenterKey
SF4
109
102
(Scaling) BREAKPOINT
SF5
110
102
(Scaling) OFFSET
SF5
111
102
LPFCutoff
(SF1)
SF1
112
102
LPFReso
(SF1)
SF1
113
102
LPFCutoff (VEL SENS)
(SF2)
SF2
114
102
115
103
116
103
OutputSel
F1→SF2
Direct
(InsEF)
Direct
Direct
F4 (Tab Name)
CTL SET (SET 1/2, 3/4, 5/6)
AMP
NATIVE
CTLASN
TONE
Direct
CTLASN
TONE
PRESET
CTLASN
ElementSw
SF1, 2, 3
117
103
Source
SF1, 2, 3
SF1, 2, 3
SF1
118
103
Dest
SF1, 2, 3
SF1, 2, 3
SF1
119
103
Depth
SF1, 2, 3
SF1, 2, 3
SF1
120
103
94
Parameter Table
PLUG-IN
NORMAL
DRUM
PLUG-IN
PART
COMMON
PART
MASTER EDIT
COMMON
UTILITY
ZONE
No.
Page
Filter (MW)
SF2
121
103
AMod/PMod/FMod (MW)
SF2
122-124
103
Pitch
SF3
125
103
Filter (AT)
SF3
121
103
AMod/PMod/FMod (AT)
SF3
122-124
103
Src
SF4
126
103
Filter (AC)
SF4
121
103
AMod/PMod/FMod (AC)
SF4
122-124
103
F3→SF3
88
101
SF1
127
103
SF2
128
103
Dest
SF2
129
103
FS
SF3
130
103
Set Remote Template Type
SF4
131
103
132
103
BC/AS1/AS2/FC1/FC2
(UTILITY)
(UTILITY)
(UTILITY)
Direct
(F5 Direct)
Direct
(ARP) Switch/Hold
ASA/ASB
(F5 Direct)
BankMSB/LSB
Direct
PgmChange
Volume
133
103
(F1→SF1)
43
100
44
100
(F1→SF1)
135
103
Direct
(F2 Direct) (F2 Direct) (F2 Direct)
(SF1)
(SF1)
(F2→SF1) (F2→SF1)
(F2→SF1)
Direct
Pan
(F2 Direct) (F2 Direct) (F2 Direct)
SF1
SF1
(F2→SF1) (F2→SF1)
(F2→SF1)
Direct
Level
(F2 Direct) (F2 Direct) (F2 Direct)
SF1
SF1
(F2→SF1) (F2→SF1)
(F2→SF1)
(Direct)
AlternatePan
SF1
SF1
136
104
RandomPan
SF1
SF1
137
104
ScalingPan
SF1
138
104
EGTime
SF2
139
104
Segment
SF2
140
104
EGLevel
SF2
141
104
Curve
SF2
142
104
(AEG) TIME
SF3
SF3
143
104
(AEG) LEVEL
SF3
SF3
144
104
LevelSens
SF4
145
104
CenterKey
SF4
146
104
EGTimeSens
SF4
147
104
CenterKey
SF4
148
104
(Scaling) BREAKPOINT
SF5
149
104
(Scaling) OFFSET
SF5
150
104
151
104
152
104
Level (VEL SENS)
SF2
(Native Parameters)
Direct or
selected
by [E
/F
]
NoteShift
F1→SF5
Detune
(F2→SF1) (F2→SF1)
SF1
SF1
F1→SF1
41
99
SF1
SF1
(F1→SF1)
153
104
Cutoff
→SF1
F3→
(F3→SF1)
SF2
SF2
92
102
Resonance
→SF1
F3→
(F3→SF1)
SF2
SF2
93
102
FEGDepth
→SF3
F3→
SF2
SF2
154
104
(FEG) Attack/Decay/Release
(Time)
(F3→SF3)
SF3
SF3
155
105
(FEG) Sustain (Level)
(F3→SF3)
SF3
SF3
156
105
(AEG) Attack/Decay/Release
(Time)
(F4→SF3)
SF4
SF4
157
105
158
105
159
105
160
105
(AEG) Sustain (Level)
(F4→SF3)
F5 (Tab Name)
LFO
LFO
SF4
SF4
RCV SW
RCV SW
CS
MIDI
Wave
SF1
Direct
Speed
SF1
Direct
TempoSync
SF1
161
105
TempoSpeed
SF1
162
105
KeyOnReset
SF1
163
105
Phase
SF1
164
105
(KeyOn)Delay
SF2
165
105
FadeIn
SF2
166
105
Hold
SF2
167
105
FadeOut
SF2
168
105
ElementSw
SF3/4/5
169
105
Dest
SF3/4/5
170
105
Depth
SF3/4/5
171
105
172
105
Direct
Direct
Direct
PMod (LFO)
Direct
Direct
Direct
FMod (LFO)
Direct
173
105
AMod (LFO)
Direct
174
105
(Part Receive Switch)
Selected
by [▲/▼]
BasicRcvCh
(UTILITY)
(UTILITY)
(UTILITY)
(UTILITY)
KBDTransCh
(UTILITY)
(UTILITY)
(UTILITY)
(UTILITY)
DeviceNo.
(UTILITY)
(UTILITY)
(UTILITY)
(UTILITY)
FileUtilID
175
105
SF1
176
105
SF1
177
105
SF1
(F6→SF2)
178
105
SF1
179
106
Selected
by [▲/▼]
(F1→SF2)
(F1 Direct)
Parameter Table
95
Basics Section
DRUM
COMMON
Quick Guide
NORMAL
PERFORMANCE EDIT SEQ PLAY MIXING EDIT
ELEMENT/KEY
Reference
COMMON
Appendix
VOICE EDIT
Display
VOICE EDIT
Basics Section
Display
COMMON
NORMAL
DRUM
PERFORMANCE EDIT SEQ PLAY MIXING EDIT
ELEMENT/KEY
PLUG-IN
NORMAL
DRUM
PLUG-IN
COMMON
PART
COMMON
PART
MASTER EDIT
COMMON
UTILITY
ZONE
BankSel
PgmChange
(F3→Selected
by [▲/▼])
No.
Page
SF2
180
106
SF2
181
106
Quick Guide
CtrlChange
(Selected
by [▲/▼])
SF2
182
106
LocalCtrl
(F1 Direct)
SF2
183
106
RcvBulk
SF2
184
106
MIDI Sync
SF3
185
106
ClockOut
SF3
186
106
SeqCtrl
SF3
187
106
MIDI IN/OUT
SF4
188
106
ThruPort
SF4
189
106
(F3→SF3/
F4→SF2)
134
103
CtrlSlider
(F4 Direct)
F6 (Tab Name)
EFFECT
EQ
EFFECT
Direct
1-4/PLG1-3
EFFECT
PLUG
1-4/PLG1-3
Reference
EL: OUT 1-4/KEY: OUT
SF1
SF1
190
106
InsEF Connect
SF1
SF1
SF1
191
106
Ins1 Ctgry/Type
SF1
SF1
SF1
192
106
Ins2 Ctgry/Type
SF1
SF1
SF1
193
106
Reverb/Chorus Type
SF1
SF1
SF1
194
106
Reverb/Chorus Send
SF1
SF1
SF1
195
106
Reverb/Chorus Return
SF1
SF1
SF1
SF1
SF1
196
106
Reverb/Chorus Pan
SF1
SF1
SF1
SF1
SF1
197
106
Chorus to Reverb
SF1
SF1
SF1
SF1
SF1
198
106
EFF PART→VCE INS
SF1
SF1
199
106
EFF PART→PLG-EF
SF1
SF1
200
106
Variation Type/Return/Pan
SF1
SF1
201-203
107
SF1
Variation to Chorus/Reverb
(Effect Parameters)
SF1
SF1
SF1
204
107
SF2/3/4/5
SF2/3/4/5
SF2/3/4/5
205
107
(UTILITY) (UTILITY) (UTILITY)
(UTILITY)
SF2/3/4/5
SF2/3/4/5
PolyExpand
SF1
206
107
SF2
(F5→SF1)
178
105
PORT NO.
SF2
207
107
GM/XG
SF2
208
107
SF3/4/5
209
107
210
107
DEV NO.
Appendix
(Native System Parameter)
Type
Direct
Direct
L.Freq/Gain (Type=EQ L/H)
Direct
Direct
Direct
211
107
H.Freq/Gain (Type=EQ L/H)
Direct
Direct
Direct
212
107
Freq (Type=P.EQ)
Direct
Direct
213
107
Gain (Type=P.EQ)
Direct
Direct
214
107
Q (Type=P.EQ)
Direct
Direct
215
107
n For parameters in different modes having the same name, the available parameter values and
settings for that parameter may differ depending on the mode.
n For details on effect parameters, refer to the separate Data List.
n For Job operations, see page 70; for Store operations, see page 73; for Card operations,
see page 82.
The Reference numbers
can be found on the
following pages:
Reference No.
Reference Page
1 - 19
98
20 - 42
99
43 - 69
100
n For information on the Sequence Play mode, see page 75.
70 - 90
101
n In the Performance/Mixing mode, the Voice Common Arpeggio/Effect/Controller settings are
ignored, and the Performance/Mixing settings become effective. The Chorus/Reverb Effect and
Arpeggio settings of the Voice mode can be copied to the Performance/Mixing mode by using the
Job function (page 70).
91 - 114
102
115 - 135
103
136 - 154
104
155 - 178
105
179 - 200
106
201 - 221
107
n You can use the Control Sliders as Quick Edit controls for the parameters below. However, this
does not directly change the corresponding Element/Part parameter values; it simply alters the
values temporarily.
• Cutoff
• Resonance
• Attack
• Release
n Using any Quick Edit controls on the parameters below does not directly change the
corresponding parameter values; it simply alters the values temporarily.
Element
• FEG Time/Level/Depth
• AEG Time/Level/Depth
Part
FEG/AEG ([F4]→[SF3]/[SF4])
96
Parameter Table
B
Bank..................................................... F1/F3
BankMSB/LSB........................................... F4
BankSel..................................................... F5
BasicRcvCh .............................................. F5
BC/AS1/AS2/FC1/FC2.......................... F3/F4
BCCurve ................................................... F1
BREAKPOINT (AMP)................................. F4
BREAKPOINT (FILER)............................... F3
C
CenterKey (AEGTimeSens) ...................... F4
CenterKey (CutoffSens) ............................ F3
CenterKey (FEGTimeSens)....................... F3
CenterKey (LevelSens) ............................. F4
CenterKey (PEGTimeSens)....................... F2
CenterKey (PitchSens).............................. F2
ChoCtrl...................................................... F1
Chorus Pan ............................................... F6
Chorus Return........................................... F6
Chorus Send ............................................. F6
Chorus to Reverb...................................... F6
Chorus Type ............................................. F6
ChoSend .............................................. F1/F2
ClockOut ................................................... F5
Coarse ...................................................... F2
CSAssign .................................................. F1
Ctgry ......................................................... F1
CtrlChange................................................ F5
CtrlReset ................................................... F1
CtrlSlider ................................................... F5
Curve (AEG Level) .................................... F4
Curve (FEG Level) .................................... F3
Curve (PEG Level) .................................... F2
Cutoff ................................................... F3/F4
Cutoff (VEL SENS) .................................... F3
CutoffSens ................................................ F3
D
Delay (KeyOn Delay) ................................ F5
Depth (CTL SET)....................................... F4
Depth (FEG) ............................................. F3
Depth (LFO) .............................................. F5
Depth (PEG) ............................................. F2
Dest (CTL ASN) ........................................ F4
Dest (CTL SET) ......................................... F4
Dest (LFO) ................................................ F5
Detune ...................................................... F4
DEV NO..................................................... F6
DeviceNo. ................................................. F5
Distance.................................................... F3
DryLevel.................................................... F2
E
EF BYPS.................................................... F1
EFF PART→PLG-EF.................................. F6
EFF PART→VCE INS ................................ F6
F
FadeIn........................................................F5
FadeOut.....................................................F5
FEG Attack/Decay/Release (Time) ............F4
FEG Depth .................................................F3
FEG LEVEL ................................................F3
FEG Sustain (Level) ...................................F4
FEG TIME...................................................F3
FEGDepth ..................................................F4
FileUtilID ....................................................F5
Filter (AC)...................................................F4
Filter (AT) ...................................................F4
Filter (MW) .................................................F4
Fine ............................................................F2
Fixed Velocity ............................................F1
FMod (LFO) ...............................................F5
Freq (Type=P.EQ) .....................................F6
FS...............................................................F4
G
Gain (FILTER) ............................................F3
Gain (Type=P.EQ) .....................................F6
GateTimeRate............................................F3
GM/XG .......................................................F6
H
H.Freq/Gain ...............................................F6
Hold (ARP).................................................F3
Hold (LFO) .................................................F5
HPFCutoff ..................................................F3
HPFKeyFlw ................................................F3
I
Ins1 Ctgry/Type .........................................F6
Ins2 Ctgry/Type .........................................F6
InsChoSend ...............................................F2
InsEF..........................................................F3
InsEF Connect ...........................................F6
InsEffect(Eff)Out ........................................F1
InsRevSend ...............................................F2
K
KBDTransCh..............................................F5
KeyAsgnMode ...........................................F1
KeyMode ...................................................F3
KeyOnDelay (LFO) ....................................F5
KeyOnDelay (OSC)....................................F1
KeyOnReset...............................................F5
L
L&RGain ....................................................F2
L.Freq/Gain................................................F6
Level ..........................................................F4
LEVEL (AEG) .............................................F4
LEVEL (FEG) .............................................F3
LEVEL (PEG)..............................................F2
Level (VEL SENS) ......................................F4
LevelSens ..................................................F4
LocalCtrl ....................................................F5
LPFCutoff ..................................................F3
LPFCutoff (VEL SENS) ...............................F3
LPFReso ....................................................F3
S
M.TuningNo. ..............................................F1
MainCtgry ..................................................F1
MEQ OFFSET ............................................F1
Mic/Line .....................................................F2
MIDI IN/OUT ..............................................F5
MIDI Sync ..................................................F5
MIDISwitch ................................................F1
Mode (PORTA) ..........................................F1
Mono/Poly ..................................................F1
ScalingPan ................................................ F4
Segment (AEG) ......................................... F4
Segment (FEG).......................................... F3
Segment (PEG).......................................... F2
SeqCtrl....................................................... F5
Set Remote Template Type ....................... F4
SHAPE/FREQ/GAIN/Q .......................... F2/F3
Slider ......................................................... F2
Source ....................................................... F4
Speed ........................................................ F5
SubCtgry ................................................... F1
Switch (ArpSwitch) .................................... F3
Switch (PORTA)......................................... F1
Switch/Hold (ARP) .................................... F4
N
T
Name .........................................................F1
Native Parameters .....................................F4
NoteLimit (ARP) .........................................F3
NoteLimit (L/H) .....................................F1/F2
NoteShift ...............................................F1/F4
Number......................................................F1
Tempo ....................................................... F3
TempoSpeed............................................. F5
TempoSync ............................................... F5
TGSwitch ................................................... F1
ThruPort ..................................................... F5
TIME (AEG)................................................ F4
TIME (FEG) ............................................... F3
TIME (PEG) ............................................... F2
Time (PORTA)............................................ F1
TimeMode (PORTA) .................................. F1
TransCh ..................................................... F1
Transmit Switch ......................................... F3
TransmitCh ................................................ F3
Transpose............................................. F1/F2
Tune........................................................... F1
Type (ARP) ................................................ F3
Type (EQ) .................................................. F6
Type (FILTER)............................................ F3
Type (OSC)................................................ F1
M
O
Octave ..................................................F1/F2
OFFSET (AEG)...........................................F4
OFFSET (FEG) ...........................................F3
OutputSel..............................................F1/F3
OutputSwitch .............................................F3
P
Pan .......................................................F2/F4
Part Receive Switch...................................F5
PartSw .......................................................F1
PartSwitch (PORTA) ..................................F1
PB Range ..................................................F1
PB Upper/Lower ........................................F1
PEG Depth.................................................F2
PEG LEVEL ................................................F2
PEG TIME ..................................................F2
PgmChange (CS/MIDI)..............................F5
PgmChange (PRESET) ..............................F4
Phase.........................................................F5
Pitch...........................................................F4
Pitch (VEL SENS).......................................F2
PitchSens...................................................F2
PlugEF Type ..............................................F6
PMod (LFO) ...............................................F5
PolyExpand ...............................................F6
PORT NO. ..................................................F6
PORTA Mode.............................................F1
PORTA PartSwitch .....................................F1
PORTA Switch ...........................................F1
PORTA Time ..............................................F1
PORTA TimeMode .....................................F1
PowerOnMode...........................................F1
Q
U
UnitMultiply................................................ F3
V
Variation to Chorus/Reverb ....................... F6
Variation Type/Return/Pan......................... F6
VarSend..................................................... F2
VelCrossFade ............................................ F1
VelCurve .................................................... F1
VelMode .................................................... F3
VelocityDepth ............................................ F1
VelocityLimit (ARP) .................................... F3
VelocityLimit (L/H) ..................................... F1
VelocityOffset ............................................ F1
VelocityRate............................................... F3
VoiceELPan ............................................... F2
Volume...........................................F1/F2/SF4
W
Wave.......................................................... F5
WaveNo. .................................................... F1
Width ......................................................... F3
Q (Type=P.EQ) ..........................................F6
R
Random .....................................................F2
RandomPan ...............................................F4
RcvBulk .....................................................F5
RcvNoteOff ................................................F1
ReceiveCh .................................................F1
Resonance ...........................................F3/F4
Resonance (VEL SENS) ...........................F3
Reverb Pan ................................................F6
Reverb Return ...........................................F6
Reverb Send..............................................F6
Reverb Type ..............................................F6
RevSend ...............................................F1/F2
Parameter Table
97
Basics Section
Effect Parameters ......................................F6
EGLevel (AMP) ..........................................F4
EGLevel (FILTER) ......................................F3
EGLevel (PITCH) .......................................F2
EGTime (AMP) ...........................................F4
EGTime (FILTER) .......................................F3
EGTime (PITCH) ........................................F2
EGTimeSens (AMP) ...................................F4
EGTimeSens (FILTER) ...............................F3
EGTimeSens (PITCH) ................................F2
EL: OUT 1-4/KEY: OUT..............................F6
ElementSw (CTL SET)...............................F4
ElementSw (LFO).......................................F5
ElementSw (OSC) ......................................F1
Quick Guide
A/DSource................................................. F2
AEG Sustain (Level).................................. F4
AEG Attack/Decay/Release (Time)........... F4
AlternatePan ............................................. F4
AltnateGroup............................................. F1
AMod (LFO) .............................................. F5
AMod/PMod/FMod (AC) ........................... F4
AMod/PMod/FMod (AT) ............................ F4
AMod/PMod/FMod (MW) .......................... F4
ArpSwitch (Switch).................................... F1
ASA/ASB ................................................... F4
AssignA/B/1/2 ........................................... F1
AssignL/RGain .......................................... F2
AssignMode.............................................. F1
AutoLoad .................................................. F1
Reference
A
Appendix
Parameter/Function List
Basics Section
Quick Guide
Reference
Appendix
98
Reference (Function List)
This list clearly and concisely explains the function of every parameter. Following the table are various footnotes, providing further details and explanations
for those items marked with an asterisk (*). The “Related Page” column also provides cross-references for operation examples, other details and relevant
parameters. The Reference Numbers in the manual correspond to the relevant items in the Function Tree (page 88) and the Parameter Table (page 92).
By checking the Reference Numbers, you can quickly and easily find the corresponding function and parameter in the charts.
n For information on the Display Indications and mode selection, see page 30. For information on the Play mode, see pages 36, 41, 48.
Ref.
#
Display
1
MainCtgry/SubCtgry
Main/Sub Category
(Voice/Performance)
2
Name
Name 1-10
(Voice/Performance/
Master)
3
Mono/Poly
Mono/Poly Mode
Selects whether a voice/part is played back monophonically (single notes only) or polyphonically
(multiple simultaneous notes).
4
KeyAsgnMode
(AssignMode)
Same Note Number
Key On Assign Mode
This setting applies when the same note number (key) is received by the tone generator. When set to “single,” the previous sound is
cut off to accommodate the next. When set to “multi,” the note sounds for its original duration.
*1
5
M.TuningNo.
Micro Tuning
Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however thirty-one additional
tuning systems are available for a variety of tuning applications and effects.
*2
6
MEQ OFFSET
Master EQ Offset
Adjusts the master (global) EQ settings. The settings made here are applied as offsets to the EQ settings (with the exception of
“MID”). These can be also edited with the Control Sliders.
7
(PORTA) Switch (Sw)
Portamento Switch
Determines whether Portamento (a smooth transition in pitch from one note to the next) is on or off.
8
(PORTA) Time
Portamento Time
Determines the Portamento pitch transition time. Higher values result in longer transition times. Higher values result in longer
transition times. The effect is applied according to the “TimeMode” setting.
Parameter Name
Explanation
Related
Page
Sets the Name (up to 10 characters) and Categories.
34,
35, 84
67
*3
*4
9
(PORTA) PartSwitch
Part Switch
Determines whether Portamento is on or off for each individual part.
10
(PORTA) Mode
Portamento Mode
With the “fingered/fingr” setting, Portamento is only applied when you play legato (playing the next note before releasing the
previous one). With the “fulltime/full” setting, Portamento is always applied.
*4
*5
11
(PORTA) TimeMode
Portamento Time Mode
When “TimeMode” is set to “rate (normal voice),” the transition time will vary in proportion to the interval from one note to next.
Setting this to “time” makes the parameter a true time scale setting, specified by the “Time” parameter.
*4
12
CSAssign
Control Function Select
Determines which row of CONTROL FUNCTION parameters is automatically selected when calling up the program.
13
ChoCtrl
Chorus Control
Determines the depth of the Chorus effect, as controlled by the Slider assigned to Chorus Send.
14
PB Upper/Lower,
PB Range
Pitch Bend Range
Determines the amount (in semitones; 12: one octave) by which the pitch is varied when you move the Pitch Bend wheel up/down.
When selecting a Plug-in Voice, the Upper and Lower ranges cannot be independently set here.
53
15
AssignA/B/1/2
Assign A/B/1/2
This lets you directly set and memorize the value for each Assign Controller (A, B, 1, and 2), from the Slider.
53
16
BCCurve
BC (Breath Controller)
Curve
These curves determine how the sound of the S90 responds to use of a Breath Controller. The specific aspect of the sound that is
affected by Breath Control and the selected curve is set in the Controller Set display ([F4]→[SF1/2/3]) from the Normal Voice
Common Edit mode.
87
56
17
Octave
Master Octave Shift
Determines the amount in octaves by which the range of the keyboard is shifted up or down. This setting can be reset by the
footswitch (UTILITY [F4]→[SF3] FS=101).
18
Transpose
Master Transpose
Transposes the pitch of the keyboard up or down (in semitones). This affects the transmitted MIDI data.
19
VelCurve
Velocity Curve
This determines the particular Velocity Curve, or how the strength of the notes played will affect the sound output. When set to
“fixed,” the velocity of the note you play is fixed at the value set in Fixed Velocity (below).
53
87
*6
*7
*8
Ref.
#
Display
Parameter Name
Related
Page
Explanation
20
FixedVelocity
Fixed Velocity
When Velocity Curve (above) is set to “fixed,” this determines the velocity value. This affects the transmitted MIDI data.
87
21
(EF BYPS)
Effect Bypass
Select the specific effect(s) to be bypassed when the [EFFECT BYPASS] button is turned on.
67
22
AutoLoad
Auto Load
Determines whether the Auto Load function is on or off. When this is on, the S90 will automatically load the specified files (from
memory card) to User memory — whenever the power is turned on. Press the [SF5] button to register the folder containing the
desired files for auto loading.
84
23
PowerOnMode
Power On Mode
Determines the default power-on mode (and memory bank) — letting you select which condition is automatically called up when you
turn the power on. The first program number of the specified bank is selected automatically.
24
CtrlReset
Controller Reset
Determines whether the current condition of the controller (Modulation Wheel, Foot Controller, Aftertouch, etc.) is maintained or reset
when you switch between Voices.
25
TransCh
Transmit Channel
Determines the MIDI channel for each zone over which the S90 sends MIDI data (to an external sequencer, tone generator, or other
device).
48
26
TGSwitch
Tone Generator Switch
Determines whether or not MIDI messages for each zone are transmitted to each Part’s tone generator block.
48
27
MIDISwitch
MIDI Switch
Determines whether or not MIDI messages for each zone are transmitted to an external MIDI or USB terminal.
48
28
ElementSw/PartSw
Element Switch/Part Switch Determines the method by which each Element/Key/Part is output. In the Drum Key edit mode, this is only available when the “Type”
is set to “pre wave.” In the Performance mode, you can select a total seven parts four parts from the internal tone generator, and
three from the installed Plug-in Boards.
29
WaveNo./Ctgry/
Number
Wave Number/Category/
Voice Number
Normal Element Edit...Select the desired wave/category (page 35) used for the Element.
Drum Key Edit...Select a Wave/Normal Voice Number/Category.
Performance/Mixing Part Edit...Selects the desired voice number used for each Part (see the separate Data List).
Plug-in Element Edit...Select the desired Board voice number
30
KeyOnDelay
Key On Delay
Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played.
31
InsEffect(Eff)Out
Insertion Effect Out
Determines which Insertion effect (1 or 2) is used to process each individual element/key. The “thru” setting lets you bypass the
Insertion effects for the specific element/key (This parameter is the same as “EL/KEY: OUT ([F6]→[SF1])” in Normal Common Edit.
Making a setting here automatically changes the setting of that parameter as well.)
*9
*10
32
NoteLimit (L/H)
Note Limit Low/High
Determines the lowest and highest notes of the keyboard range.
33
VelocityLimit (L/H)
Velocity Limit Low/High
Determines the minimum and maximum values of the velocity range within which each Element will respond.
34
VelCrossFade
Velocity Limit Cross Fade
Determines how smoothly or abruptly Elements switch between each other in response to velocity. (This only applies to Elements
that have been set for velocity splits with Velocity Limit above.) Minimum values create an abrupt change between Elements, while
maximum values let you smoothly change Elements depending on your playing strength.
35
Type
Wave Type
Determines whether a Wave or a Normal voice is to be used for the selected key.
36
Bank
Bank
Drum Key Edit...This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected.
Plug-in voices cannot be selected.
Plug-in Element Edit...Determines the Board Voice Bank .
Performance/Mixing Part Edit...Determines the Voice Bank (page 36) for each part.
37
RcvNoteOff
Receive Note Off
Determines whether Note Off (Key Off) messages are received (on) or not (off).
38
AltnateGroup
Alternate Group
Assigns the same number to the drum notes you don’t want to have sound simultaneously (such as open and closed hi-hats).
39
VelocityDepth
(VelSensDpt)
Velocity Sensitivity Depth
Determines the velocity sensitivity, or how much the level of the voice changes in response to your playing strength (velocity).
40
VelocityOffset
(VelSensOfs)
Velocity Sensitivity Offset
Determines the amount by which received velocities are adjusted for the actual velocity effect.
41
NoteShift
Note Shift
Determines the pitch (key transpose) setting in semitones (12: one octave). This doesn’t affect the transmitted MIDI data.
42
ReceiveCh
Receive Channel
Each Part receives MIDI messages according to the channel set here. Select “off” for Parts that you do not want to respond to MIDI.
67
62
*11
*12
62
*13
*14
*17
*19
*63
99
Appendix
Reference
Quick Guide
Basics Section
Reference
Appendix
Parameter Name
Quick Guide
Display
Basics Section
100
Ref.
#
Explanation
Related
Page
43
Volume
Volume
Adjusts the output level.
44
Pan
Pan
Determines the stereo pan position.
L63 (hard left) -C (Cener) -R63 (hard right)
*15
*21
45
VoiceELPan
Voice Element Pan
Determines whether the individual pan settings for each Element (made in the Voice Edit mode) are applied or not.
*22
46
RevSend
Reverb Send
Determines the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect.
67
47
ChoSend
Chorus Send
Determines the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus effect.
67
48
VarSend
Variation Send
Determines the send level for the Variation effect of the selected part, giving you detailed control over the Variation balance among
the parts.
67
49
InsRevSend
Insertion Reverb Send
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Reverb effect.
67
50
InsChoSend
Insertion Chorus Send
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Chorus effect.
67
51
SHAPE/FREQ/
GAIN/Q
Master EQ Shape/
Frequency/Gain/Q
Adjusts the tonal qualities of the sound. You can apply five-band equalization to all parts of the selected part or all elements of the
selected voice.
52
DryLevel
Dry Level
Determines the level of the unprocessed (dry) sound of the selected part, letting you control the overall effect balance among the
parts.
53
A/DSource
A/D Source
The S90 features two different input connections for transferring analog audio from an external device: the A/D INPUT jacks or the
mLAN terminal (when an optional mLAN8E is installed). One or the other must be set; the two cannot be used at the same time.
54
Mic/Line
Mic/Line
When using the A/D INPUT jacks, this determines the input source: microphone (mic) or line.
55
L&RGain
OUTPUT L&R Gain
Set the output gain of each jack. When this is set to a lower value, you can control the fine volume by using the MASTER VOLUME.
56
AssignL/RGain
ASSIGNABLE OUTPUT
L&R Gain
57
(MLAN)
mLAN Settings
Set parameters related to an optionally installed mLAN8E.
126
*25
58
Slider
Control Function Select
Determines the status of the CONTROL FUNCTION, when switching Master programs.
53
*6
59
Coarse
Pitch Coarse
Determines the pitch setting in semitones (12: one octave).
60
Fine
Pitch Fine
Determines the fine tuning.
61
Random
Random Pitch
Randomly varies the pitch of the Element for each note you play.
127...maximum pitch change
0...no pitch change.
62
EGTime
PEG Time Velocity
Sensitivity
63
Segment
PEG Time Segment
Determines the degree to which velocity affects the pitch change of the Pitch EG. Positive settings will cause the pitch change to
become faster when you play the keyboard harder (for a large Velocity value). Negative values will have the opposite effect .This
affects only the specified Segments.
64
EGLevel
PEG Level Velocity
Sensitivity
65
Curve
Velocity Sensitivity Curve
66
Pitch (VEL SENS)
Pitch Velocity Sensitivity
Determines the sensitivity of the PEG Level (the degree of the PEG change) to velocity.
67
(PEG) TIME
PEG Time
Determines the transition in pitch from the moment a note is pressed on the keyboard to the point at which the sound stops.
68
(PEG) LEVEL
PEG Level
69
(PEG) Depth
PEG Depth
*15
*16
*20
*23
*24
44
*18
*27
*26
Determines the sensitivity of the PEG Level (the width of the PEG change) to velocity. The Curve parameter lets you select from five
different preset velocity curves (graphically indicated in the display), each determining how velocity affects the Pitch EG.
*27
63
Ref.
#
70
Display
PitchSens
Parameter Name
Related
Page
Explanation
Pitch Key Follow Sensitivity Determines the sensitivity of the Key Follow effect (the interval of adjacent notes). At +100, adjacent notes are pitched one semitone
(100 cents) apart. At 0, all notes are the same pitch (for the percussion sounds,etc.). At +50, one octave is stretched out over twentyfour notes. For negative values, the settings are reversed.
*28
71
CenterKey
Pitch Key Follow Center
Key
Determines the basic pitch (note number) used by the PitchSens parameter (above). The note number in this setting is the same
pitch as normal (100%).
72
EGTimeSens
PEG Time Key Follow
Sensitivity
Determines the sensitivity of the PEG time (the speed of the PEG change) to velocity.
73
CenterKey
PEG Time Key Follow
Center Key
Determines the basic pitch (note number) used by the EGTimeSens parameter (above). When the center note is played, the PEG
time behaves according to its actual settings. For other notes, the speed varies in proportion to the key played and its interval away
from the center key.
74
Bank
Arpeggio Type Bank
Determines the Arpeggio bank.
pre1: preset 1, pre2: preset 2, user: User Arpeggio data (page 83) saved by MOTIF series (when loaded from a Memory Card)
75
Type
Arpeggio Type
Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category.
76
Tempo
Arpeggio Tempo
Determines the Arpeggio Tempo. When MIDI sync (Utility [F5]→[SF3]) is turned on, “MIDI” is displayed here and cannot be set. In
the Sequence Play mode, the tempo is synchronized to that of the song (page 76).
45
77
Switch (ArpSwitch)
Arpeggio Switch
Determines whether Arpeggio is on or off. You can control the switch by using the Foot Switch (Utility [F4]→[SF3] FS=96).
45
*30
78
Hold
Arpeggio Hold
Determines whether Arpeggio playback is “held” or not. When set to “on,” the Arpeggio cycles automatically, even if you release
your fingers from the keys, and it continues to cycle until the next key is pressed. You can control this setting by using the Foot
Switch (Utility [F4]→[SF3] FS=97).
45
*31
*28
*12
*28
*28
*12
45
*29
45
*29
*34
101
79
KeyMode
Arpeggio Key Mode
Determines how the Arpeggio plays back when playing the keyboard.
*32
*33
*34
80
VelMode
Arpeggio Velocity Mode
Determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.
*35
81
NoteLimit
Arpeggio Note Limit Low/
High
Determines the lowest and highest notes in the Arpeggio’s note range.
*36
*12
82
VelocityLimit
Arpeggio Velocity Limit
Low/High
Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the Arpeggio sounds by your
playing strength.
83
UnitMultiply
Arpeggio Unit Multiply
Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo
halved. If you set a value of 50%, the playback time will be halved and the tempo doubled.
84
VelocityRate
Arpeggio Velocity Rate
Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means
the original values are used.
*37
*38
85
GateTimeRate
Arpeggio Gate Time Rate
Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of 100% means the
original values are used.
*37
86
OutputSwitch
Arpeggio MIDI Out Switch
When set to on, Arpeggio playback data is output from the MIDI terminal.
87
TransmitCh
Arpeggio MIDI Transmit
Channel
Determines the MIDI transmit channel for Arpeggio playback data.
KbdCh...Arpeggio playback data is transmitted by KBDTransCh ([F5]→[SF1] Keyboard Transmit Channel) in the Utility mode
(Performance/Mixing)
88
BC/AS1/AS2/
FC1/FC2
BC/Assign1/Assign2/FC1/
FC2
Control Number
Sets the control number for the Breath Controller (BC), Assign 1/2 sliders (AS1/2), and Foot Controllers 1/2 (FC1/2).
89
(Transmit Switch)
Transmit Switch
When the relevant parameter is set to “on,” playing the selected zone will transmit the corresponding MIDI data, such as Control
Change and Program Change messages. Pressing the [F5] button switches between display of all four Zones and one single Zone
(in which all transmit channel settings are shown). In the four-Zone display, use the cursor buttons to scroll.
90
Type
Filter Type
Determines the filter type. The parameters differ depending on the selected type.
Appendix
Reference
Quick Guide
47
*13
*39
53
*40
63
*41
Basics Section
Reference
Appendix
Parameter Name
Quick Guide
Display
Basics Section
102
Ref.
#
Explanation
Related
Page
91
Gain
Filter Gain
Determines the Gain (the amount of boost applied to the signal sent to the Filter).
92
Cutoff
Filter Cutoff Frequency
Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.
63
93
Resonance
Filter Resonance
Determines the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency.
63
94
Width
Filter Width
With the BPFw, this parameter is used to adjust the width of the band of signal frequencies passed by the filter.
64
95
Distance
Distance
Determines the distance between the Cutoff frequencies, for the Dual Filter types. (The two filters in combination are connected in
parallel fashion.)
63
96
HPFCutoff
HPF Cutoff Frequency
Determines the central frequency for the Key Follow parameter (below) of the HPF. This parameter is available only when a filter type
“LPF12” or “LPF6” is selected (Normal Voice).
64
97
HPFKeyFlw
HPF Cutoff Frequency Key
Follow
Determines the Key Follow setting for the HPF Cutoff frequency (Type=LPF12/LPF6 only). This parameter varies the center frequency
according to the position of the notes played on the keyboard. Positive settings raise the center frequency for higher notes and lower
it for lower notes. Negative settings have the opposite effect.
98
EGTime
FEG Time Velocity
Sensitivity
99
Segment
FEG Time Segment
Determines the degree to which velocity affects the pitch change of the Filter EG. Positive settings cause the pitch change to
become faster when you play the keyboard harder (for a large Velocity value). Negative values have the opposite effect. This
affects only the specified Segments.
100
EGLevel
FEG Level Velocity
Sensitivity
Determines the sensitivity of the PEG Level (the width of the FEG change) to velocity. The Curve parameter lets you select from five
different preset velocity curves (graphically indicated in the display), each determining how velocity affects the Filter EG.
101
Cutoff (VEL SENS)
Filter Cutoff Velocity
Sensitivity
Determines the sensitivity of the Cutoff frequency to velocity.
102
Resonance
(VEL SENS)
Filter Resonance Velocity
Sensitivity
Determines the sensitivity of the Resonance to velocity.
103
(FEG) TIME
FEG Time
104
(FEG) LEVEL
FEG Level
Determines the transition in tone (cutoff frequency) from the moment a note is pressed on the keyboard to the point at which the
sound stops.
105
(FEG) Depth
FEG Depth
106
CutoffSens
Filter Cutoff Key Follow
Sensitivity
Determines the Filter Key Follow (Filter Scaling) Sensitivity , or how much the level of the cutoff frequency changes in response to the
note positions on the keyboard (scale).
107
CenterKey
Filter Cutoff Key Follow
Center Key
Indicates that the central note for Cutoff Sensitivity above is C3. At C3, the cutoff frequency behaves according to its actual settings.
For other notes, the level varies in proportion to the key played and its interval away from the center key. (Display only; cannot be
changed here.)
108
EGTimeSens
FEG Time Key Follow
Sensitivity
Determines the sensitivity of the FEG Rate settings (the speed of the FEG change) to note position.
109
CenterKey
FEG Time Key Follow
Center Key
Determines the basic pitch (note number) used by the EGTimeSens parameter (above). When the center note is played, the FEG
time behaves according to its actual settings. For other notes, the speed varies in proportion to the key played and its interval away
from the center key.
110
(Scaling)
BREAKPOINT
Filter Cutoff Scaling Break
Point
Determines the Break Points for Filter Scaling (how the filter cutoff frequency responds to note position) and Offset Levels.
111
(Scaling) OFFSET
Filter Cutoff Scaling Offset
112
LPFCutoff
Low Pass Filter Cutoff
113
LPFReso
Low Pass Filter Resonance Determines the amount of filter resonance or emphasis of the Cutoff Frequency.
114
LPFCutoff
(VEL SENS)
Low Pass Filter Cutoff
Velocity Sensitivity
*42
*41
*27
*26
*27
65
65
65
*28
*12
*28
*12
*43
*45
*43
*45
Determines the cutoff frequency for the low pass filter.
Determines the sensitivity of the low pass filter cutoff frequency to velocity.
63
*17
63
Ref.
#
Display
Parameter Name
Related
Page
Explanation
115
OutputSel
Output Select
Determines the specific output(s) for the individual part (Performance/Mixing Part Edit). Determines the specific output(s) for the
individual Drum key signal (Drum Key Edit).
116
(InsEF)
Insertion Effect
Indicates whether the Insertion effect is applied or not for each part. This is for display purposes only and cannot be set here.
117
ElementSw
Controller Set 1-6 Element
Switch
Determines whether or not the selected controller affects each individual element.
“-”...disabled.
55
*47
118
Source
Controller Set 1-6 Source
Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the
parameter set in Destination below.
55
*48
*49
119
Dest
Controller Set 1-6
Destination
Determines the parameter that is controlled by the Source
controller (above).
55
*50
120
Depth
Controller Set 1-6 Depth
Determines the degree to which the Source controller affects the Destination parameter.
55
121
Filter
MW/AT(CAT)/AC(AC1)
Filter Control
Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) over the filter cutoff
frequency.
122
PMod
MW/AT(CAT)/AC(AC1)
LFO Pitch Modulation
Depth
Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over pitch
modulation (vibrato effect).
123
FMod
MW/AT(CAT)/AC(AC1)
LFO Filter Modulation
Depth
Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over filter cutoff
modulation (wah effect).
124
AMod
MW/AT(CAT)/AC(AC1)
LFO Amplitude Modulation
Depth
Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over amplitude
modulation (tremolo effect).
125
Pitch (AT)
AT (CAT) Pitch Control
Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves.
126
Src
AC Source
(AC1 Control Number)
Determines the MIDI Control number used to control the filter, PMod, FMod, and Amod.
127
(ARP) Switch/Hold
Arpeggio Switch/Hold
Control Number
Determines the Control Number that controls the Arpeggio playback on/off and Arpeggio Hold on/off.
128
ASA/ASB
Assignable A/B Slider
Control Number
Determines the Control number to be controlled by the ASSIGN A/B sliders. This is available when controlling an external MIDI
device.
129
Dest
Assignable A/B Slider
Destination
Determines the function to be controlled by the Control Change number set above. See the separate Data List.
130
FS
FS Control Number/
FS Function Assignment
Assign a specific function and control number to the Footswitch.
131
Set Remote
Template Type
Set Remote Mode
Template Type
Select the template for your particular sequence software.
132
BankMSB/LSB
Bank Select MSB/LSB
Select the Voice for each zone by specifying these three MIDI messages. Refer to the Voice List in the separate Data List.
133
PgmChange
Program Change
(Program Number 1-128)
134
CtrlSlider
Control Slider Control
Number
Determine which Control numbers are used for the Sliders for each zone. These settings are available only when the ZoneSwitch
(Master Play Mode [F2] ) is set to on and the CONTORL FUNCTION on the panel is set to “zone.”
135
Level
Element Level
Adjusts the output level for the selected Element/drum key, letting you control the level balance among the Elements/keys.
*16
*46
*50
56
*51
57
53
103
Appendix
Reference
Quick Guide
Basics Section
*6
Reference
Appendix
Parameter Name
Quick Guide
Display
Basics Section
104
Ref.
#
Explanation
136
AlternatePan
Alternate Pan Depth
Determines the amount by which the sound of the selected Element is panned alternately left and right for each note you press. The
Pan setting is used as the basic Pan position.
137
RandomPan
Random Pan Depth
Determines the amount by which the sound of the selected Element is panned randomly left and right for each note you press. The
main Pan setting is used for the basic Pan position.
138
ScalingPan
Scaling Pan Depth
Determines the degree to which the notes (specifically,their position or octave range) affect the Pan position, left and right, of the
selected Element. At note C3, the main Pan setting is used for the basic Pan position.
139
EGTime
AEG Time Velocity
Sensitivity
140
Segment
AEG Time Segment
Determines the degree to which velocity affects the Amplitude EG. Positive settings cause the AEG change to become faster when
you play the keyboard harder (for a large Velocity value). Negative values have the opposite effect. This affects only the specified
Segments.
141
EGLevel
AEG Level Velocity
Sensitivity
142
Curve
Velocity Sensitivity Curve
143
(AEG) TIME
AEG Time
144
(AEG) LEVEL
AEG Level
Related
Page
*17
*27
*26
Determines the sensitivity of the AEG Level (the volume of the AEG change) to velocity. The Curve parameter lets you select from
five different preset velocity curves (graphically indicated in the display), each determining how velocity affects the Amplitude EG.
Determines the transition in volume (Amplitude) from the moment a note is pressed on the keyboard to the point at which the sound
stops. This lets you reproduce many characteristics of natural acoustic instruments — such as the quick attack and decay of
percussion sounds, or the long release of a sustained piano tone. Keep in mind that different sounds have varying degrees of
natural decay. For example, a piano sound gradually decreases in volume as you hold the key; however, an organ sound stays at
the same volume. Also, the larger the value of the AEG Release Time, the longer the sustain.
145
LevelSens
Amplitude (Level) Key
Follow Sensitivity
Determines the Level Key Follow (Level Scaling) Sensitivity , or how much the volume changes in response to the particular notes
played on the keyboard.
146
CenterKey
Amplitude Key Follow
Center Key
Indicates that the central note for Level Sensitivity above is C3. At C3, the volume behaves according to its actual settings. For other
notes, the level varies in proportion to the key played and its interval away from the center key. (Display only; cannot be changed
here.)
147
EGTimeSens
AEG Time Key Follow
Sensitivity
Determines the sensitivity of the AEG time (the speed of the AEG change) to velocity.
148
CenterKey
AEG Time Key Follow
Center Key
Determines the basic pitch (note number) used by the EGTimeSens parameter (above). When the center note is played, the AEG
time behaves according to its actual settings. For other notes, the speed varies in proportion to the key played and its interval away
from the center key.
149
(Scaling)
BREAKPOINT
Amplitude Scaling Break
Point
Determines the Break Points for Amplitude Scaling (how the volume responds to note position) and Offset Levels.
150
(Scaling) OFFSET
Amplitude Scaling Offset
151
Level (VEL SENS)
Level Velocity Sensitivity
Determines how the volume responds to velocity. A setting of “0” results in maximum velocity, without regard to how strongly the key
is pressed. A setting of “32” resultsd in normal velocity response, while for a setting of “64,” the tone generator plays only when
maximum velocity (127) is received.
152
(Native Parameters)
Plug-in Native Parameters
For editing the native parameters (those parameters exclusive to the particular board). Use the [<>] buttons to scroll through the
display. The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the
Owner’s Manual or the on-line help that came with your Plug-in Board. For details on the current lineup of available Plug-in Boards,
see page 21.
153
Detune
Detune
Determines the fine tuning.
154
FEGDepth
FEG Depth
Determines the Filter Envelope Generator depth (amount of Cutoff frequency) for each part.
*27
66
66
*28
*12
*28
*12
*44
*45
*44
*45
*52
Ref.
#
Related
Page
Display
Parameter Name
Explanation
155
(FEG) Attack/Decay/
Release (Time)
FEG Attack/Decay/Release
Time
Set the FEG (Filter Envelope Generator)/AEG (Amplitude Envelope Generator) parameters for each part. The parameters offset the
same parameters in Voice Element Edit (F3]→[SF3]/[F4]→[SF3]).
156
(FEG) Sustain
(Level)
FEG Sustain Level
157
(AEG) Attack/Decay/
Release (Time)
AEG Attack/Decay/Release
Time
158
(AEG) Sustain
(Level)
AEG Sustain Level
159
Wave
LFO Wave
*53
*54
Determines the LFO waveform used to vary the sound.
user...applies the user wave you edited on the Voice Editor (see the separate Installation Guide). For details, see the Voice Editor
Owner’s Manual (PDF).
66
*55
105
160
Speed
LFO Speed
Determines the speed of the LFO waveform. The higher the value, the faster the speed.
161
TempoSync
LFO Tempo Sync
Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song).
162
TempoSpeed
LFO Tempo Speed
Allows you to make detailed note value settings that determines how the LFO pulses in sync with the Arpeggio or sequencer when
the TempoSync parameter above is set to on.
*57
163
KeyOnReset
Key On Reset
Determines whether or not the LFO is reset each time a note is pressed. Three settings are available (Voice Edit Common).
*58
164
Phase
LFO Phase
Determines the starting phase point for the LFO Wave when a note is played.
*59
165
(KeyOn)Delay
LFO (Key On) Delay Time
Determines the delay time before the LFO comes into effect.
166
FadeIn
LFO Fade-in Time
Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower
fade-in.
167
Hold
LFO Hold Time
Determines the length of time during which the LFO is held at its maximum level.
168
FadeOut
LFO Fade-out Time
Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed).
169
ElementSw
LFO Destination Element
Switch
Determines whether or not each element is to be affected by the LFO. The element number (1 - 4) is shown when the LFO is
enabled; a dash (-) indicates the LFO is disabled for that element.
170
Dest
LFO Destination
Determines the parameters which are to be controlled (modulated) by the LFO Wave.
171
Depth
LFO Depth
Determines the LFO Wave Depth.
172
PMod (LFO)
LFO Pitch Modulation
Depth
Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound.
173
FMod (LFO)
LFO Filter Modulation
Depth
Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency.
174
AMod (LFO)
LFO Amplitude Modulation
Depth
Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude of the sound.
175
(Part Receive
Switch)
Part Receive Switch
Set how each individual part responds to various MIDI messages, such as Control Change and Program Change messages.
176
BasicRcvCh
Basic Receive Channel
Determines the MIDI channel over which the S90 receives MIDI data (from an external MIDI equipment. This parameter is available
for the Voice/Performance mode. When this is set to “omni,” the data of any channel can be received.
177
KBDTransCh
Keyboard Transmit
Channel
(Voice/Performance Mode)
Determines the MIDI channel over which the S90 sends MIDI data (to an external MIDI device). This parameter is available for the
Voice /Performance mode.
178
DeviceNo./DEV NO.
Device No.
Determines the MIDI Device Number. This number must match the Device Number of the external MIDI device when transmitting/
receiving system exclusive messages.
Appendix
Reference
*56
Quick Guide
*60
*61
*62
Basics Section
Reference
Appendix
Parameter Name
Quick Guide
Display
Basics Section
106
Ref.
#
Explanation
Related
Page
179
FileUtilID
File Utility ID
This File Utility ID number and the Device Number (above) must match the ones of the File Utility software (see the separate
Installation Guide) in order to properly transfer files between the S90 and a connected computer.
180
BankSel
Transmit/Receive Bank
Select
181
PgmChange
Transmit/Receive Program
Change
This switch enables or disables Bank Select/Program Change messages, both in transmission and reception. When this is set to
“on,” the S90 responds to incoming Bank Select messages,and it also transmits appropriate Bank Select messages (when using the
panel).
182
CtrlChange
Control Change (AEG
Sustain)
Lets you set the S90 to properly respond to either type of GM System data, Level 1 or Level 2 — particularly regarding AEG Sustain.
When using GM Level 2, set this to Mode 1, and the S90 responds to the messages as parameter change data. When using GM
Level 1, set this to Mode 2, and the S90 responds to the messages as control change data.
183
LocalCtrl
Local Control
When this is set to “off,” the keyboard and controllers are internally disconnected from the synthesizer’s tone generator section.
184
RcvBulk
Receive Bulk
Determines whether or not Bulk Dump data can be received.
protect...not received, on...received
185
MIDI Sync
MIDI Sync
Determines whether Song/Arpeggio playback is synchronized to the S90’s internal clock (int) or an external MIDI clock (MIDI).
186
ClockOut
Clock Out
Determines whether MIDI clock [F8] messages will be transmitted via the MIDI OUT/USB terminal.
187
SeqCtrl
Sequencer Control
Determines whether Sequencer Control signals – start, continue, stop, and song position pointer – will be received and/or
transmitted via the MIDI OUT/USB terminal.
188
MIDI IN/OUT
MIDI IN/OUT
Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT/THRU, USB, or mLAN
(when the optional mLAN8E has been installed).
16
189
ThruPort
Thru Port
Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16-channel barrier.
When using the USB terminal for MIDI reception, MIDI messages received via the USB connector can be passed through the MIDI
OUT connector of the S90 to other connected devices. Set the port number here. This is available when the MIDI IN/OUT is set to
“USB.”
22
190
191
18
*64
*65
*66
EL: OUT 1-4/KEY:
OUT
EL 1-4/KEY Insertion Effect
Out
Determines which Insertion effect (1 or 2) is used to process each individual element/key. The “thru” setting lets you bypass the
Insertion effects for the specific element/key. (This parameter is the same as “InsEFOut” in Normal Element/Key Edit ([F1]→[SF2]).
Making a setting here automatically changes the setting of that parameter as well.)
67
InsEF Connect
Insertion Effect Connection
Type
Determines the effect routing for Insertion effects 1 and 2. The setting changes are shown on the diagram in the display, giving you
a clear picture of how the signal is routed.
para...parallel
67
Determines the effect type for Insertion 1. Refer to the Effect Types List in the separate Data List.
67
192
Ins1 Ctgry/Type
Insertion 1 Category/Type
193
Ins2 Ctgry/Type
Insertion 2 Category/Type
194
Reverb/Chorus Type
Reverb Type/Chorus Type
Determines the effect type for Reverb/Chorus. Refer to the Effect Types List in the separate Data List.
67
195
Reverb/Chorus Send
Reverb Send/Chorus Send
Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Reverb/Chorus effect. A setting of “0”
results in no Reverb processing of the sound.
67
196
Reverb/Chorus
Return
Reverb Return/Chorus
Return
Determines the Return level of the Reverb/Chorus Effect.
197
Reverb/Chorus Pan
Reverb Pan/Chorus Pan
Determines the pan position setting for the Reverb/Chorus effect.
L64 (hard left) ~ c (center) ~ R63 (hard right)
198
Chorus to Reverb
Send Chorus to Reverb
Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
199
EFF PART→VCE
INS
Insertion Effect Part (Voice) Determines the part to which the Insertion effect is applied. The Insertion connection type (page 69) depends on the voice of the
selected part.
67
200
EFF PART→PLG-EF
PlugEF Type
Plug-in Insertion Effect
Part/Type
Determines the part to which the Insertion effect is applied and the Insertion effect type. This parameter is available only when a
special Effect Plug-in board (VH) has been installed.
In the PLG-EF display ([SF2]), you can make various detailed settings. (Refer to the owner’s manual of your particular Plug-in
Board.)
67
67
67
67
*67
*68
Ref.
#
Display
201
Variation Type
Variation Type
Determines the Variation effect type. Refer to the Effect Types List in the separate Data List.
69
202
Variation Return
Variation Return
Determines the Return level of the Variation Effect.
69
203
Variation Pan
Variation Pan
Determines the pan position of the Variation effect sound.
204
Variation to Reverb/
Chorus
Variation to Reverb/Chorus
Determines the Send level of the signal sent from the Variation Effect to the Reverb/Chorus Effect.
205
(Effect Parameters)
Effect Parameters
The number of parameters and values available differs depending on the currently selected effect type. For more information, see
the Effect Parameter List in the separate Data List.
206
PolyExpand
Poly Expand
This parameter is accessible only when you have two or three identical Plug-in boards installed. The “off” setting enables two or
three boards to work separately (you can select them in two or three different Parts). When this is set to “on,” the two boards
effectively function together as one board (used in a single part) — giving you double the amount of polyphonic notes you can play
at one time.
207
PORT NO.
Port No.
Determines the MIDI Port number over which the Plug-in board receives MIDI data. One port can be set for the Multi-part Plug-in
board and two ports can be set for the Single part Plug-in board. The Port number for the Effect Plug-in board (VH) is fixed to 1.
208
GM/XG
GM/XG
Determines whether “GM on” and “XG on” messages are recognized (on) or not (off) . This parameter is available only when the
Multi-part Plug-in board has been installed to slot 3.
209
(Native System
Parameters)
210
Type
EQ Type
211
L.Freq/Gain
(Type=EQ L/H)
EQ Low Frequency/Low
Gain
212
H.Freq/Gain
(Type=EQ L/H)
EQ High Frequency/High
Gain
213
Freq (Type=P.EQ)
Frequency
214
Gain (Type=P.EQ)
Gain
215
Q (Type=P.EQ)
EQ Resonance
216
Tune
Master Tune
Adjusts the tone generator tuning (100: one semitone).
217
FORMAT/Volume
Label
Format/Volume Label
Formats a Memory Card. You can name the Volume Label.
218
SAVE
Save
Saves the settings to Memory Card as a file.
82
219
LOAD
Load
Loads files from Memory Card to your synthesizer.
82
220
RENAME
Rename
Renames files using up to eight characters.
82
221
DELETE
Delete
Deletes files saved on Memory Card.
82
Parameter Name
Related
Page
Explanation
Set the Native System parameters of the Plug-in board installed to each slot. For details on these parameters, refer to the owner’s
manual of your particular Plug-in Board.
Determines the Equalizer Type. The S90 features a wide selection of various equalizer types, which can be used not only to
enhance the original sound, but even completely change the character of the sound. The particular parameters and settings
available depend on the specific Equalizer Type that is selected.
*69
*17
82
107
Appendix
Reference
Quick Guide
Basics Section
Appendix
Type
00
Equal
temperament
01~12
13~24
25
26
Pure major
Pure minor
Key
Comments
The “compromise” tuning used for
most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is
exactly 1/12 of an octave, and
music can be played in any key with
equal ease. However, none of the
intervals are perfectly in tune.
C~B
A~G#
Werckmeister
This tuning is designed so that
most of the intervals (especially the
major third and perfect fifth) in the
major scale are pure. This means
that other intervals will be correspondingly out of tune. You need to
specify the key (C~B) you will be
playing in.
The same as Pure Major, but
designed for the minor scale.
*4
These Portamento parameters above are not
available for the part to which the Drum voice
is assigned.
*5
The Mode setting is not available for the Plugin part.
*6
CONTROL FUNCTION SELECT (CS Assign)
CONTROL1
FUNCTION
Andreas Werckmeiser, a contemporary of Bach, designed this tuning
so that keyboard instruments could
be played in any key. Each key has a
unique character.
Kirnberger
Johann Philipp Kirnberger was also
concerned with tempering the scale
to allow performances in any key.
MASTER
VOLUME
2
3
4
5
6
PAN
REVERB
CHORUS
TEMPO
CUTOFF
RESONANCE
ATTACK
RELEASE
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
MEQ LOW
MEQ LOW MID
MEQ HI MID
MEQ HIGH
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
ZONE 1
ZONE 2
ZONE 3
ZONE 4
CS 1
CS 2
CS 3
CS 4
27
Vallotti &
Young
Francescatonio Vallotti and Thomas
Young (both mid-1700s) devised
this adjustment to the Pythagorean
tuning in which the first six fifths
are lowered by the same amount.
28
1/4 shifted
This is the normal equal tempered
scale shifted up 50 cents.
1 pan
2 tone
3 assign
4 MEQofs
5 vol
6 zone (Master mode only. The setting “zone” above is
available only when the Zone Switch is set to on in
the [F2] MEMORY display in the Master Play mode.)
29
1/4 tone
Twenty-four equally spaced notes
per octave. (Play twenty-four notes
to move one octave.)
n Voice/Performance/Mixing...Set by each
common edit [F1]→[SF5] (CSAssign)
Master...Set by the common edit [F2] (Slider)
30
1/8 tone
31
Indian
Forty-eight equally spaced notes
per octave. (Play forty-eight notes
to move one octave.)
C~B
Usually observed in Indian music
(white keys [C~B] only).
*7
Moving the Slider will not have any effect
until you reach the current setting.
Reference
No.
Performance/Mixing...Offsets to the Master
EQ settings (Common [F2]→ [SF2]).
Quick Guide
*2
Micro Tuning Type
*3
Voice...Offsets to the EQ settings in the
Utility ([F3]→ [SF1]).
*8
If you transpose beyond the note range limits
(C-2 and G8), notes in the adjacent octaves
will be used. For example, a transposed note
of F9 will be changed to F8.
*9
Power On Mode Settings
Display
Mode
Basics Section
108
*1
When the Alternate Group (AltGrp)
parameter is set to a setting other than “off,”
this parameter is unavailable, and “---” is
shown in the display (Drum Key Edit).
*13
You can also create separate low and high
ranges, with a velocity “hole” in the middle,
by specifying the maximum value first. For
example, setting a Velocity Limit of 93 - 34 lets
you play the element from two separate
velocity ranges: soft (1 - 34) and hard (93 127). Notes played at middle velocities
between 35 and 92 do not play the selected
element/part/zone.
Program
performance
Performance Play
USER: 001
voice (USER)
Voice Play
USER: 001
voice (PRE1)
Voice Play
PRE1: 001
GM
Voice Play
GM: 001
master
Master Play
USER: 001
*10
These settings depend on the particular Plugin board; refer to the relevant owner’s manual
for details.
*11
You can also create a lower and an upper
range with a “hole” in the middle, by
specifying the highest note first. For example,
setting a Note Limit of “C5 - C4” lets you play
the element from two separate ranges: C-2 to
C4 and C5 to G8. Notes played between C4
and C5 do not play the selected element/part/
zone.
*12
You can also set the range directly from the
keyboard, by holding down the
[INFORMATION] button and pressing the
desired low and high keys.
*14
When you have selected “voice” here, some
parameters cannot be set.
*15
You can also adjust this parameter using the
Control slider on the front panel (Common edit).
*16
In Drum Key edit, this is available only when
Insertion Effect Output (above) is set to “thru.”
*17
This parameter is effective for Waves (pre
wav) selected in the [F1] - [SF1] Drum Key
Oscillator Wave display (Drum Key edit).
*18
If a Normal voice has been assigned to the key,
this parameter adjusts the position of its note
(not its pitch) relative to note C3. For
example, let’s assume the original Voice
consists of a two-Element piano-like sound up
to note C3 and a two-Element string-like
sound from note C#3 upwards. Adjusting this
Coarse setting by +1 would not change the
pitch of the piano-like sound to C#3. Instead,
note C#3 of the original Voice (i.e., the stringlike sound) would be used.
*19
Changes to velocity curve according
to VelDepth (with Offset set to 64)
*22
This parameter is not available for the Plug-in
parts.
Velocity Depth
Gain
Determines the level gain for the Frequency
(set above), or the amount the selected
frequency band is attenuated or boosted.
Q (Frequency Characteristic)
Actual Velocity
for tone generator Depth=127 (twice)
Depth=64
127
(normal)
All mLAN8E-related settings in the Utility
mode are stored only to the memory on the
mLAN8E itself, and not to the User memory
of the S90. To initialize all the mLAN settings
above, use the following procedure.
This varies the signal level at the Frequency
setting to create various frequency curve
characteristics.
*23
MEQ (Master Equalizer)
Q(Frequency Characteristic)
Gain
0.1
Depth=32
(half)
64
12.0
[EXIT] button
[SF5] button
0
Freq
(Frequency )
Depth=0
0
64
Received Velocity
(Actual KeyOn speed)
Changes to velocity curve according
to VelOffset (with Depth set to 64)
Velocity Offset
Actual Velocity
for tone generator Offset=96 (+64)
Offset=127 (+127)
127
Offset=64 (normal)
64
Depends on
offset
Offset=32 (-64)
Freq
5 bands
LOW
LOWMID
MID
HIGHMID
HIGH
Shape
Determines whether the equalizer type used
is Shelving (shelv) or Peaking (peak). The
Peaking type attenuates/boosts the signal at
the specified Frequency setting, whereas the
Shelving type attenuates/boosts the signal at
frequencies above or below the specified
Frequency setting. This parameter is available
for LOW, MID, and HIGH.
shelv (Shelving)
+
0
Depends on
64
offset
Frequency
127
127
Received
Velocity
(Actual KeyOn speed)
0
Press the [ENTER] button to
actually initialize the mLAN settings.
*24
You can set the parameters related Voice only
when entering the Utility mode ([F3]→[SF1])
from the Voice mode.
Settings
(Display)
*25
mLAN connection
From this display you can set parameters
related to connection of an optional mLAN8E
(page 126). The following display is available
only when the optional mLAN8E has been
installed.
–
Offset=0 (-127)
EQ Low EQ Low
Freq1 Freq2
Frequency
peak (Peaking)
For details on this parameter,
refer to the owner's manual of
the mLAN8E.
Vendor Name
Nickname
+
*20
Send level (to Reverb and Chorus) cannot be
set independently for each Drum key; the
value is fixed at 127 (maximum).
0
Gain
atk
Available Segment for EGTime
attack time
atk+dcy
attack time/decay time
dcy
decay time
atk+rls
attack time/release time
all
all time
*27
Element control according to Velocity
(ex. PEG)
Positive value
Velocity
EGTime
Large Faster speed
Large
Slower speed
Small
Amount of pitch change
EGLevel
Frequency
[EXIT] button
–
Freq
[SF4] button
Assign a nickname for the connection. For specific instructions on
naming, see Basic Operation on page 34. For details about the
Nickname parameter, refer to the owner's manual of the mLAN8E.
Freq (Frequency)
109
*21
A setting of “C” (center) maintains the
individual Pan settings of each Element/Part
(Common edit).
*26
Small
Determines the center frequency.
Frequencies around this point are attenuated/
boosted by the Gain setting.
Time of PEG change
Set the Word Clock. For
details, refer to the owner's
manual of the mLAN8E.
Appendix
Press the [ENTER] button to
actually set the value.
Reference
Quick Guide
Basics Section
Appendix
Faster speed
+63
+30
Lower range
Higher range
-40
Slower speed
Basic pitch (center Key)
*29
When user arpeggio is selected, you can clear
the selected arpeggio data by using the [SF5]
button.
*32
sort
Plays back notes in ascending order from the
lowest key pressed to the highest.
thru
*30
You can also turn Arpeggio on/off from the
front panel with the [ARPEGGIO ON/OFF]
button (Voice Edit). Arpeggio Switch is not
available for the Multi Plug-in Parts 17-32.
Plays back notes in the order in which the
keys are pressed.
Reference
Negative value
Quick Guide
Positive value
*31
sync-off
The first time you press a key, the first note of
the arpeggiator pattern is played. From the
second and subsequent key presses, the
arpeggiator note that is played back depends
on the arpeggiator tempo and the timing of
the arpeggio pattern. For example, in the case
of a 1-bar arpeggio pattern, if the second key
press falls on the third beat of the bar, the
arpeggio pattern plays back from the third
beat onward. In other words, the first key
press is used to start the arpeggio pattern and
thereafter you can use the key to “mute” or
“un-mute” the pattern by, respectively,
holding it down or releasing it. This is
particularly useful when the arpeggiator is
being used to generate drum patterns.
Basics Section
110
*28
Element control according to the
note position on the keyboard
(ex. PEG Time : Speed of PEG change)
*34
If the Arpeggio Category is set to Ct, you will
not hear any sounds unless you select “direct”
here.
*39
You can set the parameters related Voice only
when entering the Utility mode ([F3]→
[SF2]) from the Voice mode.
*35
*40
You can set the parameters related Voice only
when entering the Utility mode ([F3]→[SF3])
from the Voice mode.
original
The Arpeggio plays back at the preset
velocities.
thru
The Arpeggio plays back according to the
velocity of your playing. For example, if you
play the notes strongly, the playback volume
of the Arpeggio increases.
*36
You can also create a lower and an upper
trigger range for the Arpeggio, with a “hole”
in the middle, by specifying the highest note
first. For example, setting a Note Limit of “C5C4” lets you trigger the Arpeggio by playing
notes in the two ranges of C -2 to C4 and C5
to G8; notes played between C4 and C5 have
no effect on the Arpeggio.
direct
Plays back the notes exactly as you play them.
If changes to Voice parameters (such as Pan or
Cutoff frequency) are included in the
Arpeggio sequence data,they will be applied
and reproduced whenever the Arpeggio plays
back.
*37
The Velocity/Gate Time cannot be decreased
beyond its normal minimum of 1; any values
outside that range will automatically be
limited to the minimum.
*33
With the “sort” and “thru” settings, the order
in which notes are played back will depend on
the Arpeggio sequence data.
*38
The Velocity cannot be decreased or increased
beyond its normal range of 1 to 127; any
values outside that range will automatically
be limited to the minimum or maximum.
*41
This parameter’s function varies according to
the selected Filter Type. If the selected filter is
an LPF, HPF, BPF (excluding the BPFw), or
BEF, this parameter is used to set the
Resonance. For the BPFw, it is used to adjust
the Width of the band.
*42
This parameter is available for the LPF when
the filter used by the part is a combination
type of LPF and HPF (Performance/Mixing
Part Edit).
*43
Filter Scaling Settings
The best way to understand Filter Scaling is
by example. For the settings shown in the
example table below, the basic Cutoff
frequency value is 64, and the various Offset
values at the selected Break point settings
change that basic value accordingly. The
specific changes to the Cutoff frequency are
shown in the diagram below. The Cutoff
frequency changes in a linear fashion
between successive Break Points as shown.
BREAKPOINT
OFFSET
1
2
3
4
C#1
D#2
C3
A4
-4
+10
+17
+4
*44
Amplitude Scaling Settings
The best way to understand Amplitude
Scaling is by example. For the settings shown
in the example table below, the basic
Amplitude (volume) value for the selected
element is 80, and the various Offset values at
the selected Break point settings change that
basic value accordingly. The specific changes
to the Amplitude are shown in the diagram
below. The Amplitude changes in a linear
fashion between successive Break Points as
shown.
1
2
3
4
BREAKPOINT
C1
C2
C3
C4
OFFSET
-4
+10
+17
+4
81
Cutoff
Frequency
*46
L&R...OUTPUT L&R
asL&R...ASSIGNABLE OUTPUT L&R
asL...ASSIGNABLE OUTPUT L
asR...ASSIGNABLE OUTPUT R
drum...This setting is for Drum voice parts.
When this is selected, the output destination
settings for each Drum key are enabled.
as1&2...OUTPUT 1&2 on the mLAN8E
as3&4...OUTPUT 3&4 on the mLAN8E
as1/2/3/4...OUTPUT 1/2/3/4 on the
mLAN8E
90
60
76
Note
Break Point 1
Break Point 2
This parameter is not available for the Plug-in parts.
This parameter is disabled if the Destination
parameter below is set to a value from 00 to 33.
This parameter is not available for Plug-in parts
or parts to which Drum voices have been
assigned.
*48
*54
84
D#2
*52
Amplitude
68
C#1
For example, you can turn on the Arpeggio
Switch only when pressing the Footswitch by
setting the same control number for the
Arpeggio Switch and the Footswitch (Utility
[F4]→ [SF1][SF3]). (For switching the on and
off, set the FS parameter to “96” in the Utility
mode [F4]→ [SF3].)
*53
*47
97
74
*51
C3
Break Point 3
Note
A4
Break Point 4
C1
C2
Break Point 1 Break Point 2
C3
C4
Break Point 3 Break Point 4
PB
Pitch Bend Wheel
MW
Modulation Wheel
AT
Aftertouch
FC1/2
Foot Controller 1/2
FS
Foot Switch
BC
Breath Controller
AS1/2
ASSIGN 1/2 Slider
*45
BP1 to BP4 will be automatically be arranged in
ascending order across the keyboard.
Regardless of the size of these Offsets, the
minimum and maximum Cutoff/Volume limits
(values of 0 and 127, respectively) cannot be
exceeded.
Any note played below the BP1 note results in
the BP1 Level setting. Likewise, any note played
above the BP4 note results in the BP4 Level
setting.
*49
The ASSIGN A and B sliders can each be
assigned to one common function for the entire
Voice mode, and not to different functions for
each individual voice. Also see the Utility mode
([F4]→ [SF2]).
The Sustain Level/Release Time setting is not
available for Plug-in parts or parts to which
Drum voices have been assigned.
*55
LFO Wave
tri...triangle wave, saw...sawtooth wave,
squ...square wave, trpzd...trapezoid wave,
S/H...sample & hold (random)
In Element Edit, the “trpzd” and “S/H”
parameters are not available.
*50
For a complete list of the available parameters/
controls, refer to the separate Data List.
111
Appendix
Reference
Quick Guide
Basics Section
Quick Guide
Reference
Appendix
*58
Key On Reset
Basics Section
112
*56
LFO Speed
Fade-in Time
*59
LFO Phase
Fade in
Max
Speed = fast
Time
off
The LFO cycles freely with no key synchronization.
Pressing a key starts the LFO wave at whatever
phase the LFO happens to be at that point.
Determines the starting phase point for the LFO
Wave when a note is played.
Low Fade-in
value results
in faster
fade in
Time
Delay
Speed = slow
Key on
Time
Time
Fade in
Max
Time
*57
LFO Tempo Speed settings
16th, 8th/3 (eighth-note triplets), 16th.
(dotted sixteenth notes), 8th 4th/3 (quarternote triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets),
4th. (dotted quarter notes), 2nd (half notes),
whole/3 (whole-note triplets), 2nd. (dotted
half notes), 4th x 4 (quarter-note quadruplets;
four quarter notes to the beat), 4th x 5
(quarter-note quintuplets; five quarter notes
to the beat), 4th x 6 (quarter-note sextuplets;
six quarter notes to the beat), 4th x 7
(quarter-note septuplets; seven quarter notes
to the beat), 4th x 8 (quarter-note octuplets;
eight quarter notes to the beat)
The actual length of the note depends on the
internal or external MIDI tempo (Utility [F5]→
[SF3]) setting.
Key on
Phase 0˚
on (Element Edit)
each-on (Common Edit)
The LFO resets with each note you play and
starts a waveform at the phase specified by the
Phase parameter.
180˚
270˚
90˚
120˚
240˚
*60
LFO Delay
High Fade-in
value results
in slower
fade in
Delay
Time
Key on
Hold Time
Delay
Hold
Time
Short delay
Max
Time
Key on
(first note)
Key on
(second note)
Key on
1st-on (Common Edit)
The LFO resets with every note you play and
starts the waveform at the phase specified by the
Phase parameter (below). However, if you play a
second note while the first is being held, the
LFO continues cycling according to the same
phase as triggered by the first note. In other
words, the LFO only resets if the first note is
released before the second is played.
Long delay
Fade Out
Key on
Low Fade-out value results
in faster fade out
Hold
FadeOut
Max
Time
Time
Key on
(first note)
Key on
(second note)
High Fade-out value results
in slower fade out
Hold
FadeOut
Max
Time
*61
Pressing the [SF5] button switches between
display of all four Parts and one single Part (in
which all receive switch settings are shown). In
the four-Part display, use the cursor buttons to
scroll.
P.EQ (Parametric EQ)
*67
MIDI IN/OUT=MIDI
SEQ
KBD
To USB
The Parametric EQ is used to attenuate or
boost signal levels (gain) around the
Frequency. This type features 32 different
“Q” settings, which determine the frequency
band width of the equalizer.
From USB
Local Sw
MIDI Out
*62
+
Gain
MIDI In
The ReceiveCh parameter in Sequence Play
mode is set in the Mixing Part Edit ([F1]→
[SF2]).
0
TG
Frequency
Gain
MIDI IN/OUT=USB
–
*63
SEQ
Freq
KBD
The BasicRcvCh parameter in Voice/
Performance Play mode is set in the Utility
mode ([F5]→ [SF1]).
From USB
Thru Port
Local Sw
*64
Even if the LocalCtrl is set to “off,” the data
will be transmitted through the MIDI OUT
terminal. Also, the tone generator section will
respond to messages received via MIDI IN.
MIDI Out
MIDI In
TG
MIDI OUT
MIDI IN
Tone
Generator
MIDI IN
MIDI OUT
Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/
Boost18 (Boost 18dB)
These can be used to boost the level of the
entire signal by 6dB, 12dB and 18dB,
respectively.
thru
If you select this, the equalizers are bypassed
and the entire signal is unaffected.
*68
External MIDI Device
Q (Frequency Characteristic)
To USB
The “para (parallel)” parameter is not available
for the Plug-in voice.
Keyboard
Local Off
*69
EQ (Equalizer)
EQ L/H (Low/High), Plug-in Element EQ
*65
In the Master mode, you can select whether or
not to transmit MIDI messages for each zone
(Master Edit [F1] TGSwitch).
This is a “shelving” equalizer, which
combines separate high and low frequency
bands.
Gain
+
*66
Sequencer Control
off...Not transmitted/recognized.
in...Recognized but not transmitted.
out...Transmitted but not recognized.
in/out...Transmitted/recognized.
0
Frequency
Low Gain
High Gain
Low Freq
High Freq
113
Appendix
Reference
Quick Guide
Basics Section
Basics Section
Appendix
Information Displays
Quick Guide
The convenient Information displays let you see at-aglance some of the more important settings relevant to
each mode. Select the desired mode, then press the
[INFORMATION] button to call up the Information
display for that mode. To exit from the display, press
the button again (or any other panel button).
Performance mode
Voice mode
Reference
Bank
Indicates the Bank (MSB/LSB) of the currently
selected Performance.
Appendix
Bank
Indicates the Bank (MSB/LSB) of the currently
selected Voice.
EL 1234
Indicates the currently selected voice, on/off status of
four elements and mono/poly status.
Porta (Portamento)
Indicates the Portamento switch on/off status of the
currently selected voice.
PB (Pitch Bend)
Indicates the Upper/Lower setting of the Pitch Bend
range.
Ins1 (Insertion 1), Ins2 (Insertion 2), Rev
(Reverb), Cho (Chorus)
Indicates the currently selected effect type for each
effect block (page 67).
1 (Plug-in board 1), 2 (Plug-in board 2), 3
(Plug-in board 3)
Indicates the installation status of the respective Plugin board. The Plug-in board name is displayed at the
right of the corresponding slot number. When
PolyExpand (Ref. #206) is set to on in the Utility mode,
“P” is indicated at the left of the slot number.
InsPart (Insertion part), PLG (Plug-in
Insertion part)
Indicates the part number to which the Insertion effect
is applied and the part number to which the Plug-in
Insertion effect is applied (when the PLG100-VH is
installed).
Rev (Reverb), Cho (Chorus), Var (Variation)
Indicates the currently selected effect type for each
effect block (page 67).
Sequence Play mode
● Sequence Play mode
Play Dir (Play Directory)
Indicates the directory containing the file to be played
back (page 75).
Current Dir (Current Directory)
Indicates the currently selected directory (page 83).
114 Information Displays
Card mode
PlugInfo/Port (Plug-in board installation
status)
Indicates the Plug-in board name and its MIDI port
number (Ref. #207, page 77) at the right of the slot
number. When PolyExpand (Ref. #206) is set to on in
the Utility mode, “P” is indicated at the left of the slot
number.
Card Free
Indicates the amount of currently available (unused)
memory of the Memory card inserted to the Card slot.
InsPart (Insertion part), PLG (Plug-in
Insertion part)
Indicates the part number to which the Insertion effect
is applied and the part number to which the Plug-in
Insertion effect is applied (when the PLG100-VH is
installed).
Current Dir (Current Directory)
Indicates the currently selected directory.
Master mode
Utility mode
Mode
Indicates the mode and program number memorized to
the currently selected Master.
PlugInfo/Port (Plug-in board installation
status)
Indicates the Plug-in board name and its MIDI port
number (Ref. #207, page 77) at the right of the slot
number. When PolyExpand (Ref. #206) is set to on in
the Utility mode, “P” is indicated at the left of the slot
number.
Reference
Volume Label
Indicates the volume label of the Memory card inserted
to the card slot.
Appendix
Rev (Reverb), Cho (Chorus), Var (Variation)
Indicates the currently selected effect type for each
effect block (page 67).
Quick Guide
Basics Section
● Sequence Play Mixing mode
ZoneSwitch
Indicates the on/off status of the Zone switch.
ZoneTCH (Zone Transmit Channel)
Indicates the MIDI transmit channel of each zone
(when the Zone Switch is set to on).
MIDI IN/OUT
Indicates which physical output terminal(s) will be
used for transmitting/receiving MIDI data: MIDI IN/
OUT/THRU, USB, or mLAN (when the optional
mLAN8E has been installed).
(USB firm Ver)
Indicates the USB interface firmware version.
Information Displays 115
Basics Section
Display Messages
Messages
Information
Quick Guide
Reference
Appendix
Are you sure? [YES]/[NO]
Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as
required.
Bad Card.
The card is unusable. Format the card and try again.
Bulk protected.
Bulk data was received when RcvBulk was set to “protect.” (Utility [F5]→[SF2] Ref. #184)
Can’t make folder.
No more directories can be created below the current level.
Card full.
The card is full and no more data can be saved. Use a new card, or make space by erasing unwanted
data from the card.
Card not ready.
A card is not properly inserted in or connected to the S90.
Card read/write error.
An error occurred while reading or writing to/from or Memory card.
Card unformatted.
The card is not formatted, or the format is unusable by the S90. Check the card contents.
Card write protected.
The card is write protected.
Completed.
The specified load, save, format, or other job has been completed.
Device number is off.
Bulk data cannot be transmitted/received since the device number is off.
Device number mismatch.
Bulk data cannot be transmitted/received since the device numbers don’t match.
Effect plug-in is not in slot 1.
The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in
board should be installed to slot 1.
Executing...
Never attempt to turn off the power while data is being written to Flash ROM. Turning the power off in
this state results in loss of all user data and may cause the system to freeze (due to corruption of data in
the Flash ROM).
File not found.
The specified file was not found on the card during a load operation. Try again after re-inserting/reconnecting the card.
Folder is too deep.
Directories below this level cannot be accessed.
Illegal Card.
The format type of the Memory card is wrong.
Illegal file.
The file specified for loading is unusable by the S90.
Illegal file name.
The specified file name is unacceptable. Try entering a different name.
MIDI buffer full.
Failed to process the MIDI data because too much data was received at one time.
MIDI checksum error.
An error occurred when receiving bulk data.
MIDI data error.
An error occurred when receiving MIDI data.
mLAN connection error.
Indicates a problem in the mLAN8E connection. Check the on/off status of the LED lamps on the
mLAN8E and refer to the Owner’s Manual of the mLAN8E.
mLAN error (xxx).
Indicates an unspecified problem related to the mLAN8E.
mLAN network error.
Indicates a problem in the mLAN8E network. Check the on/off status of the LED lamps on the mLAN8E
and refer to the Owner’s Manual of the mLAN8E.
mLAN now in Mixer mode.
The mLAN8E board is set to the Mixer mode by your computer, and the S90 cannot control the
mLAN8E.
Multi plug-in is not in slot 3.
The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part
Plug-in board should be installed to slot 3.
Not empty folder.
You attempt to delete a folder that contains data.
Now checking plug-in board.
The S90 is checking the Plug-in board installation status when powering the S90 on.
Now loading... (xxxx)
Indicates that a file is being loaded.
Now saving... (xxxx)
Indicates that a file is being saved.
Now working...
Indicates that the S90 is currently engaged in some operation, such as writing to/reading from the card,
etc.
Overwrite? [YES]/[NO]
A save operation will overwrite data on the card, and this message confirms whether it is OK to continue
or not. Press [INC/YES] or [DEC/NO] as required.
Please keep power on.
Never attempt to turn off the power while data is being written to Flash ROM. Turning the power off in
this state results in loss of all user data and may cause the system to freeze (due to corruption of data in
the Flash ROM).
116 Display Messages
The Plug-in All Bulk Save function does not apply to the PLG100 series boards.
Plug-in 1 communication error.
The Plug-in board that has been installed to slot 1 does not work.
Plug-in 2 communication error.
The Plug-in board that has been installed to slot 2 does not work.
Plug-in 3 communication error.
The Plug-in board that has been installed to slot 3 does not work.
Plug-in 1 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from
slot 1) has been selected.
Plug-in 2 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from
slot 2) has been selected.
Plug-in 3 type mismatch.
The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from
slot 3) has been selected.
Read only file.
You have attempted to delete, rename, or overwrite a read-only file.
Receiving MIDI bulk.
The S90 is receiving MIDI bulk data.
System memory crashed.
Writing data to Flash ROM has failed because the power was turned off during the operation. User data
has been initialized automatically. Turn the power off, then turn the power on again.
This Performance uses User Voices.
The performance you have loaded includes User voice data. Check whether the voice you saved exists
at the appropriate USER voice bank.
Too many favorites.
You’ve attempted to assign more than 257 voices to the Favorite category.
Transmitting MIDI bulk.
The S90 is transmitting MIDI bulk data.
Unknown file format.
The file format type is not supported by the S90.
Appendix
PLG100 not supported.
Quick Guide
Basics Section
Information
Try this operation after stopping the sequencer.
Reference
Messages
Please stop sequencer.
Display Messages 117
Basics Section
About MIDI
MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical
instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program
Change and various other types of MIDI data, or messages.
The S90 can control a MIDI device by transmitting note related data and various types of controller data. The S90
can be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI
channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts.
Quick Guide
Many MIDI messages are expressed in hexadecimal or
binary numbers. Hexadecimal numbers may include
the letter “H” as a suffix. The letter “n” indicates a
certain whole number.
The chart below lists the corresponding decimal
number for each hexadecimal/binary number.
Reference
Appendix
Decimal Hexadecimal
0
00
1
01
2
02
3
03
4
04
5
05
6
06
7
07
8
08
9
09
10
0A
11
0B
12
0C
13
0D
14
0E
15
0F
16
10
17
11
18
12
19
13
20
14
21
15
22
16
23
17
24
18
25
19
26
1A
27
1B
28
1C
29
1D
30
1E
31
1F
32
20
33
21
34
22
35
23
36
24
37
25
38
26
39
27
40
28
41
29
42
2A
43
2B
44
2C
45
2D
46
2E
47
2F
48
30
49
31
50
32
51
33
52
34
53
35
54
36
55
37
56
38
57
39
58
3A
59
3B
60
3C
61
3D
62
3E
63
3F
118 About MIDI
Binary
0000 0000
0000 0001
0000 0010
0000 0011
0000 0100
0000 0101
0000 0110
0000 0111
0000 1000
0000 1001
0000 1010
0000 1011
0000 1100
0000 1101
0000 1110
0000 1111
0001 0000
0001 0001
0001 0010
0001 0011
0001 0100
0001 0101
0001 0110
0001 0111
0001 1000
0001 1001
0001 1010
0001 1011
0001 1100
0001 1101
0001 1110
0001 1111
0010 0000
0010 0001
0010 0010
0010 0011
0010 0100
0010 0101
0010 0110
0010 0111
0010 1000
0010 1001
0010 1010
0010 1011
0010 1100
0010 1101
0010 1110
0010 1111
0011 0000
0011 0001
0011 0010
0011 0011
0011 0100
0011 0101
0011 0110
0011 0111
0011 1000
0011 1001
0011 1010
0011 1011
0011 1100
0011 1101
0011 1110
0011 1111
Decimal Hexadecimal
64
40
65
41
66
42
67
43
68
44
69
45
70
46
71
47
72
48
73
49
74
4A
75
4B
76
4C
77
4D
78
4E
79
4F
80
50
81
51
82
52
83
53
84
54
85
55
86
56
87
57
88
58
89
59
90
5A
91
5B
92
5C
93
5D
94
5E
95
5F
96
60
97
61
98
62
99
63
100
64
101
65
102
66
103
67
104
68
105
69
106
6A
107
6B
108
6C
109
6D
110
6E
111
6F
112
70
113
71
114
72
115
73
116
74
117
75
118
76
119
77
120
78
121
79
122
7A
123
7B
124
7C
125
7D
126
7E
127
7F
Binary
0100 0000
0100 0001
0100 0010
0100 0011
0100 0100
0100 0101
0100 0110
0100 0111
0100 1000
0100 1001
0100 1010
0100 1011
0100 1100
0100 1101
0100 1110
0100 1111
0101 0000
0101 0001
0101 0010
0101 0011
0101 0100
0101 0101
0101 0110
0101 0111
0101 1000
0101 1001
0101 1010
0101 1011
0101 1100
0101 1101
0101 1110
0101 1111
0110 0000
0110 0001
0110 0010
0110 0011
0110 0100
0110 0101
0110 0110
0110 0111
0110 1000
0110 1001
0110 1010
0110 1011
0110 1100
0110 1101
0110 1110
0110 1111
0111 0000
0111 0001
0111 0010
0111 0011
0111 0100
0111 0101
0111 0110
0111 0111
0111 1000
0111 1001
0111 1010
0111 1011
0111 1100
0111 1101
0111 1110
0111 1111
n • For example, 144 - 159(Decimal)/9nH/1001 0000 -
1001 1111(Binary) indicate the note-on messages for
the channels 1 through 16 respectively. 176 - 191/
BnH/1011 0000 - 1011 1111 indicate the control change
messages for the channels 1 through 16 respectively.
192 -207/CnH/1100 0000 - 1100 1111 indicate the
program change messages for the channels 1 through 16
respectively. 240/F0H/1111 0000 is positioned at the
beginning of data to indicate a system exclusive
message. 247/F7H/1111 0111 is positioned at the end of
the system exclusive message.
• aaH(Hexadecimal)/0aaaaaaa(Binary) indicates the
data addresses. The data address consists of High, Mid
and Low.
• bbH/0bbbbbbb indicates byte counts.
• ccH/0ccccccc indicates check sums.
• ddH/0ddddddd indicates data/value.
MIDI channels
MIDI performance data is assigned to one of sixteen
MIDI channels. Using these channels, 1 - 16, the
performance data for sixteen different instrument
parts can be simultaneously sent over one MIDI cable.
Think of the MIDI channels as TV channels. Each TV
station transmits its broadcasts over a specific channel.
Your home TV set receives many different programs
simultaneously from several TV stations and you select
the appropriate channel to watch the desired program.
Weather Report
News
1
2
News
2
MIDI operates on the same basic principle.
The transmitting instrument sends MIDI data on a
specific MIDI channel (MIDI Transmit Channel) via a
single MIDI cable to the receiving instrument. If the
receiving instrument’s MIDI channel (MIDI Receive
Channel) matches the Transmit Channel, the receiving
instrument will sound according to the data sent by the
transmitting instrument.
The S90 is a fully multi-timbral tone generator,
allowing you to sound several different instrument
parts simultaneously — from just the S90 — by
assigning a different MIDI channel to each part.
MIDI Messages Transmitted/
Received by the S90
MIDI messages can be divided into two groups:
Channel messages and System messages. Below is an
explanation of the various types of MIDI messages
which the S90 can receive/transmit.
n The sequencer section transmits all control change
messages recorded to a song.
CHANNEL MESSAGES
Channel messages are the data related to the
performance on the keyboard for the specific channel.
■ Note On/Note Off (Key On/Key Off)
Messages which are generated when the keyboard is
played.
Reception note range = C-2 (0) - G8 (127), C3 = 60
Velocity range = 1 - 127 (Only the Note On velocity is
received)
Note On: Generated when a key is pressed.
Note Off: Generated when a key is released.
Each message includes a specific note number which
corresponds to the key which is pressed, plus a velocity
value based on how hard the key is struck.
■ Control Change
Control Change messages let you select a voice bank,
control volume, panning, modulation, portamento time,
brightness and various other controller parameters,
through specific Control Change numbers which
correspond to each of the various parameters.
Bank Select MSB (Control #000)
Bank Select LSB (Control #032)
Messages which select variation voice bank numbers by
combining and sending the MSB and LSB from an
external device.
MSB and LSB functions differently depending on the
tone generator mode.
MSB numbers select voice type (Normal Voice or Drum
Voice), and LSB numbers select voice banks.
(For more information about Banks and Programs, see
Voice List in the “Data List” book.)
A new bank selection will not become effective until the
next Program Change message is received.
n The Master number and the Performance/Mixing/
Voice mode can be changed only via the Parameter
Change.
n In the Performance mode, the Part Voice cannot be
changed via the Program Change.
Modulation (Control #001)
Messages which control vibrato depth using the
Modulation Wheel.
Setting the value to 127 produces maximum vibrato and 0
results in vibrato off.
Quick Guide
MIDI Receive channel 2
Portamento Time (Control #005)
Messages which control the duration of portamento, or a
continuous pitch glide between successively played notes.
When the parameter Portamento Switch (Control #065)
is set to on, the value set here can adjust the speed of
pitch change.
Setting the value to 127 produces maximum portamento
time and 0 results in minimum portamento time.
Reference
MIDI Transmit channel 2
Data Entry MSB (Control #006)
Data Entry LSB (Control #038)
Messages which set the value for the parameter specified
by RPN MSB/LSB (page 121) and NRPN MSB/LSB (page
120).
Parameter value is determined by combining MSB and
LSB.
Main Volume (Control #007)
Messages which control the volume of each Part.
Setting the value to 127 produces maximum volume and
0 results in volume off.
Pan (Control #010)
Messages which control the stereo panning position of
each Part (for stereo output).
Setting the value to 127 positions the sound to the far
right and 0 positions the sound to the far left.
Expression (Control #011)
Messages which control intonation expression of each
Part during performance.
Setting the value to 127 produces maximum volume and
0 results in volume off.
Hold1 (Control #064)
Messages which control sustain on/off.
Setting the value between 64 - 127 turns the sustain on,
between 0 - 63 turns the sustain off.
Portamento Switch (Control #065)
Messages which control portamento on/off.
Setting the value between 64 -127 turns the portamento
on, between 0 - 63 turns the portamento off.
About MIDI 119
Appendix
MIDI
cable
Basics Section
n When only the Program Change is received after
entering any of the mode, the corresponding voice in
the currently selected Type/Memory is called up.
Sostenuto (Control #066)
Basics Section
Messages which control sostenuto on/off.
Holding specific notes and then pressing and holding the
sostenuto pedal will sustain those notes as you play
subsequent notes, until the pedal is released.
Setting the value between 64 -127 turns the sostenuto on,
between 0 - 63 turns the sostenuto off.
Harmonic Content (Control #071)
Quick Guide
Messages which adjust the filter resonance set for each
Part.
The value set here is an offset value which will be added
to or subtracted from the voice data.
Higher values will result in a more characteristic,
resonant sound.
Depending on the voice, the effective range may be
narrower than the range available for adjustment.
Release Time (Control #072)
Reference
Messages which adjust the AEG release time set for each
Part.
The value set here is an offset value which will be added
to or subtracted from the voice data.
Attack Time (Control #073)
Appendix
Messages which adjust the AEG attack time set for each
Part.
The value set here is an offset value which will be added
to or subtracted from the voice data.
Brightness (Control #074)
Messages which adjust the filter cutoff frequency set for
each Part.
The value set here is an offset value which will be added
to or subtracted from the voice data.
Lower values will result in a softer sound.
Depending on the voice, the effective range may be
narrower than the range available for adjustment.
Decay Time (Control #075)
Messages which adjust the AEG decay time set for each
Part. The value set here is an offset value which will be
added to or subtracted from the voice data.
Effect1 Depth (Reverb Send Level)
(Control #091)
Messages which adjust the send level for the Reverb effect.
Effect3 Depth (Chorus Send Level)
(Control #093)
Messages which adjust the send level for the Chorus effect.
120 About MIDI
Data Increment (Control #096)
Decrement (Control #097) for RPN
Messages which increase or decrease the MSB value of
pitch bend sensitivity, fine tune, or coarse tune in steps of
1. You are required to assign one of those parameters
using the RPN in the external device in advance.
The data byte is ignored.
When the maximum value or minimum value is reached,
the value will not be incremented or decremented further.
(Incrementing the fine tune will not cause the coarse
tune to be incremented.)
NRPN (Non-Registered Parameter Number)
LSB (Control #098) (Plug-in Board only)
NRPN (Non-Registered Parameter Number)
MSB (Control #099) (Plug-in Board only)
Messages which adjust a voice’s vibrato, filter, EG, drum
setup or other parameter settings.
First send the NRPN MSB and NRPN LSB to specify the
parameter which is to be controlled. Then use Data Entry
(page 119) to set the value of the specified parameter.
Note that once the NRPN has been set for a channel,
subsequent data entry will be recognized as the same
NRPN’s value change. Therefore, after you use the
NRPN, you should set a Null (7FH, 7FH) value to avoid
an unexpected result.
For details, refer to the owner’s manual of the relevant
Plug-in Board.
RPN MSB
RPN LSB
00
00
Pitch Bend Sensitivity
PARAMETER
00
01
Fine Tune
00
02
Coarse Tune
7F
7F
Null
2nd BYTE
3rd BYTE
120
0
All Sounds Off
MESSAGE
121
0
Reset All Controllers
123
0
All Notes Off
126
0 ~ 16
127
0
Basics Section
The following Channel Mode Messages can be received.
Mono
All Sounds Off (Control #120)
Clears all sounds currently sounding on the specified
channel. However, the status of channel messages such
as Note On and Hold On is maintained.
Quick Guide
Poly
Reset All Controllers (Control #121)
The values of the following controllers will be reset to the
defaults.
Reference
Messages which offset, or add or subtract values from a
Part’s pitch bend sensitivity, tuning, or other parameter
settings.
First send the RPN MSB and RPN LSB to specify the
parameter which is to be controlled. Then use Data
Increment/Decrement (page 120) to set the value of the
specified parameter.
Note that once the RPN has been set for a channel,
subsequent data entry will be recognized as the same
RPN’s value change. Therefore after you use the RPN,
you should set a Null (7FH, 7FH) value to avoid an
unexpected result.
The following RPN numbers can be received.
■ Channel Mode Messages
CONTROLLER
VALUE
Pitch Bend Change
0 (center)
Aftertouch
0 (off)
Polyphonic Aftertouch
0 (off)
Modulation
0 (off)
Expression
127 (max)
Hold1
0 (off)
Portamento
0 (off)
Sostenuto
0 (off)
Soft Pedal
0 (off)
Portamento Control
Cancels the Portamento source key number
RPN
Number not specified; internal data will not change
NRPN
Number not specified; internal data will not change
All Notes Off (Control #123)
Clears all notes currently on for the specified channel.
However, if Hold1 or Sostenuto is on, notes will continue
sounding until these are turned off.
Mono (Control #126)
Performs the same function as when an All Sounds Off
message is received, and if the 3rd byte (mono number) is
in the range of 0 - 16, sets the corresponding channel to
Mono Mode (Mode 4: m = 1).
Poly (Control #127)
Performs the same function as when an All Sounds Off
message is received, and sets the corresponding channel
to Poly Mode.
About MIDI 121
Appendix
RPN (Registered Parameter Number) LSB
(Control #100)
RPN (Registered Parameter Number) MSB
(Control #101)
■ Program Change
Basics Section
Messages which determine which voice to select for each
Part. With a combination of Bank Select, you can select
not only basic voice numbers, but also variation voice
bank numbers.
■ Pitch Bend
Pitch Bend messages are continuous controller messages
that allow the pitch of designated notes to be raised or
lowered by a specified amount over a specified duration.
Quick Guide
■ Channel Aftertouch
Messages which let you control the sounds by the
pressure you apply to the keys after the initial striking of
the keys, over the entire channel.
The S90 does not transmit this data from the keyboard;
however, the S90 does properly respond to this data when
received from an external device.
Reference
■ Polyphonic Aftertouch
Messages which let you control the sounds by the
pressure you apply to the keys after the initial striking of
the keys, for each individual key.
The S90 does not transmit this data from the keyboard;
however, the data is transmitted from the S90’s internal
sequencer.
SYSTEM MESSAGES
System messages are the data related to the overall
system of the device.
■ System Exclusive Messages
System Exclusive messages control various functions of
the S90, including master volume and master tuning,
tone generator mode, effect type and various other
parameters.
General MIDI (GM) System On
(Sequence Play mode only)
When “General MIDI system on” is received, the S90 will
receive the MIDI messages which are compatible with
GM System Level 1, and consequently will not receive
NRPN and Bank Select messages.
F0 7E 7F 09 01 F7 (Hexadecimal)
n Make sure that the interval between this message and
the first note data of the song is at least a quarter note
or greater in length.
Master Volume
When received, the Volume MSB will be effective for the
System Parameter.
F0 7F 7F 04 01 ll mm F7 (Hexadecimal)
Appendix
* mm (MSB) = appropriate volume value,
ll (LSB)
= ignored
■ System Realtime Messages
System Realtime messages
Control the sequencer, including Start (FAH), Continue
(FBH), Stop (FCH), MIDI clock (F8H) and Active
Sensing messages (see below).
Active Sensing
Once FEH (Active Sensing) has been received, if no MIDI
data is subsequently received for longer than an interval
of approximately 300msec, the S90 will perform the same
function as when All Sounds Off, All Notes Off, and
Reset All Controllers messages are received, and will then
return to a status in which FEH is not monitored
■ System Common Messages (Transmit only)
System Common messages also control the sequencer,
including Song Select and Song Position Pointer
messages.
n Refer to the MIDI Data Format in the “Data List” book
for more information on the various messages.
122 About MIDI
Installation locations
mLAN8E cover
Plug-in Board
cover
Up to three boards can be installed to the rear panel.
• Before beginning installation, switch off the power to
the S90 and connected peripherals, and unplug them
from the power outlet. Then remove all cables
connecting the S90 to other devices. (Leaving the
power cord connected while working can result in
electric shock. Leaving other cables connected can
interfere with work.)
• Be careful not to drop any screws inside the instrument
during installation (this can be prevented by keeping
the optional units and cover away from the instrument
while attaching). If this does happen, be sure to
remove the screw(s) from inside the unit before
turning the power on. Loose screws inside the
instrument can cause improper operation or serious
damage. If you are unable to retrieve a dropped screw,
consult your Yamaha dealer for advice.
• Install the optional units carefully as described in the
procedure below. Improper installation can cause
shorts which may result in irreparable damage and
pose a fire hazard.
• Do not disassemble, modify, or apply excessive force to
board areas and connectors on optional units. Bending
or tampering with boards and connectors may lead to
electric shock, fire, or equipment failures.
• Before handling the optional units, you should briefly
touch the metal surface to which the optional unit
cover is attached (or other such metallic area — be
careful of any sharp edges) with your bare hand so as
to drain off any static charge from your body. Note that
even a slight amount of electrostatic discharge may
cause damage to these components.
• It is recommended that you wear gloves to protect your
hands from metallic projections on optional units and
other components. Touching leads or connectors with
bare hands may cause finger cuts, and may also result
in poor electrical contact or electrostatic damage.
• Handle the optional units with care. Dropping or
subjecting them to any kind of shock may cause
damage or result in a malfunction.
• Be careful of static electricity. Static electricity
discharge can damage the IC chips on the Plug-in
board. Before you handle the optional Plug-in board, to
reduce the possibility of static electricity, touch the
metal parts other than the painted area or a ground
wire on the devices that are grounded.
• Do not touch the exposed metal parts in the circuit
board. Touching these parts may result in a faulty
contact.
• When moving a cable, be careful not to let it catch on
the circuit Plug-in board. Forcing the cable in anyway
may cut the cable, cause damage, or result in a
malfunction.
• Be careful not to misplace any of the screws since all of
them are used.
• Do not use any screws other than what are installed on
the instrument.
Installing Optional Hardware 123
Quick Guide
mLAN8E
Before installing the optional hardware, make sure you
have a Philips screwdriver.
Reference
Plug-in Boards
Installation Precautions
Appendix
Optional units that can
be installed to the S90
Basics Section
Installing Optional Hardware
Basics Section
Optional Plug-in
Board Installation
A variety of optional Plug-in boards (page 21) sold
separately let you expand the voice library of your
instrument.
The following types of Plug-in boards can be used with
your instrument.
Quick Guide
• PLG150-AN
• PLG150-PF
• PLG150-VL
• PLG150-DX
• PLG150-DR
• PLG150-PC
• PLG100-XG
• PLG100-VH
3 Remove the ribbon cables that are to be connected
to the Plug-in board from the inside of the S90. The
slots are assigned to the color-coded cables as
follows:
Slot 1 — Orange
Slot 2 — Yellow
Slot 3 — Green
Plug-in SLOT
3
2
1
Cable for
SLOT 3
(Green)
Cable for
SLOT 2
(Yellow)
GREEN
YELLOW
ORANGE
SLOT 3
SLOT 2
SLOT 1
Cable for
SLOT 1
(Orange)
Reference
Green
Yellow
Orange
Installing the Plug-in Board
The S90 has three slots on the rear panel, allowing you
to install and use up to three separate Plug-in boards.
4 Insert the board along the guide rails, with the
connector side face up and toward you.
n The Vocal Harmony Plug-in board (PLG100-VH) can
installed only to slot 1.
Appendix
1 Turn the S90 power off, and disconnect the AC
power cord. Also, make sure to disconnect the S90
from any connected external devices.
2 Remove the large screw from the expansion bay
cover on the rear panel using a Phillips screwdriver.
n The Multi part Plug-in board (PLG-100XG) can
installed only to slot 3.
n The Single part Plug-in board can installed to any of
three slots.
Keep the removed screw in a safe place. It will be
used when attaching the cover to the S90 again.
Plug-in SLOT
Plug-in SLOT
3
2
1
3
2
1
GREEN
YELLOW
ORANGE
GREEN
YELLOW
ORANGE
SLOT 3
SLOT 2
SLOT 1
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Securely insert the board into the
appropriate slot, taking care that the board
isn’t jammed between slots.
124 Installing Optional Hardware
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
• A message appears indicating that the installed Plug-in
Board is being checked. The main display then appears
and the corresponding slot indicator at the right top of the
front panel lights. This indicates that the board has been
successfully installed.
• If an error message appears, the S90 freezes after a while,
indicating that the installation was not successful. If this
happens, turn off the power and carefully go through the
installation procedure again.
6 Bring the cable end around and connect it to the
board. Make sure to connect the proper cable,
matching the color of the cable to the slot used.
Also, take care not to pull on the cable too forcefully
as you connect it to the board.
Slot Indicator lamps
PROGRAM
SLOT 1
SLOT 2
SLOT 3
PRE 3
GM
USER
PLG 1
PLG 2
PLG 3
ORGAN
GUITAR/
PLUCKED
BASS
STRINGS
BRASS
REED/PIPE
CATEGORY
SEARCH
In this example, a Plug-in board has been installed to slot 1.
Plug-in Connector
Basics Section
9 Check that the installed Plug-in board is functioning
properly. Turn on the power.
Quick Guide
8 Replace the cover with the screw you removed in
step 2 above. Replacing the cover also serves to
securely hold the Plug-in board(s) in place.
Reference
5 Insert the Plug-in board into the expansion bay,
slowly pushing it all the way in until it fits in place.
Press the connectors together
until the two notches lock into
the sockets.
Connector from S90
Appendix
Notch
Plug-in board
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
7 Carefully put the ribbon cable back into the S90,
making sure that no part of the cable sticks out of
the instrument.
Plug-in SLOT
3
2
1
GREEN
YELLOW
ORANGE
Installing Optional Hardware 125
Basics Section
Optional mLAN8E
Installation
4 Remove the three screws from the rear cover while
holding it from inside the S90 with your left hand.
With the mLAN8E board, you can conveniently and
easily hook up your S90 to other mLAN-compatible
instruments or devices.
Quick Guide
Installing the mLAN8E
1 Turn the S90 power off, and disconnect the AC
power cord. Also, make sure to disconnect the S90
from any connected external devices.
Reference
2 Turn over the S90 so you can have direct access to
the underside. To protect the Knobs and Wheels,
place the keyboard so the four corners are
supported by something that provides sufficient
support like magazines or cushions.
Keep the removed screws in a safe place. They will be
used when attaching the cover to the S90 again if the
mLAN8E is removed in the future.
5 Remove the mLAN8E from its package and connect
the included flat ribbon cable. Securely fasten the
flat ribbon cable to the rear panel of the mLAN8E.
Make sure that the ribbon is at the top, as shown.
Top of mLAN8E
Appendix
View of the keyboard from the bottom.
MUSIC SYNTHESIZER
Modular Synthesis Plug-in System
Make sure that flat ribbon
cable is at top of connector.
Rear panel of mLAN8E
Please the supports at all four corners
without touching the Wheels.
n Be careful not to drop or bump the keyboard and
make sure that it is well balanced before proceeding.
3 With the rear panel of the upside-down instrument
facing you (as shown in the top illustration of step
2), remove the cover of the rear panel. Unscrew
the four screws (as shown below), and remove the
cover from the instrument.
Keep the removed screws in a safe place. They will be
used when attaching the cover to the S90 again after
installing the mLAN8E.
Rear panel of S90
126 Installing Optional Hardware
Front panel of mLAN8E
Make sure that flat ribbon cable sticks out from the top
and that the panel printing “mLAN8E” can be seen.
8 Hold the mLAN8E upside down, and insert the
connector on the other end of the flat ribbon cable,
to the circuit board of the S90.
Basics Section
6 Fasten the mLAN8E to the rear cover you removed
in step 3. Attach the unit to the cover with the
three screws you removed earlier (in step 4). If
you start replacing the screws from the center
screw, it will be easier to replace the remaining
screws.
7 Fasten the ribbon cable on the top of mLAN8E by
using one of the tapes that came with mLAN8E.
Rear panel of the S90
Underside of mLAN8E
Front panel of mLAN8E
9 Re-install the cover (with the affixed mLAN8E) to
the S90.
Insert this in the S90’s inside.
Installing Optional Hardware 127
Reference
Underside of the S90
3
Appendix
1
2
Quick Guide
Align the connectors as shown.
Basics Section
Troubleshooting
No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that
the product is faulty. In many cases you’ll find the solution to your problem here. If the problem persists, then contact
your Yamaha dealer or service center (Page 138).
Quick Guide
No sound.
Reference
Appendix
● Is the power of the S90 and any external equipment connected to the S90 turned on? (Page 14)
● Have you made all the appropriate level settings – including the Master Volume on the S90 and the volume settings on
any connected external equipment? (Page 14)
● Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)? (Page 18)
● Is the S90 properly connected to related external equipment (e.g., amplifier or speaker) via audio cables? (Page 15)
● When the voice produces no sound, is the Volume or Level in the Voice common edit set appropriately?
(Ref. #43, #135)
● When the voice produces little or no sound, have you changed any of the CS slider settings? (The CS 1-4 sliders can
control the element levels in the voice. If all these are set to “0,” the voice will not sound.) (Page 53)
● When the voice produces no sound, are the parameters in the Voice element edit (e.g., element switch, note limit,
velocity limit) set appropriately in the Voice common edit? (Page 62)
● When the voice produces no sound, are the effect and filter settings appropriate? (Inappropriate filter cutoff frequency
settings can result in no sound.) (Pages 63, 67)
● When the performance produces no sound, has a voice been assigned to each part? (Ref. #29, #36)
● When the performance produces no sound, is the note limit of each part set appropriately? (Ref. #32)
● When the performance produces no sound, is the volume of each part set appropriately? (Ref. #43, #135)
● When the performance produces little or no sound, have you changed any of the CS slider settings? (The CS 1-4 sliders
can control the part levels in the performance. If all these are set to “0,” the performance will not sound.) (Page 53)
● When the performance produces no sound, is the output select of each part set appropriately? (Ref. #115)
● When the song playback produces no sound, are any or all of the tracks muted? (Page 76)
● When the song playback produces no sound, are the output channel of each track in the play mode and the receive
channel of each part in the Mixing mode set appropriately? (Page 77)
● When the song playback produces no sound, is the volume of each part in the Mixing mode set appropriately?
(Page 78)
● When the song playback produces no sound, is the output select of each part in the Mixing mode set appropriately?
(Page 77)
● When the arpeggio produces no sound, are the note limit and velocity limit set appropriately? (Ref. #81, #82)
● Is MIDI Local set to off in the Utility mode? (Ref. #183)
Distorted sound.
●
●
●
●
Are the effect settings appropriate? (Ref. #190-#205)
Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.) (Ref. #91-#93)
Is the MASTER VOLUME set so high that clipping is occurring? (Page 14)
Is the volume of each element in the Voice mode or the volume of each part in the Performance mode or the volume of
each track/part in the Song mode set too high? (Ref. #43, #135)
128 Troubleshooting
● Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)? (Page 18)
● Is the cutoff frequency of the filters set too high/low? (Ref. #92, #96)
Basics Section
Sound level is too low.
Sound is cut off.
Pitch or intervals are wrong.
Appendix
● Is the Master Tune parameter in the Utility mode set at a value other than “0”? (Ref. #216)
● Is the Note Shift parameter in the Utility mode set at a value other than “0”? (Ref. #41)
● When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter in the
Voice Edit mode? (Ref. #5)
● When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high?
(Ref. #172)
● When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than “0”?
(Ref. #41)
● When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than “0”?
(Ref. #153)
Only one note sounds at a time.
● Is the Mono/Poly parameter in the Voice mode set to “mono”? (Ref. #3)
No effect is applied.
● Is the [EFFECT BYPASS] button turned off? (Page 12)
● Have any or all of the elements’ Effect Output parameter been set to “thru”? (Ref. #190)
● Have any or all of the effect types been set to “thru” or “off” (in the Effect display of the Voice Edit mode)?
(Ref. #192-#194)
An inappropriate or unexpected value results when using the
keyboard and the [INFORMATION] button to change a setting.
● Has the Transpose parameter in Utility mode been set to a value other than 0? ([F1] → [SF2] Ref. #18)
Song cannot be started.
●
●
●
●
Reference
Quick Guide
● Are you exceeding the maximum polyphony of the S90? (Page 22)
Does the selected song contain data? (Page 75)
Is the Remote Control turned on? (Page 12)
Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode? (Ref. #185)
Has the appropriate Play directory (for Sequence playback) been selected? (Page 75)
Troubleshooting 129
Can’t save data to the Memory card .
Basics Section
● Is the Memory card being used write protected? (Write-protect should be set to off for saving data.) (Page 82)
● Is the Memory card being used properly formatted? (Page 82)
MIDI bulk data transmission/reception won’t work properly.
Quick Guide
● Is the Receive Bulk parameter set to “protect” in the Utility mode? (Ref. #184)
Plug-in board does not work.
Reference
● Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? (Pages 73 and 125)
● Has the Vocal Harmony Plug-in board been installed to slot 2 or 3? (The VH board should be installed to slot 1.)
(Page 124)
● Has the Multi-part Plug-in board been installed to slot 1 or 2? (The Multi-part Plug-in board should be installed to slot 3.)
(Page 124)
S90 hangs up or freezes during start up because of a malfunction or
incorrect operation.
Appendix
● While data is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is shown),
power should never be turned off – this results in loss of all user data and may cause the system to freeze. If this
happens, turn the power off, then simultaneously hold down the [MASTER], [STORE], and [PRE1] buttons while
turning the power on again. If a “System memory crashed” message appears, refer to page 117.
130 Troubleshooting
Keyboards
88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch)
Tone Generator block Tone Generator
AWM2 (complying with the Modular Synthesis Plug-in System)
Others
64 notes + the polyphony of the Plug-in Board (if installed)
Multi Timbral Capacity
16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board;
16 for Multi Plug-in Board), A/D Input
Wave
110MB (when converted to 16- bit linear format), 1347 waveforms
Voice
Preset: 384 normal voices + 48 drum kits
GM : 128 normal voices + 1 drum kit
User: 128 normal voices + 16 drum kits
Plug-in Voice
Preset for the PLG150-AN/PF/DX/DR/PC: 64
Preset for the PLG-150VL: 192
User: 64 for each Plug-in slot
Performance
User: 128 (up to 4 parts)
Arpeggio
Preset 1 x 128 types
Preset 2 x 128 types
User x 128 types (read only)
* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.
Filter
21 types
Effect System
Reverb x 12 types, Chorus x 25 types, Insertion 1 x 25 types, Insertion 2 x 104 types, Variation x 25 types
(available for Performance/Song), Master Equalizer (5 bands), Plug-in Insertion (available when the PLG100-VH
has been installed to slot 1)
Expandability
3 Slots for Modular Synthesis Plug-in Boards
Sequence Play
SMF Format 0 (Direct Play only)
Tempo
1 - 300
Number of Sequence Chains
100 steps (100 Songs)
Master
User: 128
Reference
Quick Guide
Polyphony
Appendix
Sequencer block
Basics Section
Specifications
Sequence Software controlled via the Remote Control function (page 59)
Controllers
Pitch Bend wheel, Modulation wheel, Assignable Control Slider x 4, Data dial
Display
240 x 64 dot graphic backlit LCD
External Memory
SmartMedia™ (3.3V)
* Up to 128MB can be used.
Dimensions, Weight
1,357(W) x 386(D) x 163(H)mm, 23.0kg
Supplied Accessories
Power cord, Owner’s Manual Set
TOOLS for S90 CD-ROM
Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any
time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Specifications 131
Basics Section
Index
A
Quick Guide
Reference
Appendix
A/D (Performance Play)............................................ 44
A/D input (Connections)........................................... 15
A/D INPUT jack ........................................................ 13
A/D Source ............................................................... 100
Absolute ...................................................................... 35
AC INLET (AC power cord socket) .......................... 13
AC Source (AC1 Control Number) ......................... 103
AC(AC1) Filter Control ........................................... 103
AC(AC1) LFO Amplitude Modulation Depth........ 103
AC(AC1) LFO Filter Modulation Depth ................ 103
AC(AC1) LFO Pitch Modulation Depth................. 103
Active Sensing .......................................................... 122
AD (Mixing) ............................................................... 78
AEG............................................................................. 66
(AEG) Attack/Decay/Release (Time) .................... 105
AEG Attack Time .................................................... 105
(AEG) LEVEL .......................................................... 104
AEG Level................................................................. 104
AEG Level Velocity Sensitivity ............................... 104
(AEG) Sustain (Level) ............................................. 105
AEG Sustain Level ................................................... 105
(AEG) TIME ............................................................ 104
AEG Time................................................................. 104
AEG Time Key Follow Center Key......................... 104
AEG Time Key Follow Sensitivity .......................... 104
AEG Time Segment.................................................. 104
AEG Time Velocity Sensitivity ............................... 104
Aftertouch................................................................... 54
All Notes Off (Control #123)................................... 121
All Sounds Off (Control #120) ................................ 121
Alternate Group ......................................................... 99
Alternate Pan Depth ................................................ 104
AlternatePan............................................................. 104
AltnateGroup.............................................................. 99
AMod ........................................................................ 103
AMod (LFO)............................................................. 105
AMP ............................................................................ 66
Amplitude ................................................................... 66
Amplitude (Level) Key Follow Sensitivity ............. 104
Amplitude Envelope Generator................................. 66
Amplitude Key Follow Center Key ......................... 104
Amplitude Scaling Break Point ............................... 104
Amplitude Scaling Offset ......................................... 104
ARP (Voice Common) ............................................... 62
Arpeggio (Four playback categories)......................... 45
Arpeggio (Performance Play) .................................... 44
Arpeggio (Voice Play) ................................................ 40
Arpeggio Bank ............................................................ 46
[ARPEGGIO] button.................................................. 12
Arpeggio function....................................................... 45
Arpeggio Gate Time Rate ........................................ 101
Arpeggio Hold........................................................... 101
Arpeggio Key Mode.................................................. 101
Arpeggio MIDI Out Switch...................................... 101
Arpeggio MIDI Transmit Channel.......................... 101
Arpeggio Note Limit Low/High .............................. 101
Arpeggio part switch .................................................. 47
Arpeggio playback ...................................................... 46
Arpeggio structure...................................................... 45
Arpeggio Switch ....................................................... 101
Arpeggio Switch Control Number........................... 103
Arpeggio Tempo ....................................................... 101
Arpeggio Type .................................................... 46, 101
Arpeggio Type Bank................................................. 101
Arpeggio Unit Multiply............................................ 101
Arpeggio Velocity Limit Low/High......................... 101
Arpeggio Velocity Mode........................................... 101
Arpeggio Velocity Rate ............................................ 101
AS1/AS2 ................................................................... 101
ASA/ASB .................................................................. 103
Assign1/Assign2 Control Number .......................... 101
AssignA/B/1/2 ........................................................... 98
Assignable A/B Slider Control Number.................. 103
Assignable A/B Slider Destination .......................... 103
ASSIGNABLE OUT L & R jacks .............................. 13
ASSIGNABLE OUTPUT L&R Gain....................... 100
AssignL/RGain......................................................... 100
AT (CAT) Pitch Control.......................................... 103
AT(CAT) Filter Control .......................................... 103
AT(CAT) LFO Amplitude Modulation Depth....... 103
132 Index
AT(CAT) LFO Filter Modulation Depth ................ 103
AT(CAT) LFO Pitch Modulation Depth ................ 103
Attack Time (AEG) .................................................. 105
Attack Time (Control #073) .................................... 120
Attack Time (FEG)................................................... 105
AutoLoad..................................................................... 99
AWM2 (Advanced Wave Memory2) ........................ 21
B
Band Elimination Filter.............................................. 64
Band Pass Filter .......................................................... 64
Bank..................................................................... 99, 101
Bank (Memory) Structure.......................................... 25
BANK buttons ............................................................ 12
Bank Select LSB (Control #032) .............................. 119
Bank Select MSB (Control #000)............................. 119
Bank Select MSB/LSB............................................... 103
BankMSB/LSB .......................................................... 103
BankSel...................................................................... 106
Basic Receive Channel.............................................. 105
BasicRcvCh................................................................ 105
BC............................................................................... 101
BC (Breath Controller) Curve .................................... 98
BC Control Number .................................................. 101
BCCurve ...................................................................... 98
Board Custom Voice ................................................... 66
Board voices ................................................................ 40
Board voices (Save)..................................................... 73
Break Point.................................................................102
BREAKPOINT.................................................. 102, 104
Breath Controller ........................................................ 54
BREATH Controller jack ........................................... 13
Brightness (Control #074)........................................ 120
Bulk Dump 72
C
Cakewalk ProAudio Ver9.0 (Remote Control)......... 59
Card Drive ................................................................... 24
Card mode ................................................................. 115
CARD slot ................................................................... 13
Category................................................................. 38, 99
Category Search .......................................................... 38
[CATEGORY SEARCH] button................................ 12
CD-ROM........................................................................ 6
CenterKey................................................. 101, 102, 104
CHAIN ........................................................................ 75
Chain Step Number .................................................... 75
Chained Playback........................................................ 76
Changing the Tempo .................................................. 76
Channel Aftertouch .................................................. 122
Character List.............................................................. 35
ChoCtrl ........................................................................ 98
Chorus ......................................................................... 67
Chorus Control............................................................ 98
Chorus Pan ................................................................ 106
Chorus Return .......................................................... 106
Chorus Send ...................................................... 100, 106
Chorus to Reverb ...................................................... 106
Chorus Type.............................................................. 106
ChoSend..................................................................... 100
Clock Out................................................................... 106
ClockOut.................................................................... 106
Coarse ........................................................................ 100
Common Edit (Master mode) .................................... 51
Compare Function ...................................................... 61
computer’s MIDI interface ......................................... 18
Confirmation Message ................................................ 33
Connecting External MIDI Equipment ..................... 16
Connecting to a Personal Computer .......................... 17
Connecting to External Audio Equipment................ 15
Connecting Various Controllers................................. 18
Connections................................................................. 15
Control Change ......................................................... 119
Control Change (AEG Sustain) ............................... 106
[CONTROL FUNCTION] button.............................. 12
Control Function Select...................................... 98, 100
Control Number settings (Zone)................................ 52
Control Sets ................................................................. 55
Control Slider Control Number ............................... 103
Control Sliders............................................................. 53
Control the level (Remote Control)............................ 58
Control the transport functions (Remote Control) ... 58
Controller..................................................................... 20
Controller Reset .......................................................... 99
Controller Set............................................................ 103
Copy (Job).................................................................... 71
CS ................................................................................. 53
[CS1] - [CS4] (Control Slider)..................................... 12
CSAssign ...................................................................... 98
Ctgry............................................................................. 99
CTL SET (Voice Common) ........................................ 62
CtrlChange ................................................................ 106
CtrlReset ...................................................................... 99
CtrlSlider................................................................... 103
Cubase VST 5.0 (Remote Control)............................. 59
Cubase VST/32 (Remote Control) ............................. 59
Cursor buttons............................................................. 12
Curve................................................................. 100, 104
Cutoff ........................................................................ 102
Cutoff Frequency......................................................... 63
CutoffSens................................................................. 102
D
Data dial....................................................................... 12
Data Entry ................................................................... 33
Data Entry LSB (Control #038) .............................. 119
Data Entry MSB (Control #006) ............................. 119
Data Increment (Control #096)............................... 120
Data List......................................................................... 7
[DEC/NO] button........................................................ 12
Decay Time............................................................... 105
Decay Time (AEG) .................................................. 105
Decay Time (Control #075)..................................... 120
Decay Time (FEG) ................................................... 105
Decrement (Control #097) for RPN ....................... 120
Delay ......................................................................... 105
Delay Time ............................................................... 105
DELETE ............................................................. 86, 107
Delete ........................................................................ 107
Demo Playback ............................................................ 19
Demo song ................................................................... 19
Depth................................................. 100, 102, 103, 105
Dest ................................................................... 103, 105
Detune....................................................................... 104
DEV NO.................................................................... 105
Device No. ................................................................ 105
Display Indications ..................................................... 30
Display Messages.............................................. 116, 128
Distance .................................................................... 102
DRAM.......................................................................... 28
Drum Voices ................................................................ 27
Dry Level .................................................................. 100
E
[E] Indicator................................................................. 39
Echo ............................................................................. 18
Edit Buffer ................................................................... 28
Edit indicator............................................................... 39
Edit Recall (Job) .......................................................... 71
EF BYPS....................................................................... 99
EFF PART→PLG-EF............................................... 106
EFF PART→VCE INS ............................................. 106
EFFECT (Voice Common) ......................................... 62
Effect Bypass................................................................ 99
[EFFECT BYPASS] button......................................... 12
Effect Parameters ..................................................... 107
Effect1 Depth (Reverb Send Level) (Control #091) ... 120
Effect3 Depth (Chorus Send Level) (Control #093) ... 120
Effects ..........................................................................24
EG (Envelope Generator) (Performance Play) ......... 44
EG (Voice Play) ........................................................... 40
EGLevel..................................................... 100, 102, 104
EGTime..................................................... 100, 102, 104
EGTimeSens ............................................. 101, 102, 104
EL 1-4 Insertion Effect Out ..................................... 106
EL: OUT 1-4 ............................................................. 106
Element ........................................................................ 26
Element Level ........................................................... 103
Element Switch ............................................................99
H
H.Freq (Type=EQ L/H) .......................................... 107
hard (Velocity) ............................................................ 87
Harmonic Content (Control #071) .......................... 120
High Pass Filter........................................................... 64
Hold ................................................................... 101, 105
Hold (ARP) ............................................................... 103
Hold Control Number............................................... 103
Hold1 (Control #064) ............................................... 119
HPF Cutoff Frequency.............................................. 102
HPF Cutoff Frequency Key Follow ......................... 102
HPFCutoff ................................................................. 102
HPFKeyFlw............................................................... 102
I
IEEE1394 interface..................................................... 17
[INC/YES] button ....................................................... 12
[INFORMATION] button .......................................... 12
Information Display (Basic Operations) ................... 33
Information Displays (Appendix) ........................... 114
initializing (Job) .......................................................... 70
Ins1 Ctgry/Type........................................................ 106
Ins2 Ctgry/Type........................................................ 106
InsChoSend ............................................................... 100
InsEF ......................................................................... 103
InsEF Connect........................................................... 106
InsEffect(Eff)Out........................................................ 99
Insertion 1 Category/Type ....................................... 106
Insertion 2 Category/Type ....................................... 106
Insertion Chorus Send.............................................. 100
Insertion Effect ......................................................... 103
Insertion Effect Connection Type ........................... 106
Insertion Effect Out.................................................... 99
Insertion Effect Part (Voice) .................................... 106
Insertion Effects.......................................................... 67
Insertion Reverb Send .............................................. 100
InsRevSend ............................................................... 100
Installation Guide ......................................................... 7
Installing Optional Hardware .................................. 123
Internal Memory................................................... 27, 28
K
KBDTransCh ............................................................ 105
KEY Insertion Effect Out ......................................... 106
Key On Delay .............................................................. 99
Key On Reset ............................................................ 105
Key On/Key Off ........................................................ 119
KEY: OUT ................................................................. 106
KeyAsgnMode (AssignMode) .................................... 98
Keyboard Transmit Channel
(Voice/Performance Mode) ...................................... 105
KeyMode ................................................................... 101
(KeyOn)Delay ........................................................... 105
KeyOnDelay ................................................................ 99
KeyOnReset .............................................................. 105
M
M.TuningNo................................................................ 98
Main Category (Voice/Performance)......................... 98
Main Volume (Control #007) .................................. 119
MainCtgry.................................................................... 98
Master Edit Mode (Function Tree) ............................91
Master EQ Offset..........................................................98
Master EQ Shape...................................................... 100
Master Equalizer ......................................................... 67
Master Mode................................................................ 48
Master mode ............................................................. 115
Master Octave Shift..................................................... 98
Master Play Mode (Function Tree) ........................... 91
Master program ........................................................... 49
Master Transpose........................................................ 98
Master Tune ............................................................. 107
Master Volume ......................................................... 122
[MASTER VOLUME] slider ...................................... 12
Maximum Polyphony.................................................. 22
Memorize to a Master ................................................. 50
Memory Card........................................................ 28, 82
MEQ OFFSET ............................................................. 98
Mic/Line ................................................................... 100
Micro Tuning .............................................................. 98
microphone.................................................................. 15
MIDI.......................................................................... 118
MIDI channels.......................................................... 118
MIDI IN/OUT .......................................................... 106
MIDI IN/OUT/THRU terminals ............................... 13
MIDI OUT ................................................................ 106
MIDI Switch ................................................................ 99
MIDI Sync ................................................................ 106
MIDI Thru................................................................... 18
MIDISwitch ................................................................. 99
Mix Template .............................................................. 75
mixer ............................................................................ 15
Mixer (Sequence Play)................................................ 77
Mixing Edit mode........................................................ 79
Mixing mode................................................................ 77
Index 133
Basics Section
L&RGain................................................................... 100
L.Freq (Type=EQ L/H) .......................................... 107
Layer (Master mode)................................................... 49
Layer (Performance Play mode)................................. 42
LCD (Liquid Crystal Display)..................................... 12
LCD Contrast control.................................................. 12
LEVEL....................................................... 100, 102, 104
Level .................................................. 100, 102, 103, 104
Level (VEL SENS).................................................... 104
Level Velocity Sensitivity ........................................ 104
LevelSens .................................................................. 104
LFO .............................................................................. 66
LFO (Key On) Delay Time ...................................... 105
LFO (Voice Common)................................................. 62
LFO Amplitude Modulation Depth......................... 105
LFO Depth ................................................................ 105
LFO Destination....................................................... 105
LFO Destination Element Switch ........................... 105
LFO Fade-in Time .................................................... 105
LFO Fade-out Time.................................................. 105
LFO Filter Modulation Depth ................................. 105
LFO Hold Time ........................................................ 105
LFO Phase................................................................. 105
LFO Pitch Modulation Depth.................................. 105
LFO Speed................................................................. 105
LFO Tempo Speed.................................................... 105
LFO Tempo Sync ..................................................... 105
LFO Wave................................................................. 105
Limit (Arpeggio).......................................................... 46
Line ........................................................................... 100
LOAD........................................................................ 107
Load..................................................................... 85, 107
Local Control ............................................................ 106
Local On/Off (When Connected to a Computer) ...... 18
LocalCtrl.................................................................... 106
Logic Audio (Remote Control)................................... 59
Low Frequency Oscillator........................................... 66
Low Pass Filter ............................................................ 63
Low Pass Filter Cutoff ............................................. 102
Low Pass Filter Cutoff Velocity Sensitivity ............ 102
Low Pass Filter Resonance ...................................... 102
LPFCutoff ................................................................. 102
LPFCutoff (VEL SENS) ........................................... 102
LPFReso.................................................................... 102
LSB (Control #098) (Plug-in Board only)............... 120
Quick Guide
[F1] - [F6] (Function) buttons ................................... 12
Factory Set .................................................................. 72
FadeIn ....................................................................... 105
FadeOut..................................................................... 105
Favorite Category ....................................................... 39
FC1/FC2.................................................................... 101
FC1/FC2 Control Number ....................................... 101
FEG ............................................................................. 65
(FEG) Attack/Decay/Release (Time) ..................... 105
FEG Attack Time ..................................................... 105
(FEG) Depth ............................................................. 102
FEG Depth ........................................................ 102, 104
FEG Level ................................................................. 102
FEG Level Velocity Sensitivity ................................ 102
(FEG) Sustain (Level) .............................................. 105
FEG Sustain Level .................................................... 105
FEG Time.................................................................. 102
FEG Time Key Follow Center Key.......................... 102
FEG Time Key Follow Sensitivity........................... 102
FEG Time Segment .................................................. 102
FEG Time Velocity Sensitivity ................................ 102
FEGDepth ................................................................. 104
File Management ........................................................ 27
File types (Load)......................................................... 83
File types (Save) ......................................................... 83
File Utility ID ........................................................... 106
FileUtilID .................................................................. 106
Filter.......................................................................... 103
FILTER (Voice Element)........................................... 63
Filter Cutoff Frequency............................................ 102
Filter Cutoff Key Follow Center Key ...................... 102
Filter Cutoff Key Follow Sensitivity ....................... 102
Filter Cutoff Scaling Break Point............................. 102
Filter Cutoff Scaling Offset ...................................... 102
Filter Cutoff Velocity Sensitivity............................. 102
Filter Envelope Generator ......................................... 65
Filter Gain................................................................. 102
Filter Resonance....................................................... 102
Filter Resonance Velocity Sensitivity ..................... 102
Filter Type (Reference) ........................................... 101
Filter types (Quick Guide) ......................................... 63
Filter Width .............................................................. 102
Fine............................................................................ 100
fixed (Velocity) ........................................................... 87
Fixed Velocity ............................................................. 99
Flash ROM.................................................................. 28
FMod ......................................................................... 103
FMod (LFO).............................................................. 105
Foot Controller ........................................................... 54
FOOT CONTROLLER 1, 2 jacks.............................. 13
FOOT SWITCH jack (ASSIGNABLE) ..................... 13
FOOT SWITCH jack (SUSTAIN) ............................ 13
Footswitch .................................................................. 54
FORMAT (Memory Card)......................................... 84
Formatting Memory Cards (Utility).......................... 84
FORWARD/REWIND (Remote Control)................ 58
FREQ......................................................................... 100
Freq (Type=P.EQ) .................................................. 107
Frequency ......................................................... 100, 107
FS............................................................................... 103
FS Control Number .................................................. 103
FS Function Assignment ......................................... 103
Function buttons ........................................................ 32
Function Tree ............................................................. 88
Functions .................................................................... 32
L
GAIN ................................................................... 15, 100
Gain .......................................................... 100, 102, 107
[GAIN] knob ............................................................... 13
GateTimeRate ...........................................................101
GENERAL (Voice Common)..................................... 62
General MIDI (GM) System On .............................. 122
GM System ................................................................ 122
GM Voices ................................................................... 27
GM/XG...................................................................... 107
GROUP [A] - [H] buttons........................................... 12
Reference
F
G
Appendix
Element Switch (Voice Element) .............................. 62
ElementSw .................................................. 99, 103, 105
[ENTER] button......................................................... 12
Entering Characters ................................................... 34
Envelope Generator (Voice Play).............................. 40
EQ (Equalizer) (Voice Element) ............................... 66
EQ High Frequency.................................................. 107
EQ High Gain ........................................................... 107
EQ Low Frequency................................................... 107
EQ Low Gain ............................................................ 107
EQ Resonance .......................................................... 107
EQ Type .................................................................... 107
Equalizer (Voice Element)......................................... 66
[EXIT] button ............................................................. 12
Expression (Control #011) ...................................... 119
extensions ................................................................... 27
external MIDI interface ............................................. 18
Basics Section
Quick Guide
Mixing mode (Effect Connection)............................. 69
MLAN ....................................................................... 100
mLAN ......................................................................... 13
mLAN Expansion Board (mLAN8E) cover ............. 13
mLAN Settings ......................................................... 100
mLAN8E (Install) .................................................... 126
mLAN-compatible audio equipment ......................... 15
Mode............................................................................ 98
MODE buttons ........................................................... 12
Mode Table ................................................................. 29
Modes .......................................................................... 29
MODULAR SYNTHESIS PLUG-IN SYSTEM ........ 22
Modulation (Control #001) ..................................... 119
[MODULATION] wheel............................................ 12
Modulation Wheel...................................................... 53
Mono (Control #126) ............................................... 121
Mono/Poly Mode........................................................ 98
Moving the Song position .......................................... 76
MSB (Control #099) (Plug-in Board only).............. 120
Mute (Song) ................................................................ 76
[MUTE] button........................................................... 12
MW Filter Control.................................................... 103
MW LFO Amplitude Modulation Depth ................ 103
MW LFO Filter Modulation Depth ......................... 103
MW LFO Pitch Modulation Depth.......................... 103
Reference
N
Appendix
Name ........................................................................... 98
Name 1-10 (Voice/Performance/Master) ................. 98
Naming........................................................................ 34
Native Parameters .................................................... 104
Native System Parameters ....................................... 107
norm (Normal) (Velocity) ......................................... 87
Normal Voices ............................................................ 27
Note (Key) settings..................................................... 34
Note Limit High (Quick Guide) ................................ 43
Note Limit Low (Quick Guide) ................................. 43
Note Limit Low/High................................................. 99
Note Limit Low/High (Voice Element) .................... 62
Note On/Note Off .................................................... 119
Note Shift.................................................................... 99
NoteLimit (L/H)......................................................... 99
NoteLimit (Voice Element) ....................................... 62
NoteShift..................................................................... 99
NRPN (Non-Registered Parameter Number)......... 120
Number ....................................................................... 99
NUMBER [1] - [16] buttons....................................... 12
O
Octave ......................................................................... 98
OFFSET ............................................................ 102, 104
Offset......................................................................... 102
OSC (Oscillator) (Voice Element) ............................. 62
OUTPUT (Voice Common)....................................... 62
Output Channel (Song Play)...................................... 77
OUTPUT L&R Gain ................................................ 100
OUTPUT L/MONO & R jacks .................................. 13
Output Select ............................................................ 103
OutputSel .................................................................. 103
OutputSwitch............................................................ 101
Overview of the S90 ................................................... 20
Overview of Voice/Element/Performance................ 26
P
Package Contents.......................................................... 6
Pan............................................................................. 100
Pan (Control #010)................................................... 119
Parameter Table ......................................................... 92
Parameter/Function List............................................ 97
Part on/off................................................................... 42
Part Receive Switch ................................................. 105
Part Structure ............................................................. 22
Part Switch............................................................ 98, 99
PartSw......................................................................... 99
PartSwitch................................................................... 98
PB Lower..................................................................... 98
PB Range..................................................................... 98
PB Upper..................................................................... 98
PEG (Voice Element) ................................................. 63
(PEG) Depth ............................................................. 100
PEG Depth ................................................................ 100
PEG Level ................................................................. 100
PEG Level Velocity Sensitivity ................................ 100
PEG Time.................................................................. 100
134 Index
PEG Time Key Follow Center Key .......................... 101
PEG Time Key Follow Sensitivity ........................... 101
PEG Time Segment................................................... 100
PEG Time Velocity Sensitivity ................................ 100
Performance .......................................................... 25, 26
Performance Copy (Job) ............................................. 72
Performance Edit Mode (Function Tree).................. 89
Performance Group (Quick Guide) ........................... 41
Performance mode .................................................... 114
Performance mode (Effect Connection).................... 69
Performance number (Quick Guide)......................... 42
Performance Play mode (Arpeggio)........................... 46
Performance Play Mode (Function Tree) ................. 89
Performance Play mode (Quick Guide)..................... 41
PgmChange........................................................ 103, 106
Phase.......................................................................... 105
PHONE jack................................................................ 13
Pitch (AT) ................................................................. 103
Pitch (VEL SENS)..................................................... 100
PITCH (Voice Element) ............................................. 63
Pitch Bend (Appendix)............................................. 122
Pitch Bend Range........................................................ 98
[PITCH] Bend wheel .................................................. 12
Pitch Bend Wheel ....................................................... 53
Pitch Coarse............................................................... 100
Pitch Envelope Generator .......................................... 63
Pitch Fine .................................................................. 100
Pitch Key Follow Center Key................................... 101
Pitch Key Follow Sensitivity .................................... 101
Pitch Velocity Sensitivity ......................................... 100
PitchSens ................................................................... 101
[PLAY/STOP] button ................................................. 12
PLAY/STOP (Remote Control) ................................. 58
Playing Performances ................................................. 41
Playing the Songs ........................................................ 75
Playing Voices ............................................................. 36
PlugEF Type.............................................................. 106
Plug-in Bank (Voice Play) .......................................... 40
Plug-in Board (Install) .............................................. 124
Plug-in Board cover .................................................... 13
Plug-in board line-up .................................................. 21
Plug-in Boards ............................................................. 21
Plug-in Insertion Effect Part/Type .......................... 106
Plug-in Insertion Effects............................................. 67
Plug-in Native Parameters........................................ 104
Plug-in voices (Quick Guide) ..................................... 40
Plug-in Voices (Store)................................................. 73
PMod.......................................................................... 103
PMod (LFO) ..............................................................105
Poly .............................................................................. 98
Poly (Control #127) .................................................. 121
Poly Expand .............................................................. 107
Poly Mode.................................................................... 98
PolyExpand ............................................................... 107
Polyphonic Aftertouch ............................................. 122
Polyphony ................................................................... 22
Port .............................................................................. 77
PORT NO.................................................................. 107
Port No. ..................................................................... 107
(PORTA) Mode .......................................................... 98
(PORTA) PartSwitch ................................................. 98
(PORTA) Switch (Sw) ............................................... 98
(PORTA) Time........................................................... 98
(PORTA) TimeMode ................................................. 98
Portamento (Performance Play) ................................ 44
Portamento (Voice Play) ............................................ 40
Portamento Mode ....................................................... 98
Portamento Switch ..................................................... 98
Portamento Switch (Control #065) ......................... 119
Portamento Time ........................................................ 98
Portamento Time (Control #005) ............................ 119
Portamento Time Mode.............................................. 98
Power On Mode .......................................................... 99
[POWER] switch ........................................................ 13
powered speakers........................................................ 15
PowerOnMode ............................................................ 99
Pro Tools V5.0 (Remote Control).............................. 59
Program Change........................................................ 122
Program Change (Program Number 1-128) ............ 103
Program numbers and the corresponding Group/
Numbers ...................................................................... 37
Q
Q ................................................................................ 100
Q (Type=P.EQ) ....................................................... 107
Quick Edit (Performance Play mode) ........................ 44
Quick Edit (Voice Play mode) .................................... 39
R
RAM............................................................................. 28
Random..................................................................... 100
Random Pan Depth.................................................. 104
Random Pitch ........................................................... 100
RandomPan .............................................................. 104
RcvBulk..................................................................... 106
RcvNoteOff.................................................................. 99
Rear Panel.................................................................... 13
Recall Buffer ................................................................ 28
Receive Bank Select ................................................. 106
Receive Bulk ............................................................. 106
Receive Channel.......................................................... 99
Receive Note Off ......................................................... 99
Receive Program Change ......................................... 106
ReceiveCh .................................................................... 99
Relative ........................................................................ 35
Release Time ............................................................ 105
Release Time (AEG) ................................................ 105
Release Time (Control #072) .................................. 120
Release Time (FEG)................................................. 105
Remote Control ........................................................... 57
[REMOTE CONTROL] button .................................. 58
Remote Control for external sequencer ..................... 57
Remote Control function ............................................ 58
[REMOTE CONTROL] ON/OFF button.................. 12
Rename ............................................................... 86, 107
Reset All Controllers (Control #121)...................... 121
Resonance........................................................... 63, 102
Reverb ................................................................. 67, 106
Reverb Send.............................................................. 100
RevSend .................................................................... 100
ROM............................................................................. 28
RPN (Registered Parameter Number) .................... 121
S
Same Note Number Key On Assign Mode ................ 98
Save .................................................................... 85, 107
Saving the Settings ...................................................... 73
(Scaling) BREAKPOINT ................................. 102, 104
(Scaling) OFFSET ............................................ 102, 104
Scaling Pan Depth .................................................... 104
ScalingPan ................................................................ 104
Segment..................................................... 100, 102, 104
Select a track (Remote Control) ................................. 58
Selecting a Mode...........................................................30
Selecting a voice .......................................................... 36
SEND (Effect Send) (Mixing) .................................... 79
SeqCtrl....................................................................... 106
Sequence Play Mixing Edit Mode (Function Tree) .... 90
Sequence Play Mixing Mode (Function Tree) .......... 90
Sequence Play mode ................................................. 114
Sequence Play mode (Effect Connection).................. 69
Sequence Play Mode (Function Tree) ....................... 90
Sequence Play mode (Part Structure) ........................ 24
Sequencer..................................................................... 24
Sequencer Control .................................................... 106
Set Remote Mode Template Type ........................... 103
Set Remote Template Type ..................................... 103
[SF1] - [SF5] (Sub Function) buttons......................... 12
SHAPE ...................................................................... 100
Slider ......................................................................... 100
SLOT 1-3 lamps........................................................... 12
SmartMedia ................................................................. 82
soft (Velocity) .............................................................. 87
Solo (Song)................................................................... 76
solo part ....................................................................... 42
SONAR (Remote Control) ......................................... 59
Song File ...................................................................... 75
Song Playback.............................................................. 75
Song track on/off......................................................... 76
Song track selection .................................................... 76
Sostenuto (Control #066) ........................................ 120
Source........................................................................ 103
Speed ......................................................................... 105
Split (Master mode) .......................................................9
Split (Performance Play mode)................................... 42
SQ01 (Remote Control) .............................................. 59
Src.............................................................................. 103
Basics Section
Quick Guide
TEMPLATE (Mixing) ............................................... 79
Tempo ....................................................................... 101
Tempo (Arpeggio) ...................................................... 46
TempoSpeed ............................................................. 105
TempoSync ............................................................... 105
TGSwitch .................................................................... 99
Thru Port .................................................................. 106
TIME......................................................... 100, 102, 104
Time .................................................... 98, 100, 102, 104
TimeMode................................................................... 98
Tone Generator .......................................................... 20
Tone Generator Switch.............................................. 99
Top Panel .................................................................... 12
Touch Sensitivity ....................................................... 87
[TRACK SELECT] button ......................................... 12
TransCh ...................................................................... 99
Transmit Bank Select ............................................... 106
Transmit Channel ...................................................... 99
transmit channel......................................................... 37
Transmit Program Change....................................... 106
Transmit Switch....................................................... 101
TransmitCh............................................................... 101
Transpose.................................................................... 98
Troubleshooting ....................................................... 128
Tune .......................................................................... 107
Turn the track (Remote Control).............................. 58
Turning on the S90 .................................................... 14
Type .................................................... 99, 101, 106, 107
W
Reference
T
VelocityOffset (VelSensOfs) ...................................... 99
VelocityRate .............................................................. 101
Voice ............................................................................ 26
Voice & Element ......................................................... 26
VOICE (Mixing) ......................................................... 78
Voice Bank (Quick Guide) ......................................... 36
Voice Edit .................................................................... 60
Voice Edit Mode (DRUM) (Function Tree) ............. 88
Voice Edit Mode (Normal) (Function Tree)............. 88
Voice Edit Mode (Plug-in) (Function Tree).............. 89
Voice Element Pan....................................................... 00
Voice Group (Quick Guide) ....................................... 37
Voice mode ................................................................ 114
Voice mode (Effect Connection)................................ 68
Voice mode (Part Structure) ...................................... 23
Voice Number ............................................................. 99
Voice number (Quick Guide)..................................... 37
Voice Play Mode (Function Tree) ............................. 88
Voice Play mode (Quick Guide)................................. 36
VoiceELPan............................................................... 100
Voices........................................................................... 25
Voices & Performance ................................................ 25
Voices (Performance Play) ......................................... 44
VOL/PAN (Mixing).................................................... 78
Volume ...................................................................... 100
Volume Label ............................................................ 107
Wave .......................................................................... 105
Wave Number .............................................................. 99
Wave Number (Voice Element)................................. 62
Wave Type .................................................................. 99
Waveform.................................................................... 21
WaveNo....................................................................... 99
wide (Velocity)............................................................ 87
Width......................................................................... 102
Z
Appendix
Store ............................................................................ 73
Sub Category ............................................................... 38
Sub Category (Voice/Performance)........................... 98
SubCtgry...................................................................... 98
Sub-Function buttons................................................. 32
Sustain (Level).......................................................... 105
Switch (ARP) ........................................................... 103
Switch (ArpSwitch) ................................................. 101
Switch (Sw) ................................................................ 98
System Effects............................................................. 67
System Exclusive Messages ..................................... 122
System Realtime Messages....................................... 122
Zone ....................................................................... 48, 51
Zone Edit ..................................................................... 51
Zone Switch (Quick Guide) ....................................... 51
U
UnitMultiply ............................................................. 101
USB.............................................................................. 13
USB connector ............................................................ 17
USB interface .............................................................. 17
USB terminal .............................................................. 13
User Arpeggio ............................................................. 45
Using as a Master Keyboard ...................................... 48
Using Controllers........................................................ 53
Using Effects............................................................... 67
Using Memory Cards.................................................. 82
Using the Arpeggio function...................................... 45
Using the Jobs .............................................................. 70
Utility mode .............................................................. 115
V
Variation ..................................................................... 67
Variation Pan............................................................ 107
Variation Return ...................................................... 107
Variation Send .......................................................... 100
Variation to Chorus.................................................. 107
Variation to Reverb .................................................. 107
Variation Type.......................................................... 107
VarSend..................................................................... 100
VelCrossFade .............................................................. 99
VelCurve ..................................................................... 98
VelMode .................................................................... 101
Velocity Curve ............................................................ 98
Velocity Limit (Arpeggio) .......................................... 47
Velocity Limit Cross Fade .......................................... 99
Velocity Limit Low/High ........................................... 99
Velocity Limit Low/High (Voice Element)............... 62
Velocity Sensitivity................................................... 102
Velocity Sensitivity Curve ............................... 100, 104
Velocity Sensitivity Depth ......................................... 99
Velocity Sensitivity Offset ......................................... 99
VelocityDepth (VelSensDpt) ..................................... 99
VelocityLimit ............................................................ 101
VelocityLimit (L/H) .................................................... 99
VelocityLimit (Voice Element).................................. 62
Index 135
MEMO
136
For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRAZIL
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
FRANCE
ASIA
Yamaha Musique France,
Division Professionnelle
HONG KONG
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Música, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid) Spain
Tel: 91-201-0700
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Musical do Brasil LTDA.
Yamaha Scandinavia AB
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-853-1377
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
ARGENTINA
Yamaha de Panamá S.A. Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha de Panamá S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: 507-269-5311
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto
Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0661
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-703-0900
PHILIPPINES
Yupangco Music Corporation
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
11 Ubi Road #06-00, Meiban Industrial Building, Singapore
Tel: 65-747-4374
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
TAIWAN
Yamaha KHS Music Co., Ltd.
NORWAY
Norsk filial av Yamaha Scandinavia AB
EUROPE
Tom Lee Music Co., Ltd.
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
10F, 150, Tun-Hwa Northroad,
Taipei, Taiwan, R.O.C.
Tel: 02-2713-8999
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
OTHER EUROPEAN COUNTRIES
Yamaha Europa GmbH.
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2317
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND
Yamaha Europa GmbH. Zweigniederlassung Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Europa GmbH. Zweigniederlassung Wien
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
THE NETHERLANDS
Yamaha Music Nederland
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
BELGIUM
Yamaha Music Belgium
Rue de Geneve (Genevastraat) 10, 1140 - Brussels,
Belgium
Tel: 02-726 6032
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
MIDDLE EAST
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: 971-4-881-5868
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank, Victoria
3006, Australia
Tel: 3-9693-5111
NEW ZEALAND
Music Houses of N.Z. Ltd.
TURKEY/CYPRUS
OTHER COUNTRIES
OCEANIA
AUSTRALIA
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2445
SY24
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this
manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to use the product.
2. IMPORTANT: When connecting this product to accessories and/or another
product use only high quality shielded cables. Cable/s supplied with this
product MUST be used. Follow all installation instructions. Failure to follow
instructions could void your FCC authorization to use this product in the
USA.
3. NOTE: This product has been tested and found to comply with the
requirements listed in FCC Regulations, Part 15 for Class “B” digital devices.
Compliance with these requirements provides a reasonable level of
assurance that your use of this product in a residential environment will not
result in harmful interference with other electronic devices. This equipment
generates/uses radio frequencies and, if not installed and used according to
the instructions found in the users manual, may cause interference harmful
to the operation of other electronic devices. Compliance with FCC
regulations does not guarantee that interference will not occur in all
installations. If this product is found to be the source of interference, which
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance
with the following code:
GREEN-AND-YELLOW : EARTH
BLUE
: NEUTRAL
BROWN
: LIVE
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your
plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be connected to
the terminal in the plug which is marked by the letter E or by the safety
earth symbol
or colored GREEN or GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the terminal
which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal
which is marked with the letter L or coloured RED.
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
(3 wires)
can be determined by turning the unit “OFF” and “ON”, please try to
eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the
interference.
Utilize power outlets that are on different branch (circuit breaker or fuse)
circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If
the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable.
If these corrective measures do not produce satisfactory results, please
contact the local retailer authorized to distribute this type of product. If
you can not locate the appropriate retailer, please contact Yamaha
Corporation of America, Electronic Service Division, 6600 Orangethorpe
Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
(class B)
OWNER’S MANUAL
Yamaha Web Site (English only)
www.yamahasynth.com
Yamaha Manual Library
http://www2.yamaha.co.jp/manual/english/
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2002 Yamaha Corporation
This document is printed on chlorine free (ECF) paper with soy ink.
V943760 210MWCP2.3-02B0
Printed in Japan
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