Yamaha Clavinova P-500 Reference

| REFERENCE
EDIT OPERATION SUMMARY
The instructions below are a brief summary of the editing operations of the P-500. Unless indicated otherwise
(in their respective parameter pages), all parameters follow the editing conventions shown below.
Entering an Edit Mode
Voice Edit Mode
Select a preset Voice (in the Voice Play mode) and press EDIT.
Performance Edit Mode
Select a Performance (in the Performance Play mode) and
press EDIT.
Chain Edit Mode
Select a Chain (in the Chain Play mode) and press EDIT. (Or,
press CHAIN while in the Voice/Performance Edit mode.)
Selecting Edit Pages
While the EDIT button lamp is lit or flashing in the selected
Voice or Performance Edit mode:
Press the Voice/Performance Select button corresponding to
the group of pages you wish to edit. For example, to call up
the Reverb pages, press the button labeled REVERB in green.
Selecting Other Pages in the Group
e Simultaneously hold down the same Voice/Performance
Select button (for example, REVERB) and press the
Function button corresponding to the desired Edit page in
the LCD display.
or:
+ Use the PAGE «/P buttons. These can also be used to
select any of the other Edit pages.
Selecting and Editing Parameters
Select a parameter by pressing the appropriate Function
button (for example, [F3] ).
Edit the parameter value by using the -1/+1 buttons or
the DATA ENTRY slider.
Some parameters must be turned on before editing. Examples
of the two basic types are shown here:
Pages with a Sw (Switch) parameter:
(REVERB — [F1]: Reverb - Page 1)
REVERB Sw Tur _ DetA DrtB Time
Padel on LARGE- HALL le oa 1. 98s
С) СС) С) С) С) С) С]
Press [F3] to select Sw, then use the -1/+1 buttons or the DATA
ENTRY slider to set it to on.
Pages with separate off/on parameters:
(VOLUME — [F1]: Volume)
Voice A MIDI A Voice В MIDI В
[он] 1278 i278 off off |
Dot
Select the parameter you wish to edit (in this example, with
[F3], [E5], [F6], or [Е8]}, then turn the selected parameter on by
pressing [F2]. (Use [F1] to turn it off.)
NOTE
Setting a parameter to off does not cancel the last setting made. That
setting is still remembered by the P-500 and can be called up simply
by setting the parameter to on again
NOTE
Keep in mind that “B-type parameters will be in effect only when
the Dual or Split modes are selected. When in the Single mode, a
dashed line (—) appears in the “В” portion of the display, indicating
that the “B” parameter is inactive.
Reset
Parameter values can be reset to their original default conditions by
simultaneously pressing both -1/+1 buttons. Gee page 35 for more
information.)
Parameter Grouping
Different parameters of the same page can be grouped for simulta-
neous editing by'simultaneously pressing the corresponding Function
buttons. (See page 36 for more information.) Parameters that can be
used with this function are indicated in the respective sections.
REFERENCE
Compare
Pressing the EDIT button during editing lets you compare the
changes you’ve made with the settings of the original Voice or
Performance. (See page 37 for more information.)
Storing
Rernember that all edits you make in the Voice Edit or Performance
Edit modes are temporary. To save your edits to memory, use the
Store operation. (To call up the Store operation, press the STORE
button; see pages 38, 41 for more information.)
Initialize
You can replace the settings you’ve created with the original
factory settings by using the INIT (Initialize) function in the
Utility mode. (See page 89 for more information.)
EDIT PARAMETERS
EDIT PARAMETERS
EDIT
TG
LE [FI]: Wave/Name nenn 53
— [F2]: EG (Envelope Generator) ...........53
Lo [FB]: Vibrato ss 54
A AN 55
| [F5]: Graphic Equalizer À 55
—— [F6!: Graphic Equalizer B................. 55
EFFECT
IF1]: Effect AFS ne 56
IF2]: Effect BY 56
MODULATION
Modulation* .........cccccccecececeeaceveuuueeens 60
REVERB
nu [F1]: Reverb - Page 1*......... еее 62
[F2]: Reverb - Page 2* ooo. 62
VOLUME
[F1]: Volume* ..... ини: 64
[F2]: Expression .........essseeseenneennens 64
VOICE TUNE
LIFE]: Voice Tune ss 65
——-[F2]: Piano Tune ......... линии 6!
L___{F3]: Microtune .... и анннанини 66
TRANSPOSE / PB RANGE
= [FU] Transpose* ....... ленин 67
[F2]: Pitch Bend Range .........,......... 67
KEYBOARD SENS
—— [Fl]: Voice Key Scale... 68
— [F2]: MIDI Key Scale... 68
[F3]: Velocity Curve™ ....... иене 69
KEYBOARD MODE
| [F1]: Voice Keyboard Mode .............. 70
1 [F2]: MIDI Keyboard Mode «0... 70
Ll 1F3l: Performance Name... 71
FC
E]: Foot Controller 1** coc 72
[F2]: Foot Controller 2** oo 72
[Е 3}: Foot Controller 3** oo... 72
LL fF 4]: Foot Controller 4** ooo 72
WHEEL / CS PS AT
|___/F 1]: After Touch Voice A** oo. 77
| [F2]: After Touch Voice BY .............. 77
LF 3]: WHEEL TÉL 77
E IFA]: WHEEL 2** 2.2... een 77
Е [25]; CS 1 Slider** ........... нение 78
—— [F6]: CS 2 A 78
LF ZI: PS I Switch** een 78
LF IA 78
PROGRAM CHANGE
> [Fi]: Program Change Transmit
Number{SwitCh** nennen 79
——[F2]: Program Change Receive
SWIECH* cnccco nono ncacaca nono no non nennen 79
——[F3]: Voice Bank Transmit
Number/Switch ...cccccscceecrcseseneeeseenees 79
—— [24]: MIDI Bank Transmit
Number/Switch* onen en 80
MIDI
—— [F1]: Transmit Channel 0... eee 81
——— [F2|: Receive Channel? ........... наи 81
E [Е 3]: Local Switch* 2... nennen 82
——[F4]: MIDI Merge? oo een 82
EXTRA MIDI SETUP
[FT Extra MIDI Setup А нии 83
[F2]: Extra MIDI Setup B eee ee cere 83
CHAIN
(See page 43 for explanations and instructions on
Chains)
SYSTEM SETUP PARAMETERS
| EDIT |
SYSTEM SET
| (EI:
—— |F2]:
|___ [F 3]:
— [F$|:
|. [FS]:
UP
Master Tune/Transpose nennen 84
Bulk Data Receive LL 84
Performance Change
Transmit/ROCOIVE LS 85
Device Number occnoncrnoncncnnanenenanonos 85
Eficet Bypass ss 85
UTILITY MODE PARAMETERS
| UTILITY |
| UTILITY MODE
J [FT]: COPY ccrccnccnano nono nnnnononccnrnra nen rn nno rones: 86
= [2]: Swap ss 87
Lo [#3]: Recall/Revert LS 88
Eu [FA]! Send Bulk Data LS 88
o [F5]: MIDI Monitor „нина 88
--—— [FO]: Troubleshoot (нии 89
—— [F7]: Initiahlze LL 89
* Only those parameters marked with an asterisk (*) can be stored to а Voice (the “PresetVoices” destination) in the Voice Edit mode, Those
marked with a double asterisk (**) indicate that only the MIDI A Path parameters in the page can be stored to a Voice. Editing of any of the other
parameters will result in all edits automatically being stored as Performance data, when the Store operation ts executed,
NOTE
When you hold down one of the Edit page buttons, an asterisk also appears in the LCD display next to the Voice-storable parameters. For example,
when you hold down VOLUME, an asterisk appears next to “FT:VOLUME" in the LCD display.
52
Ш ТС (TONE GENERATOR)
The TG parameters let you determine the Voices to be used and change the basic sound elements of the Voices, such as the sound
envelope, vibrato settings, panning position, and equalization,
[F1]: Wave/Name
With these parameters, you can assign the Voices to be used
for Voice A and Voice B, and give names to them.
Display
WAVENAME Voice A Name Voice В Name
| [4] Ce] PIAMO1. а.о ” ... E. РТАНО2, Eur.
El F2 FB |
OU
Current Voice for Voice A
OODOODO
Current Voice for Voice B |
User name for Voice A User name for Voice B
Parameter Grouping: [F3] and [F6], or [F4]/[F5] and [F7]/[F8]
can be grouped for simultaneous editing.
[F1]:
Moves cursor one space left (for selecting a character in Name
parameter).
[F2]:
Moves cursor one space right (for selecting a character in
Name parameter).
NOTE
When [F4J/[F5] and [F7]/[F8] are grouped, these move the cursor on
both Voice A and Voice B Name parameters.
[F3] Voice A:
For asstgning an internal Voice to Voice A.
settings:
PIANO1 - PIANO4, E.PIANO 1 - E.PIANO 5, CLAVI,
CLTONE (CLAVINOVA TONE)
[F4] Name:
For giving a name (up to eight characters) to Voice A. Use [F1],
[F2] to move cursor, then DATA ENTRY slider or -1/+1 buttons
to change character at cursor,
Available Characters:
Letters:
| Numbers:
4-3 H-Z a-z
Miscellaneous:
ИНФА E A
= 27d
MA +
(Spat eb
WA
[F6] Voice B:
For assigning an internal Voice to Voice B.
Settings:
(Same as in [F3] Voice A.)
[F7] Name:
For giving a name to Voice В. Use [F1], [F2] to move cursor,
then DATA ENTRY slider or -1/+1 buttons to change character
at Cursor.
Available Characters:
(Same as in [F4] Name.)
[F2}: EG (Envelope Generator)
The EG parameters allow you to shape the sound of each
Voice, or, in other words, set how the level of the sound
changes over time. The relationship of the three parameters —
Attack, Decay, and Release — are shown in the illustration
below:
1) Short Attack, Decay, Release times:
Level
Attack ‚ Оесау. Release
Min.
A
Key is pressed Key is released
2) Long Attack, Decay, Release times:
Level
A
Attack = Decay _ _ Release
Max. Le | |
a Ll
Min.
A
Key is pressed Key is released
Even though the key is held for the same length of time in both examples,
the sound of the second example slowly reaches fuli volume and decays
over a longer time. It also sustains longer after the key is released.
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Indicates currently
selected parameter.
NOTE
Depending on the Voice that is selected, the EG settings here may
have little audible effect. This may be especially true when trying to
extend the Decay and Release parameters on a Voice that inherently
has short decay and release times.
Also, remember that the EG parameters affect each other —
and are affected by how long a key on the keyboard is held.
For example, if Decay is set to a low value and the key is held
for a long time, you may not be able to hear changes that you
make to the Release parameter.
Display
EG | Uoice A __ Voice B |
rack 2 Hit Dr4s RISA AIS Did" Riss)
F3 F4 FS F6 ЕТ Fa
Envelope curve is
shown in graphic next to value.
Parameter Grouping: [F3] and [F6], or [F4] and [F7], or [F5]
and [F8] can be grouped for simultaneous editing.
[F3] A (Voice A Attack):
For setting the Attack of Voice A, or how long it takes for the
sound of the Voice to reach full volume when a key is pressed.
Range: 1 (slow attack) - 8 (instantaneous attack)
[F4] D (Voice A Decay):
For setting the Decay of Voice A, or how rapidly the sound of
the Voice dies out as a key is held.
Range: 1 (sound is held until key release) - 8 (sound decays
quickly as note is held)
[F5] R (Voice A Release):
For setting the Release of Voice A, or how long the sound of
the Voice sustains after a key is released.
Range: 1 (slow release) - 8 (instantaneous release)
IF6] A (Voice B Attack):
(Same as for Voice A.)
[F7] D (Voice B Decay):
(Same as for Voice A.)
[£8] R (Voice B Release):
(Same as for Voice A.)
HINT
The EG parameters give you powerful tools for completely changing
the character of the Voices. Even familiar Voices like the acoustic
piano sounds can take on a whole new life with different EG settings.
Start exploring by trying some of the following setting suggestions on
the PIANO 1 Voice:
e To mimic the slow attack sound of a organ or a strings section:
Set the Attack to 2 or 3, Decay to 4, and Release to 5.
+ To get a muted string attack, like that of a banjo or a violin being
played pizzicato:
Set the Attack and Decay to 8, and Release to 6. (Also, try longer
Release settings, such as 2 or 1, for a slight sustain.)
+ For a longer sustain, without having to use the damper pedal:
Set the Attack to 8, and Decay and Release to 1. (This setting is
good for lyrical, New Age-type piano; play around with the Attack
setting as well for different effects.)
+ For an organ or Clavi-type sound, where the sound cuts off
abruptly when the key is released:
Set the Attack to 8, Decay to 1, and Release to 8.
[F3]: Vibrato
Vibrato produces a quavering, vibrating sound in the Voice, by
regularly modulating the pitch. You can then control the
amount of Vibrato applied to the Voices in realtime by using
WHEEL 2. (Other controllers can be set to control Vibrato
instead of WHEEL 2; see FC or WHEEL CS PS AT,
pages 72, 77.)
Display
VIBRATO Woice A _ _ Voice B _
(Depth) Di 1. St JDE 1. SF Ae
5 2) 22 С) С) 2 u С
Indicates currently selected parameter.
Parameter Grouping: [F3] and [F6}, or [F5] and [F8] can be
grouped for simultaneous editing.
[F3] D (Voice A Depth):
For setting the depth of the Vibrato on Voice A, or the pitch
range over which the sound is modulated. Higher settings
result in a more pronounced Vibrato.
Range: 0-15
[F5] S (Voice A Speed):
For setting the speed of the Vibrato on Voice A. Higher
settings result in a faster Vibrato sound.
Range: 1 - 32
[F6] D (Voice B Depth):
(Same as for Voice A.)
[F8] S (Voice B Speed):
(Same as for Voice A.)
[F4]: Pan
The Pan parameters allow you to set the stereo position of the
Voice, or where the Voice “appears” in the stereo image.
Setting one Voice to the left side of the stereo image and the
other to the right creates a rich, spacious sound.
Display
PAN a Voice À __ WiceB __|
(Position? PIL Y Ri3m РЕВ? Ri Im
FL F2 Fa F4 F5 FS Fr FB
000 0 0 0 OO
indicates currently selected parameter.
Parameter Grouping: [F3] and [F6], or [Е5] and [F8] can be
grouped for simultaneous editing.
[F3] P (Voice A Position):
For setting the position of the sound of Voice A in the stereo
image, from left to right. A value of 0 corresponds to the
sound being placed in the center. (See illustration below.)
Range: E 7 (full left) - O (center) - К 7 (full right)
[F5] R (Voice A Range):
For setting the “spread” of the sound of Voice A in the stereo
position. Lower settings result in a tighter, more defined stereo
position, while higher settings spread the sound out further
across the stereo image. (See illustration below.)
Range: 1-8
[F6] P (Voice B Position):
(Same as for Voice A.)
[F8] R (Voice B Range):
(Same as for Voice A.)
Pan Position and Range
Left (L7) Right (R7)
| ]
| |
HINT — Using Pan With Two Voices
When using two Voices together in the Dual mode, the Pan effect
can be made even richer and spacious sounding by setting each
Voice to opposite Pan Positions and slightly detuning each Voice
(with the Voice Tune parameters, page 65).
[FS], [F6]: Graphic Equalizer
The Graphic Equalizer parameters for Voices A and B give you
the same tone control found on the panel equalizer, with the
advantage that these are completely independent from the
panel (and from each other). Also, since these settings are
stored as part of the Performance data, they are called up
automatically any time the Performances are selected.
[F5]: Graphic Equalizer Voice A (GEQ-A)
Display
GER LOW Lidl Mig Ha High Sajn
-——- + Зы Ge - du + Ju + Ju a
2 0 0 о miel
Parameter Grouping: [F3], [F4], [F5], [F6] and [F7] can be
grouped for simultaneous editing.
[F6]: Graphic Equalizer Voice B (GEQ-B)
Dispiay
ee В Lau СЕМ: Mid HMid HighiGain
Sm Gi - dm + Sm + 3ml Gm
See
Parameter Grouping: [F3], [F4], [F5], [F6] and [F7] can be
grouped for simultaneous editing.
Since the parameters and ranges are the same for both GEQ-A
and GEQ-B, the descriptions and explanations are combined
here and apply to both.
[F3] Low: |
For adjusting the level of the low frequencies. A setting of 0 is
“flat,” or no change in equalization.
Range: -24 - +24
[F4] LMid (Low-mid):
For adjusting the level of the low-midrange frequencies.
Range: -24 - +24
[F5] Mid:
For adjusting the level of the midrange frequencies.
Range: -24 - +24
[F6] HMid (High-mid):
For adjusting the level of the high-midrange frequencies.
Range: -24 - +24
[F7] High:
For adjusting the level of the high frequencies.
Range: -24 - +24
[F8] Gain:
For adjusting the overall level of the equalized signal. A
setting of 0 corresponds to no change in level.
Range: -32 - +16
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Ш EFFECT
The Effect pages provide twelve different types of signal processing for enhancing the sound of the internal Voices. The Effect types
include various enhancer-, EQ-, pitch- and modulation-related effects, all of which respond to level and the strength with which you
play. Each Effect type has three parameters, and different Effect types can be programmed for Voice A and Voice B. Effect is also
completely independent of Reverb and Modulation, allowing all three to be used simultaneously.
IF1]: Effect Voice A
Display
EFFECT Su Tyre _ биз Bri Fra |
Voice A off ENH>POWER 16ы 16m 16m |
[О С) С) С) С) С) С) С]
[F2]: Effect Voice В
Display
EFFECT Sy Ture Sas Bri Fra |
Voice A off ENHAPOWER 16m 16m 16m |
[9 С) С) С) С) ©) С) С
Since the parameters and ranges are the same for both EFFECT
A and EFFECT B, the descriptions and explanations are
combined here and apply to both.
[F3] Sw (Switch):
For enabling/disabling Effect for the Voice.
[F4]/(F5] Type:
For selecting the type of Effect for the Voice. (Either [F4] or
[F5] can be used to select this parameter.) Refer to Effect
Types and Parameters below for specific effect types and
descriptions,
[F6] (Parameter 1):
[F7] (Parameter 2):
[F8] (Parameter 3):
For adjusting the first, second and third parameters of the
selected Effect type. (The actual parameter differs depending
on the type selected; refer to Effect Types and Parameters
below.)
Range: 0 - 32 (for all parameters)
36
Effect Types and Parameters
ENHANCER GROUP
The Enhancer types generally increase the clarity of the sound,
and give it greater definition and presence, helping the sound
cut through when playing with other instruments. The three
Enhancer types — Power, Sharp and Tight — all respond to
the velocity with which you play.
| ENH>POWER |
This is a general-purpose, full-range enhancer, and is ideal for
brightening and adding definition to the acoustic piano Voices.
Parameters:
Sns (Sensitivity)
Determines to what degree key velocity affects the Enhancer
sound. Higher settings let you bring in more of the Enhancer
sound by playing more strongly on the keyboard.
Bri (Brilliance)
Determines the level of high frequencies or the overall
brightness of the sound.
Frq (Frequency)
Determines the emphasized frequency range of the Enhancer
effect. Lower values result in a brighter sound across the full
range of the keyboard, while higher values result in a
“rounder,” more mellow tone.
[ENH>SHARP |
Compared to Power Enhancer above, Sharp preserves more of
the high to midrange frequencies in the sound, providing a
brighter, metallic tone.
Sns (Sensitivity)
Bri (Brilliance)
Frq (Frequency)
(All parameters are the same as in ENH>POWER above.)
a
[ENH>TIGHT |
As the name implies, Tight is capable of creating a harder and
tighter sound, Compared to the other two Enhancer types.
Hi (High Sensitivity)
Determines the amount of Enhancer effect applied to the high
frequencies. Higher values result in a brighter, more brittle
tone.
Lo (Low Sensitivity)
Determines the amount of Enhancer effect applied to the low
frequencies. Higher values result in a warmer tone.
Bri (Brilliance)
Determines the brightness of the sound. Higher values result
ina brighter, more brittle tone.
COMPRESSOR
The Compressor type effect basically “squashes” the dynamic
range of the signal, smoothing out the “peaks” and “valleys” in
the level of the sound. Essentially, Compressor makes all loud
sounds softer and soft sounds louder.
ICMP>COMP |
Rto (Ratio)
Determines how much compression is applied to the sound.
Higher values result in a smaller dynamic range, generally
making the level of the sound more uniform. Values close to
the maximum may even create a slight swell in the level as the
sound decays.
Atk (Attack)
Determines the time it takes for compression to be applied.
Higher values result in a slower Attack, letting more of the
original signal through without being processed.
Rel (Release)
Determines the time it takes for compression to be released,
after the signal drops below a certain level. Higher values
result in a slower Release time.
DETUNE
The Detune type effect separates the original sound into two
signals and changes the pitch of each, making one lower and
the other higher. This detuning of the sounds results in a rich
chorusing effect. Since Detune is a stereo effect, it is also
dependent on the Pan settings in the TG pages (page 55). Both
pitches can best be heard together when the Pan Position
parameter 15 set to 0.
| DET>DETUNE |
Dpt (Depth)
Determines the amount of the Detune effect, or how much
pitch difference there is between the two separate signals.
Mix
Determines the balance of the mix of the Detune sound and
original sound. A value of 0 results in a dry mix (no Detune
sound),
Sns (Sensitivity)
Determines to what degree the Detune effect responds to key
velocity. For higher values, the stronger you play the key-
board, the more the sound is initially detuned. (The pitch
gradually returns closer to normal as the level decays.)
CHORUS
The Chorus type effect uses pitch modulation to create a rich
and spacious chorus sound. It is also touch-sensitive, letting
you control the degree and intensity of the Chorus effect by
how strongly you play the keyboard. Since Chorus is a stereo
effect, it is most effective when the Pan Position parameter in
the TG pages (see page 55) is set to 0.
HINT
For a particularly luxurious Chorus sound (when using two Voices in
the Dual mode), try assigning CHO>TOUCH to both Voices but set
their parameters to different values (especially the Depth and Speed
parameters).
[CHO>TOUCH |
Dpt (Depth)
Determines the intensity of the Chorus effect.
Spd (Speed)
Determines the speed of the Chorus modulation.
Sns (Sensitivity)
Determines to what degree the Chorus effect responds to key
velocity. For higher values, the stronger you play the key-
board, the more the sound ts initially chorused.
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PHASER
The Phaser type uses pitch shifting and modulation to create
an animated, metallic-sounding, swirling motion effect.
| PHS>PHASER |
Dpt (Depth)
Determines the intensity of the Phaser effect. A value of 0
results in no Phaser effect.
Spd (Speed)
Determines the modulation speed of the Phaser effect.
Sns (Sensitivity)
Determines to what degree the Speed of the Phaser effect
responds to key velocity and level. For higher values, the
stronger you play the keyboard, the faster the Soeed becomes.
(The Phaser Speed gradually slows down as the level decays.)
57
PAN
The Pan type effect uses a free-running LFO (low frequency
oscillator) to create an auto pan effect. This repeatedly moves
the sound in the stereo image, from left to right and right to
left. The effect is also touch-sensitive; playing the keyboard
more strongly results in a faster, more pronounced auto pan
effect, especially on the initial part of the sound.
NOTE
Since Pan is a stereo effect, the Pan Position parameter in the TG
pages (see page 55) should be set to 0.
HINT
The Pan type can be used to create a wide variety of rich and
interesting-sounding effects, when used with two Voices in he Dual
mode. Try assigning Pan to both Voices, and change some of the
settings in the TG pages so that the Voices are different from each
other in some way. For example, try giving the Voices different EG,
Vibrato and/or GEQ settings, and notice the luxurious shift in
textures as the Voices weave in and out of each other across the
stereo image. In fact, make things even more interesting by setting
different Pan parameter values for each Voice.
| PAN>T1 |
Dpt (Depth)
Determines the intensity of the auto pan effect. A value of 0
results in no panning of the sound.
Spd (Speed)
Determines the speed of the auto pan effect.
Sns (Sensitivity)
Determines to what degree the Speed of the Pan effect
responds to key velocity and level. For higher values, the
stronger you play the keyboard, the faster the Speed becomes.
(The Pan Speed gradually slows down as the level decays.)
WAH GROUP
The Wah type effects, as the name implies, produces a “wah”
type sound, They employ a band-pass filter (as shown below),
and “sweeps” it back and forth across a set frequency range in
the sound.
<«— Dpt (Depth) —
: (Frequency range of filter sweep) |
— | — Frequency
Frq (Frequency)
(Center Frequency of filter)
Band pass filter; this lets through only a certain set of frequencies.
The filter is moved constantly across the frequency range, creating
the “wah” effect.
58
[WAH>LFO |
The LFO type uses a free-running LFO (low frequency oscilla-
tor) to sweep the filter. This creates a steady, repeating “wah-
wah” sound.
Dpt (Depth)
Determines the frequency range across which the filter ts
swept. Lower values result in a narrow filter sweep range and
create a more subtle Wah effect, while higher values create a
more pronounced Wah effect.
Spd (Speed)
Determines the speed of the filter sweep cycle. The higher the
value, the faster the cycle.
Frq (Frequency)
Determines the central frequency of the band pass filter. The
higher the value, the higher the frequency.
[WAH>TOUCH |
This Wah effect responds to key velocity and the level of the
sound. Touch Wah can be a very expressive effect, responding
dynamically to your playing technique. The stronger you play
the keyboard, the greater the range of the filter sweep.
Frq (Frequency)
Determines the central frequency of the band pass filter.
Sns (Sensitivity)
Determines to what degree the Wah effect responds to key
velocity.
Rel (Release)
Determines the time it takes for the Wah effect to be released,
after the signal drops below a certain level. Higher values
result in a slower release time.
[WAH>DELAY |
This is virtually the same as WAH>LFO, except that this
features a Delay parameter, which allows you to delay the
onset of the Wah effect.
Dpt (Depth)
(Same as WAH>LFO above.)
Spd (Speed)
(Same as WAH>LFO above.)
Del (Delay)
Determines the amount of time before the Wah effect begins.
The higher the value, the longer the delay. A setting of 0
results in no delay, or instant application of the Wah effect,
SOUNDBOARD
| ASOUNDBRD |
The Soundboard type effect is best used with the acoustic
piano Voices (PIANO 1 - PIANO 4). It effectively recreates the
rich resonance of an actual acoustic piano’s soundboard.
Dpt (Depth)
Determines the depth of the Soundboard effect.
Siz (Size)
Determines the size of the apparent soundboard. Higher
values reproduce the characteristics of a concert grand piano.
Pdl (Damper Pedal)
Determines the amount of sustain or reverberation in the
Soundboard effect. Higher values result in greater sustain and
reverberation, when used with the Damper pedal.
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Ш MODULATION
The Modulation page provides ten different pitch modulation effects — including Chorus, Phaser, and Flanger
for enhancing the
sound of the internal Voices. Two Auto Pan effects are also available for creating continuous motion in the stereo image. Each
Modulation type has Depth and Speed parameters (except for Detune, which has Depth and Mix). The selected Modulation type 15
applied equally to both Voice A and Voice B, though it can be turned on and off independently for each Voice. Modulation is also
completely independent of Reverb and Effect, allowing all three to be used simultaneously (except when Special Reverb is selected;
sec Note below).
Modulation has only one page, which is automatically selected when pressing the MODULATION button.
NOTE
When a Special Reverb effect type is selected for Reverb (see page 63),
Modulation is automatically disabled. Dashes appear in all the parameter
indications and none of the parameters can be edited.
MODULATION
Display
*
Su A Su В . Spd |
'MODULAT ION Tire Det
* on
Fi F2 Fa F4 FS Fé Е? ЕВ
Parameter Grouping: [F3] and {Е4] can be grouped for
simultaneous editing.
[F3] Sw A (Switch Voice A):
For enabling/disabling Modulation for Voice A.
[F4] Sw B (Switch Voice B):
For enabling/disabling Modulation for Voice B.
[F5]/[F6] Type:
For selecting the Modulation type for Voices A and B. (Either
[F5] or [F6] can be used to select this parameter.) Refer to the
Modulation Types and Parameters below for specific Modula-
tion types and descriptions.
[F7] Dpt (Depth):
For adjusting the depth or intensity of the Modulation. The
higher the value, the greater the Depth. In Chorus, Phaser and
Flanger types, this determines the amount of pitch modulation.
In the Pan type, this determines the intensity of the panning
effect.
Range: 0 - 32
[F8] Spd (Speed):
For adjusting the speed of the Modulation. The higher the
value, the greater the Speed. (This parameter becomes Mix for
the CHO)DETUNE type.)
Range: 0 - 32
60
Modulation Types and Parameters
CHORUS GROUP
As with the Chorus group in the Effect pages, Chorus here uses
pitch modulation to enhance the sound by making it more rich
and spacious. There are five different types of Chorus effects
in this group: Pure, Detune, Bright, Wide and Pan. The Depth
parameter controls the amount of pitch modulation, or how
widely the pitch is varied, while Speed controls the speed of
the pitch modulation.
[CHO)PURE
This is a basic, all-purpose Chorus effect, providing a subtle yet
rich chorusing.
[CHO)DETUNE |
Unlike the other Chorus types in this group, Detune does not
use modulation of the signal but creates rich stereo chorusing
by varying the pitch. The Depth parameter controls the
amount of pitch variation, while Mix controls the relative level
of the detuned sound in the wet/dry mix.
[CHO)BRIGHT |
This is similar to CHO)PURE above, but provides a brighter
overall sound.
| CHO)WIDE |
This Chorus type provides a wider range of pitch variation (in
the Depth parameter) than the other types.
| CHO)PAN |
Pan combines chorusing with an auto pan effect, repeatedly
moving the chorused sound back and forth across the stereo
image. The Depth parameter determines both the depth of
pitch modulation and the width of the pan position spread;
higher values create a more pronounced chorusing sound and
a wider spread in the pan position variation.
NOTE
Since Pan is a stereo efíect, the Pan Position parameter in the TG
pages (see page 55) should be set to 0.
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PHASER GROUP
As with Phaser in the Effect pages, these two Phaser types —
Light and Deep — create an animated, swirling motion effect.
The Depth parameter controls the amount of pitch modulation,
while Speed controls the speed.
| PHS)LIGHT |
As the name implies, this is a light and subtle Phaser effect.
|PHS) DEEP’
This type has a more pronounced Phaser effect and provides a
wider range of pitch variation (in the Depth parameter) than
PHS)LIGHT.
PAN GROUP
As with Pan in the Effect pages, these two Pan types use LFOs
to create an auto pan effect, repeatedly moving the sound back
and forth in the stereo image. The Depth parameter controls
the intensity of the panning effect, while Speed controls the
speed of the panning movement.
NOTE
Since Pan is a stereo effect, the Pan Position parameter in the TG
pages (see page 55) should be set to 0.
PAN)”,
This Pan type uses a triangle wave to create the panning
motion.
This Pan type uses a square wave to create abrupt panning
shifts between the left and right channels.
FLANGER
| FLG)FLNGER |
Flanger creates a rich, swirling sound that is stronger and more
pronounced than Chorus, yet more subtle than Phaser. The
Depth parameter controls the amount of pitch modulation,
while Speed controls the speed.
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Ш REVERB
The Reverb pages provide sixteen different high-quality Reverb and Delay (Echo) effects. Though Reverb is applied to both Voice A
and Voice B, the Depth parameter can be set independently for cach Voice. The second Reverb page contains additional Reverb
and Delay parameters for the effect. Reverb is also completely independent of Effect and Modulation, allowing all three to be used
simultaneously.
Reverb includes six different Special Reverb effects. These take full advantage of the P-500's advanced signal processing circuitry to
create a richer, more luxurious-sounding reverberation. (Special Reverb cannot be used with Modulation; see Note below.)
NOTE
When a Special Reverb type is selected, the Modulation cifect, if
active, is automatically cancelled. Likewise, Special Reverb can
only be selected if Modulation has been turned ой for the relevant
Voices.
[F1]: Reverb - Page 1
Display
REVERB Su Ture DetA DetB Time
| Pagel on ECHOs 16m 16m 1. 905
OODODODO
Parameter Grouping: [F6] and [F7] can be grouped for
simultaneous editing.
[F3] Sw (Switch):
For enabling/disabling Reverb for the Voice,
[F4]/{F5] Type:
For selecting the Reverb type for Voices A and В. (Either [F4]
or [F5] can be used to select this parameter.) Refer to the
Reverb Types and Parameters list below for specific Reverb
types and descriptions.
[F6] DptA (Depth Voice A):
For adjusting the depth or intensity of the Reverb for Voice A.
In Delay types, this controls the amount of reverb applied to
the Delay signal.
Range: 0 - 32
[F7] DptB (Depth Voice B):
(Same as for Voice A.)
[F8} Time:
Por setting the time of the Reverb.
Range: 0.30 - 9.90 seconds
NOTE
This only affects the time of the Reverb. The Delay time in Delay
types is determined by the Tempo parameter in Reverb - Page 2
below.
62
[F2]: Reverb - Page 2
Display
REVERB High ModIn Temro _ Бе
| Раде? lEm 589% d=156€ 468. ms) ЧЕ №
OODÓDODOO
[F3] High (High Damp):
For controlling the amount of high frequency content in the
Reverb sound. Higher values result in a “damping” or filtering
out of the high frequencies. This recreates the natural rever-
beration characteristics of actual environments, allowing you
to deaden or enliven the sound of the apparent environment.
Range: 0 - 32
[F4] ModIn (Modulation Input Level):
For controlling the amount of the Modulation sound that ıs
routed through the Reverb. A value of 0% completely
separates the Modulation and Reverb sounds (no Reverb ts
applied to Modulation). A value of 100% routes all of the
Modulation sound through the Reverb so that Reverb is
applied to the Modulation.
Settings: 0%, 25%, 50%, 75%, 100%
At 100%;
Modulation
Modin control
At OU:
Reverb
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NOTE
Ihe Modin parameter is not availabte when a Special Reverb type 15
selected. ModIn is active only when Modulation is turned on.
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[F51/[F6]/[F7] Tempo:
For determining the delay time for the Delay types. This sets
the delayed repeats to a specific tempo value, allowing you to
match the delayed repeats to the rhythm of a sequencer-
recorded song.
Range: «(quarter note) = 81 - 140 bpm (beats per minute), 140
- 220 (every other unit), 220 - 300 (every four units), 325, 350,
375, 400, 425, 450, 500, 600
[F8] Decay:
For controlling the feedback of the delay, or the length of time
it takes the Delay sound to decay to silence. Higher values
result in a longer decay time.
Range: 0 - 32
NOTE
The Tempo and Decay parameters are only available for the Delay
types.
Reverb Types and Parameters
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NOTE
Special Reverb can only be selected when Modulation SW A and
SW B are off. Similarly, all Modulation parameters are disabled
when Special Reverb is active.
63
REVERB GROUP
Reverb recreates the sounds of various types of performance
environments by adding an ambient wash of delays. The
Depth parameter controls the amount of Reverb applied to
each Voice, while Time controls the overall duration of the
Reverb sound. (SMALL-ROOM and EARLY-REF substitute the
Size parameter for Time.)
LARGE-HALL
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SMALL-HALL
LARGE-ROOM
SMALL-ROOM
EARLY-REF (Early Reflections)
DELAY (ECHO) GROUP
The Delay types add distinct echoed repeats to the sound. The
Depth parameter controls the level and amount of Delay
applied to each Voice. The Time parameter controls the
duration of the Reverb sound that is applied to the Delay. In
Reverb Page 2, the High parameter controls the amount of
high frequency content in the Reverb applied to the Delay.
(Descriptions of the Tempo and Decay parameters are given
above.)
ECHO, (Quarter notes, 4/4 time)
This type creates quarter-note delayed repeats, for use in a
time signature of 4/4.
ECHOS (Eighth notes, 3/4 time)
This type creates quarter-note delayed repeats for use in a time
signature of 3/4, or eighth-note triplets.
ECHOF# (Sixteenth notes)
This type creates sixteenth-note delayed repeats.
SPECIAL REVERB GROUP
The Special Reverb types feature six different performance
environments. Special Reverb utilizes all of the P-500's
Reverb and Modulation circuitry to achieve an exceptionally
smooth and rich Reverb effect. (Because of this, Modulation
and Special Reverb cannot be used together; one or the other
must be turned off.)
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NOTE
When you select a Special Reverb type the message “Cannot Use
ModIn With Special Reverb” appears briefly in the LED display,
before the Special Reverb parameters are displayed.
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Ш VOLUME
The Volume parameters let you control the Volume settings for the internal Voices and the connected MIDI devices and the
Expression settings of Voices A and B.
IF1]: Volume
The Volume parameters determine the MIDI volume setting
that is transmitted for Voices A and B and for MIDI A and B.
Display
VOLUME Voice A MIDI A Voice В MIDI E
Cofflfon] 1278 ARP off off.
ODOCDOÓDOOD
Parameter Grouping: [F3], [F5], [F6], and [F8] can be grouped
for simultaneous editing.
[F1]/(F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, MIDI volume data is
not transmitted over the selected Path and the sound of the
internal Voices cannot be heard.
[F3] Voice A:
For changing the transmitted MIDI volume setting for the Voice
A Path.
Range: off, 0 - 127
[F5] Voice B:
(Same as for Voice A.)
[F6] MIDI A:
For changing the transmitted MIDI volume setting for the MIDI
A Path.
Range: off, 0 - 127
[F8] MIDI B:
(Same as for MIDI A.)
64
[F2]: Expression
Expression, like Volume, 15 a means for controlling the level of
the Voices. The way the two are used, however, differs. For
example, Volume is used to set the relative levels of each of
the sounds, while Expression is used to altogether control the
entire set of sounds on the Path. This way, Expression can be
used to adjust the overall volume while maintaining the
relative level balance among individual sounds.
Display
EXPRES- Voice A Voice в = u
SION _ 12M O A
sé
Parameter Grouping: [F3] and [F6] can be grouped for
simultaneous editing.
[F3} Voice A:
For determining the Expression level applied to Voice A.
Range: 0 - 127
[F6] Voice B:
(Same as for Voice A.)
Ш VOICE TUNE
The Voice Tune parameters provide fine control over the pitch of the internal Voices. Voice Tune sets the basic pitch, while Piano
Tune and Microtune give you two different tools for changing how the pitch of the Voices responds across the keyboard range.
Coarse pitch controls are found in the Transpose page (see page 67). The main pitch controls for the P-500 as a whole are found in
the Master Tune page (see page 84).
NOTE
Remember that the final output pitch of the Voices and cach of their
notes depends on all of the P-500's pitch controls — those in this
page, and others in the Transpose and Master Tune pages. It the
pitch isn’t as you expect, be sure to check that all pitch settings are
appropriate,
[F1]: Voice Tune
Voice Tune allows you to set the basic pitch of each of the
internal Voices. Keep in mind that this is a fine pitch adjust-
ment; coarse pitch controls (for changing the pitch in semitone
steps) are found in the Transpose page (see page 67). In Dual
mode, this could be used to slightly detune each Voice in
opposite directions, creating a naturally thick chorusing effect.
NOTE
Untike the Transpose parameter, this only affects the internal Voices
and is not transmitted to MIDI devices on the Voice A or Voice B
Paths.
Display
VOICE TUNE Voice A Voice В _
(НЗ=44 8. ВНЕ). — um + da |
ооо
Shows the current Master Tune setting for the internal Voices;
set in the Master Tune page (see page ??}.
Parameter Grouping: [F4] and [F7] can be grouped tor
simultaneous editing.
[F4] Voice A:
For adjusting the fine pitch setting of Voice A.
Range: -63 - +63
(approx. -/+ 50 cents; 100 cents = 1 semitone)
[F7] Voice B:
(Same as for Voice A.)
65
[F2]: Piano Tune
The Piano Tune controls allow you to create a more authentic
acoustic piano sound by simulating stretch tuning. Stretch
tuning is a technique applied to acoustic pianos in which the
higher and lower notes of the piano are slightly “stretched” out
of tune, making them actually sound more in tune to the
human ear. Stretch tuning starts around the middle of the
keyboard, and the difference in pitch gradually increases as
you play notes further up or down on the keyboard.
NOTE
This parameter only affects the internal Voices and 15 not transmitted
to MIDI devices on the Voice A or Voice В Paths.
Display
PIANO TUNE Voice Я_, Voice В _
Glows LiS2_ HIST Li2- Hier
Graphically shows curve that
corresponds to the set value.
Indicates currently
selected parameter.
Parameter Grouping: [F3] and [F6], or [F4] and [F7] can be
grouped for simultaneous editing.
[F3] L (Voice A Low):
For setting the degree of stretch tuning for the lower keyboard
range of Voice A, or starting with notes below A3 (the A above
middle C).
Range: 1 - 3
[F4] H (Voice A High):
For setting the degree of stretch tuning for the upper keyboard
range of Voice A, or starting with notes above A3 {the A above
middle С).
Range: 1 - 3
[F6] L (Voice B Low):
(Same as for Voice A.)
[F7] H (Voice B High):
(Same as for Voice A.)
REFERENCE
[F3]: Microtune
The Microtune parameters allow you to set a separate pitch for
cach individual key of the keyboard, independently for Voice
A and Voice B.
NOTE
This parameter only affects the internal Voices and is not transmitted
to MIDI devices on the Voice A or Voice B Paths.
Display
MICROTUNE Voice A Voice B Key |
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Parameter Grouping: [F3] and [F6] can be grouped for
simultaneous editing.
[F1]/[F2] Off/On:
These determine whether the Microtune function is active for
both Voices or not. Though independent Microtune settings
can be made for Voice A and Voice B, the Microtune Off/On
contro! here applies to both Voices.
[F3] Voice A Tuning:
For adjusting the pitch of the selected key for Voice A.
Range: -63 - +63
(approx. -/+ 50 cents; 100 cents = 1 semitone)
[F6] Voice B Tuning:
(Same as for Voice A.)
[F8] Key:
For selecting the key on the keyboard whose pitch is to he
changed. You can set the value by pressing the appropriate
key on the keyboard, or by using the -1/+1 buttons or DATA
ENTRY slider. No sound is output from the P-500 when Key 15
selected.
66
Ш TRANSPOSE / PB (PITCH BEND) RANGE
This page provides other pitch-related parameters, such as making transpose settings for the internal Voices and connected MIDI
instruments, as well as the range over which the pitch can be “bent” by using WHEEL 1 or After Touch on the keyboard (or a
properly assigned Foot Controller).
[F1]: Transpose
Transpose allows you to determine the coarse pitch setting,
both for the internal Voices and the MIDI instruments on the
Voice А/В and MIDI AB Paths. The settings for all four Paths
are independent. Transpose is particularly useful in the Dua!
and Split modes. tn the Dual mode, for example, you can play
two different Voices together, each having a different pitch.
HINT — KEEPING TRACK OF PITCH SETTINGS
Remember that Franspose is just one of the many pitch-related
parameters, and that the actual pitch you hear may depend on those
other parameters as well. Be sure to take into consideration the
Master Tune and Master Transpose parameters (page 84) in the
System Setup’s Master Tune page, as well as settings made in the
Voice Tune page (page 65), Plano Tune page (page 65), and
Microtune page (page 66).
Display
TRANSPOSE Voice A MIDI R Voice B MIDI В
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Parameter Grouping: [F3], [F5], [F6] and [F8] can be grouped
for simultaneous editing.
[F1J/(F2] Off/On:
These determine whether the Transpose function is active for
the selected Path or not. Setting a Path to off is the same as
making a Transpose setting of 0 for the Voice or MIDI instru-
ment.
[F3] Voice A:
For setting the coarse pitch of Voice A. This also determines
the coarse pitch of the MIDI instrument on the Voice A Path,
Range: -24 - +24 semitones (12 semitones = 1 octave)
[F5] MIDI A:
For setting the coarse pitch of MIDI A.
Range: -24 - +24 semitones (12 semitones = 1 octave)
[F6] Voice B:
(Same as for Voice A.)
[F8] MIDI B:
(Same as for MIDI A.)
[F2]: Pitch Bend Range
The Pitch Bend function lets you continuously change the
pitch of the internal Voices by using WHEEL 1, After Touch on
the keyboard, or one of the Foot Controllers (see pages 72, 77).
This parameter page determines the maximum range Over
which the pitch of the Voices can be changed. (This also
affects the pitch response of the internal Voices when being
controlled by an external MIDI keyboard or sequencer.)
Independent ranges can be set for each Voice and for each
control method (WHEEL 1 and After Touch).
NOTE
Though WHEEL 1 is normally set to control Pitch Bend, you will
probably need to properly assign Pitch Bend to After Touch (or the
Foot Controller you wish to use) in the WHEEL CS PS AT and FC
pages (see pages 72, 77), Otherwise, After Fouch (or the Foot
Controller) will have no effect on Pitch Bend.
NOTE
The Pitch Bend Range only controls how the internal Voices respond
to pitch bend control, and has no effect on the range of connected
MIDI instruments. The pitch bend range for the MIDI instruments
must be set on the instruments themselves; refer to the appropriate
owners manuals for details.
Display
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Parameter Grouping: [F3] and [F6], or [F5] and [F8] can be
grouped for simultaneous editing.
[F3] W (Voice A WHEEL 1):
For setting the range over which WHEEL 1 affects the pitch of
Voice A.
Range: 0 - 3 semitones
[F5] A (Voice A After Touch, Foot Controller):
For setting the range over which After Touch affects the pitch
of Voice A. Negative values bend the pitch downward when
pressing down hard on the keys, while positive values bend
the pitch upward,
Range: -3 - +3 semitones
[F6] W (Voice B WHEEL 1):
(Same as for Voice A.)
[F8] A (Voice B After Touch, Foot Controller):
(Same as for Voice A.)
Ш KEYBOARD SENS. (SENSITIVITY)
The Keyboard Sensitivity pages allow you to control how the volume of the internal Voices and connected MIDI instruments
responds to your keyboard playing.
[F1]: Voice Key Scale
Voice Key Scale and MIDI Key Scale determine the amount
the volume of the Voices (or MIDI instrument sound programs)
change according to the section of the keyboard played. (This
parameter is sometimes referred to as “keyboard tracking.”)
For example, you could program this parameter to have notes
played at the upper end of the keyboard sound softer than
notes played at the lower end. Different Key Scale curves are
available for tailoring the response for specific applications.
HINT
One of the main uses for the Key Scale parameter is in creating “soft
splits” or positional crossfades. In this way, one Voice tor MIDI
instrument sound program) can sound from the lower end of the
keyboard and a different Voice can sound from the upper, with a
gradual crossfade between the two through the middle of the
keyboard, Itke this:
MAMA
Voice A
Voice B
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Using the Voice and MID] Key Scale functions together, you can
program even more sophisticated positional crossfades, using both
the internal Voices and the connected MIDI instruments.
Display
VOICE _ _ Voice A Voice В Point ©
KEY_SCALE Hm H15> 3
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Graphically shows curve that corresponds to the setting.
[F2]: MIDI Key Scale
Display
MIDI MIDI A MIDIB Point ©
KEY_SCALE Hm Hi“ C 3 |
F& F7 Fa
So
68
Parameter Grouping: [F3] and [F5] can be grouped for
simultaneous editing.
[F3] Voice A / MIDI A Key Scaling:
For setting the Key Scale curve for Voice A (or MIDI A).
Settings:
L3, L2, LI
The L (Low) curves cause the volume of the sound to
become softer, the lower the notes that are played (below
the Point setting). L3 is the steepest curve and results in the
greatest decrease in volume.
Nm
The Nm (Normal) curve is the conventional playing
condition and causes no change in volume throughout the
entire keyboard range.
H1, H2, H3
The H (High) curves cause the volume of the sound to
become softer, the higher the notes that are played (above
the Point setting), H3 is the steepest curve and results in
the greatest decrease in volume.
[F5] Voice В / MIDI B Key Scaling:
(Same as for Voice A / MIDI A.)
[F7] Point:
For setting the center key around which the Key Scale curve
takes effect. The note set here is used as the center point for
the curves set from [F3] and [F5] above. You can set the value
by pressing the appropriate key on the keyboard, or by using
the -1/+1 buttons or DATA ENTRY slider. No sound is output
from the P-500 when Point is selected.
Range: А -1-С7
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[F3]: Velocity Curve
The Velocity Curve parameter gives you wide and flexible
control over how the strength of your playing affects the
volume of the Voices and the MIDI instruments over each of
the four Paths.
On a conventional acoustic instrument such as an acoustic
piano, the harder you play it, the louder the resulting sound.
Generally, this velocity-to-volume relationship is linear; in
other words, the sound becomes louder in direct proportion to
the strength with which you play, like this:
Volume
А
Мах.
мт, > Velocity
Soft Hard
(playing strength)
The P-500, however, provides a total of twenty different
Velocity Curves. This allows you to tailor the keyboard
response to fit the way you play, as well as set up separate
curves for the various Paths in order to selectively and gradu-
ally bring in different sounds depending on how softly or
strongly you play.
Display
VELOCITY Voice A MIDI A Voice B MIDI B
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в нов во во
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Graphically shows curve that corresponds to the setting.
Parameter Grouping: [F3], [F5], [F6], and [F8] can be grouped
for simultaneous editing.
[F3] Voice A Velocity Curve:
For setting the type of Velocity Curve for Voice A. (Actual
curves and their descriptions are given in the Velocity Curves
chart below.)
Settings: АТ - A4, BI - B4, C1 - C5, D1 - D2, El - E2, F1 - F3
[F5] MIDI A Velocity Curve:
For setting the type of Velocity Curve for MIDI A. (Actual
curves and their descriptions are given in the Velocity Curves
chart below.)
Settings: AT - A4, B1 - B4, C1 - C5, D1 - D2, El - E2, F1 - F3
[F6] Voice B Velocity Curve:
(Same as for Voice A.)
[F8] MIDI B Velocity Curve:
(Same as for MIDI A.)
69
Velocity Curves
In general, the larger the number of the Velocity Curve, the
louder the Voice (or MIDI sound program) becomes for even
low key velocities. In other words, if you want the sound to be
relatively loud even when you play the keyboard relatively
softly, you should choose a higher number Curve {for example,
using C5 ot the С Curves).
Ale“, A2-7, АЗ”, Ade”
The A Curves are best suited for use with the internal Voices
(Voice A and Voice B).
B1 A, B2.7, B3-*, B4_-”
The B Curves are all-purpose velocity curves, suitable for both
the internal Voices and connected MIDI instruments.
01.24, C2-“, C3r-, Car, C547
The С Curves are best suited for use with connected MIDI
instruments (MIDI A and MIDI B).
DI--, D2
The D Curves are designed to bring up the level of the desired
sound when playing softly. Use this in tandem with an E
Curve (below) on a different sound to create a velocity
crossfade between sounds.
El_, E2_f |
The E Curves are designed to bring up the level of the desired
sound when playing strongly. Use this in tandem with a D
Curve (above) on a different sound to create a velocity
crossfade between sounds.
Elo, F2--, #3--
The F Curves create flat velocity response. The volume of the
sound remains the same, no matter how softly or strongly the
keys are played.
us
Q
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Lid
Ex
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Ш KEYBOARD MODE
{п the Keyboard Mode pages, the configuration or mode of the keyboard — Single, Dual, or Split — can be set for the internal
Voices and the four MIDI Paths. The name of the Performance can also be set here.
IF1]: Voice Keyboard Mode
Display
UOICE Tere —
KBD-MODE — sinale
OOODO
nes ion en
Sá
Not available when Single mode or Dual mode is selected.
[F2]: MIDI Keyboard Mode
Display
Type Point |
single _H TT )
Oooo
MIDI
KED-MODE _
Oooo
These pages let you determine the Keyboard Mode — Single,
Dual, or Split — for the internal Voices, and the Voice A/B and
MIDI A/B Paths. In Single mode, one Voice (or sound program
on a MIDI instrument) is played across the keyboard. Dual
mode allows two Voices to be played in a layer across the
keyboard, while Split allows two Voices to be played from
opposite sections of the keyboard (separated by a user-
definable Split Point).
[F3] Type:
For setting the Keyboard Mode.
Settings: Single, Dual, Split
[F5] Assign:
For determining the type of Voice/MIDI assignment used in the
selected mode. Each mode has its own settings, as described
below.
Settings:
(In Single mode:)
otf
Disables playing of internal Voices and sound programs on
the Voice A/B Paths (or MIDI A/B Paths).
A
Enables Voice А (or MIDI A).
70
(In Dual mode:)
off
Disables playing of internal Voices and sound programs on
the Voice A/B Paths (or MIDI A/B Paths).
A&B
Enables Voices A and B (or MIDI A and B) to be played
together in a layer.
(In Split mode:)
off
Disables playing of internal Voices and sound programs on
the Voice А/В Paths (ог MIDI А/В Paths).
| A
Sets the lower section of the keyboard to off (no Voice
sound or MIDI data is output from here), and assigns Voice
A (or MIDI A) to the upper section of the keyboard.
| В
Sets the lower section of the keyboard to ой (по Voice
sound or MID! data is output from here), and assigns Voice
B (or MIDI B) to the upper section of the keyboard.
Al
Assigns Voice A (or MIDI A) to the lower section of the
keyboard, and sets the upper section of the keyboard to off
(no Voice sound or MIDI data is output from here).
B |
Assigns Voice B (or MIDI B) to the lower section of the
keyboard, and sets the upper section of the keyboard to off
(no Voice sound or MIDI data is output from here).
BIA
Assigns Voice B (or MIDI B) to the lower section of the
keyboard, and Voice A (or MIDI A) to the upper section,
AIB
Assigns Voice A (or MIDI A) to the lower section of the
keyboard, and Voice В (or MIDI BJ to the upper section.
[F7] Point (Split mode only):
For setting the Split Point, or the key on the keyboard at which
the two Split sections are separated. You can set the value by
pressing the appropriate key on the keyboard, or by using the
-1/+1 buttons or DATA ENTRY slider. No sound is output
from the P-500 when Point is selected.
Range: A -1-С7
[F3]: Performance Name
In the Performance Name page, you can give an eight-
character name to the Performance you've created.
Display
PERE NAME PERFORMANC
| [4] [e] PRSETYCE ©
С С С) С С С) С) С)
[F1]:
Moves cursor one space left.
[F2]:
Moves cursor one space right.
^ ( Operation — )
Use [F1] and [F2] to move cursor to desired position in the
name,
Use the DATA ENTRY slider or -1/+1 buttons to change
character at cursor. {For a list of the available characters,
see page 53.)
LL
Q
г.
ыы
oe
Li
Ll
bbl
= =
71
BI FC (FOOT CONTROLLERS)
The P-500 features four FOOT CONTROLLER input jacks on the side panel for connecting the Pedal Unit and/or optional pedal
controllers (such as the Yamaha FC7) or Foot Switches (such as the Yamaha FC4 or FC5). These can then be used to control various
functions, both on the P-500 itself and the connected MIDI devices.
Since the operations, parameters, settings and ranges are the same for all FC parameter pages, the descriptions and explanations are
combined here and apply to all pages.
[F1]: FC1 (Foot Controller 1)
IF2]: FC2 (Foot Controller 2)
[F3]: FC3 (Foot Controller 3)
[F4]: FC4 (Foot Controller 4)
Display
Indicates selected Foot Controller number and Voice/MIDI A or B Path.
(Use the PAGE </ buttons to change the Path between A and В.)
ЕС 1-A Cru. MIDI В
Loff1Lon
Uoice À 7 Cru.
Nm." CtriChase4 Нм.”
Sustain
ооо о © © 9
Graphically shows curve that corresponds to the setting.
Parameter Grouping: [F5] and [F8] can be grouped for
simultaneous editing.
(Operation — )
1 After calling up the desired parameter page (FC1, FC2,
FC3, FC4), use the PAGE <4/ buttons to select the
desired Path (Voice/MIDI A or Voice/MIDI В).
Select the desired control destination parameter(s) (with
[F3], [F6]), then turn the selected parameter off or on by
pressing [F1] or [F2], respectively.
2
3 With the parameter turned on in the step above, use the
DATA ENTRY slider or -1/+1 buttons to change the
setting.
72
[F1]/[F2] Off/On:
These determine whether the destination parameter values set
in this page (with [F3] or [F6]) are effective or not. When set to
off, the Foot Switch or Foot Controller has no effect over the
selected Path.
[F3] Voice A / B Destination:
For setting the control destination for the selected Foot
Controller number over the Voice A (or В} Path.
For example, when Volume is selected as the Voice A destina-
tion in the FC 1-A page, a Foot Controller connected to the
FOOT CONTROLLER 1 jack can be used to control the
volume of Voice A (both that of the internal Voice and the
MIDI instrument on the Path).
Settings: Mod.Wheel, Volume, Panpot, Express, Sustain,
Sostenuto, Soft, PitchCtrl, PeríChg, ChainChg, Attack, Decay,
Release, Vib Speed, Pan Range, Eff Depth, Rev Depth, Mod
Depth, Mod Speed, = VoiceA (for Voice B only)
(See the list below for detailed descriptions.)
NOTE
For best results and ease of operation, use an on/off Foot Switch with
the settings labeled “Discrete” or “Continuous/Discrete” below. Use
a continuous Foot Controller with “Continuous” settings.
When using a continuous Foot Controller with a Continuous/
Discrete destination, the pedal minimum position corresponds to off
and pedal maximum corresponds to on.
Mod.Wheel (Modulation Wheel) (Continuous) — For
adding Vibrato to the Voice. (This modulation is
unrelated to the Modulation effect, page 60.) For the
MIDI Path, this corresponds to controller number 1
(Modulation).
Volume (Continuous) — For controlling the volume of
the Voice. For the MIDI Path, this corresponds to
controller number 7 (Volume).
Panpot (Continuous) — For controlling the pan position
of the Voice. For the MIDI Path, this corresponds to
controller number 10 (Pan).
Express (Expression) (Continuous) — For controlling the
Expression, or the overall volume of the Voice. For the
MIDI Path, this corresponds to controller number 11
(Expression).
rm
г
Sustain (Continuous/Discrete) — For controlling the
sustain of the Voice (as with the damper pedal on a
piano). For the MIDI Path, this corresponds to controller
number 64 (Damper Pedal or Sustain).
Sostenuto (Continuous/Discrete) — For sustaining only
those notes of a Voice that are played and held when the
pedal controlling Sostenuto is pressed. All subsequent
notes played while the pedal is held down.are not
sustained. In other words, if you play a chord, press the
Sostenuto pedal, then release the chord, the notes of the
chord will sustain, while further notes that you play will
have no sustain. Thts allows you, for example, to hold a
chord and play staccato notes over it. For the MIDI
Path, this corresponds to controller number 66
(Sostenuto).
Soft (Continuous/Discrete) — Like the soft pedal on an
acoustic piano, this lowers the volume of the Voice by a
set amount while the pedal ts held down. For the MIDI
Path, this corresponds to controller number 67 (Soft).
PitchCtrl (Continuous) — For controlling the amount of
pitch bend applied to the Voice and the MIDI Path.
PerfChg (Performance Change) (Discrete) — For
selecting Performances in order, one by one. An inverse
curve in the Curve parameter would allow stepping in
reverse through the Performances, while a normal curve
would allow stepping forward. (Only affects the P-500.)
ChainChg (Chain Change) (Discrete) — For selecting
Chains in order, one by one. An inverse curve in the
Curve parameter would allow stepping in reverse
through the Chains, while a normal curve would allow
stepping forward. (Only affects the P-500.)
Attack (Continuous) — For controlling the Attack rate of
the EG (see page 54). (Only affects the P-500.)
Decay (Continuous) — For controlling the Decay rate of
the EG (see page 54). (Only affects the P-500.)
Release (Continuous) — For controlling the Release rate
of the EG (see page 54). (Only affects the P-500.)
Vib Speed (Vibrato Speed) (Continuous) — For control-
ling the Speed parameter of the Vibrato (see page 54).
(Only affects the P-500.)
Pan Range (Continuous) — For controlling the degree to
which keyboard position affects Pan position (see page
55). (Only affects the P-500.)
Eff Depth (Effect Depth) (Continuous) — For controlling
the Depth parameter of Effect (see page 56). (Only
affects the P-500.)
Rev Depth (Reverb Depth) (Continuous) — For control-
ling the Depth parameter of Reverb (see page 62). (Only
affects the P-500.)
Mod Depth (Continuous) — For controlling the Depth
parameter of Modulation (see page 60). (Only affects the
P-500.)
Mod Speed (Continuous) — For controlling the Speed
parameter of Modulation (see page 60). (Only affects the
P-500.)
= VoiceA — (Only available in Voice B parameters.)
When this is selected, Voice B is assigned to the same
control as Voice A.
[F5] Crv. (Voice A / B Curve):
For setting the type of curve for the selected controller, or how
the destination parameter responds to the press of the Foot
Switch or movement of the Foot Controller.
Settings: H3, H2, H1, Nm, $1, $2, $3, In, Sw
(See descriptions/illustrations below.)
NOTE
WHEEL 2).
WHEEL 1 affects the MIDI data differently than the other controllers.
The dotted-line curves in the illustrations below correspond to
WHEEL 1 operation; the solid-line curves apply to the other
continuous controllers (Foot Controllers, After Touch, CS Sliders,
H3 — An exponential-type curve in which the controller
changes the parameter values only around the maximum
positions. (or the UP/DOWN positions, for WHEEL 1).
Parameter
valur
H2 — An exponential-type curve in which the contraller
changes the parameter values only slightly at the
minimum-to-median positions. (or around the center
position, for WHEEL 1).
‘Ain,
= АТ, CS, FC
Controller
A
‘tin,
potition
—
¢
Max.
H1 — A nearly linear curve in which the minimum
controller positions have slightly less effect (in changing
the parameter values) than the maximum positions.
(For WHEEL 1, the value change is slightly greater
around the UP/DOWN positions.)
Far ameter
rasch FC
Controller
petition
—
Mis.
REFERENCE
D Е/йщйщшШ|ИЕЩщ[щщ1
Nm — Normal linear response; the further the controller
is moved toward the maximum position, the higher the
parameter value becomes. For Foot Switches, the raised
position corresponds to off or minimum; pressed down
corresponds to on or maximum,
© €
$1 --- A nearly linear curve in which the maximum
controller positions have slightly less effect (in changing
the parameter values) than the minimum positions.
(For WHEEL 1, the value change is slightly less around
the UP/DOWN positions.)
q
4 AC, CS, FC
Ms. A
Wheel +
Controller
Min, potion
=“
à ®
$2 — An exponential-type curve in which the controller
changes the parameter values only slightly at the
median-to-maximum positions. (For WHEEL 1, the value
change is greatest around the center position.)
$3 — An exponential-type curve in which the controller
changes the parameter values only around the minimum
positions. (or around the center position, for WHEEL 1).
AT. CS, AC
№ых.|.... |...
— Wheet 1
Е Contraer
Min. : ge portion
—
se +
Min Kine.
74
In — Inverted linear response (opposite of Nm); the further
the controller is moved toward the maximum position, the
lower the parameter value becomes. For Foot Switches,
the raised position corresponds to on or maximum;
pressed down corresponds to off or minimum.
Sw — Simple minimum/maximum or on/off Curve.
With this Curve, both continuous controller types (Foot
Controliers, Wheels) and switch types (Foot Switches)
have the same effect on the Destination parameter.
NOTE
Since discrete, switch-type destinations (such as Sustain or Effect Sw)
respond only to simple on/off control, setting the Curve for one of
these destinations to $1, 52 or 53 has the same effect as the Nm
(Normal) Curve, while H1, H2 or H3 has the same effect as the In
(Inverted) Curve.
HINT
If you are using a pedal switch from a different manufacturer, and
the Sustain (or any other) function doesn't work properly, the polarity
of the switch may be reversed. To use the pedal switch with the
P-500, set the Curve parameter to In.
[F6] MIDI A / B Destination:
For setting the control destination for the selected Foot
Controller number over the MIDI A (or B) Path.
For example, when Control Change 007 is selected as the
MIDI A destination in the FC 1-A page, a Foot Controller
connected to the FOOT CONTROLLER 1 jack can be used to
control the volume of the MIDI instrument(s) on the MIDI A
Path.
Settings: Control Change Number 0 - Control Change
Number 120, Pitch Bend, Start (FA*), Continue (FB*), Stop
(FC*), After Touch, = MIDI A (for MIDI 8 only) (See the chart
below for detailed descriptions.)
* The corresponding MIDI data byte, expressed as a hexadecimal number,
Pp
Pp
NOTE
For best results and ease of operation, use an on/off Foot Switch with
the settings labeled “Discrete” or “Continuous/Discrete” below. Use
a continuous Foot Controller with “Continuous” settings.
The Continuous/Discrete description applies to certain MIDI
controller numbers {such as Sustain, #64) which were once discrete
switches and have now been redefined in the MIDI specification as
continuous. The redefinition does not affect their operation, though;
they still work best with an on/off Foot Switch.
When using a continuous Foot Controller with a Continuous/
Discrete destination, the pedal minimum position corresponds to off
and pedal maximum corresponds to on.
NOTE
Control change numbers not listed here are either undefined
according to the MIDI specification or are not commonly used.
Those interested should refer to the MIDI Detailed Specification,
published by the MIDI Manufacturers Association, as well as any of
the multitude of other books on MIDI.
This chart lists the most commonly used MIDI controllers and their corresponding numbers.
All of these are included in the MIDI A / В Destination parameters.
For adding modulation to the sound. The
modulation can control pitch, volume,
CntrChg001 (Continuous) 1 Modulation wheel or lever | brightness or some other aspect of the sound,
depending on the functions of the MIDI
instrument.
CntrChg002 (Continuous) 2 Breath controller For adding modulation to the sound, as with
controller number 1 above.
CntrChg004 (Continuous) 4 Foot controller For adding modulation to the sound, as with
controller number 1 above.
CntrChg005 (Continuous) 5 Portamento time For controlling the time of the portamento
(pitch slide) effect on a synthesizer.
For changing a specified parameter on the
CntrChg006 (Continuous) 6 Data entry MIDI device. (The parameter to be controlled
is set on the device itself.)
CntrChg007 (Continuous) 7 Volume For controlling the volume of the sound.
CntrChg010 (Continuous) 10 Pan For controlling the pan position of the sound
in the stereo image.
CntrChg011 (Continuous) 11 Expression For controlling the Expression level (overall
volume) of the sound.
CntrChg064 64 Damper pedal (Sustain) For controlling the sustain of the sound (as
(Continuous/Discrete) with the damper pedal on a piano).
CntrChg065 | 65 Portamento For turning the portamento (pitch slide)
(Continuous/Discrete) function of a synthesizer on and off.
For sustaining only those notes of a Voice that
are played and held when the pedal
CntrChg066 | controlling Sostenuto is pressed. All |
nn 66 Sostenuto subsequent notes played while the pedal is
(Continuous/Discrete) |
held down are not sustained. (See Sostenuto
in Voice A/B Destination parameter above for
more information.)
75
REFERENCE
COU HIRE, А NET oe bea be tr
CntrChg067
] 67 Soft pedal :
(Continuous/Discrete) om pews amount while the pedal is on.
Unlike numbers 64 and 66 above, this is
CntrChe069 controlling other types of "hold" functions
Continuous/Discrete) 69 Hold 2 (such as "treezing" the operation of a
| synthesizer's envelope until pedal is released).
F ‹ у 1 } > с
CntrChg091 | 91 External effects depth For controlling the effect depth on a MIDI
(Continuous/Discrete) effect device.
С : .
CntrChg0 22 92 Tremolo depth For controlling the tremolo depth on a MIDI
(Continuous/Discrete) effect device.
CntrChg093 93 Chorus depth For controlling the chorus depth on a MIDI
(Continuous/Discrete) | | efiect device.
CntrChg094 For controlling the celeste depth (amount of
; . 4 Celeste (Det h
(Continuous/Discrete) 9 eleste (Detune) dept detuning) on a MIDI effect device.
CntrChg095 | 95 Phaser depth For controlling the phaser depth on a MID!
(Continuous/Discrete) effect device.
For increasing the value of a specified
CntrChg096 (Discrete) 96 Data increment parameter on the MIDI instrument (in single
unit steps).
For decreasing the value of a specified
CntrChg097 {Discrete} 97 Data decrement parameter on the MIDI instrument (in single
unit steps).
PitchBend (Continuous)
Pitch bend
For controlling the pitch bend function on a
MIDI instrument.
For starting playback of a MIDI sequencer or
FA:Start (Discrete) — Start Jf
rhythm machine.
For continuing playback of a MIDI sequencer
FB:Cont (Discrete) = Continue or rhythm machine (when playback has been
stopped in the middle of a sequence).
FC: Stop (Discrete) __ Stop For stopping playback of a MIDI sequencer or
rhythm machine.
AfterTouch (Continuous)
After touch
For adding modulation to the sound, as with
controller number 1 above.
= MIDI A (for MIDI В only)
This sets the control destination for the MIDI
B Path to the same destination as that of the
MIDI A Path in the same page.
[F8] Crv. (MIDI A / В Curve):
For setting the type of curve for the selected controller, or how
the destination parameter responds to movement of the Foot
Switch or Foot Controller. (The settings are the same as for
Voice А/В; refer to [F5] Crv. above for detailed descriptions.)
76
PF
NH WHEEL / CS PS AT
(WHEELS, CS SLIDERS, PS SWITCHES, AFTER TOUCH)
|Е1 |: ATA (After Touch Voice/MIDI A)
[F2]: АТВ (After Touch Voice/MIDI В)
After Fouch is a pressure sensing function built into the
keyboard, letting you control various functions by how hard
you press down on the keys while playing them. After Touch
can be used to control aspects of the sound both on the P-500
itself and the connected MID! devices.
The operations of the After Touch pages are the same as those
for the Foot Controller pages, but some parameter settings and
values may be different. Refer to the brief parameter descrip-
tions given below. For more detailed descriptions and
explanations of the relevant functions, see FC (FOOT
CONTROLLERS), page 72.
Display
(AFT. TOUCH Voice A Cru MIDIA Cr
Ve
Loffilon] Rey Derth Нм.” Ctr1iCh93663 Nm;
F1 F2 F3 F4 FS F6 Fr ЕВ
U U UDO 00 0
Parameter Grouping: Por this and all of the WHEEL CS PS AT
parameter pages below, [F3] and [F6], or [F5] and [F8] can be
grouped for simultaneous editing.
[F1]/[F2] Off/On:
[F3] Voice A / B Destination:
Settings: Mod.Wheel, Volume, Panpot, Express, Sustain,
Sostenuto, Soft, PitchCtrl, Attack, Decay, Release, Vib Speed,
Pan Range, Eff Depth, Rev Depth, Mod Depth, Mod Speed, =
Voice A (for Voice B only)
(See page 72 for detailed descriptions.)
IMPORTANT
PerfChg and ChainChg are not available as After Touch Destinations.
[F5] Crv. (Voice A / B Curve):
Settings: H3, H2, H1, Nm, $1, $2, $3 In, Sw (See page 73 for
detailed descriptions.)
[F6] MIDI A / В Destination:
Settings: Control Change Number 0 - Control Change
Number 120, Pitch Bend, Start (FA*), Continue (FB*), Stop
(FC*), After Touch, = MIDI A (for MIDI B only)
(See page 75 for detailed descriptions.)
* The corresponding MIDI data byte, expressed as a hexadecimal number.
[F8] Crv. (MIDI A / В Curve):
(Same as for Voice A/B.)
77
[F3]: WHEEL 1 A/B
[F4]: WHEEL 2 A/B
The WHEEL 1 and WHEEL 2 controllers on the left side of the
keyboard allow you to control various functions in realtime as
you play. They can be used to control aspects of the sound
both on the P-500 itself and the connected MIDI devices.
The operations of the WHEEL pages are the same as those for
the Foot Controller pages, but some parameter settings and
values may be different. Refer to the brief parameter descrip-
tions given below. For more detailed descriptions and
explanations of the relevant functions, see FC (FOOT
CONTROLLERS), page 72.
Display
Indicates selected controller and Voice/MIDI A or B Path.
{Use the PAGE </® buttons to change the Path between A and В.)
WHEEL 1-Я Voice A Cru MIDI A Cry
Со] [ом] FitchBend Hm-7 PitchBend Nm.”
OODODODO
[F1]/[F2] Off/On:
[F3] Voice A / B Destination:
Settings: Mod.Wheel, Volume, Panpot, Express, Sustain,
Sostenuto, Soft, Pitch Bend (WHEEL 1 only), Attack, Decay,
Release, Vib Speed, Pan Range, Eff Depth, Rev Depth, Mod
Depth, Mod Speed, = Voice A (for Voice B only)
(See page 72 for detailed descriptions.)
IMPORTANT
PerfChg and ChainChg are not available as WHEEL Destinations.
Also, PitchCtrl is not availabie as a Destination for WHEEL 2.
[F5] Crv. (Voice A / B Curve):
Settings: H3, H2, H1, Nm, $1, $2, $3, In, Sw
(See page 73 for detailed descriptions.)
[F6} MIDI A / B Destination:
Settings: Control Change Number 0 - Control Change
Number 120, Pitch Bend, Start (FA*), Continue (FB*), Stop
(FC*), After Touch, = MIDI A (for MIDI В only)
(See page 75 for detailed descriptions.)
* The corresponding MIDI data byte, expressed as a hexadecimal number,
[F8] Crv. (MIDI A / В Curve):
(Same as for Voice A/B.)
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[F5]: CS 1 Slider A/B
[F6]: CS 2 Slider A/B
The CS 1 and CS 2 sliders, like WHEEL 1 and WHEEL 2, are
continuous controllers that allow you to control various
functions in realtime as you play. They can be used to control
aspects of the sound both on the P-500 itself and the con-
nected MIDI devices.
The operations of the CS pages are the same as those for the
Foot Controller pages, but some parameter settings and values
may be different. Refer to the brief parameter descriptions
given below. For more detailed descriptions and explanations
of the relevant functions, see FC (FOOT CONTROLLERS),
page 72.
Display
Indicates selected controller and Voice/MIDI A or B Path.
(Use the PAGE 4 / > buttons to change the Path between A and B.)
CS 1-A _ Voice A
[off1lonJ] Volume _
OOODODOO
Cru. MIDI В Cru,
Nm. Ctr1Ch930997 Nm.”
[F1]/[F2] Off/On:
[F3] Voice A / B Destination:
Settings: Mod.Wheel, Volume, Panpot, Express, Sustain,
Sostenuto, Soft, Attack, Decay, Release, Vib Speed, Pan
Range, = Voice A (for Voice B only)
(See page 72 for detailed descriptions.)
[F5] Crv. (Voice A / B Curve):
Settings: H3, H2, H1, Nm, S1, $2, $3, In, Sw
(See page 73 for detailed descriptions.)
[F6] MIDI A / B Destination:
Settings: Control Change Number 0 - Control Change
Number 120, Pitch Bend, Start (FA*), Continue (FB*), Stop
(FC*), After Touch, = MIDI A (for MIDI B only)
(See page 75 for detailed descriptions.)
* The corresponding MIDI data byte, expressed as a hexadecimal number.
[F8] Crv. (MIDI A / В Curve):
(Same as for Voice A/B.)
78
[F7]: PS 1 Switch A/B
[F8]: PS 2 Switch A/B
The PS 1 and PS 2 Switches provide on/off control over various
functions, both on the P-500 itself and the connected MIDI
devices. They can also be used as maximum/minimum value
switches for continuous controller destinations not normally
used with switches.
The operations of the PS pages are the same as those for the
Foot Controller pages, but some parameters and their settings/
values may be different. Refer to the brief parameter descrip-
tions given below. For more detailed descriptions and
explanations of the relevant functions, see FC (FOOT
CONTROLLERS), page 72.
Display
Indicates selected controller and Voice/MIDI A or B Path.
(Use the PAGE «/) buttons to change the Path between A and В.)
PS 1-A = Voice A Mode MIDI A Mode
Coffifon] PerfCh9 Nem CtrlCh9064 _Nrmi
Fi
OOOOODOO
[F1]/[F2] Off/On:
[F3] Voice A / B Destination:
Settings: PerfChg, ChainChg
(See page 73 for detailed descriptions.)
[F5] Voice A / B Mode:
Similar to the Curve parameter in the other controllers, this
determines how the destination parameter of the Voice and
Voice Path responds to pressing of the Foot Switch.
Settings: Nrm (Normal), Inv (Inverted)
[F6] MIDI A / B Destination:
Settings: Control Change Number 0 - Control Change
Number 120, Pitch Bend, Start (FA*), Continue (FB*), Stop
(FC*), After Touch, = MIDI А (for MIDI В only)
(See page 75 for detailed descriptions.)
* The corresponding MIDI data byte, expressed as a hexadecimal number.
[F8] MIDI A / B Mode:
Similar to the Curve parameter in the other controllers, this
determines how the destination parameter of the MIDI Path
responds to pressing of the Foot Switch.
Settings: Nrm (Normal), Inv (Inverted)
a
=
Ш PROGRAM CHANGE
The Program Change pages let you enable or disable program change transmission and reception for the Performance, and set the
bank number(s) and program change number(s) that are transmitted when the Performance is selected.
[F1]: PROGRAM CHANGE TX
(Program Change Transmit Number/Switch)
In this page, program change can be enabled or disabled
independently for each of the four MIDI Paths. When en-
abled, you can set the program change number that is trans-
mitted over the Path when the Performance is selected.
Display
PC TX NO,
Го Го
С) С) С С) С) С) С) С
Voice A MIDI_R Voice В MIDI В
1 32 58 off
Parameter Grouping: [F3], [F5], [F6] and [F8] can be grouped
for simultaneous editing.
[F1]/(F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, MIDI program
changes are not transmitted over the selected Path.
[F3} Voice A:
For setting program change transmission and program change
number for the Voice A Path.
Range: off, 1 - 128
[F5] MIDI A:
For setting program change transmission and program change
number for the MIDI A Path.
Range: off, 1 - 128
[F6] Voice B:
(Same as for Voice A.)
[F8] MIDI B:
(Same as for MIDI A.)
79
[F2]: PROGRAM CHANGE RX
(Program Change Receive Switch)
This page lets you enable or disable program change reception
for the internal Voices.
Display
PC RX SU Voice A Voice B = |
u... ON on
С С С) С 2) С) С) С]
Parameter Grouping: [F3} and [F6] can be grouped for
simultaneous editing.
[F3] Voice A Program Change Receive:
For enabling or disabling the reception of program change
messages for internal Voice A. When this is set to off, the
internal Voices will not change in response to incoming
program change numbers, (They may, however, still respond
to other MIDI data, if set appropriately; see Receive Channel
on page 81.)
[F6] Voice B Program Change Receive:
(Same as for Voice A.)
[F31: VOICE BANK TX
(Voice Bank Transmit Number/Switch)
This page allows you to specify the bank numbers that are
transmitted (along with the program change number) on the
Voice A and Voice B Paths. This makes it possible to select
any program on a MIDI instrument that has more than 128
programs.
Generally, the MSB (Most Significant Byte) parameter should
be set to 1, and LSB (Least Significant Byte) to the correspond-
ing bank number on the MIDI instrument.
For example, if you want to select bank 3 on your MIDI
instrument, set LSB to 3. This would be true for bank numbers
up to 128. To select bank numbers beyond 128, set the MSB
number to 2 or higher. The chart below should help in
selecting the desired bank number:
Program Numbe MIDI instrurpent) | MSB | 15B
1-128 Bank 1 1 1
129 - 256 Bank 2 1 2
257 - 384 Bank 3 ] 3
385 - 512 Bank 4 1 4
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Display
VOICE BANK TX AIMSB LSB B:MSB LSB |
faffilo | 1 1 off rt
2 © © 6 © © ©
Parameter Grouping: [F4], [F5], [F7], and [F8] can be grouped
for simultaneous editing.
[F1]/[F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, bank number
changes are not transmitted over the selected Path.
NOTE
Since MSB and 1 SB work in conjunction with one another, they
cannot be independently switched on and off. Turning one of them
on or off automatically does the same for the other.
[F4] MSB (Voice A MSB Number):
For setting the MSB number to be transmitted over the Voice A
Path.
Range: off, 1 - 128
[FS] LSB (Voice A LSB Number):
For setting the LSB number to be transmitted over the Voice A
Path.
Range: off, 1 - 128
[F7] MSB (Voice B MSB Number):
(Same as for Voice A.)
[F8] LSB (Voice B LSB Number):
(Same as for Voice A.)
NOTE
If the MIDI instrument you are using does not have multiple banks, it
will not respond to these settings. If the instrument does have
multiple banks, refer to the owner’s manual of that instrument to
check the specific bank/bank number correspondence.
80
[F4]: MIDI BANK TX
(MIDI Bank Transmit Number/Switch)
This page allows you to specify the bank numbers that are
transmitted (along with the program change number) on the
MIDI A and MIDI В Paths.
The operations and parameters of this page are the same as for
[F3] Voice Bank Transmit Number/Switch. Refer to that section
for details.
Display
MIDI BANK TX A:MSB LSB ВМВ LSB |
Loffllon]_ i off off,
sb
HE MIDI
The MIDI pages contain parameters related to general MIDI functions, such as selecting the transmit and receive channels for each
Path, enabling/disabling keyboard control over the internal Voices, and merging incoming MIDI data with that generated by the
P-500.
IF1]: TX CH (Transmit Channel)
This page allows you to enable or disable transmission of MIDI
data over each Path, and determine the MIDI channel for the
Path,
NOTE
The settings made here are the most important in determining
whether the connected MIDI instruments respond to the P-500 or
not. Make sure that for each Path, the Transmit Switch is set to on
and that the Transmit Channel in this page matches the receive
channel of the connected instrument.
Display
(TX CH = Voice A MIDI A Voice В MIDI В
Coffitond 1, 3 2 4
F1 F2 | m F4 FS F6 FF Fe
Parameter Grouping: [F3] and [F5], or [F6] and [F8] can be
grouped for simultaneous editing.
[F1]/(F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, MIDI data is not
transmitted over the selected Path.
[F3] Voice A:
For enabling/disabling MIDI data transmission and setting the
MIDI transmit channel for the Voice A Path.
Range: off, 1 - 16
[F5] MIDI A:
For enabling/disabling MIDI data transmission and setting the
MID! transmit channel for the MIDI A Path,
Range: off, 1 - 16
[F6] Voice B:
For enabling/disabling MID! data transmission and setting the
MID! transmit channel for the Voice B Path. The setting
VceA+1 makes the Voice B Transmit Channel one greater than
that of Voice A. For example, if Voice A is 5, then Voice B
would be 6. The setting also “wraps around”: if Voice A is 16,
Voice B becomes 1.
Range: off, 1 - 16, VceA (same as Voice A Transmit Ch.),
VceA+1 (Voice A Transmit Ch. + 1)
[F8] MIDI B:
For enabling/disabling MIDI data transmission and setting the
MIDI transmit channel for the MIDI B Path.
Range: off, 1 - 16, MIDI A (same as MIDI A transmit Ch.),
MIDI A+1 (MIDI A transmit Ch. + 1)
81
[F2]: RX CH (Receive Channel)
This page allows you to enable or disable reception of MIDI
data for the internal Voices, and determine the MIDI receive
channel (when MIDI data reception is enabled for the Path).
Display
г
Rx CH u
oo Sudan
Eoff1lon] zZ
С С С С) С) С С ©)
OURS a
[F1]/[F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, MIDI data is not
received over the selected Path.
[Е3] Voice A Receive Channel/Switch:
For enabling/disabling MIDI data reception and setting the
MIDI receive channel for internal Voice A. A setting of all
allows internal Voice A to respond to MIDI data coming over
any of the 16 channels.
Range: off, 1 - 16, all, VceATx (same as Voice A Transmit Ch.)
[F6] Voice B Receive Channel/Switch:
For enabling/disabling MIDI data reception and setting the
MIDI receive channel for internal Votce B.
Range: off, 1 - 16, all, VceBTx (same as Voice В Transmit
Ch.), VceARx (same as Voice A Receive Ch.), VceARx+1
(same as Voice A Receive Ch. + 1)
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[F3]: LOCAL (Local Switch)
The Local Switch page lets you “disconnect” the keyboard of
the P-500 from its internal Voices. When Local is set to off,
the affected internal Voice does not respond to notes played
from the P-500's keyboard. (However, the Voice may respond
to incoming MIDI data if other settings are appropriate; see
Receive Channel, page 81.)
HINT
Though the Local Switch function may not seem very useful at first
glance, there are several applications in which the function comes in
very handy.
One of these would be when you want to play only the connected
MIDI instruments, and leave the internal Voices silent.
Another more common application is when using the P-500 as a
master controller for an extended MIDI/sequencer system, and its
internal Voices (via the MIDI IN terminals) as one of the sound
sources in that system. Here, the P-500 keyboard is used to input
performance data to the sequencer, and is routed (by means of the
sequencer and a MIDE patch bay) to the various MID! instruments,
including the internal Voices. If Local is set to on, the P-500 will be
playing its Voices twice — once from the keyboard, and after a very
brief delay, again from the incoming MIDI data. Since this not only
cuts down on the available polyphony, but also creates an undesir-
able flanging sound, Local should be turned off in this case.
Display
LOCAL Voice A Voice B
j on on D
СУ С) С) С) С) С) С) С]
Parameter Grouping: [F3] and [F6] can be grouped for
simultaneous editing.
[F3] Voice A Local Switch:
For enabling or disabling keyboard control over internal Voice
A. Select on to enable keyboard control (with the DATA
ENTRY slider or -1/+1 buttons), and off to disable.
Settings: on, off
[F6] Voice B Local Switch:
(Same as for Voice A.)
82
[F4]: MIDI Merge
The MIDI Merge function allows you to combine the data
received at the MIDI IN terminal with the MIDI data of the
P-500, and transmit both together via the MIDI OUT terminal.
Normally, MIDI Merge should be set to off. Applications in
which it should be set to on include:
e Playing or recording with another MIDI musician.
The other player's MIDI controller should be connected to
the MIDI IN terminal of the P-500, and MIDI Merge should
be on. In this way, both players can play MIDI instruments
connected to the P-500, or simultaneously record to a
connected sequencer,
Avoiding repeated connecting and disconnecting of a
second MIDI controller.
In a variation of the above example, you may have a second
MIDI controller that you often use yourself — for example, a
drum pad controller, wind controller or guitar controller. By
keeping this connected to the MIDI IN terminal and leaving
MIDI Merge on, you can simply play either controller as you
wish, without having to re-patch the connections.
Display
MIDI MERGE MIDI IN -> MIDI Out
AA A AA че -- msn off wee wee
Fi F2 F3 F4 FS Fo F7 Fe
Since this page contains only one parameter which is automatically selected
when the page is called up, none of the Function buttons are active here.
Set the MIDI Merge function to on or off by using the DATA
ENTRY slider or -1/+1 buttons.
a
a
| 83
N
Ш EXTRA MIDI SETUP
Extra MIDI provides an additional two MIDI Paths for connection to MIDI effect units, signal processors and mixers. This allows you
to automatically have those devices change programs when you select a Performance on the P-500.
The only types of data transmitted over Extra MIDI are bank change, program change, and initial volume messages. No keyboard
performance data or controller messages are transmitted.
[F1]: Extra MIDI Setup A
[F2]: Extra MIDI Setup B
Since the parameters and ranges are the same for both Extra
MIDI Setup A and Extra MIDI Setup B, the descriptions and
explanations are combined here and apply to both.
Display
EXTRA A TxCh Bank(MSB LSB) PC Vol
LoffJLonl 1 __ 1 2 16 1275
ODOOODODOO
Parameter Grouping: [F5] and [F6] can be grouped for
simultaneous editing.
[F1]/[F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not. When set to off, the relevant MIDI
data is not transmitted over the selected Extra MIDI Path.
[Fo] Bank (LSB) (Extra MIDI A/B LSB Number):
For setting the LSB number to be transmitted over the Extra
MIDI A/B Paths.
Range: ой, 1 - 128
NOTE
For details on Bank Number selection, refer to the Voice Bank
Transmit Number/Switch page, on page 79.
NOTE
Since MSB and LSB ([F5] and [F6)) work in conjunction with one
another, they cannot be independently switched on and off. Turning
one of them on or off automatically does the same for the other.
[F3] TxCh (Extra MIDI A/B Transmit Channel):
For enabling/disabling MID! data transmission and setting the
MIDI transmit channel for the Extra MIDI A/B Path.
Range (for Extra MIDI A) : off, 1 - 16
Range (for Extra MIDI В) : off, 1 - 16, Ex. A (same as Extra
MIDI A Transmit Ch.), Ex. A+1 (same as Extra MIDI A Transmit
Ch. + 1)
[F5] Bank (MSB) (Extra MIDI A/B MSB Number):
For setting the MSB number to be transmitted over the Extra
MIDI A/B Paths.
Range: off, 1 - 128
[F7] PC (Extra MIDI A/B Program Change):
For setting program change transmission and program change
number for the Extra MIDt A/B Paths.
Range: off, 1 - 128
[F8] Vol (Extra MIDI A/B Volume):
For determining the initial volume setting transmitted to
instruments on the Extra MIDI A/B Paths.
Range: 0-127
REFERENCE
Ш SYSTEM SETUP
The System Setup pages contain miscellaneous global parameters — parameters that are related to the P-500 as a whole. These
include:
e Master Tune and Master Transpose settings.
« Bulk Receive function.
e Performance Change transmit and receive settings.
e The Device Number for the P-500, which is important when receiving bulk data from another MIDI device.
e Effect Bypass.
Keep in mind that these parameters apply to all preset Voices and Performances, and cannot be saved as part of a Voice or Perfor-
mance. All changes you make to the System Setup settings are retained even after exiting from the Edit mode.
[F1]: Master Tune/Transpose
Master Tune contains the global tuning controls (Master Tune
and Master Transpose) for the internal Voices of the P-500.
These controls affect all Voices and Performances.
NOTE
Keep in mind that the actual pitch of the Voices also depends on
settings made in the Voice Tune pages (see page 65) and the
Transpose parameter (see page 67). Any Voice Tune settings are
offset from the basic pitch values set here.
Display
MASTER. MasterTune MasterTransrose
TUNE/TRANS $446.8 Hz EUR
[F4] Master Tune:
For fine setting of the overall pitch of the internal Voices. The
value in the display corresponds to the pitch of key A3 (A
above middle C).
Range: 427.7 Hz - 452.7 Hz
(approx. +/-50 cents; 100 cents = 1 semitone)
Reset Value: 440.0 Hz
[F7] Master Transpose:
For coarse setting {in semitone intervals) of the overall pitch of
the internal Voices.
Range: -24 - +24 (+/-2 octavos)
Reset Value: 0
NOTE
Some Master Transpose settings may result in duplication of octaves
at Ihe upper or lower ends of the keyboard, This happens because
the Transpose setting has shifted to an “impossible” pitch, out of the
normal piano range. Since no further notes are available, the P-500
duplicates the highest for lowest) octave to fil the remaining keys.
IF2}: BULK RECEIVE (Bulk Data Receive)
The Bulk Data Receive parameter allows you to enable or
disable reception of bulk data, and specify the destination for
that data (c.g., Voice number, Performance number, all
Performances, etc.).
84
This is the companion function to Send Bulk Data (see page
88). Together, they give you the tools to back up the original
data you create on the P-500 to a separate MIDI device (such
as the Yamaha MDF2 MIDI Data Filer, or a computer or
sequencer), and then restore that data to the P-500 when
needed.
NOTE
Bulk Data operations cannot be execuled when the MIDI Merge
function (page 82} is on.
Display
Lock.
BULK | To
RECEIVE | Default off.
OODODODO
[F4]/[F5] To (Destination):
For selecting the memory location to which the data is to be
received. (Either [F4] or [F5] can be used to select this
parameter.)
Settings:
Default — For restoring all received data.
Individual Voices:
PIANO 1 - PIANO 4, E. PIANO 1 - E. PIANO 5, CLAVI,
CL TONE
Individual Performances:
Perf01_A, Perf01 В - Perf32_A, Perf32_B — for
restoring the data from only one Path (Voice/MIDI A or
B) of a single Performance.
PresetVoices — Por restoring the data of all preset
Voices.
Perf01 - Perf32 — For restoring the data of a single
Performance.
NOTE
During sending and receiving of data, cerlain error messages may
appear in the LCD display, indicating a problem ot some sort. Try
remedying the problem, referring as needed to the list of error
messages on page 96, then attempt the operation again,
7 1
[F8] Lock: For enabling or disabling the Bulk Data Receive
function, When this is set to off, bulk data can be received.
CAUTION
Generally, you should keep the Lock parameter set to on, unless you
wish lo restore data to the P-500. Keep in mind that restoring data
automatically and irretrievably erases whatever data was in the
selected destination. To avoid losing imponant data, periodically
save all your necessary settings to another device by using the Send
Bulk Data function (page 88).
[F3]: PERF. CHANGE
(Performance Change Transmit/Receive)
This parameter allows you to enable or disable Performance
change transmission and reception, and set the MIDI channel
for each. Performance numbers 1 - 32 are selected when
receiving program change numbers 64 - 95, respectively. (For
example, program change number 64 selects Performance 1,
number 65 selects Performance 2, and so on.)
HINT
This function is useful in sequencer applications, especially when
using a sequencer in live performance. By enabling Performance
change transmission and reception, you can record Performance
changes to the sequencer, and have the Performances change
automatically when the sequencer plays back.
Display
PERE. CHANGE Teen RxCh
[off] di 11 |
[onl
ооо ©
[F1]/[F2] Off/On:
These determine whether the other parameter values set in this
page are effective or not.
[F4] TxCh (Performance Change Transmit Switch/Channel):
For enabling/disabling transmission of Performance change
messages and setting the MIDI transmit channel for Perfor-
mance change.
Range: off, 1 - 16, VceATx (same as Voice A Transmit Ch.)
Reset Value: 1
[F7] RxCh (Performance Change Receive Switch/Channel):
For enabling/disabling reception of Performance change
messages and setting the MIDI receive channel for Perfor-
mance change.
Range: off, 1 - 16, all, VceARx (same as Voice A Receive
channel)
Reset Value: 1
[F4]: DEVICE NO. (Device Number)
Device Number is a means for “identifying” the P-500, for bulk
data transfer purposes. Device Numbers must match on both
the sending and receiving devices,
Display
See eee lee
This page contains only one parameter which is automatically selected
when the page is called up.
[F1]/[F2} Off/On:
These determine whether the Device Number parameter 15
enabled or not. When set to off, the P-500 does not respond
to any incoming MIDI Device Number message.
Device Number:
For enabling/disabling Device Number reception and setting
the specific Device Number for the P-500.
Range: off, 1 - 16, all
[F5]: Effect Bypass
Effect bypass is a global switch for independently turning
Effect, Modulation or Reverb on and off. The settings made
here override the individual switch settings in a Voice or
Performance.
Display
EFFECT Effect Mod, = Reverb |
BYPASS active active active |
ооо ос
КЕРЕКЕМСЕ
Parameter Grouping: [F3], [F5], and [Е7] can be grouped for
simultaneous editing.
[F3] Effect Bypass:
For bypassing both Effect A and Effect B (see page 56). When
this is set to bypass, Effect is not applied to the internal Voices.
Settings: bypass, active
[F5] Mod. (Modulation Bypass):
For bypassing the Modulation effect (see page 60). When this is
set to bypass, Modulation is not applied to the internal Voices.
Settings: bypass, active
[F7] Reverb Bypass:
For bypassing the Reverb effect (see page 62). When this is set
to bypass, Reverb is not applied to the internal Voices.
Settings: bypass, active
Ш UTILITY MODE
The Utility mode contains operations related to the overall system of the P-500, such as:
e Copying data.
e Swapping data.
+ Restoring lost edited data (Recall/Revert).
+ Sending bulk data to another instrument.
e Checking the MIDI data stream (MIDI Monitor).
+ Checking the P-500 system when problems occur (Troubleshoot).
e Initializing the data of a Voice, Performance or the entire system of the P-500 to its original factory settings.
(Operation —)
The Utility operations can be called up from any other
operation or mode. While holding down the UTILITY button,
simultaneously press the appropriate Function key, or use the
PAGE </> buttons to select the desired Utility operation,
then release the button(s).
While holding this down...
a
press one of the Function buttons ([F1] - [F7]).
Copy Recall/Revert MIDI Monitor Initialize
| Im |
Fi: COPY F3:REVERT FS:MIDI MONI tINIT |
F2: SUB. _ F4: BULK re: TROUBLESHOOT oY
F2 :
| |
Swap Send Bulk Troubleshoot
Or, hold down UTILITY and use the PAGE </>
buttons to select the desired operation.
=] PAGE [>
(С)
When you release the buttons, the selected Utility page is
called up.
To exit from the mode, press the [F1] button, corresponding to
[quit] in the LCD display. (None of the other panel buttons,
including EDIT, PRESET VOICE, and 1-16/17-32, can be used
to exit from the Utility mode.)
86
[F1]: Copy
The Copy utility allows you to copy the data of a single Voice,
Performance Path, or Performance to a different Performance
Path’s or Performance’s memory location. (One Voice cannot
be copied to another Voice, since the basic sound data for
each Voice is permanently set.)
HINT
Use the Copy utility to save time in editing. Rather than program-
ming a Performance from scratch, first find an existing Performance
that already has many of the settings that you want, and copy that
Performance to a different Performance number, Then, edit the
copied Performance as desired. For example, you may want to
program a set of Performances (say, for use onstage) that have the
same basic MIDI channel and controller settings, but have different
Voices and Program Change settings. In such situations, Copy can
save a lot of time and editing effort.
CAUTION
Keep in mind that copying data to another location automatically
and irretrievably erases whatever data was there previously. To
avoid losing important data, periodically save all your necessary
settings to another device by using the Send Bulk Data function
(page 88).
Display
vs Mod |
[90];
Ft Е2 F3 F4 FS Rn
С С) С) С) С) С) С) С]
(F1] Quit:
For exiting from the Copy page and returning to the previous
(non-Utility) display condition, without executing the Copy
operation.
COPY From To |
iCauit] PIANOi = Perfai_A _ BRP
(F3]/[F4] From (Copy Source):
For selecting the specific Voice or Performance data which is
to be copied. (Either [F3] or [F4] can be used to select this
parameter.)
Settings:
Voices:
PIANO 1 - PIANO 4, E. PIANO 1 - E. PIANO 5, CLAVI,
CL TONE
Performances:
Perf01_A, Perf01_B - Perf32_A, Perf32_B — For
copying the data from a single Path (Voice/MIDI А or В)
of a Performance.
PresetVoices — For copying the data of all preset
Voices.
Perf01 - Perf32 — For copying the entire data of a
Performance.
[F51/[F6] To (Copy Destination):
For selecting the specific Performance location to which the
data is to be copied. (Either [F5] or [F6] can be used to select
this parameter.)
Settings (in the Play mode): Perf01_A, Perf01_B - Perf32_A,
Perf32_B, Perf01 - Perf32
Settings (in the Edit mode): Voice A, Voice B, All
[F7] Rev,Mod (Reverb/Modulation Switch):
Determines whether the Reverb and Modulation settings will
also be copied. (Neither will be copied when set to off.)
Settings: off, on
[F8] Go:
For executing the Copy operation. When this is selected, a
“Copy Completed” message briefly appears in the LCD display
while the data is being copied. After the Copy operation is
finished, the display returns to the previous condition.
NOTE
When the types of data for the Copy source and the Copy destina-
tion are different (incompatible), an “Object Type Mismatch”
message appears in the LCD display. When the source and
destination numbers are the same (for example, when trying to copy
Performance 01 to itself), a “Cannot Copy to the Same Voice/Perf”
message appears in the LCD display. In either case, press [F1] [quit]
to exit, or press [F8] [retry] to return to the Copy operation, and
change the settings and try again.
[F2]: Swap
The Swap utility allows you to exchange data between two
Performance Paths or two Performances.
HINT
Swap is useful in organizing your Performance data, since it allows
you to put Performances in any desired order. Since Pesformance
Paths can also be swapped, you can move individual A and B Paths
to different Performance numbers.
87
NOTE
The Swap operation cannot be executed while editing in the Edit
mode. If you attempt the operation, the following error message
appears:
Goto You Can?t Swap in Edit Mode жжжжж
AAA o
Press [F1] to exit.
Display
СЫР _ Gbjecti <--> Object? = |
[Cauit] _Perfß3 _ Perfig __ [90]
F1 F2 Fa F4 FS F6 F7 28
С 0 С С) (Е) С)
[F1] Quit:
For exiting from the Swap page and returning to the previous
(non-Utility) display condition, without executing the Swap
operation.
[F3]/[F4] Object 1:
For selecting one of the Performance/Performance Path
locations for which data is to be swapped (the other location is
selected with Object 2). (Either {F3] or [F4] can be used to
select this parameter.)
Settings: Perf0t_A, Perf01_B - Perf32_A, Perf32_B, Perf01 -
Perf32
[F6]/[F7] Object 2:
For selecting one of the Performance/Performance Path
locations for which data is to be swapped (the other location 15
selected with Object 1). (Either [F6] or [F7] can be used to
select this parameter.)
Settings: Perf01_A, Perf01_B - Perf32_A, Perf32_B, Perf01 -
Perf32
[F8] Go:
For executing the Swap operation. When this is selected, a
“Swap Completed” message briefly appears in the LCD display
while the two data groups are being exchanged. After the
Swap operation is finished, the display returns to the previous
condition.
NOTE
The two types of data be compatible for the Swap function to work.
If you press [F8] [go] when the data types do not match — for
example, when trying to swap Perf01 with Perf12 A — an “Object
Type Mismatch” message appears in the LCD display. When the
source and destination numbers are the same (for example, when
trying to swap Performance 01 with itself}, a “Cannot Swap with the
Same Voice/Perf” message appears in the LCD display. In either
case, press [F1] [quit] to exit, or press [F8] [retry] to return to the
Swap operation, and change the settings and try again.
REFERENCE
[F3]: Recall/Revert
The Recall/Revert utility allows you to restore lost data. The
utility works (and is named) in two different ways, depending
on the mode from which it is called up:
Recall (within Voice Play, Performance Play modes):
If you have edited a preset Voice or Performance and then quit
and exited the Edit mode without storing, the utility “recalls”
the edited settings that were made before exiting the Edit
mode.
Revert (within Voice Edit, Performance Edit modes):
If you are making edits in the Voice Edit or Performance Edit
mode, the utility “reverts” to the previous settings (those that
existed before you began editing). This holds true for as long as
you edit without storing.
Recall/Revert has no effect in the Chain Play or Chain Edit
modes.
NOTE
Keep in mind that Recall/Revert only works as long as the power to
the P-500 remains on. The original data is stored temporarily in a
special edit buffer, and the contents of the buffer are lost when the
power is turned off.
Display (from Voice Play and Performance Play modes):
RECALL
Lauit]
So
Display (from Voice Edit and Performance Edit modes):
(Recall data before stored) —
[90]
REVERT (Revert to un-edited data)
u | sed
O mi À oO O Oo o O
[F1} Quit:
For exiting from the Recall/Revert page and returning to the
previous (non-Utility) display condition, without executing the
Recall/Revert operation.
[F8] Go:
For executing the Recall/Revert operation. When this is
selected, a “Recatled Data”* or “Revert Completed” message
briefly appears in the LCD display while the original data is
being restored. After the Recall/Revert operation is finished,
the display returns to the previous condition.
* The “Recalled Data” message remains in the LCD display until you
press STORE and use the Store operation to save the recalled data to a
Voice/Performance, or press any other panel button to exit from the
display.
[F4]: SEND BULK (Send Bulk Data)
The Send Bulk Data utility allows you to save important Voice,
Performance and System data to a MIDI sequencer or a
dedicated MIDI storage device (such as the Yamaha MDF2
MIDI Data Filer). Saving your data to another device frees up
memory space in the P-500 for programming or loading of
other data. (To load data to the P-500, use the Bulk Data
Receive function; see page 88.)
NOTE
Bulk Data operations cannot be executed when the MIDI Merge
function (page 82) is on.
Display
Shows currently selected Device Number (see page 85).
SEND BULK | ¿DeviceNo=_1 El г 1
[suit Perfil | 190] .
оо 6 © © 5
Since this page contains only one parameter which is automatically selected
when the page is called up, Function buttons [F2] to [F7] are not active.
[F1] Quit:
For exiting from the Send Bulk Data page and returning to the
previous (non-Utility) display condition, without executing the
Send Bulk Data operation.
Settings:
Individual Voices:
PIANO 1 - PIANO 4, E. PIANO 1 - E. PIANO 5, CLAVI,
CL TONE
Individual Performances:
Perf01_A, Perf01_B - Perf32_A, Perf32_B — For
transmitting the data from only one Path (Voice/MIDI A
or B) of a single Performance. # q
PresetVoices — For transmitting the data of all preset
Voices.
Perf01 - Perf32 — For transmitting the data of a single
Performance.
Global:
All — For transmitting all data of the Р-500.
[F8] Go:
For executing the Send Bulk Data operation. After the Send
Bulk Data operation is finished, the display returns to the
previous (non-Utility) display condition.
[FS]: MIDI MONI (MIDI Monitor)
The MIDI Monitor utility allows you to view outgoing and incoming
MIDI data in realtime. The function is useful in troubleshooting some
MIDI problems, especially in checking whether data is property
being transmitted or received by the P-500.
Display
Shows data being transmitted.
Data scrolls across the display from left to right.
(Most recent data is at the far left.)
ay
MIDI Out 31 90 ЗЕ 98 99 SC 3A 94 SC al |
Cauit] In SF 9a SE 33 98 SE 89 96 SFT
= СС СС) С) С)
Shows data being received.
[F1] Quit:
For exiting from the MIDI Monitor page and returning to the
previous (non-Utility) display condition.
[F6]: Troubleshoot
The Troubleshoot utility is a sophisticated function that scans
the system and current operations of the P-500 and reports the
first problem encountered. Whenever you have some trouble
in using the P-500, this is a convenient and easy way to find
out what may be causing the problem.
Display
Indicates the buttons for calling up the relevant parameter — in this case,
Voice/Performance Select button 16 (SYSTEM SETUP) and [F2] (BULK RX).
TROUBLE
‘Cauitd
С С 22 С) С) С) С) С]
Since this page contains only one parameter which is automatically selected
when the page is called up, Function buttons [F2] to [F7] are not active.
( Operation — )
7 Use the DATA ENTRY slider or -1/+1 buttons to select the
type of operation you wish to troubleshoot:
all — All operations below
sound — Operations related to sound output
MIDI receive — Operations related to receiving MIDI
data
MIDI transmit — Operations related to transmitting MIDI
data
eh F 3
Type : Bulk ВХ off?
all | [90]
) Press [F8] ([go]) to start the Troubleshooting scan. Once a
problem has been found, the scan stops and displays a
message indicating the problem.
3 Continue pressing [F8] as often as is necessary to
complete the Troubleshoot operation. When no further
problems are encountered, a “No more problems found”
message is displayed.
[F1] Quit:
For exiting from the Troubleshoot page and returning to the
previous (non-Utility) display condition.
[F8] Go:
For starting/resuming the Troubleshoot scanning operation.
89
[F7]: INIT (Initialize)
The Initialize utility allows you to restore the factory-pro-
grammed settings of the P-500. You can initialize data groups
as small as a single Voice, or as large as the entire System of
the P-500.
Display
Th ITIALIZE Dbiject Lock — |
Cauitd AllPerf oft [go]
Fi F2 F3 F4 FS F6 Fr F&
OO CJ СС) С)
[F1] Quit:
For exiting from the Initialize page and returning to the
previous (non-Utility) display condition.
[F3]/[F4] Object:
For selecting the data type/location that is to be initialized.
(Either [F3] or [F4] can be used to select this parameter.)
Settings:
Individual Voices:
PIANO 1 - PIANO 4, E. PIANO 1 - E. PIANO 5, CLAVI,
Cl TONE
Individual Performances:
Perf01_A, Perf01_B - Perf32_A, Perf32_B — For
restoring the factory data of only one Path (Voice/MIDI A
or B) of a single Performance.
PresetVoices — For restoring the data of all preset
Voices.
Perf01 - Perf32 — For restoring the factory data of a
single Performance.
Global:
All Perf — For restoring the factory data of all Perfor-
mances
All — For restoring all factory data.
[F6] Lock: For enabling or disabling the Initialize function.
When this is set to off, the selected data type/location can be
initialized.
CAUTION
Generally, you should keep the Lock parameter set to on, unless you
wish to restore data to the P-500, Keep in mind that initializing a
data type or location automatically and irretrievably erases whatever
data was there previously. To avoid losing important data,
periodically save ali your necessary settings to another device (such
as the Yamaha MDF2 MIDI Data Filer, or a computer or sequencer)
by using the Send Bulk Data function (page 88).
[F8] Go:
For executing the Initialize operation. When this is selected,
an “Initialize Completed” message briefly appears in the LCD
display. After the operation is finished, the display returns to
the previous condition.
REFERENCE +
exploring some MIDI applications.
MIDI BASICS AND APPLICATIONS
This section is a Continuation of the short introduction to MIDI in the GUIDED TOUR section (page 14).
Here, we’ll delve a little bit deeper into the subject of MIDI, by showing you how to integrate your P-500
into a variety of MIDI systems. Most importantly, you'll also get some practical, hands-on experience in
MIDI Channels and Messages
As you saw on page 15, MIDI instruments communicate by
sending MIDI messages or data. Since the messages all travel
together in one direction on the same MIDI cabie, they are
generally assigned to separate channels, to allow selective
control over different instruments.
MIDI MIDI MIDI
IN THRU IN
TG500 TG500
fon MIDI A) (on MIDI B)
The two tone generators above are connected
in “daisy chain” fashion. Messages received at
the MIDI IN of the first tone generator are
relayed unchanged (via MIDI THRU) to the
second.
Transmit Channels
In the example connection above, the P-500 is used to play
the sounds of two different tone generators. Н you simply want
to play all the instruments in a layer and have them all respond
to the controllers in exactly the same way, then there is no
need to keep the messages separate.
However, if you want to do fancier things — such as have one
instrument’s sound transposed up an octave, or have another
sound come up in volume when you press down hard on the
keyboard — the appropriate messages have to be sent to each
instrument on a different channel.
The four main Paths of the P-500 — Voice A, Voice В, MIDI A
and MID! B — are used for this purpose. Transmit channels
and the various types of MIDI controls are independent for
each Path, letting you control four different instruments in
completely different ways.
The P-500’s MIDI Controllers
and Messages
Besides the notes of the keyboard, the P-500’s MIDI controllers
include the PS 1/2 Switches, CS 1/2 Sliders, WHEEL 1/2, Foot
Controllers and After Touch. When set to on in their respec-
tive pages, these can send out MIDI messages over all enabled
Paths. All controllers can be used simultaneously (provided
you have enough hands or feet to do that!), and each can г
contro! different parameters for each of the Paths.
More MIDI Connection Examples
To better illustrate how the P-500 can be used with various
MIDI devices, a few further connection examples are given
below. Use these as a guide in setting up your own MIDI
system.
P-500 and MIDI Sequencer
MIDI MIDI
IN OUT
Sequencer
In this basic setup, the sequencer is used to record your play
data from the P-500, and then play it back using the internal a
Voices.
The same setup will work for bulk data storage operations, as
well. (See page 88.) Use a sequencer or a special MIDI data
storage device (such as the Yamaha MDF2 MIDI Data Filer) to
save data from and restore data to the P-500.
Extended MIDI System
Using Several Tone Generator Using One Tone Generator
(from sequencer)
MIDI OUT MIDI] [mor : mio | | мну |: | |
IN OUT + IN THRU |: | MIDEIN MIDI THRU
I 1Gs00 | |: PT rage , !
mets. Sequencer| | yO voice | | voice! | voice | | voice
И | AN || | 2 3 4
[16500 ||: | '
© IN | (THRU |: Lane EE 75
‘I 1600 ||:
| | (to SPX-900)
IN | [THRU |:
| TG500 RE With a multi-timbral tone generator (one that can play several
SS | voices at the same time over different MIDI channels), you
MIDE can control each voice separately and use one tone generator
EN to do the work of four. This improves the timing response
| spx-900 | (since data is relayed to all voices simultaneously); however,
it decreases the total polyphony of the instrument.
in this connection example, the sequencer is used for recording and playback, while four different
MIDI instruments are connected in “daisy chain” fashion. The effect unit tagged onto the end of the
chain is controlled over the Extra MIDI A Path.
MIDI Patch Bay
MIDÍ MIDI
IN 1 THRU 1
O LUE и.
MIC 8 MIDI PATCH BAY
MIDI THRU THRU THRU THRU THRU THRU
A IN 2 2 3 4 5
MIDI MIDI
OUT IN
MIDI MIDI MIDI MIDI
Sequencer IN IN IN IN
| 16500 | [| 16500 | [16500 | [16500 || SPxX-900 |
In а variation of the extended MIDI system above, a MIDI patch bay (such as the Yamaha MJC8) is
used to “direct traffic” for the complex MIDI signal routings.
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MIDI patch bays are an absolute necessity if you use a sequencer and several MIDI devices. You may
often have to change the routings of the MIDI data, especially if you use your sequencer for storing
bulk data of your P-500, various tone generators, and so on. Doing this manually by unplugging and
| plugging all the MIDI cables is far too time consuming. The patch bay solves this problem by letting
| you instantly reconfigure the way all MIDI cables are connected for a given application.
MIDI Applications 1 Independent Program Change Numbers
The following section of example applications ts in no way
exhaustive. The possibilities of MIDI are enormously vast, With your new layer of voices, you'll want to be able to
with new uses and applications being dreamed up every day. choose the individual voices from the P-500. By assigning
Each example used here can serve as a springboard to many different program change numbers to each Path, you can
other uses, sending you out on any one of hundreds of automatically call up the desired voices when you select the
different tangents. Try out the applications that interest you, created Performance.
anc happy exploring!
Settings:
Setting Up ‘> PROGRAM CHANGE — [F1] PROGRAM CHANGE TX
(page 79)
Before trying out these applications, make sure your system 15
Set desired program number for each Path.
set up correctly:
e Connect all MIDI instruments properly. (Use the connection
| 2 Independent Pitch and Transpose Settings
examples above as a reference.)
e Use the P-500 in the Performance Edit mode. (See page 40.)
e Set both VOICE KEYBOARD MODE and MIDI KEYBOARD
MODE (page 70) to dual (so that all matn Paths are active).
Set the internal Voices that you want to use in the Dual
mode in WAVE/NAME (page 53).
Make sure that TRANSMIT CHANNEL (page 81) is on for all
four paths, and that each is set to a different channel.
e If you have four different tone generators, set each to a
different receive channel. If you have a multi-timbral tone
generator, set each voice to a different receive channel. In
each case, make sure the channels match the corresponding
Transmit Channel settings on the P-500.
Changing the individual pitch and transpose settings of the
voices in the layer can make the entire sound even bigger and
richer.
Settings:
«> TRANSPOSE — [F1] TRANSPOSE (page 67)
Try various settings — harmonies of perfect fourths or fifths
(+5, -5; +7, -7), and/or octaves (-24, -12, +12, +24).
> VOICE TUNE — [F1] VOICE TUNE (page 65)
You can fill out the sound even more by detuning the
internal Voices relative to each other (and to the voices of
poo И doch Up the MIDI instruments).
If you've set up everything correctly — including your audio
connections — you should be able to hear the four MIDI
instruments and the internal Voices of the P-500 sound
topether in a massive six-voice layer when you play the
keyboard.
Variation
Try setting different levels for the various voices to achieve the
best balance. You may want to set the harmonies or higher
octaves slightly back in the mix for a more subtle effect.
Settings:
HINT
> VOLUME — [F1] VOLUME (page 64)
If you're using all four Paths as you work through these applications,
you may often want to turn off one or more of the Paths to better
hear the effect of your editing. For example, if you're working
primarily with Voice A and MIDI A, try this: | 3 Dual and Split Combination
Let's take our six voices and arrange them in a Dual/Split
© In MIDI — [F1] TRANSMIT CHANNEL (page 81), combination — so that each side of the keyboard has a
select both Voice B and MIDI B so that both different three-instrument layer.
parameters are highlighted.
Settings:
2 Use [F1] or [F2] to turn them off or on, as needed, ‘> KEYBOARD MODE — [F1] VOICE KEYBOARD MODE,
[F2] MIDI KEYBOARD MODE (page 70)
Now, go to other pages and continue editing. When you Set the Type parameter for both of these to split, and make
need to turn Voice В and MIDI В off or on, simply press the desired Assign and Split Point settings. Consider
MIDI then [F1] or [F2] (the parameters are automatically carefully which voices you want on the lower half of the
selected). keyboard and which you want on the right. Or don’t
consider carefully; just experiment and try whatever sounds
Remember also that you can compare the effects of your good.
edits with the previous condition with the Compare
function. (See page 37.)
92
Variation
li you are using the Pedal Unit, try assigning the damper pedal
to affect only one section of the keyboard (or even just one of
the voices). For example, you could set it up so that pressing
the pedal sustains notes only on the lower part of the key-
board, letting you play staccato on the upper part.
Settings:
> FC — [FI] FC 1 (page 72)
Set the controller for the appropriate Path or Paths to off.
| 4 “Soft” Split
Instead of having two sets of voices change abruptly at a set
Split Point, you may find it more musically useful for them to
gradually blend into cach other toward the middle of the
keyboard. This is often called a “soft” split, since the voices
crossfade with each other in respect to keyboard position, but,
no definite split can be heard.
IMPORTANT
Making a “soft” split does not use the Split mode. Use the Dual
mode and make the following settings such that the Voice and MIDI
Paths are on opposite sides of the keyboard. (In other words, Voice
A cannot be on the other side of a split with Voice В.) In the settings
below, Voice A is split with MIDI A, and Voice В with MIDI В.
Settings:
> KEYBOARD MODE — [F1] VOICE KEYBOARD MODE,
[F2] MIDE KEYBOARD MODE (page 70)
Set the Type parameter for both of these to dual.
"> KEYBOARD SENS. — [F1] VOICE KEY SCALE (page 68)
Set the Key Scale Curves for both Voice A and Voice B to
H3. Set Point to A-1.
t KEYBOARD SENS. — [F2] MIDI KEY SCALE (page 68)
Set the Key Scale Curves for both MIDI A and MIDI В to 13.
Set Point to C7.
| 5 Velocity Crossfade |
Another way to “split” voices is by velocity. In this applica-
tion, you can have one voice sound when you play the
keyboard strongly and a different one sound when you play
softly. Since this is a crossfade, the voices gradually blend into
one another in the middle velocity range.
IMPORTANT
Any of the Paths’ voices can be combined in a velocity crossfade.
However, they must be in a layer together, and not on opposite sides
of the keyboard in a split.
93
Settings:
«> KEYBOARD SENS. — [F3] VELOCITY CURVE (page 69)
Try setting Voice A to A5, and MIDIA to E2. This lets you
play only Voice A with a soft touch, and bring in the MIDI
Á voice when you play hard. Try also setting Voice B to
D2; this mixes in Voice 8 with the other two only when you
play at medium strength.
| 6 Multi-function Controllers
You can use a single controller of the P-500 to affect each of
the Paths in completely different ways. In the example below,
we'll use After Touch to control four different functions
simultaneously, so that when you press down hard on the
keyboard:
e Vibrato 15 applied to Voice А.
» The volume of the MIDI A voice increases,
e Pitch Bend is applied to Voice В.
¢ The MIDI B voice is sustained.
Settings:
> WHEEL CS PS АТ — [F1] AFTER TOUCH A (page 77)
Set Voice A to Mod.Wheel, and MIDI A to CtriChg007.
(Keep the Crv. settings at Nm.)
(> WHEEL CS PS АТ — {F2] AFTER TOUCH В (page 77)
Set Voice В to PitchCtrl, and MIDI В to CtriChg064. (Keep
the Crv. settings at Nm.)
7 Same Function, Opposite Effect
By careful use of the Curves in each controller, you can have a
single controller affect the same function in different ways. In
the example below, we'll use WHEEL 1 to bend the pitch of
two voices in opposite directions,
Settings:
> WHEEL CS PS AT — [F3] WHEEL 1 A (page 77)
Set Voice A to PitchCtrl and the Voice A Crv. to Nm. Set
MIDI A to CtrlChg009 and the MIDI A Crv. to In.
Variation
In a similar application, you could use WHEEL 2 to control the
panning of two different voices. Moving WHEEL 2 to the
maximum position pans one voice to the left and the other to
the right. As you move WHEEL 2 down toward the minimum,
the voices gradually “cross” each other, the first voice going to
the right and the other to the left.
Settings:
«> WHEEL CS PS AT — [F4] WHEEL 2 A (page 77)
Set Voice A to Panpot and the Voice A Crv. to Nm. Set
MIDI A to CtrlChg010 and the MIDI A Crv. to In.
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8 Controlling a Rhythm Machine or Sequencer
When you're using a rhythm machine or sequencer to auto-
matically play backing parts for a live performance, the P-500
conveniently lets you execute Start, Stop and Continue
commands with the PS switches or connected Foot Switches.
Here, we'll use the PS 1 switch to start the rhythm machine or
sequencer over the MIDI A Path, and a Foot Switch (connected
to FOOT CONTROLLER jack 4) to stop it.
Settings:
1» WHEEL CS PS AT — [F7] PS 1 A (page 78)
Set MIDI A to FA:Start
1» ЕС — [Е4] FC 4 A (page 72)
Set MIDI A to FA:Stop
94
| APPENDIX
Ш TROUBLESHOOTING
Since the P-500 is an exceptionally sophisticated instrument with many controls and functions, it may occasionally not function as
you expect. If this happens, use the list below as a guide for spotting and solving the particular problem you're experiencing.
Remember that you can also use the TROUBLESHOOT function in the Utility mode to spot certain problems.
When you come across some problem in the sound, first check whether the problem is in the P-500 itself, or in one of the con-
nected devices, or in any of the connecting audio or MIDI cables:
e Connect a set of headphones to the P-500 and check that the sound is properly output. If the sound in the headphones is fine,
the problem is in the connecting cables or the connected equipment.
e Also try changing Voices or Performances on the P-500 and check if the problem persists. If the problem occurs with only one
specific Voice or Performance, that Voice or Performance is at fault. If the problem occurs irrespective of the Voice or Perfor -
mance selected, check some of the global settings of the P- 500 (such as those of System Setup or the panel EQUALIZER).
No sound is output from the P-500,
Check that:
e The power of the amplifier/mixer is turned on,
® The volume of the amplifier/mixer is turned up. |
® The output jacks of the P-500 are correctly connected to the input jacks of the amplifier/mixer, { — page 5)
e The audio cable is not damaged or shorted out.
e The volume is turned up. Make sure that the MASTER VOLUME slider is at ог near maximum. (—» page 6)
® The Switch and Voice level settings in the Quick Edit's Volume page (or the Volume parameters, in the Edit mode) are set
appropriately. ( — pages 29, 64)
e The Expression level is turned up. ( — page 64)
e The Foot Controller which is assigned to Volume or Expression is pressed down. ( — page 72)
e The Local Switch parameter is set to on. (When this is off, the keyboard cannot play the internal Voices of the P- 500.)
(—> page 82)
« The Transmit Channel is set to the same value as the Voice Receive Channel (if the Local Switch is off and you are playing the
P-500 Voices via a sequencer, or some other MIDI routing scheme). ( —> page 81)
Little or no sound is output.
Check that:
* The Velocity Curve settings are appropriate. { — page 69)
e The Frequency and Sensitivity parameters of the WAH>TOUCH Effect are not set too low. {If these are both set to 0, no sound
will be output for the Voice) ( — page 58)
Depending on what keys of the
keyboard are played, no sound (or a
very soft sound) is output.
Check that:
+ The Key Scale parameters are set to Nm (Normal). | — page 68)
e (When in Split mode} the Volume parameters of both Voice A and В are set appropriately. ( — page 64)
Distorted sound.
Check that:
* The output of the P-500 is not connected to a microphone input jack of amplitier/mixer. Also, check the gain control on the
amplifierímixer, if applicable.
e The Equalizer settings are appropriate. If Gain in the GEO pages is set too high, distortion may result. Also, check the panel
EQUALIZER settings. ( 7? pages 55,45)
The pitch of the P-500 is off or out
of tune (compared to standard pitch
or other instruments).
Check that:
+ The Master Tune parameter is set correctly. (—> page 84)
* The Voice Tune parameter is set to 0. { — page 65)
e The Master Transpose parameter is set correctly. (> page 84)
e The Voice Transpose parameter is set correctly. ( — page 67)
¢ The Piano Tune and Microtune parameters are properly set. (In particular, the individual keys in Microtune should not have
special tune settings.) { — pages 65, 66)
+ DETUNE in the Effect section is not applied. ( —> page 57)
¢ The After Touch setting is appropriate. If Aiter Touch is used to control pitch bend, the pitch may vary as you press down hard
on the keyboard. ( — page 77)
The pitch of the P-500 is not pure.
Check that pitch modulation effects such as DETUNE and PHASER in the Effect section and the various Modulation section effects
are ой. ( > pages 57, 60)
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"boomy," or radically different in
timbre than expected.
the panel EQUALIZER sliders have been set to settings other
than "flat," they may be doubling cach other or working against each other. Adjust one or the other to flat settings.
{ — pages 55, 45)
Also, check the Effect, Modulation and Reverb sections. Use of these effects can drastically change the sound.
( -> pages 56, 60, 62)
The stereo position of the sound
seems to be wrong, or other than
what was intended.
Even when the TG Pan Position parameter is set so that a Voice is output from only one side, using a stereo effect in the Effect
section will result in the sound being output from both sides in stereo. { — pages 55, 56)
Some notes of a played chord or
sustained passage (held with the
damper pedal) cannot be heard.
You may have played more notes than the maximum polyphony of the P-500. Remember that using the Dual or Split modes cut
down on available polyphony. This situation may also occur when playing the keyboard of P-500 at the same time a sequencer is
being used to play the internal Voices. ( —> page 24)
The Effect, Modulation or Reverb
sound cannot be heard.
Check that:
*The Effect Bypass is set to active, not bypass. [ — page 85)
*The particular effect has appropriate settings; make sure especially that the Switch parameter is on. { — pages 56, 60, 62)
The Modulation (or Special Reverb)
eftect cannot be used.
Modulation and Special Reverb cannot be used at the same time. If a Special Reverb type is selected (even if the Switch parameter
is off), а! Modulation parameters are disabled. It Modulation is on, none of the Special Reverb types can be selected.
( — pages 60, 63)
No sound is output from the
connected MIDI instruments.
Check that:
e All MIDI connections have been properly made, ( — pages 5, 90)
e The receive channel of the connected device matches that or the Transmit Channel tor the selected Path on the P-500,
(— page 81)
« The Volume settings for all Paths are appropriate. (—> page 64)
e The Voice and MIDI Keyboard Mode settings are appropriate, If the Assign parameter is off (or only one voice Path is assigned),
no sound (or an unexpected sound) may result. ( — page 70)
The sound of the connected MIDI
instruments is too soft (or too loud).
Check that the Velocity Curve settings are appropriate. (— page 69)
Connected MIDI instruments sound,
but do not change programs when
changing Performances on the
P-500.
Check that program change receive (ог the equivalent parameter) on the receiving MIDI instrument bas not been turned off,
Sustain (damper pedal operation)
doesn't work properly.
Check that the pedal is properly connected to FOOT CONTROLLER jack and that proper settings have been made in the FC pages
(=? page 72)
Also, if you are using a pedal switch with opposite polarity, set the appropriate Curve parameter to п. { — page 74)
Mi ERROR MESSAGES
Since the Initialize Lock parameter is on, the Initialize operation cannot be executed. (— page 89)
Cannot Swap in Edit Mode
The Swap operation cannot be executed during editing in any of the Edit modes.
MIDI Buffer Overflow
This appears when too much MIDI data is transmitted or received at once. Transmission or reception of data is interrupted and
cannot be continued, Reduce the amount of data and attempt the operation again.
MIDI Data Error
An error occurred during reception of MID! data. Check all MIDE connections, settings, etc., and attempt the operation again.
MIDI Bulk Check Sum Error
An error occurred during reception of bulk data. Check all MIDI connections, settings, etc., and attempt the operation again.
MIDI Bulk Locked
Bulk data cannot be received, since the Bulk Receive Lock is currently on. (— page 85)
Device Number Error
Bulk data cannot be lransmitted or received since the Device Number parameter is either turned off or does not match that of the
connected device,
Merge Sw On, Cannot Send Bulk
The Send Bulk Data operation cannot be executed when MIDI Merge is on.
REPLACE BATTERY
The internal backup battery charge is low and the battery should be replaced.
Object Type Mismatch
Copy or Swap operations cannot be executed when the types do not match. {— pages 86, 87)
Cannot Copy to the Same
Voice/Perf.
The Copy operation cannot be executed if the source and destination for copying is the same.
Cannot Swap With the Same
Voice/Perf.
The Swap operation cannot be executed if the source and destination for swapping is the same.
96
^^
e
Ш SPECIFICATIONS
Keyboard
88-key (A-1 to C7}, velocity sensitive, with assignable After Touch
Tone Generator
AWM; 32-note maximum polyphony
Voices
(Voice A/B: PIANO 7 - 4, PIANO (ELECTRIC PIANO) 1 - 5, CLAVI, CLTONE (CLAVINOVA TONE)
Play Modes:
Single, Dual, Split
Performances:
1-32
Chains:
1-16
Panel Equalizer
LOW, LO-MID, MID, HI-MID, HIGH
Edit Edit Functions: Edit, Store
Quick Fait: OFF, EFFECT, MODULATION, REVERB, VOLUME
Edit Parameters: TG: Wave/Name; EG {Envelope Generator; Attack, Decay, Release); Vibrato (Depth, Speed);
Pan (Position, Range); Graphic Equalizer (Low, Low-mid, Mid, High-mid, High, Gain)
Eiiect: Enhancer (Power, Sharp, Tight; Compressor; Detune; Touch Chorus; Phaser; Pan;
Wah (РО, Touch, Delay}: Soundboard
Modulation: Chorus (Pure, Detune, Bright, Wide, Pan); Phaser (Light, Deep); Pan (Ps, MD; Flanger
Reverb: Reverb (Large Hall, Plate, Church, Small Hail, Large Room, Small Room,
Early Reflection); Echo (4,87, 4%); Special Reverb (Concert, Clean, DX-Plate,
ER + Hall, Salon, Mid-Room)
Volume: Volume (On/Ott, 0 - 127); Expression (0 - 127)
Voice Tune: Voice Tune 63 - +63); Piano Tune (Low: 1 - 3; High:1 - 3),
Microtune TON/OTf, -63 - +63)
Transpose: Transpose (On/Oft, -24 - +24)
Pitch Bend Range: Wheel (© - 3); After Touch (3 - +3)
Keyboard Sensitivity: Voice/MIDI Key Scale (13 - НЗ, Point; Velocity Curve (АТ - F3)
Keyboard Mode: Voice/MIDI Keyboard Mode (Single/Dual/Split, Assign, Point}: Performance Name
fcursor movement: 4$, №»; characters)
Foot Controller: FC 1 - 4 Олд р Voice/MIDE controls, Curve)
Wheel, CS, PS, AT: After Touch; Wheel: Continuous Slider: Panel Switch (On/Off, VoiceíMIDI controls,
Curve/Mode}
Program Change: Program Change Transmit (On/Otf, Voice, MID; Program Change Receive
(ONO); VoiceMIDI Bank Transmit (On/Of, MSB/LSB)
MIDI: Transmit Channel (On¿OñÍ, Voice/MIDN: Receive Channel (ОО, Мое): Local
(OO: MIDI Merge (On¿Of
Extra MIDI Setup: Extra MIDI Setup (On/O8f, Transmit Channel, Bank MSB/LSB, Program Change,
Volume)
Chain: Chain (Menu 1 - 16; cursor movement: €, à: Insert, Delete)
System Setup: Master Tune/Transpose (Tune: 427,7 Hz - 452,7 Hz: Transpose: - 24 - +24); Bulk Receive
(То. Lock OnfOnE Periormance Change (ONO, Transmit/Receive Channel): Device
Number (On/Ott, Number; Effect Bypass (EfiecModulation/Reverb: Bypass/Active)
Utility Copy (From, To, Reverb/Modulation On/Off; Swap (Object 1/2); Recall/Revert; Send Bulk; MIDI Monitor (Out/ln}; Troubleshoot (Type);
Initialize (Object, Lock On/Ott}
View [ЕТ]: Transmit Channel; |F2]: Receive Channel; [F3]: Volume; [+4]: Bank/Program Change A (Voice/MIDYExtra MIDI A);
IF5]: Bank/Program Change В (Voice/MIDIExtra MIDI BE [FO]: Signal Path; [F7]: Keyboard Mode; [F8]: PC (Program Change) Sender
Help Context-sensitive Heip messages
Controls POWER; MASTER VOLUME; WHEEL 1, 2: PS 1,2; CS 1, 2; Function buttons [F1] - 18|; DATA ENTRY: +/- buttons: PAGE <>.
LOD CONTRAST; Sott/SostenutofDamper (Sustain) Pedals, MIDI PANIC
Indicators LOD) display: 40-character x 2-row, backlit
LED display: red two-digit numeric
Button lamps:
КОН button (green); 1-16, 17-32 buttons (red); PRESET VOICE button (red); Voice/Performance Select buttons tred/grecn)
Input Jacks
FOOT CONTROLLER jacks (/SUSTAIN, 2, 3, 4)
Output Jacks
LINE OUT jacks (L/MONO, К; unbalanced, 1/4" phone); LINE OUT jacks (L, R; bataneed, XLR): PHONES jack
MIDI Terminals
MIDI IN, MIDI OUT, MIDE THIRU
Electrical Power Consumption: = 25 W
Characteristics Output impedance: Phone (600Q), XLR (1500)
Dimensions HATO x 54800) x РИН) mm 157" x 21-5/8" x 30-172)
Weight 55 kg 121 lbs.)
Included Keyboard Stand, Pedal Unit, Attachment for Extra Keyboard
Accessories
Optional Yamaha FCd4, FÜ5 Foot Switches: Yamaha FC? Foot Controller
Accessories
97
=
am)
Z
uy
Е.
En
<
Ш MIDI DATA FORMAT
1. MIDI DATA FLOW
oo
Fer ” Busvannunnununnnn AA =
М
(MAT Ме ВТ!
Internal, Woe, Ve eB
u
MidiAT x MidciBTxch
inn.
MIL МЕСТУ
CURVE
MASTER
TRANSPOSE
INTERNAL SAIL
TRANSPOSE TRANSPOSE
00
оо
MERGHONZOFF Te
MAA |
| oo
INTERNAL VELORXCITY
CLIRVE
0
FOCAL ONSOFF
o
УсеАТх, УсеВТх
P-5000
TG
RAIL €LIT
98
2, MEDE TRANSMISSION/RECEPTION
2.1 MIDI Transmission Conditons
ACTIVE SENSING
NOTE ON/OFF
WHEEL 1/2
PS 1/2
CONTINUOUS
SLIDER 1/2
FOOT CONTROLLER
1 PERRA
AFTER TOUCH
PROGRAM CHANGE
Volume Data
FE
Yn |
Bnili(- ГАН} | =
,Un,En,
Bni(Q-- 7 AH) Усе АТк
Un, En (FO) Loa te СИ о
Ви 1--7АН) = УсеВТх
¿Dn En FO) bt -—= Ch 00 ———-
Brat) ТАН}
On, 65 (FO lo
ВАН - FAH) -
.On,£0,(F 0) [
Cn 00H DAR - ee MAIL OLIT
*tPreset Voice)
Pert. 1%
Cn 40H ~5FH <Ch.>—— 0 O —
“Pedormance)
Mic AT «
Cn OOH ~ 7F RH = + <> 0 0 ee
Performance)
MIE Te
= <Ch.> — 0 6 ——
| EXATx
Сп ‚00 FH e ¿Ch — 0 O —
“Pertormant e)
ЕхВТх
MIN ¿Ch > — бо
Cn ,Q7H
*(Pertormance)
Device Nu,
Parameter Change
e END, D — O O ——-
Device No.
Bulk Dump = «М0. — 0 © — 0
— ©
MIDI In O Мегре
“(Preset Voice): Preset Voce Mode only
"(Perlormance) : Performance Made only
2.2 MIDI Reception Conditions 3.1.2. Control Change
Control Number
æ FE ACTIVE SENSING CC PARAMETER Value.
ЛАК О -- 120 WHEEL 1 Q-- 127
- O 0 —» <Ch.> — 8n NOTE OFF O-- 120 | WHEEL 2 | 0127
0-- 120 FC 1 0 -- 127
| {)-- 120 ЕС 2 0 -- 127
Vi eBRx ——e 9n NOTE ON/OFE 0120 | FC3 0127
ОО —e <Ch> $) -- 120 FC 4 0 -- 127
О -- 120 Csi O-- 127
УсеАКх 0-- 120 CS 2 0 -- 127
= оо —= <Ch> = Bn ,01 Modulation 0 -- 120 PS 1 0,127
¿07 Volume 0--120 PS 2 0,127
‚ Ча Pan
М еВКх ‚Ob Expression
00 —= <Ch.> ‚ 40 Sustain Pedal
‚42 Sostenuto Pedal
, 43 Sort Pedal
3.1.3. Program Change
МееАКх
. e oo <Ch> = Cn PROGRAM CHANGE Program Change messages are transmitted on the Transmit Channel when a Voice is selected.
*(Preset Voice)
VceBRx
—— 00— <Ch.>
3.1.4. After Touch
Pert. Rx When After Touch is assigned to an assignable controller, After Touch data is transmitted.
OUI бо > - (Сп PERFORMANCE CHANGE
MID OUT 4 *(Performance)
*(Preset Voice)
1 Ve eAR x
O O —e <Ch.> æ Dn AFTER TOUCH
3.1.5. Pitch Bend
y
Pitch Bend is transmitted with 7-bit resolution.
VceBRx
O O —e <Ch.>
VowARx 3.2 Reception
= оо — <Ch,> — En PITCH BEND
3.2.1. Note On/Off
VceBR
wee 1) [9nHI=Ikk]=Iwv] — п: Channel No.
O Om <СН.> —-
Ynti: Note on/off Status
Protect Device No. kk : Key note
00—* <Ch.> = Bulk Dump Reception : 0-127
vv: Velocity
Key on: 1-127
Protect Device No. Key off: 0
оо — <Ch.> es System Setup Bulk
Dump request
Protect Device No,
OO —= <Ch.> = Parameter Change 2) [BnH]=>Ikk] [vv] n: Channel Мо.
8nH : Note ой Status
kk : Key no.
оо —= <Ch.> — Merge Reception : 21-108
му; Velocity *Note range can be extended to 0-127
Key off : 0-127 with MIDI A/B Transpose.
*{Preset Voice) : Preset Voice Mode only
N *(Performance) : Performance Mode only
3.2.2. Control Change
|BnHt]—lcel— [vv]
BnH : Control Change Status
п: Channel No,
3. CHANNEL MESSAGES ce: Control No.
. му ; Value
3.1 Transmission
3.1.1. Note On/Off x
cc Description vv A
[ont] >Tkk] + [мм 1 Modulation Depth 0--127 £
7 Volume ()-- 127 >
9nH : Note on/off Status 10 Pan O -- 127 <
п: Channel No. 11 Expression 0 -- 127
kk ; Key no. 64 Sustain Pedal 0 -- 127
Transpose : 2 ЦА-1}-108(С7) 66 | Sostenuto Pedal 0 -- 127
vv : Velocity 67 Soit Pedal 0 -- 127
Key on: 1-127
Key olf : 0
*Note range can be extended to 1-127
with MIDI A/B Transpose.
99
3.2.3. Program Change
Program Change messages received on the Program Change
Receive Channel select a Voice on the P.560.
3.2.4. Pitch Bend
Only the MSB of the Pitch Bend is received.
4, SYSTEM REAL TIME MESSAGES
When Start, Continuous or Stop is assigned to assignable controller,
System Realtime messages are transmitted.
5. System Exclusive Messages
5.1 Parameter Change
5.1.1. System Setup
11110000 Е
01000011 43
OO00AnAN annn=Device Number
00101010 2A
00010000 10
00000000 00
00000000 00
Oppppppp ppppppp=N2
00000000 (0
Ovvvvvvv vvvwwvw=Data Value
11110111 F7
+
>
г
—
5.1.2. Chain Table
11110000 FO
01000017. 43
000 Innnn nnnn=Device Number
00101010 2A
00010003 1]
00000000 00
Oli ИНИЕЕМ?
OPpppppp ppppppp=N2
00000000 00
Ovvvvvvv vwwwvwvzData Value
11110111 F7
5.1.3. Voice
11110000 FO
01000011 44
000Ennnn nnnn=Device Number
00101010 2A
00010010 12
00000000 00
Oli ii=N1
Oppppppp PPPPPPPEN2
00000000 00
Ovvvvvvev vvvvvww=Data Value
11110111 F7
5.1.4. Microtuning
11110000 FO
01000071. 43
000 Tnann nnnn=Device Number
ПОТОЛОК) 2A
00010011 13
D0000000 00
TN Инн М1
Оррррррр о ррроррр=мМ2
00000000 00
Uvvvvvvv vvvwvww=Data Value
11110111 F7
5.1.5. Modulation/Reverb
11110000
01000077!
OOO Tanna
00101010
00010100
00000000
00000000
Oppppppp
00000000
Ovvvvyvv
11110111
5.1.6. MIDI & Extra MIDI
11110000
01000011
0001nnnn
00101010
00010101
00000000
Oppppppp
00000000
Ovvvvvvv
11110115
5.1.7. Others
11110000
01000011
0001 nnAn
00101010
00010110
00000000
00000000
Oppppppp
00000000
Ovvvvvvv
1111011!
5.1.8. Controller
11710000
01000011
OOO nonn
00103010
00010111
00000000
00000000
Oppppppp
00000000
Омуууумуу
11110131
5.2 Bulk Dump
1. System Setup bulk dumps:
1-1, System Setup
1-2. Chain table
2. Voice bulk dumps
2-1, Voice
2-2, Microtuning
2-3. Modulation/Reverb
3. Pertormance bulk dumps
3-1, Voice
3-2. Microtuning
3-3. Modulation/Reverb
3-4. MIDI and Extra MIDI
3-5. Other bulk dumps
100
FO
43
nnnn=Device Number
2A
14
{10
00
Ppppppp=N2
00
vwvvvv=llata Value
F7
—
0
43
nnnneldevice Number
A
15
00
lites N 1
PPPPPPP=NZ
00
ммуумуу Ома Value
F7
ho
0
43
nann=Vevice Number
2A
16
10
00
PRPpppp=N2
00
vvwwwvwv=Data Value
F7
FO
44
anne Device Number
2A
17
OO
10
PPPPPPP=NZ
00
wevevvs Data Value
17
The P-500 is capable of transmitting and receiving the tollowing types or bulk dumps:
Note: Bulk dump cannot be executed
when the Device Number is otf and/or
the МИХ Merge function is on,
The above ten types can transmitted/received independently,
5.3 MIDI Merge 6.2 Chain Table
The P-500 has а MIDE Merge function which allows it to merge the MIDI data it generates with with data FOH,43H, 1NH,2AH,11H,OGH,NTH,N2H,00H,V2H,F 7H
received af the MIDI IN terminal, then transmit the combined data trom the MIDI OUT terminal, п; Device No.
АТН : Parameter No.
N2H : Parameter Мо.
MIDI IN = V2H : Parameter Value 2
| MERGE ON/OFE SWITCH
O
— Q ri MALO) OUT
o N2 Data Name v2(Data Range) Notes
0 poo Chain -01 0-31 1 item in Chain (1,..,32)
BULK DUMP ——— 1101 -02 031 2 items in Chain (1,..,32)
2 02 -03 0-31 3 items in Chain (1,..,32)
3103 -04 0-31 4 items in Chain (1,..,32)
MIL messages received on the same channel as the P-500's MILE transmit channel are transmitted without 4 | 04 05 031 5 items in Chain (1,..,32)
alteration, As a result, the controllers of the P-500 may not tunction as expected when MIDI Merge is used, 5 los _06 0-31 6 items in Chain (1,...32)
since both the P-500's internal Voices and any devices receiving the merged data can be controlled by the 6 | 06 07 0=31 7 items in Chain (1,..,32)
controllers ot either the P-500 or the device connected to МОИМ. For the same type of controller, the last- 7 lo7 -08 0-31 8 items in Chain (1,..,32)
generated control messages will always take priority. Also, notes being sounded by the P-500 may be turned 8 |08 -09 031 9 items in Chain (1,32)
oft by received All Notes Off messages. 9 | 09 -10 0—3] 10 items in Chain (1,..,32)
10 | OA -11 0-31 11 items in Chain (1,..,32)
11 | 08 12 0-31 12 items in Chain (1,..,32)
Active Sensing messages received al MIDI IN are nat included in the merged data. However, И the P-500 12 loc 13 0-31 13 items in Chain (1,..,32)
detects an interruption in Active Sensing message reception, tt will stop transmitting its own Active Sensing 13 100 -14 0-31 14 items in Chain (1,..,32)
messages trom MIDI OUT tor an interval of 500 msec. This may cause devices receiving the merged data to 14 | OF 215 0-31 15 items in Chain (1,..,32)
interrupt their processing of note messages transmitted by the Р-500. 15 | oF _16 0-31 16 items in Chain (1,..,32)
16 [10 -17 0-31 17 items in Chain (1,..,32)
1719 -18 0-31 18 items in Chain (1,..,32)
When System Exclusive messages 32 bytes or longer are received, the relaying of these messages may be cut 18 142 -19 0-31 19 items in Chain (1.32)
fy ott by the P-500's own MIDI messages. The P-500 puts a temporary hold on the transmission of MIDI 19 | 13 _20 0-31 20 items in Chain {t,..,32)
messages when и receives a System Exclusive message. However, as soon as the length of the received 20 | 14 21 0-31 21 items in Chain (1,..,32)
System Exclusive message exceeds 41 bytes, the hold is cleared. The P-500 then transmits an FOX (End of ayy |ı5 _29 0-31 22 items in Chain (1,..,32)
Paclusive) message betore transmitting its own data. When this happens, the P-500 will not pass on any 22 116 _23 0-31 23 items in Chain (1,..,32)
received data until it reccwves data with a status byte other than that of System Realtime messages. 3117 -24 0=31 24 items in Chain (1,..,32)
24 118 --25 0-31 25 items in Chain (1,,,,32)
25 119 -26 0-31 26 items in Chain (1,..,32)
The P-500's Bulk Dump tunction cannot be used when МИ Merge is on, 26 | 1A 37 0-31 27 items in Chain (1,..,32)
27 (118 28 0-31 28 items in Chain (1,..,32)
28 I IC - 29 031 29 items in Chain (1,..,32)
When the P-500 receives a Channel message (such as Control Change or Program Change) while receiving 29 | ıD -30 0-31 30 items in Chain (1,..,32)
System Exclusive messages, the P-500 will transmit an FOX message and stop receiving the System Exclusive 30 | te 31 O~ 31 31 items in Chain (1,..,32)
messages, then will resume transmitting the new Channel messages as they are received. 31 | te 32 0-31 32 items in Chain (1,..,32)
И the P-500 receives an РОН or System Realtime message while receiving a System Exclusive message, it will
ignore the РН or System Realtime message.
N1 Chain Number
QQH 1
ОН 16
5.4 Panic
Key Ott æ 9) OO 00 - GF 7E 00
All Note Om = BO 7B 00 - BF 7B 00
Sustain ONE {DOKN = BO 40 00 © BF 40 00 6.3 Voice
Modulation Depth Ott (GO ——— ВО Of 00 + BF 0 00
Channel Pressure Of = 100 00 .. DF 00 | | | |
Pitch Bend Depth Center (405) —— FO 00 40 = FF 00 40 FOH,43H,1nH,2AH,1 2H,00H,N1H,N2H,00H, V2H,F 7H
Reset AH Cotrollers — me ВО 79 00 - BF 79 00 п: Device №.
NIH: Parameter No,
N2H : Parameter No,
V2H : Parameter Value 2
N 6. PARAMETER CHANGE TABLE
6.1 System Setup
N2 Data Name V2(Data Range) Notes
FOH, 4344, Pott, 2AH, TOH,OOH,OOH,N 2H,00H,VZH,F?7H
n: Device No, 0 00 WNUM 0-10 Wave No.
N2H : Parameter No. 17/01 VCENAME] 095 Voice Name Character 1
V2H: Parameter Value 2 2 |02 VCENAME2 0-95 Voice Name Character 2
37103 VCENAME2 095 Voice Name Character 3
4 104 WCENAME 3 0-95 Voice Name Character 4
5 105 | VCENAME4 0-95 Voice Name Character 5 >€
N? Data Name Ума Range) Notes $ 106 | VCENAMES O~95 Voice Name Character 6 a
7 | 07 | VCENAME6 0-95 Voice Name Character 7 FA
O [00 | MTUNE Q~64~127 | Master Tuning 8 | 08 | VCENAME7 O~95 Voice Name Character 8 ыы
1 01 MNSFT 07 24~ 48 Master Transpose 9 109 ATR 0-7 Attack Rate Q.
2 102 | BLKRXSW 0,127 Bulk Rx Lock SW 10 | oA] DR 0-7 Decay Rate <
3 03 BLKRXIHST O~ 108 Bulk Rx Dest. 11 OB RR 0=7 Release Rate
4 04 DEVNUMSW 0,127 Device No. SW 12 | 0C VIBD 0-15 Vibrato Depth
5 [05 | DEVNUM O~ th Device No. 13 [00| VIBS 0-31 Vibrato Speed
6 06 PERFEXSW 0,127 Pert. TxCh SW 14 | GE PANP 014 Pan Point
7 107 PERFTXNUM 0=-17 Perl. TxCh No. 15 | OF PANS 0—3 Pan Key Scale
8 08 PERFRXSW 0,127 Per. RxCh SW 16 110 GEQLO 02448 GEQ Low 0
9 09 PERFRXAN LIMA 0-17 Per. RxCh No. 17 11] GEQLOM O~24~ 48 GEQ Low Mid
10 | OA MEFFS\W 0,127 Ettect Bypass SW 18 | t2 GEQM O~24~48 GEQ Mid
11 | OB MMOUSW 0,127 Modulation Bypass SW 19 113 GEQHIM O~24~48 GEQ High Mid
12 [ОСТ MREVSW 0,127 Reverb Bypass SW 20 | 14 GEQHI 0—24—48 GEQ High
21 15 GEQG O~32~48 GEQ Gain
22 | 16 VCETUNE O~126 Voice Tuning
23 | 17 PTUNELO 0—2 Piano Tuning Low
24 | 18 | PTUNEHI 0—2 Piano Tuning High
25 | 19 MICTUNE 0,127 Micro Tune SW
101
6.4 Microtuning
N2 Data Name V2(Data Range) Notes
26 | 1A | reserved
27 | 1B VCEVOLSW 0,127 Voice Volume SW
28 [IC] VCEVOL 0127 Voice Volume
29 DID) VCEEXPSW 0,127 Voice Exp. SW
30 DIE VCEFXP O~ 127 Voice Exp,
31 [IF reserved
32 | 20 VCESFTSW 0,127 Transpose SW
33 | 21 VCESFT O~ 48 Transpuse
34 $22 PBRW 0—3 РВ Range Wheel
35 | 23 PBRO 0-6 РВ Range Other
36 | 24 VELCRV 019 Velocity Curve Type
37 125 reserved
38 | 26 | reserved
39 [27 reserved
40 | 28 EF RSW 0,127 Effect SW
41 | 29 EFFTY 0-11 Effect Type
42 | 2A | EFFDI O~32 Effect Depth 1
43 | 2B | EFFD2 0-32 Effect Depth 2
44 | 2C | EFFDS O~32 Effect Depth 3
45 | 2D] reserved
46 | 2E | reserved
47 | 2F reserved
48 | 30 VCEPCT XSW 0,127 Р.С. Number Send SW
44 | 31 VCEPCTXNUM Q~127 P.C. Number
50 | 32 | reserved
51 133 VCEPCBSW 0,127 Р.С. Bank Send SW
52 | 34 VCEPCBLO 0127 Р.С. Bank LSB Number
53 [35 VCEPCBHI O~127 P.C. Bank MSB Number
54 | 36 reserved
55 | 47 reserved
56 138 WHLIVSW 0,127 Wheel 1 Voice SW
57139 WHLIVASS 0-18 Wheel 1 Voice Assign
58 | ЗА WHLEVCRV 0-8 Wheel 1 Voice Curve Type
59 | 3B WhI2VSW 0,127 Wheel 2 Voice SW
60 | $C | Whi2VASS 0-18 Wheel 2 Voice Assign
61 1300| Whl2VCRV 0-8 Wheel 2 Voice Curve Туре
62 | ЗЕ CSIVSW 0,127 CS 1 Voice SW
63 | ЗЕ CSTVASS O~14 C$ 1 Voice Assign
04 | 40 CSIVCRYV 08 CS 1 Voice Curve Туре
65 | 41 CS2VSW 0,127 CS 2 Voice SW
bh | 42 | CS2VASS O~14 CS 2 Voice Assign
67 | 43 CS2VCRV 0-8 CS 2 Voice Curve Type
b8 | 44 PSIVSW 0,127 PS 1 Voice SW
69 | 45 PSTVASS Pert/Chain PS 1 Voice Assign
70 | 46 PSI VCKV Nrm/lnv PS 1 Voice Curve Type
71 | 47 PS2VSW 0,127 PS 2 Voice SW
72 | 48 | PS2VASS PertíCham PS 2 Voice Assign
73 | 49 PS2VERV Nrm/inv PS 2 Voice Curve Type
74 | 4A ATVSW 0,127 А.Т. Voice On/Of SW
75 | 4B ATVASS 018 А.Т. Voice Assign
76 | 4C | АТУСКУ 08 А.Т. Voice Curve Type
77 | 4b FÜTVSW 0,127 FC 1 Voice SW
78 | 4E FCTVASS 0-18 FC 1 Voice Assign
79 | 4F FCIVCRV 0-8 FC 1 Voice Curve Туре
80 | 50 FC2VSW 0,127 FC 2 Voice SW
81 | 51 FCZVASS 0-18 FC 2 Voice Assign
82 | 52 FCZVCRV 0—8 FC 2 Voice Curve Type
8$ | 53 FC3VSW 0,127 FC 3 Voice SW
84 | 54 FCIVASS 0-18 FC 3 Voice Assign
85 | 55 FC3VCRV 0-8 FC 3 Voice Curve Type
86 | 56 FCAVSW 0,127 FC 4 Voice SW
87 | 57 FOAVASS 0-18 FÜ 4 Vence Assign
88 | 58 FCAVORV 0—8 FC 4 Voice Curve Туре
NT | Voice Number
QOH Voice A
01H Voice B
FOH,43H,1AH,2AH, t3H,OOH,N TH,N2H,00H,V2H,F 7H
n: Device No.
NIH: Parameter No.
NZH: Parameter No,
V2H : Parameter Value 2
102
N2 Data Name
V2(Data Range)
Notes
85
86
00 MTUNEOI
01 MTUNEO2
02 MTUNEOJ3
03 MTUNEQ4
04 MTUNEOS
05 MTUNEO6
06 MTUNEO?
07 MTUNEOS
08 MTUNEOY
09 MTUNEIO
OA MTUNEFI
OB MTUNE T2
OC MTUNET3
OD MTUNE14
OE MTUNEIS
OF MTUNE16
10 MTUNET7
11 MTUNEI8
12 MTUNE19
13 MTUNE20
14 MTUNE21
15 MTUNE 22
16 MTUNE23
17 MTUNE24
18 MTUNE25
19 MTUNE26
1A MTUNE 27
18 MTUNE 28
IC MTUNE 29
10 MTUNE30
ТЕ MTUNE3I
IF MTUNE 32
20) MTUNE33
21 MTUNE34
22 MTUNE35
23 MTUNE 36
24 MTUNE37
25 MTUNE38
26 MTUNE 39
27 MTUNE40
28 MTUNE 41
29 MIUNE42
2A MTUNE43
2B MTUNE44
2C MIUNE45
20) MTUNE 46
ZE MTUNE47
2F MTUNE48
30 MTUNE4Y
31 MTUNESO
32 MTUNES1
33 MTUNES2
44 MTUNES3
35 MTUNES4
36 MTUNESS
37 MTUNE56
38 MTUNE57
39 MTUNES8
3A MTUNE59
3B MTUNE60
IC MTUNES 1
3D MIUNFA2
ЗЕ MTUNE6 3
3F MIUNE 64
40 MTUNE65
41 MTUNEG6
42 MIUNE67
43 MTUNF68
44 MTUNF69
45 MTUNEZO
46 MIUNE 71
47 MIUNE 72
48 MTUNE? 3
44 MTUNE74
4A МТИМЕ 75
4В MIUNE76
ac MIUNE77
40) MIUNE7B
4Е MTUNF?Y
4f MTUNE #0
50 MTUNE 81
51 MIUNE 82
52 MTUNES3
53 MTUNES4
54 MTUNE&85S
55 MTUNE&6
56 MTUNE 87
57 MTUNE8a
-64~63
64-63
-64 = 63
-64~63
463
-64~63
- 64-63
-64—63
4463
-64~63
—h463
-64~63
-64~63
-64~63
6463
64 63
64-63
64 —63
-64 = 63
—h4~h3
6463
-64~63
—4~63
-64 63
6463
-64 673
-64~63
64-6}
64—63
—64~63
—h4— 63
-64 +63
-64~63
6463
6463
h4~63
6463
b4>63
-b4~64
-64~63
-64~ 63
-64~63
463
- 6443
-64~63
-h4 >63
6463
-64~64
-64 63
-64~63
-64~63
-64~63
-h4~ 63
64 63
-64 63
-H4~63
-64~63
6463
-64 63
-64 63
-h4 63
64-63
-64 63
54 >63
463
-64 63
64-6}
- 64—63
—h4 63
h4~63
64-6}
6468
0403
bh
-64~ 63
54 63
-64 >63
64-6}
- 64-063
-64 — 63
64-63
64-63
bd 63
6463
-64~63
- 64—63
-64~63
-64~ 64
Micro Tune A-1 key
Micro Tune A#-1 key
Micro Tune B-1 key
Micro Tune CO key
Micro Tune C#0 key
Micro Tune DO key
Micro Tune O#0 key
Micro Tune EO key
Micro Tune FO key
Micro Tune F#0 key
Micro Tune GO key
Micro Tune G#0 key
Micro Tune AG key
Micro Tune A#0 key
Micra Tune BO key
Micro Tune C1 key
Micro Tune C#1 key
Micro Tune DI key
Micro Tune OAT key
Micro Tune El key
Micro Tune fl key
Micro Tune F#1 key
Micro Tune G1 key
Micro Tune G#1 key
Micro Tune Al key
Micro Tune ARI key
Micro Tune B1 key
Micro Tune C2 key
Micro Tune C#2 key
Micro Tune D2 key
Micro Tune D#2 ke
Micro Tune E#2 key
Micro Tune F2 key
Micro Tune F#2 key
Micro Tune G2 key
Micro Tune G#2 key
Micro Tune A2 key
Micro Tune A#2 key
Micro Tune B2 key
Micro Tune C4 key
Micro Tune C#3 key
Micro Tune D3 key
Micro Tune D#3 key
Micro Tune EX key
Micro Tune F4 key
Micro Tune F#3 key
Micro Tune G3 key
Micro Tune G#3 key
Micro Tune Ad key
Micro Tune A#3 key
Micro Tune B3 key
Micro Tune CA key
Micro Tune C#4 key
Micro Tune 104 key
Micro Tune [284 key
Micro Tune E4 key
Micro Tune F4 key
Micro Tune F#4 key
Micro Tune G4 key
Micro Tune G#4 key
Micro Fune A4 key
Micro Tune A#4 key
Micro Tune 84 key
Micro Tune C5 key
Micro Tune Cas key
Micro Tune 135 key
Micro Tune [245 key
Micro Tune F5 key
Micro Tune F5 key
Micro Tune f#5 key
Micro Tune G5 key
Micro Tune G#5 key
Micra Tune A5 key
Micro Tune ARS key
Micro Tune BS key
Micro Tune C6 key
Micro Tune C#h key
Micro Tune Dé key
Micro Tune 286 key
Micro Tune E6 key
Micro Tune F6 key
Micro Tune F#6 key
Micro Tune Ch key
Micro Tune G#6 key
Micro Tune AG key
Micro Tune Añb key
Micro Tune B6 key
Micro Tune C7 key
N
_
Voice Number
OOH
01H
Voice A
Voice B
6.5 Modulation/Reverb
N2 | Data Name |V2(Data Range) Notes
F0H,43H,10H,24H,14H,00H,00H,N 2H,00H,V2H,F7H 48 | 30 | MIPCTXSW 0,127 MIDI P.C. Number Send SW
п: Device No. 49 | 31 | MIPCTXNUM O~ 127 MIDI P,C. Number
N2H : Parameter No. 50 | 32 | reserved
V2H : Parameter Value 2 51 133 | MIPCBSW 0,127 MIDI Р.С. Bank Send SW
52 134 | MIPCBLO 0127 MIL P.C. Bank 158 Number
53 | 35 | MIPCBHI 0127 MIDI Р.С. Bank MSB Number
54 | 36 | reserved
N2 Data Name V2(Data Range) Notes 55 | 37 | reserved
о |00 | MODASW 0,127 Mod Voice À SW
56 | 38 | WHLIMISW 0,127 Wheel 1 MIDI OUT SW
o loo | MODBSwW 0,127 Mod Voice B SW 57 | 39 | WHLIMIASS | O~125 Wheel 1 MIDI OUT Assign
> Io» MODTY 0-9 Mad Type 58 | ЗА | WHLIMICRV | 0-8 Wheel 1 MIDI OUT Curve Type
3 |o3 | MODD 032 Mod Depth 59 |38 | WHL2MISW | 0,127 Wheel 2 MIDI OUT SW
a |04| MODS 0-32 Mod Speed 60 | 3C | WHL2MIASS | 0125 Wheel 2 MIDI OUT Assign
61 | 3D | WHL2MICRV 0—8 Wheel 2 MIDI OUT Curve Туре
5 | 05 | REVSW 0,127 Reverb SW
6 los | REVTY O~15 Reverb Type 62 | ЗЕ | CSIMISW 0,127 CS 1 MIDI OUT Switch
7 tor | REWAD 0-32 VoiceA Reverb Depth 63 | 3F | CSIMIASS 0125 CS 1 MIDI OUT Assign
8 108 REVVBD 0-3) VoiceB Reverb Depth 64 | 40 | CSIMICRV 0-8 CS 1 МИХ OUT Curve Type
a Los | REvTIM 0-32 Reverb Time 65 | 41 | CS2MISW 0,127 CS 2 MIDI OUT Switch
10 | ОА REVHIDMP 0-32 Rev High Damp 66 | 42 | CS2MIASS 0125 C$ 2 MIDI OUT Assign
11 108 REVMODIN 0—4 Reverb Mod In 67 | 43 | CS2MICRV 0—8 CS 2 MIDI OUT Curve Туре
12 1 OC | ЕСНТМР 0127 Echo Tempo
13 | 0D {CHLC O~ 3? Echo Decay 68 | 44 y PSIMISW 0,127 PS 1 MID OUT Switch
69 | 45 | PSIMIASS 0125 PS 1 MIDI OUT Assiun
70 | 46 | PSIMICRV 0-8 PS 1 MIDI OUT Curve Type
71 147 | PS2MISW 0,127 PS 2 MIDI OUT Switch
72148 | PS2MIASS 0125 PS 2 MIDI OUT Assign
N 6.6 MIDI & Extra MIDI 73 149 | PS2MICRV 0-8 PS 2 MIDI OUT Curve Type
74 | 4A | ATMISW 0,127 А.Т. MIDE OUT OWOH SW
F0H,43H,10H,2AH,15H,00H,N1H,N2H,00H,V2H,P7H
a: Device No, 75 | 48 | ATMIASS O~125 AT. MIDI OUT Assign
NTH: Parameter No. 76 | 4C | ATMICRV 0-8 AT. MIDI OUT Curve Type
N2H : Parameter No,
V2H : Parameter Value 2 77 | aD | FCIMISW 0,127 Foot 1 MIDI OUT SW
78 | at | FCIMIASS 0125 Foot 1 MIDI OUT Assign
79 | af | FCIMICRV о-в Foot 1 MIDI OUT Curve Type
80 | 50 À FC2MISW 0,127 Foot 2 MIDI OUT SW
N1: 0, 1 81 | 51 | FC2MIASS O~125 Foot 2 MIDE OUT Assign
82 | 52 | FC2MICRV 0-8 Foot 2 MIDI OUT Curve Туре
N2 | Data Name |V2(Data Range) Notes 83 | 53 | FC3MISW 0,127 Foot 3 MIDI OUT SW
84 | 54 | FC3MIASS O~125 Foot 3 MIDI OUT Assign
a [00 | reserved 85 | 55 | FC3MICRV 0-8 Foot 3 MIDI OUT Curve Type
1 [01 | reserved 86 | 56 | FC4MISW 0,127 Foot 4 MIDI OUT SW
2 | 02 | reserved 87 | 57 | FCAMIASS 0125 Foot 4 MIL OUT Assign
3 [03 | reserved 88 158 | FCAMICRV | 0-8 Foot 4 MIDI OUT Curve Type
4 104 reserved
5 105 reserved
5 | 06 reserved
7107 reserved
8 | 08 reserved
9 | 09 reserved
10 | OA | reserved NI: 2.3
11 | OB | reserved a
12 {OC | reserved
13 | OD reserved 185 | 00 | EXVOLSW 0127 Ex. MIU} Volume SW
14 | OE reserved 186 | 01 | EXVOL Q~ 127 Fx. MILE Volume OUT
15 | OF reserved 1871 02 | EXPCTXSW 0,127 Ex. MIDI P.C Number Send SW
16 | 19 reserved 188] 03 | EXPCTXNUM 0127 Ex. MIDI P.C.Number
17 | 11 reserved 189 | 04 | EXBSW 0,127 Ex MILI P.C.Bank Send SW
18 | 12 reserved 190105 | EXBLO Q~127 Ex. MIDI P.C.Bank LSB Number
19 | 13 reserved 191] 06 | EXBHI O~127 Ex. MIDI P.C.Bank MSB Number
20 | 14 reserved
210115 reserved
22 | 16 reserved
23 | 17 reserved
24 | 18 reserved
os |19 reserved м] MIDI Number
26 | 1A] reserved OOH MIDI A
01H MIDI В
27 1B MIVOILS 0,127 MIDI Volume SW 02H | EXTRA MIDISETUP A
28 IC MIVOL O 127 MIDI Volume 03H | EXTRA MIDI SETUP B
29 | ID] reserved e
30 I TE reserved =>
31 | TF reserved о
Z
tl
32 120 | MISFTS 0,127 MIDI Transpose SW a
33121 МЕТ 048 MIDI Transpose <
34 | 22 reserved
35 | 23 reserved
36 | 24 MIVELC 0-19 MIDLOUT Velocity Curve Type
37 | 25 reserved
38 | 26 reserved
39 127 reserved
40 | 28 reserved
41 | 29 reserved
42 | 2A reserved
43 | 2B reserved
44 | 2C | reserved
45 | 2D| reserved
46 | 2E reserved
47 wi: reserved
103
6.7 Others
FLASH, EnERZAH, TGI,DOH,DBOH,NZHLOOH,VZHLFTH
tn: Device No,
М2Н : Parameter Мо.
УЛ:
Parameter Value 2
N2 | Data Name [Y ¿(Data Range) Notes
0 | 00 + PERENAME I 095 Pert. Name Character |
| Ol | PERENAMP2 O~95 Pert. Name Character 2
2 02 | PERENAME 3 1-95 Per Name Character 3
4 03 | PERENAME 4 og Pen Name Character 4
4 114 | PLRENAMES 0-95 Pert Name Character 5
5 [05 | PERFNAMEN 095 Pert. Name Character 6
O | 06 | PERENAMEZ 0-3 95 Pert. Name Character 7
? | OF | PERFNAMER 0-95 Pert.Name Character 8
8 |108 | MERGSW 0,127 Merge SW
Y 09 | reserved
Ta ГОА | VOFKEYMAD 1,2 Voice Keyboard Mode
11 OB | ¥VCESPIP (YN RF Voice Split Pornt
12 | OC) VOFKEYASS 015 Voice KB Upper lower Assign
13 OD | MTUNFK 087 Micra tune Key Point
14 Pot | VCESCLP (= 87 Voice Scale Point
15 [or MISCLP (~ 8? MIDI Scale Point
1h 110 | VCFATXSIWV 0,127 Voice A Tx Channel SW
17 11 VOLATXCH O~15 Voice А Tx Channel Number
18 | 12 | VOFARXSW 0,127 Voice A Rx Channel SW
19 | 13 | VCEARXCH 0-17 Voice А Rx Channel Number
20 414 | LOCALA 0,127 Voice A Local ON/OFF
21 15 | VOFBTXSW 0,127 Voice В Tx Channel SW
22 [16 | VCEBIXCH 0-15 Voice B Tx Channel Number
23117 | VOFBRXSW 0,127 Voice B Rx Channel SW
24 | 18 | VOFBRXCH 00-19 Моне В Rx Channel Number
25 19 | LOCALB 0,127 Voice В Local ONFOFF
26 ТА | VAPCRXSAY 0,127 VolceA PLC Number Receive SW
27 18 | VBPCRKSW 0,127 VoiceB PC Number Receive SW
28 | IC MIKEYMD 0,1,2 MIDI Keyboard Mode
29 [ID] MISPLP 0-87 MIDI Keyboard Split Point
10 IF MIKFYASS 0-15 MIDI KE Upper Lower Assign
31 | IF | reserved
32 20 | MIATXSW 0,527 МИЛА Tx Channel Sw
33 2) | MIATXCH Q~ 15 MIDIA Tx Channel Number
34 22 | MIBTXSW 0,127 MIDIB Tx Channel Sw
35 | 23 | MIATXCH 017 MIDIB Tx Channel Number
$5 | 24 | PXAT XSW 0,127 EX МИЛА Tx Channel SW
37 | 25 | FXAIXCH 0-15 Ex MIDNA Tx Channel Number
38 | 26 | EXBEXSW 0,127 EXMIDIB Tx Channel SW
39 | 27 | EXBIXCH 0-17 bx. MB Ix Channel Number
40 | 28 | VASCLORV Ooh VoeA Velocity Scale Curve Type
4l | 29 | VBSCICRV 0-6 УсьВ Velocity Scale Curve Type
42 | 2A | MIASCECRYV 0h MIDIA OUT Scale Curve Type
44 2B I MIBSCLORV 0—6 MIDIB OUT Scale Curve Type
104
6.8 Controller
POHL4 3 Pad, ZAK TFZEROOH,N TH UN2H OOH, V2H,F7H
no Device No,
ман : Parameter No,
V2H : Parameter Value 2
lata Name
VA Data Range)
Notes
PERECHO
CHAINCHG
ЕСАТК
ЕС К
FORR
VIBSPD
PANRANGE
FFFOEP
RFVDEP
MODDEP
MODSPD
OBINDNI
0,127
0,127
0-7
07
07
Oy
O~ 4
0-32
(I~ 32
~ 32
O~ 32
O~ 127
Pertormance Change UP/DOWN
Chain Change UP/DOWN
Attack Control
Decay Control
Release Control
Vibrato Depth Control
Pan Range Contral
Effect Parameter Control
Reverb Depth Control
Modulation Depth Control
Modulation Speed Control
Other Bend Depth Control
Voice Number
N2
оО
1 Ou
2] 00
3 00
4 00
5.100
6 00
7 00
8 | 00
9 00
A +00
B | 00
N]
00H
NE!
Voice A
Voice В
7. BULK DUMP TABLE
7.1 System Setup & Dump Request
SYSTEM SETUP
Data
h S
? K
4 _
9
10 2
11 3
12 5
13 6
14 Ss
15 | Y
32 | MTU
h. PARAMETER CHANGE TABLE
Б.Р System Setup OOH ~ OCH
NF
44 | MREVSW
4h | BFH
45 | check sum
7.2 Chain Table
Type 1: 00H
Type 2: Cha
in Table No.
Туре 2) С
HAIN NUMBER
OOH
OH
1
16
DUMP REQUEST
Dala
0 | FOH
т | 43H
2 | 2NH
301 7AH
4 |3
5 K
6
7
В 2
913
10|9
1116
1215
1 py
14
| | OOH
24
30 | F7H
CHAIN FABLE
LUMP REQUEST
Data
Data
$0
31
ГОН
43H
UNI
7AH
| bytes
5
К
type |
type 2
6. PARAMETER CHANGE TABLE
6.2. Chain Table пон ЕН
QOH
type 1
type 2
F7H
32 | Chaing
1
63 | Chains
64 | check sum
65 РН
7.3 Voices
Type 120084
Type 2: Voice No.
Type
À VOICE NUMBER
OOH
Olt!
02H
03H
OAH
ОН
06H
07H
08H
OOH
OAH
LOH
11H
12H
Phd
ТАН
15H
16H
17H
18H
19H
ТАН
BH
CH
TL bE
TEES
¡ER
20H
21H
22H
23H
24H
25H
26H
27H
28H
29H
2AH
2BH
2CH
21H
211
21H
Piano
Plane
Pianos
Piano 4
t Piano!
t. Piano
ft Piano $
E Ptanod4
F.Pianos
Clavi
CL Tone
Ре. Voice А
Pert.O1 Voice В
Ped 02 Voice A
Pert.O2 Voice В
Pert03 Voice A
Pert.03 Voice В
Реп.04 Voice A
Pert.d4 Voice В
Pert 05 Voice À
Pert.05 Voice В
Pert.06 Voice A
Pert.06 Voice В
Pert.07 Voice A
Pert.07 Voice В
Per 08 Voice А
Pert.O8 Voice В
Pert.09 Voice A
Pert09 Моне В
Pert 19 Voice А
Pers 10 Voice В
Pert 11 Voice А
Pert.) Voice В
Pert 12 Voice A
Pert. 12 Voice В
Pert.13 Voice A
Рег. 13 Voice В
Pert.14 Моне A
Pert.14 Voice В
Pert.15 Voice А
Pert. 15 Voice В
Per 16 Voice А
Pert. Ib Voice В
105
Type 2 VOICE NUMBER
30H Pert.17 Voice A
31H Pert. 17 Voice В
32H Pert.18 Vorne А
УИ Рей. 18 Voice В
34H Pert.19 Voice A
35H Peri.19 Voice В
36H Pert.20 Voice A
37H Pert. 20 Voice В
38H Per, 21 Voice А
39H Pert.21 Voice B
3AJt | Perf.22 Voice А
3BH | Perf.22 Voice В
3CH Pert. 24 Voice А
3DH Pert.23 Voice В
SEH Pert.24 Voice А
ЗЕН Pert, 24 Voice В
40H Pert.25 Voice A
ATH Pert.?5 Voice В
42H Pert.26 Voice А
43H Pert.26 Voice В
44H Pert.27 Voie A
45H Pert.27 Voice 8
46H Pert.28 Voice А
471 Pert 28 Voice В
48H Per. 29 Voice A
49H Pert,29 Voice В
ДАН Pert.30 Voice А
ABH Perf, 30 Voice В
4CH Pert.3t Voice A
40H Per, 31 Voice 8
411! Рег. 32 Voice А
ДЕН Pert. 42 Voice В
PRESET VOICE
DUMP REQUEST
Lata
Data
O POH
1 ASH
2 ONH
3 7AH
4 bytes
Ñ ] ytes
6 5
7 | K
8
y
2
1113
12 5
13 6
14 | Y
15 | ©
16
} | OOH
24
30 | type |
31 | type 2
6. PARAMETER CHANGE TABLE
6.3 Voice Table GOH ~ 58H
32 | WNUM
|
120] FC4VCRV
Ö
| OOH
type |
type 2
РН
121] check sum
122] F7H
><
=)
Z
ыы
В.
a
<
7.4 Microtuning
Type 1: 00H
Type 2: Voice No,
Type 2 VOICE NUMBER
QOH Piano!
01H Piano?
02H Piano3
03H Piano4
04H E,Pianol
05H E.Piano2
DAH E.Piano3
07H E.Ptano4
ORH E. Pianos
09H Clavi
DAH | CL Tone
10H Pert O1 Voice A
IIH | Pert.01 Voice В
12H | Perf.02 Voice A
13H Pert.02 Voice В
14H Pert.03 Voice A
15H | Pert.03 Voice В
16H Pert.04 Voice A
17H Perf.04 Voice B
18H | Pert.05 Voice А
19H Pert,05 Voice В
ТАН | Peri.06 Voice A
IBH | Pert.06 Voice B
ICH Perf.07 Voice A
ТОН | Pert.07 Voice В
1EH Pert.OB Voice A
EH Pert.08 Voice В
20H Perf.09 Voice A
21H Perf.09 Voice B
22H Perf. 10 Voice A
23H Perf,10 Voice В
24H Perf. II Voice A
25H Perf,11 Voice В
26H Pert.12 Voice A
27H Perf.12 Voice В
28H | Perf.13 Voice A
29H | Pert.13 Voice В
2AH | Perf.14 Voice A
28H Pert.14 Voice B
2CH | Perf.15 Voice А
2DH | Pert.15 Voice В
2EH Pert.16 Voice A
2FH Pert.16 Voice B
30H Pert.17 Voice A
31H Perf.17 Voice B
32H Pert,18 Voice A
33H Perf.18 Voice В
34H Pert.19 Voice A
35H Pert,19 Voice В
36H Pert.20 Voice А
37H Perf.20 Voice В
38H | Pert.21 Voice A
39H Per. 21 Voice В
3AH | Pert.22 Voice А
3BH Pert.22 Voice В
3CH 4 Pert.23 Voice A
ЗОН | Pert.23 Voice В
3H Pert,24 Voice A
3FH Pert.24 Voice В
40H Perf.25 Voice A
41H Pert.25 Voice B
42H Pert.26 Voice A
43H Pert.26 Voice B
44H Pert.27 Voice A
45H Pert.27 Voice B
46H Pert.28 Voice A
47H Pert.28 Voice B
4811 Per. 29 Voice А
49H Per. 29 Voice В
ДАН | Pert30 Voice A
4BH Pert.30 Voice B
4CH | Perf.31 Voice A
40H | Pert.31 Voice В
ЕН Pert.32 Voice A
ДЕН Рег. 32 Voice В
106
VOICE MICROTUNE
DUMP REQUEST
Data
eM Pu hewn — À
30
31
FOH
43H
ONH
7AH
7 bytes
| OOH
type 1
type 2
6.4
6, PARAMETER CHANCE TABLE
Microtune OOH~57H
MTUNEO]
MTUNES88
check sum
F7H
7.5 Modulation/Reverb
Type
Type
1: 00H
2: MOD/REV No.
Type 2 [PERFORMANCE NUMBER
281
QOH | Pertormance 1
ТЕН | Performance 32
20H | Piano
21H | Piano2
22H | Piano
23H | Рапо4
24H | EPianol
25H | E.Piano2
26H | E,Piano3
27H | E.Piano4
4 | EPianos
29H Clavi
JAH | CL Tone
PRESET VOICE BALANCE
Data
30
31
FOH
43H
ONH
7AH
7 bytes
] OOH
type 1
type 2
6.5
32
6. PARAMETER CHANGE TABLE
Mod./Rev./Balance 00 —0D
MODASW
ECHUC
Data
0 FOH
1 | 43H
2 2NH
3 | 7AH
5
5 | K
6 | —
7 —
812
9 3
1015
11 6
12 | \
3] T
14
i | OOH
27
28 | type |
29 | type 2
30 | F7H
DUMP REQUEST
Data
Q FOR
1 43H
2 2NH
3 7AH
Ss
5 IK
6 —
7 _
8 | 2
y 3
10! 5
1116
1210
13], 5
14
+ | 00H
27
28 | type 1
29 | type 2
30 | FZH
check sum
F7H
- Y
——
7.6 MIDI & Extra MIDI
Type 1: MIDI & Extra MIDI No.
Type 1 MIDI NUMBER
OOH | MIDI A
01H | MIDIB
02H | EXTRA MIDI SETUP А
OSH | EXTRA MIDI SETUP А
Type 2: Performance No.
Type 2 [PERFORMANCE NUMBER
OOH | Performance 1
ТЕН Pertormance 32
20H Preset Voice
PRESET VOICE MIDI
Data
0 FOH
1 43H
2 ONH
3 | 7AH
4 bytes
5 |-
6 5
7 K
в | —
9 _
10 | 2
11 3
1215
1316
14 | M
15 | M
16
{ | OOH
29
30 | type 1
31 | type 2
6. PARAMETER CHANGE TABLE
6.6 MIDI & Extra MIDI OOH ~
58H or OOH ~ 06H
3
y
120| FCAMICRV
he
reserved
t21| check sum
1221 F7H
or
DUMP REQUEST
Data
O | FOH
1 43H
2 | 2NH
3 | 7AH
Ss
5 K
6 —
7
8 2
9 3
1019
it | 6
12 | М
iy | M
14
| | OOH
27
28 | type |
29 | type à
30 | $F7
PRESET VOICE MIDI
Data
32 7 EXVOLSW
i
38 | EXBHI
39 | check sum
40 | F7H
107
7.7 Others
Type 1: DOH
Type 2: Performance No,
Type 2 | PERFORMANCE NUMBER
OOH
IFH
20H
Periormance ]
Performance 32
Preset Voice
PRESET VOICE SETUP
DUMP REQUEST
Data
Data
30
31
| QOH
type 1
type 2
6. PARAMETER CHANGE TABLE
6.7 Others OOH ~ 2BH
ww No ©
32 | PERFNAME!
|
75 | MIBSCLCRYV
76 | check sum
77 | F7H
x
a
Z
LJ
Qe
В.
<
Ш MIDI IMPLEMENTATION CHART Data: 1-Nov-1993
YAMAHA [ Electronic Piano P-500 | Model P-500 MIDI Implementation Chart Version : 1.0
я rrr re =
Transmitted Recognized Remarks
Function :
pot TT TTT freer rrr ttt tee Hess 7 rss TT;
¡Basic Default 1 - 16 : 1 - 16 memorized
:Channel Changed 1 - 16 : 1 16
I 7-7 - 70007272 - -- +---- --- = --------4--- +00 72-22-2247 Henn:
Default : Mode 3 : Mode 1 , 3 : memorized
: Mode Messages : X X
. Altered : RXXXXRXAKZR AAA . x
POT TT +---- --- 00707070000 Herr A
: Note : 1 - 127 : 1 - 127
Number True voice: KRKKKKKKKKKEE : 21 - 108
DT ee nm TT Hesse Herr:
«Velocity Note ON ¿CO 9nH,v=1-127 : o v=1-127
: Note OFF : x 9nH,v=0 : xX
ee - +---- ----- 20200007 НН;
Alter Key's x X
Touch Ch's O X a
= ------------------ +-- 0.744472 44-22-2204 000000000:
Pitch Bender O : © 0 - 12 semi :7 bit resolution:
ı--- -- -- -- - --- -- - -e- +--- 7222222222440. 4 000000000
1 o M.Wheel : о
7 o Foot Volume O
10 o Pan O
: 11 o Expression O
«Control 64 о Sustain O
: 06 o Sostenuto O
: Change 67 о Soft O
: O - 120 o Assignable X
120 x All Sound Off: o
121 : © *1: о :Reset All Contls:
A rr rrr torre rer or rrr fort cco oe er -- HT TT
: Program : 00 - 127 : 00 - 127 : assignable
:Change : True + o KKK KERR ; ОО - 10 u № f
О О и frre rr tt rr SR
System Exclusive O : O voice etc.
еее o ES
System Song Pos X X
Song Sel x : X
Common Tune x © x
POT TT TT ант - ф-т В TIT
: System ¿Clock o xX : x
‘Real Time :Commands: x X
IT TT TT ses qm TT Hess:
: AUX ¿Local ON/OFF X : x
:All Notes OFF: о *1: 0
:Mes- ¡Active Sense O : ©
:Ssages:Reset X X
O Ho err ф-та ф-т;
: Notes: Received messages are merged to MIDI OUT when MIDI merge
Switch is on.
*] = Transmit if PANIC Switch is ON.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO о : Yes
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO x : No
108
Ä
M INDEX
+/- buttons 51
A: _ SE И u
AT (After Touch) Voice/MIDI A/ и
- Attachment for Extra Keyboard 4
В . in. у . ИИ: BE . A A осо ВЕСНЕ
Bulk Data Receive 84
E ae ТЕ
Chain Edit mode 43
Chain Play mode 28
Chains 22
CHO (Chorus)
in Effect 57
in Modulation 60
CMP (Compressor) 57
Compare 37,51
connections
audio 5
MIDI 5
CONTRAST dial VI
Copy 86
CS (Continuous Slider) 1/2 Sliders 46
CS 1/2 Voice/MIDI A/B 78
Data backup (internal)
Data entry slider 51
Delay (Echo) 63
DET (Detune} 57
Device Number 85
Dual mode
re E ОИ da ON Lei tete ce eee PEM
Echo (Reverb) 63
Edit modes 9, 29
Effect 56
Effect Bypass 85
EG (Envelope Generator) 53
ENH (Enhancer) 56
EQUALIZER controls (panel) 10, 45
Equalizer (GEQ) 55
Expression 64
Extra MIDI Setup A/B 83
109
io us o III LT Be . НИ И. ИКИ ri
ЕС (Foot Control lers) 1/ >/3/4 45
FC 1/2/3/4 Voice/MIDI A/B 72
FLG (Flanger) 61
Foot Controllers 45
Foot Switches 45
(inhi
GEQ (Graphic Equalizer) A/B 55
noie IS A he
Icons, LCD display | 7
Initialize 51, 89
EE notes ot PR ЗН. Loi DIAUENNTDRRDDETS re titine arr WILD
ii SE :. НН . BE a TEE Er A Dg
Keyboard Mode 70
Keyboard Sensitivity 68
Local Switch 82
Master Tune/Transpose
Master Volume 6
Memory structure 23
Microtune 66
MIDI 14, 90
applications 92
channels 15, 90
connections
controllers 90
controls 14
data/messages 15, 90
Paths 16
MIDI Bank Transmit Number/Switch 80
MIDI IN/OUT/THRU terminals IX
MIDI Key Scale 68
MIDI Keyboard Mode 70
MIDI Merge 82
MIDI Monitor 88
MIDI Panic 50
MIDI Receive Channel 81
MIDI Transmit Channel 81
=
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2
Lo
En
a
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Modes
Modulation
PAGE buttons
51
Pan
in TG 35
in Effect 58
in Modulation 61
parameters
grouping 36, 51
selecting and editing 34,51
Paths 16
PC (Program Change) Sender 48, 49
Pedal Unit 2,7,45
Performance Change Transmit/Receive 85
Performance Edit mode 17, 40
Performance Name 71
Performance Play mode 27
Performances 13
naming 41,71
preset 27
PHONES jack 4
PHS (Phaser)
in Effect 57
in Modulation 61
Piano Tune 65
Pitch Bend Range 67
Play modes 9, 24
Program Change 79
Program Change Receive Switch 79
Program Change Transmit Number/Switch 79
PS (Panel Switch) 1/2 Switches 46
PS 1/2 Voice/MEDI A/B 78
ick Edit mode
slider settings
ES
N:
eid
PS :
it
a iia
Recall/Revert
88
Receive Channel 81
Reset 35,36, 51
Reverb 62
Revert 88
Dave
5
EN
110
Signal Path 48
Single mode 11, 25, 70
Soft 7
Sostenuto 7
Soundboard 59
Special Reverb 63
Split mode 12, 17,70
Stand assembly 1
Store 39, 42
in Performance Edit 41
in Quick Edit 31
in Voice Edit 38
Sustain 7
Swap 87
System Setup 23, 84
TG (Tone Generator)
53
Transmit Channel 81
Transpose 67
Transpose/PB Range 67
Troubleshoot 89
Velocity Curve
Vibrato 54
View 10, 46
Voice Bank Transmit Number/Switch 79
Voice Edit mode 13, 32
Voice Key Scale 68
Voice Keyboard Mode 70
Voice parameters 32,52
Voice Play mode 24
Voice Tune 65
Voices 11, 24
Volume 64
Wah
Wave/Name 53
WHEEL 1/2 46
WHEEL 1/2 Voice/MIDI A/B 77
WHEEL / CS PS AT 77
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.
Instructions found in this manual BEFORE making any
Read all Safety Instructions, Installation Instructions,
Special Message Section items, and any Assembly
connections, including connection to the main supply.
2.
servicing should be referred to qualified service personnel.
3.
in the areca where they are to be sold. If you should
Do not attempt to service this product beyond that
described in the user-maintenance instructions. All other
Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage
move, or if any doubt exists about the supply voltage in
supply
instructions.
your area, please contact your dealer for
voltage verification and (if applicable)
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.
DANGER-Grounding Instructions: This product must be
4, 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!
5 WARNING: Do not place this product or any other
o
where anyone could walk on, trip over, or roll anything
objects on the power cord or place it in a position
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.
locations that do not interfere with proper ventilation. If instructions
Ventilation: Electronic products, unless specifically
designed for enclosed installations, should be placed in
for enclosed installation are not provided, it must be assumed that
unobstructed ventilation 1s required.
7.
contribute to their operating temperature. Placement of this product
Temperature considerations: Electronic products
should be installed in locations that do not seriously
close to heat sources such as; radiators, heat registers etc., should
be avoided.
This product was NOT designed for use in wet/damp
8. 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.
This product should be used only with the components
О. supplied or; a cart ,rack, or stand that is recommended by
the manufacturer . If a cart, rack, or stand is used, please observe ali
safety markings and instructions that accompany the accessory
product.
1 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.
Care should be taken that objects do not fall and liquids
1 1 e arc not spilled into the enclosure through any openings that
may exist.
Electrical / electronic products should be serviced by a
1 2. 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.
This product, either alone or in combination with an
1 3 e 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.
Some Yamaha products may have benches and / or
14. 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.
PLEASE KEEP THIS MANUAL
92-469-3
ОИ
For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Pour plus de details sur les produits, veuillez-vous adresser a Yamaha
ou au distributeur le plus proche de vous figurant dans la liste suivante.
o el distribuidor autorizado que se lista debajo.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
| NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M15S 3RI, Canada
Tel: 416-298-131]
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-422-901 1
| MIDDLE & SOUTH AMERICA
MEXICO
Yamaha De Mexico S.A. De C.Y.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, О.Е.
Tel: 686-00-33
RASIL
Yamaha Musical Do Brasil LTDA.
Ave. Reboucas 2636, Sáo Paulo, Brasil
Tel: 55-11 853-1377
PANAMA
Yamaha De Panama S.A.
Edificio Interseco, Calle Elvira Mendez по.10,
Piso 3, Oficina #105, Ciudad de Panama, Panama
Tel: 507-69-531 1
OTHER LATIN AMERICAN COUNTRIES
AND CARIBBEAN COUNTRIES
Yamaha Music Latin America Corp.
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A.
Tel: 305-261-4111
| EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK? 8BL, England
Tel: 0908-366700
IRELAND
Danfay Limited
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
0 Tel: 01-2859177
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AUSTRIA/HUNGARY/SLOVENIA/
ROMANIA/BULGARIA
Yamaha Music Austria Ges mbH.
Schleiergasse 20, A-1100 Wien Austria
Tel: 0222-60203900
THE NETHERLANDS
Yamaha Music Benelux B.V.,
Verkoop Administratie
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-8234] I
BELGIUW/LUXEMBOURG
Yamaha Music Benelux B.V.,
Brussels-office
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
FRANCE
Yamaha Musique France,
Division Instruments Electroniques et de Scéne
ВР 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
ETALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Fel: 91-577-7270
PORTUGAL
Valentim de Carvalho CI SA
Estrada de Porto Salvo, Paco de Arcos 2780 Oeiras,
Portugal
Tel: 01-443-3398/4030/1823
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
Т.А. Wettergrens gata 1, Box 30053, 400 43
Göteborg, Sweden
Tel: 031-496090
DENMARK
YS Copenhagen Liaison Office
Finsensvej 86, DK-2000 Frederiksberg, Denmark
Tel: 31-87 30 88
FINLAND
Fazer Music Inc,
Aleksanterinkatu 11, SF 00100 Helsinkt, Finland
Tel: 0435 011
NORWAY
Narud Yamaha AS
@sterndalen 29, 1345 Bsteräs
Tel: 02-24 47 90
ICELAND
Pall H. Pálsson
P.O. Box 85, 121 Reykjavik, Iceland
Tel: 01-19440
EAST EUROPEAN COUNTRIES
(Except HUNGARY)
Yamaha Europa GmbH.
SiemensstraBe 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AFRICA
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
OTHER COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
| ASIA
|
HONG KONG
Tom Lee Music Co., Ltd.
LL/F., Silvercord Tower I, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 730-1098
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
Cosmos Corporation
#131-31, Neung-Dong, Sungdong-Ku, Seoul
Korea
Tel: 02-466-002 1-5
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Malaysia
Tel: 3-717-8977
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. BOX 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
Blk 17А Toa Payoh 01-190 Lorong 7
Singapore 1231
Tel: 354-0133
TAIWAN
Kung Hsue She Trading Co., Ltd.
No. 322, Section 1, FuHsing S. Road,
Taipei 106, Taiwan. R.O.C.
Tel: 02-709- 1266
THAILAND
Siam Music Yamaha Co., Ltd.
865 Phornprapha Building, Rama | Road,
Patumwan, Bangkok 10330, Thailand
Tel: 2-215-3443
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
| OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
17-33 Market Street, South Melbourne, Vic. 3205,
Australia
Tel: 3-699-2388
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa, Auckland,
New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 653-460-2311
SY04
HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2445
WRATH 10
A OSMAN а. 2.02180
YAMAHA
TAMARA CORPORATION
М. С. G., EMI Division
© Yamaha Corporation 1094
Printed in japan