Yamaha TG-33 User Manual
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VOICE COMMON 1 VOICE COMMON VOICE COMMON VOICE COMMON The VOICE COMMON mode provides access to a range of parameters that affect the selected voice as a whole. Detailed programming of individual elements is provided by the ELEMENT TONE and ELEMENT ENVELOPE edit modes. CONFIGURATION ....... ИИ 45 EFFECT (Type, Balance & Send Level) ............ 45 PITCH BEND............ . RARES .. sseeeeeeeencenes 46 WHEEL (Amplitude & Pitch Moduiation).............. И .. Rev 46 AFTER TOUCH (Amplitude & Pitch Modulation, Pitch & Level Control).. nee 46 ENVELOPE (Attack & Release Rates)... ne. ssnonsennsonsnene ........ 47 RANDOM (Element, Level Vectors & Detune MIA 48 ME 48 VOICE INITIALIZE ann sssssuconsssssassseensensssessvssssenssecseceusensess 49 VOICE RECA cnn . 50 43 VOICE COMMON Selecting the VOICE COMMON Edit Mode The COMPARE Function While in any VOICE EDIT mode, you can com- @ voice ® cor pare the sound of the edited voice with the ra N m SER crn seta al o sound of the voice before it was edited by press- ing the [EDIT/COMPARE] key to activate the COMPARE function. The [EDIT/COMPARE} | | key indicator will flash while the COMPARE function is active, and the sound of the voice Sul prior to editing will be heard when you play the VOICE master keyboard or controller. Press the [EDIT/COMPARE] key again to return to the Sel From another VOICE EDIT mode simply press edit mode. [VOICE COMMON]. Pr г» СОМРАВЕ COMMON VECTOR => Selecting the VOICE COMMON Edit Mode Functions The various VOICE COMMON edit mode func- tions can be selected in sequence by pressing the [VOICE COMMON] key, or by using the PAGE [a] and [>] keys. Set lene hex: BOT И. Pr 44 VOICE COMMON CONFIGURATION a, no a 1 E PRUC COME LARES TT Or Details: In the 2-element “A-B” configuration, 1 y Н-В-Г:--[ element А is AWM and element В 15 FM. in the 4 4-element “A-B-C-D” configuration elements A and B are the same as in the “A-B” configura- tion, while element C is AWM and element D is FM. 1 Summary: Selects the two-element (A-B) or four - : element (A-B-C-D) voice configuration. | Settings: А-В, A-B-C-D E A-B: A= AWM, B = EM. E Procedure: Use the [DATA ENTRY] control or A-B-C-D: A = AWM, B = FM, C = AWM, D = » [A/NO] and [+1/YES] keys to select the de- FM. sired configuration. Refer to: page 60. EFFECT (Type, Balance & Send Level) UC ИГРЕ EFFECT Details: The balance parameter determines the с Tapeh Hall + balance between the “dry” sound of the voice = and the effect sound. A setting of “O” produces E Summary: Selects one of sixteen digital effects, and only the voice with no effect, while the maximum ‚ 9365 the balance and send level of the selected setting of “127” produces only the effect sound. effect for the current voice. The send level parameter determines the level of | on | the signal sent to the effect processor. À setting 3 settings: Effect type: of “0” means that the voice signal is not sent to 3 d Rev Hall (Reverb Hall) the effect processor, while the maximum setting E 7 Rev Brom" Reverb Pate of “127” sends full effect level to the effect :. Rev Club (Reverb Club) processor. 2. Rev Metal (Reverb Metal) | : $. Delay 1 (Short Single Delay) No sound will be produced if the send parameter № Г Delay 2 (Long Delay) is set to “0” and the balance parameter 1s set to + Delay 3 (Long Delay) “197”. ; Doubler (Doubler) - Ping-Pong (Ping Pong Delay) | Pan Ref (Panned Reflections) Refer to: page 62, 78, 79. ` Early Ref (Early Reflections) - Gate Rev Gated R b wpe ; Y Diy&rev 1 Delay 8 ner) 1) NOTE: Some voice waveforms may exhibit a drop in E + ODly&Rev 2 (Delay & Reverb 2) level when distortion is applied. This is due to © DistáRev (Distortion & Reverb) internal data overflow, and can be compensated for by reducing the effect send level or effect Balance (Bal): 0... 127 | balance setting. Send Level (Snd): 0... 127 | Procedure: Use the CURSOR |<] and [>] keys to place the underline cursor under the effect type, balance, or send level parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired effect, balance, or send level. 45 VOICE COMMON Wc PITCH BEND Range= 2 Summary: Sets the available pitch bend range. Settings: 0... 12 max.* Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired pitch bend range. Details: Each increment from “0” to “12” repre- sents a semitone. Á setting of “0” produces no pitch bend. A setting of “12” allows a maximum pitch bend of plus or minus one octave, while a setting of “4” allows a maximum pitch bend of plus or minus a major third. This range may be more limited in some cases. An exclamation mark (!) will appear after the range value when the limit is reached. ис WHEE! В on Barra Sauna ee ne Dg Pr mms on zum “pet ESP “ist PRP Ti Summary: Assigns modulation wheel control to amplitude and/or pitch modulation. Settings: AM (Amplitude Modulation): off, on PM (Pitch Modulation): off, on Procedure: Use the CURSOR [3] and [5] cursor keys to place the underline cursor under the AM or PM parameter. Use the [DATA ENTRY} control or [-1/NO] and [+1/YES] keys to turn the selected parameter on or off. Details: Amplitude modulation produces a tremolo effect while pitch modulation produced a vibrato effect. This function allows a modulation wheel to be assigned to produce either or both. This is only an “off/on” switch, however, and the maxi- mum depth of modulation to be applied must be set using the LFO AM Depth and PM Depth parameters in the ELEMENT TONE edit mode. Refer to: page 64. NOTE: Deep pitch modulation settings may produce noise with some voices. If this happens, reduce the modulation depth until the noise dis appears. Su Se Lib. METER TOA A i 4 mia mie = de E i + т ae * Henn Peur + Summary: Assigns keyboard after-touch control to amplitude modulation, pitch modulation, pitch control, or level control — or any combination of the above. Settings: AM (Amplitude Modulation): off, on PM (Pitch Modulation): off, on Pit (Pitch Control): -12 ... 0... +12 max.* Lev (Level Control): off, on 46 Procedure: Use the CURSOR [3] and [>] keys to place the underline cursor under the AM, PM, Pit, or Lev parameter. The arrows at either end of the display mean that more parameters can be accessed by scrolling in the indicated direction. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to turn the AM, PM, and/or Lev parameter on or off, or to select the desired Pit control range. \ Details: As with modulation wheel control, ampli - tude modulation produces a tremolo effect while pitch modulation produced a vibrato effect. The harder you press a key on the master keyboard, the deeper the modulation. This js only an “off/on” switch, however, and the maximum depth of modulation to be applied must be set using the LFO AM Depth and PM Depth parameters in the ELEMENT TONE edit mode. The Pit parameter allows keyboard after-touch to be used for note bending. The greater the key pressure the greater the amount of pitch bend. Positive values produce an upward bend when key pressure is applied, and minus values pro- duce a downward bend. Each increment from 4 represents a semitone. A setting of “0” pro- | duces no pitch bend. A settmg of “12” allows a Summary: Sets the overall attack and release rates for the current voice. Settings: AR (Attack Rate): -99 ... +0 ... +99 max.* RR (Release Rate): -99 ... +0 ... +99 max * Procedure: Use the [<] and [>] cursor keys to place the underline cursor under the AR or RR parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the selected parameter as required. № Details: Although much more detailed envelope / programming capability is available for individual elements (see the ELEMENT ENVELOPE edit mode), these functions provide an easy way to adjust the most important envelope parameters E lor the overall voice. Positive values produce a | E faster attack or release time, while negative | values produce a slower attack or release time. You might want to lengthen the release time of a voice, for example, to produce a lingering sustain effect after you release the keys. VOICE COMMON maximum upward pitch bend of one octave, while a setting of “-4” allows a maximum downward pitch bend of a major third. When the Lev parameter is turned on it becomes possible to control the level of the sound over a limited range by keyboard after-touch. The amount and direction (1.е. an increase or de- crease) of level change depends on the setting of the AFTER TOUCH SENSITIVITY parameter in the ELEMENT TONE edit mode. Refer to: page 63, 64. * This range may be more limited in some cases. An exclamation mark (!) will appear after the range value when the limit is reached. Please note that the AR parameter will have no effect on elements in which the INITIAL LEVEL parameter (page 70) is set to 99. Faster Slower attack. AR attack. Fee} — pe.) ? Key OFF 0 -99 E — na LU . > + Lu I Envelope TIME +99 0 —99 Faster RR Slower release. release Refer to: page 69 ... 73. * This range may be more limited in some cases. An exclamation mark (!) will appear after the range value when the limit is reached. NOTE: The effect of the AR Parameter may be more or less pronounced depending on the settings of the ELEMENT EG edit mode INITIAL LEVEL and ATTACK LEVEL parameters. 47 VOICE COMMON RANDOM (Element, Level Vectors & Detune Vectors) LI Beh] Details: This function ts actually a very useful | ВЕСЕМЕНТ НЫ programming aid. It allows you try out a virtually unlimited variety of element combinations or Summary: Automatically produces random combi- level/detune vectors by simply pressing a single S nations of elements, level vectors, or detune key. The random element combinations, In vectors. particular, can produce some very surprising and often pleasant results. > Settings: None. When the “A-B” voice configuration ıs selected (see CONFIGURATION on page 45), random Procedure: Use the CURSOR [<j] and [b] keys to element combinations will always consist of only place the cursor to the left of the leftmost two elements. When the “A-B-C-D” voice con- parameter on the lower display line, then use the figuration is selected, random element genera- [-1/NO] and [+1/YES] keys to select tion will produce combinations of four elements. ELEMENT, LEVEL VEC or DETUNE VEC. Press the [D>] key to move the cursor to “Y/N,” Refer to: page 53 ... 56. then press the [+1/YES] key to generate ran- dom values of the select type. A new set of random values is generated each time the [+1/YES] key is pressed while the cursor is in this position. Pressing the [-1/NO] returns the cursor to the left parameter. LI UD TCE НАНЕ Procedure: Use the CURSOR [<] and [b] keys to 11 SPP ROA place the underline cursor under the character to be changed. Use the [DATA ENTRY] control or Summary: Assigns a name of up to 8 characters to [- УМО] and (+1/YES] Keys to select the de- % the current voice. sired character. Continue until the entire voice name has been programmed. Settings: The following characters are available for use in voice names: Details: It’s a good idea to give your voices names that make them easily identifiable. If you’ve (Space) | "#18? O het, —, "ИОАНН created a new voice that combines piano and ABCDEFBHLIELMMOPORS TUNNEL ^_^ organ elements, for example, you could call it abide ahi ik linces hiso za | pe something hke “PianOrg”. 48 WE IMIT MOICE Ara “ang Sa voice. Settings: None. VOICE COMMON VOICE INITIALIZE Procedure: When the “INIT. VOICE” display is selected, “Are you sure?” will appear on the lower line. Press the [+1/YES] to initialize. Summary: Initializes all parameters of the current “>>Completed!!<<” will appear briefly when the initialization 1s finished. Details: When Voice Initialize is executed, the voice parameters are initialized to the following values: A B C D [COMMON | VOICE NAME Initial CONFIGURATION A-B-C-D EFFECT Rev. Hall Balance 64 Send Lvl 127 PITCH BEND 2 WHEEL AM off PM on AFTER TOUCH AM off | PM off Pit 0 Lv off ENVELOPE AR 0 AR 0 | VECTOR | VECTOR LEVEL SPEED 30 ms STEP/X/Y/TIME 100 End \ 2 | 50 STEP 50 / VECTOR DETUNE SPEED 30 ms STEP/X/Y/TIME 100 End N 2 | 50 STEP 50 / | ELEMENT TONE | WAVE 000:PIANO:PIANO 151:05C1:sin8' 039:Str:Vn.Ens 152:05C1:sin4' FREQ. shift 0 0 0 0 VOLUME 99 99 99 99 PAN L-Æ--R L--£--R L-£--R L--Z--R VELOCITY Sense 2 2 2 2 AFTER Sense 0 0 0 0 TONE Level — 92 — 92 TONE FB — 0 — 0 LFO AM 0 0 0 0 LFO PM 16 16 16 16 LFO TYPE ASS NA NAS ASS LFO Delay 0 0 0 0 LFO Rate 99 99 99 99 LFO Speed 20 20 20 20 49 VOICE COMMON A B | C D | ELEMENT ENV | TYPE PRESET PRESET PRESET PRESET DELAY Rate 99 99 99 99 DELAY on/off off off off off INITIAL, Level 67 0 90 0 ATTACK AL 99 9? 97 92 ATTACK AR 99 99 64 99 DECAY1 DIL . 99 92 95 92 DECAY1 DIR 0 0 32 0 DECAY2 D2L 0 92 95 92 DECAY2 D2R 26 0 0 0 RELEASE Rate 60 76 52 76 SCALING Lvl Type 2 1 4 1 Rate Type 3 1 2 1 The voice initialize function is useful if you want to begin programming a voice “from scratch.” VOICE RECALL Wil RECALL LICE Нее am pr" Summary: Recalls the last voice edited from the TG33 edit buffer memory. Settings: None Procedure: When the “RECALL VOICE” function is selected, “Are you sure?” appears on the lower display line. Press the [+1/YES] key to recall. “>>Completed!!<<” will appear briefly when the recall operation is finished. 50 Details: Even if you’ve exited the edit mode and called a different voice, this function will recall the last voice edited with all parameters as they were at the time the edit mode was exited. A handy “safety net” to help you recover acciden- tally lost data. VOICE VECTOR VOICE VECTOR The VOICE VECTOR edit mode allows recording and fine editing of dynamic level and detune vectors. LEVEL SPEED (Vector Rate)... Veccnsorecinacansas ... . ... . 53 LEVEL RECORD.. hanno .. ИИ ....... 53 LEVEL EDIT (Step, X-axis, Y-axis & Time) ....c.ccccccccccocccossscssesees unosnnsssssurnnnsnzsenennne 53 DETUNE SPEED (Vector Rate) ....ccccsccscscccssscsosscsceccccconses ... shassovessctenssecescscessocecces 55 DETUNE ВЕСОЮО.............. лития … 55 VOICE VECTOR Selecting the VOICE VECTOR Edit Mode © voice ® cor ss ee COMPARE EEE EHE ERS rn ee D ‘COMMON ‘VECTOR VOICE From another VOICE EDIT mode simply press [VOICE VECTOR]. Selecting the VOICE VECTOR Edit Mode Functions The various VOICE VECTOR edit mode func- tions can be selected in sequence by pressing the [VOICE VECTOR] key, or by using the PAGE [<j] and [b] keys. 52 The COMPARE Function While in any VOICE EDIT mode, you can com- pare the sound of the edited voice with the sound of the voice before it was edited by press- ing the [EDIT/COMPARE] key to activate the COMPARE function. The [EDIT/COMPARE] key indicator will flash while the COMPARE function is active, and the sound of the voice prior to editing will be heard when you play the master keyboard or controller. Press the [EDIT/COMPARE] key again to return to the edit mode. ra a Si Si VOICE VECTOR LEVEL SPEED (Vector Rate) WO LEVEL SPEED Vector Rate ms wm М | == JL * | Summary: Sets the time between level vector ‚ steps. | Settings: 10 ... 160 milliseconds (in 10-millisecond steps) ] Procedure: Use the [DATA ENTRY] control or | [F1/NO] and [+1/YES] keys to select the de- sired vector rate. | UI LEVEL REC "RTE" PET pa | _ .. j Summary: Allows recording of a dynamic level | vector. | Settings: STBY, REC, PLAY # Procedure: Use the CURSOR [<j and [>] keys to | place the cursor to the left of STBY. The vector control LEVEL mode will be automatically selected and you can rehearse the vector sweep you wish to record. Details: Each dynamic vector is composed of up to 50 “steps” corresponding to points along the path followed by the vector control. This function sets the initial time between each step. The Time parameter in the LEVEL EDIT function, described later, allows the length of individual steps to be edited. The vector rate parameter can be changed even after recording a vector producing a corresponding change in the spacing between the steps. > Refer to: page 28. LEVEL RECORD Move the cursor to REC. Recording will actually begin as soon as you play a note. When you release the note or when 50 steps have been recorded (See “LEVEL SPEED” above), re- cording will end and the cursor will move to the PLAY position. You can now play the keyboard to hear how the vector sweep you just recorded sounds. Details: The amount of time available for recording depends both on the vector rate setting and how much the vector control is moved. Refer to: page 28, 29. LEVEL EDIT (Step, X-axis, Y-axis & Time) 0 Step | Summary: Selects any of the 50 steps in a recorded | level vector for editing. | Settings: 1... 50 Procedure: Use the [<] and [>] cursor keys to place the underline cursor under the leftmost value on the lower display line (Step). Use the [-1/NO] and [+1/YES] keys to select the step to be edited. Details: Step 1 is the first step recorded and step 30 is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps. VOICE VECTOR @ X-axis & Y-axis LEY LEE Hekelele 1 B+ 5 Ye A Ere Summary: These parameters define the position of the currently selected step on the X and Y axes of the level vector control range. Settings: -31... +0... +31 Procedure: After selecting the step to be recorded as described in the previous function, use the CURSOR [<] and [>] keys to place the underline cursor under the X or Y parameter. Use the [DATA ENTRY] control or [—1/NO] and [+1/YES] keys to set the value as required, Details: On the X (D-C) axis, a setting of —31 places the step as far as possible toward the D element while a setting of +31 places it as far as possible toward the C element. The Y (A-B) axis values work in the same way: a setting of -31 places the step as far as possible toward the B element while a setting of +31 places it as far as possible toward the A element. In both axes a setting of +0 places the step at center position. —— +31 Xaxis—æ DL po O PET == +. +31 B Yaxis 54 Summary: Multiplies the vector rate setting of the current level vector step only. Also allows vec- tors to be looped or ended at the current step. Settings: |... 254, Repeat, End Procedure: Use the CURSOR [<] and [b] keys to place the underline cursor under the rightmost value on the lower display line (Time). Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the required time value, repeat, or end. Details: Time values multiply the vector rate set- ting for the current step. If the vector rate parameter is set to 30ms, for example, setting the time parameter to 2 results in a step length of 60ms, setting it to 3 results in a step length of 90ms, and so on. Since the maximum time value is 254, extremely long steps can be created. If you select the “End” setting, the vector will end at the current step. The “Repeat” setting causes the vector to loop back to the first step from the current step, re- peating continuously. NOTE: Extreme LEVEL EDIT settings that are be- yond a reasonable range for the current vector may not produce the expected results. 9 FE Fa VOICE VECTOR HE PSE YE EGE СЕН Details: Each automatic vector sweep is composed Hermie Ext Cima ol up to 50 “steps.” corresponding to equally - AA spaced points along the path followed by the | | Summary: Sets the time between detune vector vector control. This function sets the initial time à steps. between each step. | Settings: 10 ... 160 milliseconds Refer to: page 28. | Procedure: Use the [DATA ENTRY] control or [- ИМО] and [+1/YES] keys to select the de- sired vector rate. RD WU BE TURE ВЕ Move the cursor to REC. Recording will actually RITE BEST FH yy begin as soon as you play a note. When you re- | lease the note ог when all 50 steps have been © Summary: Allows recording of a dynamic detune recorded (See “DETUNE SPEED” above), re- E vector. cording will end and the cursor will move to the у PLAY position. You can now play the keyboard | Settings: STBY, REC, PLAY to hear how the vector sweep you just recorded 3 sounds. E Procedure: Use the CURSOR [<] and [>] keys to 4 place the cursor to the left of STBY. The vector Details: The amount of time available for recording i control DETUNE mode will be automatically depends both on the vector rate setting and how selected and you can rehearse the vector sweep much the vector control is moved. you wish to record. Refer to: page 28, 29, -axis & Time) Procedure: Use the CURSOR [<] and [>] keys to ETE = place the underline cursor under the leftmost PU EDD Hamas value on the lower display line (Step). Use the [DATA ENTRY] control or [-1/NO] and q [+1/YES] keys to select the step to be edited. | Summary: Selects any of the 50 steps in a recorded detune vector for editing. Details: Step 1 is the first step recorded and step 50 is the last. Experience will give you a feel for relating specific points in a dynamic vector to the corresponding steps. | Settings: | ... 50 VOICE VECTOR @ X-axis & Y-axis LU DEL Anton oe 1 5+ Я “+ в End Summary: These parameters define the position of the currently selected step on the X and Y axes of the detune vector control range. Settings: —31... +0... +31 Procedure: Use the CURSOR |<] and [b>] keys to place the underline cursor under the X or Y parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the value as required. Details: On the X (D-C) axis, a setting of —31 places the step as far as possible toward the D element while a setting of +31 places it as far as possible toward the C element. The Y (A-B) axis values work in the same way: a setting of —31 places the step as far as possible toward the B element while a setting of +31 places it as far as possible toward the A element. In both axes a setting of +0 places the step at center position, Y axis 56 o Time ON D.ED |] 4+ B + @ End Summary: Multiplies the vector rate setting of the current detune vector step only. Also allows vectors to be looped or ended at the current step. Settings: |... 254, Repeat, End Procedure: Use the CURSOR [3] and [b] keys to place the underline cursor under the rightmost value on the lower display line (Time). Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the required time value. Details: Time values multiply the vector rate set- ting for the current step. If the vector rate parameter is set to 30ms, for example, setting the time parameter to 2 results in a step length of 60ms, setting it to 3 results in a step length of 90ms, and so on. Since the maximum time value is 254, extremely long steps can be created. If you select the “End” setting, the vector will end at the current step. The “Repeat” setting causes the vector to loop back to the first step from the current step, re- peating continuously. NOTE: Extreme DETUNE EDIT settings that are beyond a reasonable range for the current vector may not produce the expected results. ARE me UNTER es CO TA A, ELEMENT TONE ELEMENT TONE The ELEMENT TONE edit mode allows editing many of the most important sound-deter- mining parameters of each individual element — A and B in a 2-element voice; A, B, C and D in a 4-element voice. WAVE TYPE sense svorseesnenecs „ромео .. 60 FREQUENCY SHIFT ss. 62* VOLUME oonmeccrionocconnss sense ... sesesecess .. . ..... 62 PAN u. .. . . 62* VELOCITY SENSITIVITY ...... . 63 AFTER TOUCH SENSITIVITY .... . eo... ....... 63 TONE (Level & Feedback: FM Elements В and D Only)... er A 64% LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed.... . . 64* * These four parameters are not available for an AWM element in which wave number 127 (Drum Set) is selected — “Cannot edit” display appears. 57 ELEMENT TONE Selecting the ELEMENT TONE Edit Mode a BR Dot ttt RE tate rares |__| ENVELOPE ELEMENT From another VOICE EDIT mode simply press [ELEMENT TONE]. Selecting Elements for Editing Different elements can be selected for editing by pressing the appropriate [ELEMENT SELECT] key — [A], [B], [C] or [D]. If a 2-element voice is being edited, only elements A and B can be selected. The currently selected element is shown in the upper right-hand corner of the LCD as a reversed (white on black) character. Any of the available elements can also be turned on or off by pressing the appropriate [ELEMENT ON/OFF] key. Each key alter- nately turns the associated element on and off, and the on/off status of the elements is shown to the right of the upper LCD line. If the element character is showing, the associated element 1s ON, if a dash appears in place of the element character, that element is OFF. The ability to turn elements on or off while editing makes it easier to hear the effect of parameter changes on a single element. in this example elements A, B and D are ON, while element C is OFF. Element A is currently selected for editing. Piasrot Pi arn Selecting the ELEMENT TONE Edit Mode Functions 58 The various ELEMENT TONE edit mode func- tions can be selected in sequence by pressing the [ELEMENT TONE] key, or by using the PAGE [<] and [>] keys. The ELEMENT COPY Function This function facilitates editing by copying all element parameters from an element of the same type (AWM or FM) in another voice to the cur- rent element of the current voice. To call the ELEMENT COPY function, press the [STORE/COPY] key while in the ELEMENT TONE edit mode. ET CORY 7 ram PRP Bll SPP ROSA A+ In the ELEMENT COPY display, the source, bank and number parameters are shown in the standard TG33 voice number format. “P,12,” for example, is preset 1, bank 1, number 2; “I35” is internal bank 3, number 5, etc. Data can only be copied between elements of the same type. If the element currently being edited is an AWM element (A or C), only ele- ment A or C of the source voice can be copied from. The same applies to FM elements. The data for all parameters contained in the ELEMENT TONE mode will be copied. Use the CURSOR [3] and [>] keys to move the cursor to the source, bank, or number of the source voice (the voice from which the element parameters are to be copied) to the left of the lower display line. Use the [DATA ENTRY] control or [-1/МО] and [+1/YES] keys to set the selected parameter as necessary. Next move the cursor to the element type parameter to the right of the lower display line, and select the element from which the data is to be copied using the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys. Press the [>] cursor key one more time and the “Are you sure?” display will appear. Press [+1/YES] to execute the element copy operation or [-1/NO] to cancel. “>>Completed!!<<” will appear briefly when the copy operation has finished. Press the ELEMENT [TONE] key to return to the ELEMENT TONE edit mode. Te COMPARE Function While in any VOICE EDIT mode, you can com- pare the sound of the edited voice with the sound of the voice before it was edited by press- ing the [EDIT/COMPARE] key to activate the COMPARE function. The [EDIT/COMPARE] key indicator will flash while the COMPARE ELEMENT TONE function is active, and the sound of the voice prior to editing will be heard when you play the master keyboard or controller. Press the [EDIT/COMPARE] key again to return to the edit mode. 59 ELEMENT TONE WAVE TYPE ET WAVE BG DECO PianotP i ane different wave categories, or under the right parameter to select individual waves. Use the [DATA ENTRY} control or [-1/NO] and [+1/YES] keys to select the desired wave (refer to the wave list, below). Summary: Assigns a preset wave to the selected element. Details: The number of waves available depends on whether the currently selected element is an AWM element (A or C) or an FM element (B or D). The TG33 has 128 preset AWM waves (0 ... 127) and 256 preset FM waves (0 ... 255). Settings: Elements A and C (AWM): 0... 127 Elements В and D (FM): 0... 255 Procedure: Use the CURSOR [<] and [b] keys to place the underline cursor under the left parame - ter on the lower display line to directly select the AWM WAVEFORM LIST Category | No. Name Category | No. Name Category | No. Name Category | No. Name Piano 0 | Piano Bass 32 | E.Bass 3 Synth 64 | Oh Hit OSC 96 | Padwv 1 | E.piano 33 | E.Bass 4 SFX 65 | Water 1 97 | Digital 2 | Сам 34 | Slap se | Wator2 98 | Digital2 3 | Cembalo 35 | Fretless 67 | Stream 99 | Digital3 4 | Celesta 36 | SynBass1 68 | Coin 100 | Digital4 Organ 5 | P.organ 37 | SynBass2 69 | Crash 101 | Digitals 6 | E.organi Str. 38 | Strings 70 | Bottle 102 | Saw 1 7 | E.organ2 39 | Vn.Ens. 71 | Tear 103 | Saw2 8 | Reed 40 | Cello 72 | Cracker DE Saw 3 Brass 9 | Trumpet 41 | Pizz. 73 | Scratch 106 Square ) 10 | Mute Trp 42 | Syn Str Hits 74 | Metal 1 107 | Square 2 it | Trombone Vocal 43 | Choir 75 | Metal 2 108 | Square 3 12 | Fiugel 44 | Пора 76 | Metal 3 109 | Square 4 13 | Fr Horn 45 | Ооо! 77 | Metal 4 110 | Pulse 1 14 | BrasAtak Perc. 46 | Vibes 78 | Wood 111 | Pulse 2 15 | SynBrass 47 | Marimba 79 | Bamboo 112 | Pulse 3 Wood 16 | Flute 48 | Bells 80 | Slam 113 | Pulse 4 17 | Clarinet 49 | Timpani Tran. 81 | Tp. Body 114 | Pulse 5 18 | Oboe 50 | Tom 82 | Tb. Body 115 Pulse 6 19 | Sax 51 | E. Tom 83 | HornBody 116 | Tri Gt o | Gut 52 | Cuica 84 | Fl. Body 117 | Sing ot | eu 53 | Whistle 85 | Str.Body 118 | Sin8'+4 22 | EGtri 54 | Claps 86 | AirBlown SEQ 119 | SEQ1 23 | E.Gtr2 Synth 55 | Hit 87 | Reverse! 120 | SEQ2 24 | Mute Gtr 56 | Harmonic 88 | Reverse2 121 | SEQ3 25 | Sitar 57 | Mix 89 | Reversed 122 | SEQ4 26 | Pluck 1 58 | Sync OSC 90 | EP w 123 | SEQ5 27 | Pluck 2 59 | Bell Mix 91 | Organ wv 124 | SEQ6 29 | Wood B? 61 | DigiAtak 93 | Gtr w 126 | SEQ8 30 | E.Bass 1 62 | Noise 1 94 | Strwv1 Drum 127 | Drum set 31 | E Bass 2 63 | Noise 2 95 | Strwv2 AWM Waveform Category Descriptions Piano Piano, clavi, and other decay-type keyboard sounds. Synth A range of synth sounds (including noise). Organ Pipe, electric and reed organs. SFX Special effects — water, bottles, etc. Brass Acoustic and synthesized brass sounds. Hits Struck metal and woods. Wood Flute, sax and other woodwind sounds. Tran. Transient attack waves and some reverse sounds. Gtr Acoustic and electric guitars. OSC Standard synth waveforms and the basic waveforms from Bass Acoustic, electric, and synth bass. some actual instruments. Str. Violin ensemble and other strings. SEQ Sequences of sampled sounds. Vocal Choir and other vocal-type sounds. Drum Drum set waves. Perc Vibes, tympani, etc. ELEMENT TONE FM VOICE LIST Category | No. Name Category | No Name Category | No. Name Category | No. Name Piano O | E.Piano1 Pluck 49 | Guitar 4 Syn.S | 98 | Sus. 1 SFX 147 | SFX 5 1 | E.Piano2 50 | Guitar 5 99 | Sus. 2 148 | SFX6 2 | E.Piano3 51 | Guitar 6 100 | Sus. 3 149 | SFX7 3 | E.Piano4 52 | Guitar 7 101 | Sus. 4 OSC 1 150 | Sin 16° 4 E.Piano5 53 | Guitar 8 | 102 | Sus. 5 151 | Sing’ >_| E.Piano6 Bass | 54 | Bass 1 103 | Sus. 6 152 | Sin 4 Organ 6 | E.organt | 55 | Bass 2 т ous. К 153 | Sin2 2/3 7 | E.organ2 | 56 | Bass 3 106 Sus о 154 sin 2 5 ета 58 Bass 6 107 | Sus. 10 156 | Saw 2 10 | Еогдап5 59 | Bass 6 109 ous. 1> 157 | Square 11 | Е.огдапб 60 | Bass 7 itp Sue 13 158 | LFOnoise 12 | E.organ7 61 | Bass 8 111 Sus. 14 159 Noise 1 13 | E.organ8 62 | Bass 9 112 Sus 15 160 Noise 2 Brass 14 | Brass 1 | Str. 63 | Str1 113 | Attack 4 те Da 15 | Brass 2 64 | Str2 114 | Attack 2 163 Digi 3 16 | Brass 3 | 65 | Str3 115 | Attack 3 164 | Бега 17 | Brass 4 66 | Str 4 116 | Attack 4 165 Dick 5 18 | Brass 5 67 | Str5 117 | Attack 5 166 Di 6 19 | Brass 6 68 | Str6 SynM 11181 Movo1 167 bin > 20 | Brass 7 69 | Str7 yn. 119 | Mas Ig! 21 | Brass 8 : ove 2 168 Digi 8 22 | Brass 9 Perc. 70 | Vibes 1 120 | Move 3 169 | Digig 23 | Brass 10 и vibes : 121 Move 4 170 | Digi 10 24 | Brass 11 73 | Vibes” | 122 | Move 5 171 | Digi 11 25 Brass 12 74 Marimba? | 124 Move 7 OSC 2 172 wave1-1 26 | Brass 13 75 | Marimba? 173 | wave1-2 27 | Brass 14 76 | Marimba3 | Syn.D 125 | Decay 1 174 | wave1-3 Wood 28 | Wood 1 | 77 | Bells 1 152 Decay Е 17 waven-t 29 | Wood 2 78 | Bells 2 | 128 Decay 177 | wave 2.3 30 | Wood 3 79 | Bells 3 129 Decay 5 wave 32 | Wood 5 at | Belis 5 130 | Decay 6 | 33 Wood 6 82 Bells 6 131 Decay 7 220 wavel 7-1 34 | Wood 7 83 | Bells 7 132 | Decay 8 221 | wavel7-2 35 | Wood 8 84 | Bells 8 122 Decay : o 222 | wavel7-3 ecay - Reed 36 | Reed 4 85 мета 1 135 | Decay 11 OSC 3 РЯ wave) в 37 | Reed 2 86 | Metal 2 136 | Decay 12 wave 38 | Reed3 87 ves я 137 | Decay 13 225 wavei 8-3 39 | Reed4 eo Metal 5 138 ¡ Decay 14 41 | needs 90 | Metal 6 139 | Decay 15 250 | wave27-1 at | Reed 6 140 | Decay 16 251 | wave27-2 Pluck 42 | Сам 1 Syn.S 91 | Lead 1 141 | Decay 17 252 | wave27.3 43 Clavi 2 5 read £ 142 Decay 18 253 wave28 44 | Clavi3 og pee SFX 143 | SFX 1 254 | wave29 45 | Clavi 4 5 | Lead 5 144 | SFX 2 255 | wave30 46 Guitar 1 9 ea 145 SFX 3 47 Guitar 2 96 Lead 6 146 SFX 4 48 | Guitar 3 97 | Lead 7 FM Voice Category Descriptions Piano Electric pianos. | Pere. Vibes, marimba, bells and other percussion sounds. Organ Electric organs. syn.S Sustained lead synth sounds. Brass À variety of brass sounds. Syn.M Synth sounds that vary with time. Wood Woodwind instrument sounds. Syn.D Decay-type synth sounds. | Reed Sax, oboe and other reed instruments. SFX A range of sound-effect type synth sounds. "Pluck Guitar, clavi, and other plucked instrument sounds. OSC1 Sine, sawtooth, and other standard synth waveforms. | [Bass Bass sounds. OSC2 Basic FM timbres, group 1. р Str. Strings. | OSC3 Basic FM timbres, group 2. If the TYPE parameter in the ELEMENT ENVELOPE edit mode (page 69) is set to PRESET, selecting a WAVE TYPE also selects the corresponding preset envelope. If a different envelope type is selected, the preset envelope is not selected together with the wave. Refer to: page 19 ... 27,45. 61 ELEMENT TONE FREQUENCY SHIFT ЕТ FEEL, MEC Shift=+ В Summary: Shifts the frequency (pitch) of the selected element up or down in semitone steps. Settings: -12 ... +0... +12, Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired amount of frequency shift. Details: A setting of “-12,” for example, shifts the pitch of the selected element down by one octave; a setting of “+4” shifts the pitch up by a major third. The Frequency Shift function can be used to transpose an element to its most useful range, or to create harmony (intervals) between differ- ent elements. ET WOLLME CIEL Levelz 5 Summary: Adjusts the volume of the selected element. Settings: 0... 99 Procedure: Use the [DATA ENTRY] control or I-1/NO] and [+1/YES] keys to select the de- sired volume level. Details: A setting of “0” produces no sound while a setting of “99” produces maximum volume. The ability to independently adjust the volume of each element makes it simple to set up the optimum balance or “mix” between elements. Summary: Determines the position in the stereo sound field in which the sound from selected element will be heard (left to right). Settings: Graphic Display: L--I--F, 5 positions from left to right Procedure: Use the [DATA ENTRY] control or [-i/NO] and [+1/YES] keys to select the de- sired pan position. Details: The lower line of the display shows a graphic representation of the stereo sound field 62 with “L” representing “left” and “R” repre- senting “right.” As you edit the pan parameter the position indicator will appear at the corre- sponding position on the graphic display. A total of five different positions are available, corre- sponding to left, left-center, center, right-center, and right. Interesting stereo effects can be produced by placing the output from different elements at different locations in the stereo sound field. Please note that when the EFFECT Balance parameter is set to or close to its maximum value (127), the PAN setting has no effect. Refer to: page 45, 78 ... 80. ELEMENT TONE VELOCITY SENSITIVITY EP UELOCTTY ВЕСЬ TyFe= +h ~~~ Summary: Determines how the output level of the selected element changes in response to veloc- ity changes (keyboard initial touch response). Settings: —5 ... +0... +5 Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired velocity sensitivity. Be Details: Plus “+” settings produce higher output E level in response to higher velocity values — i.e. the harder a key is played, the louder the sound. Minus “—” settings produce the opposite effect: lower level in response to higher velocity. A setting of “О” results in no level variation. # No response. +1 Narrow change between medium-hard and hard velocity. +2 Broader change between medium and hard velocity. +3 Smooth change all the way from soft to hard velocity. +4 Large change over small velocity range. +5 Sudden change from no sound to maximum level at about medium velocity. “-” Settings have the same effect, but the sound level decreases rather than increasing with increased key velocity. A graphic display to the right of the sensitivity value provides a visual clue as to the type of change produced by each setting. Туре -5 Type -4 Type ~3 Type -2 po Er ea oe Туре —1 Type +0 Type +1 Type +2 Type +3 Type +4 Type +5 ET OR. TOUCH BEI Types +E — | Summary: Determines how the output level of the nu selected element changes in response to after- touch pressure changes when the Lev (Level) parameter of the AFTER TOUCH function in the VOICE COMMON mode is set to “on” (see page 46). Settings: —3 ... +0... +3 Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired after touch sensitivity. Details: Plus “+” settings produce higher output level in response to higher after touch pressure. Minus “—” settings produce the Opposite effect: lower level in response to higher pressure. A setting of “0” results in no level variation. +0 No response. +1 Narrow change between medium-high and high pressure. +2 Broader change between medium and high pressure. +3 Smooth change all the way from low to high pressure. tá >> Settings have the same effect, but the sound level decreases rather than increasing with increased after touch pressure. A graphic display to the right of the sensitivity value pro- vides a visual clue as to the type of change pro- duced by each setting. Type -3 Type -2 Type —1 Type +0 Type +1 Type _ +2 Type +3 Refer to: page 46. 63 ELEMENT TONE TONE (Level & Feedback: FM Elements B and D Only) ЕТ TONE ACE Lev= à FE=E Summary: Adjusts the tone of the selected FM element — B or D. Settings: Lev (Level): O ... 99 FB (Feedback): 0... 7 Procedure: Use the CURSOR [3] and [>] keys to place the underline cursor under the Lev or FB parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the level or feedback as required. Details: The Lev parameter adjusts the modulation level of the select FM element, so higher values produce a brighter, sharper tone while lower values produce a rounder, more mellow tone. The effect of the feedback parameter varies from element to element, but in general higher values make the sound more brassy or noisy, while lower values make the sound smoother. Refer to: page 45. LFO (Low Frequency Oscillator) AM Depth, PM Depth, Type, Delay, Rate & Speed @ AM (Amplitude Modulation Depth) ET LFO ECD НМ= я PME E rites Summary: Determines the maximum amount of amplitude modulation that can be applied to the selected element by a modulation wheel or key - board after touch. Settings: 0... 15 Procedure: Use the CURSOR [3] and [2] keys to select the AM parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the desired degree of amplitude modulation. Details: A “0” setting produces no modulation while a setting of “15” produces maximum modulation. Amplitude modulation produces a periodic variation in the volume of the sound, thus creating a tremolo effect. 64 Please note that the AM parameter of the WHEEL and/or AFTER TOUCH function in the VOICE COMMON edit mode must be set to “оп” before amplitude modulation can be applied manually (see page 46). Amplitude modulation is applied automatically when these parameters are off. Refer to: page 46, 47. o PM (Pitch Modulation Depth) ET LED ПЕСО Alle В РМ= ts Summary: Determines Фе maximum amount of pitch modulation that can be applied to the selected element by a modulation wheel or key- board after touch. Settings: 0... 31 Procedure: Use the CURSOR [3] and [>| keys to select the PM parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the desired degree of pitch modulatıon. Details: A “0” setting produces no modulation while a setting of “31” produces maximum modulation. Pitch modulation produces a periodic pitch variation, thereby creating a vibrato effect. Please note that the PM parameter of the WHEEL and/or AFTER TOUCH function in the VOICE COMMON edit mode must be set to “on” before pitch modulation can be applied manually (see page 46). Pitch modulation is applied automatically when these parameters are off. ® Type ЕТ ГЕО ПЕСО АМ= E РМ= bh Summary: Determines the waveform of the LFO for the selected element. Settings: SAW UP SAW DOWN TRIANGLE AAS tt Pu SQUARE SAMPLE&HOLD TN e gr e Procedure: Use the CURSOR [3] and [p>] keys to select the waveform parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired LFO waveform. Details: 1.11 = Upward sawtooth. Eb = Downward sawtooth. Sit = Square. ne" = Sample and hold. ELEMENT TONE Oo Dly (Delay) ET ТЕН FECL lus М Fate= He Summary: Sets the delay time between the begin - ning of a note and the beginning of LFO opera- tion for the selected element. Settings: 0... 99 Procedure: Use the CURSOR [3] and [b>] keys to select the Dly parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the desired LFO delay. Details: The minimum setting “0” results in no delay, while the maximum setting of “99” pro- duces maximum delay before the LFO begins operation. Refer to: page 46, 47. O Rate ET LFO OECD Summary: Sets the rate of LFO “fade in” for the selected element. Settings: 0 ... 99 Procedure: Use the CURSOR [<j] and [>] keys to select the Rate parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the desired LFO fade-ın rate. Details: “99” is the fastest rate, causing the LFO to start operation at full depth immediately. A setting of O produces the longest LFO fade in. Refer to: page 46, 47. 65 ELEMENT TONE @ Spd (Speed) ET НЕО neco eSpeed= | Summary: Sets the speed of the LFO for the selected element. Settings: 0... 31 66 Procedure: Use the CURSOR [3] and [>] keys to select the Speed parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the desired LFO speed. Details: “0” is slowest LFO speed setting; “31” is the fastest. The speed parameter can not be edited when the sample-and-hold (-~.---) LFO TYPE is selected. ELEMENT ENVELOPE ELEMENT ENVELOPE The ELEMENT ENVELOPE edit mode allows detailed programming of the amplitude envelopes for each element in the selected voice. TYPE. seesccenssesssseces Köntnnunsnennussnnsnsnnesssssnensensuaunussssunnnnsnnsnnensnnnssnssnnnsssnnsensnsersnnune sones 69 DELAY (Delay Rate & ON/OFF). un . 70 INITIAL LEVEL RON НИ sececeerscsssssccscereereoes 70 ATTACK (Level & Rate) . ..... su. . ........ 70 DECAY 1 (Level & Rate) . ..... 71 DECAY 2 (Level & Rate). . ... .. 71 RELEASE RATE. ... . 72 LEVEL SCALING ... .. e... . .. 72 RATE SCALING ..... DR еее 72 NOTE: The ELEMENT ENVELOPE parameters are not available for AWM elements in which wave number 127 (Drum Set) is selected (the “Cannot edit” display will appear). 67 ELEMENT ENVELOPE Selecting the ELEMENT ENVELOPE Edit Mode ® voice y TON L ELEMENT From another VOICE EDIT mode simply press [ELEMENT ENVELOPE]. Selecting Elements for Editing Different elements can be selected for editing by pressing the appropriate [ELEMENT SELECT] key — [A], [B], [C] or [D]. If a 2-element voice is being edited, only elements À and B can be selected. The currently selected element is shown in the upper right-hand corner of the LCD as a reversed (white on black) character. Any of the available elements can also be turned on or off by pressing the appropriate [ELEMENT ON/OFF] key. Each key alter- nately turns the associated element on and off, and the on/off status of the elements is shown to the right of the upper LCD line. If the element character is showing, the associated element is ON, if a dash appears in place of the element character, that element is OFF. The ability to turn elements on or off while editing makes it easier to hear the effect of parameter changes on a single element. In this example elements A, B and D are ON, while element C is OFF. Element A ts currently selected for editing. ЕЕ TYRE HE LISER Selecting the ELEMENT ENVELOPE Edit Mode Functions The various ELEMENT ENVELOPE edit mode functions can be selected in sequence by press- ing the [ELEMENT ENVELOPE] key, or by using the PAGE [3] and [>] keys. The ENVELOPE COPY Function This function facilitates editing by copying enve- lope parameters from a selected element to the current element. ENVELOPE COPY can save a lot of programming time by allowing easy copy- ing of complex USER type envelope data be- tween elements. 1. To call the ENVELOPE COPY function, press the [STORE/COPY] while in the ELEMENT ENVELOPE edit mode. ЕЕ CORY? rom ELL from E + 2. Use the CURSOR [|<] and [>] keys to move the cursor to the “from” element parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the element from which the envelope data is to be copied. 3. Press the CURSOR [pP] key one more time and the “Are you sure?” display will appear. Press [+1/YES] to execute the copy operation or [-1/NO] to cancel. “>>Completed!!<<” will appear briefly when the copy operation has finished. 4. Press the ELEMENT [EG] key to return to the ELEMENT EG edit mode. The COMPARE Function While in any VOICE EDIT mode, you can com- pare the sound of the edited voice with the sound of the voice before it was edited by press- ing the [EDIT/COMPARE] key to activate the COMPARE function. The [EDIT/COMPARE] key indicator will flash while the COMPARE function is active, and the sound of the voice prior to editing will be heard when you play the master keyboard or controller. Press the [EDIT/COMPARE] key again to return to the edit mode. ELEMENT ENVELOPE № [EE TPE DECO + SER = 7 | = Summary: Selects a user or preset amplitude enve- щ | lope for the selected element. @ Settings: PRESET, PIANO, GUITAR, PLUCK, 3 BRASS, STRINGS, ORGAN, USER Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired envelope. = Lis Details: When “PRESET” is selected, the original 7 | envelope of the wave selected for the current q element is used. For example, if the current element uses a guitar wave the corresponding guitar envelope will be selected. When “PIANO,” “GUITAR,” “PLUCK,” “BRASS,” “STRINGS,” or “ORGAN” is | selected, a generic envelope of the appropriate m | type is used. The envelopes are roughly as 2 shown below: > ae _ > _ . m iy ORGAN _| F = > y nn TIME wud * ш When “USER” is selected, an original envelope 4 can be programmed using the attack, decay, and release parameters described on pages 70, 71 and 72. TIME Refer to: page 47. 69 ELEMENT ENVELOPE DELAY (Delay Rate & ON/OFF) _ Summary: Sets a delay before the envelopes of all elements begin. Settings: Delay: O ... 99 Mode: on/off Procedure: Use the CURSOR [<] and [p] keys to move the cursor to the “Rate” parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired delay rate. Summary: Sets the starting level of the amplitude envelope for the current element. Settings: O ... 99 Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the initial level. Details: A setting of “0” means that the envelope will begin from zero (minimum) level, while a setting of “99” causes the envelope to begin immediately from maximum level. The highest setting produces the sharpest attack. ЕЕ HTTACH Ej BR Hi.= Я НЕ= ti Summary: Sets the rate and peak level of the attack of the amplitude envelope for the current element. 70 Press the [2] cursor key one more time to move to the on/off mode parameter, and use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set as required. Details: The envelope delay rate parameter affects all envelopes simultaneously. A setting of “99” produces almost no delay while a setting of “0” produces maximum delay. Refer to: page 47. Attack rate Attack level mn Decay 2 1 level — Decay 2 E » level eo |. E ; Release a Decay Decay : rate trate 2rate i | TIME E Key ON Key OFF Refer to: page 47. Settings: AL (Attack Level): O ... 99 AR (Attack Rate): 0... 99 w CE "Ge | A I, Procedure: Use the CURSOR [<] and [p>] keys to move the cursor to the “AL” or “AR” parame- ter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the selected level or rate parameter. Details: Refer to the INITIAL LEVEL function for a complete envelope diagram. CE DECAY) ECO Gils м Dice Я Summary: Sets the rate and final level of the first decay of the amplitude envelope for the current element. Settings: DIL (Decay 1 Level): 0... 99 DIR (Decay 1 Rate): 0... 99 Procedure: Use the CURSOR [<] and [>] keys to move the cursor to the “DIL” or “DiR” parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the selected level or rate parameter. ELEMENT ENVELOPE A rate setting of “0” produces the slowest attack, and a setting of “99” produces the fastest attack. A level setting of “0” produces the lowest attack level, while a setting of “99” produces the highest level. Refer to: page 47. Details: Refer to the INITIAL LEVEL function for a complete envelope diagram. A rate setting of “0” produces the slowest de- cay, and a setting of “99” produces the fastest decay. A level setting of “0” produces the lowest de- cay level, while a setting of “99” produces the highest level. Refer to: page 47. DECAY 2 (Level & Rate) С Summary: Sets the rate and final level of the second decay of the amplitude envelope for the current element. Settings: D2L (Decay 2 Level): O ... 99 D2R (Decay 2 Rate): O ... 99 Procedure: Use the CURSOR [<] and [>] keys to move the cursor to the “D2L” or “D2R” parameter. Use the [DATA ENTRY] control or I-1/NO] and [+1/YES] keys to set the selected level or rate parameter. Details: Refer to the INITIAL LEVEL function for a complete envelope diagram. A rate setting of “0” produces the slowest de- cay, and a setting of “99” produces the fastest decay, A level setting of “0” produces the lowest de- cay level, while a setting of “99” produces the highest level. The decay 2 level parameter also sets the hold level at which the note is sustained until released. Refer to: page 47. 71 ELEMENT ENVELOPE RELEASE RATE ЕЕ RELEASE GRCD Details: Refer to the INITIAL LEVEL function for a Fate= H complete envelope diagram. A release rate setting of “0” produces the Summary: Sets the release rate of the amplitude slowest release, and a setting of “99” produces envelope for the current element. the fastest release. Settings: 0... 99 Refer to: page 47. Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the release rate. ЕЕ SOL THM ВЕГА Each of the 16 available level scaling curves is lew Tupes 1 ——- shown in graphic form on the LCD when selected, making it easy to locate and select the Summary: Determines how the level of the current optimum curve for each application. element changes across the range of the keyboard. Type 1 Type 2 Types Type 4 Settings: |... 16 Type 5 Type 6 Type 7 Type 8 Procedure: Use the [DATA ENTRY] control or Type 9 Type 10 Type 11 Type 12 [-1/NO] and [+1/YES] keys to set the desired Bu E ES oo" level scaling curve. Type 13 Type 14 Type 15 Type 16 _ Le _t Le Details: Most acoustic instruments do not produce / a uniform sound level throughout their pitch Refer to: page 47. ` range. This results in a level curve that can be simulated by appropriate settings of the level scaling parameter. Often, for example, the level decreases slightly as the pitch increases. Rate Tupez | ——- ЕЕ SCALING BECK Settings: 1 ... 8 Procedure: Use the [DATA ENTRY] control or | Summary: Determines how the overall rate of the [TNO] and [+1/YES] keys to set the desired amplitude envelope for the current element rate scaling curve. changes across the range of the keyboard. 72 Details: Many acoustic instruments do not produce uniform note length throughout their pitch range. This results in a rate curve that can be simulated by appropriate settings of the rate scaling parameter. Often, for example, the overall note length decreases slightly as the pitch increases. Each of the 8 available rate scaling curves is shown in graphic form on the LCD when selected, making it easy to locate and select the optimum curve for each application. ELEMENT Type 1 Type 2 Type 3 Type 5 Type 6 Type 7 + = - Refer to: page 47. ENVELOPE Type 4 Type 8 73 ELEMENT ENVELOPE 74 E. Ver MULTI The MULTI edit mode allows 16 different voices to be assigned to different MIDI channels, and a range of parameters including volume, detuning, pan position, and others, to be set for each voice. The assigned voices can then be individually controlled over the appropriate channels from an external MIDI sequence recorder or other controller. Refer to “5. THE MULTI PLAY & EDIT MODES” beginning on page 33 of the TUTORIALS section for more details. VOICE МОМВЕК..... un sasassssnensasnsssnsosunsene .... . us 77 VOLUME. bonos ... 77 DETUNE occonocococacionnnoaaononsosnncorernacos sssensvensconssssscsseasens , sone u 77 NOTE SHIFT .. verse . 78 РАМ... as И ... 78 ASSIGN MODE. ... иен .. see . . 79 SEND GROUP SELECT И . .. eucororanonss ves 79 OUTPUT SELECT senses ИИ ... . 80 EFFECT (Type, Balance & G1/G2 Send Levels).. , serres. coronsccsosss 80 NAME seesseeees . renee .... bo. ... 81 MULTI INITIALIZE. sens vers oovccornncencarincan ess , ..... 81 MULTI RECALL ........ bosorenonoraniorecancconnsss ssescssesscssesesssensscsensssensoes seas .. 82 MULTI 75 MULTI Selecting the MULTI Edit Mode 9 MULTI TT MULTI EDIT mode. COM PARE Selecting Different MULTI Channels for Editing The small white numbers above the BANK/MULTI CHANNEL keys correspond to the 16 available MIDI channels. Pressing any of these while in the MULTI EDIT mode selects the corresponding channel for programming. BANK/MULTI CHANNEL 1 2 3 4 5 6 7 8 I I | Mt || || || | 9 10 11 12. 13 14 15 16 The currently selected channel number is shown in the upper right-hand corner of the display — e.g. “CH 1” is channel 1, “CH 2” is channel 2, etc. Selecting the MULTI Edit Mode Functions The various MULTI edit mode functions can be selected by using the PAGE [<] and [>] keys. The CHANNEL COPY Function This function facilitates MULTI PLAY setup editing by copying parameters from a selected channel to the current channel. 76 l. To call the CHANEL COPY function, press the [STORE/COPY] while in the MULTI EDIT mode. НЫ Е JF mn 2. Use the CURSOR [<] and [bj keys to move the cursor to the “Channel” element parameter. Use the [-1/NO] and [+1/YES] keys to select the channel from which the data is to be copied. 3. Press the CURSOR [b] key one more time and the “Are you sure?” display will appear. Press [+1/YES] to execute the copy operation or [-1/NO] to cancel. “>>Completed!!<<” will appear briefly when the copy operation has finished. 4. Press the [EDIT] key to return to the MULTI edit mode. The COMPARE Function While in the MULTI EDIT mode, you can com- pare the sound of the edited MULTI PLAY setup with the sound of the setup before 1t was edited by pressing the [EDIT/COMPARE] key to activate the COMPARE function. The [EDIT/COMPARE] key indicator will flash while the COMPARE function ts active, and the sound of the setup prior to editing will be heard when you play the master keyboard or controller. Press the [EDIT/COMPARE] key again to re- turn to the edit mode. “ м |: AU VOICE HO CH 1 Ali Kar ke a ET @ Summary: Assigns a preset, card or internal voice № Settings: Source: I, C1, C2, Pi, Pa to the selected multi-play part. te Bank: 1...8 Number: |... 8 № Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI channel. Use the CURSOR [3] and [>] keys to move the cursor to the source, bank, or number parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to set the selected parame - ter as necessary. The number parameter can be decrement below “1” (by pressing the [-1/NO] key while “1” is showing, for example) to turn the selected channel “off.” Ми МО НЫЕ ЕН 1 Lewed= & Summary: Adjusts the volume of the selected MULTI channel. Settings: 0... 99 Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI channel. Mu GE CH | ae ELL] baa num 4 eho bet Зы. JE wur rae 4 = LL] MULTI Details: In this display the source, bank and num- ber parameters are shown in the standard TG33 voice number format. “P112, for example, is preset 1, bank 1, number 2; “135” is internal bank 3, number 5, etc. Please note that although preset voices can be assigned to any multi-play setup, internal voices can only be assigned to internal multi - play setups and card voices can only be assigned to multi-play setups in card memory, as follows: MULTI VOICE | ...... ГРУ, Po С ...... С, Pi, Po С ...... Es Pi, Po Refer to: page 13. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired volume level. Details: A setting of “0” produces no sound while a setting of “99” produces maximum volume. The ability to independently adjust the volume of each MULTI channel makes it simple to set up the optimum balance or “mix” between parts. Summary: Allows slight upward or downward pitch adjustment of the selected MULTI channel. Settings: -50 ... +0... +50 77 MULTI Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI channel. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired amount of detuning. Details: The Detune function allows different parts in a MULTI PLAY setup to be slightly detuned in relation to each other, thereby “thickening” the overall sound. Detuning occurs in 3 or 4-cent steps. Since 100 cents equals one semitone, the overall detune range is approximately one semitone. Plus set- tings tune upward from normal pitch, and minus settings tune downward. A setting of “+0” pro- duces normal pitch. NOTE SHIFT Mu MOTE SFT LH 1 + E + Summary: Shifts the pitch of the selected MULTI channel up or down in semitone steps. Settings: —24 ... +0... +24. Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI channel. Use the [DATA ENTRY] control or [(-1/NO] and [+1/YES] keys to select the desired degree of note shift. Details: A setting of “-12,” for example, shifts the 4 pitch of the selected voice down by one octave; a * setting of “+4” shifts the pitch up by a major third. The maximum range is plus or minus two octaves. The Note Shift function can be used to transpose a voice to its most useful range, or to create harmony (intervals) between different channels in a MULTI PLAY setup. МЫ РАН CH 1 ---т--В Summary: Determines the position in the stereo sound field in which the sound from selected MULTI channel will be heard (left to right). Settings: Graphic Display: |.--I-—-F, 5 positions from left to right; voice Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI channel. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired pan position. 78 If you pan past the “R” end of the graphic pan display, the word “voice” will appear. In this case the original PAN position of the voice as determined by the VOICE ELEMENT TONE edit mode PAN function will be retained. Details: The lower line of the display shows a graphic representation of the stereo sound field with “L” representing “left” and “R” repre- senting “right.” As you edit the pan parameter the position indicator will appear at the corre- sponding position on the graphic display. A total of five different positions are available, corre- sponding to left, left-center, center, right-center, and right. The PAN function will not affect the stereo position of drum voice instruments. Interesting stereo effects can be produced by placing the output from different channels at different locations in the stereo sound field. Mu ASSIGN MODE _61762=528 “st tee Summary: Determines how the TG33 DVA (Dynamic Voice Allocation) system will dis- tribute notes to the two output groups (see SEND GROUP SELECT, below). Settings: 32/0, 24/8, 16/16 Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired note distribution. Details: The ASSIGN MODE settings work as follows: G1/G2=32/0 32 notes to group 1, none to group 2. 4 if ML SEND LH 1 # | Бор Summary: Determines whether the current MULTI channel is assigned to output group 1 or 2. This function is only available if the ASSIGN MODE function (above) 1s set to other than “32/0.” Settings: Group: 1, 2 Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI chan- nel. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the de- sired group. MULTI Please note that when the EFFECT Balance parameter is set to or close to its maximum value (127), the PAN setting has no effect. Refer to: page 45, 79, 80. ASSIGN MODE G1/G2=24/8 24 notes to group 1, 8 to group 2. G1/G2=16/16 16 notes each to group 1 and group 2. NOTE: 4-element voices reduce the total number of available notes. Always make sure this function is set so that a sufficient number of notes is available for the voices assigned to each group. When the ASSIGN MODE setting is “32/0” no notes are assigned to group 2, therefore other MULTI EDIT mode parameters related to group 2 — i.e. those in the OUTPUT GROUP SELECT and OUTPUT SELECT functions — will not be available. Refer to: page 80. SEND GROUP SELECT Details: The two groups to which each channel can be assigned using this function can further be assigned to either the OUTPUT 1 or OUTPUT 2 stereo outputs using the OUTPUT SELECT function described on page 80. The ASSIGN MODE function, described above, determines how the polyphonic output of a MULTI PLAY setup is distributed to the two groups. The parameter will appear as “*” on the display if the ASSIGN MODE parameter (above) is set to “32/0”, Refer to: page 80. 79 MULTI AU OUTRO SELECT fiat] iman Summary: Determines to which of the TG33’s two pairs of stereo outputs — OUTPUT 1 and OUTPUT 2 — the voices assigned to output group | and output group 2 (see SEND GROUP SELECT, page 79) will be sent. Settings: Group 1 (G1): outl, out2 Group 2 (G2): outi, out2 Procedure: Use the CURSOR [pb] key to move the cursor to the Gl or G2 parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to assign the selected group to the desired output pair. Details: The TG33’s group assignment ability can be used in conjunction with the PAN function to assign individual voices to specific outputs for processing via an external mixing console or other equipment. Or you could simply feed sepa- rate stereo signals to two stereo sound sys- tems. When making output assignments, keep in mind the fact that effects will only apply to OUTPUT 1. Group 2 can only be assigned using this function 1f the ASSIGN MODE function, described next, is set to a value other than “32/0.” If ASSIGN MODE is set to “32/0,” the G2 parameter will appear as “***” on the display. Refer to: page 79. MOTE ML EFFET ИИ EE ae a Tripmopicis Hallo + Summary: Selects one of sixteen digital effects, and sets the balance and group 1 and group 2 send levesl of the selected effect for the current MULTI channel. Settings: Effect type: 80 Rev Hall (Reverb Hail) Rev Room (Reverb Room) Rev Plate (Reverb Plate) Rev Club (Reverb Club) Rev Metal (Reverb Metal) Delay 1 (Short Single Delay) Delay 2 (Long Delay) Delay 3 (Long Delay) Doubler (Doubler) Ping-Pong (Ping Pong Delay) Pan Ref (Panned Reflections) Early Ref (Early Reflections) Gate Rev (Gated Reverb) Diy&Rev 1 (Delay & Reverb 1) Dly&Rev 2 (Delay & Reverb 2) Disi8 Rev (Distortion & Reverb) Balance (Bal): O ... 127 Group 1 Send Level (Gl): 0 ... 127 Group 2 Send Level (G2): 0 ... 127 Procedure: Press the [BANK/MULTI CHANNEL] key corresponding to the desired MULTI chan- nel. Use the CURSOR |<] and [>] keys to place the underline cursor under the effect type, bal- ance, or Gl or G2 send level parameter. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired effect, bal- ance, or send level. Details: The balance parameter determines the bal- ance between the “dry” sound of the voice and the effect sound. A setting of “0” produces only the voice with no effect, while the maximum set- ting of “127” produces only the effect sound. The send level parameter determines the level of the signal sent via the effect processor to the corresponding output group. A setting of “0” means that the voice signal is not sent to the effect processor, while the maximum setting of “127” sends full effect level to the effect processor. ] NOTE: Some voice waveforms may exhibit a drop in À level when distortion is applied. This is due to ME internal data overflow, and can be compensated 4 ] for by reducing the effect send level or effect E balance setting. JE HOME 111 Quartet Summary: Assigns a name of up to 8 characters to the current MULTI PLAY setup. Settings: The following characters are available for use in multi-play names: (Space) "RELE E er, m. dE Sao! cso ral RECDEFGAITELRADPFERS TUNES) ET Fo” abc déet Shi ik 1lmmorsrestinanuenu | e МЫ [MIT MR TI He сна Sires Summary: Initializes all parameters of the current MULTI PLAY setup. Settings: None. Procedure: When the “INIT MULTI” display is selected “Are you sure?” will appear on the lower line. Press the [+1/YES] to initialize. “>>Completed!!<<” will appear briefly when the initialization is finished. Details: When multi-play Initialize 1s executed, the multi-play setup parameters are initialized to the following values: MULTI Piease note that effects only apply to OUTPUT, so if a group is assigned to OUTPUT2 (out2) using the OUTPUT SELECT function, described above, its level send parameter will not be avail- able and will be shown on the display as “***”. The G2 send level parameter will also not be available if the ASSIGN MODE function described on page 79 1$ set to 32/0. Refer to: page 45, 79. Procedure: Use the CURSOR [<] and [>] keys to place the underline cursor under the character to be changed. Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired character. Continue until the entire name has been programmed. Details: It’s a good idea to give your multi-play setups names that make them easily identifi- able. If you’ve created a new setup using three voices intended for rock music, you could call it something like “RockTrio”. MULTI INITIALIZE TG33 MULTI INITIAL MULTI NAME Initial ASSIGN MODE 32poly OUTPUT SELECT Gi out (OUTPUT SELECT G2 outt) EFFECT Rev. Hall Balance 64 Send 1 127 ( Send 2 127) Channel 1 ...... Channel 16 VOICE NUMBER Pi 11 VOLUME 99 DETUNE +0 NOTE SHIFT +0 PAN L--£--R (SEND GROUP 1) MULTI TG33 System Parameter The multi initialize function is useful if you want . . SETUP o, | 1 : “ LE SASTERTUNE m to begin programming a setup “from scratch. TRANSPOSE +0 CONTROLLER RESET hold MIDI | VOICE RECEIVE CH omni VECTOR CHANNEL 1 PROG.CHANGE on EXCLUSIVE off DEVICE NUMBER all MULTI RECALL / МИ RECALL MULTI Details: Even if you’ve exited the edit mode and Sree wou sure called a different MULTI PLAY setup, this func- tion will recall the last setup edited with all Summary: Recalls the last MULTI PLAY setup parameters as they were at the time the edit edited from the TG33 edit buffer memory. mode was exited. Settings: None Procedure: When the “RECALL MULTI” function is selected “Are you sure?” appears on the lower display line. Press the [+1/YES] key to recall . “>>Completed!!<<” will appear briefly when the initialization is finished. 82 UTILITY SYSTEM UTILITY SYSTEM The UTILITY SYSTEM mode provides access to the TG33 MASTER TUNE, TRANS- POSE, and CONTROLLER RESET functions. MASTER TUNE ..... u... seeeeeacees sense eo... . 85 TRANSPOSE . sees sees 85 CONTROLLER RESET . ... ...... 85 UTILITY SYSTEM Selecting the UTILITY SYSTEM Mode UTILITY SYSTEM MIDI CARD UTILITY > From another UTILITY mode sımply press [UTILITY SYSTEM]. 84 Selecting the UTILITY SETUP Mode Functions The various UTILITY SETUP mode functions can be selected in sequence by pressing the [UTILITY SYSTEM] key, or by using the PAGE [al] and [>] keys. г Ye UTILITY SYSTEM MASTER TUNE Summary: Tunes the overall pitch of the TG33 over approximately a 100-cent range. Settings: -50 ... +0 ... +50 Procedure: Use the (DATA ENTRY] control or [—1/NO] and {+1/YES] keys to set the desired degree of tuning. Details: Tuning occurs in 3 or 4-cent steps. Since 100 cents equals one semitone, the overall tun- ing range is approximately one semitone — i.e. plus or minus a quarter tone. Plus settings tune upward from normal pitch, and minus settings tune downward. A setting of “+0” produces nor- mal pitch. TRANSPOSE Ls PRHAGPLISE + 1 Summary: Transposes the overall pitch of the TG33 up or down in semitone steps. Settings: —12... +0... +12 Procedure: Use the [DATA ENTRY] control or [—1/NO] and [+1/YES] keys to set the desired degree of transposition. Details: A setting of “-12,” for example, trans- poses down by one octave; a setting of “+4” transposes up by a major third. CONTROLLER RESET Lis COAT RESET pa dd Summary: Determines whether controller settings (modulation wheel, pitch bend, breath controller, foot controller, etc.) are held or reset when voices or multi-play setups are switched. Settings: hold, reset Procedure: Use the [DATA ENTRY] control or [—1/NO] and [+1/YES] keys to select the desired controller mode. Details: If this function is set to “hold,” then if, for example, you have applied modulation to a voice via the modulation wheel and switch to a new voice while maintaining the same modulation wheel position, then the same amount of modu- lation will be applied to the new voice. If “reset” is selected, than all controller values are reset when a new voice or multi-play setup is selected. 85 UTILITY SYSTEM 86 UTILITY MIDI UTILITY MIDI The UTILITY MIDI mode provides access to all of the TG33’s MIDI control functions. В VOICE RECEIVE CHANNEL ... 89 an VECTOR CHANNEL. | ann | … 89 MIDI PROGRAM CHANGE ......... see sa secsessesesseeee 89 EXCLUSIVE ON/OFF & DEVICE NUMBER 90 BULK TRANSMIT , „ 91 87 UTILITY MIDI Selecting the UTILITY MIDI Mode UTILITY т ии a ala o dido da 5 ins т. >) SYSTEM MIDI CARD UTILITY From another UTILITY mode sımply press [UTILITY MIDI]. 88 Selecting the UTILITY MIDI Mode Functions The various UTILITY MIDI mode functions can be selected in sequence by pressing the [UTILITY MIDI] key, or by using the PAGE [<] and [>] keys. La L \ r 4 UTILITY MIDI VOICE RECEIVE CHANNEL UM MIDI Feceiue Che 1 Summary: Sets the TG33 MIDI VOICE MODE re- ceive channel to any channel between 1 and 16, or the “omni” mode for reception on all channels. Settings: |... 16, omni Procedure: The [DATA ENTRY] control or [-1/NO] and [+1/YES] keys are used to select the desired MIDI channel or the omni mode, Details: When the TG33 is operating in the VOICE PLAY mode and is to receive data from an external MIDI device such as a sequencer, make sure that the TG33 MIDI voice receive channel is either set to the channel that the external device is transmitting on, or the omni mode. Refer to: page 12. _ VECTOR CHANNEL UM MIDI 1 SI 1. сн” Г. I", — 1 Summary: Sets the MIDI channel on which data relating to VECTOR CONTROL operation will be transmitted or received. Settings: |... 16. Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the desired MIDI transmit channel number. Details: This function allows the TG33 VECTOR CONTROL to control other compatible devices such as a second TG33 or an SY22 synthesizer, or vice versa. Make sure that both the TG33 and external device VECTOR CHANNEL numbers are set to the same number. Further, if an external device is to control level or detune vectors, use the TG33 [VECTOR] button to tum the corresponding vector control function ON — LEVEL or DETUNE. When receiving LEVEL VECTOR information, internal dynamic detune vectors will still play automatically, and vice versa. Refer to: page 12. _ MIDI PROGRAM CHANGE UM BIST Pros Charie=ori Summary: Determines how the TG33 will respond to MIDI program change messages for remote voice/multi selection. Settings: off, on Procedure: The [DATA ENTRY] control or [- ИМО] and [+1/YES] keys are used to select the desired MIDI program change mode. 89 UTILITY CARD Details: The “off” setting turns MIDI program Bank Data | Select Value | Mode & Memory change reception off, so MIDI program change 2" 0-63 VOICE PLAY/PRESET 1 8 р . Prog . хх 0* 0-63 VOICE PLAY/INTERNAL messages received from external equipment wi {+ 0-63 VOICE PLAY/CARD 1 not cause the corresponding TG33 voice to be 5* 0~63 VOICE PLAY/PRESET 2 ] а 4* 0-63 VOICE PLAY/CARD 2 selected. 16° 64-79 | MULTI PLAY setup/INTERNAL When MIDI PROGRAM CHANGE is turned 17° 64-79 MULTI PLAY setup/CARD 1 73 +3 : 20* 64-79 MULTI PLAY setup/CARD 2 on,” program change data received by the 34" 0-83 MULTI PLAY voice/PRESET 1 TG33 has the following effects in the VOICE 32** 0-63 MULTI PLAY voice/INTERNAL AY. MULTI PLAY. and MULTI EDIT modes: (or CARD 1/2 if currently selected) PLAY, MUL , UL 33** 0-63 MULTI PLAY voice/CARD 1 or 2 (or INTERNAL if currently selected) VOICE PLAY Program change numbers O through 63 37** 0-63 MULTI PLAY voice/PRESET 2 received from external equipment will select * Must be received on the VOICE RECEIVE CHANNEL. TG33 voices 1.1 through 8.8 in the currently ** If 32, 33, 34, or 37 are received in the VOICE PLAY mode, they wilt be interpreted as 0, 1, 2, and 5, respectively. selected memory area. All other program change numbers will be ignored. MULTI PLAY Program change numbers 0 through 63 received from external equipment will select TG33 voices 1.1 through 8.8 for the correspond - ing MIDI channel, and program change numbers 64 through 79 received on the VOICE RECEIVE CHANNEL select multi-play setups 1.1 through 2.8. The card, internal or preset voice banks can- If the above bank select data are immediately followed by a program change number (0 — 79), the corresponding voice or multi-play setup can be selected. Bank select numbers other than 16, 17, and 20 can only be followed by program change numbers 0 through 63. Bank select numbers 16, 17, and 20 can only be not be selected via MIDI control. followed by program change numbers 64 through 79. MULTI EDIT Operation is basically the same as in the MULTI PLAY mode except that program Refer to: page 12. change numbers 64 through 79 will be ignored ALL MODES For more detailed technical informa- tion on Bank Select operation, refer to “2.2.2 Control Change” in the “MIDI DATA FOR- MAT” section, page 104. | EXCLUSIVE ON/OFF & DEVICE NUMBER КМ MIGT ENE Procedure: When the underline cursor is under the off Пете та 11 left parameter, use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to turn exclusive Summary: Turns transmission/reception of MIDI data transmission/reception “on” or “off.” Use system exclusive data (including bulk data) on the CURSOR [b] key to move the underline cur- or off, and sets the DEVICE NUMBER for sor to the DEVICE # parameter, and use the exclusive data transfer. [DATA ENTRY] control or [(-1/NO] and [+1/YES] keys to set the device number. Settings: Exclusive ON/OFF: on, off. Device #: 1 ... 16, all. 90 Pme. 4 Details: MIDI system exclusive data is transmitted by the TG33 when one of the BULK TRANSMIT functions described below is used. The same type of data will also be automatically loaded into the TG33 memory when received from a second TG33 or other MIDI device, thus erasing previous data. This function can be turned “off” to prevent accidental erasure of the internal memory, or the memory of external equipment, do to mistaken exclusive data reception or transmission. The device number makes it possible to limit the devices in a MIDI system between which exclu- sive can be exchanged. Exclusive data can only be received by the TG33 if it is set to the same UR MIDI BULLE Trane=Huiti Тр Summary: Initiates MIDI bulk transmission of the selected voice, multi-play, and/or system data. Settings: Voice, Multi, 16mlt, 64vce, V & M, Sys, All. Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the data to be transmitted. If you select “16mlt”, “64vce”, “У & М”, “Sys”, or “ALL”, press the CURSOR [b] key to move the cursor to the “Are you sure?” dis- play. Press the [+1/YES] key to begin transmis- sion, or the [-1/NO] key to cancel. “Now Transmitting” will appear on the display during transmission. If you select “Voice”, move the cursor to the media, bank, and number parameters at the right of the display and select the voice you wish to send before moving to the “Are you sure?” dis- play and starting the transmission. Transmission procedure is the same as above. If you select “Multi”, move the cursor to the bank and number parameters at the right of the display and select the multi-play setup you wish to send before moving to the “Are you sure?” dısplay and starting the transmission. Transmission procedure is the same as above. UTILITY MIDI device number as the transmitting device. If the device number is set to “all,” exclusive data can be received from any transmitting device. NOTE: The TG33 will recognize and receive “1 Voice” and “Voice & Multi” bulk data from a Yamaha SY22 Music Synthesizer. Since the SY22 do not have Effect Balance and Effect Send level parameters, however, these parameters are auto- matically set to their default values (Effect Balance = 64; Effect Level = 127) when SY22 voices are used with the TG33. When “Voice & Multi” data ts received from an SY22, only the voice data will be recognized. The SY22 MULTI data will be Ignored. BULK TRANSMIT Details: The data corresponding to the various data group settings provided by this function are as follows: Voice A single voice from I, Pı, or Pa. Multi A single multi-play setup from I only. l6mlt All 16 multi-play setups. 64vce All 64 internal voices. V&M All 64 internal voices and 16 multi-play setups. | Sys Basic system setup data. All All data — 64 voices, 16 multi-play se- tups, and system data. This function is useful for transferring voice, multi-play, and/or system data from one TG33 to another. If the MIDI OUT of the transmitting TG33 is connected to the MIDI IN of the receiv - ing TG33 via a MIDI cable, the receiving unit will automatically receive and load the data as long as its EXCLUSIVE ON/OFF function is turned “on” and it is set to the same device number as the transmitting TG33. Another possibility is to transfer the data to a MIDI bulk data storage device for long-term storage. 91 UTILITY MIDI 92 UTILITY CARD UTILITY CARD The UTILITY CARD mode provides access to all functions necessary for saving and loading memory card data. SAVE TO CARD......scsesssssnsssossssusnsunnsnsunssnnensnssnsusnssnunnssnnsssnssnssnnensuuenssnnesnensansnnnnnsnsnennnnnnssonsne 95 LOAD DATA SELECT & LOAD FROM CARD ...... 95 CARD FORMAT . bano. . none 96 CARD BANK SELECT ...... .. 96 93 UTILITY CARD Selecting the UTILITY CARD Mode | UTILITY | | | D SYSTEM MIDI CARD UTILITY From another UTILITY mode simply press {UTILITY CARD]. 94 Selecting the UTILITY CARD Mode Functions The various UTILITY CARD mode functions can be selected in sequence by pressing the [UTILITY CARD] key, or by using the PAGE [<] and [>] keys. i à SAVE TO CARD UC CARD SAVE TO CARD? Summary: Saves all voice, multi-play, and system data to a memory card. Settings: None Procedure: When this function is selected the “SAVE TO CARD?” display will appear. Press the [+/YES] key to start the save operation. eK ESAVE NOW****” will appear on the dis- play while the operation is in progress, and “>>Completed!!<<” will appear briefly when the save operation has finished. Details: The SAVE operation can only be executed if the WRITE PROTECT switch of the MCD32 or MCD64 Memory Card loaded in into the card slot 1s turned “off.” UTILITY CARD When an MCD64 Memory Card is used, the bank to which the data is to be saved can be selected using the CARD BANK SELECT func- tion described on page 96. Exercise caution when saving data to a memory card — the previous card data will be erased and completely replaced by the saved data. If an error is encountered, one of the following displays may appear: No card in card slot. Card protect switch is ON. Card not formatted for use with TG33. Card battery is low and must be replaced. Card not ready! Card protected! Card not format! Change card bat! Refer to: page 13 ... 15, 33, 34. LOAD DATA SELECT & LOAD FROM CARD UC CARD LOADS I 1 + Summary: Loads voice, voice & multi-play, system, or all data from a memory card into the TG33 internal memory. Settings: All, Vce&Multi, System, SY22Voice. Procedure: Use the [DATA ENTRY] control or [-1/NO] and [+1/YES] keys to select the data group to be loaded, then press the CURSOR [p>] key to move to the “LOAD FROM CARD?” display. Press the [+/YES] key to start the load operation, or the [-1/NO] key to cancel. “****[ OAD NOW****” will appear on the dis- play while the operation is in progress, and “>>Completed!!<<” will appear briefly when the load operation has finished. Details: When an MCD64 Memory Card is used, the bank from which the data 1s to be loaded can be selected using the CARD BANK SELECT function described on page 96. Exercise caution when loading data from a memory card — the corresponding internal TG33 data will be erased and completely replaced by the loaded data. If an error is encountered, one of the following displays may appear: No card in card slot. Card not formatted for use with TG33. Card not ready! Card not format! Refer to: page 13 ... 15, 33, 34. NOTE: Voices from Yamaha SY22 Music Synthesizer voice cards can also be loaded into the TG33. Since the SY22 does not have Effect Balance and Effect Send level parameters, however, these parameters are automatically set to their default values (Effect Balance = 64; Effect Level = 127) when SY22 voices are used with the TG33. The TG33 will load only voice data from an SY22 card. Other SY22 data (MULTI, etc.) will be ignored. 95 UTILITY CARD CARD FORMAT Un CARD Details: Formatting can only be carried out if the FORMET 7 memory card WRITE PROTECT switch is turned OFF (refer to your MCD64 or MCD32 Summary: Formats an MCD32 memory card or the Memory Card instructions for details). | currently selected BANK of a MCD64 memory If an error is encountered, one of the following card so that it can be used by the TG33 to save displays may appear: and load voice and multi-play data. | Card not ready! No card in card slot. Settings: None Card protected! Card protect switch is ON. Change Card Bank 32k card inserted and C2 is Procedure: When this function is selected the selected. “FORMAT ?” display will appear. Press the [+/YES] key to start the format operation. “>>Completed!i<<” will appear briefly when the format operation has finished. CARD BANK SELECT UL CARD Procedure: Use the [DATA ENTRY] control or BARE 1 [-1/NO] and [+1/YES] keys to select the desired bank. Summary: Selects bank 1 or bank 2 of a Yamaha MCD64 type memory card prior to formatting or Details: MCD32 memory cards only have a single load/save operations. bank, so bank 2 settings are ignored if this type of card is used. MCD64 memory cards allow Settings: 1, 2 selection of bank 1 or 2. Each bank holds 64 voices and 16 multi-play setups. Yow = i ERROR MESSAGES ERROR MESSAGES Things do go wrong from time to time, and people do make mistakes. When an error occurs, the TG33 will usually display a message that describes the type of error so you can easily take steps to rectify the problem. The follow- ing are quick summaries of the TG33 error displays. Charme int bat! The internal memory backup battery voltage has dropped to an unsafe level. Have the backup battery replaced by qualified Yamaha service personnel. ar not Peso! You have attempted to perform a data card opera - tion (save, load, format, etc.) while no data card is present in the TG33 card slot. Lara Protected! You have attempted to perform an operation that writes to the data card (save or format) while the card protect switch 1$ ON. Lard pot Format, ! You have attempted to save or load using a card that has not been properly formatted for use with TG33. Change Card Bank You have attempted to save to, compare or format a 32k card while card bank 2 (©2) is selected. Repro card bt! The data card battery is low and must be replaced — refer to the operating instructions that came with your data card for details. lee apa errar! Unrecognizable data has been received by the TG33. 97 SPECIFICATIONS SPECIFICATIONS Tone Generator Systems: AWM (Advanced Wave Memory) & FM (Frequency Modulation) Internal Memory: Wave ROM; 128 preset AWM & 256 preset FM waveforms Preset ROM; 128 preset voices Internal RAM; 64 user voices & 16 user multi setups External Memory: Voice & Multi data; MCD64 or MCD32 — write & read Displays: 16-character x 2-line backlit LCD Controls: MASTER VOLUME, VECTOR CON- TROL Keys & Switches: POWER ON/OFF; MODE VOICE, MULTI and UTILITY; EDIT/ COMPARE; STORE/COPY; VECTOR PLAY LEVEL/DETUNE; EF BYPASS ON/OFF: PAGE < and р; CURSOR < and 5; —-1/NO and +1/YES; MEMORY INTERNAL, CARD and PRESET; BANK/MULTI CHANNEL 1-16 (VOICE COMMON and VECTOR; ELEMENT TONE and EG; UTILITY SYSTEM, MIDI and CARD; ELEMENT SELECT A, B, C and D; ELEMENT ON/OFF A, B, C and D) 98 Connectors: DC 10V IN: PHONES: OUTPUT 1 (L/MONO,R) and OUTPUT 2 (L/MONO, R) MIDI Connectors: IN, OUT, THRU Power Requirement/Consumption: DC 10V, 700 mA Dimensions (W x H x D): 439 x 80.4 x 229.9 mm Weight: 2.8 kg [a INDEX INDEX -1/NO and +1/YES Keys A After Touch Amplitude Modulation Level Control Pitch Control Pitch Modulation Sensitivity Assign Mode Attack Level Rate AWM Category Descriptions Waveform List B Bank/Multi Channel Keys Bulk Transmit Card Bank Select Format Key Slot Channel Copy Configuration Cursor Keys D Data Entry Control DC 10V 700mA In Jack Decay 1 Level 1 Rate 2 Level 2 Rate Delay Rate A 46 46 46 46 63 79 47, 69, 70 70 70 17 60 60 3, 15,35 91 5 6, 11 47,70, 71 71 71 71 71 70 Demo Demo Key Detune Edit Step Edit Time Edit X-Axis Edit Y-Axis Indicator Record Speed Device Number Dynamic Vectors Dynamic Voice Allocation E Edit/Compare Key Effect Balance Bypass Key Send Level Type Element Copy Envelope On/Off Tone Envelope Attack Rate Copy Release Rates Type Exclusive On/Off F FM Category Descriptions Waveform List Frequency Shift Initial Level 12 5 18, 29, 77 55 56 56 56 3 55 55 90 17 35 17 58 67 68 57 47, 69, 70 47, 70 68 47,72 69 90 17 61 61 62 70 99 INDEX Internal Key Multi Memory Voice Memory Level Edit Step Edit Time Edit X-Axis Edit Y-Axis Indicator Record Scaling Speed LFO (Low Frequency Oscillator) AM Depth Delay PM Depth Rate Liquid Crystal Display Load Data Select Load From Card Manual Vectors Master Tune Volume Control Memory Backup Cards MIDI Channel Matching Connectors Program Change Multi Effect Balance Effect Send Level Effect Type Initialize Key Name Recall Multi-play Setup Selection Setup, What's In a 100 18, 28, 72 53 54 54 54 3 28, 53 72 28,53 64, 65, 66 64 65 64 65 66 65 3 95 95 17 85 3 13, 33 2 5, 13, 34, 93 87, 98-115 12 6 89 33,75 80 80 80 81 3 81 82 35 34 Name Voice Multi Note Shift Output 1 and 2 Jacks Select Page Keys Pan Voice Multi Phones Jack Pitch Bend Polyphony Power-on Procedure Preset Key Voices Rack Mounting Random Detune Element Level Rate Scaling Reference Section, What’s In the Release Rate Save To Card Selecting Edit Functions Elements for Editing Send Group Select Store/Copy Key Storing Multi-play Setup Data Voice Data System Setup 48 8] 78 31, 32, 48 48 95 44, 52, 58, 68, 76 58, 68 79 4 39 29 11 FR. % eq am ne Tone Feedback Level Transpose Tutorial Section, What’s In the Type Utility Card Key MIDI System Vector Key Channel Control 17, 18, 19 3 37,89 3 INDEX Velocity Sensitivity 63 Voice 3, 14 Common 43 Configurations 17,45 Initialize 49 Key 3 Number 77 Recall 50 Receive Channel 89 Selection 15 Vector 19-26 Volume 3, 62, 77 W Wave Type 60 Wheel Amplitude Modulation 46 Pitch Modulation 46 101 MIDI DATA FORMAT MIDI DATA FORMAT 1. MIDI reception/transmission block diagram <MIDI reception conditions> 1/2 Veh ........... Voice Receive ch. РС............. Program Change on/off УМ ........... Vector Mode off/level/detune $FE ACTIVE SENSING VOICE O <Vch> $8n NOTE OFF с <each rames MULTI $9n NOTE ON/OFF VOICE oO <Vch> $Bn,$40 SUSTAIN SW 9 $< VM $8n,$10 VECTOR CONTROL X-axis(*) zoff © «each channel>———~ LV M> $8n,$11 VECTOR CONTROL Y -axis(*) MULTI off $Bn,$01 MODULATION WHEEL $Bn,$07 VOLUME $8n,579 RESET ALL CONTROLLERS ——<PC> $Bn,$00 Bank Select MSB oft MIDI —----.__ Lae PH $Bn,$20 Bank Select LSB off VOICE O <Vch> $Сп PROGRAM CHANGE - ———<РС> |, C1, C2, P1, and P2 are not switched. off O <each channel» — MULTI VOICE o— <Vch> $Dn AFTER TOUCH о <each same MULTI VOICE O— <Vch> $En PITCH BENDER O <each mo MULTI (*) In the case of MULTI, only the channel which matches the vector channel can be received. 102 РР A are in nz <MIDI reception conditions> 2/2 MID! A off Exclusive> $F0,$43,$0n,$7E (LM__0012VC) $FO, $43,50n,$7E (PK_ _2203VM) $F0,$43,$0n,$7E (LM_ _0012MU) $F0,$43,$0n,$7E (LM__0012SY) $F0,$43,$0n,$7E (LM__0012VE) $F0,$43,$0n,$7E (PK__2203AE) $F0,$43,$0n,$7E (LM __0012ME) Exclusive = Exclusive on/off VMEM = Voice memory MMEM = Multi memory $F0,$43,$2n,$7E (LM__0012VC) $F0,$43,$2n,$7E (LM__0012MU) $F0,$43,$2n,$7E (LM_ _00125Y) $F0,$43,$2n,$7E (LM__0012VE) $F0,$43,$2n,$7E (LM_ _0012ME) $F0,$43,$1x,$26,$07 $F0,$43,$1n,$26,$00 $F0,$43,51n,$26,$01 $F0,$43,$1n,$26,$04 $F0,$43,$1n,$26,505 $F0,$43,$1n,$26,$06 $F0,$43,$1n,$26,508 MIDI DATA FORMAT 1633 SW Remote $F0,$43,$10,$18,$5A,$00,$F7 test code VOICE bulk (VMEM) VOICE bulk(**) (VMEM) MULTI bulk (MMEM) System bulk 1 VOICE bulk 1 VOICE bulk (***) 1 MULTI bulk Parameter change (VOICE common data} Parameter change (VOICE vector data) $F0,543,$1n,$26,$02 Parameter change (VOICE element tone data) $F0,343,$1n,$26,$03 Parameter change (VOICE element eg data) Parameter change (MULTI data) Parameter change (System data) Parameter change (System MIDI data) Parameter change (Vector mode} VOICE bulk dump request MULTI bulk dump request System bulk dump request 1 VOICE bulk dump request 1 MULTI butk dump request (**) Only 64 voice data of SY22 is expanded into the TG33 format and is received. (***) Only 1 voice data of SY22 is expanded into the TG33 format and is received. <MIDI transmission conditions> VECTOR CONTROL X-axis $Bn,$10 VECTOR CONTROL Y-axis $Bn, $11 Voice bulk Multi bulk 1 Voice bulk 1 Multi bulk System bulk vector ch <Exclusive> <Tch> > MIDI soft 103 MIDI DATA FORMAT 2. Channel messages 2.1 Transmission 2.1.1 Control change Data is output to the MIDI port when you operate the following controller. entri# parameter datarng 16 Vector control X-axis 0-127 17 Vector control Y-axis 0-127 2.2 Reception 2.2.1 Note on/off Reception note range Velocity range C2~G8 1~127 (Only note on can be received for velocity.) 2.2.2 Control change The following parameters can be controlled via MIDI. cntri# parameter data rng 0 Bank Select MSB 0...127 # 1 Modulation Wheel 0...127 7 Volume 0...127 16 Vector Control X-axis 0...127 17 Vector Control Y-axis 0...127 32 Bank Select LSB 0...127 # 64 Sustain Switch 0...127 121 Reset All Controllers 0 # The following Bank Select Data can be used for changing mode and the mode and voice are changed when receiving the succeeding program changes 00~79. bank select HEX data value 14bit * #2 (0x0002) Voice Mode PRESET] * #0 (0x0000) Voice Mode INTERNAL * #] (0x0001) Voice Mode CARDI * #5 (0x0005) Voice Mode PRESET2 * #4 (0x0004) Voice Mode CARD2 *#16 (0x0010) Multi Mode Multi INTERNAL * 417 (0x0011) Multi Mode Multi CARD] * #20 (0x0014) Multi Mode Multi CARD2 #34 (0x0022) Multi Mode Voice PRESET! #32 (0x0020) Multi Mode Voice INTERNAL or CARD1 (CARD2) (the one selected by MULTI currently) #33 (0x0021) Multi Mode Voice CARD] (CARD2) or INTERNAL (the one selected by MULTI currently) #37 (0x0025) Multi Mode Voice PRESET2 However, when the receiving device is in Voice mode, #32~#34, #37 will be interpreted as #32 — #0 #33 => #] #34 — #2 #37 — #5 and will be received while remaining in Voice mode. 104 When 0~79 are received as the Program Change Data imme- diately after the Bank Select Data is received, the Mode, Voice, and Multi are switched according to the above table. However, when the Bank Select Data is those other than 16, 17, and 20, the succeeding Program Change Data must be equal to 0-63. In the similar manner, when the Bank Select Data is 16, 17, and 20, the succeeding Program Change Data must be equal to 64-79. Those marked by an asterisk mark (*) are valid only when data is received through the Voice Receive Channel. 2.2.3 Program change When a program change is received, this unit operates as follows. The Utility System allows the following two types of reception modes. 1) off: No program changes are received. 2) on [Voice Play Mode] When the Program Change Data 0-63 are received, the Media selection stays as it is, thus switching only the voice numbers 11~88. The Program Change Data 64~127 are ignored. Only the Program Change Data received through the voice Receive Channel is valid. [Multi Play Mode] When the Program Change Data 0-63 are received, the Media of Voice corresponding to that Channel stays as it is, thus switch- ing to the Voice 11-88. When the Program Change Data 64-79 is received through the Voice Receive Channel, the Media selection stays as it is, thus switching to the Multi 11-28. The Program Change Data 80-127 are ignored. [Multi Edit Mode] It is the same as in the case of the Multi Play Mode. However, the Program Change Data 64-79 are ignored. [Cautions] e In the case of the Voice Edit Mode, even if the Voice program change and multi program change are received, they are ignored. ® In the case of the Multi Edit Mode, when the Voice (mode) program change and multi program change are received, they are ignored, @ When data is received in Utility Mode, Voice Play or Multi Play mode is selected, thus receiving data. @ No data is received during Vector recording, Compare, Card load/save execution, and Bulk transmit execution. 2.2.4 Pitch bend Reception of pitch bend is operated at the MSB side only. 2.2.5 After touch 2.2.6 Channel mode message No data is received. nen WARES a 3. System exclusive message 3.1 Parameter change This unit receives the following 9 types of parameter changes. Also, when 8). Remote Switch is received, the corresponding display will appear just as if the switch had actually be pressed. 1) Voice Common Data parameter change 2) Voice Vector Data parameter change 3) Voice Element Tone Data parameter change 4) Voice Element Envelope Data parameter change 5) Multi Data parameter change 6) System Data parameter change 7) System MIDI Data parameter change 8) Switch Remote parameter change 9) Vector Mode parameter change Reception of parameter change cannot be turned off by each MIDI switch other than Exclusive = off. 8) The Switch Remote parameter change can be received even if the exclusive ts off. [Cautions] e No data is received during Vector recording, Compare, Card load/save execution, and Bulk transmit execution. 3.1.1 Voice Common Data parameter change 11110000 FO 01000011 43 ODölnnnn nnnn - Device Number 00100110 26 00000000 00 Üaaaaaaa aaaaaaa = ST of appended table 1-1 00000000 00 Qcececee ceecece = (MSB7bits) Fl of appended table 1-1 Qcceccec cccecce = (LSB/bits) F2 of appended table 1-1 0000000d d = (MSB) Bl of appended table 1-1 Oddddddd ddddddd = (LSB/bits} B2 of appended table 1-1 0000000, v - Data Value (MSB) Оууууууу ovvvvvvy = Data Value (LS87bits} 11110111 F7 This message is used to change the Voice Common Data for each parameter. When this message is received, the following automatically results. Voice Play Mode Shifts to Voice Edit Mode and receives data (Screen shift). The Mode stays as it 1s, receiving data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit mode and re- ceives data (Screen shift). Voice Edit Mode Multi Play Mode Multi Edit Mode Utility Mode 3.1.2 Voice Vector Data parameter change 11110000 FO 01090011 43 0901nnno nenn = Device Number 00100110 26 00000001 O1 Оазаааза aaaaaaa = ST of appended table 1-2 00000000 00 Occecccc cececec = (MSB/bits} Fl of appended table 1-2 Occeccce cecccce = (LSB7bits) F2 of appended table 1-2 0000000d а = (MSB) Bl of appended table 1-2 Oddddddd 99499939 = (LSB/bits) Be of appended table 1-2 0000000v v = Data Value (MSB} Оууууууу ууууууу = Data Value (15876115) 11110111 F7 This message is used to change the Voice Common Data for each parameter. MIDI DATA FORMAT When this message is received, the following results auto- matically. Voice Play Mode : Shifts to Voice Edit Mode and receives data (Screen shift). The Mode stays as it is, receiving data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit mode and re- ceives data (Screen shift). Voice Edit Mode Multi Play Mode Multi Edit Mode Utility Mode 3.1.3 Voice Element Tone Data parameter change 11110000 FO 01000011 43 00601nnan nnnn = Device Number 00100110 26 00000010 02 Озаааааа aaaaaaa 000000bb bb Occeeece eceeece Ocecccce ccecece ST of appended table 1-3 Element Number (MSB7bits) Fl of appended table 1-3 {15876115} Fe of appended table 1-3 00000004 (MSB} Bl of appended table 1-3 04949964 ddddddd = (LSB/bits) B2 of appended table 1-3 0000000у y Data Value (MSB) OVVVVYVY oo VVVV¥VY¥ Data Value (15876115) 11110111 F7 This message is used to change the Voice Element Tone Data for each parameter. When this message is received, the following results auto- matically. Voice Play Mode Shifts to Voice Edit Mode and receives data (Screen shift). The Mode stays as it 1s, receiving data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit mode and re- ceives data (Screen shift). Voice Edit Mode Multi Play Mode Multi Edit Mode Utility Mode [Cautions] When the element C data is received in the A-B (2 element) mode, only the screen changes to the element A. When the element D data is received, only the screen changes to the element B. If there 1$ no parameter agreeing with the corresponding element, it is ignored. 3.1.4 Voice Element Envelope Data parameter change 11110000 FO 01000611 43 0001nenn ппия = Device Number 00100110 26 00000011 03 Оазаазаа даазааа 000000bb bb Qececeec eccccee 06555566 ECCCCCC ST of appended table 1-4 Element Number (MSB7bits) Fl of appended table 1-4 (LSB7bits) F2 of appended table 1-4 ие 00000004 {MSB} Bi of appended table 1-4 Oddddedd ddddddd {15875145} Bé of appended table 1-4 9090000, y Data Value (MSB) GVVVVVVY VVVVVVN Data Value (LSB/bits) 11110111 + This message is used to change the Voice Element Envelope Data for each parameter. When this message is received, the following results auto- matically. 105 MiDI DATA FORMAT Voice Play Mode : Shifts to Voice Edit Mode and receives data (Screen shift). Voice Edit Mode : The Mode stays as it is, receiving data (Screen shift). Multi Play Mode : Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Multi Edit Mode : Shifts to the Voice Edit Mode and re- ceives data (Screen shift). Shifts to the Voice Edit mode and re- ceives data (Screen shift). Utility Mode [Cautions] When the element C data is received in the A-B (2 element) mode, only the screen changes to the element A. When the element D data is received, only the screen changes to the element B. 3.1.5 Multi Data parameter change 11110000 FO 01000011 43 0001nnnn nann = Device Number 00100110 26 00000100 04 Caaaaaaa аааааза 0000bbbb bbbb ÜCCCCCCE cecccce Occcecce ccecece ST of appended table 1-5 Channel Number (MSB7bits) Fl of appended table 1-5 (15B7b1ts) F2 of appended table 1-5 00000009 d (MS8) Bl of appended table 1-5 Oddddddd ddddddd {LSB/7bits} B2 of appended table 1-5 0000000v y Data Value (MSB) Оууууууу VUVVUVY Data Value (LSB/7bits) 11119111 F7 This message is used to change the Multi Data for each parameter. When this message is received, the following results auto- matically. Voice Play Mode : Shifts to Multi Edit Mode and receives data (Screen shift). Voice Edit Mode : Shifts to Multi Edit Mode and receives data (Screen shift). Multi Play Mode : Shifts to Multi Edit Mode and receives data (Screen shift). Multi Edit Mode : The Mode stays as it is, receiving data (Screen shift). Shifts to the Multi Edit Mode and re- ceives data (Screen shift). Utility Mode [Cautions] The Channel Number is ignored if not the parameter for each channel. 3.1.6 System Data parameter change 11110000 FO 01000011 43 O0Ginnnn nnnn = Device Number 00100110 26 00000101 05 Üaaaaaaa авазааа = ST of appended table 1-6 00000000 00 Ocececee ccccccc = (MSB/bits) Fl of appended table 1-6 Qcéceccc ceccccc — (LSB7bits) F2 of appended table 1-6 00000009 d = (M58) Bl of appended table 1-6 09990999 ddddddd = (15876115) B2 of appended table 1-6 0000000v \ - Data Value (MSB) Ovvvvvyy vyvvyvy = Data Value (LSB7bits) 11110111 F7 This message is used to change the System Data for each parameter, When this message is received, the following results auto- matically. 106 Voice Play Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Voice Edit Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Multi Play Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Multi Edit Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). The Mode stays as it 1s, receiving data (Screen shift). Utility Mode 3.1.7 System MIDI Data parameter change 11110000 FO 01000011 43 CO0Innnn nnnn = Device Number 00100110 26 00000119 06 Оааааааа aaadadaa — ST of appended table 1-7 00000009 00 Occcecee ceoccece Qccecece ececece 00000009 d Oddddddd ddddddd 0000000% y OY YY VV Y Y VY¥VVVVY¥ 11110111 F7 (MSB7bits) Fl of appended table 1-7 (LSB7bits) F2 of appended table 1-7 (M58) Bl of appended table 1-7 {LSB7bits) B2 of appended table 1-7 Data Value (MSB) Data Value (15875115) This message is used to change the System MIDI Data for each parameter. When this message is received, the following results auto- maticall y. Voice Play Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Voice Edit Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Multi Play Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). Multi Edit Mode : Shifts to Utility System Mode and re- ceives data (Screen shift). The Mode stays as it is, receiving data (Screen shift). Utility Mode 3.1.8 Switch Remote parameter change 11110000 FO 01000011 43 DOOLXXXX XXX = don't care 00100110 26 00000111 07 05555555 5555555 = CD of appended table 1-8 11110111 F7 All panel switches can be remotely controlled. This message has the same effect as pressing the corresponding switch. 3.1.9 Vector Mode parameter change 11110000 FO 01000011 43 0001nonn nnen = Device Number 00100110 26 00001000 08 300000$$ ss=O:OFF, L:LEVEL, 2:DETUNE 11110111 F7 Switches the Vector Mode to OFF (=Auto), LEVEL, or DE- TUNE. However, no data is received in the case of the VOICE VECTOR EDIT, COMPARE VOICE, COMPARE MULTI, and DEMO. E 4. Bulk dump Reception is enabled in cases other than Vector recording, Com- paring, Card load/save execution, and Bulk transmit execution. Transmission is executed when the "Bulk Transmit" of UTILITY MIDI is executed or Dump Request is received. 4.1 Voice data bulk dump 4.1.1 64 voice data 11110000 01000011 0000nnnn 01111110 Obbbbbbb Obbbbbbb 01001100 01001101 00100000 00100000 00110000 00110000 00110001 00110010 01010110 01000011 nnnn - Device Number ft BYTE count{MSB) BYTE countíLSB3 4CtCascii 40c¢ascii ZOCascii™ 20lascii“ S30 Cascii 30lascii” 3llascii" 32lascii“ bofascii” 43{ascii un um) ") "} "y ") ") “) “С VOICE DATA Byte count shows this area. Check sum is 275 compliment 7bits sum of their data bytes. 099949999 ddddddd L } i (Appended table 2) Oddddddd cdddddd~--- (00-03) — 05555555 5555555 CHECK SUM iis 100 msec WAIT---------++---------+--+----------- +--+ ------ Obbbbbbb BYTE countiMSB) Obbbbbbb BYTE count{L$B3 Oddddddd ddddddd VOICE DATA y 4 | (Appended table 2) Oddddddd ddddddd (04-07) Osssssss 5555555 CHECK SUM rer 100 msec WAIT ==... +. eee eee ее ass As shown in the above, voice data is divided (four voices in a set) and transmitted. Always keep 100 msec or more between transmission, } L 11110111 Е? + Reception data is written into the Internal Voice Memory (УМЕМ). + See Appended table 2 for details on each bulk dump data and dump request format. The MIDI data format is different from that on the actual memory since the data size is equal to 7 bits. 4.1.2 1 voice data 11110000 F0 01000011 43 0000rnnn nnnn 01111110 7E Obbbbbbb BYTE count{MSB) Obbbbbbb BYTE count¢LSB} 01001100 4Clascii“i” - Device Numoer MIDI DATA FORMAT 4.1.3 SY22 64 voice data Only 64 voice data out of the SY22 ALL V/M BULK DUMP are expanded into the TG33 format and received. The 16 MULTI Data is ignored. See the SY22 reference for details on data format. + The reception data is written into the Internal Voice Memory (УМЕМ). 4.1.4 SY22 1 voice data The SY22 1 VOICE BULK DUMP is expanded into the TG33 format and is received. See the SY22 reference for details on data format. + The reception data is written into the Voice Edit Buffer (VCED) and is handled as being edited. 4.2 Multi data bulk dump 4.2.1 16 multi data 11120000 FO 01000011 43 0000nnan nnnn 01111110 7£ Obbbbbbb BYTE count(M$B3 Obbbbbbb BYTE count(LSB) 01001100 Altascii"L”" H— 02001101 4Dtasciióm”) 00100000 20tascii” ”) 00100000 ¿Otascii” ”) 00110000 30(ascii1"0”) 00110000 30(ascii“0”) 00110091 31l(ascii“1”) 001100109 32(asci1"2") 01001101 4DCascii“M”) 01010191 55¢€ascii“U") Oddddddd a MULTI DATA = Device Number Byte count shows this area. Check sum 15 2’s compliment 7bits sum of their data bytes. + (Appended table 3) Oddddddd ddddddd (00-15) 0s555555 5555555 CHECK SUM 11110111 F7 ¢ The reception data is written into the Internal Multi Memory (MMEM). + See Appended table 3 for details on each buik data and bulk request format. The MIDI data format is different from that on the actual memory since the data size is equal to 7 bits. 4.2,2 I multi data 11110000 FQ 01000011 43 0000nnánñ nnnn 01111110 7E Obbbbbbb BYTE count(MSE) Obbbbbbb BYTE count(LSB) = Device Number 01001101 ADfascii"M") Byte count 00100000 20fascii" ”) shows this area. 00100000 7O0Cascti™ ") 00110000 30¢ascii“O7) 00110000 30Cascii"6") 60110901 Gitascii"l": Check sum is 00116010 32(ascii 92%) 2*s compliment 01010110 66(ascii“y") Bits sum of 0100010] 46(ascii"“£") their data bytes. Odddécce ddddddd-—1 YOICE DATA y D | (Agpended table 2}— 09999994 deddédddd — 0S555555 5555555 CHECK SUM 11119111 F7 + Reception data is written into Voice Edit Buffer (VCED) and is handled as being edited. + See Appended table 2 for details on each bulk data and bulk request format. The MIDI data format is different from that on the actual memory since the data size is equal to 7 bits. 01001100 Altascii"L") 01001101 4Dtascii"M") Byte count shows 00190000 20Cascii" “3 this area. 00100000 20Lascii" ”) 00110000 30(ascii"0”) 00110000 30(ascii"0”) 00110001 31(ascii"l"} Check sum is 90110010 32(ascii*2") 2"s compliment 01001101 4Dlascıi"M"} bits sum of 01000101 45(ascii"E”) their data bytes. Qddddddd ddddddd MULTI DATA $ 1 5 (Appended table 3 —— Oddddddd ddddddd 05355555 55558555 CHECK SUM 11110111 F7 ¢ The reception data is written into the Multi Edit Buffer (MCED) and is handied as being edited. + See Appended table 3 for details on each bulk data and bulk request format. The MIDI data format is different from that on the actual memory since the data size is equal to 7 bits. 107 MIDI DAFA FORMAT 4.3 System data bulk dump 5. Status FE (Active Sensing) 11110000 FO ei 01000011 43 a) Transmission 0000nnnn nnnn = Device Number No transmission 01111130 7E | Obbbbbbb BYTE count (MSB) b) Reception Obbbbbbb BYTE caunt(LSB) 01001100 Allascii"L”) 01001101 AD(asctii M") 00100000 ?20O(ascii* “) 00100000 20(ascii® ”) 290110000 30¢ascii“0") ) ) If no signal arrives through MIDI port for approximately 300 Byte count shows msec or more after receiving the FE once, the MIDI reception this area. buffer is cleared and the remaining key-on data is keyed off. 00110000 30(ascii”"0” 00110001 3lfascii“1" Check sum is 00110010 32(ascii*2”) 2*s compliment 01010011 53(ascii%5”) 7bits sum of 01011001 59 asciı"Y") their data bytes. Oddddddd ddddddd SYSTEM DATA 1 1 (Appended table 4}—— Oddddddd ddddddd 05555555 5555555 CHECK SUM 11110111 F? + See Appended table 4 for details on each bulk data and bulk request format. The MIDI data format is different from that on the actual memory since the data size is equal to 7 bits, 108 Zu <Table 1-1> MIDI Parameter Change table (Voice Common) $FO, $43, $1n, $26, $00, $ST, $00, $F1, $F2, $В1, $B2, $V1, V2, $F7 Note) n ; device number УТ; MSB of parameter value V2; LSB 7bits of parameter value MIDI DATA FORMAT ST F1 F2 B1 B2 data name data range 0 $00 $00 $00 $01 $7E CONFIGURATION $00:A-B, $01:A-B-C-D 1 $01 $00 $01 $01 $7F EFFECT TYPE 0:Rev Hall 1:Rev Room 2:Rev Plate 3:Rev Club 4:Rev Metal 5:Delay 1 6:Delay 2 7:Delay 3 8:Doubler 9:Ping_ Pong 10:Pan Ref 11:Early Ref 12:Gate Rev 13:Dly&Rev 1 14:Diy&Rev 2 15:Dist8 Rev 2 $02 $00 $02 $01 $7F EFFECT BALANCE 0-127 3 $02 $00 $06 $01 $7F EFFECT SEND LEVEL 0-127 4 $09 $00 $0C $01 $7F VOICE NAME 1 32-127 (ASCII 5 $09 $00 $0D $01 $7F VOICE NAME 2 32-127 (ASCII) 6 $09 $00 $0E $01 $7F VOICE NAME 3 32-127 (ASCII) 7 $09 $00 $0F $01 $7F VOICE NAME 4 32-127 (ASCII) 8 $09 $00 $10 $01 $7F VOICE NAME 5 32-127 (ASCII 9 $09 $00 $11 $01 $7F VOICE NAME 6 32-127 (ASCII) 10 $09 $00 $12 $01 $7F VOICE NAME 7 32-127 (ASCII) 11 $09 $00 $13 $01 $7F VOICE NAME 8 32-127 (ASCII) 12 $03 $00 $14 $01 $7F PITCH BEND RANGE 0-12 13 $06 $00 $15 $01 $3F AFTER TOUCH LEVEL $00:off, $40:0n 14 $05 $00 $15 $01 $5F AFTER TOUCH PM $00:off, $20:on 15 $05 $00 $15 $01 $6F AFTER TOUCH AM $00:off, $10:on 16 $04 $00 $15 $01 $7D MODULATION WHEEL PM $00:off, $02:on 17 $04 $00 $15 $01 $7E MODULATION WHEEL AM $00:off, $01:0n 18 $06 $00 $16 $01 $7F PITCH BIAS —12-+12 (2’s comp) 19 $01 $00 $17 $01 $7F EG DELAY RATE 0:0~127:99 20 $07 $00 $18 $01 $7F EG ATTACK RATE $C1:-99-$00:0 —99-$3F:+99 21 $07 $00 $19 $01 $7F EG RELEASE RATE $C1:-99-$00:0 -99-$3F:+99 [Cautions] The Element EG Delay Rate screen appears when the EG DELAY RATE is received. 109 MIDI DATA FORMAT <Table 1-2> MIDI Parameter Change table (Voice Vector) $FO, $43, $1n, $26, $01, $ST, $00, $F1, $F2, $B1, $B2, $V1, V2, $F7 Note) n ; device number УТ; MSB of parameter value V2, LSB 7bits of parameter value ST F1 Fe Bi B2 data name data range 0 $00 $00 $00 $01 $7F LEVEL SPEED 0:160msec 1:10msec 15:150msec 1 $03 $00 $01 $01 $7F DETUNE SPEED 0:160msec 1:10msec 15:150msec 2 $02 $00 $02 $01 $7F LEVEL TIME 1 0-253, 255:End 3 $02 $00 $03 $01 $7F | LEVEL X-AXIS 1 0:-31-31:+0-62:+31 4 $02 $00 $04 $01 $7F LEVEL Y-AXIS 1 0:-31-31:+0-62:+31 128 $02 $01 $00 $01 S7F LEVEL TIME 43 0-253, 254:Repeat, 255:End 129 $02 $01 $01 $01 $7F LEVEL X-AXIS 43 0:31-31:+0-62:+31 130 $02 $01 $02 $01 $7Е LEVEL Y-AXIS 43 0:—31-31:+0-62:431 149 $02 $01 $15 $01 $7F LEVEL TIME 50 0-253, 254:Repeat, 255:End 150 $02 $01 $16 $01 $7F LEVEL X-AXIS 50 0:-31-31:+0-62:+31 151 $02 $01 $17 $01 $7F LEVEL Y-AXIS 50 0:-31-31:+0-62:+31 152 $05 $01 $18 $01 $7F DETUNE TIME 1 0-253, 255:End 153 $05 $01 $19 $01 $7F DETUNE X-AXIS 1 0:-31-31:+0-62:+31 154 $05 $01 $1A $01 $7F DETUNE Y-AXIS 1 0:-31-31:+0-62:+31 254 $02 $01 $7E $01 $7F LEVEL TIME 35 0-253, 254:Repeat, 255:End 255 $02 $01 $7F $01 $7F LEVEL X-AXIS 35 0:-31~31:4+0~62:4+31 256 $02 $02 $00 $01 $7F LEVEL Y-AXIS 35 0:-31-31:+0-62:+31 299 $05 $02 $2B $01 $7F DETUNE TIME 50 0~253, 254:Repeat, 255:End 300 $05 $02 $20 $01 $7F DETUNE X-AXIS 50 0:—31-31:+0-62:+31 301 $05 $02 $20 $01 $7F DETUNE Y-AXIS 50 0:-31-31:+0-62:431 110 <Table 1-3> MIDI Parameter Change table (Voice Element Tone) $FO, $43, Sin, $26, $02, $ST, $0b, $F1, $F2, $B1, $B2, $V1, V2, $F7 Note) п ; device number b ; element number 0:Element A, 1:Element B, 2:Element C, 3:Element D V1, MSB of parameter value V2; LSB 7bits of parameter value (1) Element A or € MID! DATA FORMAT ST Fi F2 B1 B2 data name data range pa COCO 11 $00 $01 $05 $04 $07 $09 $08 $08 $07 $07 $03 $02 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $01 $02 $02 $03 $03 $04 $05 $06 $07 $08 $09 $01 $01 $01 $01 $00 $01 $01 $01 $01 $01 $01 $01 $7F $7F $0F $70 $1F $60 $7F $7F $70 $60 $78 $7F WAVE TYPE FREQUENCY SHIFT AFTER TOUCH SENSITIVITY VELOCITY SENSITIVITY LFO TYPE LFO SPEED LFO DELAY LFO RATE LFO AM LFO PM PAN VOLUME 0-127 -12-+12 (2's comp) $50:-3 $60:-2 $70:-1 $00:+0 $10:+1 $20:+2 $30:+3 $06:—5 $07:—4 $08:-3 $09:—2 $0A:-1 $00:+0 $01:+1 $02:+2 $03:+3 $04:+4 $05:+5 $00:saw down $20:triangle $40:square $60:sample & hold $80:saw up $00-$1F 0:0-127:99 127:0-0:99 $00~$0F $00~$1F $00:left $01 :left center $02:center $03:right center $04:right 127:0-0:99 111 MIDI DATA FORMAT (2) Element B or D ST F1 F2 B1 B2 data name data range Li O 00 0 st 11 13 $00 $01 $05 $04 $07 $09 $08 $08 $07 $07 $03 $06 $06 $02 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $00 $16 $17 $18 $18 $19 $19 $1A $1B $1C $1D $1E $1F $21 $2D $01 $01 $01 $01 $00 $01 $01 $01 $01 $01 $01 $01 $01 $01 $7F $7F $0F $70 $1Е $60 $7Е $7Е $70 $60 $78 $78 $7Е $7Е WAVE TYPE FREQUENCY SHIFT AFTER TOUCH SENSITIVITY VELOCITY SENSITIVITY LFO TYPE LFO SPEED LFO DELAY LFO RATE LFO AM LFO PM PAN FEED BACK TONE LEVEL VOLUME 0-255 —12-+12 (2's comp) $50:-3 $60:—2 $70:-1 $00:+0 $10:+1 $20:+2 $30:+3 $06:-5 $07:-4 $08:-3 $09:-2 $0A:-1 $00:+0 $01:+1 $02:+2 $03:+3 $04:+4 $05:+5 $00:saw down $20:triangle $40:square $60:sample & hold $80:saw up $00~$1F 0:0~127:99 127:0~0:99 $00~$0F $00~$1F $00:left $01 Лей center $02:center $03:right center $04:right $00-$07 127:0-0:99 127:0-0:99 112 <Table 1-4> MIDI Parameter Change table (Voice Element Envelope) $FO, $43, $1n, $26, $03, $ST, $0b, $F1, $F2, $B1, $B2, $V1, V2, $F7 Note) п ; device number b ; element number 0:Element A, 1:Element В, 2:Element С, 3:Element D VI ; MSB of parameter value V2 ; LSB 7bits of parameter value (1) Element A or C MIDI DATA FORMAT ST F1 F2 B1 B2 data name data range 0 $00 $00 $08 $01 $0F TYPE $00:user $10:preset $20:piano $30:quitar $40:pluck $50:brass $60:strings $70:organ 1 $07 $00 $0B $00 SOF LEVEL SCALING $00:1~$F0:16 2 $08 $00 $0B $01 $78 RATE SCALING $00:1-$07:8 3 $01 $00 $0C $00 $7F DELAY ON/OFF $00:off, $80:on 4 $03 $00 $0C $01 $40 ATTACK RATE $00:0~$3F :99 5 $04 $00 $0D $01 $40 DECAY1 RATE $00:0~$3F:99 6 $05 $00 $0E $01 $40 DECAY2 RATE $00:0-$3F:99 7 $06 $00 $0F $01 $40 RELEASE RATE $00:0-$3F:99 8 $02 $00 $10 $01 $00 INITIAL LEVEL $7F:0-$00:99 9 $03 $00 $11 $01 $00 ATTACK LEVEL $7F:0-$00:99 10 $04 $00 $12 $01 $00 DECAY1 LEVEL $7F:0-$00:99 11 $05 $00 $13 $01 $00 DECAY2 LEVEL $7F:0-$00:99 (2) Element B or D ST F1 F2 Bi B2 data name data range 0 $00 $00 $1E $01 $0F TYPE $00:user $10:preset $20:piano $30:guitar $40:pluck $50:brass $60:strings $70:organ 1 $07 $00 $2F $00 $0F LEVEL SCALING $00:1~$F0:16 2 $08 $00 $2F $01 $78 RATE SCALING $00:1-$07:8 3 $01 $00 $30 $00 $7F DELAY ON/OFF $00:off, $80:on 4 $03 $00 $30 $01 $40 ATTACK RATE $00:0-$3F:99 5 $04 $00 $31 $01 $40 DECAY1 RATE $00:0-$3F:99 6 $05 $00 $32 $01 $40 DECAY2 RATE $00:0-$3F:99 7 $06 $00 $33 $01 $40 RELEASE RATE $00:0-$3F:99 8 $02 $00 $34 $01 $00 INITIAL LEVEL $7F:0~$00:99 9 $03 $00 $35 $01 $00 ATTACK LEVEL $7F:0-$00:99 10 $04 $00 $36 $01 $00 DECAY1 LEVEL $7F:0-$00:99 11 $05 $00 $37 $01 $00 DECAY2 LEVEL $7F:0-$00:99 113 MIDI DATA FORMAT <Table 1-5> MIDI Parameter Change table (Multi) SFO, $43, $1n, $26, $04, $ST, $0b, $F 1, $F2, $B1, $B2, $V1, V2, $F7 Note) п ; device number b ; channel number V1 ; MSB of parameter value V2; LSB 7bits of parameter value ST F1 F2 B1 B2 data name data range 0 $08 $00 $00 $01 $7F EFFECT TYPE 0:Rev Hall 1:Rev Room 2:Rev Plate 3:Rev Club 4:Rev Metal 5:Delay 1 6:Delay 2 7:Delay 3 8:Doubler 9:Ping_Pong 10:Pan Ref 11:Early Ref 12:Gate Rev 13:Dly&Rev 1 14:Dly&Rev 2 15:Dist&Rev 1 $09 $00 $01 $01 $7F EFFECT BALANCE 0-127 2 ФОА $00 $05 $01 $7F GROUP1 EFFECT SEND LEVEL 0~127 3 SOA $00 $06 $01 $7F GROUP2 EFFECT SEND LEVEL 0-127 4 $07 $00 $07 $01 $7D GROUP2 OUTPUT SELECT $00:out1, $02:out2 5 $07 $00 $07 $01 $7E GROUP OUTPUT SELECT $00:out1, $01 :out2 6 $0B $00 $0D $01 $7F MULTI NAME 1 32-127 (ASCII) 7 $0B $00 $0E $01 $7F MULTI NAME 2 32-127 (ASCH) 8 $0B $00 $0F $01 $7F MULTI NAME 3 32-127 (ASCII) 9 $0B $00 $10 $01 $7F MULTI NAME 4 32-127 (ASCII) 10 $0B $00 $11 $01 $7F MULTI NAME 5 32-127 (ASCII 11 $0B $00 $12 $01 $7F MULT! NAME 6 32-127 (ASCII) 12 $0B $00 $13 $01 $7F MULTI NAME 7 32-127 (ASCII) 13 $0B $00 $14 $01 $7F MULTI NAME 8 32-127 (ASCII) 14 $05 $00 $15 $01 $7F ASSIGN MODE 0:32/0, 1:24/8, 2:16/16 ST F1 F2 81 B2 data name data range <The same structure in the order of channels 1-16 in the following> 0 $00 $00 $00 $01 $77 VOICE SWITCH $00:off voice, $08:on 1 $06 $00 $00 $01 $78 SEND GROUP $00:group1, $04:group2 2 $00 $00 $01 $01 $7F VOICE MEMORY O: internal (Card1, Card2) 1:Preseti 2:Preset? 3 $00 $00 $02 $01 $7F VOICE NUMBER 0~63 4 $01 $00 $03 $01 $7F VOLUME 127:0~0:99 5 $02 $00 $04 $01 $7F DETUNE —50~+50 (2’s comp) 6 $03 $00 $05 $01 $7F NOTE SHIFT —24~+24 (2's comp) 7 $04 $00 $06 $01 $7F PAN O:left 1 :left center 2:center 3:right center 4:right 5:voice 114 MIDI DATA FORMAT <Table 1-6> MIDI Parameter Change table (System) SFO, $43, $1n, $26, $05, $ST, $00, $F1, $F2, $B1, $B2, $V1, V2, $F7 Note) п; device number УТ; MSB of parameter value V2; LSB 7bits of parameter value ST F1 F2 B1 B2 data name data range 0 $01 $00 $04 $01 $7F TRANSPOSE —12-+12 (2's comp) 1 $00 $00 $05 $01 $7F MASTER TUNE ~50~+50 (2's comp) 2 $02 $00 $01 $01 $77 CONTROLLER RESET $00:hold, $08:reset <Table 1-7> MIDI Parameter Change table (System MIDI) $FO, $43, $1n, $26, $06, $ST, $00, $F1, $F2, $B1, $B2, $V1, V2, $F7 Note) n ; device number УТ; MSB of parameter value V2; LSB 7bits of parameter value ST F1 F2 B1 B2 data name data range 0 $03 $00 $00 $01 $7F DEVICE NUMBER 0-15, 16:all 1 $03 $00 $01 $01 $7B EXCLUSIVE ON/OFF $00:off, $04:on 2 $02 $00 $01 $01 $7C PROGRAM CHANGE $00:off, $01:on 3 $00 $00 $02 $01 $7F VOICE RECEIVE CHANNEL 0-15, 16:omni 4 $01 $00 $03 $01 $7F VECTOR CHANNEL 0-15 <Table 1-8> MIDI Parameter Change table (Switch Remote) SFO, $43, $1x, $26, $07, $CD, $F7 Note) x ; don’t care CD switch CD switch 0 00 VECTOR 1 302 E 17 $12 BANK SELECT 6 2 $03 > 18 $13 BANK SELECT 7 3 $04 +1 19 $14 BANK SELECT 8 4 $05 = 20 $t5 PROGRAM SELECT 1 5 $06 VOICE 21 $16 PROGRAM SELECT 2 6 $07 MULTI 22 $17 PROGRAM SELECT 3 7 $08 EDIT/COMPARE 23 $18 PROGRAM SELECT 4 8 $09 STORE/COPY 24 — $19 PROGRAM SELECT 5 9 SOA CARD 25 $1A PROGRAM SELECT 6 10 $0B INTERNAL 26 $18 PROGRAM SELECT 7 11 $00 PRESET 27 $1C PROGRAM SELECT 8 12 $0D BANK SELECT 1 28 $1D DEMO 13 $0E BANK SELECT 2 29 $1E UTILITY 14 $0F BANK SELECT 3 30 $21 PAGE < 15 $10 BANK SELECT 4 31 $22 PAGE > 16 $11 BANK SELECT 5 32 $25 EFFECT BYPASS 115 MID! DATA FORMAT <Appended table 2> The data format of each voice of (64) voice bulk is the same as that of 1 voice bulk. Only those with data at the MSB are 2-byte data. Mb7-Mbi="0000000 ' 00 0 0 0. 0. 0900 DRM 2/4 01 6 0 O QO ----EFFECT----- 02 Q ------ EFFECT BALANCE------- 03 D ------- ((don’t care))------ 04 Do ------. ((don’t care})------ 05 Q ------- ((don’t care))------ 06 D ------ EFFECT SEND---------- 07 0 ------- ((don*t care})------ 08 0 ------- ((don’t care})------ 09 0 ------- ({don't care})------ OA Q ------- ((don't саге? ) - - - -- - OB DO ------- {{don't care})------ OC Ü -------.- NAME 1------------ OD Q --------- МАМЕ 2------------ OE Q --------- NAME 3З------------ OF Q --------- МАМЕ 4------------ 10 D --------- NAME 5------------ 11 Do -------..- NAME 6------------ 1 2 Q --------- NAME 7------------ 13 DO --------.- NAME 8------------ 14 0 0 0 0 “PITCH BEND R- 0 -AFTER TUCH- PIT -WHEEL- 15 0 LEV PM АМ 0 TYP РМ AM 16 17 > Q ----- AFTER PITCH----------- 18 о ----- EG DELAY RATE--------- 19 1A > 0 --COMMON ENV. ATTACK------- 18 1€ > 0 --COMMON ЕМУ. RELEASE------ Kerken KAKA KKK ELEMENT А RRR 2.2 2.2 2.2 2.2 2020 1D 0 ------- WAVE N9.-----------.- 1Е 1F > Q ----FREQUENCY SHIFT-------- 20 O -AFTER SNS- -VELOCITY TYP-- 21 22 > 0 LFO TYP ----- LFO SPEED----- 23 24 0 п ----- LFO DELAY TIME-------- 25 26 > 0 ----- LFO DELAY RATE-------- 27 0 O QO AM ---AM DEPTH---- 28 0 Q PM ----- PM DEPTH----- 29 0 --EG TYPE-- 0 ----РАМ 2A 0 -------. VOLUME------------- 28 0 0 DT2-- ----- DT1------- гс 20 0 -L.SCALING- --RATE SCALING- 2E 2F DLAY 0 0 ------ EG AR------------ 30 31 0 MAX ------ EG DIR----------- 32 0 QO ------ EG D2R----------- 33 D OQ -----. EG RR------------ 34 0 ---------.- EG IL------------ 35 D ---------- EG Al------------ 36 QO ---------- EG DIL----------- 37 D ---------- EG B2L----------- 38 Do ------- (don't care))}------ 39 D ------- ((don*t care))------ Kk oe ke kok ke kkk A ELEMENT В Krk A A Aa a a ЗА ЗВ > 0 п ------- WAVE №. ----------- - 3C 30 > 0 ----FREQUENCY SHIFT-------- 3E O -AFTER SNS- -VELOCITY TYP-- ЗЕ 40 O LFO ТУР ----- LFO SPEED----- 41 42 > 0 ----- LFO DELAY TIME-------- 43 44 О ----- LFO DELAY RATE-------- 45 0. QO QO AM ---AM DEPTH---- 46 0 0 PM ----- PM DEPTH----- 47 9 --EG TYPE-- 0 ----PAN---- 48 0 --CONNECT-- 09 --FEEDBACK- 49 ДА МЕХ 0 --M WAVE--- ----M MULTI---- 4B Do -------- TONE LEVEL--------- AC Q O -M DT2- ----M DTi------ 4D 4E O M L.SCALING -M RATE SCALING 4F 50 MDY 0 9 ------ М EG АК---------- 51 52 D MAX ------ М EG DIR-------.-- 93 0 Q ------ M EG DeR--------- 54 D QO ------ M EG RR---------- 55 O ---------- M EG IL---------- 56 O ---------.- М EG AL---------- 57 D ---------- M EG DIL--------- 116 58 0 59 BA CFX 0 5B 0 50 0 50 SE 0 5F 60 CDY 0 61 62 0 63 0 64 0 65 0 66 0 67 0 68 0 69 0 6A 0 Kee AAA A KK RE RA 6B 0 85 0 86 0 87 0 KARA SG a a 88 89 0 B6 0 B7 0 B8 0 ERRE AAA AA B9 0 BA 0 KA KR u EH BB BC > 0 BD 0 BE 0 RRA AAA 183 184 > 0 185 0 186 0 244 VOICE bulk dump request 0 -C DT2- ----C DT1------ C L.SCALING -C RATE SCALING TT (don't carej)------ ts ((don’t care))------ ELEMENT С xkxxkkxxxxx xx 4x kk x x 7277 ({don't care))------ 722772 ({don't care)}------ ELEMENT D ххжжжжжхжухжжжжикях ------- WAVE №0. ------------ Trt С EG D2L--------- trie ((Чоп’Е care))------ mn ((don’t care)}------ VECTOR KKK KK RK KKK EK KR EK O @ 0. --LEVEL SPEED-- 0 O 0 --DETUNE SPEED- LEVEL VECTOR kok kok kkk kkk kkk kk "LEVEL TIME INTERVAL STEP- in LEVEL X-axis------ Tate LEVEL Y-axis------ DETUNE VECTOR kaekkkkkkk kkk kkk -DETUNE TIME INTERVAL STEP- mt DETUNE X-axis------ ne DETUNE Y-axis------ 1 VOICE bulk dump request data he. O © © —j OU B & ND = © = 0 0 1 11 2 12 V 13 C 14 $F7 data 0 $FO 1 $43 2 $2n 3 $7E 4 L 5 M 6 sms 7 — 8 0 9 0 10 1 11 2 12 V 13 E 14 $F7 n: device number <Appended table 3> MIDI DATA FORMAT The data format of each voice of (64) voice bulk is the same as that of 1 voice bulk. Only those with data at the MSB are 2-byte data. Mb7-Mb1l='0000000' 00 0 01 0 02 0 03 0 04 0 05 0 06 0 07 0 08 0 09 0 DA 0 OB 0 OC 0 OD 0 DE 0 OF 0 10 0 1] 0 12 0 13 0 14 0 15 0 16 0 17 0 18 0 19 0 1A 0 1B 0 LC 0 1D 0 LE 0 LF 0 20 0 21 0 22 0 23 0 24 25 > 0 26 27 > 0 28 0 29 0 СА 9 Akku. 2B 33 0 34 0 35 0 wok kom wow kee kok ok de ok ie dr 36 0 ЗЕ 0 ЗЕ 0 40 0 i A AA A 41 0 49 0 ЦА 0 4B 0 kak RRR RARA AAA ac 0 54 0 55 0 96 0 AAA AAA HK a AH A 57 0 SF 0 0 0 QO ----EFFECT----- is EFFECT BALANCE------- cts (don't care))------ Se ((don't care))------ ren (don't care))------ ----GROUPI EFFECT SEND----- --GROUP2 EFFECT SEND----- GRP2GRP1 0. 0. 0 O 0 1/2 1/2 ттт > ((don’t саге) )------ rein (don't саге) )------ ÓN ((don*t care})------ Det {(don't care))------ Ft ((don’t care))------ ne МАМЕ 1------------ Dt NAME 2------+----- Stee NAME 3------------ Soe NAME 4------------ Ls NAME 5--------+-+--- wes NAME 6------------ Tt МАМЕ 7 ------------ Dt МАМЕ 8------------ 0 0 O 00 -ASIN ттт - (don't саге? ) - - - - - - Dt (don't care))------ Dtos (don't care}}------ Does ((don’t care})------ St te (tdon*t care))------ Se ((don't care))------ nn (don't care))------ nenn ((don’t care))------ cn ({don't care))------ mind ({don’t саге) } - - - - - - CHANNEL ] Herr GRP 0 0 О УЗИ 1/2 0 0 0 0 0 0 п 0 ---MED-- 0 ---.. VOICE NUMBER----- ee VOLUME------------- ce DETUNE------------- ee NOTE SHIFT--------- 0 0 O O ----PAN---- nn ((don’t care))------ int ((don't care))------ CHANNEL 2 eK A 0 0 O VSW 1/2 0 0 0 0 0 0 ----PAN---- an ((don’t care})}------ nn ((don't care))------ CHANNEL 3 eee e ee de de 0 0 O VSW 1/2 0 0 0 0 0 0 ----PAN---- тт ({don’t саге) ) - -- - - - So ((don*t care))------ CHANNEL 4 Fre 0 9 0 VSW 1/2 0 0 0 0 0 В ----PAN---- ....r ((don't care))------ Tos ((don*t care))------ CHANNEL 5 ****RRARARA RARA RRA 0 0 O УЗИ 1/2 0 0 0 0 O D ----PAN---- u ((don’t care))------ > ((qo0n"t care))------ CHANNEL 6 FRR RRR de eee ke ee 0 0 O VSW 1/2 0 0 0 0 0 Q ----PAN---- 60 0 61 О FH KH HK 62 0 6 À 0 6B 0 6C 0 doko wok we kkk ke KE 6D 0 75 0 76 0 77 0 Ferien 78 0 80 О 81 0 82 0 E e e a ie 83 0 8В 0 BC 0 8D 0 E eS ВЕ 0 96 0 97 0 98 0 AAA A HH EE 99 0 Al 0 Al 0 АЗ 0 WERK KE Keke LE ERE EE Ad 0 АС 0 AD 0 АЕ 0 AAA AA A A кяая AF 0 B 7 0 B8 0 BY 0 KATH LE BA 0 C2 0 C3 0 C4 0 kkk eke ee beak kkk EK C5 0 CD 0 СЕ 0 CF 0 mot ((don’t care))------ moss (£tdon"t care))------ CHANNEL 7% wR ke ee ee 0 O VSW 1/2 0 0 0 0 QO ----PAN---- a (don't care))------ ----- ((don*t care})------ CHANNEL 8 de RA ke ke ee et 0 0 VSW 1/2 0 0 0 QO O ----PAN---- nen ((don't care))------ een ((don’t care))------ CHANNEL 9 #* RRR e e 0 OD VSW 1/2 0 0 0 0 O --+-PAN---- Tot ((don’t care))------ Soon tídon*t care))------ CHANNEL 10 %% xx de x ee ee ok eee ee 0 Q VSW 1/2 0 9 0 0. 0 ----PAN---- 77227 {don't care})------ een ((don’t care}}------ CHANNEL 11 Wr 0 O VSW 1/2 0 0 0 0 OQ ----PAN---- Tot ((don’t ca@re})------ ne ({don't саге? } - - - - - - CHANNEL 12 Ware ak 4 0 0 VSW 1/2 0 0 0 © Q ----PAN---- ----- ((don’t саге) } - - - - - - oo ((don’t саге) } - - - - - - CHANNEL 13 #%xx xxx et AR KK RK 0 0 VSW 1/2 0 0 0 0 Ü ----PAN---- ote ((don’t care))------ on ((don’t care))------ CHANNEL 14 %%xx x ete ei ee de ke ko de 9 O VSW 1/2 0 9 0 0 O ----PAN---- iin ((don't care})------ an ({don't care))------ CHANNEL 15 #%xx RRA A RRR KKK KK 0 0 VSW 1/2 0 0 0 00 ----PAN---- onen ({don't care)}------ son ((don’t care))------ CHANNEL IE 0 O VSW 1/2 0 0 0.0.0. ----PAN---- ct (tdon't care))------ en ((don't care)}------ 117 MIDI DATA FORMAT MULTI buik dump request 1 MULT! bulk dump request data data 0 $FO 0 $FO 1 $43 1 $43 2 $2n 2 $2n 3 $7E 3 $7E 4 L 4 L 5 M 5 M 6 — 6 — 7 — 7 — 8 0 8 0 9 0 9 0 10 1 10 1 11 2 11 2 12 M 12 M 13 U 13 E 14 $F7 14 $F7 n: device number <Table 4> Systern bulk dump Only those with data at the MSB are 2-byte data. Mb/~Mbi='0000000' 00 0 0 QG ---DEVICE МОМВЕК- - - C.R EXC Р.С 01 02 1 0 1 l 1 hir SW 0 SW 03 0 O QO -VOICE RECEIVE CH-- 04 0 0 0 QO ---VECTOR CH--- 05 06 > 0 -------- TRANSPOSE------.--. 07 08 > 0 -------- MASTER TUNE-------- bulk dump request data 0 $FO 1 $43 2 $2n 3 $7E 4 L 5 M 6 — 7 — 8 0 9 0 10 1 11 2 12 S 13 Y 14 $F7 118 n: device number YAMAHA [ Tone Generator | Date :13-JUT-1990 Model TG33 MIDI Implementation Chart Version : 1.00 Transmitted Recognized : Kemarks Function : Tm A A еее :Basic Default 1 - 16 1 - 16 : memorized Channel Changed 1 - 16 1 - 16 ii o A -_ - 2 ________L_\-_ $ — —=— ен Default 3 1,3 : memorized Mode Messages x X Altered SHEE HHHEHEH EHH x ‘ 2 _ _ _ $ — => => == - —- —- —- - _ _ _ oo. —_ ¿Note X o - 127 : Number True voice: rer 7er. % 19 - 114 : me eel + — or o eae ae — — — — Velocity Note ON x о v=1-127 : Note OFF X X TO eee on oo oo ae ee ea ee ee a ee ea LL AE — — — - - - — — ee et :After Key's x X : Touch Ch's x O : TT IT IT I `` [Ще - _ _ _ — — ILL +0 - - --- - - - - - - — — — ! :Pitch Bender X o 0-12 semi ¿7 bit resolution: 2 2 2 2 +- -— -— - еее ® X O ¿Bank Select MSB : 1 X O :Modulation Wheel: 7 X O : Volume : Control 16 O O +]: Vector X-axis 17 O O *1:Vector Y-axis Change 32 X (6) ¿Bank Select LSB 64 x O ‘Sustain Reset All Cntrls X O : = еее еее) ыы ¿Prog X o 0-79 :with Bank Select :Change True # a HEHEHE EHH EH #2: mm 2 + — System Exclusive O *3: 0 *3:Voice Parameters еек ен System Song Pos X X : Song Sel X x : : Common Tune x X : ii a A - [_ _ _____L_L_LL +- - === - - - - . _ EEE ae ¿System ¿Clock X X : ¿Real Time :Commands: x x : TT -_--- еее ee ll $ — — we == == - ===” ___. Aux ¿Local ON/OFF X x : -All Notes OFF: x X : :Mes- :Active Sense X O : ‘Sages: Reset x X : me ll À еее Notes + | ‚ receive if vector switch is on. *2 ‚ voice li - 88 , multi 11 - 28 #3 ; transmit/receive if exclusive switch is on. Mode 1 OMNI ON, POLY Mode 2 OMNT ON, MONO O Yes Mode 3 OMNI OFF, POLY Mode 4 OMNI OFF, MONO X NO For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufge- führten 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. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. | NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario. MIS 3R 1, Canada Tel: 416-298-1311 USA. Yamaha Corporation of America 6600 Orangethorpe Ave, Buena Park. Calif. 90620, USA. Tel: 714-522-9011 MIDDLE & SOUTH AMERICA | MEXICO Yamaha De Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No. 1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, О.Е. Tel: 686-00-33 BRASIL Yamaha Musical Do Brasil LTDA. Ave. Reboucas 2636, Sic Paulo, Brasil Tel: 55-11 853-1377 PANAMA Yamaha De Panama S.A. Edificio Inlerseco, Calle Elvira Mendez no, 10, Piso 3, Oficina #105, Ciudad de Panama, Panama Tel: 507-69-453]] OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp. 6101 Blue Lagoon Drive, Miami, Florida 33126, USA. Tel: 305-261-4111 EUROPE _ THE UNITED KINGDOMARELAND Yamaha-Kemble Musics (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 0908-366700 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, D-2084 Rellingen, FR. of Germany Tel: 04101-3030 AUSTRIA/HUNGARY Yamaha Music Austria GmbH, Schleiergasse 20, A-1100 Wien Austria Tel: G222-60203900 THE NETHERLANDS Yamaha Music Benelux B.V., Verkoop Administratie Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-8284] | BELGIUM/LUXEMBOURG Yamaha Music Benelux В.\., Brussels-office Keiberg Imperiasiraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Yamaha Musique France, Division Claviers ВР 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61 -4000 ITALY Yamaha Musica Italia S.P.A., Home Keyboard Division Viale Halia 88, 20020 Lainate (Milano), Italy Tel: 02-937-408 1 SPAIN Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 PORTUGAL Valentim de Carvalho CISA Estrada de Porto Salvo, Pago de Arcos 2780 Geiras, Portugal Tel: 07-443-3398/4030/1823 GREECE Philippe Nakas S.A. Navarinou Street 13, P. Code 10680, Athens, Greece Tel: OF-364-7111 SWEDEN Yamaha Scandinavia AB Т.А. Wettergrens pata 1, Box 30053, 400 43 Göteborg, Sweden Tel: 031 -496090 DENMARK Yamaha Scandinavia Filial Danmark Finsensve 86, DK-2000 Frederiksberg, Denmark Tel: 31-87 30 88 FINLAND Fazer Music Inc. Lansttuulentie 1A, SF-02100 Espoo, Finland Tel: 90-435 011 NORWAY Narud Yamaha AS @sterndalen 29, 1345 Фета; Tel: 02-24 47 90 ICELAND Pall H. Palsson Р.О. Box 85, Reykjavik, Iceland Tel: 01-19440 EAST EUROPEAN COUNTRIES (Except HUNGARY) Yamaha Europa GmbH. Sıemensstraße 22-34, D-2084 Rellingen, FR. of Germany Tel: 04101-3030 AFRICA | Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2311 | MIDDLE EAST ASIA | ISRAEL R.B.X. International Co., Ltd. PO. Box 11136, Tel-Aviv 61111, Isracl Tel: 3-298-251 TURKEY/CYPRUS Yamaha Musique France, Division Export BP70-77312 Marnc-la-Valéc Cedex 2, France Tel: 01-64-61 -4000 OTHER COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-che 10-1, Hamamatsu, Japan 430 Tel: 053-460-2311 ASIA HONG KONG Tom Lee Music Co., Ltd. 15/F., World Shipping Centre, Harbour City, 7 Canton Road, Kowloon, Hong Kong Tel: 3-722-1098 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 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. 16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Malaysia Tel: 3-77-8977 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, Makati, Metro Manila 1200, Philippines Tel: 2-85-7070 SINGAPORE Yamaha Music Asia Ptc., Ltd. 80 Tannery Lane, Singapore 1334, Singapore Tel: 747-4374 TAIWAN Kung Hsue She Trading Co., Ltd. KHS Fu Hsing Building, 322, Section |, Fu-Hsing $ Road, Taipei 10640, Taiwan, R.O.C. Tel: 2-709-1266 THAILAND Siam Music Yamaha Co., Ltd. 933/1-7 Rama | Road, Patumwan, Bangkok, Thailand Tel: 2-215-0030 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: 343-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-640-099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2311 HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Divison Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2445 dealer. SERVICE This product is supported by YAMAHA's worldwide network of factory trained and qualified dealer service personnel. In the event of a problem, contact your nearest YAMAHA YAMAHA YAMAHA © CORPORA РО Box 1 Hamamatsu, . VJ74520| JCAIRGITP3.21TP Printed in ">

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