Yamaha CS1X de handleiding

Merk: Yamaha

Model: CS1X

Categorie: Synthesizer

Type: de handleiding

PRECAUTIONS

IMPORTANT! PLEASE READ

BEFORE PROCEEDING.

Following the important precautions below will help ensure you

many years of trouble free use from your CS1x.

LOCATION

• In order to avoid causing serious damage to

the CS1x, do not expose it to direct sunlight,

high temperatures, excessive humidity,

excessive dust or strong vibration.

• Always place the CS1x on a solid surface such

as a keyboard stand or a sturdy table or desk.

POWER SUPPLY

• Turn the power switch off when the CS1x is

not in use.

• Use only the supplied PA-3B or an equivalent

AC power adaptor. Use of an incompatible

adaptor may result in irreparable damage to

the CS1x, and could even pose a serious

shock hazard.

• The power adaptor should be unplugged

from the AC outlet if the CS1x is not to be

used for an extended period of time.

• Unplug the CS1x during electrical storms.

• Avoid plugging the CS1x into the same AC

outlet as appliances with high power

consumption such as electric heaters or

ovens. Also avoid using multiple-plug

adapters since these can result in reduced

sound quality and possibly even damage to

the instrument.

UNPLUG ALL INSTRUMENTS

WHEN MAKING CONNECTIONS

• To avoid causing damage to the CS1x and

other devices to which it is connected, such

as a sound system or MIDI instruments, turn

off the power and unplug all related devices

prior to connecting or disconnecting audio

and MIDI cables.

ELECTRICAL INTERFERENCE

• Avoid using the CS1x near televisions, radios

or other devices which generate

electromagnetic fields, since this may cause

the CS1x to malfunction, and possibly

generate interference noise in the other

devices.

BACK-UP BATTERY

• The CS1x contains a special long-life battery

that retains the contents of its User memory

when the power is turned off. The back-up

battery should last for several years. When it

needs to be replaced, the message "Battery

Low" will appear in the display when the

power is turned on. When this happens, have

the backup battery replaced by qualified

Yamaha service personnel.

Do not attempt

to replace the backup battery yourself.

HANDLING AND TRANSPORT

• Always handle the CS1x with care. Physical

shocks caused by dropping, bumping, or

placing heavy objects on it can result in

serious damage to the CS1x.

• Never apply excessive force to the controls,

connectors or other parts.

• Disconnect all cables before moving the

CS1x. Always unplug cables by gripping the

plug firmly, and not by pulling on the cable.

CLEANING

• Never use chemical solvents or thinners to

clean the CS1x, since these will damage the

finish or dull the keys. Wipe the instrument

clean with a soft, dry cloth. If necessary, use

a soft, clean cloth slightly moistened with a

diluted, mild detergent. Then wipe the

instrument thoroughly with a dry cloth.

• Avoid placing vinyl objects on top of the

instrument, since vinyl can stick to and

discolor the surface.

DATA BACKUP

• Yamaha recommends that you regularly save

your music data using an external MIDI data

storage device such as the Yamaha MDF2

MIDI Data Filer. Yamaha cannot be held

responsible for the accidental loss of CS1x

data.

SERVICE AND MODIFICATION

• The CS1x contains no user serviceable parts,

so never open the case or tamper with the

internal circuitry in any way. Doing so may

result in electrical shock or damage to the

instrument. Refer all servicing to qualified

Yamaha service personnel.

IMPORTANT NOTE

Yamaha cannot be held responsible for damage

to the CS1x resulting from improper handling

or operation, or for the accidental loss of CS1x

data.

NOTICES

• The company names and product names in

this owner's manual are the trademarks or

registered trademarks of their respective

companies.

• The LCD screens as illustrated in this owner's

manual are for instructional purposes, and may

appear somewhat different from the screens

which appear on your instrument.

In the beginning, there was the knob…

And the knob was good. Great, in fact.

You could just reach out and grab it. Turn it left. And turn it right.

Interact with it in realtime.

And there were knobs of all kinds. Knobs for changing the attack

and release times of a sound. Knobs for setting the cutoff filter and

resonance. And knobs for controlling many other aspects of analog

synthesizer sounds.

By twisting a knob one way and another, a vast, practically endless

variety of electronic sounds could be called forth. Fat sounds. Strange

sounds. Beautiful sounds. Magical sounds.

It was the 1960s, and such was the power of the knob that music

was changed forever.

And the term synthesizer became a household word.

But the knob was not perfect…

From the start the knob was brilliant and easy to grasp. It put the

musician in complete control of the sound. And opened up a whole

new world of sonic exploration.

It was the 1970s, and some of the greatest recordings in music history

were being made. Analog "synths" were finding their way into the stages,

studios and professional composing suites of the world.

But as simple, straightforward and powerful as analog synths were,

they were also for the most part priced out of reach of the struggling

musician. Plus they tended to be sensitive to slight fluctuations in electric

current which frequently wreaked havoc with pitch, thus making tuning

inherently unstable.

And there was no reliable way to save panel settings and original

sounds except for tediously scrawling lists and notes with pencil and

paper.

Surely there must be a better way.

Engineers the world over went to work searching for a better way,

and great strides were made in the development of more stable, lower

cost, and more convenient technologies.

A breakthrough in electronic sound synthesis was imminent.

Then came the miracle of digital…

The beginning of the 1980s saw breakthroughs in digital synthesizer

technology which was to once again revolutionize modern music.

Musicians everywhere embraced affordable new technologies like

FM, which could accurately reproduce the sound characteristics of

acoustic and other instruments, and AWM (PCM), which relied on

"samples" of actual instrument sounds to produce an amazing wealth

of musical textures and sonic options.

The new spate of digital synthesizers were—on the outside—much

more streamlined than analog synths, sporting a minimal array of buttons

and a display screen which provided information about each feature.

Overnight the knob was rendered virtually obsolete.

Unstable tunings were a thing of the past. Memory was the future.

Digital synths were—on the inside—more loaded than ever, as

hundreds of amazing acoustic and electronic sounds, or voices, could

be stored and recalled at the touch of a button. Scores of new and exciting

features were available. Entire panel settings and configurations could

also be stored for instant recall.

It was the digital revolution that made MIDI, GM, XG, sequencing,

sampling, looping, multitimbral play, DSP effects and many other

breakthroughs in electronic music technology possible.

Developments that have changed forever the way we teach, compose,

Introduction

on the panel.

A collection of six rotary Sound Control Knobs are irresistible to the

touch—and provide instant sonic results when turned.

Between the Sound Control Knobs, the clearly labeled panel switches,

and the back lit LCD, the current status of the CS1x is always crystal

clear.

The numeric keypad and other buttons—including Scenes, or

"snapshots" of knob positions—give you quick and easy access to any

parameter or setup you need, the moment you need it.

As such, the CS1x is an unprecedented realtime performance

instrument.

The hundreds of great sounding AWM2 (Advanced Wave Memory

2) instrument voices (created from high quality recordings of actual

instrument and other sounds), three digital effects units (with 11 Reverb,

11 Chorus and 43 Variation type effects) and scores of other parameters

can be configured in an almost unlimited variety of ways and stored in

memory for instant recall.

Performances, or complete configurations of up to four Layers

(voices) playing simultaneously, plus effect and other parameters, and

Multis, or a configuration of up to 16 Parts and other parameters for

multitimbral play (using an external sequencer or computer), provide a

unique array of options which make the CS1x a handy synth for literally

any type of music situation.

Thirty-two notes of polyphony ensure that you always have enough

available notes to play even the most demanding arrangement.

The on-board arpeggiator which can generate various types of

automatic arpeggios or be controlled by an external MIDI clock provides

an extremely useful tool for spicing up your masterpieces—or setting

the dance floor on fire.

Go forth and multiply…

As simple—yet powerful—as the CS1x is on its own, it has also

been specially engineered to easily fit right into any type of expanded

music system you wish to create.

General MIDI (GM) compatibility makes the CS1x an ideal

multitimbral tone generator for accurately playing any of the many

Standard MIDI File or other commercially available GM music data using

an external sequencer.

XG compatibility makes the CS1x completely state of the art—

conveniently able to take advantage of the expanded sound and

expressive capabilities that this exciting new format will offer in the

coming months and years.

A TO HOST terminal and HOST SELECT switch provides for direct

interface with either PC and Macintosh computers, thus enabling you

to easily jump right into the "desktop music" revolution without the

need for any additional peripheral interfacing equipment.

If you're a first-time synthesizer owner, the CS1x lets you expand

your music system at your own pace.

First you might want to add an affordable Yamaha QY series

sequencer and take advantage of the CS1x's powerful multitimbral

capabilities. With a QY sequencer you can record and play back up to

16 music "parts", each on an independent MIDI channel—just like a

multitrack recorder, but with virtually unlimited editing capabilities.

Next you might want to add the compact, low-cost Yamaha SU10

sampler which lets you capture music phrases and other sounds to add

an entirely unique dimension to your music.

Finally you might want to add a computer which will let you take

advantage of the many different types of music software products now

available plus those yet to come.

With the CS1x at the heart of your system, you're ready to grow

your own unique music system and take your musical capabilities as far

as you want—naturally.

perform and listen to music.

Global design standards ensured that music hardware and software

products made by different manufacturers could work together

seamlessly.

But alas, digital did not create a perfect world.

Chaos reigned over the land…

As convenient, dynamic and accessible as digital synthesis was, still

it was not perfect. It had certain limitations, though different ones than

analog synthesis.

Streamlined panel layouts and the demise of the knob meant that

all those hundreds of great new features had to be organized and stacked

in pages and subpages of hidden menus—which might mean several

presses of one or more buttons just to find a feature, and several more

to actually manipulate it.

And the steep learning curve of many digital synthesizers became a

legend unto itself. Alarmingly, the synth was on its way to becoming a

thing of science, rather than an intuitive musical instrument.

It was, therefore, inevitable that many would come to mourn

nostalgically for the days of simplicity—for the knob. For those warm,

fat, wonderful analog sounds. For fewer hidden features.

And for a simpler, easier to use electronic instrument.

There was a definite need for an analog-style digital synthesizer

that would have intuitive knobs plus all the benefits of digital memories

and other convenient—especially interactive—features.

One that could satisfy even the most die-hard advocate of analog or

digital synthesis.

A perfectly versatile synthesizer as attractive to first-time synth

owners as to desktop music hobbyists, serious amateurs, and even

seasoned professionals.

A powerful stand-alone performance instrument with hot dance

music and other versatile voices, as suited for the cutting edge as for the

classics.

An ideal multitimbral MIDI component which could fit right into

even the most sophisticated expanded system.

One with extremely modest pricing for such powerful utility.

It was only a matter of time before the thunder of analog would

unite with the lightning of digital to once again challenge convention

and ultimately change the landscape of music possibilities yet once more.

And Yamaha heard their cries…

Fortunately Yamaha recognized that something new and significant

must be created to bring together the best of both analog and digital

worlds.

The result was the Yamaha Control Synthesizer CS1x.

The CS1x takes the best of analog—simplicity of use, natural

interactivity, thick sound, and, of course, the knob—and unites it with

the best of digital—reliable pitch, plenty of memory, one-touch setting

reconfigurations, hundreds of voices, MIDI, and much, much more—

to begat a truly unique "control" synthesizer.

One with all the familiar concepts loved by both analog and digital

afficianados. One destined to satisfy even the most meticulous purist in

each camp.

Nothing to hide…

Perhaps the most striking—certainly refreshing—aspect of the CS1x

Control Synthesizer is the way it wears its heart on its sleeve.

What you see is what you get: all features are self-evidently displayed

CS1x MAIN

FEATURES

The CS1x is specially designed with an intuitive, interactive user interface

through lots of dedicated panel controls and sound editing features which

can easily be manipulated in realtime during performance. Main features

include:

• 6 Sound Control Knobs for direct access to key parameters of the currently

selected voice as you play, and 2 Scene memories for instant recall of

specified Sound Control Knob positions. You can use the Modulation

Wheel or a connected Foot Controller for continuous changes between

Scene 1 and Scene 2 parameter values.

• 480 GM- and XG-compatible AWM2 instrument voices and 11 drum

voices, or kits, in Multi Play mode. Additional voices are available in

Performance mode which can be assigned to the Performances.

• Performance mode with complete configurations of Layers (4 voices either

stacked or in sophisticated keyboard and velocity splits), digital effects

and other parameters. There are a total of 128 Preset Performances and

128 User Performances.

• Multi Play mode for multitimbral play of up to 16 different Parts (across

16 MIDI channels; when using an external sequencer), with 32-note

polyphony. TO HOST terminal and HOST SELECT switch allow direct

interface with IBM PC/AT or Apple Macintosh computers.

• 3 independent DSP digital effect units which can be used simultaneously—

Reverb (11 types), Chorus (11 types) and Variation (43 types).

• Arpeggiator with 30 types of arpeggiated chords and 10 timing subdivisions.

The Arpeggiator's tempo can also be controlled by an external MIDI

clock.

CONTENTS

The CS1x At A Glance .....................................6

Getting Started ............................................9

How The CS1x Generates Sound ................... 12

CS1x Main Operating Modes ........................ 14

Feature Reference ............ 20

Performance Mode .....................................20

Common Edit 1........................................ 22

Common Edit 2 ....................................... 25

Layer Edit 1 ............................................. 27

Layer Edit 2 .............................................30

Layer Edit 3 ............................................. 31

Layer Edit 4............................................. 33

Multi Play Mode.......................................... 36

Utility Mode ...............................................40

Store Mode .................................................44

Factory Settings .........................................46

Appendix ............................. 47

Digital Effects ............................................ 47

About MIDI ................................................. 53

Specifications ............................................. 57

Troubleshooting ......................................... 58

Error Messages ........................................... 59

Index..........................................................60

THE CS1x AT A

GLANCE

ATTACK

PHONES L/MONO

OUTPUT

R DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

TO HOSTINPUT HOST SELECT IN OUT

MIDI

THRU

AMP EG

RELEASE ASSIGN 1/DATAVOLUME

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

VWX

PROGRAM

PERFORMANCE STORE

MULTI

PRESET USER ARPEGGIATOR

UTILITY

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

PITCH MODULATION

Front

Panel

! VOLUME

Turn this knob to set the proper

listening level whether using

headphones or amplified speakers.

" SOUND CONTROL

KNOBS

The six Sound Control Knobs give

you direct access to key parameters

of the currently selected

Performance/voice. Turning any

Sound Control Knob to the left or

right will offset the parameter values

accordingly (left for negative values,

right for positive values) and

produce an immediate result; a letter

"E" will appear next to the

Performance number in the LCD to

indicate the original voice has been

edited. Each knob has a center

detent which represents the original

value of the parameter.

• ATTACK (Knob 1) - This knob

controls the initial attack time of the

voice. Turn it left for a faster attack

time; turn it right for a slower attack

time. (See page 30)

• RELEASE (Knob 2) - This knob

controls the release time of the voice.

Turn it left for a shorter release time;

turn it right for a longer release time.

(See page 32.)

• ASSIGN 1/DATA (Knob 3) - This

knob has two functions. As an

ASSIGN 1 knob, you can assign one

of 28 parameters—including

Performance Volume, Arpeggiator

Tempo or Type, Portamento Time,

and others—to control by turning it

(see page 26). As a DATA entry knob,

you can use it to quickly change the

edit value of the currently selected

edit parameter.

• CUTOFF (Knob 4) - This knob

determines the cutoff frequency of

the filter, or the frequency point

above which other frequencies are

filtered out. Turn it left for a deeper,

more rounded tone; turn it right for

a thinner, brighter tone. (See page

25.)

• RESONANCE (Knob 5) - This knob

determines the amount of filter

resonance or emphasis of the cutoff

frequency. Turn it left to produce a

relatively flat response; turn it right

to add overtones and make the

sound more resonant. (See page 34.)

• ASSIGN 2 (Knob 6) - This knob can

be used to control any one of 28

parameters which you can assign to

it—including Volume, Note Shift,

Pan, Chorus Send, and others. (See

page 29.)

# SCENE 1 & 2

Each Performance has two Scene

memories which remember specific

positions of the six Sound Control

Knobs. (See page 16.)

• Simply press SCENE 1 or SCENE 2

to instantly recall the specified

settings. An LED beside each SCENE

button will light to indicate which

Scene is currently active. You can

store your own Scenes in advance

using Store mode. (See page 44.)

• By holding one SCENE button and

then pressing the other SCENE

button, both LED's will light,

indicating that you can use the

Modulation Wheel or a connected

Foot Controller for realtime

continuous parameter changes

between one Scene and the other.

(See page 45.)

$ ARPEGGIATOR

Press this button to activate the on-

board Arpeggiator, which lets you

create automatic arpeggios simply

by playing a chord. An indicator will

appear in the lower right area of the

LCD when the Arpeggiator is on.

(See page 22.)

• There are various Arpeggiator Types

and Arpeggiator Timing

Subdivisions. These, plus the

Arpeggiator Tempo, can be specified

with the Common Edit 1 menu

parameters. (See page 23.)

• Pressing this button while holding

SHIFT will "hold" the arpeggiated

chord, or make it continue playing

even when you release the keys.

Pressing this button again stops the

Arpeggiator. (See page 23.)

• An Arpeggiator Split function lets you

split the keyboard at C3; the chords

you play to the left of the split point

will create arpeggiated chords, and

the notes and chords you play to the

right of the split point will play as

normal. (See page 23.)

% SHIFT

This button lets you transpose the

octave up or down as well as

activate the Arpeggiator Hold and

Split functions. (See page 23.)

• To transpose the octave, hold the

SHIFT button and press [–] (octave

down) or [+] (octave up)—located

directly beneath the SHIFT button.

(See page 15.)

& PART/LAYER [–]/[+]

These buttons let you select one of

the four Layers in Performance

mode (see page 14), or one of the

16 Parts in Multi Play mode (see

page 17). Which Layer or Part is

currently selected will be indicated

in the lower right area of the LCD.

' PRESET

In Performance mode, press this

button to activate the bank of 128

Preset Performances. (See page 20.)

( USER

In Performance mode, press this

button to activate the bank of 128

User Performances. (See page 20.)

) PROGRAM [–]/[+]

Press one of these to step up ([+]) or

down ([–]) through each

Performance (in Performance mode)

or voice (in Multi Play mode), one

at a time. (See page 20.)

* BACK LIT LCD

The LCD provides various types of

information which clearly indicates

the current operating status of the

CS1x, depending on which mode

or other button on the front panel

that you press.

+ NUMERIC KEYPAD

The numeric keypad has several

functions, depending on the

currently selected mode.

• In Performance mode or Multi Play

mode, you can use it to select a

specific Performance number or

voice number—by punching in the

desired number (1~128), then

pressing the ENTER button. (See page

20.)

• In Quick Program Change mode,

you can use it to select a specific

Performance (Performance mode)

or voice (Multi Play mode) within

the currently designated group of

10—by simply punching in the last

digit (0~9) of the desired

Performance or voice number. (See

page 21.)

• When editing parameters, you can

use it to quickly select a specific

value—by punching in the desired

number, then pressing ENTER. (See

page 20.)

• When naming a User Performance,

you can use it to select the letters of

the name, as indicated above each

button. (See page 24.)

, [–]/NO/QUICK PC

This button has three functions.

• As a [–] button, you can use it to

enter negative values when editing

parameters using the numeric

keypad. Press it before entering the

number, followed by ENTER.

• In Performance mode or Multi Play

mode, press it once to engage the

Quick Program Change function.

The hundredth and tenth digits of

the Performance or voice number

will be shown as bold characters

to indicate they are fixed when

Quick Program Change is active.

Press the button again to turn off

Quick Program Change. (See page

21.)

• In Store mode, this button lets you

decline (NO) the store operation if

you change your mind.

- ENTER/YES

This button has three functions.

• When selecting a Performance

number (Performance mode) or

voice number (Multi Play mode)

using the numeric keypad, you

must press ENTER to activate the

change. (See page 20.)

• When designating edit parameter

values using the numeric keypad,

you must press ENTER to activate

the change. (See page 22.)

• In Store mode, this button lets you

confirm (YES) the store operation.

(See page 44.)

. MODE SELECT

SWITCHES

Press one of these to select the

current operating mode.

• PERFORMANCE - In Performance

mode you can choose any of the

Preset or User Performances, plus

perform editing operations using the

Edit Parameter Rotary Switch and

Parameter Value UP/DOWN

buttons. Press PERFORMANCE to

enter Performance mode from

another mode, or to reselect the

Performance select screen in the

LCD after performing an edit

operation in Performance mode.

(See page 20.)

• MULTI - Press this button to enter

Multi Play mode, which lets you

designate up to 16 Parts for

multitimbral play when using an

external sequencer. Parameters

which can be edited in Multi Play

mode are printed in a row directly

above the Parameter Value UP/

DOWN buttons. (See page 36.)

• STORE - This button lets you store

User Performances. as well as

Scenes. (See page 44.)

• UTILITY - Press this button to access

those "system" parameters which

affect the CS1x as a whole—such as

Master Tune, MIDI Transmit and

Receive Channel numbers, Local

On/Off, etc.—as printed directly

below each Parameter Value UP/

DOWN button. (See page 40.)

/ EDIT PARAMETER

ROTARY SWITCH

Turn this knob to select one of the

six menus of edit parameters in

Performance mode.

• COMMON - The Common

parameters (Common Edit 1, 2

menus) are those parameters which

apply to the entire currently selected

Performance; i.e., it doesn't matter

which Layer is currently selected,

since common parameters (except

for Portamento) apply to all layers

equally. (See page 14.)

• LAYER - The Layer parameters (Layer

Edit 1, 2, 3, 4 menus) are those

parameters which affect only the

currently selected Layer (1~4, as

designated by the PART/LAYER

buttons) in a Performance. (See page

14.)

0 PARAMETER VALUE

UP/DOWN BUTTONS

These ten buttons are used to access

specific parameters in Performance,

Multi and Utility modes, as well as

change the values of the currently

selected edit parameter.

• PERFORMANCE MODE - After

selecting an Edit menu row with the

Edit Parameter Rotary Switch, press

the Parameter Value UP/DOWN

button located beneath the desired

parameter once to access the

parameter. The parameter name and

current value will appear in the LCD.

Then press [UP] or [DOWN] to

increase or decrease the current

parameter value as desired. (See

page 14.)

• MULTI PLAY MODE - Simply press

the Parameter Value UP/DOWN

button located beneath the desired

parameter as printed on the panel,

directly above each button. The

parameter name and current value

will appear in the LCD. Then press

[UP] or [DOWN] to increase or

decrease the current parameter value

as desired. (See page 17.)

• UTILITY MODE - Simply press the

Parameter Value UP/DOWN button

located above the desired parameter

as printed on the panel, directly

below each button. The parameter

name and current value will appear

in the LCD. Then press [UP] or

[DOWN] to increase or decrease the

current parameter value as desired.

(See page 40.)

1 PITCH

The Pitch Wheel lets you bend the

pitch up or down as you play. It is

spring-loaded to automatically

return to center position when you

let go of it. In Performance mode

you can designate the Pitch Bend

Range in the Common Edit 2 menu.

(See page 25.)

2 MODULATION

The Modulation Wheel lets you

apply or set a designated amount of

vibrato or tremolo. You can set it to

affect filter cutoff, filter modulation,

pitch modulation (Common Edit 2

menu, see page 25), as well as other

controllable parameters. (see page

43.)

# TO HOST

The TO HOST terminal lets you

connect the CS1x directly to a host

computer which does not have a

MIDI interface. (See page 10.)

$ INPUT

Connect an external audio source

(such as a keyboard, or CD player)

here using either a stereo or mono

mini plug, in order to mix its audio

signals with the CS1x's voices, for

output from the CS1x without the

need for an external mixer.

% FOOTSWITCH

An optional Yamaha FC4 or FC5

footswitch connected to this jack

can be used to control hold on/off,

portamento on/off and others,

determined by the Assign Control

Change Number setting in Utility

mode. (see page 43.)

& FOOT CONTROLLER

An optional Yamaha FC7 or FC9

foot controller connected to this jack

can be used for control of filter

modulation, filter cutoff, and the

Rear

Panel

! MIDI

MIDI IN, OUT and THRU terminals

let you connect other MIDI devices

such as a MIDI keyboard, tone

generator, sequencer, or computer

with a MIDI cable. (Set the HOST

SELECT switch to MIDI when using

the MIDI terminals.) MIDI IN is for

input of MIDI data. MIDI OUT is

for output of MIDI data and for data

dumps to another CS1x or MIDI data

storage device. MIDI THRU is for

"daisy-chain" connection of

additional MIDI instruments, as the

MIDI data received at the CS1x's

MIDI IN terminal is passed along

unchanged to the CS1x's MIDI

THRU terminal. (See page 9.)

" HOST SELECT

The HOST SELECT switch lets you

designate the type of host computer.

(See page 10.) Set it to MIDI for

normal MIDI transmission and

reception when a host computer is

not connected.

Variation effect (Common Edit 2

menu, see page 26), as well as the

Control Change Number. (see page

43.)

' FOOT VOLUME

An optional Yamaha FC7 or FC9

foot controller connected to this jack

can be used to regulate overall

volume.

( POWER

Press this switch to turn the CS1x

on and off.

) DC IN

Connect the supplied Yamaha PA-

3B Power Adaptor here.

(CAUTION: Do not attempt to use

an AC adaptor other than the

Yamaha PA-3B or equivalent, since

the use of an incompatible adaptor

may cause irreparable damage to

the CS1x, and may even pose a

serious shock hazard.)

MIDI

OUTTHRU IN MIDI Mac TO HOST INPUT SWITCH CONTROLLER

ASSIGNABLE

FOOT FOOT

VOLUME

FOOT

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

PC-2 PC-1

HOST SELECT

THE CS1x AT A GLANCE

* OUTPUT

The stereo OUTPUT jacks let you

connect the CS1x to an external

stereo amplifier/speaker system.

When using a mono system,

connect it to the L/MONO jack.

+ PHONES

The PHONES jack lets you connect

a set of stereo headphones for

private listening.

GETTING STARTED

Setting Up Your CS1x

The CS1x With An External

Sequencer

The illustration below shows how to use the CS1x with a Yamaha QY

series sequencer, which lets you take full advantage of the CS1x's

multitimbral capability to play up to 16 different musical instrument Parts

at once.

You will need MIDI cables to make the proper connections.

1. Connect a MIDI cable from the CS1x's MIDI OUT terminal to the

sequencer's MIDI In terminal, and connect another MIDI cable from

the CS1x's MIDI IN terminal to the sequencer's MIDI Out terminal.

2. Set the HOST SELECT switch to MIDI.

QY300 etc...

QY300

MUSIC SEQUENCER

MIDI IN

MIDI

OUT

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CS1x

In this case, the notes you play on the keyboard will be sent as MIDI note

event data to a specified MIDI channel of the sequencer. By selecting

different channels, you can record each Part independently, while listening

to those Parts you've already recorded.

When recording Parts to an external sequencer, you need to turn the

keyboard Local setting to OFF (see page 42). When keyboard Local is

turned off, the notes you play on the keyboard will not sound the CS1x's

internal tone generator, but note and other performance event data will

still be sent from the MIDI OUT terminal.

Since the CS1x's internal tone generator will respond to note and other

data it receives at the MIDI IN terminal, the notes you play on the keyboard

will be sent to the sequencer, then "echoed back" to the CS1x to play one

of the 16 Parts (depending on the current MIDI channel assignment).

For details about assigning CS1x MIDI channels, see page 41. For details

about assigning MIDI channels and other settings for the external devices

such as a sequencer, consult the owner's manual of each.

The Control Synthesizer CS1x literally comes ready to play right out of

the box.

Connect the supplied PA-3B DC power adaptor to the CS1x's DC IN

connector on the rear panel. Then connect the adaptor to the nearest

electrical outlet.

Before

switching on the power, connect any peripheral devices such as

amplified speakers or MIDI instruments.

There are many ways to incorporate the CS1x into a simple or expanded

music system. Below are a few examples to get you started.

CAUTION

• Do not attempt to use an AC adaptor other than the PA-3B. Use of an

incompatible adaptor may result in irreparable damage to the CS1x, and

could even pose a serious shock hazard.

• Be sure to disconnect the power adaptor from the electrical outlet when

the CS1x is not in use.

The CS1x By Itself

At the simplest level, all you need to do is connect stereo headphones to

the PHONES jack located on the rear panel.

As a stand-alone performance instrument, simply connect the CS1x to

amplified speakers, as follows:

For stereo use, connect one end of a pair of audio cables to the CS1x's

OUTPUT (L/MONO, R) jacks, and the other end to each amplified

speaker's input, as shown in the illustration below. (For mono use, connect

one end of a single audio cable to the CS1x's L/MONO jack, and the

other end to the amplified speaker's input.)

AMPLIFIED

SPEAKERS

R INPUTL

R OUTPUTPHONES

CS1x

CAUTION

In order to avoid possible damage to the speakers or other connected

electronic equipment, before switching on the power of any component,

make sure the CS1x's volume level and the volume levels of the connected

equipment are set to minimum.

Connecting The CS1x To A

MIDI Data Storage Device

You can also connect the CS1x with a MIDI data storage device, such as

the Yamaha MDF2 MIDI Data Filer in order to "bulk dump", or save a

User Performance ("1 Perf" setting) or all the User Performances and Utility

parameters ("All" setting) to floppy disks.

This lets you build up complete libraries of Performance and other data,

which you can easily load back into the CS1x. (The MDF2 also lets you

play compatible song data on the CS1x directly from the MDF2 itself,

without the need for a sequencer.)

For information about how to perform Bulk Dump operations with the

CS1x, see page 42. Refer to the owner's manual of the MIDI data storage

device for operating instructions about sending and receiving data.

MDR SEO JOB UTIL

MIDI

MDF2

MIDI DATA FILTER

CURSOR

- FILE DATA +

REC PAUSE START/STOP

TEMPO

MDF2 etc...

MIDI IN

MIDI

OUT

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CS1x

The CS1x In A Desktop Music

System

With its built-in host computer interface the CS1x is designed for direct

connection to an Apple Macintosh, IBM PC/AT or NEC PC-9800 Series

computer—without the need for a special MIDI interface between the

computer and the CS1x.

Using the CS1x in a computer music system lets you receive the full

benefits of the instrument's true capabilities, as well as take advantage of

the ever-expanding world of available music sequencer and other software

products which provide you with unlimited potential to achieve your

personal music goals.

If your computer already has a MIDI interface installed, you may want to

use it rather than using the host computer interface on the CS1x. Otherwise,

depending on the computer or interface used, set the HOST SELECT

switch to the appropriate setting: MIDI, PC-1 (NEC PC-9800 Series), PC-

2 (IBM and clones), or Mac (Macintosh). For information on the types of

cables that can be used for connection, see the section

MIDI/Computer

Connecting Cables

, at right.

TO HOST

Connecting Cables

HOST SELECT

PC-2 PC-1

MIDI Mac

Computer

CS1x

Macintosh

If you have an Apple Macintosh not equipped with an external MIDI

interface, perform the following operation:

1. Set the HOST SELECT switch to Mac.

2. Connect the TO HOST terminal on the CS1x to the Modem or

Printer port on the Macintosh.

3. Turn on the host computer, then turn on the CS1x.

4. Start up your music software, and set up the appropriate options

in the software for operation with the CS1x.

The options you may have to set for the Apple MIDI Driver settings:

MIDI Interface Type (Clock) ➛ 1 MHz

Other options and settings may have to be made as well. Refer to the

owner's manual of your particular music software for more information.

IBM PC and Clones

If you have an IBM PC/AT or compatible computer not equipped

with an external MIDI interface, perform the following operation:

1. Set the HOST SELECT switch to PC-2.

2. Connect the TO HOST terminal on the CS1x to one of the

computer's serial ports, COM 1 or COM 2.

3. Turn on the host computer, then turn on the CS1x.

4. Start up your music software, and set up the appropriate options

in the software for operation with the CS1x.

Refer to the owner's manual of your particular music software for

more information.

MIDI/Computer Connecting

Cables

MIDI

Standard MIDI cable, maximum length 15 meters.

Mac

Apple Macintosh Peripheral cable (M0197), maximum length 2 meters.

PC-1

8-pin MINI DIN to D-SUB 25-pin cable, maximum length 1.8 meters.

(If your PC-1 type computer has a 9-pin serial port, use the PC-2 type

cable.)

PC-2

8-pin MINI DIN to D-SUB 9-pin cable, maximum length 1.8 meters.

Playing

Arpeggiated

Chords

Take a moment and try out the Arpeggiator function, which creates

automatic arpeggios based on the chords you play. First select a

Performance with a fast attack, such as a percussive type sound. (Note:

The Arpeggiator function only works in Performance mode.)

1. Press ARPEGGIATOR. An indicator will appear in the lower right

area of the LCD.

2. Play a chord. The arpeggiated chord will begin playing, based on the

Arpeggiator Type, Tempo and Subdivide parameter settings.

3. Change the Arpeggiator Type, Tempo and Subdivide parameters using

the Common Edit 1 menu. (See page 22.)

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

Arpeggiator Hold

The handy Arpeggiator Hold function lets you play a chord to start the

automatic arpeggio, then take your hand off the keyboard—the arpeggiated

chord will play continuously in a loop. Play another chord and the

automatic arpeggios will change accordingly.

1. Hold SHIFT and press ARPEGGIATOR. The Arpeggiator indicator in

the LCD will start blinking.

2. Play a series of chords.

3. To stop the arpeggiated chords, press ARPEGGIATOR again.

Arpeggiator Split

The Arpeggiator Split function greatly increases the performance capability

of the CS1x. When Arpeggiator Split is engaged, any chord you play to

the left of the split point (B2 and below) will produce an arpeggiated

chord, while chords you play to the right of the split point will play

normally.

1. Press ARPEGGIATOR to activate the Arpeggiator function.

2. Set the Edit Parameter Rotary Switch to the Common Edit 1 menu.

3. Hold SHIFT and press the left-most Parameter Value UP/DOWN

button (Arpeggiator Type parameter).

4. Pressing [UP] will turn on the Arpeggiator Split feature (the letter "S"

will display in the LCD); pressing [DOWN] will turn it off.

Switching On

The Power And

Producing

Sound

Once all connections have been properly made, you're ready to switch

on the power and start having fun with the CS1x.

1. Turn the volume of the CS1x to its minimum position.

2. Press the POWER switch, located on the rear panel.

3. After a brief greeting message, the CS1x will power up.

4. Gradually turn the VOLUME knob to the right while playing the

keyboard until you achieve a comfortable listening level.

Playing The

Demo Songs

Before you dive in and start exploring the many Performances and other

versatile features of the CS1x, you may want to listen to the preprogrammed

demonstration song.

The Demo provides a dynamic example of just how powerful the CS1x

really is. To play the Demo, perform the following operation:

1. In Performance mode, hold the PERFORMANCE button and press

the MULTI button.

2. The word "DEMO" will appear in the LCD, and after a brief moment

the Demo song will begin, and continue playing.

3. To stop the Demo, simply press a mode button, such as

PERFORMANCE.

PERFORMANCE MULTI

DEMO

STORE UTILITY

When the Demo mode is engaged, you can select a Demo song from the

various Demo songs using the numeric keypad.

How The CS1x

Generates Sound

Oscillators, Filters And

Amplifiers

Synthesizers rely on three key electronic components to imitate the

soundwaves of musical instrument voices, as well as create entirely new

sounds.

In traditional analog synthesis the source sound pitch is generated by an

oscillator

, its tone is created by a

filter

, and its volume is determined by

amplifier

AMPLIFIERSFILTERSOSCILLATORS

DETERMINES

VOLUME

CREATES

TONE

GENERATES

PITCH

! The oscillator generates sound wave vibrations at controllable speeds,

or frequencies, to create pitch. Synthesizer oscillators usually offer a

range of frequencies between 20 Hz and 20kHz, which is the range

of the audio spectrum that most human beings can hear. They also

usually offer various types of sound waveforms, such as sine, sawtooth,

and others.

" Musical instrument sounds are made up of the basic tone that we

clearly distinguish, plus additional harmonics, or overtones which

exist at each octave above the basic tone, but that we cannot distinctly

hear. The filter provides control over these harmonics. By manipulating

the filter's cutoff frequency, which decides where to delete—or cut

off—the overtones, and resonance settings, you can thus determine

the tone.

# An amplifier controls the volume of the tone. An envelope generator

(EG) determines the tone's volume over time, through attack, decay,

sustain and release settings.

AWM2 Waveforms

The CS1x takes the familiar concepts and functions of analog synthesis

and combines them with the state of the art in digital synthesis technology.

As such, it has hundreds of AWM2 waveforms, or digital recordings

("samples"), of all types of musical instrument and other sounds

programmed right inside—including everything from a violin bow

scraping a string, to a mallet striking a marimba, to a breath blowing

across a flute mouthpiece.

An AWM2 waveform forms the fundamental tone source of a CS1x voice;

the rest of the sound is contoured by the oscillator, filter and amplifier

settings. CS1x synthesis gives you enormous realtime and other control

over detailed aspects of all parameter settings.

In order to better understand what's actually happening to the sound as

you turn the Sound Control Knobs or modify other parameters, it is helpful

to first take a look at the key components which make up the physical

nature of sound.

The Nature

Of Sound

What is sound? If we could see sounds they would look like waves rippling

through the air at a constant speed with high frequencies bunched close

together and lower frequencies spread far apart.

Our ears are naturally designed to take these physical vibrations—or

sound waves—moving through the air around us at high, mid and low

frequencies, and interpret them as a dog barking across the street, someone

practicing a violin next door, a jet airplane screaming overhead, or rock

music on the stereo in front of you.

Generating

Electronic

Sounds

There are three basic elements which make up a sound:

•

pitch

, or how low or high it is

•

tone

, or what its overall quality is like

•

amplitude

, or how loud its volume level is

Before we take a look at how the CS1x generates and manipulates pitch,

tone and amplitude, lets first take a look at how these elements apply

naturally to acoustic musical instruments.

Acoustic musical instruments are specifically designed and carefully built

to produce precise sound characteristics when played—which is why a

violin always sounds like a violin, a piano always sounds like a piano,

and a flute always sounds like a flute.

A musician playing a finely crafted violin will scrape the bow across the

string at a certain intensity to generate violin sound waves at a certain

volume level (

amplitude

), and produce low or high notes based on

fingering positions (

pitch

). The vibrating strings and resonating wood, as

well as the playing style and technique of the musician, will determine

the overall quality of the violin's sound (

tone

CS1x Synthesis

The secret behind the CS1x's exceptional quality sound is its ability to create rich and complex sonic textures in Performances, which are made up of

Layers of up to four AWM2 voices—either sounding simultaneously or mapped to various note and velocity zones across the keyboard.

AMPLIFIERS EFFECTSFILTERS

AWM2 WAVEFORM

BANK

PROGRAM NUMBER

CONTROLLER

OSCILLATORS

AWM2 VOICE

LEVEL

ATTACK LEVEL

( ATK LEVEL )

RELEASE LEVEL

( REL LEVEL )

TIME

RELEASE TIME

( REL TIME )

BASIC KEY

PLAYED

INITIAL LEVEL

( INIT LEVEL )

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

RELEASE TIME

( REL TIME )

CUT OFF

FREQUENCY

PITCH VOLUME

TIME

LEVEL LEVEL

KEY ON

KEY OFF

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

TIME

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

SUSTAIN LEVEL

( SUS LEVEL )

RELEASE TIME

( REl TIME )

KEY ON

KEY OFF

KEY ON

KEY OFF

LFO

SUSTAIN LEVEL

(SUS LEVEL)

! AWM2 WAVEFORM - The fundamental source

of the CS1x's sound is the sampled AWM2

waveform. There are hundreds preprogrammed in

ROM which are used by the Performances.

Available waveforms are organized in Banks. Each

AWM2 waveform has its own Program Number.

" AWM2 VOICE - The AWM2 waveform combines

with the oscillator, filter and amplifier to make up

a CS1x voice.

• PEG - The Pitch Envelope Generator controls how

the pitch changes over time.

INIT LEVEL (Initial Level) sets the initial pitch level

when a key is played.

ATK TIME (Attack Time) determines the time

required for a sound to reach its Attack Level after

a note is played.

ATK LEVEL (Attack Level) sets the initially targeted

level after a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its basic pitch from

the Attack Level while the key is held.

REL TIME (Release Time) determines the time it

takes for the basic pitch to reach the Release Level

after the key has been released.

REL LEVEL (Release Level) sets the final targeted

level after the key is released.

• FEG - The Filter Envelope Generator controls how

the timbre changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum cutoff

frequency level when a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its Sustain Level from

the maximum level while the key is held.

SUS LEVEL (Sustain Level) sets the Sustain Level;

the cutoff frequency will be maintained at this level

for as long as the key is held.

REL TIME (Release Time) determines the time it

takes for the cutoff frequency to reach the level

preset for each voice after the key has been released.

• AEG - The Amplitude Envelope Generator controls

how the volume changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum volume

level when a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its Sustain Level from

the maximum volume level while the key is held.

SUS LEVEL (Sustain Level) sets the Sustain Level;

the volume will be maintained at this level for as

long as the key is held.

REL TIME (Release Time) determines the time it

takes for a sound to sustain after the key has been

released.

# LFO - The Low Frequency Oscillator generates low

frequency signals which can be used to modulate

the PEG, FEG and AEG.

• PMOD - The LFO can apply Pitch Modulation to

the PEG to create vibrato effects.

• FMOD - The LFO can apply Filter Modulation to

the FEG to create wah-wah types of effects.

• AMOD - The LFO can apply Amplitude

Modulation to the AEG to create tremolo effects.

$ CONTROLLER - You can use several types of

controllers to manipulate various parameters in

realtime.

• MW - Use the Modulation Wheel to control

PMOD, FMOD, and Filter Cutoff.

• FC - Use the Foot Controller to control FMOD,

Filter Cutoff, and Variation Effect.

• Use the Sound Control Knobs to control AEG Attack

Time, Release Time, Filter Cutoff, and Resonance.

The ASSIGN 1/2 knobs can be specified to control

one of any number of parameters. (See the lists on

pages 27 and 29.)

CS1x MAIN

OPERATING

MODES

The CS1x has two main operating modes: Performance mode and Multi

Play mode. The chief distinction between each mode is as follows:

• Performance mode is primarily for realtime performance of

Layers

. It

has six menus of Edit parameters.

• Multi Play mode is primarily for multitimbral playback of up to 16

Parts

when external MIDI devices are connected. It has one menu of

Edit parameters. You can also use the CS1x as a MIDI data input

device for an external sequencer.

Utility mode lets you modify System and MIDI parameters which affect

both Performance and Multi Play mode. (For more information about

Utility mode, see page 40.)

Store mode lets you store your own User Performances and Scenes. (For

more information about Store mode, see page 44.)

Performance

Mode

If you're in a different mode, press the PERFORMANCE button to enter

Performance mode.

In Performance Play mode you can select a Performance from 128 Preset

Performances and 128 User Performances and begin playing.

Performance

is comprised of up to four "Layers", or AWM2 voices

sounding at once—either playing simultaneously across the length of the

keyboard, or playing independently according to specified key and

velocity ranges.

There are many Performance parameters which you can edit by

offsetting

parameter values—i.e., adding to or subtracting from the values which

are preset for each voice. There are basically two ways to go about offsetting

the parameters—by turning the Sound Control Knobs, or using the Edit

Parameter Rotary Switch and Parameter Value UP/DOWN buttons.

Changing any parameter will automatically engage Performance Edit

mode. (You can easily switch back Performance Play mode by pressing

the PERFORMANCE button or PROGRAM [–]/[+] button.)

ATTACK

AMP EG

RELEASE ASSIGN 1/DATAVOLUME

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

Turning the Sound Control Knobs will give you direct access to the AMP

EG and FILTER parameters, thus providing analog-style realtime control

over key characteristics of the sound. You can also save up to two

"snapshots" of knob positions in Scenes, which can be instantly recalled

at the touch of a SCENE button.

Another way to edit a Performance is with the Edit Parameter Rotary

Switch and Parameter Value UP/DOWN buttons. These give you control

over both "Common" parameters which affect all Layer voices equally,

and "Layer" parameters which affect individual Layers, or AWM2 voices.

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

Edit Parameter Rotary Switch

Parameter Value UP/DOWN Buttons

In Performance mode there are six Edit menus of Common and Layer

parameters which can be accessed via the Edit Parameter Rotary Switch

and modified with the Parameter Value UP/DOWN buttons.

Try changing the voice assignments to each Layer. This is a quick and

effective way to create an entirely new Performance, which you can

easily store as a User Performance.

Assigning voices to the Layers is simple. Choose the Layer (1~4) with the

PART/LAYER [–]/[+] buttons, and select from a variety of AWM2

instrument voices and drum voices using the Bank and Program

Parameters (Layer Edit 4, sixth row from the top).

next to the Performance number, to indicate

that the edited sound has not been stored.

• Offset AMP EG and FILTER parameters to

change the shape and tone of the sound as

you play by turning the Sound Control Knobs.

• Replace the Layer voice assignment, or edit

other Performance Common and Layer

parameters, with the Edit Parameter Rotary

Switch and Parameter Value UP/DOWN

buttons.

• Press ARPEGGIATOR to turn it ON, and play

a chord to start the arpeggiated chords. Select

Arpeggiator Type, Tempo and other

parameters from the Common Edit 1 menu.

STORE

Store mode lets you store Scenes as well as

User Performances for later recall.

• Store your favorite Scenes, or "snapshots" of

Sound Control Knob positions, in the currently

selected Performance. (See page 44.)

• Store your own Performances in the 128 User

Performance memories. (See page 44.)

PERFORMANCE

PLAY

Performance Play mode lets you select a

Preset or User Performance for realtime play.

• Press the PERFORMANCE button to enter

Performance mode (if you're in a different

mode).

• Press either the PRESET or USER button to

select the Preset or User Performance bank.

• Choose a Performance with the PROGRAM

[–]/[+] buttons.

• Use realtime control features as you play,

including the Pitch Bend and Modulation

Wheels.

• Transpose the octave up or down by holding

SHIFT and pressing PART/LAYER [–]/[+]. You

can transpose the pitch up ([+]) or down ([–])

by as many as three octaves, depending on

the Performance. (The transpose value will

also be reflected in the Utility mode's

Keyboard Transpose function. NOTE:

Maximum is ±3 octaves; however, when you

raise or lower the pitch in semitones, for

example, three octaves cannot be achieved

using the SHIFT button.)

PERFORMANCE EDIT

Making any adjustment—either intentionally

or inadvertently—to any parameter will

engage Performance Edit mode. When

exiting from the Performance Edit mode (by

pressing PERFORMANCE or PROGRAM

[–]/[+]), an "E" will be displayed in the LCD

Basic

Operations In

Performance

Mode

Basic

Operations In

Performance

Mode

Performance Structure

007

006

005

004

003

002

001

VOICE

Layer 3

VOICE

001

Performance

Layer 4

Layer 2

VOICE

Preset Bank User Bank

128 Performance

007

006

005

004

003

002

001

128 Performance

Layer 1

VOICE

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

LAYER EDIT

COMMON EDIT

REAL TIME EDIT with

THE SOUND CONTROL KNOBS

STORE IN USER BANK

SAVE AS SCENE 1 or 2

ATTACK

AMP EG

RELEASE ASSIGN 1/DATA

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

! PERFORMANCE BANKS - The CS1x comes preprogrammed with

128 Preset Performances and 128 User Performances. You can edit

the Layers of the currently selected Performance and store it in a User

Performance.

" LAYERS - A Performance consists of up to four Layers—each Layer

can be assigned its own AWM2 voice. There are many Layer and

Common Performance parameters which can be edited.

# AMP EG/FILTER - Turning the Sound Control Knobs will affect all

Layers equally by offsetting AMP EG parameters to control the shape

of the volume of the sound over time, and FILTER parameters to control

the quality of the tone. In Edit mode you can assign which parameters

the ASSIGN 1 and ASSIGN 2 knobs will control.

$ COMMON EDIT 1~2 - These are "Common" parameters which affect

all Layers in the Performance equally.

% LAYER EDIT 1~4 - These are "Layer" parameters which let you modify

the characteristics of each individual Layer. Select the Layer you want

to edit using the PART/LAYER [–]/[+] buttons.

Storing User Performances

Storing your own User Performance is a quick and simple operation.

1. To store the current Performance, press the STORE button once.

2. Choose a User Performance number (1~128) using the numeric

keypad.

3. Press ENTER.

A "Sure?" prompt will appear in the LCD. Press YES to store the

Performance. Press NO to abort the operation.

Scenes

There are two "Scene" memories dedicated to each Performance. Scenes

are simply "snapshots" of specific positions of the Sound Control Knobs—

instantly accessible via the SCENE buttons.

You can select one of the Scenes by pressing the SCENE 1 or SCENE

2 button. Or you can hold one SCENE button and press the other,

then use the Modulation Wheel or Foot Controller for realtime

continuous parameter changes between one Scene and the other.

The default controller is Modulation Wheel. The minimum position

of the controller is Scene1, and the maximum position is Scene 2.

Storing Scenes

You can easily store your own Scenes in a Performance—either

temporarily or permanently.

To store a Scene temporarily in the currently selected Performance, hold

a SCENE button and press STORE.

This will store the Scene in the edit buffer as long as the current Performance

is selected, so that the original Scenes are protected. If you select another

Performance, any new Scenes will be lost.

To store a Scene permanently in a Performance, simply perform the Store

operation for User Performances. (See

Storing User Performances

, above.)

Multi Play

Mode

In Multi Play mode you can select a voice from the GM bank of 128

AWM2 voices (accessible via the PROGRAM [–]/[+] buttons) and start

playing in realtime.

Multi Play mode lets you use the CS1x as a master keyboard controller or

MIDI note data input device, as well as a multitimbral tone generator.

Multi

is a configuration of up to 16 instrument "Parts" (each Part is

assigned to a MIDI channel) which can be played simultaneously when

an external sequencer or computer is connected to the CS1x.

Choose the Part with the PART/LAYER [–]/[+] buttons, and assign a voice

to it by selecting from the 480 GM- and XG-compatible AWM2 normal

(instrument) voices and 11 drum voices (kits), using the Edit menu Bank

and Program Parameter Value UP/DOWN button.

In Multi Play mode there is one menu of Edit parameters which can be

accessed via the Parameter Value UP/DOWN button.

Turning the Sound Control Knobs will affect only a single AWM2 voice,

i.e., the currently selected Part.

Multi Structure

Part 1~16

BANK

PROGRAM

VOLUME

PAN

EFFECT

FILTER

POLY/MONO

PART SELECT

PART SELECT - In Multi Play mode each "Part" is made up of an AWM2

voice. You can select and play any of the 16 Parts by pressing the PART/

LAYER [–]/[+] buttons. Since the notes you play on the keyboard and the

buttons you press on the panel are sending MIDI messages, the CS1x is

ideal as a MIDI input device.

EDITING PARTS - Select the Part you want to edit using the PART/LAYER

[–]/[+] buttons. Each of the Multi parameters are printed above the

Parameter Value UP/DOWN button. To set up your own 16 Parts, assign

a voice to the Part using the Bank and Program parameters accessible by

the first two Parameter Value UP/DOWN buttons. (Note that these settings

will not be retained when the power is turned off, since the XG default

parameters are always reinstated when the power is turned on. If you

insert voice Program Change messages at the head of your sequences,

however, the right Part voices will always be selected automatically when

you start your sequencer from the beginning of the song.)

MULTITIMBRAL PLAY - As a GM- and XG-compatible multitimbral

MIDI tone generator, the CS1x can receive note and other data on each

of the 16 MIDI channels, sent from an external sequencer or computer,

thus playing the corresponding 16 Parts.

XG Operation

The CS1x is a fully equipped, stand-alone XG-MIDI tone generator,

featuring a total of 480 normal voices and 11 drum voices.

The XG format maintains the universality and compatibility of the MIDI

and General MIDI System Level 1 standards, while significantly increasing

the range of expressiveness through much greater control over voice

modifications and effects.

In addition to supporting the 128 GM voices, the XG format provides for

Bank Select messages that significantly expand the number of voices

available for use.

Many of the new XG voices are variations of basic GM voices which are

stored in additional banks. Each bank is associated with a specific type of

variation, so that voices are easy to locate. When using an external

sequencer to control the CS1x, additional banks are selected by the

appropriate Bank-Select LSB values.

The XG format also supports a full SFX bank of extension effects, which

are selected by a Bank-Select MSB value of 40H. Bank-Select MSB 7H,

in contrast, can be used to set any channel to rhythm-part play.

The XG format allows creation of extremely expressive control data which

can change a voice's Harmonic Contents, Brightness, and many more

critical Control Change and other parameters.

The XG format also offers high level effects support, enabling control of

effects types, circuit operation, plus internal parameter settings for both

basic and elaborate effects. This means you can freely control the

parameters of the CS1x's 11 Reverb, 11 Chorus and 43 Variation types of

effects independently.

(For more information about MIDI related parameters, see the

Appendix

page 53.)

The CS1x also features another play mode —TG300B mode— which

lets you play back commercially available MIDI files in this format.

● Selecting a Performance

1. Use the numeric keypad (0 ~ 9) to select the Performance

number you want.

For more information about each Performance, see the

Performance List in the "Data List" book.

2. Press the ENTER button to confirm the Performance number

(1~128). The Performance name and number you have

selected will display in the LCD. The Category name will be

shown next to the Performance name.

Press the PROGRAM [+] button to select the next Performance

number. Press the PROGRAM [-] button to select the previous

Performance number.

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

Performance Name

Category

Program (Voice) Number

MIDI Data

PART 1~16

(1~16ch)

External

MIDI Sequencer

MULTI PART EDIT

XG voices, volume, pan,

effect and other settings.

In Multi Play mode you can play up to 16 Parts using an external MIDI sequencer. This mode is mainly used when the

CS1x is used as an XG-compatible tone generator or as a data input device in a computer music system. You can use

any XG voice from the 480 normal voices and 11 drum voices. When playing back from or recording to an external

sequencer, you can use the Multi Part Edit function to edit the volume and effect of each Part.

● Description of Each Function

■ BANK

This lets you select a Bank. Various normal voice banks

containing up to 128 normal voices, a bank with different drum

voices (kits), plus SFX banks are available to choose from. To

select a voice, you must first select a Bank number, and then

select a Program number in the PROGRAM parameter,

explained below.

Settings:

off, XG000, 001, 003, 006, 008, 012, 014, 016~020, 024, 025, 027, 028,

032~043, 045, 064~072, 096~101, SFX, SFXKIT, DRUM

Each bank can be selected directly by inputting the

corresponding number with the numeric keypad.

For more information about Banks and Programs (voices),

see the XG Voice List in the "Data List" book.

■ PROGRAM

This lets you select a voice, or program, from the Bank

previously selected with the BANK parameter, explained above.

Settings:

1~128

Note that the Program numbers here are 1~128 and the

MIDI Program Change numbers are 0~127. When switching programs

using an external MIDI device, subtract a value of "1" from the

Program number to match the MIDI Program Change number.

For more information about Banks and Programs (voices),

see the XG Voice List in the "Data List" book.

NOTE

Bank Conversion Table for Multi

MSB LSB Bank LCD

0 0 0 XG000

0 1 1 XG001

↓↓↓↓

0 101 101 XG101

64 0 102 SFX

126 0 126 SFXKIT

127 0 127 DRUM

Off

999

It is also possible to change the Program number quickly by

using the Quick Program Change function, the same way as in

Performance mode. For details, see page 21.

Normal Voices and Drum Voices

The available voices are divided into two groups: normal voices

and drum voices. In Multi Play mode you can select and play both

normal and drum voices.

In general a "normal" voice is simply a pitched voice which can be

played on a musical scale from low to high, such as a piano or

trumpet. In Multi Play mode there are 480 XG normal voices.

A "drum" voice is a complete set of drum and other percussion

sounds, each sound having a fixed pitch. Each sound is assigned

to a specific MIDI Note number which also corresponds to a key on

a MIDI keyboard. In Multi Play mode there are 11 XG drum voices.

For a list of the drum and percussion sound assignments to each

key, see the XG Drum Voice List in the "Data List" book.

TG300B Mode

There are two tone generator modes: XG mode and TG300B

mode. Normally the CS1x plays in XG mode. However, it

automatically recognizes which mode to select based on incoming

MIDI data, i.e., through MIDI System Exclusive messages that you

can program using an external MIDI sequencer.

In TG300B mode the CS1x will play multitimbral music data created

for TG300B-compatible tone generators. TG300B mode also

provides compatibility with the GM System Level1 format.

In TG300B mode the CS1x can:

• Play up to 16 Parts.

• Choose from 579 Normal Voices and 10 Drum Voices.

■ VOLUME

This sets the volume of each Part. Different volume levels can be

set for each Part.

Settings:

0~127

NOTE

REV SEND (Reverb Send): Determines the send level of the

Reverb effect.

CHO SEND (Chorus Send): Determines the send level of the

Chorus effect.

VARI SEND (Variation Send): Enables or disables the output of

the Variation effect.

Settings:

REV SEND (Reverb Send): 0~127

CHO SEND (Chorus Send): 0~127

VARI SEND (Variation Send): OFF, ON (or 0~127)

The Variation send parameters are OFF or ON when the

Variation effect is used as the Insertion effect. They are 0~127 when

used as the System effect. Normally, the Variation effect works as an

Insertion Effect when not receiving parameter change messages to

switch to System Effect from an external MIDI sequencer. For more

information about Insertion and System effects, see page 47.

■ FILTER

This sets the parameters of the filter for each Part. There are two

parameters, CUTOFF and REZ (resonance).

Generally, filters change the timbre by passing signals within a

specific frequency bandwidth and cutting others. The CS1x

features an LPF (Low Pass Filter) which passes the signals below

the specified frequency point (cutoff frequency) and cuts the

signals above it.

Depending on the voice selected, changing certain

parameters may not produce a noticeable effect.

CUTOFF: Determines the cutoff frequency of the filter, or the

frequency point above which other frequencies are filtered out.

Higher settings result in brighter sounds and lower settings

result in darker sounds.

REZ (Resonance): Sets the amount of filter resonance or

emphasis around the cutoff frequency. Higher settings produce

a higher resonant peak, while lower settings produce a relatively

flat response.

Settings:

CUTOFF: -64 ~ +63

REZ (Resonance): -64 ~ +63

NOTE

DEF

ABC

Cutoff Resonance

NOTE

■ PAN

This sets the panning (the left or right position in the stereo

spectrum) for each Part. Different pannings can be set for each

Part (for stereo output).

Settings:

Random, L63 (far left in the stereo image) to L01 to C00 (center of

a stereo image) to R01 to R63 (far right in the stereo image)

When set to "Random", the panning of each Part will

alternate between left and right each time a voice is played.

Some of the voices are preset and fixed to a panning of

"left" in the lower register and "right" in the higher register. In such a

case, you cannot modify the pan setting.

■ EFFECT

This sets the effect send (output) level for each Part. There are

three parameters: REV SEND (Reverb Send), CHO SEND (Chorus

Send) and VARI SEND (Variation Send). You can change the effect

send level for each effect in realtime when you are playing back

XG song data containing effect settings using an external MIDI

device.

When you enter Multi Play mode (reset to XG ON) by

pressing the MULTI button, each effect will be reset to the default

settings: Hall 1 (Reverb), Chorus 1 (Chorus) and Delay L,C,R (Variation).

In this case, the Reverb send level is set to 64, and the Chorus and

Variation send levels are set to 0.

Depending on the XG song data being played, the effect types

and their parameters used in the song may differ.

Note that the effect types and their parameters in the

Performance Edit mode have no relation to the effect settings

here.

Reverb Send Chorus Send

Variation Send

NOTE

■ POLY/MONO

This determines whether the voice in each Layer is played

monophonically (only one note at a time) or polyphonically (up to

32 notes at a time).

Generally, Polyphonic mode is selected to generate multiple

sounds at one time. There are cases, however,where it is more

effective to select Monophonic mode, such as when using a

bass sound, brass sound, or an analog synthesizer sound.

Settings:

POLY (Polyphonic), MONO (Monophonic)

You can play up to 32 notes at a time. However, the

number of notes may be reduced or truncated if you use voices which

consist of two elements and/or play a rather complicated song which

uses too many notes.

■ Using the Multi Play Mode

• Multi Play Mode is specifically aimed at playing CS1x as a

tone generator using the external device such as sequencer.

Consequently, the changes made in Multi Play Mode are

temporary and cannot be stored.

• The Arpeggiator function is not available in Multi Play

Mode. It can only be applied to the Performances in

Performance Mode.

NOTE

PERFORMANCE MULTI

DEMO

STORE UTILITY

BANK PROGRAM

SYSTEM MIDI ASSIGN

VOLUME PAN REV

SEND

CHO

SEND

EFFECT

VARI

SEND

CUTOFF

FILTER

REZ

POLY/

MONO

Other parameters will appear in the LCD when you press

the other Parameter Value UP/DOWN buttons. Continue setting the

other parameters.

Press the PERFORMANCE button or the MULTI button to exit

Utility mode and return to each respective mode.

It is not necessary to store changes made in the Utility

mode. The CS1x will remember any changes you make in this mode.

● Description of Each Function

SYSTEM

This sets the tuning and other keyboard settings for the CS1x

tone generator. There are four parameters: MASTER TUNE, KBD

TRANS (Keyboard Transpose), VEL CURVE (Velocity Curve) and

VEL FIX (Velocity Fix).

■ MASTER TUNE

This tunes the CS1x's tone generator. Basic pitch is 440 Hz at

note A3. Master tuning can be adjusted 1 Hz at a time.

Settings:

-102 Hz to 0 (A3=440 Hz) to +102 Hz

■ KBD TRANS (Keyboard Transpose)

This lets you transpose the pitch in semitones. The transpose

value will also be reflected in the Octave Shift function on the

panel.

Settings:

-36 to 0 (standard) to +36

This function setting is related to OCTAVE SHIFT on the

panel, the indication may be changed after using the OCTAVE SHIFT

function.

NOTE

Entering Utility Mode

Press the UTILITY button. A [▲] mark appears in the LCD

below the word "UTILITY".

The LCD will display the parameter settings previously

selected in Utility mode. The first time you press the UTILITY button

after turning the power on, the LCD will display the first page (Master

Tune) in Utility mode.

● Procedure

1. Select the parameter.

Press the Parameter Value UP/DOWN button corresponding to the

parameter you want to edit once to select the parameter and display

the settings in the LCD.

2. Set the value.

Press the Parameter Value UP/DOWN button again to set the value.

Holding the Parameter Value UP/DOWN button changes the value

continuously. The [UP] button increases the value and the [DOWN]

button decreases the value.

You can also use the numeric keypad (0~9) or the Data

Entry knob to change the value.

NOTE

PERFORMANCE MULTI

DEMO

STORE UTILITY

BANK

TIME

MASTER

TUNE

PROGRAM

SYSTEM MIDI

TIME

KBD

TRANS

VOLUME

LEVEL

VEL

CURVE

PAN

TIME

VEL

FIX

REV

SEND

LEVEL

TRANS

CHO

SEND

TIME

EFFECT

RCV

VARI

SEND

LEVEL

DEVICE

PERFORMANCE MULTI

DEMO

STORE UTILITY

BANK

TIME

MASTER

TUNE

PROGRAM

SYSTEM MIDI

TIME

KBD

TRANS

VOLUME

LEVEL

VEL

CURVE

PAN

TIME

VEL

FIX

REV

SEND

LEVEL

TRANS

CHO

SEND

TIME

EFFECT

RCV

VARI

SEND

LEVEL

DEVICE

NOTE

PERFORMANCE MULTI

DEMO

STORE UTILITY

Parameter Name

SYSTEM SETTINGS

MASTER TUNE

KBD TRANS

VEL CURVE

VEL FIX

MIDI SETTINGS

TRANS CH

RCV CH

DEVICE NO

LOCAL

BULK DUMP

CS1x

MIDI

ASSIGN CONTROL

CHANGER NUMBER

In Utility mode you can set the CS1x system and MIDI parameters.

■ VEL CURVE (Velocity Curve)

The velocity curve set here determines the way the CS1x's tone

generator responds to playing velocity when the VEL FIX parameter (see

below) is set to OFF. The following six types of curves are available:

Norm (Normal): The velocity is in proportion to the strength (how

hard you play the keyboard).

Soft1: This curve is designed to increase the volume level with a softer

playing style. This is suitable for people with a soft key touch.

Soft2: This curve is also designed to increase the volume level with a

softer playing style. This is close to Normal compared with Soft1.

Easy: In general, this curve is also designed to increase the volume level with

a softer playing style. However, the volume level is stable in all registers since

the velocity curve in the mid range is close to Normal.

Wide: This curve is designed to lower the volume level with a softer

playing style and increase the volume level with a stronger playing

style. As a result, you feel a wider dynamic range.

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

Hard: This curve is designed to increase the volume level with a

stronger playing style. This is suitable for people with a strong

key touch.

Settings:

Norm, Soft1, Soft2, Easy, Wide, Hard

■ VEL FIX (Velocity Fix)

This sets the velocity of the CS1x keyboard to a specific value.

This is used when you want to play the sound at a fixed velocity

regardless of keyboard touch.

Settings:

1 ~ 127, off

Set the parameter in VEL FIX to OFF to enable the velocity

curve previously selected in the VEL CURVE (Velocity Curve) parameter.

MIDI

The MIDI parameters let you exchange MIDI data between the

CS1x and an external MIDI device. There are five parameters:

TRANS CH (Transmit Channel), RCV (Receive Channel), DEVICE

NO (Device Number), LOCAL (Local On/Off) and BULK DUMP

(Performance Bulk Dump).

■ TRANS CH (Transmit Channel)

This sets the MIDI transmit channel from the CS1x to an external

MIDI device such as a sequencer.

Settings:

1~16ch (channel)

You can use the CS1x to play and control an external MIDI

device. For details, see page 9.

NOTE

KEYBOARD PLAYING STRENGTH

VOLUME

■ BULK DUMP (Performance Bulk Dump)

This lets you send Performance data from the CS1x in bulk to

another CS1x or to the Yamaha MIDI Data Filer MDF2. This is

convenient for backing up, storing, or managing your important

Performance data.

To enable transmission, first connect the MIDI devices. (For

details about setting up each device, see the respective owner's

manuals of the external MIDI devices.) It is necessary to match the

device number of the CS1x with the device number of the external

MIDI device. (See the DEVICE NO parameter, above.)

Bulk Dump Send

1.Select the type of data you want to send by pressing the

Parameter Value UP/DOWN button. You can select from the

following types:

1Perf: The Preset or User Performance data currently selected in

Performance mode.

all: All of the User Performance data and the System data.

2.Press the ENTER/YES button to execute the bulk dump

operation. "End" will appear in the LCD when the operation is

completed, and the LCD will return to the original display.

Bulk Dump Receive

This lets you retrieve CS1x Performance data from an external

device, loading it back into the CS1x in bulk.

The data that can be received will differ depending on the mode.

For details about the MIDI data format, see the "Data List" book.

It is necessary to match the device number of the CS1x with the

device number of the external MIDI device. (See the DEVICE NO

parameter, above.)

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

NOTE

■ RCV CH (Receive Channel)

In Performance Mode, this sets the MIDI receive channel for

controlling the CS1x with an external device such as a MIDI

sequencer or computer.

In Multi Play mode, the CS1x resets the internal tone generator to

XG ON (001 Grand Piano) status and automatically receives the

external data.

Settings:

LAYER A (Layer All for a Performance) = 1~16ch, Part 5~16 = 1~16, off

In Performance Mode, the receive channels can be used for

a Performance and 12 Parts (Part 5~16) for Multi. However, you cannot

use the Insertion effect for Parts 5~16.

■ DEVICE NO (Device Number)

This sets the MIDI device number. When transmitting or receiving

system exclusive messages such as bulk dump or parameter

change messages with an external MIDI device, you must match

the device numbers for both the CS1x and the external device.

Settings:

1~16, all, off

■ LOCAL (Local On/Off)

This determines whether the keyboard is connected to the CS1x's

internal tone generator. When Local is set to OFF, the keyboard is

disconnected from the tone generator. The internal tone

generator will not respond to the keyboard (no sound will be

produced), but it will respond to incoming MIDI data from an

external device. However, the keyboard still transmits MIDI

messages from the MIDI OUT jack.

For normal play, local should be set to ON.

Settings:

on, off

EXTERNAL MIDI DEVICE

MIDI OUT

MIDI IN

MIDI OUT

LOCAL OFF

TONE

GENERATOR

KEYBOARD

NOTE

■

ASSIGN CTRL NO (Assign Control Change Number)

This lets you assign Control Change Numbers to controllers such

as the Modulation Wheel or Sound Control Knobs. This is mainly

used to control external devices connected via MIDI.

The main function of the Sound Control Knobs will not be

changed.

You can designate whether the Modulation Wheel or the Foot

Controller is used for Scene Control (page 16).

Following are the Control Change Numbers and Names that can

be assigned to the various controllers:

In the Scene Control settings, you can choose from Mod.

Wheel (Modulation Wheel) or FootCtrl (Foot Controller).

General Purpose: With the CS1x, General Purpose 1 is for FC,

2 for knob 3 (ASSIGN1), 3 for knob 6 (ASSIGN2) and 4 for no setting.

NOTE

Control Change Number Name LCD

1 Modulation Wheel Mod.Whl

5 Portament Time PortaTm

6 Data Entry MSB DataMSB

7 Main Volume MainVol

10 Panpot Panpot

11 Expression Expres.

16 General purpose1 Generl1

17 General purpose2 Generl2

18 General purpose3 Generl3

19 General purpose4 Generl4

38 Data Entry LSB DataLSB

64 Hold 1(Damper/Sustain) Hold1

65 Portament Switch PortaSW

66 Sostenute Sostnut

67 Soft Pedal Soft

71 Harmonic Contents Harmonic

72 Release Time RelTime

73 Attack Time AtkTime

74 Brightness Bright.

84 Portament Control PortaCt

91 Reverb Depth Reverb

93 Chorus Depth Chorus

94 Variation Depth Vari

Others ------- -------

Assignable Control Change Numbers and Names

Scene

SCENE 1 or 2 buttons (only for the Scene Control)

NOTE

Controller LCD

Modulation Wheel MW

Sound Control Knob 1 (ATTACK) Knob1

Sound Control Knob 2 (RELEASE) Knob2

Sound Control Knob 3 (ASSIGN 1/DATA) Knob3

Sound Control Knob 4 (CUTOFF) Knob4

Sound Control Knob 5 (RESONANCE) Knob5

Sound Control Knob 6 (ASSIGN 2) Knob6

Footswitch connected to the FOOTSWITCH jack on the rear panel FS

Foot Controller connected to the FOOT CONTROLLER jack on the rear panel FC

Foot Volume pedal connected to the FOOT VOLUME jack on the rear panel FV

Control Change Number Name

Controller

NOTE

Assigning the Controllers

1.Move the controller on the panel to which the Control Change

Number is to be assigned. The parameters of the controller

will appear in the LCD.

Press the SCENE1 or SCENE 2 button to display the Scene

Control parameters.

2.Press the Parameter Value UP/DOWN button to select the

Control Change Number and Name.

3.Repeat steps 1 and 2 to assign the Control Change Numbers

and Names to each controller.

This function is convenient for controlling an external MIDI

device with the CS1x. For details, see page 53.

■ Tips About the Sound Control Knobs

The changes made by the Sound Control Knobs can be output as

the MIDI messages.

The MIDI messages output via MIDI OUT can be assigned using the

ASSIGN CTRL NO function shown at the left.

The assignments set at the factory:

Sound Control Knob 1 73: Attack Time

Sound Control Knob 2 72: Release Time

Sound Control Knob 3 17: General purpose2

Sound Control Knob 4 74: Brightness

Sound Control Knob 5 71: Harmonic Contents

Sound Control Knob 6 18: General purpose3

• When the CS1x receives the data assigned to each Knob from an

external MIDI device, the parameter printed on the panel for the

Knob will be affected. For example, the Attack Time will be affected,

when the Brightness (74) is assigned to the Knob 1 and the Attack

Time (73) is assigned to the Knob 3, and then the message for the

Brightness (74) are transmitted from an external device.

• Both data assigned to the Knob using the ASSIGN CTRL NO

function and Knob data which parameter name is printed on the

panel are sent to the internal tone generator when turning the

Knob. For example, both Brightness (74) and Attack Time will be

affected when the Brightness (74) is assigned to the Knob 1 and the

Knob 1 is turned.

NOTE

3. Press the ENTER/YES button. “Sure?” will appear in the LCD.

To audition the sound, simply play the keyboard.

4. Press the YES/ENTER button again to execute the storing

operation. The display will return to the Performance Play

mode screen after the data is stored.

Press the NO button to cancel the storing operation.

Pressing the PERFORMANCE button exits Store mode.

When storing a Performace, the position of each Sound Control Knob will

also be stored. Therefore, when selecting the stored User Performance in

Performance Play mode, the CS1x will produce the sound affected by

each Sound Control Knob position at that time. (Turning the Knob will

restore the sound with the current Sound Control Knob positions.)

Storing a Scene

There are two "Scene" memories dedicated to each

Performance. This function is used to assign a Scene, or the

position of the six Sound Control Knobs, to the SCENE 1 or

SCENE 2 button. This is convenient for live performances or

recording sessions, since it lets you access a particular setting

simply by pressing a button.

Two Scenes can be stored in each Performance.

Once you have stored a Scene to the edit buffer (temporary

save), to store the Scene data permanently you must perform the

Performance store operation, above. (Before executing the Performance

Store operation to record the Scene as a part of the performance, turn all

the sound control knobs to their center positions.) Otherwise, you will lose

the Scene settings if you select another Performance or enter Multi Play

mode.

NOTE

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

You cannot enter Store mode from Multi Play mode or

Utility mode.

Storing a Performance

1. After editing a performance, press the STORE button to enter

Store mode.

2. Select the User Performance number in which you want to

store the Performance, using the numeric keypad (0~9),

PROGRAM [-]/[+] buttons, or Data Entry knob.

If you write over an existing User Performance, the data

previously stored there will be lost. To be safe, always store your

important data to an external device such as the Yamaha MIDI Data

Filer MDF2. If you want, you can reset the User Performances back to

the original factory settings. For details, see Factory Settings

, page 46.

To rename the Performance, select the Performance Name

parameter in Performance Edit mode (see page 24).

NOTE

ERFORMANCE MULTI

DEMO

STORE UTILITY

Preset Performance

1~128

PERFORMANCE STORE

User Performance

1~128

Edited Performance

Store Destination

STORE

SCENE STORE

Scene 1

Memory

6 Knob Position Scene 1/2

NOTE

In Store mode you can store edited Performances or Scenes in the CS1x's internal memory. To enter Store Mode, you

must first be in Performance Mode.

1. Set each Sound Control Knob to your preference.

2. Hold STORE and press the SCENE 1 button to store the current

Sound Control Knob settings to the SCENE 1 button memory.

To store another set of Sound Control Knob settings, hold

STORE and press the SCENE 2 button.

The following message will appear in the LCD when the Scene is stored

to the edit buffer.

Example: Settings stored to the SCENE 1 button.

3. Store the Scene to the currently selected Performance using

the Performance store operation.

PERFORMANCE MULTI

DEMO

STORE UTILITY

MW/FC

SCENE

ATTACK

AMP EG

RELEASE ASSIGN 1/DATA

CUTOFF

FILTER

RESONANCE ASSIGN 2

Selecting a Scene

First select the Performance to which you have stored a Scene.

Then press the SCENE 1 or SCENE 2 button to select the Scene. The

LED by the button will light to indicate that you have activated the

Scene settings.

Each Sound Control Knob will be disabled when a Scene is

selected, and you will not be able to change the parameters using

the knobs.

You can use the Modulation Wheel or Foot Controller to change the

parameters (Scene settings) continuously between the SCENE 1 and

SCENE 2 settings in realtime. The minimum position of the

controller is Scene1, and the maximum postion is Scene 2. For

details about which controller is used to change between two

Scenes, see page 43.

MW/FC

SCENE

MODULATION

SCENE 2

SCENE 1

Changes continuously between

SCENE 1 and SCENE 2

Executing this function will replace all of your existing data.

As such, always store your important data to an external device such

as the Yamaha MIDI Data Filer MDF2 beforehand.

Turn the power of the CS1x off, then, while holding the 7, 8, and 9 keys

on the numeric keypad, turn the power back on.

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

ON OFF

NOTE

You can reset all of the settings in the CS1x (Performance, Scene, System and MIDI settings) to the original factory

(initial) settings.

■ Type 1: Reverb

Reverb recreates the sounds of various environments by adding room

ambiance through delays or reflections. There are 11 Reverb types to

choose from. (See page 49.)

■ Type 2: Chorus

Chorus creates a variety of rich, spacious-sounding effects which are

especially dramatic in stereo. There are 11 Chorus effect types, including

Chorus and Flanger. (See page 49.)

■ Type 3: Variation

Variation is a special section of various effects including Reverb and

Chorus, plus many others not found in the other sections, such as

Distortion, Wah, and Auto Pan. There are 43 Variation effect types. (See

page 49.)

System and Insertion Effects

The CS1x effects sections can be designated as either System or Insertion

effects. Reverb and Chorus are always System effects, which means they

can be applied to any or all Parts. The Variation effect can also be a

System effect, or it can be designated as an Insertion effect, which means

it can be dedicated to a specific Part.

Basically, CS1x System and Insertion effects work the same way as in a

sound mixer, as shown in the diagram at right. For example, System

effects can be applied to musical instruments (i.e., Parts) which are

connected to the various mixer channels; the amount of each System

effect is determined by channel "send" and system "return" level controls.

An Insertion effect can be connected ("inserted") into the signal flow of a

specific channel in order to process the sound of that instrument (i.e.,

Layer/Part) only.

With the CS1x, in Performance mode the Insertion effect (Variation) can be

applied to one or more of the four Layers, while in Multi Play mode it can

only be applied to a single Part.

The System and Insertion effect configurations can be controlled in detail

by XG song data (signified by the XG mark) when the CS1x is in Multi Play

mode.

Performance Mode

The diagram below shows the signal flow of the three effects when the

CS1x is in Performance mode. In this case the Variation effect is fixed as

the Insertion effect.

The Variation Send On/Off switch

! determines which Layers the

Variation effect is applied to. The Performance Layer Edit 4 menu EFFECT

VARI SEND parameter turns the Variation effect ON/OFF for each Layer

(see page 34).

The Variation effect wet/dry balance " determines the ratio of effected

(wet) signal to original (dry) signal. The resulting Variation effect signal is

then sent to the Reverb effect via the Reverb send control #, and to the

Chorus effect via the Chorus send control $; the Send Chorus To Reverb

signal % can be controlled by the ASSIGN 1 knob. The Performance Layer

Edit 4 menu EFFECT REV SEND & and CHO SEND ' parameters determine

the respective Reverb and Chorus send levels applied to each Layer (see

page 34). Layers which are switched off !, as well as Parts 5~16, can still

have System Reverb and Chorus effects applied to them.

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

14 1512 L116 L3L2

Multi Play Mode

Part 1-16

Performance Mode

Layer 1-4

SYSTEM EFFECT

Reverb Effect

Chorus Effect

Variation Effect

Can be used as either System

or Insertion effect.

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

Insertion Effect Insertion Effect

The CS1x features three independent digital effects units, Reverb, Chorus and Variation, which can be applied to the

voices in a variety of ways to provide a wide range of sound processing capabilities.

In Performance mode you can choose the Reverb, Chorus and Variation effect types, as well as set additional

parameters for the Variation effect. In Multi Play mode, system exclusive (MIDI) data programmed in a song sequence

(of an external sequencer or computer) can change the various CS1x effect parameters at specific points in the song to

greatly enhance the sound and impact of the playback.

The diagram below shows the signal flow of the three effects when the

CS1x is in Multi Play mode and the Variation effect is designated as a

System effect.

Each of the 16 Parts has a Dry send ! level which controls the amount of

original signal for each Part (page 38). Reverb send ", Chorus send #,

and Variation send $ levels control the amount of effect applied to each

Part, determined by the Multi Edit EFFECT REV SEND, CHO SEND and VARI

SEND parameters (between 0~127), respectively (page 38). Reverb return

%, Chorus return & and Variation return ' levels can also be controlled

to determine the amount of each effect applied (page 38).

The Send Chorus to Reverb ( level is sent from the Chorus effect to the

Reverb effect (page 38). The Send Variation to Reverb ) and Send

Variation to Chorus * levels are sent from the Variation effect to the

Reverb and Chorus effects, respectively (page 38). These three

parameters let you make series and parallel effect configurations which

provide enormous sound enhancement flexibility.

If you select Effect Off in the Variation Type menu, the

Layers which have the VARI SEND function set to ON will not sound.

When you don't want to use the Variation Effect on the Layers, set the

VARI TYPE to Thru.

NOTE

Part 1

Part 2

Part 16

Rev

Cho

Vari

Rev Return Level

Cho Return

Vari Return

Vari to Rev

Vari to Cho

Cho to Rev

Dry Send

Rev Send Cho Send Vari Send

Vari Send, Cho Send, Rev Send = 0~127

•XG effect set to System

Out

"#$

(

)

Part 1

Part 2

Part 3

Part 16

wet/dry

MULTI

Send Cho to Rev

Rev Return Level

Cho Return Level

Cho SendRev Send

Rev

•XG effect set to Insertion

•Part 3 VARI SEND set to ON

Cho

Out

Vari

Reverb and Chorus send levels for Layers with the Variation

Send On/Off switch set to ON are determined by the highest

numbered Layer. For example, if Layers 1, 2 and 3 are switched on,

then the Reverb and Chorus send level for Layer 3 will determine the

amount of effect applied to each Layer.

In Performance mode effect send levels for Parts 5~16 (as

well as Layers 1~4) can be controlled by an external MIDI sequencer.

The Variation effect cannot be applied to Parts 5~16.

Multi Play Mode

The diagram below shows the signal flow of the three effects when the

CS1x is in Multi Play mode and the Variation effect is designated as an

Insertion effect.

In Multi Play mode the various effect settings can be

controlled by MIDI system exclusive Parameter Change messages

(received from an external sequencer or computer). The illustrations at

right show the Reverb, Chorus and Variation send parameters which

can be controlled from the CS1x panel. For details about the others,

refer to each page number as listed in the following explanation.

When the CS1x is in Multi Play mode, the Variation Effect is

automatically reset as an Insertion Effect. If you want to set the

Variation Effect as a System Effect, you need to send a parameter

change message to the CS1x from an external MIDI sequencer.

The Variation (Insertion) effect can be applied to any one of the 16 Parts at

a time, designated by switching the Multi Edit EFFECT VARI SEND

parameter to ON (page 38). The ratio of Variation effect (wet) signal to

original (dry) signal is determined by the wet/dry balance !, which in

turn controls the amount of Variation effect signal applied to the Part

(page 38).

Although only one Part at a time can have the Variation effect applied to

it, all Parts, including the Part with Variation effect, can have Reverb and

Chorus applied, determined by the Reverb send " and Chorus send #

level settings (between 0~127) of the Multi Edit EFFECT REV SEND and CHO

SEND parameters, respectively (page 38). Reverb return $ and Chorus

return % levels can also be controlled to determine the amount of each

effect applied. The Send Chorus to Reverb & level from the Chorus effect

to the Reverb effect can also be controlled in a series, if you assign it to

the ASSIGN 1 knob (page 26); in this case, the Chorus return % level

should be set to "0".

NOTE

Layer 1

PERFORMANCE

Layer 2

Layer 3

Layer 4

off

wet/dry

Part 5

Part 16

Cho

Rev

Cho Send

Rev Send

Out

Knobl (Cho to Rev)

(for each layer/part)

Vari

Effect Type List

Reverb Types

Following are descriptions of the Reverb types.

Chorus Types

Following are descriptions of the Chorus types.

Variation Types

When the effect type is set to Effect OFF while the Insertion

effect is used, no sound is output. If you don't want to use the

Variation effect, select Thru to pass the signal through the Variation

effect without applying any effect.

Following are descriptions of the Variation types.

Effect Parameter List

No. Parameter Display Value See Table Control

HALL1,HALL2, ROOM1,ROOM2,ROOM3 ,STAGE1,STAGE2 ,PLATE

1 Reverb Time 0.3~30.0s 0-69 table#4

2 Diffusion 0~10 0-10

3 Initial Delay 0.1~99.3ms 0-63 table#5

4 HPF Cutoff Thru~8.0kHz 0-52 table#3

5 LPF Cutoff 1.0kHz~Thru 34-60 table#3

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

11 Rev Delay 0~63 0-63 table#5

12 Density 0~3 0-3

13 Er/ Rev Balance E63> R~ E=R ~ E<R63 1-127

15 Feedback Level -63~+63 1-127

No.

Exclusive

Effect Type Description

MSB LSB

0 0 0 NO EFFECT Effect turned off.

1 1 0 HALL1 Reverb simulating the resonance of a hall.

Reverb simulating the resonance of a hall.

2 1 1 HALL2

3 2 0 ROOM1 Reverb simulating the resonance of a room.

Reverb simulating the resonance of a room.

4 2 1 ROOM2

5 2 2 ROOM3

6 3 0 STAGE1 Reverb approproate for a solo instrument.

Reverb approproate for a solo instrument.

7 3 1 STAGE2

8 4 0 PLATE Reverb simulating a metal plate reverb unit.

9 5 0 DELAY L,C,R A program that creates three delay sounds; L, R, and C (center).

10 6 0 DELAY L,R A program that creates two delay sounds; L and R. Two feedback delays are provided.

11 7 0 ECHO Two delays (L and R) and independent feedback delays for L and R.

12 8 0 CROSS DELAY A program that crosses the feedback of two delays.

13 9 0 ER1 An effect that produces only the early reflection component of reverb.

An effect that produces only the early reflection component of reverb.

14 9 1 ER2

15 A 0 GATE REVERB A simulation of gated reverb.

16 B 0 REVERSE GATE A program that simulates gated reverb played backwords.

17 14 0 KARAOKE 1 A delay with feedback of the same type as used for karaoke reverb.

A delay with feedback of the same type as used for karaoke reverb.

18 14 1 KARAOKE 2

19 14 2 KARAOKE 3

20 41 0 CHORUS1 A conventional chorus program, providing natural spaciousness.

A conventional chorus program, providing natural spaciousness.

21 41 1 CHORUS2

22 41 2 CHORUS3

23 41 8 CHORUS4 Chorus with stereo input.

24 42 0 CELESTE1 A 3-phase LFO adds modulation and spaciousness to the sound.

A 4-phase LFO adds modulation and spaciousness to the sound.

A 5-phase LFO adds modulation and spaciousness to the sound.

25 42 1 CELESTE2

26 42 2 CELESTE3

27 42 8 CELESTE4 Chorus with stereo input.

28 43 0 FLANGER1 Adds a jet-airplane effect to the sound.

Adds a jet-airplane effect to the sound.

29 43 1 FLANGER2

30 43 8 FLANGER3

31 44 0 SYMPHONIC A multi-phase version of CELESTE.

32 45 0 ROTARY SPEAKER A simulation of a rotary speaker. You can use an AC1 (assignable controller) etc.

to controll the speed of rotation.

33 46 0 TREMOLO An effect that cyclically modulates the volume.

34 47 0 AUTO PAN A program that cyclically moves the sound image to left and right, front and back.

35 48 0 PHASER1 Cyclically changes the phase to add modulation to the sound.

36 48 8 PHASER2 Phaser with stereo input.

37 49 0 DISTORTION Adds a sharp-edged distortion to the sound.

38 4A 0 OVER DRIVE Adds mild distortion ti the sound.

39 4B 0 AMP SIMULATOR A simulation of a guitar amp.

40 4C 0 3BAND EQ (MONO) A mono EQ with adjustable LOW, MID, and HIGH equalizing.

41 4D 0 2BAND EQ (STEREO) A stereo EQ with adjustable LOW and HIGH. Ideal for drum Parts.

42 4E 0 AUTO WAH (LFO) Cyclically modulates the center frequency of a wah filter. With an AC1 etc. this can function as a pedal wah.

*MSB, LSB is represented in hexadecimal. *LSB = 0 is the basic effect type.

40 0 THRU Bypass without applying an effect.

NOTE

No.

Exclusive

Effect Type Description

MSB LSB

0 0 0 NO EFFECT Effect turned off.

1 41 0 CHORUS1 Conventional chorus program that adds natural spaciousness.

Conventional chorus program that adds natural spaciousness.

2 41 1 CHORUS2

3 41 2 CHORUS3

4 41 8 CHORUS4 Chorus with stereo input. The pan setting specified for the Part will also apply to the effect sound.

5 42 0 CELESTE1 A 3-phase LFO adds modulation and spaciousness to the sound.

A 3-phase LFO adds modulation and spaciousness to the sound.

6 42 1 CELESTE2

7 42 2 CELESTE3

8 42 8 CELESTE4 CELESTE with stereo input. The pan setting specified for the Part will apply to the effect sound.

9 43 0 FLANGER1 Adds a jet-airplane effect to the sound.

Adds a jet-airplane effect to the sound.

10 43 1 FLANGER2

11 42 8 FLANGER3

No.

Exclusive

Effect Type Description

MSB LSB

0 0 0 NO EFFECT Effect turned off.

1 1 0 HALL1 Reverb simulating the resonance of a hall.

Reverb simulating the resonance of a hall.

2 1 1 HALL2

3 2 0 ROOM1 Reverb simulating the resonance of a room.

Reverb simulating the resonance of a room.

4 2 1 ROOM2

5 2 2 ROOM3

6 3 0 STAGE1 Reverb appropriate for a solo instrument.

Reverb appropriate for a solo instrument.

7 3 1 STAGE2

8 4 0 PLATE Reverb simulating a metal plate reverb unit.

9 10 0 WHITE ROOM A unique short reverb with a bit of initial delay.

10 11 0 TUNNEL Simulation of a tunnel space expanding to left and right.

11 13 0 BASEMENT A bit of initial delay followed by reverb with a unique resonance.

The parameter depth marked with a ● can be controlled

by the ASSIGN 1 Sound Control Knob or Foot Controller when properly

assigned.

The parameter numbers at far left correspond to the parameter suffix

numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data

List" book.

NOTE

1 L->R Delay 0.1~355.0ms 1-3550

2 R->L Delay 0.1~355.0ms 1-3550

3 Feedback Level -63~+63 1-127

4 Input Select L,R,L&R 0-2

5 High Damp 0.1~1.0 1-10

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

13 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

14 EQ Low Gain -12~+12dB 52-76

15 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

16 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

CROSS DELAY

1 Lch Delay1 0.1~355.0ms 1-3550

2 Lch Feedback Level -63~+63 1-127

3 Rch Delay1 0.1~355.0ms 1-3550

4 Rch Feedback Level -63~+63 1-127

5 High Damp 0.1~1.0 1-10

6 Lch Delay2 0.1~355.0ms 1-3550

7 Rch Delay2 0.1~355.0ms 1-3550

8 Delay2 Level 0~127 0-127

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

13 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

14 EQ Low Gain -12~+12dB 52-76

15 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

16 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

ECHO

1 Lch Delay 0.1~715.0ms 1-7150

2 Rch Delay 0.1~715.0ms 1-7150

3 Feedback Delay 1 0.1~715.0ms 1-7150

4 Feedback Delay 2 0.1~715.0ms 1-7150

5 Feedback Level -63~+63 1-127

6 High Damp 0.1~1.0 1-10

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

13 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

14 EQ Low Gain -12~+12dB 52-76

15 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

16 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

DELAY L,R

1 Lch Delay 0.1~715.0ms 1-7150

2 Rch Delay 0.1~715.0ms 1-7150

3 Cch Delay 0.1~715.0ms 1-7150

4 Feedback Delay 0.1~715.0ms 1-7150

5 Feedback Level -63~+63 1-127

6 Cch Level 0~127 0-127

7 High Damp 0.1~1.0 1-10

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

13 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

14 EQ Low Gain -12~+12dB 52-76

15 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

16 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

DELAY L,C,R

1 Reverb Time 0.3~30.0s 0-69 table#4

2 Diffusion 0~10 0-10

3 Initial Delay 0~63 0-63 table#5

4 HPF Cutoff Thru~8.0kHz 0-52 table#3

5 LPF Cutoff 1.0k~Thru 34-60 table#3

6 Width 0.5~10.2m 0-37 table#8

7 Heigt 0.5~20.2m 0-73 table#8

8 Depth 0.5~30.2m 0-104 table#8

9 Wall Vary 0~30 0-30

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

11 Rev Delay 0~63 0-63 table#5

12 Density 0~3 0-3

13 Er/ Rev Balance E63> R~ E=R ~ E<R63 1-127

15 Feedback Level -63~+63 1-127

No. Parameter Display Value See Table Control

WHITE ROOM ,TUNNEL, BASEMENT

The parameter depth marked with a ● can be controlled

by the ASSIGN 1 Sound Control Knob or Foot Controller when properly

assigned.

The parameter numbers at far left correspond to the parameter suffix

numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data

List" book.

NOTE

1 LFO Frequency 0.00~39.7Hz 0-127 table#1

2 LFO Depth 0~127 0-127

3 Phase Shift Offset 0~127 0-127

4 Feedback Level -63~+63 1-127

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

11 Stage 6~10(phaser1) / 3~5(phaser2) 3-10

12 Diffusion Mono/Stereo 0-1

LFO Phase Difference

-180~+180deg. 4-124 Phaser2

No. Parameter Display Value See Table Control

PHASER1, PHASER2

1 LFO Frequency 0.00~39.7Hz 0-127 table#1 ●

2 L/R Depth 0~127 0-127

3 F/R Depth 0~127 0-127

4 PAN Direction L<->R,L->R,L<-R,Lturn,Rturn,L/R 0-5

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

AUTO PAN

1 LFO Frequency 0.00~39.7Hz 0-127 table#1 ●

2 AM Depth 0~127 0-127

3 PM Depth 0~127 0-127

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

14 LFO Phase Difference -180~+180deg 4-124

resolution=3deg.

15 Input Mode mono/stereo 0-1

No. Parameter Display Value See Table Control

TREMOLO

1 LFO Frequency 0.00~39.7Hz 0-127 table#1 ●

2 LFO Depth 0~127 0-127

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127

No. Parameter Display Value See Table Control

ROTARY SPEAKER

1 LFO Frequency 0.00~39.7Hz 0-127 table#1

2 LFO Depth 0~127 0-127

3 Delay Offset 0.0~50.0ms 0-127 table#2

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

No. Parameter Display Value See Table Control

SYMPHONIC

1 LFO Frequency 0.00~39.7Hz 0-127 table#1

2 LFO Depth 0~127 0-127

3 Feedback Level -63~+63 1-127

4 Delay Offset 0.0~6.3ms 0-63 table#2

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

14 LFO Phase Difference -180~+180deg 4-124

resolution=3deg.

No. Parameter Display Value See Table Control

FLANGER1,FLANGER2,FLANGER3

1 LFO Frequency 0.00~39.7Hz 0-127 table#1

2 LFO PM Depth 0~127 0-127

3 Feedback Level -63~+63 1-127

4 Delay Offset 0.0~50.0ms 0-127 table#2

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

15 Input Mode mono/stereo 0-1

No. Parameter Display Value See Table Control

CHORUS1,2,3,4, CELESTE1,2,3,4

1 Delay Time 0~400.0ms 0-127 table#7

2 Feedback Level -63~+63 1-127

3 HPF Cutoff Thru~8.0kHz 0-52

4 LPF Cutoff 1.0k~Thru 34-60

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

No. Parameter Display Value See Table Control

KARAOKE1,2,3

1 Type TypeA,TypeB 0-1

2 Room Size 0.1~7.0 0-44 table#6

3 Diffusion 0~10 0-10

4 Initial Delay 0.1~99.3ms 0-63 table#5

5 Feedback Level -63~+63 1-127

6 HPF Cutoff Thru~8.0kHz 0-52

7 LPF Cutoff 1.0k~Thru 34-60

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

11 Liveness 0~10 0-10

12 Density 0~3 0-3

13 High Damp 0.1~1.0 1-10

No. Parameter Display Value See Table Control

GATE REVERB,REVERSE GATE

1 Type S-H, L-H, Rdm, Rvs, Plt, Spr 0-5

2 Room Size 0.1~7.0 0-44 table#6

3 Diffusion 0~10 0-10

4 Initial Delay 0.1~99.3ms 0-63 table#5

5 Feedback Level -63~+63 1-127

6 HPF Cutoff Thru~8.0kHz 0-52

7 LPF Cutoff 1.0k~Thru 34-60

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ●

11 Liveness 0~10 0-10

12 Density 0~3 0-3

13 High Damp 0.1~1.0 1-10

No. Parameter Display Value See Table Control

EARLY REF1,EARLY REF2

The parameter depth marked with a ● can be controlled

by the ASSIGN 1 Sound Control Knob or Foot Controller when properly

assigned.

The parameter numbers at far left correspond to the parameter suffix

numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data

List" book.

NOTE

1 LFO Frequency 0.00~39.7Hz 0-127 table#1

2 LFO Depth 0~127 0-127

3 Cutoff Frequency Offset 50Hz~14.0kHz 0-127 table#9 ●

4 Resonance 1.0~12.0 10-120

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ Low Gain -12~+12dB 52-76

8 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

9 EQ High Gain -12~+12dB 52-76

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127

No. Parameter Display Value See Table Control

AUTO WAH

1 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

2 EQ Low Gain -12~+12dB 52-76

3 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

4 EQ High Gain -12~+12dB 52-76

No. Parameter Display Value See Table Control

STEREO EQ(2-BAND)

1 EQ Low Gain -12~+12dB 52-76

2 EQ Mid Frequency 500Hz~10.0kHz 28-54 table#3

3 EQ Mid Gain -12~+12dB 52-76

4 EQ Mid Width 1.0~12.0 10-120

5 EQ High Gain -12~+12dB 52-76

6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

7 EQ High Frequency 500Hz~16.0kHz 28-58 table#3

No. Parameter Display Value See Table Control

MONO EQ(3-BAND)

1 Drive 0~127 0-127 ●

2 AMP Type Off,Stack,Combo,Tube 0-3

3 LPF Cutoff 1.0k~Thru 34-60 table#3

4 Output Level 0~127 0-127

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127

11 Edge(Clip Curve) 0~127 0-127 mild~sharp

No. Parameter Display Value See Table Control

GUITAR AMP SIMULATOR

1 Drive 0~127 0-127 ●

2 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3

3 EQ Low Gain -12~+12dB 52-76

4 LPF Cutoff 1.0k~Thru 34-60 table#3

5 Output Level 0~127 0-127

7 EQ Mid Frequency 500Hz~10.0kHz 28-54 table#3

8 EQ Mid Gain -12~+12dB 52-76

9 EQ Mid Width 1.0~12.0 10-120

10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127

11 Edge(Clip Curve) 0~127 0-127 mild~sharp

No. Parameter Display Value See Table Control

DISTORTION,OVERDRIVE

Effect Data Assign Table

Data Value

EQ Frequency

Table#3

Data Value

0 THRU(20)

122

225

328

432

536

640

745

850

956

10 63

11 70

12 80

13 90

14 100

15 110

16 125

17 140

18 160

19 180

20 200

21 225

22 250

23 280

24 315

25 355

26 400

27 450

28 500

29 560

30 630

31 700

32 800

33 900

34 1.0k

35 1.1k

36 1.2k

37 1.4k

38 1.6k

39 1.8k

40 2.0k

41 2.2k

42 2.5k

43 2.8k

44 3.2k

45 3.6k

46 4.0k

47 4.5k

48 5.0k

49 5.6k

50 6.3k

51 7.0k

52 8.0k

53 9.0k

54 10.0k

55 11.0k

56 12.0k

57 14.0k

58 16.0k

59 18.0k

THRU(20.0k)

Data Value

Modulation Delay Offset

Table#2

Data Value Data Value Data Value

0 0.0

1 0.1

2 0.2

3 0.3

4 0.4

5 0.5

6 0.6

7 0.7

8 0.8

9 0.9

10 1.0

11 1.1

12 1.2

13 1.3

14 1.4

15 1.5

16 1.6

17 1.7

18 1.8

19 1.9

20 2.0

21 2.1

22 2.2

23 2.3

24 2.4

25 2.5

26 2.6

27 2.7

28 2.8

29 2.9

30 3.0

31 3.1

32 3.2

33 3.3

34 3.4

35 3.5

36 3.6

37 3.7

38 3.8

39 3.9

40 4.0

41 4.1

42 4.2

43 4.3

44 4.4

45 4.5

46 4.6

47 4.7

48 4.8

49 4.9

50 5.0

51 5.1

52 5.2

53 5.3

54 5.4

55 5.5

56 5.6

57 5.7

58 5.8

59 5.9

60 6.0

61 6.1

62 6.2

63 6.3

64 6.4

65 6.5

66 6.6

67 6.7

68 6.8

69 6.9

70 7.0

71 7.1

72 7.2

73 7.3

74 7.4

75 7.5

76 7.6

77 7.7

78 7.8

79 7.9

80 8.0

81 8.1

82 8.2

83 8.3

84 8.4

85 8.5

86 8.6

87 8.7

88 8.8

89 8.9

90 9.0

91 9.1

92 9.2

93 9.3

94 9.4

95 9.5

96 9.6

97 9.7

98 9.8

99 9.9

100 10.0

101 11.1

102 12.2

103 13.3

104 14.4

105 15.5

106 17.1

107 18.6

108 20.2

109 21.8

110 23.3

111 24.9

112 26.5

113 28.0

114 29.6

115 31.2

116 32.8

117 34.3

118 35.9

119 37.5

120 39.0

121 40.6

122 42.2

123 43.7

124 45.3

125 46.9

126 48.4

127 50.0

Data Value

LFO Frequency

Table#1

Data Value Data Value Data Value

0 0.00

1 0.04

2 0.08

3 0.13

4 0.17

5 0.21

6 0.25

7 0.29

8 0.34

9 0.38

10 0.42

11 0.46

12 0.51

13 0.55

14 0.59

15 0.63

16 0.67

17 0.72

18 0.76

19 0.80

20 0.84

21 0.88

22 0.93

23 0.97

24 1.01

25 1.05

26 1.09

27 1.14

28 1.18

29 1.22

30 1.26

31 1.30

32 1.35

33 1.39

34 1.43

35 1.47

36 1.51

37 1.56

38 1.60

39 1.64

40 1.68

41 1.72

42 1.77

43 1.81

44 1.85

45 1.89

46 1.94

47 1.98

48 2.02

49 2.06

50 2.10

51 2.15

52 2.19

53 2.23

54 2.27

55 2.31

56 2.36

57 2.40

58 2.44

59 2.48

60 2.52

61 2.57

62 2.61

63 2.65

64 2.69

65 2.78

66 2.86

67 2.94

68 3.03

69 3.11

70 3.20

71 3.28

72 3.37

73 3.45

74 3.53

75 3.62

76 3.70

77 3.87

78 4.04

79 4.21

80 4.37

81 4.54

82 4.71

83 4.88

84 5.05

85 5.22

86 5.38

87 5.55

88 5.72

89 6.06

90 6.39

91 6.73

92 7.07

93 7.40

94 7.74

95 8.08

96 8.41

97 8.75

98 9.08

99 9.42

100 9.76

101 10.10

102 10.80

103 11.40

104 12.10

105 12.80

106 13.50

107 14.10

108 14.80

109 15.50

110 16.20

111 16.80

112 17.50

113 18.20

114 19.50

115 20.90

116 22.20

117 23.60

118 24.90

119 26.20

120 27.60

121 28.90

122 30.30

123 31.60

124 33.00

125 34.30

126 37.00

127 39.70

Cutoff Frequency Offset

Table#9

Data Value Data Value Data Value Data Value

050

155

260

366

472

580

686

794

8 100

9110

10 120

11 130

12 140

13 150

14 162

15 174

16 186

17 200

18 215

19 230

20 245

21 260

22 280

23 300

24 315

25 335

26 355

27 380

28 400

29 425

30 450

31 475

32 500

33 530

34 560

35 590

36 620

37 650

38 680

39 720

40 760

41 800

42 840

43 880

44 920

45 960

46 1.00k

47 1.05k

48 1.10k

49 1.15k

50 1.20k

51 1.26k

52 1.32k

53 1.38k

54 1.43k

55 1.50k

56 1.56k

57 1.62k

58 1.69k

59 1.76k

60 1.83k

61 1.90k

62 1.98k

63 2.06k

64 2.14k

65 2.22k

66 2.31k

67 2.40k

68 2.49k

69 2.58k

70 2.67k

71 2.77k

72 2.87k

73 2.97k

74 3.08k

75 3.19k

76 3.30k

77 3.41k

78 3.53k

79 3.65k

80 3.77k

81 3.90k

82 4.03k

83 4.16k

84 4.29k

85 4.43k

86 4.57k

87 4.72k

88 4.87k

89 5.02k

90 5.18k

91 5.34k

92 5.50k

93 5.67k

94 5.84k

95 6.02k

96 6.20k

97 6.38k

98 6.56k

99 6.75k

100 6.95k

101 7.15k

102 7.35k

103 7.56k

104 7.78k

105 8.00k

106 8.22k

107 8.44k

108 8.67k

109 8.90k

110 9.14k

111 9.38k

112 9.63k

113 9.90k

114 10.2k

115 10.4k

116 10.7k

117 10.9k

118 11.2k

119 11.5k

120 11.8k

121 12.1k

122 12.4k

123 12.7k

124 13.0k

125 13.3k

126 13.7k

127 14.0k

Data Value

Reverb Width;Depth;Height

Table#8

Data Value Data Value Data Value

0 0.5

1 0.8

2 1.0

3 1.3

4 1.5

5 1.8

6 2.0

7 2.3

8 2.6

9 2.8

10 3.1

11 3.3

12 3.6

13 3.9

14 4.1

15 4.4

16 4.6

17 4.9

18 5.2

19 5.4

20 5.7

21 5.9

22 6.2

23 6.5

24 6.7

25 7.0

26 7.2

27 7.5

28 7.8

29 8.0

30 8.3

31 8.6

32 8.8

33 9.1

34 9.4

35 9.6

36 9.9

37 10.2

38 10.4

39 10.7

40 11.0

41 11.2

42 11.5

43 11.8

44 12.1

45 12.3

46 12.6

47 12.9

48 13.1

49 13.4

50 13.7

51 14.0

52 14.2

53 14.5

54 14.8

55 15.1

56 15.4

57 15.6

58 15.9

59 16.2

60 16.5

61 16.8

62 17.1

63 17.3

64 17.6

65 17.9

66 18.2

67 18.5

68 18.8

69 19.1

70 19.4

71 19.7

72 20.0

73 20.2

74 20.5

75 20.8

76 21.1

77 21.4

78 21.7

79 22.0

80 22.4

81 22.7

82 23.0

83 23.3

84 23.6

85 23.9

86 24.2

87 24.5

88 24.9

89 25.2

90 25.5

91 25.8

92 26.1

93 26.5

94 26.8

95 27.1

96 27.5

97 27.8

98 28.1

99 28.5

100 28.8

101 29.2

102 29.5

103 29.9

104 30.2

Data Value

Delay Time(400.0ms)

Table#7

Data Value Data Value Data Value

0 0.1

1 3.2

2 6.4

3 9.5

4 12.7

5 15.8

6 19.0

7 22.1

8 25.3

9 28.4

10 31.6

11 34.7

12 37.9

13 41.0

14 44.2

15 47.3

16 50.5

17 53.6

18 56.8

19 59.9

20 63.1

21 66.2

22 69.4

23 72.5

24 75.7

25 78.8

26 82.0

27 85.1

28 88.3

29 91.4

30 94.6

31 97.7

32 100.9

33 104.0

34 107.2

35 110.3

36 113.5

37 116.6

38 119.8

39 122.9

40 126.1

41 129.2

42 132.4

43 135.5

44 138.6

45 141.8

46 144.9

47 148.1

48 151.2

49 154.4

50 157.5

51 160.7

52 163.8

53 167.0

54 170.1

55 173.3

56 176.4

57 179.6

58 182.7

59 185.9

60 189.0

61 192.2

62 195.3

63 198.5

64 201.6

65 204.8

66 207.9

67 211.1

68 214.2

69 217.4

70 220.5

71 223.7

72 226.8

73 230.0

74 233.1

75 236.3

76 239.4

77 242.6

78 245.7

79 248.9

80 252.0

81 255.2

82 258.3

83 261.5

84 264.6

85 267.7

86 270.9

87 274.0

88 277.2

89 280.3

90 283.5

91 286.6

92 289.8

93 292.9

94 296.1

95 299.2

96 302.4

97 305.5

98 308.7

99 311.8

100 315.0

101 318.1

102 321.3

103 324.4

104 327.6

105 330.7

106 333.9

107 337.0

108 340.2

109 343.3

110 346.5

111 349.6

112 352.8

113 355.9

114 359.1

115 362.2

116 365.4

117 368.5

118 371.7

119 374.8

120 378.0

121 381.1

122 384.3

123 387.4

124 390.6

125 393.7

126 396.9

127 400.0

Data Value

Room Size

Table#6

Data Value

0 0.1

1 0.3

2 0.4

3 0.6

4 0.7

5 0.9

6 1.0

7 1.2

8 1.4

9 1.5

10 1.7

11 1.8

12 2.0

13 2.1

14 2.3

15 2.5

16 2.6

17 2.8

18 2.9

19 3.1

20 3.2

21 3.4

22 3.5

23 3.7

24 3.9

25 4.0

26 4.2

27 4.3

28 4.5

29 4.6

30 4.8

31 5.0

32 5.1

33 5.3

34 5.4

35 5.6

36 5.7

37 5.9

38 6.1

39 6.2

40 6.4

41 6.5

42 6.7

43 6.8

44 7.0

Data Value

Delay Time(200.0ms)

Table#5

Data Value Data Value Data Value

0 0.1

1 1.7

2 3.2

3 4.8

4 6.4

5 8.0

6 9.5

7 11.1

8 12.7

9 14.3

10 15.8

11 17.4

12 19.0

13 20.6

14 22.1

15 23.7

16 25.3

17 26.9

18 28.4

19 30.0

20 31.6

21 33.2

22 34.7

23 36.3

24 37.9

25 39.5

26 41.0

27 42.6

28 44.2

29 45.7

30 47.3

31 48.9

32 50.5

33 52.0

34 53.6

35 55.2

36 56.8

37 58.3

38 59.9

39 61.5

40 63.1

41 64.6

42 66.2

43 67.8

44 69.4

45 70.9

46 72.5

47 74.1

48 75.7

49 77.2

50 78.8

51 80.4

52 81.9

53 83.5

54 85.1

55 86.7

56 88.2

57 89.8

58 91.4

59 93.0

60 94.5

61 96.1

62 97.7

63 99.3

64 100.8

65 102.4

66 104.0

67 105.6

68 107.1

69 108.7

70 110.3

71 111.9

72 113.4

73 115.0

74 116.6

75 118.2

76 119.7

77 121.3

78 122.9

79 124.4

80 126.0

81 127.6

82 129.2

83 130.7

84 132.3

85 133.9

86 135.5

87 137.0

88 138.6

89 140.2

90 141.8

91 143.3

92 144.9

93 146.5

94 148.1

95 149.6

96 151.2

97 152.8

98 154.4

99 155.9

100 157.5

101 159.1

102 160.6

103 162.2

104 163.8

105 165.4

106 166.9

107 168.5

108 170.1

109 171.7

110 173.2

111 174.8

112 176.4

113 178.0

114 179.5

115 181.1

116 182.7

117 184.3

118 185.8

119 187.4

120 189.0

121 190.6

122 192.1

123 193.7

124 195.3

125 196.9

126 198.4

127 200.0

Data Value

Reverb time

Table#4

Data Value Data Value

0 0.3

1 0.4

2 0.5

3 0.6

4 0.7

5 0.8

6 0.9

7 1.0

8 1.1

9 1.2

10 1.3

11 1.4

12 1.5

13 1.6

14 1.7

15 1.8

16 1.9

17 2.0

18 2.1

19 2.2

20 2.3

21 2.4

22 2.5

23 2.6

24 2.7

25 2.8

26 2.9

27 3.0

28 3.1

29 3.2

30 3.3

31 3.4

32 3.5

33 3.6

34 3.7

35 3.8

36 3.9

37 4.0

38 4.1

39 4.2

40 4.3

41 4.4

42 4.5

43 4.6

44 4.7

45 4.8

46 4.9

47 5.0

48 5.5

49 6.0

50 6.5

51 7.0

52 7.5

53 8.0

54 8.5

55 9.0

56 9.5

57 10.0

58 11.0

59 12.0

60 13.0

61 14.0

62 15.0

63 16.0

64 17.0

65 18.0

66 19.0

67 20.0

68 25.0

69 30.0

MIDI Messages Transmitted/Received by the CS1x

MIDI messages can be divided into two groups: Channel messages and

System messages. Below is an explanation of the various types of MIDI

messages which the CS1x can receive/transmit.

1. CHANNEL MESSAGES

Channel messages are the data related to the performance on the

keyboard for the specific channel.

1.1 Note On/Note Off (Key On/Key Off)

Messages which are generated when the keyboard is played.

Reception note range = C-2 (0) - G8 (127), C3 = 60

Velocity range = 1 - 127 (Only the Note On velocity is received)

Note On: Generated when a key is pressed.

Note Off: Generated when a key is released.

Each message includes a specific note number which corresponds to the

key which is pressed, plus a velocity value based on how hard the key is

struck.

1.2 Control Change

Control Change messages let you select a voice bank, control volume,

panning, modulation, portamento time, brightness and various other

controller parameters, through specific Control Change numbers which

correspond to each of the various parameters.

1.2.1 Bank Select MSB (Control #000)

Bank Select LSB (Control #032)

Messages which select variation voice bank numbers by combining

and sending the MSB and LSB from an external device.

MSB and LSB functions differently depending on the tone generator

mode.

In XG mode, MSB numbers select voice type (Normal Voice or Drum

Voice), and LSB numbers select voice banks.

In TG300B mode, LSB is fixed, and MSB numbers select voice banks.

(For more information about Banks and Programs, see Voice List in

the "Data List" book.)

A new bank selection will not become effective until the next

Program Change message is received.

1.2.2 Modulation (Control #001)

Messages which control vibrato depth using the Modulation Wheel.

Setting the value to 127 produces maximum vibrato and 0 results in

vibrato off.

1.2.3 Portamento Time (Control #005)

Messages which control the duration of portamento, or a continuous

pitch glide between successively played notes.

When the parameter 1.2.10 Portamento Switch is set to on, the value

set here can adjust the speed of pitch change.

Setting the value to 127 produces maximum portamento time and 0

results in minimum portamento time.

1.2.4 Data Entry MSB (Control #006)

Data Entry LSB (Control #038)

Messages which set the value for the parameter specified by

1.2.23RPN MSB/LSB and 1.2.22 NRPN MSB/LSB.

Parameter value is determined by combining MSB and LSB.

1.2.5 Main Volume (Control #007)

Messages which control the volume of each Part.

Setting the value to 127 produces maximum volume and 0 results in

volume off.

The messages 007 (Main Volume) or 011 (Expression) will be

transmitted using an optional controller connected to the FOOT

VOLUME jack on the rear panel if an appropriate setting is selected in

the Assign Control Number section in Utility mode.

1.2.6 Pan (Control #010)

Messages which control the stereo panning position of each Part (for

stereo output).

Setting the value to 127 positions the sound to the far right and 0

positions the sound to the far left.

1.2.7 Expression (Control #011)

Messages which control intonation expression of each Part during

performance.

Setting the value to 127 produces maximum volume and 0 results in

volume off.

The messeges 007 (Main Volume) or 011 (Expression) will be

transmitted using an optional controller connected to the FOOT

VOLUME jack on the rear panel if an appropriate setting is selected in

the Assign Control Number section in Utility mode.

MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to

communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and

various other types of MIDI data, or messages.

The CS1x can control a MIDI device by transmitting note related data and various types of controller data. The CS1x can

be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI

channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts.

1.2.8 General Purpose 1, 2, 3, 4

(Control #016, 017, 018, 019)

Control #016 are messages which are transmitted by operating the

connected Foot Controller, used to control specific parameter such as

voice parameters and Variation effect parameters. Control #017 and

Control #018 are messages which are transmitted by operating the

ASSIGN1 and ASSIGN2 knobs, respectively. Control #019 is undefined.

1.2.9 Hold1 (Control #064)

Messages which control sustain on/off.

Setting the value between 64 - 127 turns the sustain on, between 0 -

63 turns the sustain off.

1.2.10 Portamento Switch (Control #065)

Messages which control portamento on/off.

Setting the value between 64 -127 turns the portamento on, between

0 - 63 turns the portamento off.

1.2.11 Sostenuto (Control #066)

Messages which control sostenuto on/off.

Holding specific notes and then pressing and holding the sostenuto

pedal will sustain those notes as you play subsequent notes, until

the pedal is released.

Setting the value between 64 -127 turns the sostenuto on, between 0

- 63 turns the sostenuto off.

1.2.12 Soft Pedal (Control #067)

Messages which control soft pedal on/off.

Notes played while holding the soft pedal will be dampened.

Setting the value between 64 -127 turns the soft pedal on, between 0

- 63 turns the soft pedal off.

1.2.13 Harmonic Content (Control #071)

Messages which adjust the filter resonance set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

Higher values will result in a more characteristic, resonant sound.

Depending on the voice, the effective range may be narrower than

the range available for adjustment.

1.2.14 Release Time (Control #072)

Messages which adjust the EG release time set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

1.2.15 Attack Time (Control #073)

Messages which adjust the EG attack time set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

1.2.16 Brightness (Control #074)

Messages which adjust the filter cutoff frequency set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

Lower values will result in a softer sound.

Depending on the voice, the effective range may be narrower than

the range available for adjustment.

1.2.17 Portamento Control (Control #084)

Messages which apply a portamento between the currently-

sounding note and the subsequent note.

Portamento Control is transmitted specifying the note-on key of the

currently-sounding note.

Specify a Portamento Source Key number between 0 - 127.

When a Portamento Control message is received, the currently

sounding pitch will change with a Portamento Time of 0 to the next

note-on key on the same channel.

For example, the following settings would apply a portamento from

note C3 to C4.

90H 3CH 7FH C3 Note on

B0H 54H 3CH Source key number set to C3

90H 48H 7FH C4 Note on (When C4 is on, C3 is raised by a

portamento to C4.)

1.2.18 Effect1 Depth (Reverb Send Level) (Control #091)

Messages which adjust the send level for the Reverb effect.

1.2.19 Effect3 Depth (Chorus Send Level) (Control #093)

Messages which adjust the send level for the Chorus effect.

1.2.20 Effect4 Depth (Variation Effect Send Level)

(Control #094)

Messages which adjust the send level for the Variation effect.

If Variation effect uses System effect, this message sets the send

level for the Variation effect. If it uses Insertion effect, this setting is

invalid.

1.2.21 Data Increment (Control #096)

Decrement (Control #097) for RPN

Messages which increase or decrease the MSB value of pitch bend

sensitivity, fine tune, or coarse tune in steps of 1. You are required to

assign one of those parameters using the RPN in the external device

in advance.

The data byte is ignored.

When the maximum value or minimum value is reached, the value

will not be incremented or decremented further.

(Incrementing the fine tune will not cause the coarse tune to be

incremented.)

1.2.22 NRPN (Non-Registered Parameter Number)LSB

(Control #098)

NRPN (Non-Registered Parameter Number)MSB

(Control #099)

Messages which adjust a voice's vibrato, filter, EG, drum setup or

other parameter settings.

First send the NRPN MSB and NRPN LSB to specify the parameter

which is to be controlled. Then use 1.2.4 Data Entry to set the value of

the specified parameter.

Note that once the NRPN has been set for a channel, subsequent

data entry will be recognized as the same NRPN's value change.

Therefore, after you use the NRPN, you should set a Null (7FH, 7FH)

value to avoid an unexpected result.

The following NRPN numbers can be received.

1.2.23 RPN (Registered Parameter Number)LSB

(Control #100)

RPN (Registered Parameter Number)MSB

(Control #101)

Messages which offset, or add or subtract values from a Part's pitch

bend sensitivity, tuning, or other parameter settings.

First send the RPN MSB and RPN LSB to specify the parameter which

is to be controlled. Then use 1.2.21 Data Increment/Decrement to set

the value of the specified parameter.

Note that once the RPN has been set for a channel, subsequent data

entry will be recognized as the same RPN's value change. Therefore

after you use the RPN, you should set a Null (7FH, 7FH) value to avoid

an unexpected result.

The following RPN numbers can be received.

1.2.24 Channel Mode Messages

The following Channel Mode Messages can be received.

1.2.24.1 All Sounds Off (Control #120)

Clears all sounds currently sounding on the specified channel.

However, the status of channel messages such as Note On and Hold

On is maintained.

2nd BYTE 3rd BYTE MESSAGE

120 0 All Sounds Off

121 0 Reset All Controllers

123 0 All Notes Off

12 6 0 ~ 16 Mono

127 0 Poly

RPN MSB RPN LSB PARAMETER

00 00 Pitch Bend Sensitivity

00 01 Fine Tune

00 02 Coarse Tune

7F 7F Null

NRPN MSB NRPN LSB PARAMETER

01 08 Vibrato Rate

01 09 Vibrato Depth

01 0A Vibrato Delay

01 20 Filter Cutoff Frequency

01 21 Filter Resonance

01 63 EG Attack Time

01 64 EG Decay Time

01 66 EG Release Time

14 rr Drum Filter Cutoff Frequency

15 rr Drum Filter Resonance

16 rr Drum EG Attack Rate

17 rr Drum EG Decay Rate

18 rr Drum Pitch Coarse

19 rr Drum Pitch Fine

1A rr Drum Level

1C rr Drum Pan

1D rr Drum Reverb Send Level

1E rr Drum Chorus Send Level

1F rr Drum Variation Send Level

*rr = Note number for each drum voice instrument.

1.2.24.2 Reset All Controllers (Control #121)

The values of the following controllers will be reset to the defaults.

1.2.24.3 All Notes Off (Control #123)

Clears all notes currently on for the specified channel.

However, if Hold1 or Sostenuto is on, notes will continue sounding

until these are turned off.

1.2.24.4 Mono (Control #126)

Performs the same function as when an All Sounds Off message is

received, and if the 3rd byte (mono number) is in the range of 0 - 16,

sets the corresponding channel to Mono Mode (Mode 4 : m = 1).

1.2.24.5 Poly (Control #127)

Performs the same function as when an All Sounds Off message is

received, and sets the corresponding channel to Poly Mode (Mode 3).

1.3 Program Change

Messages which determine which voice to select for each Part.

With a combination of Bank Select, you can select not only basic

voice numbers, but also variation voice bank numbers.

1.4 Channel Aftertouch

Messages which let you control the sounds by the pressure you

apply to the keys after the initial striking of the keys, over the entire

channel.

1.5 Polyphonic Key Pressure

Messages which let you control the sounds by the pressure you

apply to the keys after the initial striking of the keys, for each

individual key.

1.6 Pitch Bend

Pitch Bend messages are continuous controller messages that allow

the pitch of designated notes to be raised or lowered by a specified

amount over a specified duration.

CONTROLLER VALUE

Pitch Bend Change 0 (center)

Aftertouch 0 (off)

Modulation 0 (off)

Foot Controller 0 (min)

Expression 127 (max)

Hold1 0 (off)

Portamento 0 (off)*

Sostenuto 0 (off)

Soft Pedal 0 (off)

Portamento Control Cancels the Portamento source key number

RPN Number not specified; internal data will not change

NRPN

* In Performance mode, 1 (on).

Number not specified; internal data will not change

2. SYSTEM MESSAGES

System messages are the data related to the overall system of the device.

2.1 System Exclusive Messages

System Exclusive messages control various functions of the CS1x,

including master volume and master tuning, tone generator mode, effect

type and various other parameters.

2.1.1 General MIDI Mode On

When General MIDI mode on is received, the tone generator mode

will be changed to XG mode.

When this happens, the CS1x will receive the MIDI messages which

are compatible with GM System Level 1, and consequently will not

receive NRPN and Bank Select messages.

Since approximately 50ms is required to execute this message, be

sure to leave an appropriate interval before the subsequent

message.

F0 7E 7F 09 01 F7 (Hexadecimal)

2.1.2 Master Volume

When received, the Volume MSB will be effective for the System

Parameter.

F0 7F 7F 04 01 ll mm F7 (Hexadecimal)

* mm(MSB) = appropriate volume value, ll(LSB) = ignored

2.1.3 XG System On

When this data is received, the CS1x will switch to XG mode and all

the parameters will be initialized accordingly, and XG-compatible

messages such as NRPN and Bank Select messages can be

received.

Since approximately 50ms is required to execute this message, be

sure to leave an appropriate interval before the subsequent

message.

F0 43 1n 4C 00 00 7E 00 F7 (Hexadecimal)

*n = device number

TG300B Reset

F0 41 1n 42 12 40 00 7F 00 41 F7 (Hexadecimal)

*n = device number

2.2 Active Sensing (Receive only)

Once FE (Active Sensing) has been received, if no MIDI data is

subsequently received for longer than an interval of approximately

300msec, the CS1x will perform the same function as when All Sounds

Off, All Notes Off, and Reset All Controllers messages are received, and

will then return to a status in which FE is not monitored.

Refer to the MIDI Data Format in the "Data List" book for more information

on the various messages.

KEYBOARD 61 keys with Initial Touch

TONE GENERATOR AWM2 (Wave ROM 4.5MB)

POLYPHONY 32 notes

MULTI TIMBRE 16 (DVA)

PERFORMANCE 128 Presets, 128 Users

VOICE Normal Voice XG 480

TG300B 579

Voices For Performances

Drum Voice XG 11

TG300B 10

ARPEGGIATOR 30

EFFECT Reverb 11

Chorus 11

Variation 43

CONTROLS POWER, VOLUME, PITCH, MODULATION, Sound Control Knobs 6, SCENE 1/2, Numeric

Keypad, ENTER, Mode Select (PERFORMANCE, MULTI, STORE, UTILITY), ARPEGGIATOR,

SHIFT/OCTAVE, PART/LAYER +/-, PRESET, USER, PROGRAM +/-, Edit Parameter Rotary Switch,

Parameter Value Up/Down buttons 10

DISPLAY LCD (Back Lit)

TERMINALS PHONES(Stereo Phone), OUTPUT(Phone): L[MONO]/R, DC IN, FOOT VOLUME, FOOT

CONTROLLER, FOOTSWITCH, INPUT, TO HOST, HOST SELECT, MIDI IN/OUT/THRU

POWER SUPPLY AC adaptor PA-3B

OUTPUT IMPEDANCE Line: 10k

Ω, Phones: 33Ω

DIMENSIONS 976(W)

˛ 285(D) ˛ 103(H)mm (38 3/8" ˛ 11 1/4" ˛ 4 1/16")

WEIGHT 5.7kg (12 lbs., 9 oz.)

ACCESSORIES Yamaha AC Adaptor PA-3B

Owner's Manual, Data List

Specifications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the

right to change or modify products or specifications at any time without prior notice. Since specifications, equipment

or options may not be the same in every locale, please check with your Yamaha dealer.

The following table provides troubleshooting hints and page references for some common problems. Most problems may be

simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see

if you can find and correct the cause of the problem.

No sound.

● Is the volume set appropriately? (Page 6)

● When the Foot Controller is connected to the FOOT VOLUME jack, is the Foot Volume pressed down? (Page 8)

● Are the volume settings for each Layer/Part appropriate? (Page 33, 37)

● Are the effect settings appropriate? (Page 24, 49)

● Is the Bank set to off? (Page 33, 37)

● Is the receive channel set to off? (Page 42)

● Is the audio equipment connected appropriately? (Page 9)

● Is Local set to off? (Page 42)

● If you are playing back song data using an external device, are the volume related settings for the song appropriate?

● Are the Note Limit settings and/or Velocity Limit settings appropriate? (Page 27, 28)

No Arpeggiator sound.

● Are the settings for the Velocity Limit appropriate? Set Velocity Limit Low to "0" and Velocity Limit Hi to "127". (Page 28)

Distorted sounds.

● Are the effect settings appropriate? (Page 23, 34, 38)

● Is the volume level set too loud?

Small sounds.

● Is the MIDI volume or MIDI expression set too low?

Wrong pitch.

● Are the tuning-related parameters set to "0"? Check the Note Shift setting (page 27), Detune setting (page 27),

Master Tuning (page 40) and Keyboard Transpose setting (page 40).

Sound is choppy and interrupted.

● The maximum polyphony of 32 notes (the number of notes that can be played simultaneously) has been exceeded. (Page 35, 39)

Sound Control Knobs do not work.

● Is a Scene key turned on? (Page 16)

Only one note sounds at a time.

● Is the play mode set to MONO? (Page 35, 39)

Cannot enter Store mode.

● Is Performance mode selected? (Page 44)

The following messages may appear during operation, indicating problems or incorrect operation. Follow the instructions in

the explanations below to remedy the problem.

Battery Low

The memory-backup battery is low; memory cannot be backed up. Store the necessary data to a MIDI data storage

device such as Yamaha MIDI Data Filer MDF2, and have the battery changed by your local Yamaha dealer or any other

authorized Yamaha service personnel.

Device No.=off Error

Cannot send MIDI bulk data since the Device Number is set to off.

Device Number Error

Cannot receive MIDI bulk data, due to improper Device Number setting. Match the device numbers for both the CS1x and

the external device.

TG-B Mode Error

When TG300B mode is accidentally selected by receiving a TG300B reset message from an external device, you cannot

perform edit operations. Press PERFORMANCE or MULTI button to exit the TG300B mode.

Receiving

Displays when the CS1x receives the bulk data with the compatible format. Continue normal operation.

Rx Mode Error

Displays when receiving Performance bulk data in Multi Play mode or XG effect bulk in Performance mode.

[–]/NO/QUICK PC button ......................................................................................... 7

About MIDI ............................................................................................................. 53

AEG (Ampitude Envelope Generator) .................................................................. 30

ARPEGGIATOR ................................................................................................... 11, 22

ARPEGGIATOR button ............................................................................................... 6

ASSIGN 1 PARAM (Parameter) .............................................................................. 26

ASSIGN 2 ................................................................................................................ 29

ASSIGN CTRL NO (Assign Control Change Number) .......................................... 43

BANK ................................................................................................................ 33, 37

BULK DUMP (Performance Bulk Dump) .............................................................. 42

Common Edit 1 ...................................................................................................... 22

Common Edit 2 ...................................................................................................... 25

DC IN jack ................................................................................................................. 8

Demo Song .............................................................................................................. 11

DEVICE NO (Device Number) ................................................................................ 42

Drum Voices ........................................................................................................... 37

Edit Parameter Rotary Switch .................................................................................. 7

EFFECT ........................................................................................................ 23, 34, 38

Effect Data Assign Table ........................................................................................ 51

Effect Parameter List ............................................................................................. 49

Effect Type List ........................................................................................................ 49

Effects (System and Insertion) ................................................................................ 47

ENTER/YES button ..................................................................................................... 7

Error Messages ..................................................................................................... 59

Factory Settings ..................................................................................................... 46

FC (Foot Control) ..................................................................................................... 26

FEG (Filter Envelope Generator) ............................................................................. 31

FILTER ................................................................................................................ 34, 38

FOOT CONTROLLER jack ........................................................................................... 8

FOOT VOLUME jack .................................................................................................. 8

FOOTSWITCH jack .....................................................................................................8

HOST SELECT switch ................................................................................................. 8

INPUT jack ................................................................................................................. 8

KBD TRANS (Keyboard Transpose) ...................................................................... 40

Layer Edit 1 .............................................................................................................. 27

Layer Edit 2 ............................................................................................................. 30

Layer Edit 3 .............................................................................................................. 31

Layer Edit 4 ............................................................................................................. 33

Layers ...................................................................................................................... 16

LCD ............................................................................................................................ 7

LFO (Low Frequency Oscillator) ............................................................................. 30

LOCAL (Local On/Off) ............................................................................................. 42

MASTER TUNE ........................................................................................................ 40

MIDI ......................................................................................................................... 41

MIDI terminals .......................................................................................................... 8

Mode Select Switches .............................................................................................. 7

MODULATION wheel ................................................................................................ 7

Multi ......................................................................................................................... 17

Multi Part Edit ......................................................................................................... 36

Multi Play Mode ............................................................................................... 17, 36

Multi Structure ........................................................................................................ 17

MW (Modulation Wheel) ....................................................................................... 25

NOTE ........................................................................................................................27

Normal Voices ........................................................................................................37

Numeric Keypad ...................................................................................................... 7

OUTPUT jacks ........................................................................................................... 8

P BEND RANGE (Pitch Bend Range) ..................................................................... 25

PAN ................................................................................................................... 34, 38

Parameter Value UP/DOWN Buttons ..................................................................... 7

PART/LAYER button ................................................................................................... 7

PEG (Pitch Envelope Generator) ........................................................................... 32

PERFORM LEVEL ..................................................................................................... 23

PERFORM NAME .................................................................................................... 24

Performance Edit mode ........................................................................................ 21

Performance Mode ......................................................................................... 14, 20

Performance Play mode ...................................................................................... 20

Performance Structure ........................................................................................... 16

PHONES jack ............................................................................................................. 8

PITCH wheel ............................................................................................................. 7

POLY/MONO .................................................................................................... 35, 39

PORTA (Portamento) .............................................................................................. 26

POWER switch ........................................................................................................... 8

PRESET button ........................................................................................................... 7

PROGRAM ........................................................................................................ 33, 37

PROGRAM [–]/[+] button .......................................................................................... 7

Quick Program Change ........................................................................................ 21

RCV CH (Receive Channel) ................................................................................... 42

SCENE 1 & 2 buttons ................................................................................................. 6

Scenes .............................................................................................................. 16, 45

SHIFT button .............................................................................................................. 7

SOUND CONTROL KNOBS ....................................................................................... 6

Store Mode ............................................................................................................ 44

SYSTEM ................................................................................................................... 40

TG300B Mode ........................................................................................................37

TO HOST terminal ..................................................................................................... 8

TRANS CH (Transmit Channel) ............................................................................... 41

TUNE ........................................................................................................................27

USER button .............................................................................................................. 7

Utility Mode ............................................................................................................ 40

VEL (Velocity) ........................................................................................................... 28

VEL CURVE (Velocity Curve) .................................................................................... 41

VEL FIX (Velocity Fix) ................................................................................................ 41

VOLUME ........................................................................................................... 33, 37

VOLUME knob .......................................................................................................... 6

XG Operation ......................................................................................................... 17

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Nie-

derlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha

ou au distributeur le plus proche de vous figurant dans la liste suivante.

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

PORTUGAL

Valentim de Carvalho CI SA

Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,

Portugal

Tel: 01-443-3398/4030/1823

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

Warner Music Finland OY/Fazer Music

Aleksanterinkatu 11, P.O. Box 260

SF-00101 Helsinki, Finland

Tel: 0435 011

NORWAY

Narud Yamaha AS

Grini Næringspark 17

N-1345 Østerås, Norway

Tel: 67 14 47 90

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 730-1098

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

#131-31, Neung-Dong, Sungdong-Ku, Seoul

Korea

Tel: 02-466-0021~5

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

16-28, Jalan SS 2/72, Petaling Jaya, Selangor,

Malaysia

Tel: 3-717-8977

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 17A Toa Payoh #01-190 Lorong 7

Singapore 1231

Tel: 354-0133

TAIWAN

Kung Hsue She Trading Co., Ltd.

No. 322, Section 1, Fu Hsing S. Road,

Taipei 106, Taiwan. R.O.C.

Tel: 02-709-1266

THAILAND

Siam Music Yamaha Co., Ltd.

865 Phornprapha Building, Rama I Road,

Patumwan, Bangkok 10330, Thailand

Tel: 2-215-3443

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2317

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2312

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205,

Australia

Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2317

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, D.F.

Tel: 686-00-33

BRASIL

Yamaha Musical Do Brasil LTDA.

Ave. Reboucas 2636, São Paulo, Brasil

Tel: 011-853-1377

PANAMA

Yamaha De Panama S.A.

Edificio Interseco, Calle Elvira Mendez no.10,

Piso 3, Oficina #105, Ciudad de Panama, Panama

Tel: 507-69-5311

OTHER LATIN AMERICAN COUNTRIES

AND CARIBBEAN COUNTRIES

Yamaha Music Latin America Corp.

6101 Blue Lagoon Drive, Miami, Florida 33126,

U.S.A.

Tel: 305-261-4111

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2312

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 0222-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Valée Cedex 2, France

Tel: 01-64-61-4000

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2445

SY11

120.q 97.6.3 2:52 PM y[W 1

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe and envi-

ronmentally friendly. We sincerely believe that our products and the

production methods used to produce them, meet these goals.

In keeping with both the letter and the spirit of the law, we want you to

be aware of the following:

Battery Notice:

This product MAY contain a small non-rechargeable battery which (if

applicable) is soldered in place. The average life span of this type of

battery is approximately five years. When replacement becomes nec-

essary, contact a qualified service representative to perform the re-

placement.

This Product may also use "household" type batteries. Some of these

may be rechargeable. Make sure that the battery being charged is a

rechargeable type and that the charger is intended for the battery

being charged.

When installing batteries, do not mix old batteries with new, or with

batteries of a different type. Batteries MUST be installed correctly.

Mismatches or incorrect installation may result in overheating and

battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all

batteries away from children. Dispose of used batteries promptly and

as regulated by the laws in your area.

Note: Check with any retailer of household type batteries in your area

for battery disposal information.

Disposal Notice:

Should this Product become damaged beyond repair, or for some

reason its useful life is considered to be at an end, please observe all

local, state, and federal regulations that relate to the disposal of prod-

ucts that contain lead, batteries, plastics, etc. If your dealer is unable

to assist you, Please contact Yamaha directly.

NAME PLATE LOCATION:

The name Plate is located on the bottom of the product. The model

number, serial number, power requirements, etc., are located on this

plate. You should record the model number, serial number, and the

date of purchase in the spaces provided below and retain this manual

as a permanent record of your purchase.

Model

Serial No.

Purchase Date

SPECIAL MESSAGE SECTION (USA)

This product utilizes batteries or an external power supply (adapter).

DO NOT connect this product to any power supply or adapter other

than one described in the manual, on the name plate, or specifically

recommended by Yamaha.

WARNING: Do not place this product in a position where anyone

could walk on, trip over, or roll anything over power or connecting

cords of any kind. The use of an extension cord is not recommended!

IF you must use an extension cord, the minimum wire size for a 25'

cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the

larger the current handling capacity. For longer extension cords, con-

sult a local electrician.

This Product should be used only with the components supplied or; a

cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is

used, please observe all safety markings and instructions that ac-

company the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at

the time of printing. However, Yamaha reserves the right to change or

modify any of the specifications without notice or obligation to update

existing units.

This product, either alone or in combination with an amplifier and

headphones or speaker/s, may be capable of producing sound levels

that could cause permanent hearing loss. DO NOT operate for long

periods of time at a high volume level or at a level that is uncomfort-

able. If you experience any hearing loss or ringing in the ears, you

should consult an audiologist. IMPORTANT: The louder the sound,

the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or accessory mount-

ing fixtures that are either supplied with the product or as optional

accessories. Some of these items are designed to be dealer as-

sembled or installed. Please make sure that benches are stable and

any optional fixtures (where applicable) are well secured BEFORE

using.

Benches supplied by Yamaha are designed for seating only. No other

uses are recommended.

NOTICE:

Service charges incurred due to lack of knowledge relating to how a

function or effect works (when the unit is operating as designed) are

not covered by the manufacturer's warranty, and are therefore the

owners responsibility. Please study this manual carefully and consult

your dealer before requesting service.

PLEASE KEEP THIS MANUAL

92-BP

FCC INFORMATION (U.S.A)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly

approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables.

Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC

authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital devices.

Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not

result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used

according to the instructions found in the user's manual, may cause interference harmful to the operation of other electronic devices. Compliance

with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference,

which can be determined by turning the unit "OFF" and "ON", please try to eliminate the problem by using one of the following measures :

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna.

If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of product.

If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe

Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejiatig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og type.

Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp

eller en ekvivalent typ som rekommenderas av

apparattillverkaren. Kassera använt batteri enligt fabrikantens

instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennttu. Vaihda

paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.

Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

NEDERLAND

NETHERLAND

● Dit apparaat bevat een lithium batterij voor geheugen back-up.

● This apparatus contains a lithium battery for memory back-up.

● Raadpleeg uw leverancier over de verwijdering van de batterij

op het moment dat u het apparaat ann het einde van de

levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

● For the removal of the battery at the moment of the disposal at

the end of the service life please consult your retailer or Yamaha

Service Center as follows:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

● Gooi de batterij niet weg, maar lever hem in als KCA.

● Do not throw away the battery. Instead, hand it in as small

chemical waste.

Documenttranscriptie

PRECAUTIONS IMPORTANT! PLEASE READ BEFORE PROCEEDING. Following the important precautions below will help ensure you many years of trouble free use from your CS1x. LOCATION • In order to avoid causing serious damage to the CS1x, do not expose it to direct sunlight, high temperatures, excessive humidity, excessive dust or strong vibration. • Always place the CS1x on a solid surface such as a keyboard stand or a sturdy table or desk. POWER SUPPLY • Turn the power switch off when the CS1x is not in use. • Use only the supplied PA-3B or an equivalent AC power adaptor. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard. • The power adaptor should be unplugged from the AC outlet if the CS1x is not to be used for an extended period of time. • Unplug the CS1x during electrical storms. • Avoid plugging the CS1x into the same AC outlet as appliances with high power consumption such as electric heaters or ovens. Also avoid using multiple-plug adapters since these can result in reduced sound quality and possibly even damage to the instrument. UNPLUG ALL INSTRUMENTS WHEN MAKING CONNECTIONS • To avoid causing damage to the CS1x and other devices to which it is connected, such as a sound system or MIDI instruments, turn off the power and unplug all related devices prior to connecting or disconnecting audio and MIDI cables. ELECTRICAL INTERFERENCE • Avoid using the CS1x near televisions, radios or other devices which generate electromagnetic fields, since this may cause the CS1x to malfunction, and possibly generate interference noise in the other devices. diluted, mild detergent. Then wipe the instrument thoroughly with a dry cloth. • Avoid placing vinyl objects on top of the instrument, since vinyl can stick to and discolor the surface. DATA BACKUP BACK-UP BATTERY • The CS1x contains a special long-life battery that retains the contents of its User memory when the power is turned off. The back-up battery should last for several years. When it needs to be replaced, the message "Battery Low" will appear in the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. Do not attempt to replace the backup battery yourself. HANDLING AND TRANSPORT • Always handle the CS1x with care. Physical shocks caused by dropping, bumping, or placing heavy objects on it can result in serious damage to the CS1x. • Yamaha recommends that you regularly save your music data using an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer. Yamaha cannot be held responsible for the accidental loss of CS1x data. SERVICE AND MODIFICATION • The CS1x contains no user serviceable parts, so never open the case or tamper with the internal circuitry in any way. Doing so may result in electrical shock or damage to the instrument. Refer all servicing to qualified Yamaha service personnel. IMPORTANT NOTE • Never apply excessive force to the controls, connectors or other parts. Yamaha cannot be held responsible for damage to the CS1x resulting from improper handling or operation, or for the accidental loss of CS1x data. • Disconnect all cables before moving the CS1x. Always unplug cables by gripping the plug firmly, and not by pulling on the cable. NOTICES CLEANING • Never use chemical solvents or thinners to clean the CS1x, since these will damage the finish or dull the keys. Wipe the instrument clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a 1 • The company names and product names in this owner's manual are the trademarks or registered trademarks of their respective companies. • The LCD screens as illustrated in this owner's manual are for instructional purposes, and may appear somewhat different from the screens which appear on your instrument. Introduction In the beginning, there was the knob… And the knob was good. Great, in fact. You could just reach out and grab it. Turn it left. And turn it right. Interact with it in realtime. And there were knobs of all kinds. Knobs for changing the attack and release times of a sound. Knobs for setting the cutoff filter and resonance. And knobs for controlling many other aspects of analog synthesizer sounds. By twisting a knob one way and another, a vast, practically endless variety of electronic sounds could be called forth. Fat sounds. Strange sounds. Beautiful sounds. Magical sounds. It was the 1960s, and such was the power of the knob that music was changed forever. And the term synthesizer became a household word. But the knob was not perfect… From the start the knob was brilliant and easy to grasp. It put the musician in complete control of the sound. And opened up a whole new world of sonic exploration. It was the 1970s, and some of the greatest recordings in music history were being made. Analog "synths" were finding their way into the stages, studios and professional composing suites of the world. But as simple, straightforward and powerful as analog synths were, they were also for the most part priced out of reach of the struggling musician. Plus they tended to be sensitive to slight fluctuations in electric current which frequently wreaked havoc with pitch, thus making tuning inherently unstable. And there was no reliable way to save panel settings and original sounds except for tediously scrawling lists and notes with pencil and paper. Surely there must be a better way. Engineers the world over went to work searching for a better way, and great strides were made in the development of more stable, lower cost, and more convenient technologies. A breakthrough in electronic sound synthesis was imminent. Then came the miracle of digital… The beginning of the 1980s saw breakthroughs in digital synthesizer technology which was to once again revolutionize modern music. Musicians everywhere embraced affordable new technologies like FM, which could accurately reproduce the sound characteristics of acoustic and other instruments, and AWM (PCM), which relied on "samples" of actual instrument sounds to produce an amazing wealth of musical textures and sonic options. The new spate of digital synthesizers were—on the outside—much more streamlined than analog synths, sporting a minimal array of buttons and a display screen which provided information about each feature. Overnight the knob was rendered virtually obsolete. Unstable tunings were a thing of the past. Memory was the future. Digital synths were—on the inside—more loaded than ever, as hundreds of amazing acoustic and electronic sounds, or voices, could be stored and recalled at the touch of a button. Scores of new and exciting features were available. Entire panel settings and configurations could also be stored for instant recall. It was the digital revolution that made MIDI, GM, XG, sequencing, sampling, looping, multitimbral play, DSP effects and many other breakthroughs in electronic music technology possible. Developments that have changed forever the way we teach, compose, 2 perform and listen to music. Global design standards ensured that music hardware and software products made by different manufacturers could work together seamlessly. But alas, digital did not create a perfect world. on the panel. A collection of six rotary Sound Control Knobs are irresistible to the touch—and provide instant sonic results when turned. Between the Sound Control Knobs, the clearly labeled panel switches, and the back lit LCD, the current status of the CS1x is always crystal clear. The numeric keypad and other buttons—including Scenes, or "snapshots" of knob positions—give you quick and easy access to any parameter or setup you need, the moment you need it. As such, the CS1x is an unprecedented realtime performance instrument. The hundreds of great sounding AWM2 (Advanced Wave Memory 2) instrument voices (created from high quality recordings of actual instrument and other sounds), three digital effects units (with 11 Reverb, 11 Chorus and 43 Variation type effects) and scores of other parameters can be configured in an almost unlimited variety of ways and stored in memory for instant recall. Performances, or complete configurations of up to four Layers (voices) playing simultaneously, plus effect and other parameters, and Multis, or a configuration of up to 16 Parts and other parameters for multitimbral play (using an external sequencer or computer), provide a unique array of options which make the CS1x a handy synth for literally any type of music situation. Thirty-two notes of polyphony ensure that you always have enough available notes to play even the most demanding arrangement. The on-board arpeggiator which can generate various types of automatic arpeggios or be controlled by an external MIDI clock provides an extremely useful tool for spicing up your masterpieces—or setting the dance floor on fire. Chaos reigned over the land… As convenient, dynamic and accessible as digital synthesis was, still it was not perfect. It had certain limitations, though different ones than analog synthesis. Streamlined panel layouts and the demise of the knob meant that all those hundreds of great new features had to be organized and stacked in pages and subpages of hidden menus—which might mean several presses of one or more buttons just to find a feature, and several more to actually manipulate it. And the steep learning curve of many digital synthesizers became a legend unto itself. Alarmingly, the synth was on its way to becoming a thing of science, rather than an intuitive musical instrument. It was, therefore, inevitable that many would come to mourn nostalgically for the days of simplicity—for the knob. For those warm, fat, wonderful analog sounds. For fewer hidden features. And for a simpler, easier to use electronic instrument. There was a definite need for an analog-style digital synthesizer that would have intuitive knobs plus all the benefits of digital memories and other convenient—especially interactive—features. One that could satisfy even the most die-hard advocate of analog or digital synthesis. A perfectly versatile synthesizer as attractive to first-time synth owners as to desktop music hobbyists, serious amateurs, and even seasoned professionals. A powerful stand-alone performance instrument with hot dance music and other versatile voices, as suited for the cutting edge as for the classics. An ideal multitimbral MIDI component which could fit right into even the most sophisticated expanded system. One with extremely modest pricing for such powerful utility. It was only a matter of time before the thunder of analog would unite with the lightning of digital to once again challenge convention and ultimately change the landscape of music possibilities yet once more. Go forth and multiply… As simple—yet powerful—as the CS1x is on its own, it has also been specially engineered to easily fit right into any type of expanded music system you wish to create. General MIDI (GM) compatibility makes the CS1x an ideal multitimbral tone generator for accurately playing any of the many Standard MIDI File or other commercially available GM music data using an external sequencer. XG compatibility makes the CS1x completely state of the art— conveniently able to take advantage of the expanded sound and expressive capabilities that this exciting new format will offer in the coming months and years. A TO HOST terminal and HOST SELECT switch provides for direct interface with either PC and Macintosh computers, thus enabling you to easily jump right into the "desktop music" revolution without the need for any additional peripheral interfacing equipment. If you're a first-time synthesizer owner, the CS1x lets you expand your music system at your own pace. First you might want to add an affordable Yamaha QY series sequencer and take advantage of the CS1x's powerful multitimbral capabilities. With a QY sequencer you can record and play back up to 16 music "parts", each on an independent MIDI channel—just like a multitrack recorder, but with virtually unlimited editing capabilities. Next you might want to add the compact, low-cost Yamaha SU10 sampler which lets you capture music phrases and other sounds to add an entirely unique dimension to your music. Finally you might want to add a computer which will let you take advantage of the many different types of music software products now available plus those yet to come. With the CS1x at the heart of your system, you're ready to grow your own unique music system and take your musical capabilities as far as you want—naturally. And Yamaha heard their cries… Fortunately Yamaha recognized that something new and significant must be created to bring together the best of both analog and digital worlds. The result was the Yamaha Control Synthesizer CS1x. The CS1x takes the best of analog—simplicity of use, natural interactivity, thick sound, and, of course, the knob—and unites it with the best of digital—reliable pitch, plenty of memory, one-touch setting reconfigurations, hundreds of voices, MIDI, and much, much more— to begat a truly unique "control" synthesizer. One with all the familiar concepts loved by both analog and digital afficianados. One destined to satisfy even the most meticulous purist in each camp. Nothing to hide… Perhaps the most striking—certainly refreshing—aspect of the CS1x Control Synthesizer is the way it wears its heart on its sleeve. What you see is what you get: all features are self-evidently displayed 3 CS1x MAIN FEATURES The CS1x is specially designed with an intuitive, interactive user interface through lots of dedicated panel controls and sound editing features which can easily be manipulated in realtime during performance. Main features include: • 6 Sound Control Knobs for direct access to key parameters of the currently selected voice as you play, and 2 Scene memories for instant recall of specified Sound Control Knob positions. You can use the Modulation Wheel or a connected Foot Controller for continuous changes between Scene 1 and Scene 2 parameter values. • 480 GM- and XG-compatible AWM2 instrument voices and 11 drum voices, or kits, in Multi Play mode. Additional voices are available in Performance mode which can be assigned to the Performances. • Performance mode with complete configurations of Layers (4 voices either stacked or in sophisticated keyboard and velocity splits), digital effects and other parameters. There are a total of 128 Preset Performances and 128 User Performances. • Multi Play mode for multitimbral play of up to 16 different Parts (across 16 MIDI channels; when using an external sequencer), with 32-note polyphony. TO HOST terminal and HOST SELECT switch allow direct interface with IBM PC/AT or Apple Macintosh computers. • 3 independent DSP digital effect units which can be used simultaneously— Reverb (11 types), Chorus (11 types) and Variation (43 types). • Arpeggiator with 30 types of arpeggiated chords and 10 timing subdivisions. The Arpeggiator's tempo can also be controlled by an external MIDI clock. 4 CONTENTS The CS1x At A Glance .....................................6 Getting Started ............................................9 How The CS1x Generates Sound ................... 12 CS1x Main Operating Modes ........................ 14 Feature Reference ............ 20 Performance Mode .....................................20 Common Edit 1 ........................................ 22 Common Edit 2 ....................................... 25 Layer Edit 1 ............................................. 27 Layer Edit 2 .............................................30 Layer Edit 3 ............................................. 31 Layer Edit 4............................................. 33 Multi Play Mode.......................................... 36 Utility Mode ...............................................40 Store Mode .................................................44 Factory Settings .........................................46 Appendix ............................. 47 Digital Effects ............................................ 47 About MIDI ................................................. 53 Specifications ............................................. 57 Troubleshooting ......................................... 58 Error Messages ........................................... 59 Index..........................................................60 5 THE CS1x AT A GLANCE PHONES L/MONO R DC IN POWER OUTPUT FOOT FOOT FOOT VOLUME CONTROLLER SWITCH INPUT TO HOST HOST SELECT IN OUT THRU MIDI ARPEGGIATOR TEMPO TYPE P BEND RANGE NOTE SFT VWX PERFORMANCE AMP EG VOLUME MULTI ATTACK RELEASE ASSIGN 1/DATA ARPEGGIO HOLD STORE UTILITY SHIFT + PART/LAYER/ OCTAVE 2 MW/FC PRESET + 8 9 PQR STU 4 5 6 DEF GHI JKL 1 2 3 PRESET USER ARPEGGIATOR CUTOFF RESONANCE SPACE 0 PROGRAM FILTER PITCH 7 MNO REV TYPE EFECT VARI TYPE FMOD CHO TYPE FC CUTOFF LIMIT HIGH LIMIT LOW LIMIT HIGH SUS LEVEL REL TIME AMOD PMOD FMOD ATK LEVEL CUTOFF NOTE VARI VARI PARAM DATA PORTA SWITCH TIME VARI EF VEL OFFSET DEPTH AEG *& ABC USER 1 SCENE YZ' PERFORM LEVEL LIMIT LOW SUB DIVIDE MW FMOD PMOD TUNE DETUNE ATK TIME DCY TIME PERFORM NAME ASSIGN1 PARAM COMMON ASSIGN2 PARAM DATA LFO FEG WAVE SPEED PHASE INIT PEG ATK TIME DCY TIME SUS LEVEL REL TIME INIT LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY ENTER NO/ QUICK PC ASSIGN 2 YES MASTER TUNE SYSTEM KBD VEL CURVE TRANS MIDI DEVICE NO LOCAL BULK DUMP ASSIGN CTRL NO UTILITY MODULATION Front Panel ! VOLUME Turn this knob to set the proper listening level whether using headphones or amplified speakers. " SOUND CONTROL KNOBS The six Sound Control Knobs give you direct access to key parameters of the currently selected Performance/voice. Turning any Sound Control Knob to the left or right will offset the parameter values accordingly (left for negative values, right for positive values) and produce an immediate result; a letter "E" will appear next to the Performance number in the LCD to indicate the original voice has been edited. Each knob has a center detent which represents the original value of the parameter. • ATTACK (Knob 1) - This knob controls the initial attack time of the voice. Turn it left for a faster attack time; turn it right for a slower attack time. (See page 30) • ASSIGN 2 (Knob 6) - This knob can be used to control any one of 28 parameters which you can assign to it—including Volume, Note Shift, Pan, Chorus Send, and others. (See page 29.) • RELEASE (Knob 2) - This knob controls the release time of the voice. Turn it left for a shorter release time; turn it right for a longer release time. (See page 32.) # SCENE 1 & 2 • ASSIGN 1/DATA (Knob 3) - This knob has two functions. As an ASSIGN 1 knob, you can assign one of 28 parameters—including Performance Volume, Arpeggiator Tempo or Type, Portamento Time, and others—to control by turning it (see page 26). As a DATA entry knob, you can use it to quickly change the edit value of the currently selected edit parameter. Each Performance has two Scene memories which remember specific positions of the six Sound Control Knobs. (See page 16.) • Simply press SCENE 1 or SCENE 2 to instantly recall the specified settings. An LED beside each SCENE button will light to indicate which Scene is currently active. You can store your own Scenes in advance using Store mode. (See page 44.) • CUTOFF (Knob 4) - This knob determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Turn it left for a deeper, more rounded tone; turn it right for a thinner, brighter tone. (See page 25.) • By holding one SCENE button and then pressing the other SCENE button, both LED's will light, indicating that you can use the Modulation Wheel or a connected Foot Controller for realtime continuous parameter changes between one Scene and the other. (See page 45.) • RESONANCE (Knob 5) - This knob determines the amount of filter resonance or emphasis of the cutoff frequency. Turn it left to produce a relatively flat response; turn it right to add overtones and make the sound more resonant. (See page 34.) 6 $ ARPEGGIATOR Press this button to activate the onboard Arpeggiator, which lets you create automatic arpeggios simply by playing a chord. An indicator will appear in the lower right area of the LCD when the Arpeggiator is on. (See page 22.) • There are various Arpeggiator Types and Arpeggiator Timing Subdivisions. These, plus the Arpeggiator Tempo, can be specified with the Common Edit 1 menu parameters. (See page 23.) • Pressing this button while holding SHIFT will "hold" the arpeggiated chord, or make it continue playing even when you release the keys. Pressing this button again stops the Arpeggiator. (See page 23.) • An Arpeggiator Split function lets you split the keyboard at C3; the chords you play to the left of the split point will create arpeggiated chords, and the notes and chords you play to the right of the split point will play as normal. (See page 23.) % SHIFT This button lets you transpose the octave up or down as well as activate the Arpeggiator Hold and Split functions. (See page 23.) • To transpose the octave, hold the SHIFT button and press [–] (octave down) or [+] (octave up)—located directly beneath the SHIFT button. (See page 15.) & PART/LAYER [–]/[+] These buttons let you select one of the four Layers in Performance mode (see page 14), or one of the 16 Parts in Multi Play mode (see page 17). Which Layer or Part is currently selected will be indicated in the lower right area of the LCD. ' PRESET In Performance mode, press this button to activate the bank of 128 Preset Performances. (See page 20.) ( USER In Performance mode, press this button to activate the bank of 128 User Performances. (See page 20.) ) PROGRAM [–]/[+] Press one of these to step up ([+]) or down ([–]) through each Performance (in Performance mode) or voice (in Multi Play mode), one at a time. (See page 20.) * BACK LIT LCD Performance (Performance mode) or voice (Multi Play mode) within the currently designated group of 10—by simply punching in the last digit (0~9) of the desired Performance or voice number. (See page 21.) • When naming a User Performance, you can use it to select the letters of the name, as indicated above each button. (See page 24.) , [–]/NO/QUICK PC • As a [–] button, you can use it to enter negative values when editing parameters using the numeric keypad. Press it before entering the number, followed by ENTER. • In Performance mode or Multi Play mode, press it once to engage the Quick Program Change function. The hundredth and tenth digits of the Performance or voice number will be shown as bold characters to indicate they are fixed when Quick Program Change is active. Press the button again to turn off Quick Program Change. (See page 21.) The numeric keypad has several functions, depending on the currently selected mode. • In Performance mode or Multi Play mode, you can use it to select a specific Performance number or voice number—by punching in the desired number (1~128), then pressing the ENTER button. (See page 20.) • UTILITY - Press this button to access those "system" parameters which affect the CS1x as a whole—such as Master Tune, MIDI Transmit and Receive Channel numbers, Local On/Off, etc.—as printed directly below each Parameter Value UP/ DOWN button. (See page 40.) / EDIT PARAMETER ROTARY SWITCH - ENTER/YES This button has three functions. + NUMERIC KEYPAD These ten buttons are used to access specific parameters in Performance, Multi and Utility modes, as well as change the values of the currently selected edit parameter. • STORE - This button lets you store User Performances. as well as Scenes. (See page 44.) • In Store mode, this button lets you decline (NO) the store operation if you change your mind. • When designating edit parameter values using the numeric keypad, you must press ENTER to activate the change. (See page 22.) Press one of these to select the current operating mode. • MULTI - Press this button to enter Multi Play mode, which lets you designate up to 16 Parts for multitimbral play when using an external sequencer. Parameters which can be edited in Multi Play mode are printed in a row directly above the Parameter Value UP/ DOWN buttons. (See page 36.) This button has three functions. • When selecting a Performance number (Performance mode) or voice number (Multi Play mode) using the numeric keypad, you must press ENTER to activate the change. (See page 20.) 0 PARAMETER VALUE UP/DOWN BUTTONS • PERFORMANCE - In Performance mode you can choose any of the Preset or User Performances, plus perform editing operations using the Edit Parameter Rotary Switch and Parameter Value UP/DOWN buttons. Press PERFORMANCE to enter Performance mode from another mode, or to reselect the Performance select screen in the LCD after performing an edit operation in Performance mode. (See page 20.) • When editing parameters, you can use it to quickly select a specific value—by punching in the desired number, then pressing ENTER. (See page 20.) The LCD provides various types of information which clearly indicates the current operating status of the CS1x, depending on which mode or other button on the front panel that you press. . MODE SELECT SWITCHES Turn this knob to select one of the six menus of edit parameters in Performance mode. • COMMON - The Common parameters (Common Edit 1, 2 menus) are those parameters which apply to the entire currently selected Performance; i.e., it doesn't matter which Layer is currently selected, since common parameters (except for Portamento) apply to all layers equally. (See page 14.) • In Store mode, this button lets you confirm (YES) the store operation. (See page 44.) • LAYER - The Layer parameters (Layer Edit 1, 2, 3, 4 menus) are those parameters which affect only the currently selected Layer (1~4, as designated by the PART/LAYER buttons) in a Performance. (See page 14.) • In Quick Program Change mode, you can use it to select a specific 7 • PERFORMANCE MODE - After selecting an Edit menu row with the Edit Parameter Rotary Switch, press the Parameter Value UP/DOWN button located beneath the desired parameter once to access the parameter. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 14.) • MULTI PLAY MODE - Simply press the Parameter Value UP/DOWN button located beneath the desired parameter as printed on the panel, directly above each button. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 17.) • UTILITY MODE - Simply press the Parameter Value UP/DOWN button located above the desired parameter as printed on the panel, directly below each button. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 40.) 1 PITCH The Pitch Wheel lets you bend the pitch up or down as you play. It is spring-loaded to automatically return to center position when you let go of it. In Performance mode you can designate the Pitch Bend Range in the Common Edit 2 menu. (See page 25.) 2 MODULATION The Modulation Wheel lets you apply or set a designated amount of vibrato or tremolo. You can set it to affect filter cutoff, filter modulation, pitch modulation (Common Edit 2 menu, see page 25), as well as other controllable parameters. (see page 43.) THE CS1x AT A GLANCE MIDI THRU OUT IN Rear Panel ! MIDI MIDI IN, OUT and THRU terminals let you connect other MIDI devices such as a MIDI keyboard, tone generator, sequencer, or computer with a MIDI cable. (Set the HOST SELECT switch to MIDI when using the MIDI terminals.) MIDI IN is for input of MIDI data. MIDI OUT is for output of MIDI data and for data dumps to another CS1x or MIDI data storage device. MIDI THRU is for "daisy-chain" connection of additional MIDI instruments, as the MIDI data received at the CS1x's MIDI IN terminal is passed along unchanged to the CS1x's MIDI THRU terminal. (See page 9.) " HOST SELECT The HOST SELECT switch lets you designate the type of host computer. (See page 10.) Set it to MIDI for normal MIDI transmission and reception when a host computer is not connected. HOST SELECT PC-2 PC-1 MIDI Mac ASSIGNABLE TO HOST INPUT FOOT FOOT FOOT SWITCH CONTROLLER VOLUME # TO HOST POWER ON OFF Variation effect (Common Edit 2 menu, see page 26), as well as the Control Change Number. (see page 43.) The TO HOST terminal lets you connect the CS1x directly to a host computer which does not have a MIDI interface. (See page 10.) ' FOOT VOLUME $ INPUT An optional Yamaha FC7 or FC9 foot controller connected to this jack can be used to regulate overall volume. Connect an external audio source (such as a keyboard, or CD player) here using either a stereo or mono mini plug, in order to mix its audio signals with the CS1x's voices, for output from the CS1x without the need for an external mixer. ( POWER Press this switch to turn the CS1x on and off. % FOOTSWITCH ) DC IN An optional Yamaha FC4 or FC5 footswitch connected to this jack can be used to control hold on/off, portamento on/off and others, determined by the Assign Control Change Number setting in Utility mode. (see page 43.) Connect the supplied Yamaha PA3B Power Adaptor here. (CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or equivalent, since the use of an incompatible adaptor may cause irreparable damage to the CS1x, and may even pose a serious shock hazard.) & FOOT CONTROLLER An optional Yamaha FC7 or FC9 foot controller connected to this jack can be used for control of filter modulation, filter cutoff, and the 8 OUTPUT DC IN R PHONES L/MONO * OUTPUT The stereo OUTPUT jacks let you connect the CS1x to an external stereo amplifier/speaker system. When using a mono system, connect it to the L/MONO jack. + PHONES The PHONES jack lets you connect a set of stereo headphones for private listening. GETTING STARTED Setting Up Your CS1x The Control Synthesizer CS1x literally comes ready to play right out of the box. The CS1x With An External Sequencer Connect the supplied PA-3B DC power adaptor to the CS1x's DC IN connector on the rear panel. Then connect the adaptor to the nearest electrical outlet. The illustration below shows how to use the CS1x with a Yamaha QY series sequencer, which lets you take full advantage of the CS1x's multitimbral capability to play up to 16 different musical instrument Parts at once. Before switching on the power, connect any peripheral devices such as amplified speakers or MIDI instruments. You will need MIDI cables to make the proper connections. There are many ways to incorporate the CS1x into a simple or expanded music system. Below are a few examples to get you started. 1. Connect a MIDI cable from the CS1x's MIDI OUT terminal to the sequencer's MIDI In terminal, and connect another MIDI cable from the CS1x's MIDI IN terminal to the sequencer's MIDI Out terminal. CAUTION 2. Set the HOST SELECT switch to MIDI. • Do not attempt to use an AC adaptor other than the PA-3B. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard. HOST SELECT PC-2 PC-1 MIDI Mac • Be sure to disconnect the power adaptor from the electrical outlet when the CS1x is not in use. MIDI IN MIDI OUT MIDI QY300 etc... OUT QY300 The CS1x By Itself MUSIC SEQUENCER MIDI IN CS1x At the simplest level, all you need to do is connect stereo headphones to the PHONES jack located on the rear panel. In this case, the notes you play on the keyboard will be sent as MIDI note event data to a specified MIDI channel of the sequencer. By selecting different channels, you can record each Part independently, while listening to those Parts you've already recorded. As a stand-alone performance instrument, simply connect the CS1x to amplified speakers, as follows: For stereo use, connect one end of a pair of audio cables to the CS1x's OUTPUT (L/MONO, R) jacks, and the other end to each amplified speaker's input, as shown in the illustration below. (For mono use, connect one end of a single audio cable to the CS1x's L/MONO jack, and the other end to the amplified speaker's input.) When recording Parts to an external sequencer, you need to turn the keyboard Local setting to OFF (see page 42). When keyboard Local is turned off, the notes you play on the keyboard will not sound the CS1x's internal tone generator, but note and other performance event data will still be sent from the MIDI OUT terminal. Since the CS1x's internal tone generator will respond to note and other data it receives at the MIDI IN terminal, the notes you play on the keyboard will be sent to the sequencer, then "echoed back" to the CS1x to play one of the 16 Parts (depending on the current MIDI channel assignment). AMPLIFIED SPEAKERS L PHONES L R INPUT For details about assigning CS1x MIDI channels, see page 41. For details about assigning MIDI channels and other settings for the external devices such as a sequencer, consult the owner's manual of each. R OUTPUT CS1x CAUTION In order to avoid possible damage to the speakers or other connected electronic equipment, before switching on the power of any component, make sure the CS1x's volume level and the volume levels of the connected equipment are set to minimum. 9 Connecting The CS1x To A MIDI Data Storage Device Macintosh If you have an Apple Macintosh not equipped with an external MIDI interface, perform the following operation: You can also connect the CS1x with a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer in order to "bulk dump", or save a User Performance ("1 Perf" setting) or all the User Performances and Utility parameters ("All" setting) to floppy disks. 1. Set the HOST SELECT switch to Mac. 2. Connect the TO HOST terminal on the CS1x to the Modem or Printer port on the Macintosh. This lets you build up complete libraries of Performance and other data, which you can easily load back into the CS1x. (The MDF2 also lets you play compatible song data on the CS1x directly from the MDF2 itself, without the need for a sequencer.) 3. Turn on the host computer, then turn on the CS1x. 4. Start up your music software, and set up the appropriate options in the software for operation with the CS1x. For information about how to perform Bulk Dump operations with the CS1x, see page 42. Refer to the owner's manual of the MIDI data storage device for operating instructions about sending and receiving data. The options you may have to set for the Apple MIDI Driver settings: MIDI Interface Type (Clock) ➛ 1 MHz HOST SELECT PC-2 PC-1 MIDI Mac MIDI IN Other options and settings may have to be made as well. Refer to the owner's manual of your particular music software for more information. MDF2 etc... MIDI OUT MIDI OUT IBM PC and Clones MIDI MDF2 MDR SEO JOB UTIL If you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface, perform the following operation: MIDI DATA FILTER CURSOR - FILE DATA + REC PAUSE START/STOP TEMPO MIDI IN CS1x 1. Set the HOST SELECT switch to PC-2. The CS1x In A Desktop Music System 2. Connect the TO HOST terminal on the CS1x to one of the computer's serial ports, COM 1 or COM 2. With its built-in host computer interface the CS1x is designed for direct connection to an Apple Macintosh, IBM PC/AT or NEC PC-9800 Series computer—without the need for a special MIDI interface between the computer and the CS1x. 3. Turn on the host computer, then turn on the CS1x. 4. Start up your music software, and set up the appropriate options in the software for operation with the CS1x. Using the CS1x in a computer music system lets you receive the full benefits of the instrument's true capabilities, as well as take advantage of the ever-expanding world of available music sequencer and other software products which provide you with unlimited potential to achieve your personal music goals. Refer to the owner's manual of your particular music software for more information. MIDI/Computer Connecting Cables If your computer already has a MIDI interface installed, you may want to use it rather than using the host computer interface on the CS1x. Otherwise, depending on the computer or interface used, set the HOST SELECT switch to the appropriate setting: MIDI, PC-1 (NEC PC-9800 Series), PC2 (IBM and clones), or Mac (Macintosh). For information on the types of cables that can be used for connection, see the section MIDI/Computer Connecting Cables, at right. MIDI Standard MIDI cable, maximum length 15 meters. Mac Apple Macintosh Peripheral cable (M0197), maximum length 2 meters. HOST SELECT PC-2 PC-1 MIDI Mac Connecting Cables PC-1 TO HOST 8-pin MINI DIN to D-SUB 25-pin cable, maximum length 1.8 meters. (If your PC-1 type computer has a 9-pin serial port, use the PC-2 type cable.) CS1x Computer PC-2 8-pin MINI DIN to D-SUB 9-pin cable, maximum length 1.8 meters. 10 Switching On The Power And Producing Sound Playing Arpeggiated Chords Take a moment and try out the Arpeggiator function, which creates automatic arpeggios based on the chords you play. First select a Performance with a fast attack, such as a percussive type sound. (Note: The Arpeggiator function only works in Performance mode.) Once all connections have been properly made, you're ready to switch on the power and start having fun with the CS1x. 1. Turn the volume of the CS1x to its minimum position. 1. Press ARPEGGIATOR. An indicator will appear in the lower right area of the LCD. 2. Press the POWER switch, located on the rear panel. 2. Play a chord. The arpeggiated chord will begin playing, based on the Arpeggiator Type, Tempo and Subdivide parameter settings. 3. After a brief greeting message, the CS1x will power up. 4. Gradually turn the VOLUME knob to the right while playing the keyboard until you achieve a comfortable listening level. 3. Change the Arpeggiator Type, Tempo and Subdivide parameters using the Common Edit 1 menu. (See page 22.) Playing The Demo Songs ARPEGGIO HOLD SHIFT + Before you dive in and start exploring the many Performances and other versatile features of the CS1x, you may want to listen to the preprogrammed demonstration song. PART/LAYER/ OCTAVE PRESET USER + The Demo provides a dynamic example of just how powerful the CS1x really is. To play the Demo, perform the following operation: PROGRAM Arpeggiator Hold The handy Arpeggiator Hold function lets you play a chord to start the automatic arpeggio, then take your hand off the keyboard—the arpeggiated chord will play continuously in a loop. Play another chord and the automatic arpeggios will change accordingly. 1. In Performance mode, hold the PERFORMANCE button and press the MULTI button. 2. The word "DEMO" will appear in the LCD, and after a brief moment the Demo song will begin, and continue playing. 3. To stop the Demo, simply press a mode button, such as PERFORMANCE. 1. Hold SHIFT and press ARPEGGIATOR. The Arpeggiator indicator in the LCD will start blinking. 2. Play a series of chords. 3. To stop the arpeggiated chords, press ARPEGGIATOR again. Arpeggiator Split The Arpeggiator Split function greatly increases the performance capability of the CS1x. When Arpeggiator Split is engaged, any chord you play to the left of the split point (B2 and below) will produce an arpeggiated chord, while chords you play to the right of the split point will play normally. DEMO PERFORMANCE MULTI STORE UTILITY When the Demo mode is engaged, you can select a Demo song from the various Demo songs using the numeric keypad. 1. Press ARPEGGIATOR to activate the Arpeggiator function. 2. Set the Edit Parameter Rotary Switch to the Common Edit 1 menu. 3. Hold SHIFT and press the left-most Parameter Value UP/DOWN button (Arpeggiator Type parameter). 11 4. Pressing [UP] will turn on the Arpeggiator Split feature (the letter "S" will display in the LCD); pressing [DOWN] will turn it off. How The CS1x Generates Sound Oscillators, Filters And Amplifiers In order to better understand what's actually happening to the sound as you turn the Sound Control Knobs or modify other parameters, it is helpful to first take a look at the key components which make up the physical nature of sound. Synthesizers rely on three key electronic components to imitate the soundwaves of musical instrument voices, as well as create entirely new sounds. The Nature Of Sound In traditional analog synthesis the source sound pitch is generated by an oscillator, its tone is created by a filter, and its volume is determined by an amplifier. What is sound? If we could see sounds they would look like waves rippling through the air at a constant speed with high frequencies bunched close together and lower frequencies spread far apart. Our ears are naturally designed to take these physical vibrations—or sound waves—moving through the air around us at high, mid and low frequencies, and interpret them as a dog barking across the street, someone practicing a violin next door, a jet airplane screaming overhead, or rock music on the stereo in front of you. OSCILLATORS FILTERS AMPLIFIERS GENERATES PITCH CREATES TONE DETERMINES VOLUME ! The oscillator generates sound wave vibrations at controllable speeds, or frequencies, to create pitch. Synthesizer oscillators usually offer a range of frequencies between 20 Hz and 20kHz, which is the range of the audio spectrum that most human beings can hear. They also usually offer various types of sound waveforms, such as sine, sawtooth, and others. Generating Electronic Sounds " Musical instrument sounds are made up of the basic tone that we clearly distinguish, plus additional harmonics, or overtones which exist at each octave above the basic tone, but that we cannot distinctly hear. The filter provides control over these harmonics. By manipulating the filter's cutoff frequency, which decides where to delete—or cut off—the overtones, and resonance settings, you can thus determine the tone. There are three basic elements which make up a sound: • pitch, or how low or high it is • tone, or what its overall quality is like • amplitude, or how loud its volume level is # An amplifier controls the volume of the tone. An envelope generator (EG) determines the tone's volume over time, through attack, decay, sustain and release settings. Before we take a look at how the CS1x generates and manipulates pitch, tone and amplitude, lets first take a look at how these elements apply naturally to acoustic musical instruments. Acoustic musical instruments are specifically designed and carefully built to produce precise sound characteristics when played—which is why a violin always sounds like a violin, a piano always sounds like a piano, and a flute always sounds like a flute. AWM2 Waveforms The CS1x takes the familiar concepts and functions of analog synthesis and combines them with the state of the art in digital synthesis technology. A musician playing a finely crafted violin will scrape the bow across the string at a certain intensity to generate violin sound waves at a certain volume level (amplitude), and produce low or high notes based on fingering positions (pitch). The vibrating strings and resonating wood, as well as the playing style and technique of the musician, will determine the overall quality of the violin's sound (tone). As such, it has hundreds of AWM2 waveforms, or digital recordings ("samples"), of all types of musical instrument and other sounds programmed right inside—including everything from a violin bow scraping a string, to a mallet striking a marimba, to a breath blowing across a flute mouthpiece. An AWM2 waveform forms the fundamental tone source of a CS1x voice; the rest of the sound is contoured by the oscillator, filter and amplifier settings. CS1x synthesis gives you enormous realtime and other control over detailed aspects of all parameter settings. 12 CS1x Synthesis The secret behind the CS1x's exceptional quality sound is its ability to create rich and complex sonic textures in Performances, which are made up of Layers of up to four AWM2 voices—either sounding simultaneously or mapped to various note and velocity zones across the keyboard. AWM2 WAVEFORM BANK PROGRAM NUMBER AWM2 VOICE OSCILLATORS FILTERS AMPLIFIERS EFFECTS ATTACK LEVEL ( ATK LEVEL ) LEVEL LEVEL LEVEL BASIC KEY PLAYED PITCH INITIAL LEVEL ( INIT LEVEL ) TIME ATTACK TIME ( ATK TIME ) KEY ON DECAY TIME ( DCY TIME ) SUSTAIN LEVEL ( SUS LEVEL ) SUSTAIN LEVEL (SUS LEVEL) CUT OFF FREQUENCY TIME RELEASE TIME RELEASE LEVEL ( REL TIME ) ( REL LEVEL ) ATTACK TIME ( ATK TIME ) KEY OFF KEY ON DECAY TIME ( DCY TIME ) RELEASE TIME ( REL TIME ) KEY OFF VOLUME ATTACK TIME ( ATK TIME ) KEY ON LFO ! AWM2 WAVEFORM - The fundamental source of the CS1x's sound is the sampled AWM2 waveform. There are hundreds preprogrammed in ROM which are used by the Performances. Available waveforms are organized in Banks. Each AWM2 waveform has its own Program Number. " AWM2 VOICE - The AWM2 waveform combines with the oscillator, filter and amplifier to make up a CS1x voice. • PEG - The Pitch Envelope Generator controls how the pitch changes over time. • FEG - The Filter Envelope Generator controls how the timbre changes over time. ATK TIME (Attack Time) determines the time required for a sound to reach its maximum cutoff frequency level when a note is played. DCY TIME (Decay Time) determines the time required for a sound to reach its Sustain Level from the maximum level while the key is held. SUS LEVEL (Sustain Level) sets the Sustain Level; the cutoff frequency will be maintained at this level for as long as the key is held. REL TIME (Release Time) determines the time it takes for the cutoff frequency to reach the level preset for each voice after the key has been released. ATK TIME (Attack Time) determines the time required for a sound to reach its Attack Level after a note is played. • AEG - The Amplitude Envelope Generator controls how the volume changes over time. ATK LEVEL (Attack Level) sets the initially targeted level after a note is played. ATK TIME (Attack Time) determines the time required for a sound to reach its maximum volume level when a note is played. REL TIME (Release Time) determines the time it takes for the basic pitch to reach the Release Level after the key has been released. REL LEVEL (Release Level) sets the final targeted level after the key is released. RELEASE TIME ( REl TIME ) TIME KEY OFF CONTROLLER INIT LEVEL (Initial Level) sets the initial pitch level when a key is played. DCY TIME (Decay Time) determines the time required for a sound to reach its basic pitch from the Attack Level while the key is held. DECAY TIME ( DCY TIME ) DCY TIME (Decay Time) determines the time required for a sound to reach its Sustain Level from the maximum volume level while the key is held. SUS LEVEL (Sustain Level) sets the Sustain Level; the volume will be maintained at this level for as long as the key is held. REL TIME (Release Time) determines the time it 13 takes for a sound to sustain after the key has been released. # LFO - The Low Frequency Oscillator generates low frequency signals which can be used to modulate the PEG, FEG and AEG. • PMOD - The LFO can apply Pitch Modulation to the PEG to create vibrato effects. • FMOD - The LFO can apply Filter Modulation to the FEG to create wah-wah types of effects. • AMOD - The LFO can apply Amplitude Modulation to the AEG to create tremolo effects. $ CONTROLLER - You can use several types of controllers to manipulate various parameters in realtime. • MW - Use the Modulation Wheel to control PMOD, FMOD, and Filter Cutoff. • FC - Use the Foot Controller to control FMOD, Filter Cutoff, and Variation Effect. • Use the Sound Control Knobs to control AEG Attack Time, Release Time, Filter Cutoff, and Resonance. The ASSIGN 1/2 knobs can be specified to control one of any number of parameters. (See the lists on pages 27 and 29.) CS1x MAIN OPERATING MODES The CS1x has two main operating modes: Performance mode and Multi Play mode. The chief distinction between each mode is as follows: AMP EG VOLUME • Performance mode is primarily for realtime performance of Layers. It has six menus of Edit parameters. ATTACK RELEASE ASSIGN 1/DATA CUTOFF RESONANCE ASSIGN 2 2 MW/FC 1 FILTER • Multi Play mode is primarily for multitimbral playback of up to 16 Parts when external MIDI devices are connected. It has one menu of Edit parameters. You can also use the CS1x as a MIDI data input device for an external sequencer. SCENE Turning the Sound Control Knobs will give you direct access to the AMP EG and FILTER parameters, thus providing analog-style realtime control over key characteristics of the sound. You can also save up to two "snapshots" of knob positions in Scenes, which can be instantly recalled at the touch of a SCENE button. Utility mode lets you modify System and MIDI parameters which affect both Performance and Multi Play mode. (For more information about Utility mode, see page 40.) Another way to edit a Performance is with the Edit Parameter Rotary Switch and Parameter Value UP/DOWN buttons. These give you control over both "Common" parameters which affect all Layer voices equally, and "Layer" parameters which affect individual Layers, or AWM2 voices. Store mode lets you store your own User Performances and Scenes. (For more information about Store mode, see page 44.) Performance Mode Edit Parameter Rotary Switch If you're in a different mode, press the PERFORMANCE button to enter Performance mode. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD SUB DIVIDE MW FMOD BANK PROGRAM CUTOFF REV TYPE CHO TYPE FC CUTOFF EFECT VARI TYPE LIMIT LOW LIMIT HIGH LIMIT LOW VARI EF VEL LIMIT OFFSET HIGH SUS LEVEL REL TIME AMOD PMOD FMOD SUS LEVEL REL TIME INIT LEVEL ATK LEVEL VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH TUNE DETUNE NOTE SFT AEG DCY ATK TIME TIME FEG DCY ATK TIME TIME In Performance Play mode you can select a Performance from 128 Preset Performances and 128 User Performances and begin playing. PERFORM LEVEL FMOD NOTE VARI VARI PARAM DATA PORTA SWITCH TIME DEPTH PERFORM NAME ASSIGN1 PARAM COMMON ASSIGN2 DATA PARAM LFO WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO DEMO A Performance is comprised of up to four "Layers", or AWM2 voices sounding at once—either playing simultaneously across the length of the keyboard, or playing independently according to specified key and velocity ranges. PERFORMANCE MULTI STORE UTILITY MASTER TUNE SYSTEM VEL KBD CURVE TRANS MIDI DEVICE NO LOCAL BULK DUMP ASSIGN CTRL NO UTILITY Parameter Value UP/DOWN Buttons In Performance mode there are six Edit menus of Common and Layer parameters which can be accessed via the Edit Parameter Rotary Switch and modified with the Parameter Value UP/DOWN buttons. There are many Performance parameters which you can edit by offsetting parameter values—i.e., adding to or subtracting from the values which are preset for each voice. There are basically two ways to go about offsetting the parameters—by turning the Sound Control Knobs, or using the Edit Parameter Rotary Switch and Parameter Value UP/DOWN buttons. Try changing the voice assignments to each Layer. This is a quick and effective way to create an entirely new Performance, which you can easily store as a User Performance. Changing any parameter will automatically engage Performance Edit mode. (You can easily switch back Performance Play mode by pressing the PERFORMANCE button or PROGRAM [–]/[+] button.) Assigning voices to the Layers is simple. Choose the Layer (1~4) with the PART/LAYER [–]/[+] buttons, and select from a variety of AWM2 instrument voices and drum voices using the Bank and Program Parameters (Layer Edit 4, sixth row from the top). 14 Basic Basic Operations In Operations In Performance Performance Mode Mode PERFORMANCE PLAY next to the Performance number, to indicate that the edited sound has not been stored. Performance Play mode lets you select a Preset or User Performance for realtime play. • Offset AMP EG and FILTER parameters to change the shape and tone of the sound as you play by turning the Sound Control Knobs. • Press the PERFORMANCE button to enter Performance mode (if you're in a different mode). • Press either the PRESET or USER button to select the Preset or User Performance bank. • Choose a Performance with the PROGRAM [–]/[+] buttons. • Use realtime control features as you play, including the Pitch Bend and Modulation Wheels. • Transpose the octave up or down by holding SHIFT and pressing PART/LAYER [–]/[+]. You can transpose the pitch up ([+]) or down ([–]) by as many as three octaves, depending on the Performance. (The transpose value will also be reflected in the Utility mode's Keyboard Transpose function. NOTE: Maximum is ±3 octaves; however, when you raise or lower the pitch in semitones, for example, three octaves cannot be achieved using the SHIFT button.) PERFORMANCE EDIT Making any adjustment—either intentionally or inadvertently—to any parameter will engage Performance Edit mode. When exiting from the Performance Edit mode (by pressing PERFORMANCE or PROGRAM [–]/[+]), an "E" will be displayed in the LCD 15 • Replace the Layer voice assignment, or edit other Performance Common and Layer parameters, with the Edit Parameter Rotary Switch and Parameter Value UP/DOWN buttons. • Press ARPEGGIATOR to turn it ON, and play a chord to start the arpeggiated chords. Select Arpeggiator Type, Tempo and other parameters from the Common Edit 1 menu. STORE Store mode lets you store Scenes as well as User Performances for later recall. • Store your favorite Scenes, or "snapshots" of Sound Control Knob positions, in the currently selected Performance. (See page 44.) • Store your own Performances in the 128 User Performance memories. (See page 44.) Performance Structure Storing User Performances Storing your own User Performance is a quick and simple operation. Preset Bank User Bank 128 Performance 128 Performance 007 006 005 004 003 002 001 1. To store the current Performance, press the STORE button once. 007 006 005 004 003 002 001 2. Choose a User Performance number (1~128) using the numeric keypad. STORE IN USER BANK 3. Press ENTER. 001 Performance COMMON EDIT ARPEGGIATOR TEMPO TYPE P BEND RANGE NOTE SFT SUB DIVIDE MW FMOD PMOD PERFORM LEVEL CUTOFF REV TYPE FMOD CHO TYPE FC CUTOFF NOTE TUNE DETUNE EFECT VARI TYPE DCY TIME VARI VARI PARAM DATA PORTA SWITCH TIME VARI EF VEL OFFSET LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH SUS LEVEL REL TIME AMOD PMOD FMOD ATK TIME EFFECT CHO SEND ATK LEVEL AEG ATK TIME DEPTH Layer 4 Layer 3 VOICE Layer 2 VOICE Layer 1 PERFORM NAME ASSIGN1 PARAM A "Sure?" prompt will appear in the LCD. Press YES to store the Performance. Press NO to abort the operation. VOICE VOICE COMMON ASSIGN2 DATA PARAM LFO FEG WAVE SPEED PHASE INIT PEG ATK TIME DCY TIME SUS LEVEL REL TIME INIT LEVEL BANK PROGRAM VOLUME PAN REV SEND VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO AMP EG ATTACK RELEASE ASSIGN 1/DATA CUTOFF RESONANCE ASSIGN 2 DEMO PERFORMANCE MULTI STORE UTILITY LAYER EDIT MASTER TUNE SYSTEM VEL KBD TRANS CURVE VEL FIX TRANS CH RCV CH MIDI DEVICE NO LOCAL 2 MW/FC BULK DUMP ASSIGN CTRL NO UTILITY 1 FILTER SCENE SAVE AS SCENE 1 or 2 REAL TIME EDIT with THE SOUND CONTROL KNOBS ! PERFORMANCE BANKS - The CS1x comes preprogrammed with 128 Preset Performances and 128 User Performances. You can edit the Layers of the currently selected Performance and store it in a User Performance. Scenes " LAYERS - A Performance consists of up to four Layers—each Layer can be assigned its own AWM2 voice. There are many Layer and Common Performance parameters which can be edited. There are two "Scene" memories dedicated to each Performance. Scenes are simply "snapshots" of specific positions of the Sound Control Knobs— instantly accessible via the SCENE buttons. # AMP EG/FILTER - Turning the Sound Control Knobs will affect all Layers equally by offsetting AMP EG parameters to control the shape of the volume of the sound over time, and FILTER parameters to control the quality of the tone. In Edit mode you can assign which parameters the ASSIGN 1 and ASSIGN 2 knobs will control. You can select one of the Scenes by pressing the SCENE 1 or SCENE 2 button. Or you can hold one SCENE button and press the other, then use the Modulation Wheel or Foot Controller for realtime continuous parameter changes between one Scene and the other. The default controller is Modulation Wheel. The minimum position of the controller is Scene1, and the maximum position is Scene 2. $ COMMON EDIT 1~2 - These are "Common" parameters which affect all Layers in the Performance equally. Storing Scenes You can easily store your own Scenes in a Performance—either temporarily or permanently. % LAYER EDIT 1~4 - These are "Layer" parameters which let you modify the characteristics of each individual Layer. Select the Layer you want to edit using the PART/LAYER [–]/[+] buttons. To store a Scene temporarily in the currently selected Performance, hold a SCENE button and press STORE. This will store the Scene in the edit buffer as long as the current Performance is selected, so that the original Scenes are protected. If you select another Performance, any new Scenes will be lost. To store a Scene permanently in a Performance, simply perform the Store operation for User Performances. (See Storing User Performances, above.) 16 Multi Play Mode insert voice Program Change messages at the head of your sequences, however, the right Part voices will always be selected automatically when you start your sequencer from the beginning of the song.) In Multi Play mode you can select a voice from the GM bank of 128 AWM2 voices (accessible via the PROGRAM [–]/[+] buttons) and start playing in realtime. MULTITIMBRAL PLAY - As a GM- and XG-compatible multitimbral MIDI tone generator, the CS1x can receive note and other data on each of the 16 MIDI channels, sent from an external sequencer or computer, thus playing the corresponding 16 Parts. Multi Play mode lets you use the CS1x as a master keyboard controller or MIDI note data input device, as well as a multitimbral tone generator. A Multi is a configuration of up to 16 instrument "Parts" (each Part is assigned to a MIDI channel) which can be played simultaneously when an external sequencer or computer is connected to the CS1x. XG Operation The CS1x is a fully equipped, stand-alone XG-MIDI tone generator, featuring a total of 480 normal voices and 11 drum voices. Choose the Part with the PART/LAYER [–]/[+] buttons, and assign a voice to it by selecting from the 480 GM- and XG-compatible AWM2 normal (instrument) voices and 11 drum voices (kits), using the Edit menu Bank and Program Parameter Value UP/DOWN button. The XG format maintains the universality and compatibility of the MIDI and General MIDI System Level 1 standards, while significantly increasing the range of expressiveness through much greater control over voice modifications and effects. In Multi Play mode there is one menu of Edit parameters which can be accessed via the Parameter Value UP/DOWN button. In addition to supporting the 128 GM voices, the XG format provides for Bank Select messages that significantly expand the number of voices available for use. Turning the Sound Control Knobs will affect only a single AWM2 voice, i.e., the currently selected Part. Many of the new XG voices are variations of basic GM voices which are stored in additional banks. Each bank is associated with a specific type of variation, so that voices are easy to locate. When using an external sequencer to control the CS1x, additional banks are selected by the appropriate Bank-Select LSB values. Multi Structure Part 1~16 7 6 5 4 3 BANK PROGRAM VOLUME PAN EFFECT FILTER POLY/MONO The XG format also supports a full SFX bank of extension effects, which are selected by a Bank-Select MSB value of 40H. Bank-Select MSB 7H, in contrast, can be used to set any channel to rhythm-part play. The XG format allows creation of extremely expressive control data which can change a voice's Harmonic Contents, Brightness, and many more critical Control Change and other parameters. 2 1 PART SELECT The XG format also offers high level effects support, enabling control of effects types, circuit operation, plus internal parameter settings for both basic and elaborate effects. This means you can freely control the parameters of the CS1x's 11 Reverb, 11 Chorus and 43 Variation types of effects independently. PART SELECT - In Multi Play mode each "Part" is made up of an AWM2 voice. You can select and play any of the 16 Parts by pressing the PART/ LAYER [–]/[+] buttons. Since the notes you play on the keyboard and the buttons you press on the panel are sending MIDI messages, the CS1x is ideal as a MIDI input device. (For more information about MIDI related parameters, see the Appendix, page 53.) The CS1x also features another play mode —TG300B mode— which lets you play back commercially available MIDI files in this format. EDITING PARTS - Select the Part you want to edit using the PART/LAYER [–]/[+] buttons. Each of the Multi parameters are printed above the Parameter Value UP/DOWN button. To set up your own 16 Parts, assign a voice to the Part using the Bank and Program parameters accessible by the first two Parameter Value UP/DOWN buttons. (Note that these settings will not be retained when the power is turned off, since the XG default parameters are always reinstated when the power is turned on. If you 17 18 Following is a description of each function in the various modes. In Performance mode you can choose from 128 Preset and 128 User Performances. A Performance consists of a maximum of four layered sounds (voices). The Performance Edit function lets you easily edit each Layer within a Performance. The various parameters give you the flexibility to create a vast variety of sounds. Entering Performance Mode ● Selecting a Performance Press the PERFORMANCE button. A [▲] mark will appear in the LCD below the word "PERFORMANCE". 1. Use the numeric keypad (0 ~ 9) to select the Performance number you want. PERFORMANCE MULTI STORE UTILITY DEMO ERFORMANCE MULTI STORE UTILITY *& VWX YZ' 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC PRESET USER ARPEGGIATOR SPACE 0 ENTER NO/ QUICK PC Performance Play Mode YES NOTE For more information about each Performance, see the Performance List in the "Data List" book. ● Selecting a Bank 2. Press the ENTER button to confirm the Performance number (1~128). The Performance name and number you have selected will display in the LCD. The Category name will be shown next to the Performance name. There are 2 banks, a Preset bank and a User bank. Each bank contains 128 Performances. Preset Bank 128 Performance 007 006 005 004 003 002 001 User Bank 128 Performance Category 007 006 005 004 003 002 001 Performance Name VWX Press the PRESET button or the USER button to select the bank you want. A [▼] mark will appear in the LCD above the word "PRESET" or "USER". RPEGGIO HOLD *& 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC SPACE 0 ENTER NO/ QUICK PC YES Performance Number Press the PROGRAM [+] button to select the next Performance number. Press the PROGRAM [-] button to select the previous Performance number. SHIFT + PART/LAYER/ OCTAVE PRESET YZ' USER + PROGRAM ARPEGGIO HOLD SHIFT + PART/LAYER/ OCTAVE RPEGGIO HOLD SHIFT PRESET USER + + PART/LAYER/ OCTAVE PRESET PROGRAM USER + PROGRAM 20 ● Edit Procedure Quick Program Change Press the QUICK PC (Quick Program Change) button in the numeric keypad to fix all the numbers except the first digit of the Performance number in the LCD. By pressing a button in the numeric keypad (0~9), you can quickly select the Performance numbers within a group of ten by changing the first digit of the Performance number. The hundredth and tenth digits will be shown as bold characters to indicate they are fixed. This lets you quickly switch between ten types of Performances during a live performance. To cancel the function, press the QUICK PC button again. 1. Select the Edit function. Turn the Edit Parameter Rotary switch to choose the Common or Layer Edit menu with the parameter you want to edit. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD NOTE SFT SUB DIVIDE MW FMOD TUNE DETUNE PERFORM LEVEL FMOD CHO TYPE FC CUTOFF REV TYPE CUTOFF NOTE LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH EFECT VARI TYPE VEL OFFSET 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 ASSIGN1 PARAM COMMON ASSIGN2 DATA PARAM LFO DCY TIME SUS LEVEL REL TIME AMOD PMOD FMOD ATK TIME DCY TIME SUS LEVEL REL TIME INIT LEVEL ATK LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH WAVE PHASE INIT SPEED PEG *& YZ' 7 DEPTH AEG ATK TIME FEG VWX PERFORM NAME VARI VARI DATA PARAM PORTA TIME SWITCH VARI EF VARI SEND LAYER REL LEVEL POLY/ MONO DCY REL TIME TIME FILTER CUTOFF REZ DEMO PERFORMANCE MULTI STORE UTILITY MASTER TUNE SYSTEM VEL KBD CURVE TRANS MIDI DEVICE NO LOCAL ASSIGN CTRL NO BULK DUMP UTILITY 3 ABC SPACE 0 ENTER NO/ QUICK PC 2. Select a Layer (if you want to change the Layer parameters). YES Use the LAYER [-]/[+] buttons to select the Layer you want to edit. NOTE You can also use the Quick Program Change function when selecting the program number for each Part in Multi Play mode (page 36). ARPEGGIO HOLD SHIFT + PART/LAYER/ OCTAVE Performance Edit Mode PRESET USER + PROGRAM You can edit any Preset or User Performance to create your own unique Performance by changing the various parameters, including the voice assignment to each Layer. You can then store the Performance you have edited in a User Performance number (1~128). NOTE You do not need to select a Layer if you are editing the Common parameters, since these are applied equally to all Layers in a Performance. 3. Select a parameter. Press the Parameter Value UP/DOWN button corresponding to the parameter you want to edit once to select the parameter. The current settings will display in the LCD. NOTE Changing any parameter in a Performance will automatically engage Performance Edit mode. Preset Bank User Bank 128 Performance 128 Performance 007 006 005 004 003 002 001 007 006 005 004 003 002 001 TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD NOTE SFT PERFORM LEVEL SUB DIVIDE MW FMOD TUNE DETUNE CUTOFF REV TYPE FMOD CHO TYPE FC CUTOFF NOTE EFECT VARI TYPE VA PAR SW VARI EF VEL OFFSET LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH DCY LEVEL REL TIME AMOD PMOD FMOD ATK LEVEL D T VARI SEND CU DE AEG LFO ATK TIME DCY TIME ATK TIME DCY TIME DCY LEVEL REL TIME INIT LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH FEG Store into a Performance 001 Performance Layer 4 Layer 3 VOICE Layer 2 VOICE Layer 1 TYPE P BEND RANGE PMOD SUB DIVIDE MW FMOD TUNE DETUNE PERFORM LEVEL CUTOFF REV TYPE FMOD EFECT VARI TYPE CHO TYPE FC CUTOFF NOTE LIMIT HIGH VEL OFFSET LIMIT LOW LIMIT HIGH LIMIT LOW SUS LEVEL REL TIME AMOD PMOD FMOD ATK TIME DCY TIME SUS LEVEL REL TIME INIT LEVEL PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL BANK NOTE SFT VARI VARI PARAM DATA PORTA SWITCH TIME VARI EF DEPTH AEG ATK TIME DCY TIME WAVE ASSIGN2 PARAM DATA SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ PERFORMANCE MULTI STORE UTILITY COMMON LFO FEG SYSTEM VEL KBD CURVE TRANS LAYER REL LEVEL POLY/ MONO MASTER TUNE AMP EG ATTACK RELEASE ASSIGN 1/DATA CUTOFF RESONANCE ASSIGN 2 MIDI DEVICE NO LO LAYER EDIT DEMO PERFORMANCE PERFORM NAME ASSIGN1 PARAM DEMO VOICE VOICE COMMON EDIT ARPEGGIATOR TEMPO W PEG MULTI 2 STORE MW/FC UTILITY MASTER TUNE SYSTEM KBD VEL CURVE TRANS VEL FIX TRANS CH RCV CH MIDI DEVICE NO LOCAL BULK DUMP ASSIGN CTRL NO UTILITY 1 FILTER SCENE 4. Set the value. Realtime edit with Sound Control Knobs Select SCENE 1/2 Press the Parameter Value UP/DOWN button again to set the value. Holding the Parameter Value UP/DOWN button changes the value continuously. The [UP] button increases the value and the [DOWN] button decreases the value. NOTE Edit parameters are basically divided into two groups: Common parameters equally applied to all the Layers in a Performance, and Layer parameters independently set for each Layer in a Performance. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD NOTE SFT SUB DIVIDE MW FMOD TUNE DETUNE PERFORM LEVEL CUTOFF REV TYPE FMOD CHO TYPE FC CUTOFF NOTE EFECT VARI TYPE P S VARI EF VEL OFFSET LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH DCY LEVEL REL TIME AMOD PMOD FMOD ATK LEVEL D AEG LFO ATK TIME DCY TIME ATK TIME DCY TIME DCY LEVEL REL TIME INIT LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH FEG PEG VARI SEND DEMO PERFORMANCE MULTI STORE UTILITY MASTER TUNE 21 SYSTEM VEL KBD CURVE TRANS MIDI DEVICE NO C NOTE You can also use the numeric keypad (0~9) or the Data Entry knob to change the value. NOTE To exit Performance Edit mode, press the PERFORMANCE button again or the PROGRAM [-]/[+] button. You can enter Multi Play mode directly from Performance mode by pressing the MULTI button. NOTE To change the value for all four Layers at one time, hold SHIFT and press the Parameter Value UP/DOWN button. When you press SHIFT in Performance Edit mode, a letter "A" (All) will appear in the LCD below the word "LAYER". TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD Edit Mark Once you have edited a Performance in any way, an edit mark (a reversed type letter "E") will appear to the left of the Performance number. This mark indicates you have edited, but not stored the Performance. D NOTE SFT ARPEGGIO HOLD L AEG SHIFT + ATK TIME DCY TIME ATK TIME DCY TIME L BANK PROGRAM VO L FEG PART/LAYER/ OCTAVE PRESET F TUNE DETUNE USER + PROGRAM DEMO PERFORMANCE MULTI STORE UTILITY Indicates you have edited, but not stored the Performance. MASTER TUNE SYSTEM KBD C TRANS NOTE The edit mark will also appear simply by making a slight position change to a Sound Control Knob (see page 6). ● Description of Each Function Common Edit 1 (applied to all Layers) This row provides functions and parameters which are common to all Layers in a Performance, such as the Arpeggiator, and the Performance Level, Effect and Name. NOTE Each voice is preset with optimum settings for the parameters, and the value you set for any parameter will offset (add or subtract) the preset value. If the value of a parameter exceeds the maximum or minimum limit available, the highest or lowest value will be used. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD NOTE SFT NOTE The actual value is the sum of the value displayed in the LCD and the value set by the Sound Control Knob. SUB DIVIDE MW FMOD TUNE DETUNE PERFORM LEVEL CUTOFF FMOD REV TYPE CHO TYPE FC CUTOFF NOTE LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH EFECT VARI TYPE VEL OFFSET DEPTH PERFORM NAME ASSIGN1 PARAM COMMON ASSIGN2 PARAM DATA LFO AEG ATK TIME DCY TIME DCY LEVEL REL TIME AMOD PMOD FMOD ATK TIME DCY TIME DCY LEVEL REL TIME INIT LEVEL ATK LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND WAVE SPEED PHASE INIT PEG FEG NOTE VARI VARI DATA PARAM PORTA TIME SWITCH VARI EF VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO DEMO The original voice can be restored and heard by returning to Performance Play mode and moving the Sound Control Knob to the center position. PERFORMANCE MULTI STORE UTILITY SYSTEM MIDI ASSIGN ■ ARPEGGIATOR NOTE You can replace the voices currently assigned to each Layer with new voices or assign a voice to an empty Layer (up to four voices/Layers for a Performance). The Arpeggiator automatically creates arpeggiated chords based on the chords/melodies you play on the keyboard. There are three Arpeggiator parameters: TYPE, TEMPO and SUBDIVIDE. 5. Set the other parameters. As you continue pressing the other Parameter Value UP/DOWN buttons, the other parameters will appear in the display. Set the other parameters to your preference. TYPE 6. Store the Performance. When you have finished editing, store the Performance as a User Performance. For details about how to store a Performance, see page 44. SUBDIVIDE NOTE The edited contents will be retained in memory even if you turn the power off during an edit. The Performance you were editing will still be selected the next time you turn the power on, and you will be able to pick up from where you left off and continue editing the Performance. While editing a Performance, if you select another Performance or press the PERFORMANCE button again to exit Performance Edit mode before you have first stored the data as a User Performance, your edited data will be lost. For details about storing a User Performance, see page 44. 22 TEMPO ■ PERFORM LEVEL To start the Arpeggiator, press the ARPEGGIATOR button to turn it on. A [▼ ] mark will appear in the LCD above the word "ARPEGGIATOR". NOTE This sets the volume of each Performance. To turn the Arpeggiator off, press the ARPEGGIATOR button again. TYPE: Sets the type of arpeggio. You can choose from 30 types. For details about each type, see the Arpeggiator Type List in the "Data List" book. Settings: PERFORM LEVEL (Performance Level): 0~127 Arpeggiator Hold The Arpeggiator Hold function lets you play a chord to start the automatic arpeggio, then take your hand off the keyboard; the arpeggiated chord will play continuously in a loop. Play another chord and the automatic arpeggios will change accordingly. ■ EFFECT There are five effect parameters: REV TYPE (Reverb Type), CHO TYPE (Chorus Type), VARI TYPE (Variation Type), VARI PARAM (Variation Parameter) and VARI DATA (Variation Data). For more basic information on each effect, see page 47. To activate the Arpeggiator Hold function, perform the following: 1. Hold SHIFT and press ARPEGGIATOR. The Arpeggiator indicator in the LCD will start blinking. 2.Play a series of chords. Reverb Type Chorus Type Variation Type Variation Parameter 3.To stop the arpeggiated chords, press ARPEGGIATOR again. Arpeggiator Split If you hold SHIFT and press the Parameter Value [UP] button when the TYPE parameter is displayed in the LCD, the Arpeggiator Split function will be enabled, and a reversed type letter "S" will appear to the right of the Arpeggiator type. The Split function splits the keyboard from C3 (indicated above the keyboard with [▼]) and will allow you to play the arpeggiated chords on the lower half (below C3) of the keyboard, and play a melody line on the upper half (C3 and above). To cancel the Split function, hold SHIFT and press the Parameter Value [DOWN] button. Variation Data TEMPO: Sets the tempo of the Arpeggiator. The range is MIDI, 40 ~ 240. The letter "P" (Parameter) or "d" (Data) displays to distinguish between the Variation Parameter and Variation Data screens. Settings: TEMPO: MIDI, 40 ~ 240 (beats per minute) NOTE If you want to synchronize the tempo of the Arpeggiator with that of an external MIDI device, set the TEMPO parameter to MIDI. REV TYPE (Reverb Type): Sets the Reverb type. You can choose from 11 types. For more information about each Reverb type, see Effect Type List on page 49. SUBDIVIDE: Determines the basic note settings (how fine the tempo is divided) of the Arpeggiator. Settings: SUBDIVIDE: 3/8= 1/12= , 1/16= NOTE , 1/4= , 3/16= , 1/6= , 1/24= , 1/32= , 1/8= , 3/32= CHO TYPE (Chorus Type): Sets the Chorus type. You can choose from 11 types. For more information about each Chorus type, see Effect Type List on page 49. , VARI TYPE (Variation Type): Sets the Variation effect type. There are 43 types to choose from. For more information about each Variation effect type, see Effect Type List on page 49. The Arpeggiator data cannot be output as the MIDI messages. VARI PARAM (Variation Parameter): Selects the Variation effect parameters. Parameters will differ depending on the Variation effect type selected in VARI TYPE. 23 ■ PERFORM NAME (Performance Name) NOTE If you select EFFECT OFF in the Variation Type menu, the layers which have the VARI SEND function set to ON will not sound. When you don't want to use the Variation Effect on the layers, set VARI TYPE to Thru. This lets you select the Category and name the User Performances using up to eight letters, numbers, symbols and characters. 1. Use the Parameter Value UP/DOWN button to move the cursor to the position at which you want to enter a character. NOTE Variation effect works as an Insertion effect in Performance mode. For more information, see page 47. For more information about each Variation effect parameter, see Effect Parameter List on page 49. 2. Move the cursor left-most if necessary (the word "Category" will appear instead of the Performance name) and use the numeric keypad (0~9) to select the Category. VARI DATA (Variation Data): Sets the data (value) of the Variation effect parameter selected in VARI PARAM. For more information about each Variation effect data, see the Effect Data Assign Table on page 51. # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 NOTE When VARI TYPE is turned off, VARI PARAM and VARI DATA will be disabled. NOTE The effect depth and other parameters can be controlled using the ASSIGN 1 Sound Control Knob or a Foot Controller. For details, see page 26. NOTE For more information, see page 47. LCD -Pf Cp Or Gt Ba St En Br Rd Pi Ld Pd Fx Et Pc Se Dr Sc Vo Co Wv Sq Category Name Not specified Piano Chromatic Percussion Organ Guitar Bass Strings/Orchestral Ensemble Brass Reed Pipe Synth Lead Synth Pad Synth SFX Ethnic Percussive Sound Effect Drums Synth Comping Vocal Combination Material Wave Sequence 3. Move the cursor one position to the right (the current cursor position will start blinking) and use the numeric keypad (0~9) to select the first letter, then right one position more and select the second letter, etc., until you complete your Performance name. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD SUB DIVIDE MW FMOD PERFORM LEVEL CUTOFF TUNE NOTE LIMIT NOTE DETUNE LOW SFT AEG SUS ATK DCY LEVEL TIME TIME FEG SUS ATK DCY LEVEL TIME TIME BANK PROGRAM VOLUME REV TYPE FMOD CHO TYPE FC CUTOFF EFECT VARI TYPE VARI VARI DATA PARAM PORTA TIME SWITCH VARI EF LIMIT HIGH LIMIT LOW VEL LIMIT OFFSET HIGH REL TIME AMOD PMOD DEPTH PERFORM NAME ASSIGN1 PARAM COMMON ASSIGN2 DATA PARAM LFO FMOD WAVE SPEED PHASE INIT PEG REL TIME INIT LEVEL PAN REV SEND ATK TIME EFFECT CHO SEND VEL FIX TRANS CH RCV CH ATK LEVEL VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY MASTER TUNE SYSTEM VEL KBD CURVE TRANS MIDI DEVICE NO LOCAL BULK DUMP ASSIGN CTRL NO UTILITY Settings: ABCDEFGHIJKLMNOPQRSTUVWXYZ'abcdefg hijklmnopqrstuvwxyz0123456789-/.,*&_ (space) 24 Common Edit 2 (applied to all Layers) ■ MW (Modulation Wheel) This row provides functions and parameters which are common to all Layers in a Performance (except for "Portament"), including the settings for realtime controllers such as the Pitch Wheel, Modulation Wheel and Foot Controller. This sets the control parameters of the Modulation Wheel. There are three parameters: PMOD (Pitch Modulation), FMOD (Filter Modulation) and CUTOFF (Cutoff). The parameters set here can be controlled with the Modulation Wheel to add vibrato or tremolo effects to the sound. TYPE ARPEGGIATOR TEMPO P BEND RANGE PMOD SUB DIVIDE MW FMOD TUNE NOTE DETUNE SFT AEG ATK DCY TIME TIME FEG ATK DCY TIME TIME BANK PROGRAM PERFORM LEVEL CUTOFF REV TYPE FMOD NOTE CHO TYPE FC CUTOFF EFECT VARI TYPE VARI VARI PARAM DATA PORTA SWITCH TIME VARI EF LIMIT LOW LIMIT HIGH LIMIT LOW VEL LIMIT OFFSET HIGH DCY LEVEL REL TIME AMOD PMOD FMOD DCY LEVEL REL TIME INIT LEVEL PAN REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VOLUME DEPTH PERFORM NAME ASSIGN1 PARAM COMMON Pitch Modulation ASSIGN2 DATA PARAM Filter Modulation LFO WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY ■ P BEND RANGE (Pitch Bend Range) Cutoff This sets the Pitch Bend range in semitones. The pitch can be bent up or down within the range set here by moving the Pitch Wheel. PMOD (Pitch Modulation): Sets the pitch modulation depth created by the LFO (Low Frequency Oscillator). The value set here will determine the range of the pitch modulation by the Modulation Wheel. Moving the Modulation Wheel up will increase the depth of the pitch modulation, while moving it down will decrease the depth. Settings: -24 ~ +24 semitones FMOD (Filter Modulation): Sets the filter modulation depth created by the LFO (Low Frequency Oscillator). The value set here will determine the range of the filter modulation by the Modulation Wheel. Moving the Modulation Wheel up will increase the depth of the filter modulation, while moving it down will decrease the depth. CUTOFF (Cutoff): Sets the range of the cutoff frequency points above which the other frequencies are cut off. The value set here will determine the range of the cutoff frequency points when using the Modulation Wheel. Moving the Modulation Wheel up will raise the cutoff frequency point (i.e., make the voice brighter), while moving it down will lower the cutoff point (i.e., make the voice darker). Settings: PMOD (Pitch Modulation): 0~127 FMOD (Filter Modulation): 0~127 CUTOFF: -64 ~ +63 25 ■ FC (Foot Control) ■ PORTA (Portamento) This sets the parameters controlled by a Foot Controller connected to the FOOT CONTROLLER jack on the rear panel. There are three parameters: FMOD (Filter Modulation), CUTOFF, and VARI EF (Variation Effect). This sets the Portamento function. Portamento continuously changes the pitch from one note to the next, thus letting you glide the pitch from one note to the next. There are two parameters, SWITCH and TIME. Values can be set for each Layer. Filter Modulation Switch Cutoff Time Variation Effect SWITCH: Turns the Portamento on or off. (for each layer) TIME: Sets the time it takes for the pitch to reach the next note played. (for all layers) Settings: SWITCH: on, off TIME: 0~127 FMOD (Filter Modulation): Sets the filter modulation depth created by the LFO (Low Frequency Oscillator). The value set here will determine the range of the filter modulation by the Foot Controller. Pressing the Foot Controller will increase the depth of the filter modulation. ■ ASSIGN1 PARAM (ASSIGN 1 Parameter) This determines which parameter will be controlled by the ASSIGN 1 Sound Control Knob. You can choose from 28 types of parameters. CUTOFF: Sets the range of the cutoff frequency points above which other frequencies are cut off. The value set here will determine the range of the cutoff frequency points by the Foot Controller. Pressing the Foot Controller will raise the cutoff frequency point (i.e., make the voice brighter). The parameter assigned to the ASSIGN1 knob as the default differs depending on the Performance selected. VARI EF (Variation Effect): Determines the Variation effect range set by the EFFECT parameters (page 23), controlled by the Foot Controller. NOTE For details about which parameters the Foot Controller can control, see the Effect Parameter List on page 49. Settings: For details about each parameter, see the reference pages as listed on the next page. Settings: FMOD (Filter Modulation): 0~127 CUTOFF: -64 ~ +63 VARI EF (Variation Effect): -64 ~ +63 26 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 ■ TUNE LCD off PerfLevel (Performance Level) (page 23) ArpgTempo (Arpeggiator Tempo) (page 23) ArpgType (Arpeggiator Type) (page 23) ArpgSubdiv (Arpeggiator Subdivide) (page 23) MWCutoff (MW Cutoff) (page 25) MWPModDpth (MW Pitch Modulation Depth) (page 25) MWFModDpth (MW Filter Modulation Depth) (page 25) PBRange (Pitch Bend Range) (page 25) FCCutoff (FC Cutoff) (page 26) FCFModDpth (FC Filter Modulation Depth) (page 26) FCVariDpth (FC Variation Depth) (page 26) PortaTime (Portamento Time) (page 26) *FEGDcyTime (FEG Decay Time) (page 32) *AEGDcyTime (AEG Decay Time) (page 30) *ChoToRev (Chorus Send To Reverb) *VariCntrl (Variation Control) *RevChoSend (Reverb And Chorus Send) *ChorusSend (Chorus Send) (page 38) *ReverbSend (Reverb Send) (page 38) *Pan (page 38) *LFOSpeed (LFO Speed) (page 31) *LFOPMod (Vibrato Depth) (page 30) *VibDelay (Vibrato Delay) *LFOAMod (LFO Amplitude Modulation Depth) (page 30) *LFOFMod (LFO Filter Modulation Depth) (page 31) *FEGAtkTime (FEG Attack Time) (page 32) *FEGSusLvl (FEG Sustain Level) (page 32) *FEGVelSens (FEG Level Velocity Sensitivity) *Pitch (Oscillator Pitch) This sets the tuning of a Layer. There are two parameters, NOTE SFT (Note Shift) and DETUNE. Note Shift Detune NOTE SFT (Note Shift): Raises or lowers the pitch of the voice in semitones. Settings: -24 ~ +24 (semitones) DETUNE: Raises or lowers the pitch of the voice in fine increments or decrements (0.1 Hz each). Settings: -12.8 Hz ~ +12.7 Hz Parameters with an asterisk affect entire Layers in a Performance. You cannot directly edit them from the LCD, but you can assign them to the ASSIGN 1 knob. ■ NOTE This sets the range of notes that each Layer will play. There are two parameters, LIMIT LOW and LIMIT HIGH. You can also select each parameter by inputting the corresponding number using the numeric keypad. Limit Low Limit High Layer Edit 1 (independently applied to each Layer) The functions in this row provide various parameters mainly related to the keyboard such as Tune, Note Limit and Velocity. The parameters can be set for each Layer in a Performance. NOTE SFT TUNE DETUNE NOTE LIMIT LOW LIMIT HIGH LIMIT LOW LIMIT HIGH VEL OFFSET AEG DEPTH LIMIT LOW: Determines the low note limit, or the lowest note that will be played by the voice. ASSIGN2 DATA PARAM LFO ATK TIME DCY TIME DCY LEVEL REL TIME AMOD PMOD FMOD ATK TIME DCY TIME DCY LEVEL REL TIME INIT LEVEL ATK LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND FEG WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL LEVEL POLY/ MONO LIMIT HIGH: Determines the high note limit, or the highest note that will be played by the voice. DEMO PERFORMANCE MULTI STORE UTILITY C-2 • • • C1 0 • • • 36 Note Name Note Number C2 C3 C4 C5 C6 • • • G8 48 60 72 84 96 • • • 127 LIMIT LOW is set to C2 and LIMIT HIGH is set to C4. Range of notes that can be played. CS1x Keyboard Settings: LIMIT LOW: C-2 ~ G8 LIMIT HIGH: C-2 ~ G8 NOTE It is not possible to set the LIMIT LOW note above the LIMIT HIGH note, or the LIMIT HIGH note below the LIMIT LOW note. 27 ■ VEL (Velocity) OFFSET: Sets the offset value of the velocity. The value set here will be added to or subtracted from the actual velocity value. This determines the velocity settings for the voice in each Layer. There are four parameters: LIMIT LOW, LIMIT HIGH, OFFSET and DEPTH. Limit Low VELOCITY OFFSET GRAPH ( When DEPTH = 64) VELOCITY LEVEL RECEIVED BY TONE GENERATOR Limit High OFFSET=63 DEPTH=64 VELOCITY=127 Range determined by offset OFFSET=0 DEPTH=64 Range determined by offset OFFSET=-64 DEPTH=64 (OFFSET=63) Offset Depth (OFFSET=0) VELOCITY RECEIVED VELOCITY=1 OFFSET=-64 Settings: OFFSET: -64 ~ +63 LIMIT LOW: Determines the lowest velocity value that will be detected when the keyboard is played. No sound will be produced if the keyboard is played with a velocity value weaker than the one set here. DEPTH: Sets the depth of the velocity. The larger the value, the more sensitive the velocity will be, and playing the keyboard will produce louder sounds. LIMIT HIGH: Determines the highest velocity value that will be detected when the keyboard is played. No sound will be produced if the keyboard is played with a velocity value stronger than the one set here. VELOCITY DEPTH GRAPH (When OFFSET=64) VOLUME DEPTH=96, OFFSET=64 VOLUME DEPTH=64 OFFSET=63 DEPTH=32 OFFSET=63 0 30 100 VELOCITY (Playing Strength) 127 OFFSET=63 DEPTH=0, OFFSET=63 VELOCITY RECEIVED When LIMIT LOW is set to "30" and LIMIT HIGH is set to "100" Velocity range that can be played is limited as shown in the illustration. Settings: DEPTH: 0~127 Settings: LIMIT LOW: 1~127 LIMIT HIGH: 1~127 NOTE It is not possible to set the LIMIT LOW note above the LIMIT HIGH note, or the LIMIT HIGH note below the LIMIT LOW note. 28 ■ ASSIGN2 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 This sets the control parameter and knob sensitivity of the ASSIGN 2 Sound Control Knob. It is possible to assign up to four parameters from 28 types. It is also possible to set the sensitivity (control range of the knob) for each parameter. The parameter assigned to the ASSIGN2 knob as the default differs depending on the Performance selected. 1. Select the Layer. Press the LAYER [-]/[+] button to select the Layer to which you want to assign a parameter. 2. Select the item (parameter type or sensitivity) you want to edit and the assignment number which you want to assign the parameter to. Press the Parameter Value [UP] button to select the item (parameter type or sensitivity) you want to edit, and the assignment number. Each time you press the (PARAM) Parameter Value [UP] button, the arrow cursor will move as shown in the following illustration. LCD off Volume (page 33) NoteShift (page 27) Detune (page 27) Pan (page 34) ChorusSend (page 38) ReverbSend (page 38) *Pitch (Oscillator Pitch) VelSnsDpth (Velocity Sensitivity Depth) (page 28) VelSnsOfst (Velocity Sensitivity Offset) (page 28) Cutoff (Filter Cuttoff Frequency) (page 34) Resonance (page 34) AEGAtkTime (AEG Attack Time) (page 30) AEGDcyTime (AEG Decay Time) (page 30) AEGSusLvl (AEG Sustain Level) (page 30) AEGRelTime (AEG Release Time) (page 30) LFOSpeed (LFO Speed) (page 31) LFOAMod (LFO Amplitude Modulation Depth) (page 30) LFOPMod (LFO Pitch Modulation Depth) (page 30) LFOFMod (LFO Filter Modulation Depth) (page 31) FEGAtkTime (FEG Attack Time) (page 32) FEGDcyTime (FEG Decay Time) (page 32) FEGSusLvl (FEG Sustain Level) (page 32) FEGRelTime (FEG Release Time) (page 32) PEGInitLvl (PEG Initial Level) (page 32) PEGAtkTime (PEG Attack Time) (page 32) PEGAtkLvl (PEG Attack Level) (page 32) PEGDcyTime (PEG Decay Time) (page 32) PEGRelTime (PEG Release Time) (page 32) PEGRelLvl (PEG Release Level) (page 32) Parameter Type Parameter with an asterisk cannot be modified, but you can assign it to the ASSIGN2 knob. Layer Each parameter can also be selected by inputting the number with the numeric keypad. Sensitivity 4. Press the (PARAM) Parameter Value UP/DOWN button to move the arrow cursor to the sensitivity area. Assignment Number Parameter type of assignment number 1 Sensitivity of assignment number 1 Parameter type of assignment number 2 Sensitivity of assignment number 2 Parameter type of assignment number 3 Sensitivity of assignment number 3 Parameter type of assignment number 4 Sensitivity of assignment number 4 ▲ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ▼ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ 5. Press the (DATA) Parameter Value UP/DOWN button to set the knob sensitivity. Settings: Parameters can be set between -32 and +32, for assignment numbers 1 ~ 4. NOTE As an example, say you have selected the Volume parameter and set the knob sensitivity to the positive value "+32". The volume is "0" when the knob is turned counter-clockwise to the far left, and "127" when the knob is turned clockwise to the far right. If the knob sensitivity is set to the negative value "-32", the volume is "127" when the knob is turned to the far left and "0" when the knob is turned to the far right. If the sensitivity value is small, the control range of the knob will be narrowed and limited. Each time you press the (PARAM) Parameter [DOWN] button, the arrow cursor will move in the opposite direction. 3. Move the cursor to the Parameter type area and press the (DATA) Parameter UP/DOWN button to select the parameter type. Settings: The following parameters can be assigned to assignment number 1 ~ 4. For details about each parameter, see the reference pages as listed below. 6. Repeat the above steps to set a different parameter/knob sensitivity value to each of the four assignment numbers. NOTE When the PARAM screen is displayed, you can select the parameter type or change the sensivity using the Data Entry knob or the numeric keypad. NOTE When voices are not assigned to the Layers (Bank=Off), Parameter type and sensitivity will not display. 29 Layer Edit 2 (independently applied to each Layer) VOLUME The functions in this row provide parameters which are essential in creating a voice, such as AEG (Amplitude Envelope Generator) and LFO (Low Frequency Oscillator). The parameters can be set for each Layer in a Performance. SUS LEVEL TIME AEG ATK TIME DCY TIME LFO ATK TIME DCY TIME SUS LEVEL REL TIME AMOD PMOD FMOD ATK TIME DCY TIME DCY LEVEL REL TIME INIT LEVEL ATK LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND FEG WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LAYER REL TIME Key On REL LEVEL POLY/ MONO Key Off DEMO PERFORMANCE MULTI STORE UTILITY SYSTEM MIDI Settings: ATK TIME (Attack Time): -63 ~ +63 DCY TIME (Decay Time): -63 ~ +63 SUS LEVEL (Sustain Level): -64 ~ +63 REL TIME (ReleaseTime): -63 ~ +63 ASSIGN ■ AEG (Amplitude Envelope Generator) This sets the AEG (Amplitude Envelope Generator). The AEG lets you shape how the volume level changes over time, from when a key is hit, then released, and how the sound decays. There are four parameters: ATK TIME (Attack Time), DCY TIME (Decay Time), SUS LEVEL (Sustain Level) and REL TIME (Release Time). ■ LFO (Low Frequency Oscillator) This sets the parameters for the LFO (Low Frequency Oscillator). The LFO is an oscillator that generates low frequency signals used to modulate certain aspects of the sound such as pitch, volume or filter level. There are six parameters: AMOD (Amplitude Modulation), PMOD (Pitch Modulation), FMOD (Filter Modulation), WAVE, SPEED and PHASE INIT. NOTE Each musical instrument has a unique envelope curve which plays an important role in determining its sound characteristics. The AEG simulates the change of the volume envelope curve over time. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect. Attack Time Sustain Level Amplitude Modulation Pitch Modulation Filter Modulation Wave Speed Phase Init Decay Time Release Time ATK TIME (Attack Time): Determines the time required for a sound to reach its maximum volume level when a note is played. DCY TIME (Decay Time): Determines the time required for a sound to reach its Sustain Level from a maximum volume level while the key is held. AMOD (Amplitude Modulation): Adds a cyclical change to the volume level by applying LFO frequency modulations, to create a tremolo effect. Larger values widen the range of the volume change. SUS LEVEL (Sustain Level): Sets the Sustain Level. The volume will be maintained at this level for as long as the key is held. PMOD (Pitch Modulation): Adds a cyclical change to the pitch by applying LFO frequency modulations, to create a vibrato effect. Larger values widen the range of the pitch change. REL TIME (Release Time): Determines the time it takes for a sound to sustain after the key has been released. 30 FMOD (Filter Modulation): Adds a cyclical change to the filter cutoff frequency by applying LFO frequency modulations, to create wah-wah type effects. Larger values widen the range of cutoff frequency change. Settings: AMOD (Amplitude Modulation): -31 ~ +31 PMOD (Pitch Modulation): -63 ~ +63 FMOD (Filter Modulation): -15 ~ +15 WAVE: Saw, Tri , S&HTr, Elem SPEED: -63 ~ +63 PHASE INIT: Free, Retr, Elem WAVE: Selects the LFO frequency signal used for modulation. You can select from the following types: Layer Edit 3 (independently applied to each Layer) Saw (Sawtooth) TIME Tri (Triangle) TIME S&HTr (Sample & Hold = random) TIME The functions in this row provide parameters which are essential in creating a voice, such as FEG (Filter Envelope Generator) or PEG (Pitch Envelope Generator). The parameters can be set for each Layer in a Performance. FEG *S&HTr = Adds random changes to the pitch. (NOTE: Triangle waves will be applied for the AMOD and FMOD. Triangle wave is applied even if you select S&HTr for PMOD, when controlling the PMOD with the Modulation Wheel.) LAYER PEG ATK TIME DCY TIME SUS LEVEL REL TIME INIT LEVEL BANK PROGRAM VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ REL LEVEL POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY SYSTEM MIDI ASSIGN ELEM (Element) *Default settings of each element depending on the selected voice. ■ FEG (Filter Envelope Generator) This sets the FEG (Filter Envelope Generator). The FEG lets you shape how the tone, or timbre, of the voice changes over time, from when a key is hit, then released, and how the sound decays. There are four parameters: ATK TIME (Attack Time), DCY TIME (Decay Time), SUS LEVEL (Sustain Level) and REL TIME (Release Time). SPEED: Sets the speed of the LFO frequency modulation. Larger values increase the speed. SLOW TIME NOTE Generally, filters change the timbre by passing signals within a specific frequency bandwidth and cutting others. The CS1x features an LPF (Low Pass Filter) which passes the signals below the specified frequency point (cutoff frequency) and cuts the signals above it (see page 34). The FEG simulates the change of the filter envelope curve over time. FAST TIME PHASE INIT: Determines if the phase of the LFO frequency modulation wave is reset or not when a note is played. There are three types: Free, Retr (Retrigger) and Elem (Element). NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect. Free: The wave starts at the phase position where a note is played. + Phase when keyboard is played 0 TIME – KEY ON Retr (Retrigger): The wave starts at +/-0 phase position. + 0 TIME – KEY ON Elem (Element): The wave starts from the default phase position (Free or Retr) for each element of the voices. 31 Attack Time ■ PEG (Pitch Envelope Generator) Decay Time This sets the PEG (Pitch Envelope Generator). The PEG lets you shape how the pitch of the voice changes over time, from when a key is hit, then released, and how the sound decays. There are six parameters: INIT LEVEL (Initial Level), ATK TIME (Attack Time), ATK LEVEL (Attack Level), DCY TIME (Decay Time), REL TIME (Release Time) and REL LEVEL (Release Level). Sustain Level Release Time NOTE Since the PEG simulates the change of the pitch envelope curve over time, you can create an SFX type effect and the slight pitch change of a wind instrument. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect. ATK TIME (Attack Time): Determines the time required for a sound to reach its maximum cutoff frequency level when a note is played. DCY TIME (Decay Time): Determines the time required for a sound to reach its Sustain Level from a maximum level while the key is held. Initial Level Attack Time Attack Level Decay Time Release Time Release Level SUS LEVEL (Sustain Level): Sets the Sustain Level. The cutoff frequency will be maintained at this level for as long as the key is held. REL TIME (Release Time): Determines the time it takes for the cutoff frequency to reach the level preset for each voice after the key has been released. LEVEL SUS LEVEL CUTOFF FREQUENCY TIME INIT LEVEL (Initial Level): Sets the initial pitch level when a key is played. ATK TIME DCY TIME Key On REL TIME ATK TIME (Attack Time): Determines the time required for a sound to reach its Attack Level after a note is played. Key Off ATK LEVEL (Attack Level): Sets the initially targeted level after a note is played. Settings: ATK TIME (Attack Time): -63 ~ +63 DCY TIME (Decay Time): -63 ~ +63 SUS LEVEL (Sustain Level): -64 ~ +63 REL TIME (Release Time): -63 ~ +63 DCY TIME (Decay Time): Determines the time required for a sound to reach its basic pitch from Attack Level while the key is held. REL TIME (Release Time): Determines the time it takes for the basic pitch to reach the Release Level after the key has been released. REL LEVEL (Release Level): Sets the last targeted level after the key is released. 32 LEVEL Bank Conversion Table for Voices Used in Performances ATK LEVEL Basic Pitch PITCH TIME INIT LEVEL REL LEVEL ATK TIME DCY TIME REL TIME Key On Key Off Settings: INIT LEVEL (Initial Level): -64 ~ +63 ATK TIME (Attack Time): -63 ~ +63 ATK LEVEL (Attack Level: -64 ~ +63 DCY TIME (Decay Time): -63 ~ +63 REL TIME (Release Time): -63 ~ +63 REL LEVEL (Release Level): -64 ~ +63 MSB 0 0 ↓ 0 64 63 63 ↓ LSB 0 1 ↓ 101 0 0 1 ↓ Bank 0 1 ↓ 101 102 103 104 ↓ LCD XG000 XG001 ↓ XG101 SFX PRE0 PRE1 ↓ 63 63 63 - 7 8 12 - 110 111 115 999 PRE7 PRE8 PRE12 off Remarks XG ↓ ↓ ↓ XG for Performance Only ↓ ↓ ↓ ↓ for Performance Only Each bank can be selected directly by inputting the corresponding Bank number using the numeric keypad. NOTE For more information about Banks and Programs (voices), see the Voice List in the "Data List" book. Layer Edit 4 (independently applied to each Layer) ■ PROGRAM The functions in this row provide parameters which include fundamental settings such as voice assignment, volume and panning settings for each Layer. The parameters can be set for each Layer in a Performance. This lets you select a voice, or program, from the Bank previously selected with the BANK parameter, explained above. LAYER BANK PROGRAM VOLUME PAN REV SEND EFFECT CHO SEND VARI SEND FILTER CUTOFF REZ POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY SYSTEM MIDI ASSIGN Settings: 1~128 UTILITY ■ BANK NOTE Note that the Program numbers here are 1~128 and the MIDI Program Change numbers are 0~127. To match the MIDI Program Change number when switching programs using an external MIDI device, subtract a value of "1" from the Program number. This lets you select a Bank, each of which contains up to 128 normal voices. To select a voice, you must first select a Bank number, and then select a Program number in the PROGRAM parameter, explained below. NOTE For more information about Banks and Programs (voices), see the Voice List in the "Data List" book. ■ VOLUME This sets the volume of each Layer. It is possible to assign a different volume setting for each Layer. Settings: off, XG000, 001, 003, 006, 008, 012, 014, 016~020, 024, 025, 027, 028, 032~043, 045, 064~072, 096~101, SFX, PRE 0~12 (for Performance only) Settings: 0~127 33 ■ PAN NOTE The value of some Layers may forcibly be changed when using the Variation effect. This sets the panning (the left or right position in the stereo spectrum) of each Layer. Different pannings can be set for each Layer, thus providing for a richly textured stereo image (for stereo output). NOTE For more information, see page 47. ■ FILTER This sets the filter parameters for each Layer. There are two parameters, CUTOFF and REZ (Resonance). Cutoff Resonance Settings: Random, L63 (far left in the stereo image) to L01 to C00 (center in the stereo image) to R01 to R63 (far right in the stereo image) NOTE Generally, filters change the timbre by passing signals within a specific frequency bandwidth and cutting others. The CS1x features an LPF (Low Pass Filter) which passes the signals below the specified frequency point (cutoff frequency) and cuts the signals above it. NOTE When set to "Random", the pan position of each Layer will alternate between left and right each time a Performance is played. NOTE Some of the voices are preset and have a fixed panning of "left" in the lower register and "right" in the higher register. In such a case, you cannot modify the pan setting. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect. ■ EFFECT This sets the effect send (output) level of each Layer. There are three parameters: REV SEND (Reverb Send), CHO SEND (Chorus Send) and VARI SEND (Variation Send). Each effect send level set here will be output to the Reverb, Chorus, and Variation effect sections as previously selected (see page 23). CUTOFF: Determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Higher settings result in brighter tones and lower settings result in darker tones. VOLUME Reverb Send Chorus Send FREQUENCIES PASSED FREQUENCIES CUT FREQUENCY CUTOFF FREQUENCY Variation Send REZ (Resonance): Sets the amount of filter resonance or emphasis around the cutoff frequency. Higher settings produce a higher resonant peak, while lower settings produce a relatively flat response. VOLUME REV SEND (Reverb Send): Determines the send level of the Reverb effect. RESONANCE CHO SEND (Chorus Send): Determines the send level of the Chorus effect. FREQUENCY VARI SEND (Variation Send): Enables or disables the output of the Variation effect. CUTOFF FREQUENCY Settings: CUTOFF: -64 ~ +63 REZ (Resonance): -64 ~ +63 Settings: REV SEND (Reverb Send): 0~127 CHO SEND (Chorus Send): 0~127 VARI SEND (Variation Send): OFF, ON 34 ■ POLY/MONO ■ Tips About Performance Mode This determines whether the voice in each Layer is played monophonically (only one note at a time) or polyphonically (up to 32 notes at a time). • In Performance Mode, you can use a Performance (voice) and 12 Parts (Part 5~16) for Multi. Though the receive channels are set in the factory as shown in the illustration, you can change the receive channels using RCV CH (Receive Channel) in Utility Mode. Generally, Polyphonic mode is selected to generate multiple sounds at one time. There are cases, however, where it is more effective to select Monophonic mode, such as when using a bass sound, brass sound, or an analog synthesizer sound. Performance Layer 1 MIDI Receive Channels set at the factory Layer 2 Ch. 1 LAYER BANK PROGRAM VOLUME PAN REV SEND EFFECT CHO SEND VARI SEND FILTER CUTOFF REZ POLY/ MONO Layer 3 DEMO PERFORMANCE MULTI STORE UTILITY Layer 4 SYSTEM MIDI ASSIGN Settings: POLY (Polyphonic), MONO (Monophonic) Multi Part 5 Ch. 5 Part 6 Ch. 6 Part 7 Ch. 7 Part 14 Ch. 14 Part 15 Ch. 15 Part 16 Ch. 16 NOTE You can play up to 32 notes at a time. However, the number of notes may be reduced or truncated if you use voices which consist of two elements and/or play a rather complicated song which uses too many notes. • If a channel is selected for both Performance and one of the Parts, the two will be played simultaneously, producing two sounds at one time. Check the settings for the receive channels when you play the Performance and get an unintentional sound besides the Performance. • In Performance Mode, you cannot modify the Multi settings on the panel except for the receive channel setting. Use an external MIDI device such as sequencer to modify the Multi settings. • You can play only one Performance at one time. It is not possible to use the Performances as Parts for the Multi or to configure the Layers using the Performances. 35 In Multi Play mode you can play up to 16 Parts using an external MIDI sequencer. This mode is mainly used when the CS1x is used as an XG-compatible tone generator or as a data input device in a computer music system. You can use any XG voice from the 480 normal voices and 11 drum voices. When playing back from or recording to an external sequencer, you can use the Multi Part Edit function to edit the volume and effect of each Part. External MIDI Sequencer Editing Procedures PART 1~16 1. Select a Part. Use the PART [-]/[+] button to select the Part you want to edit. MIDI Data (1~16ch) MULTI PART EDIT XG voices, volume, pan, effect and other settings. ARPEGGIO HOLD SHIFT + PART/LAYER/ OCTAVE PRESET Entering Multi Play Mode USER + PROGRAM Press the MULTI button. A [▲] mark will appear below the word "MULTI" in the LCD. Category 2. Select the parameter. Press the Parameter Value UP/DOWN button corresponding to the parameter you want to edit once to select the parameter and display the settings. Voice Number GG O TEMPO TYPE P BEND RANGE DEMO PERFORMANCE UTILITY BANK PROGRAM O LEVEL CUTOFF REV TYPE CHO TYPE FC CUTOFF C VARI TYPE LIMIT LOW LIMIT HIGH LIMIT LOW VARI EF VEL LIMIT OFFSET HIGH DCY LEVEL REL TIME AMOD PMOD FMOD DCY LEVEL REL TIME INIT LEVEL ATK LEVEL VOLUME PAN REV SEND ATK TIME EFFECT CHO SEND TUNE NOTE DETUNE SFT AEG ATK DCY TIME TIME FEG ATK DCY TIME TIME MULTI STORE SUB DIVIDE MW FMOD PMOD FMOD NOTE VARI VARI DATA PARAM PORTA TIME SWITCH DEPTH NAME ASSIGN1 PARAM C ASSIGN2 DATA PARAM LFO WAVE SPEED PHASE INIT PEG VARI SEND DCY REL TIME TIME FILTER CUTOFF REZ LA REL LEVEL POLY/ MONO DEMO Program (Voice) Number Part Number PERFORMANCE MULTI STORE UTILITY SYSTEM You can also select a voice from the XG000 (GM) Bank by pressing the PROGRAM [-]/[+] buttons. NOTE You can also use the numeric keypad (0~9) or the Data Entry knob to change the value. NOTE When you enter Multi Play mode from Performance mode, the CS1x automatically resets the internal tone generator to XG ON (001 Grand Piano) status. NOTE To change the value for all Parts at one time, hold SHIFT and press the Parameter Value UP/DOWN button. When you press SHIFT in Multi Part Edit, a letter "A" (All) will appear in the LCD below the word "PART". ● Multi Part Edit You can edit each Part in realtime. You can assign a voice to each Part and set the volume, pan and effect. These settings are temporary and cannot be stored. Therefore, entering Performance mode will clear this data. 7 6 5 4 3 ASSIGN 3. Set the value. Press the Parameter Value UP/DOWN button again to set the value. Holding the Parameter Value UP/DOWN button changes the value continuously. The [UP] button increases the value and the [DOWN] button decreases the value. Playing the keyboard will play the voice of the Part currently displayed in the LCD. The Category name for the selected voice will be shown next to the voice name. Part 1-16 MIDI ARPEGGIO HOLD SHIFT + PART/LAYER/ OCTAVE BANK PROGRAM VOLUME PAN EFFECT FILTER POLY/MONO PRESET USER + PROGRAM NOTE Other parameters will appear in the LCD when you press the other Parameter Value UP/DOWN buttons. Continue setting the other parameters. 2 1 NOTE To exit from the Multi Part Edit, press the MULTI button again. The display will return to the Voice name screen. You can also exit Multi Play mode by pressing the PERFORMANCE button to enter Performance mode. 36 ● Description of Each Function NOTE It is also possible to change the Program number quickly by using the Quick Program Change function, the same way as in Performance mode. For details, see page 21. ■ BANK This lets you select a Bank. Various normal voice banks containing up to 128 normal voices, a bank with different drum voices (kits), plus SFX banks are available to choose from. To select a voice, you must first select a Bank number, and then select a Program number in the PROGRAM parameter, explained below. Normal Voices and Drum Voices The available voices are divided into two groups: normal voices and drum voices. In Multi Play mode you can select and play both normal and drum voices. In general a "normal" voice is simply a pitched voice which can be played on a musical scale from low to high, such as a piano or trumpet. In Multi Play mode there are 480 XG normal voices. A "drum" voice is a complete set of drum and other percussion sounds, each sound having a fixed pitch. Each sound is assigned to a specific MIDI Note number which also corresponds to a key on a MIDI keyboard. In Multi Play mode there are 11 XG drum voices. For a list of the drum and percussion sound assignments to each key, see the XG Drum Voice List in the "Data List" book. Settings: off, XG000, 001, 003, 006, 008, 012, 014, 016~020, 024, 025, 027, 028, 032~043, 045, 064~072, 096~101, SFX, SFXKIT, DRUM TG300B Mode There are two tone generator modes: XG mode and TG300B mode. Normally the CS1x plays in XG mode. However, it automatically recognizes which mode to select based on incoming MIDI data, i.e., through MIDI System Exclusive messages that you can program using an external MIDI sequencer. Bank Conversion Table for Multi MSB 0 0 ↓ LSB 0 1 ↓ Bank 0 1 ↓ LCD XG000 XG001 ↓ 0 64 126 127 - 101 0 0 0 - 101 102 126 127 999 XG101 SFX SFXKIT DRUM Off In TG300B mode the CS1x will play multitimbral music data created for TG300B-compatible tone generators. TG300B mode also provides compatibility with the GM System Level1 format. In TG300B mode the CS1x can: • Play up to 16 Parts. • Choose from 579 Normal Voices and 10 Drum Voices. Each bank can be selected directly by inputting the corresponding number with the numeric keypad. ■ VOLUME This sets the volume of each Part. Different volume levels can be set for each Part. NOTE For more information about Banks and Programs (voices), see the XG Voice List in the "Data List" book. ■ PROGRAM This lets you select a voice, or program, from the Bank previously selected with the BANK parameter, explained above. Settings: 0~127 Settings: 1~128 NOTE Note that the Program numbers here are 1~128 and the MIDI Program Change numbers are 0~127. When switching programs using an external MIDI device, subtract a value of "1" from the Program number to match the MIDI Program Change number. NOTE For more information about Banks and Programs (voices), see the XG Voice List in the "Data List" book. 37 ■ PAN REV SEND (Reverb Send): Determines the send level of the Reverb effect. This sets the panning (the left or right position in the stereo spectrum) for each Part. Different pannings can be set for each Part (for stereo output). CHO SEND (Chorus Send): Determines the send level of the Chorus effect. VARI SEND (Variation Send): Enables or disables the output of the Variation effect. Settings: REV SEND (Reverb Send): 0~127 CHO SEND (Chorus Send): 0~127 VARI SEND (Variation Send): OFF, ON (or 0~127) Settings: Random, L63 (far left in the stereo image) to L01 to C00 (center of a stereo image) to R01 to R63 (far right in the stereo image) NOTE The Variation send parameters are OFF or ON when the Variation effect is used as the Insertion effect. They are 0~127 when used as the System effect. Normally, the Variation effect works as an Insertion Effect when not receiving parameter change messages to switch to System Effect from an external MIDI sequencer. For more information about Insertion and System effects, see page 47. NOTE When set to "Random", the panning of each Part will alternate between left and right each time a voice is played. NOTE Some of the voices are preset and fixed to a panning of "left" in the lower register and "right" in the higher register. In such a case, you cannot modify the pan setting. ■ FILTER This sets the parameters of the filter for each Part. There are two parameters, CUTOFF and REZ (resonance). ■ EFFECT This sets the effect send (output) level for each Part. There are three parameters: REV SEND (Reverb Send), CHO SEND (Chorus Send) and VARI SEND (Variation Send). You can change the effect send level for each effect in realtime when you are playing back XG song data containing effect settings using an external MIDI device. Cutoff 4 DEF 1 ABC 0 NOTE When you enter Multi Play mode (reset to XG ON) by pressing the MULTI button, each effect will be reset to the default settings: Hall 1 (Reverb), Chorus 1 (Chorus) and Delay L,C,R (Variation). In this case, the Reverb send level is set to 64, and the Chorus and Variation send levels are set to 0. Generally, filters change the timbre by passing signals within a specific frequency bandwidth and cutting others. The CS1x features an LPF (Low Pass Filter) which passes the signals below the specified frequency point (cutoff frequency) and cuts the signals above it. Depending on the XG song data being played, the effect types and their parameters used in the song may differ. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect. Note that the effect types and their parameters in the Performance Edit mode have no relation to the effect settings here. Reverb Send Resonance CUTOFF: Determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Higher settings result in brighter sounds and lower settings result in darker sounds. Chorus Send REZ (Resonance): Sets the amount of filter resonance or emphasis around the cutoff frequency. Higher settings produce a higher resonant peak, while lower settings produce a relatively flat response. Variation Send Settings: CUTOFF: -64 ~ +63 REZ (Resonance): -64 ~ +63 38 ■ POLY/MONO This determines whether the voice in each Layer is played monophonically (only one note at a time) or polyphonically (up to 32 notes at a time). Generally, Polyphonic mode is selected to generate multiple sounds at one time. There are cases, however,where it is more effective to select Monophonic mode, such as when using a bass sound, brass sound, or an analog synthesizer sound. BANK PROGRAM VOLUME PAN REV SEND EFFECT CHO SEND VARI SEND FILTER CUTOFF REZ POLY/ MONO DEMO PERFORMANCE MULTI STORE UTILITY SYSTEM MIDI ASSIGN U Settings: POLY (Polyphonic), MONO (Monophonic) NOTE You can play up to 32 notes at a time. However, the number of notes may be reduced or truncated if you use voices which consist of two elements and/or play a rather complicated song which uses too many notes. ■ Using the Multi Play Mode • Multi Play Mode is specifically aimed at playing CS1x as a tone generator using the external device such as sequencer. Consequently, the changes made in Multi Play Mode are temporary and cannot be stored. • The Arpeggiator function is not available in Multi Play Mode. It can only be applied to the Performances in Performance Mode. 39 In Utility mode you can set the CS1x system and MIDI parameters. CS1x NOTE Other parameters will appear in the LCD when you press the other Parameter Value UP/DOWN buttons. Continue setting the other parameters. CS1x MIDI SYSTEM SETTINGS MIDI SETTINGS MASTER TUNE KBD TRANS VEL CURVE VEL FIX TRANS CH RCV CH DEVICE NO LOCAL BULK DUMP ASSIGN CONTROL CHANGER NUMBER NOTE Press the PERFORMANCE button or the MULTI button to exit Utility mode and return to each respective mode. NOTE It is not necessary to store changes made in the Utility mode. The CS1x will remember any changes you make in this mode. Entering Utility Mode ● Description of Each Function Press the UTILITY button. A [▲] mark appears in the LCD below the word "UTILITY". SYSTEM This sets the tuning and other keyboard settings for the CS1x tone generator. There are four parameters: MASTER TUNE, KBD TRANS (Keyboard Transpose), VEL CURVE (Velocity Curve) and VEL FIX (Velocity Fix). Parameter Name DEMO PERFORMANCE MULTI STORE UTILITY ■ MASTER TUNE This tunes the CS1x's tone generator. Basic pitch is 440 Hz at note A3. Master tuning can be adjusted 1 Hz at a time. NOTE The LCD will display the parameter settings previously selected in Utility mode. The first time you press the UTILITY button after turning the power on, the LCD will display the first page (Master Tune) in Utility mode. ● Procedure 1. Select the parameter. Press the Parameter Value UP/DOWN button corresponding to the parameter you want to edit once to select the parameter and display the settings in the LCD. TIME TIME LEVEL TIME LEVEL BANK PROGRAM VOLUME PAN REV SEND TIME EFFECT CHO SEND Settings: -102 Hz to 0 (A3=440 Hz) to +102 Hz LEVEL ■ KBD TRANS (Keyboard Transpose) VARI SEND This lets you transpose the pitch in semitones. The transpose value will also be reflected in the Octave Shift function on the panel. DEMO PERFORMANCE MULTI STORE UTILITY MASTER TUNE SYSTEM KBD VEL CURVE TRANS VEL FIX TRANS CH RCV CH MIDI DEVICE NO 2. Set the value. Press the Parameter Value UP/DOWN button again to set the value. Holding the Parameter Value UP/DOWN button changes the value continuously. The [UP] button increases the value and the [DOWN] button decreases the value. TIME TIME LEVEL TIME LEVEL BANK PROGRAM VOLUME PAN REV SEND TIME EFFECT CHO SEND Settings: -36 to 0 (standard) to +36 LEVEL VARI SEND DEMO PERFORMANCE MULTI STORE UTILITY MASTER TUNE SYSTEM KBD VEL CURVE TRANS VEL FIX TRANS CH RCV CH NOTE This function setting is related to OCTAVE SHIFT on the panel, the indication may be changed after using the OCTAVE SHIFT function. MIDI DEVICE NO NOTE You can also use the numeric keypad (0~9) or the Data Entry knob to change the value. 40 ■ VEL CURVE (Velocity Curve) Hard: This curve is designed to increase the volume level with a stronger playing style. This is suitable for people with a strong key touch. The velocity curve set here determines the way the CS1x's tone generator responds to playing velocity when the VEL FIX parameter (see below) is set to OFF. The following six types of curves are available: VOLUME Norm (Normal): The velocity is in proportion to the strength (how hard you play the keyboard). VOLUME KEYBOARD PLAYING STRENGTH Settings: Norm, Soft1, Soft2, Easy, Wide, Hard KEYBOARD PLAYING STRENGTH ■ VEL FIX (Velocity Fix) Soft1: This curve is designed to increase the volume level with a softer playing style. This is suitable for people with a soft key touch. This sets the velocity of the CS1x keyboard to a specific value. This is used when you want to play the sound at a fixed velocity regardless of keyboard touch. VOLUME KEYBOARD PLAYING STRENGTH Soft2: This curve is also designed to increase the volume level with a softer playing style. This is close to Normal compared with Soft1. Settings: 1 ~ 127, off VOLUME NOTE Set the parameter in VEL FIX to OFF to enable the velocity curve previously selected in the VEL CURVE (Velocity Curve) parameter. MIDI The MIDI parameters let you exchange MIDI data between the CS1x and an external MIDI device. There are five parameters: TRANS CH (Transmit Channel), RCV (Receive Channel), DEVICE NO (Device Number), LOCAL (Local On/Off) and BULK DUMP (Performance Bulk Dump). KEYBOARD PLAYING STRENGTH Easy: In general, this curve is also designed to increase the volume level with a softer playing style. However, the volume level is stable in all registers since the velocity curve in the mid range is close to Normal. ■ TRANS CH (Transmit Channel) VOLUME This sets the MIDI transmit channel from the CS1x to an external MIDI device such as a sequencer. KEYBOARD PLAYING STRENGTH Wide: This curve is designed to lower the volume level with a softer playing style and increase the volume level with a stronger playing style. As a result, you feel a wider dynamic range. Settings: 1~16ch (channel) VOLUME NOTE You can use the CS1x to play and control an external MIDI device. For details, see page 9. KEYBOARD PLAYING STRENGTH 41 ■ RCV CH (Receive Channel) ■ BULK DUMP (Performance Bulk Dump) In Performance Mode, this sets the MIDI receive channel for controlling the CS1x with an external device such as a MIDI sequencer or computer. This lets you send Performance data from the CS1x in bulk to another CS1x or to the Yamaha MIDI Data Filer MDF2. This is convenient for backing up, storing, or managing your important Performance data. In Multi Play mode, the CS1x resets the internal tone generator to XG ON (001 Grand Piano) status and automatically receives the external data. NOTE To enable transmission, first connect the MIDI devices. (For details about setting up each device, see the respective owner's manuals of the external MIDI devices.) It is necessary to match the device number of the CS1x with the device number of the external MIDI device. (See the DEVICE NO parameter, above.) Bulk Dump Send 1.Select the type of data you want to send by pressing the Parameter Value UP/DOWN button. You can select from the following types: Settings: LAYER A (Layer All for a Performance) = 1~16ch, Part 5~16 = 1~16, off NOTE In Performance Mode, the receive channels can be used for a Performance and 12 Parts (Part 5~16) for Multi. However, you cannot use the Insertion effect for Parts 5~16. ■ DEVICE NO (Device Number) This sets the MIDI device number. When transmitting or receiving system exclusive messages such as bulk dump or parameter change messages with an external MIDI device, you must match the device numbers for both the CS1x and the external device. 1Perf: The Preset or User Performance data currently selected in Performance mode. all: All of the User Performance data and the System data. 2.Press the ENTER/YES button to execute the bulk dump operation. "End" will appear in the LCD when the operation is completed, and the LCD will return to the original display. Settings: 1~16, all, off *& VWX YZ' 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 ABC 3 SPACE 0 ENTER NO/ QUICK PC YES ■ LOCAL (Local On/Off) Bulk Dump Receive This lets you retrieve CS1x Performance data from an external device, loading it back into the CS1x in bulk. This determines whether the keyboard is connected to the CS1x's internal tone generator. When Local is set to OFF, the keyboard is disconnected from the tone generator. The internal tone generator will not respond to the keyboard (no sound will be produced), but it will respond to incoming MIDI data from an external device. However, the keyboard still transmits MIDI messages from the MIDI OUT jack. The data that can be received will differ depending on the mode. For details about the MIDI data format, see the "Data List" book. It is necessary to match the device number of the CS1x with the device number of the external MIDI device. (See the DEVICE NO parameter, above.) For normal play, local should be set to ON. EXTERNAL MIDI DEVICE MIDI OUT MIDI IN TONE GENERATOR MIDI IN MIDI OUT KEYBOARD LOCAL OFF Settings: on, off 42 ■ ASSIGN CTRL NO (Assign Control Change Number) Assigning the Controllers 1.Move the controller on the panel to which the Control Change Number is to be assigned. The parameters of the controller will appear in the LCD. This lets you assign Control Change Numbers to controllers such as the Modulation Wheel or Sound Control Knobs. This is mainly used to control external devices connected via MIDI. NOTE The main function of the Sound Control Knobs will not be changed. You can designate whether the Modulation Wheel or the Foot Controller is used for Scene Control (page 16). Control Change Number Name Controller Following are the Control Change Numbers and Names that can be assigned to the various controllers: Controller Modulation Wheel Sound Control Knob 1 (ATTACK) Sound Control Knob 2 (RELEASE) Sound Control Knob 3 (ASSIGN 1/DATA) Sound Control Knob 4 (CUTOFF) Sound Control Knob 5 (RESONANCE) Sound Control Knob 6 (ASSIGN 2) Footswitch connected to the FOOTSWITCH jack on the rear panel Foot Controller connected to the FOOT CONTROLLER jack on the rear panel Foot Volume pedal connected to the FOOT VOLUME jack on the rear panel LCD MW Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 FS FC FV NOTE Press the SCENE1 or SCENE 2 button to display the Scene Control parameters. 2.Press the Parameter Value UP/DOWN button to select the Control Change Number and Name. 3.Repeat steps 1 and 2 to assign the Control Change Numbers and Names to each controller. NOTE In the Scene Control settings, you can choose from Mod. Wheel (Modulation Wheel) or FootCtrl (Foot Controller). SCENE 1 or 2 buttons (only for the Scene Control) NOTE This function is convenient for controlling an external MIDI device with the CS1x. For details, see page 53. Scene ■ Tips About the Sound Control Knobs The changes made by the Sound Control Knobs can be output as the MIDI messages. The MIDI messages output via MIDI OUT can be assigned using the ASSIGN CTRL NO function shown at the left. Assignable Control Change Numbers and Names Control Change Number 1 5 6 7 10 11 16 17 18 19 38 64 65 66 67 71 72 73 74 84 91 93 94 Others Name Modulation Wheel Portament Time Data Entry MSB Main Volume Panpot Expression General purpose1 General purpose2 General purpose3 General purpose4 Data Entry LSB Hold 1(Damper/Sustain) Portament Switch Sostenute Soft Pedal Harmonic Contents Release Time Attack Time Brightness Portament Control Reverb Depth Chorus Depth Variation Depth ------- LCD Mod.Whl PortaTm DataMSB MainVol Panpot Expres. Generl1 Generl2 Generl3 Generl4 DataLSB Hold1 PortaSW Sostnut Soft Harmonic RelTime AtkTime Bright. PortaCt Reverb Chorus Vari ------- The assignments set at the factory: Sound Control Knob 1 Sound Control Knob 2 Sound Control Knob 3 Sound Control Knob 4 Sound Control Knob 5 Sound Control Knob 6 73: Attack Time 72: Release Time 17: General purpose2 74: Brightness 71: Harmonic Contents 18: General purpose3 • When the CS1x receives the data assigned to each Knob from an external MIDI device, the parameter printed on the panel for the Knob will be affected. For example, the Attack Time will be affected, when the Brightness (74) is assigned to the Knob 1 and the Attack Time (73) is assigned to the Knob 3, and then the message for the Brightness (74) are transmitted from an external device. • Both data assigned to the Knob using the ASSIGN CTRL NO function and Knob data which parameter name is printed on the panel are sent to the internal tone generator when turning the Knob. For example, both Brightness (74) and Attack Time will be affected when the Brightness (74) is assigned to the Knob 1 and the Knob 1 is turned. NOTE General Purpose: With the CS1x, General Purpose 1 is for FC, 2 for knob 3 (ASSIGN1), 3 for knob 6 (ASSIGN2) and 4 for no setting. 43 In Store mode you can store edited Performances or Scenes in the CS1x's internal memory. To enter Store Mode, you must first be in Performance Mode. 3. Press the ENTER/YES button. “Sure?” will appear in the LCD. NOTE You cannot enter Store mode from Multi Play mode or Utility mode. PERFORMANCE STORE Preset Performance 1~128 SCENE STORE User Performance 1~128 6 Knob Position STORE Scene 1/2 Scene 1 Memory *& VWX YZ' 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC SPACE 0 ENTER NO/ QUICK PC Edited Performance Store Destination YES To audition the sound, simply play the keyboard. Storing a Performance 4. Press the YES/ENTER button again to execute the storing operation. The display will return to the Performance Play mode screen after the data is stored. 1. After editing a performance, press the STORE button to enter Store mode. Press the NO button to cancel the storing operation. NOTE DEMO ERFORMANCE STORE Pressing the PERFORMANCE button exits Store mode. MULTI UTILITY 2. Select the User Performance number in which you want to store the Performance, using the numeric keypad (0~9), PROGRAM [-]/[+] buttons, or Data Entry knob. When storing a Performace, the position of each Sound Control Knob will also be stored. Therefore, when selecting the stored User Performance in Performance Play mode, the CS1x will produce the sound affected by each Sound Control Knob position at that time. (Turning the Knob will restore the sound with the current Sound Control Knob positions.) Storing a Scene If you write over an existing User Performance, the data previously stored there will be lost. To be safe, always store your important data to an external device such as the Yamaha MIDI Data Filer MDF2. If you want, you can reset the User Performances back to the original factory settings. For details, see Factory Settings, page 46. There are two "Scene" memories dedicated to each Performance. This function is used to assign a Scene, or the position of the six Sound Control Knobs, to the SCENE 1 or SCENE 2 button. This is convenient for live performances or recording sessions, since it lets you access a particular setting simply by pressing a button. NOTE To rename the Performance, select the Performance Name parameter in Performance Edit mode (see page 24). NOTE Two Scenes can be stored in each Performance. Once you have stored a Scene to the edit buffer (temporary save), to store the Scene data permanently you must perform the Performance store operation, above. (Before executing the Performance Store operation to record the Scene as a part of the performance, turn all the sound control knobs to their center positions.) Otherwise, you will lose the Scene settings if you select another Performance or enter Multi Play mode. 44 Selecting a Scene First select the Performance to which you have stored a Scene. Then press the SCENE 1 or SCENE 2 button to select the Scene. The LED by the button will light to indicate that you have activated the Scene settings. 1. Set each Sound Control Knob to your preference. AMP EG ATTACK RELEASE ASSIGN 1/DATA CUTOFF RESONANCE ASSIGN 2 Each Sound Control Knob will be disabled when a Scene is selected, and you will not be able to change the parameters using the knobs. You can use the Modulation Wheel or Foot Controller to change the parameters (Scene settings) continuously between the SCENE 1 and SCENE 2 settings in realtime. The minimum position of the controller is Scene1, and the maximum postion is Scene 2. For details about which controller is used to change between two Scenes, see page 43. FILTER 2. Hold STORE and press the SCENE 1 button to store the current Sound Control Knob settings to the SCENE 1 button memory. To store another set of Sound Control Knob settings, hold STORE and press the SCENE 2 button. 2 MW/FC SCENE 2 1 SCENE 1 SCENE 2 MW/FC DEMO PERFORMANCE MULTI 1 STORE UTILITY SCENE MODULATION The following message will appear in the LCD when the Scene is stored to the edit buffer. Changes continuously between SCENE 1 and SCENE 2 Example: Settings stored to the SCENE 1 button. 3. Store the Scene to the currently selected Performance using the Performance store operation. 45 You can reset all of the settings in the CS1x (Performance, Scene, System and MIDI settings) to the original factory (initial) settings. NOTE Executing this function will replace all of your existing data. As such, always store your important data to an external device such as the Yamaha MIDI Data Filer MDF2 beforehand. Turn the power of the CS1x off, then, while holding the 7, 8, and 9 keys on the numeric keypad, turn the power back on. *& VWX YZ' 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 ABC ON OFF 3 SPACE 0 ENTER NO/ QUICK PC YES 46 The CS1x features three independent digital effects units, Reverb, Chorus and Variation, which can be applied to the voices in a variety of ways to provide a wide range of sound processing capabilities. In Performance mode you can choose the Reverb, Chorus and Variation effect types, as well as set additional parameters for the Variation effect. In Multi Play mode, system exclusive (MIDI) data programmed in a song sequence (of an external sequencer or computer) can change the various CS1x effect parameters at specific points in the song to greatly enhance the sound and impact of the playback. ■ Type 1: Reverb 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL SYSTEM EFFECT Reverb recreates the sounds of various environments by adding room ambiance through delays or reflections. There are 11 Reverb types to choose from. (See page 49.) 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 Reverb Effect LEVEL 0 10 LEVEL Chorus Effect ■ Type 2: Chorus 0 10 LEVEL Chorus creates a variety of rich, spacious-sounding effects which are especially dramatic in stereo. There are 11 Chorus effect types, including Chorus and Flanger. (See page 49.) 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL 0 10 LEVEL ■ Type 3: Variation Insertion Effect Variation is a special section of various effects including Reverb and Chorus, plus many others not found in the other sections, such as Distortion, Wah, and Auto Pan. There are 43 Variation effect types. (See page 49.) Insertion Effect Variation Effect 1 2 14 15 16 Multi Play Mode Part 1-16 System and Insertion Effects The CS1x effects sections can be designated as either System or Insertion effects. Reverb and Chorus are always System effects, which means they can be applied to any or all Parts. The Variation effect can also be a System effect, or it can be designated as an Insertion effect, which means it can be dedicated to a specific Part. L1 L2 L3 L4 Performance Mode Layer 1-4 Can be used as either System or Insertion effect. Performance Mode The diagram below shows the signal flow of the three effects when the CS1x is in Performance mode. In this case the Variation effect is fixed as the Insertion effect. Basically, CS1x System and Insertion effects work the same way as in a sound mixer, as shown in the diagram at right. For example, System effects can be applied to musical instruments (i.e., Parts) which are connected to the various mixer channels; the amount of each System effect is determined by channel "send" and system "return" level controls. An Insertion effect can be connected ("inserted") into the signal flow of a specific channel in order to process the sound of that instrument (i.e., Layer/Part) only. The Variation Send On/Off switch ! determines which Layers the Variation effect is applied to. The Performance Layer Edit 4 menu EFFECT VARI SEND parameter turns the Variation effect ON/OFF for each Layer (see page 34). The Variation effect wet/dry balance " determines the ratio of effected (wet) signal to original (dry) signal. The resulting Variation effect signal is then sent to the Reverb effect via the Reverb send control #, and to the Chorus effect via the Chorus send control $; the Send Chorus To Reverb With the CS1x, in Performance mode the Insertion effect (Variation) can be applied to one or more of the four Layers, while in Multi Play mode it can only be applied to a single Part. signal % can be controlled by the ASSIGN 1 knob. The Performance Layer Edit 4 menu EFFECT REV SEND & and CHO SEND ' parameters determine the respective Reverb and Chorus send levels applied to each Layer (see The System and Insertion effect configurations can be controlled in detail by XG song data (signified by the XG mark) when the CS1x is in Multi Play mode. page 34). Layers which are switched off !, as well as Parts 5~16, can still have System Reverb and Chorus effects applied to them. 47 MULTI PERFORMANCE •XG effect set to Insertion •Part 3 VARI SEND set to ON Layer 1 ! on # Rev Send $ Part 1 (for each layer/part) Rev Return Level Rev Rev Layer 2 ! on Vari " & wet/dry Rev Send Knobl (Cho to Rev) Part 2 % Send Cho to Rev Out & Out ! Vari wet/dry ' Layer 3 ! on Part 3 Cho Send Cho Cho Cho Send $ Cho Return Level % (for each layer/part) off Layer 4 ! Part 16 Part 5 Rev Send Cho Send " # The diagram below shows the signal flow of the three effects when the CS1x is in Multi Play mode and the Variation effect is designated as a System effect. Part 16 NOTE Reverb and Chorus send levels for Layers with the Variation Send On/Off switch set to ON are determined by the highest numbered Layer. For example, if Layers 1, 2 and 3 are switched on, then the Reverb and Chorus send level for Layer 3 will determine the amount of effect applied to each Layer. Each of the 16 Parts has a Dry send ! level which controls the amount of original signal for each Part (page 38). Reverb send ", Chorus send #, and Variation send $ levels control the amount of effect applied to each Part, determined by the Multi Edit EFFECT REV SEND, CHO SEND and VARI SEND parameters (between 0~127), respectively (page 38). Reverb return %, Chorus return & and Variation return ' levels can also be controlled to determine the amount of each effect applied (page 38). NOTE In Performance mode effect send levels for Parts 5~16 (as well as Layers 1~4) can be controlled by an external MIDI sequencer. The Variation effect cannot be applied to Parts 5~16. The Send Chorus to Reverb ( level is sent from the Chorus effect to the Reverb effect (page 38). The Send Variation to Reverb ) and Send Multi Play Mode Variation to Chorus * levels are sent from the Variation effect to the Reverb and Chorus effects, respectively (page 38). These three parameters let you make series and parallel effect configurations which provide enormous sound enhancement flexibility. The diagram below shows the signal flow of the three effects when the CS1x is in Multi Play mode and the Variation effect is designated as an Insertion effect. NOTE In Multi Play mode the various effect settings can be controlled by MIDI system exclusive Parameter Change messages (received from an external sequencer or computer). The illustrations at right show the Reverb, Chorus and Variation send parameters which can be controlled from the CS1x panel. For details about the others, refer to each page number as listed in the following explanation. •XG effect set to System % Rev Return Level Rev ! Cho to Rev Dry Send Part 1 ( & ) Cho Return Cho Part 2 Vari to Rev Vari to Cho * ' Vari Return NOTE Vari When the CS1x is in Multi Play mode, the Variation Effect is automatically reset as an Insertion Effect. If you want to set the Variation Effect as a System Effect, you need to send a parameter change message to the CS1x from an external MIDI sequencer. Part 16 Rev Send Cho Send Vari Send " # $ Vari Send, Cho Send, Rev Send = 0~127 The Variation (Insertion) effect can be applied to any one of the 16 Parts at a time, designated by switching the Multi Edit EFFECT VARI SEND parameter to ON (page 38). The ratio of Variation effect (wet) signal to Out NOTE If you select Effect Off in the Variation Type menu, the Layers which have the VARI SEND function set to ON will not sound. When you don't want to use the Variation Effect on the Layers, set the VARI TYPE to Thru. original (dry) signal is determined by the wet/dry balance !, which in turn controls the amount of Variation effect signal applied to the Part (page 38). Although only one Part at a time can have the Variation effect applied to it, all Parts, including the Part with Variation effect, can have Reverb and Chorus applied, determined by the Reverb send " and Chorus send # level settings (between 0~127) of the Multi Edit EFFECT REV SEND and CHO SEND parameters, respectively (page 38). Reverb return $ and Chorus return % levels can also be controlled to determine the amount of each effect applied. The Send Chorus to Reverb & level from the Chorus effect to the Reverb effect can also be controlled in a series, if you assign it to the ASSIGN 1 knob (page 26); in this case, the Chorus return % level should be set to "0". 48 Effect Type List WHITE ROOM ,TUNNEL, BASEMENT No. Parameter Reverb Types Following are descriptions of the Reverb types. No. 0 1 2 3 4 5 6 7 8 9 10 11 Exclusive MSB LSB 0 0 1 0 1 1 2 0 2 1 2 2 3 0 3 1 4 0 10 0 11 0 13 0 Effect Type Description NO EFFECT HALL1 HALL2 ROOM1 ROOM2 ROOM3 STAGE1 STAGE2 PLATE WHITE ROOM TUNNEL BASEMENT Effect turned off. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb appropriate for a solo instrument. Reverb appropriate for a solo instrument. Reverb simulating a metal plate reverb unit. A unique short reverb with a bit of initial delay. Simulation of a tunnel space expanding to left and right. A bit of initial delay followed by reverb with a unique resonance. Exclusive MSB LSB 0 0 41 0 41 1 41 2 41 8 42 0 42 1 42 2 42 8 43 0 43 1 42 8 Effect Type NO EFFECT CHORUS1 CHORUS2 CHORUS3 CHORUS4 CELESTE1 CELESTE2 CELESTE3 CELESTE4 FLANGER1 FLANGER2 FLANGER3 Description Effect turned off. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Conventional chorus program that adds natural spaciousness. Chorus with stereo input. The pan setting specified for the Part will also apply to the effect sound. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. A 3-phase LFO adds modulation and spaciousness to the sound. CELESTE with stereo input. The pan setting specified for the Part will apply to the effect sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. When the effect type is set to Effect OFF while the Insertion effect is used, no sound is output. If you don't want to use the Variation effect, select Thru to pass the signal through the Variation effect without applying any effect. NO EFFECT HALL1 HALL2 ROOM1 ROOM2 ROOM3 STAGE1 STAGE2 PLATE DELAY L,C,R DELAY L,R ECHO CROSS DELAY ER1 ER2 GATE REVERB REVERSE GATE KARAOKE 1 KARAOKE 2 KARAOKE 3 CHORUS1 CHORUS2 CHORUS3 CHORUS4 CELESTE1 CELESTE2 CELESTE3 CELESTE4 FLANGER1 FLANGER2 FLANGER3 SYMPHONIC ROTARY SPEAKER 33 34 35 36 37 38 39 40 41 42 43 46 47 48 48 49 4A 4B 4C 4D 4E 40 TREMOLO AUTO PAN PHASER1 PHASER2 DISTORTION OVER DRIVE AMP SIMULATOR 3BAND EQ (MONO) 2BAND EQ (STEREO) AUTO WAH (LFO) THRU Effect Type 0 0 0 8 0 0 0 0 0 0 0 3 4 Initial Delay HPF Cutoff 0~63 Thru~8.0kHz 0-63 0-52 table#5 table#3 5 6 7 LPF Cutoff Width Heigt 1.0k~Thru 0.5~10.2m 0.5~20.2m 34-60 0-37 0-73 table#3 table#8 table#8 8 9 Depth Wall Vary 0.5~30.2m 0~30 0-104 0-30 table#8 10 11 12 Dry/Wet Rev Delay Density D63>W ~ D=W ~ D<W63 0~63 0~3 1-127 0-63 0-3 13 14 Er/ Rev Balance E63> R~ E=R ~ E<R63 1-127 15 16 Feedback Level -63~+63 1-127 Display Value 0.1~715.0ms 0.1~715.0ms 1-7150 1-7150 3 4 Cch Delay Feedback Delay 0.1~715.0ms 0.1~715.0ms 1-7150 1-7150 5 6 7 Feedback Level Cch Level High Damp -63~+63 0~127 0.1~1.0 1-127 0-127 1-10 10 11 12 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 13 14 EQ Low Frequency EQ Low Gain 50Hz~2.0kHz -12~+12dB 8-40 52-76 table#3 15 16 EQ High Frequency EQ High Gain 500Hz~16.0kHz -12~+12dB 28-58 52-76 table#3 See Table 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Description 1 2 3 4 5 6 7 8 9 10 Display Value 0.1~715.0ms 0.1~715.0ms 1-7150 1-7150 Feedback Delay 1 Feedback Delay 2 Feedback Level High Damp 0.1~715.0ms 0.1~715.0ms -63~+63 0.1~1.0 1-7150 1-7150 1-127 1-10 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain 50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz -12~+12dB 8-40 52-76 28-58 52-76 table#3 See Table Control ● table#3 Display Value Lch Delay1 Lch Feedback Level Rch Delay1 Rch Feedback Level High Damp Lch Delay2 0.1~355.0ms -63~+63 0.1~355.0ms -63~+63 0.1~1.0 0.1~355.0ms 1-3550 1-127 1-3550 1-127 1-10 1-3550 Rch Delay2 Delay2 Level 0.1~355.0ms 0~127 1-3550 0-127 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 12 13 14 15 EQ Low Frequency EQ Low Gain EQ High Frequency 50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz 8-40 52-76 28-58 16 EQ High Gain -12~+12dB 52-76 Control ● 11 table#3 table#3 CROSS DELAY No. Parameter *LSB = 0 is the basic effect type. Display Value 1 L->R Delay 0.1~355.0ms 1-3550 2 3 4 5 R->L Delay Feedback Level Input Select High Damp 0.1~355.0ms -63~+63 L,R,L&R 0.1~1.0 1-3550 1-127 0-2 1-10 See Table Control 6 7 8 9 10 Display Value See Table Dry/Wet D63>W ~ D=W ~ D<W63 1-127 1 2 Reverb Time Diffusion 0.3~30.0s 0~10 0-69 0-10 table#4 11 3 4 Initial Delay HPF Cutoff 0.1~99.3ms Thru~8.0kHz 0-63 0-52 table#5 table#3 12 13 14 15 EQ Low Frequency EQ Low Gain EQ High Frequency 50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz 8-40 52-76 28-58 16 EQ High Gain -12~+12dB 52-76 1.0kHz~Thru Control ● Lch Delay Rch Delay No. Parameter HALL1,HALL2, ROOM1,ROOM2,ROOM3 ,STAGE1,STAGE2 ,PLATE LPF Cutoff See Table ECHO Effect Parameter List 5 6 7 ● Lch Delay Rch Delay 1 2 Effect turned off. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a hall. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb simulating the resonance of a room. Reverb approproate for a solo instrument. Reverb approproate for a solo instrument. Reverb simulating a metal plate reverb unit. A program that creates three delay sounds; L, R, and C (center). A program that creates two delay sounds; L and R. Two feedback delays are provided. Two delays (L and R) and independent feedback delays for L and R. A program that crosses the feedback of two delays. An effect that produces only the early reflection component of reverb. An effect that produces only the early reflection component of reverb. A simulation of gated reverb. A program that simulates gated reverb played backwords. A delay with feedback of the same type as used for karaoke reverb. A delay with feedback of the same type as used for karaoke reverb. A delay with feedback of the same type as used for karaoke reverb. A conventional chorus program, providing natural spaciousness. A conventional chorus program, providing natural spaciousness. A conventional chorus program, providing natural spaciousness. Chorus with stereo input. A 3-phase LFO adds modulation and spaciousness to the sound. A 4-phase LFO adds modulation and spaciousness to the sound. A 5-phase LFO adds modulation and spaciousness to the sound. Chorus with stereo input. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. Adds a jet-airplane effect to the sound. A multi-phase version of CELESTE. A simulation of a rotary speaker. You can use an AC1 (assignable controller) etc. to controll the speed of rotation. An effect that cyclically modulates the volume. A program that cyclically moves the sound image to left and right, front and back. Cyclically changes the phase to add modulation to the sound. Phaser with stereo input. Adds a sharp-edged distortion to the sound. Adds mild distortion ti the sound. A simulation of a guitar amp. A mono EQ with adjustable LOW, MID, and HIGH equalizing. A stereo EQ with adjustable LOW and HIGH. Ideal for drum Parts. Cyclically modulates the center frequency of a wah filter. With an AC1 etc. this can function as a pedal wah. Bypass without applying an effect. *MSB, LSB is represented in hexadecimal. No. Parameter Control table#5 1 2 No. Parameter Following are descriptions of the Variation types. Exclusive MSB LSB 0 0 1 0 1 1 2 0 2 1 2 2 3 0 3 1 4 0 5 0 6 0 7 0 8 0 9 0 9 1 A 0 B 0 14 0 14 1 14 2 41 0 41 1 41 2 41 8 42 0 42 1 42 2 42 8 43 0 43 1 43 8 44 0 45 0 table#4 DELAY L,R NOTE 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 0-69 0-10 8 9 Variation Types No. See Table 0.3~30.0s 0~10 No. Parameter Following are descriptions of the Chorus types. 0 1 2 3 4 5 6 7 8 9 10 11 Value Reverb Time Diffusion DELAY L,C,R Chorus Types No. Display 1 2 34-60 Control table#3 Dry/Wet Rev Delay Density D63>W ~ D=W ~ D<W63 0~63 0~3 1-127 0-63 0-3 13 14 Er/ Rev Balance E63> R~ E=R ~ E<R63 1-127 15 16 Feedback Level -63~+63 1-127 table#3 table#3 NOTE The parameter depth marked with a ● can be controlled by the ASSIGN 1 Sound Control Knob or Foot Controller when properly assigned. 8 9 10 11 12 ● ● table#5 The parameter numbers at far left correspond to the parameter suffix numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data List" book. 49 EARLY REF1,EARLY REF2 No. Parameter SYMPHONIC Display Value See Table Display Value See Table S-H, L-H, Rdm, Rvs, Plt, Spr 0.1~7.0 0-5 0-44 1 2 LFO Frequency LFO Depth 0.00~39.7Hz 0~127 0-127 0-127 table#1 table#6 3 4 0-127 table#2 table#5 1 2 Type Room Size 3 4 Diffusion Initial Delay 0~10 0.1~99.3ms 0-10 0-63 5 6 7 Feedback Level HPF Cutoff LPF Cutoff -63~+63 Thru~8.0kHz 1.0k~Thru 1-127 0-52 34-60 Control No. Parameter 8 9 10 11 12 Dry/Wet Liveness Density D63>W ~ D=W ~ D<W63 0~10 0~3 1-127 0-10 0-3 13 14 High Damp 0.1~1.0 1-10 ● 8-40 52-76 table#3 500Hz~16.0kHz -12~+12dB 28-58 52-76 table#3 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 ● ROTARY SPEAKER Display Value See Table table#6 1 2 table#5 3 4 1 2 Type Room Size TypeA,TypeB 0.1~7.0 0-1 0-44 3 4 Diffusion Initial Delay 0~10 0.1~99.3ms 0-10 0-63 5 6 7 Feedback Level HPF Cutoff LPF Cutoff -63~+63 Thru~8.0kHz 1.0k~Thru 1-127 0-52 34-60 Control No. Parameter 8 9 10 11 12 Dry/Wet Liveness Density D63>W ~ D=W ~ D<W63 0~10 0~3 1-127 0-10 0-3 13 14 High Damp 0.1~1.0 1-10 ● Display Value See Table Control LFO Frequency LFO Depth 0.00~39.7Hz 0~127 0-127 0-127 table#1 ● 5 6 7 EQ Low Frequency EQ Low Gain 50Hz~2.0kHz -12~+12dB 8-40 52-76 table#3 8 9 EQ High Frequency EQ High Gain 500Hz~16.0kHz -12~+12dB 28-58 52-76 table#3 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 10 11 12 13 14 15 16 15 16 TREMOLO KARAOKE1,2,3 No. Parameter Display Value See Table Delay Time Feedback Level 0~400.0ms -63~+63 0-127 1-127 table#7 HPF Cutoff LPF Cutoff Thru~8.0kHz 1.0k~Thru 0-52 34-60 Dry/Wet D63>W ~ D=W ~ D<W63 No. Parameter Control 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ● 1-127 No. Parameter Display Value See Table Control LFO Frequency AM Depth 0.00~39.7Hz 0~127 0-127 0-127 table#1 ● PM Depth 0~127 0-127 EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain 50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz -12~+12dB 8-40 52-76 28-58 52-76 table#3 4-124 0-1 resolution=3deg. LFO Phase Difference -180~+180deg Input Mode mono/stereo table#3 AUTO PAN CHORUS1,2,3,4, CELESTE1,2,3,4 Display Value See Table 0.00~39.7Hz 0~127 -63~+63 0.0~50.0ms 0-127 0-127 1-127 0-127 table#1 1 2 3 4 5 6 7 LFO Frequency LFO PM Depth Feedback Level Delay Offset EQ Low Frequency EQ Low Gain 50Hz~2.0kHz -12~+12dB 8-40 52-76 table#3 8 9 EQ High Frequency EQ High Gain 500Hz~16.0kHz -12~+12dB 28-58 52-76 table#3 Dry/Wet D63>W ~ D=W ~ D<W63 1-127 No. Parameter Control table#2 Display Value See Table Control 1 2 3 4 5 6 LFO Frequency L/R Depth F/R Depth PAN Direction 0.00~39.7Hz 0~127 0~127 L<->R,L->R,L<-R,Lturn,Rturn,L/R 0-127 0-127 0-127 0-5 table#1 ● EQ Low Frequency 50Hz~2.0kHz 8-40 table#3 7 EQ Low Gain -12~+12dB 52-76 EQ High Frequency EQ High Gain 500Hz~16.0kHz -12~+12dB 28-58 52-76 8 9 10 11 ● table#3 12 13 14 15 16 13 14 15 16 50Hz~2.0kHz -12~+12dB EQ High Frequency EQ High Gain 15 16 No. Parameter 10 11 12 EQ Low Frequency EQ Low Gain 8 9 13 14 GATE REVERB,REVERSE GATE 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0.0~50.0ms 10 11 12 15 16 1 2 Delay Offset 5 6 7 Control Input Mode mono/stereo 0-1 FLANGER1,FLANGER2,FLANGER3 No. Parameter PHASER1, PHASER2 Display Value See Table 1 LFO Frequency 0.00~39.7Hz 0-127 table#1 2 3 4 5 LFO Depth Feedback Level Delay Offset 0~127 -63~+63 0.0~6.3ms 0-127 1-127 0-63 table#2 6 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3 7 8 9 10 EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet -12~+12dB 500Hz~16.0kHz -12~+12dB D63>W ~ D=W ~ D<W63 52-76 28-58 52-76 1-127 Control No. Parameter Display Value See Table 0.00~39.7Hz 0-127 table#1 0~127 0~127 -63~+63 0-127 0-127 1-127 EQ Low Frequency 50Hz~2.0kHz 8-40 EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet -12~+12dB 500Hz~16.0kHz -12~+12dB D63>W ~ D=W ~ D<W63 52-76 28-58 52-76 1-127 11 Stage 6~10(phaser1) / 3~5(phaser2) 3-10 12 13 14 15 Diffusion Mono/Stereo LFO Phase Difference -180~+180deg. 1 LFO Frequency 2 LFO Depth 3 Phase Shift Offset 4 Feedback Level 5 6 7 8 9 10 11 12 13 14 15 LFO Phase Difference -180~+180deg 4-124 table#3 ● resolution=3deg. 16 0-1 4-124 Control table#3 table#3 ● Phaser2 16 NOTE The parameter depth marked with a ● can be controlled by the ASSIGN 1 Sound Control Knob or Foot Controller when properly assigned. The parameter numbers at far left correspond to the parameter suffix numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data List" book. 50 Effect Data Assign Table DISTORTION,OVERDRIVE No. Parameter Display Value 1 2 Drive EQ Low Frequency 0~127 50Hz~2.0kHz 0-127 8-40 table#3 3 4 EQ Low Gain LPF Cutoff -12~+12dB 1.0k~Thru 52-76 34-60 table#3 5 6 7 Output Level 0~127 0-127 EQ Mid Frequency 500Hz~10.0kHz 28-54 8 9 EQ Mid Gain EQ Mid Width -12~+12dB 1.0~12.0 52-76 10-120 Dry/Wet Edge(Clip Curve) D63>W ~ D=W ~ D<W63 0~127 1-127 0-127 mild~sharp See Table 10 11 12 See Table Control ● Table#1 LFO Frequency Data 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 table#3 13 14 15 16 GUITAR AMP SIMULATOR No. Parameter Display Value 1 2 Drive AMP Type 0~127 Off,Stack,Combo,Tube 0-127 0-3 3 4 LPF Cutoff Output Level 1.0k~Thru 0~127 34-60 0-127 Dry/Wet Edge(Clip Curve) D63>W ~ D=W ~ D<W63 0~127 1-127 0-127 Control ● table#3 5 6 7 8 9 10 11 12 mild~sharp 13 14 Value Data 0.00 32 0.04 33 0.08 34 0.13 35 0.17 36 0.21 37 0.25 38 0.29 39 0.34 40 0.38 41 0.42 42 0.46 43 0.51 44 0.55 45 0.59 46 0.63 47 0.67 48 0.72 49 0.76 50 0.80 51 0.84 52 0.88 53 0.93 54 0.97 55 1.01 56 1.05 57 1.09 58 1.14 59 1.18 60 1.22 61 1.26 62 1.30 63 Value Data Value Data 1.35 64 2.69 96 1.39 65 2.78 97 1.43 66 2.86 98 1.47 67 2.94 99 1.51 68 3.03 100 1.56 69 3.11 101 1.60 70 3.20 102 1.64 71 3.28 103 1.68 72 3.37 104 1.72 73 3.45 105 1.77 74 3.53 106 1.81 75 3.62 107 1.85 76 3.70 108 1.89 77 3.87 109 1.94 78 4.04 110 1.98 79 4.21 111 2.02 80 4.37 112 2.06 81 4.54 113 2.10 82 4.71 114 2.15 83 4.88 115 2.19 84 5.05 116 2.23 85 5.22 117 2.27 86 5.38 118 2.31 87 5.55 119 2.36 88 5.72 120 2.40 89 6.06 121 2.44 90 6.39 122 2.48 91 6.73 123 2.52 92 7.07 124 2.57 93 7.40 125 2.61 94 7.74 126 2.65 95 8.08 127 Value 8.41 8.75 9.08 9.42 9.76 10.10 10.80 11.40 12.10 12.80 13.50 14.10 14.80 15.50 16.20 16.80 17.50 18.20 19.50 20.90 22.20 23.60 24.90 26.20 27.60 28.90 30.30 31.60 33.00 34.30 37.00 39.70 Value Data 3.2 64 3.3 65 3.4 66 3.5 67 3.6 68 3.7 69 3.8 70 3.9 71 4.0 72 4.1 73 4.2 74 4.3 75 4.4 76 4.5 77 4.6 78 4.7 79 4.8 80 4.9 81 5.0 82 5.1 83 5.2 84 5.3 85 5.4 86 5.5 87 5.6 88 5.7 89 5.8 90 5.9 91 6.0 92 6.1 93 6.2 94 6.3 95 Value 9.6 9.7 9.8 9.9 10.0 11.1 12.2 13.3 14.4 15.5 17.1 18.6 20.2 21.8 23.3 24.9 26.5 28.0 29.6 31.2 32.8 34.3 35.9 37.5 39.0 40.6 42.2 43.7 45.3 46.9 48.4 50.0 15 16 Table#2 Modulation Delay Offset MONO EQ(3-BAND) No. Parameter Display Value See Table 1 2 EQ Low Gain EQ Mid Frequency -12~+12dB 500Hz~10.0kHz 52-76 28-54 table#3 3 4 EQ Mid Gain EQ Mid Width -12~+12dB 1.0~12.0 52-76 10-120 EQ High Gain EQ Low Frequency EQ High Frequency -12~+12dB 50Hz~2.0kHz 500Hz~16.0kHz 52-76 8-40 28-58 5 6 7 8 9 10 11 12 13 14 15 16 Data 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Control table#3 table#3 STEREO EQ(2-BAND) No. Parameter 1 2 3 4 5 6 EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Display Value See Table 50Hz~2.0kHz -12~+12dB 500Hz~16.0kHz -12~+12dB 8-40 52-76 28-58 52-76 table#3 Control table#3 7 8 9 10 11 Value Data 0.0 32 0.1 33 0.2 34 0.3 35 0.4 36 0.5 37 0.6 38 0.7 39 0.8 40 0.9 41 1.0 42 1.1 43 1.2 44 1.3 45 1.4 46 1.5 47 1.6 48 1.7 49 1.8 50 1.9 51 2.0 52 2.1 53 2.2 54 2.3 55 2.4 56 2.5 57 2.6 58 2.7 59 2.8 60 2.9 61 3.0 62 3.1 63 Value Data 6.4 96 6.5 97 6.6 98 6.7 99 6.8 100 6.9 101 7.0 102 7.1 103 7.2 104 7.3 105 7.4 106 7.5 107 7.6 108 7.7 109 7.8 110 7.9 111 8.0 112 8.1 113 8.2 114 8.3 115 8.4 116 8.5 117 8.6 118 8.7 119 8.8 120 8.9 121 9.0 122 9.1 123 9.2 124 9.3 125 9.4 126 9.5 127 12 13 14 15 16 Table#3 EQ Frequency Data 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 AUTO WAH No. Parameter Display Value See Table 1 LFO Frequency 0.00~39.7Hz 0-127 table#1 2 LFO Depth 0~127 0-127 3 4 5 6 Cutoff Frequency Offset 50Hz~14.0kHz Resonance 1.0~12.0 EQ Low Frequency 50Hz~2.0kHz 8-40 table#3 7 8 EQ Low Gain EQ High Frequency -12~+12dB 500Hz~16.0kHz 52-76 28-58 table#3 EQ High Gain Dry/Wet -12~+12dB D63>W ~ D=W ~ D<W63 52-76 1-127 9 10 11 0-127 10-120 table#9 Control ● 12 13 14 15 16 NOTE The parameter depth marked with a ● can be controlled by the ASSIGN 1 Sound Control Knob or Foot Controller when properly assigned. The parameter numbers at far left correspond to the parameter suffix numbers in MIDI Data Table <1-4> (MIDI Data Format) in the "Data List" book. 51 Value THRU(20) 22 25 28 32 36 40 45 50 56 63 70 80 90 100 110 125 140 160 180 200 225 250 280 315 355 400 450 500 560 630 700 Data Value 32 800 33 900 34 1.0k 35 1.1k 36 1.2k 37 1.4k 38 1.6k 39 1.8k 40 2.0k 41 2.2k 42 2.5k 43 2.8k 44 3.2k 45 3.6k 46 4.0k 47 4.5k 48 5.0k 49 5.6k 50 6.3k 51 7.0k 52 8.0k 53 9.0k 54 10.0k 55 11.0k 56 12.0k 57 14.0k 58 16.0k 59 18.0k 60 THRU(20.0k) Table#4 Reverb time Table#7 Delay Time(400.0ms) Data Value Data Value Data Value 0 0.3 32 3.5 64 17.0 1 0.4 33 3.6 65 18.0 2 0.5 34 3.7 66 19.0 3 0.6 35 3.8 67 20.0 4 0.7 36 3.9 68 25.0 5 0.8 37 4.0 69 30.0 6 0.9 38 4.1 7 1.0 39 4.2 8 1.1 40 4.3 9 1.2 41 4.4 10 1.3 42 4.5 11 1.4 43 4.6 12 1.5 44 4.7 13 1.6 45 4.8 14 1.7 46 4.9 15 1.8 47 5.0 16 1.9 48 5.5 17 2.0 49 6.0 18 2.1 50 6.5 19 2.2 51 7.0 20 2.3 52 7.5 21 2.4 53 8.0 22 2.5 54 8.5 23 2.6 55 9.0 24 2.7 56 9.5 25 2.8 57 10.0 26 2.9 58 11.0 27 3.0 59 12.0 28 3.1 60 13.0 29 3.2 61 14.0 30 3.3 62 15.0 31 3.4 63 16.0 Data Value Data 0 0.1 32 1 3.2 33 2 6.4 34 3 9.5 35 4 12.7 36 5 15.8 37 6 19.0 38 7 22.1 39 8 25.3 40 9 28.4 41 10 31.6 42 11 34.7 43 12 37.9 44 13 41.0 45 14 44.2 46 15 47.3 47 16 50.5 48 17 53.6 49 18 56.8 50 19 59.9 51 20 63.1 52 21 66.2 53 22 69.4 54 23 72.5 55 24 75.7 56 25 78.8 57 26 82.0 58 27 85.1 59 28 88.3 60 29 91.4 61 30 94.6 62 31 97.7 63 Table#5 Delay Time(200.0ms) Data Value Data Value Data 0 0.1 32 50.5 64 1 1.7 33 52.0 65 2 3.2 34 53.6 66 3 4.8 35 55.2 67 4 6.4 36 56.8 68 5 8.0 37 58.3 69 6 9.5 38 59.9 70 7 11.1 39 61.5 71 8 12.7 40 63.1 72 9 14.3 41 64.6 73 10 15.8 42 66.2 74 11 17.4 43 67.8 75 12 19.0 44 69.4 76 13 20.6 45 70.9 77 14 22.1 46 72.5 78 15 23.7 47 74.1 79 16 25.3 48 75.7 80 17 26.9 49 77.2 81 18 28.4 50 78.8 82 19 30.0 51 80.4 83 20 31.6 52 81.9 84 21 33.2 53 83.5 85 22 34.7 54 85.1 86 23 36.3 55 86.7 87 24 37.9 56 88.2 88 25 39.5 57 89.8 89 26 41.0 58 91.4 90 27 42.6 59 93.0 91 28 44.2 60 94.5 92 29 45.7 61 96.1 93 30 47.3 62 97.7 94 31 48.9 63 99.3 95 Value Data 100.9 64 104.0 65 107.2 66 110.3 67 113.5 68 116.6 69 119.8 70 122.9 71 126.1 72 129.2 73 132.4 74 135.5 75 138.6 76 141.8 77 144.9 78 148.1 79 151.2 80 154.4 81 157.5 82 160.7 83 163.8 84 167.0 85 170.1 86 173.3 87 176.4 88 179.6 89 182.7 90 185.9 91 189.0 92 192.2 93 195.3 94 198.5 95 Value Data 201.6 96 204.8 97 207.9 98 211.1 99 214.2 100 217.4 101 220.5 102 223.7 103 226.8 104 230.0 105 233.1 106 236.3 107 239.4 108 242.6 109 245.7 110 248.9 111 252.0 112 255.2 113 258.3 114 261.5 115 264.6 116 267.7 117 270.9 118 274.0 119 277.2 120 280.3 121 283.5 122 286.6 123 289.8 124 292.9 125 296.1 126 299.2 127 Value 302.4 305.5 308.7 311.8 315.0 318.1 321.3 324.4 327.6 330.7 333.9 337.0 340.2 343.3 346.5 349.6 352.8 355.9 359.1 362.2 365.4 368.5 371.7 374.8 378.0 381.1 384.3 387.4 390.6 393.7 396.9 400.0 Table#8 Reverb Width;Depth;Height Value Data 100.8 96 102.4 97 104.0 98 105.6 99 107.1 100 108.7 101 110.3 102 111.9 103 113.4 104 115.0 105 116.6 106 118.2 107 119.7 108 121.3 109 122.9 110 124.4 111 126.0 112 127.6 113 129.2 114 130.7 115 132.3 116 133.9 117 135.5 118 137.0 119 138.6 120 140.2 121 141.8 122 143.3 123 144.9 124 146.5 125 148.1 126 149.6 127 Value 151.2 152.8 154.4 155.9 157.5 159.1 160.6 162.2 163.8 165.4 166.9 168.5 170.1 171.7 173.2 174.8 176.4 178.0 179.5 181.1 182.7 184.3 185.8 187.4 189.0 190.6 192.1 193.7 195.3 196.9 198.4 200.0 Data Value Data Value Data Value Data Value 0 0.5 32 8.8 64 17.6 96 27.5 1 0.8 33 9.1 65 17.9 97 27.8 2 1.0 34 9.4 66 18.2 98 28.1 3 1.3 35 9.6 67 18.5 99 28.5 4 1.5 36 9.9 68 18.8 100 28.8 5 1.8 37 10.2 69 19.1 101 29.2 6 2.0 38 10.4 70 19.4 102 29.5 7 2.3 39 10.7 71 19.7 103 29.9 8 2.6 40 11.0 72 20.0 104 30.2 9 2.8 41 11.2 73 20.2 10 3.1 42 11.5 74 20.5 11 3.3 43 11.8 75 20.8 12 3.6 44 12.1 76 21.1 13 3.9 45 12.3 77 21.4 14 4.1 46 12.6 78 21.7 15 4.4 47 12.9 79 22.0 16 4.6 48 13.1 80 22.4 17 4.9 49 13.4 81 22.7 18 5.2 50 13.7 82 23.0 19 5.4 51 14.0 83 23.3 20 5.7 52 14.2 84 23.6 21 5.9 53 14.5 85 23.9 22 6.2 54 14.8 86 24.2 23 6.5 55 15.1 87 24.5 24 6.7 56 15.4 88 24.9 25 7.0 57 15.6 89 25.2 26 7.2 58 15.9 90 25.5 27 7.5 59 16.2 91 25.8 28 7.8 60 16.5 92 26.1 29 8.0 61 16.8 93 26.5 30 8.3 62 17.1 94 26.8 31 8.6 63 17.3 95 27.1 Table#6 Room Size Table#9 Cutoff Frequency Offset Data Value Data Value 0 0.1 32 5.1 1 0.3 33 5.3 2 0.4 34 5.4 3 0.6 35 5.6 4 0.7 36 5.7 5 0.9 37 5.9 6 1.0 38 6.1 7 1.2 39 6.2 8 1.4 40 6.4 9 1.5 41 6.5 10 1.7 42 6.7 11 1.8 43 6.8 12 2.0 44 7.0 13 2.1 14 2.3 15 2.5 16 2.6 17 2.8 18 2.9 19 3.1 20 3.2 21 3.4 22 3.5 23 3.7 24 3.9 25 4.0 26 4.2 27 4.3 28 4.5 29 4.6 30 4.8 31 5.0 Data Value Data 0 50 32 1 55 33 2 60 34 3 66 35 4 72 36 5 80 37 6 86 38 7 94 39 8 100 40 9 110 41 10 120 42 11 130 43 12 140 44 13 150 45 14 162 46 15 174 47 16 186 48 17 200 49 18 215 50 19 230 51 20 245 52 21 260 53 22 280 54 23 300 55 24 315 56 25 335 57 26 355 58 27 380 59 28 400 60 29 425 61 30 450 62 31 475 63 52 Value Data 500 64 530 65 560 66 590 67 620 68 650 69 680 70 720 71 760 72 800 73 840 74 880 75 920 76 960 77 1.00k 78 1.05k 79 1.10k 80 1.15k 81 1.20k 82 1.26k 83 1.32k 84 1.38k 85 1.43k 86 1.50k 87 1.56k 88 1.62k 89 1.69k 90 1.76k 91 1.83k 92 1.90k 93 1.98k 94 2.06k 95 Value Data 2.14k 96 2.22k 97 2.31k 98 2.40k 99 2.49k 100 2.58k 101 2.67k 102 2.77k 103 2.87k 104 2.97k 105 3.08k 106 3.19k 107 3.30k 108 3.41k 109 3.53k 110 3.65k 111 3.77k 112 3.90k 113 4.03k 114 4.16k 115 4.29k 116 4.43k 117 4.57k 118 4.72k 119 4.87k 120 5.02k 121 5.18k 122 5.34k 123 5.50k 124 5.67k 125 5.84k 126 6.02k 127 Value 6.20k 6.38k 6.56k 6.75k 6.95k 7.15k 7.35k 7.56k 7.78k 8.00k 8.22k 8.44k 8.67k 8.90k 9.14k 9.38k 9.63k 9.90k 10.2k 10.4k 10.7k 10.9k 11.2k 11.5k 11.8k 12.1k 12.4k 12.7k 13.0k 13.3k 13.7k 14.0k MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. The CS1x can control a MIDI device by transmitting note related data and various types of controller data. The CS1x can be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts. MIDI Messages Transmitted/Received by the CS1x 1.2.2 Modulation (Control #001) Messages which control vibrato depth using the Modulation Wheel. MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which the CS1x can receive/transmit. Setting the value to 127 produces maximum vibrato and 0 results in vibrato off. 1.2.3 1. CHANNEL MESSAGES Portamento Time (Control #005) Messages which control the duration of portamento, or a continuous pitch glide between successively played notes. Channel messages are the data related to the performance on the keyboard for the specific channel. When the parameter 1.2.10 Portamento Switch is set to on, the value set here can adjust the speed of pitch change. 1.1 Note On/Note Off (Key On/Key Off) Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time. Messages which are generated when the keyboard is played. Reception note range = C-2 (0) - G8 (127), C3 = 60 1.2.4 Velocity range = 1 - 127 (Only the Note On velocity is received) Note On: Generated when a key is pressed. Data Entry MSB (Control #006) Data Entry LSB (Control #038) Messages which set the value for the parameter specified by 1.2.23RPN MSB/LSB and 1.2.22 NRPN MSB/LSB. Note Off: Generated when a key is released. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck. Parameter value is determined by combining MSB and LSB. 1.2.5 Main Volume (Control #007) Messages which control the volume of each Part. 1.2 Control Change Setting the value to 127 produces maximum volume and 0 results in volume off. Control Change messages let you select a voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific Control Change numbers which correspond to each of the various parameters. 1.2.1 The messages 007 (Main Volume) or 011 (Expression) will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel if an appropriate setting is selected in the Assign Control Number section in Utility mode. Bank Select MSB (Control #000) Bank Select LSB (Control #032) 1.2.6 Pan (Control #010) Messages which select variation voice bank numbers by combining and sending the MSB and LSB from an external device. Messages which control the stereo panning position of each Part (for stereo output). MSB and LSB functions differently depending on the tone generator mode. Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. In XG mode, MSB numbers select voice type (Normal Voice or Drum Voice), and LSB numbers select voice banks. 1.2.7 In TG300B mode, LSB is fixed, and MSB numbers select voice banks. Expression (Control #011) Messages which control intonation expression of each Part during performance. (For more information about Banks and Programs, see Voice List in the "Data List" book.) Setting the value to 127 produces maximum volume and 0 results in volume off. A new bank selection will not become effective until the next Program Change message is received. The messeges 007 (Main Volume) or 011 (Expression) will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel if an appropriate setting is selected in the Assign Control Number section in Utility mode. 53 1.2.8 General Purpose 1, 2, 3, 4 (Control #016, 017, 018, 019) 1.2.17 Portamento Control (Control #084) Messages which apply a portamento between the currentlysounding note and the subsequent note. Control #016 are messages which are transmitted by operating the connected Foot Controller, used to control specific parameter such as voice parameters and Variation effect parameters. Control #017 and Control #018 are messages which are transmitted by operating the ASSIGN1 and ASSIGN2 knobs, respectively. Control #019 is undefined. 1.2.9 Portamento Control is transmitted specifying the note-on key of the currently-sounding note. Specify a Portamento Source Key number between 0 - 127. When a Portamento Control message is received, the currently sounding pitch will change with a Portamento Time of 0 to the next note-on key on the same channel. Hold1 (Control #064) Messages which control sustain on/off. For example, the following settings would apply a portamento from note C3 to C4. Setting the value between 64 - 127 turns the sustain on, between 0 63 turns the sustain off. 90H 3CH 7FH B0H 54H 3CH 90H 48H 7FH 1.2.10 Portamento Switch (Control #065) Messages which control portamento on/off. Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off. C3 Note on Source key number set to C3 C4 Note on (When C4 is on, C3 is raised by a portamento to C4.) 1.2.18 Effect1 Depth (Reverb Send Level) (Control #091) Messages which adjust the send level for the Reverb effect. 1.2.11 Sostenuto (Control #066) Messages which control sostenuto on/off. 1.2.19 Effect3 Depth (Chorus Send Level) (Control #093) Holding specific notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Messages which adjust the send level for the Chorus effect. 1.2.20 Effect4 Depth (Variation Effect Send Level) (Control #094) Setting the value between 64 -127 turns the sostenuto on, between 0 - 63 turns the sostenuto off. Messages which adjust the send level for the Variation effect. If Variation effect uses System effect, this message sets the send level for the Variation effect. If it uses Insertion effect, this setting is invalid. 1.2.12 Soft Pedal (Control #067) Messages which control soft pedal on/off. Notes played while holding the soft pedal will be dampened. Setting the value between 64 -127 turns the soft pedal on, between 0 - 63 turns the soft pedal off. 1.2.21 Data Increment (Control #096) Decrement (Control #097) for RPN 1.2.13 Harmonic Content (Control #071) Messages which increase or decrease the MSB value of pitch bend sensitivity, fine tune, or coarse tune in steps of 1. You are required to assign one of those parameters using the RPN in the external device in advance. Messages which adjust the filter resonance set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. The data byte is ignored. When the maximum value or minimum value is reached, the value will not be incremented or decremented further. Higher values will result in a more characteristic, resonant sound. Depending on the voice, the effective range may be narrower than the range available for adjustment. (Incrementing the fine tune will not cause the coarse tune to be incremented.) 1.2.14 Release Time (Control #072) 1.2.22 NRPN (Non-Registered Parameter Number)LSB (Control #098) Messages which adjust the EG release time set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. NRPN (Non-Registered Parameter Number)MSB (Control #099) Messages which adjust a voice's vibrato, filter, EG, drum setup or other parameter settings. 1.2.15 Attack Time (Control #073) Messages which adjust the EG attack time set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use 1.2.4 Data Entry to set the value of the specified parameter. 1.2.16 Brightness (Control #074) Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPN's value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. Messages which adjust the filter cutoff frequency set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. The following NRPN numbers can be received. Lower values will result in a softer sound. Depending on the voice, the effective range may be narrower than the range available for adjustment. 54 NRPN MSB 01 01 01 01 01 01 01 01 14 15 16 17 18 19 1A 1C 1D 1E 1F NRPN LSB 08 09 0A 20 21 63 64 66 rr rr rr rr rr rr rr rr rr rr rr 1.2.24.2 Reset All Controllers (Control #121) PARAMETER Vibrato Rate Vibrato Depth Vibrato Delay Filter Cutoff Frequency Filter Resonance EG Attack Time EG Decay Time EG Release Time Drum Filter Cutoff Frequency Drum Filter Resonance Drum EG Attack Rate Drum EG Decay Rate Drum Pitch Coarse Drum Pitch Fine Drum Level Drum Pan Drum Reverb Send Level Drum Chorus Send Level Drum Variation Send Level The values of the following controllers will be reset to the defaults. CONTROLLER Pitch Bend Change Aftertouch Modulation Foot Controller Expression Hold1 Portamento Sostenuto Soft Pedal Portamento Control RPN NRPN VALUE 0 (center) 0 (off) 0 (off) 0 (min) 127 (max) 0 (off) 0 (off)* 0 (off) 0 (off) Cancels the Portamento source key number Number not specified; internal data will not change Number not specified; internal data will not change * In Performance mode, 1 (on). *rr = Note number for each drum voice instrument. 1.2.24.3 All Notes Off (Control #123) Clears all notes currently on for the specified channel. However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off. 1.2.23 RPN (Registered Parameter Number)LSB (Control #100) RPN (Registered Parameter Number)MSB (Control #101) 1.2.24.4 Mono (Control #126) Performs the same function as when an All Sounds Off message is received, and if the 3rd byte (mono number) is in the range of 0 - 16, sets the corresponding channel to Mono Mode (Mode 4 : m = 1). Messages which offset, or add or subtract values from a Part's pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use 1.2.21 Data Increment/Decrement to set the value of the specified parameter. 1.2.24.5 Poly (Control #127) Performs the same function as when an All Sounds Off message is received, and sets the corresponding channel to Poly Mode (Mode 3). Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN's value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. 1.3 Program Change Messages which determine which voice to select for each Part. The following RPN numbers can be received. RPN MSB 00 00 00 7F RPN LSB 00 01 02 7F With a combination of Bank Select, you can select not only basic voice numbers, but also variation voice bank numbers. PARAMETER Pitch Bend Sensitivity Fine Tune Coarse Tune Null 1.4 Channel Aftertouch Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. 1.5 Polyphonic Key Pressure 1.2.24 Channel Mode Messages Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key. The following Channel Mode Messages can be received. 2nd BYTE 120 121 123 126 127 3rd BYTE 0 0 0 0 ~ 16 0 MESSAGE All Sounds Off Reset All Controllers All Notes Off Mono Poly 1.6 Pitch Bend Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration. 1.2.24.1 All Sounds Off (Control #120) Clears all sounds currently sounding on the specified channel. However, the status of channel messages such as Note On and Hold On is maintained. 55 2. SYSTEM MESSAGES System messages are the data related to the overall system of the device. 2.1 System Exclusive Messages System Exclusive messages control various functions of the CS1x, including master volume and master tuning, tone generator mode, effect type and various other parameters. 2.1.1 General MIDI Mode On When General MIDI mode on is received, the tone generator mode will be changed to XG mode. When this happens, the CS1x will receive the MIDI messages which are compatible with GM System Level 1, and consequently will not receive NRPN and Bank Select messages. Since approximately 50ms is required to execute this message, be sure to leave an appropriate interval before the subsequent message. F0 7E 7F 09 01 F7 (Hexadecimal) 2.1.2 Master Volume When received, the Volume MSB will be effective for the System Parameter. F0 7F 7F 04 01 ll mm F7 (Hexadecimal) * mm(MSB) = appropriate volume value, ll(LSB) = ignored 2.1.3 XG System On When this data is received, the CS1x will switch to XG mode and all the parameters will be initialized accordingly, and XG-compatible messages such as NRPN and Bank Select messages can be received. Since approximately 50ms is required to execute this message, be sure to leave an appropriate interval before the subsequent message. F0 43 1n 4C 00 00 7E 00 F7 (Hexadecimal) *n = device number TG300B Reset F0 41 1n 42 12 40 00 7F 00 41 F7 (Hexadecimal) *n = device number 2.2 Active Sensing (Receive only) Once FE (Active Sensing) has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300msec, the CS1x will perform the same function as when All Sounds Off, All Notes Off, and Reset All Controllers messages are received, and will then return to a status in which FE is not monitored. Refer to the MIDI Data Format in the "Data List" book for more information on the various messages. 56 KEYBOARD 61 keys with Initial Touch TONE GENERATOR AWM2 (Wave ROM 4.5MB) POLYPHONY 32 notes MULTI TIMBRE 16 (DVA) PERFORMANCE 128 Presets, 128 Users VOICE Normal Voice XG 480 TG300B 579 Voices For Performances Drum Voice XG TG300B 11 10 ARPEGGIATOR 30 EFFECT Reverb 11 Chorus Variation 11 43 CONTROLS POWER, VOLUME, PITCH, MODULATION, Sound Control Knobs 6, SCENE 1/2, Numeric Keypad, ENTER, Mode Select (PERFORMANCE, MULTI, STORE, UTILITY), ARPEGGIATOR, SHIFT/OCTAVE, PART/LAYER +/-, PRESET, USER, PROGRAM +/-, Edit Parameter Rotary Switch, Parameter Value Up/Down buttons 10 DISPLAY LCD (Back Lit) TERMINALS PHONES(Stereo Phone), OUTPUT(Phone): L[MONO]/R, DC IN, FOOT VOLUME, FOOT CONTROLLER, FOOTSWITCH, INPUT, TO HOST, HOST SELECT, MIDI IN/OUT/THRU POWER SUPPLY AC adaptor PA-3B OUTPUT IMPEDANCE Line: 10kΩ, Phones: 33Ω DIMENSIONS 976(W) ˛ 285(D) ˛ 103(H)mm (38 3/8" ˛ 11 1/4" ˛ 4 1/16") WEIGHT 5.7kg (12 lbs., 9 oz.) ACCESSORIES Yamaha AC Adaptor PA-3B Owner's Manual, Data List Specifications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. 57 The following table provides troubleshooting hints and page references for some common problems. Most problems may be simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem. No sound. ● Is the volume set appropriately? (Page 6) ● When the Foot Controller is connected to the FOOT VOLUME jack, is the Foot Volume pressed down? (Page 8) ● Are the volume settings for each Layer/Part appropriate? (Page 33, 37) ● Are the effect settings appropriate? (Page 24, 49) ● Is the Bank set to off? (Page 33, 37) ● Is the receive channel set to off? (Page 42) ● Is the audio equipment connected appropriately? (Page 9) ● Is Local set to off? (Page 42) ● If you are playing back song data using an external device, are the volume related settings for the song appropriate? ● Are the Note Limit settings and/or Velocity Limit settings appropriate? (Page 27, 28) No Arpeggiator sound. ● Are the settings for the Velocity Limit appropriate? Set Velocity Limit Low to "0" and Velocity Limit Hi to "127". (Page 28) Distorted sounds. ● Are the effect settings appropriate? (Page 23, 34, 38) ● Is the volume level set too loud? Small sounds. ● Is the MIDI volume or MIDI expression set too low? Wrong pitch. ● Are the tuning-related parameters set to "0"? Check the Note Shift setting (page 27), Detune setting (page 27), Master Tuning (page 40) and Keyboard Transpose setting (page 40). Sound is choppy and interrupted. ● The maximum polyphony of 32 notes (the number of notes that can be played simultaneously) has been exceeded. (Page 35, 39) Sound Control Knobs do not work. ● Is a Scene key turned on? (Page 16) Only one note sounds at a time. ● Is the play mode set to MONO? (Page 35, 39) Cannot enter Store mode. ● Is Performance mode selected? (Page 44) 58 The following messages may appear during operation, indicating problems or incorrect operation. Follow the instructions in the explanations below to remedy the problem. Battery Low The memory-backup battery is low; memory cannot be backed up. Store the necessary data to a MIDI data storage device such as Yamaha MIDI Data Filer MDF2, and have the battery changed by your local Yamaha dealer or any other authorized Yamaha service personnel. Device No.=off Error Cannot send MIDI bulk data since the Device Number is set to off. Device Number Error Cannot receive MIDI bulk data, due to improper Device Number setting. Match the device numbers for both the CS1x and the external device. TG-B Mode Error When TG300B mode is accidentally selected by receiving a TG300B reset message from an external device, you cannot perform edit operations. Press PERFORMANCE or MULTI button to exit the TG300B mode. Receiving Displays when the CS1x receives the bulk data with the compatible format. Continue normal operation. Rx Mode Error Displays when receiving Performance bulk data in Multi Play mode or XG effect bulk in Performance mode. 59 [–]/NO/QUICK PC button ......................................................................................... 7 Multi ......................................................................................................................... 17 Multi Part Edit ......................................................................................................... 36 Multi Play Mode ............................................................................................... 17, 36 Multi Structure ........................................................................................................ 17 MW (Modulation Wheel) ....................................................................................... 25 A About MIDI ............................................................................................................. 53 AEG (Ampitude Envelope Generator) .................................................................. 30 ARPEGGIATOR ................................................................................................... 11, 22 ARPEGGIATOR button ............................................................................................... 6 ASSIGN 1 PARAM (Parameter) .............................................................................. 26 ASSIGN 2 ................................................................................................................ 29 ASSIGN CTRL NO (Assign Control Change Number) .......................................... 43 N NOTE ........................................................................................................................ 27 Normal Voices ........................................................................................................ 37 Numeric Keypad ...................................................................................................... 7 B O BANK ................................................................................................................ 33, 37 BULK DUMP (Performance Bulk Dump) .............................................................. 42 OUTPUT jacks ........................................................................................................... 8 P C Edit Parameter Rotary Switch .................................................................................. 7 EFFECT ........................................................................................................ 23, 34, 38 Effect Data Assign Table ........................................................................................ 51 Effect Parameter List ............................................................................................. 49 Effect Type List ........................................................................................................ 49 Effects (System and Insertion) ................................................................................ 47 ENTER/YES button ..................................................................................................... 7 Error Messages ..................................................................................................... 59 P BEND RANGE (Pitch Bend Range) ..................................................................... 25 PAN ................................................................................................................... 34, 38 Parameter Value UP/DOWN Buttons ..................................................................... 7 PART/LAYER button ................................................................................................... 7 PEG (Pitch Envelope Generator) ........................................................................... 32 PERFORM LEVEL ..................................................................................................... 23 PERFORM NAME .................................................................................................... 24 Performance Edit mode ........................................................................................ 21 Performance Mode ......................................................................................... 14, 20 Performance Play mode ...................................................................................... 20 Performance Structure ........................................................................................... 16 PHONES jack ............................................................................................................. 8 PITCH wheel ............................................................................................................. 7 POLY/MONO .................................................................................................... 35, 39 PORTA (Portamento) .............................................................................................. 26 POWER switch ........................................................................................................... 8 PRESET button ........................................................................................................... 7 PROGRAM ........................................................................................................ 33, 37 PROGRAM [–]/[+] button .......................................................................................... 7 F Q Factory Settings ..................................................................................................... 46 FC (Foot Control) ..................................................................................................... 26 FEG (Filter Envelope Generator) ............................................................................. 31 FILTER ................................................................................................................ 34, 38 FOOT CONTROLLER jack ........................................................................................... 8 FOOT VOLUME jack .................................................................................................. 8 FOOTSWITCH jack ..................................................................................................... 8 Quick Program Change ........................................................................................ 21 Common Edit 1 ...................................................................................................... 22 Common Edit 2 ...................................................................................................... 25 D DC IN jack ................................................................................................................. 8 Demo Song .............................................................................................................. 11 DEVICE NO (Device Number) ................................................................................ 42 Drum Voices ........................................................................................................... 37 E R RCV CH (Receive Channel) ................................................................................... 42 S SCENE 1 & 2 buttons ................................................................................................. 6 Scenes .............................................................................................................. 16, 45 SHIFT button .............................................................................................................. 7 SOUND CONTROL KNOBS ....................................................................................... 6 Store Mode ............................................................................................................ 44 SYSTEM ................................................................................................................... 40 H HOST SELECT switch ................................................................................................. 8 I INPUT jack ................................................................................................................. 8 T K TG300B Mode ........................................................................................................ 37 TO HOST terminal ..................................................................................................... 8 TRANS CH (Transmit Channel) ............................................................................... 41 TUNE ........................................................................................................................ 27 KBD TRANS (Keyboard Transpose) ...................................................................... 40 L Layer Edit 1 .............................................................................................................. 27 Layer Edit 2 ............................................................................................................. 30 Layer Edit 3 .............................................................................................................. 31 Layer Edit 4 ............................................................................................................. 33 Layers ...................................................................................................................... 16 LCD ............................................................................................................................ 7 LFO (Low Frequency Oscillator) ............................................................................. 30 LOCAL (Local On/Off) ............................................................................................. 42 U USER button .............................................................................................................. 7 Utility Mode ............................................................................................................ 40 V VEL (Velocity) ........................................................................................................... 28 VEL CURVE (Velocity Curve) .................................................................................... 41 VEL FIX (Velocity Fix) ................................................................................................ 41 VOLUME ........................................................................................................... 33, 37 VOLUME knob .......................................................................................................... 6 M MASTER TUNE ........................................................................................................ 40 MIDI ......................................................................................................................... 41 MIDI terminals .......................................................................................................... 8 Mode Select Switches .............................................................................................. 7 MODULATION wheel ................................................................................................ 7 X XG Operation ......................................................................................................... 17 60 120.q 97.6.3 2:52 PMy[W 1 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 MIDDLE & SOUTH AMERICA Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ITALY ASIA Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras, Portugal Tel: 01-443-3398/4030/1823 GREECE MEXICO Yamaha De Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRASIL Yamaha Musical Do Brasil LTDA. Ave. Reboucas 2636, São Paulo, Brasil Tel: 011-853-1377 Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN Yamaha De Panama S.A. Edificio Interseco, Calle Elvira Mendez no.10, Piso 3, Oficina #105, Ciudad de Panama, Panama Tel: 507-69-5311 OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp. 6101 Blue Lagoon Drive, Miami, Florida 33126, U.S.A. Tel: 305-261-4111 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 0222-60203900 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61-4000 PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Cosmos Corporation #131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5 MALAYSIA Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 SINGAPORE FINLAND Warner Music Finland OY/Fazer Music Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011 NORWAY Narud Yamaha AS Grini Næringspark 17 N-1345 Østerås, Norway Tel: 67 14 47 90 Yamaha Music Asia Pte., Ltd. Blk 17A Toa Payoh #01-190 Lorong 7 Singapore 1231 Tel: 354-0133 TAIWAN Kung Hsue She Trading Co., Ltd. No. 322, Section 1, Fu Hsing S. Road, Taipei 106, Taiwan. R.O.C. Tel: 02-709-1266 THAILAND Siam Music Yamaha Co., Ltd. 865 Phornprapha Building, Rama I Road, Patumwan, Bangkok 10330, Thailand Tel: 2-215-3443 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 OCEANIA AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 AUSTRALIA Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN OTHER COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 HEAD OFFICE SY11 INDONESIA PHILIPPINES THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 730-1098 Yamaha Music Malaysia, Sdn., Bhd. 16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Malaysia Tel: 3-717-8977 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK PANAMA HONG KONG Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2445 SPECIAL MESSAGE SECTION (USA) This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician. This Product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This Product may also use "household" type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix old batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer's warranty, and are therefore the owners responsibility. Please study this manual carefully and consult Disposal Notice: Should this Product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, Please contact Yamaha directly. Note: Check with any retailer of household type batteries in your area for battery disposal information. NAME PLATE LOCATION: The name Plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. your dealer before requesting service. Model Serial No. Purchase Date PLEASE KEEP THIS MANUAL 92-BP FCC INFORMATION (U.S.A) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the user's manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit "OFF" and "ON", please try to eliminate the problem by using one of the following measures : Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the your local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejiatig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennttu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. NEDERLAND NETHERLAND ● Dit apparaat bevat een lithium batterij voor geheugen back-up. ● This apparatus contains a lithium battery for memory back-up. ● Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 ● For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 ● Gooi de batterij niet weg, maar lever hem in als KCA. ● Do not throw away the battery. Instead, hand it in as small chemical waste.