Radio Shack Electronic Keyboard 42 4058 User Guide

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42-4058

OWNER’S MANUAL — Please read before using this equipment.

Mixer Function — lets you make the

keyboard sound multiple tones for auto

accompaniment or memory playback, or to

play MIDI data received from another MIDI

device (see “Using the Mixer” on Page 12).

32-Note Polyphonic Sound — lets you play

and hear up to 32 notes at the same time, so you

can play or create almost any type of music.

248 Tones — uses technology usually found only on

professional equipment to allow you to set your

keyboard to sound like anything from a harpsichord to a

honky-tonk piano. 100 of these tones have

Large Display — shows you the notes and

corresponding advanced tones, created by

chords as you play them, along with the current programming in digital signal processor (DSP) effects

tone, rhythm, and tempo. The built-in backlight and other settings. You can even create up to 32 of

100 Auto-Rhythms — provide a steady beat for

many styles of music, from rhumba to rock (see

“Using the Preset Auto-Rhythms” on Page 9).

makes it easy to read, even in dim light.

your own tones with the custom tone synthesizer

feature (see “Using the Tone Synthesizer” on Page 13).

Auto Accompaniment — lets you automatically play a

preset harmonic pattern to match the selected auto-

rhythm (see “Using Auto Accompaniment” on Page 10).

61 Full-Sized Keys with Touch Response — provide the feel of a fine musical instrument.

The keyboard’s volume varies in response to the force of your touch, just like an acoustic

piano, so you can add emotion to your music.

This Owner’s Manual explains how to use this electronic keyboard. It does not teach music.

Data Expansion System — lets you download

additional tones, up to four sets of accompaniment

data, DSP settings, and registration from your PC

and store them in your keyboard’s memory (see

“Using the Data Download Service” on Page 21).

The keyboard conforms to most, but not all, General MIDI specifications. Because of this, you might

experience some incompatibility when using the keyboard with another General MIDI device. For

more information, see “Using MIDI” on Page 19. Your keyboard also includes a MIDI (Musical

Instrument Digital Interface) feature, which lets you connect it to other MIDI-equipped musical

instruments or devices — even your personal computer.

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The FCC Wants You to Know ..................... 2

Connecting Power ....................................... 2

Installing Batteries ................................... 2

Using AC Power ...................................... 2

Connecting Headphones ............................ 3

Listening Safely ....................................... 3

Connecting an External Amplifier ................ 3

Using the Sheet Music Stand ...................... 3

A Quick Look at Your Keyboard .................. 3

Basic Operation .......................................... 5

Playing the Demonstration Tunes ............ 5

Using the Preset Tones ............................ 5

Using an Advanced Tone ......................... 6

Using Reverb and Chorus ........................... 6

Selecting Reverb/Chorus ......................... 6

Changing the Reverb or

Chorus Parameters .................................. 6

DSP (Digital Signal Processor) ................... 7

Selecting a DSP Type .............................. 7

Setting Basic DSP Parameters ................ 7

Changing DSP Parameters ..................... 7

Saving DSP Parameter Settings .............. 7

Using the Equalizers ................................... 7

Selecting the Equalizer Type ................... 7

Adjusting the Gain ................................... 8

Using SPLIT ................................................ 8

Using LAYER .............................................. 8

Using SPLIT and LAYER Together ............. 8

Using the Preset Auto-Rhythms .................. 9

Selecting/Playing an Auto-Rhythm ........... 9

Using SYNCHRO ..................................... 9

Using INTRO ............................................ 9

Using FILL-IN ........................................... 9

Using FILL-IN NEXT ............................... 10

Using ENDING ....................................... 10

Using Auto Accompaniment ...................... 10

Adjusting the Accompaniment Volume ... 10

Concert Chord ........................................ 10

Standard Fingering ................................. 11

Full-Range Chords ................................. 11

Using Auto Harmonize ........................... 12

Using One-Touch Preset ........................ 12

Using the Mixer .......................................... 12

Using the Tone Synthesizer ....................... 13

Using the Registration Memory ................. 14

Storing a Setup ....................................... 14

Recalling a Setup ................................... 14

Special Features ........................................ 14

Changing Keys ....................................... 14

Tuning the Keyboard .............................. 14

Using Touch Response .......................... 15

Using a Sustain Pedal ............................ 15

Adjusting the Display Contrast ............... 15

Resetting the Keyboard .......................... 15

Using the Song Memory ............................ 16

Real-Time Recording .............................. 16

Playing Back from Song Memory ........... 17

Step Recording ....................................... 17

Recording Multiple Tracks ...................... 18

Editing Memory Contents ....................... 18

Editing a Song ........................................ 18

Using MIDI ............................................. 19

About MIDI ............................................. 19

Making the MIDI Connections ................ 20

MIDI Data ............................................... 20

Changing MIDI Settings ......................... 20

Notes About the

MIDI Implementation Chart .................... 20

Using the Data Download Service ......... 21

Troubleshooting ......................................... 22

Care .......................................................... 22

Service and Repair .................................... 22

Tone List .................................................... 23

Panel Tones ........................................... 23

Advanced Tones .................................... 25

GM Tones ............................................... 27

Drum Sounds ......................................... 29

User Tones ............................................. 29

Drum Assignment List ............................ 30

Fingered Chord Chart ............................ 31

Effect List ................................................... 32

Reverb ................................................... 32

Chorus ................................................... 32

DSP ........................................................ 32

DSP Algorithm List ................................. 34

MIDI Implementation Chart ....................... 41

Specifications ............................................ 42

RadioShack and RadioShack.com are trademarks

used by RadioShack Corporation.

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To listen to your keyboard without disturbing

• Set the volume to the lowest setting

others, you can connect an optional pair of

before you begin listening. After you

begin listening, adjust the volume to a

comfortable level.

stereo headphones with a / -inch (6.35 mm)

plug. Your local RadioShack store sells a

wide selection of headphones. Insert the

headphones’ plug into PHONES/OUTPUT on

the back of the keyboard. Connecting

headphones disconnects the keyboard’s

built-in speakers.

• Do not listen at extremely high volume

levels. Extended high-volume listening

can lead to permanent hearing loss.

• Once you set the volume, do not

increase it. Over time, your ears adapt

to the volume level, so a volume level

that does not cause discomfort might

still damage your hearing.

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To protect your hearing, follow these

guidelines when you use headphones.

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To amplify your keyboard’s sound, you can

the back of the keyboard, then connect the

connect it to an optional external amplifier

other end of the cable to the amplifier’s input

jack(s) (such as AUX IN or TAPE IN). Your

local RadioShack store sells a full line of

amplifiers, speakers, and cables.

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using an audio cable with a / -inch (6.35

mm) plug (not supplied). To connect an

external amplifier to your keyboard, insert

the cable’s plug into PHONES/OUTPUT on

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To easily view sheet music while playing

your keyboard, insert the supplied sheet

music stand into the slot on the top back

panel.

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Preset 4-Band Equalizers —

lets you easily set the tone to

your favorite sound mix

(Standard, Jazz, Rock,

Dance, Classic, Mellow,

Bright, and so on). You can

even tailor the response of

each frequency band (see

“Using the Equalizers” on

Page 7).

Registration Memory — lets

you store up to 32 different

setups of the keyboard’s

controls, so you can instantly

recall them when you need

them (see “Using the

Registration Memory” on

Page 14).

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Song Memory — lets you set the keyboard to record up to two songs, six

tracks, and 3,500 notes. The recording remains stored even while the

keyboard is off (see “Using the Song Memory” on Page 16).

Automatic Intro/Ending Rhythm

— you can set the keyboard so it

automatically adds a 3- to 8-

(Back of Keyboard)

measure introduction or 3- to 8-

measure ending to the selected

auto-rhythm (see “Using INTRO”

on Page 9).

MIDI In/Out Jacks —

let you connect the

keyboard to another

MIDI-equipped

device. To connect a

MIDI device to your

keyboard, see

Headphones/Output Jack —

lets you connect headphones

so you can play without

disturbing others, or an external

amplifier so you can play for a

crowd (neither supplied).

“Making the MIDI

Connections” on

Page 20.

Sustain/Assignable Jack — lets you

connect a sustain pedal (not supplied,

available at your local RadioShack

store or at RadioShack.com) to the

keyboard so you can sustain or soften

your keyboard’s sound, or start/stop

an auto-rhythm (see “Using a Sustain

Pedal” on Page 15).

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Tempo Control — lets

you speed up or slow

down the tempo of any

selected music pattern.

Fill-In Rhythm — lets you insert a

short variation into any auto-rhythm

(see “Using FILL-IN” on Page 9).

Tune Control — lets you adjust the pitch of your

keyboard so you can play in tune with other

instruments (see “Tuning the Keyboard” on Page 14).

Effects — lets you add reverb, chorus, and more powerful

sound effects – even tailor a parameter to create your own

effect (see “Using the Preset Tones” on Page 5).

Auto Harmonize — lets you automatically add harmony to your

melodies (see “Using Auto Harmonize” on Page 12).

Split Function — lets you use different sounds for the

low- and high-end keys (see “Using SPLIT” on Page 8).

Transpose Function — lets you instantly

change the key of the music, even while

you are playing (see “Changing Keys” on

Page 14).

Layer Function — lets you set the keyboard to play two

different tones at the same time, giving your music a

“layered” effect (see “Using LAYER” on Page 8).

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1. Slide VOLUME to MIN (minimum).

To save power, the keyboard automatically

turns off after about 6 minutes if you do not

press a key. To turn on the keyboard again,

press POWER. To cancel auto power off,

turn on the keyboard while holding down

TONE. The next time you turn the keyboard

off then back on again, it will automatically

turn off after about 6 minutes.

To prevent hearing damage, always set the

keyboard’s volume to MIN before you turn it on.

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2. To turn on the keyboard, press POWER.

The POWER indicator lights and the

display turns on.

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3. Slide MODE to NORMAL.

Basic Operation

The keyboard automatically selects the tone

GRAND PIANO (No. 000) when you turn the

power on. Each time you turn it on after that, it

selects the last selected tone. To select a

different tone, see “Using the Preset Tones”.

4. Slide VOLUME toward MAX slightly and

begin playing the keyboard.

• To select an auto-rhythm, see “Using

the Preset Auto-Rhythms” on

Page 9.

Using the Preset Tones

•

The keyboard has 32-note (maximum)

polyphonic sound. This means that you can

play up to 32 different notes at the same

time with most of the keyboard’s preset

tones. Some tones are only capable of 16-

note polyphony.

• To play auto accompaniment, see

“Using Auto Accompaniment” on

Page 10.

5. Slide VOLUME toward MAX to increase

the sound level or toward MIN to

decrease it.

•

Most tones on this keyboard have been

recorded and processed using a technique

called digital sampling. To ensure a high

level of tonal quality, samples are taken in

the low, mid, and high ranges and are then

combined to sound amazingly close to the

originals. You might notice very slight

differences in volume or sound quality for

some tones when you play them at different

positions on the keyboard. This is an

unavoidable result of multiple sampling and

is not a malfunction.

6. To turn off the keyboard, press POWER.

The POWER indicator and the

keyboard’s display turn off.

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Your keyboard can play two prepro-

grammed demonstration tunes. To start the

demonstration, press DEMO. The keyboard

plays the first demonstration tune (No. 0).

To select the other tune, press – or + on the

keypad. The selected tune’s number

appears and the tune plays.

•

Repeatedly press + or – to select the next

highest or lowest numbered tone.

If you enter an incorrect first digit, press

TONE to clear your entry, then enter the

correct digit.

•

When you select one of the drum sets (tone

numbers 228–237), each key plays a

different percussion sound. See “Drum

Assignment List” on Page 30. The drum set

sounds change when you change the

rhythm number, play back data stored in

memory, or receive MIDI program change

data.

The treble and bass

clefs show the notes as

they play.

The demo tune number appears here.

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•

Tone numbers 238–247 are the user tone

area. See “Using the Tone Synthesizer” on

Page 13.

The bar graph shows the

sound level on each of the

16 channels. See “Using the

Mixer” on Page 12.

The keyboard at the bottom of the display

shows the location of the keys being pressed.

1. Press TONE. ꢀ

ꢁ

ꢂ

ꢃ

and the current

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tone’s number appear.

Your keyboard can sound like 248 different

musical instruments or sound effects. The

TONES list on the keyboard’s top panel

shows the name and three-digit number for

the first 100 preset tones. For tones 100-

2. To play a different tone, choose a

preset tone from the TONES list and

enter its three-digit number on the

keypad. Precede a single- or two-digit

number with zeroes. As you press the

227, see “GM Tones” on Page 27.

keys, the selected digits appear.

Follow these steps to select and play a

preset tone.

3. Play the keyboard to hear the selected

tone and adjust VOLUME to the desired

level.

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advanced tone. ꢄ appears, and the

ꢅ

The reverb feature creates ambience by

causing the sound to linger and reverberate.

You can choose from 16 different reverb

effects. See “Reverb” on Page 32 for details.

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ꢇ

ꢀ

ꢏ

ꢐ

ꢉ

(ꢋ

ꢋ

to ꢌ ) —Controls how

ꢎ

ꢍ

(Initial Echo Sound) (

(

(Feedback) (

(Initial Echo Sound) (ꢋ

to ꢌ

(

(Chorus)

(

(Reverb)

(

4. To select a different tone, repeat Step 2

while ꢀ appears.

TONE, the tone automatically changes to the

advanced tone version of tone number 00.

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Only one of the channels (1 to 16) can have

an advanced tone. If you assign an

advanced tone to another channel, the tone

in the currently assigned channel becomes

the standard tone.

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The first 100 tones (numbers 00 to 99) have

corresponding advanced tones. The

advanced tones use variations of standard

tones created by programming in effects

(DSP) and other settings. For example,

PIANO is modified into STEREO PIANO,

ORGAN becomes ROTARY SPEAKER

ORGAN, and so on. See “Advanced Tones”

on Page 25.

Press ADVANCED TONE to select the

currently selected tone changes to its

advanced version. Repeatedly press + or –

to scroll through the advanced tones, or use

the number buttons to enter the two-digit

tone number.

If a tone number outside the range of 000 to

099 is selected when you press ADVANCED

Press TONE to return to the standard tone.

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disappears.

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long reverb continues. A larger number

produces longer reverb.

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The chorus feature gives sound greater

depth by causing it to vibrate. You can

choose from 16 different chorus effects. See

“Chorus” on Page 32 for details.

— Controls the initial reverb volume.

The initial echo sound is the first sound

reflected from the walls and ceiling. A

larger value specifies a larger echo

sound.

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) — – Adjusts the

1. Press REVERB or CHORUS. The

indicator next to REVERB or CHORUS

lights.

damping of high frequency

reverberation. A smaller value damps

high sounds, creating a dark reverb. A

larger value does not damp high

sounds, creating a brighter reverb.

2. Repeatedly press + or – or use the

number buttons to enter a number to

display the effect you want. See

“Reverb” or “Chorus” on Page 32 for the

type of the effects and the

Delay Type Parameters (No. 6, 7, 14,

15)

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) — Specifies the

corresponding numbers.

size of the delay sound. A higher value

produces a larger delay sound.

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Adjusts delay repeat. A higher value

produces a greater number of repeats.

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You can control the parameters of an effect

to change how it sounds. The parameters

you can control vary depending on the effect

type.

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— Controls the initial reverb volume.

The initial echo sound is the first sound

reflected from the walls and ceiling. A

larger value specifies a larger echo

sound.

1. After selecting the effect you want,

ꢂ ENTER

( ). The parameter

press

setting screen appears.

ꢃ

ꢄ CURSOR) to

2. Repeatedly press or

(

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to ) — – Adjusts the

damping of high frequency

reverberation. A smaller value damps

high sounds, creating a dark reverb. A

larger value does not damp high

sounds, creating a brighter reverb.

display the parameter you want to

change.

Reverb Parameters

Reverb effects are classified as reverb

or delay type. Parameter settings vary

depending on the type.

Chorus Parameters

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)—Sets the

Reverb Type Parameters (No. 0 to 5, 8

to 13)

size of the chorus sound.

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to )—Sets the

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to ) —

undulation speed of the chorus sound.

A higher value produces faster

undulation.

Controls the reverb size. A larger

number produces larger reverb.

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)—Sets the

3. Repeatedly press or or use the

) — Sets how much of the DSP-

numbers. The DSP number (ꢋ

ꢋ

to ꢌ ),

ꢝ

ꢋ

) — Sets how much of the DSP-

(Volume) ( ) — Sets the

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(

) — Sets the post DSP

–

undulation depth of the chorus sound. A

higher value produces deeper

undulation.

number buttons to input the parameter

setting you want.

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Changing the Reverb or Chorus

Parameters

You can turn effects on/off or change the effect

level for each keyboard channel separately.

See “Using the Mixer” on Page 12 for more

information.

ꢅ EXIT

( ). This returns to the

4. Press

effect selection screen.

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Selecting a DSP Type

DSP effects are applied to the path between

the sound source and output. You can add

the effect to any sound, even after you

added reverb or chorus effect. See “DSP”

on Page 32 for more details.

3. Repeatedly press + or – or enter a

number using the number buttons to

change the parameter setting.

You must turn on the DSP lines of the required

parts using the mixer function. See “Using the

Mixer” on Page 12.

Changing DSP Parameters

ꢅ EXIT).

(

4. Press

•

The effects can be turned on/off or have

their levels set separately for each

keyboard channel. See “Using the Mixer”

on Page 12.

You can also create your own DSP effects

or download the data from

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You can control the relative strength of a

DSP and how it is applied.

www.radioshack.com and transfer it to the

keyboard. The keyboard has ten DSP effect

memories so you can store custom DSP

effects. See “Saving DSP Parameter

Settings” on this page and “Using the Data

Download Service” on Page 21 for more

information.

•

Playing a demo tune automatically changes

the effect to the one assigned to the tune.

You cannot change or cancel a demo tune

effect.

1. After selecting the DSP type you want,

ꢂ ENTER

( ).

press

•

Changing the effect setting while the

keyboard is playing causes a slight break in

the sound when the effect changes.

ꢃ

ꢄ CURSOR

( ) to

2. Repeatedly press or

display the parameter you want to

change.

The advanced tones automatically turn on

the DSP line for more effective tones. If you

assign an advanced tone to a keyboard part

(Channels 1 through 4), the DSP line turns

on automatically and the DSP selection

changes according to the advanced tone

settings.

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Parameters 0 to 7 — These depend on

the algorithm of the selected DSP. See

“DSP Algorithm List” on Page 34.

1. Press DSP. The indicator next to DSP

lights.

2. Repeatedly press + or – to select the

DSP type you want. See “DSP” under

“Effect List” on Page 32 for the type of

the effects and the corresponding

ꢅ.ꢆꢇ $' ꢑ(DSP Reverb Send) (ꢋꢋꢋ to

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•

In the mixer mode, the DSP line on/off

setting for a part with an advanced tone is

on, while the setting for a part that does not

have an advanced tone is off. DSP effects

previously applied to these parts are

cancelled and the tone might sound

different. Use the mixer editing sequence to

turn DSP back on (see“Using the Mixer” on

Page 12).

processed sound is sent to reverb.

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ꢄ (advanced tone), or !ꢞꢟ (user tone

processed sound is sent to chorus.

created using DSP) appears.

3. Repeatedly press + or – or enter a

number using the number buttons to

change the parameter setting.

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You can change these basic DSP

parameters.

ꢅ EXIT).

(

4. Press

ꢅꢓꢝ ꢂꢖꢃꢇꢅꢗꢃꢗꢓꢘꢓꢆꢄꢃꢄꢘꢃ

ꢅ$%ꢑ&ꢛꢊ

post DSP volume.

ꢅꢄꢃꢃ ꢂꢖꢅ

You can save up to 10 modified DSP

settings in the user area for later recall.

ꢅ$%ꢑ%ꢕ'ꢑ ()* +),

stereo pan (relative position between left

and right channels).

1. After making the DSP parameter

ꢂ ENTER).

(

settings you want, press

ꢅ$%ꢑꢒꢛꢊ ꢑꢛ'-ꢛꢘꢘ—Select ꢛ' to keep the

The DSP number of the user area

flashes.

current DSP line after you change the tone.

Select ꢛ to change the DSP line to the

ꢘ

original setting of the newly selected tone.

2. Repeatedly press + or – to select the

user area DSP number (100-109) you

want to save.

For advanced tones, changing the tone

turns off all DSP line settings except on the

currently selected channel.

ꢂ ENTER) to store the effect.

3. Press

(

$ꢕꢇꢉꢑꢁ/

briefly appears and the display

1. Press DSP.

or)

returns to the tone or rhythm selection

screen.

ꢃ

ꢄ CURSOR

) to

2. Repeatedly press or

(

oces

display the parameter you want to

change.

alS

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢄꢜꢕꢓꢙ ꢄꢘꢅ

(

The keyboard has 10 preset four-band

equalizers. You can also adjust the gain of

each of the four bands to suit your personal

preference.

ꢅꢄꢙꢄꢀꢃ ꢂꢖꢃꢃꢐꢄꢃꢄꢜꢕꢓꢙ ꢄꢘꢃ

DSP

ꢃꢔꢗꢄ

1. Press EQUALIZER. The currently

selected equalizer type appears.

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The equalizer type ($

ꢜ

ꢕ

ꢟ

, ꢙ

ꢕ

ꢞ

ꢑ

3. Repeatedly press or or enter a

5. Hold down SPLIT, and press the key

where you want the high-end tones to

begin. The selected key’s name

appears.

For example, if you set the split point to

be F below middle C, ꢘ appears.

ꢃ

ꢄ CURSOR

) to

2. Repeatedly press + or – or enter a

number using the number buttons to

select the equalizer type you want.

2. Repeatedly press or

select the band you want to adjust (ꢈ

ꢑ ꢑ

, 1 , or ꢒ ). The bar

(

ꢛ

1ꢏ

ꢈ

ꢛ

ꢏ

ꢒ

ꢏꢓꢔ

ꢏ

ꢓ

ꢔ

graphs for the corresponding frequency

range flash.

UisngSP

ꢀꢟꢉ ꢊꢉꢑ+ ꢈꢛꢠ 'ꢉꢞꢞ 1ꢉꢊꢊꢛ ꢙꢟꢏꢓꢔꢜ ꢆꢛ34

ꢅꢕ'3ꢉ 5ꢕꢡꢡ

, or

ꢚꢊꢕꢞꢞꢏ3

) appears. The bar

–

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

graph on the display shows the

frequency response of the type that

appears.

number using the number buttons to

make the adjustment for the band you

want. You can adjust within the range of

–12 to +12. The bar graphs change in

magnitude as you adjust.

Adjusting the Gain

Gain settings apply only to the current

equalizer type. When you change the

equalizer type, the default gain settings for the

newly selected equalizer type take effect.

ꢅ EXIT) or EQUALIZER to exit the

(

Press

equalizer setting screen.

ꢅ EXIT

) to return to the equalizer

4. Press

(

Using Split

type selection screen, then press

EQUALIZER to exit the equalizer mode.

ꢓꢇ!ꢕꢅꢃ ꢂꢖꢃꢃꢐꢄꢃꢖꢓ ꢂ

•

If SPLIT is on when you turn off the

keyboard, it remains on the next time you

turn the keyboard back on.

1. After selecting the equalizer type, press

ꢂ ENTER

(

•

When you turn on SPLIT, the last selected

settings appear.

ꢕꢅ ꢂꢖꢃꢅꢗꢙ ꢃ

When you select Concert Chord or

Fingered auto accompaniment, the

accompaniment keyboard range is shifted

to the split point you set.

The SPLIT feature lets you play two different

tones on opposite ends of the keyboard, so

the low-end keys play one tone, and the

high-end keys play another. The main tone

sounds in Channel 1 and the split tone

sounds in Channel 3. You can use the mixer

function to change the volume or other

settings in each channel. See “Using the

Mixer” on Page 12. You can change the split

point at any time.

Using Layer

•

If LAYER is on when you turn off the

keyboard, LAYER will still be on the next

time you turn on the keyboard.

•

When you turn on LAYER, the previous

tone settings appear.

6. Play both the low and high-end keys to

hear the selected split tones.

To select a different low-end tone, enter

the three-digit number for the new low-

end tone while the SPLIT indicator

appears.

1. Press TONE.

2. Use the number buttons to enter the

three-digit number for the tone you want

the high-end keys to play.

To select a different high-end tone,

press SPLIT to turn off its indicator, then

enter the three-digit number for the new

high-end tone. Then press SPLIT again

so the SPLIT indicator appears.

3. Press SPLIT. The SPLIT indicator

appears.

4. Enter the three-digit number for the

tone you want the low-end keys to play.

To cancel SPLIT, repeatedly press

SPLIT until its indicator disappears. M

ꢕꢅ ꢂꢖꢃꢙꢓꢔꢄꢘ

The keyboard lets you play two different

preset tones at the same time, creating a

“layered” effect when you press one key.

The first tone you select is called the base

tone and the second tone is called the layer

tone.

4. Play the keyboard to hear the selected

layered tones.

To select a different layer tone, enter

the three-digit number for the new layer

tone while the LAYER indicator

appears.

1. Press TONE.

To select a different base tone, press

LAYER to turn off its indicator, then enter

the three-digit number for the new base

tone. Then press LAYER again so the

LAYER indicator appears.

2. Enter the three-digit number for the

base tone then press LAYER. The

LAYER indicator appears.

3. Enter the three-digit number for the

layer tone.

To cancel LAYER, repeatedly press

LAYER until its indicator disappears. M

ꢕꢅ ꢂꢖꢃꢅꢗꢙ ꢃꢃꢓꢂꢇꢃꢙꢓꢔꢄꢘꢃꢃꢁꢖꢄꢃꢐꢄꢘ

You can combine the split and layer

features, so you can play one layered

combination of tones on the low-end keys

and another on the high-end keys.

1. If the SPLIT or LAYER indicator is on,

press SPLIT or LAYER to turn it off.

2. Enter the number for the high-end base

tone on the keypad.

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1. Press RHYTHM. ꢆ

ꢒ

ꢀ

ꢒ

and the name

3. Repeatedly press SPLIT until the SPLIT

8. Press SPLIT. The SPLIT indicator

indicator appears.

appears.

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

Selecting/Playing an Auto-Rhythm

4. Enter the number for the low-end base

tone.

9. Enter the number of the layered tone for

the low-end keys.

•

The keyboard automatically selects the

rhythm 8 BEAT 1 (No. 000) when you turn

the power on. Each time you turn it on after

that, it selects the last selected rhythm.

5. Repeatedly press SPLIT until the SPLIT

10. If desired, hold down SPLIT then press

the key where you want the high-end

tones to begin.

indicator disappears.

•

If you incorrectly enter the first digit of the

rhythm, press RHYTHM to clear the entry

and return to the last selected auto-rhythm.

6. Repeatedly press LAYER until the

LAYER indicator appears.

11. Play the keyboard to hear the selected

tones.

You can also adjust the tempo by first

7. Enter the number of the layered tone for

the high-end keys.

pressing TEMPO

or , then entering the

To cancel the SPLIT/LAYER combination,

press each button so both the SPLIT and

LAYER indicators disappear.

desired number of beats per minute in three

digits (030 to 255), or by holding down + or

– on the keypad.

hms

o-Rhyt

•

To reset the tempo to its default (original)

Aut

speed, press TEMPO

time.

and at the same

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢗꢘꢄꢅꢄꢃꢃꢓꢕꢃꢁꢀꢘꢐꢔꢃꢐꢆꢅ

Your keyboard has 100 preset auto-rhythms

that provide a steady beat for your music.

The name and two-digit number of each

preset auto-rhythm is listed on the

keyboard’s top panel. You can also

download up to 4 sets of accompaniment

data and store them into the keyboard’s

memory. See “Using the Data Download

Service” on Page 21.

slightly from the normal rhythm, so it is

almost like having two rhythms in one!

4. Adjust VOLUME to the desired level.

5. To change the auto-rhythm speed,

heP

ingt

press (or hold down) TEMPO or

The current tempo setting appears.

6. Play the keyboard along with the auto-

rhythm.

You can play a preset auto-rhythm on the

keyboard in any of the following ways:

7. To select a different rhythm, repeat

Steps 1 and 2.

• Select and play a rhythm (see

“Selecting/Playing an Auto-Rhythm”)

8. To stop the auto-rhythm, press START/

STOP.

• Synchronize the start of a rhythm with

your music (see “Using SYNCHRO”)

• Start a rhythm with a special

introduction (see “Using INTRO”)

ꢕꢅ ꢂꢖꢃꢅꢔꢂꢀꢐꢘꢁ

This feature lets you synchronize the start of

an auto-rhythm with the beginning of your

music.

• Briefly vary the pattern of a rhythm (see

“Using FILL-IN”)

• Play an alternate version (variation) of a

rhythm (see “Using FILL-IN NEXT” on

Page 10)

After you select and enter an auto-rhythm,

press SYNCHRO/FILL-IN NEXT, then begin

playing the keyboard. The keyboard auto-

matically begins to play the rhythm when

you press any key in the accompaniment

keyboard range (see “Using Auto

• Stop a rhythm with a special ending

(see “Using ENDING” on Page 10)

Accompaniment” on Page 10).

ꢅꢄꢙꢄꢀꢃ ꢂꢖꢅꢗꢙꢓꢔ ꢂꢖꢃꢓꢂꢃ

ꢓꢕꢃꢁꢀꢘꢐꢔꢃꢐꢆ

ꢕꢅ ꢂꢖꢃ ꢂꢃꢘꢁ

This feature lets you start the selected auto-

rhythm with a light, 3- to 8-measure intro-

duction that blends easily into the selected

rhythm.

and number of the current auto-rhythm

appear.

2. To select a different rhythm, choose an

auto-rhythm from the 100 RHYTHMS

list and enter its three-digit number on

the keypad. Precede a single- or two-

digit number with zeroes. Or, repeatedly

press + or – to move to the next higher

To start a rhythm with an introduction, select

and enter the rhythm, then press INTRO/

ENDING 1 or 2. The introduction for the

selected variation (1 or 2) plays, then the

selected auto-rhythm automatically starts.

or lower numbered rhythm.

3. Set MODE to NORMAL, then press

START/STOP to start the selected auto-

rhythm.

ꢕꢅ ꢂꢖꢃꢑ ꢙꢙꢀ ꢂ

This feature lets you insert a short (1- to 2-

measure) variation in the beat pattern of a

selected auto-rhythm. While the auto-

rhythm is playing, press and release

VARIATION/FILL-IN 1 or 2, corresponding to

the variation you started with. The keyboard

inserts a 1- to 2-measure fill-in of either

variation, then the original rhythm

Or, you can press VARIATION/FILL-IN 1

or 2 to start the rhythm. Each of the

keyboard’s preset auto-rhythms has a

built-in variation (alternate) to its normal

beat pattern. The variation differs

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automatically resumes at the end of the

current measure.

ꢕꢅ ꢂꢖꢃꢑ ꢙꢙꢀ ꢂꢃꢂꢄꢛꢃ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

To switch to the other variation of the

selected auto-rhythm during play, press

SYNCHRO/FILL-IN NEXT while the rhythm is

playing. The fill-in pattern of the current

variation plays, then fill-in of the other

variation, and the rhythm switches to the

other variation.

Using Auto Accompaniment

When you press another variation button

(VARIATION/FILL-IN 2 while you are playing

variation 1, for example), the keyboard starts

to play the newly-selected variation and

does not insert a fill-in.

•

You can use the keyboard’s rhythm controls

(INTRO/ENDING 1 or 2, VARIATION/FILL-

IN 1 or 2, and SYNCHRO/FILL-IN NEXT)

with all three types of auto accompaniment.

•

After you press the auto accompaniment

keys while using concert chord or standard

fingering, the keyboard plays the same

chord until you press other accompaniment

keys to play a different chord or press

START/STOP.

ꢕꢅ ꢂꢖꢃꢄꢂꢇ ꢂꢖ

To end the selected rhythm with a special

flourish, press INTRO/ENDING 1 or 2 while

the auto-rhythm is playing. The keyboard

plays a special ending of the selected type

(1 or 2), then automatically stops the rhythm.

•

When you select Concert Chord or

Standard Fingering mode, the range of the

accompaniment keys is set by the split

point. See “Using SPLIT” on Page 8.

The ending pattern starts immediately if you

press the button before the second beat of

the current measure. If you press after the

second beat, the ending pattern starts from

the next measure.

Concert Chord

You can press any labeled note(s) to the right

of the lowest note in the chord to produce a

minor, a dominant seventh, or minor seventh

chord.

ꢕꢅ ꢂꢖꢃꢓꢕꢃꢁꢃꢓꢀꢀꢁꢆꢗꢓꢂ ꢆꢄꢂꢃ

UisngAut

The 18 keys on the left side of the keyboard

with note labels above them are called

accompaniment keys.

2. Within 5 seconds, enter a number from

0 0 0 (softest) to 1 2 7 (loudest) on the

keypad. The numbers appear as you

press the keys.

cmo

Accompaniment

Keyboard

Melody

Keyboard

Or, press ACCOMP VOLUME then

repeatedly press – or + to select the

next lowest or highest accompaniment

volume setting.

To reset the accompaniment volume to

its default value of 87, press ACCOMP

VOLUME then press – and + at the same

time.

You can set the keyboard to play three

different types of auto accompaniment using

the accompaniment keys.

• Concert Chord — lets you play chords

on the accompaniment keys using

chord formations of from one to four

notes. The number of keys you press

determines the type of chord that plays

(see “Concert Chord”).

ꢀꢁꢂꢀꢄꢘꢃꢃꢀꢐꢁꢘꢇ

The concert chord method lets beginning key-

board players easily select and play a chord.

The number of accompaniment keys you

press determines the type of chord that

plays. This chart shows the chord type that

plays when you press one, two, three, or

four accompaniment keys at the same time.

• Standard Fingering — lets you play

chords on the accompaniment keys

using standard chord formations of

three or four notes (see “Standard

Fingering” on Page 11).

• Full-Range Chord — lets you play the

melody using the entire keyboard while

the keyboard plays accompaniment

based on your auto-rhythm selection.

C D E F G A B C D E F

The auto-accompaniment patterns consist of

four parts: chord 1, chord 2, bass, and

rhythm. You can delete any of the parts by

using the mixer function. See “Using the

Mixer” on Page 12.

ꢓꢇ!ꢕꢅꢃ ꢂꢖꢃꢃꢐꢄꢃ

ꢓꢀꢀꢁꢆꢗꢓꢂ ꢆꢄꢂꢃꢃꢝꢁꢙꢕꢆꢄ

The keyboard lets you adjust the volume of

your accompaniment separately from the

overall volume of the keyboard.

C D E F G A B C D E F

1. Press ACCOMP VOLUME. The current

accompaniment volume setting

appears.

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The lowest note you play determines the

key of the chord. For example, if the lowest

Follow these steps to start standard

fingering auto accompaniment.

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

note is C, the keyboard plays a C chord.

Standard Fingering

1. Set MODE to FINGERED.

•

You do not have to press the key marked

with parentheses on the keyboard in the

chart to produce a 7, m7, M7, mM7, add9,

or madd9 chord.

1. Set MODE to CONCERT CHORD.

2. Select and enter an auto-rhythm.

2. Enter a two-digit auto-rhythm number.

3. To start the auto-rhythm before your

auto accompaniment, press START/

STOP or INTRO/ENDING 1 or 2.

3. To start the auto-rhythm before the auto

accompaniment, press START/STOP or

INTRO/ENDING 1 or 2.

•

Although the chart shows only one possible

fingering position for each chord, it is

possible to play a chord using several

different positions. For example, the

following three positions produce the same

C chord.

Or, to synchronize the start of the

selected auto-rhythm with your

accompaniment, press SYNCHRO/FILL-

IN NEXT.

Or, to synchronize the start of the

selected auto-rhythm with your

accompaniment, press SYNCHRO/FILL-

IN NEXT.

4. Begin the accompaniment at the

desired interval by pressing at least

three accompaniment keys to play the

desired chord.

4. Begin the accompaniment at the

desired interval by pressing the desired

accompaniment key(s).

_{When you play an aug, 7}ꢁ₅_{, or dim7 chord,}

•

the lowest note you play determines the

root of the chord. Be sure that your

fingering correctly defines the root you

want.

To play a melody along with the

accompaniment, press any key(s) to

the right of the accompaniment keys.

To play a melody along with the

accompaniment, press any key(s) to

the right of the accompaniment keys.

See “Fingered Chord Chart” on Page 31 for

all the chords you can play on your

keyboard using standard fingering

accompaniment.

5. Adjust the tempo and VOLUME to the

5. Adjust TEMPO and VOLUME to the

desired levels.

ent

Full-Range Chords

6. To change chords without interrupting

the rhythm, simply press the auto

accompaniment key(s) required to form

the new chord.

6. To change chords without interrupting

the rhythm, simply press the auto

accompaniment keys required to form

the new chord.

•

You cannot use inverted fingerings. The

lowest note is the root.

pani

com

You can play the same chord without

pressing the 5th G.

When the notes of a chord are more than 5

notes apart, the lowest sound becomes the

base note.

7. To stop auto accompaniment and the

auto-rhythm, press START/STOP.

ingA

ꢅꢃꢓꢂꢇꢓꢘꢇꢃꢑ ꢂꢖꢄꢘ ꢂꢖ

ꢑꢕꢙꢙꢀꢘꢓꢂꢖꢄꢃꢀꢐꢁꢘꢇꢅ

The standard fingering method uses

standard formations of three or four notes,

and lets the experienced musician play a

While the concert chord and standard

fingering methods limit chord formations to

the accompaniment keys, the full-range

chord method lets you play chords of any

type using any of the keyboard’s keys.

wider variety of accompaniment chords.

This chart shows the 15 chord types you

can play on your keyboard by using

standard fingering.

Set MODE to FULL RANGE CHORD and

follow the steps under “Standard Fingering”.

If you press three or more keys that form a

chord anywhere on the keyboard, the

keyboard plays that chord. The keyboard

responds with melody sounds if you press

fewer than three keys.

In the full-range chord mode, the keyboard

recognizes 23 more chords (in addition to

the 15 in the fingered chord mode). The

following is an example of those chords with

C as the base note.

6 ꢆꢁ

6 ꢆꢁ ⁶⁹

Cm C .

ꢀ

_Aꢁ ꢁ

ꢆ

ꢀ

_Bꢁ_m

C m Dm

ꢆ

^C_{_}ꢁ ꢁ

ꢁ

add9

Dm⁷

A ⁷

F⁷

Fm⁷Gm⁷

ꢆ

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The keyboard plays multiple parts at the

same time in up to 16 separate channels

during auto accompaniment, or memory

playback, or when receiving MIDI data. You

can control the on/off setting, volume, and

parameters of each of the keyboard’s

channels just as you would with a sound

mixer.

ꢛ

ꢘ

: Turns off the current channel. The

(

– turns each channel on or

(

) — controls the

(

to ) — controls the pan

%ꢕ' ()* +),

(Octave)

(

(Coarse)

(

(default): Turns on the current

(

) — fine tunes the

• tone

• tempo

• layer on/off

• effect type

• auto harmonize on/off

ꢕꢅ ꢂꢖꢃꢓꢕꢃꢁꢃꢐꢓꢘꢆꢁꢂ ꢄ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

When using auto-accompaniment in the

fingered or concert chord modes, press

AUTO HARMONIZE to automatically add

harmony to your melodies. The indicator

next to AUTO HARMONIZE lights, and the

keyboard adds harmony based on the chord

playing on the accompaniment key section.

Using Auto Harmonize

•

Auto harmonize does not work when you

select full range chord auto accompaniment

or no auto accompaniment.

After selecting a rhythm, press ONE TOUCH

PRESET. The keyboard enters synchro

standby mode. Start the accompaniment.

The rhythm plays at a suitable setting and

the keyboard sounds the selected tone for

the selected rhythm.

•

The harmony melody in auto harmonize

mode uses Channel 5. You can change the

tone or volume setting of the harmony by

using the keyboard’s mixer function (see

“Using the Mixer”).

ꢕꢅ ꢂꢖꢃꢁꢂꢄꢀꢃꢁꢕꢀꢐꢃꢗꢘꢄꢅꢄꢃ

Using the Mixer

The keyboard’s one-touch preset feature

recalls these characteristics for a selected

rhythm:

•

Normally, keyboard play is assigned to

Channel 1. When you use auto

accompaniment, parts are assigned to

Channels 6–10.

•

When you use the keyboard as the sound

source for another MIDI device, all 16

channels are assigned musical instrument

parts, Channel 10 is reserved for drum

parts only, per MIDI standard.

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢆ ꢛꢄꢘ

bar at the bottom of the level meter

disappears.

•

The mixer settings also affect the

corresponding MIDI output.

ꢅ EXIT

( )

5. To edit other channels, press

to return to the channel selection

screen, then repeat steps 2–4.

To exit the edit mode, press MIXER. The

display shows the edited status of the

channels.

This table shows the parts assigned to each

channel.

ꢄꢏ"#"$%ꢃꢗꢍꢎꢍ+ꢉ#ꢉꢎ(

ꢀ&ꢍ$$ꢉ*

ꢗꢍꢎ#

You can change the settings of six parame-

ters for the selected channel.

Main tone

Layered tone

Split tone

1. Select the channel you want to edit as

described in Steps 1 and 2 of “Editing

the Status of a Channel”.

Layered/split tone

Harmonize tone

Uisngt

ꢂ ENTER

) to enter the

parameter edit mode.

2. Press

(

Auto accompaniment part 1

Auto accompaniment part 2

Auto accompaniment part 3

Auto accompaniment bass part

Auto accompaniment rhythm part

Memory track 1

Mxier

ꢃ

ꢄ

3. Repeatedly press or to select the

parameter you want to change.

Tone Parameters

Memory track 2

ꢀꢛ'ꢉꢑꢂꢛ. ꢋꢋꢋꢑ ꢍ*ꢎ

) — sets the tone

assigned to the channel. When the

assigned tone is an advanced tone, the

display shows only two digits.

Memory track 3

Memory track 4

Memory track 5

Memory track 6

%ꢕꢟꢜꢑꢛ'-ꢛꢘꢘ

off.

ꢄꢏ"#"$%ꢃ#&ꢉꢃꢅ#ꢍ#'(ꢃꢌ)ꢃꢍꢃꢀ&ꢍ$$ꢉ*

You can turn a channel off to delete a

specific part.

&ꢛꢊꢠꢐꢉ ꢋꢋꢋ ꢌꢍꢎ

volume of the selected channel.

1. Press MIXER. The MIXER indicator and

(relative position of the tone between

left and right speaker channels). ( is

fully left, ꢋ is the center position, and

is fully right.

the last selected channel appear.

)

2. Repeatedly press + or – to select the

+),

channel you want to edit.

ꢁ3ꢜ

$ꢔꢏ8ꢜ (ꢍ +ꢍ

to ) – shifts the

ꢂ ENTER) then ꢄ

3. Repeatedly press

(CURSOR) to display the current status

of the channel — ꢛ or ꢛ

(

range of the tone up or down by octave.

ꢘ

Tuning Parameters

4. Press + to turn on the channel or – to

ꢚ

ꢀꢠ'ꢉ Rꢍ* +ꢍ*

to ) — coarsely

turn it off.

tunes the pitch of the selected channel

in semitone units.

ꢛ'

channel. A bar appears at the bottom of

the level meter for the selected channel.

ꢘꢏ'ꢉꢑꢀꢠ'ꢉ Rꢌꢋꢋ +ꢌꢋꢋ

pitch of the selected channel in cent

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units. A cent is one hundredth of a

semitone. There are 12 semitones per

octave.

ꢅ$%ꢑꢈꢏ'ꢉꢑꢛ'/ꢛꢘꢘ – use to turn the DSP

line on or off for a particular channel.

(Reverb)

(

5. To edit other channels, press

to return to the channel selection

(Chorus) ) – controls

$ꢉ' ꢋꢋꢋ ꢌꢍꢎ

(

how much chorus is applied. ꢋ

chorus, ꢌ is maximum.

is no

6. To exit the parameter edit mode, press

The keyboard’s custom tone synthesizer

lets you create up to 32 of your own original

tones. To create a “user” tone, you simply

select one of the keyboard’s 100 preset

tones or 127 GM tones, change its para-

meters, then store the new tone in a

Vibrato Delay (&

ꢏ

ꢅ

ꢉ

ꢊ

ꢕ

ꢗ

) ((

)

to + ) —

)

L^{ꢃꢐ ꢂꢃꢃ}L^ꢃ

To make it easier to create your own tone,

start with a preset tone that is similar to the

one you are trying to create.

(Attack Time, the first

— Sets the vibrato type as sine

wave ($

ꢏ'

), triangle wave (ꢜ

ꢟꢏ

), sawtooth

wave ($

ꢄ

), or square wave ($

ꢢ

ꢟ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

Using the Tone Synthesizer

4. Repeatedly press + or – or enter a

number using the number buttons to

change the parameter setting.

•

You cannot use tones 228–237 (drum set

tones) as base tones.

Effect Parameters

ꢆꢇ

how much reverb is applied. ꢋ

reverb off, ꢌ is maximum.

$ꢉ' ꢋꢋꢋ ꢌꢍꢎ

) – controls

The preset tone you use as the basis for a

user tone is not changed.

ꢋ

ꢅ EXIT

( )

ꢍ

ꢎ

ꢑ

Tone locations 238–247 initially contain the

tone number 000. The user tone you store

in any of those locations replaces it.

display, select the channel, then repeat

Steps 2–4.

ꢚꢔꢛ

ꢋ

Creating and Storing a User Tone

ꢍ

ꢎ

•

A new or revised user tone replaces the

existing user tone.

MIXER.

•

Layer, split, auto accompaniment, demo

tune play, and MIDI functions are all

disabled while the keyboard is in the

Custom Tone Synthesizer mode.

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢃꢁꢂꢄꢃꢅꢔꢂꢃꢐꢄꢅ ꢄꢘ

Sets the amount of time before vibrato

starts.

•

For some tones, setting the resonance too

high might cause distortion or noise. If you

encounter this, lower the resonance setting.

Vibrato Depth (&ꢏ ꢅꢉꢖꢜꢔ) (()* to +),) —

Sets the depth of vibrato effect.

While you are setting the three DSP

parameters, an indicator appears next to

DSP.

memory location from 238 to 247. You

select and use a user tone as you would a

Vibrato Rate (&ꢏ .ꢆꢕꢜꢉ) (()* to +),) —

Sets the speed of the vibrato effect.

preset tone.

Cut Off Frequency (ꢚ(ꢛ88ꢘꢟꢢ) (()* to

+),

) — – Adjusts the timbre of the

sound. A higher cut off frequency gives

brighter timber, lower cut off frequency

produces a softer timbre.

The parameters you can change are divided

MꢁL

into the following groups.

• Volume Characteristic — Attack Time,

Release Time, Resonance, Cutoff

Frequency

Resonance (ꢆꢉꢞꢛ'ꢕ') (()* to +),) —

Sets the resonance of the tone.

Resonance enhances the harmonic

component around the cut off frequency

to create a distinctive sound. The larger

the value, the more distinctive the

• Tone Pitch — Vibrato type, Vibrato

Delay, Vibrato Depth, Vibrato Rate,

Octave Shift

• Tone Characteristic — Level, Touch

Sense, Reverb Send, Chorus Send,

DSP Line, DSP Type, DSP Parameter

sound.

Octave Shift (ꢁ3ꢜ$ꢔꢏ8ꢜ) ((ꢍ to +ꢍ)—

Shifts the range of the tone up or down

by octave.

ꢀꢎꢉꢍ#"$%ꢃꢍ$ꢏꢃꢅ#ꢌꢎ"$%ꢃꢍꢃ

•

ꢕ(ꢉꢎꢃꢃꢌ$ꢉ

1. Select the preset tone (except 228–

237) you want to use as a basis for your

user tone.

Level (ꢈꢉꢇꢉꢊ) (ꢋ to ꢌꢍꢎ) — Controls the

overall volume of the tone. The greater

the value, the greater the volume.

Setting a level of zero means that the

tone does not sound at all.

Experiment with different settings. There are

no real rules about what a tone should

sound like. Let your imagination run free

and experiment with different combinations.

You might be surprised at what you can

achieve!

2. Press SYNTH. The keyboard enters the

Custom Tone Synthesizer mode and

ꢄꢜ4ꢑꢀꢏꢐꢉ

Touch Sensitivity (ꢀ3ꢔ$ꢉ'ꢞꢉ) (R)* to

+),

) — Controls changes in the volume

parameter) appears.

hsize

of the tone depending on how hard you

strike the keys. You can specify more

volume for stronger striking and less

volume for lighter striking, or you can

specify 00 to set the same volume re-

gardless of how hard you strike the keys.

Synt

ꢃ

ꢄ CURSOR) to

3. Repeatedly press or

(

display the parameter you want to

change.

one

heT

Attack Time (ꢄꢜ4ꢑꢀꢏꢐꢉ) (()* to +),) —

Sets the speed of the attack (the period

from when you press a key to when the

tone reaches its maximum volume). The

greater the value, the quicker the attack.

Reverb Send (ꢆꢇ ꢑ$ꢉ' ) (ꢋ to ꢌꢍꢎ) —

Controls the reverb effects.

Chorus Send (ꢚꢔꢛꢑ$ꢉ' ) (ꢋ to ꢌꢍꢎ) —

Controls the chorus effects.

Release Time (ꢆꢉꢊ.ꢑꢀꢏꢐꢉ) (R)* to +),) —

Controls the speed of a tone’s release

(the period from when you release a

key to when the tone stops sounding).

The greater the value, the quicker the

release.

DSP Line (ꢅ$%ꢑꢈꢏ'ꢉ) ꢛ'/ꢛꢘꢘ — Sets DSP

line on or off.

DSP Type (Number and name of the

applied DSP appears) — Selects the

DSP type.

Vibrato Type (&ꢏ .ꢑꢀꢗꢖꢉ) $ꢏ', ꢜꢟꢏ, $ꢄ!, or

$ꢢꢟ

DSP Parameter — Sets DSP

parameters. See “DSP (Digital Signal

Processor)” on Page 7.

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4. Repeatedly press + or – to change the

parameter’s setting, or use the number

buttons to directly enter a value for the

parameter.

ꢕ

ꢇ

ꢉ

ꢑ

ꢁ

appears briefly and the

– ꢍ

or 4). $

ꢜ

ꢛ

ꢟꢉ

ꢑ

appears after the selected

until ꢋ appears. The number on

ꢋ

ꢑ

ꢀ

ꢠ

ꢉ

When you store a tone with DSP line

turned on, all the DSP parameters are

recalled as you select the tone.

6. Repeatedly press + or – until the tone

number you want appears.

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

Using the Registration Memory

ꢂ ENTER) to save the user tone.

7. Press

(

•

You cannot use the registration memory

while you are using the synthesizer,

memory, or demo tune functions.

keyboard exits the Custom Tone

Synthesizer mode.

You cannot delete a registration setup from

memory, but you can store a different setup

in its place.

ꢅ EXIT

( ) to exit the Custom

Or, press

If you want to change another

parameter, repeat Steps 3, 4, and 5.

Tone Synthesizer mode without storing

a new tone.

You can use the keyboard’s MIDI function

to save your setup data to your PC or other

storage device.

ꢂ ENTER)

5. To store the settings, press

to display the tone number (ꢍ

where you want to save the user tone.

(

;

ꢎ

)

Changing Keys

•

You cannot change the key while a

prerecorded tune is selected or playing.

•

A semitone is a measurement that

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢘꢄꢖ ꢅꢃꢘꢓꢃ ꢁꢂꢃꢆꢄꢆꢁꢘꢔ

represents the acoustical interval between

the tones of any two keys on the keyboard.

For example, the difference between C and

C# or B and C is one semitone.

Your keyboard can save different setups of

controls in its registration memory. This lets

you instantly recall your favorite settings.

The registration memory consists of four

banks (0 – 3), each with four memory

• accompaniment volume

• auto harmonize on/off

•

The transpose setting also affects memory

playback (see “Playing Back from Song

Memory” on Page 17) and auto

accompaniment.

ꢅꢃꢁꢘ ꢂꢖꢃꢓꢃꢅꢄꢃꢕꢗ

locations (1 – 4), totaling up to 16 settings.

You can save each of the following settings

1. Set the desired controls to the setting

you want to store.

in each registration memory:

The keyboard automatically resets the key

to the default value of 0 (middle C) each

time you play a pre-recorded tune.

2. Within 5 seconds, repeatedly press

BANK until the desired bank number

appears.

• tone

• rhythm

Tuning the Keyboard

• tempo

•

You cannot tune the keyboard while a

prerecorded tune is displayed or playing.

3. While holding down STORE, press the

• split on/off

• split point

• layer on/off

desired REGISTRATION button (1, 2, 3,

•

The tuning setting also affects memory

playback (see “Playing Back from Song

Memory” on Page 17) and auto

accompaniment.

bank/location number/letter.

• mixer settings (Channels 1–10)

• effect settings

4. Release STORE and REGISTRATION.

5. Repeat Steps 1–4 to store more setups.

•

The keyboard automatically resets the

tuning pitch to the default value of 00

(cents) each time you turn off the keyboard.

• equalizer settings

• touch response settings

ꢘꢄꢀꢓꢙꢙ ꢂꢖꢃꢓꢃꢅꢄꢃꢕꢗ

• assignable jack setting (see “Using a

Sustain Pedal” on Page 15)

1. Repeatedly press BANK until the

desired bank number appears.

• transpose (see “Changing Keys” on

Page 14)

2. Within 5 seconds, press the desired

REGISTRATION button (1, 2, 3, or 4).

ꢆꢉ3ꢕꢊꢊꢑ

appears after the selected bank/

location number/letter.

• tuning (see “Tuning the Keyboard” on

Page 14)

ꢅꢗꢄꢀ ꢓꢙꢃꢑꢄꢓꢃꢕꢘꢄꢅ

C#, 2 is D, and so on. As you lower the

key, –1 is B, –2 is B , –3 is A, and so on.

ꢀꢐꢓꢂꢖ ꢂꢖꢃꢈꢄꢔꢅ

ꢁ

The keyboard automatically selects the key

of middle C each time you turn it on. For

added flexibility as you play, the keyboard

lets you change (transpose) the musical key

in which it plays. You can transpose the key

3. Press TOUCH/TRANSPOSE/SETTING to

exit the menu setting mode.

ꢃꢕꢂ ꢂꢖꢃꢃꢐꢄꢃꢈꢄꢔꢚꢁꢓꢘꢇ

up or down 24 semitones (two octaves).

Uisngt

Although your keyboard never goes out of

tune, it lets you adjust its pitch to match

other instruments or musical recordings.

1. Press TOUCH/TRANSPOSE/SETTING,

ꢄ CURSOR

)

hRegist

ꢃ

then repeatedly press or

until ꢋ appears. The displayed

number is the number of semitones to

(

ꢋ

ꢑ

ꢀꢟ

ꢕ

ꢞ

A cent is the measurement that represents

the acoustical interval between two tones.

1,200 cents equal 1 octave. You can tune

the keyboard to within –99 to +99 of its

which the keyboard is set, compared to

its default key.

rta

inoMem

2. Within 5 seconds, repeatedly press

– or + to lower or raise the key. Each

time you press – or +, the key changes

by 1 semitone. As you raise the key, 1 is

default pitch.

oyr

1. Press TOUCH/TRANSPOSE/SETTING,

ꢄ CURSOR

)

ꢃ

then repeatedly press or

(

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until ꢈ

ꢚ

ꢅ

ꢕ

appears.

ꢂ ENTER ꢋ)ꢑꢚꢛ'ꢜꢟꢕꢞꢜꢑ

appears.

2. Press

(

and the current setting (default:

, or

At the ꢈ setting, light key pressure

ꢏ

ꢓ

ꢔ

ꢜ

ꢑ

until < appears.

ꢏ

ꢜ

ꢅ

ꢉ

ꢊ

2. Press

appears.

— Initializes all parameters,

(Sustain)—Causes one or more

4. Press YES. $

ꢠ

ꢟ

ꢉ

appears, prompting

(Sostenuto)—Similar to sustain, but

(Soft)—Softens the sound.

until ꢈ appears.

ꢚ

ꢅ

ꢕ

and the current setting (default:

the display is the number of “cents” to

which the keyboard is currently tuned,

compared to its default pitch.

3. Within 5 seconds, repeatedly press + or

– until the desired setting ($ , $ , $

or ꢟ ) appears.

ꢛ

ꢘ

ꢜ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

ꢒ

ꢗ

•

The touch response setting does not affect

memory playback, auto accompaniment, or

received MIDI data.

2. Within 5 seconds, repeatedly press – or

+ to lower or raise the keyboard’s pitch.

Each time you press the key, the

number decreases or increases by 1

cent.

Press the sustain pedal as you play to

hear the desired sound or to start/stop

the selected auto-rhythm.

The MIDI data sent out from the keyboard is

affected by the touch response setting.

ꢓꢇ!ꢕꢅꢃ ꢂꢖꢃꢃꢐꢄꢃ

ꢇ ꢅꢗꢙꢓꢔꢃꢀꢁꢂꢃꢘꢓꢅꢃ

ꢕꢅ ꢂꢖꢃꢃꢁꢕꢀꢐꢃꢘꢄꢅꢗꢁꢂꢅꢄ

1. Press TOUCH/TRANSPOSE/SETTING,

Your keyboard’s touch response feature lets

you adjust the volume of your music’s tone

based on how hard you strike the key(s), so

you can add emotion to your music.

ꢃ

ꢄ CURSOR)

(

then repeatedly press or

1. Press TOUCH/TRANSPOSE/SETTING.

ꢀꢛꢠ3ꢔ

3. Within 5 seconds, repeatedly press + or

– until you can view the display clearly.

The number changes from 0 to 12.

ꢍꢑ

ꢂꢛꢟꢐꢕꢊ

) appear.

2. Within 5 seconds, repeatedly press – or

ꢘꢄꢅꢄꢃꢃ ꢂꢖꢃꢃꢐꢄꢃꢈꢄꢔꢚꢁꢓꢘꢇ

+ to select the touch response level, ꢛꢘꢘꢑ

ꢀꢛꢠ3ꢔ ꢌꢑꢈꢏꢓꢔꢜ ꢍꢑꢂꢛꢟꢐꢕꢊ

,ꢑꢒꢉꢕꢇꢗ

The keyboard retains various settings even

when you turn the power off, so long as you

do not disconnect power. You can, however,

delete or initialize some settings without

deleting others.

results in a loud sound, and very heavy

key pressure results in a more powerful

sound. When you select ꢛ

ꢘ

ꢑ

ꢀꢛ

ꢠ

ꢔ

, the

indicator next to TOUCH RESPONSE

disappears and the tone does not

change regardless of how you press

1. Press TOUCH/TRANSPOSE/SETTING,

ꢃ

ꢄ CURSOR

(

then repeatedly press or

)

the key.

ꢂ ENTER <'ꢏꢜꢑ1ꢏꢣ>

( ).

ꢕꢅ ꢂꢖꢃꢓꢃꢅꢕꢅꢃꢓ ꢂꢃꢗꢄꢇꢓꢙ

3. Within 5 seconds, repeatedly press

ꢃ

ꢄ CURSOR

) until the item you want

(

For added flexibility and control as you

make music, you can connect an optional

sustain pedal, available through your local

RadioShack store or online at

www.radioshack.com. A sustain pedal lets

you sustain or soften the keyboard’s sound,

or even start and stop an auto-rhythm.

to reset appears.

<'ꢏꢜ1ꢏꢣ>ꢑ

— Initializes the mixer

parameters you assigned by the mixer

function or by input from an external

sequencer.

<'ꢏꢜ%ꢕꢟ>ꢑ

To connect a sustain pedal to your

keyboard, insert the pedal’s plug into

SUSTAIN/ASSIGNABLE JACK on the back of

the keyboard.

except for the display contrast setting.

ꢟꢒꢗꢑ'''ꢑꢅꢉꢊ>ꢑ

— Deletes the data of the

user rhythm number nnn. See “Using

the Data Download Service” on

Page 21.

You can adjust the keyboard to these

settings when you use a sustain pedal.

<'ꢏꢜ$ꢗꢞ>ꢑ

— Deletes all data in the user

area.

$!$

notes to linger after they are played.

$ꢛꢞ

you to confirm the initialization/deletion.

Press YES again. The keyboard

completes initialization/deletion and

exits the menu setting mode.

only sustains the key that was pressed

when you press the pedal.

$ꢘꢜ

ꢟꢔꢗꢑ

— Starts or stops the selected

rhythm.

Follow these steps to change the setting for

ures

SUSTAIN/ASSIGNABLE JACK.

eat

1. Press TOUCH/TRANSPOSE/SETTING,

ꢃ

ꢄ CURSOR

(

then repeatedly press or

)

pecialF

ꢂ ENTER

(

2. Repeatedly press

) then

ꢃ

ꢄ CURSOR

( ) until

repeatedly press or

5ꢕ34

) appear.

$!$

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ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢅꢁꢂꢖꢃꢆꢄꢆꢁꢘꢔ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

Uisng

The keyboard lets you record up to two

separate songs (with up to about 3,500

notes) in memory for later playback. You

can use either of two methods to record a

song — real-time recording (you record as

you play) or step recording (you enter notes

and chords one-by-one).

• Tone number

•

SONG MEMORY is a four-way switch.

When you press it once, the keyboard

enters the memory playback mode. When

you press it again, it enters the real-time

memory record mode. When you press the

button a third time, it enters the step

recording mode. When you press the button

a fourth time, it turns off the memory

function.

hSongMem

• Rhythm number. (To record without

an auto-rhythm, skip Step 5 of “Real-

Time Recording.” Recording starts

when you press a key.)

oyr

• Tempo. (Do not change the tempo

unless you already know the desired

tempo. Pressing START/STOP to hear

the tempo causes recording to

begin).

You can record on each of the keyboard’s

six tracks separately. Besides notes, each

track can have its own tone number. Then,

when you play back the tracks together, it

sounds like an entire six-piece band. Also,

you can use different mixer settings for each

track.

•

When you record on a track that contains

data, the new recording replaces the

previous recording.

The touch response setting (on/off) is not

recorded. However, the strength of the

strike is recorded.

• MODE

5. Press START/STOP to start recording.

•

Channel 1 mixer parameters are

automatically recorded to Track 1.

Track 1 is the main track, and you can use it

to record auto accompaniment, as well as

keyboard play. Tracks 2 through 6 are

melody tracks, and you can use these for

recording a secondary melody that includes

keyboard play.

To start recording with synchro start,

press SYNCHRO/FILL-IN NEXT instead of

START/STOP. Recording starts when

you play a note or a chord on the

accompaniment keys.

Check the display for Channels 11–16 to

see which memory tracks contain data and

which are empty.

L^{ꢃꢐ ꢂꢃꢃ}L^ꢃ

Because each track is independent of the

others, you only need to re-record a single

track if you make a mistake while recording

on it.

To synchro start auto accompaniment

with an intro pattern, press SYNCHRO/

FILL-IN NEXT and then INTRO/ENDING 1

or 2 instead of START/STOP. Recording

starts with the intro pattern when you

play a note or a chord on the

To record using an intro, ending, or fill-in, use

INTRO/ENDING 1 or 2, SYNCHRO/FILL-IN

NEXT, VARIATION/FILL-IN 1, or VARIATION/

FILL-IN 2 as you normally would.

If the remaining memory is less than 100

notes, the measure and beat numbers flash.

When memory becomes full, recording

automatically stops (and auto-

accompaniment or rhythm stops playing, if

used).

accompaniment keys.

To start auto accompaniment during a

recording, press INTRO/ENDING 1 or 2

instead of START/STOP. Play the melody

keys to start recording. When you reach

the point where you want

Memory contents are saved as long as

power is supplied to the keyboard.

Unplugging the adapter without batteries or

with weak batteries erases the memory. To

prevent data loss, connect an adapter

before replacing the batteries.

accompaniment to start, play a chord on

the accompaniment keys.

6. Play the keyboard. You can also record

auto accompaniment chords, tuning,

and pedal operations.

Turning off the keyboard while recording

erases the contents of the track you were

recording.

7. Press START/STOP to end recording.

If you make a mistake, press START/

STOP to stop recording and begin again

from Step 1, or you can edit the

contents. See “Editing Memory

Contents” on Page 18.

You can transfer memory contents to

another MIDI device.

ꢘꢄꢓꢙꢀꢃ ꢆꢄꢃꢘꢄꢀꢁꢘꢇ ꢂꢖ

With real-time recording, the notes are

recorded as you play them on the keyboard.

This data is stored on Track 1 along

with the notes you played:

• tone number

1. Repeatedly press SONG MEMORY until

• rhythm number

ꢆꢉ3ꢛꢟ appears. M

• rhythm controller (INTRO/ENDING 1

or 2, VARIATION/FILL-IN 1 or 2, etc.)

operations

2. Within 5 seconds, press + or – (or 0 or 1)

to select a song number.

3. Press CHORD/TR 1 to select Track 1.

While the keyboard is in memory record

mode, the level meters for channels 11

through 16 correspond to memory

tracks 1 through 6. When all four bars

are lit, that channel has something in

memory: if only one bar is lit, that track

is empty.

• pedal operations

• accompaniment volume

• effect type

See “Recording Multiple Tracks” on

Page 18 to record on the other five

tracks.

4. If desired, you can change the following

settings:

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appears.

(CURSOR). ꢆ

ꢉ

ꢟ

ꢏꢜ

ꢉ

appears.

6. Use the number buttons to specify the

length of the chord. See “Specifying the

Length of a Note.”

ꢗꢙꢓꢔ ꢂꢖꢃꢚꢓꢀꢈꢃꢑꢘꢁꢆꢃ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

ꢅꢁꢂꢖꢃꢆꢄꢆꢁꢘꢔ

Playing Back from Song Memory

ory

1. Repeatedly press SONG MEMORY until

%ꢊꢕꢗ

•

You can use change the rhythm, use layer

and/or split during memory playback.

7. For each additional chord you want to

enter, play the chord and use the

Pressing START/STOP during the song

restarts the song from the beginning.

2. Within 5 seconds, repeatedly press + or

number buttons to specify its length.

– (or 0 or 1) to select a song number.

hSongMem

8. When you finish recording, press

START/STOP. The keyboard is now in

playback standby mode. You can try

playing back the song by pressing

START/STOP. M

You can set the volume and pan position of

the playback tracks using the mixer. This

setting data is output through MIDI OUT.

3. Within 5 seconds, press START/STOP to

play back the song you selected. You

can use TEMPO to adjust the playback

tempo.

Usingt

•

The entire keyboard functions as a melody

keyboard during playback, regardless of the

MODE setting.

4. Press START/STOP again to stop

ꢅ,ꢉ-")ꢊ"$%ꢃꢀ&ꢌꢎꢏ(ꢃ"$ꢃ#&ꢉꢃꢂꢌꢎ+ꢍ*ꢃ

Step Recording

playback.

ꢆꢌꢏꢉ

•

If you make a mistake, see “Correcting

Mistakes”.

To enter chords when MODE is set to

NORMAL during step recording, you must

specify them using a method other than

Concert Chord or Fingered. That way, you

can enter 18 chord types using only two

keys.

ꢅꢃꢄꢗꢃꢘꢄꢀꢁꢘꢇ ꢂꢖ

•

When you record on a track that already

contains data, the keyboard automatically

locates the end of the previous recording —

measure, beat, or clock (1/48 of a beat) —

and adds your new entry to it.

With step recording, you can record a chord

progression one chord at a time. (If you

want to record one note at a time, refer to

“Recording Multiple Tracks” on Page 18.)

•

You can enter a 0 (a rest) in Step 5 of “Step

Recording”, but the rest is ignored when the

accompaniment plays.

Follow these steps to record chords with

step recording.

While holding down the desired chord root

key, press the chord key to specify the chord.

The root and chord types are labeled above

each key. The chord root letter and type of

chord also appear as you play a chord.

The rhythm number and INTRO/ENDING 1

or 2, SYNCHRO/FILL-IN NEXT, and

VARIATION/FILL-IN 1 or 2 operations are

stored on Track 1, along with the notes you

played. See “Recording Multiple Tracks” to

record on the other five tracks.

1. Repeatedly press SONG MEMORY until

$ꢜꢉꢖꢑꢆꢉ3

2. Within 5 seconds, repeatedly press

+ or – to select a song number.

ꢅ,ꢉ-")ꢊ"$%ꢃ#&ꢉꢃꢙꢉ$%#&ꢃꢌ)ꢃ

ꢍꢃꢂꢌ#ꢉ

•

During recording on Tracks 2 through 6, the

entire keyboard functions as a melody

keyboard, regardless of the current MODE

setting.

3. If desired, you can change the rhythm

number and MODE settings.

During step recording, repeatedly press

+ or – or enter a number using the number

buttons to specify the length of each note.

Use numbers 1 through 6 to specify whole

notes (1), half notes (2), quarter notes (3),

eighth notes (4), 16th notes (5), and 32nd

notes (6).

4. Press CHORD/TR1 to select Track 1.

The REC indicator flashes briefly, then

lights steadily.

•

The tone number is stored on the selected

track in addition to the notes you played.

You can turn off a track during playback by

using the mixer function (see “Using the

Mixer” on Page 12).

5. Press SYNCHRO/FILL-IN NEXT, then

play a chord using the chord play

method determined by the current

MODE setting (Fingered, Concert

Chord, Full Range Chord, or Normal).

To enter a dot or triplicate, hold down 7 (dot)

or 9 (triplicate), then press 1 through 6.

Correcting Mistakes

The REC indicator lights and the STEP

indicator stops flashing when you move to the

end of the recording.

To enter a tie, press 8 then enter the first

and second notes.

When MODE is set to NORMAL,

specify the chord using the root keys

and chord-type keys. See “Specifying

Chords in the Normal Mode”.

To enter a rest, press 0, then press 1

through 9 to specify the length of the rest.

ꢀꢌꢎꢎꢉ-#"$%ꢃꢆ"(#ꢍ.ꢉ(

To start accompaniment with an intro

pattern, press INTRO/ENDING 1 or 2

after SYNCHRO/FILL-IN NEXT.

Before finishing your step recording entry,

you can move the entry point back to correct

the data you entered. This deletes all data

after the point where you make corrections.

To switch to a rhythm variation, press

VARIATION/FILL-IN 1 or 2 immediately

before playing the chord.

1. Before you press START/STOP to end

ꢃ CURSOR

). This moves

recording, press

(

To insert an ending or fill in, press

INTRO/ENDING 1 or 2, or VARIATION/

FILL-IN 1 or 2 immediately before

entering the chord.

the entry point back one “space.” The

data recorded at the current entry point

appears, the REC indicator turns off,

and the STEP indicator flashes.

To step-record chords without a rhythm,

skip this step. The chord of the

2. While monitoring the data on the

ꢃ

ꢄ

display, repeatedly press or

specified length is recorded. A rest can

be specified there, so you can create an

original chord pattern.

(CURSOR) to move the entry point to

the data you want to change.

ꢂ ENTER

(

ꢄ

3. Press

) then press

To add chord accompaniment during

rhythm play, enter rests from the

4. Press YES to clear all data after the

beginning of the recording up to where

you want accompaniment to start. Then

enter only the chords (no rests).

ꢅ

current entry point. Press NO or

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appears.

(EXIT) to cancel the rewrite operation.

6. Use 1–9 to enter the length of the note

or rest.

Uisng

7. Continue entering notes by playing

them and specifying their length.

ꢘꢄꢀꢁꢘꢇ ꢂꢖꢃꢆꢕꢙꢃ ꢗꢙꢄꢃ

ꢃꢘꢓꢀꢈꢅ

8. Press START/STOP to end recording.

In addition to Track 1, where you record auto

accompaniment as well as keyboard play,

there are five other tracks you can use to

record melody parts only. You can record

different tones on these tracks and build a

full ensemble of instruments.

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

•

Do not change a note identical to the

preceding or succeeding note. Doing so

might alter the length of the note and you

will have to re-record the entire track.

ꢄꢇ ꢃ ꢂꢖꢃꢆꢄꢆꢁꢘꢔꢃꢀꢁꢂꢃꢄꢂꢃꢅ

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You can recall and change individual notes

and parameter settings from a song in

memory.

•

When you change note, key pressure, or

chord, the keyboard sounds the new setting

so you can hear what it sounds like.

You can play back what you already

recorded on Track 1 (or any other track)

while you record on Tracks 2–6.

1. Repeatedly press SONG MEMORY until

$ꢜ

ꢉ

ꢖꢑꢆ

ꢉ3

ꢑ

appears.

Some parameters are stored in the initial

portion of the memory, called “Panel

Record.” You cannot edit data in this field

using the procedure described here. See

“Rewriting Song Data (Panel Record)” on

Page 19.

2. Within 5 seconds, repeatedly press

+ or – to select a song number.

ꢘꢉꢍ*ꢀꢃ"+ꢉꢃꢘꢉ-ꢌꢎꢏ"$%

1. Repeatedly press SONG MEMORY until

3. Use SONG MEMORY TRACK (1–6) to

ꢆꢉ3ꢛꢟ appears.

select the track you want to edit.

•

The tone and rhythm you selected before

beginning recording are stored in the panel

record. You can only change tone or rhythm

during recording.

2. Within 5 seconds, repeatedly press

+ or – to select a song number.

ꢃ CURSOR) to enter edit mode.

4. Press

(

ꢃ

ꢄ CURSOR

( ) to

5. Repeatedly press or

3. Press the desired SONG MEMORY

TRACK (2–6) to select the track you

want to record on.

move to the entry you want to change.

The only parameters that can be edited for

Tracks 2–6 are notes and tone numbers.

You can change the parameter that is

flashing on the display. To change a

•

You cannot add data to a recording.

4. If desired, you can change the tone

number and tempo settings. You can

change the tempo to one that is easy

for you to follow.

ꢃ

different parameter, repeatedly press

ꢄ CURSOR

You cannot move portions of a recording to

a different location within the recording.

(

) so the parameter you

want to edit flashes.

•

You cannot change note lengths.

6. Make the desired changes to the

selected parameter.

5. Press START/STOP to start recording.

The contents of any tracks already

recorded start to play.

The procedures you use to change a

parameter depend on the type of data it

contains. See “Editing Techniques and

Display Contents”.

6. Play on the keyboard what you want to

record on the selected track.

7. Press START/STOP to end recording.

7. Repeat Steps 5 and 6 to edit other

parameters.

If you used them, tone number and optional

pedal operation are also stored on the

selected track in addition to the notes you

played.

8. Press START/STOP when you are

finished.

ꢄꢏ"#"$%ꢃꢃꢉ-&$"/'ꢉ(ꢃꢍ$ꢏꢃꢇ"(,*ꢍꢊꢃ

ꢅ#ꢉ,ꢃꢘꢉ-ꢌꢎꢏ"$%

ꢀꢌ$#ꢉ$#(

1. Repeatedly press SONG MEMORY until

$ꢜꢉꢖꢑꢆꢉ3

Key Pressure (Velocity) — Repeatedly

press + and – or use the number buttons to

adjust the key pressure.

2. Within 5 seconds, repeatedly press

+ or – to select a song number.

Pitch — Enter a new note on the keyboard

or repeatedly press + or – to change to the

next higher or lower note. The keyboard and

the staff on the display show your new entry.

3. Press the desired SONG MEMORY

TRACK (2–6) to select the track you

want to record on.

Chord — Use the appropriate chord

fingering method for the MODE setting.

4. Change the tone, if desired. After

selecting a tone, press any keyboard

key to clear the tone selection display

and return to the note input screen.

Tone Number/Rhythm Number —

Repeatedly press + or – or use the number

buttons to enter a number.

5. Use the keyboard to enter notes or 0 to

enter rests.

Rhythm Controller (INTRO/ENDING 1 or 2,

VARIATION/FILL-IN 1 or 2, SYNCHRO/FILL-IN

NEXT) — Press the button for the function

you want to change to.

• When you enter a note using the

keyboard with touch response turned

on, the key pressure is also

recorded.

ꢄꢇ ꢃ ꢂꢖꢃꢓꢃꢅꢁꢂꢖ

• To delete a rest entry, press 0 again.

You can delete an entire song, a specific

track, or data associated with the song.

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3. Press

appears

4. Press

4. Press YES. $

ꢠ

ꢟ

ꢉ>

appears, prompting

appears.

3. Press

appears

ꢄ CURSOR

) until

appears.

6. Press YES. $

ꢠ

ꢟ

ꢉ>

appears, prompting

SONG MEMORY until

1. Repeatedly press

appears.

ꢇꢉ*ꢉ#"$%ꢃꢍꢃꢅꢌ$%

%ꢊꢕꢗ

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

To deselect a track, simply press its button

again.

1. Repeatedly press SONG MEMORY until

%ꢊꢕꢗ

appears.

•

2. Repeatedly press + or – to select the

song number.

2. Repeatedly press + or – to select the

You cannot change the song number while

in track delete standby.

song number.

3. Make the changes in settings as

desired.

You cannot select a track that does not

contain recorded data.

ꢂ ENTER $ꢛ'ꢓꢅꢉꢊ>

( ).

ꢂ ENTER). $ꢛ'ꢓꢅꢉꢊ> appears.

(

Pressing SONG MEMORY while in track

delete standby mode returns to record

standby mode.

you to confirm the deletion.

ꢃ

ꢄ CURSOR) until

(

5. Repeatedly press or

%'ꢉꢊꢑꢆꢉ3>ꢑ

5. Press YES again.

6. Press YES to rewrite the header data.

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ꢅ,ꢉ-")"-ꢃꢃꢎꢍ-.

ory

ꢕꢅ ꢂꢖꢃꢆ ꢇ

1. Repeatedly press SONG MEMORY until

%ꢊꢕꢗ

appears.

Your keyboard includes a feature called

MIDI (Musical Instrument Digital Interface).

MIDI is the universal standard for sending

and receiving performance data between all

types of electronic musical instruments,

regardless of manufacturer. Using MIDI, you

can play music on your keyboard and

another instrument at the same time while

pressing the keys on only one, record your

music to a sequencer, acquire a wider

selection of preset tones from a sound

module, and much more.

2. Repeatedly press + or – to select the

song number.

hSongMem

Usingt

ꢂ ENTER $ꢛ'ꢓꢅꢉꢊ>

( ).

ꢃ

4. Repeatedly press or

(

ꢀꢟ.ꢅꢉꢊ>

5. Press the appropriate SONG MEMORY

TRACK (1-6) to select the track(s) you

want to delete. You can specify more

than one track by pressing more than

Connecting your keyboard to another MIDI

device requires a MIDI cable (not supplied).

one button.

you to confirm the deletion.

For detailed specifications of the MIDI

function, see the “MIDI Implementation

Chart” on Page 41. For more information

about MIDI parameters, visit

7. Press YES again to delete the track(s).

ꢘꢉ0ꢎ"#"$%ꢃꢅꢌ$%ꢃꢇꢍ#ꢍꢃ

www.radioshack.com and download the

“MD-1121 MIDI Implementation.”

ꢆꢗꢍ$ꢉ*ꢃꢘꢉ-ꢌꢎꢏꢇ

Each song in the keyboard’s memory has a

section in its header called the panel record.

This section contains initial data for the

recording. You can rewrite this portion if

necessary.

ꢓꢚꢁꢕꢃꢃꢆ ꢇ

Every MIDI-equipped instrument has MIDI

OUT and IN terminals, and some also have

a MIDI THRU terminal. Each of these

terminals serves a different purpose.

The settings stored in panel records are:

MIDI OUT sends MIDI data to (“talks to”)

other MIDI instrument(s).

• Rhythm

• Tempo

• Accomp Volume

• Reverb On/Off

• Reverb Type

• Chorus On/Off

• Chorus Type

• DSP Type

MIDI IN receives (“listens to”) MIDI data sent

by other MIDI instrument(s).

MIDI THRU lets you connect (“network”)

additional MIDI instruments, and sends

other MIDI devices a copy of all data it

receives through its MIDI IN terminal.

Your keyboard has MIDI OUT and MIDI IN

terminals.

• Equalizer Type

The following mixer parameters are also

stored in the panel record:

The cable that connects MIDI devices does

not actually carry sound between them, like

a speaker wire carries sound from a receiver

to a speaker. Instead, MIDI-equipped

devices communicate with each other using

digital codes (instructions). One MIDI device

sends digital instructions representing

exactly what is being played on it. The other

MIDI device receives and translates those

instructions, then produces (or records) the

sound exactly as it was played on the first

device.

• Tone

• Part On/Off

• Volume

• Pan

• Oct Shift

• Coarse Tune

• Fine Tune

• Reverb Send

• Chorus Send

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(available at RadioShack).

ꢀ

until 1

ꢅ

ꢑ

appears.

2. Press

(

) — When set to on, the keyboard

(Accompaniment Out)

(Default: ꢁ

) — Set to ꢛ to send auto

(Local Control) (Default: ) — Set

to ꢛ

to send data to the keyboard’s

simultaneously. Set to

ꢛꢘꢘ to send data

only to another MIDI device (the

keyboard’s speakers are muted).

ꢆꢓꢈ ꢂꢖꢃꢃꢐꢄꢃꢆ ꢇ ꢃ

ꢀꢁꢂꢂꢄꢀꢃ ꢁꢂꢅ

To connect your keyboard to another MIDI-

equipped device, you must use a MIDI cable

4. Repeatedly press + or – or use the

number buttons to change the setting

ꢅ EXIT

( ).

as required. Then press

To send MIDI data from your keyboard, use

a MIDI cable to connect the keyboard’s MIDI

OUT terminal to the other device’s MIDI IN

terminal.

M^{ꢃꢂꢁꢃꢄꢃ}M^ꢃ

You do not need to make both connections if

you are only either sending or receiving.

ꢂꢁꢃꢄꢅꢃꢓꢚꢁꢕꢃꢃꢃꢐꢄꢃꢆ ꢇ ꢃ

ꢆꢗꢙꢄꢆꢄꢂꢃꢓꢃ ꢁꢂꢃꢀꢐꢓꢘꢃ

The “MIDI Implementation Chart” on

Page 41 shows specific details about how

your keyboard is compatible with the MIDI

standard. The following notes explain how

the keyboard works within the MIDI

standard.

To receive MIDI data on your keyboard, use

a MIDI cable to connect the keyboard’s MIDI

IN terminal to the other device’s MIDI OUT

ꢀ_{ꢃꢀꢓꢕꢃ ꢁꢂꢃ}ꢀ

•

Always turn off power to your keyboard and

the other MIDI device before you connect or

disconnect MIDI cables.

terminal.

hSongMem

ꢆ ꢇ ꢃꢇꢓꢃꢓ

As you make the cable connections, be

sure to align the MIDI cable pins with the

matching holes on your keyboard’s MIDI

OUT and MIDI IN terminals. If you have

trouble plugging in the cable, do not force it!

You might damage the plug or the

instrument.

Basic Channel — The MIDI standard

allows for the use of up to 16 channels to

exchange data. Like a TV broadcast, each

of these channels can contain different data.

The keyboard can send and receive data on

all 16 of these channels.

Your keyboard can send and receive several

different types of MIDI data. The keyboard’s

tones, rhythms, and other types of MIDI data

are sent automatically as you play.

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The keyboard parts (Channels 1 through 4)

are sent over the corresponding channels.

When you turn auto harmonize on (see

“Using Auto Harmonize” on Page 12), the

harmonized notes are sent.

Mode — The MIDI standard allows for four

separate modes of operation. The keyboard

sends and receives data in Mode 3. This

means that the data sent and received by

the keyboard can be polyphonic and can be

sent or received on only one channel at a

time.

You can set accompaniment parts to be sent

over the corresponding channels (Channels

6 – 10). See “Changing MIDI Settings.” The

keyboard’s prerecorded tunes cannot be

sent as MIDI data.

Note Number — The MIDI standard allows

for note numbers from 0 through 127. This

number represents each possible note that a

device can play. The lowest note number (0)

is five octaves below middle C and the

highest note number (127) is three octaves

above middle C. The keyboard can send

and receive all 128 note numbers.

The keyboard can receive data over all 16

MIDI mixer channels at the same time.

The received message is interpreted as

chord change data when you set MODE to

CONCERT CHORD or FINGERED. See

“Changing MIDI Settings.”

Velocity — The MIDI standard allows for

velocity numbers from 0 through 127.

Velocity is how fast a key is pressed (or if

the key is pressed at all) or how loud a note

sounds. A velocity of 0 means that the key is

not pressed. The lowest velocity (1) is

pianissimo and the highest velocity (127) is

fortissimo. The keyboard can send and

receive all 128 velocity numbers.

ꢀꢐꢓꢂꢖ ꢂꢖꢃꢆ ꢇ ꢃꢅꢄꢃꢃ ꢂꢖꢅ

1. Press TOUCH/TRANSPOSE/SETTING,

ꢃ

ꢄ CURSOR

( )

then repeatedly press or

ꢂ ENTER). ꢋꢌꢑ/ꢉꢗ ꢑꢚꢔ appears.

ꢃ

3. Within 5 seconds, repeatedly press or

ꢄ

until the parameter you want to

change appears.

Pitch Bender — The keyboard receives

(but cannot send) pitch bending signals.

/ꢉꢗ ꢑꢚꢔ (Keyboard Basic Channel)

ꢌ

(Default: ꢋ ) — Sets the channel for

sending MIDI data to an external

device.

Control Change — This feature sends data

on various controllers, each having its own

number. For the details of each parameter,

see “MIDI Data”.

ꢚꢔꢛꢟ (MIDI In Chord Judge) (Default:

ꢁ88

Program Change — This feature changes

the preset sounds. Each sound number

corresponds to a program number between

0 and 127. See “MIDI Data”.

interprets the received basic channel

note data as auto accompaniment

chords using the current chord fingering

method.

ꢄ3ꢛꢐꢖꢁꢠꢜ

System Exclusive — This feature sends

special signals unique to the keyboard.

accompaniment as MIDI data.

All Notes Off — This feature is a kind of

panic button: it stops the current sounds

from playing. Only the keyboard receives

this message.

ꢈꢛ3ꢕꢊ

ꢁ'

speakers and another MIDI device

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Active Sense — This means the

keyboard’s sound turns off in the event the

connection cable to the MIDI IN terminal is

accidentally disconnected.

ꢕꢅ ꢂꢖꢃꢃꢐꢄꢃꢇꢓꢃꢓꢃꢇꢁꢒꢂꢙꢁꢓꢇꢃ

ꢅꢄꢘꢝ ꢀꢄ

Visit www.radioshack.com to download the

preset accompaniments, tones, DSPs, and

registration data, as well as the software to

transfer the downloaded data from your PC

to the keyboard.

ory

The software not only allows you to transfer

the downloaded data to the keyboard, but

also to store the various settings you made

on the keyboard onto your PC’s storage

device. See the instructions provided with

the software.

hSongMem

Usingt

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ꢃꢘꢁꢕꢚꢙꢄꢅꢐꢁꢁꢃ ꢂꢖ

ꢃꢎꢌ'ꢋ*ꢉ

ꢗꢌ(("ꢋ*ꢉꢃꢀꢍ'(ꢉ

ꢘꢉ+ꢉꢏꢊ

The keyboard has turned off

automatically.

Press POWER.

Adjust VOLUME.

The volume is turned down.

The headphones are connected. Disconnect the headphones.

Make sure the batteries are fresh and

Power supply problem.

inserted correctly, or the AC adapter is

connected securely.

No sound, even if keys

are pressed.

You are pressing too few

accompaniment keys while

MODE is set to FINGERED.

Set MODE to NORMAL or CONCERT

CHORD. Or press 3 or 4 keys to form a

chord while MODE is set to FINGERED.

Set local control to ON (see “Changing

MIDI Settings” on Page 20).

Local control is off.

Turn on Channel 1 or raise the volume

setting (see “Using the Mixer” on

Page 12).

Mixer channel 1 is turned off or its

volume is set too low.

No sound when

connected to an external

amplifier.

The volume is turned down.

Defective connection cord.

Adjust VOLUME.

Replace the connection cord.

MIDI cables are not connected

properly.

Check the connection.

No sound when

receiving and playing

MIDI data.

Turn channel 1 ON or raise the volume

setting (see “Using the Mixer” on

Page 12).

Mixer channel is turned off or its

volume is too low.

ulbeshot

The key or tuning does

not match when playing

along with another MIDI

instrument.

The tuning or transpose

parameter is set to a value other

than 0 or 00.

Set the tuning or transpose parameter to

0 or 00.

ign

Some parts do not play

during song memory

playback.

Channels are turned off or volume Use the mixer function to turn the

set too low.

channel on or to raise the volume.

A track other than Track 1 is

selected. (Tracks 2 through 6 are Select Track 1.

for melody only.)

Cannot record auto-

accompaniment.

Sounds sent to another

MIDI device by the

keyboard do not sound

correct.

The other device’s MIDI THRU

function is turned on.

Turn off the MIDI THRU function on the

other device.

Cannot record chord

accompaniment data on Accomp MIDI Out is set to ꢛꢘꢘ.

Set MIDI Out to ꢛ'.

a computer.

ꢀꢓꢘꢄ

Keep the keyboard dry; if it gets wet, wipe it

dry immediately. Use and store the

keyboard only in normal temperature

environments. Handle the keyboard

carefully; do not drop it. Keep the keyboard

away from dust and dirt, and wipe it with a

damp cloth occasionally to keep it looking

new.

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If your keyboard is not performing as it

should, take it to your local RadioShack

store for assistance. Modifying or tampering

with the keyboard’s internal components can

cause a malfunction and might invalidate its

warranty and void your FCC authorization to

operate it.

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oneList

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oenList

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oneList

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oenList

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ꢖꢆꢃꢃꢁꢂꢄꢅ

oneList

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ꢖꢆꢃꢃꢁꢂꢄꢅꢃꢆꢀꢁꢂꢃ ꢂꢕꢄꢇꢇ

oenList

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ꢇꢘꢕꢆꢃꢅꢁꢕꢂꢇꢅ

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oneList

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oenList

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oneList

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ꢄꢑꢑꢄꢀꢃꢃꢙ ꢅꢃ

ꢘꢄꢝꢄꢘꢚ

ꢀꢐꢁꢘꢕꢅ

ꢇꢅꢗ

fce

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ꢇꢅꢗꢃꢆꢀꢁꢂꢃ ꢂꢕꢄꢇꢇ

List

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ꢇꢅꢗꢃꢓꢙꢖꢁꢘ ꢃꢐꢆꢃꢙ ꢅꢃ

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Continually performs left-right panning of the

input signal in accordance with an LFO.

0: Rate (0 to 127) – Adjusts the panning rate.

1: Depth (0 to 127) – Adjusts the panning depth.

Auto Pan

– Adjusts volume of input signal in accordance 0: Rate (0 to 127) – Adjusts the tremolo rate.

Tremolo

with an LFO.

1: Depth (0 to 127) – Adjusts the tremolo depth.

0: Low Frequency [0 (200Hz), 1 (400Hz), 2 (800Hz)] – Adjusts the cutoff

frequency of the low-band equalizer.

1: Low Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the low-band

equalizer.

2: High Frequency [0 (6.0kHz), 1 (8.0kHz), 2 (10kHz)] – Adjusts the cutoff

frequency of the high-band equalizer.

2BandEQ

This is a two-band equalizer.

3: High Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the high-band

equalizer.

0: Low Frequency [0 (200Hz), 1 (400Hz), 2 (800Hz)] – Adjusts the cutoff

frequency of the low-band equalizer.

1: Low Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the low-band

equalizer.

2: Mid Frequency [0 (1.0kHz), 1 (1.3kHz), 2 (1.6kHz), 3 (2.0kHz), 4 (3.0kHz), 5

(4.0kHz), 6 (6.0kHz), 7 (8.0kHz)] – Adjusts the center frequency of the mid-

band equalizer.

3BandEQ

This is a three-band equalizer.

3: Mid Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the mid-band

equalizer.

4: High Frequency [0 (6.0kHz), 1 (8.0kHz), 2 (10kHz)] – Adjusts the cutoff

frequency of the high-band equalizer.

5: High Gain (-12, -11, -10 to +10, +11, +12) – Adjusts the gain of the high-band

equalizer.

0: Input Level (0 to 127) – Adjusts the input level. The input signal can become

distorted when the level of the sound being input, the number of chords, or the

resonance value is large. Adjust this parameter to eliminate such distortion.

1: Resonance (0 to 127) – Adjusts the resonance of the sound.

2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter.

3: LFO Rate (0 to 127) – Adjusts the rate of the LFO.

This is a “wah” effect that can automatically

affect the frequency in accordance with an LFO.

LFO Wah

4: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

0: Input Level (0 to 127) – Adjusts the input level. The input signal can become

distorted when the level of the sound being input, the number of chords, or the

Resonance value is large. Adjust this parameter to eliminate such distortion.

1: Resonance (0 to 127) – Adjusts the resonance of the sound.

This is a “wah” effect that can automatically

affect the frequency in accordance with the

level of the input signal.

2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter.

3: Depth (-64 to 0 to +63) – Adjusts the depth of the wah in accordance with the

level of the input signal. Setting a positive value causes the wah filter to open

in direct proportion with the size of the input signal, producing a bright sound.

Setting a negative value causes the Wah filter to close in accordance with the

size of the input signal, which produces a dark tone quality. However, large

input re-opens the Wah filter, even if it is closed.

Auto Wah

0: Depth (0 to 127) – Adjusts compression of the audio signal.

1: Attack (0 to 127) – Adjusts the attack amount of the input signal. A smaller

value causes prompt compressor operation, which suppresses the attack of

the input signal. A larger values delays compressor operation, which causes

attack to be output as-is.

Compresses the input signal, which can

Compressor suppress level variation and make it possible to

sustain dampened sounds longer.

2: Release (0 to 127) – Adjusts the time from the point when the input signal

drops below a certain level until the compression operation is stopped. When

an attack feeling is desired (no compression at the onset of the sound), set

this parameter to as low a value as possible. To apply compression at all

times, set a high value.

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3: Level (0 to 127) – Adjusts the output level. The output volume changes in

accordance with the Depth setting and the characteristics of the input tone.

Use this parameter to correct for such changes.

0: Limit (0 to 127) – Adjusts the volume level from which the limit is applied.

1: Attack (0 to 127) – Adjusts the attack amount of the input signal.

2: Release (0 to 127) – Adjusts the time from when the input signal drops below

a certain level until the limit operation stops.

3: Level (0 to 127) – Adjusts the level being output. The output volume changes

in accordance with the Limit setting and the characteristics of the input tone.

Use this parameter to correct for such changes.

This is an effector that you can use to set an

Limiter

upper limit value on the level of the input signal.

0: Gain (0 to 127) – Adjusts the input gain.

1: Low (0 to 127) – Adjusts the low-band gain. The cutoff frequency differs

according to the preset DSP.

2: High (0 to 127) – Adjusts the high-band gain. The cutoff frequency differs

according to the preset DSP.

Distortion

This effect provides Distortion + AmpSimulator.

3: Level (0 to 127) – Adjusts the output level.

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0: Resonance (0 to 127) – Adjusts the resonance of the sound.

1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for

reference.

2: Rate (0 to 127) – Adjusts the rate of the LFO.

3: Depth (0 to 127) – Adjusts the depth of the LFO.

4: Wet Level (0 to 127) – Adjusts the volume level of the effect.

Stereo

Phaser

This is a stereo phaser that modulates the

phase in accordance with a sine wave LFO.

0: Resonance (0 to 127) – Adjusts the resonance of the sound.

1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for

reference.

2: Rate (0 to 127) – Adjusts the rate of the LFO.

3: Depth (0 to 127) – Adjusts the depth of the LFO.

4: Wet Level (0 to 127) – Adjusts the level of the effect sound.

This is a monaural phaser that modulates the

phase in accordance with a sine wave LFO.

Phaser

0: Speed (Slow, Fast) Switches the speed mode between fast and slow.

1: Break (Rotate, Stop) Stops speaker rotation.

2: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

from fast to slow.

3: Rise Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

from slow to fast.

Rotary

This is a rotary speaker simulator.

4: Slow Rate (0 to 127) – Adjusts speaker rotation speed in the slow speed

mode.

5: Fast Rate (0 to 127) – Adjusts speaker rotation speed in the fast speed mode.

0: Overdrive Gain (0 to 127) – Adjusts overdrive gain.

1: Overdrive Level (0 to 127) – Adjusts the output level of the overdrive.

2: Speed (Slow, Fast) Switches the speed mode between fast and slow.

3: Break (Rotate, Stop) Stops speaker rotation.

4: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

from fast to slow.

Drive Rotary This is an overdrive-rotary speaker simulator.

5: Rise Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

from slow to fast.

6: Slow Rate (0 to 127) – Adjusts speaker rotation speed of the slow speed mode.

7: Fast Rate (0 to 127) – Adjusts speaker rotation speed of the fast speed mode.

0: Low Frequency (0 to 127) – Adjusts the low range enhancer frequency.

1: Low Gain (0 to 127) – Adjusts the low range enhancer gain.

2: High Frequency (0 to 127) – Adjusts the high range enhancer frequency.

3: High Gain (0 to 127) – Adjusts the high range enhancer gain.

Enhances the outlines of the low range and

Enhancer

high range of the input signal.

0: OSC Frequency (0 to 127) Sets the reference frequency of the internal OSC.

1: LFO Rate (0 to 127) – Adjusts the rate of the LFO.

2: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

4: Dry Level (0 to 127) – Adjusts the level of the original sound.

This is a ring modulator (AM modulator) that

Ring

Modulator

makes it possible to modulate the frequency of

internal oscillator (OSC) in accordance with an

internal LFO.

This is an effector that reproduces a retro-type 0: Noise Level 1 (0 to 127) – Adjusts the level of Noise Generator 1.

Lo-Fi sound using Noise Generator 1 (phono-

graph record player type scratch noise

generator) and Noise Generator 2 (FM radio

type white noise and pink noise continuous

noise generator), and by using noise

1: Noise Density 1 (0 to 127) – Adjusts the noise density of Noise Generator 1.

2: Noise Level 2 (0 to 127) – Adjusts the level of Noise Generator 2.

3: Noise Density 2 (0 to 127) – Adjusts the noise density of Noise Generator 2.

4: Tone (0 to 127) – Adjusts the tone.

5: Resonance (0 to 127) – Adjusts the resonance of the sound.

6: Bass (-64 to 0 to +63) – Adjusts the volume of low sounds.

7: Level (0 to 127) – Adjusts the output level.

Lo-Fi

modulation (amplitude modulation = AM) and

distortion of frequency characteristics.

0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.

1-Phase

Chorus

This is a monaural chorus in accordance with a 1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

sine wave LFO.

2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound.

3: Wet Level (0 to 127) – – Adjusts the level of the effect sound.

0: LFO Rate (0 to 127) – – Adjusts the rate of the LFO.

1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound.

3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

List

Sin 2-Phase This is a stereo chorus in accordance with a

Chorus

sine wave LFO.

0: Rate1 (Fast LFO Rate, 0 to 127) – Adjusts the rate of LFO1.

1: Depth1 (Fast LFO Depth, 0 to 127) – Adjusts the depth of LFO1.

2: Rate2 (Slow LFO Rate, 0 to 127) – Adjusts the rate of LFO2.

3: Depth2 (Slow LFO Depth, 0 to 127) – Adjusts the depth of LFO2.

4: Wet Level (0 to 127 – Adjusts the level of the effect sound.

3-Phase

Chorus

This is a 3-phase chorus in accordance with two

LFOs of with different sine wave rates.

0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.

Tri 2-Phase This is a stereo chorus in accordance with

Chorus

1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

2: Feedback (-64 to +63) – Adjusts the feedback of the sound.

3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

triangular wave LFO.

0: Delay Time (0 to 127) – Adjusts the delay time.

1: Wet Level (0 to 127) – Adjusts the level of the effect sound.

2: Feedback (0 to 127) – Adjusts the repeat of the delay.

3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound.

4: Ratio L (0 to 127) – Adjusts the delay time of the left channel, proportional to

the value set for Delay Time.

Stereo

Delay 1

This is a delay of stereo input and output.

5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to

the value set for Delay Time.

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0: Delay Time (0 to 127) – Adjusts the delay time.

1: Wet Level (0 to 127) – Adjusts the level of the effect sound.

2: Feedback (0 to 127) – Adjusts the repeat of the delay.

3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound.

4: Ratio L (0 to 127) – Adjusts the delay time of the left channel, proportional to

the value set for Delay Time.

Stereo

Delay 2

This is a cross feedback delay of stereo input

and output.

5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to

the value set for Delay Time.

0: Delay Time (0 to 127) – Adjusts the delay time.

1: Wet Level (0 to 127) – Adjusts the level of the effect sound.

2: Feedback (0 to 127) – Adjusts the repeat of the delay.

3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound.

4: Ratio L (0 to 127) – Adjusts the delay time of the left channel. Proportional to

the value set for Delay Time.

3-Tap Delay This is left/center/right 3-tap delay.

5: Ratio C (0 to 127) – Adjusts the delay time of the center channel. Proportional

to the value set for Delay Time.

6: Ratio R (0 to 127) – Adjusts the delay time of the right channel. Proportional to

the value set for Delay Time.

0: LPF (0 to 127) – Adjusts the cutoff frequency of the low-pass filter. A smaller

value cuts the high range.

1: HPF (0 to 127) – Adjusts the cutoff frequency of the high-pass filter. A larger

value cuts the low range.

Gate

Reverb

This is a fader that creates artificial reverb that 2: Feedback (0 to 127) – Adjusts the repeat of the reverb.

sounds like it is being cut with a gate.

3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound.

4: Diffusion (0 to 127) Provides fine adjustment of the reverb.

5: Wet Level (0 to 127) – Adjusts the level of the effect sound.

6: Dry Level (0 to 127) – Adjusts the level of the original sound.

0: LPF (0 to 127) – Adjusts the cutoff frequency of the low-pass filter. A smaller

value cuts the high range.

1: HPF (0 to 127) – Adjusts the cutoff frequency of the high-pass filter. A larger

value cuts the low range.

Reverse

Gate

Reverb

This is gate reverb with a reverse rotation

effect.

2: Feedback (0 to 127) – Adjusts the repeat of the reverb.

3: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The

smaller the value, the greater the damping of high-range reverb sound.

4: Diffusion (0 to 127) Provides fine adjustment of the reverb.

5: Wet Level (0 to 127) – Adjusts the level of the effect sound.

6: Dry Level (0 to 127) – Adjusts the level of the original sound.

0: Type (0 to 7) Selects from among the eight available reflection patterns.

This is an effector that extracts the first reflected 1: Wet Level (0 to 127) – Adjusts the level of the effect sound.

Reflection

sound from a reverb sound.

2: Feedback (0 to 127) – Adjusts the repeat of the reflected sound.

3: Tone (0 to 127) – Adjusts the tone of the reflected sound.

0: LFO Rate (0 to 127) – Adjusts the rate of the LFO.

This is a flanger in accordance with a sine wave 1: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

LFO.

2: Feedback (-64 to +63) – Adjusts the feedback of the sound.

3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

0: Tone (0 to 127) – Adjusts the tone of the reverb sound.

1: Time (0 to 127) – Adjusts the reverb time.

This is an effector that preserves the breadth of 2: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The

Reverb

a sound by adding a reverb sound.

smaller the value, the greater the damping of high-range reverb sound.

3: ER Level (0 to 127) – Adjusts the level of the initial reflection.

4: Wet Level (0 to 127) – Adjusts the level of the effect sound.

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0: Delay Time (0 to 127) – Adjusts the delay time.

1: Wet Level (0 to 127) – Adjusts the level of the effect sound.

2: Feedback (0 to 127) – Adjusts the repeat of the delay.

3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound.

4: Ratio L (0 to 127) – Adjusts the delay time of the left channel, proportional to

the value set for Delay Time.

2-Tap Delay This is left/right 2 tap delay.

5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to

the value set for Delay Time.

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The following “Multi” algorithms are used in combination with the algorithms described

previously in this section. Parameters are shared by both types of algorithms.

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0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Delay Time

Multi00

This is a multi effector that is related to Sin 2-Phase Chorus —

M00

(Sin 2-Phase Chorus — 2-Tap Delay) 2-Tap Delay.

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Chorus Rate 1

1: Chorus Depth 1

2: Chorus Rate 2

3: Chorus Depth 2

4: Chorus Wet Level

5: Delay Time

Multi01

M01

M02

M03

M04

This is a multi effector that is related to 3-Phase Chorus — 3-Tap Delay.

(3-Phase Chorus — 3-Tap Delay)

6: Delay Wet Level

7: Delay Feedback

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Chorus Rate 1

5: Chorus Depth 1

6: Chorus Rate 2

7: Chorus Depth 2

Multi02

(Phaser — 3-Phase Chorus)

This is a multi effector that is related to Phaser — 3-Phase Chorus.

This is a multi effector that is related to Flanger — 2-Tap Delay.

This is a multi effector that is related to Stereo Phaser — Stereo Delay 1.

0: Flanger LFO Rate

1: Flanger LFO Depth

2: Flanger Feedback

3: Flanger Wet Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

Multi03

(Flanger — 2-Tap Delay)

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Phaser Wet Level

5: Delay Time

Multi04

(Stereo Phaser — Stereo Delay 1)

6: Delay Wet Level

7: Delay Feedback

0: Enhancer Low

Frequency

1: Enhancer Low Gain

2: Enhancer High

Frequency

3: Enhancer High Gain

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Chorus Feedback

7: Chorus Wet Level

Multi05

M05

M06

M07

This is a multi effector related to Enhancer — 1- Phase Chorus.

This is a multi effector that is related to Enhancer — 2-Tap Delay.

This is a multi effector related to Enhancer — Flanger.

(Enhancer — 1- Phase Chorus)

List

0: Enhancer Low

Frequency

1: Enhancer Low Gain

2: Enhancer High

Frequency

3: Enhancer High Gain

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

Multi06

(Enhancer — 2- Tap Delay)

0: Enhancer Low

Frequency

1: Enhancer Low Gain

2: Enhancer High

Frequency

3: Enhancer High Gain

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

Multi07

(Enhancer — Flanger)

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0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

Multi08

M08

This is a multi effector that is related to Sin 2-Phase Chorus — Flanger.

(Sin 2-Phase Chorus — Flanger)

0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Tremolo Rate

Multi09

M09

M10

This is a multi effector that is related to Sin 2-Phase Chorus — Tremolo.

(Sin 2-Phase Chorus — Tremolo)

5: Tremolo Depth

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

Multi10

This is a multi effector that is related to Stereo Phaser — Auto Pan.

3: Phaser Depth

(Stereo Phaser — Auto Pan)

4: Phaser Wet Level

5: Auto Pan Rate

6: Auto Pan Depth

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

3: Lo-Fi Noise 1

4: Lo-Fi Noise 2

5: Lo-Fi Tone

Multi11

(Compressor — Lo- Fi)

M11

M12

M13

M14

M15

M16

This is a multi effector related to Compressor — Lo-Fi.

6: Lo-Fi Resonance

7: Lo-Fi Bass

0: Ring OSC Frequency

1: Ring LFO Rate

2: Ring LFO Depth

3: Ring Wet Level

4: Ring Dry Level

5: Chorus LFO Depth

6: Delay Time

Multi12

This is a multi effector that is related to Ring Modulator —

Sin 2-Phase Chorus.

(Ring Modulator — Sin 2-Phase

Chorus — 2-Tap Delay)

7: Delay Wet Level

0: Ring OSC Frequency

1: Ring LFO Rate

2: Ring LFO Depth

3: Ring Wet Level

4: Ring Dry Level

5: Distortion Gain

6: Distortion Tone

7: Distortion Level

Multi13

This is a multi effector related to Ring Modulator — Distortion.

This is a multi effector related to Lo-Fi — Reflection.

This is a multi effector related to Distortion — Lo- Fi.

This is a multi effector related to Drive Rotary — Reflection.

(Ring Modulator — Distortion)

0: Lo-Fi Noise1

1: Lo- Fi Noise2

2: Lo- Fi Tone

3: Lo- Fi Resonance

4: Reflection Type

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

Multi14

(Lo- Fi — Reflection)

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0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Lo- Fi Noise1

5: Lo- Fi Noise2

6: Lo- Fi Tone

Multi15

(Distortion — Lo- Fi)

7: Lo- Fi Resonance

0: Drive Rotary Gain

1: Drive Rotary Level

2: Drive Rotary Speed

3: Drive Rotary Slow Rate

4: Drive Rotary Fast Rate

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

Multi16

(Drive Rotary — Reflection)

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0: Rotary Speed

1: Rotary Break

2: Rotary Slow Rate

3: Rotary Fast Rate

4: Reflection Wet Level

5: Reflection Feedback

6: Reflection Tone

Multi17

(Rotary — Reflection)

M17

This is a multi effector related to Rotary — Reflection.

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

3: Enhancer Low Gain

4: Enhancer High Gain

5: Delay Time

Multi18

(Compressor - Enhancer —

2-Tap Delay)

This is a multi effector that is related to Compressor - Enhancer —

2-Tap Delay.

M18

M19

M20

M21

M22

M23

M24

M25

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Compressor Attack

2: Compressor Release

3: Compressor Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

Multi19

This is a multi effector related to Compressor — Stereo Delay 1.

(Compressor — Stereo Delay 1)

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

Multi20

This is a multi effector that is related to Phaser - 1-Phase Chorus —

Auto Pan.

3: Phaser Depth

(Phaser - 1-Phase Chorus —

Auto Pan)

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Auto Pan Rate

7: Auto Pan Depth

0: Wah Resonance

1: Wah Manual

2: Wah Depth

Multi21

This is a multi effector that is related to Auto Wah - Tri 2-Phase Chorus — 3: Chorus LFO Rate

(Auto Wah - Tri 2 Phase Chorus — 2-

Tap Delay)

2-Tap Delay.

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Wah Resonance

1: Wah Manual

2: Wah LFO Rate

Multi22

This is a multi effector that is related to LFO Wah - Tri 2-Phase Chorus — 3: Wah LFO Depth

(LFO Wah -Tri 2-Phase Chorus — 2-

Tap Delay)

2-Tap Delay.

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

Multi23

This is a multi effector that is related to Compressor - Sin 2-Phase Chorus 3: Chorus LFO Rate

(Compressor - Sin 2-Phase Chorus —

Reflection)

— Reflection.

4: Chorus LFO Depth

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

List

0: Distortion Gain

1: Distortion Low

2: Distortion High

Multi24

This is a multi effector that is related to Distortion - 1-Phase Chorus — 2- 3: Distortion Level

(Distortion - 1-Phase Chorus — 2-Tap

Delay)

Tap Delay.

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Distortion Gain

2: Distortion Low

3: Distortion High

4: Distortion Level

5: Delay Time

Multi25

This is a multi effector that is related to Compressor - Distortion —

2-Tap Delay.

(Compressor - Distortion — 2-Tap

Delay)

6: Delay Wet Level

7: Delay Feedback

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0: Wah Manual

1: Wah Depth

2: Distortion Gain

3: Distortion Tone

4: Distortion Level

5: Delay Time

Multi26

This is a multi effector that is related to Auto Wah - Distortion —

M26

(Auto Wah - Distortion — 2-Tap Delay) 2-Tap Delay.

6: Delay Wet Level

7: Delay Feedback

0: Wah Manual

1: Wah LFO Rate

2: Wah LFO Depth

3: Distortion Gain

4: Distortion Level

5: Delay Time

Multi27

This is a multi effector that is related to LFO Wah - Distortion —

M27

M28

M29

M30

M31

(LFO Wah - Distortion — 2-Tap Delay) 2-Tap Delay.

6: Delay Wet Level

7: Delay Feedback

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

Multi28

(Distortion — 3-Tap Delay)

This is a multi effector that is related to Distortion — 3-Tap Delay.

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Phaser Resonance

5: Phaser Manual

6: Phaser Rate

Multi29

(Distortion — Phaser)

This is a multi effector related to Distortion — Phaser.

7: Phaser Depth

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Chorus Feedback

7: Chorus Wet Level

Multi30

This is a multi effector that is related to Distortion — Sin 2-Phase Chorus.

(Distortion — Sin 2-Phase Chorus)

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

Multi31

(Distortion — Flanger)

This is a multi effector related to Distortion — Flanger.

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ionChart

ent

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Number of Keys .............................................. 61

Polyphonic Sound ....................... 32-note (Max.)

Headphones ..................... Stereo Standard Jack

Output Impedance: ............................. 140 Ohms

pceif

Preset Tones ................................................. 348

(100 panel tones, 128 General MIDI,

10 drum sounds, 10 user,

Output Voltage ........................ 4.5 V (RMS) MAX

at 47K ohm load

inos

Power Sources ........................ DC: 6 D batteries

AC: 9V with AC adapter

100 advanced tones)

with Layer and Split

Power Consumption .................................. 7.7 W

Dimensions (HWD) 5¹³/¹⁶× 37⁷/⁸× 14³/⁴Inches

Rhythm Instrument Tones ............................... 61

Effects ......................................................... DSP

(110 types: internal, 10 user areas)

Reverb (16 types)

(14.7 × 96 × 37.5 cm)

Weight (Without Batteries) ............... 12 lbs 12 oz

(5.8 kg)

Chorus (16 types)

Included Accessories ........... Sheet Music Stand

Demo Tunes ..................................................... 2

Auto Accompaniment

Specifications are typical; individual units might

vary. Specifications are subject to change and

improvement without notice.

Rhythm Patterns ................... 100 + 4 user areas

Tempo ................ Variable (226 steps, 30 to 255)

Chords ................................ 3 fingering methods

(Concert Chord, Fingered, Full Range)

Rhythm Controller .............................. Start/Stop,

Intro/Ending 1/2

Variation/Fill-In 1/2

Synchro/Fill-In Next

Accompaniment Volume ..... 0 to 127 (128 steps)

One-Touch Preset ......... Recalls tone and tempo

settings best suited for the selected rhythm

Registration Memory

Number of Setups ........ 16 (4 locations, 4 banks)

Memory Contents ............... Tone, rhythm, tempo

split setting, split point, layer setting

mixer settings, mixer settings

effect setting, equalizer setting

touch response setting

SUSTAIN/ASSIGNABLE JACK setting

transpose setting, tuning setting

accompaniment volume setting

harmonize setting

Memory Function

Songs ................................................................ 2

Recording Tracks .............................................. 6

(2 through 6 are melody tracks)

Recording Methods .................... Real-time, Step

Memory Capacity ..... Approximately 3,500 notes

(total for two songs)

Edit Function ........................................ Equipped

Custom Tone Parameter Function

Parameters ................ Attack time, release time,

resonance, cutoff frequency, vibrato type,

vibrato delay, vibrato depth, vibrato rate,

octave shift, level, touch sense, reverb send,

chorus send, DSP line, DSP type,

DSP parameter

Mixer Function

Channels ......................................................... 16

Parameters ................ Program change number,

volume, expression, pan, coarse tuning,

fine tuning, on/off/solo

MIDI .............................. 16 multi-timbre receive,

GM Level 1 standard

Transpose ....... –24 semitones to +24 semitones

Tuning ......... Adjustable A4 = 440 Hz ±100 cents

Built-In Speakers ................................. 12 cm × 2

Terminals

MIDI Terminals ....................................... IN, OUT

Assignable Terminal ............ /⁴-Inch Phone Jack

(sustain, sostenuto, soft, rhythm start/stop)

Power Supply ................................... 9V DC Jack

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ꢂꢁꢃꢄꢅ

Notes

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Limited One-Year Warranty

This product is warranted by RadioShack against manufacturing defects in material and workmanship under nor-

mal use for one (1) year from the date of purchase from RadioShack company-owned stores and authorized Ra-

dioShack franchisees and dealers. EXCEPT AS PROVIDED HEREIN, RadioShack MAKES NO EXPRESS

WARRANTIES AND ANY IMPLIED WARRANTIES, INCLUDING THOSE OF MERCHANTABILITY AND FIT-

NESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO THE DURATION OF THE WRITTEN

LIMITED WARRANTIES CONTAINED HEREIN. EXCEPT AS PROVIDED HEREIN, RadioShack SHALL HAVE

NO LIABILITY OR RESPONSIBILITY TO CUSTOMER OR ANY OTHER PERSON OR ENTITY WITH RESPECT

TO ANY LIABILITY, LOSS OR DAMAGE CAUSED DIRECTLY OR INDIRECTLY BY USE OR PERFORMANCE

OF THE PRODUCT OR ARISING OUT OF ANY BREACH OF THIS WARRANTY, INCLUDING, BUT NOT LIM-

ITED TO, ANY DAMAGES RESULTING FROM INCONVENIENCE, LOSS OF TIME, DATA, PROPERTY, REVE-

NUE, OR PROFIT OR ANY INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, EVEN IF

RadioShack HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

Some states do not allow limitations on how long an implied warranty lasts or the exclusion or limitation of inciden-

tal or consequential damages, so the above limitations or exclusions may not apply to you.

In the event of a product defect during the warranty period, take the product and the RadioShack sales receipt as

proof of purchase date to any RadioShack store. RadioShack will, at its option, unless otherwise provided by law:

(a) correct the defect by product repair without charge for parts and labor; (b) replace the product with one of the

same or similar design; or (c) refund the purchase price. All replaced parts and products, and products on which a

refund is made, become the property of RadioShack. New or reconditioned parts and products may be used in the

performance of warranty service. Repaired or replaced parts and products are warranted for the remainder of the

original warranty period. You will be charged for repair or replacement of the product made after the expiration of

the warranty period.

This warranty does not cover: (a) damage or failure caused by or attributable to acts of God, abuse, accident, mis-

use, improper or abnormal usage, failure to follow instructions, improper installation or maintenance, alteration,

lightning or other incidence of excess voltage or current; (b) any repairs other than those provided by a Ra-

dioShack Authorized Service Facility; (c) consumables such as fuses or batteries; (d) cosmetic damage; (e) trans-

portation, shipping or insurance costs; or (f) costs of product removal, installation, set-up service adjustment or

reinstallation.

This warranty gives you specific legal rights, and you may also have other rights which vary from state to state.

RadioShack Customer Relations, 200 Taylor Street, 6th Floor, Fort Worth, TX 76102

12/99

42-4058

MA0206-A

04A02

RadioShack Corporation

Fort Worth, Texas 76102

MD1121E-1

Printed in Malaysia

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