Radio Shack Video Game Keyboard MD 1210 User Guide

MD-1210 MIDI Keyboard

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Using the Memory ................................................................................................. 27

Real-Time Recording ....................................................................................... 27

Playing Back from Memory .............................................................................. 29

Step Recording ................................................................................................. 29

Recording Multiple Tracks ................................................................................ 31

Editing Memory Contents ................................................................................. 33

Using MIDI ............................................................................................................. 34

About MIDI ....................................................................................................... 35

Making the MIDI Connections .......................................................................... 35

MIDI Data ......................................................................................................... 35

Changing MIDI Settings ................................................................................... 37

Dumping/Importing Data .................................................................................. 38

Notes About the MIDI Implementation Chart .................................................... 39

Troubleshooting .................................................................................................... 40

Care .................................................................................................................. 41

Appendix ............................................................................................................... 42

Note Table ........................................................................................................ 42

Drum Assignment List ...................................................................................... 44

Fingered Chord Chart ....................................................................................... 45

MIDI Implementation Chart .................................................................................. 46

Specifications ....................................................................................................... 47

Contents

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$ Features

Your RadioShack MIDI Keyboard is a

state-of-the-art musical instrument that

offers you a vast array of sounds. You

can choose from 200 different musical

instruments or sound effects and 100

rhythms, as well as automatic accompa-

niments and percussion sounds.

you play them, along with the current

tone, rhythm, and tempo. The display’s

built-in backlight makes it easy to read it

even in dim light.

Two Built-In Stereo Bass-Reflex

Speakers

— let you feel the bass your

keyboard can produce and hear the

sound you create.

Your keyboard also includes a MIDI

(Musical Instrument Digital Interface)

feature, which lets you connect it to oth-

er MIDI-equipped musical instruments

or devices — even your personal com-

puter.

Registration Memory

— lets you store

up to 32 different setups of the key-

board’s controls, letting you instantly re-

call them when you need them.

Drum Pads

gardless of the keyboard’s tone setting.

— play drum sounds re-

This versatile keyboard can provide

hours of fun and is ideal for anyone who

wants to make music, from the beginner

to the experienced musician.

61 Full-Sized Keys

of a fine musical instrument.

— provide the feel

Note:

The keyboard conforms to most,

Touch Response

— the keyboard’s

but not all, General MIDI specifications.

Because of this, you might experience

some incompatibility when using the

keyboard with another General MIDI de-

vice. For more information, see “Using

MIDI” on Page 34.

volume varies in response to the force of

your touch, just like an acoustic piano or

organ, so you can add emotion to your

music.

Pitch Bender Wheel

— lets you bend

notes by altering their pitch, creating re-

alistic effects for tones such as reed in-

struments or guitar tones.

Your keyboard’s features include:

24-Note Polyphonic Sound

— lets you

play and hear up to 24 notes at the

same time, so you can play or create al-

most any type of music.

200 Tones

— you can set your key-

board to sound like anything from a

harpsichord to a honky-tonk piano. You

can even create your own tones with the

custom tone synthesizer feature.

Synthesizer Function

— lets you cre-

ate up to 32 of your own original tones.

Memory

— lets you set the keyboard to

100 Auto-Rhythms

beat for many styles of music, from

rhumba to rock.

— provide a steady

record up to 2 songs, 6 tracks, and

4,900 notes. The recording remains

stored even while the keyboard is off.

Headphones/Output Jack

connect headphones so you can play

without disturbing others, or an external

— lets you

Large LCD Music Information Display

— shows you the notes and chords as

Features

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amplifier so you can play for a crowd

(neither supplied).

tion or 3- to 8-measure ending to the

selected auto-rhythm.

Assignable Jack

— lets you connect a

MIDI In/Out Jacks

— let you connect

sustain pedal (not supplied) to the key-

board so you can sustain or soften your

keyboard’s sound, or start/stop an auto-

rhythm.

the keyboard to another MIDI-equipped

device.

Two Power Options

— let you power

the keyboard from internal batteries (not

supplied) or standard AC power (with an

optional adapter), so you can make mu-

sic almost anywhere.

Tune Control

— lets you adjust the

pitch of your keyboard so you can play

in tune with other instruments.

Transpose Function

stantly change the key of the music,

even while you are playing.

— lets you in-

Note:

This Owner’s Manual explains

how to use this electronic keyboard. It

does not teach music.

Tempo Control

— lets you speed up or

slow down the tempo of any selected

music pattern.

THE FCC WANTS YOU TO

KNOW

Fill-In Rhythm

variation into any auto-rhythm.

— lets you insert a short

This equipment complies with the limits

for a Class B digital device as specified

in Part 15 of FCC Rules. These limits

provide reasonable protection against

radio and TV interference in a residential

area. However, your equipment might

cause TV or radio interference even

when it is operating properly. To elimi-

nate interference, you can try one or

more of the following corrective mea-

sures:

Auto Accompaniment

matically play a preset harmonic pattern

to match the selected auto-rhythm.

— lets you auto-

Reverb

— lets you add depth and space

to the sound.

Layer Function

— lets you set the key-

board to play two different tones at the

same time, giving your music a “layered”

effect.

• reorient or relocate the receiving

antenna

Split Function

— lets you use different

sounds for the low-end and high-end

keys.

• increase the distance between the

equipment and the radio or TV

Mixer Function

— lets you make the

• use outlets on different electrical cir-

cuits for the keyboard and the radio

or TV.

keyboard sound multiple tones for auto

accompaniment, memory playback, or

to play MIDI data received from another

MIDI device.

Consult your local RadioShack store if

the problem still exists.

Automatic Intro/Ending Rhythm

you can set the keyboard so it automati-

cally adds a 3- to 8-measure introduc-

—

You must use shielded interface cables

with this equipment.

Features

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$ Preparation

Note:

To connect a MIDI device to your

tom of the keyboard, pull up the

cover to remove it.

keyboard, see “Making the MIDI Connec-

tions” on Page 35. To connect a sustain

pedal, see “Using a Sustain Pedal” on

Page 26.

2. Place the batteries in the compart-

ment as indicated by the polarity

–

symbols (+ and ) marked below the

compartment.

CONNECTING POWER

3. Replace the cover.

You can power your keyboard using in-

ternal batteries or with standard AC

power using an optional AC adapter

When the keyboard stops operating

properly, replace the batteries.

Warning:

Dispose of old batteries

Notes

promptly and properly. Do not burn or

bury them.

• Connecting an AC or DC adapter

automatically disconnects any inter-

nal batteries.

Caution:

If you do not plan to use the

keyboard with batteries for a week or

more, remove the batteries. Batteries

can leak chemicals that can destroy

electronic parts.

• Always disconnect the AC or DC

adapter when you finish using the

keyboard.

Using Batteries

Using AC Power

You can power the keyboard using a 9V,

1200-mA AC adapter and a size M

Adaptaplug™ adapter (neither sup-

plied). Both are available at your local

RadioShack store.

Your keyboard can use six D batteries

(not supplied) for power. For the best

performance and longest life, we recom-

mend RadioShack alkaline batteries.

Cautions:

• Use only fresh batteries of the

required size and recommended

type.

You must use a Class 2

power source that supplies

9V DC and delivers at least

1200 mA. Its center tip must be set

to negative and its plug must fit the

• Do not mix old and new batteries,

different types of batteries (stan-

dard, alkaline, or rechargeable), or

rechargeable batteries of different

capacities.

DC 9V

keyboard's

jack. Using an

adapter that does not meet these

specifications could damage the

keyboard or the adapter.

Follow these steps to install batteries.

• Always connect the AC adapter to

the keyboard before you connect it

1. While pressing the tabs on the bat-

tery compartment cover on the bot-

Preparation

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to AC power. When you finish, dis-

connect the adapter from AC power

before you disconnect it from the

keyboard.

Listening Safely

To protect your hearing, follow these

guidelines when you use headphones.

Follow these steps to connect an AC

adapter to the keyboard.

• Set the volume to the lowest setting

before you begin listening. After you

begin listening, adjust the volume to

a comfortable level.

1. Set the DC adapter’s voltage switch

to 9V.

• Do not listen at extremely high vol-

ume levels. Extended high-volume

listening can lead to permanent

hearing loss.

2. Insert the Adaptaplug adapter into

the adapter’s cord so it reads – TIP.

3. Connect the AC adapter’s barrel

DC 9V

plug to the

the keyboard.

jack on the back of

• Once you set the volume, do not

increase it. Over time, your ears

adapt to the volume level, so a vol-

ume level that does not cause dis-

comfort might still damage your

hearing.

DC 9V

CONNECTING AN

EXTERNAL AMPLIFIER

4. Plug the AC adapter’s other end into

a standard AC outlet.

To amplify your keyboard’s sound, you

CONNECTING

HEADPHONES

can connect it to an optional external

amplifier 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 the

To listen to your keyboard without dis-

turbing others, you can connect an op-

tional pair of stereo headphones with a

PHONES/OUTPUT

jack on the back of

/ -inch (6.35-mm) plug. Your local Ra-

the keyboard, and connect the cable’s

other end to the amplifier’s input jack(s)

(such as AUX IN or TAPE IN).

dioShack store sells a wide selection of

headphones. Insert the headphones’

PHONES/OUTPUT

plug into the

jack on

the back of the keyboard.

Your local RadioShack store sells a full

line of amplifiers, speakers, and cables.

USING THE SHEET MUSIC

STAND

PHONES/

OUTPUT

To easily view sheet music while playing

your keyboard, insert the supplied sheet

music stand into the slot on the top back

panel.

Note

: Connecting headphones discon-

nects the keyboard’s built-in speakers.

Preparation

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$ A Quick Look at Your Keyboard

STEP

SPLIT

LAYER

TOUCH

RESPONSE

ONE TOUCH

PRESET

MEMORY

ACCOMP

VOLUME

100

RHYTHMS

List

MIXER

TRANSPOSE/

TUNE/MIDI

DEMO

200

TONES

List

TEMPO

SYNTH

TONE

REVERB

Speaker

INTRO

STORE

BANK

Number

Keys

PITCH

BEND

VOLUME

REGISTRATION

Buttons

VARIATION/

FILL-IN

Speaker

MODE

START/

STOP

CHORD

Buttons

+/–

NORMAL/

FILL-IN

SYNCHRO/

ENDING

POWER

RHYTHM

$ Operation

minutes if you do not press a key. To

turn on the keyboard again, press

POWER

. To cancel auto power off,

BASIC OPERATION

VOLUME

MIN

(minimum).

1. Slide

see “Cancelling Auto Power Off” on

Page 9.

Important:

To prevent hearing dam-

age, always set the keyboard’s vol-

MIN

ume to

before you turn it on.

MODE

NORMAL

3. Slide

4. Slide

2. To turn on the keyboard, press

VOLUME

MAX

toward

slightly

POWER

. The POWER indicator

and begin playing the keyboard.

lights and the display turns on.

Notes:

Note:

To save power, the keyboard

automatically turns off after about 6

• The keyboard automatically se-

lects the tone GRAND PIANO

A Quick Look at Your Keyboard

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(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 differ-

ent tone, see “Using the Preset

Tones”.

dle row shows the tempo in beats per

minute, the number of the measure play-

ing and the beat count in each measure.

The treble and bass clefs to the right of

the display show the notes as they play.

The bar graph shows the sound level on

each of the 16 channels (see “Using the

Mixer” on Page 18). The keyboard at the

bottom of the display shows the location

of the keys being pressed.

• To select an auto-rhythm, see

“Using the Preset Auto-Rhythms”

on Page 13.

• To play auto accompaniment, see

“Using Auto Accompaniment” on

Page 15.

USING THE PRESET

TONES

Your keyboard can sound like 200 differ-

ent musical instruments or sound ef-

fects. The name and three-digit number

for each preset tone is listed on the 200

TONES list on the keyboard’s top panel.

VOLUME

increase the sound level or toward

MIN

MAX

5. Slide

toward

to decrease it.

6. To turn off the keyboard, press

POWER. The POWER indicator and

the keyboard’s display turn off.

Notes:

• The keyboard has 24-note (maxi-

mum) polyphonic sound. This

means that you can play up to 24

different notes at the same time with

most of the keyboard’s preset tones.

Some of the keyboard’s preset

tones, however, are capable of only

12-note polyphony.

Cancelling Auto Power Off

To have the keyboard not automatically

turn off during a session, turn on the

TONE

keyboard while holding down

The next time you turn the keyboard off

then back on again, it will automatically

turn off after about 6 minutes.

• Most tones on this keyboard have

been recorded and processed using

a technique called digital sampling.

To ensure a high level of tonal qual-

ity, 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 unavoid-

able result of multiple sampling and

is not a malfunction.

PLAYING THE

DEMONSTRATION TUNES

To showcase its sounds, your keyboard

can play two preprogrammed demon-

stration tunes. To start the demonstra-

DEMO

tion, press

. The keyboard plays

the first demonstration tune (No. 0). To

–

select the other tune, press or on the

keypad. The selected tune’s number ap-

pears and the tune plays.

The demo tune number and Demo ap-

pear at the top of the display. The mid-

Operation

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Follow these steps to select and play a

preset tone.

No.

136

Tone

STRINGS PIANO

E. PIANO STRINGS

STEREO PIANO

12 STR GUITAR 2

BRASS FALL

TONE TONE

and the current

1. Press

tone’s number appear.

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155

156

157

158

159

Note:

The first time you turn the

keyboard on, it automatically selects

the tone GRAND PIANO (No. 000).

2. To play a different tone, choose a

preset tone from the 200 TONES list

and enter its three-digit number on

the keypad. As you press the keys,

the selected digits appear.

BASS SLIDE

FEEDBACK GT

PIANO

STRINGS

Notes:

ECHO ORGAN

ROTARY ORGAN

CHORUSED EP

STRINGS GT

PAD ENS 1

• You can select the next highest or

lowest numbered tone by simply

–

pressing or on the keypad.

• The names of tone numbers 000–

127 are marked to the right of the

keyboard’s display. The names for

tone numbers 128–167 appear in

the table below. Memory locations

168 199 are reserved for custom

tones that you create (see “Using

the Custom Tone Synthesizer” on

Page 20).

PAD ENS 2

SEQUENCE 1

SEQUENCE 2

SYNTH PAD 3

SYNTH PAD 4

SYNTH PAD 5

SYNTH PAD 6

SYNTH PAD 7

SYNTH PAD 8

REVERSE ECHO

FAST TREMOLO

No.

128

Tone

SYNTH PAD 1

SYNTH PAD 2

OCT PIANO

129

130

131

132

133

134

135

OCT HARP

12 STR GUITAR 1

JAZZ OCT GUITAR

OCT SAXOPHONE

TOUCH BASS

160–167 DRUM SET 1-8

• Precede a single-digit number

0 0

with

. For example, to select

Operation

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ELEC PIANO 1 (No. 004), press

0 4

and reverberate. To turn on the reverb,

REVERB

repeatedly press

until an indi-

cator appears next to the type of reverb

you want.

• If you enter an incorrect first digit,

TONE

press

to clear your entry,

then enter the correct digit.

HALL — creates a concert hall effect.

STAGE

small club.

— creates the acoustics of a

• When you select one of the drum

sets (tone numbers 160–167),

each key plays a different percus-

sion sound. See “Drum Assign-

ment List” on Page 44.

ROOM

— adds the acoustics of a studio.

To turn off the reverb, repeatedly press

REVERB

until the indicator disappears.

• The drum set sounds change

when you change the rhythm

number, play back data stored in

memory, or receive MIDI program

change data.

USING SPLIT

The SPLIT feature lets you play two dif-

ferent tones on opposite ends of the

keyboard, so the low-end keys play one

tone, and the high-end keys play anoth-

er. Follow these steps to use SPLIT.

• Tone numbers 168–199 are the

user tone area. See “Using the

Custom Tone Synthesizer” on

Page 20.

TONE

1. Press

3. Play the keyboard to hear the

VOLUME

selected tone and adjust

the desired level.

2. Enter the three-digit number for the

tone you want the high-end keys to

play.

4. To select a different tone, repeat

Step 2 while appears.

SPLIT

. The SPLIT indicator

3. Press

TONE

appears.

USING THE DRUM PADS

4. Enter the three-digit number for the

tone you want the low-end keys to

play.

The keyboard has six drum pads that

you can use to play percussion sounds

independent of the keyboard keys. Sim-

ply tap on a drum pad to play the per-

cussion sound currently assigned to it.

SPLIT

, and press the key

5. Hold down

where you want the high-end tones

to begin. The selected key’s name

appears.

To change the drum pad sounds, use

the mixer function to change the tone

assigned to Channel 10. See “Using the

Mixer” on Page 18.

For example, if you set the split

point to be F below middle C, F3

appears.

Note:

at any time.

You can change the split point

USING REVERB

The REVERB feature creates ambiance

effects by causing the sound to linger

6. Play both the low and high-end keys

to hear the selected split tones.

Operation

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To select a different low-end tone, enter

the three-digit number for the new low-

end tone while the SPLIT indicator ap-

pears. To select a different high-end

three-digit number for the new base

LAYER

tone. Then press

LAYER indicator appears.

again so the

SPLIT

tone, press

then enter the three-digit number for the

SPLIT

to turn off its indicator,

To cancel LAYER, repeatedly press

LAYER

until its indicator disappears.

new high-end tone. Then press

Notes:

again so the SPLIT indicator appears.

• If LAYER is on when you turn off the

keyboard, LAYER will still be on the

next time you turn on the keyboard.

To cancel SPLIT play, repeatedly press

SPLIT

until its indicator disappears.

Notes:

• If SPLIT is on when you turn off the

• When you turn on LAYER, the previ-

ous tone settings appear.

keyboard, SPLIT will still be on the

next time you turn on the keyboard.

USING SPLIT AND LAYER

TOGETHER

• When you turn on SPLIT, the last

selected settings appear.

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.

USING LAYER

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 when us-

ing LAYER is called the base tone and

the second tone is called the layer tone.

1. If the SPLIT or LAYER indicator is

SPLIT

LAYER

to turn it

on, press

off.

2. Enter the number for the high-end

base tone on the keypad.

TONE

1. Press

SPLIT

3. Repeatedly press

until the

SPLIT indicator appears.

2. Enter the three-digit number for the

LAYER

. The

LAYER indicator appears.

base tone then press

4. Enter the number for the low-end

base tone.

3. Enter the three-digit number for the

layer tone.

SPLIT

5. Repeatedly press

until the

SPLIT indicator disappears.

4. Play the keyboard to hear the

selected layered tones.

LAYER

LAYER indicator appears.

6. Repeatedly press

until the

7. Enter the number of the layered

tone for the high-end keys.

To select a different layer tone, enter the

three-digit number for the new layer tone

while the LAYER indicator appears. To

SPLIT

. The SPLIT indicator

8. Press

LAY-

select a different base tone, press

appears.

to turn off its indicator, then enter the

Operation

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9. Enter the number of the layered

tone for the low-end keys.

Selecting/Playing

an Auto-Rhythm

SPLIT

10. If desired, hold down

then

RHYTHM

1. Press

and the

RHYTHM

press the key where you want the

high-end tones to begin.

name and number of the current

auto-rhythm appears.

11. Play the keyboard to hear the

selected tones.

Note:

The keyboard automatically

selects the rhythm CLUB POP (No.

00) when you turn the power on.

Each time you turn it on after that, it

selects the last selected rhythm.

To cancel the SPLIT/LAYER combina-

tion, press each button so both the

SPLIT and LAYER indicators disappear.

2. To select a different rhythm, choose

an auto-rhythm from the 100

RHYTHMS list and enter its two-

digit number on the keypad. Or,

USING THE PRESET

AUTO-RHYTHMS

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.

–

repeatedly press or to move to

the next higher or lower numbered

rhythm.

Notes

• Precede a single-digit number

0 5

You can play a preset auto-rhythm on

the keyboard in any of the following

ways:

with a 0. For example, press

to select 8-BEAT BALLAD 2 (No.

05).

• select and play a rhythm (see

• If you incorrectly enter the first

“Selecting/Playing

Rhythm”)

Auto-

RHYTHM

digit of the rhythm, press

to clear the entry and return to the

last selected auto-rhythm.

• synchronize the start of a rhythm

with your music (see “Using SYN-

CHRO” on Page 14)

MODE

NORMAL

to , then press

3. Set

START/STOP

to start the selected

auto-rhythm.

• start a rhythm with a special intro-

duction (see “Using INTRO” on

Page 14)

VOLUME

4. Adjust

to the desired level.

5. To change the auto-rhythm speed,

• briefly vary the pattern of a rhythm

(see “Using FILL-IN” on Page 14)

TEMPO ▼

▲

press

or . The current

tempo setting appears.

• stop a rhythm with a special ending

(see “Using ENDING” on Page 14)

Notes

• You can adjust the tempo to play

an auto-rhythm from 40 to 255

beats per minute.

• play an alternate version (variation)

of a rhythm (see “Using VARIA-

TION” on Page 14)

Operation

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INTRO

• To quickly slow down or speed up

. The introduction plays, then the

TEMPO ▼

the tempo, hold down

or ▲.

selected auto-rhythm automatically

starts.

• You can also adjust the tempo by

TEMPO ▼

Using FILL-IN

first pressing

or , then

▲

entering the desired number of

beats per minute in three digits

This feature lets you insert a short (1- to

2-measure) variation in the beat pattern

of a selected auto-rhythm.

(040 to 255), or by holding down

–

or on the keypad.

NORMAL/FILL-

while the auto-rhythm is playing. The

keyboard inserts a 1- to 2-measure vari-

ation, then the original rhythm automati-

cally resumes at the end of the current

measure.

Simply press and release

• To reset the tempo to its default

TEMPO ▼

(original) speed, press

or ▲. at the same time.

6. Play the keyboard along with the

auto-rhythm.

7. To select a different rhythm, repeat

Using VARIATION

–

Steps 1 2.

Each of the keyboard’s 100 preset auto-

rhythms has a built-in variation (alter-

nate) to its normal beat pattern. The

variation differs slightly from the normal

rhythm, so it is almost like having two

rhythms in one!

8. To stop the auto-rhythm, press

START/STOP.

Using SYNCHRO

This feature lets you synchronize the

start of an auto-rhythm with the begin-

ning of your music.

To play the alternate rhythm, press

VARIATION/FILL-IN

. The variation plays

continuously at the selected tempo.

After you select and enter an auto-

SYNCHRO/ENDING

, then

begin playing the keyboard. The key-

board automatically begins to play the

rhythm when you press any key within

the first 1 / octaves of the lower end of

rhythm, press

To insert the fill-in segment in the alter-

VARIATION/FILL-IN

nate rhythm, press

The keyboard adds a 1- to 2-measure

variation in the rhythm.

the keyboard (the first 18 keys from the

left side of the keyboard).

To return to the normal rhythm, press

NORMAL/FILL-IN

START/

To stop the auto-rhythm, press

STOP

Using INTRO

This feature lets you start the selected

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

introduction that blends easily into the

selected rhythm.

Using ENDING

To end the selected rhythm with a spe-

SYN-

cial 3- to 8-measure flourish, press

CHRO/ENDING

To start a rhythm with an introduction,

select and enter the rhythm, then press

while the auto-rhythm is

Operation

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ENDING

) with all three types of auto

accompaniment.

playing, about 3–8 measures before you

want the rhythm to end. The keyboard

plays a special ending, then automati-

cally stops the rhythm.

• After you press the auto accompani-

ment 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

USING AUTO

ACCOMPANIMENT

The 18 keys on the left side of the key-

board with note labels above them are

called accompaniment keys.

START/STOP

Adjusting the Accompaniment

Volume

Accompaniment

Keyboard

Melody

Keyboard

The keyboard lets you adjust the volume

of your accompaniment separately from

the overall volume of the keyboard.

You can set the keyboard to play three

different types of auto accompaniment

using the accompaniment keys.

ACCOMP VOLUME

. The cur-

1. Press

rent accompaniment volume setting

appears.

• 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” on Page 16).

2. Within 5 seconds, enter a number

0 0 0

1 2 7

(loudest)

from

(softest) to

on the keypad. The numbers appear

as you press the keys.

ACCOMP VOLUME

Or, press

then

–

repeatedly press or to select the

next lowest or highest accompani-

ment volume setting.

• Standard Fingering — lets you play

chords on the accompaniment keys

using standard chord formations of

three or four notes (see “Standard

Fingering” on Page 16).

To reset the accompaniment volume to

ACCOMP

its default value of 87, press

VOLUME

–

then press and at the same

time.

• Full-Range Chord — lets you play

the melody using the entire key-

board while the keyboard plays

accompaniment based on your

auto-rhythm selection.

Note:

The auto-accompaniment pat-

terns consist of four parts: chord 1,

chord 2, bass, and rhythm. You can de-

lete any of the parts by using the mixer

function. See “Using the Mixer” on

Page 18.

Notes

• You can use the keyboard’s rhythm

INTRO NORMAL/FILL-IN,

controls (

VARIATION/FILL-IN,

SYNCHRO/

and

Operation

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MODE

CONCERT CHORD

1. Set

Concert Chord

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

ber.

The concert chord method lets begin-

ning keyboard players easily select and

play a chord.

3. To start the auto-rhythm before the

START/

auto accompaniment, press

STOP INTRO

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.

Or, to synchronize the start of the

selected auto-rhythm with your

SYNCHRO/

accompaniment, press

ENDING

4. Begin the accompaniment at the

desired interval by pressing the

desired accompaniment key(s).

Number of Keys

Chord Type

Pressed

C D E F G A B C D E F

To play a melody along with the

accompaniment, press any key(s) to

the right of the accompaniment

keys.

Major

C D E F G A B C D E F

VOLUME

5. Adjust the tempo and

the desired levels.

Minor (m)

6. To change chords without interrupt-

ing the rhythm, simply press the

C D E F G A B C D E F

Dominant

auto

accompaniment

key(s)

Seventh (7)

required to form the new chord.

7. To stop auto accompaniment and

C D E F G A B C D E F

START/STOP

Minor

the auto-rhythm, press

Seventh

(m7)

Standard Fingering

The standard fingering method uses

standard formations of three or four

notes, and lets the experienced musi-

cian play a wider variety of accompani-

ment chords.

The lowest note you play determines the

key of the chord. For example, if the low-

est note is C, the keyboard plays a C

chord.

Note:

any

labeled note(s)

You can press

This chart shows the 15 chord types you

can play on your keyboard by using

standard fingering.

to the right of the lowest note in the

chord to produce a minor, a dominant

seventh, or minor seventh chord.

Follow these steps to start concert chord

auto accompaniment.

Operation

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–⁵

• When you play an aug, 7 , 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.

Augmented

(aug)

Major (M)

Minor (m)

Note

: See “Fingered Chord Chart” on

Page 45 for a list of all the chords you

can play on your keyboard using stan-

dard fingering accompaniment.

( )

Dominant

7th (7)

(

)

Minor 7th

Suspended

4th (SUS4)

(m7)

Follow these steps to start standard fin-

gering auto accompaniment.

( )

Major 7th

(M7)

Major Half-

Diminished

(7^-5)

Minor Half-

Diminished

(m7^-5)

MODE

FINGERED

1. Set

2. Select and enter an auto-rhythm.

3. To start the auto-rhythm before your

( )

Minor 9th

(madd9)

START/

auto accompaniment, press

STOP INTRO

Major 9th

(add9)

Dominant

Suspended

4th (7sus4)

Or, to synchronize the start of the

selected auto-rhythm with your

SYNCHRO/

accompaniment, press

ENDING

( )

Minor/Major

7th (mM7)

Diminished

7th (dim7)

4. Begin the accompaniment at the

desired interval by pressing at least

three accompaniment keys to play

the desired chord.

Notes:

• You do not have to press the key

marked with parentheses on the

keyboard in the preceding chart to

produce a 7, m7, M7, mM7, add9, or

madd9 chord.

To play a melody along with the

accompaniment, press any key(s) to

the right of the accompaniment

keys.

• This 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 finger-

ing positions produce the same C

chord.

TEMPO

VOLUME

to the

5. Adjust

and

desired levels.

6. To change chords without interrupt-

ing the rhythm, simply press the

auto accompaniment keys required

to form the new chord.

7. To stop auto accompaniment and

START/STOP

the auto-rhythm, press

Operation

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ONE TOUCH

, then start the accompaniment.

selecting a rhythm, press

PRESET

Full-Range Chords

While the easy random and standard fin-

gering 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.

The rhythm starts playing at a suitable

tempo, and the keyboard sounds the

suitable tone for the rhythm you selected

as you play the keyboard.

USING THE MIXER

MODE

FULL RANGE CHORD

and

Set

follow the steps under “Standard Finger-

ing” on Page 16. If you press three or

more keys anywhere on the keyboard

that form a chord, the keyboard plays

that chord. The keyboard responds with

melody sounds if you press fewer than

three keys.

The keyboard plays multiple parts at the

same time during auto accompaniment,

or memory playback, or when receiving

MIDI data, in up to 16 separate chan-

nels. 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.

Notes:

This chart shows the parts assigned to

each channel.

• In the full-range chord mode, the

keyboard recognizes these 23

chords in addition to the 15 chords

in the standard fingering mode

(examples show C as the base

note):

Channel

Part

Main tone

Layered tone

Split tone

Cm6 C69 C#/C

D/C E/C

F/C G/C A /C B /C

B/C C#m/

Layered/split tone

Dm/ Fm/ Gm/ Bm/C

Dm7 A 7/

These channels only produce

sound when they receive

MIDI signals

-5/C

F7/ Fm7 Gm7/ A add9/

Auto accompaniment chord

part 1

• When the composite notes of a

chord are more than five notes

apart, the lowest sound becomes

the base note.

Auto accompaniment chord

part 2

Auto accompaniment bass

part

Using One-Touch Preset

Auto accompaniment rhythm

part, drum pad

The keyboard’s one-touch preset fea-

ture recalls the tone and tempo best

suited for the rhythm you selected. After

Memory Track 1

Operation

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CURSOR

)

to display the current status of the

3. Repeatedly press or

(

Channel

Part

channel — on, oFF, or SoL (solo).

Memory Track 2

Memory Track 3

Memory Track 4

Memory Track 5

Memory Track 6

–

4. Repeatedly press or to select the

status you want.

on (default): Turns on the current

channel. A bar appears at the bot-

tom of the level meter for the

selected channel.

Notes:

oFF: Turns off the current channel.

The bar at the bottom of the level

meter disappears.

• Normally, keyboard play is assigned

to Channel 1 and the drum pads are

assigned to Channel 10. When you

use auto accompaniment, each part

is assigned to Channels 7–10.

SoL: Turns the current channel on

and all the other channels off. A bar

appears over only the current chan-

nel.

• 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).

5. To edit other channels, press or

to return to the channel selection

screen and repeat Steps 2–4.

MIXER

. The

To exit the edit mode, press

display shows the performance status of

the channels as edited.

• The mixer settings also affect the

corresponding MIDI output.

Editing the Parameter

Editing the Status of a Channel

You can change the settings of six pa-

rameters such as tone, volume, and pan

(relative position of the tone between the

left and right speaker channels) for the

selected channel.

You can edit the status (on, off, solo) of

a channel to delete a specific part or to

play a specific part by itself.

Follow these steps to edit the status of a

channel.

Follow these steps to edit the parame-

ters.

MIXER

. The MIXER indicator

1. Press

and the last selected channel

appear.

1. Select the channel you want to edit

as described in Steps 1 and 2 of

“Editing the Status of a Channel”.

–

2. Use or on the keypad to select

the channel you want to edit.

ENTER)

2. Press ▼ (

to enter the

parameter edit mode.

Operation

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3. Repeatedly press

to select

USING THE CUSTOM

TONE SYNTHESIZER

the parameter you want to change.

Program Change Number (000 to

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

200 preset tones, change its parame-

ters, then store the new tone in any

memory location from 168–199. You se-

lect and use a user tone the same as a

preset tone.

199)

— sets the tone assigned to

the channel.

Note:

Channel 10 is reserved for

percussion, so only tone numbers

160 (DRUM SET1) through 167

(DRUM SET 8) can be set for Chan-

nel 10.

Volume (000 to 127)

volume of the selected channel.

— controls the

Notes:

• You cannot use tones 160–167

(drum set tones) as base tones.

Pan (000 to 127)

pan. 000 is fully left, 64 is the center

position, and 127 is fully right.

— controls the

• The preset tone you use as the

basis for a user tone is not changed.

Fine Tune (–50 to +50)

— fine

tunes the pitch of the selected chan-

nel in cent units. A cent is one hun-

dredth of a semitone. There are 12

semitones per octave.

• The tone locations 168–199 are not

empty (before you store user tones

there). They initially contain dupli-

cate versions of tone numbers 128–

159. The user tone you store in any

of those locations replaces the exist-

ing tone. If you delete a user tone,

the keyboard automatically restores

the initial, duplicate tone there.

C (Coarse) Tune (–12 to +12)

—

coarsely tunes the pitch of the

selected channel in semitone units.

Express (Expression) (000 to 127)

— controls the volume of the

selected channel. Similar to the vol-

ume setting, this is often used to

control crescendo/decrescendo.

The parameters you can change are di-

vided into four groups. For the details of

each parameter, see “Creating and Stor-

ing a User Tone” on Page 21.

–

4. Use the number buttons or or to

Tone Characteristic Waveform

PCM Set

•

—

change the parameter setting.

5. To edit other channels, press ▼ to

return to the channel selection dis-

play, select the channel, then repeat

Steps 2–4.

Volume Characteristic

— Amp

Envelope Set

Tone Pitch

— Pitch and Pitch

Envelope Set

6. To exit the parameter edit mode,

MIXER

press

Tone Characteristic

—

Attack

Rate, Release Rate, Level, Touch

Sensitivity, and Pan

Operation

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For example, if you selected tone 19

(Church Organ), 019 ChrchOrg

appears. Then, when you press

Understanding 1DCO and

2DCO Tones

SYNTH 026 ChrchOrgA

appears.

A Digital Controlled Oscillator (DCO)

controls the sound output of a digital sig-

nal. Some of the keyboard’s built-in

tones are simple tones (1DCO), and

some are layered tones (2DCO). When

you select a 2DCO tone as the basis for

creating a user tone, you need to

change the parameters of both tones.

Note:

To cancel the save operation

SYNTH

TONE

at any time, press

twice.

3. Repeatedly press or

to display

the parameter you want to change.

PCM Set (0 to 173)

— Determines

the characteristic of a tone by

changing its digitally sampled wave-

form.

When you select a layered tone, dCo1

appears, indicating that this is the first

tone of a layered tone.

Amp Envelope Set (Amp.Set) (0

to 137)

— Selects the volume enve-

Creating and Storing a User

Tone

lopes. 000 to 048 set volume enve-

lopes for a decaying note (how fast

or slow the sound diminishes). 049

to 137 set volume envelopes that

sustain the note. Samples of the

amp envelopes appear in a graph

near your keyboard’s right speaker.

Follow these steps to create and store

your own tone. (Refer to “Hints on Cre-

ating a User Tone” on Page 23.)

Notes:

Attack Rate (Atk Rate) (1 to 127)

— 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. Use this parame-

ter to make fine adjustments to the

tone characteristics of the amp

envelope.

• A new or revised user tone replaces

the existing user tone.

• Layer, split, auto accompaniment,

demo tune play, and MIDI functions

are all disabled while the keyboard

is in the Custom Tone Synthesizer

mode.

1. Select the preset tone (except 160–

167) you want to use as a basis for

your user tone.

Release Rate (Rel.Rate) (1 to

127)

— 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.

Use this parameter to make fine

adjustments to the tone characteris-

tics of the amp envelope.

SYNTH

. The keyboard enters

2. Press

the Custom Tone Synthesizer mode

and the first parameter (PCM Set)

appears. The display also shows

whether the tone you selected is a

DCO1

DCO2

tone (if it is a layered

tone), and shows the current PCM

setting.

Pitch Envelope Set (PitchSet)

(0 to 49)

— Selects the pitch enve-

Operation

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Notes:

lopes. 00 specifies no change, a

value from 01 to 19 changes the

vibrato, and a value from 20 to 49

changes a parameter other than the

vibrato. Samples of the pitch enve-

lopes appear in a graph near your

keyboard’s right speaker.

• If you want to change another

parameter, repeat Steps 3 and 4.

• If you selected a layered preset

tone, press

parameters (d Co2 appears), and

repeat Steps 3 and 4 to set the

to recall the DCO2

Pitch (Pitch) (–64 to +63)

—

Controls the overall pitch of the

tone. A positive value increases the

pitch, a negative value lowers it. A

setting of zero sets the pitch to the

standard setting for the selected

tone.

TONE

parameters. Press

again to

return to the DCO1 parameters.

SYNTH Save?

appears.

5. Press

To store the settings, press

display the tone number where you

want to save the user tone.

Level (Level) (0 to 127)

— Con-

trols 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.

To exit the Custom Tone Synthe-

sizer mode without storing a new

tone, press . Cancel? appears.

Press

to cancel.

Touch Sensitivity (TchSense)

–

6. Press or until the tone number

you want appears. If you do not

want to assign a name, skip to Step

10.

(–64 to +63)

— Controls changes in

the volume 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 regardless

of how hard you strike the keys.

7. To give a name to your tone, press

. The first character of the tone

name flashes.

–

8. Repeatedly press or until the first

character of the new name appears.

Pan (Pan) (–64 to +63)

— Controls

the relative position of the tone

between the left and right speaker

channels. A greater positive value

moves the center point further to the

right, a negative value moves it to

the left.

9. Press to move to the next charac-

ter position. Repeat Steps 8 and 9 to

enter the rest of the characters in

the new name.

Note:

Press

to change the tone

number (the name of the tone

returns to its preset name).

–

4. Use or to change the parame-

ter’s setting. You can also use the

number buttons to directly enter a

value for the parameter.

10. Press

to save the user tone.

Save OK appears briefly and the

keyboard exits the Custom Tone

Synthesizer mode.

Operation

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sists of eight banks (0-7), and each bank

has four memory locations (A – D), total-

ing up to 32 settings. You can save each

of the following settings in each registra-

tion memory:

Hints on Creating a User Tone

• Use a preset tone that is similar to

the one you are trying to create.

When you already have a general

idea of the tone you are trying to

create, it is a good idea to start with

a similar preset tone. If you want to

use a layered tone, start out with a

2DCO tone.

• tone

• rhythm

• tempo

• Determine the most important

parameter. The PCM Set and Amp

Envelope Set parameters are the

major factors that determine the

overall tone characteristic. Start out

by setting these two parameters to

get the general sound you want, and

then set the other parameters to add

the finishing touches.

• split on/off

• split point

• layer on/off

• mixer settings (Channels 1 – 4)

• keyboard channel on/off (Channels

1 – 10)

• reverb settings

• 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!

• touch response settings

• assignable jack setting (see “Using

a Sustain Pedal” on Page 26)

• transpose (see “Changing Keys” on

Page 24)

Deleting a User Tone

• tuning (see “Tuning the Keyboard”

on Page 25)

To delete an existing user tone, follow

Steps 1–5 of “Creating and Storing a

User Tone” on Page 21. When SAVE ?

• pitch bend range (see “Using Pitch

Bend” on Page 26)

appears in Step 5, press

twice. De-

lete? appears. Press

to delete.

• accompaniment volume

The parameters of the default tone for

that number are restored.

Notes:

• You cannot use the registration

memory while you are using the

synthesizer, memory, or demo tune

functions.

USING THE

REGISTRATION MEMORY

Your keyboard can save different setups

of controls in its registration memory.

This lets you instantly recall your favorite

settings. The registration memory con-

• You cannot delete a registration

setup from memory, but you can

store a different setup in its place.

Operation

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STORE REGISTRA-

and

• You can use the keyboard’s MIDI

function to save your setup data to

your PC or other storage device.

4. Release

TION

5. Repeat Steps 1–4 to store more set-

ups.

Storing a Setup

Recalling a Setup

1. Set the desired controls to the set-

ting you want to store.

BANK

1. Repeatedly press

until the

2. Within 5 seconds, repeatedly press

desired bank number appears.

BANK

until the desired bank number

2. Within 5 seconds, press the desired

appears.

REGISTRATION

B C

, , or

button ( ,

STORE

3. While holding down

, press

button

Recall

appears after the

REGISTRATION

the desired

A B C D Store

selected bank/location number/let-

ter.

( , , , or ).

appears after

the selected bank/location number/

letter.

Note:

You can skip Step 1 if the setting

you want to recall is in the same bank as

the current one.

$ Special Features

example, the difference between C

and C or B and B is one semi-

tone. You can transpose the key

down 6 semitones (to an F ) and up

5 semitones (to an F) — a full

octave.

CHANGING KEYS

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.

–

2. Within 5 seconds, press

lower or raise the key. Each time

Note:

You cannot change the key while

–

you press

or , the number

a prerecorded tune is selected or play-

ing.

decreases or increases by 1 (semi-

tone).

TRANSPOSE/

1. Repeatedly press

TUNE/MIDI

As you raise the key, is C , is D,

and so on. As you lower the key, –

appear

until

00 Trans

is B, – is B ,

is A, and so on.

–3

Note:

The number on the display is

Notes

the number of “semitones” to which

the keyboard is set, compared to its

default key. A semitone is a mea-

surement that represents the acous-

tical interval between the tones of

any two keys on the keyboard. For

• The transpose setting also affects

memory playback (see “Playing

Back from Memory” on Page 29)

and auto accompaniment.

Special Features

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• The keyboard automatically resets

the key to the default value of 0

(middle C) each time you play a pre-

recorded tune.

• Auto accompaniment uses the cur-

rently set pitch.

• The keyboard automatically resets

the tuning pitch to the default value

of 00 (cents) each time you turn off

the keyboard.

TUNING THE KEYBOARD

Although your keyboard never goes out

of tune, it lets you adjust its pitch to

match other instruments or musical re-

cordings.

USING TOUCH RESPONSE

Your keyboard has a touch response

feature that 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.

Note:

You cannot tune the keyboard

while a prerecorded tune is displayed or

playing.

Follow these steps to tune the keyboard.

TOUCH RESPONSE

Repeatedly press

until its indicator appears (to turn touch

response on) or disappears (to turn it

off).

TRANSPOSE/

1. Repeatedly press

TUNE/MIDI

until

Trans

appears.

Notes:

2. Repeatedly press

until 00

TUNE appears.

• The touch response setting does not

affect auto accompaniment or

received MIDI data.

Note:

The number on the display is

the number of “cents” to which the

keyboard is currently tuned, com-

pared to its default pitch. 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

50 cents (101 levels) of its default

pitch.

• The MIDI data sent out from the

keyboard is affected by the touch

response setting.

CHANGING AUTO POWER

OFF

When you operate the keyboard with

battery power, the keyboard automati-

cally shuts off after about 6 minutes if

3. Within 5 seconds, repeatedly press

–

to lower or raise the key-

board’s pitch. Each time you press

the key, the number decreases or

increases by 1 (cent).

POWER

you do not press a key. Press

again to turn power back on.

To have the keyboard not automatically

turn off during a session, turn the key-

Notes:

TONE

board on while holding down

• Memory playback uses the pitch

with which the memorized tune was

recorded.

The next time you turn the keyboard off

then back on again, it automatically

turns off after about 6 minutes.

Special Features

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pedal (not supplied), available through

your local RadioShack store. A sustain

pedal lets you sustain or soften the key-

board’s sound, and even start or stop an

auto-rhythm.

USING PITCH BEND

Your keyboard has a pitch bend feature

that lets you bend a note by altering its

pitch. Pitch bend lets you create realistic

effects for sounds such as a saxophone,

other reed instruments, and guitar

tones.

To connect a sustain pedal to your key-

AS-

board, insert the pedal’s plug into

SIGNABLE JACK

keyboard.

on the back of the

To use pitch bend, rotate and hold

PITCH BEND

while holding down a key.

The pitch of the key you pressed slides

PITCH

You can adjust the keyboard to these

settings when you use a sustain pedal.

smoothly up and down. Release

BEND

to stop the effect.

Setting

Description

Adjusting the Pitch Bend

Range

SUS (Sustain)

Causes one or more

notes to linger after

they are played

You can adjust the bend range of pitch

controls from 1 to 12 semitones.

SoS (Sostenuto) Similar to SUS, but

only sustains one

Note:

The keyboard automatically se-

note just played

lects a bend range of 2 semitones the

first time you turn it on after connecting

power. Each time you turn it on after

that, it recalls the last selected bend

range.

SFt (Soft)

Softens the sound

rHy (Rhythm)

Starts or stops the

selected auto-rhythm

Follow these steps to adjust the pitch

bend range.

AS-

Follow these steps to change the

SIGNABLE JACK

jack’s setting.

TRANSPOSE/

1. Repeatedly press

TRANSPOSE/

1. Repeatedly press

TUNE/MIDI

appear.

Bend

until a number and

TUNE/MIDI

Bend

until

appears.

until the

Then repeatedly press

current setting for

ASSIGNABLE

2. Within 5 seconds, repeatedly press

JACK

Jack

appear.

and

–

or until the pitch bend range you

want appears, or enter a number

01 12

2. Within 5 seconds, repeatedly press

–

SUS

or until the desired setting (

from

–

SoS, SFt, or rHy) appears.

Press the sustain pedal as you play to

hear the desired sound or to start/stop

the selected auto-rhythm.

USING A SUSTAIN PEDAL

For added flexibility and control as you

make music, you can connect a sustain

Special Features

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$ Using the Memory

The keyboard lets you record up to two

separate songs in memory for later play-

back. You can use either of two meth-

ods to record a song — real-time

recording (you record as you play) or

step recording (you enter notes and

chords one-by-one).

you play a note or a chord on the

accompaniment keys.

• To record using an intro, ending, or

INTRO SYNCHRO/END-

fill-in, use

ING NORMAL/FILL-IN

VARIA-

, or

TION/FILL-IN

as you normally would.

• To synchro start auto accompani-

ment with an intro pattern, press

You can record on each of the key-

board’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 differ-

ent mixer settings for each track.

SYNCHRO/ENDING

INTRO

and then

START/STOP

instead of

in Step 5 of

“Real-Time Recording.” Recording

starts with the intro pattern when

you play a note or a chord on the

accompaniment keys.

Track 1 is the main track, and you can

use it to record auto accompaniment

and drum pad sounds, as well as key-

board play. Tracks 2 through 6 are mel-

ody tracks, and you can use these for

recording a secondary melody that in-

cludes keyboard play and the drum pad.

• To start auto accompaniment during

SYNCHRO/END-

a recording, press

ING START/STOP

instead of

in Step

5. Play the melody keys to start

recording. When you reach the point

where you want accompaniment to

start, play a chord on the accompa-

niment keys.

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.

Follow these steps to record as you

play.

MEMORY

1. Repeatedly press

until

REAL-TIME RECORDING

Rec. No. appears.

With real-time recording, the notes are

recorded as you play them on the key-

board. Before you start, read these tips.

Note: MEMORY

is a three-way

switch. When you press it once, the

keyboard enters the memory play-

back mode. When you press it

again, it enters the memory record

mode. When you press the button a

third time, it turns off the memory

function.

• To record without an auto-rhythm,

skip Step 5 of “Real-Time Record-

ing.” Recording starts when you

press a key.

• To start recording with synchro start,

SYNCHRO/ENDING

in Step 5 of “Real-Time

Recording.” Recording starts when

press

START/STOP

instead of

–

2. Within 5 seconds, press or (or

or ) to select a song number.

Using the Memory

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CHORD/1

3. Press

to select Track 1.

This data is stored on Track 1 along with

the notes you played:

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.

• tone number

• rhythm number

INTRO NORMAL/

• rhythm controller (

FILL-IN

, etc.) operations

• pitch bender operations

• pedal operations

4. If desired, you can change these

settings:

• tone number

• rhythm number

• tempo

• drum pad operations

See “Recording Multiple Tracks” on

Page 31 to record on the other five

tracks.

MODE

•

Notes:

Note:

Do not change the tempo

unless you already know the desired

START/STOP

• When you record on a track that

contains data, the new recording

replaces the previous recording.

tempo. Pressing

hear the tempo causes recording to

begin.

• The touch response setting (on/off)

is not recorded. However, the

strength of the strike is recorded.

START/STOP

5. Press

ing.

to start record-

• Channel 1 mixer parameters are

automatically recorded to Track 1.

6. Play the keyboard.

You can also record auto accompa-

niment chords, the drum pad, pitch

bender, and pedal operations.

• The memory can store a total of

about 4,900 notes. If the remaining

memory is less than 100 notes, the

measure and beat numbers flash.

When memory becomes full, record-

ing automatically stops (and auto-

accompaniment or rhythm stops

playing, if used).

START/STOP

7. Press

ing.

to end record-

START/

If you make a mistake, press

STOP

to stop recording and begin again

from Step 1, or you can edit the con-

tents. See “Editing Memory Contents”

on Page 33.

• Memory contents are saved as long

as power is supplied to the key-

board. Unplugging the adapter with-

out batteries or with weak batteries

erases the memory. To prevent data

loss, connect an adapter before

replacing the batteries.

Press

after you select Track 1 in Step

3 to use the drum pads. That way, you

can also start recording by playing a

drum pad.

Using the Memory

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• Turning off the keyboard while

recording erases the contents of the

track you were recording.

STEP RECORDING

With step recording, you can record a

chord progression one chord at a time.

Before you start, read these tips. (If you

want to record one note at a time, refer

to “Recording Multiple Tracks” on

Page 31.)

• You can transfer memory contents

to another MIDI device.

PLAYING BACK FROM

MEMORY

• To start accompaniment with an

MEMORY

INTRO

SYN-

1. Repeatedly press

until

intro pattern, press

after

Play No. appears.

CHRO/ENDING

in Step 6 of “Step

Recording.”

–

2. Within 5 seconds, use or (or or

) to select a song number.

• To switch to a rhythm variation,

VARIATION/FILL-IN

ately before entering the chord in

Step 6 of “Step Recording.”

press

immedi-

START/

3. Within 5 seconds, press

STOP

to play back the song you

TEMPO

selected. You can use

adjust the playback tempo.

• To insert an ending or fill in, press

SYNCHRO/ENDING

NORMAL/FILL-

for variation

IN VARIATION/FILL-IN

START/STOP

playback.

4. Press

again to stop

(

rhythm) immediately before entering

the chord in Step 6 of “Step Record-

ing.”

Notes:

• You can use layer and/or split during

memory playback.

• To step-record chords without a

rhythm, skip Step 5 of “Step Record-

ing.” The chord of the specified

length is recorded. A rest can be

specified there, so you can create

an original chord pattern.

• You can change the rhythm during

playback.

START/STOP

• Pressing

during the

song restarts the song from the

beginning.

• To add chord accompaniment dur-

ing rhythm play, enter rests from the

beginning of the recording up to

where you want accompaniment to

start. Then enter only the chords (no

rests).

• You can set the volume and pan

position of the playback tracks using

the mixer. This setting data is output

MIDI OUT

through

Follow these steps to record chords with

step recording.

• The entire keyboard functions as a

melody keyboard during playback,

MODE

regardless of the

setting.

MEMORY

1. Repeatedly press

until

REC.No. appears.

2. Within 5 seconds, repeatedly press

–

or to select a song number.

Using the Memory

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CHORD/1

3. Press

to select Track 1.

beat, or clock ( / of a beat) — and

adds your new entry to it.

4. If desired, you can change these

settings:

• You can enter a 0 (a rest) in Step 6,

but the rest is ignored when the

accompaniment plays.

• rhythm number

• tempo

INTRO

• The rhythm number and

SYNCHRO/ENDING NORMAL/FILL-

VARIATION/FILL-IN

MODE

•

, and

opera-

STEP

5. Press

6. Press

to start recording.

tions are stored on Track 1, along

with the notes you played.

SYNCHRO/ENDING

, then play

a chord.

See “Recording Multiple Tracks” on

Page 31 to record on the other five

tracks.

• Use the chord play method deter-

MODE

mined by the current

set-

ting (Fingered, Concert Chord,

Full Range Chord, or Normal).

Specifying Chords in the

Normal Mode

MODE

NORMAL

• When

is set to

specify the chord using the root

keys and chord-type keys. See

“Specifying Chords in the Normal

Mode”.

MODE

To enter chords when

NORMAL

is set to

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.

7. Use the number buttons to specify

the length of the chord. See “Speci-

fying the Length of a Note”.

While holding down the desired chord

root key, press the chord key to specify

the chord.

8. For each additional chord you want

to enter, play the chord and use the

number buttons to specify its length.

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.

9. When you finish recording, press

MEMORY STEP

START/ STOP

, or

START/

To play back the song, press

STOP

Specifying the Length of a Note

Notes:

During step recording, use the number

• To correct entry mistakes, see “Edit-

ing Memory Contents” on Page 33.

–

buttons (or or ) to specify the length

of each note.

• When you record on a track that

already contains data, the keyboard

automatically locates the end of the

Use numbers

through

to specify

whole notes ( ), half notes ( ), quarter

notes ( ), eighth notes ( ), 16th notes

( ), and 32nd notes ( ).

previous recording

—

measure,

Using the Memory

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Hold down (dot) or (triplicate), then

RECORDING MULTIPLE

TRACKS

press through to enter the lengths of

the notes.

In addition to Track 1, where you record

auto accompaniment as well as key-

board play, there are five other melody

tracks that you can use to record melody

parts only. You can record different

tones on these tracks and build a full en-

semble of instruments.

To enter a tie, press and enter the first

then the second notes.

To enter a rest, press then use num-

bers through to specify the length of

the rest.

Correcting Mistakes

You can play back what you already re-

corded on Track 1 (or any other track)

while you record on Tracks 2–6.

Before finishing your step recording en-

try, you can move the entry point back to

correct the data you entered. However,

this operation deletes all data after the

point where you make corrections.

Real-Time Recording

MEMORY

1. Repeatedly press

until

Rec. No. appears.

MEMORY STEP

1. Before you press

, or

START/STOP

. This moves the entry point back

one “space.”

to end recording, press

2. Within 5 seconds, repeatedly press

–

or to select a song number.

CHORD

3. Press the desired

button ( –

The data recorded at the current

entry point appears.

) to select the track you want to

record on.

2. While monitoring the data on the

Note:

Check the display for Chan-

display, repeatedly press or

nels 11–16 to see which memory

tracks contain data and which are

empty.

move the entry point to the data you

want to change.

–

3. Press

and

at the same time.

4. If desired, you can change these

settings:

Rewrite? appears.

4. Press to clear all data after the

• tone number

current entry point.

• tempo (to a tempo that is easy for

you to follow)

–

5. Press

, or to cancel the

rewrite operation. After that, you can

press or to move the entry point

to another location if you want.

START/STOP

5. Press

to start record-

ing. The contents of any tracks

already recorded start to play.

Note: TrackEnd

appears if you

press at the end of the recording.

6. Play on the keyboard what you want

to record on the selected track.

Using the Memory

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START/STOP

1 9

note or rest.

7. Press

ing.

to end record-

7. Use – to enter the length of the

8. Repeat entering chords by playing

them and specifying their length.

This data is stored on the selected

track in addition to the notes you

played:

MEMORY STEP

START/

9. Press

, or

STOP

to end recording.

• tone number

Notes:

• optional pedal operations

• pitch bender operations

• drum pad operations

• If you make a mistake, see “Correct-

ing Mistakes” on Page 31.

• When you record on a track that

already contains data, the keyboard

automatically locates the end of the

previous recording

beat, or clock ( / of a beat) — and

appends your new entry from there.

Step Recording

—

measure,

MEMORY

1. Repeatedly press

until

Rec. No. appears.

• To record a drum pad part, play a

drum pad in Step 5.

2. Within 5 seconds, repeatedly press

–

or to select a song number.

• During recording on Tracks

through 6, the entire keyboard func-

tions as a melody keyboard, regard-

CHORD

3. Press the desired

button ( –

) to select the track you want to

record on.

MODE

less of the current

setting.

4. Change the tone, if desired.

• This data is stored on the selected

track in addition to the notes you

played:

STEP

5. Press

to start recording.

–

6. Use the keyboard or or to enter

• tone number

notes, or to enter rests.

• drum pad operations

• When you enter the note using

the keyboard with touch response

turned on, the key pressure is

also recorded.

• You can turn off a specific track dur-

ing playback by using the mixer

function (see “Using the Mixer” on

Page 18).

• You can also enter the chords

using the keyboard.

Changing the Navigation Track

–

• When you use or to enter a

note, a staff on the display shows

the note you enter.

After you record, the display shows the

contents of the last recorded or edited

track. To display a different track, re-

• To delete a rest entry, press

again.

TRANSPOSE/TUNE/MIDI

peatedly press

until Bend appears, then repeatedly

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press

until Navi. Tr. appears.

• When you change note, key pres-

sure, chord, or drum pad data, the

keyboard sounds the new setting

so you can hear what it sounds

like.

–

Then repeatedly press or until the

track you want appears.

EDITING MEMORY

CONTENTS

6. Repeat Steps 5 and 6 to edit other

parameters.

You can recall and change individual

notes and parameter settings (such as

tone number) in memory contents.

MEMORY STEP

START/

7. Press

, or

STOP

when you are finished.

MEMORY

1. Repeatedly press

until

Notes:

Play No. appears.

• When you interrupt playback of a

song and immediately start an edit-

ing operation, the entry point (or

point of interruption) appears on the

editing screen.

–

2. Within 5 seconds, use

select a song number.

STEP

3. Press

CHORD

the track you want to edit.

4. Use the

buttons to select

• The only parameters that can be

edited for Tracks 2–6 are notes,

chords, tone, rhythm, key pressure,

and drum pad.

5. Repeatedly press or to move to

the entry point you want to change.

• You cannot add data to a recording.

You can change the parameter that

is flashing on the display. To change

• You cannot move portions of a

recording to a different location

within the recording.

a different parameter, press

the parameter you want to edit

starts flashing.

• You cannot change note lengths.

Make the desired changes to the

selected parameter.

Editing Techniques and

Display Contents

The actual procedures you use to

change a parameter depend on the

type of data it contains. See “Editing

Techniques and Display Contents”.

Note:

You can edit Chord, Tone Num-

ber/Rhythm Number, and Rhythm Con-

troller controls only when you first record

these items.

Notes:

• 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.

Key Pressure (Velocity)

— Use the

–

keyboard, number buttons, or and to

adjust the key pressure. To change the

key pressure using the keyboard, be

sure to turn on touch response.

Using the Memory

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Pitch

— Enter a new note on the key-

2. Within 5 seconds, repeatedly press

–

board or use or to change to the next

higher or lower note. The keyboard and

the staff on the display show your new

entry.

or to select a song number.

MEMORY

3. Hold

down

until

Tr.Del.? appears.

CHORD

4. Within 5 seconds, press the

Chord

— Use the appropriate chord fin-

gering method as determined by the

MODE

2 6

number ( – ) for the track(s) you

want to delete.

setting.

Tone Number/Rhythm Number

• You can specify more than one

track by pressing more than one

button.

— Use

–

the number buttons or or .

Rhythm Controller (INTRO, NORMAL/

FILL-IN, VARIATION/FILL-IN, SYNCHRO/

• To deselect a track, simply press

its button again.

ENDING) CHORD

— Press the button for

the function you want to change to.

The track contents indicator(s) for

the selected track flash(es).

Deleting Individual Data

5. To delete the data in the selected

1. Follow Steps 1–5 under “Editing

Memory Contents” on Page 33.

track(s), press

goes into playback standby mode.

. The keyboard

–

2. Press

and

at the same time.

To exit the track deletion procedure

without changing any data, press

DataDel? appears.

MEMORY

3. Press to delete the selected

data.

Notes:

–

Or press or (or or ) to cancel

the procedure without deleting any-

thing.

• You cannot change the song num-

ber after Tr.Del.? appears.

• You cannot select a track that does

not contain any recorded data.

Deleting All Data in a Specific

Track

MEMORY

1. Repeatedly press

until

Rec. No. appears.

$ Using MIDI

Your keyboard includes a feature called

MIDI (Musical Instrument Digital Inter-

face). MIDI is the universal standard for

sending and receiving performance data

between all types of electronic musical

instruments, regardless of the manufac-

turer. 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 se-

Using MIDI

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quencer, acquire a wider selection of

preset tones from a sound module, and

much more.

MAKING THE MIDI

CONNECTIONS

To connect your keyboard to another

MIDI-equipped device, you must use a

MIDI cable (available at your local Ra-

dioShack store).

ABOUT MIDI

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 pur-

pose.

Cautions:

• Always turn off power to your key-

board and the other MIDI device

before you connect or disconnect

MIDI cables.

MIDI OUT sends MIDI data to (“talks

to”) the other MIDI instrument(s).

• As you make the cable connections,

be sure to align the MIDI cable pins

with the matching holes on your key-

board’s MIDI OUT and MIDI IN termi-

nals. If you have trouble plugging in

the cable, do not force it! You might

damage the plug or the instrument.

MIDI IN receives (“listens to”) MIDI data

sent by the other MIDI instrument(s).

MIDI THRU lets you connect (“network”)

additional MIDI instruments, and sends

along to other MIDI devices a copy of all

data it receives through its MIDI IN ter-

minal.

To send MIDI data from your keyboard,

use a MIDI cable to connect the key-

MIDI OUT

MIDI IN

and

Your keyboard has

terminals.

MIDI OUT

board’s

terminal to the other

device’s MIDI IN terminal.

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 (in-

structions). One MIDI device sends digi-

tal 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.

To receive MIDI data on your keyboard,

use a MIDI cable to connect the key-

MIDI IN

board’s

terminal to the other de-

vice’s MIDI OUT terminal.

Note:

You do not need to make both

connections if you are only either send-

ing or receiving.

MIDI DATA

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 automatical-

ly as you play.

Note:

Connecting your keyboard to an-

other MIDI device requires a MIDI cable

(not supplied). See “Making the MIDI

Connections”.

Using MIDI

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Notes:

• The keyboard’s prerecorded tunes

Control

Number

Effect

Bank Select

cannot be sent as MIDI data.

0, 32

Volume

• For detailed specifications of the

MIDI function, see the “MIDI Imple-

mentation Chart” on Page 46.

Pan

Expression

Hold1 (Sustain)

Sostenuto

Soft Pedal

Note On/Off

— specifies which keys are

pressed (Note On) or released (Note

Off). Also includes how loud a note is

played as a value from 0 to 127.

RPN (Registered Parameter

Number)

100/101

Notes:

Data Entry

6/38

• The pitch of a note depends on the

tone that is being used, as shown in

the “MIDI Implementation Chart” on

Page 46.

Use the Bank Select setting to select the

keyboard’s tone groups to be changed

by the Program Number message.

• If the keyboard receives a “request”

to play notes outside of its range

(higher or lower), it automatically

selects the same note in the nearest

octave.

• Bank 0 — 0 to 127 (General MIDI

tones)

• Bank 1 — 128 to 159 (synthesized

tones)

• Bank 2 — 160 to 167 (drum sets)

• Bank 3 — 168 to 199 (user tones)

Program Change

— specifies the tone.

Pitch Bend

— supplies pitch bend infor-

mation. The keyboard’s pitch changes

as it receives a Pitch Bend message

Just before sending a Program Change

message, send two Control Change

messages with this data to the key-

board:

MIDI IN

through the

terminal, and the

keyboard sends pitch bend information

MIDI OUT

through the

tate

terminal as you ro-

PITCH BEND

• Control Number = 0, Control Value =

Control Change

— adds effects such

as vibrato and volume changes applied

during keyboard play. The message in-

cludes a control number (the effect type)

and a control value (the on/off and depth

of the effect).

• Control Number = 32, Control Value

= 0

For example, to select tone number 190

(user tone number 22), enter:

Here is the data that can be received

with this keyboard and the correspond-

ing control number.

• Control Number = 0, Control Value =

3 (bank number for user tone)

• Control Number = 32, Control Value

= 0

Using MIDI

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Notes:

• Program Change = 22 (22nd tone in

bank 3)

• GM is a standard list of specifica-

tions that allows music created on

one MIDI device to sound the

same when played on another

MIDI device. This keyboard’s GM

mode incorporates most of these

specifications.

Note:

Channel 10 is reserved for drum

sounds only, so it is not necessary to

send bank select data when changing

tones.

RPN is used when combining multiple

control changes. RPN (100 and 101) se-

lects the parameter to control, and Data

Entry (6 and 38) sets the contents of the

parameter. On the keyboard, RPN is

used to set pitch bend range, transpose,

and tune control from an external MIDI

device.

• This message takes more time to

process than other messages;

when you program GM Mode On

in the sequencer, leave at least a

100 msec pause before the next

message.

GM Mode Off ([F0][7E][7F][09]

•

All Sound Off

current channel to turn off, regardless of

how the sound is being produced.

forces all sound on the

[02][F7])

— used to turn off the key-

board’s GM mode.

Reverb Change ([F0][44][0E][09]

All Notes Off

turns off all note data sent

[yy][F7])

— switches the keyboard’s

from an external device on the channel.

The notes being sustained by the pedal

continue to sound until the next pedal off

signal is received.

reverb function. yy determines the

type of reverberation effect.

yy Value

Reverb

Reset All Controllers

bend and all other control changes.

initializes pitch

Room

Stage

Hall

System Exclusive

controls fine tone

adjustments unique to a particular sys-

tem. The system exclusives are unique

to a particular system; however, there

are “universal” system exclusives that

are common among devices produced

by individual manufacturers.

Off

Note:

The contents of the System Ex-

clusive message affect the entire key-

board. Other messages affect only the

current MIDI channel.

These are the system exclusive mes-

sages supported by this keyboard.

CHANGING MIDI

SETTINGS

GM Mode On ([F0][7E][7F][09]

•

[01][F7])

— used to turn on the key-

board’s GM (General MIDI) mode

from an external MIDI device.

The keyboard lets you change a number

of MIDI parameters, including turning

Using MIDI

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General MIDI mode on/off and selecting

a MIDI channel.

and as MIDI data. Set to oFF to

send data only as MIDI data (the

speakers on the keyboard remain

silent).

Follow these steps to change MIDI pa-

rameters.

AcompOut (Accompaniment Out)

(Default: Off): set to on to send auto

accompaniment as MIDI data. Set to

oFF to turn it off.

TRANSPOSE/

1. Repeatedly press

TUNE/MIDI

oFF GM Mode

until

appears.

–

3. Within 5 seconds, use

2. Within 5 seconds, repeatedly press

or to select the parameter you

change the setting of the parameter.

want to change.

GM Mode on/off (Default: Off): set to

on when you want to have the key-

board receive GM data from another

MIDI device. Turning GM mode on

automatically turns CHORD off,

since GM mode and MIDI In Chord

Judge cannot be used at the same

time.

DUMPING/IMPORTING

DATA

The keyboard’s internal data, including

data recorded to memory and synthesiz-

er data, can be sent and received in bulk

as MIDI exclusive data through the MIDI

terminals. Thus, you can use a comput-

er or other MIDI device as an external

storage device.

Set to oFF to turn GM mode off.

The tone, volume and other param-

eter settings of each channel are ini-

tialized. When playing received

MIDI data, bass tones are lowered

one octave and the piccolo tone is

raised one octave.

MIDI IN

First make connections from the

MIDI OUT

and

terminals to an external

device using MIDI cables.

Keybd Ch (Keyboard Basic Chan-

nel) (Default: 01): sets the channel

for sending MIDI data to an external

device.

Note:

MIDI exclusive data.

Some software does not support

Chord (MIDI In Chord Judge)

(Default: Off): when set to on, the

keyboard determines basic channel

note data as auto accompaniment

chords per the current chord finger-

ing method. Turning GM mode on

automatically turns Chord off,

since GM mode and MIDI In Chord

Judge cannot be used at the same

time.

Dumping Data

1. Put the other device in its receive

standby mode.

See the owner’s manual that comes

with the receiving device for details.

TRANSPOSE/

BulkSnd?

ap-

2. Repeatedly press

TUNE/MIDI

until

pears.

Local (Local Control) (Default:

On): set to on to send data simulta-

neously to the keyboard’s speakers

3. Within 5 seconds, press

to start

data send. Sending appears. The

Using MIDI

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Note Number

keyboard automatically exits the

data transfer mode after all the data

is sent.

— This number repre-

sents each key of the keyboard. The

lowest number (0) is five octaves below

middle C. Since the keyboard’s lowest

note is two octaves below middle C and

the highest is three octaves above mid-

dle C, your keyboard can send a note

number between 36 and 96. But, it can

receive all 0 through 127 note numbers,

so those keys outside the keyboard’s

key range are interpreted as notes in-

side the key range.

Importing Data

TRANSPOSE/

1. Repeatedly press

TUNE/MIDI

BulkSnd?

ap-

until

pears.

2. Within 5 seconds, repeatedly press

or until BulkRcv? appears.

3. Within 5 seconds, press

to pre-

Velocity

— This number shows how

pare the keyboard to receive data.

fast the key was pressed, or how loud

the note should sound. 1 is the lowest

velocity, pianissimo; 127 is the loudest,

fortissimo. 0 means the key is released.

4. Start the send operation on the

sending device. See the owner’s

manual that comes with the con-

nected device for details. The key-

board automatically exits the data

transfer mode after all the data is

received.

— This means that the Note On mes-

sage is 9 hexadecimal, and n is the

channel number.

For example, if you select Channel 16

and press Key D in mezzo-piano, 9E (E

is 15 in hexadecimal; note that Channel

1 is 0 in MIDI data) is first sent from MIDI

OUT, then 3D (decimal 61) is sent as

the key number, finally 21 (decimal 33)

is sent as velocity.

NOTES ABOUT THE MIDI

IMPLEMENTATION

CHART

The “MIDI Implementation Chart” on

Page 46 illustrates the details of the key-

board’s MIDI function. An in the chart

Pitch Bender

and receives pitch bending signals.

— The keyboard sends

means that the keyboard has this fea-

ture; means it does not have this fea-

ture. This section explains what the

keyboard can do.

Control Change

— This feature sends

data on various controllers, each having

its own number. For the details of each

parameter, see “MIDI Data” on Page 35.

Basic Channel

— MIDI uses up to 16

channels to exchange data. As in a TV

broadcast, different channels send dif-

ferent data.

Program Change

—

This feature

changes the preset sounds. Each sound

number corresponds to a program num-

ber between 0 and 127.

Mode

— The chart shows that Mode 3 is

OMNI OFF, POLY. This means the key-

board sends and receives polyphonic

data on only one channel at a time.

System Exclusive

— This feature

sends special signals unique to the key-

Using MIDI

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board. For details, see “MIDI Data” on

Page 35.

music to begin at whatever point it was

last stopped.

System Real Time

All Notes Off

— This feature is a kind of

— “Clock” is like a

metronome to send the synchronizing

signal.

panic button: it stops the sounds cur-

rently playing. The keyboard only re-

ceives this message.

System real time commands send three

kinds of signals — start tells the key-

board to start playing from the begin-

ning, stop tells all the synchronized

instruments to stop playing, and contin-

ue is similar to start, but it signals the

Active Sensing

— This means the key-

board’s sound turns off in the event the

MIDI IN

connection cable to

accidentally disconnected.

terminal is

$ Troubleshooting

If your keyboard is not performing as it should, these suggestions might help. If you

still cannot solve the problem, take the keyboard to your local RadioShack store for

assistance.

Trouble

Possible Cause

Remedy

MODE OFF

No sound, even if keys

are pressed.

The keyboard has turned

off automatically.

Set

then

MAIN VOL-

Repeatedly press

Volume is turned down.

UME ▲

to increase the volume.

Headphones connected.

Power supply problem.

Disconnect headphones.

Check the power supply.

Are battery symbols

(+/–) facing correctly?

Are the batteries fresh?

Is the AC or DC adapter con-

nected properly?

MODE NORMAL

to or

You are pressing too few

accompaniment keys

Set

CONCERT CHORD

MODE

FIN-

is set to

while

Press 3 or 4 keys to form a

MODE

GERED

FIN-

is set to

chord while

GERED

VOLUME ▲

to increase the volume.

No sound when con-

nected to an external

amplifier.

Volume is turned down.

Repeatedly press

Defective connection cord. Replace the connection cord.

Troubleshooting

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Trouble

Possible Cause

Remedy

No sound when receiving

and playing MIDI data.

MIDI cables are not con-

nected properly.

Check the connection.

The key or tuning does

not match when playing

along with another MIDI

instrument.

The tuning or transpose

parameter is set to a value

Set the tuning or transpose to

other than or

Bass notes in General

MIDI data are sent out

one octave lower.

Tone map parameter is set

Set the tone map parameter to

(see “Changing MIDI Settings”

on Page 37).

Sounds sent to another

MIDI device by the key-

board do not sound cor-

rect.

The other device’s MIDI

THRU function is turned

on.

Turn off the MIDI THRU function

on the other device.

CARE

To enjoy your MIDI Keyboard for a long time:

• 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 gently and carefully. Do not drop it.

• Keep the keyboard away from dust and dirt.

• Wipe the keyboard with a damp cloth occasionally to keep it looking new.

can cause a mal-

Modifying or tampering with the keyboard’s internal components

function and might invalidate its warranty and void your FCC authorization to operate

. If your keyboard is not performing as it should, take it to your local RadioShack

store for assistance.

Troubleshooting

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$ Appendix

NOTE TABLE

Appendix

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Legend:

1. Tone number

2. Maximum polyphony

3. Digital Controlled Oscillator

4. Range type

5. Recommended sound range for General MIDI

* Tones without scale

* The following shows maximum polyphone for synthesized tones 128 through 159:

141 BASS SLIDE: 24 notes 1 DCO

Other tones: 12 notes 2 DCO

Appendix

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DRUM ASSIGNMENT LIST

Appendix

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FINGERED CHORD CHART

Note:

Chords marked with a

cannot be played in the FINGERED mode due to the

limitation of the accompaniment keyboard range. Use FULL RANGE CHORD to play

pieces that contain these chords.

Appendix

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$ MIDI Implementation Chart

FUNCTION

TRANSMITTED

RECOGNIZED

REMARKS

Basic

Default

1–16

Held in memory

Channel

Changed

1–16

with power supplied

Mode

Default

Messages

Altered

Mode 3

❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ ❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊

Mode 3

Note

Number:

36–96

0–127

See “Note Table”

on Page 42

❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ 12–108

True voice

Velocity

Note ON

Note OFF

O 9nH v=1–127

X 9nH v=0

O 9nH v=1–127

X 9nH v=0, 8nH

v=XX

XX=no relation

After

Touch

Keys

Channels

O^*3

Pitch Bender

Control

Change

0, 32

6, 38

O^*4

Bank Select

Modulation

Data entry

Volume

O^*3

O^*4

Pan

100, 101

120

121

O^*4

Expression

Hold 1

O^*5

O^*4

Sostenuto

Soft pedal

RPN LSB, MSB

All sound off

Reset all controller

Program

Change:

O 0–127

❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ ❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊

O 0–127

True #

System

Exclusive

O^*6

System

Common : Song Sel

: Tune

: Song Pos

System

Real Time : Commands

: Clock

Aux

: Local ON/OFF

: All notes OFF

Messages : Active Sense

: Reset

MIDI Implementation Chart

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Remarks

Modulation and after touch for each channel are the same effect.

Pitch bend sense, fine tune, coarse tune send/receive, and RPN Null receive

In accordance with assignable jack setting

GM on/off GM ON:[F0][7E][7F][09][01][F7]

GM OFF: [F0][7E][7F][09][02][F7]

Reverb change [F0][44][0E][09][XX][F7] XX=00: ROOM, 01: STAGE, 02: HALL, 0F: OFF

Bulk dump [F0] [44][0E][07] [0L₀][0H ]...[0L₁₂₇][0H₁₂₇

]

[0L_CS][0H_CS] [F7] 255 Block

ID Number Data (128 2 = 256 Bytes) Checksum (1 2 = 2 bytes)

Mode 1: OMNI ON, POLY

Mode 2: OMNI ON, MONO

Mode 3: OMNI OFF, POLY

Mode 4: OMNI OFF, MONO

O: Yes

X: No

$ Specifications

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

Drum Pads ............................................................................................................................... 6

Polyphonic Sound ............................................................................................... 24-note (Max.)

Preset Tones ............................ 200 (128 General MIDI, 32 synthesized, 32 user, 8 drum sets)

with Layer and Split

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

Digital Effects ............................................................... 3 reverb types (HALL, STAGE, ROOM)

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

Auto Accompaniment

Rhythm Patterns .................................................................................................................. 100

Tempo ....................................................................................... Variable (216 steps, 40 to 255)

Chords ......................................... 3 fingering methods (Concert Chord, Fingered, Full Range)

Rhythm Controller ................. Start/Stop, Intro, Normal/Fill-In, Variation/Fill-In, Synchro/Ending

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 ............................................................................. 32 (4 locations × 8 banks)

Memory Contents ................ Tone, rhythm, tempo, split setting, split point, layer setting, mixer

settings, keyboard channel on/off, reverb setting, touch response

ASSIGNABLE JACK

setting,

setting, transpose setting, tuning setting,

pitch bend range, accompaniment volume setting

Memory Function

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

Recording Tracks .................................................................. 6 (2 through 6 are melody tracks)

Specifications

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

Memory Capacity ............................................ Approximately 4,900 notes (total for two songs)

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

Custom Tone Parameter Function

Parameters ............................................ PCM set, amp envelope set, attack rate, release rate,

pitch envelope set, pitch, level, touch sense, pan

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 .............................................................................. –12 semitones to +12 semitones

Tuning ................................................................................. Adjustable A4 = 440 Hz 50 cents

Pitch Bend Range ............................................................................12 semitones up and down

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

Terminals

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

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

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

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

Headphones Stereo Standard Jack .............................................Output Impedance:150 Ohms

Output Voltage: 5 V (RMS) MAX at 47K ohm load

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

AC: 9V with AC adapter

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

¹⁶×

37 / 14 / Inches

⁸×

Dimensions (HWD) ........................................................................ 5 /

(15.2 × 96 × 37.6 cm)

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

(5.8 kg)

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

Play Guide for the Prerecorded Tunes

Specifications are typical; individual units might vary. Specifications are subject to change and

improvement without notice.

Specifications

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$ Notes

Notes

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Notes

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Notes

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Limited One-Year Warranty

This product is warranted by RadioShack against manufacturing defects in material and workman-

ship under normal use for one (1) year from the date of purchase from RadioShack company-owned

stores and authorized RadioShack franchisees and dealers. EXCEPT AS PROVIDED HEREIN, Ra-

dioShack MAKES NO EXPRESS WARRANTIES AND ANY IMPLIED WARRANTIES, INCLUDING

THOSE OF MERCHANTABILITY AND FITNESS 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 RE-

SPONSIBILITY TO CUSTOMER OR ANY OTHER PERSON OR ENTITY WITH RESPECT TO ANY

LIABILITY, LOSS OR DAMAGE CAUSED DIRECTLY OR INDIRECTLY BY USE OR PERFOR-

MANCE OF THE PRODUCT OR ARISING OUT OF ANY BREACH OF THIS WARRANTY, IN-

CLUDING, BUT NOT LIMITED TO, ANY DAMAGES RESULTING FROM INCONVENIENCE, LOSS

OF TIME, DATA, PROPERTY, REVENUE, OR PROFIT OR ANY INDIRECT, SPECIAL, INCIDEN-

TAL, 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 limita-

tion of incidental 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, un-

less 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 prop-

erty 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, misuse, 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 RadioShack Authorized Service Facility; (c) consumables such as

fuses or batteries; (d) cosmetic damage; (e) transportation, 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

We Service What We Sell

MD1210E-1

RadioShack

42-4045

MA0005-A

05A00

Printed in Malaysia

A Division of Tandy Corporation

Fort Worth, Texas 76102

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