OWNER’S MANUAL
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SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may
Battery Notice: This product MAY contain a small non-rechargable
battery which (if applicable) is soldered in place. The average life span
of this type of battery is approximately five years. When replacement
becomes necessary, contact a qualified service representative to
perform the replacement.
have either labels similar to the graphics shown below or
molded/stamped facsimiles of these graphics on the enclosure. The
explanation of these graphics appears on this page. Please observe
all cautions indicated on this page and those indicated in the safety
instruction section.
Warning: Do not attempt to recharge, disassemble, or incinerate this
type of battery. Keep all batteries away from children. Dispose of used
batteries promptly and as regulated by applicable laws. Note: In some
areas, the servicer is required by law to return the defective parts.
However, you do have the option of having the servicer dispose of
these parts for you.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION:
Disposal Notice: Should this product become damaged beyond
repair, or for some reason its useful life is considered to be at an end,
please observe all local, state, and federal regulations that relate to the
disposal of products that contain lead, batteries, plastics, etc.
The exclamation point within the equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
NOTICE: Service charges incurred due to lack of knowledge relating
to how a function or effect works (when the unit is operating as
designed) are not covered by the manufacturer’s warranty, and are
therefore the owners responsibility. Please study this manual carefully
and consult your dealer before requesting service.
The lightning flash with arrowhead symbol, within the
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude
to constitute a risk of electrical shock.
NAME PLATE LOCATION: The graphic below indicates the location
of the name plate. The model number, serial number, power
requirements, etc., are located on this plate. You should record the
model number, serial number, and the date of purchase in the spaces
provided below and retain this manual as a permanent record of your
purchase.
IMPORTANT NOTICE: All Yamaha electronic products are tested
and approved by an independent safety testing laboratory in order
that you may be sure that when it is properly installed and used in its
normal and customary manner, all foreseeable risks have been
eliminated. DO NOT modify this unit or commission others to do so
unless specifically authorized by Yamaha. Product performance
and/or safety standards may be diminished. Claims filed under the
expressed warranty may be denied if the unit is/has been modified.
Implied warranties may also be affected.
CS6x
3.3V CARD
POWER
ON OFF
AC INLET
CS6R
AC INLET
SPECIFICATIONS SUBJECT TO CHANGE: The information
contained in this manual is believed to be correct at the time of
printing. However, Yamaha reserves the right to change or modify any
of the specifications without notice or obligation to update existing
units.
MIDI
OUT
THRU
IN
HOST SELECT
TO HOST
INDIVIDUAL OUTPUT
OUTPUT
L MONO
2
1
R
PC-2 PC-1
MIDI
Mac
Model
Serial No.
Purchase Date
ENVIRONMENTAL ISSUES: Yamaha strives to produce products
that are both user safe and environmentally friendly. We sincerely
believe that our products and the production methods used to
produce them, meet these goals. In keeping with both the letter and
the spirit of the law, we want you to be aware of the following:
92-469- 1 (rear)
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PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,
short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• This instrument contains no user-serviceable parts. Do not attempt to
disassemble or modify the internal components in any way.
• Only use the voltage specified as correct for the instrument. The required
voltage is printed on the name plate of the instrument.
• Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill
into any openings.
• Always connect the three-pin attachment plug to a properly grounded power
source. (For more information about the main power supply, see page 12.)
• Before cleaning the instrument, always remove the electric plug from the
outlet. Never insert or remove an electric plug with wet hands.
• If the power cord or plug becomes frayed or damaged, or if there is a
sudden loss of sound during use of the instrument, or if any unusual smells
or smoke should appear to be caused by it, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the instrument
inspected by qualified Yamaha service personnel.
• Check the electric plug periodically and remove any dirt or dust which may
have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the
instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the power cord near heat sources such as heaters or radiators,
and do not excessively bend or otherwise damage the cord, place heavy
objects on it, or place it in a position where anyone could walk on, trip over,
or roll anything over it.
• Do not rest your weight on, or place heavy objects on the instrument, and do
not use excessive force on the buttons, switches or connectors.
• Use only the stand/rack specified for the instrument. When attaching the
stand or rack, use the provided screws only. Failure to do so could cause
damage to the internal components or result in the instrument falling over.
• When removing the electric plug from the instrument or an outlet, always
hold the plug itself and not the cord. Pulling by the cord can damage it.
• Do not operate the instrument for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If
you experience any hearing loss or ringing in the ears, consult a physician.
• Do not connect the instrument to an electrical outlet using a multiple-
connector. Doing so can result in lower sound quality, or possibly cause
overheating in the outlet.
■ REPLACING THE BACKUP BATTERY
• Remove the electric plug from the outlet when the instrument is not to be
used for extended periods of time, or during electrical storms.
• This instrument contains a non rechargeable internal backup battery which
permits internal data to remain stored even when the power is off. When the
backup battery needs replacing, the message "Change internal battery." will
display in the LCD. When this happens, immediately back up your data, then
have qualified Yamaha service personnel replace the backup battery.
• Before connecting the instrument to other electronic components, turn off
the power for all components. Before turning the power on or off for all
components, set all volume levels to minimum. Also, be sure to set the
volumes of all components at their minimum levels and gradually raise the
volume controls while playing the instrument to set the desired listening
level.
• Do not attempt to replace the backup battery yourself, in order to prevent the
possible serious hazards. Always have qualified Yamaha service personnel
replace the backup battery.
• Do not expose the instrument to excessive dust or vibrations, or extreme
cold or heat (such as in direct sunlight, near a heater, or in a car during the
day) to prevent the possibility of panel disfiguration or damage to the
internal components.
• Never place the backup battery in a location that a child can reach, since a
child might accidentally swallow the battery. If this should happen, consult a
physician immediately.
■ SAVING USER DATA
• Do not use the instrument near other electrical products such as televisions,
radios, or speakers, since this might cause interference which can affect
proper operation of the other products.
• Always save data to a Memory Card (SmartMedia) frequently, in order to
help prevent the loss of important data due to a malfunction or user
operating error.
• Do not place the instrument in an unstable position where it might
accidentally fall over.
Yamaha cannot be held responsible for damage caused by improper use or
modifications to the instrument, or data that is lost or destroyed.
• Before moving the instrument, remove all connected cables.
• When cleaning the instrument, use a soft, dry cloth. Do not use paint
thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
Also, do not place vinyl, plastic or rubber objects on the instrument, since
this might discolor the panel or keyboard.
Always turn the power off when the instrument is not in use.
(2)-6
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Introduction
Thank you for purchasing the Yamaha CS6x/CS6R Control Synthesizer.
Your new CS6x/CS6R synthesizer incorporates the highly-acclaimed AWM2 synthesis engine,
allowing the creation of super-realistic sounds. It also supports optional Plug-in Boards that provide
other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds.
You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in
Arpeggiator and Sequencer. Using the Phrase Clip feature, you can record real sounds or audio from
a CD, then play them back across the keyboard as you would a musical instrument.
Other features include Effects, Scenes (for storing sounds created with the Control Knobs on the front
panel), and Control Sets (for controlling various sound parameters in real time using different
controllers). These features make this synthesizer ideal for every kind of live performance or studio
work.
When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs
plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much
easier and smoother. To make the most use of your synthesizer, you are encouraged to read through
this manual. After reading the manual, please keep it in a convenient and safe place for future
reference.
About This Manual
This manual is basically divided into two sections:
■ Basics Section (Page 6)
Explains how to get started with the synthesizer, its overall structure, and how to use its main features and
functions.
■ Reference Section (Page 74)
Explains the parameters in the synthesizer’s various Modes.
Package Contents
• Owner’s Manual (this book)
• Data List
• AC Power cord
• Memory Card (SmartMedia)
• Burglarproof Lock (Page 171)
• Installation Guide
• CD-ROM (TOOLS for S80 & CS6x/CS6R)
The Included CD-ROM
Application software and Phrase Clip audio files for your synthesizer are included on this CD-ROM. The Voice
Editor application lets you edit your synthesizer’s sounds through a graphical user interface. The Card Filer
application lets you exchange data between your synthesizer and computer. Details are given in the separate
Installation Guide or the on-line manuals included with the software.
Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may
result in damage to your hearing as well as to your CD player/audio speakers.
Copying of the commercially available music sequence data and/or digital audio files is strictry prohibited except for your personal use.
The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from
those on your instrument.
The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.
4
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Table of Contents
Basics Section
Basics Section
The Controls & Connectors................................6
Reference Section
Reference
Section
Voice Mode........................................................74
Voice Play ..............................................................74
Voice Edit ..............................................................78
Voice Job Mode ..................................................115
Voice Store ..........................................................116
Voice Mode
Before Use ........................................................12
Power Supply ........................................................12
Connections ..........................................................13
Powering Up..........................................................19
Performance Mode ........................................117
Performance Play ..............................................117
Performance Edit ..............................................121
Performance Job Mode ......................................140
Performance Store ..............................................141
Basic Operations ..............................................21
Selecting a Mode ..................................................21
Selecting a Screen ................................................23
Entering Data........................................................24
Performance
Mode
Demo Playback ................................................26
Phrase Clip Mode............................................142
Phrase Clip Play..................................................142
Phrase Clip Record ............................................143
Phrase Clip Edit..................................................146
Phrase Clip Job Mode ........................................154
Clip Kit Store ......................................................160
Voices and Performances..................................27
Playing a Voice......................................................27
Playing a Performance..........................................29
Phrase Clip
Mode
An Overview of the CS6x/CS6R ....................31
Controller Section ................................................31
Sequencer Section ................................................31
Tone Generator Section ......................................32
Effects Section ......................................................34
Sequence Play
Mode
Sequence Play Mode ......................................161
Utility Mode....................................................163
Utility Job Mode ................................................170
About the Modes ..............................................35
Card Mode ......................................................171
Voices ................................................................36
An Overview of Voices/Waves ............................37
Waves ....................................................................38
Utility Mode
Card Mode
Appendix
Appendix
About the Plug-in Boards (Optional) ............177
Display Messages ............................................181
Troubleshooting..............................................182
Specifications..................................................185
Index ..............................................................186
Performances ....................................................39
Easy Real-time Editing ....................................40
Ideal for Playing Live ......................................41
1 Arpeggiator ........................................................42
2 Scene Controls (CS6x) ......................................45
3 Using Controllers ..............................................47
4 Phrase Clips ......................................................53
5 Other Useful Features ......................................59
Voice Edit..........................................................60
Effects....................................................................65
Using as a Master Keyboard
(Performance Mode) ........................................67
Using as a Multitimbral Tone Generator
(Performance Mode) ........................................72
5
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Basics Section
The Controls & Connectors
Front Panel
CS6x
MIC
/
LINE 2
LINE1
INPUT
L
/
MONO
OUTPUT
R
1
2
FOOT
INDIVIDUAL OUTPUT VOLUM
GAIN
1 [VOLUME] Knob (Page 20)
A
/
D
PHONES
Adjusts the master volume. Turn the knob clockwise to raise the output level from the
OUTPUT L/R jacks and the PHONES jack.
VOLUME
FILTER
EFFE
2 OCTAVE [UP] and [DOWN] keys (Page 28) (CS6x only)
CUTOFF
RESONANCE
R
EG
Press either of these keys to shift the note range of the keyboard up or down in octaves.
Press them together to returns to the standard range (0).
ATTACK
DECAY
S
PAN
OCTAVE
DOWN UP
SCENE
1
2
3 PITCH bend wheel (Page 47) (CS6x only)
CONTROL
Controls the pitch bend effect. You can also assign other functions to this controller.
4 MODULATION wheel (Page 47) (CS6x only)
Controls the modulation effect. You can also assign other parameters functions to this
controller.
5 Ribbon Controller (Page 48) (CS6x only)
Touch and slide your finger horizontally across the controller’s surface to continuously
change a specific parameter’s value. You can also assign various functions to this
controller.
6-1 FILTER knobs (Page 40)
These two knobs offer dynamic and real-time tonal changes to a sound.
6-2 EFFECT knobs (Page 40)
These knobs respectively control depths(send level) of the Reverb and Chorus effects.
6-1
6-2
6-4
FILTER
EFFECT
6-3 EG knobs (Page 40)
PORTAMENTO PHRA
These four knobs control variances in pitch, tone, and volume.
CUTOFF
EG
RESONANCE
REVERB
CHORUS
6-4 PORTAMENTO controls (Page 59)
P
SEQ P
ON
/
OFF
6-3
This section consists of the PORTAMENTO [ON/OFF] key and a knob for adjusting
Portamento Time. With Portamento enabled, there will be a smooth transition in pitch
from one note to the next. The Portamento Time is the speed of the transition.
ATTACK
SCENE
DECAY
SUSTAIN
PAN
RELEASE
ARPEGGIO
ON
/
1
2
HOLD
OFF
CONTROL
PAN
GATE TIME
T
6-5 SCENE controls (Page 46)
6-5
6-6
6-7
Pressing either SCENE key ([1] or [2]) to recall the stored knob settings. The LED for the
key of the current Scene is lit. The [CONTROL] knob can be used to create a smooth
transition between two Scenes. You can also set up the Modulation Wheel or a Foot
Controller to like the SCENE [CONTROL] knob (Page 46).
6-6 [PAN] knob (Page 59)
Use this knob to adjust the stereo pan position of the current sound (i.e., the sound’s
position in the stereo image).
6
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6 Sound Control knobs (Page 40) (CS6x only)
You can modify the effects and tones in real time using these. There are knobs for Filter
Cutoff Frequency and Resonance, the time parameter of the Envelope Generator (EG),
and Reverb and Chorus effects. Other controls are related to the Arpeggiator, Portamento,
Phrase Clip, and Sequencer.
IN
OUT
THRU
T
FOOT
FOOT
ME CONTROLLER SUSTAIN SWITCH BREATH
TO HOST HOST SELECT
MIDI
7 MODE keys (Page 21)
Press these to keys to select Voice, Performance, Utility or other Modes.
With the CS6R, you can play back (audition) the Voice at note C3 and with a velocity of 127
by pressing the [VOICE] key in Voice Play Mode.
ECT
MODE
PORTAMENTO PHRASE CLIP
VOICE
PERFORM
REVERB
SUSTAIN
PAN
CHORUS
Similarly, in Performance Play Mode, pressing the [PERFORM] key plays back Voices for
the Parts (Layer Switch set to "on") at note C3 with a velocity value of 127.
UTILITY CARD
REC
PITCH
ON
/
OFF
SEQ PLAY
EDIT
JOB
RELEASE
ARPEGGIO
COMPARE
PLAY
STOP
/
ON
/
HOLD
STORE
OFF
GATE TIME
TEMPO
1
7
6-8 6-9
CS6R
PHRASE
CLIP
VOICE
PERFORM
CARD
JOB
MIC LINE 2
LINE1
INPUT
GAIN
UTILITY
REC
A
D
SYSTEM
SHIFT
A
B
EDIT
SEQ
BREATH
PHONES
VOLUME
COMPARE
PLAY
CURSOR
EF
BYPASS
PLAY
STOP
STORE
3.3V
PAGE
PART ELEMENT
CARD
6-7 ARPEGGIO controls (Page 42)
Press the [ON/OFF] key to enable or disable the Arpeggiator. The Arpeggiator plays
according to the arpeggio settings for each Voice or Performance. Use the [GATE TIME]
knob to adjust the playback length of each note in the arpeggio (Page 42). Press the
[HOLD] key (its LED will light) to have the Arpeggiator continue playback even after you
release the notes. To stop the arpeggio, press the HOLD key again (the LED turn off).
ASE CLIP
6-8 PHRASE CLIP controls (Page 53)
Press the PHRASE CLIP key to enter Phrase Clip Play Mode (the LED will light). Then
press the [REC] key to enter Phrase Clip Record Mode. In this Mode, you can record a
Phrase Clip (waveform data) using an external microphone, then treat the sound as a
musical instrument. The [PITCH] knob changes the Phrase Clip’s pitch (or its tempo if the
Phrase Clip is rhythmic).
6-8
6-9
REC
PITCH
PLAY
PLAY
STOP
/
With the CS6R, you can play back (audition) the sound by pressing the PHRASE CLIP
key in Phrase Clip Mode at note C3 and with a velocity of 127
EMPO
6-9 SEQ controls (Pages 26, 161)
Press the [SEQ] key to enter Sequence Play Mode. Here, you can play a MIDI file from
Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently
selected file. You can use the [TEMPO] knob to adjust the playback speed.
7
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8 LCD (Liquid Crystal Display)
This is a backlit 2-line display.
9 [SHIFT] key (Page 23)
In Voice or Performance Play Mode, a screen for viewing or setting the
Octave parameter and the MIDI Transmit channel (Page 23) is shown
when you press the [SHIFT] key. In any of the Edit Modes, when
pressing this key while turning the [PAGE] knob, a menu screen is
displayed and you can quickly switch between Edit Mode screens (Page
23). If while holding this key you turn one of Knobs [A] ~ [D], [1] ~ [2],
[DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can move
the cursor without a parameter value being changed (Page 24).
CS6x
THRU
3.3V CARD
EF
MASTER
BYPASS KEYBOARD
EXIT
ENTER
) [PAGE] knob (Page 23)
SYSTEM
A
B
C
1
2
CURSOR
Switches between screens in each Mode. Each Mode includes several
screens.
DEC/NO INC/YES
SHIFT
PAGE
PART
/
ELEMENT
DATA
! Knobs [A], [B], [C], [1] and [2] (Page 24)
In each Play Mode, these knobs mainly control the functions respectively
assigned to them. In each Edit Mode, each knob is used to enter a value
for the associated parameter shown in the display. Depending on the
operation or the screen you are working in, these knobs will function
differently.
Knobs [A] to [C] can be assigned to system control functions (Page 165).
Knobs [1] and [2] can be assigned control functions that affect Voices
(Page 84).
@ [DATA] knob (Page 25)
Use this to increase or decrease the value of the parameter at which the
cursor is positioned.
# [EF BYPASS] key (Page 66)
Enables/dsiables the Effect Bypass. Press the key (its LED will light) to
bypass the effects used with the current Voice or Performance.
The bypassed effects (Reverb, Chorus, or Insertion) are specified in Utility
Mode (Page 164).
$ [MASTERKEYBOARD]key(pages67, 121)(CS6xonly)
The S80 keyboard can work as MIDI master keyboard in Performance
mode. When the key is pressed and switched on (the LED will light), the
keyboard can play and control multiple MIDI sound modules connected to
the S80.
% [EXIT] key (Page 23)
The menus and screens of the S80 have a hierarchical structure. Press
this key exit from the current screen and return to the previous level in the
hierarchy.
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^ [ENTER] key (Pages 24, 25)
While selecting a Memory or Bank for Voice or Performance, press this
key to determine such a memory location. Also, use this key to execute a
Job or a Store operation.
& [DEC/NO] key (Page 24)
Use this to decrease the value of the parameter at which the cursor is
positioned. Also use it to cancel a Job or a Store operation.
POWER
* [INC/YES] key (Page 24)
Use this to increase the value of the parameter at which the cursor is
positioned. Also use it to execute a Job or a Store operation.
MEMORY
PRE1
PRE2
EXT
A
B
2
C
3
D
E
F
G
3
H
BANK
DRUM
1
4
1
2
4
ELEMENT SELECT
ELEMENT ON
/
OFF
INT
1
2
3
4
5
6
7
8
( MEMORY keys (Pages 27, 29, 75, 119)
DRUM
GENERAL
9
QED
10
ARPEGGIO CONTROL
COM LFO
13
EFFECT
14
PROGRAM
PART
Using one of these keys, you can select a Voice or Performance
Memory. Press the [ENTER] key ^ to select the Memory. In
Performance Mode, the [INT], [EXT], [PLG1] and [PLG2] keys can be
used to select the Phrase Clip Part, A/D Part, Plug-in 1 Part and Plug-in 2
Part. The [PRE1] and [PRE2] keys select Common (for all Parts).
PLG1
PLG2
11
12
15
16
OSC
PITCH
FILTER
AMPLITUDE
LFO
EQ
PLG
º BANK [A] to [H] keys (Pages 75, 119)
Each key selects a Voice or Performance Bank. Each Bank contains
sixteen Voices or Performances. In Voice Edit Mode, each of the BANK
[A] to [D] keys selects a Voice s Element (ELEMENT SELECT) while
each of the BANK [E] to [H] keys turns the associated Voice s Element on
or off (ELEMENT ON/OFF). When you activate Master Keyboard Mode
by pressing the [MASTER KEYBOARD] key $, these keys can
respectively select Zones 1 to 4 if the Master Keyboard Mode setting is
4zone in Performance Edit Mode.
¡ PROGRAM/PART [1] to [16] keys (Pages 76, 119)
Each key selects a Voice or Performance from the current Bank. In Voice
Edit Mode, each PROGRAM/PART key selects an associated edit menu.
In Performance Mode, these keys select Parts [1] to [16], respectively.
8
(
% ^
CS6R
POWER
MEMORY
PHRASE
CLIP
VOICE
PERFORM
PRE1
INT
PLG1
DRUM DRUM
UTILITY
CARD
REC
PRE2
EXT
PLG2
ON
OFF
SYSTEM
SHIFT
A
B
C
1
2
EDIT
SEQ
JOB
EXIT
ENTER
COMPARE
PLAY
CURSOR
EF
BYPASS
PLAY
STOP
STORE
DEC NO
INC YES
PAGE
PART ELEMENT
DATA
#
9
)
!
@
&
*
9
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Rear Panel
1 POWER switch (Page 19)
3 CARD slot (Page 171)
Insert a Memory Card here to
transfer various data to/from
the instrument. Read carefully
the precautions on use of a
Memory Card (Page 171)
before using a card.
4 MIDI IN, OUT, and THRU connectors (Page 15)
MIDI IN receives MIDI messages from an external MIDI
device. Use this connector to control the synthesizer from
an external MIDI device. MIDI OUT sends out MIDI
messages generated by the synthesizer, such as notes
played on the keyboard or panel control/knob variations,
to an external MIDI sound module or device. MIDI THRU
just reflects the MIDI messages received at MIDI IN.
Connect other MIDI devices here.
Use this to switch the synthesizer
on or off.
2 AC INLET terminal (Page 12)
Plug the female end of the supplied
AC power cord in here before
plugging it into an AC wall outlet.
CS6x
3.3V CARD
POWER
ON OFF
AC INLET
) FOOT CONTROLLER jack
! FOOT VOLUME jack
@ INDIVIDUAL OUTPUT 1 and 2 jacks (Page 13)
Line level audio signals are output from the
synthesizer via these phone jacks (1/4" mono phone
plug). The output is separated from that at the
OUTPUT L/MONO and R jacks. In Performance
Mode, you can specify which Parts can be output from
these separate outputs.
(Pages 18, 48) (CS6x only)
(Pages 18, 48) (CS6x only)
An optional foot controller
An optional foot controller (FC7, etc.) can
be connected here. You can control the
output level from the instrument by foot.
In Utility Mode, you can select Volume or
Expression for this controller.
(FC7, etc.) can be connected
here. Using the foot controller,
you can control tones, pitches,
volumes or the like by foot.
CS6R
$
%
^
1
2
POWER
AC INLET
MIC LINE 2
LINE1
INPUT
GAIN
A
D
ON
OFF
BREATH
PHONES
VOLUME
3.3V
CARD
&
3
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5 HOST SELECT switch (Page 16)
Select the type of computer
7 BREATH jack (Pages 18, 48)
Connect an optional breath
controller BC3 here. You can
use the Breath Controller to
change the output level or tone
of the sounds according to the
strength of your breath.
8 FOOT SWITCH
9 SUSTAIN jack
jack (Pages 18, 48)
(Pages 18, 48)
Connect an optional
Foot switch (FC4 or
FC5) here. Using the
foot switch, you can
control of a range of on
or off a specific function
by foot, as assigned on
the instrument. (Pages
53, 165)
An optional Foot Switch
(FC4 or FC5) can be
connected here. You can
use the Foot Switch as a
damper pedal on the
acoustic piano or for a
sustained effect.
connected to the synthesizer via the
TO HOST connector .
6 TO HOST terminal
Connect a computer here using an
optional serial computer cable
(Page 16).
MIDI
OUT
INDIVIDUAL OUTPUT
OUTPUT
MONO PHONES
A D INPUT
GAIN
LINE1 MIC LINE 2
FOOT
FOOT
FOOT
THRU
IN
HOST SELECT TO HOST
BREATH SWITCH SUSTAIN CONTROLLER VOLUME
2
1
R
L
MIDI
Mac
PC-2 PC-1
# OUTPUTL/MONOandRjack(Page13)
Line level audio signals are output via
these phone jacks. For monophonic
output, use just the L/MONO jack.
% A/D INPUT jacks (Page 14)
^ GAIN knob (Pages 73, 144
Use this to adjust the input
gain of the audio signals at
the A/D INPUT jacks. You
may need to adjust this
depending on the type of
device (microphone, other
instrument output, etc.)
connected when using a
A/D Input part.
)
External audio signals can be input via these phone jacks.
Use these when recording Phrase Clips by connecting a
microphone or other audio equipment. To record a
monophonic line level signal, you use LINE 1. Use
MIC/LINE 2 to record a microphone level signal. To
record a stereo line level signal, use both jacks. However,
stereo signals are merged into a monophonic signal
internally when recording.
$ PHONES jack (Page 13)
Connect a pair of headphones here.
MIDI
THRU
OUT
IN
HOST SELECT
PC-2 PC-1
TO HOST
INDIVIDUAL OUTPUT
OUTPUT
L MONO
2
1
R
MIDI
Mac
4
5
6
@
#
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Before Use
This section explains how to connect to an AC power source, audio and MIDI devices, and a computer
system. Only switch the synthesizer on after you have made all the necessary connections.
It is recommended that you read this section before using the synthesizer.
Power Supply
1Make sure that the instrument’s POWER switch is at the OFF position.
2Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel.
3Connect the other end of the power cord to an AC outlet. Make sure the synthesizer meets the
voltage requirement for the country or region in which it is being used.
Make sure your CS6x/CS6R is rated for the AC voltage supplied in the area in which it is to be used (as listed on
the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry
and may even pose a shock hazard!
Use only the AC power cord supplied with the CS6x/CS6R. If the supplied cord is lost or damaged and needs to
be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock
hazard!
The type of AC power cord provided with the CS6x/CS6R may be different depending on the country in which it
is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding
conductor can create the risk of electrical shock. Do NOT modify the plug provided with the CS6x/CS6R. If the
plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter
which defeats the grounding conductor.
12
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Connections
Connecting to External Audio Equipment
Since the synthesizer has no built-in speakers, you need to monitor its sound output via external
audio equipment. Alternatively, you could use a pair of headphones.
There are several methods of connecting to external audio equipment, as described in the following
illustrations.
The CS6R also needs an external MIDI controller such as a keyboard, though this is not necessary when using
the internal sequencer. For MIDI connections, see the next section.
Connecting Stereo Powered Speakers
A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan
and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the
rear panel.
INPUT
INPUT
INPUT
INPUT
OUTPUT
L/MONO
PHONES
OUTPUT R
OUTPUT
L/MONO
OUTPUT R
C
PHONES
CS6R
CS6x
When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.
Connecting to a Mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. These four
outputs can connect to a mixer for separately controlling the outputs of up to four Parts in
Performance Mode (Page 117). You can specify the output routing of each Part in Performance Edit
Mode (Page 133).
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L
R
L
R
OUTPUT L
R
OUTPUT L
R
OUTPUT L /
MONO
INDIVIDUAL
OUTPUT1
INDIVIDUAL
OUTPUT2
OUTPUT L /
MONO
INDIVIDUAL
OUTPUT1
INDIVIDUAL
OUTPUT2
R
R
PHONES
C
PHONES
CS6R
CS6x
Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks.
You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the
sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.
Connecting a Microphone or Other Audio Equipment
You can record or import external sounds or waveform data and use them as instrument sounds
(Phrase Clips, see Page 142). When recording from an external audio source, connect a microphone or
the audio source to the A/D INPUT (LINE 1 and MIC/LINE 2) jacks.
L
R
L
R
MIC/LINE2
LINE1
MIC/LINE2
LINE1
C
CS6R
CS6x
LINE 1 and MIC/LINE 2 can receive monophonic signals. To input a monophonic line level signal to the
instrument, use only LINE 1. Use MIC/LINE 2 to input a microphone level signal. When you input stereo line
signals, use both jacks. However, these stereo signals are internally merged into a monophonic signal for use in a
later process.
After the above connections are complete, you are ready to set up for recording. When starting a recording, you
may need to adjust the input gain of the audio source using the GAIN knob. Details about Phrase Clips,
including how to adjust the input gain, are given on Page 142.
If you choose the wrong type of input source (Pages 130, 144), you may possibly damage your hearing and/or any
connected audio equipment. Make sure you set this parameter correctly.
Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down.
Do not use both LINE1 and MIC/LINE2 at the same time except for when you want to input stereo line level
signals, which will be mixed into a mono signal on the instrument. If you fail to do so, the external device
connected may be damaged.
You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are
given on Pages 73, 130.
14
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Connecting External MIDI Equipment
You can connect an external MIDI device using a MIDI cable (available separately) and control it from
this synthesizer. You can also use an external MIDI keyboard or sequencer to control the
synthesizer’s internal sounds. This section introduces several different applications of MIDI.
The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be
transmitted from the synthesizer’s MIDI OUT connector.
Controlling from an External MIDI Keyboard
C
MIDI OUT
MIDI IN
CS6x/CS6R
The CS6R has no built-in keyboard so the above MIDI connection lets you play it in realtime.
Controlling an External MIDI Keyboard
C
MIDI IN
MIDI OUT
CS6x/CS6R
Recording and Playback using an External MIDI Sequencer
MIDI OUT
MIDI IN
MIDI IN
C
MIDI OUT
CS6x/CS6R
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Controlling Another MIDI Device via MIDI THRU
MIDI OUT
MIDI IN
MIDI IN
MIDI THRU
C
MIDI IN
MIDI OUT
CS6x/CS6R
With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while
MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI
THRU jack.
The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in
a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for
parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained
together via their MIDI THRU connectors.
Connecting to a Personal Computer
When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer
data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit
the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the
computer and the Memory Card inserted in the synthesizer’s CARD slot.
There are two ways to connect your synthesizer to a computer:
1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal)
2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the
synthesizer’s MIDI IN and OUT)
Different computers require different connections, as follows.
1: Serial Port to TO HOST
IBM PC/AT
C
CS6x/CS6R
Macintosh
C
CS6x/CS6R
16
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Connecting Various Controllers
The CS6x has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT
CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot
Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone,
volume, pitch and other parameters. The CS6R only has a Breath Controller connector on its front
panel, but other controls (equivalent to the CS6x) may be available using external MIDI controllers.
Details about how to these controllers are given on Page 47.
PHRASE
VOICE
PERFORM
CARD
JOB
CLIP
MIC LINE
A
2
D
LINE1
INPUT
GAIN
UTILITY
REC
INDIVIDUAL OUTPUT
OUTPUT
MONO PHONES
A
D
INPUT
FOOT
FOOT
FOOT
GAIN
HOST SELECT TO HOST
BREATH SWITCH SUSTAIN CONTROLLER VOLUME
2
1
R
L
LINE1 MIC LINE 2
EDIT
COMPARE
SEQ
PLAY
BREATH
PHONES
VOLUME
MIDI
PC-2 PC-1
Mac
EF
BYPASS
PLAY
STOP
STORE
3.3V
CARD
18
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Powering Up
Power-on Procedure
When you have made all the necessary connections between your synthesizer and any other devices,
make sure that all volume settings are turned down all the way to zero. Then turn on the every device
in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment
(mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the
last (first MIDI, then audio).
When powering down the setup, first turn down the volume for each audio devices, then switch off
each device in the reverse order (first audio devices, then MIDI).
When the CS6x/CS6R as MIDI receiver:
POWER
ON!!
C
Switching the CS6x/CS6R On
Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it.
1Press the POWER switch.
POWER
MEMORY
PRE1
INT
PLG1
DRUM DRUM
PRE2
EXT
PLG2
ON
OFF
EXIT
ENTER
POWER
ON OFF
AC INLET
DEC NO
INC YES
CS6x
CS6R
2A splash screen is displayed briefly.
3The Voice or Performance Play Mode screen appears next.
VCE Play) PRE1:001(A01)[Sq:Generation]
EQLow-Q EQMid-G EQHi-G FLT-Rez
HPF
19
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If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board
installed, you may see other screens before the Voice or Performance Play Mode screen is displayed.
If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in
EXT Memory are being loaded.
If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see
a screen while a basic file is being created in EXT Memory.
If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in
Board.
The final screen after the power-on sequence may change depending on the Power On Mode setting available
Utility Mode (Page 164).
4Turn up the amplifier’s volume as necessary.
5Turn the synthesizer’s [VOLUME] knob clockwise to set an appropriate volume level.
About Memory Cards
You can save various kinds of data - Voice, Performance, Phrase Clip, Plug-in, Sequence Chain and so
on - onto Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia),
and there is a Memory Card supplied with this synthesizer.
Before using a Memory Card, read through precautions on how to handle it (Page 171).
• Formatting a Memory Card
You cannot use a new Memory Card to save files immediately. The card must be formatted in Card
Mode (Page 176) beforehand. The Memory Card supplied with the synthesizer is already formatted
and contains Demo Song files.
• Saving and Loading Data
You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be
loaded when required.
You can save and load data such as System, Voice, Performance, Phrase Clip, Plug-in, Sequence Chain
or the like. Since Phrase Clips or Sequence Chain data are held temporarily in the synthesizer’s
buffer memory and will be lost once you switch it off, you need to save such data onto the Memory
Card first.
Details about formatting a Memory Card, saving and loading data, and the recognized file types are
given on Page 172.
20
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Basic Operations
This section gives some basic explanations about operating the synthesizer.
Selecting a Mode
There are several operation Modes — Voice Play Mode, Performance Play Mode, Phrase Clip Mode,
etc. — each of which enables you to work efficiently with the synthesizer’s various functions.
An overview of each Mode is given on Page 35.
There are separate Play Modes for Voices, Performances and Phrase Clips. To enter each of these
Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance
Play Mode). To enter or exit Phrase Clip Mode, press the PHRASE CLIP key. (Note that this key is
not found among the MODE keys.)
There are also separate Edit and Job Modes for Voices, Performances and Phrase Clips. To enter Edit
or Job Mode, simply press the [EDIT] or [JOB] key while in each respective Play Mode.
Similarly, pressing the [STORE] key in Voice, Performance or Phrase Clip (Play or Edit) Mode takes
you into Store Mode where you can store Voices, Performances or Phrase Clips.
Other Modes include Utility Mode where you can specify system settings, Card Mode where you can
perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song
files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card
Mode and the [SEQ] key for Sequence Mode.)
MODE
PHRASE CLIP
VOICE
PERFORM
3
1
2
UTILITY CARD
REC
PITCH
6
7
SEQ PLAY
EDIT
JOB
8
PLAY
STOP
4
5
COMPARE
STORE
9
TEMPO
4 Voice Edit Mode (Page 78)
Press the [EDIT] key in Voice
Play Mode. To exit to another
Mode, simply press the respective
key for that Mode or press the
[EXIT] key to return to Voice
Play Mode.
3 Phrase Clip Play Mode
(Page 142)
Play Modes
Press the [PHRASE CLIP] key
(its LED will light) to enter
Phrase Clip Play Mode. To exit
to another Mode, simply press
the respective key for that
Mode. If you press the [REC]
key while in Phrase Clip Play
Mode, the Record screen in
Phrase Clip Mode is displayed.
1 Voice Play Mode (Page 74)
Press the [VOICE] key (its LED
will light) to enter Voice Play
Mode. To exit to another Mode,
simply press the respective key
for that Mode.
GEN Name) Ctgry
C 1234
a-Z
0-? Cursor
[Pf:Init Voice]
VCE Play) PRE1:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez
HPF
4 Performance Edit Mode
(Page 121)
PCLP Play) 1(A01)[--:Init Voice]
EQLow-G EQMid-G EQHi-G ------- -------
Press the [EDIT] key while in
Performance Play Mode. To exit
to another Mode, simply press
the respective for that Mode or
press the [EXIT] key to return to
Performance Play Mode.
2 Performance Play Mode
(Page 117)
Press the [PERFORM] key (its
LED will light) to enter
Performance Mode. To exit to
another Mode, simply press the
respective key for that Mode.
Edit Modes
When in each Play Mode, you
can swiftly switch to each
respective Edit Mode by simply
pressing the [EDIT] key (its
LED will light).
GEN Name) Ctgry
Common
a-Z
0-? Cursor
[--:Init Perf ]
PFM Play) INT:001(A01)[--:Init Perf ]
EQLow-G EQMid-G EQHi-G ------- -------
21
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4
146)
Phrase Clip Edit Mode (Page
5 Phrase Clip Job Mode
(Page 154)
Press the [JOB] key while in
8 Sequence Play Mode
(Page 161)
Press the SEQ key (its LED will
Press the [EDIT] key while in
Phrase Clip Play Mode. To exit Phrase Clip Play Mode. To exit light) to enter Sequence Play
to another Mode, simply press to another Mode, simply press Mode. To exit to another Mode,
the respective key for that Mode the respective key for that Mode simply press the respective key
or press the [EXIT] key to or press the [EXIT] key to for that Mode.
return to Phrase Clip Play Mode. return to Phrase Clip Play
Mode.
SEQ)
Chain00
File:[
001 ⁄= 120 Meas=001 INT:128
]
Perf
GEN Name) Ctgry
Common
a-Z
0-? Cursor
[--:Init Perf ]
PCLP Status)Free
4.0MB
Used CardFree
0KB( 0%)-X›---.-MB
When MIDI system exclusive
messages are received from an
external MIDI device, the LED
for the currently selected Play
Mode (VOICE, PERFORM or
PHRASE CLIP) will blink.
5 Utility Job Mode (Page 170)
Press the [JOB] key in Utility
Mode. To exit to another Mode,
Job Modes
When in each Play Mode, you
can swiftly switch to each
respective Job Mode by simply
pressing the [JOB] key (its LED
will light).
press the respective key for that 9 Store Modes
Mode or press the [EXIT] key to (Pages 116, 141, 160)
return to Utility Mode.
When in each Play or Edit Mode,
you can swiftly switch to each
respective Store Mode by simply
pressing the [STORE] key. To
exit to another Mode, simply
press the respective key for that
Mode or press the [EXIT] key to
return to Play Mode.
UTIL Factory Set)
Job
5 Voice Job Mode (Page 115)
Press the [JOB] key in Voice Play
Mode. To exit to another Mode,
simply press the respective key
for that Mode or press the
[EXIT] key to return to Voice
Play Mode.
Other Modes
6 Utility Mode (Page 163)
Press the [UTILITY] key (its
LED will light) to enter Utility
Mode. To exit to another Mode,
simply press the respective key
for that Mode.
VCE
Store
[Sq:Generation] >[Pf:Slamming
INT:001(A01)
]
VCE Initialize)
Job
Current Voice
Another storage way of Voice,
Performance and Phrase Clip is
to memorize these settings as
Scene 1 and 2. See Page 45 for
more information (CS6x only).
5 Performance Job Mode
(Page 140)
MSTR TG)
Sys
Vol
127
NoteShift Tune
+63 +102.3c
Press the [JOB] key while in
Performance Play Mode. To exit
to another Mode, simply press
the respective for that Mode or
press the [EXIT] key to return to
Performance Play Mode.
7 Card Mode (Page 171)
Press the [CARD] key (its LED
will light) to enter Card Mode.
To exit to another Mode, simply
press the respective key for that
Mode.
PFM Initialize)
Job
Current Perform
Save)
Card
Type
all
File A-?
***[NEWFILE .S2A]
Cursor
22
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Some Modes have more screens. In this case, you
can use the [PAGE] knob while holding down the
[SHIFT] key to switch to a specific screen.
For example, if you use the [PAGE] knob while
holding down the [SHIFT] key in Voice Edit
Mode, the following screen is shown. Select a
specific item using the cursor (≥), then release the
[SHIFT] key to switch to the parameter screen for
that item.
Selecting a Screen
You can switch between screens using the [PAGE]
knob and pressing [SHIFT], PROGRAM/PART,
[EXIT] and [ENTER] keys.
[PAGE] Knob
Usually, there are several screens and sub-screens
in each Mode. Use the [PAGE] knob to switch
between screens.
GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF
EL1234
Elem:>OSC>PCH>FLT>AMP>LFO>EQ
SHIFT
PAGE
A
B
C
1
2
DATA
VCE Srch) PRE1:
Memory
PART ELEMENT
SHIFT
PAGE
A
B
The [SHIFT] key also has other functions, as
described in other sections in this manual.
PROGRAM/PART keys
With the CS6x, in Voice Edit Mode,
PROGRAM/PART keys can be used to select the
items shown under the keys and to switch to their
screens.
As shown below, the “¥” indicator is displayed to
the left of the screen if there are more screens
before and after that which you are currently
viewing.
1
2
3
4
5
6
7
8
At the first in a series of screens, you will see the
“∂” indicator meaning that there are more screens
to follow, but none before it. At the last screen,
you will see the “µ” indicator meaning that there
are no more screens to follow.
GENERAL
9
QED
10
ARPEGGIO CONTROL
COM LFO
13
EFFECT
14
PROGRAM
PART
11
12
15
16
OSC
PITCH
FILTER
AMPLITUDE
LFO
EQ
PLG
[EXIT] Key
Press the [EXIT] key to move up (exit) in the
hierarchical structure and return to the previous
screen.
LFO Depth)
EL1234
EF
MASTER
[SHIFT] Key
If you hold down the [SHIFT] key in Voice Play
Mode, you can modify the parameters on screen
as follows.
BYPASS KEYBOARD
EXIT
ENTER
(Oct= +3)
(Tch= 1)
PRE1:128(H16)[Pf:GrandPiano]
DEC NO INC YES
SHIFT
PAGE
A
B
C
1
2
DATA
The [EXIT] key also has other more functions, as
described in other sections in this manual.
PART ELEMENT
23
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Moving the Cursor
[ENTER] Key
Normally, the [ENTER] key is used to apply
parameter settings. In some cases, however, the
following screen appears prompting you to press
the [ENTER] key.
By using a knob ([A], [B], [C], [1] or [2]) while
holding down the [SHIFT] key, you can move the
cursor (≥) to the respective parameter on the
screen without affecting its value.
OSCíOut) Level
EL1234
Delay
≥
InsEF
ins2
EF
MASTER
96
0
BYPASS KEYBOARD
SHIFT
PAGE
A
B
C
1
2
DATA
EXIT
ENTER
PART ELEMENT
DEC NO INC YES
[INC/YES] and [DEC/NO]
Keys
You can use the [INC/YES] key to increment a
parameter setting by one step, or the [DEC/NO]
key to decrement it. If you hold down either key,
the value is continuously changed.
EFFíEF1) Ctgry Type
C 1234 MOD Tremolo
[ENTER]
to Edit
The [ENTER] key has other functions, as described
in other sections in this manual.
Entering Data
DEC NO INC YES
You can use the knobs to directly alter their
respective parameters on the screen.
Alternatively, you can also move the cursor (≥) to
a parameter and set its value using the
[INC/YES] and [DEC/NO] keys, or the [DATA]
knob.
You can also use these keys to answer “YES” or
“NO” when a confirmation message is displayed.
Moving the Cursor
Knobs [A], [B], [C], [1]
and [2]
By pressing the [INC/YES] or [DEC/NO] key
while holding down the [SHIFT] key, you can
move the cursor between parameters on the
screen without affecting their values.
Each parameter in a screen is normally associated
with a knob ([A], [B], [C], [1] or [2]) below the
display. When you use one of these knobs, the
cursor (≥) moves to its respective parameter and
you can change its value. For instance, you can use
Knob [B] at the following screen to change the
Level setting. Turn the knob clockwise to increase
the value and anti-clockwise to decrease it.
OSCíOut) Level
EL1234
Delay
0
InsEF
ins2
≥ 96
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
OSCíOut) Level
EL1234
Delay
0
InsEF
ins2
≥ 96
DEC/
NO INC/YES
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
24
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[DATA] Knob
Types of Parameters (Absolute and Relative)
Use this knob to change the value of the
parameter at which the cursor is positioned.
Turn the knob clockwise to increment the value
one click (step) at a time, or turn it anti-clockwise
decrement it.
There are many ways to set parameters. Some
parameters require you to directly enter
numerical settings or alphabetic characters.
With others, you can choose from a number of
available settings. Furthermore, some types of
parameters are “absolute” whereas others are
“relative.”
OSCíOut) Level
EL1234
Delay
0
InsEF
ins2
≥ 96
For example, the absolute parameter in the
following illustration can be set to either
“mono” or “poly.” For other absolute
parameters such as Volume, the setting can be
any value between zero and 127. The Volume
setting has a linear, one-to-one relationship
with the actual volume, as shown in the graph
on the left.
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
Moving the Cursor
Turn the [DATA] knob clockwise or anti-
clockwise while holding down the [SHIFT] key to
move the cursor to a parameter in the screen
without affecting its value.
However, relative parameters do not follow the
same relationship. The graph on the bottom
shows the role of the Velocity Offset
parameter. The value you have set here,
known as an “offset,” is added to, or
subtracted from, the actual value. With
Velocity Offset, the specified offset value is
added to, or subtracted from, the actual
velocity of the notes you play on the keyboard.
Sometimes, these types of relative parameters
are set as a percentage.
OSCíOut) Level
EL1234
Delay
0
InsEF
ins2
≥ 96
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
GEN Other) Mode Assign
C 1234
MicroTuning
31:Indian
poly single
[ENTER] Key
Use this key to apply a setting (when it is
blinking, for example). The [ENTER] key is also
used when executing a Job or Store operation, as
described in other sections of this manual.
QEDíLevel) Vol
C 1234
Pan RevSend ChoSend
127 127
127
C
EF
MASTER
1
BYPASS KEYBOARD
EXIT
ENTER
DEC NO INC YES
2
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Demo Playback
Several demo songs are supplied with this synthesizer. You can play them back as follows.
Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12.
At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices, Phrase Clip
or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card
(Page 171) beforehand.
There are other demo song files provided on the included Memory Card. You can play them back in a normal
Sequence Play operation after you load “all” data file from the Card (Page 174). Refer to page 162 for details.
1Press the SEQ PLAY key to enter Sequence Play Mode. You will see the following screen.
SEQ Demo)<< Are you sure? [YES]/[NO] >>
System,IntVoice,PClip will be changed.
There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above.
2Press the [INC/YES] key to enter the SEQ Demo screen.
SEQ Demo) Song:[DEMOSONG]
≥ 001 ⁄= 120
To cancel demo playback, press the [DEC/NO] key.
3Press the [PLAY/STOP] key to start playback of the song.
4Press the [PLAY/STOP] key again to stop playback.
At the end of the song, playback is automatically looped back to the beginning.
You can change the playback tempo using the [TEMPO] knob or Knob [C]. To use the song’s original tempo,
select a tempo value of “***.”
Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 161.
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Voices and Performances
Playing a Voice
Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256
Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the
instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external
memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play
Voices from both groups of memories, as explained in the following.
MODE
VOICE
MEMORY
PRE1
EF
MASTER
PERFORM
PRE2
EXT
BYPASS KEYBOARD
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
DRUM
UTILITY CARD
INT
EXIT
ENTER
SYSTEM
A
B
C
1
2
EDIT
JOB
DRUM
CURSOR
PLG1
PLG2
DEC NO INC YES
COMPARE
STORE
SHIFT
PAGE
PART ELEMENT
DATA
1
3
3
2
1 Press the [VOICE] key 2 Press a MEMORY key
The [VOICE] key LED will light, showing that
you are now in Voice Play Mode. The following
There are six Voice Memories: PRE1 (Preset 1),
appears in the display.
to select a Voice Memory
PRE2 (Preset 2), INT (Internal), EXT (External),
PLG1 (Plug-in 1), and PLG2 (Plug-in 2). Within
each Voice Memory are several Banks (up to
MODE
VOICE
PERFORM
eight, A to H) in which the Voices are stored.
The following illustration shows how Voices are
stored in a Voice Memory.
UTILITY CARD
EDIT
JOB
COMPARE
STORE
MEMORY
PRE1
PRE2
EXT
DRUM
DRUM
VCE Play) PRE1:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
INT
PLG1
PLG2
At this point, you can play the Voice (named on
the screen) via keyboard.
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Now you can play a selected Voice when you play
the keyboard on the CS6x or the external
keyboard connected to the CS6R. Try auditioning
other Voices.
The Drum Voices are held in separate areas of
each Memory, and are accessed as follows.
• To access the Preset Drum Memories
(PRE:DR1 ~ DR8):
Details about selecting Voices using the [DATA]
knob or the [DEC/NO] and [INC/YES] keys are
given on Page 76.
Press the MEMORY [PRE2] key while holding
down the MEMORY [PRE1] key.
• To access the User Drum Memories
(INT:DR1/2, EXT:DR1/2):
You can also select Voices using a combination of
BANK and PROGRAM/PART keys (CS6x), or using
the Category Search feature. Details about selecting
Voices are given on Page 75.
Press the MEMORY [EXT] key while holding
down the MEMORY [INT] key.
MEMORY
Octave Shifting (CS6x only)
PRE1
PRE2
If you need to raise or lower the keyboard note
range for the Voice, you can use the OCTAVE
[UP] key to raise the range by an octave and
the OCTAVE [DOWN] key to lower it by an
octave. You can shift the note range by up to
three octaves in either direction. The current
octave setting is shown in the left corner of the
display while the OCTAVE [UP] or [DOWN]
key is being held down.
For instance, if you press the OCTAVE [UP]
key twice (+2), you will actually play note C5
by pressing note C3 on the keyboard (i.e., the
note you play is shifted up two octaves). To
return to the standard octave range (0), press
the OCTAVE [UP] and [DOWN] keys
DRUM
DRUM
INT
EXT
PLG1
PLG2
PRE1 and PRE2 (Preset 1 and 2) are stored in internal
Read Only Memory (ROM) and contain preset Voices
which are never overwritten. INT (internal) is stored
in Random Access Memory (RAM) and contains the
factory default Voices. These can be overwritten, but
can be recalled from the original factory settings at any
time if required.
simultaneously.
EXT (external) is stored on a Memory Card inserted
in the CARD slot. If there is no Memory Card
inserted and you attempt to select an EXT Voice, “---
--” will be displayed and no sound will be produced.
With a Memory Card inserted, you can select and
play EXT Voices. PLG1 or PLG2 Voices can only be
selected if a Plug-in Board is installed.
You can have the current octave setting shown
in the display while holding down the [SHIFT]
key. Use this feature for confirmation.
OCTAVE
DOWN
UP
3 Select a Voice Number
using the [DATA] knob or
the [INC/YES] and
(Oct= -3) PRE1:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
[DEC/NO] keys
Turn the [DATA] knob clockwise or press the
[INC/YES] key to increment the Voice Number.
Turn it anti-clockwise or press the [DEC/NO] key
to decrement the Voice Number.
If a note is shifted beyond G8 (MIDI note
number 127), it will automatically be shifted
to the octave below. For instance, note G#8
will be played as G#7.
OCTAVE [UP] and [DOWN] keys are linked
to the “Coarse/Fine” parameter (Page 90) in
the PCH Tune screen of Voice Edit Mode, and
also the “Oct” parameter (Page 163) in the
MSTR Kbd screen of Utility Mode. The
OCTAVE [UP] and [DOWN] keys may not
function if these parameters also have been
set to shift the range.
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid
EQ Hi Cutoff RevTime
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
EF
MASTER
You can also use the OCTAVE [UP] and
[DOWN] keys in Performance Play Mode.
BYPASS KEYBOARD
EXIT
ENTER
DEC NO INC YES
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Playing a Performance
In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory
Card) Performances.
A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also
let you set the synthesizer up for multitimbral operation.
Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for Phrase
Clip, A/D INPUT and Plug-in Boards. If the Layer Switch (Page 133) parameter is switched on for
any Parts, those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI
channels so that they can be played or be controlled individually using the built-in (or an external)
sequencer. Up to 128 Performances can be stored in the internal memory and up to 64 on Memory
Card. These Performance settings are available in Performance Edit Mode (Page 121). Here, we will
show how to get started with Performance Play after selecting a Performance.
MODE
VOICE
MEMORY
PRE1
EF
MASTER
PERFORM
PRE2
EXT
BYPASS KEYBOARD
PFM Play) INT:128(H16)[Pf:Init Perf ]
EQ Low EQ Mid EQ Hi Cutoff RevTime
DRUM
UTILITY CARD
INT
EXIT
ENTER
SYSTEM
A
B
C
1
2
EDIT
JOB
DRUM
CURSOR
PLG1
PLG2
DEC NO INC YES
COMPARE
STORE
SHIFT
PAGE
PART ELEMENT
DATA
1
3
3
2
1
Press the [PERFORM] key
2 Press a MEMORY key
to select a Performance
Memory
The [PERFORM] key LED will light, showing
that you are now in Performance Play Mode. The
following appears in the display.
There are two Performance Memories: INT
(internal) and EXT (External). The INT memory
is divided into eight Banks (A to H) of 8
Performances. The EXT memory is divided into
four Banks (A to D) of 4 Performances.
MODE
VOICE
PERFORM
UTILITY CARD
MEMORY
EDIT
JOB
PRE1
PRE2
COMPARE
DRUM
DRUM
STORE
INT
EXT
PLG1
PLG2
PFM Play) INT:001(A01)[--:Init Perf ]
EQ Low EQ Mid EQ Hi -1 +0
INT (internal) is stored in internal Random Access
Memory (RAM) and contains factory default
Performances. These can be overwritten but can
recalled at any time.
At this point, you can play the Performance
(named on the screen) via keyboard.
EXT (external) is stored on a Memory Card (RAM)
inserted in the CARD slot. If there is no Memory
Card inserted and you attempt to select an EXT
Performance, “-----” will be displayed and no sound
will be produced. With a Memory Card inserted,
you can select and play EXT Performances.
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3 Select a Performance
Number using the [DATA]
knob or the [INC/YES]
and [DEC/NO] keys
Turn the [DATA] knob clockwise or press the
[INC/YES] key to increment the Performance
Number. Turn it anti-clockwise or press the
[DEC/NO] key to decrement the Performance
Number.
PFM Play) INT:001(A01)[--:Init Perf ]
EQLow-G EQMid-G EQHi-G ------- -------
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
EF
MASTER
BYPASS KEYBOARD
EXIT
ENTER
DEC NO INC YES
You can now play Parts in the Performance via
the keyboard. If the Layer Switch parameter is
switched on for any Parts, those Parts can be play
in unison. Now try selecting other Performances.
Details about selecting Performances using the
[DATA] knob or the [DEC/NO] and [INC/YES] keys
are given on Page 76.
You can also select Performances using a
combination of BANK and PROGRAM/PART keys
(CS6x), or using the Category Search feature.
Details about selecting Performances are given on
Page 119.
On selection, a Performance may take a few seconds
to become ready since the settings for multiple Parts
are applied.
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An Overview of the CS6x/CS6R
In this section, an overview of the many features of the CS6x/CS6R is given.
The CS6x/CS6R hardware is made up of a number of sections, as shown in the following diagram.
Controller Section
Sequencer
Section
Tone Generator
Section
Effects Section
Controller Section
This section consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound
Control Knobs, and so on. The keyboard itself doesn’t generate sounds, but instead sends note,
velocity and other information to the synthesizer’s tone generator section when you plays notes. The
controllers also send changes. Information from the keyboard and controllers can be transmitted to
other external MIDI devices through the MIDI OUT connector.
The CS6R has no keyboard, Pitch Bend or Modulation Wheels, Ribbon Controller or Sound Control Knobs.
Sequencer Section
This section can be used to play back Standard MIDI Files held on Memory Card. The contents of
Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following
illustration. The sequencer can play back songs with a different Voice assigned to each Part.
Tone Generator
(Performance Parts)
Sequencer
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Tone Generator Section
This section plays back sounds according to information received from the keyboard and controllers.
The following example illustrates the path taken by the signal from an Element in Voice Mode.
Tone Generator Section
About the Tone Generator
The tone generator section in the CS6x/CS6R consists of AWM2, Phrase Clip and Plug-in units.
AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms,
and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples
of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter,
modulation, and other parameters can be applied to the basic waveform.
AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up
percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 37.
Phrase Clips are sounds recorded via microphone or from external audio equipment, or sounds loaded
directly via Memory Card. These are then stored in internal RAM and can be played back as musical
sounds. They can be edited and easily set up for use as rhythm loops, percussion/drum sounds and
sound effect.
Plug-in Boards add more features to the system. When installed, they combine perfectly with the
synthesizer’s built-in tone generator section.
The following types of Plug-in Board are available, and up to two boards can be installed in the
synthesizer. These boards are not simply a source of more Voices; they are also tone generators in
their own right and extend the system-level specifications such as maximum polyphony. You can play
Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 108).
This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). There are
three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part
and Effect Plug-in Board. Using these, you can build your own system based on the sounds you
require.
Single Part Plug-in Boards
• Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to
accurately reproduce the sound of analog synthesizers. With this board installed, you have real-
time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard
in today’s club-oriented music.
• Piano Plug-in Board (PLG150-PF)
A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using
AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric
pianos, and up to 64-note polyphony. You can even install two of these boards to double the
polyphony to 128 notes.
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• Advanced DX/TX Plug-in Board (PLG150-DX)
The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this
does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DX-
series synthesizers to give a completely faithful reproduction. Sounds are compatible with those of
the DX7, and the board can even receive DX7 data via MIDI bulk dump.
• Virtual Acoustic Plug-in Board (PLG150-VL)
With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in
real time, giving a degree of realism that cannot be achieved using conventional PCM-based
synthesis techniques. When playing these sounds using an optional Breath Controller (BC3) or
MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind
instruments.
Effect Plug-in Boards
• Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects.
Chorus parts for vocals can be created automatically from chords that have been prepared and
stored as MIDI data. You can also use the synthesizer like a vocoder by connecting and using a
microphone while playing the keyboard.
Multi-Part Plug-in Board
• XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the
rich variety of sounds and effects on this board.
More Plug-in Boards will be available in future.
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities
for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This
enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer
and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in
modern music production.
Maximum Polyphony
The maximum sonic polyphony is 64 for AWM2 (the figure includes Phrase Clips), plus the
polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the
type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the
Plug-in Board.
In the case of AWM2 Voices, the polyphony figure of 64 is divided by the number of Elements in the
Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is
32.
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Effects Section
The effects can be used to change the sound of a Voice or Performance. There are two Insertion
Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of
chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be
connected in parallel or in series.
In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance,
though the way they are connected (series or parallel) varies slightly. As shown in the following
illustration, the two Insertion Effect units can be independently switched on or off for each Element
in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed
through the Insertion Effects, the signals from all individual Elements are mixed and sent to the
Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole
before it is sent to the outputs, and are therefore known as System Effects.
In Performance Mode, the Insertion Effects can be set for two Parts: a Voice, Phrase Clip or A/D Input
Part, plus a Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts,
but to the Performance as a whole.
Voice Mode
Performance Mode
Details about Effects are given on Page 65.
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About the Modes
The CS6x/CS6R has various Modes which you can select according to the task you wish to perform.
Voice Mode
Performance Mode
MODE
VOICE
PHRASE CLIP
PERFORM
Phrase Clip Mode
UTILITY CARD
REC
PITCH
Card Mode
SEQ PLAY
EDIT
JOB
Utility Mode
Sequence Play Mode
COMPARE
PLAY
STOP
STORE
TEMPO
Phrase Clip Edit Mode
Voice Mode (Page 74)
Performance Mode (Page 117)
This Mode is used for editing
Phrase Clips. Once you have
recorded the Phrase Clips, you
need to edit them to set their
loop points and other
Voice Play Mode
Normal Voices and Drum Voices This Mode is used when
can be played in this Mode. You playing Performances. You can
Performance Play Mode
can select from Preset Voices
(256 Normal Voices plus 8
Drum Kits), Internal (User)
Voices (128 Normal Voices plus
2 Drum Kits) and External
(Memory Card) Voices (128
Normal Voices plus 2 Drum
Kits). That is a choice of 512
Normal Voices and 12 Drum
Kits. The choice is extended
further still if you have an
optional Plug-in Board installed.
layer multiple Voices (Parts) to
create rich sonic textures. You
can also create multitimbral
setups by assigning Parts to
different MIDI channels. You
can layer A/D Input, Phrase
Clip and Plug-in Parts, as well
as AWM2-based Voices.
parameters. You can also create
Clip Kits by assigning them to
notes on the keyboard.
Phrase Clip Job Mode
In this Mode, you can copy and
delete Phrase Clips, and perform
other such operations (Jobs) on
them.
Performance Edit Mode
In this Mode, you can edit and
create Performances. You can
save up to 128 Performances to
internal memory or up to 64 to
external memory (Memory Card).
Sequence Play Mode (Page 161)
In this Mode, you can use the
The MIDI settings for Voices are
set in Utility Mode.
sequencer to play back Song files
(Standard MIDI Files) held on
Memory Card. The Songs can be
played back individually or as a
chain. By switching Performance,
you can also change the sounds
associated with each track in a Song.
Voice Edit Mode
Performance Job Mode
In this Mode, you can copy
and initialize Performances,
and perform other such
Normal Voices and Drum Voices
can be created and edited in this
Mode. You can save up to 128
edited Normal Voices and 2
edited Drum Kits as User Voices
in internal memory. You can
also store them to Memory Card
as external memory.
operations (Jobs) on them.
Phrase Clip Mode (Page 142)
Utility Mode (Page 163)
Phrase Clip Play Mode
In this Mode, you can select
and play Phrase Clips.
Select this Mode when setting
parameters that apply to the
synthesizer system as a whole.
These include MIDI settings and
synthesizer setup parameters.
Voice Job Mode
In this Mode, you can copy and
initialize Voices, and perform
other such operations (Jobs) on
them.
Phrase Clip Record Mode
You can record sounds into the
synthesizer from a microphone or
other audio source in this Mode.
These sounds (Phrase Clips) can
then be played back in real time via
keyboard. Furthermore, Phrase
Clips that you have already
Utility Job Mode
In this Mode, you can restore the
synthesizer’s factory settings.
Card Mode (Page 171)
Insert a Memory Card into the
CARD slot and you can save
files to it, load files from it, and
do various other things with the
data on the card.
recorded can be re-recorded as new
Phrase Clips after having, say,
Chorus effects applied to them.
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Voices
A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you
can select and play any of these Voices. In Performance Play Mode, several different Voices (known as
Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four
groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of
Voices are available if optional Plug-in Boards have been installed.
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An Overview of Voices/Waves
Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform.
Voice
Element
Wave form
Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly
musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are
mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of
Drum Voice assignments is known as a Drum Kit.
If you have installed an optional Plug-in Board, there will be more Voices for you to choose from.
These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have
installed (Page 32).
The Note Limit settings (Page 90) will also affect the allocation of sounds. But basically, Normal
Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum
Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard.
Normal Voice
Drum Voice
A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices
and save them to internal (User) memory or to external memory (Memory Card), just as with Normal Voices.
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Waves
Waves are waveforms used as Elements that make up a Voice. 479 high quality preset Waves are
available. As shown in the following illustration, when creating a Voice, you can select the Wave to be
used as an Element and then set its level, pitch, tone and other parameters.
Another feature of the CS6x/CS6R is its ability to accept computer WAV/AIFF files and record real
instruments, which you can then play back as musical instrument sounds. These types of sounds are
known as Phrase Clips. You can record Waves through the microphone or line level jacks, and you
can load Waves saved on Memory Card. The Waves can then be processed in Phrase Clip Edit Mode
and assigned to notes (Clip Keys) on the keyboard to form a Clip Kit. Up to four Clip Kits can be held
in memory. You can play these Clip Kits via the keyboard or you can assign them as Parts in a
Performance.
The Clip Kit settings will be lost when you switch off your synthesizer. To avoid this situation, you should save
your Clip Kit settings to Memory Card.
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Performances
A Performance consists of up to 20 Parts, each of which can a Normal Voice, Drum Voice, Phrase Clip,
A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts
(up to four), you can play back rich layered sounds in Performance Play Mode. You can also create
splits so that different Parts are assigned to different areas of the keyboard. If you assign a different
MIDI channel number to each Part, each track of a sequencer can play back a different Part.
In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can
cause note response to become slower under some circumstances.
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Easy Real-time Editing
Sound Control Knobs (CS6x only)
The Sound Control knobs allow you for on-the-fly alteration of the tonal characteristics and effects
applied to the Voice or Part of a Performance that is currently selected. The functions of each of the
knobs are explained here. The altered Voices or Performances can be stored anytime as Scene 1 or
Scene 2 (Page 45). When saving each Voice or Performance (Pages 116, 141), its Scene information is
also included. However, only the states of the two FILTER knobs, the ATTACK and DECAY knobs
and Assignable Knobs [1] and [2] are stored with each Scene.
A preset of suitable parameter settings is assigned to each sound. By using each knob, you are in effect adjusting
these settings by a certain amount. If these parameters are already preset at their minimum or maximum
settings, the settings cannot be exceeded.
FILTER Knobs
[RESONANCE] Knob
EFFECT Knobs
[CHORUS] Knob
n
[REVERB] Knob
n
[CUTOFF] Knob
n
The “ ” indicator
í
FILTER
EFFECT
í
CUTOFF
ATTACK
RESONANCE
REVERB
CHORUS
RELEASE
EG
[ATTACK] Knob
GENíName) Ctgry
DECAY
SUSTAIN
EG (Envelope Generator) Knobs
[DECAY] Knob
[SUSTAIN] Knob
[RELEASE] Knob
The functions assigned to each of these knobs are the same as those set in the Common Quick Edit Envelope
Generator screens in Voice Edit (Page 78) and Performance Edit (Page 121).
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Ideal for Playing Live
Many features of this synthesizer make it ideal for live performances. These features are explained here.
2
Using the Scene (CS6x) Controls (Page 45)
1 Using the Arpeggiator (Page 42)
3 Using the Controllers (Page 47)
POWER
CS6x
CS6R
5 Other Features (Page 59)
4 Using Phrase Clips (Page 53)
The parameters for these features can be stored per Voice/Performance/Phrase Clip.
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Only notes within the Note Limit range will be
arpeggiated. Therefore, if the notes you play are not
arpeggiated, they may be outside this range. Details
about the Note Limit settings are given later.
1 Arpeggiator
The arpeggiator is particularly suited to
dance/techno music genres. You can assign any
of 128 Arpeggio Types to each Voice, Performance
or Clip Kit, and adjust the tempo. You can also
set the Arpeggio Mode (the way in which the
arpeggio is played back when you press a note)
and Play Effects to create your own original
grooves. Arpeggio information can be transmitted
through the MIDI Out.
The Pitch Bend and Modulation Wheels can be used
while the arpeggiator is running.
Changing the Gate Time
You can use the [GATE TIME] knob on the front
panel to change the gate times (lengths) of notes
played by the arpeggiator. Assuming that the
knob is centered (i.e., the Gate Time setting is
100%), turning the knob clockwise will increase
the Gate Time to a maximum of 200% and
turning it anti-clockwise will shorten it to a
maximum of 0%. You can vary note lengths in
real time by using this knob while the arpeggio is
playing. However, the effect will vary depending
on the sound and phrase settings.
On the CS6R, the Arpeggiator's ON/OFF, GATE
TIME, and HOLD functions are set in the relevant
Edit Modes (Pages 82, 83).
Switching the
Arpeggiator On/Off
The arpeggiator can be used in Voice,
Performance or Phrase Clip Mode, and also when
the sequencer is being used. You can switch the
arpeggiator on/off using the ARPEGGIO
[ON/OFF] key on the front panel. When
switched on, the ARPEGGIO [ON/OFF] key LED
will be lit.
ARPEGGIO
ON
HOLD
OFF
GATE TIME
ARPEGGIO
Changing the Arpeggio Type,
Tempo and Note Limit.
ON
HOLD
OFF
GATE TIME
You can choose from 128 different Arpeggio Type
presets. You can also freely vary the Arpeggio
Tempo to suit the song. The Note Limit
parameter can be used to define the effective note
range of the arpeggio.
If the arpeggiator is already switched on and ready
for use, the ARPEGGIO [ON/OFF] key LED will
light when you select the Voice, Performance or Clip
Kit.
The on/off state of the arpeggiator is stored with
each Voice, Performance or Clip Kit. (Pages 116, 141,
160)
Each parameter applies to, and is stored with,
each Voice, Performance or Clip Kit. By playing
notes on the keyboard and listening to the
arpeggio, you can adjust these parameters by ear.
You can check/change the Arpeggio Type, Tempo
and other parameters in the Arp screen (Page 82) in
Voice, Performance or Phrase Clip Edit Mode.
The arpeggiator’s parameters are available in each
Edit Mode. In the following Voice Mode example,
the Arpeggio Type is set for a Drum Voice in
Preset Drum 1.
Using the Arpeggiator
When the arpeggiator is switched on, the notes
you play (and hold down) on the keyboard will be
arpeggiated using the currently selected Voice,
Performance or Clip Kit, and according to the
Arpeggio Type, Tempo and Note Limit settings.
In Voice Mode, the currently selected Voice will be
arpeggiated.
To select the Preset Drum, press the MEMORY
[PRE2] key while holding down the MEMORY
[PRE1] key, then press a PROGRAM key. Here, we
will choose Preset Drum 1 so you should press the
PROGRAM [1] key. On the CS6R, press the [PRE2]
key while holding down the [PRE1] key, press the
[ENTER] key, then select the Drum Voice using the
[PAGE] knob.
In Performance Mode, the Voices of Parts for
which both the Layer and Arpeggiator are
switched on, are arpeggiated (Page 133).
In Phrase Clip Mode, the currently selected Clip
Kit (the Phrase Clips assigned to the notes you
play) will be arpeggiated.
42
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5Use Knob [1] or the [ARPEGGIO] key on the
front panel to switch the arpeggiator on. When
you play the keyboard, the drum pattern can
now be heard.
Selecting the Arpeggio Type
1Press the [EDIT] key in Voice Play Mode. You
will enter Voice Edit Mode at the screen where
you previously exited.
You can play multiple patterns simultaneously by
pressing more than one note on the keyboard.
MODE
VOICE
PERFORM
ARPíType) Type
Common≥BigBeat2:Dr
Tempo Switch
92 on
Hold
off
UTILITY CARD
SHIFT
PAGE
A
B
C
1
2
DATA
EDIT
JOB
PART ELEMENT
COMPARE
STORE
Now try assigning different Arpeggio Type and
Drum Voice settings. There are many different
drum patterns available.
2Turn Knob [A] fully anti-clockwise until Common
is displayed on the bottom line. Voice Edit Mode
consists of two different Edit screens: Common
Edit (for parameters common to all Drum
Arpeggio Types are divided into the five
following categories and applications are not
just limited to drum patterns. You can also
select Arpeggio Types for backing chords,
basslines and so on.
Next, why not try out Arpeggio Types with
Normal Voices and Phrase Clips?
keys/Elements) and Drum key/Element Edit. The
Arpeggiator parameters are found in the Common
Edit screens that you have now selected.
When setting the Arpeggio Category to Ct
(Control), you also need to set the Key Mode
parameter (two screens ahead) to “direct.”
GEN Name) Ctgry
Common
a-Z
0-? Cursor
[Dr:Rock Kit
]
SHIFT
PAGE
A
B
C
1
2
DATA
Sq (Sequence):
Creates a general arpeggio phrase. Mainly octave
up/down phrases.
Ph (Phrase):
PART ELEMENT
Creates more musical phrases than Sq. Starting
with “Techno,” there are phrases for a wide
variety of musical genres, and for creating
backing tracks for guitar, piano and other
instruments.
3Use the [PAGE] knob to switch to the ARP
Type (Arpeggio Type) screen.
ARPíType) Type
Common GateCut2:Ct
Tempo Switch
92 off
Hold
off
Dr (Drum Pattern):
Creates drum pattern-type phrases. Phrase genres
covered include rock and dance. This Type is ideal
for use with drum and percussion sounds.
Cl (Phrase Clip):
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
Select this type to a Clip Kit that is assigned with
loop-mixed or loop-divided Phrase Clips, to create a
new arpeggio pattern.
If you use the [PAGE] knob while holding down the
[SHIFT] key, a menu will be displayed. You can
quickly jump to the ARP screen by using the [PAGE]
knob to move the cursor to the ARP item in the
menu, then releasing the [SHIFT] key (Page 80).
Ct (Control):
Creates tonal changes. No note information is
created. The Key Mode parameter in Arpeggio
Mode must be set to “direct.”
Details about Arpeggio Types are given in the
separate Data List.
4Use Knob [B] to jump to the Type parameter.
Now use Knob [B], the [DATA] knob or the
[INC/YES] and [DEC/NO] keys to select the
desired Arpeggio Type. Let’s choose
“BigBeat2” here.
You can also use a foot switch (optional) to switch
the Arpeggiator on and off (CS6x). Details about
assigning parameters to the foot switch are given on
Pages 53, 165.
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Outside the Note Limit range, you can play the
keyboard normally without the notes being
arpeggiated. Therefore, you can use your left
hand to play block chords used by the
Arpeggiator and your right hand to play melody
lines in the upper part of the keyboard.
Setting the Tempo
You can use Knob [C] to adjust the tempo
between 25 and 300 BPM. This parameter setting
is used by the Arpeggiator. Use Knob [C] to jump
to the Tempo parameter. Now use Knob [C], the
[DATA] knob or the [INC/YES] and [DEC/NO]
keys to set the tempo. You can also set the tempo
using the [TEMPO] knob on the front panel.
ARPíType) Type Tempo Switch
C 1234 BigBeat2:Ct≥ 127 on
Hold
off
SHIFT
PAGE
A
B
C
1
2
DATA
Combined with the OSC Limit parameter of the
Element Edit screen, the sound used in the lower
part of the keyboard can be different from that in
the upper part.
PART ELEMENT
Setting the Note Limit
Following the example in this manual, if you
select Voice Program Number 002 of INT,
Portamento is already set for this Voice. Use the
PORTAMENTO knob and [ON/OFF] keys to
change the portamento time and switch
portamento on/off (Page 59).
Using the Note Limit parameter, let’s set up a
Normal Voice (say, Voice Program Number 2 of
Internal:champ) such that the Arpeggiator is
enabled in the lower part of the keyboard but the
upper part can be used to play melody lines.
You’ll need to have already set the Arpeggio Type
(say, MuteLine).
Using the Arpeggiator Hold
With Arpeggiator Hold switched on, the
arpeggiator will continue to play back, even after
you have released your fingers from the notes on
the keyboard. The same arpeggio pattern will be
played back until you press another set of notes
on the keyboard.
1The Note Limit parameters can be set in the
ARP Limit screen, which follows immediately
after the ARP Type screen mentioned in step
3 (earlier). Use the [PAGE] knob to switch to
the screen.
You can switch Arpeggiator Hold on/off using the
ARPEGGIO [HOLD] key. When switched on, the
ARPEGGIO [HOLD] key LED is lit.
ARPíLimit)
C 1234
Note Limit
C -2 - G 8
SHIFT
PAGE
A
B
C
1
2
DATA
Press the ARPEGGIO [HOLD] key for the Voice
you edited earlier (for which you set the Note
Limit parameter). With Arpeggio Hold switched
on, the Arpeggiator will continue to play back,
even after you have released your left hand from
the keyboard. This leaves your left hand free to
perform other tasks, such as adjusting the Sound
Control knobs.
PART ELEMENT
2Use Knob [2] to jump to the parameter for the
highest note in the range, and to set the note.
Alternatively, you can set this parameter by
pressing the note (say, E3) on the keyboard
while holding down the [SHIFT] key.
Similarly, the lowest note in the range can be
set using Knob [1], or by pressing the note
while holding down the [SHIFT] key.
ARPEGGIO
ON
HOLD
OFF
GATE TIME
ARPíLimit)
C 1234
Note Limit
C 1 - E 3
If Arpeggiator Hold is switched on and ready for
use, the [HOLD] key LED will light when you select
the Voice, Performance or Clip Kit.
SHIFT
PAGE
A
B
C
1
2
DATA
Depending on the method of storage (Pages 116, 141,
160), the [HOLD] key state (on/off) can be saved
with the Voice, Performance or Clip Kit.
PART/ELEMENT
Knobs [1] and [2] are used to set the Note Limits
of the keyboard range within which the
arpeggiator will play back. The cursor (≥)
immediately jumps to each respective parameter
when Knobs [1] and [2] are used. Once the
cursor is at the parameter, you can also use the
[DATA] knob or the [INC/YES] and [DEC/NO]
keys to enter settings.
You can set the [HOLD] key state in the Arp screen
(Page 82) in Voice, Performance or Phrase Clip Edit
Mode.
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2Use the Sound Control knobs and Assignable
Knobs [1]/[2] to get the sound that you will
store as a Scene.
2 Scene Controls
(CS6x)
Each Voice can have its own settings for
Assignable Knobs [1]/[2] (Pages 51, 84).
Scenes are used to memorize the positions of the
FILTER [CUTOFF]/[RESONANCE] knobs, EG
[ATTACK]/[DECAY] knobs and Assignable Knobs
[1]/[2], and can be recalled later at the touch of a
button. You can use the knobs to edit the sounds
in real time, then store their positions with each
Voice/Performance as Scene 1 and Scene 2.
3If you wish, you can set up a different Scene
for the other SCENE key.
4Store the Voice (Page 116) or Performance
(Page 141); its Scene settings will be stored
with it.
If you store the Voice or Performance while the
LEDs of both SCENE keys are lit (i.e., after
adjusting the SCENE [CONTROL] knob), this
state will also be stored with the Voice or
Performance.
As an example, the illustration below shows two
different groups of knob settings (A and B)
assigned, respectively, to the SCENE [1] key and
the SCENE [2] key. In effect, what this means is
that two types of sound can be memorized and
recalled for each Voice/Performance. What’s more,
you can use the SCENE [CONTROL] knob to
create a smooth transition from one Scene to the
other, or even a mix between Settings A and B.
Storing Scenes
If you use the Sound Control knobs or Assignable
Knob [1]/[2] to change the sound settings while the
LEDs for both SCENE keys are lit (i.e., a mixture
of settings from both Scenes is being used), these
new settings should be stored to either SCENE key
as a new Scene. This operation is known as Scene
Store, and is explained as follows.
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
1Press the SCENE [1] or SCENE [2] key while
holding down the STORE key. The LED for
the key you select will light and the positions of
the knobs will be stored.
A
B
C
1
2
A
B
C
1
2
SCENE
1
As explained earlier, if you edit the sound while
either SCENE key LED is lit, this means that you
are editing the Scene directly so you do not need to
perform a Scene Store.
2
CONTROL
2Store another Scene to the other SCENE key if
necessary.
3Store the Voice (Page 116) or Performance
(Page 141) to save the Scene settings.
Scene Settings
Recalling Scenes
You can easily recall a Scene by pressing the
SCENE [1] key or SCENE [2] key. The SCENE
key’s LED will light.
When stored, the Scenes are held in a temporary edit
buffer and the settings are lost if you switch to another
Voice or Performance, or if you change Mode. Therefore,
once you have stored the Scene, you should store the Voice
or Performance; the Scene settings will be stored along
with it.
When you switch between Voices or Performances,
one of the Scenes will always be selected (the
SCENE [1] key or SCENE [2] key LED will be lit).
It is also possible that the LED for both SCENE keys
will be lit, meaning that the sound uses a mixture of
both Scenes.
1In Voice/Performance Mode, select the Voice/
Performance for which you wish to store Scenes.
When you switch between Voices or Performances,
one of the Scenes will always be selected (the
SCENE [1] key or SCENE [2] key LED will be lit).
Therefore, the settings for the Scene you are about
to switch to will be different to those of the
currently selected Scene. It is also possible that the
LEDs for both SCENE keys will be lit, meaning
that the sound uses a mixture of both Scenes.
When you recall a Scene, the knob position settings
for that Scene will be recalled, regardless of the
current physical positions of the knobs.
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Using the SCENE
[CONTROL] Knob
Controlling Scenes by Foot Controller (CS6x)
By connecting an optional Foot Controller
(such as the FC7) to the FOOT
CONTROLLER jack on the rear panel of the
synthesizer, you can switch between Scenes by
foot without having to use your hands. You
can set this up as follows.
The SCENE [CONTROL] knob lets you create a
smooth transition from one Scene to the other, or
even a mix between the settings for both Scenes.
As an example, the illustration below shows two
different groups of knob settings (A and B)
assigned, respectively, to the SCENE [1] key and
the SCENE [2] key. Starting with the SCENE
[CONTROL] knob at its fully anti-clockwise
position, turn the knob clockwise to create a
smooth transition from the Scene 1 settings to
those of Scene 2.
INDIVIDUAL OUTPUT
OUTPUT
MONO PHONES
A
D
INPUT
FOOT
FOOT
FOOT
GAIN
SWITCH SUSTAIN CONTROLLER VOLUME
2
1
R
L
LINE1 MIC LINE 2
For example, the Resonance can be increased and
LFO speed can become faster between Scenes.
Multiple changes to the sound can be applied in
one go using just the one knob, making this
feature ideal for live performances.
1Press the [UTILITY] key to enter Utility
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
Mode.
A
B
C
1
2
A
B
C
1
2
MODE
VOICE
PERFORM
SCENE
1
UTILITY CARD
2
EDIT
JOB
CONTROL
COMPARE
STORE
Turn the SCENE [CONTROL] fully anti-
clockwise to switch to Scene 1 or fully clockwise
to switch to Scene 2. If you set it to a position in
between, a mix of settings taken from both Scenes
will be used. By turning the knob from one end
to the other, a smooth transition from one Scene
to the other is created. While the knob is in a
position other than fully clockwise or anti-
clockwise, the LEDs for both the SCENE [1] and
SCENE [2] keys will be lit.
2Use the [PAGE] knob to switch to the CTRL
Scene (System Control Scene) screen.
CTRL Scene) Scene Control
Sys
65[Port Sw ]
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
SCENE
1
2
CONTROL
You can also assign Volume, Pan and other Control
Change numbers to the SCENE [CONTROL] knob
(Page 165).
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3Use Knob [B] to select “04:FootCtrl” (Foot
3
Using Controllers
Controller).
The CS6x is equipped with Pitch Bend and
Modulation Wheels, plus a Ribbon Controller.
Either of the CS6x and CS6R is equipped with
front panel Knobs [A], [B], [C], [1] and [2], with
which you can control many different parameters.
CTRL Scene) Scene Control
Sys
04[FootCtrl]
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
Pitch Bend Wheel
This wheel’s prime function is to control pitch.
Roll the wheel upward/downward to bend the
pitch upward/downward. The effect can also be
reversed.
4Use the [PAGE] knob to switch to the CTL
Assign2 (Voice Control Assign 2) screen.
CTRL Assign2)
[
FC
00
RB----Mode
hold
Vce
off
]
22
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
5Use Knob [C] to select “04:FootCtrl” (Foot
Controller).
CTRL Assign2)
Vce
FC
04
RB
22
[FootCtrl]
SHIFT
PAGE
A
B
C
1
2
DATA
Pitch Bend Range can be set for each Voice. The
wheel can also be assigned other parameters (Page
84).
PART ELEMENT
Even if a different parameter is assigned to the
wheel, Pitch Bend messages are still transmitted
through the MIDI Out when it is being used.
Switch to Voice Mode and you are now ready
to use the Foot Controller to control Scenes.
The above procedure is for assigning a Foot
Controller to control Scenes in Voice Mode.
For Performance Mode, follow the same
procedure but at steps 4 and 5, switch to the
CTL Assign2 screen in Performance Edit
Mode.
Modulation Wheel
The more you roll this wheel upwards, the greater
the modulation that is applied to the sound.
Modulation depth can also be set beforehand. Also,
the wheel can be assigned different parameters, such
as Volume or Pan (Page 84).
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Ribbon Controller (CS6x) Foot Controller (CS6x)
The Ribbon Controller is a touch-sensitive
controller that lets you control, say, Filter Cutoff
in real time by running a finger lightly across its
An optional Foot Controller (such as the FC7),
connected to the FOOT CONTROLLER jack
(Page 18) on the rear panel, can be assigned a
surface to the left or right. Normally, its assigned number of controller parameters. By using a foot
parameter will increase in value as you run you controller for parameter control, both your hands
finger to the right, though you can set it to do the are left free to play the keyboard (or to operate
opposite. The Ribbon Controller can be assigned other controllers). This is very convenient if you
many different parameters (Page 84).
are playing live.
Foot Controller parameters can be set for each Voice.
Foot Switch (CS6x)
An optional Yamaha FC4 or FC5 Foot Switch
connected to the rear panel FOOT SWITCH jack
(Page 18) can be assigned to a range of
parameters. It is suited for a switch-type (on/off)
controls such as Portamento Switch,
increment/decrement of a Voice or Performance
Number, start/stop of the Sequencer, holding
Arpeggiator on or off. The Foot Switch is not
well suited for continuous control. You could also
use it to switch to between different Voices or
Performances
Ribbon Controller parameters can be set for Utility
Mode (Pages 164, 169).
Knobs [A]/[B]/[C]/[1]/[2]
In Voice/Performance Play Mode, Knobs [A], [B],
[C], [1] and [2] can be used as real-time controllers.
Knobs [A], [B] and [C] are assigned to control the
equalizer gain of, respectively, EQ Low, EQ Mid
and EQ Hi. With Knobs [1] and [2], you are free to
assign different parameters per Voice.
The parameter assigned to the Foot Switch is set in the
CTRL Other screen of Utility Mode (Pages 52, 165).
Sustain (CS6x)
With an optional Yamaha FC4 or FC5 Foot Switch
connected to the SUSTAIN jack (Page 18) on the
rear panel. This is useful when playing piano-
type sounds.
SYSTEM
A
B
C
1
2
CURSOR
You cannot assign a function other than Sustain to
the SUSTAIN jack.
SHIFT
PAGE
PART ELEMENT
DATA
If you turn any knob clockwise, the value assigned
to it is incremented. Conversely, the value is
decremented if you turn it the other way.
Foot Volume (CS6x)
Connect an optional Foot Controller (such as the
FC7) to the FOOT VOLUME jack of the rear
panel (Page 18). You can then use your foot to
control Main Volume or Expression parameters,
leaving your hands free to play the keyboard. This
is very useful if you are playing live.
Common system parameters are assigned to Knobs
[A],[B] and [C] (Pages 50, 165). Voice-specific
parameters are assigned to Knobs [1] and [2] (Pages
51, 84).
A preset of suitable parameter settings is assigned to
each Voice. By using each knobs [1] and [2], you are
in effect adjusting these settings by a certain
amount. If these parameters are already preset at
their minimum or maximum settings, the settings
cannot be exceeded.
The parameter assigned to the Foot Volume
controller is set in the CTRL Other screen of Utility
Mode (Page 165).
Breath Controller
In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are
used for entering parameter settings on screen (Page 24).
You can connect an optional Breath Controller
(BC3) to the BREATH jack (Page 18) on the rear
panel (or the front panel of the CS6R). Then use
it to control a large number of the synthesizer’s
parameters, particularly those controlled by a wind
player’s breath: dynamics, timbre, pitch and so on.
The Breath Controller is ideally suited for realistic
expression with wind instrument type Voices.
Breath Controller parameters can be set for each
Voice.
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By creating Control Sets, you can change sounds
in a variety of ways.
Aftertouch
Aftertouch lets you, for example, add vibrato to a
sound by applying further pressure to a note on the
keyboard while it is being held down. (With the
CS6R, an aftertouch-sensitive controller keyboard
must be connected.) This allows real-time
For example, set the Src (Source) parameter of
Control Set 1 to MW (Modulation Wheel) and the
Dest (Destination) parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then
set the Src parameter of Control Set 2 also to MW,
but set the Dest parameter to ELM PAN (Element
Pan). You will also need to specify the Element to
be controlled and also the depth (amount) of
control.
expression and control. Aftertouch can be used to
control a wide variety of parameters (Page 84).
Control Sets
In this example, when you move the Modulation
Wheel upward, the amount of Pitch Modulation
increases accordingly, the Element is panned from
left to right. So in other words, you can assign
several Dest parameters to each Src controller.
Aside from their default parameters, keyboard
aftertouch, the controllers and some of the knobs
on the front panel can be assigned with various
parameters, as explained on Page 47. For
example, you could assign Resonance to the
Modulation Wheel and set aftertouch to apply
vibrato. You are free to assign parameters to suit
the kind of sound being played.
These controller assignments are known as Control
Sets. As the following illustration shows, you can
assign up to six different Control Sets per Voice.
For each Phrase Clip, you can assign up to four
different Control Sets. Within each Control Set,
the controller is known as the Source (Src) and the
parameter controlled by the Source is known as the
Destination (Dest). There are various Dest
parameters available; some will apply to the Voice
as a whole, while some will be specific to each of its
Elements. Details are given in the Controls List of
the separate Data List.
Continuing from the example above, now create
another Control Set where Src is set to FC (Foot
Controller) and Dest is set to ELFO-PM (Element
LFO Pitch Modulation Depth). Again, specify the
Element to be controlled and also the depth of
control.
Details about the available Dest parameter settings
are given in the Destination Parameter List of the
separate Data List.
Now, Pitch Modulation is assigned to both the
Modulation Wheel and Foot Controller. In other
words, you can also assign several Src controllers
to each Dest parameter.
By assigning all six Control Sets, you will have a
stunning degree of real-time control over the
synthesizer’s sounds.
The Element Switches (Page 85) will be disabled if
the Dest parameter setting is not specific for
Elements (i.e., for settings 00 to 33).
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Control Sets and External MIDI Control
Assigning Parameters to Knobs [A], [B] and [C]
In a Control Set, the controllers are assigned to the
internal parameters of the synthesizer. However,
some controllers were originally designed for a
particular purpose, and send pre-defined MIDI
Control Change messages when used, regardless of
their Control Set allocations within the
The following procedure explains how you can
assign a desired parameter to Knob [A], [B] or [C].
You can assign any parameters that are common
throughout the system (for all Play Modes) and
any MIDI Control Change Numbers. In the
example, Knob [A] will be set up to control Reverb
Return.
synthesizer.
For example, the Pitch Bend Wheel, Modulation
Wheel and keyboard aftertouch were originally
designed to control pitch bend, modulation and
aftertouch. Therefore, when you use these
controllers, pitch bend, modulation and aftertouch
information is always sent to the MIDI Out.
1 Press the [UTILITY] key to enter Utility Mode.
MODE
VOICE
PERFORM
Let’s say the Pan parameter is assigned to the
Pitch Bend Wheel in a Control Set. Now,
when you move the Pitch Bend Wheel, the
internal tone generator of the synthesizer will
pan the sound but at the same time, the
original pre-defined Pitch Bend messages will
still be sent to the MIDI Out.
UTILITY CARD
EDIT
JOB
COMPARE
STORE
2 Use the [PAGE] knob to switch to the CTRL
KnobA (System Control Knob A) screen.
CTRL KnobA) CC#
Sys
Dest
EQLow-G
01[ModWheel]
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
3Use Knob [2] to select REV-Rtn (Reverb
The controllers can also send MIDI Control
Change messages to control the parameters of
external MIDI devices. These assignments are
found in the VOICE (Vce) CTRL Assign1/2
screen of Utility Mode.
Return).
CTRL KnobA) CC#
Sys
Dest
REV-Rtn
01[ModWheel]
SHIFT
PAGE
A
B
C
1
2
DATA
As Pitch Bend Wheel, Modulation Wheel and
keyboard aftertouch is pre-defined with specific
MIDI controls, you cannot assign MIDI
Control Changes.
PART ELEMENT
You can also set up a controller such that it
sends one kind of Control message to the
synthesizer’s internal tone generator yet
another kind to the MIDI Out.
For example, in a Control Set you could assign
resonance to Assignable Knob [1]. Then, in the
VOICE CTRL Assign2 screen of Utility Mode,
you could assign Control Change Number 1
(Modulation) to the same knob. Now, when
you turn the knob, resonance will be applied to
the sound of the internal tone generator but at
the same time, modulation information will be
sent to the external MIDI device connected to
the MIDI Out.
Now you can use Knob [A] for on-the-fly
control of the Reverb Return level in
Voice/Performance/Phrase Clip Play Mode.
Note that you can also send (by turning Knob
[A]) or receive Control Change messages with
the Controller Number set in the CC#
parameter through MIDI In and Out.
For assignable parameters, refer to “System
Controller Destination Parameters” in the
separate Data List.
This aspect of the synthesizer makes it ideal for
use as a master controller for controlling external
MIDI devices. Add an optional Foot Controller
50
or Breath Controller foDroewvnelonadmfroorme Wcownwt.rSoolm. anuals.com. All Manuals Search And Download.
5 Use Knob [C] to assign PCH-Crs
(Pitch:Coarse) to the Dest (Destination)
parameter.
Assigning Parameters to Knobs [1] and [2]
The following procedure explains how you can
assign a desired parameter to Knob [1] or [2].
You can assign controllers to each Voice (or
Part in a Performance) or Clip Kit. Control
Settings can be assigned as a Control Set, and a
each Controller can be used to control multiple
parameters (although this varies according to
the type of Voice or Clip kit). Here we
CTLíSet1)
C 1234 KN1(16) PCH-Crs
Src
Dest
EL Sw Depth
--34 +14
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
6 Use Knob [1] and the [DATA] knob to specify
the Element to be controlled. Knob [1] moves
the cursor (blinking) and the [DATA] knob
displays the Element to be controlled.
introduce an example of how to set up Control
Set 1 for Internal Voice 001 (A01) by assigning
PCH-Crs (Pitch: Coarse) to Knob [1].
You can also assign, separately, a different
MIDI Control Change Number to the same
knob in Voice Mode and Performance Mode.
Details are given on Page 168.
CTLíSet1)
Src
Dest
C 1234 KN1(16) PCH-Crs
EL Sw Depth
1--4 +14
SHIFT
PAGE
A
B
C
1
2
DATA
1 Press the [VOICE] key to enter Voice Play Mode.
PART ELEMENT
MODE
7 Use Knob [2] to set the Depth parameter.
The larger the setting, the greater the depth
of control.
VOICE
PERFORM
UTILITY CARD
CTLíSet1)
Src
Dest
C 1234 KN1(16) PCH-Crs
EL Sw Depth
1234 +34
EDIT
JOB
SHIFT
PAGE
A
B
C
1
2
DATA
COMPARE
STORE
PART ELEMENT
8 Store the edited Voice (Page 116).
Now you have Internal Voice 001 (A01)
assigned PCH-Crs (Pitch:Coarse) to Knob [1].
When you select and play this Voice in Voice
Play Mode, you can control the pitch of the
Voice if you turn Knob [1].
2 Select Internal Voice 001 (A01) and press
the [EDIT] key to enter Voice Edit Mode.
3 Use the [PAGE] knob to switch to the CTL
Set1 (Control Set 1) screen.
Details about the assignable control functions
are given in the Control Set Destination
Parameters in the separate Data List.
CTL Set1)
C 1234
Src Dest
MW(01) FLT-Rez
EL Sw Depth
--34 +14
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
4 Use Knob [B] to assign “KN1 (16)” (Knob
[1]) to the Src (Source) parameter.
CTLíSet1)
C 1234 KN1(16) FLT-Rez
Src
Dest
EL Sw Depth
--34 +14
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
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3 Use Knob [C] to select “01:ModWheel”
Controlling Parameters by Foot Controller (CS6x)
(Modulation Wheel).
By connecting an optional Foot Controller
(such as the FC7) to the FOOT
CTRL Assign2)
Vce
FC
01
RB
22
[ModWheel]
CONTROLLER jack on the rear panel of the
synthesizer, you can control various
parameters by foot without having to use your
hands. In the following example, we introduce
how to set up Foot Controller to work as
Modulation Wheel.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
In Voice Mode, the foot controller can now be
used to control Modulation.
If the current Voice has a Control Set with a
source (Src) assigned to Modulation Wheel
(MW) and receives a Control Change message
of Modulation Wheel, a destination (Dest)
parameter for the source (MW) will be
affected with that message.
INDIVIDUAL OUTPUT
OUTPUT
MONO PHONES
A
D
INPUT
FOOT
FOOT
FOOT
GAIN
SWITCH SUSTAIN CONTROLLER VOLUME
2
1
R
L
LINE1 MIC LINE 2
The above procedure explains how to set up
the Foot Control to control Modulation in
Voice Mode. To create such a setup for
Performance Mode, the appropriate settings
are found at the CTL Assign2 screen in
Performance Edit Mode.
Switching Between Programs by Foot Switch (CS6x)
1 Press the [UTILITY] key to enter Utility
By connecting an optional Foot Switch (such
as the FC4 or FC5) to the FOOT SWITCH
jack on the rear panel of the synthesizer, you
can switch between Programs without having
to use your hands. For example, if you
Mode.
MODE
VOICE
PERFORM
consecutively arrange the Voices/Performances
in memory, you can switch between them
easily in a live performance. The following
procedure explains exactly how to a about this.
UTILITY CARD
EDIT
JOB
COMPARE
STORE
INDIVIDUAL OUTPUT
OUTPUT
MONO PHONES
A
D
INPUT
FOOT
FOOT
FOOT
GAIN
SWITCH SUSTAIN CONTROLLER VOLUME
2
1
R
L
LINE1 MIC LINE 2
2 Use the [PAGE] knob to switch to the CTRL
Assign2 (Voice Control Assign 2) screen.
CTRL Assign2)
Vce
FC
00
RB
22
[
off
]
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
52
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1 Press the [UTILITY] key to enter Utility
4 Phrase Clips
Mode.
Real-world sounds can be recorded or loaded into
the synthesizer and played back as musical
instruments sounds. The waveform data held in
the synthesizer are knows as Phrase Clips.
These Phrase Clips are created and played back in
Phrase Clip Mode (Page 142). A basic overview
of Phrase Clips is given here.
MODE
VOICE
PERFORM
UTILITY CARD
EDIT
JOB
COMPARE
Phrase Clips Overview
STORE
As shown in the following illustration, on the rear
panel (or the front panel of the CS6R), there is an
A/D INPUT jack for inputting analog sources to
the A/D converter. The A/D converter then
converts the signals from these analog sources
into digital binary signals through a process
known as “sampling.” Within the synthesizer,
these sampled signals are called Phrase Clips, and
up to 256 of these Phrase Clips can be held within
the 4MB of internal memory. You can assign
Phrase Clips to any keys on the keyboard to play
them back. A collection of Phrase Clip keyboard
assignments is known as a Clip Kit, of which you
can create up to four. You can then assign Clip
Kits to Performances, just like with Voices.
When playing back Phrase Clips, the processing of
signals is the opposite of A/D conversion. The
digital signals are passed through a D/A converter
to convert them back to analog form.
2 Use the [PAGE] knob to switch to the CTRL
Other (System Control Other) screen.
CTRL Other) FS
Sys
088[ ------ ]
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
3 Use Knob [B] to select “099:PC Inc”
(Program Change Increment).
CTRL Other) FS
Sys
099[PC Inc
]
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
In Voice/Performance/Phrase Clip Mode, the
Foot Switch can now be used to switch
between programs.
Alternatively, you can assign other functions
such as Arpeggio Switch (On/Off), Sequencer
(Play/Stop) and so on (Page 165).
53
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Sampling Rate and Bit
Resolution
As an example, the illustration shows a sine wave.
When recording (sampling) the sine wave, the
A/D converter basically takes snapshots of the
wave’s levels at fixed intervals in time.
Playing Back Phrase Clips
You can play back your Phrase Clips in three
different ways, as follows.
First, there is “loop” playback. A section of the
Phrase Clip is continuously looped during
playback. This is often used for creating drum
pattern loops from breakbeats.
When you play a note on the keyboard, the
Phrase Clip plays from the start point to the end
point. It then returns to the loop point and plays
to the end point again, and keeps doing this until
you release the note.
With musical instruments in general, the
characteristic part of the sound (the “attack” section)
is usually at the beginning, just after the start point.
After this, the sound does not vary a great deal while
the note is being held, and you can set the loop and
end points at either end of this section. When
playing back a Phrase Clip of an instrument that has
been looped like this, the attack section of the sound
is played back once and then the looped section is
played back continuously until you release the note.
Looping is also way of creating usable instrument
sounds without using up too much memory.
In the graph, the horizontal axis represents time
and the vertical axis represents signal level.
The number of snapshots of levels taken in one
second is known as the sampling rate and is given
in Hertz. The A/D converter of this synthesizer
has a sampling rate of 44.1kHz, which means that
it takes 44100 snapshots of the waveform’s levels
within one second. The higher the sampling rate,
the closer the reproduced (digital) signal is to the
original.
On the vertical axis, the number of levels is given in
bits and is known as the bit resolution. The A/D
converter of this synthesizer has a bit resolution of
16 bits, which means that there are 216 (i.e., 65536)
levels on the vertical axis. As with the sampling rate,
the higher the bit resolution, the closer the
reproduced (digital) signal is to the original.
Incidentally, audio on CDs is also sampled at
44.1kHz in 16 bits.
The second playback method is known as “one
shot.” When you press a note on the keyboard,
the Phrase Clip plays from beginning to end just
once. This type of playback is commonly used for
Phrase Clips of drum and percussion sounds.
Figure A: Lower sampling rate and bit resolution
Third, you can select “reverse” playback. When
you press a note on the keyboard, the Phrase Clip
plays from end to beginning just once. This is
useful for creating reversed cymbal sounds and
other special effects.
Figure B: Higher sampling rate and bit resolution
You can set points and playback modes for the
loop in Phrase Clip Edit Mode (Page 146).
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2Now press the PHRASE CLIP key (its LED will
Creating a Clip Kit
light) to enter Phrase Clip Mode.
You can assign Phrase Clips to notes on the
keyboard (C0 to C6) and play them live or using a
sequencer. You can also edit various parameters
for each Phrase Clip. The assignment of Phrase
Clips across the keyboard is known as a Clip Kit,
and you can create up to four of these.
3Hold down the PHRASE CLIP [REC] key and
the following screen will be displayed. Here,
you can assign a key to the Phrase Clip you are
about to record. While still holding down the
key simply press the respective key on the
keyboard. Here, we will assign note C1. Now
release the [REC] key to switch to the
Recording screen.
You can assign each Phrase Clip to one note on
the keyboard. However, by assigning breakbeats
and other rhythmic loops plus percussive Phrase
Clips used in the rhythms, you can create a Clip
Kit specifically for rhythms only. Or you could
assign Phrase Clips of unusual sounds to create a
Clip Kit of special effects. Essentially, you can
create a Clip Kit consisting of any sounds that suit
your needs.
PHRASE CLIP
REC
PITCH
Clip Kits can be treated the same as Voices and
Performances. For instance, in Phrase Clip Play
Mode, you can play Clip Kits directly using the
keyboard (Page 142). In Performance Mode, a
Clip Kit can be included as a Part in a
PCLP Rec) >>
>>
Select Record Key
C 1:off[
<<
<<
]
Performance (Page 129).
4Use Knob [B] to set the Source parameter to
“voice” The Drum Voice you selected earlier
can now be played on using the keyboard.
PCLP Rec) Source Trigger
(Key=C 1) voice key
[ENTER]
toStandby
You can further edit Clip Kits and Phrase Clips in
Edit Mode (Page 146) and perform jobs on them in
Job Mode (Page 154).
5Use Knob [C] to set the Trigger parameter to
“key.” With this setting, the recording process
will begin when you press a note on the
keyboard.
When you switch off your synthesizer, the Clip Kit will
be lost. Always save important data to Memory Card.
6Press the ARPEGGIO [ON/OFF] key on the
front panel (its LED will light) to switch the
Arpeggiator on. When you press a note on the
keyboard, a drum pattern will now play back
according to the Arpeggiator settings. You can
adjust the tempo using the SEQ PLAY
Recording a Phrase Clip
This section explains how to record a Phrase Clip,
set the loop and so on, execute jobs, and create a
Clip Kit.
You can create a Phrase Clip by recording from a
microphone, CD player or some other audio
equipment, or from an existing
Voice/Performance/Phrase Clip in the synthesizer.
As a simple example, we will record the drum
pattern that was created earlier using the
Arpeggiator and Drum Voice.
[TEMPO] knob on the front panel. Before
proceeding further, make sure that you have
selected the correct sound.
With the CS6R, select the Drum Voice, enter
Drum Voice Edit Mode (Page 102), set it’s
Arpeggio Switch parameter to “on,” and then
enter Phrase Clip Mode.
1Before entering Phrase Clip Mode, first enter
Voice Play Mode and press the MEMORY
[PRE1] and [PRE2] keys simultaneously. Then
use the [DATA] knob, the [DEC/NO] and
[INC/YES] keys or the PROGRAM keys (CS6x)
to select the Preset Drum Voices (DR1).
To prevent the deterioration in sound quality
when recording, you should set a high output
level for the Voice (in Voice Edit Mode).
55
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7Press the [ENTER] key and the Recording
Standby state is entered. You will see the
“Waiting for trigger...” message.
!In Phrase Clip Edit Mode, use the [PAGE] knob
to switch to the OSC Asgn screen. Normally
you would assign the Phrase Clip to a note on
the keyboard (Clip Key) here. However, since
we have already assigned it to note C1 in step
3 the Phrase Clip name and number ([Clip
001]) will be displayed when you press note C1
on the keyboard or use Knob [A] to call up C1.
When you press C1 to assign a Clip Key, the
Phrase Clip will be played back.
EF
MASTER
BYPASS KEYBOARD
EXIT
ENTER
DEC NO INC YES
OSCíAsgn) Number Variation [ENTER]
Key= C 1 1[Clip 001] 1 to Edit
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
PCLP Rec) Source Trigger [EXIT]
<< Waiting for Trigger... >> toStop
Since it is somewhat inflexible to assign the
Phrase Clip to just C1, we will also assign it to
the white notes from D1 to C2. Select each
respective notes by pressing it on the keyboard
or by using Knob [A], and use Knob [B] to
assign [Clip 001] to each.
8Recording will begin when you press the
respective note on the keyboard. Press the note
and let the drum pattern play for one bar.
9Press the [EXIT] key. Recording will finish and
the “Now Working...” message will be
displayed.
OSCíAsgn) Number Variation [ENTER]
Key= C 2 1[Clip 001] 1 to Edit
The recorded Phrase Clip is now assigned to
note C1, as set in step 3. At this point, you
can audition the recorded Phrase Clip by
pressing note C1 while holding down the [REC]
key.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
At the same screen, use Knob [1] to select a
Variation.
A Variation refers to the method by which the
Phrase Clip (including its loop points and other
parameters) is played back. Using a Variation, each
Phrase Clip can have up to eight different loop
points. For example, when applied to the drum
pattern Phrase Clip recorded earlier, Variations can
be used to create a 1-bar loop pattern, a reversed
pattern and other different playback styles.
There may be cases where a recorded volume level
differs from one you monitored while recording. It
is an effect by the automatic level adjustment
function that corrects a recorded level for a proper
playback. In these cases, you can adjust a playback
level of the Clip in Phrase Clip Edit Mode. If you
want to increase the entire volume, you can use the
EQ Type parameter to set a value of “Boost12”.
If you are not satisfied with the result, you can
repeat the recording by pressing the [ENTER]
key.
You have assigned the same Phrase Clip ([Clip
001]) to the white notes between C1 and C2.
Now you can assign a different Variation to each
of the notes. Select each respective note by
pressing it on the keyboard or by using Knob
[A], and use Knob [1] to assign a different
Variation number (1 to 8) to each.
At this stage, the Variations themselves have not
been set so Variations 1 to 8 will all play the
Phrase Clip back in the same way. However,
once you have set up all the Variations, the same
Phrase Clip can be played back differently for
each white note between C1 and C2.
)Once you exit Phrase Clip Record Mode, the
recorded Phrase Clip will automatically be
saved to memory (DRAM) with a new number
and name (Clip 001).
Here, do not exit Phrase Clip Record Mode.
Instead, press the [EDIT] key to enter Phrase
Clip Edit Mode.
Editing the Phrase Clip
Continuing from step ) above, you are now ready
to edit the Phrase Clip you have just recorded. In
Phrase Clip Edit Mode, you can assign Phrase
Clips to notes on the keyboard (between C0 and
C6) to form a Clip Kit, create loops, edit the tonal
characteristics and so on. Here, we will edit the
recorded Phrase Clip in several ways.
OSCíAsgn) Number Variation [ENTER]
Key= C 1 1[Clip 001] 1 to Edit
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
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@Check that note C1 is selected, then press the
[ENTER] key. The Variation parameters for
[Clip 001] will be displayed.
^Next, select Variation 2 but set the Play
parameter to “loop” this time. When you press
note D1 at this point, the Phrase Clip is simply
played back as a loop between the Start and
End points of the recording. If you only want
one part of the Phrase Clip to be played back as
a loop, you need to set the Start/Loop/End
points. As an example, we will set a loop
exactly one bar in length.
To return to the previous screen, press the [EXIT]
key.
EF
MASTER
BYPASS KEYBOARD
EXIT
ENTER
&Use Knob [C] to set the Start point (the point at
which playback will begin when you press a
note). To create a 1-bar looped drum pattern,
you need to press note D1 and adjust the Start
point so that it matches up with the first beat
in the bar.
DEC NO INC YES
PCLPíVar)
(D 1) 2:
Play Start
loop 119120
Loop End
0 236378
PCLPíVar)
(C 1) 1:
Play
loop
Start
0
Loop End
0 236378
SHIFT
PAGE
A
B
C
1
2
DATA
#Use Knob [A] to select the Variation number.
We will start with Variation 1.
PART ELEMENT
PCLPíVar)
(C 1) 1:
Play
loop
Start
0
Loop
End
0 236378
*Use Knob [1] to set the Loop point (the start of
the section to be looped). Since you will be
creating a loop exactly one bar in length, the
Loop point can be set to the same position as
the Start point.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
PCLPíVar)
(D 1) 2:
Play
Start
Loop
End
loop 119120 119120 236378
$As explained earlier (Page 54), the Play
parameter specifies how the Phrase Clip is
SHIFT
PAGE
A
B
C
1
2
DATA
played back. There are three possible settings
for this parameter, but we will select “reverse”
here. Use Knob [B] to select.
PART ELEMENT
PCLPíVar) Play
(C 1) 1: reverse
Start
0
Loop
End
0 236378
(Use Knob [2] to set the End point (the end of
the section to be looped). For a 1-bar drum
pattern, you need to set the End point at the
end of the fourth beat in the bar (i.e.,
immediately before the first beat of the next
bar). Press note D1 and keep adjusting the End
point until you find the ideal point for looped
playback.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
Now press note C1 on the keyboard and check
that the Phrase Clip has indeed been reversed.
Reverse playback involves the sound being played
in reverse from the End point to the Start point.
You can change the length by simply adjusting
these points. When you record a Phrase Clip, the
Start point is initially set at the beginning of the
recording and the End point at the end of the
recording.
PCLPíVar)
(D 1) 2:
Play
Start
Loop
loop 119120 119120 452316
End
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
%Press the [EXIT] key to return to the OSC Asgn
(Oscillator Assign) screen. This time, select the
D1 note and press the [ENTER] key.
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[Clip 001] is now reversed as Variation 1 and
looped for one bar as Variation 2, and both
Variations can be played by pressing notes C1 and
D1. In the same way, you can change the points
for Variations 3 to 8 and set up different loops to
that of Variation 1/2.
£Use Knob [1] to set the Type parameter, which
specifies the type of loop change (i.e., which
part of the loop will be modified). Combined
with the Vari parameter, it is possible to create
a variety of loop patterns using Loop Remix.
There are five Types in total, and we will use
Type 2 here.
Therefore, each Phrase Clip can be played back in
a variety of ways according to different notes on
the keyboard, and you can assign completely
different Phrase Clips with different Variations to
other notes. Such a collection of Phrase Clips and
Variations is known as a “Clip Kit.”
¢Use Knob [2] to set the Vari (Variation)
parameter, which specifies the amount by
which the loop will be modified. The four
available Variations (A to D) apply increasing
amounts of modification. Let’s select “D” here
in order to create the largest modification.
ºNext, press the [JOB] key to enter Phrase Clip
Job Mode. We will now take a quick look at
how to execute a Job.
∞Press the [ENTER] key and you will see a
confirmation message. Now press the
[INC/YES] key to confirm and the Loop Remix
will be executed on [Clip 001] using the Type
and Vari parameters set earlier. To cancel the
operation, press the [DEC/NO] key
Executing a Job
In Job Mode, you can perform various operations
(Jobs) on your edited Phrase Clips. You can copy
and delete items, create Variations, use Loop
Remix and Extract to modify your Phrase Clips
and so on. In this example, the totally unique
Loop Remix feature will be explained. The
explanation continues from step º above.
After the Loop Remix operation has completed,
you will see the following message.
PCLP LoopRemix)
<< Retry? [YES]/[NO] >>
Type
2
Vari
D
At this point, you can press the note on the
keyboard assigned to [Clip 001] and listen to
the sound after Loop Remix has been applied.
You should hear a completely new type of
pattern, including reversed sections of sound.
¡In Phrase Clip Job Mode, use the [PAGE] knob
to switch to the PCLP LoopRemix screen. Loop
Remix takes the data from an existing Phrase,
changes it around, and creates a separate new,
looped Phrase Clip. (The original Phrase Clip
remains in its original state and a completely
new Phrase Clip is created with Loop Remix.)
By setting the Type and Vari parameters, you
can easily create a variety of new Phrase Clips.
However, if you are not satisfied with the
result, you can repeat steps £ to ∞ and apply
Loop Remix by pressing the [INC/YES] key at
the present screen. By changing the
combination of Type and Vari parameter
settings, you should be able to create loop
patterns that sound completely different.
™By pressing the respective note on the keyboard
or by using Knob [A], you can select the source
Phrase Clip to which Loop Remix will be
applied. Let’s select [Clip 001] as the source
and create a new Phrase Clip. If you have
followed the previous procedure and assigned
Variations to the white notes between C1 and
C2, you can press any of these notes; [Clip 001]
will still be selected.
§Once you have a Phrase Clip that you are
satisfied with, press the [DEC/NO] key at this
screen and you will be returned to the PCLP
LoopRemix screen.
The new Phrase Clip will have a new name and
number, and be assigned to the keyboard in place
of the original Phrase Clip (which is still retained
in memory but is no longer assigned to notes).
PCLP LoopRemix)
Job C 1:001[Clip 001]
Type
1
Vari
A
Phrase Clips are retained in memory (DRAM) even
after you exit Phrase Clip Mode, and until you
switch the power off. However, if a Clip Kit has
been created after editing or executing a Job, it will
be lost when you exit Phrase Clip Mode. Therefore,
you should always store your Phrase Clips before
exiting this mode. Up to four Clip Kits can be stored
in internal memory. Details about storing Phrase
Clips are given on Page 160.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
Once you have created a Clip Kit, you can play it
in Phrase Clip Play Mode or use it as a Part in a
Performance, just as with Voices (Page 129).
58
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5
Other Useful Features
Portamento
Portamento is used to create a smooth transition
in pitch from the first note played on the
keyboard to the next, and can be used in Voice or
Performance Mode. You can switch portamento
on/off using the PORTAMENTO [ON/OFF] key
on the front panel. When switched on, the
PORTAMENTO [ON/OFF] key LED will be lit.
You can use the [PORTAMENTO] knob to vary
the pitch transition time (Portamento Time).
Turn the knob clockwise to lengthen the time.
PORTAMENTO
ON
OFF
Before enabling portamento, specify how portamento
should work using parameters available in the
Portamento screen (Page 84).
If Portamento is switched on and ready for use, the
PORTAMENTO [ON/OFF] key LED will light when
you select the Voice.
In Performance Mode, you can apply portamento to
Voices of Parts that have their Layer Switch (Page
133) and Portamento switch set to “on” (Page 131).
Depending on the method of storage (Pages 116,
141), the portamento state (on/off) can be saved
with the Voice or Performance.
You can set the portamento state in the Portamento
screen (Pages 84, 131) in Voice or Performance Edit
Mode.
Pan
You can use the [PAN] knob on the front panel to
set the stereo position (pan) of the currently
selected Voice, Performance or Clip Kit. The Pan
parameter can be set in each Edit Mode, but the
front panel [PAN] knob lets you adjust this
parameter in real time in any of the Play Modes.
PAN
PAN
On the CS6R, this is set at the QED Level screen
(Page 81).
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Voice Edit
There are 256 Normal Voice presets and 8 Drum
Voice presets. You can edit these to create new
Voices, or build completely new Voices from
scratch. You can then store up to 128 of these
new/edited Normal Voices and up to 2 new/edited
Drum Voices to internal user memory or external
Memory Card.
1 Selecting a Voice to Edit
Enter Voice Play Mode by pressing the [VOICE]
key.
MODE
VOICE
PERFORM
UTILITY CARD
EDIT
JOB
The following procedure gives a basic idea about
how to go about creating/editing Voices.
COMPARE
STORE
Of course, this is just one example; you are free to
set any parameters in any way you like. Details
about each parameter are given in the Reference
section of this manual.
Select the Voice Number of the Voice you wish to
edit (Page 75).
All parameter settings are stored along with the
Voice itself.
Before editing, first enter Voice Job Mode and copy
the Voice you wish to edit to internal user memory.
If you are creating a Voice from scratch, use the
Initialize function to initialize a Voice in internal
user memory. Details are given on Page 115.
1In Voice Play Mode, select the Voice you wish
to edit.
2Enter Voice Edit Mode.
2 Entering Voice Edit Mode
Voice creation/editing is carried out in Voice Edit
Mode.
To enter Voice Edit Mode, press the [EDIT] key
while in Voice Play Mode.
3In the Common Edit screens, set the parameters
common to all Elements in the Voice (volume,
pitch, tone, etc.) You can also set parameters
related to the Arpeggiator, Controllers, Effects,
and so on.
MODE
4At the OSC (Oscillator) screens, select the
Waves used by the Elements in the Voice, plus
the volume, pan, note range and other basic
parameters.
VOICE
PERFORM
UTILITY CARD
EDIT
JOB
5At the PCH (Pitch) and PEG (Pitch Envelope
Generator) screens, set the tuning and other
pitch-related parameters used by the Elements.
Also set the PEG parameters as necessary.
COMPARE
STORE
Common Edit and Element Edit
6At the FLT (Filter) and FEG (Filter Envelope
Generator) screens, adjust the parameters of
the filters used by the Elements. Also set the
FEG parameters as necessary.
Each Voice consists of up to four Elements
(Page 37). The parameters common to all four
Elements are known as Common Edit
parameters. Voice Edit Mode consists of
Common Edit screens, plus screens for each
individual Element’s parameters.
7At the AMP (Amplitude) and AEG (Amplitude
Envelope Generator) screens, set the volume
and other output level-related parameters used
by the Elements. Also set the AEG parameters
as necessary.
In Voice Edit Mode, you can use Knob [A] to
switch between Common settings and settings
for Elements 1 to 4.
8At the LFO (Low Frequency Oscillator)
screens, set the modulation-related parameters
used by the Elements.
Common settings
GEN Other) Mode Assign
C 1234 poly single
MicroTuning
31:Indian
9At the EQ (Equalizer) screens, adjust the
equalizer parameters affecting the tonal
characteristics of the Elements.
Settings for Elements 1 to 4
OSC Wave)
EL1234
Number Ctgry
001[Pf:Grand 1 ]
)Store the edited Voice.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
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Switching Between Screens and Entering Settings
After selecting a Common Edit screen or a edit
screen for an Element (1 to 4), use the [PAGE]
knob to switch to other screens.
AMP Scale)Ofst1
EL1234
Ofst2
+ 0
Pfst3
- 21
Ofst4
- 35
+ 0
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
There are many parameters available within a
screen. To make editing easier, the knobs
below the LCD are assigned to each of the
parameters in the screen.
Selecting Elements (CS6x)
In Voice Edit Mode, you can select the Element
to edit by pressing the respective ELEMENT
SELECT key ([1] to [4]). When you select an
Element, the cursor moves to the respective
Element Number.
AMP Scale)Ofst1
EL1234
Ofst2
+ 0
Pfst3
- 21
Ofst4
- 35
+ 0
SHIFT
PAGE
A
B
C
1
2
DATA
Example: When “Element 2” is selected
A
B
C
D
E
F
G
H
PART ELEMENT
BANK
1
2
3
4
1
2
3
4
ELEMENT SELECT
ELEMENT ON OFF
Menu Screen
If you use the [PAGE] knob while holding
EQ Param)LoFreq LoGain HiFreq HiGain
EL1234 274.2Hz +12 2.82kHz +22
down the [SHIFT] key, the settings menu will
be displayed. Use the [PAGE] knob to move
the cursor to an item and release the [SHIFT]
key to jump to the screen for that item.
Switching Elements On/Off (CS6x)
In Voice Edit Mode, an Element can be
GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF
C 1234
Elem:>OSC>PCH>FLT>AMP>LFO>EQ
switched off when you press the respective
ELEMENT ON/OFF key ([1] to [4]). This lets
you temporarily mute other Elements in the
Voice so that you can listen to the changes to
the Element that you are editing. A muted
(off) Element will be indicated as an asterisk
(*) in the display as illustrated below.
SHIFT
PAGE
A
B
C
1
2
DATA
PART ELEMENT
You can also use other knobs and keys to enter
settings. The Compare featureallows you to compare
the sound being edited against the sound prior to
editing. Details are given on Pages 24, 79.
Example: When Elements 2 and 3 are
turned off
A
B
C
D
E
F
G
H
BANK
1
2
3
4
1
2
3
4
ELEMENT SELECT
ELEMENT ON OFF
3 Common Edit Screens
Each Voice consists of up to four Elements. Here, the
parameters common to all Elements are explained.
EQ Param)LoFreq LoGain HiFreq HiGain
EL1**4 274.2Hz +12 2.82kHz +22
• GEN (Common General)
Here, you can set general parameters in Common
Edit, such as the Voice Name.
GENíName) Ctgry
C 1234
a-Z
0-? Cursor
[Pf:Init Voice]
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• QED (Common Quick Edit)
4 OSC (Oscillator) Screens
These parameters mostly control the volume and
tone of the Voice and you can easily change the
overall sound. Many of these parameters can be
set directly using the Sound Control knobs on the
front panel of the CS6x.
In these screens, you can mainly set the
parameters controlling the waveforms on which
the Voice is based. You can select the Wave used
for the Element, the volume and note range of
each Element and so on.
QEDíLevel) Vol
C 1234 127
Pan RevSend ChoSend
127 127
• OSC Wave
C
Select the waveform (Wave) used for each Element.
OSCíWave)
EL1234
Number Ctgry
001[Pf:Grand 1 ]
• ARP (Common Arpeggio)
By setting these parameters, you can control how
the Voice is arpeggiated. Details about how to use
the Arpeggiator are given on Page 42.
• OSC Out
• OSC Pan
Set the volume (output level) and stereo pan
position of each Element. The following
illustration shows the logic.
ARPíType) Type
C 1234 Up&Down1:Sq 120
Tempo Switch
on
Hold
on
• CTL (Common Controller)
OSCíOut) Level
EL1234
Delay
0
InsEF
ins2
You can assign various functions to the controllers
on the front/rear panel. For example, you can
assign parameters to the Pitch Bend Wheel and a
Foot Controller so that you can change the tone of
the Voice in real time. Details about various
different uses are given on Page 47.
96
OSCíPan)
EL1234
Pan
C
Alter Random
L64
Scale
+63
63
CTLíSet1)
C 1234
Src
FC(04) RevTime:EF1 1234
Dest
EL Sw Depth
+63
• LFO (Common Low Frequency Oscillator)
These are the LFO parameters. The LFO uses a
low frequency waveform to vary the
pitch/filter/amplitude characteristics, and can be
used to create vibrato, wah, tremolo and other
effect (Page 85).
LFOíWave) Wave^ Speed KeyReset Phase
trpzd
C 1234
63
on
270
• OSC Limit
Set the note range for each Element (the range of
notes on the keyboard over which the Element
will sound) and also the velocity response (the
range of note velocities within which the Element
will sound). You can assign different settings for
each Element. With these parameters, you can
layer Elements and control their output.
• EFF (Common Effect)
These are the Effects parameters for the Voice.
There are two Insertion Effects plus two System
Effects (Reverb and Chorus).
EFFíInsEF)
C 1234
InsEF Connect
1=2
For example, you could set one Element to sound
in an upper range of the keyboard, and another
Element to sound in a lower range. Thus, even
within the same Voice, you can have two different
sounds for different areas of the keyboard or you
can make the two Element ranges overlap so that
their sounds are layered over a set range.
Furthermore, you can set each Element to respond
to different velocity ranges so that one Element
sounds for lower note velocities, whereas another
Element sounds for higher note velocities.
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6 FLT (Filter) and FEG (Filter EG)
OSCíLimit)
EL1234
Note Limit
C-2 - G 8
Vel Limit
1 - 127
Screens
You can use the filter to change the tonal
characteristics of each Element, by adjusting
overtones (harmonic tones) included in the
waveform from the Element. There are several
types of filters, but its basic idea is similar. As
illustrated below, the filter is used to pass overtones
at specific frequencies and cut off (does not pass)
others, to alter the harmonic factor of an original
waveform. You can determine such frequencies by
specifying a pointing or center frequency (cutoff
frequency). With some filters, you can adjust signal
levels at several frequency bands. You can also set
the Filter Envelope Generator (FEG) for time
variance of how the filter works, which results in a
dynamic change in tonal characteristics. Here we
introduce how FEG works.
5 PCH (Pitch) and PEG (Pitch EG)
Screens
Set the basic pitch parameters for each Element.
You can detune Elements, apply Pitch Scaling and
so on. Also, by setting the PEG (Pitch Envelope
Generator), you can control how the pitch
changes over time.
• PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in
pitch from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated below, the Pitch Envelope consists of five
Time (transition speed) parameters and five Level
(pitch) parameters. This is useful for creating
automatic changes in pitch. Furthermore, different
PEG parameters can be set for each Element.
Details about Filter Types are given on Page 93.
• FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in
tone from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated below, the Filter Envelope consists of
five Time (transition speed) parameters and five
Level parameters (for the amount of filtering).
When you press a note on the keyboard, the cutoff
frequency will change according to these envelope
settings. This is useful for creating automatic wah
effects, for example. Furthermore, different FEG
parameters can be set for each Element.
PEGíTime) Hold Attack Decay1 Decay2
EL1234
127
127
127
127
FEGíTime) Hold Attack Decay1 Decay2
EL1234
127
127
127
127
Details about PEG parameters are given on Page 91.
Details about FEG parameters are given on Page 95.
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7 AMP (Amplitude) and AEG
8 LFO (Low Frequency
(Amplitude EG) Screens
Oscillator) Screens
Set the volume of each Element after the OSC
As its name suggests, the LFO creates waveforms of
(Oscillator), PITCH and FILT (Filter) parameters a low frequency. These waveforms can be used to
have been applied, and also the final overall
volume of the signal sent to the outputs. The
signal of each Element is sent at the specified
volume to the next Effect Unit.
vary the pitch, filter or amplitude of each Element
to create effects such as vibrato, wah and tremolo,
although the actual available LFO parameters will
vary according to the type of Element.
Also, by setting the AEG (Amplitude Envelope
Generator), you can control how the volume
changes over time.
LFOíWave) Wave^ Speed
EL1234 tri 63
KeySync
on
The final volume for all Elements is set in the
Volume (Vol) parameter of the QED screen in
Common Edit.
9 EQ (Equalizer) Screens
Specific frequency bands for each Element can be
attenuated or boosted using an equalizer. There
are many types of equalizers available. Details are
given on Page 101.
• Amplitude EG (Envelope Generator)
Using the AEG, you can control the transition in
volume from the moment a note is pressed on the
keyboard to the point at which it is released. As
illustrated below, the Amplitude Envelope consists
of five Time (transition speed) parameters and
five Level parameters (for the amount of
) Storing Edited Voices
Up to 128 new/edited Normal Voices and 2
new/edited Drum Voices can be stored to internal
user memory or external Memory Card.
filtering). When you press a note on the
keyboard, the volume will change according to
these envelope settings. Furthermore, different
AEG parameters can be set for each Element.
AEGíTime)
EL1234
Attack Decay1 Decay2
127 127 127
The maximum number of Plug-in Voices that can be
stored to each internal memory (PLG1/2) is 64.
Details about AEG parameters are given on Page 98.
When storing a Voice, any existing data at the
storage location will be lost. You should always back
up important data to Memory Card, computer or
some other storage medium beforehand.
Details about storing Voices are given on Page 116.
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Effects in Voice Mode
Effects
In Voice Mode, you can set up the effect type and
its value for each Effect Unit (Reverb, Chorus and
Insertion Effects) and store them with each Voice.
Furthermore, you can determine that each Element
connects or bypasses the Insertion Effect Units.
When you connect an Element to Insertion Effects,
you can also specify the connecting way of two
Units (series or parallel, as illustrated below).
The combined signal from all Voice Elements —
after application of the Insertion Effects — is sent
to the Reverb and Chorus System Effect Units.
In the final stages of programming, you can set
the effects parameters to further change the
sound’s character. To generalize, System Effects
apply to the overall sound, whether it is a Voice, a
Performance, a Song, etc. Insertion Effects, on the
other hand, can be applied individually to each
Voice. This synthesizer has two System Effect
Units (Reverb and Chorus) plus two Insertion
Effect Units. When using a Plug-in Board (PLG1
or PLG2) installed on the instrument, you can
also use a separate Insertion Effect Unit that is
dedicated for each Plug-in Part.
When you want to use Plug-in Voices from a Plug-
in Board attached, you can also set up a dedicated
Insertion Effect Unit for each Plug-in Voice. In
this case, a Plug-in Voice signals processed with
the Insertion Effect Unit will be then routed to
Reverb and Chorus Units.
Different effects settings can be set per Voice (in
Voice Mode) and per Performance (in
Performance Mode), though the connection
between the Effect Units will vary in each case.
Reverb Unit
➞
➞
The Reverb Unit includes a selection of 12
different reverb-type effects, including realistic
simulations of the natural reverberation found in
various halls and rooms. In Voice Mode, Reverb
settings can be set for each Voice. In Performance
Mode, the Reverb settings will apply to the
Performance as a whole.
Chorus Unit
The Chorus Unit includes a selection of 23
chorus-type effects, including a flanger and
others. Most of these effects are ideal for adding
thickness to the sound.
In Voice Mode, Chorus settings can be set for each
Voice. In Performance Mode, the Chorus settings
will apply to the Performance as a whole.
Effects in Performance Mode
In Performance Mode, you can use an Insertion
Effects setting “borrowed” from ones respectively
stored with Voices (Parts) . For Plug-in Parts, you
can select and use an Insertion Effect setting
“borrowed” from ones respectively stored with Plug-
in Voices.
Insertion Effects
The Insertion Effect 1 Unit includes 24 effects
including chorus, flanger and auto-wah. The
Insertion Effect 2 Unit offers delays, reverbs,
rotary speaker, amp simulation and other effects,
providing a total of 92 effects. If a Plug-in Board
has been installed, up to 24 Insertion Effects for
the Plug-in Voices will also be available.
For Reverb and Chorus, you can create new
settings dedicated for an entire Performance,
without “borrowing” existing Reverb and Chorus
settings stored with a Voice.
In the following illustration, a mixer represents
the logic behind how the different effects are
applied to the sound in Performance Mode. Each
Part (1 to 16) is fed to the mixer through either
Insertion Effect 1 or Insertion Effect 2. The
signals for all Parts are summed in the mixer and
then the System Effects (Reverb and Chorus) are
applied to the mix as a whole.
Details about each Effect Type are given in the
Effect Type List in the separate Data List.
65
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Effect Bypass
You can temporarily switch effects off or on by
pressing the [EF BYPASS] key. To use this
function, you will need to specify the effect to
be bypassed in the MSTR EF Bypass screen of
Utility Mode (Page 164). You can also specify
more than one effect.
When you press the [EF BYPASS] key, its LED
will light and all Effects assigned to the
currently selected Voice/Performance will be
bypassed.
EF
MASTER
BYPASS KEYBOARD
EXIT
ENTER
DEC NO INC YES
The Effect Bypass will also apply to Effects on
Plug-in Boards other than the PLG100 series.
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Using as a Master Keyboard
(Performance Mode)
As previously explained, your Synthesizer
provides several convenient features that you can
make use of in a live show or the like. Here we
introduce some examples to combine those
features to meet your specific purposes.
2Select “Common” using the Knob [A], then
open the GEN M. Kbd (General Master
Keyboard) screen using the [PAGE] knob.
GENíM.Kbd) Mode
Common split
Lower
ch01
Upper
ch02
Point
C 3
The CS6x has special settings in Performance Mode
so that you can use the instrument as MIDI master
keyboard. You can activate the function (enable those
special settings) when you press the [MASTER
KEYBOARD] key on the panel (its LED will light).
Now your instrument can send performance on the
keyboard to an external tone generator, as well as the
internal tone generator, according to the master
keyboard settings in Performance Mode. If you divide
the keyboard into several (up to four) key ranges and
assign separate MIDI transmit channels, the keyboard
can control multiple parts (channels) from the
internal tone generator and external MIDI devices of
those channels at the same time.
Turning the [PAGE] knob while holding down the
[SHIFT] key enables you to scroll though
parameters in the Menu screens (page 121).
3Select “split” for the Mode parameter using the
Knob [B].
If Master Keyboard Mode is deactivated (without
the [MASTER KEYBOARD] key pressed), the
Mode parameter value will be shown in brackets
(like “(split)”).
4Select the value (split point) for the Point
parameter using the Knob [2], which determines
the key note that divide the keyboard into two
sections. Select “C3” for this example.
There are three Master Keyboard Modes (how to
make key ranges) available: Split, 4 Zones, and Layer.
You can learn these Master Keyboard Modes and their
functional differences in the following examples.
You can specify the split point by directly pressing
a specific key on the keyboard while holding
down the [SHIFT] key. In this example, press C3
while holding down the [SHIFT] key.
5Specify MIDI transmit channels respectively for
the lower and upper key ranges using the Knob
[C] (lower) and the Knob [1] (upper). These
settings can make MIDI-channel-based separate
controls of the internal tone generator or an
external MIDI devices from the keyboard, such
as using different Voice tones in the lower and
upper key ranges.
Split
The illustration below shows an example of a Split
configuration. Split is a typical setting to divide a
keyboard into two key ranges (lower and upper) by
splitting at a specific key note (split point). The
following example is to split the keyboard at C3
note, enabling the lower range for automatic
performance with Arpeggiator and the upper range
for manual solo performance. You can make this
configuration in the following steps.
Select “ch01” for “Lower” and “ch02” for
“Upper” for this example.
You can also use the PROGRAM/PART [1] to
[16] keys to select MIDI channels for the Lower
and Upper ranges (Page 123).
6Select a Part for the lower range using the Knob
[A]. For this example, select “Part01”.
7Turn the [PAGE] knob and open the MIX Vce
(Mix Voice) screen to select a Voice for
Arpeggiator performance.
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:128(H16)[Pf:GrandPiano]
Edit and prepare Voices for Arpeggiator and manual
play in Voice Edit Mode before you set up a Split
setting in the following procedure (page 78).
8Turn the [PAGE] knob and open the LYR Mode
(Layer Mode) screen. Set “on” for “Arp”
(Arpeggio switch). Select “1” for “RcvCh”
(MIDI Receive Channel).
1Press the [PERFORM] key, followed by the
[EDIT] key (each LED will light) to enter
Performance Edit Mode. Then, press the
[MASTER KEYBOARD] key to activate Master
LYRíMode) Mode
Part01 poly
Arp
on
Layer
off
RcvCh
1
67
Keyboard Mode (its LED will light).
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9Turn the [PAGE] knob and open the ARP Type
(Arpeggio Type) screen. Set “on” for “Switch.”
ARPíType) Type Tempo Switch
Part01 UpOct1:Sq 120 on
Hold
off
In steps 6 to 9, you now complete settings for
the lower range for Arpeggiator performance.
It will play in a Voice assigned to Part 1 based
on MIDI Receive channel 1.
Refer to Page 82 for detailed settings of
Arpeggiator.
You can copy (reuse) the arpeggio settings that belong
to the Voice assigned to Part 1 (Page 141).
)In the same manner, use Knob [A] to select
Part02. Then select the solo instrument Voice at
the MIX Vce screen and set the RcvCh (MIDI
receive channel) parameter in the LYR Mode
screen to “2.” Now, the solo Voice for Part 2 will
sound when playing notes at and above the Split
point, or when receiving through MIDI channel 2.
The RcvCh parameter setting will be ignored if
you set the Layer parameter in the LYR Mode
screen to “on.”
For Parts that you are not using, set their RcvCh
parameters to something other than 1 or 2.
Before you set up a 4-zone configuration in the
following procedure, edit and prepare necessary
Voices (for Arpeggiator and manual play) and
Phrase Clip Kit in their associated Edit Modes.
Further settings are available in Performance Edit
Mode. If a Part does not sound, check the volume
level and other settings for that Part. Details are
given on Page 130.
1Press the [PERFORM] key, followed by the
[EDIT] key (each LED will light) to enter
Performance Edit Mode. Then, press the
[MASTER KEYBOARD] key to activate Master
Keyboard Mode (the LED will light).
!Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to Page 141.
In Performance Play Mode, recall the Performance
you have just stored. Simply pressing the
[MASTER KEYBOARD] key activates or
2Select “Common” using the Knob [A], then
open the GEN M. Kbd (General Master
Keyboard) screen using the [PAGE] knob.
deactivates the Split configuration you made above.
4 Zones
GENíM.Kbd) Mode
Common split
Lower
ch01
Upper
ch02
Point
C 3
The illustration below shows an example of a 4-zone
configuration. A zone refers to a specific key range on
the keyboard. You can logically divide a keyboard into
up to four key ranges with separate MIDI channels
and other associated settings so that you can control
multiple Parts at the same time. A Split setting can
divides the entire keyboard into two absolute sections
(key ranges). In a 4-zone setting, however, each
section can overlap to one another. You can even set a
section to cover or include other sections.
The following example is to set Zone 1 for playing a
rhythm loop created previously in Phrase Clip Mode
(page 55), Zone 2 for performance by Arpeggiator,
Zone 3 for manual solo performance, and Zone 4 for
playing an external MIDI tone generator. Also in this
settings, Zones 3 and 4 overlap in the same range, and
entire performance in four all zones is output from the
MIDI OUT connector so that you can record that
performance on an external MIDI sequencer. You can
make this configuration in the following steps.
Turning the [PAGE] knob while holding down the
[SHIFT] key enables you to scroll though
parameters in the Menu screens (Page 121).
3Select “4zone” for the Mode parameter using
the Knob [B].
If Master Keyboard Mode is deactivated (without
the [MASTER KEYBOARD] key pressed), the
Mode parameter value will be shown in brackets
(like “(4zone)”).
4Select one of “Zone01” to “Zone04” using the
Knob [A]. As we have selected “4zone” for the
Mode parameter, you can now select setting
screens for four Zones. Select “Zone01” to get
started with the settings.
MKBíTransmit)
Zone01
TrnsCh
Ch01
TG
on
MIDI
on
You can also use the BANK [A] to [D] keys to
respectively select “Zone01” to “Zone04.”
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Selecting a Zone opens the MKB Transmit
screen. You may want to select a sub screen to
set up a Zone using the [PAGE] knob. But you
first specify basic items in the MKB Transmit
screen, such as MIDI transmit channel, enabling
or disabling MIDI output to the internal tone
generator and to the MIDI OUT connector.
!Turn the Knob [A] and select a Part for a Zone.
In this example, we select Phrase Clip Part for
Zone 1, Part 2 and Part 3 respectively for Zone
2 and Zone 3. We don’t select any internal Part
for Zone 4 since Zone 4 is set only to output
performance information via the MIDI OUT
connector. First, select Phrase Clip Part
(PartCL) for Zone 1.
5Set MIDI transmit channel (TrnsCh) to “Ch01”
using the Knob [C]. Set MIDI output to the
internal tone generator (TG) and MIDI OUT
(MIDI) both to “on.”
You can also use the MEMORY or
PROGRAM/PART keys to select a Part for a
Zone (Page 119).
These settings can differentiate each Zone from
one another, to internally or externally output
performance made in each Zone using a
separate MIDI channel. Finally, you will
separately control sound tones from four zones.
@Use the [PAGE] knob and open the MIX Kit
screen, to set up a Clip Kit for performance
using Phrase Clips.
MIXíKit)
PartCL
Number
001(A01)[Dr:Clip Kit]
To do this, set “Ch01” to “Ch04” respectively to
the “TrnsCh” parameters in the MKB Transmit
screens for Zones 1 to 4. For the “TG” and
“MIDI” parameters, set both “on” for Zones 1
to 3. For Zone 4, set “off” to “TG” and “on” to
“MIDI.” You can switch between multiple
MKB Transmit screens using the Knob [A].
Some of basic settings for four zones are now
complete.
A necessary Phrase Clip Kit should be prepared
in Phrase Clip Mode before you use in this setting
in Performance Mode.
#Use the [PAGE] knob and open the Layer Mode
(LYR Mode) screen. Set Layer Switch (Layer)
to “off,” MIDI receive channel (RcvCh) to “1.”
LYRíMode)
PartCL
Arp
on
Layer
off
RcvCh
1
6Select “Zone01” again using the Knob [A].
Open the MKB Note screen using the [PAGE]
knob. In this screen, you can specify a key
range for a Zone.
With settings made in steps ! to #, you can
now play Phrase Clips from the Clip Kit
assigned to “PartCL” (Phrase Clip Part) set to
MIDI receive channel 1 (RcvCh) when you
play in the key range of Zone 1.
MKBíNote)Octave Transpose
Zone01 +1 +11
Note Limit
C-2 - G 8
In the MKB Note screen, you can also find other
parameters such as Note Limit, Transpose, etc.
Refer to Page 138 for more information about
these parameters.
$As in the same manner in steps ! to #, set up for
Zone 2. Turn the Knob [A] and select “Part02”.
Next go to the MIX Vce (Mix Voice) screen using
the [PAGE] knob, and select a Voice for
7Set “Note Limit” (zone key range) with the
lowest and highest notes using Knobs [1]
(lowest) and [2] (highest). For “Zone01”, select
“C-2” for the lowest note and “B1” for the
highest.
Arpeggiator. Then, use the [PAGE] knob to open
the LYR Mode (Layer Mode) screen and set RcvCh
(MIDI receive channel) to “2”. Also in this screen,
set the “Arp” switch to “on” for Arpeggiator
performance. Finally in the ARP Type (Arpeggio
Type) screen, set the Switch parameter to “on”.
With settings made here, you can now play with
Arpeggiator using a Voice assigned to “Part02”
set to MIDI receive channel 2 (RcvCh) when
you play in the key range of Zone 2.
8Use the Knob [A] to switch to the MKB Note
screen for “Zone02”. As in the same manner in
step 7, select “C2” for the lowest note and
“B2” for the highest.
9Use again the Knob [A] to switch to the MKB
Note screen for “Zone03”. As in the same
manner in step 7, select “C3” for the lowest
note and “G8” for the highest.
%As in the same manner in steps ! to #, set up
for Zone 3. Turn the Knob [A] and select
“Part03”. Next go to the MIX Vce (Mix Voice)
screen using the [PAGE] knob, and select a
Voice for manual solo performance. Then, use
the [PAGE] knob to open the LYR Mode (Layer
Mode) screen and set the RcvCh (MIDI receive
channel) to “3”.
)Use the Knob one more time [A] to switch to
the MKB Note screen for “Zone04”. As in the
same manner in step 7, select “C3” for the
lowest note and “G8” for the highest. Note
that this key range setting will make a
overlapped range with Zone 3.
With settings made here, you can now play solo
using a Voice assigned to “Part03” set to MIDI
receive channel 3 (RcvCh) when you play in
For detailed settings of a Zone, refer to Page 137.
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You don’t need to make further settings for
Zone 4 since it is not intended for an internal
Part and has already been set to output
performance information via the MIDI OUT
connector in steps 5 to ). The key range of
Zone 4 matches to that of Zone 3 so that solo
performance made in that range will be sent on
MIDI channels 3 (from Zone 3) and 4 (from
Zone 4) via MIDI OUT to an external MIDI
device.
2Select “Common” using the Knob [A], then
open the GEN M. Kbd (General Master
Keyboard) screen using the [PAGE] knob.
GENíM.Kbd) Mode
Common split
Lower
ch01
Upper
ch02
Point
C 3
Turning the [PAGE] knob while holding down the
[SHIFT] key enables you to scroll though
parameters in the Menu screens (Page 121).
3Select “layer” for the Mode parameter using the
You can set additional Part settings in
Performance Edit Mode. If you have a trouble
possibly associated with these settings, such as no
sound from a specific Part, confirm any Part
settings related to volume, etc. Refer to Page 130
for more information about Part settings.
Knob [B].
If Master Keyboard Mode is deactivated (without
the [MASTER KEYBOARD] key pressed), the
Mode parameter value will be shown in brackets
(like “(layer)”).
^Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to Page 141.
4Use Knobs [C] and [1] to respectively set MIDI
transmit channels for the Lower and Upper
parameters. Note that Lower and Upper refer
to two Parts (Zones) to be layered together.
These channel settings can create and send
performance information on two separate
channels to the internal tone generator and an
external MIDI device via the MIDI OUT
connector. Here we set “Ch01” for “Lower”
and “Ch02” for “Upper.”
In Performance Play Mode, recall the
Performance you have just stored. Simply
pressing the [MASTER KEYBOARD] key
activates or deactivates the 4-Zone
configuration you made above.
Layer
You can also use the PROGRAM/PART keys [1]
to [16] to select MIDI channels for the Lower and
Upper Parts (Page 123).
The illustration below shows an example of a
Layer configuration. Layer refers to two separate
Parts with a overlapped key range, enabling to
play unison with these Parts. The following
example is to play unison with Voices selected for
Part 1 and Plug-in 1 Part. You can make this
configuration in the following steps.
5Turn the Knob [A] and select a Part. First
select “Part01” for the Upper Part.
6Use the [PAGE] knob and open the MIX Vce
(Mix Voice) screen. Select a Voice for the
Upper Part.
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:128(H16)[Pf:GrandPiano]
7Use the [PAGE] knob to open the LYR Mode
(Layer Mode) screen. Set the Layer (Layer
Switch) to “off” and the RcvCh (MIDI
Receiving Channel) to “1.”
LYRíMode) Mode
Part01 poly
Arp
on
Layer
off
RcvCh
1
Before you set up a Layer configuration in the
following procedure, edit and prepare necessary
Voices for layers in associated Edit Modes.
If other Parts’ RcvCh (MIDI receive channels) are
set to the same ones assigned to two Parts, those
Parts will also sound when you play on the
keyboard. This might be troublesome if you
simply need two layered Parts. To mute
Plug-in Voices are available only when you attach
an optional Plug-in Board (Page 108).
1Press the [PERFORM] key, followed by the
[EDIT] key (each LED will light) to enter
Performance Edit Mode. Then, press the
[MASTER KEYBOARD] key to activate Master
Keyboard Mode (its LED will light).
unnecessary Parts while you play on the
keyboard, set “RcvCh” for those Parts to “off.”
You can only play Voices from layered Parts.
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8As in the same manner in steps 5 to 7, set up
for the Upper Part. Select “PartP1” for the
Lower Part, go to the MIX Vce (Mix Voice)
screen using the [PAGE] knob, and select
About Note Limit (Key Range)
Note Limit setups are provided for setting
Master Keyboard Mode, Part , and Voice.
They are associated to one another as follows.
another Voice (Plug-in Voice) for the Lower Part.
Also, go to the LYR Mode (Layer Mode) screen
to set the Layer (Layer Switch) to “off” and the
RcvCh (MIDI Receiving Channel) to “2.”
You can set additional Part settings in
Performance Edit Mode. If you have a trouble
possibly associated with these settings, such as no
sound from a specific Part, confirm any Part
settings related to volume, etc. Refer to Page 130
for more information about Part settings.
9Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to Page 141.
In Performance Play Mode, recall the
Performance you have just saved. Simply
pressing the [MASTER KEYBOARD] key
activates or deactivates the Layer configuration
you made above.
While using in Master Keyboard Mode, you
can control the internal tone generator (or an
external MIDI device) according to “Note
Limit” in the MKB Note screen. If you limit a
Zone’s key range to two octaves, it is as if you
connect an external two-octaves keyboard
controller to play with the tone generator.
Meanwhile, the key range (playable range) of
an entire Voice is determined by “Note Limit”
in the LYR Limit screen (page 133) for a Part
assigned with that Voice. Such a playable
range of each Element of a Voice is determined
by “Note Limit” in the OSC Limit screen (page
90) available in Voice Edit Mode.
Besides the Layer/Zone configuration in Master
Keyboard Modes, you can use the Layer (Layer
Switch) for each Part to make a Layer
configuration that consists of up to four Parts
(Page 133).
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Using as a Multitimbral Tone
Generator (Performance Mode)
Performance Mode lets you use your synthesizer as a
multitimbral tone generator for use with computer-
based music software or external sequencers. If each
track in a song file uses a different MIDI channel,
then the Parts in a Performance can be each assigned
to those MIDI channels correspondingly. Therefore,
you can play back a song file on an external
sequencer and have different Voices playing on
different tracks simultaneously.
4Next, use the [PAGE] knob to switch to the
Mix Level screen, then set the volume for the
piano Part as well as, if necessary, its pan
position, chorus and reverb Send levels. Details
are given on Page 130.
5Continue using the [PAGE] knob and switch to
the LYR Mode (Layer Mode) screen. Set the
Mode parameter to “poly” (polyphonic), the
Layer parameter to “off,” and the RcvCh
parameter (MIDI receive channel) to 2.
In the following example, we will create a
Performance suited to playing back a song file
consisting of three Parts: piano, bass and drums. The
piano track is assigned to MIDI channel 2, the bass
track to channel 3, and the drums to channel 10.
LYRíMode) Mode
Part02 poly
Arp
on
Layer
off
RcvCh
2
For Parts that do not require polyphony, the
Mode parameter can be set to “mono”
(monophonic).
By following steps 2 to 5 above, when you
play back a song file in the sequencer, the piano
track is transmitted through MIDI channel 2.
The MIDI data is received by the synthesizer
which then plays the Voice for the Part
assigned to MIDI channel 2.
6Repeat steps 2 to 5 above, but set up Part 3
for bass and to receive on MIDI channel 3.
The synthesizer’s internal sequencer can be used to
play back the song file. The included XGworks(lite)
computer sequencer software can also be used for
this, though you need to make sure that the
computer has been connected to your synthesizer
correctly (Page 16).
7Repeat steps 2 to 5 again, setting up Part 10
for drums and to receive on MIDI channel 10.
To avoid situations where the Voices of unused
Parts are suddenly played back, you should set the
MIDI receive channels for unused Parts to “off.”
1After pressing the [PERFORM] key, press the
[EDIT] key (the respective LEDs will light).
You are now in Performance Edit Mode.
There are many other Part-specific parameters in
Performance Edit Mode. Details are given on
Page 121.
Before entering Performance Edit Mode, you need to
select a Performance for editing. Also make sure
that the [MASTER KEYBOARD] key LED is not lit.
8Before exiting Performance Edit Mode, you
need to store the settings for the Performance.
Details about storing Performances are given on
Page 141.
2Use Knob [A] to select Parts. Here, you can
select Part 2 for the piano, Part 3 for bass and
Part 10 for drums. First, we will select Part02.
Now, when you select this Performance in
Performance Play Mode, you can play back the
song file on computer (sequencer) or internal
sequencer, and the piano, bass and drum Parts
will be played back according to each track’s
MIDI channel.
3Use the [PAGE] knob to switch to the MIX Vce
(Mix Voice) screen, then specify the Voice to be
used as the piano Part.
MIXíVce) Memory Number Ctgry Search
Part02 PRE1:128(H16)[Pf:GrandPiano]
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Performing Live while
Playing Back a Song File
While playing back the song file with the piano,
bass and drum Parts assigned earlier, you can set
up the Performance so that you can also play
another Part live.
* You need to set the receive channel to control the A/D
Input Part parameters via MIDI. However, this is not
vital in this example.
Regarding settings, the important points are as
follows.
• Switch to the PartAD (A/D Input Part)
parameters and set the external input source
and template at the MIX Template screen.
This is the same as the Performance created
earlier, but with the addition of another Part for
live playback. Regarding settings, the important
points are as follows.
MIXíTemplate)Src Number
PartAD
mic
≥05[Karaoke1 ]
• In the Performance created earlier, Parts 2, 3
and 10 were being used. As an example, we
will now assign another Part (Part 1) to a solo-
type Voice.
There are 13 templates available already with a
variety of gain and effects settings for you to
select from according to the input source. Here,
we will be using the A/D Input Part for vocals
so let’s set the Src (Source) parameter to “mic”
and the Number (Template Number) parameter
to “Karaoke1.”
• At the LYR Mode screen, set the Layer
parameter for Part 1 to “on,” and make sure it
is set to “off” for Parts 2, 3 and 10.
If you want to manually play multiple (up to
four) Parts using some Voices from Parts 4 to 9,
11 to 16 and Plug-in Parts, set those Parts’ Layer
Switch parameters to “on.”
If you choose the wrong type of input source, you
may possibly damage your hearing and/or any
connected audio equipment. Make sure you set this
parameter correctly.
• At the GEN MIDI screen, set the LayerCh
(Layer Channel) parameter to BasicCh.
The Voice for Part 1 can now be played live
using the keyboard.
• Turn the [GAIN] knob (Page 11) all the way
down, then connect a microphone to the A/D
INPUT jack (MIC/LINE2 jack).
• Turn the [GAIN] knob back slowly while
singing/talking into the microphone until you
reach an ideal volume level.
Using the A/D Input Part
If you have external sources (such as a microphone
or other audio equipment) connected to the
synthesizer’s A/D INPUT jack, you can use them
as Parts in a Performance.
There are other settings for controlling the A/D
Input Part via MIDI. Details are given on Page 132.
When you play a song file bearing the XG/GM logo
(available in the market), you may want to install an
optional XG Plug-in Board on the instrument, to enjoy
a best playback quality with a wide variety of Voices
and Effects. Note that you can install an additional XG
Plug-in Board to double polyphonic notes and Effects.
In such cases, you do not only enjoy the playback of a
song, but also can mute a specific Part from the song
file for a “minus-one” setting, which is convenient for
practice of solo performance or karaoke.
Continuing with our example, you can add another
Part for vocals by assigning the A/D Input Part.
Therefore, while the song is playing back the piano,
bass and drums, you simultaneously play a solo live
and sing into the microphone. Effects such as
reverb can be added to the A/D Input Part (Pages
130 and 137), so you can assign an effect suited to
the vocals for the song. These effect settings will
also be saved with the Performance.
If you install the optional Effect Plug-in Board
(PLG100-VH), you can create harmonies of up to
three notes for your vocals. By assigning the
harmony channel to the keyboard’s MIDI transmit
channel, you can create vocoder-like effects. Or you
could play back a harmony line using a sequencer to
create a backing chorus for your vocals.
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Reference Section
Voice Mode
Memory/Voice Program Number
Voice Play
PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset
Drums, INT to Internal, EXT to External, PLG1 to Plug-
in Board 1 and PLG2 to Plug-in Board 2. All voice
Program Numbers within each memory fall in the range
001 to 128. Drum Voices are DR1 to DR8.
This mode is used for playing individual voices stored
as 256 on-board presets, as well as the Internal (User)
Voices, External Voices on Memory Card, and Plug-in
Board Voices (optional). This section explains how to
select and play voices.
Details about Voice Memories are given on Page 36.
Details about the Voice types and the Voice Memories are
given on Page 36.
Bank/Program Number
Voice Program Numbers 001 to 128 correspond with
Banks A to H and Program Numbers 01 to 16. Therefore,
you can cycle through Voice Program Numbers 001 to 128
sequentially, or you can select them randomly using a
combination of BANK and PROGRAM keys. The
relationship between Banks/Program Numbers and Voice
Program Numbers is given below.
Voice Play Mode Display
The LCD will display the following in Voice Play Mode.
Voice Play Mode consists of 2 screens and the [PAGE]
knob can be used to switch to the Voice Search screen.
The contents of each screen are as follows. See page 77
for details about the Voice search screen.
Details about how to enter Voice Play Mode are given on
Page 21.
Voice Play Mode
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid
EQ Hi Cutoff RevTime
2nd Screen : Voice Search
VCE Srch) PRE1:128(H16)[Pf:GrandPiano]
Memory Number Ctgry Search
1.Screen Title
This shows that you are currently in Voice Play Mode.
2.Voice Memory/Number (Bank/Number) Display
Shows the Memory/Voice Program Number (001 to
128) or Bank ([A] to [H])/Program Number ([1] to
[16]). For example, in the display shown above,
“PRE1:128(H16)” means that the Memory is Preset
1, the voice Program Number is 128, the Bank is H
and the Program Number within the Bank is 16.
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3.Voice Category/Name
Voice Category
The two characters to the left of the Voice Name denote the
category of instrument or sound to which the voice belongs.
Voice Program Selection
There are four ways in which you can choose a Voice.
• Using the BANK/PROGRAM keys (CS6x)
• Using the [DEC/NO] and [INC/YES] keys
• Using the [DATA] knob
Details about Category names are given on Page 80.
• Using the Category Search
Voice Name
This consists of up to 10 characters.
Using the BANK/PROGRAM Keys (CS6x)
1 Press a MEMORY key to select a Voice Memory.
The Voice Memory indicator in the LCD will blink.
4.Knob Parameter Display
This shows the function assigned to each knob ([A] to
[C] and [1]/[2]).
Knobs [1]/[2] may be assigned with several parameters
(destinations) from multiple control sets. In this case,
the display will show the parameter (destination) from
a control set of the smallest number.
Knob Parameter Settings
In Voice Play Mode, each knob ([A] to [C] and
[1]/[2]) can be used to adjust the parameter assigned
to it. The parameter value is displayed briefly when
you move each knob.
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Hi Cutoff RevTime
EQ Low EQ Mid
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
+63 EQ Mid
EQ Hi Cutoff RevTime
Details about Voice Memories are given on Pages 27, 36.
2Press a BANK key ([A] to [H]) to select a Bank. The
Bank indicator in the LCD will blink.
Details about assigning parameters to Knobs [A] to
[C] are given on Pages 50, 165. Details about
assigning parameters to Knobs [1]/[2] are given on
Pages 51, 84.
Octave and MIDI Transmit Channel Settings
In Voice Play Mode, the Octave and MIDI Transmit
Channel are shown when pressing the [SHIFT] key.
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid
EQ Hi Cutoff RevTime
(Oct= +3)
(Tch= 1)
PRE1:128(H16)[Pf:GrandPiano]
If you press the [EXIT] key here, the Voice selection
process is canceled and the original Voice is reinstated.
If the Bank has already been selected, this step is not
required. Details about Banks are given on Pages 27, 36.
This lets you set the MIDI Transmit Channel by
turning Knob [A] and holding down the [SHIFT]
key. The settings for Voice Play Mode are
transmitted on this MIDI channel.
The MIDI Transmit Channel can also be set in the
MIDI Ch screen of Utility Mode (Page 166).
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Selecting Drum Voices
The procedure for selecting a Drum Voice is different
to that for selecting a Normal Voice.
3Press a PROGRAM key ([1] to [16]) to select a
Program Number.
Voices can be selected by setting the Memory, Bank
and Program Number as explained in the three steps
given above. The LCD also displays the selected
voice.
Selecting Preset Drums (PRE:DR1~DR8)
• Press the MEMORY [PRE2] key while holding down
the MEMORY [PRE1] key (or vice versa) to select
the Preset (PRE) Memory of the Drum Voice. Then
press PROGRAM key [1] to [8] (CS6x only) to select
Drum Voice PRE:DR1 (Preset Drum 1) to DR8
(Preset Drum 8).
<title-D> Using the DEC/NO and
Using [INC/YES] and [DEC/NO] Keys
Press the [INC/YES] key to select the next Voice and
the [DEC/NO] key to select the previous one.
• Press the MEMORY [PRE2] key while holding down
the MEMORY [PRE1] key (or vice versa) to select
the Preset (PRE) Memory of the Drum Voice. Then
use the [INC/YES] or [DEC/NO] keys to select the
Drum Voice.
The voice is selected by pressing just the [INC/YES] or
[DEC/NO] key. This method is useful when selecting a
Voice that is located near the currently selected Voice.
The method can also be used to switch to the next or
previous Bank. For example, if the current Voice is
A16, Voice B01 is selected by pressing the [INC/YES]
key. Similarly, if the current Voice is H01, Voice G16 is
selected by pressing the [DEC/NO] key.
Using the Data Knob
Turn the [DATA] knob clockwise to increment the
currently selected Voice number, or anti-clockwise to
decrement it.
• Press the MEMORY [PRE2] key while holding down
the MEMORY [PRE1] key (or vice versa) to select
the Preset (PRE) Memory of the Drum Voice. Then
use the [DATA] knob to select the Drum Voice.
The Voice is selected directly and sequentially.
VCE Play) PRE:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
Just as with the [INC/YES] and [DEC/NO] keys, this
method can be used to switch to the next or previous
Bank.
Once you have selected one Drum Voice, you can easily
switch to another by simply using PROGRAM keys [1]
to [8], the [INC/YES] and [DEC/NO] keys or the
[DATA] knob.
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Using the Voice Category Search
Selecting User Drums (INT:DR1/2 and EXT:DR1/2)
With the Voice Category Search, you can quickly find
Voices within a specified Voice Category. For example,
if you specify the “Pf” (piano) Voice Category and use
the Voice Category Search, you can select from all the
voices which fall into the “Pf” Voice Category.
• Press the MEMORY [EXT] key while holding down
the MEMORY [INT] key (or vice versa) to select the
Internal/External (INT/EXT) Memory of the User
Drum Voice. Then press PROGRAM keys [1] to [4]
(CS6x only) to select, respectively, User Drum Voice
INT:DR1 (Internal Drum 1), INT:DR2 (Internal
Drum 2), EXT:DR1 (External Drum 1) and
EXT:DR2 (External Drum 2).
To start the Voice Category Search, first turn the
[PAGE] knob to switch to the Voice Search screen.
If the Plug-in Voice is selected from a Custom Bank (Page
114) of a Plug-in Board, the Category Search feature will
not be available.
User Drum Voices on external memory must be loaded
from Memory Card.
VCE Srch) PRE1:128(H16)[Pf:GrandPiano]
Memory Number Ctgry
Search
1Turn Knob [B] to select a Voice Memory.
2Turn Knob [1] to select a Voice Category. The Voice
Category in the LCD will blink.
• Press the MEMORY [EXT] key while holding down
the MEMORY [INT] key (or vice versa) to select the
Internal/External (INT/EXT) Memory of the User
Drum Voice. Then use the [INC/YES] or [DEC/NO]
keys to select the Drum Voice.
VCE Srch) PRE1:128(H16)[Pf:GrandPiano]
Search
Memory Number Ctgry
The different Voice Categories are listed on Page 80.
3Use Knob [2], the [INC/YES] and [DEC/NO] keys,
the [DATA] knob and Knob [C] to search for a Voice.
The selected voices are called up using each knob
and key. The functions of knobs and keys are given
below.
• Press the MEMORY [EXT] key while holding down
the MEMORY [INT] key (or vice versa) to select the
Internal/External (INT/EXT) Memory of the User
Drum Voice. Then use the [DATA] knob to select
the User Drum Voice.
:128(H16)[Pf:GrandPiano]
MNumber Ctgry
Search
Knob [2]:
VCE Play) INT:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
Use this to switch between Voices in the selected
Category. Turn the knob clockwise to increment the
voice number and anti-clockwise to decrement it.
Once you have one User Drum Voice, you can easily
switch to another by simply using PROGRAM keys [1]
to [4], the [INC/YES] and [DEC/NO] keys or the
[DATA] knob.
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Voice Edit
There are three kinds of Voices: Normal Voices, Drum
Voices and Plug-in Voices (if a Plug-in board has been
installed). The following is an explanation of the
parameters used to edit each kind of Voice.
[DATA] knob (or [INC/YES] or [DEC/NO] key)
You can scroll through Voices in the specified Category
across the Memories. Turning the [DATA] knob
clockwise (or press the [INC/YES] key) jumps to the
next Voice number in the same Category, in ascending
order. Similarly, turning the [DATA] knob anti-
clockwise (or press the [DEC/NO] key) jumps to the
next Voice number in the same Category, in descending
order. When you reach to the last (first) Voice in a
Memory, you can select the first (last) Voice in that
Category in the next (previous) Memory by
Details about Voices are given on Page 36.
The following is displayed when you enter Voice Edit
Mode. The displayed screens will vary according to the
type of Voice being edited, but basically the [PAGE]
knob is used to switch between screens and the
parameters on each screen are altered using Knobs [A],
[B], [C], [1] and [2]. The [DATA] knob and the
[INC/YES] and [DEC/NO] keys can be used to alter
parameters in small increments.
continuously turning the knob clockwise (anti-
clockwise) or pressing the [INC/YES] ([DEC/NO]) key.
Knob [C]:
Using the Knob [C], you can select a Voice one by one
in the current Memory, likewise for normal Voice
selection. Turning the knob clockwise jumps to the
next Voice number. Turning the knob anti-clockwise
jumps to the previous Voice number.
GEN Name) Ctgry
C 1234
a-Z
0-? Cursor
[Pf:Init Voice]
If the Voice within the selected Category cannot be found
within the current Voice Memory, [------] is displayed in the
LCD and you will not be able to use Knob [2].
Press the [ENTER] key to start searching in the next
Memory.
While holding down the [SHIFT] key, you can use
Knobs [A], [B], [C], [1] or [2] to move the cursor to the
respective parameter without changing it’s value. You
can also move the cursor using the [DATA] knob or the
[INC/YES] and [DEC/NO] keys while holding down the
[SHIFT] key.
You need to select the Voice before entering Voice Edit Mode
(Page 75). All parameters can be set and stored per Voice.
See page 21 on how to enter Voice Edit mode.
Common Edit and editing each Element
Voices can consist of up to four Elements (Page 37). Use
Common Edit to edit the settings common to all four
Elements. Voice Edit Mode can be divided into screens
for Common Edit and those for editing each Element.
In Voice Edit Mode, Knob [A] is used to switch
between the Common Edit screens and the screens
for editing each Element.
Common Edit screens
GEN Other) Mode Assign
C 1234 poly single
MicroTuning
31:Indian
Element 1~4 Edit Screens
OSC Wave)
EL1234
Number Ctgry
001[Pf:Grand 1 ]
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Voice Store
The edited settings for the current Voice will be lost
if you select another Voice or Mode. To avoid losing
important data, you should always use Voice Store
to store your edited Voice. Details about the Voice
Store procedure are given earlier (Page 116).
When creating a new Voice from scratch, it can be
useful, prior to editing, to clear the settings for the
current Voice using the Initialize Voice function in
Voice Job Mode (Page 115).
The íIndicator
Normal Voice
When editing Normal Voices, there are 12 settings
consisting of six Common Edit settings (common to all
four Elements) and six Element-specific settings.
If you alter any parameters in Voice Edit Mode, the
íindicator will be displayed in the top left of the
screen. This gives a quick indication that the
current voice has been modified but not yet stored.
GEN Name) Ctgry
Even if you exit to Voice Play Mode, the edited
settings for the current Voice will not be lost so long
as you do not select another Voice.
The íindicator will also be displayed in Voice Play
Mode, and if any Sound Control knobs or
Assignable knobs are used.
The “Compare” Function
Use this to listen to the difference between the Voice with
your edited settings and the same Voice prior to editing.
1 Press the [COMPARE (EDIT)] key while in Voice
Edit Mode. The íindicator at the top left of the
screen will change to the îindicator and the Voice
settings prior to editing will temporarily be
reinstated for comparison purposes.
GENîName) Ctgry
While the “Compare” function is enabled, editing will
not be possible using knobs [A] to [C] or knob [1]/[2].
2 Press the [EDIT] key again to disable the
“Compare” function and restore the settings for
your edited Voice.
The ELEMENT ON/OFF Function
Use this to mute individual Elements within a Voice.
For example, you could mute all Elements other
than that which you are editing. Thus, you can
hear how the edited settings affect just that
Element. Details are given on Page 61.
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GEN Name (General Name)
You can set a Voice Name consisting of up to 10
characters. You can also select the Category Name to
the left of the Voice Name.
GENíName) Ctgry
C 1234
a-Z
0-? Cursor
[Pf:Init Voice]
Setting the Voice Name
1Use Knob [2] to move the cursor to the position of
Menu Display
the first character. The selected character will blink.
You will see the following if you use the [PAGE]
knob while holding down the [SHIFT] key. Use the
[PAGE] knob to move the cursor to the parameter
you wish to edit, then release the [SHIFT] key to
jump to the screen you were previously at.
2 Use Knob [C] to enter an alphabetic character or
Knob [1] to enter a numeric character/symbol.
3Use Knob [2] to move the cursor to the position of
the next character.
4Repeat Steps 2 and 3 until all the characters have
GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF
C 1234
Elem:>OSC>PCH>FLT>AMP>LFO>EQ
been set for your Voice Name.
You can also use the [INC/YES] and [DEC/NO]
keys or the [DATA] knob to enter alphabetic and
numeric characters as well as symbols.
5Use Knob [B] to set the Category Name if
necessary.
Selecting a Menu
By setting the Category Name, it will be easier to
identify the Voice later. The Category Search
function (Page 77) can also be used to search for
it. If you do not wish to set a Category Name, the
Category will be shown as two hyphens.
On the CS6x in Voice Edit Mode, you can directly
select a Menu using the PROGRAM/PART keys, [1]
to [6] and [9] to [15]. Each key has an associated
Menu name shown below it.
Settings for alphabetic and numeric
characters and Category Names :
Common General
You can set the Voice Name, Voice output settings and other
general parameters in the Common Edit screens. The
following two screens are available for general settings.
GEN Name (General Name)
GEN Other (General Other)
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GEN Other (General Other)
There are various parameters for Micro Tuning and for
controlling how the generated sound is output.
Common Quick Edit
Various parameters control the sonic properties of the
Voice, and many can also be edited using the Sound
Control knobs on the front panel of the CS6x. There
are four screens.
GENíOther) Mode Assign
C 1234 poly single
MicroTuning
31:Indian
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
■ Mode
Select monophonic or polyphonic playback.
Select whether the Voice is played back
monophonically (single notes only) or
polyphonically (multiple simultaneous notes).
QED EG (Quick Edit Envelope Generator)
QED Level (Quick Edit Level)
These parameters control the output level (volume)
and pan position of the Voice.
❏Settings: mono, poly
■ Assign
If you set Key Assign to “single,” the doubled
playback of the same note is prevented. The
synthesizer will terminate a note when the same
note is received again. If you select “multi,” the
synthesizer will consecutively assign each instance
of the same received note to a separate channel,
making multiple part tone generation possible.
QEDíLevel) Vol
C 1234
Pan RevSend ChoSend
127 127
127
C
■ Vol (Volume)
Set the output level of the Voice.
❏Settings: 0 ~ 127
❏Settings: single, multi
■ MicroTuning
■ Pan
Set the Micro Tuning (tuning system, or temperament) used
for the Voice. Normally you would use “Equal Temperament”
but there are also 31 other tuning systems available.
Set the stereo pan position of the Voice. You can also
adjust this parameter using the [PAN] knob on the
front panel of the CS6x.
❏ Settings: (see the following list)
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
■ RevSend (Reverb Send)
The “compromise” tuning used for most of
the last 200 years of Western music, and
found on most electronic keyboards. Each
half step is exactly 1/12 of an octave, and
music can be played in any key with equal
ease. However, none of the intervals are
perfectly in tune.
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb
effect. You can also adjust this parameter using the
[REVERB] knob on the front panel of the CS6x.
❏Settings: 0 ~ 127
This tuning is designed so that most of the
intervals (especially the major third and
perfect fifth) in the major scale are pure. This
means that other intervals will be
correspondingly out of tune. You need to
specify the key (C~B) you will be playing in.
■ ChoSend (Chorus Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus
effect. You can also adjust this parameter using the
[CHORUS] knob on the front panel of the CS6x.
The same as Pure Major, but designed for
the minor scale.
Andreas Werckmeister, a contemporary of
Bach, designed this tuning so that keyboard
instruments could be played in any key.
Each key has a unique character.
❏Settings: 0 ~ 127
Johan Philipp Kirnberber was also
concerned with tempering the scale to allow
performances in any key.
QED EffectCtrl (Quick Edit Effect)
Set the amount of Chorus applied to the entire Voice.
Francescantonio Vallotti and Thomas Young
(both mid–1700s) divised this adjustment to
the Pythagorean tuning in which the first six
fifths are lower by the same amount.
QEDíEffectCtrl)
C 1234
Chorus
+63
This is the normal equal tempered scale
shifted up 50 cents.
■ Chorus
Twenty–four equally spaced notes per
octave. (Play twenty–four notes to move one
octave.)
Set an offset value for the parameters used by each
type of Chorus.
Forty–eight equally spaced notes per octave.
(Play forty–eight notes to move one octave.)
❏Settings: -64 ~ 0 ~ +63
Usually observed in the Indian music (white
keys [C~B] only).
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■ Sustain
QED Filter (Quick Edit Filter)
Set the level of the Voice maintained while the note
on the keyboard is being held down. You can also
adjust this parameter using the [SUSTAIN] knob on
the front panel of the CS6x.
These parameters control filters which affect the tonal
quality of the Voice. If you are using LPF (Low Pass
Filter) and HPF (High Pass Filter) combined together,
the parameters in the QED Filter page only affects LPF.
❏Settings: -64 ~ 0 ~ +63
QEDíFilter)
C 1234
Cutoff
+63
Reso
+63
■ Release
Set the transition time from the point at which the
note on the keyboard is released to the point at
which the level of the Voice reaches zero. You can
also adjust this parameter using the [RELEASE]
knob on the front panel of the CS6x.
■ Cutoff
Set the cutoff frequency. The frequency set here will be
a center frequency for signals to be filtered when they
pass through each filter. On the CS6x, the frequency
can be set by the [CUTOFF] knob on the front panel.
❏Settings: -64 ~ 0~ +63
❏ Settings: -64 ~ 0~ +63
Common Arpeggio
The following four parameters control the behavior of
the Arpeggiator.
■ Reso (Resonance)
Set the amount of Resonance (harmonic boost)
applied to the signal around the Cutoff frequency.
This is a useful way of adding further character to the
sound. You can also adjust this parameter using the
[RESONANCE] knob on the front panel of the CS6x.
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
❏ Settings: -64 ~ 0~ +63
ARP Type (Arpeggio Type)
These are the basic parameters of the Arpeggiator.
QED EG (Quick Edit Envelope Generator)
These four parameters control the change in the output
level of a Voice over the time that a note is played.
ARPíType) Type Tempo Switch
C 1234 UpOct1:Sq 120 on
Hold
on
■ Type
Set the Arpeggio Type.
QEDíEG) Attack
C 1234 +63
Decay Sustain Release
+63 +63 +63
❏Settings: (see the separate Data List)
Sq (Sequence):
Creates a general arpeggio phrase. Mainly octave up/down phrases.
Ph (Phrase):
Creates more musical phrases than Sq. Starting with
“Techno,” there are phrases for a wide variety of musical
genres, and for creating backing tracks for guitar, piano and
other instruments.
Dr (Drum Pattern):
Creates drum pattern-type phrases. Phrase genres covered
include rock and dance. This Type is ideal for use with
drum and percussion sounds.
Cl (Phrase Clip):
Select this type to a Clip Kit that is assigned with loop-
mixed or loop-divided Phrase Clips, to create a new
arpeggio pattern.
■ Attack
Set the transition time from the moment a key on
the keyboard is pressed to the point at which the
level of the Voice reaches its peak. You can also
adjust this parameter using the [ATTACK] knob on
the front panel of the CS6x.
Ct (Control):
Creates tonal changes. No note information is created. The Key
Mode parameter in Arpeggio Mode must be set to “direct.”
■ Tempo
Set the Arpeggio Tempo.
❏Settings: -64 ~ 0~ +63
❏Settings: 25 ~ 300
■ Decay
[MIDI] is displayed here and the parameter cannot be
altered if MIDI sync is enabled (Page 167).
Set the transition time from the point at which the
level of the Voice reaches its peak to the point at
which it levels off. You can also adjust this
parameter using the [DECAY] knob on the front
panel of the CS6x.
❏Settings: -64 ~ 0 ~ +63
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■ Vel Mode (Velocity Mode)
Set the playback velocity of the Arpeggio. There are
2 modes.
■ Switch
Switch the Arpeggiator on or off. You can also set
this using the [ARPEGGIO ON/OFF] key on the
front panel of the CS6x.
❏Settings:
❏Settings: off, on
original:
Preset velocities are used in the Arpeggio sequence.
■ Hold
thru:
Switch the Arpeggiator Hold on or off. You can also
set this using the [ARPEGGIO HOLD] key on the
front panel of the CS6x.
Velocities of the notes you play are used in the Arpeggio
sequence.
❏Settings: syncoff, off, on
ARP PlayEF (Arpeggio Play Effects)
Details about this are given on Page 44.
You can set Play Effects for the Arpeggio. Play Effects
can be used to temporarily adjust the timing and
velocity of MIDI notes, thus affecting the groove of the
Arpeggio pattern.
ARP Limit (Arpeggio Note Limit)
ARPíLimit)
C 1234
Note Limit
C-2 - G 8
ARPíPlayEF)
C 1234
Unit
50%
Vel
200%
Gate
200%
■ Note Limit
■ Unit
Set the lowest and highest notes in the Arpeggiator’s
note range.
Adjust the Arpeggio playback time. For example, if
you set a value of 200%, the playback time will be
doubled and the tempo halved. Alternatively, if you
set a value of 50%, the playback time will be halved
and the tempo doubled. Normal playback time is
100%.
❏Settings: C-2 ~ G8 (lowest and highest set separately)
If you specify the highest note first and the lowest note
second, for example “C5 to C4,” then the note range
covered will be “C-2 to C4” and “C5 to G8.”
❏Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
You can set the lowest and highest notes in the range by
pressing notes on the keyboard while holding down the
[SHIFT] key.
■ Vel (Velocity)
Set the Velocity offset value (the strength at which
the keyboard is played). This determines how the
original Velocities are increased or decreased during
Arpeggio playback. A setting of 100% means the
original values are used. Settings below 100% will
reduce the velocity of the Arpeggio notes, whereas
settings above 100% will increase the velocities.
ARP Mode (Arpeggio Mode)
These parameters control the way in which notes are
played back by the Arpeggiator.
ARPíMode)
C 1234
Key Mode
sort
Vel Mode
thru
❏Settings: 0% ~ 200%
If the Velocity value falls below 1, it will be limited to 1.
If it exceeds 127, it will be limited to 127.
■ Key Mode
Set how the Arpeggio is played back when keys on
the keyboard are pressed. There are 3 modes.
■ Gate (Gate Time)
Set the Gate Time Rate value (the length of a note).
This determines how the original Gate Times are
increased or decreased during Arpeggio playback. A
setting of 100% means the original values are used.
Settings below 100% will shorten the gate times of
the Arpeggio notes, whereas settings above 100%
will lengthen them. You can also set this using the
[GATE TIME] knob on the front panel of the CS6x.
❏Settings:
sort:
Plays back notes in ascending order from the lowest key
pressed to the highest.
thru:
Plays back notes in the order in which the keys are pressed.
direct:
Plays back the notes exactly as you play them. If changes
to Voice parameters (such as Pan or Cutoff frequency) are
included in the Arpeggio sequence data, they will be
applied and reproduced whenever the Arpeggio plays back.
❏Settings: 0% ~ 200%
If the Gate Time value falls below 1, it will be limited to 1.
If the Arpeggio Category is set to Ct, you will not hear
any sounds unless you select “direct” here.
With the “sort” and “thru” settings, the order in which
notes are played back will depend on the Arpeggio
sequence data.
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CTL Bend (Pitch Bend)
You can set the amount by which the Pitch Bend
Wheel changes the pitch of the Voice.
Common Controller
There are eight Control Settings. You can set the
Controller parameters for Portamento, the Pitch Bend
Wheel, and for each Element in a Voice.
CTLíPitchBend)
C 1234
Lower
-12
Upper
+12
CTL Portamento
CTL Bend (Pitch Bend)
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
CTL Set3 (Control Set 3)
CTL Set4 (Control Set 4)
CTL Set5 (Control Set 5)
CTL Set6 (Control Set 6)
■ Lower
Set the amount (in semitones) by which the Voice
pitch changes when the Pitch Bend Wheel is moved
downwards. For example, a value of -12 means that
the pitch of the Voice drops by up to an octave when
the Pitch Bend Wheel is moved downwards.
❏Settings: -48 ~ 0~ +24
CTL Portamento
Set the Portamento parameters. Portamento will create
a smooth transition in pitch from the first note played
to the next.
■ Upper
Set the amount (in semitones) by which the Voice
pitch changes when the Pitch Bend Wheel is moved
upwards. For example, a value of +12 means that
the pitch of the Voice rises by up to an octave when
the Pitch Bend Wheel is moved upwards.
CTLíPortamento) Switch
C 1234 on
Time Mode
127 fulltime
❏Settings: -48 ~ 0~ +24
■ Switch
Switch Portamento on or off. You can also set this
using the PORTAMENTO [ON/OFF] key on the
front panel of the CS6x.
CTL Set1 (Control Set 1) to CTL Set6
(Control Set 6)
The controllers and knobs on the front panel, the
keyboard, and so on can be assigned a variety of uses.
For example, keyboard aftertouch can be used to
control vibrato and the Modulation Wheel could be
used to control Resonance. They can even be used to
control parameters within individual Elements. These
control assignments are called “Control Sets.” You can
assign up to six different Control Sets per Voice. Thus
there are six screens, each for a separate controller:
CTL Set1 to CTL Set6.
❏Settings: off, on
■ Time
Set the pitch transition time. Higher values mean
longer transition times. You can also set this using
the [PORTAMENTO] knob on the front panel of the
CS6x.
❏Settings: 0 ~ 127
■ Mode
Set the Portamento mode. The behavior of the
Portamento varies depending on whether Mode in
GEN Other is set to “mono” or “poly.”
CTLíSet1)
C 1234
Src Dest
FC(04) ELFOSpd
EL Sw Depth
1234 +63
❏Settings: fingered, fulltime
If the Mode in GEN Other is set to “mono”:
fingered:
Portamento is only applied when you play legato (playing
the next note before releasing the previous one).
fulltime:
Portamento is always applied.
If the Mode in GEN Other is set to “poly”:
This is the same as for “mono,” except that Portamento is
applied to multiple notes.
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■ Src (Source)
Common LFO (Low Frequency Oscillator)
Set the Controller used to control the function chosen
in Dest. The following nine controllers are available.
There are various settings for the LFO. The LFO is
used to generate low frequency signals and can be used
to create vibrato, wah, tremolo and other effects when
applied to pitch/filter/amplitude/etc. parameters. For
example, variations can be simultaneously applied to
both pitch and filter parameters, and to parameters
specific to individual Elements. The following four
settings are available.
❏ Settings: PB (Pitch Bend Wheel), MW (Modulation
Wheel), AT (Aftertouch), FC (Foot Controller),
FS (Foot Switch), RB (Ribbon Controller), BC
(Breath Controller), KN1/2 (Knobs 1/2)
■ Dest (Destination)
Set the parameter to be controlled by the Control Set
in Src.
LFO Wave
LFO Fade
❏Settings: (see the Controls List of the separate Data List)
LFO Dest1 (LFO Destination 1)
LFO Dest2 (LFO Destination 2)
■ ElemSw (Element Switch)
Select whether the Controller will affect each individual
Element. Move the cursor (blinking) using Knob [1] and
use the [DATA] knob or the [INC/YES] and [DEC/NO]
keys to enable/disable the Elements which the Controller
will affect. Affected Elements are shown by number.
LFO Wave
LFOíWave) Wave^ Speed KeyReset Phase
270
C 1234
trpzd
63
on
❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or
disabled (“-” displayed)
This is disabled if the Dest parameter is set to 00 to 33.
■ Depth
■ Wave
Select the LFO Wave. Depending on the Wave
selected, you can create different kinds of modulated
sounds. The following 12 LFO waveforms are
available.
Set the amount by which the parameter selected in
Dest can be controlled.
❏Settings: -64 ~ 0 ~ +63
❏Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ,
squ2/3, squ3/4, trpzd, S/H 1, S/H 2
Example of Control Set Assignment
tri
Using Control Sets 1 to 6, you can assign individual
Src (Source) controllers to multiple Dest
(Destination) parameters, or multiple Src controllers
to individual Dest parameters.
Ex.1:Use a single Src controller to control multiple
Dest parameters.
saw up
saw dw
squ
Ex.2:Use multiple Src controllers to control a single
Dest parameter.
Details about Control Set Assignments are given in
the Basics Section of this manual (Page 49).
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trpzd
S/H 1
■ KeyReset (Key on Reset)
Set whether the LFO is reset each time a note is
pressed. The following three settings are available.
❏Settings: off, each-on, 1st-on
off
The LFO is self-running (no synchronization) and starts a
waveform at any phase when you play on the keyboard.
S/H 2
each-on
The LFO resets with each note you play and starts a waveform
at the phase specified by the Phase parameter (see below).
■ Speed
Set the speed of the LFO Wave modulation. Higher
values mean faster modulation speeds.
❏Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th note-
triplet), 16th. (16th dot-note), 8th (8th note),
8th/3 (8th note-triplet), 8th. (8th dot-note), 4th
(4th note), 4th/3 (4th note-triplet), 4th. (4th dot-
note), 2nd (half note), 2nd/3 (half note-triplet),
2nd. (half dot-note), 4thx4 (whole note), 4thx5
(5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th
notes), 4thx8 (8x4th notes)
1st-on
The LFO resets with every note you play and starts the
waveform at the phase specified by the Phase parameter
(Show below). If you play a second note while the first
note is being played (Note Off has not been received), the
LFO does not reset to the specified phase (no
synchronization) with the second note and after.
Speed = Slow
■ Phase
Speed = Fast
Set the phase at which the LFO Wave starts
whenever a note is played. Phases of
0/90/120/180/240/270 degrees are available.
The length of the note depends on the internal or external
MIDI tempo setting.
❏Settings: 0, 90, 120, 180, 240, 270
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■ Hold
Set the length of time during which the LFO is held
LFO Fade
at its maximum level. A higher value means a longer
Hold time.
LFOíFade) Delay FadeIn
C 1234 127 127
Hold FadeOut
127 127
❏Settings: 0 ~ 127
■ Delay
Set the delay time before the LFO comes into effect.
A higher value means a longer delay time.
❏Settings: 0 ~ 127
Short delay
■ FadeOut (Fade-Out)
Set the time taken for the LFO effect to be faded out
(after the Hold time has elapsed). A higher value
means a slower fade-out.
Long delay
❏Settings: 0 ~ 127
Low FadeOut value
Faster fade-out
■ FadeIn (Fade-In)
Set the time taken for the LFO effect to be faded in
(after the Delay time has elapsed). A higher value
means a slower fade-in.
❏Settings: 0 ~ 127
Low FadeIn value
Faster fade-in
High FadeOut value
Slower fade-out
High FadeIn value
Slower fade-in
LFO Dest1 (LFO Destination 1)
LFO Dest2 (LFO Destination 2)
You can assign parameters to be controlled by the LFO
Wave and set the LFO Wave Depth (amplitude). Two
Destinations can be assigned, and you can choose from
several parameters per Destination.
LFOíDest1)
C 1234
Dest ElemSw
AMD 1234
Depth
127
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■ Dest (Destination)
EFFíEF2) Ctgry Type Dry/Wet [ENTER]
C 123- DLY:DelayLCR D<W63 to Edit
Set the parameters which will be controlled
(modulated) by the LFO Wave.
❏Settings: AMD, PMD, FMD, RESO (Resonance), PAN,
■ Ctgry (Effect Category)
ELFOSpd (Element LFO Speed)
Set the Category of the Effect. Select a desired
Category and press the [ENTER] key. The first Effect
Type in that Category will automatically be recalled.
■ ElemSw (Element Switch)
Select whether to allow variations in the LFO Wave
for each Element. Move the cursor (blinking) using
Knob [1] and use the [DATA] knob or the
[INC/YES] and [DEC/NO] keys to enable/disable
LFO Wave variations for Elements 1 to 4. Enabled
Elements are shown by number.
❏ Settings: Details are given in the Effect Types list of the
separate Data List.
■ Type (Effect Type)
Set the type of Effect. While the Category indicator
is blinking in the display, you can press the
[ENTER] key to recall the first Effect Type in that
Category.
❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or
disabled (“-” displayed)
■ Depth
❏Settings: Details are given in the Effect Types list of the
Set the LFO Wave Depth (amplitude).
separate Data List.
❏Settings: 0 ~ 127
■ Dry/Wet
Set the mix level of the wet signal (which has been
passed through the Effects Unit) and the dry signal
(which has not been passed through the Effects
Unit). This may be unavailable, depending on the
selected Effect Type.
Common Effect
You can set two types of Insertion Effects, plus two
System Effects (Reverb and Chorus). The following
five screens are available.
❏Settings: D63>W ~ D=W ~ D<W63
EFF InsEF (Insertion Effect)
EFF EF1 (Insertion Effect 1)
EFF EF2 (Insertion Effect 2)
EFF Rev (Reverb)
Effect Parameter Settings
These parameters are available when you press the
[ENTER] key for certain Effect Types.
Use the [PAGE] knob to switch between screens,
and use the other knobs and the [INC/YES] and
[DEC/NO] keys to set each parameter.
When you press the [EXIT] key, you will be
returned to the Effect Type selection screen.
EFF Cho (Chorus)
EFF InsEF (Insertion Effect)
■ InsEF Connect (Insertion Effect Connect)
Set up the connection between Insertion Effects 1
and 2. If you change this setting, the symbol
denoting the signal routing (to the left of the setting)
also changes to reflect the new signal flow.
EFFíEF2) Ctgry Type Dry/Wet [ENTER]
C 123- DLY:DelayLCR D<W63 to Edit
Signal routing symbols
EFFíInsEF)
C 1234
InsEF Connect
1=2
➞
➞
EFFíEF2) TimeL
DelayLCR 333.3m 166.7m 500.0m
TimeR
TimeC Dry/Wet
D<W63
❏Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2),
2➞1 (Insertion Effect 2 to 1)
EFF EF1/2 (Insertion Effect 1/2)
You can select the Effect Category for Insertion Effect
1/2 with the Ctgry parameter and the Effect Type with
the Type parameter. After selecting the Effect Type,
you can set its parameters by pressing the [ENTER] key.
The number of Parameters and the contents of each
screen will vary depending on the selected Effect
Type. Details are given in the Effect Type list of the
separate Data List.
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EFF Rev (Reverb)
You can select the Reverb Effect Type, then press the
[ENTER] key to set its parameters.
Element OSC (Oscillator)
You can set the parameters for the Elements (Waves)
which make up the Voice. Each Voice can consist of up
to four Elements, and the following four screens are
available for each.
EFFíRev) Type
C 1234
Return [ENTER]
127 to Edit
Basement
OSC Wave (Oscillator Wave)
OSC Out (Oscillator Out)
OSC Pan (Oscillator Pan)
OSC Limit (Oscillator Limit)
■ Type (Reverb Effect Type)
Set the Reverb Effect Type.
OSC Wave (Oscillator Wave)
You can use Knob [A] to select each Element and Knob
[C] to assign a Wave to it.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ Return
OSCíWave)
EL1234
Number Ctgry
001[Pf:Grand 1 ]
Set the Return level of the Reverb Effect.
❏Settings: 0 ~ 127
■ Number (Wave Number)
Select the Wave Number. The Category and Wave
Name are displayed to the right of the selected Wave
Number. You can assign a different Wave Number
to each of the Elements.
EFF Cho (Chorus)
You can select the Chorus Effect Type, then press the
[ENTER] key to set its parameters.
❏Settings: 000 (off) ~ 479 (Details about each Wave are
given in the separate Data List.)
EFFíCho) Type
C 1234 Chorus1
toRev Return [ENTER]
127 127 to Edit
■ Ctgry (Category)
Select the Category containing the Wave you wish to
use. Specify a desired Category and press the
[ENTER] key. The first Wave in that Category will
automatically be selected.
■ Type (Chorus Effect Type)
Set the Chorus Effect Type.
❏Settings: Details are given in the Effect Types list of the
❏Settings: Details about Wave Categories are given on Page
separate Data List.
80.
■ toRev (To Reverb)
OSC Out (Oscillator Out)
You can set the following output parameters for each
Element of a Voice.
Set the Send level of the signal sent from the Chorus
Effect to the Reverb Effect.
❏Settings: 0 ~ 127
OSCíOut) Level
EL1234 96
Delay
0
InsEF
ins2
■ Return
Set the Return level of the Chorus Effect.
■ Level
❏Settings: 0 ~ 127
Set the output level of each Element.
❏Settings: 0 ~ 127
■ Delay (Key On Delay)
Set the time (delay) between the moment you press a
note on the keyboard and the point at which the
sound is played. You can set different delay times
for each Element.
❏Settings: 0 ~ 127
Short Delay
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Long Delay
OSC Limit (Oscillator Limit)
You can set parameters controlling the note range of
each Element and the velocity.
OSCíLimit)
EL1234
Note Limit
C-2 - G 8
Vel Limit
1 - 127
■ Note Limit
■ InsEF (Insertion Effect)
Set the lowest and highest notes of the keyboard
range for each Element. Each Element will only
sound for notes played within its specified range.
Set the Insertion Effect to which the output signal
from each Element is sent. The Insertion Effect is
bypassed if you select Thru.
❏Settings: C-2 ~ G8 (for the lowest and highest notes)
❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion
If you specify the highest note first and the lowest note
second, for example “C5 to C4,” then the note range
covered will be “C-2 to C4” and “C5 to G8.”
Effect 2)
OSC Pan (Oscillator Pan)
You can set the following Pan parameters for each
Element in the Voice.
You can set the lowest and highest notes in the range by
pressing notes on the keyboard while holding down the
[SHIFT] key.
■ Vel Limit (Velocity Limit)
Set the minimum and maximum values of the
velocity range within which each Element will
respond. Each Element will only sound for notes
played within its specified velocity range.
OSCíPan)
EL1234
Pan
C
Alter Random
L64 63
Scale
+63
❏Settings: 1 ~ 127 (for the minimum and maximum values)
■ Pan
Set the stereo Pan position for each Element (Wave).
This will also be used as the basic Pan position for
the Alternate, Random and Scale settings.
If you specify the maximum value first and the minimum
value second, for example “93 to 34,” then the velocity range
covered will be “1 to 34” and “93 to 127.”
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Element Pitch
■ Alter (Alternate)
You can set parameters governing the pitch of each
Element. The Pitch Envelope Generator (PEG) controls
the change in pitch from the moment a note is pressed on
the keyboard to the point at which the sound has faded out
completely. The following six screens are available.
Set the amount by which the sound is panned
alternately left and right for each note you press.
The Pan setting is used as the basic Pan position.
❏Settings: L64 ~ 0 ~ R63
■ Random
PCH Tune (Pitch Tune)
PEG VelSens (PEG Velocity Sensitivity)
PEG Time (PEG Time)
Set the amount by which the sound is panned
randomly left and right for each note you press. The
Pan setting is used as the basic Pan position.
PEG Level (PEG Level)
PEG Release (PEG Release)
PCH Scale (Pitch Scale)
❏Settings: 0 ~ 127
■ Scale
Set the amount by which the sound is panned left
and right according to the position of the note on the
keyboard. The Pan setting is used as the basic Pan
position at note C3.
PCH Tune (Pitch Tune)
You can set the tuning parameters and the effectiveness
of the Envelope Generator (EG) for each Element.
❏Settings: -64 ~ 0 ~ +63
PCHíTune)EGDepth Coarse
EL1234
Fine Random
+ 0 +7
+63
+ 0
■ EGDepth
Set the amount of change applied by the PEG. A
setting of zero means the original pitch is not
changed.
❏Settings: -64 ~ 0 ~ +63
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■ Coarse
■ Hold (Hold Time)
Adjust the pitch of each Element in semitones.
Set the Hold Time.
❏Settings: -48 ~ 0 ~ +48
❏Settings: 0 ~ 127
■ Attack (Attack Time)
■ Fine
Set the Attack Time.
Fine-tune the pitch of each Element.
❏Settings: 0 ~ 127
❏Settings: -64 ~ 0 ~ +63
■ Decay1 (Decay 1 Time)
■ Random
Set the Decay 1 Time.
Set the amount by which the pitch of each Element
is varied at random for each note you press. A
setting of zero means the original pitch is not
changed.
❏Settings: 0 ~ 127
■ Decay2 (Decay 2 Time)
Set the Decay 2 Time.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
PEG Level
PEG VelSens (PEG Velocity Sensitivity)
You can set various Level parameters for the Pitch
Envelope Generator (PEG). Combined with the PEG
Time and PEG Release settings, these can be used control
the change in sound from the moment a note is pressed
on the keyboard to the moment it is released (Page 92).
You can set different values for each Element.
You can determine how the Pitch Envelope Generator
(PEG) responds to note velocity.
PEGíVelSens)
EL1234
Level
+63
Time-Segment
+63 attack
PEGíLevel) Hold Attack Decay1 Sustain
EL1234
+127
-128
+127
+ 0
■ Level
Set the velocity sensitivity of the PEG Level.
Positive settings will cause the level to rise the
harder you play the keyboard, and negative values
will cause it to fall.
■ Hold (Hold Level)
Set the Hold Level.
❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
❏Settings: -64 ~ 0 ~ +63
■ Attack (Attack Level)
Set the Attack Level.
■ Time-Segment
❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
Set the velocity sensitivity of the PEG’s Time
parameters. Use Knob [2] to select the Segment,
then use Knob [1] to set its Time parameter. Positive
Time settings will play back the specified Segment
faster and negative values will play it back slower.
■ Decay1 (Decay 1 Level)
Set the Decay 1 Level.
❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
■ Sustain (Sustain Level)
❏Settings (Time): -64 ~ 0 ~ +63
Set the Sustain Level.
❏Settings (Segment):
❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
attack:Affects the Hold Time/Attack Time/Decay 1 Time
all:
Affects all PEG Time parameters
PEG Release
You can set Release Time and Release Level parameters for
the Pitch Envelope Generator (PEG). Combined with the
PEG Time and PEG Level settings, these can be used
control the change in sound from the moment a note is
released. You can set different values for each Element.
PEG Time
You can set various Time parameters for the Pitch
Envelope Generator (PEG). Combined with the PEG
Level and PEG Release settings, these can be used
control the change in sound from the moment a note is
pressed on the keyboard to the moment it is released
(Page 92). You can set different values for each
Element.
PEGíRelease)
EL1234
Time
127
Level
+127
PEGíTime) Hold Attack Decay1 Decay2
EL1234
127
127
127
127
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■ Time (Release Time)
■ Center (Center Key)
Set the Release Time.
Set the basic pitch used by the Pitch parameter.
❏Settings: 0 ~ 127
❏Settings: C-2 ~ G8
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
■ Level (Release Level)
Set the Release Level.
❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
Pitch Envelope Generator Settings
There are five Time settings (controlling the speed
of changes to the sound) and five Level settings
(controlling the pitch). The pitch of a note is held
at the Hold Level for the length of time defined by
the Hold Time. After the Hold Time has elapsed,
the pitch changes in accordance with the Attack
Time/Level, Decay 1/2 Time and the Decay 1 Level,
then settles at the Sustain Level. When the note is
released, the change in pitch is governed by the
Release Time/Level settings.
■ EGTime
The EGTime parameter controls the PEG Times for
each Element according to the positions of the notes
on the keyboard. The Center parameter is used as
the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes
to change slower and that of higher notes to change
faster. Negative values will have the opposite effect.
Velocity Sensitivity and other parameters can also
be set if required.
❏Settings: -64 ~ 0 ~ +63
■ Center (Center Key)
Set the basic pitch used by the EGTime parameter.
When the Center Key note is played, the PEG
behaves according to its actual settings. The pitch
change characteristics for other notes will vary in
proportion to the EGTime settings.
❏Settings: C-2 ~ G8
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
PCH Scale (Pitch Scale)
You can set the Pitch Scaling for each Element. Pitch
Scaling is used to vary the Element pitch, PEG Levels
and PEG Times according to the positions of the notes
on the keyboard.
PCHíKeyFlw)Pitch-Center EGTime--Center
C 3
EL1234
100%
C 3
+7
■ Pitch
Adjust the sensitivity of the Pitch Scaling for each
Element according to the position of the note on the
keyboard. The Center parameter is used as the basic
pitch for this parameter.
A positive setting will cause the pitch of lower notes
to change less and that of higher notes to change
more. Negative values will have the opposite effect.
❏Settings: -200% ~ 0 ~ +200% (At +100%,
neighboring notes are pitched one semitone (100
cents) apart.)
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Element Filter
You can set Filter parameters to change the tonal
characteristics of each Element. The following ten
screens are available.
LPF24D (Low Pass Filter 24dB/oct Digital)
A 4-pole (-24db/oct) dynamic LPF with a strong Resonance.
FLT Type (Filter Type)
FLT HPF (High Pass Filter)
FLT Sens (Filter Sensitivity)
FEG VelSens (FEG Velocity Sensitivity)
FEG Time
FEG Level
FEG Release
LPF24A (Low Pass Filter 24dB/oct Analog)
A 4-pole (-24db/oct) dynamic LPF with a character similar
to those found on analog synthesizers.
FLT KeyFlw (Filter Key Follow)
FLT Scale (Filter Scale Break Point)
FLT Scale (Filter Scale Offset)
FLT Type (Filter Type)
■ Type
Set the Filter Type. Parameters will vary according
to the Type.
LPF18 (Low Pass Filter 18dB/oct)
A 3-pole (-18db/oct) dynamic LPF.
FLTíType) Type
EL1234 LPF12+HPF
Gain Cutoff
255 255
Reso
31
LPF18S (Low Pass Filter 18dB/oct Staggered)
Also a 3-pole (-18db/oct) dynamic LPF, but with a
shallower frequency curve.
■ Settings:
LPF12+HPF (Low Pass Filter 12dB/oct + High Pass Filter),
LPF24D (Low Pass Filter 24dB/oct Digital),
LPF24A (Low Pass Filter 24dB/oct Analog),
LPF18 (Low Pass Filter 18dB/oct),
LPF18S (Low Pass Filter 18dB/oct Staggered),
LPF6+HPF (Low Pass Filter 6dB/oct + High Pass Filter),
HPF24D (High Pass Filter 24dB/oct Digital),
HPF12 (High Pass Filter 12dB/oct),
BPF6 (Band Pass Filter 6dB/oct),
BPF12D (Band Pass Filter 12dB/oct Digital),
BPFW (Band Pass Filter Wide),
BEF6 (Band Elimination Filter 6dB/oct)
THRU (Bypass)
LPF12 (Low Pass Filter 12dB/oct)
A 2-pole (-12db/oct) dynamic LPF, designed to be used in
combination with an HPF (High Pass Filter).
Filters
To generalize, there are basically four types of filter: an LPF
(Low Pass Filter), an HPF (High Pass Filter), a BPF (Band
Pass Filter) and a BEF (Band Elimination Filter). Each
available filter has a different frequency response. There
are also combinations of LPF and HPF.
• LPF (Low Pass Filter):
LPF6 (Low Pass Filter 6dB/oct)
This only passes signals below the Cutoff frequency. You
can then use the Reso (Resonance) parameter to add further
character to the sound. Six types of LPF are available.
A 1-pole (-6db/oct) dynamic LPF with no Resonance,
designed to be used in combination with an HPF (High
Pass Filter).
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BPF6 (Band Pass Filter 6dB/oct)
The combination of a -6dB/oct HPF and LPF.
• HPF (High Pass Filter)
This only passes signals above the Cutoff frequency.
You can then use the Reso (Resonance) parameter
to add further character to the sound. Two types of
HPF are available.
BPF12D (Band Pass Filter 12dB/oct Digital)
The combination of a -12dB/oct HPF and LPF.
HPF24D (High Pass Filter 24dB/oct Digital),
A 4-pole (-24db/oct) dynamic HPF with a strong
Resonance.
BPFW (Band Pass Filter Wide)
Also the combination of a –12dB/oct HPF and LPF, but can
have a wider frequency band than the BPF12D filter.
HPF12(High Pass Filter 12dB/oct),
A 2-pole (-12db/oct) dynamic HPF.
• BEF (Band Elimination Filter)
This attenuates a band of signals around the Cutoff
frequency, but passes everything else.
BEF6 (Band Elimination Filter 6dB/oct)
• BPF (Band Pass Filter)
This only passes a band of signals around the Cutoff
frequency. The width of this band can be varied. Three
types of BPF are available.
• THRU
The filters are bypassed and the entire signal is
unaffected.
■ Gain
Set the Gain (the amount of boost applied to the
signal sent to the Filter Unit).
❏Settings: 0 ~ 255
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■ Cutoff
Set the Cutoff frequency. This is used as the basic
■ EGDepth
Set the sensitivity of the Filter to note velocity. A
positive setting will produce large filter changes for
notes played harder, and a setting of zero will
produce no filter changes at all. With a negative
setting, the EG envelope will be inverted.
frequency for the selected Filter Type.
❏Settings: 0 ~ 255
■ Reso (Resonance)/Band/Width
This parameter’s function varies according to the
selected Filter Type. If an LPF or HPF has been
selected, this parameter is used to set the Resonance.
For the BPF (excluding the BPFW) and the BEF, it is
used to select the Band. For the BPFW, it is used to
adjust the Width of the band.
❏Settings: -64 ~ 0 ~ +63
■ VelCutoff (Velocity Cutoff)
Set the sensitivity of the Cutoff frequency to note
velocity. A positive setting will raise the Cutoff
frequency for notes played harder, and lower it for
notes played more softly. A negative setting will
have the opposite effect.
With the LPF and HPF, the Reso parameter is used
to set the amount of Resonance (harmonic
emphasis) applied to the signal at the Cutoff
frequency. This can be used in combination with
the Cutoff frequency parameter to add further
character to the sound.
❏Settings: -64 ~ 0 ~ +63
■ VelReso (Velocity Resonance)
Set the sensitivity of the selected Resonance
parameter to note velocity. A positive setting will
produce large Resonance changes for notes played
harder, and smaller changes for notes played more
softly. A negative setting will have the opposite effect.
With the BPF, the Band parameter is used to set the
range (band) of signal frequencies passed by the filter.
With the BEF, it is used to set the band of signal
frequencies attenuated by the filter. In both cases, the
Cutoff frequency is the center frequency of the band.
❏ Settings: -64 ~ 0 ~ +63
With the BPFW, the Width parameter is used to
adjust the width of the band of signal frequencies
passed by the filter.
FEG VelSens (FEG Velocity Sensitivity)
You can set parameters controlling the sensitivity of the
Filter Envelope Generator (FEG) to note velocity.
❏Settings: 0 ~ 31
FLT HPF (High Pass Filter)
FEGíVelSens)
EL1234
Level
+63
Time-Segment
+63 attack
You can set the Key Follow parameters for the High
Pass Filter. This screen is available only when you
have one of the “LPF+HPF” settings for the Type
parameter in the Filter Type (FLT Type) screen.
■ Level
Set the sensitivity of the FEG’s Level (its
FLTíHPF)
EL1234
Cutoff KeyFlw
255 +200%
effectiveness) to note velocity. A positive setting will
cause larger tonal changes for notes played harder
and smaller changes for notes played more softly. A
negative setting will have the opposite effect.
■ Cutoff
Set the center frequency of the Key Follow
parameter.
❏Settings: -64 ~ 0 ~ +63
❏Settings: 0 ~ 255
■ Time-Segment
Set the velocity sensitivity of the FEG’s Time
parameters. Use Knob [2] to select the Segment,
then use Knob [1] to set its Time parameter. Positive
Time settings will play back the specified Segment
faster and negative values will play it back slower.
■ KeyFlw (Key Follow)
Set the Key Follow for the HPF Cutoff. This
parameter varies the center frequency according to
the position of the notes played on the keyboard. A
positive setting will raise the center frequency for
higher notes and lower it for lower notes. A
negative setting will have the opposite effect.
❏Settings (Time): -64 ~ 0 ~ +63
❏Settings (Segment):
attack:
❏Settings: -200% ~ 0 ~ +200%
Affects the Hold Time/Attack Time/Decay 1 Time
all:
Affects all FEG Time parameters
FLT Sens (Filter Sensitivity)
You can set Filter Sensitivity parameters for each
Element.
FLTíSens)EGDepth
EL1234 +63
VelCutoff VelReso
+7 +7
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FEG Time
FEG Release
You can set various Time parameters for the Filter
Envelope Generator (FEG). Combined with the FEG
Level and FEG Release settings, these can be used
control the change in sound from the moment a note is
pressed on the keyboard to the moment it is released.
You can set different values for each Element.
You can set Release Time and Release Level parameters
for the Filter Envelope Generator (FEG). Combined
with the FEG Time and FEG Level settings, these can
be used control the change in sound from the moment
a note is released.
FEGíRelease)
EL1234
Time
127
Level
+127
FEGíTime) Hold Attack Decay1 Decay2
EL1234
127
127
127
127
■ Time (Release Time)
■ Hold (Hold Time)
Set the Release Time.
Set the Hold Time.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
■ Level (Release Level)
■ Attack (Attack Time)
Set the Release Level.
Set the Attack Time.
❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)
❏Settings: 0 ~ 127
Filter Envelope Generator Settings
■ Decay1 (Decay 1 Time)
Set the Decay 1 Time.
There are five Time settings (controlling the speed
of changes to the sound) and five Level settings
(controlling the amount of filtering applied). The
tone of a note is held at the Hold Level for the
length of time defined by the Hold Time. After the
Hold Time has elapsed, the tone changes in
accordance with the Attack Time/Level, Decay 1/2
Time and the Decay 1 Level, then settles at the
Sustain Level. When the note is released, the
change in tone is governed by the Release
Time/Level settings.
❏Settings: 0 ~ 127
■ Decay2 (Decay 2 Time)
Set the Decay 2 Time.
❏Settings: 0 ~ 127
FEG Level
You can set a Level parameter for the Filter Envelope
Generator (FEG). Combined with the FEG Time and
FEG Release settings, these can be used control the
change in sound from the moment a note is pressed on
the keyboard to the moment it is released. You can set
different values for each Element.
Velocity Sensitivity and other parameters can also
be set if required.
FEGíLevel) Hold Attack Decay1 Sustain
EL1234
+127
-128
+127
+ 0
■ Hold (Hold Level)
Set the Hold Level.
❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)
■ Attack (Attack Level)
Set the Attack Level.
FLT KeyFlw (Filter Key Follow)
❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)
You can set Filter Key Follow parameters for each
Element. This parameter controls the Filter Cutoff and
FEG behavior according to the position of the notes
played on the keyboard.
■ Decay1 (Decay 1 Level)
Set the Decay 1 Level.
❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)
The availability of the Filter Key Follow parameter
depends on the Break Point and Offset settings in the FLT
Scale screen.
■ Sustain (Sustain Level)
Set the Sustain Level.
FLTíKeyFlw)Cutoff-Center EGTime--Center
EL1234
❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)
+200%
(C 3)
63
C 3
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■ Cutoff
Set the Filter Key Follow ratio (the amount by which
FLT Scale (Filter Scale Break Point)
You can set four Filter Scaling Break Points for each
Element. Filter Scaling controls the filter cutoff
frequency according to the positions of the notes on the
keyboard. There are four Break Points used to divide
and assign different settings across the keyboard. The
Levels (Offsets) at each of Break Point are set in the
FLT Scale screen.
the Filter Cutoff varies according to note position)
for each Element. A Center Key setting of C3 is used
as the basic setting by the Cutoff parameter.
A positive setting will lower the Cutoff frequency for
lower notes and raise it for higher notes. A negative
setting will have the opposite effect.
❏Settings: -200% ~ 0 ~ +200%
Details about Filter Scaling are given later in the section
“Filter Scaling Settings.”
■ Center (Center Key)
This shows that the basic Level is at note C3. At
this note, the tone remains unchanged. For other
notes, the tone varies according to the Level settings.
The Center setting cannot be changed. This
parameter is for information only.
FLTíScale) BP1
EL1234 C-2
BP2
C 3
BP3
C#5
BP4
G 8
■ BP1/BP2/BP3/BP4 (Break Point 1/2/3/4)
Set the Break Points for each Element. BP1 to BP4
will be automatically be arranged in ascending order
across the keyboard.
❏Settings: BP1 to BP4: C-2 ~ G8
FLT Scale (Filter Scale Offset)
FLTíScale)Ofst1
EL1234 + 0
Ofst2
+127
Ofst3
-128
Ofst4
+ 0
■ EGTime
Set the Time Scale (the speed of change in the FEG
over the range of the keyboard) for each Element.
The basic speed of change for the FEG is at the note
specified in the Center parameter.
A positive setting will cause slower changes for
lower notes and faster changes for higher notes. A
negative setting will have the opposite effect.
■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4)
Set the Filter Scaling Offset Levels. These Offsets
are used by the Break Points (BP1/BP2/BP3/BP4).
Details about Filter Scaling are given below in the
section “Filter Scaling Settings.”
❏Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127
❏Settings: -64 ~ 0 ~ +63
Filter Scaling Settings
■ Center (Center Key)
By way of example, you could set the Levels
(Offsets) and Break Points (BP1 to BP4) as follows.
Set the basic note used by the EGTime parameter.
When the Center Key note is played, the FEG
behaves according to its actual settings. The pitch
change characteristics for other notes will vary in
proportion to the EGTime settings.
FLTíScale) BP1
EL1234 E 1
BP2
B 2
BP3
G 4
BP4
A 5
❏Settings: C-2 ~ G8
FLTíScale)Ofst1
EL1234 - 4
Ofst2
+ 10
Ofst3
+ 17
Ofst4
+ 4
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
Here, the current Cutoff setting is 64. The Offsets are
–4 at BP1 (set to note E1), +10 at BP2 (set to note
B2), +17 at BP3 (set to note G4) and +4 at BP4 (set
to A5). That is, the Cutoff frequencies at each Break
Point are 60, 74, 81 and 68, respectively. For other
notes, the Cutoff frequencies will be on the straight
line connecting the two adjacent Break Points.
The Break Points are automatically arranged in
ascending order across the keyboard. For example,
BP2 cannot be set to a lower note than that of BP1.
The Break Point Levels are Offsets used to increase or
decrease the current Cutoff setting at the specified
notes. Regardless of the size of these Offsets, the
minimum and maximum Cutoff limits (values of 0
and 127, respectively) cannot be exceeded.
A note set below the BP1 will become the BP1 Level.
A note set above BP4 will become the BP4 Level.
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■ Attack (Attack Time)
Element Amplitude
You can set Amplitude parameters to affect the output
level of each Element. The following seven screens are
available.
Set the Attack Time.
❏Settings: 0 ~ 127
■ Decay1 (Decay 1 Time)
Set the Decay 1 Time.
AEG VelSens (AEG Velocity Sensitivity)
AEG Time
AEG Level
❏Settings: 0 ~ 127
■ Decay2 (Decay 2 Time)
AEG Release
Set the Decay 2 Time.
AMP KeyFlw (AMP Key Follow)
AMP Scale (AMP Scale Break Point)
AMP Scale (AMP Scale Offset)
❏Settings: 0 ~ 127
AEG Level
You can set various Level parameters for the Amplitude
Envelope Generator (AEG). Combined with the AEG
Time and AEG Release settings, these can be used
control the change in output level from the moment a
note is pressed on the keyboard to the moment it is
released. You can set different values for each Element.
AEG VelSens (AEG Velocity Sensitivity)
You can set the sensitivity of the Amplitude Envelope
Generator (AEG) to note velocity.
AEGíVelSens)
EL1234
Level
+7
Time-Segment
+63 attack
AEGíLevel) Init Attack Decay1 Sustain
EL1234
127
(127)
127
0
■ Level
Set the sensitivity of the AEG’s Level (its
effectiveness) to note velocity. A positive setting will
cause larger output level changes for notes played
harder and smaller changes for notes played more
softly. A negative setting will have the opposite effect.
■ Init (Initial Level)
Set the Initial Level. (The Level when a key is
pressed.)
❏Settings: 0 ~ 127
❏ Settings: -64 ~ 0 ~+63
■ Attack (Attack Level)
This shows the Attack Level. (Fixed at 127.)
■ Time-Segment
Set the velocity sensitivity of the AEG’s Time
parameters. Use Knob [2] to select the Segment,
then use Knob [1] to set its Time parameter. Positive
Time settings will play back the specified Segment
faster and negative values will play it back slower.
■ Decay1 (Decay 1 Level)
Set the Decay 1 Level.
❏Settings: 0 ~ 127
■ Sustain (Sustain Level)
❏Settings (Time): -64 ~ 0 ~ +63
Set the Sustain Level.
❏Settings (Segment):
❏Settings: 0 ~ 127
attack:
Affects the Hold Time/Attack Time/Decay 1 Time
AEG Release
all:
You can set Release Time and Release Level parameters
for the Amplitude Envelope Generator (AEG).
Combined with the AEG Time and AEG Level settings,
these can be used control the change in output level
from the moment a note is released. You can set
different values for each Element.
Affects all AEG Time parameters
AEG Time
You can set various Time parameters for the Amplitude
Envelope Generator (AEG). Combined with the AEG
Level and AEG Release settings, these can be used
control the change in output level from the moment a
note is pressed on the keyboard to the moment it is
released. You can set different values for each Element.
AEGíRelease)
EL1234
Time
127
Level
(0)
■ Time (Release Time)
Set the Release Time.
AEGíTime)
EL1234
Attack Decay1 Decay2
127 127 127
❏Settings: 0 ~ 127
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■ Level (Release Level)
■ Center (Center Key)
This shows the Release Level. (Fixed at zero.)
This shows that the basic Level is at note C3. At this
note, the output level remains unchanged. For other
notes, the output levels vary according to the Level
settings. The Center setting cannot be changed.
Amplitude Envelope Generator Settings
There are four Time settings (controlling the speed
of changes in output level) and five Level settings
(controlling the output level). The output level
changes from the Initial Level to the Attack Level
(127) within the Attack Time. It then changes in
accordance with the Decay 1/2 Time and the Decay
1 Level, and settles at the Sustain Level. When the
note is released, the output level falls to the Release
Level (zero) within the Release Time.
Velocity Sensitivity and other parameters can also
be set if required.
■ EGTime
The EGTime parameter controls the AEG Times for
each Element according to the positions of the notes on
the keyboard. The Center parameter is used as the basic
amplitude for this parameter.
A positive setting will cause the amplitude of lower notes
to change slower and that of higher notes to change
faster. Negative values will have the opposite effect.
❏ Settings: -64 ~ 0 ~ +63
■ Center (Center Key)
Set the basic pitch used by the EGTime parameter.
When the Center note is played, the AEG behaves
according to its actual settings. The amplitude
change characteristics for other notes will vary in
proportion to the EGTime settings.
AMP KeyFlw (AMP Key Follow)
You can set Amplitude Key Follow parameters for each
Element. This parameter controls the AEG behavior
according to the positions of notes on the keyboard.
❏Settings: C-2 ~ G8
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
The availability of the Amplitude Key Follow parameter
depends on the Break Point and Offset settings in the AEG
Scale screen.
AMPíKeyFlw)Level-Center EGTime--Center
EL1234
+200% (C 3)
+63
C 3
■ Level
Set the Amplitude Key Follow ratio (the amount by
which the output level varies according to note
position) for each Element. A Center setting of C3 is
used as the basic setting.
A positive setting will lower the output level for
lower notes and raise it for higher notes. A negative
setting will have the opposite effect.
❏Settings: -200% ~ 0 ~ +200%
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The Break Point Levels are Offsets used to increase
or decrease the current amplitude at the specified
notes. Regardless of the size of these Offsets, the
minimum and maximum amplitude limits (values of
0 and 127, respectively) cannot be breached.
AMP Scale (AMP Scaling Break Point)
You can set four Amplitude Scaling Break Points for each
Element. Amplitude Scaling controls the amplitude
according to the positions of the notes on the keyboard.
There are four Break Points used to divide and assign
different settings across the keyboard. The Levels (Offsets)
at each of Break Point are set in the AMP Scale screen.
A note set below the BP1 will become the BP1 Level.
A note set above BP4 will become the BP4 Level.
Details about Amplitude Scaling are given later in the
section “Amplitude Scaling Settings.”
Element LFO (Low Frequency Oscillator)
The Levels of the Elements themselves are set in the OSC
Out screen (Page 89).
There are various settings for the LFO. The LFO is
used to generate low frequency signals and can be used
to create vibrato/wah/tremolo/etc. effects when applied
to pitch/filter/amplitude parameters. Different LFO
parameters can be set for each Element. The following
two screens are available.
AMPíScale) BP1
EL1234 C-2
BP2
C 3
BP3
C#5
BP4
G 8
LFO Wave
LFO Depth
■ BP1/BP2/BP3/BP4 (Break Point1/2/3/4)
Set the Break Points for each Element. BP1 to BP4
will automatically be arranged in ascending order
across the keyboard.
LFO Wave
You can set various parameters controlling the LFO
waveform. Select the waveform used by the LFO and
set the speed of change.
❏Settings: BP1 to BP4: C-2 ~ G8
You can also set each Break Point by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
LFOíWave) Wave^ Speed
EL1234 tri 63
KeySync
on
AMP Scale (AMP Scaling Offset)
■ Wave
AMPíScale)Ofst1
EL1234 + 0
Ofst2
+127
Ofst3
-128
Ofst4
+ 0
Select the LFO waveform used to vary the sound.
There are three waveforms available.
❏Settings: saw, tri, squ
■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4)
Set the Amplitude Scaling Offset Levels. These
Offsets are used by the Break Points
(BP1/BP2/BP3/BP4).
saw (sawtooth wave)
Details about Amplitude Scaling are given later in the
section “Amplitude Scaling Settings.”
❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127
Amplitude Scaling Settings
tri (triangle wave)
By way of example, you could set the Levels
(Offsets) and Break Points (BP1 to 4) as follows.
AMPíScale) BP1
EL1234 E 1
BP2
B 2
BP3
G 4
BP4
A 5
AMPíScale)Ofst1
EL1234 - 4
Ofst2
+ 10
Ofst3
+ 17
Ofst4
+ 4
squ (square wave)
Here, the current amplitude is 80. The Offsets are
–4 at BP1 (set to note E1), +10 at BP2 (set to note
B2), +17 at BP3 (set to note G4) and +4 at BP4
(set to A5). That is, the amplitudes at each Break
Point are 76, 90, 97 and 84, respectively. For other
notes, the amplitudes will be on the straight line
connecting the two adjacent Break Points.
The Break Points are automatically arranged in
ascending order across the keyboard. For example,
BP2 cannot be set to a lower note than that of BP1.
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■ Speed
Set the speed of the LFO waveform. A larger setting
■ AMod (Amplitude Modulation Depth)
Set the amount (depth) by which the LFO waveform
varies (modulates) the amplitude of the sound. A
larger setting means a larger modulation depth.
means a faster speed.
❏Settings: 0 ~ 63
❏Settings: 0 ~ 127
Speed = Fast
Element EQ (Equalizer)
You can set the following two Equalizer parameters for
each Element.
EQ Type
EQ Param (EQ Parameter)
Speed = Slow
EQ Type
EQíType)
EL1-3*
Type
EQ L/H
■ Type
Select the Equalizer Type. Various Equalizers are
available which can be used not just for altering
existing sounds, but also in generating completely
new sounds.
■ KeySync
Switch Key Sync on or off. When switched on, the
LFO waveform is reset every time a note is played.
Some items in the following EQ Param (EQ
Parameter) screen may or may not be available,
depending on the selected Equalizer Type
❏Settings: off, on
❏Settings: EQ L/H (EQ Low/High), P.EQ (Parametric EQ),
Boost6 (Boost 6dB), Boost12 (Boost 12dB),
Boost18 (Boost 18dB), thru
The parameters for the Filter Type are as follows.
• EQ L/H (EQ Low/High)
This is a Shelving Equalizer which combines a High
Frequency and Low Frequency Band to adjust the
signal Level. If you select this Filter, the EQ
Parameter screen will be available with the following
parameters.
LFO Depth
Set the amount by which the LFO waveform controls
changes in Pitch/Filter/Amp settings.
LFOíDepth)
EL1234
PMod
127
FMod
127
AMod
127
EQíParam)LoFreq LoGain HiFreq HiGain
+32
EL1-3* 257.OHz
+32 6.25kHz
■ PMod (Pitch Modulation Depth)
Set the amount (depth) by which the LFO waveform
varies (modulates) the pitch of the sound. A larger
setting means a larger modulation depth.
❏Settings: 0 ~ 127
■ FMod (Filter Modulation Depth)
Set the amount (depth) by which the LFO waveform
varies (modulates) the Filter Cutoff frequency. A
larger setting means a larger modulation depth.
❏Settings: 0 ~ 127
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■ LoFreq (Low Frequency)
■ Q (Frequency Characteristic)
Set the Q (Frequency Characteristic). 32 different
Characteristics are available.
Set the low frequency of the Shelving filter.
Frequencies below this point are attenuated or
boosted by the Low Gain parameter.
❏Settings: 0 ~ 31
❏Settings: 50.1Hz ~ 2.00kHz
• Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/
Boost18 (Boost 18dB)
■ LoGain (Low Gain)
These can be used to boost the level of the entire
signal by 6dB, 12dB and 18dB, respectively. The EQ
Parameters will be unavailable.
Set the amount by which the frequencies below the
Low Frequency setting are attenuated or boosted.
❏Settings: -32 ~ 0 ~ +32
• thru
If you select this, the equalizers are bypassed and the
entire signal is unaffected.
■ HiFreq (High Frequency)
Set the high frequency of the Shelving filter.
Frequencies above this point are attenuated or
boosted by the High Gain parameter.
Drum Voices
❏Settings: 503.8Hz ~ 10.1kHz
With Drum Voices, different drum and percussion
Waves or Normal Voices are assigned to notes across
the keyboard (from C0 to C6) forming an entire drum
kit. For editing Drum Voices, there are five Common
Edit screens (affecting all the Drum Voices together)
and the five Drum Key screens.
■ HiGain (High Gain)
Set the amount by which the frequencies above the
High Frequency setting are attenuated or boosted.
❏Settings: -32 ~ 0 ~ +32
When you select a Drum Voice and enter Voice Edit
Mode, you will see the Drum Voice Edit screen at
which you were previously editing.
• P.EQ (Parametric EQ)
The Parametric EQ is used to attenuate or boost
signal levels around the Frequency setting by the
amount specified in the Gain setting. 32 different
Frequency Characteristics are available. The
following parameters are available for this type of
Equalizer.
An overview of the Drum Voices is given on Page 37.
Most parameters have already been explained for Normal
Voices. (The gray items in the tree diagram.) Those
parameters not previously covered are explained here.
Details about the functions common to both Drum Voices
and Normal Voices are given in the section “Normal
Voices” (Page 79).
EQíParam)
EL1-3*
Freq
255
Gain
+32
Q
31
EQ Param (EQ Parameter)
■ Freq (Frequency)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
❏Settings: 139.7Hz ~ 12.9kHz
■ Gain
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
❏Settings: -32 ~ 0 ~ +32
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Drum Common General
For Drum Voices, there is only the one type of
Common General parameter shown below. The
parameter settings is the same as for Normal Voices.
Details are given on Page 80.
GEN Name (General Name)
Drum Common Quick Edit
The following four screens are available for Drum
Voice output level and timbre parameters. These can
also be edited using the Sound Control knobs on the
CS6x front panel.
Drum Common Edit and Drum Key Edit
Each Drum Voice consists of multiple Waves or
Normal Voices assigned to notes across the keyboard
(C0 to C6) (Page 37). You can use Drum Common
Edit for settings that apply to all Drum Keys in the
Drum Voice. For individual Waves or Normal Voices
settings, Drum Key Edit consists of Edit screens for
each Wave or Normal Voice. With Drum Voice Edit,
you can use Knob [A] to switch between the Drum
Common Edit and Drum Key Edit screens.
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
QED EG (Quick Edit Envelope Generator)
QED Level (Quick Edit Level)
Most parameters and settings have already been explained
for Normal Voices. Details are given on Page 81.
QEDíEG)AttackDecay
Common+63
+63
QED EffectCtrl (Quick Edit Effect)
Most parameters and settings have already been explained
for Normal Voices. Details are given on Page 81.
OSCíWave)
Key=C 3
Number Ctgry
001[PF:Grand 1 ]
Type
wave
QED Filter (Quick Edit Filter)
Most parameters and settings have already been explained
for Normal Voices. Details are given on Page 82.
QED EG (Quick Edit Envelope Generator)
Menu Display
The EG (Envelope Generator) can be used to set the
transition in the Drum Voice output level over time.
The EG has two parameters determining how the
output level of the sound changes from the point at
which a note is pressed to the point at which the sound
has completely faded out.
The following is displayed if you turn the [PAGE]
knob while holding down the [SHIFT] key. The
menus for the settings are shown below. Use the
[PAGE] knob to move the cursor to the item you are
looking for. Then release the [SHIFT] key to jump
to the screen at which you were previously editing
the item.
QEDíEG) Attack
Common +63
Decay
+63
EFFíEF1)
Common
Com:>GEN≥QED>ARP>CTL
Key:>OSC>PCH>FLT>AMP
>EFF
>EQ
The [PROGRAM/PART] keys on the CS6x can
directly select Menus associated to them (Page 80).
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■ Attack
Drum Key OSC (Oscillator)
Set the Attack time (the time from the moment the
note is pressed to the point at which the maximum
sound output level is reached). The [ATTACK] knob
on the CS6x front panel can also be used to directly
adjust the Attack time.
You can change your Drum Voice waveform settings.
Each Drum Voice can consist of up to 73 Drum Keys
(Page 37), assigned to notes spread across the keyboard
(C0 to C6). You can assign waveforms to Drum Keys
and set their parameters. The following four screens
are available.
❏Settings: -64 ~ 0 ~ +63
■ Decay
OSC Wave (Oscillator Wave)
OSC Out (Oscillator Out)
OSC Pan (Oscillator Pan)
OSC Other (Oscillator Other)
Set the Decay time (the time from the point of
maximum sound output level to the point at which it
has completely faded out). The [DECAY] knob on
the CS6x front panel can also be used to directly
adjust the Decay time.
OSC Wave (Oscillator Wave)
❏Settings: -64 ~ 0 ~ +63
Assign a Wave/Normal Voice to each Drum Key. Use
Knob [A] (or press a note on the keyboard) to select
the Drum Key, and use Knob [C] to select the
Wave/Normal Voice assigned to it.
Drum Common Arpeggio
The following four screens are available for Drum
Voice arpeggio parameters. The parameters and
settings are the same as for Normal Voices. Details are
given on Page 82.
OSCíWave) Mem Number Ctgry
Key=C 3 PRE1 001[PF:Grand 1 ]
Type
vce
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
■ Mem (Memory)
This is displayed when you have selected “vce”
(Normal Voice) as the Type parameter. Select the
Voice Memory for the Normal Voice.
Drum Common Controllers
❏Settings: PRE1, PRE2, INT, EXT
Set your Controller Settings here. Up to six controllers
plus the Pitch Bend wheel can be assigned to each Drum
Voice. The following seven screens are available. (The
parameter names for all Control Set screens are the same.)
You cannot select Plug-in Voices.
■ Number (Wave Number)
Select a Wave/Normal Voice Number. The Category
and Name are shown to the right of the selected
Wave/Normal Voice Number. The selection of
Waves/Normal Voices varies according to the Type.
CTL Bend (Pitch Bend)
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
CTL Set3 (Control Set 3)
CTL Set4 (Control Set 4)
CTL Set5 (Control Set 5)
CTL Set6 (Control Set 6)
❏Settings: 000 (off) ~ 479 for wave, 001~ 128 for Normal
Voice (Details about each Wave/Normal Voice
are given in the separate Data List).
If you choose “off,” no Wave/Normal Voice will be
assigned to the Drum Key.
The parameters are the same as for Normal Voices.
Details are given on Page 84. (The Elem Sw parameter
is only available for Normal Voices.)
■ Ctgry (Category)
Select the Category of the Wave/Normal Voice. If
you switch to another Category, the first
Wave/Normal Voice in that Category will be selected.
Drum Common Effects
❏Settings: Details about the Categories are given as a list on
For Drum Voice Effects, there are two Insertion
Effects, plus System Effects (Reverb and Chorus). The
following five screens are available. The parameters
and settings are the same as for Normal Voices. Details
are given on Page 88.
Page 80.
■ Type
Select Wave or Normal Voice as the Type. With the
Number and Ctgry parameters (above), you can
specify the waveform or Normal Voice used by the
Type.
EFF InsEF (Insertion Effect)
EFF EF1 (Insertion Effect 1)
EFF EF2 (Insertion Effect 2)
EFF Rev (Reverb)
❏Settings: wave, vce (Normal Voice)
EFF Cho (Chorus)
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■ Pan
Set the Pan position for each sound in a Drum Voice
OSC Out (Oscillator Out)
Set the Wave or Normal Voice output settings for each
Drum Key.
(Drum Kit). This will also be used as the basic Pan
position for the Alternate and Random settings.
■ Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
OSCíOut) Level
Key=C 3 127
InsEF RevSend ChoSend
thru 64 127
■ Alter (Alternate)
Set the amount by which the sound is panned
alternately left and right for each note you press.
The Pan setting is used as the basic Pan position.
■ Level
Set the output level for each Wave or Normal Voice.
This can be used to adjust the output of each Drum
Key.
■ Settings: L64 (Left) ~ 0 (Center) ~ R63 (Right)
This parameter is only available if the Type parameter
in the OSC Wave screen is set to “wave.” If set to “vce”
(Normal Voice), this parameter is unavailable.
■ Settings: 0 ~ 127
■ InsEF (Insertion Effect)
■ Random
Select the Insertion Effect to which the output of
each Drum Key will be sent. If Thru is selected, the
Insertion Effects are bypassed.
Set the amount by which the sound is panned
randomly left and right for each note you press. The
Pan setting is used as the basic Pan position.
■ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion
■ Settings: 0 ~ 127
Effect 2)
This parameter is only available if the Type parameter
in the OSC Wave screen is set to “wave.”
■ RevSend (Reverb Send)
Set the Send level of the Drum Key signal sent from
Insertion Effect 1/2 (or the bypassed signal) to the
Reverb effect.
■ Output
Assign each Drum Key to an output.
■ Settings: L&R (OUTPUT L & R), ind1&2 (INDIVIDUAL
OUTPUT 1 & 2), ind1 (INDIVIDUAL OUTPUT
1), ind2, ind3, ind4, ind5, ind6
■ Settings: 0 ~ 127
This setting plus the Reverb Send level set in the QED
Level screen (Page 81) are the final Reverb Send level
settings.
Settings “ind3” to “ind6” are for future expansion
purposes and are currently not available.
Details about the Effects are given on Page 65.
For example, if you choose “ind1&2,” the left channel
will be output through INDIVIDUAL OUTPUT1 and
the right channel will be output through INDIVIDUAL
OUTPUT2.
■ ChoSend (Chorus Send)
Set the Send level of the Drum Key signal sent from
Insertion Effect 1/2 (or the bypassed signal) to the
Chorus effect.
OSC Other (Oscillator Other)
You can set parameters which govern the sound of each
Drum Key making up the Drum Voice.
■ Settings: 0 ~ 127
This setting plus the Chorus Send level set in the QED
Level screen (Page 81) are the final Chorus Send level
settings.
OSCíOther)
Key=C 3
Assign RcvNtOff AltGrp
single on off
For a Drum Key with the Insertion Effect set to other
than Thru, the Chorus Send level will be determined by
the QED Level screen.
Details about the Effects are given on Page 65.
■ Assign
Set Key Assign to “single” to prevent the doubled
playback of the same received notes. Select “multi”
to consecutively assign each instance of the same
received note to a separate channel.
OSC Pan (Oscillator Pan)
Assign Pan settings for each Drum Key in the Drum
Voice. Different Pan types are available.
■ Settings: single, multi
The Pan, Alter (Alternate) and Random settings will be
ignored if you set the Output to “ind1” to “ind6.”
When the Alternate Group (AltGrp) parameter is set to
other than “off,” you cannot set this parameter (shown
as “----”).
OSCíPan)
Key=C 3
Pan
C
Alter Random Output
L63 63 L&R
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■ RcvNtOff (Receive Note Off)
Select whether MIDI Note Off messages are received
by each Drum Key.
Drum Key Filter
You can apply filter settings to the Drum Voice. A Low
Pass Filter and High Pass Filter can be applied per
Wave to change its tonal characteristics.
❏Settings: off, on
This parameter depends on the Type of Drum Key
Wave chosen in the OSC Wave screen.
This parameter is only available if the Type parameter in
the OSC Wave screen is set to “wave.”
■ AltGrp (Alternate Group)
FLT Cutoff (Filter Cutoff)
Set the Alternate Group to which the Wave is
assigned. In a real drum kit, some drum sounds
cannot physically be played simultaneously, such as
open and closed hi-hats. You can prevent Waves from
playing back simultaneously by assigning them to the
same Alternate Group. Up to 127 Alternate Groups
can be defined. You can also select “off” here if you
wish to allow the simultaneous playback of sounds.
FLTíCutoff) LPF VelSens
Key=C 3 255 +63
Reso
31
HPF
0
■ LPF (Low Pass Filter)
Set the Cutoff frequency of the Low Pass Filter.
Only frequencies below this point are passed. You
can then use the Reso (Resonance) parameter to add
further character to the sound.
❏ Settings: off, 1 ~ 127
❏Settings: 0 ~ 255
Drum Key Pitch
Set the pitch of each Drum Key. The tunings and Pitch
EG parameters can be set for each Drum Key.
Details about the Low Pass Filter are given on Page 93.
■ VelSens (Velocity Sensitivity)
Set the velocity sensitivity of the Low Pass Filter
Cutoff frequency. Positive settings will cause the
cutoff frequency to rise the harder you play the
keyboard and negative settings will cause it to fall.
PCH Tune (Pitch Tune)
PCHíTune)
Key=C 3
Coarse
+ 0
Fine VelSens
+ 0 +63
❏Settings: -64 ~ 0 ~ +63
■ Reso (Resonance)
■ Coarse
Set the amount of Resonance (harmonic emphasis)
applied to the signal at the Cutoff frequency. This
can be used in combination with the Cutoff
frequency of the Low Pass Filter to add further
character to the sound.
Adjust the pitch of each Drum Key Wave (or Normal
Voice) in semitones.
❏Settings: -48 ~ +48
For a Normal Voice, this parameter adjusts the position
of its note (not its pitch) relative to note C3. For
example, let’s assume the original Voice consists of a
two-Element piano-like sound up to note C3 and a two-
Element string-like sound from note C#3 upwards.
Adjusting this Coarse setting by +1 would not change
the pitch of the piano-like sound to C#3. Instead, note
C#3 of the original Voice (i.e., the string-like sound)
would be used.
❏Settings: 0 ~ 31
Details about Resonance are given on Page 40.
■ HPF (High Pass Filter)
Set the Cutoff frequency of the High Pass Filter.
Only frequencies above this point are passed.
❏Settings: 0 ~ 255
■ Fine
Details about the High Pass Filter are given on Page 94.
Fine-tune the pitch of each Drum Key Wave (or
Normal Voice).
❏Settings: -64 ~ +63
Drum Key Amplitude
You can set amplitude (output level) parameters for
each Drum Key. The following two parameters are
available.
■ VelSens (Velocity Sensitivity)
Set the velocity sensitivity of the pitch. Positive
settings will cause the pitch to rise the harder you
play the keyboard and negative settings will cause it
to fall.
This parameter is only available if the Type parameter in
the OSC Wave screen is set to “wave.”
AMP AEG (Amplitude Envelope Generator)
AMP VelSens (Amplitude Velocity Sensitivity)
❏Settings: -64 ~ 0 ~ +63
This parameter is only available if the Type parameter
in the OSC Wave screen is set to “wave.”
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■ AMP AEG (Amplitude Envelope Generator)
The Amplitude Envelope Generator controls the
change in amplitude from the moment a note in
pressed on the keyboard to the moment it is released.
By setting the Attack Time, Decay 1 Time and the
Decay 1/2 Level, you can determine how fast the
sound reaches its peak amplitude and how it fades
out. Parameters can be set for each Drum Key.
Amplitude Envelope Generator Settings
The Amplitude Envelope Generator has three Time
parameters and one Level parameter. These govern the
transitions between output levels for the duration of a
note. The Attack Time is the time taken for the sound to
reach its peak output level from the moment a note is
played on the keyboard. The Decay 1/2 Time and the
Decay 1 Level parameters are used to set the behavior of
the remainder (between the sound’s peak output level and
the point at which it fades to zero). Furthermore, you can
set these parameters to be sensitive to note velocity.
This parameter is only available if the Type parameter
in the OSC Wave screen is set to “wave.”
AMPíAEG) Attack Decay1---Level Decay2
126
The Attack Level is fixed at its maximum value.
Key=C 3
127
127
127
■ Attack (Attack Time)
Set the Attack Time.
❏Settings: 0 ~ 127
■ Decay1 (Decay 1 Time)
Set the Decay Time.
Decay2=hold
❏Settings: 0 ~ 127
■ Level (Decay 1 Level)
Set the Decay 1 Level.
❏Settings: 0 ~ 127
■ Decay2 (Decay 2 Time)
Set the Decay 2 Time.
If you select “hold,” the level amplitude will be held
until you release the note.
❏Settings: 0 ~ 126, hold
Drum Key EQ (Equalizer)
You can set Equalizer parameters for each Drum Key.
The following two screens are available. These
parameters are the same as for Normal Voices; details
are given on Page 101.
AMP VelSens (Amplitude Velocity
Sensitivity)
You can define how the amplitude (output level) varies
according to the velocity of the received notes.
EQ Type
EQ Param (EQ Parameter)
AMPíVelSens)
Key=C 3
Level
+63
This parameter is only available if the Type parameter in
the OSC Wave screen is set to “wave.”
■ Level
Set the velocity sensitivity of the Amplitude Envelope
Generator’s output level. Positive settings will cause the
output level to rise the harder you play the keyboard
and, conversely, negative values will cause it to fall.
❏ Settings: -64 ~ 0 ~ +63
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Plug-in Voices
The Voices held on Plug-in Boards (Single Part) are
known as Board Voices. A Plug-in Voice is a Board Voice
that has been processed in the synthesizer in Voice Edit
Mode. There are six Common Edit screens and four
screens for editing the Element of a Plug-in Voice. You
can save up to 64 edited Plug-in Voices in Banks A to D of
Memory PLG1/2.
After selecting the Plug-in Voice you wish to edit (in
Banks A to D of Memory PLG1/2), when you enter
Voice Edit Mode, you will see the Voice Edit Mode
screen that you had exited from previously.
Monitoring Board Voices
You can monitor Board Voices without having to
enter Edit Mode. Also, if you press the [EDIT] key
while monitoring, you will enter Edit Mode with
the oscillators of the Board Voice already assigned.
Plug-in Common Edit and Editing Each Element
1While holding down the [PLG1] or [PLG2] key, use
Knob [C] to select the Board Voice’s Bank. “PLG
INT” is the Bank of the Plug-in Voice (Plug-in
Internal) stored in Memory PLG1/2.
There are two edit screens for a Plug-in Voice. One is
for general Voice settings called Plug-in Common, and
the other is for element settings called Plug-in
Element. There is only one element available for a
Plug-in Voice, but you can make access to parameters
in Plug-in Common and Element screens, which are
similar to ones for a normal Voice.
2Release the [PLG1] or [PLG2] key. Select the
Board Voice using the BANK/PROGRAM keys or
[DATA] knob as in the same way to select a Voice
from another memory.
In Plug-in Voice editing, you can switch between the
Common and Element screens using the Knob [A].
If there is no Voice at the Program Number
corresponding with the selected Bank, no sound will
be produced.
GENíOther) ModeAssign
Commonpoly single
To edit the Board Voices on the Plug-in Board, you need
to use a computer and the included editor software.
Details about Plug-in Voices and Board Voices are
given on Pages 32, 114.
OSCíAssign)
Elem
Bank Number
NORM/001 128[GndPiano]
Many parameters are the same as for Normal Voices
(the gray items in the tree diagram). Only those items
that differ are explained here.
Details about the other parameters are given in the Normal
Voice explanation on Page 79.
Menu Display
When you use the [PAGE] knob while holding down
the [SHIFT] key, you will see the following Menu
Display. Then use the [PAGE] knob to move the
cursor to the desired item and release the [SHIFT]
key to jump to the Edit screen for the selected item.
NTVíPrm1) Com:>GEN≥QED>ARP>CTL>LFO>EFF
Common
Elem:>OSC>PCH>EQ>PLG-NATIVE
The [PROGRAM/PART] keys on the CS6x can directly
select Menus associated to them (Page 80).
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QED Filter (Quick Edit Filter)
The parameters and settings are the same as for
Normal Voices. Details are given on Page 82.
Plug-in Common General
The General parameters are shown in the following
two screens.
GEN Name (General Name)
GEN Other (General Other)
QED EG (Quick Edit Envelope
Generator)
The EG (Envelope Generator) can be used to control
the change in Plug-in Voice volume over time. There
are three parameters for this EG, controlling the
change in volume from the moment a note is pressed
on the keyboard to the moment it is released, or to the
point where it has faded to zero.
GEN Name (General Name)
The parameters and settings are the same as for
Normal Voices. See Page 80 for further details.
GEN Other (General Other)
There are parameters available for Plug-in Board.
QEDíEG) Attack
Common +63
Decay
+63
Release
+63
GENíOther) Mode Assign
Common
poly single
■ Mode
Select monophonic or polyphonic playback.
Select whether the Voice is played back
monophonically (single notes only) or
polyphonically (multiple simultaneous notes).
❏Settings: mono, poly
■ Assign
■ Attack
If you set Key Assign to “single,” the doubled
playback of the same note is prevented. The
synthesizer will terminate a note when the same
note is received again. If you select “multi,” the
synthesizer will consecutively assign each instance
of the same received note to a separate channel,
making multiple part tone generation possible.
Set the Attack Time (the time taken for the volume
to reach its peak after a note is pressed on the
keyboard). You can also adjust this parameter using
the [ATTACK] knob on the front panel of the CS6x.
❏Settings: -64 ~ 0 ~ +63
■ Decay
❏Settings: single, multi
Set the Decay Time (the time taken for the volume
to change from its peak to a steady level). You can
also adjust this parameter using the [DECAY] knob
on the front panel of the CS6x.
Plug-in Common Quick Edit
The parameters here are primarily for Plug-in Voice
volume and tone. Many of there can also be adjusted
using the Sound Control knobs on the front panel of
the CS6x. The following four screens are available.
❏Settings: -64 ~ 0 ~ +63
■ Release
Set the Release Time (the time taken for the volume
to fade to zero after the note is released). You can
also adjust this parameter using the [RELEASE]
knob on the front panel of the CS6x.
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
❏Settings: -64 ~ 0 ~ +63
QED EG (Quick Edit Envelope Generator)
Plug-in Common Arpeggio
QED Level (Quick Edit Level)
The parameters and settings are the same as for
Normal Voices. Details are given on Page 81.
In the following four screens, you can set parameters
for the Arpeggiator used by the Plug-in Voice. The
parameters are the same as for Normal Voices. Details
are given on Page 82.
QED EffectCtrl (Quick Edit Effect)
The parameters and settings are the same as for
Normal Voices. Details are given on Page 81.
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
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CTL MW Control (MW Control Depth)
Plug-in Common Controller
Here, you can set the depth of control the Modulation
Wheel has over the filter.
You can set Pitch Bend Wheel, Modulation Wheel and
other Controller parameters for the Plug-in Voices in
the following nine screens.
CTLíMW Control)
Common
Filter
-64
CTL Pitch (Pitch Bend)
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
■ Filter
CTL MW Control (MW Control Depth)
CTL MW Modulation (MW Modulation Depth)
CTL AT Control (AT Control Depth)
CTL AT Modulation (AT Modulation Depth)
CTL AC Control (AC Control Depth)
CTL AC Modulation (AC Modulation Depth)
Set the depth of control of the Modulation Wheel
over the filter cutoff frequency.
❏Settings: -64 ~ 0 ~ +63
CTL MW Modulation
(MW Modulation Depth)
CTL Pitch (Pitch Bend)
Here, you can set the depth of control the Modulation
Wheel has over the pitch, filter and amplitude
modulation of the Plug-in Voice.
You can set the Pitch Bend Range and Portamento for
the Plug-in Voice here. Portamento creates a smooth
transition from the pitch of the first note played to the
pitch of the next.
CTLíMW Modulation) PMod
Common 127
FMod
127
AMod
127
CTLíPitch) Pitch Bend Portamento Time
Common
-24
on
127
■ PMod (Pitch Modulation Depth)
Set the depth of control the Modulation Wheel has
over the pitch modulation. The larger the setting,
the greater the depth of control.
■ Pitch Bend
Set the amount (in semitones) by which the pitch of
the note is varied when you move the Pitch Bend
Wheel up/down. For example, if you set a value of
+12, the pitch will change up by up to an octave
when you move the wheel up. Conversely, if you set a
negative value, the pitch falls when you move the
wheel down.
❏Settings: 0 ~ 127
■ FMod (Filter Modulation Depth)
Set the depth of control the Modulation Wheel has
over the filter cutoff modulation. The larger the
setting, the greater the depth of control.
❏ Settings: -24 ~ 0 ~ +24
❏Settings: 0 ~ 127
■ Portamento
■ AMod (Amplitude Modulation Depth)
Set the depth of control the Modulation Wheel has
over the amplitude modulation. The larger the
setting, the greater the depth of control.
Switch Portamento on or off. You can also set this
parameter using the PORTAMENTO [ON/OFF] key
on the front panel of the CS6x.
❏Settings: off, on
❏Settings: 0 ~ 127
■ Time
Set the Portamento Time, which is the speed of the
transition in pitch from the first note to the next.
You can also set this parameter using the
[PORTAMENTO] knob on the front panel of the
CS6x.
CTL AT Control (AT Control Depth)
Here, you can set the depth of control keyboard
aftertouch has over the pitch and filter of the Plug-in
Voice.
❏Settings: 0 ~ 127
CTLíAT Control)
Common
Pitch Filter
+24 -64
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
These parameters are the same as for Normal Voices.
Details are given on Page 84 (The Elem SW parameter
is only available for Normal Voices).
■ Pitch
Set the depth of control of keyboard aftertouch over
the pitch. You can set a value (in semitones) of up
to two octaves.
❏Settings: -24 ~ 0 ~ +24
■ Filter
Set the depth of control of keyboard aftertouch over
the filter cutoff frequency.
110
❏Settings: -64 ~ 0 ~ +63
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■ PMod (Pitch Modulation Depth)
CTL AT Modulation
Set the depth of control the Control Change messages
(selected in the Source parameter) have over the
pitch modulation. The larger the setting, the greater
the depth of control.
(AT Modulation Depth)
Here, you can set the depth of control that keyboard
aftertouch has over the pitch, filter and amplitude
modulation of the Plug-in Voice.
❏Settings: 0 ~ 127
CTLíAT Modulation) PMod
Common 127
FMod
127
AMod
127
■ FMod (Filter Modulation Depth)
Set the depth of control the Control Change messages
(selected in the Source parameter) have over the
filter cutoff modulation. The larger the setting, the
greater the depth of control.
■ PMod (Pitch Modulation Depth)
Set the depth of control that keyboard aftertouch has
over the filter pitch modulation. The larger the
setting, the greater the depth of control.
❏Settings: 0 ~ 127
■ AMod (Amplitude Modulation Depth)
Set the depth of control the Control Change messages
(selected in the Source parameter) have over the
amplitude modulation. The larger the setting, the
greater the depth of control.
❏Settings: 0 ~ 127
■ FMod (Filter Modulation Depth)
Set the depth of control that keyboard aftertouch has
over the filter cutoff modulation. The larger the
setting, the greater the depth of control.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
Plug-in Common LFO (Low Frequency Oscillator)
■ AMod (Amplitude Modulation Depth)
Set the depth of control that keyboard aftertouch has
over the amplitude modulation. The larger the
setting, the greater the depth of control.
You can set the LFO parameters here. The LFO uses a
low-frequency waveform to vary (modulate) the pitch
of the sound. The vibrato effect, for example, makes
use of the LFO.
❏Settings: 0 ~ 127
LFO Param (LFO Parameter)
CTL AC Control (AC Control Depth)
You can set the depth of control the Control Change
messages (Assignable Control) have over the filter of
the Plug-in Voice.
LFO Param)
Common
Speed
+63
Delay
-64
PMod
+63
CTLíAC Control) Source
Common 04[FootCtrl]
Filter
-64
■ Speed
Set the speed of the LFO waveform. A positive
setting will increase the speed and a negative setting
will reduce it.
■ Source
❏Settings: -64 ~ 0 ~ +63
Set the MIDI Control Change number used to
control the filter.
Speed = Slow
❏Settings: 0 ~ 95
■ Filter
Set the depth of the filter cutoff frequency controlled
by the Control Change set above.
❏Settings: -64 ~ 0 ~ +63
Speed = Fast
CTL AC Modulation
(AC Modulation Depth)
Here, you can set the depth of control the Control
Change messages (Assignable Control) have over the
pitch, filter and amplitude of the Plug-in Voice.
CTLíAC Modulation) PMod
Common 127
FMod
127
AMod
127
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■ Delay
Set the delay time between the moment you press a
OSC Assign (Oscillator Assign)
You can select the Board Voice that make up the
Element in a Plug-in Voice. Use Knob [C] to select the
Bank and Knob [1] to select the Board Voice.
note on the keyboard and the moment the LFO
comes into effect. As shown in the illustration, a
positive setting will lengthen the delay and a
negative setting will shorten it.
OSCíAssign)
Elem
Bank Number
NORM/001 128[GndPiano]
❏Settings: -64 ~ 0 ~ +63
Short Delay
■ Bank
Select the Board Voice Bank of the Plug-in Voice.
❏Settings: (Depends on the Plug-in Board. Refer to the
Owner’s Manual for your Plug-in Board.)
■ Number
Long Delay
Select the Board Voice Number. The Board Voice
Name is displayed to the right of this number.
❏Settings: (Depends on the Plug-in Board. Refer to the
Owner’s Manual for your Plug-in Board.)
OSC Velocity (Oscillator Velocity)
Here, you can set the velocity and note shift for the
Board Voice.
■ PMod (Pitch Modulation Depth)
Set the amount by which the LFO waveform controls
the pitch. A positive setting will increase the
amount and a negative value will decrease it.
OSCíVelocity)
Elem
Depth Offset NoteSft
127 -24
0
❏Settings: -64 ~ 0 ~ +63
■ Depth
Set the velocity sensitivity of the Board Voice. If you
set a larger value, the volume increase will be greater
the harder you play the keyboard.
Plug-in Common Effect
In the following three screens, you can set the
parameters for the Insertion and System Effects used
by the Plug-in Voice. The parameters are the same as
for Normal Voices. The EFF EF1 (Insertion Effect)
parameter is the same as the EFF EF1 (Insertion Effect
1) parameter of the Normal Voices. Details are given
on Page 88.
❏Settings: 0 ~ 127
■ Offset
Set an offset value for the velocity sensitivity of the
Board Voice. When you press a note on the keyboard,
this offset value is added to the note velocity.
EFF EF1 (Insertion Effect)
EFF Rev (Reverb)
❏ Settings: 0 ~ 127
EFF Cho (Chorus)
■ NoteSft (Note Shift)
Set the amount (in semitones) by which the pitch of
the Board Voice is shifted. You can set a value of up
to 2 octaves.
Plug-in Element OSC (Oscillator)
Here, you can set the Element-related parameters for
the Plug-in Voice. In the following two screens, you
can select the Element’s waveform, then it’s velocity
parameters.
❏Settings: -24 ~ 0 ~ +24
Plug-in Element Pitch
OSC Assign (Oscillator Assign)
OSC Velocity (Oscillator Velocity)
You can set the Pitch Envelope Generator parameters
for the Board Voice. The Pitch Envelope Generator
controls the change in pitch from the moment a note is
pressed on the keyboard to the moment it is released.
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PCH PEG (Pitch Envelope Generator) EQ Param (EQ Parameter)
EQíParam)LoFreq LoGain HiFreq HiGain
PCHíPEG)InitLvl Attack Release---Level
Elem
2.0k
+12dB
16.0k
-12dB
Elem
+63
+63
+63
-64
■ InitLvl (Initial Level)
Set the Initial Level.
❏Settings: -64 ~ 0 ~ +63
■ Attack
Set the Attack Time.
❏Settings: -64 ~ 0 ~ +63
■ Release
■ LoFreq (Low Frequency)
Set the Release Time.
Set the shelving point for the low frequencies. The
levels of signals below this frequency will be
boosted/attenuated by the amount set in the LoGain
parameter.
❏Settings: -64 ~ 0 ~ +63
■ Level
❏Settings: 32Hz ~ 2.0kHz
Set the Release Level.
❏Settings: -64 ~ 0 ~ +63
■ LoGain (Low Gain)
Set the amount by which signals below the LoFreq
frequency will be boosted/attenuated.
Pitch Envelope Generator Settings
❏Settings: -64 ~ 0 ~ +63
You can set two time (speed) parameters and two level
(pitch) parameters controlling the change in pitch from
the moment you press a note on the keyboard to the
moment you release it. When you press a note on the
keyboard, the initial pitch is defined by the InitLvl
parameter setting. The pitch then changes from the
InitLvl value to the peak pitch within the time set in
the Attack parameter. Thereafter, the pitch change is
defined by the Release Time/Level settings.
■ HiFreq (High Frequency)
Set the shelving point for the high frequencies. The
levels of signals above this frequency will be
boosted/attenuated by the amount set in the HiGain
parameter.
❏Settings: 500Hz ~ 16.0kHz
■ HiGain (High Gain)
Set the amount by which signals above the HiFreq
frequency will be boosted/attenuated.
❏Settings: -64 ~ 0 ~ +63
Plug-in Element Native
With a Plug-in Board installed, you have native and
unique parameters to set up a Board Voice from the
Plug-in Board.
PLG-NATIVE (Plug-in Native)
Native Part Parameters are displayed. Use the [PAGE]
knob to switch to the screen for the desired parameter,
then use Knob [C] and Knob [2] to enter the settings.
Plug-in Element EQ (Equalizer)
You can set the equalizer settings for the Wave. This is
a shelving equalizer with two bands; one for high
frequencies and another for low frequencies.
The parameters and number of screens will vary
depending on the Plug-in Board. For details about each
parameter and its functions, refer to the Owner’s Manual
or the on-line help that came with your Plug-in Board.
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If a Board Voice in the Custom Bank has been edited
in Voice Edit Mode, you can store it as a Plug-in
Voice in Memory Bank A to D of PLG1 or PLG2.
Up to 64 can be stored in each Bank.
Editing Plug-in Board Voices
Plug-in Voices are based on Board Voices. However, the
Board Voices themselves can be edited via computer,
using the included editor software. Different editors
are available for different Plug-in Boards.
However, only the Voice Edit parameters can be
stored. The edited Board Voice parameters cannot
be stored. Therefore, you will lose all Board Voice
edits when you switch your synthesizer off.
When using the editor while the synthesizer is in
Voice Mode, set the “Part No.” in the editor to “1.”
Also, make sure the synthesizer’s Basic Receive
channel is the same as that set in the editor’s MIDI
channel.
To avoid this situation, you should save your Board
Voice edits to Memory Card and then load the data
as a Plug-in Voice.
Your edits made to a Board Voice will be retained in
the Custom Bank until you turn off the instrument.
Note that the Custom Bank is a temporary memory so
that edits in the Bank will be erased when you turn off
the instrument. Therefore, it may be necessary to save
Board Voice data using a computer.
After loading Board Voice data, if you select Plug-in
Voice Memories (PLG1/PLG2) A to D, the stored
sound (the edited Plug-in Voice based on the Board
Voice) is loaded.
The “all” setting is not available when saving Board
Voice data; it is saved as a “plugin” file type. If the
file name is set such that the file loads automatically
(Page 172), the Board Voice data can also be loaded
up when the synthesizer is switched on.
It may take a while to save or load the Board Voice
data using Memory Card.
Details about saving/loading data to/from Memory
Card are given on Page 173.
The editor for the PLG150-AN/PF Plug-in Board is
a plug-in program for XGworks(lite). You will need
to be running Windows and XGworks(lite) in order
to use it. XGworks lite is included on the CD-ROM
included with this synthesizer.
Details about how to use the editor are given in the
on-line help.
When bulk-dumping Board Voice data, the edited
Board Voices is received in the Custom Bank
according to the Bank Select Message (MSB/LSB)
unique to each Plug-in Board. Therefore, to play
back these Board Voices, you need to select the
appropriate Banks in the synthesizer.
1In Voice Play Mode, select any Voice in a Plug-in
Memory (PLG1 or PLG2).
2The Board Voice you have edited can now be
played back if a Custom Bank has been selected at
this screen.
For details about Custom Banks, Bank Select
Numbers (MSB/LSB) and Board Voices, refer to the
Owner’s Manual or the on-line help that came with
your Plug-in Board.
Once you have transmitted the edited Board Voice
data to the synthesizer and saved it to Memory Card
as a “plugin” file type, you can load the file without
having to connect the computer.
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VCE Initialize
Voice Job Mode
You can reset (initialize) all parameters of a Voice to
their default settings. You can also selectively initialize
certain parameters, such as Common settings, settings
for each Element/Drum Key, and so on. Note that this
does not return the Voice to its original state prior to
editing. Instead, it is useful when building a
You can perform various operations (Jobs) in Voice Job
Mode. For example, you can “Initialize” Voices (including
those currently being edited) or “Recall” previous edits.
When you enter Voice Job Mode, you will first see the
Initialize screen. The following four screens are
available for each Voice Job.
completely new Voice from scratch.
Before entering Voice Job Mode and using the Initialize or
Recall function, you must select the Voice you wish to
operate on (Page 74).
VCE Initialize)
Job
Current Voice
1st screen: VCE Initialize
2nd screen: VCE Edit Recall
3rd screen: VCE Copy
■ Select type of parameter to Initialize
Use Knob [C], the [DATA] knob or the [DEC/NO]
and [INC/YES] keys to select the parameter to be
initialized. The parameters available for
4th screen: VCE Bulk Dump
Details about how to enter Voice Job Mode are given on Page 22.
initialization will vary depending on the type of
Voice currently selected (Normal/Drum/Plug-in).
Performing a Job
1In Voice Play Mode, select the Voice Number you
❏Settings:
normal Voice:
Current Voice, Current Common, Current Element 1 ~ 4
wish to perform the Job on.
2Press the [JOB] key to enter Voice Job Mode.
Drum Voice:
Current Voice, Current Common (data common to all Drum
Keys), Current Key C0 ~ C6 (Drum Key C0 ~ C6)
3Use the [PAGE] knob and switch to the screen
showing the Job you wish to perform.
Plug-in Voice:
Current Voice, Current Common, Current Element
VCE Initialize)
Job
Current Voice
VCE Edit Recall
If you are editing a Voice but you do not store it before
switching to another Voice, the edits you have made
will be cleared. In such a situation, you can use the
Recall function to reinstate the edits for the Voice.
4Use Knobs [B]/[C] and Knobs [1]/[2] to select the
parameter you wish to perform the Job on.
(Alternatively, use the [DATA] knob and the
[DEC/NO] and [INC/YES] keys.)
This step is not applicable for Recall and Bulk Dump
Jobs.
VCE Edit Recall)
Job
5When you press the [ENTER] key, you will be
prompted for confirmation.
VCE Copy
VCE Initialize)
<<
You can copy Common and Element/Drum Key
parameter settings from any Voice to the Voice you are
editing. This is useful if you are creating a Voice and
wish to use some parameter settings from another
Voice.
Are You sure? [YES]/[NO]
>>
6Press the [INC/YES] key to confirm. The message
“Completed.” will be displayed when the Job has
completed, and you will be returned to the original screen.
This function is not used for copying whole Voices from
one location to another. It is used for copying parameter
settings from an existing Voice to the current Voice you are
editing.
Press the [DEC/NO] key to cancel the Job.
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you
switch off the power to your synthesizer while this
message is displayed, you risk corrupting your data.
VCE Copy) [Pf:GrandPiano]
Job PRE1:128(H16) EL1 >
Current
EL1
7Press the [VOICE] key to exit Voice Job Mode and
1
2
3
4
return to Voice Play Mode.
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■ 1 Source Voice Memory
Voice Store
Select the Voice Memory containing the Voice
(source) from which you will copy parameter settings.
You can store (save) the parameter settings for up to
128 Voices to each of your synthesizer’s Memories
(INT: Internal) or to its Memory Card (EXT:
External). The procedure is as follows.
❏ Settings: PRE1/2 (Preset 1/2), INT (Internal Normal),
EXT (External Normal), PLG1/2 (Plug-in 1/2),
PRE (Preset Drum), INT (Internal Drum), EXT
(External Drum)
Up to 64 plug-in vioces can be stored in Banks A to D of
PLG 1/2.
■ 2 Source Voice Number
When you perform this, the settings for the destination
Voice will be overwritten. Important data should always
be backed up to computer, a separate Memory Card or
some other storage device.
Select the Voice Number of the source Voice. The
Voice Name is shown in the top line of the display.
❏Settings: 001 ~ 128 (for Preset/Internal/External
Normal), 1 ~ 64 (for Plug-in 1/2), DR1 ~ DR8
(for Preset Drum), DR1 ~ DR2 (for
1Press the [STORE] key after editing a Voice.
Internal/External Drum)
You will see the Voice Store screen.
■ 3 Source Voice Parameter
VCEí
Store
[Pf:GrandPiano] >[Pf:Init Voice]
EXT:128(H16)
Select the parameter of the source Voice. You can
copy parameter settings common to all Elements or
those used by individual Elements.
❏Settings:
2Use Knob [1] to select the destination Voice Memory
normal Voice:
(INT or EXT).
Common (all Elements), EL1 ~ EL4
Drum Voice:
This is fixed to PLG 1/2 when storing a Plug-in Voice.
Common (all Drum Keys), C0 ~ C6
Plug-in Voice:
3Use Knob [2] to select the destination Voice Number
This will set the Voice Memory/Number to which
your Voice will be stored.
Common, EL (Element)
If the parameters of the source Voice
(Normal/Drum/Plug-in) differ from those of the
Voice you are currently editing (destination), you
will only be able to copy Common parameters.
You can also use the [DATA] knob or [DEC/NO] and
[INC/YES] keys to perform this operation.
4When you press the [ENTER] key, you will be
■ 4 Destination Element/Drum Key
Set the Element/Drum Key of the destination Voice.
If the source is a Normal or Drum Voice, you can
only choose a destination if the Element/Drum Key
has been set.
prompted for confirmation.
VCEí
<<
[Pf:GrandPiano] >[Pf:Init Voice]
Are You sure? [YES]/[NO] >>
❏Settings:
normal Voice:
EL1 ~ EL4
Drum Voice:
C0 ~ C6
5Press the [INC/YES] key to confirm. The message
“Executing…” will be displayed while the Job is
being processed. When it has completed, you will
see the message “Completed.” and you will be
returned to Voice Play Mode.
If you choose to copy Common parameters from the
source, this screen will change to “Common”.
You can press the [DEC/NO] key to cancel the Job.
This will return you to the original screen.
VCE Bulk Dump
You can send all the parameter settings for the current
Voice to your computer or some other external MIDI
device using Bulk Dump.
There are two Scenes available for Each Voice. The
on/off states of both Scenes will also be stored. Details
about Scenes are given on Page 45.
VCE Bulk Dump)
Job
Current Voice
You must set the correct MIDI Device Number in order to
perform a Bulk Dump. Details are given on Page 166.
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Performance Mode
In the 3rd to 7th screens, you can set the output levels,
Performance Play
stereo pan position and other general parameters for each
Part (Multi Part Edit). These are useful when using the
synthesizer with a sequencer. Details are given on Page 119.
In Performance Play Mode, multiple Voices (up to four
Parts) can be layered to create thick sounds which you
can play in real-time or using a sequencer.
3rd screen: PFM Mlt) Volume (Performance Multi: Volume)
4th screen: PFM Mlt) Pan (Performance Multi: Pan)
5th screen: PFM Mlt) RevSend (Performance Multi: Reverb Send)
6th screen: PFM Mlt) ChoSend (Performance Multi: Chorus Send)
7th screen: PFM Mlt) NoteSft (Performance Multi: Note Shift)
In Performance Mode, up to 20 Parts can be combined in
a single Performance, including Voices for the 16 Parts
plus Phrase Clip, A/D Input and Plug-in 1/2 Parts.
Depending on the Performance Edit settings (Page 121),
you can assign a Normal Voice or Drum Voice (Drum Kit)
to each Part. Multiple Parts can be assigned to the same
MIDI channel for real-time playback. Alternatively, you
can assign each Part to a different MIDI channel for
playback using an external sequencer or the synthesizer’s
internal sequencer (in Sequence Play Mode). The
synthesizer can hold up to 256 Performances, consisting
of 128 Internal Performances plus another 64 External
Performances on Memory Card.
1st Screen: PFM Play
(Performance Play)
1
2
3
PFM Play)
EQ Low
INT:128(H16)[Pf:Init Perf ]
+ 0
EQ Mid
EQ Hi
- 1
4
SHIFT
PAGE
A
B
C
1
2
DATA
The displayed screens, the method of selecting
Performances and the Multi Part Edit process in
Performance Play Mode are explained here.
PART/ELEMENT
Bank and Program keys are not available on the CS6R.
Use Knobs [A] to [C], Knob [1]/[2] and the [DATA] knob
to select Program Numbers.
1. Screen Title
This shows that you are currently in Performance Play
Mode.
If a multitimbral Plug-in board is installed, up to 35 Parts
can be combined in a single Performance. However, the
settings for the Plug-in Parts cannot be stored in memory.
An overview of Performances is given on Page 39.
2. Performance Memory/Number (Bank/Number)
The Memory/Performance Program Number (001 to
128) and Bank ([A] to [H])/Program Number ([1] to
[16]) are shown for the selected Performance. For
example, “INT: 128(H16)” shows that the Memory is
“Internal,” the Performance/Program Number is “128,”
the Bank is “H,” and the Bank’s Program Number is
“16.”
Performance Play Mode Display
You will see the following screen when you enter
Performance Play Mode. There are seven Performance
Play Mode screens, as explained below. Use the
[PAGE] knob to switch between screens.
Details about how to enter Performance Play Mode are
given on Page 21.
Memory/Performance Program Number
PFM Play)
EQ Low
INT:128(H16)[Pf:Init Perf ]
EQ Hi
EQ Mid
- 1
+ 0
Internal Memories are shown as “INT” and External
Memories are shown as “EXT.” Each Voice within a
Memory is assigned a Performance Program Number of
001 to 128.
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
Details about Performance Memories are given on Page 29.
1st screen: PFM Play (Performance Play)
Bank/Program Number
Main Performance screen
Performance Program Numbers 001 to 128 are related
to Banks A to H and Program Numbers 1 to 16 (for the
Bank) as explained below. For example, you can select
a Performance either directly by its Performance
Program Number or by using a combination of Bank
and Program keys.
2nd screen: PFM Srch (Performance Search)
You can quickly search for a Performance
by specifying the Performance Memory
and Category.
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4. Knob Parameter Display
This shows the function/Parameter value assigned to
each knob ([A] to [C] and [1]/[2]).
Performance
Number
Program
Number
Performance
Number
Program
Number
Bank
Bank
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Setting/Viewing Knob Parameters
In Performance Play Mode, you can use Knobs [A]
to [C] and Knob [1]/[2] to adjust parameters
assigned to them. When you use each knob, the
value of its assigned parameter is displayed briefly
([knob [A] to [C]).
PFM Play)
INT:128(H16)[Pf:Init Perf ]
+0
+63 EQ Mid
EQ Hi
-1
SHIFT
PAGE
A
B
C
1
2
DATA
F
F
F
F
F
F
F
PART
/
ELEMENT
Details about assigning parameters to Knobs [A] to [C]
are given on Page 165. Details about assigning
parameters to Knob [1]/[2] are given on Pages 51, 84.
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
Setting/Viewing Octave and MIDI Transmit Channel Parameters
In Performance Play Mode, the current Octave and MIDI
Transmit Channel settings are shown while you hold
down the [SHIFT] key. The display varies, depending on
whether Master Keyboard Mode is on or off.
Details about Master Keyboard Mode are given on Page 123.
Master Keyboard Mode is off
Octave
MIDI Transmit Channel
(Oct= +3) INT:128(H16)[Pf:Init Perf ]
(Tch= 1)
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
3. Performance Category/Name
Performance Category
A two-letter abbreviation of the Performance Category
is shown to the left of the Performance Name. This
gives you a rough idea of the Performance’s sound.
Use Knob [A] while holding down the [SHIFT] key
to select the MIDI Transmit Channel (1 to 16).
Master Keyboard Mode is on
Octave
Zone 1 to 4
(Oct= +3) INT:128(H16)[Pf:Init Perf ]
(Tch=MKB 1:ch01 2:ch01 3:ch03 4:off)
Performance Name
SHIFT
PAGE
A
B
C
1
2
DATA
The name of a Performance can consist of up to 10
characters.
PART
/
ELEMENT
Use Knob [B]/[C]/[1]/[2] while holding down the [SHIFT]
key to select the MIDI Transmit Channel (1 to 16).
The notes you play in Performance Play Mode will
be transmitted on this MIDI channel.
When the master keyboard mode is turned off, you
can use the MIDI Ch screen in Utility Mode to set
MIDI transmission channels (Page 166).
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Details about Banks are given on Page 29.
Performance Program Selection
There are four ways in which you can select a
Performance.
3Press a PROGRAM key ([1] to [16]) to select a
Program Number.
Performances can be selected by setting the Memory,
Bank and Program Number as explained in the three
steps given above. The display also shows the
selected Performance.
Using the BANK/PROGRAM keys (CS6x)
Using the [DEC/NO] and [INC/YES] keys
Using the [DATA] knob
Using the Category Search
Using the [INC/YES] and [DEC/NO] keys, the [DATA]
knob or the Category Search function is the same as
selecting the Voice directly in Voice Play Mode. Refer
to Page 75, replacing the word “Voice” with
“Performance.”
1
2
3
4
5
6
7
8
GENERAL
9
QED
10
ARPEGGIO CONTROL
COM LFO
13
EFFECT
14
PROGRAM
PART
11
12
15
16
OSC
PITCH
FILTER
AMPLITUDE
LFO
EQ
PLG
Using the BANK/PROGRAM Keys (CS6x)
1 Press the MEMORY [INT] or [EXT] key and select
the Performance Memory. The selected Performance
Memory indicator in the display will blink.
Multi Edit
(Volume, Pan, Reverb/Chorus
Send, Note Shift)
MEMORY
PRE1
PRE2
You can set the output level (volume), stereo pan and
other parameters for each Part using the graphic editors
on screens 3 to 7. You can, for example, adjust each
Part’s Volume and Pan parameters in real-time while
using the synthesizer as a multitimbral tone generator
with a sequencer.
DRUM
DRUM
INT
EXT
PLG1
PLG2
Method of Setting Up
The same procedure applies to screens 3 to 7.
PFM Mlt) Volume L
Part01 127 Ä ÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇ›
PFM Play)
EQ Low
INT:128(H16)[Pf:Init Perf ]
EQ Mid EQ Hi -1 +0
SHIFT
PAGE
A
B
C
1
2
DATA
Details about Performance Memories are given on Page 29.
PART/ELEMENT
2Press a BANK key ([A] to [H]) to select a Bank.
1
2
3
The Bank indicator in the display will blink.
Press Bank keys [A] to [D] when selecting an EXT
Performance.
1Use the [PAGE] knob to select the screen.
2Use Knob [A] to select the Part. You can choose
from PartCL (Phrase Clip Part), PartAD (A/D Input
Part), PartP1 (Plug-in 1 Part), PartP2 (Plug-in 2
Part), Part01 to Part16 (Voice Part 1 to 16). Apart
from the 7th screen (Note Shift), the Common
(Layer Common) parameters are the same for all
Layer Parts.
MEMORY
PRE1
PRE2
A
B
C
D
E
F
G
H
BANK
DRUM
DRUM
1
2
3
4
1
2
3
4
ELEMENT SELECT
ELEMENT ON
/
OFF
7
INT
EXT
1
2
3
4
5
6
8
GENERAL
9
QED
10
ARPEGGIO CONTROL
COM LFO
13
EFFECT
14
PROGRAM
PART
PLG1
PLG2
11
12
15
16
OSC
PITCH
FILTER
AMPLITUDE
LFO
EQ
PLG
The parameter settings for each Part are shown as a
bar graph, giving you an idea of the overall sound
balance.
You can also use the MEMORY and PART keys on
the front panel to select each Part. The keys relate to
each Part as follows.
PFM Play)
EQ Low
INT:128(H16)[Pf:Init Perf ]
EQ Mid EQ Hi -1 +0
[PRE1/2] key ......................Common (Layer Common)
[INT] key ..............................PartCL (Phrase Clip Part)
[EXT] key ............................PartAD (A/D Input Part)
[PLG1] key ..........................PartP1 (Plug-in 1 Part)
[PLG2] key ..........................PartP2 (Plug-in 2 Part)
PART keys [1] to [16] (CS6x)..Part01 to Part16 (Voice Parts 1 to 16)
If you press the [EXIT] key here, the Performance selection
process is canceled and the original Performance is
reinstated.
If the Bank has already been selected, this step is not
required.
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■ 3rd Screen: PFM Mlt) Volume (Performance
Multi: Volume)
3Use Knob [B] or the [DATA] knob or the [DEC/NO]
and [INC/YES] keys to adjust the parameter settings
for each Part.
Set the output level (volume) of each Part.
4Repeat steps 2 and 3 for each of the other Parts.
PFM*Mlt) Volume
Part01 127
L
*
To avoid losing the settings, make sure you store the
Performance before exiting to another Mode or selecting
another Performance. Details about how to store
Performances are given on Page 141.
›
❏Settings: 0 ~ 127
■ 4th Screen: PFM Mlt) Pan (Performance Multi: Pan)
Reading the Displayed Settings
Set the stereo pan position for each Part.
Screens 3 to 7 have the following functions.
PFM Mlt)
Part01
Pan
L63
L
*
PFM Mlt)NoteSft
Pa
PFM Mlt)ChoSend
Pa
PFM Mlt)RevSend
P
PFM Mlt)
Pa
L
*
›
L
*
L
*
Pan
L
*
❏Settings: L63 ~ C ~ R63
PFM Mlt) Volume
L
*
Part01
127
›
2
1 3
4
■ 5th Screen: PFM Mlt) RevSend (Performance
Multi: Reverb Send)
5
6
For each Part, set the Send level of the signal sent
from Insertion Effect 1/2 (or the bypassed signal) to
the Reverb effect.
Common
PartAD PartP2
PartP01 ~ 16
PartCL PartP1
PFM Mlt)RevSend
Part01 127
L
*
1Parameter: shows the parameter settings
2Part: shows the currently selected Part
›
❏Settings: 0 ~ 127
3Value: shows the setting for the currently
selected Part
■ 6th Screen: PFM Mlt) ChoSend (Performance
Multi: Chorus Send)
4Bar graph: shows the settings for each Part as a
bar graph
For each Part, set the Send level of the signal sent
from Insertion Effect 1/2 (or the bypassed signal) to
the Chorus effect.
Common (Layer Common)
PartCL (Phrase Clip Part)
PartAD (A/D Input Part)
PartP1 (Plug-in 1 Part)
PFM Mlt)ChoSend
Part01 127
L
*
PartP2 (Plug-in 2 Part)
›
Part01 ~ Part16 (Voice Parts 1 ~ 16)
❏Settings: 0 ~ 127
5Layer Switch on/off: displays a “L” mark above
the bar graph for Parts which have their Layer
Switch set to “on.”
■ 7th Screen: PFM Mlt) NoteSft (Performance
Multi: Note Shift)
6Mute on/off: displays a “*” mark above the bar
graph for Parts which are muted. Press the
[ENTER] key to switch mute on/off for the
currently selected Part.
Set the amount (in semitones) by which the pitch of
each Part is offset. You can adjust the offset up or
down by up to two octaves.
If a multitimbral Plug-in board is installed in Plug-in
Slot 2, PartP2 (Plug-in 2 Part) will no longer be
available. However, you will now be able to select
Part17 to Part32 (Voice Parts 17 to 32). A “›” mark
is displayed to the right of the bar graph, indicating
that there are more Parts available. If you select
Part17 to Part32, the bar graph shows the settings
for those Parts.
PFM Mlt)NoteSft
Part01 + 0
L
*
›
❏Settings: -24 ~ 0 ~ +24
PFM Mlt) Volume
Part01 127
L
*
›
PFM Mlt) Volume
Part17 127
Part17~Part32
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the Common Edit screen and screens for editing
each Part individually. When editing individual
Parts, the screens you see will vary depending on
the Part selected. If the synthesizer is in Master
Keyboard Mode (Pages 8, 67), you will be able to set
parameters for each Zone.
In Performance Edit Mode, use Knob [A] to switch
between the screens for Common, Part and Zone
settings.
Performance Edit
You can set Performance Edit parameters. These can
roughly be divided into Common parameters, which
apply to all Parts, and Part-specific parameters. Also,
there are various zone settings for Master Keyboard
Mode (Page 123).
When you enter Performance Edit Mode, you will see
the following screen. The actual display (number of
screens) will vary depending on the Part selected.
Basically, Knob [A] is used to select the type of
parameter you wish to edit (Common/Part/Zone), the
[PAGE] knob is used to switch between the parameter
screens, and Knobs [B], [C], [1] and [2] are used to
enter parameter settings. Alternatively, you can use
the [DATA] knob, and [DEC/NO] and [INC/YES] keys
to enter settings.
Common settings
QED Level) Vol
Common
Pan RevSend ChoSend
+63 -63
127
C
Common
Part settings
MIX Level) Vol
Part01
Pan RevSend ChoSend
C
127
64
0
Part
Zone settings
GEN Name) Ctgry
Common
a-Z
0-? Cursor
[--:Init Perf ]
MKB Transmit)
Zone01
TrnsCh
1
TG
on
MIDI
on
SHIFT
PAGE
A
B
C
1
2
DATA
Zone
SHIFT
PAGE
A
B
C
1
2
DATA
PART
/
ELEMENT
Switch between
screens
Enter setting
PART
/
ELEMENT
Select Common/Part/Zone
You can use Knobs [A] to [C] and Knob [1]/[2] while
holding down the [SHIFT] key to move the cursor to
each respective parameter. The cursor can also be
moved using the [DATA] knob or the [DEC/NO] and
[INC/YES] keys while holding down the [SHIFT] key.
Master Keyboard/Tone Generator Mode (CS6x only)
In Performance Mode, the connection with the CS6x’s
internal tone generator (the signal flow) can be changed
by pressing the [MASTER KEYBOARD] key on the
front panel. If the [MASTER KEYBOARD] key LED is
on, the CS6x enters Master Keyboard Mode and
becomes useful for controlling external tone generators.
If the LED is off, the CS6x exits Master Keyboard Mode
and becomes useful for controlling its internal Parts
from the internal tone generator. The signal flow for
each Mode is as follows.
You must select the Performance you wish to edit before
entering Performance Edit Mode (Page 119). All
parameter settings for each Performance can be stored.
If a multitimbral Plug-in Board has been installed, the
parameters for its Parts will not be stored.
Details about how to enter Performance Edit Mode are
given on Page 21.
Master Keyboard Mode: [MASTER
KEYBOARD] key LED on
Menu Display
When you use the [PAGE] knob while holding down
the [SHIFT] key, the following menu will be
displayed. Use the [PAGE] knob to move the cursor
between items, then release the [SHIFT] key to
jump to the selected item.
MIDI IN
Zone
Split
Layer
ARP
Cursor
MIX Level) Com:>GEN≥QED>ARP>CTL>MEQ>EFF
>MKB
Part01
Part:>MIX>TON>LYR>RCV
MIDI channel
Octave
Transpose
SHIFT
PAGE
A
B
C
1
2
DATA
Note Limit etc.
TG
PART/ELEMENT
MIDI OUT
Part 1 to 16
Part CL
Part AD
Part P1
Part P2
Common/Part/Zone Edit
A Performance can consist of 16 Voice Parts, a
Phrase Clip Part, an A/D Input Part or a Plug-in
Part 1/2 (Page 39). The parameters common to all
Parts are known as a Common Edit. The
121
Performance Edit Mode screens can be divided into
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Tone Generator Mode: [MASTER KEYBOARD]
key LED off
The “Compare” Function
Use this to listen to the difference between the
Performance with your edited settings and the same
Performance prior to editing.
MIDI IN
1Press the [EDIT/COMPARE] key while in
Performance Edit Mode. The íindicator at the
top left of the screen will change to the îindicator
and the [EDIT/COMPARE] key LED will blink.
The Performance settings prior to editing will
temporarily be reinstated for comparison purposes.
MIDI channel
Octave
Transpose
ARP
Note Limit etc.
“Compare” indicator
TG
MIDI OUT
MIXîLevel) Com:>GE
Part01 Part:>MI
Part 1 to 16
Part CL
Part AD
Part P1
Part P2
Editing will not be possible while the “Compare”
function is enabled.
2Press the [EDIT] key again to disable the
“Compare” function and restore the settings for
your edited Performance.
The í(Edit) Indicator
If you alter any parameters in Performance Edit Mode,
the íindicator will be displayed in the top left of the
screen. This gives a quick indication that the current
Performance has been modified but not yet stored.
Performance Store
The edited settings for the current Performance will
be lost if you exit to Performance Play Mode and then
select another Performance or Mode. To avoid losing
important data, you should always use Performance
Store to store your edited Performances after exiting
Performance Edit Mode. Details about the
“Edit” indicator
MIXíLevel) Com:>GE
Part01 Part:>MI
Performance Store procedure are given on Page 141.
When creating a new Performance from scratch, it is
useful, prior to editing, to clear the settings for the
current Performance using the Initialize Performance
function in Performance Job Mode (Page 140).
Even if you exit to Performance Play Mode, the edited
settings for the current Performance will not be lost so
long as you do not select another Performance.
The íindicator will also be displayed in
Performance Play Mode.
The íindicator will also be displayed in Voice Play
Mode if any Sound Control knobs or Assignable
knobs are used.
Common (Settings for all Parts)
Here we explain how to edit common settings for all
Parts in a Performance. There are six Menus available,
each of which consists of multiple screens.
• Common General
• Common Quick Edit
• Common Arpeggio
• Common Controller
• Common Master EQ
• Common Effect
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GEN M.Kbd (General Master Keyboard)
Common General
You can set keyboard splits and layers when using a
Performance in Master Keyboard Mode.
You can set the Performance Name, MIDI channel and
other general parameters in the Common Edit screens. The
following three screens are available for general settings.
GENíM.Kbd) Mode
Common (split)
Lower
ch01
Upper
ch02
Point
C 3
GEN Name (General Name)
GEN MIDI (General MIDI)
GEN M.Kbd (General Master Keyboard)
■ Mode
Set the keyboard Mode. The following three Modes
are available. If the [MASTER KEYBOARD] key
LED on the front panel is off, these Modes are not
available and brackets are shown in the display.
GEN Name (General Name)
You can set a Performance Name consisting of up to 10
characters (alphabetic or numeric) and/or symbols.
You can also select the Category Name to the left of the
Performance Name.
❏Settings: split, 4zone, layer
split:
Category Name Performance Name
Splits the keyboard into a left-hand (lower) section and a
right-hand (upper) section, assigning a different MIDI
channel and Part to each section.
GENíName) Ctgry
C 1234
a-Z
0-? Cursor
[Pf:Init Voice]
4zone:
The method of setting the Performance Name is the same
as for the Voice Name. Details are given on Page 80.
Splits the keyboard into a maximum of four zones,
assigning a different MIDI channel and Part to each zone.
Parameters can be set separately for each zone (Page 137)
when you press the [ENTER] key.
GEN MIDI (General MIDI)
You can set the MIDI In/Out channel parameters for
the Performance.
layer:
Layers up to two Zone (Part) over the keyboard. This is
useful for creating rich and thick sounds.
GENíMIDI)
Common
ArpOut
on
ArpCh LayerCh
1 BasicCh
■ Lower
When the Mode (see above) has been set to “split,”
this sets the MIDI channel assigned to notes at and
below the split point. The Part or Voice set to this
MIDI channel will be played when you press notes
at and below the split point. When the Mode is set
to “layer,” the MIDI channel for one layered Zone
(Part) is set here.
■ ArpOut (Arpeggio Out)
Switch the Arpeggiator phrase MIDI output on or off.
❏ Settings: off, on
■ ArpCh (Arpeggio Channel)
❏Settings: ch01 ~ ch16
Set the Arpeggiator’s MIDI Channel. The arpeggio
will play to Parts and Voices set to this MIDI
Channel. If you choose Kbdch (Keyboard Channel),
the Arpeggiator will use the MIDI Transmit Channel
set in Utility Mode (Page 166).
■ Upper
When the Mode (see above) has been set to “split,” this
sets the MIDI channel assigned to notes above the split
point. The Part or Voice set to this MIDI channel will
be played when you press notes above the split point.
When the Mode is set to “layer,” the MIDI channel for
the other layered Zone (Part) is set here.
❏Settings: 1 ~ 16, KbdCh (Keyboard Channel)
■ LayerCh (Layer Channel)
Set the MIDI Channel of the Layer Part. All Layer
Parts (up to four) will use the same MIDI Channel
set here. If you choose BasicCh (Basic Receive
Channel), all Layer Parts will use the Basic Receive
Channel set in Utility Mode (Page 166).
❏ Settings: ch01 ~ ch16
You can also quickly set the Upper/Lower MIDI channels
using the PART keys [1] to [16]. Press and hold one
PART key, then press another. The number of the first
key is set as the Upper MIDI channel while the number
of the second key is set as the Lower MIDI channel.
❏Settings: 1 ~ 16, BasicCh (Basic Receive Channel)
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■ Point
When the Mode (see earlier) has been set to “split,”
QED Level (Quick Edit Level)
You can set output level and pan parameters for each
Layer Part. The settings are also available in the Part
Edit screens.
this sets the split point. The actual note of the split
point will be assigned to the upper section.
You can also select the split point by pressing the note
while holding down the [SHIFT] key.
QEDíLevel) Vol
Common
Pan RevSend ChoSend
63 63
■ Settings: C-2 ~ G8
127
C
Master Keyboard settings (for split/layer)
■ Vol (Volume)
Split
Layer
Prameter Name
Zone1 Zone2 Zone3 Zone4 Zone1 Zone2 Zone3 Zone4
Set the output level of the Layer Part.
TrnsCh
ch
on
on
+0
+0
C-2
p
ch+1
on
on
+0
+0
p
ch
off
off
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
ch
off
off
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
ch
on
on
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
ch+1
on
on
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
ch
off
off
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
ch
off
off
+0
+0
C-2
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
■ Settings: 0 ~ 127
TG
MIDI
Octave
■ Pan
Transpose
Set the stereo pan position of the Layer Part. You
can also adjust this parameter using the [PAN] knob
on the front panel of the CS6x.
Note Limit Low
Note Limit High
G8
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
Transmit Switch PB
Transmit Switch MW
Transmit Switch KnobA-C
Transmit Switch Knob1/2
Transmit Switch RB
Transmit Switch FC
Transmit Switch BC
Transmit Switch AT
Transmit Switch FS
Transmit Switch Sus
Transmit Switch Vol/FV
Transmit Switch Pan
Transmit Switch Bank Select
Transmit Switch Program Change
Transmit Preset Volume
Transmit Preset Pan
Transmit Preset Bank MSB
Transmit Preset Bank LSB
Transmit Preset PC
CS Control Number Assign
on
on
on
on
on
on
on
on
on
on
on
on
off
off
100
C
■ Settings: L63 (Left) ~ C (Center) ~ R63(Right)
■ RevSend (Reverb Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb
effect. You can also adjust this parameter using the
[REVERB] knob on the front panel of the CS6x.
■ Settings: 0 ~ 127
■ ChoSend (Chorus Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus
effect. You can also adjust this parameter using the
[CHORUS] knob on the front panel of the CS6x.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
7
7
7
7
7
7
7
7
■ Settings: 0 ~ 127
ch: Keyboard transmit channel
p: split point
Details about each parameter are given on page 137.
QED EF (Quick Edit Effect)
You can set the amount of Chorus applied to the Layer
Part, as well as Portamento settings.
For more information about Master Keyboard Mode,
refer to page 67.
Common Quick Edit
QEDíEF)
Common
Chorus Portamento-Time
-63 off 127
You can set various parameters governing the sonic
properties of the Layer Part, and many can be edited
using the Sound Control knobs on the front panel of
the CS6x. The following four screens are only
available when the Layer switch (Page 133) for each
Part is set to “on.”
■ Chorus
Set the Return level of the Chorus effect as an offset
value.
■ Settings: -64 ~ 0 ~ +63
QED Level (Quick Edit Level)
QED EF (Quick Edit Effect)
QED Filter (Quick Edit Filter)
QED EG (Quick Edit Envelope Generator)
■ Portamento
Switch Portamento on or off. You can also set this
using the PORTAMENTO [ON/OFF] key on the
front panel of the CS6x.
■ Settings: off, on
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■ Time
Set the pitch transition time. Higher values mean
■ Attack
Set the transition time from the moment a key on
the keyboard is pressed to the point at which the
output level of the Layer Part reaches its peak. You
can also adjust this parameter using the [ATTACK]
knob on the front panel of the CS6x.
longer transition times. You can also set this using
the PORTAMENTO knob on the front panel of the
CS6x.
❏Settings: -64 ~ 0 ~ +63
❏Settings: -64 ~ 0 ~ +63
QED Filter (Quick Edit Filter)
■ Decay
These parameters control filters which govern the tonal
quality of the Voice. If you are using LPF (Low Pass Filter)
and HPF (High Pass Filter) combined together, the
parameters in the QED Filter screen only affects LPF.
Set the transition time from the point at which the
output level of the Layer Part reaches its peak to the
point at which it levels off. You can also adjust this
parameter using the [DECAY] knob on the front
panel of the CS6x.
QEDíFilter)
Common
Cutoff
+63
Reso
+63
❏Settings: -64 ~ 0 ~ +63
■ Sustain
Set the output level of the Layer Part maintained
while the key on the keyboard is being held down.
You can also adjust this parameter using the
[SUSTAIN] knob on the front panel of the CS6x.
■ Cutoff
Raise or lower the Cutoff frequency for each Voice of
a Layer Part. You can also adjust this parameter
using the [CUTOFF] knob on the front panel of the
CS6x.
❏Settings: -64 ~ 0 ~ +63
❏Settings: -64 ~ 0 ~ +63
■ Release
Set the transition time from the point at which the
key on the keyboard is released to the point at which
the output level of the Layer Part reaches zero. You
can also adjust this parameter using the [RELEASE]
knob on the front panel of the CS6x.
■ Reso (Resonance)
Set the amount of Resonance (harmonic emphasis)
applied to the signal at the Cutoff frequency. You
can also adjust this parameter using the
[RESONANCE] knob on the front panel of the
CS6x.
❏Settings: -64 ~ 0 ~ +63
❏Settings: -64 ~ 0 ~ +63
Common Arpeggio
The following four screens govern the behavior of the
Arpeggiator. The parameters are the same as those
used in Voice Edit Mode. Details are given on Page 82.
QED EG (Quick Edit Envelope Generator)
The EG (Envelope Generator) controls the transition in
output level over time for each Voice in a Layer Part.
There are four parameters governing the transition in
output level from the moment a note is pressed on the
keyboard to the moment it is released or the point at
which the output level has faded to zero. These Layer
Part settings make use the each of the Part Edit settings.
To use the Arpeggiator in Performance Mode, the Arpeggio
and Layer Switches (Page 133) must be set to “on.”
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
QEDíEG) Attack
Common +63
Decay Sustain Release
+63 +63 +63
Level
Common Controller
You can assign MIDI Control Change Numbers to the
controls and front panel knobs. For example, Knob
[1]/[2] can be set to control the amount of effect
applied to a sound and the Foot Controller can be set to
control modulation. You can set different Control Set
assignments for each Performance.
Sustain
Level
Time
Attack Decay
Time Time
Release
Time
The following two Control Set screens are available.
CTL Assign1 (Controller Assign 1)
CTL Assign2 (Controller Assign 2)
Key on
Key off
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■ Mode
Set the behavior of the Ribbon Controller. If you
CTL Assign1(Controller Assign 1)
Use Knobs [C], [1] and [2] to assign Control Numbers
to the Breath Controller, Knob [1] and Knob [2],
respectively. The selected function is shown on the left
of the display.
select “hold,” the parameter controlled by the
Ribbon Controller will hold its value even after you
release it. If you select “reset,” the value returns to
its default setting at the center of the Ribbon
Controller strip.
Control Change Name
Control Change Numbers
CTLíAssign1)
Common [FootCtrl]
BC
02
Knob1
16
Knob2
17
❏Settings: hold, reset
SHIFT
PAGE
A
B
C
1
2
DATA
Common EQ (Equalizer)
PART
/
ELEMENT
You can assign any of five different Equalizer bands to
the entire Performance. The following five screens are
available.
■ BC (Breath Controller)
Set Control Change Number assigned to the Breath
Controller. The Breath Controller is connected to
the BREATH jack (Page 18).
EQ Low
EQ LowMid (Low-Middle Range)
EQ Mid (Middle Range)
EQ HighMid (High-Middle Range)
EQ High
❏Settings: Details are given in the separate Control List.
■ Knob1/2
Q (Frequency Characteristic)
Gain
Set Control Change Numbers assigned to Knobs [1]
and [2] on the front panel.
0
CTL Assign2 (Controller Assign 2)
Freq (Frequency)
Use Knobs [C] and [1] to assign Control Change
Numbers to the Foot Controller and Ribbon Controller,
respectively. The selected function is shown on the left
of the display. Use Knob [2] to select the Ribbon
Controller Mode.
EQ Low
Mode
Control Change Name
This Equalizer covers low frequencies. You can adjust
the signal level at the specified frequency. You can also
select different Equalizer types (Shapes).
CTLíAssign2)
Common [FootCtrl]
FC
04
RB----Mode
PB reset
Control Change Number
SHIFT
PAGE
A
B
C
1
2
DATA
MEQíLow) Shape
Common peak
Gain
+12dB
Freq
50Hz
Q
12.0
PART
/
ELEMENT
■ Shape
■ FC (Foot Controller)
Assign a Controller Change Number to the Foot
Select either a Shelving or Peaking equalizer. The
Peaking type attenuates/boosts the signal at the
specified Frequency setting, whereas the Shelving
type attenuates/boosts the signal at frequencies
above or below the specified Frequency setting.
Controller. The Foot Controller is connected to the
FOOT CONTROLLER jack on the rear panel (Page 18).
❏ Settings: Details are given in the separate Control List.
❏Settings: shelv (Shelving), peak (Peaking)
■ RB (Ribbon Controller)
Assign a Control Change Number to the Ribbon
Controller on the front panel. The Ribbon
Controller’s behavior depends on the Mode
parameter setting.
shelv (Shelving)
+
0
-
❏Settings: Details are given in the separate Control List.
EQ Low EQ Low
Freq1 Freq2
Frequency
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peak (Peaking)
■ Freq (Frequency)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
+
❏Settings: 100Hz ~ 10.0kHz
Gain
0
-
■ Q (Frequency Characteristic)
Frequency
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
❏Settings: 0.1 ~ 12.0
Freq
EQ High
■ Gain
This Equalizer covers high frequencies. You can adjust
the signal level at the specified frequency. You can also
select different Equalizer types (Shapes).
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
❏Settings: -12dB ~ 0dB ~ +12dB
MEQíHigh) Shape
Common peak
Gain Freq
+12dB 0.5kHz
Q
12.0
■ Freq (Frequency)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
■ Shape
❏Settings: 32Hz ~ 2.0kHz
Select either a Shelving or Peaking equalizer. The
Peaking type attenuates/boosts the signal at the
specified Frequency setting, whereas the Shelving
type attenuates/boosts the signal at frequencies
above or below the specified Frequency setting.
■ Q (Frequency Characteristic)
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
❏Settings: 0.1 ~ 12.0
❏Settings: shelv (Shelving), peak (Peaking)
■ Gain
0.1
+
12.0
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
0
❏Settings: -12dB ~ 0dB ~ +12dB
Frequency
■ Freq (Frequency)
-
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
Freq
❏Settings: 500Hz ~ 16.0kHz
■ Q (Frequency Characteristic)
EQ LowMid (Low-Middle Range)
EQ Mid (Middle Range)
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
❏Settings: 0.1 ~ 12.0
EQ HighMid (High-Middle Range)
These Equalizers cover low-to-middle, middle and high-
to-middle frequency ranges. They can be used to adjust
the signal level around the specified frequency.
Common Effect
You can set two types of Insertion Effects, plus two
System Effects (Reverb and Chorus). The following
three screens are available.
LowMid
MEQíLowMid)
Common
Gain
+12dB
Freq
100Hz
Q
12.0
EFF Part
EFF Rev (Reverb)
EFF Cho (Chorus)
Mid
MEQíMid)
Common
Gain
+12dB
Freq
100Hz
Q
12.0
EFF Part
HighMid
MEQíHighMid)
Common
Gain
+12dB
Freq
100Hz
Q
12.0
EFFíPart)
Common
---- InsEF ---- PLG-EF
part16 partP1 part10
■ Gain
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
❏Settings: -12dB ~ 0dB ~ +12dB
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■ InsEF (Insertion Effect)
■ Type (Chorus Effect Type)
Assign a Part to an Insertion Effect. Select “off” if
you do not wish to assign the Part to an Insertion
Effect. Furthermore, if Plug-in Boards have been
installed, they will also be selectable as Plug-in Parts
1 and 2.
Set the Chorus Effect Type.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ toRev (To Reverb)
Set the Send level of the signal sent from the Chorus
Effect to the Reverb Effect.
❏Settings:
normal Part:
Part01 ~ Part16, PartAD (A/D Input Part), PartCL (Phrase
Clip Part), off
❏Settings: 0 ~ 127
Plug-in Part (if installed):
PartP1 (Plug-in Part 1), PartP2 (Plug-in Part 2), off
■ Return
Set the Return level of the Chorus Effect.
❏Settings: 0 ~ 127
■ PLG-EF (Plug-in Effect)
Assign a Part to the Plug-in Effect. Select “off” if
you do not wish to assign the Part to a Plug-in
Effect. These parameters are only available if an
Insertion Effect Plug-in board has been installed.
If an Insertion Effect Plug-in Board has been installed,
you will see the EFF Plg (Plug-in) screen following the
EFF Cho (Chorus) screen.
❏Settings:
normal Part:
Effect Parameter Settings
The EFF Rev and EFF Cho parameter screens are
available when you select the Effect and press the
[ENTER] key. If an Insertion Effect Plug-in Board
has been installed, you can enter the parameters for
the Plug-in Effect at the EFF Plg (Plug-in) screen.
Use the [PAGE] knob to switch between screens,
and use the other knobs and the [INC/YES] and
[DEC/NO] keys to set each parameter.
Part01 ~ Part16, PartAD (A/D Input Part), PartCL (Phrase
Clip Part), off
EFF Rev (Reverb)
You can select the Reverb Effect Type and set its
parameters by pressing the [ENTER] key.
When you press the [EXIT] key, you will be
returned to the Effect Type selection screen.
EFFíRev) Type
Common
Return [ENTER]
127 to Edit
Basement
EFFíRev) Type
Common Basement
Return [ENTER]
127 to Edit
■ Type (Reverb Effect Type)
Set the Reverb Effect Type.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
EXIT
ENTER
■ Return
Set the Return level of the Reverb Effect.
❏Settings: 0 ~ 127
EFFíRev)RevTime InitDly RevDly
Basement
Pan
C
0.6s
4.8ms 5.05ms
EFF Cho (Chorus)
SHIFT
PAGE
A
B
C
1
2
DATA
You can select the Chorus Effect Type and set its
parameters by pressing the [ENTER] key.
PART/ELEMENT
EFFíCho) Type
Common Chorus1
toRev Return [ENTER]
127 127 to Edit
The number of Parameters and the contents of each
screen will vary depending on the selected Effect
Type. Details are given in the Effect Types list of
the separate Data List.
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Use Knob [B] to select PLG1/2INT (internal memory)
and the MSB/LSB (Plug-in Board’s Bank), and use
Knob [C] to select the Program Number.
Part (Settings for each Part)
You can edit each Part in a Performance. Use Knob [A]
to select the Part, then set its parameters. The
following six screens are available, though their
contents will vary according to the Part selected.
MIXíVce)
PartP1 NORM/001:128(H16)[Pf:GrandPiano]
Bank Number Ctgry
Search
• Part Mixer
• Part Tone
■ Bank
• Part Layer
❏Settings:
PartP1/P2 (Plug-in 1/2): PLG1/2 INT (Plug-in 1/2
Internal), MSB/LSB (Plug-in Bank)
• Part Receive switch
• Part Controller
• Part Insertion Effect
For details about Plug-in Banks (Bank Select
MSB/LSB), refer to the Owner’s Manual that came with
your Plug-in Board.
Part Mixer
You can set various Voice output parameters for each
Part. The following two screens are available.
■ Number (Program Number)
❏Settings:
PLG1/2 INT (Plug-in 1/2 Internal): 1 ~ 64
MSB/LSB (Plug-in Bank): 1 ~ 128
MIX Vce (Mix Voice)
MIX Level
There may be a delay when changing programs for Plug-in
Parts (since voice data and default settings need to be sent).
To change Voices for Plug-in Parts in a song, you should
insert the Program Changes in the less data-intensive areas
of the song. When selecting a Plug-in Board Voice, you
should use the Program Number of the Parameter Change
(multi-part). Details are given in the Owner’s Manual that
comes with the Plug-in Board.
The MIX Vce (Mix Voice) screen will change to the Mix
Kit or Mix Template screen, respectively, if PartCL (Phrase
Clip Part) or PartAD (A/D Input Part) has been selected.
MIX Vce/Kit/Template
(Mix Voice/Kit/Template)
In Performance Mode, the Part assignments for Plug-in
Boards are fixed at “16” for PLG1 and “15” for PLG2.
You can assign a Voice/Kit/Template to each Part. Use
Knob [A] to select the Part, then set its
Voice/Kit/Template parameters. The display will vary
as follows according to the Part selected.
For details about Plug-in Voices, refer to the Owner’s
Manual that came with your Plug-in Board.
• If Part17 to Part32 has been selected
• If Part01 to Part16 has been selected
You can use the same method as the Category Search
(Page 77) to set the Voice.
You can set Voices for Parts 17 to 32 if you have a
multitimbral Plug-in board installed. Use Knob [B] to
select the Voice Bank and Knob [C] to select the
Program Number.
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:128(H16)[Pf:GrandPiano]
MIXíVce) Bank Number
Part17 NORM/001:001(A01)[Pf:GrandPno]
■ Bank/Number (Bank/Program Number)
■ Memory (Voice Memory)
❏Settings: Refer to the Owner’s Manual that came with the
❏Settings:
Plug-in board.
PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal Normal),
EXT (External Normal), PRE (Preset Drum), INT
(Internal Drum), EXT (External Drum)
This setting is only held temporarily and cannot be
stored with the Performance.
■ Number (Program Number)
• If PartCL (Phrase Clip Part) has
been selected
Select the Phrase Clip Kit used for the Phrase Clip Part.
❏Settings:
1 ~ 128 (for Normal Voices), DR1 ~ DR8 (for Preset
Drum), DR1 ~ DR2 (for Internal/External Drum)
Details about Categories are given in the Category List
on Page 80.
MIXíKit)
PartCL
Number
001(A01)[Dr:Clip Kit]
• If PartP1/PartP2 (Plug-in 1/2)
has been selected
Set the Voice for the Plug-in 1/2 Part. This screen is
only displayed if a Plug-in Board has been installed.
■ Number (Kit Number)
❏Settings: 1 ~ 4
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■ Vol (Volume)
• If PartAD (A/D Input Part) has
been selected
An audio source connected to the A/D INPUT jack can
be used as a Part. There are 13 different templates for
Effect Type and Gain settings. Select the A/D Input
Part source and the template.
Set the output level of the Part.
❏Settings: 0 ~ 127
■ Pan
Set the stereo pan position of the Part.
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
MIXíTemplate)Src Number
PartAD keybaord
--[InsEF off ]
■ RevSend (Reverb Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb
effect.
■ Src (Source)
Select the source connected to the A/D INPUT jack.
❏Settings: 0 ~ 127
❏Settings: mic (microphone), guitar, keyboard, audio
■ ChoSend (Chorus Send)
■ Number (Template Number)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus
effect.
Select the Template Number. You can choose from
13 templates for each source.
❏Settings: 0 ~ 12
❏Settings: 0 ~ 127
Number
0
1
2
3
4
5
6
Src
Part Tone
You can set Filter, Envelope Generator and other
parameters controlling the tonal characteristics of each
Part. The following four screens are available.
MIC
PresetName Off
Mic
mic
-
Reverb
Chorus
Cho+Rev Karaoke1 Karaoke2
InputGain
VariType
mic
-
mic
-
mic
-
mic
-
mic
mic
Karaoke1 Karaoke2
GUITAR PresetName Off
Guitar
mic
-
Reverb
Chorus
Cho+Rev Tube
Stack
mic
InputGain
VariType
mic
-
mic
-
mic
-
mic
-
mic
AmpSim. AmpSim.
TON Filter (Tone Filter)
KEYBOARD PresetName Off
Keyboard Reverb
Chorus
Cho+Rev PhaserEP PanEP
InputGain
VariType
line
-
line
-
line
-
line
-
line
-
line
line
TON EG (Tone Envelope Generator)
TON Portamento (Tone Portamento)
TON Other (Tone Other)
Phaser1 AutoPan
AUDIO
PresetName Off
Audio
line
-
Reverb
Chorus
Cho+Rev Audio
Audio
line
-
InputGain
VariType
line
-
line
-
line
-
line
-
line
-
Number
Src
7
8
9
10
11
12
TON Filter (Tone Filter)
You can use filters to adjust the tone of each part. If
the filter is an LPF and HPF combination, the Cutoff
parameter applies to the LPF.
MIC
PresetName Karaoke3 Echo
Vocal
mic
Studio
mic
OctUp
mic
OctDown
mic
InputGain
VariType
mic
mic
Karaoke3 Echo
Stage1
Exciter
PitChange1 PitChange1
GUITAR PresetName FlangGtr CleanGtr FuncGtr Tremolo Phaser
5thGuitar
mic
InputGain
VariType
mic
mic
mic
mic
mic
Flanger1 Celeste3 TouchWah2 Tremolo Phaser1 PitChange1
KEYBOARD PresetName WahClavi RotaryOrg SynthStr SynthPad SynthLead SFX
InputGain
VariType
line
line
line
line
line
line
TouchWah1 RotarySp. Symphonic Flanger2 DelayLCR PitChange1
TONíFilter)
Part01
Cutoff
+63
Reso
+63
AUDIO
PresetName Audio
Audio
line
-
Audio
line
-
Audio
line
-
Audio
line
-
Audio
line
-
InputGain
VariType
line
-
This screen is not available for the A/D Input Part.
Details about the Filter are given on Page 93.
If the InsEF parameter of the EFF Part screen is set to
something other than PartAD, “InsEF Off” will be
displayed and this parameter will not be available.
■ Cutoff
Raise or lower the Cutoff frequency for each
Element of a Part.
MIX Level
You can set output level, pan, effect send and other
parameters for each Part. This is useful when setting
up the levels of each Part in a mix.
For each Element, if a combined Low Pass and High
Pass Filter is being used, this parameter adjusts the
Cutoff frequency of the Low Pass Filter.
❏Settings: -64 ~ 0 ~ +63
MIXíLevel) Vol
Part01 127
Pan RevSend ChoSend
64
C
0
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■ Reso (Resonance)
■ Release
Set the amount of Resonance (harmonic emphasis)
applied to the signal at the Cutoff frequency. This
adds further character to the sound.
Set the transition time from the point at which the
note on the keyboard is released to the point at
which the output level of the Part reaches zero. A
positive value will lengthen the transition time and a
negative value will shorten it.
❏Settings: -64 ~ 0 ~ +63
This parameter is not available for Phrase Clip or Drum
Voice Parts.
TON EG (Tone Envelope Generator)
You can set EG (Envelope Generator) parameters for
each Part. There are four parameters governing the
transition in output level from the moment a note is
pressed on the keyboard to the moment it is released or
the point at which the output level has faded to zero.
❏Settings: -64 ~ 0 ~ +63
TON Portamento (Tone Portamento)
You can set the following three Portamento parameters
for each Part.
This screen is not available for the A/D Input Part.
For more information, refer to a diagram that illustrate the
concept of Envelope Generator, which you can find in Voice
or Phrase Clip Edit Mode sections.
This screen is not available for A/D Input, Phrase Clip or
Drum Voice Parts.
Part 1 to 16
Part 1 to 16
TONíPortamento) Switch
Part01
Time Mode
127 fulltime
on
TONíEG) Attack
+ 0
Decay Sustain Release
+ 0
Part01
+ 0
+ 0
Plug-in 1/2 Part
Multi Plug-in Part
Plug-in 1/2 Part
Multi Plug-in Part
TONíPortamento) Switch
Part17 on
Time
127
TONíEG) Attack
PartP1
Decay
+ 0
Release
+ 0
+ 0
■ Switch (Portamento switch)
Phrase Clip Part
Drum Voice Part
Switch Portamento on or off. With Portamento
switched on, there will be a smooth transition in
pitch from the first note played to the next note.
TONíEG) Attack
PartCL + 0
Decay
+ 0
❏Settings: off, on
■ Time (Portamento Time)
Set the pitch transition time. Higher values mean
longer transition times.
■ Attack
Set the transition time from the moment a key on
the keyboard is pressed to the point at which the
output level of the Part reaches its peak. A positive
value will lengthen the transition time and a
negative value will shorten it.
❏Settings: 0 ~ 127
■ Mode (Portamento Mode)
Select the Portamento Mode. The Portamento Mode
behavior varies according to the Part Mode (mono/poly)
setting in the LYR Mode screen (Page 133).
❏Settings: -64 ~ 0 ~ +63
■ Decay
This parameter is not available for Plug-in 1/2 and
Multi Plug-in Parts.
Set the transition time from the point at which the
output level of the Part reaches its peak to the point at
which it levels off. A positive value will lengthen the
transition time and a negative value will shorten it.
❏Settings: fingered, fulltime
If Part Mode is set to “mono”:
fingered:
❏ Settings: -64 ~ 0~ +63
Portamento is applied when the keyboard is played legato (a
note is played before the previous note is released).
■ Sustain
full:
Set the output level of the Part maintained while the
key on the keyboard is being held down.
Portamento is applied for all playing styles.
If Part Mode is set to “poly”:
Portamento is applied to multiple notes.
This parameter is not available for Plug-in, Phrase Clip
or Drum Voice Parts.
❏Settings: -64 ~ 0 ~ +63
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Offset (Velocity Offset)
As illustrated below, the velocity will be increased by
the specified amount.
TON Other (Tone Other)
You can set Pitch Bend Range and Velocity Sensitivity
parameters for each Part.
Changes to velocity curve according to VelDepth
(with offset set to 64)
These screens are not available for the A/D Input Part.
Velocity at
tone generator
Part 1 to 16
Depth=64
Offset=96
Depth=64
Offset=64
Offset=127
TONíOther) Pitch Bend VelDepth-Offset
Part01
-12 - +12
127
64
Plug-in 1/2 Part
Multi Plug-in Part
Phrase Clip Part
Drum Voice Part
Depth=64
Offset=32
Depends on
offset
Offset=+96
TONíOther) Pitch Bend VelDepth-Offset
127
Offset=64
Velocity=1
Depends on
offset
PartP1
+12
64
Received
Velocity
■ Pitch Bend
Set the amount (in semitones) by which the Voice
pitch changes when the Pitch Bend Wheel is moved.
For example, a Lower setting of -12 means that the
pitch of the Voice drops by up to an octave when the
Pitch Bend Wheel is moved downwards. An Upper
setting of +12 means that the pitch of the Voice
rises by up to an octave when the Pitch Bend Wheel
is moved upwards.
Offset=-32
Part Layer
You can set various MIDI parameters for each Part,
including MIDI Receive Channel, Arpeggiator switch,
note limit and velocity. These parameters are largely
used when layering multiple Parts. The following four
screens are available.
The Lower parameter is only available for Normal
Voice Parts (Parts 1 to 16).
❏Settings:
LYR Mode (Layer Mode)
LYR Limit (Layer Limit)
LYR Tune (Layer Tune)
LYR Out (Layer Out)
Lower (Left):
-48 ~ 0 ~ +24
Upper (Right):
-48 ~ 0 ~ +24 (or –24 ~ 0 ~ +24 for Plug-in 1/2 and
Multi Plug-in Parts)
LYR Mode (Layer Mode)
You can set the method by which each Part is output.
The parameters will vary according to the Part selected.
■ VelDepth-Offset (Velocity Sensitivity Depth/Offset)
Set the velocity sensitivity and velocity offset for
each Part.
Part 1 to 16
Plug-in 1/2 Part
❏Settings:
VelDepth (Velocity Sensitivity): 0 ~ 127
Offset (Velocity Offset): 0 ~ 127
LYRíMode) Mode
Part01
Arp
on
Layer
off
RcvCh
1
poly
VelDepth (Velocity Sensitivity Depth)
As illustrated below, a large setting will cause large changes
in velocity when you play the keyboard.
Phrase Clip Part
Drum Voice Part
Changes to velocity curve according to VelDepth
(with offset set to 64)
LYRíMode)
Part01
Arp
on
Layer
off
RcvCh
1
Depth=127
Depth=64
Offset=64
Offset=64
Velocity at
tone generator
A/D Input Part
Multi Plug-in Part
Depth=32
Offset=64
LYRíMode)
PartAD
RcvCh
1
Depth=0
Offset=64
Offset=64
Received Velocity
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■ Mode
Select whether each Part is played back
■ Vel Limit
Set the minimum and maximum values of the
velocity range within which each Part will respond.
Each Part will only sound for notes played within its
specified velocity range.
monophonically (single notes only) or
polyphonically (multiple simultaneous notes).
This parameter is only available for Normal Voice Parts
1 to 16 and Plug-in 1/2 Parts.
■ Settings: 1 ~ 127 (for the minimum and maximum values)
■ Settings: mono, poly
If you specify the maximum value first and the minimum
value second, for example “93 to 34,” then the velocity
range covered will be “1 to 34” and “93 to 127.”
■ Arp (Arpeggio switch)
Switch the Arpeggiator for the currently selected
Part on or off.
LYR Tune (Layer Tune)
This parameter is not available for A/D Input and Multi
Plug-in Parts.
You can set note shift and tuning parameters for each
Part.
■ Settings: off, on
These parameters are not available for the A/D Input Part.
■ Layer (Layer switch)
When switched on, you can layer up to four Parts.
LYRíTune)
Part01
NoteShift
+24
Detune
+12.7
This parameter in not available for A/D Input and Plug-
in Parts.
■ Settings: off, on
■ NoteShift
You can also set the overall output level and stereo pan
position of the Layer when this is switched on (Page 119).
Adjust the pitch of each Part in semitones.
■ Settings: -24 ~ +24
Layers may be slow to sound, depending on their
component Parts.
■ Detune
If you turn five or more Layer Switches “on,” only four
Parts are enabled for the layer. These four Parts are
determined in the priority of Part01 to Part16, PartCL,
PartAD, PartP1, then PartP2. For disabled Parts, their
Layer switch values will be shown in brackets like “(on).”
Offset (detune) the pitch of each Part by a very small
amount.
■ Settings: -12.8Hz ~ +12.7Hz
■ RcvCh (MIDI Receive Channel)
Set the MIDI Receive Channel for each Part. Select
“off” for Parts that you do not want to respond to
MIDI.
LYR Out (Layer Out)
You can select outputs for each Part.
■ Settings: 1 ~ 16, off
LYRíOut)
Part01
Output
L&R
InsEF
(off)
LYR Limit (Layer Limit)
You can set note ranges and velocity limits for each Part.
■ Output
Assign each Part to an output.
These parameters are not available for the A/D Input Part.
■ Settings: L&R (Left and Right outputs), ind 1&2
(Individual Output 1&2) ind1 (Individual
LYRíLimit)
Part01
Note Limit
C-2 - G 8
Vel Limit
1 - 127
Output 1), ind2, ind3, ind4, ind5, ind6, drum
For example, if you choose “L&R,” the left channel will
be output through OUTPUT L and the right channel
will be output through OUTPUT R. Alternatively, if
you choose “ind1,” the left and right signals will be
merged and output monaurally through INDIVIDUAL
OUTPUT 1.
■ Note Limit
Set the lowest and highest notes of the keyboard
range for each Part. Each Part will only sound for
notes played within its specified range.
Settings “ind3 to “ind6” are for future expansion
purposes and are currently not available.
■ Settings: C-2 ~ G8 (for the lowest and highest notes)
If you specify the highest note first and the lowest note
second, for example “C5 to C4,” then the note range
covered will be “C-2 to C4” and “C5 to G8.”
You can select “drum” for Drum Voice and Phrase Clip
Parts. If you select “drum” for a Drum Voice Part, the
output settings for each Drum Key (Page 105) are used.
If you select “drum” for the Phrase Clip Part, the output
settings for each Clip key (Page 151) are used.
You can set the lowest and highest notes in the range by
pressing notes on the keyboard while holding down the
[SHIFT] key.
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Parts 1 to 16
Drum Voice Part
Phrase Clip Part
■ InsEF (Insertion Effect)
Shows the on/off status of the Insertion Effects. If
“on” is displayed, this means that the Part’s signal is
being sent to the Insertion Effect Unit.
RCVíSw2) Knob1
on
Knob2
off
BC
on
FC
off
Part01
Insertion Effect switches for each Part are set in the
EFF Part screen (Page 127).
❏Settings:
Knob1 (Knob [1]): off, on
Knob2 (Knob [2]): off, on
BC (Breath Controller): off, on
FC (Foot Controller): off, on
Part Receive Switch
Each Part can be set to receive Control Change and
Program Change messages. The following four screens
are available.
RCV Sw3 (Receive Switch 3)
When set to “on,” each Voice in each Part will receive
volume, pan, sustain pedal, foot switch and Control
Change messages.
RCV Sw1 (Receive Switch 1)
RCV Sw2 (Receive Switch 2)
RCV Sw3 (Receive Switch 3)
RCV Sw4 (Receive Switch 4)
Parts 1 to 16
RCVíSw3)
Part01
Vol
on
Pan
off
Sus
on
FS
off
RCV Sw1 (Receive Switch 1)
When set to “on,” each Voice in each Part will receive
Control Settings (PB, MW, RB, AT) and Control
Change messages. The Controller parameters will vary
according to the Part selected.
Plug-in 1/2 Part
Multi Plug-in Part
RCVíSw3)
Part01
Vol
on
Pan
off
Sus
on
This screen is not available for the A/D Input Part.
Drum Voice Part
Phrase Clip Part
A/D Input Part
Parts 1 to 16
Drum Voice Part
Phrase Clip Part
RCVíSw3)
PartAD
Vol
on
Pan
off
FS
off
RCVíSw1)
Part01
PB
on
MW
off
RB
on
AT
off
❏Settings:
Vol (Volume): off, on
Pan: off, on
Sus (Sustain): off, on
FS (Foot Switch): off, on
Plug-in 1/2 Part
Multi Plug-in Part
RCVíSw1)
PartP1
PB
on
MW
off
AT
off
RCV Sw4 (Receive Switch 4)
When set to “on,” each Voice in each Part will receive
Program Change and Control Change messages when
you change Performance Bank/Program.
❏Settings:
PB (Pitch Bend Wheel): off, on
MW (Modulation Wheel): off, on
RB (Ribbon Controller): off, on
AT (Aftertouch): off, on
RCVíSw4)
Part01
BankSel PgmChng CtrChng
off on off
❏Settings:
RCV Sw2 (Receive Switch 2)
When set to “on,” each Voice in each Part will receive
messages from Knob [1]/[2], plus Breath Controller,
Foot Controller and Control Change messages.
BankSel (Bank Select): off, on
PgmChng (Program Change): off, on
CtrChng (Control Change): off, on
This screen is only available for Parts 1 to 16 (including
Drum Voice Parts) and the Phrase Clip Part.
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■ Dest (Destination)
Part Controller
Set the parameter to be controlled by the Controller
specified in Src.
You can set various Controller parameters for the A/D
Input Part and Multi Plug-in Parts 17 to 32. The
following two screens for A/D Input Part parameters
and six screens for the Multi Plug-in Part parameters
are available.
❏Settings: see the separate Control List.
■ Depth (Depth)
Set the amount by which the parameter selected in
Dest can be controlled.
CTL Set1 (Controller Set 1) (A/D Input Part only)
CTL Set2 (Controller Set 2) (A/D Input Part only)
❏Settings: -64 ~ 0 ~ +63
Using Voice Control Sets 1 and 2, you can assign
individual Src (Source) controllers to multiple Dest
(Destination) parameters, or multiple Src controllers to
individual Dest parameters. Details are given on Page 85.
CTL MW Control (MW Control Depth) (Multi Plug-in
Parts only)
CTL MW Modulation (MW Modulation Depth) (Multi
Plug-in Parts only)
CTL AT Control (AT Control Depth) (Multi Plug-in
Parts only)
CTL AT Modulation (AT Modulation Depth) (Multi
Plug-in Parts only)
CTL AC Control (AC Control Depth) (Multi Plug-in
Parts only)
CTL MW Control (MW Control Depth)
(Multi Plug-in Parts only)
The Modulation Wheel can be used to control Filter and
Amp parameters for each Multi Plug-in Part (17 to 32).
CTL AC Modulation (AC Modulation Depth) (Multi
Plug-in Parts only)
CTLíMW Control)
Part17
Filter
+63
Amp
+63
CTL Set1/CTL Set2 (Control Set 1/2)
(A/D Input Part only)
■ Filter
Set the amount by which the Modulation Wheel can
be used to adjust the filter’s Cutoff frequency.
The controllers and knobs on the front panel, the
keyboard, and so on can be assigned a variety of uses.
For example, keyboard aftertouch can be used to
control vibrato and the Modulation Wheel could be
used to control Resonance. These control assignments
are called “Control Sets.” You can assign up to two
different Control Sets to the A/D Input Part. Thus
there are two screens, each for a separate controller:
CTL Set1 and CTL Set2.
❏Settings: -64 ~ +63
■ Amp
Set the amount by which the Modulation Wheel can
be used to adjust the output level (amplitude).
❏Settings: -64 ~ +63
CTL MW Modulation
CTLíSet1)
PartAD
Src
FC(04)
Dest
off
Depth
+63
(MW Modulation Depth)
(Multi Plug-in Parts only)
The Modulation Wheel can be used to control the
amount of pitch/filter/amplitude modulation applied to
each Multi Plug-in Part (17 to 32).
SET 1
Src
SET 2
Src
MW
KN1
(Modulation Wheel)
(Knob 1)
CTLíMW Modulation) PMod
Part17 127
FMod
127
AMod
127
Dest
Dest
RevSend
ChoSend
■ PMod (Pitch Modulation Depth)
Set the amount by which the pitch modulation
changes when the Modulation Wheel is used.
A/D Input
❏Settings: 0 ~ 127
■ Src (Source)
Set the Controller used to control the parameter
specified in Dest. The following controllers are
available.
❏Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel),
AT (Aftertouch), FC (Foot Controller), FS (Foot
Switch), RB (Ribbon Controller), BC (Breath
Controller), KN1/2 (Knob [1]/[2])
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■ FMod (Filter Modulation Depth)
■ FMod (Filter Modulation Depth)
Set the amount by which the filter Cutoff frequency
changes when aftertouch is used.
Set the amount by which the filter Cutoff frequency
changes when the Modulation Wheel is used.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
■ AMod (Amplitude Modulation Depth)
Set the amount by which the amplitude modulation
changes when the Modulation Wheel is used.
■ AMod (Amplitude Modulation Depth)
Set the amount by which the amplitude modulation
changes when aftertouch is used.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
CTL AT Control (AT Control Depth)
(Multi Plug-in Parts only)
Keyboard aftertouch can be used to control the
pitch/filter/amplitude parameters for each Multi Plug-
in Part (17 to 32).
CTL AC Control (AC Control Depth)
(Multi Plug-in Parts only)
Control Changes (Assignable Controllers) can be used
to control the filter/amplitude parameters for each
Multi Plug-in Part (17 to 32).
CTLíAT Control)
Part17
Pitch Filter
+24 +63
Amp
+63
CTLíAC Control) Source Filter
Part17 04[FootCtrl] +63
Amp
+63
■ Pitch
Set the amount (in semitones) by which the pitch
changes when aftertouch is applied.
■ Source
Set the MIDI Control Change number used to
control the Filter/Amp parameters.
❏Settings: -24 ~ +24
❏Settings: off, 1 ~ 95
■ Filter
Set the amount by which the filter Cutoff frequency
changes when aftertouch is applied.
■ Filter
Set the amount by which the filter Cutoff frequency
changes when the controller (Source) is used.
❏Settings: -64 ~ +63
❏Settings: -64 ~ +63
■ Amp
Set the amount by which the output level
■ Amp
(amplitude) changes when aftertouch is applied.
Set the amount by which the output level
(amplitude) changes when the controller (Source) is
used.
❏Settings: -64 ~ +63
❏Settings: -64 ~ +63
CTL AT Modulation (AT Modulation
Depth) (Multi Plug-in Parts only)
Keyboard aftertouch can be used to control the amount
of pitch/filter/amplitude modulation applied to each
Multi Plug-in Part (17 to 32).
CTL AC Modulation (AC Modulation
Depth) (Multi Plug-in Parts only)
Control Changes (Assignable Controllers) can be used
to control the amount of pitch/filter/amplitude applied
to each Multi Plug-in Part (17 to 32).
CTLíAT Modulation) PMod
Part17 127
FMod
127
AMod
127
CTLíAC Modulation) PMod
Part17 127
FMod
127
AMod
127
■ PMod (Pitch Modulation Depth)
Set the amount by which the pitch modulation
changes when aftertouch is used.
■ PMod (Pitch Modulation Depth)
Set the amount by which the pitch modulation
changes when the controller (Source) is used.
❏Settings: 0 ~ 127
❏Settings: 0 ~ 127
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■ FMod (Filter Modulation Depth)
Effect Parameter Settings
Set the amount by which the filter Cutoff frequency
changes when the controller (Source) is used.
These parameters are available when you press the
[ENTER] key for certain Effect Types.
❏Settings: 0 ~ 127
Use the [PAGE] knob to switch between screens,
and use the other knobs and the [INC/YES] and
[DEC/NO] keys to set each parameter.
When you press the [EXIT] key, you will be
returned to the Effect Type selection screen.
■ AMod (Amplitude Modulation Depth)
Set the amount by which the amplitude modulation
changes when the controller (Source) is used.
❏Settings: 0 ~ 127
Select Effect Type
EFFíEF1) Ctgry Type Dry/Wet [ENTER]
PartAD DLY:DelayLCR D<W63 to Edit
Part Insertion Effect (A/D Input Part only)
You can set parameters for the Insertion Effects used
by the A/D Input Part. If you have selected the A/D
Input Part, as the InsEF (Insertion Effect) in the EFF
Part screen, the following screens will be available.
EXIT
ENTER
EFF EF1/2 (Insertion Effect 1/2)
Parameters
EFFíEF1) Delay
PartAD
Lch
500.0
Cch
500.0
Rch
166.7
Choose the type of effect used for the A/D Input Part.
You can select the Effect Category for Insertion Effect 1/2
with the Ctgry parameter and the Effect Type with the
Type parameter. After selecting the Effect Type, you can
start setting its parameters by pressing the [ENTER] key.
333.3
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
The number of parameters and the contents of each
screen will vary depending on the selected Effect
Type. Details are given in the Effect Type list of the
separate Data List.
EFFíEF1) Ctgry Type
PartAD DLY:DelayLCR
Dry/Wet [ENTER]
D<W63 to Edit
The connection between Insertion Effects 1 and 2 is fixed
as 1 ➝ 2 (Serial).
Zones (CS6x)
■ Ctgry (Effect Category)
Set the Category of the Effect. The first Effect Type
of the selected Category will blink.
You can edit the zones used by Performances in Master
Keyboard Mode. Use Knob [A] (or BANK [A]~[D]
keys) to select the zone (1 to 4), then set the zone’s
parameters. The following eight screens are available
for Master Keyboard parameters.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
You can choose zones if “4zone” has been selected as
the Mode at the GEN M.Kbd screen (Page 123), and if
the [MASTER KEYBOARD] key LED is lit.
■ Type (Effect Type)
Set the type of Effect. This depends on the selected
Category. For certain Categories, the Effect Type will
blink. In this case, you can press the [ENTER] key
to set the Effect Type.
• Master keyboard
MKB Transmit (Master Keyboard Transmit)
MKB Note (Master Keyboard Note)
❏Settings: Details are given in the Effect Types list of the
MKB TxSw1 (Master Keyboard Transmit Switch 1)
MKB TxSw2 (Master Keyboard Transmit Switch 2)
MKB TxSw3 (Master Keyboard Transmit Switch 3)
MKB TxSw4 (Master Keyboard Transmit Switch 4)
MKB TxPreset1 (Master Keyboard Transmit Preset 1)
MKB TxPreset2 (Master Keyboard Transmit Preset 2)
separate Data List.
■ Dry/Wet
Set the mix level of the wet signal (which has been
passed through the Effects Unit) and the dry signal
(which has not been passed through the Effects
Unit). This may be unavailable, depending on the
selected Effect Type.
❏Settings: D63>W ~ D=W ~ D<W63
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MKB TxSw1 (Master Keyboard
Transmit Switch 1)
For each zone, you can enable/disable the transmission
of messages for the Pitch Bend Wheel, Modulation
Wheel, Knobs [A] to [C] and Knob [1]/[2].
Master keyboard
MKB Transmit (Master Keyboard Transmit)
You can set parameters for transmitting keyboard data
when in Master Keyboard Mode.
MKBíTransmit)
Zone01
TrnsCh
1
TG
on
MIDI
on
MKBíTxSw1)
Zone01
PB
off
MW KnobA-C Knob1-2
on on on
■ Settings:
■ TrnsCh (Transmit Channel)
PB (Pitch Bend Wheel): off, on
MW (Modulation Wheel): off, on
KnobA-C (Knobs [A] to [C]): off, on
Knob1/2 (Knob [1]/[2]): off, on
Set the MIDI Transmit Channel for each zone.
■ Settings: 1 ~ 16
■ TG (Tone Generator)
MKB TxSw2 (Master Keyboard
Transmit Switch 2)
Select whether or not to transmit MIDI messages for
each zone to each Part’s tone generator.
For each zone, you can enable/disable the transmission
of messages for the Ribbon Controller, Foot Controller,
Breath Controller and Aftertouch.
■ Settings: off, on
■ MIDI (MIDI Transmit)
Select whether or not to transmit MIDI messages to
each zone’s MIDI Out port.
MKBíTxSw2)
Zone01
RB
on
FC
on
BC
on
AT
on
■ Settings: off, on
■ Settings:
RB (Ribbon Controller): off, on
FC (Foot Controller): off, on
BC (Breath Controller): off, on
AT (Aftertouch): off, on
MKB Note (Master Keyboard Note)
You can set Octave, Transpose, Note Limit (key range)
for each zone in Master Keyboard Mode.
MKB TxSw3 (Master Keyboard
Transmit Switch 3)
MKBíNote)Octave Transpose
Zone01 +1 +11
Note Limit
C-2 - G 8
For each zone, you can enable/disable the transmission
of messages for the Sustain Pedal, Foot Switch,
Volume/Foot Volume and Pan knob.
■ Octave
Shift the note range of each zone up or down (in
octaves).
MKBíTxSw3) Sus
Zone01
FS Vol/FV
on on
Pan
on
on
■ Settings: -3 ~ 0 (Default) ~ +3
■ Settings:
Sus (Sustain): off, on
FS (Foot Switch): off, on
■ Transpose
Vol/FV (Volume/Foot Volume): off, on
Pan: off, on
Transpose the note range of each zone up or down
(in semitones).
■ Settings: -11 ~ 0 (Default) ~ +11
MKB TxSW4 (Master keyboard
Transmit Switch 4)
For each zone, you can enable or disable the transmission
of Bank Select and Program Change messages when you
switch Performance Banks or Programs.
■ Note Limit
Set the upper and lower notes in each zone’s note
range.
■ Settings: C-2 ~ G8 (for both upper and lower notes)
You can also select this parameter by pressing each note
while holding down the [SHIFT] key.
MKBíTxSw4)
Zone01
Bank
on
PC
on
■ Settings:
Bank (Bank Select): off, on
PC (Program Change): off, on
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■ PC (MIDI Program Change)
Set the Program Number transmitted when changing
Bank/Program.
MKB TxPreset1 (Master Keyboard
Transmit Preset 1)
You can set each zone’s initial volume and stereo pan
settings when changing Performance Bank/Program.
❏Settings: 1 ~ 128
Program Numbers 001 to 128 directly relate to MIDI
Program Change Numbers 000 to 127. That is,
Program Numbers and Program Change Numbers differ
by a value of 1. Remember to take this into
consideration.
MKBíTxPreset1)
Zone01
Volume
127
Pan
C
This setting is not transmitted if the PC (Program
Change) parameter at the MKB TxSw4 screen has been
set to “off.”
■ Vol (Volume)
Set the output level of the zone.
❏Settings: 0 ~ 127
This setting is not transmitted if the Vol/FV
(Volume/Foot Volume) parameter of the MKB TxSw3
screen has been set to “off.”
■ Pan
Set the stereo pan position of the zone.
❏Settings: L64 (Left) ~ C (Center) ~ R63 (Right)
This setting is not transmitted if the Pan parameter at
the MKB TxSw3 screen has been set to “off.”
MKB TxPreset2 (Master Keyboard
Transmit Preset 2)
For each zone, you can set the Bank Select and
Program Change parameters transmitted when
changing Bank/Program in a Performance.
MKBíTxPreset2) BankMSB BankLSB
Zone01 127 127
PC
1
■ BankMSB (MIDI Bank Select MSB)
Set the Bank Select MSB transmitted when changing
Bank/Program.
❏Settings: 0 ~ 127
■ BankLSB (MIDI Bank Select LSB)
Set the Bank Select LSB transmitted when changing
Bank/Program.
❏Settings: 0 ~ 127
“Bank Select” is a type of MIDI message transmitted
when changing Voice Bank. Control Change MSB and
LSB messages are combined to form Bank Select
messages, which are used to specify the Voice Bank.
These message values will vary according to
synthesizer. For more details, refer to the
documentation that came with your synthesizer.
This setting is not transmitted if the Bank (Bank Select)
parameter at the MKB TxSw4 screen has been set to
“off.”
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PFM Initialize
You can reset (initialize) all parameters of a
Performance Job Mode
You can execute various actions (Jobs) in Performance
Job Mode. For example, you can “Initialize”
Performances (including those currently being edited)
or “Recall” previous edits.
Performance to their default settings. You can also
selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on.
Note that this is not the same as editing an existing
Performance. Instead, it is useful when building a
completely new Performance from scratch.
When you enter Performance Job Mode, you will first
see the Initialize screen. The following four screens
are available for each Performance Job.
PFM Initialize)
Job
Before entering Performance Job Mode and using the
Initialize or Recall function, you must select the
Performance you wish to operate on (Page 119).
Current Perform
1st screen: PFM Initialize
2nd screen: PFM Edit Recall
3rd screen: PFM Copy
■ Select type of parameter to Initialize
Use Knob [B], the [DATA] knob or the [DEC/NO]
and [INC/YES] keys to select the parameter to be
initialized.
4th screen: PFM Bulk Dump
Details about how to enter Performance Job Mode are
given on Page 22.
❏Settings: Current Perform, Current Common (Common
Data: Data common to all Layer Parts), Current
Part01 to Part16, Current PartCL (Phrase Clip
Part), Current PartAD (A/D Input Part),
Current PartP1/P2 (Plug-in Part 1/2), Zone1 to
Zone4
Executing a Job
1In Performance Play Mode, select the Performance
Number on which you will execute the Job.
PFM Edit Recall
2Press the [JOB] key to enter Performance Job Mode.
If you are editing a Performance but you do not store it
before switching to another Performance, the edits you
have made will be cleared. In such a situation, you can
use the Recall function to reinstate the edits for the
Performance.
3Use the [PAGE] knob and switch to the screen
showing the Job you wish to execute.
PFM Initialize)
Job
Current Perform
PFM Edit Recall)
Job
4Use Knobs [B]/[C] and Knobs [1]/[2] to select the
parameter on which you will execute the Job.
(Alternatively, use the [DATA] knob and the
[DEC/NO] and [INC/YES] keys.)
PFM Copy
This step is not applicable for Recall and Bulk Dump Jobs.
You can copy each Part’s parameters and Effects
parameters from any Performance to the Performance
you are editing. This is useful if you are creating a
Performance and wish to use some parameter settings
from another Performance.
5When you press the [ENTER] key, you will be
prompted for confirmation.
PFM Bulk Dump)
<<
Are you sure? [YES]/[NO]
>>
This function is not used for copying whole Performances
from one location to another. It is used for copying
parameter settings from an existing Performance to the
current Performance you are editing.
6Press the [INC/YES] key to confirm. The message
“Completed.” will be displayed when the Job has
completed, and you will be returned to the original
screen.
PFM Copy) [Pf:GrandPiano] Current
Job INT:128(H16) Part10 > Part16
Press the [DEC/NO] key to cancel the Job.
1
2
3
4
For Jobs that take longer to process, you will see the
message “Executing…” during processing. If you
switch off the power to your synthesizer while this
message is displayed, you risk corrupting your data.
1Source Performance Memory
Select the Performance Memory containing the
Performance (source) from which you will copy
parameter settings.
7Press the [PERFORM] key to exit Performance Job
Mode and return to Performance Play Mode.
❏Settings: INT (Internal), EXT (External)
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2Source Performance Number
Performance Store
Select the Performance Number of the source
Performance. The Performance Name is shown in
the top line of the display.
You can store the parameter settings for up to 128
Performances to each of your synthesizer’s Memories
(INT: Internal) or up to 64 Performances to Memory
Card (EXT: External). The procedure is as follows.
■ Settings: 001 ~ 128 (INT), 001 ~ 064(EXT)
When copying, you can set the current Performance
number (destination) for the source Performance
number. In this case, if you have edited several settings
of the current Performance, you will copy those recent
settings, not stored ones (before editing). Therefore,
you can edit a Part and copy all edits to another Part.
When you execute this, the settings for the destination
Performance will be overwritten. Important data should
always be backed up to computer, a separate Memory Card
or some other storage device.
1Press the [STORE] key after editing a Performance.
You will see the Performance Store display.
3Source Performance Part
Select the Part of the source Performance.
■ Settings: Part01 to Part16, PartCL (Phrase Clip Part),
PartAD (A/D Input Part), PartP1/P2 (Plug-in
Part 1/2)
PFMí
Store
[Pf:GrandPiano] >[Pf:Init Perf ]
INT:128(H16)
The Memory, Bank Select and Program Number
settings cannot be copied if you have set the source or
destination to something other than Part01 to Part16.
2Use Knob [1] to select the destination Performance
Memory (INT or EXT).
4Destination Part
3Use Knob [2] to select the destination Performance
Number.
Set the Part of the destination Performance.
■ Settings: Part01 to Part16, Arp (Arpeggio), Effect,
PartCL (Phrase Clip Part), PartAD (A/D Input
Part), PartP1/P2 (Plug-in Part 1/2)
This will set the Performance Memory/Number to
which your Performance will be stored.
You can also use the [DATA] knob or [DEC/NO] and
[INC/YES] keys to execute this operation.
If you choose Arp (Arpeggio) or Effect, the Arpeggio
and Effect settings for the Voice assigned to the source
Part will be copied.
4When you press the [ENTER] key, you will be
The Memory, Bank Select and Program Number
settings cannot be copied if you have set the source or
destination to something other than Part01 to Part16.
prompted for confirmation.
PFMí
<<
[Pf:GrandPiano] >[Pf:Init Perf ]
Are you sure? [YES]/[NO] >>
PFM Bulk Dump
You can send all the parameter settings for the current
Performance to your computer or some other external
MIDI device using Bulk Dump.
5Press the [INC/YES] key to confirm. The message
“Executing…” will be displayed while the Job is
being processed. When it has completed, you will
see the message “Completed.” and you will be
returned to Performance Play Mode.
PRF Bulk Dump)
Job
Current Perform
You can press the [DEC/NO] key to cancel the Job.
This will return you to the original screen.
You must set the correct MIDI Device Number in order to
execute a Bulk Dump. Details are given on Page 166.
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Phrase Clip Mode
Clip Kit Name
This shows the name of the Clip Kit (up to 10
characters in length).
Phrase Clip Play
In Phrase Clip Play Mode, you can select one of four
Clip Kits. A Clip Kit is a collection of Phrase Clips
(external sounds recorded via microphone, from audio
equipment or from other sources) assigned to notes
across the keyboard for playback. A Clip Kit can
consist of Drum loops or phrases, and can be assigned
to a Part in a Performance (Page 39). The screens
displayed in Phrase Clip Play Mode are explained here.
4. Knob Parameter
This shows the names of the functions currently
assigned to Knobs [A] to [C] and Knob [1]/[2].
Multiple parameters can be assigned to Knob [1]/[2],
depending on the Control Set settings. In this case, the
destination parameter of the lowest numbered Control Set
is shown.
You can record Phrase Clips in Phrase Clip Record
Mode, and up to 256 Phrase Clips can be stored
internally. You can also save these Phrase Clips to
Memory Card.
Knob Parameter
Basic details about Phrase Clips are given on Page 53.
In Phrase Clip Play Mode, Knobs [A] to [C] and
Knob [1]/[2] can be used to adjust the settings of the
parameters assigned to them. The parameter values
are displayed briefly when you move each knob.
The Phrase Clip Play Mode Display
When you enter Phrase Clip Play Mode, you will see
the following displayed. You can select and play back
the Clip Kit here.
PCLP Play)
EQ Low EQ Mid
1[Wv:Init Clip ]
+ 0 Cutoff RevTime
Details about how to enter Phrase Clip Play Mode are
given on Page 21.
SHIFT
PAGE
A
B
C
1
2
DATA
PCLP Play (Phrase Clip Play)
PART
/
ELEMENT
1
2
3
PCLP Play)
EQ Low EQ Mid
1[Wv:Init Clip ]
EQ Hi Cutoff RevTime
Details about assigning parameters to Knobs [A] to
[C] are given on Page 165. Details about assigning
parameters to Knob [1]/[2] are given on Page 84.
4
SHIFT
PAGE
A
B
C
1
2
DATA
PART
/
ELEMENT
Selecting a Clip Kit Program
There are three ways in which you can select a Clip Kit
Program.
1. Screen Title
This shows that you are currently in Phrase Clip Play
Mode.
• Using the PROGRAM keys (CS6x)
• Using the [DEC/NO] and [INC/YES] keys
• Using the [DATA] knob
2. Clip Kit Number
This shows the Program Number (001 to 004) for the
selected Clip Kit.
Using the PROGRAM Keys (CS6x)
If you press a PROGRAM key (1 to 4), the Clip Kit
corresponding to the Program Number is selected and
displayed.
3. Clip Kit Category/Name
Clip Kit Category
The two letters to the left of the Clip Kit Name are an
abbreviation for the Clip Kit Category. The Category
gives a rough idea of the kind of sounds in the Clip Kit.
1
2
3
4
5
6
7
8
GENERAL
9
QED
10
ARPEGGIO CONTROL
COM LFO
13
EFFECT
14
PROGRAM
PART
11
12
15
16
OSC
PITCH
FILTER
AMPLITUDE
LFO
EQ
PLG
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Using the [DEC/NO] and [INC/YES] Keys
If you press the [INC/YES] key, the next Clip Kit is
selected and displayed. Pressing the [DEC/NO] key
selects the previous Clip Kit.
Phrase Clip Record
In Phrase Clip Record Mode, you can record sounds
into the synthesizer through a microphone or from
audio equipment as Phrase Clips. You can then create
a Clip Kit consisting of different Phrase Clips spread
out across the range of the keyboard, and play the
sounds just as you would a normal instrument sound.
Furthermore, you can resample Voice/Performance
sounds played via the keyboard or the Playback
Sequencer. You can store a maximum of 256 Clips (in
total of 4 megabytes) in the instrument's internal
memory. You can also store them onto an external
Memory Card.
DEC/NO INC/YES
Previous Number
Next Number
Using the [DATA] Knob
Turn the [DATA] knob clockwise to increment the Clip
Kit Number and anti-clockwise to decrement it.
Phrase Clips are stored to Memory Card in a proprietary
file format. Details about saving files are given on Page
173. Using the included Card Filer software, Phrase Clips
stored on Memory Card can also be saved to, and managed
in, a computer connected to the synthesizer.
C
1
2
DATA
Refer to Page 53 for a basic idea of Phrase Clip.
Previous Number
Next Number
The CS6x/CS6R is factory-fitted with 4MB of internal
DRAM-type memory. Since DRAM is volatile memory, its
contents are cleared when you switch your synthesizer off.
Therefore, there are no Phrase Clips contained in memory
when you switch your synthesizer on.
Entering Phrase Clip Record Mode
1Press the [REC] key in Phrase Clip Play Mode. At
the following screen, you can specify the note (Clip
Key) on the keyboard used to play back the Phrase
Clip.
If you raise the pitch of a short Phrase Clip loop, you may
hear noise during playback. In which case, you should
lengthen of the loop time (Page 150).
You may also hear noise at the loop end point of the
Phrase Clip. In which case, you should adjust the end
point of the loop to find the optimum position (Page 151).
PHRASE CLIP
REC
PITCH
SEQ PLAY
PLAY
/
STOP
TEMPO
PCLP Rec) >>
>>
Select Record Key
C 3:001[CrntSmpl]
<<
<<
2Use Knob [C] while holding down the [REC] key (or
press a note on the keyboard) to assign the Clip Key.
When you have assigned the Clip Key, release the
[REC] key and the Recording screen will appear.
Press the [PHRASE CLIP] key or the [EXIT] key to
return to Phrase Clip Play Mode.
PCLP Rec) Source Trigger
(Key=C 3)perform Key
[ENTER]
toStandby
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■ Source
The Level Screen
Select the Source from which you will record.
When you are recording from a “mic” or “line” level
source in Phrase Clip Record Mode, use the [PAGE]
knob to turn to the following screen. You will see
the Input Level pointer and the Trigger Level
pointer. Here, you can use the Input Level pointer
and Trigger Level pointer to check the Trigger Level
and the level of the signal at the A/D INPUT
connector. If you have selected “level” in Trigger
Mode, use Knob [1] to set the Trigger Level. The
recording process begins the moment the Input
Level Pointer reaches or passes the Trigger Level
pointer. Using both the pointer, you can determine
the starting point for recording based on the input
signal’s level.
Select “mic” if you are recording a microphone level
device through the A/D INPUT jack.
Select “line” if you are recording from a line level
device, such as a CD player or other audio
equipment, through the A/D INPUT jack.
Select “voice”, “perform” or “pclip” when recording
a Voice, Performance, or an existing Phrase Clip used
by the synthesizer. For instance, if you have selected
a Voice in Voice Play Mode before entering Phrase
Clip Record Mode, you can play that Voice on the
keyboard to record it as a Phrase Clip.
❏Settings: mic, line, pclip (Phrase Clip), voice, perform
(Performance)
Turning the [PAGE] knob counterclockwise when
the Level screen is shown takes you back to the
previous screen.
■ Trigger
Set the Mode by which you will trigger the recording
process. The Trigger mode will vary according to
the currently selected Source.
Input Level pointer
If “mic” or “line” is currently selected as the Source,
select either “level” or “manual.”
PCLP Rec) Source
View Trigger
[EXIT]
toStop
If you select “level”, the recording process is
automatically started when the input level reaches
the designated threshold (Trigger Level). You will
see a parameter on the right where you can specify
the Trigger Level. Alternatively, if you choose
“manual,” recording is started as soon as you press
the [ENTER] key.
Trigger Level pointer
Example 1: Recording a
Phrase Clip from a Microphone
or Audio Equipment
If you set the Source parameter value to any other
than “mic” and “line,” Set this parameter to “key” or
“manual.” If you set to “key,” recording will start
the moment you hit a key on the keyboard.
Connect a microphone or audio equipment to the A/D
INPUT jack (Page 14).
❏Settings:
1In Phrase Clip Play Mode, press the [REC] key and
the screen for selecting the Clip Key (which is used
to play the Phrase Clip) will be shown.
If Source is set to “mic” or “line”: level, manual
If Source is set to “pclip”, “voice” or “perform”: key, manual
■ Level (Trigger Level)
2While still holding down the [REC] key, use Knob
[C] or press a note on the keyboard to set the Clip
Key. When you release the [REC] key, you will see
the Recording screen.
This parameter is only available if you have selected
“level” in the Trigger parameter. Recording will
begin automatically when the signal at the A/D
INPUT jack reaches the Trigger Level. The ï
indicator is displayed to the left of the Trigger Level
setting. Use the Trigger Level pointer and Input
Level pointer to visually compare the input signal
level with the Trigger Level setting.
3Select “mic” if recording from a microphone-level
source or “line” if recording from a line-level source
such as a CD player or other audio equipment.
You can set the Trigger parameter to “level” or
“manual.” If you set it to “level,” you will also need
to set the Trigger Level parameter.
❏Settings: 0 ~ 127
If the input signal level is too large, The
displayed to the left of the ï indicator.
indicator is
4Turn the [PAGE] knob clockwise to show the Level
screen. Here, you can check the Input Level pointer
to monitor the level of the input signal. If necessary,
you can use the [GAIN] knob on the rear panel to
adjust the gain of the input signal.
The recorded clip will automatically be assigned a vacant
Clip Number in memory (DRAM). Therefore, you will
not have to choose a Clip Number before recording.
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2While still holding down the [REC] key, use Knob
[C] or press a note on the keyboard to set the Clip
Key. When you release the [REC] key, you will see
the Recording screen.
5Now follow the procedure according to the setting
made in step 3.
If set to “manual”:
Recording will begin when you press the [ENTER] key.
3Select a recording source by specifying the value
(pclip, voice, or perform) for the Source parameter in
the Recording screen. Also select a method to start
recording in the Trigger parameter — “key” for
recording a Voice or Performance played by the
keyboard or “manual” for a specific phrase or
melody during playback of a song.
PCLP Rec) Source Trigger
<< Now recording...
[EXIT]
>> toStop
If set to “level”:
Press the [ENTER] key to enter Recording Standby state.
You will see the “Waiting for trigger” message displayed.
When the level of the input signal reaches or passes
the Trigger Level, recording begins automatically.
The recorded clip will automatically be assigned a vacant
Clip Number in memory (DRAM). Therefore, you will
not have to choose a Clip Number before recording.
PCLP Rec) Source Trigger-level [EXIT]
<< Waiting for trigger... >> toStop
4Press the [ENTER] key to enter Recording Standby
state. You will see the “Waiting for trigger” message
displayed.
While recording, you will see the “Now recording...”
message displayed.
5Now follow the procedure according to the setting
made in step 3.
6Press the [EXIT] key to stop recording. The “Now
If set to “key”:
Start playback of the song by pressing the SEQ PLAY
[START/STOP] key.
recording...” message will disappear.
If the memory becomes full, recording will
automatically stop, even before you press the [EXIT]
key.
If set to “manual”:
Start playback of the song by pressing the SEQ PLAY
[START/STOP] key. Start recording of a Phrase Clip
at any necessary moment by pressing the [ENTER]
key.
7You can now audition the Clip just recorded by
pressing the Clip Key selected in step 2 while
holding the [REC] key.
8If you are not satisfied with the result, you can re-record
While recording, you will see the “Now recording...”
message displayed.
the Phrase Clip by pressing the [ENTER] key again.
9When you exit Phrase Clip Record Mode, the Phrase
Clip you have recorded will automatically be
assigned a new Clip Number and Clip Name, and
saved to memory (DRAM) along with the Clip Key
setting assigned in step 2.
6Press the [EXIT] key to stop recording. The “Now
Recording...” message will disappear.
If the memory becomes full, recording will automatically
stop, even before you press the [EXIT] key.
7You can now audition the Clip just recorded by
pressing the Clip Key selected in step 2 while
holding the [REC] key.
)Repeat steps 1 to 9 to record new Phrase Clips.
Phrase Clip data held in memory (DRAM) will be lost if
you switch off your synthesizer. You should always save
important Phrase Clip data to Memory Card (Page 173).
8If you are not satisfied with the result, you can re-record
the Phrase Clip by pressing the [ENTER] key again.
A recorded Clip can be edited in its tones, applied
effects, assigned to a Clip Key from a Clip Kit in Phrase
Clip Edit Mode. It can also be copied or even deleted in
Phrase Clip Job Mode. The Clip Kit that includes the
recorded Clip will be selected (from four Clip Kits) and
assigned to the Phrase Clip Part in Performance Edit
Mode (Page 121).
9When you exit Phrase Clip Record Mode, the Phrase
Clip you have recorded will automatically be
assigned a new Clip Number and Clip Name, and
saved to memory (DRAM) along with the Clip Key
setting assigned in step 2.
)Repeat steps 1 to 9 to record new Phrase Clips.
Example 2: Recording a Phrase Clip
from the Internal Tone Generator
Phrase Clip and Clip Kit data held in memory (DRAM)
will be lost if you switch off your synthesizer. You should
always save important Phrase Clip and Clip Kit data to
Memory Card (Page 173).
You can record a Voice, Performance, an existing Phrase
Clip or a Song as a new Phrase Clip.
After recording from the internal tone generator, the
recorded Phrase Clip will automatically be normalized
(Ratio = 100 %). For more information about
normalization, refer to Page 157.
1Select a Voice, Performance or Clip Kit in Voice Play
Mode, Performance Play Mode or Phrase Clip Play
Mode. If you wish to record a phrase of a Song, you
will need to prepare the Song file for playback and
select the appropriate Performance.
A recorded Clip can be edited in its tones, applied effects,
assigned to a Clip Key from a Clip Kit in Phrase Clip Edit
Mode. It can also be copied or even deleted in Phrase Clip
Job Mode. The Clip Kit that includes the recorded Clip
will be selected (from four Clip Kits) and assigned to the
Phrase Clip Part in Performance Edit Mode (Page 121).
For a possibly best sound quality, you should maximize
the volume of the Voice, Performance or Phrase Clip that
you are recording.
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Phrase Clip Edit Mode
Common
Phrase Clip Edit
Clip Common General
80
80
The parameters available when editing a Clip Kit are
explained here.
GEN Name (General Name)
Clip Common Quick Edit
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
QED EG (Quick Edit Envelope Generator)
Clip Common Arpeggio
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
Clip Common Controller
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
CTL Set3 (Control Set 3)
CTL Set4 (Control Set 4)
CTL Set5 (Control Set 5)
Clip Common Effect
147
147
148
148
148
82
82
83
83
83
148
149
149
149
149
149
88
A Clip Kit is a collection of Phrase Clips assigned
across the keyboard (notes C0 to C6) for playback.
For editing a Clip Kit, there are five Common Edit
screens (for parameters which apply to the current clip
kit). There are also five screens for Clip Key
parameters (used to assign Phrase Clips to notes on the
keyboard).
Details about recording Phrase Clips are given on Pages 55, 143.
When you enter Phrase Clip Edit Mode, you will see
the following screen.
Basically, Knob [A] is used to select the type of
parameter you wish to edit (Common/Clip Key). The
Clip Key is selected by pressing the relevant note on the
keyboard.
EFF InsEF (Insertion Effect)
EFF EF1 (Effect 1)
EFF EF1 (Effect 2)
88
88
88
89
89
The [PAGE] knob is used to switch between the
parameter screens, and Knobs [B], [C], [1] and [2] are
used to enter parameter settings. Alternatively, you
can use the [DATA] knob, and [DEC/NO] and
[INC/YES] keys to enter settings.
EFF Rev (Reverb)
EFF Cho (Chorus)
Clip Key
Clip Key OSC (Oscillator)
OSC Asgn (Oscillator Assign)
OSC Out (Oscillator Out)
OSC Pan (Oscillator Pan)
OSC Other (Oscillator Other)
Clip Key Pitch
149
149
151
151
151
152
152
152
152
152
153
153
101
101
101
GEN Name) Ctgry
Common
a-Z
0-? Cursor
[--:Init Voice]
PCH Tune (Pitch Tune)
Clip Key Filter
SHIFT
PAGE
A
B
C
1
2
DATA
FLT Cutoff (Filter Cutoff)
Clip Key Amplitude
AMP AEG (Amplitude Envelope Generator)
AMP VelSens (Amplitude Velocity Sensitivity)
Clip Key EQ (Equalizer)
EQ Type
PART
/
ELEMENT
Switch between
screens
Enter settings
Select Common/Clip Key
EQ Param (EQ Parameter)
You can use Knobs [A] to [C] and Knob [1]/[2] while
holding down the [SHIFT] key to move the cursor to
each respective parameter. The cursor can also be
moved using the [DATA] knob or the [DEC/NO] and
[INC/YES] keys while holding down the [SHIFT] key.
Clip Common Edit and Clip Key Edit
A Clip Kit consists of Phrase Clips (waves) assigned
to notes C0 to C6 on the keyboard (Page 55).
Parameters common to all Phrase Clips are known
as a “Clip Common Edit.” In Phrase Clip Edit
Mode, screens are available for Clip Common Edit
and for each editing Clip Key. Use Knob [A] to
switch between these screens.
You must select the Clip Kit you wish to edit before
entering Phrase Clip Edit Mode (Page 142). All parameter
settings will be set for each Clip Kit, and can be stored.
If you switch the synthesizer off, your Phrase Clip data in
internal memory will be lost. You should always save
important Phrase Clip data to Memory Card (Page 173).
Clip Common settings
QEDíLevel) Vol
127
Pan RevSend ChoSend
127 127
Details about how to enter Phrase Clip Edit Mode are
given on Page 22.
Common
C
Clip Common
A general overview of Phrase Clips is given on Page 53.
Most of these parameters are the same as for Drum
Voices (the gray items in the tree diagram). Therefore,
the parameters which differ are explained here.
Clip Key settings
OSC Asgn) Number
Key= C 3 001[InitSmpl]
Variation [ENTER]
1 to Edit
Those parameters which do not differ are explained in the
Voice Edit Mode section (Page 78).
Clip Key
SHIFT
PAGE
A
B
C
1
2
DATA
PART
/
ELEMENT
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Menu Display
You will see the following if you use the [PAGE]
knob while holding down the [SHIFT] key. Use the
[PAGE] knob to move the cursor to the parameter
you wish to edit, then release the [SHIFT] key to
jump to the screen you were previously at.
Clip Common General
GEN Name (General Name)
You can set a Clip Kit Name consisting of up to 10
characters. You can also select the Category Name to
the left of the Clip Kit Name.
Cursor
OSC Out)
Key=C 3
Com:>GEN≥QED>ARP>CTL>
Key:>OSC>PCH>FLT>AMP>
>EFF
>EQ
SHIFT
PAGE
A
B
C
1
2
DATA
GENíName) Ctgry
Common
a-Z
0-? Cursor
[Pf:Init Voice]
Category
Name
Clip Kit Name
PART/ELEMENT
For CS6x, you can directly make access to a specific
Menu screen using a PROGRAM/PART key (Page 80).
The Clip Kit Name is set in the same way as the Voice
Name. Details are given on Page 80.
The íIndicator
Clip Common Quick Edit
If you alter any parameters in Phrase Clip Edit Mode,
the íindicator will be displayed at the top left of the
screen. This gives a quick indication that the current
Clip Kit has been modified but not yet stored.
Various parameters control the sonic properties of the
Clip Kit, and many can be edited using the Sound
Control knobs on the front panel of the CS6x. There
are four screens.
“Edit” indicator
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
QED EG (Quick Edit Envelope Generator)
GEN Name) Ctgry
In Performance Mode, the Phrase Clip Part settings are used.
Even if you exit to Phrase Clip Play Mode, the edited
settings for the current Clip Kit will not be lost so
long as you do not select another Clip Kit.
QED Level (Quick Edit Level)
These parameters control the output level and pan
position of the Clip Kit.
The íindicator will also be displayed in Phrase Clip
Play Mode.
QEDíLevel) Vol
Common
Pan RevSend ChoSend
127 127
127
C
The “Compare” Function
Use this to listen to the difference between the Phrase
Clip with your edited settings and the Phrase Clip
prior to editing.
■ Vol (Volume)
Set the output level of the Clip Kit.
❏Settings: 0 ~ 127
1Press the [COMPARE (EDIT)] key while in Phrase
Clip Edit Mode. The íindicator at the top left of
the screen will change to the îindicator and the
Phrase Clip settings prior to editing will temporarily
be reinstated for comparison purposes.
■ Pan
Set the stereo pan position of the Clip Kit. You can
also adjust this parameter using the [PAN] knob on
the front panel of the CS6x.
Compare indicator
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
■ RevSend (Reverb Send)
GENîName) Ctgry
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the [REVERB]
knob on the front panel of the CS6x.
While the “Compare” function is enabled, editing will
not be possible using Knobs [A] to [C] or Knob [1]/[2].
❏ Settings: 0 ~ 127
2 Press the [EDIT] key again to disable the
“Compare” function and restore the settings for
your edited Phrase Clip.
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■ ChoSend (Chorus Send)
QED EG (Quick Edit Envelope Generator)
These two parameters control the change in the output
level of a Clip Kit over the time that a note is played.
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus
effect. You can also adjust this parameter using the
[CHORUS] knob on the front panel of the CS6x.
❏Settings: 0 ~ 127
QEDíEG) Attack
Common
Decay
+63
+63
QED EffectCtrl (Quick Edit Effect)
Set the amount of Chorus applied to the entire Clip Kit.
QEDíEffectControl)
Common
Chorus
+63
Attack
Level
Relese
Level
■ Chorus
Set the Return level of the Chorus effect as an offset
value.
■ Attack
❏Settings: -64 ~ 0 ~ +63
Set the transition time from the moment a note on
the keyboard is pressed to the point at which the
level of the Phrase Clip reaches its peak. You can
also adjust this parameter using the [ATTACK] knob
on the front panel of the CS6x.
QED Filter (Quick Edit Filter)
These parameters control filters which control the
tonal quality of the Clip Kit. With the Low Pass Filter,
frequencies falling below the set Cutoff frequency are
passed, and frequencies above the Cutoff frequency are
blocked.
❏Settings: -64 ~ 0 ~ +63
■ Decay
Set the transition time from the point at which the
level of the Phrase Clip reaches its peak to the point
at which it levels off. You can also adjust this
parameter using the [DECAY] knob on the front
panel of the CS6x.
QEDíFilter)
Common
Cutoff
+63
Reso
+63
❏Settings: -64 ~ 0 ~ +63
Range passed
Cutoff range
Clip Common Arpeggio
The following four parameters control the behavior of
the Arpeggiator. These parameters are the same as
those used in Voice Edit Mode, and more details about
them are given on Page 82.
Cutoff frequency
Frequency
ARP Type (Arpeggio Type)
■ Cutoff
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
Set the Cutoff frequency. Only frequencies below
this point are passed. You can also adjust this
parameter using the [CUTOFF] knob on the front
panel of the CS6x.
❏Settings: -64 ~ 0 ~ +63
Clip Common Controller
You can set up to five Controllers for each Clip Kit.
The following five screens are available.
■ Reso (Resonance)
Set the amount of Resonance (harmonic boost)
applied to the signal around the Cutoff frequency.
This is a useful way of adding further character to
the sound. You can also adjust this parameter using
the [RESONANCE] knob on the front panel of the
CS6x.
CTL Bend (Pitch Bend)
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
CTL Set3 (Control Set 3)
CTL Set4 (Control Set 4)
❏Settings: -64 ~ 0 ~ +63
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CTL Bend (Pitch Bend)
You can set a range of pitch change controlled by Pitch
Bend Wheel.
Clip Common Effect
You can set two types of Insertion Effects, plus two System
Effects (Reverb and Chorus). The following five screens
are available. The parameters are the same as those used in
Voice Edit Mode. Details are given on Page 88.
CTLíPitchBend)
C 1234
Lower
-12
Upper
+12
EFF InsEF (Insertion Effect)
EFF EF1 (Effect1)
EFF EF2 (Effect2)
EFF Rev (Reverb)
EFF Cho (Chorus)
■ Lower
Set a range of pitch change by semitone when you
move the wheel downward. With a value of “-12,”
you can lower the pitch at a maximum of one octave
when you move the wheel downward.
Clip Key OSC (Oscillator)
❏Settings: -48~0~+24
You can set the parameters for the Phrase Clips which
make up the Clip Kit. A Clip Kit can contain up to 73
Clips, each of which is assigned to a specific note (Clip
Key) within a range of C0 to C6. In this Menu, you
can assign a Clip to each Clip Key and make detailed
settings using four screens below.
■ Upper
Set a range of pitch change by semitone when you
move the wheel upward. With a value of “+12,”
you can raise the pitch at a maximum of one octave
when you move the wheel upward.
❏Settings: -48~0~+24
OSC Asgn (Oscillator Assign)
OSC Out (Oscillator Out)
OSC Pan (Oscillator Pan)
OSC Other (Oscillator Other)
CTL Set1 (Control Set 1) to CTL Set4
(Control Set 4)
The controllers and knobs on the front panel, the
keyboard, and so on can be assigned a variety of uses.
For example, keyboard aftertouch can be used to
control the Reverb Send level and the Foot Switch (if
connected) could be used to control other Effect
parameters. These control assignments are called
“Control Sets.” You can assign up to four different
Control Sets per Clip Kit. Thus there are four screens,
each for a separate controller: CTL Set1 to CTL Set4.
OSC Asgn (Oscillator Assign)
You can select the Phrase Clips assigned to the Clip Keys in
the Clip Kit. Use Knob [A] to select the Clip Key, then use
Knob [B] to select the Phrase Clip. Use Knob [1] to select
the Variation. The Variation controls the way in which a
Phrase Clip is played back, and up to eight Variations can
be assigned to each Phrase Clip. Press [ENTER] key at
this screen to enter settings for Variations.
CTLíSet1)
Common
Src
FC(04)
Dest
amp
Depth
+63
OSC Asgn) Number Variation [ENTER]
Key=C 3 001[InitSmpl] 1 to Edit
Controller
Control Set 1~4
Set 1
■ Number (Clip Number)
Select the Phrase Clip Number. The Phrase Clip
Name will be displayed to the right of the Phrase
Clip Number. The Phrase Clip can be played back in
different ways, depending on the current Variation
parameter setting.
Modulation Wheel
Knob
etc.
These parameters are the same as for Normal Voices
(except for The ElemSw parameter, which is available
only for Normal Voices). For more information about
parameters of a Normal Voices, see Page 84.
❏Settings: 000 (off) ~ 256
If you select “off,” the Clip Key has no Phrase Clips
assigned to it.
Refer to Basics Section (Page 49) for more information
about assignment of a Control Set.
■ Variation
Select the Variation Number. This controls the way
in which the Phrase Clip is played back.
❏Settings: 1 ~ 8
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■ Play (Play Mode)
Select the Phrase Clip playback method. There are
three modes.
Variation Settings
You can play back a Phrase Clip in up to eight
different ways (Variations). They are related to the
Clip Kit as shown in the illustration.
❏ Settings:
loop:
When you press a note on the keyboard, the Phrase Clip is
played completely from its Start Point. Then its looped
section is played back repetitively until you release the note.
Clip1~256
Looped Section
Data Top
Start Point
Loop
Point
End
Point
Data End
Variation 1
Variation 2
Variation 8
oneshot:
When you press a note on the keyboard, the Phrase Clip is
played just once from its Start Point to its End Point (not
looped).
Clip 1~256
Variation 1~8
Data Top
Start Point
End
Point
Data
End
reverse:
When you press a note on the keyboard, the Phrase Clip is
played in reverse, just once, from its End Point to its Start
Point (not looped).
Clip kit 1~4
Data
End
Data Top
Start Point
End
Point
Select the Phrase Clip at the OSC Asgn (Oscillator
Assign) screen, then press the [ENTER] key. You
will see the Variation Edit screen.
■ Start (Start Point)
Set the Start Point from which the Phrase Clip will
be played back (as shown in the illustration below).
In this case, you can avoid playback of the noise
before the Start Point. Note that this setting does
not eliminate the noise in the original Clip.
• PCLP Var (Phrase Clip Variation)
You can edit the settings of each Variation in the
currently selected Phrase Clip.
Select the Variation (1 to 8), set each of its
parameters, then press the [EXIT] key. The settings
will be applied and you will be returned to the OSC
Asgn (Oscillator Assign) screen.
Necessary portion
Noise
PCLP Var) Play
Start
Loop
End
(C 3)=1: oneshot 2097150 2097150 2097150
Start Point
Record Start
■ Var (Variation Number)
Select the Variation. Its settings will be reflected in
each parameter.
❏ Settings: Depends on the length of the Phrase Clip
■ Loop (Loop Point)
❏ Settings: 1 ~ 8
Set the starting point of the looped section. With a
violin sound, for example, the Loop Point should be
set after the distinctive attack portion and at the start
of the sustained section of the sound. When playing
back this loop, the distinctive attack portion of the
violin sound is played back, followed by the looped
section corresponding with the sustained section of
the violin sound (between the Loop Point and the
End Point.) On the other hand, if the sound does not
have a distinctive attack portion, the Loop Point can
be set to the same position as the Start Point.
If you change the Variation Number with this
parameter, it will automatically change one that is
set in the OSC Asgn (Oscillator Assign) screen.
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■ ChoSend (Chorus Send)
Set the Send level of the Clip Key signal sent from
Insertion Effect 1/2 (or the bypassed signal) to the
Chorus effect.
Looped Section
❏Settings: 0 ~ 127
Details about Effects are given on Page 65.
OSC Pan (Oscillator Pan)
You can set the following Pan parameters for each Clip
Key in the Clip Kit.
Loop
Point
End
Point
Start Point
❏ Settings: Depends on the length of the Phrase Clip
■ End (End Point)
OSCíPan)
Key=C 3
Pan
C
Altar Random Output
L63 63 L&R
Set the End Point of the Phrase Clip’s looped
section. This can also be useful for removing
unwanted noise at the end of the Phrase Clip.
■ Pan
Set the stereo Pan position for each Clip Key. This
will also be used as the basic Pan position for the
Alternate, Random and Scale settings.
Necessary portion
Noice
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
End Point
Data End
■ Alter (Alternate)
Record Start
Set the amount by which the sound is panned
alternately left and right for each note you press.
The Pan setting is used as the basic Pan position.
❏ Settings: Depends on the length of the Phrase Clip.
❏Settings: L64 ~ 0 ~ R63
OSC Out (Oscillator Out)
■ Random
You can set the following output parameters for each
Clip Key of a Clip Kit.
Set the amount by which the sound is panned
randomly left and right for each note you press. The
Pan setting is used as the basic Pan position.
❏Settings: 0 ~ 127
OSC Out) Level
Key=C 3 127
InsEF RevSend ChoSend
thru 64 127
■ Output
Assign each Clip Key to an output.
■ Level
❏Settings: L&R (OUTPUT L and R), ind 1&2
(INDIVIDUAL OUTPUT 1 and 2), ind1
(INDIVIDUAL OUTPUT 1), ind2, ind3, ind4,
ind5, ind6
Set the output level of each Clip Key.
❏Settings: 0 ~ 127
Settings “ind3 to “ind6” are for future expansion
purposes and are currently not available.
■ InsEF (Insertion Effect)
Set the Insertion Effect to which the output signal
from each Clip Key is sent. The Insertion Effect is
bypassed if you select thru.
For example, if you select “ind 1&2,” the left channel
will be output through INDIVIDUAL OUTPUT 1 and
the right channel will be output through INDIVIDUAL
OUTPUT 2.
❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion
Effect 2)
OSC Other (Oscillator Other)
You can set parameters which govern the sound of each
Clip Key of a Clip Kit.
■ RevSend (Reverb Send)
Set the Send level of the Clip Key signal sent from
Insertion Effect 1/2 (or the bypassed signal) to the
Reverb effect.
❏Settings: 0 ~ 127
OSCíOther)
Key=C 3
KeyOn Assign AltGrp
normal single off
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■ KeyOn
Clip Key Filter
You can apply filter settings to Clip Keys. A Low Pass
Filter and High Pass Filter can be applied per Phrase
Clip to change its tonal characteristics.
Select the Key On method. There are two methods:
normal and hold.
❏Settings:
normal:
Pressing a Clip Key starts playback of a Clip. Playback will
continue until the key is released.
FLT Cutoff (Filter Cutoff)
hold:
Pressing a Clip Key triggers playback of a Clip. Playback
will continue after the key is released, until another Clip
Key is pressed.
FLTíCutoff) LPF VelSens
Key=C 3 255 +63
Reso
31
HPF
0
■ Assign
Set Key Assign to “single” to prevent the doubled
playback of the same received notes. Select “multi”
to consecutively assign each instance of the same
received note to a separate channel.
■ LPF (Low Pass Filter)
Set the Cutoff frequency of the Low Pass Filter.
Only frequencies below this point are passed. You
can then use the Reso (Resonance) parameter to add
further character to the sound.
❏Settings: single, multi
❏Settings: 0 ~ 255
■ AltGrp (Alternate Group)
Details about the Low Pass Filter are given on Page 93.
You can prevent different Phrase Clips from playing
back simultaneously by assigning them to the same
Alternate Group. This is useful, for example, when
you want to prevent drum loops from overlapping
during playback. Up to 127 Alternate Groups can be
defined. You can also select “off” here if you wish to
allow the simultaneous playback of all Phrase Clips.
■ VelSens (Velocity Sensitivity)
Set the velocity sensitivity of the Low Pass Filter
Cutoff frequency. Positive settings will cause the
cutoff frequency to become higher when you play the
keyboard harder (for a large Velocity value),
resulting in a drastic change in tones. Negative
settings will cause it to become lower.
❏Settings: off, 1 ~ 127
❏Settings: -64 ~ 0 ~ +63
Clip Key Pitch
Set the pitch of each Clip Key. The tunings and Pitch
EG parameters can be set for each Clip Key.
■ Reso (Resonance)
Set the amount of Resonance (harmonic emphasis)
applied to the signal at the Cutoff frequency. This can
be used in combination with the Cutoff frequency of the
Low Pass Filter to add further character to the sound.
PCH Tune (Pitch Tune)
❏ Settings: 0 ~ 31
Details about Resonance are given on Page 40.
PCHíTune)
Key=C 3
Coarse
+ 0
Fine VelSens
+ 0 +63
■ HPF (High Pass Filter)
Set the Cutoff frequency of the High Pass Filter.
Only frequencies above this point are passed.
■ Coarse
Adjust the pitch of each Phrase Clip in semitones.
❏Settings: 0 ~ 255
❏Settings: -48 ~ 0 ~ +48
Details about the High Pass Filter are given on Page 94.
■ Fine
Fine-tune the pitch of each Phrase Clip.
Clip Key Amplitude
You can set amplitude (output level) parameters for each
Phrase Clip. The following two screens are available.
❏Settings: -64 ~ 0 ~ +63
■ VelSens (Velocity Sensitivity)
AMP AEG (Amplitude Envelope Generator)
AMP VelSens (Amplitude Velocity Sensitivity)
Set the velocity sensitivity of the pitch. Positive settings
will cause the pitch to become raised when you play the
keyboard harder (for a large Velocity value). Negative
settings will cause it to become lowered.
❏ Settings: -64 ~ 0 ~ +63
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AMP AEG (Amplitude Envelope Generator)
Amplitude Envelope Generator Settings
The Amplitude Envelope Generator controls the change in
amplitude from the moment a note in pressed on the
keyboard to the moment it is released. By setting the Attack
Time, Decay 1/2 Time and the Decay 1 Level, you can
determine how fast the sound reaches its peak amplitude and
how it fades out. Parameters can be set for each Clip Key.
The Amplitude Envelope Generator has three Time
parameters and one Level parameter. These govern
the transitions between output levels for the duration
of a note. The Attack Time is the time taken for the
sound to reach its peak output level from the moment
a note is played on the keyboard. The Decay 1/2 Time
and the Decay 1 Level parameters are used to set the
behavior of the remainder (between the sound’s peak
output level and the point at which it fades to zero).
Furthermore, you can set these parameters to be
sensitive to note velocity.
AMPíAEG) Attack Decay1---Level Decay2
Key=C 3
127
127
127
127
■ Attack (Attack Time)
The Attack Level is fixed at its maximum value.
Set the Attack Time.
Attack
Level
Decay1
Level
❏Settings: 0 ~ 127
Pitch
■ Decay1 (Decay 1 Time)
Set the Decay Time.
❏Settings: 0 ~ 127
0
Time
■ Level (Decay 1 Level)
Attack
Time
Key on
Decay1
Time
Decay2
Time
Set the Decay 1 Level.
❏Settings: 0 ~ 127
Decay2=hold
Attack
Level
Decay1
Level
■ Decay2 (Decay 2 Time)
Pitch
Set the Decay 2 Time.
With this parameter set to “hold,” the volume level
will be held at Decay 1 Level (shown in the
following illustration) until the key is released.
0
❏Settings: 0 ~ 126, hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Key on
AMP VelSens (Amplitude Velocity Sensitivity)
You can define how the amplitude (output level) varies
according to the velocity of the received notes.
Clip Key EQ (Equalizer)
AMPíVelSens)
Key=C 3
Level
+63
You can set Equalizer parameters for each Clip Key.
The following two screens are available. These
parameters are the same as those in Voice Edit Mode,
and details are given on Page 101.
■ Level
Set the velocity sensitivity of the Amplitude’s output
level. Positive settings will cause the output level to rise
the harder you play the keyboard and, conversely,
negative values will cause it to fall.
EQ Type (EQ Type)
EQ Param (EQ Parameter)
❏ Settings: -64 ~ 0 ~ +63
153
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5When you press the [ENTER] key, you will see a
Phrase Clip Job Mode
confirmation message.
In the Mode, you can execute various operations (jobs)
on the Phrase Clips that you have created/edited in
Phrase Clip Edit Mode, such as delete, copy and
normalize.
PCLP LoopRemix) Type
<< Are You Sure [YES]/[NO]
Vari
>>
6Press the [INC/YES] key to execute each Job. The
message “Completed.” will be displayed after the job
has executed, and you will be returned to the
previous screen.
You will see the 1st screen (PCLP Status) when you
enter Phrase Clip Job Mode. There are 14 screens for
Phrase Clip Jobs, as follows.
Before you can execute a Phrase Clip Job in Phrase Clip
Job Mode, you need to select the Clip Kit (Page 142).
The Job will be canceled if you press the [DEC/NO]
key.
1st screen: PCLP Status
2nd screen: PCLP Rename
3rd screen: PCLP VariationSet
4th screen: PCLP LoopRemix
5th screen: PCLP Normalize
6th screen: PCLP FreqConvert (Frequency Convert)
7th screen: PCLP Extract
If the Phrase Clip Job takes some time to execute, you
will see the message “Executing...” If you switch the
power off in this state, the data may be damaged.
7If you press the [EXIT] key, you will be taken out of
Phrase Clip Job Mode and returned to Phrase Clip
Play Mode.
8th screen: PCLP Delete
9th screen: PCLP Copy
The steps in each procedure may vary slightly,
depending on the Job being performed. Refer to the
explanation of each Job for details.
10th screen: PCLP SampleRcv (Sample Receive)
11th screen: PCLP AutoKeyMap
12th screen: PCLP Kit Key Copy
13th screen: PCLP Kit Key Initialize
14th screen: PCLP Kit Initialize
The following Jobs are available only when the Phrase
Clip has been recorded in 16-bit format.
3rd screen: PCLP VariationSet
4th screen: PCLP LoopRemix
5th screen: PCLP Normalize
Details about how to enter Phrase Clip Job Mode are given
on Page 22.
6th screen: PCLP FreqConvert (Frequency Convert)
7th screen: PCLP Extract
Executing a Job
1In Phrase Clip Play Mode, select the Clip Kit on
PCLP Status
which you wish to execute a Job.
At this screen, you can check the amount of free
memory (DRAM) for Phrase Clips and the amount of
free memory left on the Memory Card. These factors
govern the size/number of Phrase Clips that can be
opened/recorded, as well as whether or not the
currently selected Clip Kit can be saved to Memory
Card. This screen has no adjustable parameters.
2Press the [JOB] key to enter Phrase Clip Job Mode.
3Use the [PAGE] knob to switch to the screen for the
Phrase Clip Job you wish to execute. The selected
Job will be displayed.
PCLP LoopRemix)
JOB C 2:001[SmplName]
Type
1
Vari
A
PCLP Status) Free Used
1.1MB 2.9MB(70%)-
CardFree
1.8MB
■ Free
4Use Knobs [A], [B], [C], [1] and [2] to enter each of
the parameter settings. (You can also use the [DATA]
knob and the [DEC/NO] and [INC/YES] keys.)
Shows the amount of free memory (DRAM) for
Phrase Clips.
Most Jobs are executed to a Clip Key or Clip assigned to
a Clip Key. You can select a target Clip Key Number
using Knob [A] or a target Clip Number using Knob [B].
■ Used
Shows the amount of memory used by Phrase Clips
and Clip Kits if you store them in Memory Card.
When you specify a Phrase Clip by its number, you can
select a Clip not assigned to a key note on the keyboard.
You may assign that Clip to a key note in Phrase Clip
Edit Mode so that you can play it in Phrase Clip Edit
Mode (Page 146).
■ CardFree
Shows the amount of free memory on the Memory
Card.
If the [-x›] indicator is displayed to the right of the Used
parameter, this means that the amount of used memory
exceeds the free space available on the Memory Card.
You will not need to follow the next two steps at the 1st
screen (PCLP Status).
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PCLP LoopDivide
PCLP Rename
For each Phrase Clip, you can set the Variation length
as a percentage. The Phrase Clip can be divided into a
number of equal-sized sections which make up a
Variation Set. These sections can then be assigned to
consecutive notes on the keyboard. This is particularly
useful when, for example, splitting up a four-bar
breakbeat pattern into four one-bar sections, which you
can then play back in whichever order you choose.
You can change the Phrase Clip Name for each Phrase
Clip. A Phrase Clip Name can consist of up to eight
characters. To select each Phrase Clip, use Knob [A] to
select the Clip Key and use Knob [B] to select the
Phrase Clip Number.
You can also select the Clip Key directly by pressing a note
on the keyboard.
The Name is set in the same way as the Voice Name.
Details are given on Page 80.
After the Name has been entered, press the [ENTER]
key to apply it.
At this screen, you can press the white notes on the
keyboard between C3 and C4 to select Variation Sets 1
to 8, then set its parameters. Press the [ENTER] key to
execute the Job.
PCLP Rename)
JOB C 2:001[ClipName]
a-Z
0-? Cursor
PCLP LoopDivide)
Job C 2:001[ClipName]
Division Length
1/8 toEnd
Clip Key
Phrase Clip Number
Example: A loop divided into 4 divisions (Division:
1/4) as each division is played back to the end of the
loop (Length: toEnd)
After recording a Phrase Clip, you have it named
automatically.
PCLP VariationSet
1
2
3
4
You can set a Variation Set for each Phrase Clip. A
Variation Set is a collection of up to eight different
playback methods for the Phrase Clip. These offer
further variations in to the Start, Loop and End Points
(Page 149) set in Phrase Clip Edit Mode. Select the
target Phrase Clip and set the Variation Mode.
To select each Phrase Clip, use Knob [A] to select the
Clip Key and Knob [B] to select the Phrase Clip
Number.
After selecting the Phrase Clip, set the Mode and press
the [ENTER] key to enter the Mode settings screen.
You can also select the Clip Key directly by pressing a note
on the keyboard.
PCLP VariationSet)
Job C 2:001[SmplName]
Mode
loop divide
Clip Key
Phrase Clip Number
1
2
34
■ Clip Key
Set the Clip Key of the Phrase Clip on which you
wish to perform the Job.
❏Settings: C0 ~ C6
■ Phrase Clip Number
Set the Phrase Clip on which you wish to perform
the Job.
■ Division
❏Settings: 1 ~ 256
Set the number of Phrase Clip sections. The area
between the Loop and End Points of the Phrase Clip
will be separated into equal-sized sections of the size set
here. The Points of each of these sections will be used
as the Start, Loop and End Points of each Variation.
■ Mode
Select the Variation Mode. There are four Modes
available (explained later).
❏Settings: loop divide, auto, realtime, manual
❏ Settings: 1/2 ~ 1/8
The following Jobs are available only when the Phrase
Clip has been recorded in 16-bit format.
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■ Length
1At this screen, you can play back the currently
Set the Variation length ratio. You can change the
length of all the equal-sized sections by the amount
set here. If you select “toEnd,” the End Point of the
source Phrase Clip will be used as the End Point of
the Variation (after it has been divided).
selected Phrase Clip as a loop.
2Set the Start Points for Variations 1 to 8 by pressing
notes C3 to C4 on the keyboard.
By pressing the white notes (C3 to C4) on the
keyboard corresponding to Variation Sets 1 to 8, you
can set the Start Point while listening to the sound.
❏Settings: toEnd, 10 ~ 800%
If this setting is outside the End Point of the Phrase
Clip, it will be automatically limited to the End Point
setting.
3In the same way, press the notes when setting the
Start Points for the other Variation Sets.
PCLP VarAuto (Variation Auto-set)
The Start Point of the Variation is assigned
automatically. The Loop and End Points are the same
as those set in the original Phrase Clip.
4When you press the [EXIT] key, you will see the
confirmation message. At this screen, you can verify
by playing Variation Sets 1 to 8 by pressing the white
notes on the keyboard between C3 and C4.
There may be cases that automatic setting is not available
when the Clip has a narrow dynamic range (no big
difference between loudest and smallest volume levels)
because of the entire recorded level is too low, etc.
5Press the [INC/YES] key to set each Variation, or
press the [DEC/NO] key to cancel the operation and
return the Variation to its original state.
At this screen, Variation Set 1 to 8 are assigned to each
of the white notes of the keyboard in the range C3 to
C4. Press each note to switch to the respective
Variation Set, then set each Set’s parameters. Finally,
press the [ENTER] key to execute the Job.
PCLP Var (Variation Manual)
You can change the settings for the Variation of the
currently selected Phrase Clip. Use Knob [A] to select
from Variation Sets 1 to 8 and use Knobs [B], [C], [1]
and [2] to set its parameters. Then press the [ENTER]
key to execute the Job.
If you are not satisfied with the result, try repeating the
process as you may get different results.
At this screen, the white notes on the keyboard
between C3 and C4 can be used to select and play
Variation Sets 1 to 8.
PCLP VarAuto)
Job C 2:001[SmplName]
Threshold Adjust
255 -255
PCLP Var) Play
Var=1: oneshot 2097150 2097150 2097150
Start
Loop
End
■ Threshold
Set the threshold level at which the Auto-set process
is started.
The Start Point is automatically set when the
average level of the Phrase Clip reaches or exceeds
this value.
■ Var (Variation Number)
Select the Variation you wish to set. The settings for
the selected Variation will be reflected in all
parameters.
❏Settings: 0 ~ 255
❏Settings: 1 ~ 8
■ Adjust
Set the amount by which the automatically-set Start
Point is adjusted (moved forward).
■ Play (Play Mode)
Select the Phrase Clip playback mode. There are
three modes.
❏Settings: -255 ~ 0
❏Settings:
If the automatic setting is incorrect, Variation Set 1 will
be set such that the entire length of the Phrase Clip will
be played back. In this case the Start, Loop and End
Points for Variation Sets 2 to 8 will be set to zero.
loop:
When you press a note on the keyboard, the Phrase Clip is
played completely from its Start Point. Then its looped
section is played back repetitively until you release the note.
oneshot:
PCLP VarRealTime (Variation Real-time)
When you press a note on the keyboard, the Phrase Clip is
played just once from its Start Point to its End Point (not
looped).
You can set the Start Point of the Variation in real-time
while listening to the Loop. The Loop and End Points
remain in the same positions as set for the Phrase Clip.
The procedure is as follows.
reverse:
When you press a note on the keyboard, the Phrase Clip is
played in reverse, just once, from its End Point to its Start
Point (not looped).
PCLP VarRealTime) Hit[C3-C4] [EXIT]
Job C 2:001[SmplName] toVar1-8 toStop
Basic details about each mode are given on Page 54.
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4When you press the [ENTER] key, you will see a
confirmation message. Press the [INC/YES] key to
execute the Loop Remix Job. The Job will be
canceled if you press the [DEC/NO] key.
■ Start (Start Point)
Set the Start Point from which the Phrase Clip will
be played back. By finely adjusting the Start Point,
you can avoid playback of the noise before the Start
Point. This setting, however, does not eliminate the
noise in the original Clip.
5After executing the Loop Remix Job, you will see the
following Retry message.
❏Settings: Depends on the length of the Phrase Clip.
PCLP LoopRemix)
<< Retry? [YES]/[NO] >>
Type
1
Vari
A
■ Loop (Loop Point)
Set the starting point of the looped section. With a
violin sound, for example, the Loop Point should be
set after the distinctive attack portion and at the
start of the sustained section of the sound. When
playing back this loop, the attack portion of the
violin sound is played back, followed by the looped
section corresponding with the sustained section of
the violin sound (between the Loop Point and the
End Point). On the other hand, if the sound does
not have a distinctive attack portion, the Loop Point
can be set to the same position as the Start Point.
At this screen, you can use the keyboard to audition
the Loop Remix. If you are not satisfied with the
result, try creating another Loop Remix by repeating
steps 2 to 4 but using different Variation settings.
6When you are satisfied with the result, press the
[DEC/NO] key. A new Phrase Clip will be created
and you will be returned to the first screen.
PCLP Normalize
You can normalize each Phrase Clip. This maximizes
the output level of the recorded Phrase Clip without
causing distortion.
❏Settings: Depends on the length of the Phrase Clip.
■ End (End Point)
Set the End Point of the Phrase Clip’s looped section.
This can also be useful for removing unwanted noise
at the end of the Phrase Clip.
To select each Phrase Clip, use Knob [A] to select the
Clip Key or Knob [B] to select the Phrase Clip Number.
After selecting the Phrase Clip, set the Ratio parameter
and press the [ENTER] key to normalize.
❏Settings: Depends on the length of the Phrase Clip.
Details about the Start, Loop and End Points are given
on Page 150.
You can also select the Clip Key directly by pressing a note
on the keyboard.
PCLP Normalize)
Job C 2:001[SmplName]
Ratio
100%
PCLP LoopRemix
The Phrase Clip data can be edited and a new Phrase
Clip can be automatically created with a new Loop.
The procedure is as follows.
■ Clip Key
Select the Clip Key of the target Phrase Clip.
❏Settings: C0 ~ C6
■ Clip Number
PCLP LoopRemix)
JOB C 2:001[SmplName]
Type
1
Vari
A
Select the target Phrase Clip.
❏Settings: 1 ~ 256
The following Jobs are available only when the Phrase
Clip has been recorded in 16-bit format.
■ Ratio
Set an amplitude ratio in normalization of a volume
level. With a value of “100” (%), a peak level will
be normalized into full 16 bits, which means there is
virtually no distortion in resulting levels. If the
volume level in an original Clip is extremely low, set
a value less than “100” (%) for a waveform
smoother in level changes. You can set a value more
than “100” (%) for an intentionally distorted sound.
1Select the Phrase Clip by using Knob [A] to select
the target Clip Key or Knob [B] to set the Phrase Clip
Number.
You can also select the target Clip Key directly by
pressing its note on the keyboard.
2Select the Type parameter which specifies the
section of the Loop to be changed. Five Types are
available.
❏Settings: 0 ~ 200%
Once you perform this operation on a Phrase Clip, its
original data will be overwritten and you will not be
able to undo the changes. Important data should always
be backed up or copied to a separate Phrase Clip
Number before performing this operation.
3Select the Vari (Variation) parameter, which is the
degree of change to be applied to the Loop. Four
Variations (A to D) are available, each offering
increasing degrees of change.
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■ TargetVari (Target Variation)
PCLP FreqConvert (Frequency Convert)
You can perform a Frequency Convert operation on
each Phrase Clip. This halves its sampling rate and
therefore its size.
Set the areas to be removed by PCLP Extract.
❏Settings:
all
Unused areas of all eight Variations are removed.
To select each Phrase Clip, use Knob [A] to select the
Clip Key or Knob [B] to select the Phrase Clip Number.
After selecting the Phrase Clip, press the [ENTER] key
to execute the Frequency Convert operation.
1 ~ 8
Unused areas of the Variation specified here are removed.
Removed when
set to “all”
Not removed
Removed when
set to “all”
when set to “all”
You can also select the Clip Key directly by pressing a note
on the keyboard.
Vari 1
Everything outside this area is removed when set to “2”
Start
End
Vari 2
Vari 3
Vari 4
Vari 5
Vari 6
Vari 7
Vari 8
PCLP FreqConvert)
Job C 2:001[SmplName]
■ Clip Key
Select the Clip Key of the target Phrase Clip.
❏Settings: C0 ~ C6
■ Clip Number
Select the target Phrase Clip.
When set to “all,” the Start End points of all Variations
are compared. Then the areas before the Start point
and after the End point are removed.
❏Settings: 1 ~ 256
Once you perform this operation on a Phrase Clip, its
original data will be overwritten and you will not be
able to undo the changes. Important data should always
be backed up or copied to a separate Phrase Clip
Number before performing this operation.
PCLP Delete
You can delete the data of each Phrase Clip
individually, or all Phrase Clips simultaneously.
To select each Phrase Clip, use Knob [A] to select Clip
Key or Knob [B] to select the Phrase Clip Number.
After selecting the Phrase Clip, press the [ENTER] key
to delete it.
PCLP Extract
You can perform an Extract operation on each Phrase
Clip. This removes unused sections of the Phrase Clip
(sections which are not used in Variations).
You can also select the Clip Key directly by pressing a note
on the keyboard.
To select each Phrase Clip, use Knob [A] to select the
Clip Key or Knob [B] to select the Phrase Clip Number.
After selecting the Phrase Clip, press the [ENTER] key
to execute the Extract operation.
PCLP Delete)
Job C 2:001[SmplName]
You can also select the Clip Key directly by pressing a note
on the keyboard.
■ Clip Key
Set the Clip Key that is assigned with a target Clip
for this Job. Or, you have other options for
maintenance purpose. If you want to delete all (up
to 256) Clips that have been recorded, regardless of
their assignments in Clip Kits, select "all." When
deleting all Clips that are NOT assigned to any Clip
Key from any Clip Kit, select "unused."
PCLP Extract)
Job C 2:001[SmplName]
TargetVari
all
■ Clip Key
Select the Clip Key of the target Phrase Clip.
❏Settings: C0 ~ C6
❏Settings: C0 ~ C6, unused, all
■ Clip Number
If you select “unused” or “all,” you will see “---”
displayed for the Clip Key parameter.
Select the target Phrase Clip.
❏Settings: 1 ~ 256
If you delete a Phrase Clip used in other Clip Kits or
Clip Keys, you will never be able to use those Clip Kits
or Clip Keys.
Once you perform this operation on a Phrase Clip, its
original data will be overwritten and you will not be
able to undo the changes. Important data should always
be backed up or saved to a separate Phrase Clip Number
before performing this operation.
■ Clip Number
Set the Phrase Clip you wish to delete.
❏Settings: 1 ~ 256
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PCLP Copy
PCLP AutoKeyMap
You can copy the data of each Phrase Clip to another
Phrase Clip.
Auto Key Map is used to automatically assign
Variations of a Phrase Clip to notes on the keyboard,
starting at the Clip Key note.
To select each Phrase Clip, use Knob [A] to select Clip
Key or Knob [B] to select the Phrase Clip Number.
After selecting the Phrase Clip, press the [ENTER] key
to copy it to an automatically allocated (vacant) Phrase
Clip Number.
To select the Phrase Clip of the Variations, use Knob
[A] to select the Clip Key or Knob [B] to select the
Phrase Clip Number.
After selecting the Phrase Clip, set the Clip Key and
Type parameters, then press the [ENTER] key to
execute the Auto Key Map operation.
You can also select the Clip Key directly by pressing a note
on the keyboard.
You can also select the Clip Key directly by pressing a note
on the keyboard.
PCLP Copy)
Job C 2:001[SmplName] > 050[NewSampl]
PCLP AutoKeyMap)
Job C 2:001[SmplName]
Key
C 3
Type
white
■ Clip Key
Select the Clip Key of the Phrase Clip to be copied.
❏Settings: C0 ~ C6
■ Clip Key
Set the Clip Key assigned to the Phrase Clip of the
source Variation.
■ Clip Number
Select the Phrase Clip to be copied.
❏Settings: C0 ~ C6
❏Settings: 1 ~ 256
■ Clip Number
Set the Phrase Clip of the source Variation.
PCLP SampleRcv (Sample Receive)
❏Settings: 1 ~ 256
You can receive Phrase Clip (sample) data from
external MIDI devices, such as samplers and
computers, using the MIDI Sample Dump Standard.
■ Key
Set the first Clip Key to be assigned. Assignments
will be made from this note upwards when you
perform the Auto Key Map operation.
The Device Number must be set correctly in order to
perform this operation. Details are given on Page 166.
❏Settings: C0 ~ C6
Select the sample you wish to receive, select the Clip
Key to which it will be assigned, then press the
[ENTER] key to start the Sample Receive process. The
received sample will be assigned to the specified Clip
Key of the current Clip Kit.
■ Type
Set the Type. If you select “white,” the assignments
will be applied only to white notes upwards from the
note set in the “Key” parameter. If you select “all,”
the assignments will be applied to both black and
white notes upwards from that point.
PCLP SampleRcv) ReqSmpl > Key[InitSmpl]
Job
16383
C 3:001
❏Settings: white, all
■ ReqSmpl (Request Sample)
PCLP Kit Key Copy
You can copy Clip key data from one Clip key to
another.
Set the sample data to be received from an external
MIDI device.
❏Settings: 1 ~ 16384
After selecting the source and destination Clip key,
press the [ENTER] key.
This setting is not necessary when you directly send
sample data from an external MIDI device to the
instrument (without requesting it using this parameter).
You can only receive mono samples recorded at 44.1
kHz in 16-bit (linear) format.
PCLP Kit Key Copy)
Job
C 3 > B 3
■ Key (Clip Key)
Select the Clip Key to which the sample will be
assigned.
■ Source Clip Key
Select the Clip Key to be copied.
❏Settings: C0 ~ C6
❏Settings: C0 ~ C6
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■ Destination Clip Key
Clip Kit Store
Select the Clip Key to which the Source Clip Key will
be copied.
You can store up to four edited Clip Kits to internal
memory as follows.
❏Settings: C0 ~ C6
Existing Clip Kit data will be overwritten with the new
data when stored. You should save important data to
Memory Card beforehand.
PCLP Kit Key Initialize
You can initialize each Clip Key to return it to its
default state. This is useful when creating a new
Phrase Clip from scratch before editing.
Clip Kit data stored in internal memory will be lost when
you switch the synthesizer off. You should save important
Clip Kit and Phrase Clip data to Memory Card before
switching the power off. This operation is performed in
Card Mode. Details are given on Page 173.
After selecting the Clip Key you wish to initialize, press
the [ENTER] key.
1Press the [STORE] key after editing a Clip Kit.
The Clip Kit Store screen will be displayed.
PCLP Kit Key Initialize)
C 3
Job
PCLP) [Wv:Init Clip ] >[Wv:Init Clip ]
Store
1(A01)
■ Clip Key
Select the Clip Key you wish to initialize.
2Use Knob [2] to select the location Clip Kit Number
(1 to 4) at which to store the Clip Kit.
❏Settings: C0 ~ C6
The Clip Kit Number will be displayed.
You can also use the [DATA] knob and the [INC/YES]
and [DEC/NO] keys to select the Store location.
PCLP Kit Initialize
You can initialize each Clip Kit to return it to its
default state. This is useful when creating a new
Phrase Clip from scratch before editing. You can
initialize the current Clip Kit, or all Clip Kits
simultaneously.
3Press the [ENTER] key. You will see a confirmation
message.
PCLP) [Wv:Init Clip ] >[Wv:Init Clip ]
<<
Are you sure? [YES]/[NO]
>>
After selecting the Clip Kit you wish to initialize, press
the [ENTER] key.
4Press the [INC/YES] key to Store. The
“Executing...” message will be displayed, followed by
the “Completed.” message on completion. You will
then be returned to Phrase Clip Play Mode.
PCLP Kit Initialize)
Job
Current Kit
Press the [DEC/NO] key to cancel the Store operation
and return to the previous screen.
■ Clip Kit
Set the Clip Kit you wish to initialize.
❏Settings: Current Kit, All kit
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Sequence Play Mode
The Demo Songs contain preset tempos by default.
In this Mode, you can play back the built-in demo
songs and Song files stored on Memory Card. Up to
100 Song files can be played back end-to-end by using
the Chain Step feature. This Chain Step data can also
be saved to Memory Card.
When you switch to another Demo Song, its preset
tempo will be used. You can change the playback
tempo. To restore the default tempo, select “***” as the
tempo setting.
3Press the [PLAY/STOP] key to play back the selected
A Memory Card containing Song files must already be
slotted in the Card Slot.
Demo Song from the beginning.
4Press the [PLAY/STOP] key again to stop the Demo
Basic details about the sequencer are given on Page 31.
Song playback.
When you enter Sequence Play Mode, you will see the
1st screen (Demo Song). The following two screens
are available.
If you press the [PLAY/STOP] key once again, playback
will resume from the current position.
Demo Songs will playback continuously until stopped.
1st screen: SEQ Demo (Sequence Demo)
2nd screen: SEQ (Sequence Chain)
SEQ (Sequence Chain)
You can set up to 100 Steps in a Chain here. Each Chain
Step is assigned a Song file and a Performance (Voices for
each Part used in the Song). You can play back one
particular Chain Step or multiple Chain Steps end-to-end.
If you load Sequence Chain data in Card Mode (Page 174)
or using the Auto Loading feature (Page 172), the 2nd
screen will be displayed first.
Details about how to enter Sequence Play Mode are given
on Page 22.
Chain Step Number 1~100
SEQ Demo (Sequence Demo)
The Demo Song data is contained in internal memory.
When you attempt to enter the SEQ Demo (Sequence
Demo) screen, you will have an alert screen shown
below, since you lose your data for System, internal
Voices and Phrase Clip by loading the demo song.
Song File
Performance
Sequence Track
1
MIDI CH
1
MIDI CH
1
Part
1
2
3
2
3
2
2
3
16
SEQ Demo)<< Are you sure? [YES]/[NO] >>
System,IntVoice will be changed.
16
16
5
3
16
Plug-in Part 1
Plug-in Part 2
Phrase Clip Part
A/D Input Part
4
Press the [YES] key to accept the alert and proceed to
the SEQ Demo screen. You can play the demo song in
this screen.
10
6
Demo Song Name
Chain settings can be saved to Memory Card.
SEQ Demo) Song:[DEMOSONG]
≥ 001 ⁄= 120
Song File Name
SEQ)
Chain00
File:[
]
Perf
001 ⁄= 120 Meas=001 INT:128
Demo Song Number Playback tempo
Chain Step Number
Playback tempo
Measure
Performance
Bank/Number
■ Playback Tempo
❏ Settings: *** (default tempo), 25 ~ 300
■ Chain Step Number
Change each Chain Step. If you choose a Step
Number here, the screen for the selected Chain Step
will be displayed.
1Use Knob [B] and the [ENTER] key to select the
Demo Song Number.
2Set the tempo (if necessary).
❏ Settings: 00 ~ 99
You can jump to the next Chain Step screen and change
the Chain settings in advance, even while a Song is
being played back.
A “ë” indicator is displayed to the right of the Chain
Step Number at the Chain Step screen of the Song file
currently being played back.
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Performances can be changed while Songs are playing or
have been stopped. However, it does not change in real
time during playback if you specify a Chain Step other
than the current one. In stead, it changes when playback
reaches the song at the specified Chain Step.
■ Song File Number
Assign a Song file to the Chain Step. Any Song files
with the “.MID” extension can be selected. When
you select a file Number here, the file name is shown
in the top line of the display.
For continuous (chained) playback of multiple Chain
Steps, you can specify how to play this Chain Step
after playback of a previous one by selecting an
option from among “skip,” “end” and “stop.”
If you select “skip,” the Chain Step is skipped and
playback will jump to the next Chain Step. If you
choose to skip the 99th Chain Step, playback will
jump back to the first Chain Step after the 98th
Chain Step.
Song File Playback
1Use Knob [B] to select the Song file you wish to play
back.
When playing back a single Song, you do not need to
select a Chain Step Number (You can have any Chain
Step screen open).
2Set the tempo (if necessary).
If you select “end,” when the Song reaches this
Chain Step, chained playback is stopped and you are
returned to the first Chain Step.
3Set the starting point (measure) for the Song (if
necessary).
If you select “stop,” the Song stops when it reaches
this Chain Step. When the Song playback is
resumed, it starts at the next Chain Step.
4Select the Performance Bank/Number (if necessary).
5Press the [PLAY/STOP] key to playback the Song
from the set position (or from the beginning).
❏ Settings: skip, end, stop, 001 ~ 997
6Press the [PLAY/STOP] key again to stop the Song
playback.
■ Playback Tempo
Set the playback tempo of the Chain Step. When
you start playback of the song, it is normal that a
tempo value contained in the song file is
automatically set to this parameter. If necessary, you
can change the playback tempo here. To restore the
Song’s own playback tempo, select “***.”
Chained Playback
1Use Knob [A] to select the Chain Step Number of the
first Song you wish to play back.
2Set the tempo (if necessary).
❏ Settings: *** (default tempo), 25 ~ 300
3Set the starting point (measure) for the Song (if
When playing back a Song file using its own tempo
data, the tempo setting is shown in brackets. These
brackets disappear when you change the tempo.
necessary).
4Select the Performance Bank/Number (if necessary).
5Press the [PLAY/STOP] key to play back the Song
■ Meas (Measure)
from the set position (or from the beginning).
The Song measure in the current Chain Step is shown
during playback. If you stop playback, you can use
Knob [1] to enter a measure number and press the
[ENTER] key to resume playback at that measure.
When the Chain Step playback has finished, the
Song of the next Chain Step Number will
automatically be started. Songs can be played back
continuously this way.
❏ Settings: 001 ~ 999
6Press the [PLAY/STOP] key again to stop the
■ Performance Bank/Number
chained playback.
Set the Performance (Bank/Program Number) to be
used in the Chain Step. The Voices of each Part in
the selected Performance will be used when playing
back the Song file.
Also, if an “end” or “stop” Chain Step is reached,
playback will stop.
Use Knob [2], the MEMORY [INT]/[EXT] keys,
BANK keys [A] to [H] and PROGRAM keys [1] to
[16] to select the Memory Bank and Program
Number of the Performance.
❏ Settings: *** (not set), INT/EXT (Bank), 1 ~ 128
(Program Number)
If no Performance changes are contained within a Song
file, “***” is displayed as the Bank/Number when the
Song File is selected. In this case, the Song file will use
the Program set in the currently selected Mode (Voice
Mode/Performance Mode/Phrase Clip Mode).
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Utility Mode
The parameters in Utility Mode are explained here.
Utility Mode can roughly be divided into a screen for
settings common to the entire system, a screen for Voice
Mode settings and a screen for Plug-in Board settings.
MSTR (System Master)
You can set the overall parameters, including volume and
pitch, which mainly relate to the synthesizer’s tone
generator section. The following four screens are available.
You will first see the following screen when you enter
Utility Mode. Each of the three Utility Mode screens
contain further sub-screens. Basically the [PAGE] knob
is used to switch between parameter screens and Knobs
[B], [C] and [1]/[2] are used to set the values for each
parameter. You can also use the [DATA] knob or the
[DEC/NO] and [INC/YES] keys to enter values.
MSTR TG (Master Tone Generator)
MSTR Kbd (Master Keyboard)
MSTR EF Bypass (Master Effect By-pass)
MSTR Other (Master Other)
MSTR TG (Master Tone Generator)
Set the parameters which control the synthesizer’s tone
generator section.
Sys (System): System settings
MSTR TG)
Sys
Vol
127
NoteShift Tune
+63 +102.3c
MSTR TG)
Sys
Vol
127
NoteShift Tune
+24 +102.3c
• Master
• Control
• MIDI
■ Vol (Master Volume)
Set the synthesizer’s overall volume.
Vce (Voice): Voice Mode settings
❏Settings: 0 ~ 127
M.EQ Low) Shape
Vce peak
Gain
+12dB
Freq
50Hz
Q
12.0
■ NoteShift (Master Note Shift)
Set the amount (in semitones) by which the note
pitch is shifted. This parameter only affects the
synthesizer’s internal tone generator. It does not
affect information transmitted via MIDI.
• Master Equalizer
• Control
Plg (Plug-in): Plug-in Settings
❏Settings: -24 ~ 0 ~ +24
PLG Status)
Plugin
PLG1:PLG100-VH
PLG2:PLG150-AN
Expand
part
■ Tune (Master Tune)
• Plug-in Board Status
• Plug-in Board 1 System
• Plug-in Board 2 System
Adjust the keyboard tuning (in 0.1 cent steps).
❏Settings: -102.4 ~ +102.3
Details about how to enter Utility Mode are given on Page 22.
MSTR Kbd (Master Keyboard)
Set the parameters related to the keyboard.
Menu Display
When you use the [PAGE] knob while holding down
the [SHIFT] key, the following menu will be
displayed. Use the [PAGE] knob to move the cursor
(≥) between items, then release the [SHIFT] key to
jump to the selected item.
MSTR Kbd)
Sys
Oct Trnspose
+3 +11
Vel
fixed =
127
■ Oct (Master Octave Shift)
Shift the octave range of the keyboard up or down.
Cursor
❏Settings: -3 ~ 0 ~ +3
MSTR TG)
Sys
Sys:>MSTR≥CTRL>MIDI
Vce:>M.EQ>CTRL Plg:>PLG>1>2
■ Trnspose (Master Transpose)
Transpose the pitch of the keyboard up or down (in
semitones). This affects information transmitted via
MIDI.
SHIFT
PAGE
A
B
C
1
2
DATA
PART/ELEMENT
❏Settings: -11 ~ +11
If you transpose beyond the note range limits (C-2 and G8), the
notes will be wrapped over.
This parameter is not available in the CS6R.
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■ Vel (Keyboard Velocity Curve)
MSTR EF Bypass (Master Effect By-pass)
Set the parameters related to the [EF BYPASS] key on
the front panel.
Set the Velocity Curve determining how the strength
of the notes played will affect the sound output.
❏Settings: norm, soft, hard, wide, fixed
norm (Normal)
The velocity is in proportion to the strength.
MSTR EF Bypass) Insert Reverb Chorus
Sys
off
on
on
Volume
■ Insert (Insertion), Reverb, Chorus
When the [EF BYPASS] key is pressed (its LED is
lit), various effects can be bypassed.
Keyboard Playing Strength
❏Settings: off, on (for Insert (Insertion), Reverb and Chorus
soft
effects)
A softer playing style increases the volume level.
Plug-in Board Variations (Variation Effects) will be
bypassed according to the Insert setting.
Volume
MSTR Other (Other Setup)
Set other parameters common throughout the system.
Keyboard Playing Strength
hard
MSTR Other) PowerOnMode
Sys
Ctrl BCCurve
hold thru
A stronger playing style increases the volume level.
Voice(INT)
Volume
■ PowerOnMode
Select the Mode entered when you switch the synthesizer on.
❏ Settings:
Performance:
Keyboard Playing Strength
Performance Play Mode is entered and the first Program
Number (INT: 001) is selected automatically.
wide
A softer playing style lowers the volume level and a
stronger playing style increases the volume level. As a
result, you feel a wider dynamic range.
Voice (INT):
Voice Play Mode is entered and the first Program Number of
the Internal Memory (INT: 001) is selected automatically.
Volume
Voice (PRE1):
Voice Play Mode is entered and the first Program Number
of Preset Memory 1 (PRE1: 001) is selected automatically.
last:
The Voice/Performance Program selected before you switched
the power off is recalled. However, if you were in Phrase Clip
Play Mode before you switched the power off, the previously
selected Voice in Voice Mode will be selected automatically.
Keyboard Playing Strength
fixed
Select this curve when you want the tone generator to
respond (sound) in a specific volume, tone or the like.
With this setting, any velocity value will be changed into a
fixed one you specify with the Fixed (Keyboard Fixed
Velocity) parameter below.
■ Ctrl (Controller)
Select whether or not the controller (Modulation Wheel,
Aftertouch, Foot Controller, Breath Controller, Ribbon
Controller (CS6x), Knobs) state/position is maintained
(hold) or reset when you switch between Voices.
Volume
❏ Settings: hold, reset
If you select “reset,” the controllers will be reset to the
following states/positions:
Keyboard Playing Strength
Pitch Bend ....................Center
Modulation Wheel ........Minimum
Aftertouch ....................Minimum
Foot Controller..............Maximum
Breath Controller ..........Maximum
Ribbon Controller ........Center
Foot Switch....................Off
■ Fixed (Keyboard Fixed Velocity)
The velocity is fixed at the Vel setting. The sound
output is always the same, regardless of how hard or
gently you play the keyboard. The Vel parameter is
only available if you select the “fixed” Velocity Curve.
Expression ....................Maximum
164
❏ Settings: 1 ~ 127 (Only available if Vel is set to “fixed” )
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■ BCCurve (TG Breath Curve)
■ CC# (Control Number)
Set the Breath Curve determining how the strength
with which you blow into the Breath Controller will
affect the sound output.
Assign MIDI Control Change Numbers to Assignable
Knobs [A] to [C].
❏Settings: 000 ~ 095 (see the separate Data List for
details)
❏Settings: thru, soft, hard, wide
■ Dest (Control Destination)
Set the function to be controlled by Assignable
Knobs [A] to [C].
Adjusted Breath Control
thru
❏Settings: see the separate Data List for details
The positions of Knobs [A]/[B]/[C] can be memorized
for each Voice, Performance and Phrase Clip.
Received Breath Control
Adjusted Breath Control
If a Master Equalizer parameter is selected as the
destination, the M.EQ settings of “vce” (in Utility
Mode) are increased/decreased Using Knobs
[A]/[B]/[C].
soft
CTRL Scene (Controller Scene) (CS6x)
Set the SCENE [CONTROL] knob parameters.
Received Breath Control
Adjusted Breath Control
CTRL Scene) Scene Control
Sys
65[Porta Sw]
hard
■ Scene Control (Scene Control Number)
Assign a MIDI Control Change Number to the
SCENE [CONTROL] knob.
Received Breath Control
Adjusted Breath Control
❏Settings: 000 ~ 095 (see the separate Data List for
details)
wide
CTRL Other (Controller Other)
Set the Foot Switch and Foot Volume parameters.
Received Breath Control
CTRL Other) FS
Sys
FV
volume
65[Porta Sw]
CTRL (System Controller)
In Voice Mode, you can set parameters for Controllers.
The following five screens are available.
■ FS (Foot Switch)
Assign a Control Change message to the Foot Switch.
CTRL KnobA (Control Knob [A])
CTRL KnobB (Control Knob [B])
CTRL KnobC (Control Knob [C])
CTRL Scene (Control Scene)
CTRL Other (Control Other)
❏Settings: 000 ~ 100 (000/032 = off, 096 = Arp Sw, 097
= Arpeggio Hold, 098 = Sequence PLAY/STOP,
099/100 = Program Change INC/DEC)
The available settings for the CS6R are 000 to 095.
Details about Control Numbers and Control Changes
are given in the separate Data List.
CTRL Knobs [A] to [C]
You can assign various control functions to Assignable
Knobs [A] to [C] on the front panel.
■ FV (Foot Volume) (CS6x only)
Select whether Foot Volume controls the Main
Volume or Expression parameter.
❏Settings: volume (Main Volume), expression
CTRL KnobA) CC#
Sys 67[--------]
Dest
EQLow-G
Details about the Main Volume and Expression
parameters are given in the separate Data List.
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■ Switch
MIDI (System MIDI)
Select the Control Change Number used to control
the ARPEGGIO [ON/OFF] key.
You can set overall MIDI parameters for the system.
The following five screens are available.
■ Settings: 000 ~ 095 (000, 032 = off)
MIDI Ch (MIDI Channel)
MIDI Arp (MIDI Arpeggio)
MIDI RxSW (MIDI Receive Switch)
MIDI Other
■ Hold
Select the Control Change Number used to control
the ARPEGGIO [HOLD] key.
MIDI GM/XG Receive
■ Settings: 000 ~ 095 (000/032 = off)
■ Out (Vce)
MIDI Ch (MIDI Channel)
Set the MIDI Channel parameters.
Enable/disable the output or Arpeggiator data to
external MIDI devices through the MIDI Out.
■ Settings: off (disabled), on (enabled)
■ Ch (Vce) (Arpeggio Transmit Channel)
Select the MIDI channel through which Arpeggio
data will be sent.
MIDI Ch)
Sys
Recv
omni
Trans
1
Local
on
DevNo
all
■ Settings: 1 ~ 16
■ Recv (Basic Receive Channel)
Set the MIDI Receive channel for using the
synthesizer with an external sequencer, computer
and so on, and for using it as a MIDI tone generator.
MIDI Sw (MIDI Receive Switch)
Set the MIDI Receive parameters.
■ Settings: 1 ~ 16, omni (all channels), off
MIDI Sw)RcvBulk BankSel PgmChng Control
mode1
Sys
on perform
off
■ Trans (Keyboard Transmit Channel)
Set the MIDI Transmit channel for transmitting
MIDI from the keyboard, controllers and so on.
■ RcvBulk (Receive Bulk)
Select whether or not Bulk Dump data can be received.
■ Settings: protect (off), on
■ Settings: Ch1 ~ Ch16, off
■ BankSel (Bank Select)
■ Local (Local On/Off)
Set to enable or disable transmission and reception
of Bank Select messages between the instrument and
an external MIDI device. With any setting other
than “off,” the instrument can receive a Bank Select
massage coming in, and it can also send a Bank
Select massage out to an external MIDI device when
you select a Bank using a MEMORY key or the like
on its front panel.
If you set Local to “off,” the keyboard and controllers
are internally disconnected from the synthesizer’s
tone generator section so that no sound is output
when you play the keyboard or use the controllers.
However, the data will be transmitted through the
MIDI OUT. Also, the tone generator section will
respond to messages received at the MIDI IN.
■ Settings: off on,
■ Settings: off, all, part, perform
off:
Ignores (does not receive) a Bank Select message. The
instrument does not send this message, either.
■ DevNo (Device Number)
Set the MIDI Device Number. This number must
match the Device Number of the external MIDI device
when transmitting/receiving bulk data, parameter
changes or other system exclusive messages to/from it.
all:
Receives all Bank Select messages coming in. When the
instrument receives only a Program Change message in
Performance Mode, that message selects a Part’s Voice.
■ Settings: 1 ~ 16, all, off
part:
Receives only Bank Select messages for selecting a Voice
Bank, whichever mode you are working in.
MIDI Arp (MIDI Arpeggio)
Set the arpeggiator’s MIDI parameters.
perform:
Receives only Bank Select messages for selecting a
Performance Bank when you are working in Performance
Mode. When you are working in Voice Mode, the instrument
only receives Bank Select messages for selecting a Voice Bank.
MIDI Arp) Switch Hold Out(Vce)Ch(Vce)
Sys[
] 67
68
off
16
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■ PgmChng (Program Change)
MIDI GM/XG Receive (if a Multi-Part
Plug-in Board has been installed)
Set GM On and XG Reset Receive parameters. This
screen is only available if a Multi-Part XG Plug-in
Board has been installed.
Set to enable or disable reception of a Program
Change message coming in. With this parameter set
to “on,” the instrument can receive a Program
Change massage coming in, and it can also send a
Program Change out to an external MIDI device
when you select a Voice or Performance (using a
[PROGRAM/PART] key, etc.) on its front panel.
MIDI GM/XG Receive) Sw
Sys
InternalPart
layer-part
on
❏Settings: off (disable), on (enable)
■ Sw (Receive Switch)
■ Control
Select whether or not to receive GM On and XG Reset
messages. The XG Plug-in Board will receive GM On
and XG Reset messages if you set this to “on.”
Set the MIDI transmit/receive parameters for the
CS6x’s 14 Sound Control knobs.
❏Settings: mode1, mode2
mode1:
❏ Settings: off, on
If the knob’s Control Change message is not a standard
MIDI message, it is transmitted as a Parameter Change
message instead.
■ InternalPart
The sound for each of the synthesizer’s Parts can be
output in the following three ways. when a GM
On/XG Reset message is received. Whichever setting
you choose, the Parts of the XG Plug-in Board will
always be output.
mode2:
The [SUSTAIN] knob transmits a Control Change message.
MIDI Other
Set other MIDI parameters.
❏Settings:
all part:
All Parts of the synthesizer and the Plug-in Board will be
output when MIDI messages are received.
MIDI Other) In ThruPort
Sys MIDI
Sync SeqCtrl
int on
1
layer part:
Parts which have their Layer Switch parameters set to “on”
and all XG Plug-in Board Parts will be output when MIDI
messages are received.
■ In (MIDI Input)
Select whether to use the MIDI In/Out/Thru
all off:
connectors or other (future) connectors. At present,
you can only select “MIDI.”
No Parts of the synthesizer will be output but all XG Plug-
in Board Parts will be output when MIDI messages are
received.
❏Settings: MIDI
By default the Sw parameter is set to “on” and the
InternalPart parameter is set to “all off.” If you play a
song file containing a GM On message, the XG Plug-in
Board will be used to play back the song.
■ ThruPort
You can connect your synthesizer to a computer via a
dedicated serial cable on the TO HOST connector. In
which case, MIDI messages received via the TO HOST
connector can be passed through the MIDI OUT
connector of the synthesizer. Set the port number here.
M.EQ (Voice Master Equalizer)
You can assign any of five different Equalizer bands in
Voice Mode. The following five screens are available.
❏ Settings: 1 ~ 8
M.EQ Low
■ Sync
M.EQ LowMid (Low-Middle)
M.EQ Mid (Middle)
M.EQ HighMid (High-Middle)
M.EQ High
To synchronize playback with an external MIDI device,
you can use either the synthesizer’s internal clock (int)
or MIDI clock signals from the external device (midi).
Select “int” if you are using the synthesizer as the master,
or if you have no other MIDI devices connected to it.
Select “MIDI” when slaving your synthesizer to another
MIDI Clock source connected to the MIDI IN connector.
Q (Frequency Characteristic)
Gain
❏ Settings: MIDI, int (internal)
0
Freq (Frequency)
■ SeqCtrl (Sequencer Control)
Select whether or not to transmit/receive Song Start, Stop
and Continue messages via MIDI. This also switches the
transmission of MIDI Clock messages on and off.
❏ Settings: off, on
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■ Gain
Set the Gain. This attenuates or boosts frequencies
M.EQ Low (Master EQ Low)
This Equalizer covers low frequencies. You can adjust
the signal level at the specified frequency. You can also
select different Equalizer types (Shapes).
around the Frequency setting.
❏Settings: -12dB ~ 0dB ~ +12dB
■ Freq (Frequency)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
M.EQ Low) Shape
Vce peak
Gain
+12dB
Freq
50Hz
Q
12.0
❏Settings: 100Hz ~ 10kHz
■ Q (Frequency Characteristic)
■ Shape
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
Select either a Shelving or Peaking equalizer. The
Peaking type attenuates/boosts the signal at the
specified Frequency setting, whereas the Shelving
type attenuates/boosts the signal at frequencies
above or below the specified Frequency setting.
❏Settings: 0.1 ~ 12.0
M.EQ High (Master EQ High)
This Equalizer covers high frequencies. You can adjust
the signal level at the specified frequency. You can also
select different Equalizer types (Shapes).
❏Settings: shelv (Shelving), peak (Peaking)
Details about the shapes of the Shelving and Peaking
Types are given on Page 126.
■ Gain
M.EQ High)Shape
Vce peak
Gain Freq
+12dB 0.5kHz
Q
12.0
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
❏Settings: -12dB ~ 0dB ~ +12dB
■ Shape
Select either a Shelving or Peaking equalizer. The
Peaking type attenuates/boosts the signal at the
specified Frequency setting, whereas the Shelving
type attenuates/boosts the signal at frequencies
above or below the specified Frequency setting.
■ Freq (Frequency)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
❏Settings: 32Hz ~ 2.0kHz
❏Settings: shelv (Shelving), peak (Peaking)
■ Q (Frequency Characteristic)
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
■ Gain
Set the Gain. This attenuates or boosts frequencies
around the Frequency setting.
❏Settings: 0.1 ~ 12.0
❏Settings: -12dB ~ 0dB ~ +12dB
M.EQ LowMid
■ Freq (Frequency)
(Master EQ Low-Middle Range)
Set the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting.
M.EQ Mid (Master EQ Middle Range)
❏Settings: 500Hz ~ 16kHz
M.EQ HighMid
■ Q (Frequency Characteristic)
(Master EQ High-Middle Range)
This varies the signal level at the Frequency setting
to create various frequency curve characteristics.
These Equalizers cover low-to-middle, middle and high-
to-middle frequency ranges. They can be used to adjust
the signal level around the specified frequency.
❏Settings: 0.1 ~ 12.0
M.EQ LowMid)
Vce
Gain
+12dB
Freq
100Hz
Q
12.0
CTRL (Voice Controller)
You can assign MIDI Control Change Numbers to the
controllers and front panel knobs. For example, Knob
[1]/[2] can be set to control the amount of effect
applied to a sound and the Foot Controller can be set to
control modulation. These Control Change Number
assignments are known as “Controller Assign.” The
following two screens are available.
M.EQ Mid)
Vce
Gain
+12dB
Freq
100Hz
Q
12.0
M.EQ HighMid)
Vce
Gain
+12dB
Freq
100Hz
Q
12.0
CTRL Assign1 (Controller Assign 1)
CTRL Assign2 (Controller Assign 2)
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Details about Controller Assign settings in Performance
mode are given on Page 126.
■ RB (Ribbon Controller)
Assign a Control Change Number to the Ribbon
Controller on the front panel. The Ribbon Controller’s
behavior depends on the Mode parameter setting.
CTRL Assign1 (Controller Assign 1)
Use Knobs [C], [1] and [2] to assign Control Change
Numbers to the Breath Controller, Knob [1] and Knob
[2], respectively. The selected Control Change Name is
shown on the left of the display.
■ Settings: 00 ~ 95 (see the separate Data List for details)
Details about the Ribbon Controller are given on Page
48.
■ Mode (CS6x only)
Set the behavior of the Ribbon Controller. If you select
“hold,” the parameter controlled by the Ribbon
Controller will hold its value even after you release it.
If you select “reset,” the value returns to its default
setting at the center of the Ribbon Controller strip.
CTRL Assign1)
Vce [FootCtrl]
BC
02
Knob1
16
Knob2
17
Control Change Name
Control
Change Number
■ Settings: hold, reset
■ BC (Breath Controller)
PLG (Plug-in) (if a Plug-in Board has been installed)
If you have a Plug-in Board installed, the following three
screens are available for setting its parameters.
However, the number of sub-screens and parameters will
vary depending on the type of Plug-in Board installed.
Assign Control Change Number to the Breath
Controller. The Breath Controller is connected to
the BREATH connector (Page 18) on the rear panel.
When the Breath Controller is used, this Control
Change Number is transmitted. Also, if this Control
Change Number is received, the destination
PLG Status (Plug-in Status)
PLG1/2 MIDI (Plug-in 1/2 MIDI)
PLG1/2 System (Plug-in 1/2 System)
parameter of the Breath Controller is controlled.
■ Settings: 00 ~ 95 (see the separate Data List for details)
■ Knob1/2 (Knob [1]/[2])
PLG Status (Plug-in Status)
The name of the Plug-in Board is displayed.
Assign Control Change Numbers to Knobs [1] and
[2] on the front panel.
■ Settings: 00 ~ 95 (see the separate Data List for details)
PLG Status)
Plugin
PLG1:PLG100-VH
PLG2:PLG150-AN
Expand
----
CTRL Assign2 (Controller Assign 2)
■ PLG1 (Plug-in 1)
Use Knobs [C] and [1] to assign Control Change
Numbers to the Foot Controller and Ribbon Controller,
respectively. The selected function is shown on the left
of the display. Use Knob [2] to select the Ribbon
Controller Mode.
The name of the Plug-in Board in the Plug-in 1 slot
is displayed.
■ PLG2 (Plug-in 2)
The name of the Plug-in Board in the Plug-in 2 slot
is displayed.
Nothing is displayed for vacant Plug-in slots.
CTRL Assign2)
Vce [--------]
FC
04
RB----Mode
22
reset
■ Expand
This parameter is accessible only when you have two
identical Plug-in boards installed on the instrument.
The “part” setting enables two boards to work
separately (you can select them in two different
Parts). The “poly” setting enables two boards to work
together to double polyphonic notes (you can only use
them in a single Part with double polyphony).
Control Change Name
Control Change
Number
Mode
■ FC (Foot Controller)
Assign a Control Change Number to the Foot Controller.
The Foot Controller is connected to the FOOT
CONTROLLER connector on the rear panel (Page 18).
■ Settings: part, poly
■ Settings: 00 ~ 95 (see the separate Data List for details)
PLG1 MIDI (Plug-in 1 MIDI)
PLG2 MIDI (Plug-in 2 MIDI)
Set the MIDI parameters of the Plug-in Board.
PLG2 MIDI)
PLG150-AN
Clock
on
DevNo
all
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Now, the tempo of the Plug-in Board is
synchronized with the MIDI clock signal received
from the CS6x/CS6R.
■ Clock
Select whether or not to transmit MIDI Clock
messages to the Plug-in Board.
To synchronize with an external MIDI clock source,
enter Utility Mode and set the Sync parameter of the
MIDI Other screen to “MIDI.”
■ Settings: off, on
■ DevNo (Device Number)
Set the MIDI Device Number of the Plug-in Board.
This number must match the Device Number of the
external MIDI device when transmitting/receiving
bulk data, parameter changes or other system
exclusive messages to/from it.
Utility Job Mode
In Utility Job Mode, you can restore your synthesizer’s
factory default settings (Factory Set). There is only
one screen in this Mode.
■ Settings: 1 ~ 16, all, off
PLG1/2 System (Plug-in 1/2 System)
Factory Set (Restore Factory
Defaults)
Set the system parameters for each Plug-in Board. Use
Knob [C]/[2] to change the parameter. The number of
screens and parameters will vary depending on the type
of Plug-in Board installed. In the following example, a
PLG150-AN Plug-in Board has been installed in the
Plug-in 2 slot.
You can restore the synthesizer’s default Internal
Voices and Performances, as well as its System and
other settings.
Once you edit any settings, their factory defaults will
be overwritten and lost.
PLG2 System) Vel Curve
PLG150-AN norm
Mrph CtrlNo
off
You can restore the factory default settings as follows.
When you restore the factory default settings, all the
current settings for the all the Internal Voices and
Performances will be overwritten with the factory defaults.
Make sure you are not overwriting any important data.
You should back up any important data to Memory Card,
or to some external device beforehand.
The system settings for the PLG100-VH Plug Board
(Harmony Channel and Melody Channel) are set in
Performance Mode. Select an effect type using knob [1] in
the EFF plg screen of Common Effect. Then press the
[ENTER] key to enter the settings screen.
1Press the [JOB] key in Utility Mode. You will see the
Part Assign (assignment) for a Single-Part Plug-in Board is
fixed as follows:
Factory Set screen.
• Voice Mode: 1
• Performance Mode: PLG1:16
PLG2:15
MODE
VOICE
PERFORM
Synchronize the tempo settings of the
CS6x/CS6R and the Plug-in Board.
UTILITY CARD
If you are using a Plug-in Board capable of
generating arpeggio patterns, you can synchronize
its tempo with that of the CS6x/CS6R.
EDIT
JOB
COMPARE
STORE
1Enter Utility Mode and select either PLG1 MIDI
screen or the PLG2 MIDI screen for the respective
Plug-in Board. Then use the appropriate knob to
set the Clock parameter to “on.”
2Enter Voice Mode, select the Plug-in Voice of the
respective Plug-in Memory, then enter Voice Edit
Mode.
UTIL Factory Set)
Job
3Use knob [A] to select “Elem,” as shown at the
2When you press the [ENTER] key, you will see a
bottom left of the screen.
confirmation message.
4Use the [PAGE] knob to select the name of the
Plug-in Board, as shown at the bottom left of the
screen. Then enter the Plug-in native part
parameter screen.
3Press the [INC/YES] key to execute the Factory Set
job. You will see the “Completed.” message
displayed after the job has completed. You can
cancel a job while it is being executed by pressing
the [DEC/NO] key.
5Use the [PAGE] knob to select the Plug-in native
part parameter for the tempo. Then use the
appropriate knob to select MIDI (midi).
4Press the [EXIT] key to return to Utility Mode.
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Card Mode
In Card Mode, you can use Memory Card, a SmartMedia™ card
available at a consumer electronics shop, etc., to save or load
data from/to the instrument or perform other data exchange
operations between memories on the instrument and the Card.
Using the included Card Filer software, you can use a computer
to manage data on Memory Card. You can also use it to
exchange data between the computer and Memory Card.
■ About the Memory Cards
• To handle Memory Cards with care:
There are times when static electricity affects Memory
Cards. Before you handle Memory Cards, to reduce the
possibility of static electricity, touch the metal parts such as
a door knob and aluminum sash.
Be sure to remove the Memory Card from the Memory Card
slot when it is not in use for a long time.
Do not expose the Memory Card to direct sunlight,
extremely high or low temperatures, or excessive
humidity, dust or liquids.
Do not place heavy objects on a Memory Card or bend or
apply pressure to the Memory Card in any way.
Do not touch the metal part (gold) of the Memory Card
or put any metallic plate onto the metal part.
Do not expose the Memory Card to magnetic fields, such
as those produced by televisions, speakers, motors, etc.,
since magnetic fields can partially or completely erase
data on the Memory Card, rendering it unreadable.
Do not attach anything other than the provided labels to
a Memory Card. Also make sure that labels are attached
in the proper location.
Handling the Memory Card(SmartMedia™*)
Be sure to handle Memory Cards with care. Follow the
important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■ Compatible Memory Card Type
3.3V(3V) Memory Cards can be used. 5V type Memory
Cards are not compatible with this instrument. A blank
4MB Memory Card has been included in your instrument.
■ Memory Capacity
There are five types of Memory Cards:
2MB/4MB/8MB/16MB/32MB. A Memory Card with the
memory capacity exceeding 32MB can also be used if it
conforms to the standards of SSFDC (Solid State Memory
Card Card: another name of SmartMedia) Forum.
• To protect your data (Write-protect):
■ Inserting/Removing Memory Cards
• To insert a Memory Card:
To prevent inadvertent erasure of important data, stick
the write-protect seal (provided in the Memory Card
package) onto the designated area (within a circle) of
the Memory Card.
Hold the Memory Card so that the connector section
(gold) of the Memory Card is facing downward and
forward, towards the Memory Card slot. Carefully insert
the Memory Card into the slot, slowly pushing it all the
way in until it is fitted in place.
Conversely speaking, to save data on the Memory Card,
make sure to remove the write-protect seal from the Card.
Do not reuse the seal that is peeled off.
■ Data Backup
- Don’t insert the Memory Card in wrong direction.
For maximum data security Yamaha recommends that
you keep two copies of important data on separate
Memory Cards. This gives you a backup if one Memory
Card is lost or damaged.
- Don’t insert anything other than a Memory Card in
the slot.
• To remove a Memory Card:
Make sure to turn the instrument off and pull the Memory
Card out of the slot.
■ Burglarproof Lock
This instrument is equipped with a burglarproof lock
for the Memory Card. If necessity arises, mount the
burglarproof lock onto the instrument.
Always the instrument must be turned off before
removing the Memory Card.
To mount the burglarproof lock:
However, if the Memory Card's memory is full and you
want to exchange it with a new one to save your
currently edited data, follow the following procedure:
Before removing the Memory Card, be sure to confirm
that the Memory Card is not in use, or it is not being
accessed by the instrument. Then pull the Memory Card
out slowly by hand. If the Memory Card is being
accessed*, a message indicating that it is in use appears on
the instrument's display.
1 Remove the metallic part using a Phillips screwdriver.
2 Turn the metallic part upside down and then
mount it again.
The device is not attached to the CS6R initially. Fit it
as illustrated below.
*
It includes saving, loading, formatting, deleting and
making directory. Also, be aware that the instrument will
automatically access the Memory Card to check the media
type when it is inserted while the instrument is turned on.
Never attempt to remove the Memory Card or turn
the power off during accessing. Doing so can
damage the data on the instrument/Memory Card
and possibly the Memory Card itself.
■ Formatting Memory Cards
Before using a Memory Card with your instrument it
must first be formatted. Once it is formatted all data on
it will be erased. Be sure to check if the data is
unnecessary for you or not, beforehand.
The Memory Cards formatted with this instrument may
become unusable with other instruments.
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You will see the 1st screen (Status) when you enter
Card Mode. The following seven screens are available,
each for a different operation.
■ SMF (Standard MIDI Files)
Format 0 Standard MIDI Files (SMFs) can be played
back in Song Mode. However, they cannot be saved.
❏Extension: “.MID”
1st screen: Status
2nd screen: Save
3rd screen: Load
4th screen: Rename
5th screen: Delete
6th screen: MkDir (Make Directory)
7th screen: Format
The SMF is a standardized sequence file format used by
musical instrument manufacturers, computer software
companies and other parties. An SMF can easily be
exchanged between SMF-compatible sequencers,
regardless of the manufacturer. The following two
types of SMF exist, though this synthesizer will only
play back Format 0 SMFs.
Details about how to enter Card Mode are given on Page 22.
• Format 0:
Data for multiple MIDI channels is contained within a
single track.
File Types
You can handle the following eight types of files to
your synthesizer.
• Format 1:
Data for multiple MIDI channels is contained within
multiple tracks.
If the SMF you wish to play back is in Format 1, use the
included Card Filer software to convert to Format 0 via
computer. Details of how to convert SMFs are given in
the Card Filer documentation (in PDF format). Details
about installing the Card Filer software are given in the
separate Installation Guide.
■ all (All Data)
All data in the synthesizer and in External Memory
data are treated as a single file, and can be
saved/loaded as such.
❏Extension: “.S2A”
■ WAV (WAV Files)
Plug-in Board data cannot be saved.
WAV is an audio file format commonly used by
computers. WAV files can be loaded into the
synthesizer and used as Phrase Clips.
System, Performance and Plug-in voice data can only be
saved in this format.
❏Extension: “.WAV”
■ all-voice (All Voice Data)
All Voice data in the synthesizer (128 Normal Voices
+ 2 Drum Voices) and in External Memory (128
Normal Voices + 2 Drum Voices) are treated as a
single file, and can be saved/loaded as such. Phrase
Clip and Plug-in Voice data are not included.
■ AIFF (AIFF Files)
AIFF is an audio file format commonly used by
computers. AIFF files can be loaded into the
synthesizer and used as Phrase Clips.
❏Extension: “.AIF”
❏Extension: “.S2V”
■ all-pclip (All Phrase Clip Data)
All Phrase Clip data (4 Clip Kits + up to 256 Phrase
Clips) are treated as a single file, and can be
saved/loaded as such.
Automatically Loading Files
The synthesizer can automatically load certain files
(All/Plug-in data) when you switch it on.
Name the file to be loaded automatically as follows,
then save it to the highest directory of the Memory
Card. Insert the card into the CARD slot before
switching the synthesizer on.
❏Extension: “.S2W”
■ plugin
All Plug-in Board data is treated as a single file, and
can be saved/loaded as such. Data for Plug-in Voice
settings are not included.
To prevent the automatic loading of files, hold down
the [EXIT] key when powering up the synthesizer.
Release the key when the “Now checking plug-in
board.” message is displayed.
❏Extension: “.S2B”
■ chain (Sequence Chain)
■ All (all data):
Name the file “AUTOLOAD.S2A” to automatically
load all data.
Chain data for Standard MIDI Files (SMFs) are
treated as a single file, and can be saved/loaded as
such. This data is used for playing back multiple
songs in succession.
■ Plugin (Plug-in data):
❏Extension: “.S2C”
Name the file “AUTOLD1.S2B” to automatically load
Plug-in 1 Board data, or “AUTOLD2.S2B” for Plug-in
2 Board data.
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Status
Card Mode Operations
1Insert the Memory Card into the CARD slot.
You can view the amount of free and used on the
Memory Card. There are no settings.
2Press the [CARD] key to enter Card Mode.
Status)
Card
Used
2.9MB(70%)
Free
1.1MB
3Use the [PAGE] knob to switch to the screen for the
operation you wish to perform.
Save)
Card
Type
all
File A-?
***[NEWFILE .S2A]
Cursor
■ Used
Shows the amount of Memory Card memory used.
The amount is shown as a percentage in parentheses.
SHIFT
PAGE
A
B
C
1
2
DATA
■ Free
PART/ELEMENT
Shows the amount of free memory on the Memory
Card.
In the first “Status” screen, you don’t need any further
operation described in step 2 and after.
4Use Knobs [B], [C], [1] and [2] to set each parameter.
Alternatively, you can use the [DATA] knob and the
[DEC/NO] and [INC/YES] keys.
Save
You can save files to Memory Card as follows.
To save, load, rename or delete a file, use Knob [B] to
select the File Type and Knob [C] to select the File
Number.
Save)
Card
Type
all
File:/VOICEDIR/SUBDIR-1/
001[NEWFILE .S2A]
Data to be saved
(File Type)
File number of
file to be saved
New file name
File Directories
Directories are denoted by “DIR” next to the
directory name. To open a directory, use Knob [C]
to move the cursor to it and press the [ENTER] key.
All the files in the directory are displayed. If you
select File Number 000, “up dir” will be displayed.
By pressing the [ENTER] key, you will be returned
to the parent directory (i.e., moved up one directory
level).
■ Type (File Type)
❏Settings: all (all data), all-voice, chain (Sequence Chain),
plugin1, plugin2, all-pclip (All Phrase Clip),
Details about each File Type are given on Page 172.
The Memory Card must be formatted before you can
save data to it (Page 176).
When saving or renameing, the directory for the
currently selected file is displayed if you press the
[SHIFT] key.
1Use Knob [B] to select the File Type to which the
data will be saved.
5When you press the [ENTER] key, you will see a
2To overwrite an existing file, use Knob [C] to select
the File Number.
confirmation message.
To save a file with a new name, use Knob [2] to
move the cursor. Then use Knob [1] or the [DATA]
knob or [DEC/NO] and [INC/YES] keys to enter the
new file name (see next Page).
Load)
<<
Type File:/VOICEDIR/SUBDIR-1/
Are you sure? [YES]/[NO] >>
If you press the [SHIFT] key, the directory for the
currently selected file is displayed. Further details are
given in the section “Card Mode Operations”.
6Press the [INC/YES] key to execute the operation.
The message “Completed.” will be displayed after it
has executed, and you will be returned to the
previous screen.
3Press the [ENTER] key to execute a saving
operation. If you attempt to overwrite an existing
file by pressing the [ENTER] key, you will see a
confirmation message. In this case, go to next step.
The operation will be canceled if you press the
[DEC/NO] key during execution.
If the operation takes some time to execute, you will see
the message “Executing...” If you switch the power off
in this state, the data may be damaged.
The steps in the procedure may vary slightly, depending
on the operation being performed. Refer to the
explanation of each operation for details.
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4Press the [INC/YES] key to save the file. The
message “Completed.” will be displayed after it has
been saved, and you will be returned to the previous
screen.
1Use Knob [B] to select the File Type of the data to be
loaded.
2Use Knob [C] to select the File Number.
The save operation will be canceled if you press the
[DEC/NO] key during execution.
3When you press the [ENTER] key, the following will
be displayed, depending on the selected File Type.
When saving a file, the “Card full” message will be
displayed if the space left on the Memory Card is
insufficient. Free up space by deleting unwanted data
and so on, then try saving the file again.
• If you have selected a File Type other than
“perf”, “voice” or “pclip”:
A confirmation message is displayed before loading.
If you enter the name of a file that already exists, you
will see the “Overwrite? Are you sure?” confirmation
message before saving.
Load)
<<
Type File:/VOICEDIR/SUBDIR-1/
Are you sure? [YES]/[NO] >>
Take care not to overwrite important data held on
Memory Card.
The synthesizer will automatically select an appropriate
location in its internal memory, according to the file type
being loaded.
File Name Settings
The procedure for renaming files is basically the
same as for renaming Voices. However, you cannot
use symbols or lower case characters, and the name
can only be up to eight characters in length. Details
about renaming Voices are given on Page 80.
• If you have selected “perf”, “voice” or “pclip” as
the File Type:
You will further have to specify the type of data and
the location to which the file will be loaded.
Files are named according to the MS-DOS naming
convention. If the file name contains spaces and
other characters unrecognized in MS-DOS, these
characters will automatically be replaced by “_”
(underscore) characters when saving.
Use Knobs [B], [C], [1] and [2] to select the file and
the location to which it will be loaded.
Alternatively, you can use the [DATA] knob and the
[DEC/NO] and [INC/YES] keys.
When you press the [ENTER] key, you will see a
confirmation message.
Load
The types of data that you can select for each File
Type, and the locations to which they will be loaded,
are as follows.
You can load files from Memory Card to the
synthesizer is as follows.
perf (Performance)
Load)
Card all-voice 001[NEWFILE .S2V]
Type
File:/VOICEDIR/SUBDIR-1/
Load)
Card
[Pf:Init Perf ] [Pf:Init Perf ]
EXT:064(D16) > INT:128(H16)
Data to be loaded File Number of
(File Type)
file to be loaded
Performance Memory
of file to be loaded (source)
Performance Memory to
which file will be loaded (target)
Performance Number
of file to be loaded (source)
■ Type (File Type)
Performance Number to
which file will be loaded (target)
❏Settings: all (all data), perf (Performance), all-voice, voice,
chain (Sequence Chain), plugin1, plugin2, all-
pclip (all Phrase Clips), pclip (single Phrase
❏Settings:
Clip), WAV (WAV files), AIFF (AIFF files).
Source Performance Memory:
INT (Internal), EXT (External)
Source Performance Number:
The supported WAV/AIFF file formats are as follows.
all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT)
Target Performance Memory:
Format
Comments
8bit, linear, mono
16bit, linear, mono
12bit, linear, mono
8bit, linear, stereo
16bit, linear, stereo
12bit, linear, stereo
INT (Internal), EXT (External)
Target Performance Number:
all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT)
Converted to 16-bit
2Phrase Clip created
If you set the source Performance Number to “all,” the
target Performance Number will also be set to “all.”
2Phrase Clip created
Converted to 16-bit, 2Phrase Clips created
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voice
4Press the [INC/YES] key to load the file. The message
“Completed.” will be displayed after it has been loaded,
and you will be returned to the previous screen.
The load operation will be canceled if you press the
[DEC/NO] key during execution.
Load)
Card
[Pf:Init Voice] [Pf:Init Voice]
EXT:064(D16) > INT:128(H16)
Voice Memory of
file to be loaded (source)
Voice Memory to
which file will be loaded (target)
Voice Number of file
to be loaded (source)
The synthesizer can automatically load files when you
switch it on. (You will need to insert the card into the
CARD slot before switching the synthesizer on.)
Details are given in the section “Automatically Loading
Files” (Page 172).
Voice Number to which
file will be loaded (target)
❏Settings:
Source Voice Memory:
INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2
(Plug-in 2)
If there is already data in the synthesizer, it will be
completely lost when you load a file.
Source Voice Number:
Take care not to erase important data when performing
operations.
all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64
(PLG1/PLG2)
Target Voice Memory:
INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2
(Plug-in 2)
Target Voice Number:
When loading a file, the “Memory full!” message will be
displayed if the space left in your synthesizer’s internal
memory is insufficient. Free up space by deleting
unwanted data and so on, then try loading the file
again.
all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64
(PLG1/PLG2)
When loading a file, the “File not found!” message will
be displayed if the File Type you have selected does not
exist on the Memory Card.
If you select PLG1/PLG2 as the source (or target) Voice
Memory, the target (or source) Voice Memory will also
be set to PLG1/PLG2.
If you set the source Voice Number to “all,” the target
Voice Number will also be set to “all.”
Rename
You can rename files using up to eight alphabetic and
numeric characters.
pclip (Phrase Clip)
Load)
Card
[Wv:Init Clip ] [Wv:Init Clip ]
KIT:001(A01) > KIT:001(A01)
Rename) Type
Card all
File:
A-?
001[NEWFILE .S2A]
Cursor
Clip Memory of file
to be loaded (source)
Clip Memory to which
file will be loaded (target)
File Type
File Number
File Name
Clip Kit Number/Clip Number
of file to be loaded (source)
■ Type (File Type)
Clip Kit Number/Clip Number to
which file will be loaded (target)
❏Settings: all (all data), all-voice, chain (Sequence Chain),
plugin, other, all-pclip (All phrase Clip)
❏Settings:
Source Clip Memory:
Details about File Types are given on Page 172.
KIT (Clip Kit), CLIP (single Phrase Clip)
Source Clip Kit Number/Clip Number:
1 ~ 4 (KIT)/all (all Clip Kits), 1 ~ 256 (single Phrase
Clip)/all (all Clip Kits)
1Use Knob [B] to select the File Type and Knob [C] to
select the File Number.
If you press the [SHIFT] key, the directory for the
currently selected file is displayed. Further details are
given in the section “Card Mode Operations” (Page 173).
Target Clip Memory:
KIT (Clip Kit), CLIP (single Phrase Clip)
Target Clip Kit Number/Clip Number:
1 ~ 4 (KIT)/all (all Clip Kits), 1 ~ 256 (single Phrase
Clip)
2To rename the file, use Knob [2] to move the cursor.
Then use Knob [1] or the [DATA] knob and [DEC/NO]
and [INC/YES] keys to enter the new file name.
The procedure for renaming files is basically the
same as for renaming Voices. However, you cannot
use symbols or lower case characters, and the name
can only be up to eight characters in length. Details
about renaming Voices are given on Page 80.
The source and target Clip Memories settings will
always be the same.
If you set the source Clip Number to “all,” the target
Clip Number will also be set to “all.”
If you set it to anything else, the target Clip Number
will automatically be assigned the next free number.
When you select any other than “all” for the source
Clip Number, you have the destination Clip Number
automatically assigned to an empty Number (where
there is nothing stored).
3Press the [ENTER] key to rename the file. The
message “Completed.” will be displayed after it has
been renamed, and you will be returned to the
previous screen.
Files are named according to the MS-DOS naming
convention. If the file name contains spaces and other
characters unrecognized in MS-DOS, these characters will
automatically be replaced by “_” (underscore) characters
when saving.
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3Press the [ENTER] key to create the directory. The
message “Completed” will be displayed after it has
been created, and you will be returned to the
previous screen.
Delete
You can delete files saved on Memory Card.
Delete) Type
Card all
File:/VOICEDIR/SUBDIR-1/
001[NEWFILE .S2A]
Directories are denoted by “Dir” next to the directory
name. To open a subdirectory, use Knob [C] to move
the cursor to it and press the [ENTER] key. All the
files in the subdirectory are displayed. If you select File
Number 000, “up dir” will be displayed. By pressing
the [ENTER] key, you will be returned to the parent
directory (i.e., moved up one directory level).
File Type
File Number
File Name
■ Type (File Type)
❏Settings: all (all data), all-voice, chain (Sequence Chain),
plugin, other, all-pclip (All phrase clip)
Details about File Types are given on Page 172.
1Use Knob [B] to select the File Type and Knob [C] to
Format
select the File Number.
Before you can use a new Memory Card with the
synthesizer, you will need to format it.
2When you press the [ENTER] key, you will see a
confirmation message.
Format)
Card
Press
[ENTER]
3Press the [INC/YES] key to delete the file. The message
“Completed.” will be displayed after it has been deleted,
and you will be returned to the previous screen.
The delete operation will be canceled if you press the
[DEC/NO] key during execution.
Insert a new Memory Card into the CARD slot. When
you press the [ENTER] key, you will see a
confirmation message. Press the [INC/YES] key to
start formatting the Card. You will see the
“Executing...” message while the Card is being
formatted.
MkDir (Make Directory)
You can create new directories and subdirectories (new
directories within existing ones). This allows you to
store files in separate directories according to File Type.
If there is already data on the Memory Card, it will
be completely lost when you format it.
Do not remove the Memory Card while it is being
formatted, since this could result in damage to the
synthesizer and the card.
MkDir) /VOICEDIR/SUBDIR-1/ A-? Cursor
Card
Dir:***[NEWDIR-3]
Directory Name
After formatting, an EXT Memory file will
automatically be created. During this process, the
message “Now saving...” will be displayed.
The directory hierarchy can have up to 27 levels.
You cannot create a directory with the same name as one
that already exists.
The hierarchy display (directory path) will not be shown if
the Memory Card has no directory other than the “root”
directory.
1Use Knob [C] to select an existing directory and
repeat until you have reached the level in the
hierarchy at which you wish to create a new
directory.
2To create a new directory, use Knob [2] to move the
cursor. Then use Knob [1] or the [DATA] knob and
[DEC/NO] and [INC/YES] keys to enter the new
directory name.
The procedure for renaming files is basically the
same as for renaming Voices. However, you cannot
use symbols or lower case characters. Details about
renaming Voices are given on Page 80. Directory
names can only be up to 8 characters long.
176
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About the Plug-in Boards (Optional)
A variety of optional Plug-in boards sold separately let you
expand the voice library of your instrument. The following
types of Plug-in boards can be used with your instrument.
How to Install the
Optional Plug-in Board
● PLG150-AN
● PLG150-PF
The installation method is different depending on the
instrument types, keyboard (CS6x) and EIA sized module
● PLG100-XG
● PLG150-VL
● PLG150-DX
● PLG100-VH
(CS6R). Both methods are explained separately on the
following pages. Read the explanation carefully for the
instrument that you will use.
Installation in CS6x
n See page 32 for detailed explanations for each board.
n For information on how to handle the EIA sized module type, go
Available slot (PLG1, PLG2) differs depending on the type of
the Plug-in boards. Please take it into consideration before
installation.
to page 179.
1 Turn the keyboard power off, and disconnect the power
cord. Also, if the keyboard is connected with other
external device(s), disconnect the device(s).
PLG1/PLG2
Single-part Plug-in Boards (PLG150-AN, PLG150-PF,
PLG150-VL, PLG150-DX)
2 Turn over the keyboard so you can have direct access to
the underside. To protect the Knobs and Wheels, place
the keyboard so the four corners are supported by
something that provides sufficient support like magazines
or cushions.
PLG1 only
PLG2 only
Effect Plug-in Board (PLG100-VH)
Multi-part Plug-in Board (PLG100-XG)
n Although the PLG100-VL and PLG100-DX can also be installed,
some of the functions are not available.
Precautions When Installing
the Optional Boards
View of the keyboard
from the bottom.
Remember the following precautions and install the Plug-in
boards properly by following the steps as written.
•
•
Handle the Plug-in boards with care. Dropping or
subjecting the Plug-in board to any kind of shock may
cause damage or result in a malfunction.
Place the supports at all four corners,
without touching the Knobs and the
Wheels.
Be careful of static electricity. There are times when static
electricity affects the IC chips on the Plug-in board.
Before you lift the optional Plug-in board, to reduce the
possibility of static electricity, touch the metal parts other
than the painted area or a ground wire on the devices that
are grounded.
Be careful not to drop or bump the keyboard and make sure
that it is well balanced before proceeding.
3 Move to a position facing the rear panel of the keyboard,
and remove the screws from the Plug-in board cover at
the bottom center side with a coin or phillips screwdriver
(eight flat-head screws only). Do not remove the other
screws.
•
•
Do not touch the exposed metal parts in the circuit board.
Touching these parts may result in a faulty contact.
When moving a cable, be careful not to let it catch on the
circuit Plug-in board. Forcing the cable in anyway may
cut the cable, cause damage, or result in a malfunction.
•
•
•
Be careful not to misplace any of the screws since all of
them are used.
Do not use any screws other than what are installed on
the instrument.
When inserting Plug-in boards and connecting cables,
make sure that you check that they are inserted and
connected properly. Improperly inserted Plug-in boards
and cables may cause faulty contacts and an electrical
short circuit which may cause damage or result in a
malfunction.
n Keep the removed (8) screws in a safe place. They will be used
when attaching the Plug-in board cover to the keyboard again.
4 Remove the Plug-in board cover.
Plug-in board plate appears. Two Plug-in boards can be
accommodated: PLG1 at the left and PLG2 at the right.
•
After mounting the Plug-in board be sure to tighten the
screws as directed so it is completely stable and does not
move in any way.
Available slot (PLG1, PLG2) differs depending on the type
of the Plug-in boards. For details, refer to the table above in
the left column.
177
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8 Mount the Plug-in board onto the plate as detailed in the
following steps.
8-1 Insert one side of the Plug-in board (the connector
side) into the hooks 1 as shown in the illustration.
When installing the optional Plug-in board (from when you
remove the cover to when the cover is replaced securely)
all operations must be done with the AC power cord
disconnected.
Hooks 1
Hook 1
5 Remove the cable from the hook-shaped bundle tie on the
plate.
Hook 1
8-2 Press down the other side until it is securely
settled on the hooks 2.
Hooks 2
6 Take out the Plug-in board from the anti-static bag.
When installing the board, the side with a connector and
ICs must be on top.
Hooks 2
7 Carefully plug the cable connector into the Plug-in board
connector until the two notches on the cable connector
lock into the sockets on the board as shown in the
illustration.
9 Fix the connector cable to the hook-shaped bundle tie on
the plate.
) Replace the Plug-in board cover by fastening the eight
flat-head screws you removed in the step 3 above.
Use a coin or a Phillips screwdriver to secure the cover.
178
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Installation in CS6R
Removing the Plug-in board from the keyboard
n For information on how to handle the CS6x, go to page 177.
1 Remove the cable from the hook-shaped bundle tie.
1 Turn the keyboard power off, and disconnect the power
cord. Also, if the keyboard is connected with other
external device(s), disconnect the device(s).
2 Press down the hooks 2 in the direction as shown in the
illustration and take the board out from the hooks 2 by
lifting up the one side.
2 Move to a position facing the front panel of the device,
and remove the screws (six flat-head screws) from the
Plug-in board cover at the top panel with a coin or a
Phillips screwdriver.
3 Pull out the other side of the board from the hooks 1.
4 Pull out the cable connector from the Plug-in board
connector.
n Keep the removed (6) screws in a safe place. They will be used
when attaching the Plug-in board cover to the device again.
3 Remove the Plug-in board cover.
Plug-in board plate appears. Two Plug-in boards can be
accommodated: PLG1 at the right and PLG2 at the left.
Available slot (PLG1, PLG2) differs depending on the type
of the Plug-in boards. See 177 for more information.
PLG2
PLG1
5 Fix the connector cable to the hook-shaped bundle tie.
2
G
L
P
1
G
L
P
When installing the optional Plug-in board (from when you
remove the cover to when the cover is replaced securely)
all operations must be done with the AC power cord
disconnected.
4 Remove the tape which is used to fasten the cable to the
plate.
tape
2
G
L
P
1
G
L
P
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5 Take out the Plug-in board from the anti-static bag.
When installing the board, the side with a connector and
ICs must be on top.
Hooks 2
6 Carefully plug the cable connector into the Plug-in board
connector until the two notches on the cable connector
lock into the sockets on the board as shown in the
illustration.
2
G
L
P
8 Replace the Plug-in board cover by fastening the six flat-
head screws you removed in the step 2 above.
Removing the Plug-in board from the keyboard
1 Press down the hooks 2 in the direction as shown in the
illustration and take the board out from the hooks 2 by
lifting up the one side.
7 Mount the Plug-in board onto the plate as detailed in the
following steps.
7-1 Insert one side of the Plug-in board (the connector
side) into the hooks 1 as shown in the illustration.
Hooks 2
Hooks 1
2
G
L
P
2
G
L
Hooks 1
P
7-2 Press down the other side until it is securely
settled on the hooks 2.
2 Pull out the other side of the board from the hooks 1.
2
G
L
P
3 Pull out the cable connector from the Plug-in board
connector.
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Display Messages
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
<< !
MIDI buffer full.
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
MIDI data error.
MIDI checksum error.
Change internal battery.
Card full.
File not found.
Bad card.
Card not ready.
Card unformatted.
Card write protected.
Illegal card.
File already exists.
Data not exist.
Illegal file.
Illegal file name.
Read only file.
Can't make "EXT" file.
Can't make directory.
Too deep directory.
Unknown file format.
Bulk protected.
Device number is off.
Device number mismatch.
Memory full.
Too many clips.
Too short clip.
Too low Fs clip.
Multi plugin in slot 1.
Effect plugin in slot 2.
<< ! Plugin1 communication error. >>
<< ! Plugin2 communication error. >>
<< !
<< !
<< !
Plugin1 type mismatch.
Plugin2 type mismatch.
PLG100 not supported.
>>
>>
>>
<< !
<<
Illegal data.
Executing...
>>
>>
>>
>>
>>
<<
Now working...
Now loading...
Now saving...
<<
<<
<<
Now checking plug-in board. >>
<<
Now recording...
>>
>>
<<
Waiting for trigger...
<< Recording stopped.(No free mem.) >>
<<
<<
<<
<<
Sample dump receiving...
MIDI bulk receiving...
MIDI bulk transmitting...
Scene stored.
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
<< C 3:128[
]
Stored.
<<
<<
Completed.
Retry? [YES]/[NO]
Make file ? [YES]/[NO]
<<
<<
<<
Are you sure ? [YES]/[NO]
Overwrite? [YES]/[NO]
181
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Troubleshooting
The following table provides troubleshooting hints and page references for some common problems. Most problems may be
simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if
you can find and correct the cause of the problem.
No sound.
• Is the volume set appropriately? (Pages 6 and 20)
• With the CS6x, if a Foot Controller has been connected to the FOOT VOLUME jack, has it been fully depressed? (Page 18)
• Is the Vol (volume) parameter of the QED Level screen of Voice Edit Common sufficiently high? (Page 81)
• Has the WaveNumber parameter of the OSC Wave screen of Voice Edit Element been set to 000 (off)? (Page 89)
• Is the Level parameter of the OSC Out screen in Voice Edit Element sufficiently high? (Page 89)
• Have the note range/velocity (note) range of the ZONE, OSC screen in Voice Edit been set appropriately? (Page 90)
• Are any of the Elements muted? (Page 61)
• Have the Element filters been set to cut almost all the sound? (Page 93)
• Have the effects parameters been set appropriately? (Pages 81, 88, 89, 127, 130, 151)
• Have the MIDI receive channels been set correctly? (Pages 133 and 166)
• Has the audio equipment been connected correctly? (Page 13)
• Has the Local switch been set to OFF? (Page 166)
• Have the Velocity Sensitivity, Note Limit and Velocity Limit parameters been set appropriately? (Pages 90, 112, 133 and 138)
• When playing back a song using the internal sequencer or an external MIDI device, have the volume and expression
parameters been set appropriately?
• When playing performances using the internal sequencer or an external MIDI device, have the transmit channels for each
sequencer track and the receive channels for each Part in the Performance, been set correctly? (Page 133)
• For Performances, is the volume of each Part sufficiently high? (Page 130)
• For Performances, has the output for each Part been set correctly? (Page 133)
• Is the selected Phrase Clip empty? (Page 142)
• Have you selected EXT Memory without having inserted a Memory Card? (Page 28)
• Has the [ATTACK] knob been turned fully clockwise (resulting in a very slow attack)?
• Has the [CUTOFF] knob been turned fully anti-clockwise (resulting in a very low cutoff frequency)?
• With the Arpeggiator enabled, has the Arpeggio Category parameter been set to “Ct” and the Key Mode parameter set to
something other than “direct”? (Page 82)
There is no arpeggiator sound.
• Has the Arpeggiator’s note range been set appropriately? (Page 83)
• In Performance Mode, have the Layer Switch and Arpeggio Switch parameters for the Part(s) been set to ON? (Page 133)
• Has the Tempo parameter in the ARP Type screen been set to “MIDI,” despite no MIDI clock signals being received?
Arpeggiator settings (On/Off, Hold, Tempo) cannot be
changed.
• Plug-in Boards feature their own built-in arpeggio pattern generators. Details are given on Page 170, and also in the Owner’s
Manual that comes with each Plug-in Board. (For the PLG150-AN Plug-in Board the settings are found in the Arp/SEQ Sw
screen. Details are given on Page 29 of the PLG150-AN Owner’s Manual.)
Sounds are distorted sounds.
• Have the effects been set appropriately? (Pages 81, 88, 89, 127, 130, 151)
• Has the volume been set too high? (Pages 6 and 20)
• Has the GAIN knob of the A/D INPUT been turned up too high? (Page 11)
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Sound is very quiet.
• Has the MIDI volume or MIDI expression been set too low?
• Has the filter cutoff frequency been set too high/low? (Pages 40, 82, 106, 125, 130, 148, 152)
The pitch is wrong.
• Have the NoteShift and Tune parameters in the MSTR TG screen of Utility Mode been set correctly? (Page 163)
• Have the Oct and Trnspose parameters in the MSTR Kbd screen of Utility Mode been set appropriately? (Page 163)
• Have the pitch related parameters in PITCH menu (Voice Edit) been set appropriately? (Page 90)
• Has the Micro Tuning parameter in Voice Edit Mode been set to an unconventional scale? (Page 81)
• Has the Pitch Modulation Depth in the LFO screen (Voice Edit Mode) been set too high? (Page 101)
• For Performances, has the Note Shift parameter in the LYR (Layer) screen been set to a value other than 0? (Page 133)
• For Performances, has the Detune parameter for each Part been set to a value other than 0? (Page 133)
Sound is choppy and intermittent.
• Has the maximum polyphony been exceeded? (Page 33)
Only one note sounds at a time.
• Has the Mode parameter in the GEN Other screen of Voice Edit Common been set to “mono”? (Page 81)
• In Performance Mode, has the Mode parameter in the LYR Mode screen been set to “mono” for each Part? (Page 132)
No effects are applied.
• Has the [EF BYPASS] key been set to OFF? (Page 66)
• Has the Insertion Effect Element Switch parameter in the EFF screen of Voice Edit been set to ON? Also in this Mode, has
the effect type been set to something other than “thru” or “off”? (Page 88)
• For Performances, have the Insertion Effect Parts been specified? (Page 127)
• For Reverb and Chorus, have the effect types in the Common Edit screens been set to ON? (Pages 89, 128)
• If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance been set
to something other than OFF? (Page 127)
• If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance been set to something
other than “THRU”?
• Have the [REVERB] and [CHORUS] been turned fully anti-clockwise? (Page 128)
The Element switches do not work for the Control Set
• Have Element-specific parameters been selected as Dest (Destination)? (Page 85)
The Plug-in Board does not work.
• Has the Effect Plug-in Board been installed in PLG2? (Page 177)
• Has the Multi-Part-type Plug-in Board been installed in PLG1? (Page 177)
• If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance’s
Common Effect been set to something other than “off”? (Page 128)
• If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance’s Common Effect been
set to something other than “THRU”? (Page 128)
183
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Cannot find the Drum Voice.
• Drum Voices are selected differently to Normal Voices (Page 76).
Cannot enter small values.
• Have you only tried entering values using Assignable Knobs [A] to [C] or Knob [1]/[2]? (Page 24)
Cannot move the cursor without the settings being affected.
• Hold down the [SHIFT] key while using Knobs [A] to [C], Knob [1]/[2], and the [DATA] knob or the [INC/YES] and
[DEC/NO] keys (Page 24).
Cannot receive bulk data.
• When using the CS6x/CS6R Voice Editor, have you set a sufficient Dump Interval? The Dump Interval in the Voice Editor
Setup dialog must be set to 10ms or greater.
Macintosh users: Card Filer for Macintosh does not work
correctly.
• Are you using MIDI Time Piece?
Card Filer is not compatible with MIDI Time Piece. You need to disable the use of MIDI Time Piece on the Macintosh.
184
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Specifications
CS6x
CS6R
—
KEYBOARD
Number of Keys
Touch
61
Initial touch, Aftertouch
—
TONE GENERATION SYSTEM Tone Generators
Polyphony
AWM2, Phrase Clip, Modular Synthesis Plug-in System
64
VOICE
Number of Voice
Normal voices (256 Presets, 128 Internals [Users], 128 Externals [Memory Cards]),
Drum voices (8 presets, 2 Internals [Users], 2 Externals [Memory Cards]), Plug-in voices (64 x 2 Plug-in Boards [If installed])
Wave ROM
16 MByte
PERFORMANCE
PHRASE CLIP
Multi-Timbres
Number of Performance
Master Keyboard Mode
Number of Clip
Number of Clip Kits
Sampling
20 (16 Voice Parts, Phrase Clip Part, A/D Input Part, Plug-in 1/2 Parts)
128 Internals, 64 Externals
4 Zones
256 (Max)
4
(73 Keys [C0-C6] x 4 Kits)
16 bits linear, 44.1 kHz
Memory
4 Mbyte (DRAM)
EFFECT
Reverb
12
23
Chorus
Insertion
24 (Insertion 1), 92 (Insertion 2), 24 (Insertion for Plug-in Voices)
Scene 1/2, Scene Control, Scene Store
SCENE
—
SEQUENCE PLAY
Format
SMF Format 0 (Direct Play only), Sequence Chain (Load/Save)
Number of Sequence Chains
Number of Arpebbios
File Type
100 Steps (100 Songs)
128
ARPEGGIATOR
Card
All Data, All Voice Data, All Phrase Clip Data, Plug-in, Sequence Chain, SMF, WAV, AIFF
Save, Load, Rename, Delete, Make Directory, Format
Functions
CONTROLS
Volume Knob, Octave Up/Down (CS6x), Pitch (CS6x), Modulation (CS6x), Ribbon Controller (CS6x), Scene 1, 2 (CS6x), Scene Control (CS6x),
2 Filter Knobs (CS6x), 2 Effect Knobs (CS6x), 4 EG Knobs (CS6x), Pan Knob (CS6x), Portamento ON/OFF (CS6x), Arpeggio Gate Time (CS6x),
Arpeggio Hold (CS6x), Arpeggio ON/OFF (CS6x), Phrase Clip Pitch (CS6x), Phrase Clip, Phrase Clip Rec, Tempo (CS6x), Sequence Play,
Sequence PLAY/STOP, Shift, Page, Knob A/B/C/1/2, Data, Effect Bypass, Master Keyboard (CS6x), Exit, Enter Dec/No, Inc/Yes, 7 Mode Keys,
6 Memory Keys, 8 Bank Keys (CS6x), 16 Program/Part Keys (CS6x), Power, Card Slot, Gain, Host Select
MIDI In, Out, Thru, To Host, Breath, Footswitch (CS6x), Sustain (CS6x), Foot Controller (CS6x), Foot Volume (CS6x), Individual Output 1, 2,
Output L/Mono R, Phones, A/D Input (LINE 1, MIC/LINE 2), AC Inlet, 2 Connectors for Plug-in Boards
40 x 2 (Backlit)
CONNECTORS & TERMINALS
DISPLAY
INCLUDED ACCESSORIES
OPTIONAL ACCESSORIES
Owner's Manual, Data List , Memory Card, CD-ROM, AC Power Cord
PLG150 Plug-in Boards Series, PLG100 Plug-in Boards Series,
FC4/5 Footswitch, FC7 Foot Controller, BC3 Breath Controller
POWER CONSUMPTION
OUTPUT IMPEDANCE
DIMENSIONS
16watts
Output: +18.1 ±2dbm (10k ohms), Phones: +17.2 ±2dbm (33 ohms)
1019(W) x 357(D) x 109(H) mm
11.6 kg
480(W) x 366(D) x 88(H) mm
6.0 kg
WEIGHT
* Specifications and descriptions in this owner’s manual are for information purposes only.Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice.
Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
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Index
0~9
Common Effect ................................................................................88, 127
Control Sets ..............................................................................................49
Controller Section ..............................................................................31, 47
Creating a Clip Kit ...................................................................................55
CTL AC Modulation................................................................................111
CTL AT Modulation................................................................................111
4 Zones .....................................................................................................68
A
AC Control Depth ...........................................................................111, 136
AEG Level ................................................................................................98
AEG Time ................................................................................................98
AT Control Depth ...........................................................................110, 136
B
Breath Controller .....................................................................................48
BREATH jack............................................................................................11
C
CARD slot..................................................................................................10
Chorus Unit ...............................................................................65, 84, 128
Clip Key Amplitude ...............................................................................152
Clip Key Filter .......................................................................................152
D
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Drum Key Filter .....................................................................................106
Drum Voices......................................................................................76, 102
G
E
H
EFF Rev (Reverb) ............................................................................89, 128
Effect Bypass ............................................................................................66
EFFECT knobs............................................................................................6
Effect Plug-in Boards ..............................................................................33
Effects in Voice Mode ..............................................................................65
EQ Low ..................................................................................................126
Executing a Job ................................................................................58, 115
[EXIT] Key ...........................................................................................8, 23
I
Insertion Effects ........................................................................65, 88, 127
J
Job Modes .................................................................................................22
K
L
LFO Depth .............................................................................................101
LFO Fade ..................................................................................................87
LFO Wave .........................................................................................85, 100
LYR Out (Layer Out) .............................................................................133
M
MEMORY keys............................................................................................9
MIDI Other ............................................................................................167
F
FEG Level (FEG Level) ............................................................................96
FEG Time .................................................................................................96
File Types ...............................................................................................172
FILTER knobs .............................................................................................6
Filter Scaling Settings ..............................................................................97
FLT Type (Filter Type) ...........................................................................93
Foot Controller (CS6x) ............................................................................48
Foot Volume (CS6x) .................................................................................48
Format ..............................................................................................20, 176
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Multi-Part Plug-in Board .........................................................................33
PEG Level .................................................................................................91
PEG Time .................................................................................................91
Performance Category ............................................................................118
Performance Edit ............................................................................21, 121
Performance Store ..........................................................................122, 141
PFM Edit Recall .....................................................................................140
Phrase Clip Edit ...............................................................................22, 146
Phrase Clip Play ...............................................................................21, 142
Phrase Clip Record ................................................................................143
Plug-in Element Native ..........................................................................113
Plug-in Element Pitch ............................................................................112
Plug-in Voices .........................................................................................108
N
Normal Voice ............................................................................................79
O
OSC (Oscillator) Screens .........................................................................62
P
Part Controller .......................................................................................135
Part Layer ...............................................................................................132
Part Mixer ..............................................................................................129
Part Receive Switch ..............................................................................134
Part Tone ................................................................................................130
PCLP Delete ...........................................................................................158
PCLP VariationSet ..................................................................................155
Q
R
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Rear Panel..................................................................................................10
V
Variation Settings ...................................................................................150
VCE Initialize .........................................................................................115
Voice Category ..........................................................................................75
Voice Edit .....................................................................................21, 60, 78
Voice Job Mode ................................................................................22, 115
Voice Mode .........................................................................................35, 75
Voice Name ...............................................................................................75
Voice Program Selection ..........................................................................75
Voice Store ..............................................................................................116
Voices ..................................................................................................27, 36
S
Selecting a Mode ......................................................................................21
SEQ controls................................................................................................7
Setting the Note Limit .............................................................................44
Setting the Voice Name ............................................................................80
Single Part Plug-in Boards .......................................................................32
Song File Playback .................................................................................162
Storing Scenes ..........................................................................................45
Sustain (CS6x) .........................................................................................48
W
Waves ........................................................................................................38
Z
T
Tone Generator Section ...........................................................................32
U
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MEMO
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MEMO
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For details of products, please contact your nearest Yamaha or the authorized
distributor listed below.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung
und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern
erhältlich.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au
distributeur le plus proche de vous figurant dans la liste suivante.
Para detalles sobre productos, contacte su tienda Yamaha más cercana o el
distribuidor autorizado que se lista debajo.
NORTH AMERICA
FRANCE
ASIA
Yamaha Musique France,
Division Professionnelle
CANADA
HONG KONG
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
U.S.A.
INDONESIA
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
Tel: 714-522-9011
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto
Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
SPAIN/PORTUGAL
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
CENTRAL & SOUTH AMERICA
KOREA
Cosmos Corporation
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
1461-9, Seocho Dong, Seocho Gu, Seoul, Korea
MEXICO
Tel: 02-3486-0011
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-703-0900
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
BRAZIL
Yamaha Musical do Brasil LTDA.
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-853-1377
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
ARGENTINA
Yamaha Music Argentina S.A.
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-371-7021
SINGAPORE
Yamaha Music Asia Pte., Ltd.
11 Ubi Road #06-00, Meiban Industrial Building, Singapore
Tel: 65-747-4374
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha de Panama S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
TAIWAN
Yamaha KHS Music Co., Ltd.
10F, 150, Tun-Hwa Northroad,
Taipei, Taiwan, R.O.C.
Tel: 02-2713-8999
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
Tel: 507-269-5311
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
EUROPE
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
OTHER EUROPEAN COUNTRIES
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany
Yamaha Corporation,
Tel: 01908-366700
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2317
IRELAND
Danfay Ltd.
Tel: 04101-3030
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
OCEANIA
AFRICA
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Yamaha Corporation,
AUSTRALIA
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
Yamaha Music Australia Pty. Ltd.
17-33 Market Street, South Melbourne, Vic. 3205, Australia
Tel: 3-699-2388
Tel: 04101-3030
AUSTRIA
NEW ZEALAND
Yamaha Music Austria
Schleiergasse 20, A-1100 Wien Austria
Tel: 01-60203900
MIDDLE EAST
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa, Auckland, New
Zealand
Tel: 9-634-0099
TURKEY/CYPRUS
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
THE NETHERLANDS
Yamaha Music Nederland
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Tel: 04101-3030
Tel: 030-2828411
International Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
OTHER COUNTRIES
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: 971-4-81-5868
BELGIUM
Yamaha Music Belgium
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2445
SY20
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IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING- When using any electrical or electronic product, basic
8.
This product was NOT designed for use in wet/damp
precautions should always be followed. These precautions include,
but are not limited to, the following:
locations and should not be used near water or exposed to rain.
Examples of wet /damp locations are; near a swimming pool, spa,
tub, sink, or wet basement.
1.
Read all Safety Instructions, Installation Instructions, Special
Message Section items, and any Assembly Instructions found in this
manual BEFORE making any connections, including connection to the
main supply.
9.
This product should be used only with the components
supplied or; a cart ,rack, or stand that is recommended by the
manufacturer. If a cart, rack, or stand is used, please observe all safety
markings and instructions that accompany the accessory product.
2.
Do not attempt to service this product beyond that described
in the user-maintenance instructions. All other servicing should be
referred to qualified service personnel.
10.
The power supply cord (plug) should be disconnected from
the outlet when electronic products are to be left unused for extended
periods of time. Cords should also be disconnected when there is a
high probability of lightning and/or electrical storm activity.
3.
Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area where they
are to be sold. If you should move, or if any doubt exists about the
supply voltage in your area, please contact your dealer for supply
voltage verification and (if applicable) instructions. The required supply
voltage is printed on the name plate. For name plate location, please
refer to the graphic found in the Special Message Section of this
manual.
11.
Care should be taken that objects do not fall and liquids are
not spilled into the enclosure through any openings that may exist.
12. Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have been
spilled into the enclosure through openings; or
4.
DANGER-Grounding Instructions: This product must be
grounded and therefore has been equipped with a three pin
attachment plug. If this product should malfunction, the ground pin
provides a path of low resistance for electrical current, reducing the
risk of electrical shock. If your wall socket will not accommodate this
type plug, contact an electrician to have the outlet replaced in
accordance with local electrical codes. Do NOT modify the plug or
change the plug to a different type!
c. The product has been exposed to rain; or
d. The product does not operate, exhibits a marked change
in performance; or
e. The product has been dropped, or the enclosure of the
product has been damaged.
13.
This product, either alone or in combination with an amplifier
5.
WARNING: Do not place this product or any other objects on
and headphones or speaker/s, may be capable of producing sound
levels that could cause permanent hearing loss. DO NOT operate for
a long period of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
the power cord or place it in a position where anyone could walk on,
trip over, or roll anything over power or connecting cords of any kind.
The use of an extension cord is not recommended! If you must use an
extension cord, the minimum wire size for a 25’ cord (or less) is 18
AWG. NOTE: The smaller the AWG number, the larger the current
handling capacity. For longer extension cords, consult a local
electrician.
IMPORTANT: The louder the sound, the shorter the time period before
damage occurs.
6.
Ventilation: Electronic products, unless specifically designed
14.
Some Yamaha products may have benches and/or accessory
for enclosed installations, should be placed in locations that do not
interfere with proper ventilation. If instructions for enclosed
installations are not provided, it must be assumed that unobstructed
ventilation is required.
mounting fixtures that are either supplied as a part of the product or
as optional accessories. Some of these items are designed to be
dealer assembled or installed. Please make sure that benches are
stable and any optional fixtures (where applicable) are well secured
BEFORE using. Benches supplied by Yamaha are designed for
seating only. No other uses are recommended.
7.
Temperature considerations: Electronic products should be
installed in locations that do not seriously contribute to their operating
temperature. Placement of this product close to heat sources such as;
radiators, heat registers etc., should be avoided.
PLEASE KEEP THIS MANUAL
92-469-3
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FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
not occur in all installations. If this product is found to be the source of
interference, which can be determined by turning the unit “OFF” and “ON”,
please try to eliminate the problem by using one of the following measures:
This product, when installed as indicated in the instructions contained in
this manual, meets FCC requirements. Modifications not expressly
approved by Yamaha may void your authority, granted by the FCC, to use
the product.
Relocate either this product or the device that is being affected by the
interference.
2. IMPORTANT: When connecting this product to accessories and/or
another product use only high quality shielded cables. Cable/s supplied
with this product MUST be used. Follow all installation instructions. Failure
to follow instructions could void your FCC authorization to use this product
in the USA.
Utilize power outlets that are on different branch (circuit breaker or fuse)
circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the
antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type
cable.
3. NOTE: This product has been tested and found to comply with the
requirements listed in FCC Regulations, Part 15 for Class “B” digital
devices. Compliance with these requirements provides a reasonable level
of assurance that your use of this product in a residential environment will
not result in harmful interference with other electronic devices. This
equipment generates/uses radio frequencies and, if not installed and used
according to the instructions found in the users manual, may cause
interference harmful to the operation of other electronic devices.
Compliance with FCC regulations does not guarantee that interference will
If these corrective measures do not produce satisfactory results, please
contact the local retailer authorized to distribute this type of product. If you
can not locate the appropriate retailer, please contact Yamaha Corporation
of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena
Park, CA90620
The above statements apply ONLY to those products distributed by
Yamaha Corporation of America or its subsidiaries.
(class B)
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
ADVARSEL!
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun
ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage
til leverandoren.
WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with
the following code:
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en
ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt
batteri enlight fabrikantens instruktion.
GREEN-AND-YELLOW
BLUE
:EARTH
:NEUTRAL
:LIVE
BROWN
VAROITUS
As the colours of the wires in the mains lead of this apparatus may not
correspond with the coloured markings identifying the terminals in your plug
proceed as follows:
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo
ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
The wire which is coloured GREEN-and-YELLOW must be connected to the
terminal in the plug which is marked by the letter E or by the safety earth
symbol or colored GREEN or GREEN-and-YELLOW.
(lithium caution)
The wire which is coloured BLUE must be connected to the terminal which
is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal
which is marked with the letter L or coloured RED.
(3 wires)
* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
NEDERLAND / THE NETHERLANDS
•
•
•
Dit apparaat bevat een lithium batterij voor geheugen back-up.
This apparatus contains a lithium battery for memory back-up.
Raadpleeg uw leverancier over de verwijdering van de batterij op het
moment dat u het apparaat ann het einde van de levensduur afdankt of
de volgende Yamaha Service Afdeiing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
•
For the removal of the battery at the moment of the disposal at the end
of the service life please consult your retailer or Yamaha Service Center
as follows:
Yamaha Music Nederland Service Center
Address
Tel
: Kanaalweg 18-G, 3526 KL UTRECHT
: 030-2828425
•
•
Gooi de batterij niet weg, maar lever hem in als KCA.
Do not throw away the battery. Instead, hand it in as small chemical
waste.
(lithium disposal)
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Analog Physical Modeling Plug-in Board PLG150-AN
Piano Plug-in Board PLG150-PF
For the serious piano player, this Plug-in Board is loaded with hundreds of painstakingly
sampled piano and keyboard voices—from concert grands and uprights to electric pianos and
harpsichords. Two piano boards can be used together, effectively doubling piano polyphony to
an incredible 128 notes!
Reproduce the fat and funky sounds of vintage analog synths! This board gives you a synth
engine similar to the one featured in Yamaha’s amazing AN1x Analog Physical Modeling
Synthesizer. On top of its full array of wave algorithms, resonant filters, LFOs, and envelope
generators, it also has distortion and a 3-band equalizer. With the PLG150-AN, project and
professional studios alike will be able to produce the killer synth sounds featured in today’s hot
dance tracks.
Tone Generator Type
Polyphony
Voices
AN (Analog Physical Modeling Synthesis )
5 notes
256 Preset
Tone Generator Type
Polyphony
Voices
AWM2
64 notes
136 Preset
128 User
Effects
Interface
Accessories
Reverb, Chorus, Insertion, 2-Band EQ
Plug-in Connector (15-pin digital I/F connector)
FD (PF Easy Editor, Demonstration Songs, Plug-in Voice
Data for the CS6x/CS6R/S80)
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
72 g (2.5 oz)
Effects
Interface
Accessories
Guitar Amp. Simulator (Distortion), 3-Band EQ, XG Part EQ
Plug-in Connector (15-pin digital I/F connector)
FD (AN Easy Editor, AN Expert Editor, Demonstration Songs, Plug-in Voice Data for
the CS6x/CS6R/S80, Performance Data for the MU128)
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
65 g (2.3 oz)
9
5
3
Dimensions (W) x (D) x (H)
Weight
9
5
3
Dimensions (W) x (D) x (H)
Weight
Advanced DX/TX Plug-in Board PLG150-DX
Add the classic sounds of Yamaha’s world-famous DX-7 synthesizer to the CS6x/6R. The
PLG150-DX features the same 6-operator 16-note polyphonic FM tone generation system that
took the synthesizer industry by storm. This board is a must-have for performing keyboard
players and producers of contemporary music.
Virtual Acoustic VL Plug-in Board PLG150-VL
The Virtual Acoustic Modular Synthesis Plug-in Board lets you create incredibly expressive,
natural-sounding voices by digitally simulating the physical characteristics of acoustic
instruments. Thanks to its fabulous synthesis architecture, extensive realtime performance
control of the voices is possible, making it the ideal Plug-in Board for keyboard soloists.
Tone Generator Type
Polyphony
Voices
S/VA (Self-oscillating Virtual Acoustic Synthesis)
1 note monophonic
256 Preset
70 User
Plug-in Connector (15-pin digital I/F connector)
CD-ROM (VL Visual Editor),
Tone Generator Type
Polyphony
Voices
FM Synthesis
16 notes
912 Preset
64 User
Interface
Accessories
Effects
Interface
Accessories
Part EQ, Lowpass, Highpass
Plug-in Connector (15-pin digital I/F connector)
CD-ROM (DX Easy Editor, DX Simulator),
FD (Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80,
Performance Data for the MU128)
FD (Demonstration Songs, Plug-in Voice Data for the CS6x/CS6R/S80,
Performance Data for the MU128)
9
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
5
3
Dimensions (W) x (D) x (H)
Weight
9
5
3
56 g (2.0 oz)
Dimensions (W) x (D) x (H)
Weight
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
63 g (2.2 oz)
XG Plug-in Board PLG100-XG
Vocal Harmony Plug-in Board PLG100-VH
The PLG100-VH adds powerful harmony or vocoder effects to your voice by simply plugging a
microphone into the CS6x/6R’s A/D input and playing chords on the keyboard. Harmony interval
changes can be recorded in a sequencer track for automated playback—a dream tool for
performing vocalists or for singer/songwriters who want to compose and record songs at home.
This Plug-in Board gives you over 400 professional-quality sampled voices and 12 drum kits as
well as 32 additional notes of polyphony. Plus it fully supports XG MIDI specifications, so you
can use it to play back XG SMF MIDI song files from an external sequencer or the CS6x/6R’s
internal sequencer. Home recording hobbyists in particular will find this Plug-in Board an
indispensable addition to the CS6x/6R.
Tone Generator Type
Polyphony
Voices
Effects
Connector
Accessories
AWM2
32 notes
Maximum Harmony
Effects
3 voices
Vocoder Harmony, Detune Harmony
Chordal Harmony, Chromatic Harmony
Gender change (male → female, female → male)
Vibrato, Volume, Pan, Detune
480 Preset + 12 Drum Kits
Reverb, Chorus, Variation
Plug-in Connector (15-pin digital I/F connector)
CD-ROM (XGworks lite V3.0, XG Editor for Mac),
FD (Demonstration Songs)
Voice Control
Interface
Dimensions (W) x (D) x (H)
Weight
Plug-in Connector (15-pin digital I/F connector)
9
5
3
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
53 g (1.9 oz)
9
5
3
Dimensions (W) x (D) x (H)
Weight
138.5 x 89.0 x 8.5 mm (5 /16" x 3 /8" x /8")
56 g (2.0 oz)
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