Korg C-520 User Manual

ua

C-520

User’s Manual

EFGI 1

English

User’s Manual

Français

Mode d’emploi

Deutsch

Bedienungseinleitung

Italiano

Manuale di istruzioni

DIGITAL PIANO

User’s Manual

PRECAUTIONS

CE MARK FOR EUROPEAN HARMONIZED STANDARDS

Location

Using the unit in the following locations can result in a malfunction.

• In direct sunlight

• Locations of extreme temperature or humidity

• Excessively dusty or dirty locations

• Locations of excessive vibration

Power supply

Please connect the designated AC adapter to an AC outlet of the correct volt­age. Do not connect it to an AC outlet of voltage other than that for which
your unit is intended.

Interference with other electrical devices

This product contains a microcomputer. Radios and televisions placed
nearby may experience reception interference. Operate this unit at a suitable
distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.

Care

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liq­uid cleaners such as benzene or thinner, or cleaning compounds or flamma­ble polishes.

Keep this manual

After reading this manual, please keep it for later reference.

Keeping foreign matter out of your equipment

• Never set any container with liquid in it near this equipment. if liquid gets
into the equipment, it could cause a breakdown, fire, or electrical shock.

The CE mark that is attached to our company’s products of AC mains oper­ated apparatus until December 31, 1996 means it conforms to the EMC
Directive (89/336/EEC) and to the CE mark Directive (93/68/EEC).

The CE mark that is attached after January 1, 1997 means it conforms to the
EMC Directive (89/336/EEC), to the CE mark Directive (93/68/EEC) and to
the Low Voltage Directive (73/23/EEC).

In addition, the CE mark that is attached to our company’s products of Bat­tery operated apparatus means it conforms to the EMC Directive (89/336/
EEC) and to the CE mark Directive (93/68/EEC).

THE FCC REGULATION WARNING (FOR THE U.S.A.
ONLY)

This equipment has been tested and found to comply with the limits for a
Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are
designed to provide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, and can radiate
radio frequency energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications.
However, there is no guarantee that interference will not occur in a particu­lar installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off
and on, the user is encouraged to try to correct the interference by one or
more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the user’s
authority to operate this equipment.

• Be careful not to let metal objects get into the equipment. If something
does slip into the equipment, unplug the AC adapter from the wall outlet.
Then contact your nearest Korg dealer or the store where the equipment was
purchased.

DISCLAIMER

The information contained in this manual has been carefully revised and
checked through. Due to our constant efforts to improve our products, the
specifications might differ to those in the manual. Korg is not responsible for
any eventual differences found between the specifications and the contents
of the instruction manual - the specifications being subject to change with­out prior notice

WARRANTY

KORG products are manufactured according to the strictest electrical and
mechanical regulations that exist in various countries of the world. These
products are warranted by the KORG distributor only in each country. Any
KORG product that is not sold with the manufacturer’s or distributor’s war­ranty, or without a serial number, cannot benefit from servicing under the
warranty. This regulation is for the consumer’s own protection.

DATA RESET

When the instrument is turned off, any unsaved parameters or songs are
reset.

UPDATING THE SOFTWARE

The system software of your C-520 can be updated. From time to time, Korg
might release new versions including bug fixes and new features. Please
check our website for more information.

ASSISTANCE AND SERVICE FOR MUSICIANS

For repairs, contact your nearest Authorized KORG Service Center. For more
information on KORG products, and to find software and accessories for
your piano, please contact your local Authorized KORG distributor.

KORG ON THE INTERNET

Korg Inc.: www.korg.co.jp

Korg USA: www.korg.com

Korg UK: www.korg.co.uk

Korg Canada: www.korgcanada.com

Korg Italy: www.korgpa.com

© 2006 Korg Inc. Printed in Japan.

Contents

>

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Main features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting to external audio devices . . . . . . . . . . . . . . . . . . . . . . . . .11

Before you begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Open the key cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Turning the instrument on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Using the music stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Adjusting the volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Using the headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Listening to the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Basic functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Playing a single sound (Single mode) . . . . . . . . . . . . . . . . . . . . . . . . .15

Playing two sounds at the same time (Layer mode) . . . . . . . . . . . . . . 16

Playing different sounds with the left and right hand (Split mode) .17

Using the pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Changing the brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Turning the effects on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Using performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Choosing performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Changing the sounds assigned to a performance . . . . . . . . . . . . . . . .21

Editing a performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Starting and stopping the metronome, adjusting the tempo . . . . . . . 22

Tempo and time signature display . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Adjusting the tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Choosing a time signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Drum patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Adjusting the metronome level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Adjusting the drum pattern’s reverb . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Selecting the accent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Saving the metronome settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Playing back a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Accessing the Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

How to select a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

How to start playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Starting from a different measure . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Muting/unmuting a recorder’s part . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Changing the song’s tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Play along with the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Cycle Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Recording a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Quick recording procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Step 1: Entering the Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Step 2: Selecting sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Step 3: Setting the record options . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Step 4: Setting the time signature and tempo . . . . . . . . . . . . . . . . . . .33

Step 5: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Step 6: Second-pass recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Changing sounds to a recorded song . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Changing tempo to a recorded song . . . . . . . . . . . . . . . . . . . . . . . . . .35

Pedal Punch recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Auto Punch recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Saving the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Editing a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Setting Cycle Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Erasing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Cutting measures at the end of the song . . . . . . . . . . . . . . . . . . . . . . .38

Quantizing the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Transposing the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Deleting the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Saving the song after editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Editing sounds and performances . . . . . . . . . . . . . . . . . . . . . 41

Accessing the Sound edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Exit from the Sound edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Saving a sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Saving a performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Setting the volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Adjusting the panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Adjusting the effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Setting the reverb effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Setting the chorus or modulation effect . . . . . . . . . . . . . . . . . . . . . . . 45

Setting the insert effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Setting the octave transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Adjusting the fine tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Programming the pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Selecting a scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Resetting the current sound and performance . . . . . . . . . . . . . . . . . 49

Global settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Touch settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Turning the internal speakers on or off . . . . . . . . . . . . . . . . . . . . . . . 50

Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Default split point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Assigning functions to the pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Quarter Tone (SubScale realtime programming) . . . . . . . . . . . . . . . 53

Fast Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Mute Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Turning the keyboard on or off (Local Control) . . . . . . . . . . . . . . . . 54

MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

MIDI IN Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

MIDI OUT Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MIDI Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Data transfer via the USB port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Erasing songs from the User Song album . . . . . . . . . . . . . . . . . . . . . 57

General Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

System version number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

What is MIDI Over USB? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

What can you do with MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Standard MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using the C-520 as a multitimbral tone generator . . . . . . . . . . . . . . 60

Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Control Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Installing the Korg USB MIDI Driver . . . . . . . . . . . . . . . . . . . . 62

Connecting the C-520 to a personal computer . . . . . . . . . . . . . . . . . 62

KORG USB-MIDI Driver system requirements . . . . . . . . . . . . . . . . 62

Please note before use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Windows: Installing the KORG USB-MIDI Driver . . . . . . . . . . . . . 63

Mac OS X: Installing KORG USB-MIDI Driver . . . . . . . . . . . . . . . . 63

Assembling the stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Cautions for assembly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Assembling procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Check after assembly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Caution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Polyphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Appendix / Appendice / Anhang / Appendice . . . . . . . . . . . 277

Sounds / Timbres / Klänge / Suoni . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Performances / ‘Performance’-Speicher . . . . . . . . . . . . . . . . . . . . . 283

Effects / Effets / Effekte / Effetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Songs / Morceaux / Songs / Brani musicali . . . . . . . . . . . . . . . . . . . 286

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . 288

English

5

Introduction

> Main features

Introduction

Main features

Wide range of sounds

Forty different and expressive high-quality sounds, including
a Stereo Concert Grand Piano. You can use the Layer and Split
functions to simultaneously play a combination of two
sounds. Sounds and sound combinations can be freely modi­fied.

Performances

Sound combination can also be saved into performances, giv­ing you an additional set of 30 timbres (3 banks of 10 perfor­mances). Performances also store a custom split point, for
custom combinations of sounds over the keyboard.

Four zones keyboard

The new high-quality, realistic Korg RH3 keyboard features
four zones with different weights. This gives you the same re­alism and feeling as a grand piano keyboard.

Touch control

You can choose from nine different settings to adjust how the
sound will respond to your keyboard playing dynamics.

Pedal effects

The C-520 provides the same three pedals as a grand piano,
controlling the soft, sostenuto, and damper functions respec­tively. The damper pedal simulates the natural string reso­nances and noises of an acoustic piano, by means of the
innovative Korg EPx (Piano eXperience) technology. Both the
damper and soft pedals let you vary the amount of the effect by
how far you press down on them (“half-pedal” function). In
addition, pedals can be freely assigned to other functions, like
starting the recorder or changing the speed of the rotary speak­er.

Piano eXperience (or EPx) effects are particularly evident in
sounds like GrandPiano, BriteGrand and MelloPiano.

One-hundred eighty-five songs

The C-520 includes a huge library of songs, based on famous
pieces and lesson books. These songs are perfectly suitable for
piano lessons, being recorded into two separate parts (left
hand on Part 1, right hand on Part 2) that you can easily turn
off and play on the keyboard. In addition, you can change the
metronome’s tempo and let a defined passage play in cycle.

SongBook included

The SongBook album is also included as a printed music book
– a great resource for practicing and playing along with your
preferred tunes.

Onboard recorder

A multi-track, easy-to-use onboard recorder, lets you record
your own songs, or read Standard MIDI Files that you can
transfer via the integrated USB port from an external comput­er.

Metronome

The built-in metronome allows you to select the time signa­ture, tempo, and volume, and use a bell sound as the accent. It
can even give you a drum accompaniment in a musical style of
your choice (drum patterns).

Data transfer via USB

When connected to a personal computer via the USB port, the
C-520’s internal memory can be seen as a USB disk. This way,
you can backup your data, or transfer files between the C-520
and the personal computer.

Piano eXperience

While existing piano sampling techniques have resembled an
audio snapshot, our new “Piano eXperience” technology is
more of a hologram, accurately reproducing every dimension­al detail of the sound. All piano sampling for the C-520 is done
in stereo to preserve the natural imaging of the sound. Differ­ent dynamic levels are captured to extend the instrument's ex­pressive vocabulary.

Going even further, the C-520 uses the sound of the key being
released and the hammer returning, as well as the sympathetic
damper resonance of the strings to create all of the subtle shad­ings that create a superior instrument sound. This attention to
detail defines the sound of the new C-520, providing an instru­ment that can interpret every nuance of touch into a meaning­ful musical gesture.

6

MIDI capabilities

The C-520 supports the MIDI protocol, the standard that al­lows music data to be transferred between musical instru­ments and computers. MIDI allows two or more devices to
control or be controlled by each other, and also allows you to
use the C-520 as a 16-part multitimbral tone generator.

MIDI over USB

The USB port also carries MIDI data, so that you can connect
the C-520 directly to your personal computer with a single ca­ble and without the need of a dedicated MIDI interface. A ded­icated KORG USB MIDI Driver is freely available for full use
of the C-520’s MIDI features.

Introduction

> Main features

Temperaments

In addition to the Equal temperament, the C-520 allows you to
select nine alternative temperaments, for historically accurate
performance of classical music, or experimenting. When se­lecting an acoustic piano sound, the typical Stretched Tuning
is automatically selected.

Adjustable pitch

The Transpose function lets you change the pitch of the piano,
and the Master Tuning function allows you to make fine tune
adjustments.

Effects

The C-520 provides built-in digital effects that can simulate
the natural ambience of a concert hall (reverb) and add rich-

ness to the sound (chorus). In addition, each sound includes
an insert effect (delay, phaser, equalizer, rotary speaker,
etc…), that is specially suited to each particular sound.

Powerful integrated amplification

The C-520 includes a powerful, 2 × 35 Watt amplifier, with
four speakers in bass reflex box. This gives the most authentic
sound reproduction, together with enough volume deliver the
full power of an acoustic piano.

Two sets of headphones

You can connect two stereo headphones, to play with your
teacher or another musician. Connecting a headphone set au­tomatically disconnects the speakers, so there is no risk to dis­turb others when practicing by night.

English

7

Control panel

>

Control panel

PERFORMANCE button:

Enters/exits Performance
mode. While in this mode,
the sound selection buttons
are used to choose perfor­mances instead of single
sounds. See page 20.

MASTER VOLUME
knob:

Adjusts the vol­ume for the speakers,
the Output and the
Phones connectors

VARIATION button:

Selects one of the avail­able variations of the cur­rently selected sound, or
one of the three perfor­mance banks.





/



tons: Move the cursor
in the display, from
one parameter to the
following or the previ­ous one. The cursor is
indicated by a point-

ing arrow (
a parameter’s name.

(Scroll) but-







) next to

Display:

Shows the vari­ous sound names and
parameters.

SPLIT button:

Split mode, a sound is assigned to your right hand,
and a different one to the left hand. Keep it pressed
and play a note on the keyboard to choose a differ­ent split point. See page 17.

POWER switch:

switch. When in the
Standbay position, the
piano is turned off.

Turns Split mode on or off. When in

On/Off

Power LED

8

SOUND SELECTION buttons:

gle mode). You can press two buttons at the same time, to play
two sounds at the same time on the keyboard (Layer mode). Press
SPLIT to play a sound with your right hand, and a different one
with your left hand (Split mode). See page 15.
When the PERFORMANCE indicator is turned on (Performance
mode), these buttons allow for selection of performances. See
page 20.

Press a button to select a sound (Sin-

+/YES / -/NO (Value) but­tons:

Change the value of
the parameters appearing
in the display. The editable
parameter is shown by the

cursor (
left, or (when editing text)
with the character/cipher in
edit flashing. By keeping
them pressed, the values
start changing automati­cally, first slowly, then
slightly faster. By pressing
them together, the param­eter is reset to its default
value.
While in the Main page,
these buttons can be used
to select a different varia­tion of the current sound.



) placed on its



EDIT button:

to access the Edit
mode relevant to the
current type of data
selected in the dis­play. Four Edit modes
are available: Sound
(see page 41), Perfor­mance (see page 41),
Song (see page 37)
and Global (see
page 50). Global edit
mode can be
accessed by keeping
the EDIT button
pressed for more
than one second).

Press it

REVERB button:

Turns the reverb
on/off. This adds
ambience to the
sound. Keep it
pressed for more
than one second
to access the
Reverb edit page
(see page 19).

CHORUS button:

Turns the chorus
on/off. This makes
the sound richer.
Keep it pressed
for more than
one second to
access the Chorus
edit page (see
page 19).

Control panel

METRONOME button:

Turns the metronome click
on/off. The tempo and
time signature depend on
the chosen values, or the
selected song (see
page 22).

TEMPO/MET.SET but­tons:

Adjust the met­ronome tempo. The +
button makes it
faster, while the –
button makes it
slower. Pressed
together, they give
access to metronome
editing. See page 22.

>

English

EXIT button:

exit Edit mode, or to
return to the Main page
from other pages. When
exiting from the Edit
mode, the Save proce­dure will be recalled.
When a drum pattern is
assigned to the Metro­nome, and it is running,
this button doubles as a
Fill In control (see
page 23, page 33).

Press it to

TRANSPOSE button:

Press this button to
open the Transpose
page and change the
master transpose value.
When the indicator is
turned on, transposi­tion is active. Changes
made after pressing this
button are not saved to
memory, and are reset
when turning the
instrument off. See
page 18.

BRILLIANCE button:

Press this button to
open the Brilliance
page and change the
brilliance value. When
the indicator is turned
on, a brilliance varia­tion is active. Changes
made after pressing this
button are not saved to
memory, and are reset
when turning the
instrument off. See
page 19.

RECORDER but­tons:

Control the
playback or record­ing of the songs.
See page 26,
page 30.

DEMO button:

the Demo mode on/off,
to listen to the demo
songs. Select the songs
with the sound selec­tion buttons (see
page 13). You can play
together with the demo
songs.

Turns

9

Control panel

>

OUTPUT (L/MONO, R) connec­tors:

Audio outputs. Connect
these connectors to an external
amplifying system. (With a hi-fi
system use the LINE, AUX, CD or
TAPE connectors, not the
PHONO connector). To amplify
the C-520 in mono, connect the
single L/MONO connector. Use
the MASTER VOLUME knob to
set the output volume.

Pedals connec­tor:

Connect the
supplied pedals
to this connector.

PHONES connector:

nect one or two pairs of
headphones to these jacks.
The integrated speakers
will turn off.

MIDI (IN, OUT) connectors:

Connectors that are used to
connect other MIDI devices
(sequencer, keyboards, etc.).
OUT: Data output (to be
connected to the MIDI IN
connector of another MIDI
device). IN: Data input (to be
connected to the MIDI OUT
connector of another MIDI
device).

Con-

AC ADAPTER
connector:

Connect the
supplied AC/
DC adapter to
this connec­tor.

10

INPUT (L/MONO, R) connectors:

Line audio inputs. Connect to
these connectors an external
audio source, such as a CD, MP3
or tape player, or another key­board. To connect a microphone,
you need an external microphone
preamplifier or a mixer.

Warning:

output of a power amplifier to
these inputs!

Avoid connecting the

USB connector:

USB 1.1-compliant, standard
connector. Connects to a per­sonal computer (PC or Mac).
Can be used for data transfer
(see page 56), or USB Over
MIDI use (see page 59).

Type B (slave),

Connections

Connections

> Connecting to external audio devices

Connecting to external audio devices

Connecting to an external amplification system

Use the OUTPUT connectors, if you like to connect your C­520 to a high-quality mixer, stereo hi-fi, or a couple of active
monitors. When using a stereo hi-fi, connect the OUTPUTs to
the LINE, AUX, CD or TAPE inputs (never use the PHONO
inputs). For mono amplification, connect only the L/MONO
output.

Connecting other audio devices to the C-520

Use the INPUT connectors, to connect a computer, mixer,
drum machine, synthesizer, MP3 or tape player, to your C­520, and hear their sound run through its speakers. For mono

amplification, connect only the L/MONO output.

nect the output of a power amplifier!

English

Do not con-

L/MONO

R

AUX IN

OUTPUT

INPUT

11

Before you begin

> Open the key cover

Before you begin

Open the key cover

Gently lift the center of the sliding key cover by the indented
portion, and support it while you slide it carefully and fully
into the C-520. Before you open the key cover, make sure that
no foreign objects such as papers or coins are on the top of the
key cover itself, otherwise, these objects may fall into the in­strument.

Turning the instrument on

Insert the DC plug of the supplied AC adapter into the DC in­let of the C-520, then connect the AC plug to a wall socket.

After having connected the power cable, press the POWER
switch. When the instrument is turned on, the buttons on the
control panel and the display will light up. Also, an LED on the
front of the instrument, also visible when the key cover is
closed, will light up.

To close the key cover, gently lift the center by the indented
portion, and slide it forward.

Note:

Be careful not to pinch your fingers or hand while open-

ing or closing the key cover.

Note:

The key cover may be damaged if you use excessive force

when opening or closing it.

To turn the instru­ment off, press the
POWER switch
again.

Power LED

Using the music stand

Opening and closing the music stand

Tilt the music stand up­right, and use the two
stoppers located on the
rear to hold the music
stand in place.

To lower the music stand,
release the stoppers and rest the music stand on the flat top.

12

Using the score holders

To keep a music book open, use the two score holders in front
of the music stand. Push on the shorter side to make them slide
up. Push on the longer side to make them slide down.

apply excessive strength or weight to the holders, or you will
risk to break them.

Do not

Adjusting the volume

DEMO:GrandPiano1





Bk1 Press Sound

DEMO:-----------





Bk1 Press Sound

Before you begin

> Adjusting the volume

Rotate the MASTER VOLUME knob towards the right to in­crease the volume; towards the left to decrease the volume. The
maximum value is “10”; the minimum (silence) is “0”. This
control adjusts the output level of the headphones, the internal
speakers and of the OUTPUTs.

Using the headphones

For playing or practicing during night hours, or when you
don’t want to be heard by others in the same room, connect
one or two pairs of high-quality headphones (32
suggested) to the appropriate PHONES connectors. These
connectors are standard 1/4” phone jacks. If your headphones

Ω

impedance

Listening to the Demo

The C-520 contains 20 pre-recorded demo songs. Listen to
them to experience the rich sound and expressive potential of
this instrument. Here is a list of the available demo songs:

It does not control the volume of an audio device connected to
the INPUT connectors. Use the audio device’s own controls to
set its volume.

It is always better to start with a low volume and then increase
gradually.

have a mini-jack adapter, grasp the adapter when plugging in
or out the headphones.

Warning:

avoiding extended listening at high volumes.

When using headphones, protect your hearing by

to the demo song currently in play will turn on. The name
of the song will be shown in the display:

English

Button Bank 1 (1-10) Bank 2 (11-20)

PIANO 1 GrandPiano1 GrandPiano2

PIANO 2 Honky-Tonk Piano Pad

E.PIANO 1 El. Piano 1 El. Piano 2

E.PIANO 2 Digi Piano Vintage EP

HARPSI/CLAV Harpsichord Clav.

VIBES/GUITAR Vibes Ac. Guitar

ORGAN 1 Jazz Organ1 Jazz Organ2

ORGAN 2 Full Pipe Pipe Flute

STRING/CHOIR Strings Choir

BASS Ac. Bass El. Bass

During the demo playback you can’t use any other buttons.
However, you can still play the keyboard to play along with the
demo songs.

Listen to all songs at once

You can listen to all demo songs with a single command.

1. Press the DEMO button. The sound selection indicators

will blink sequentially from left to right. The Demo page
will appear in the display:

DEMO:-----------





Bk1 Press Sound

2. Wait some seconds, without pressing any button. The first

demo song will begin to play. The indicator corresponding

All demo songs will be played back one after the other.
After the last song, the playback will begin again from the
first song.

3. To pause the current song, press the PLAY/PAUSE button.

Press it again to restart playback from the same position.

4. To stop the playback and exit the demo mode, press the

DEMO or the EXIT button.

Listen to a specified song

You can select just one demo song to be played back.

1. First of all, you must select one of the demo song banks.

• To select the first bank (Bk1, songs 1-10), press the DEMO
button once. The indicators will blink sequentially, from
left to right. The Demo page will appear in the display:

• To select the second bank (Bk2, songs 11-20), press the +/
YES button.

• To return to the first bank, press the -/NO button.

2. Press one of the sound selection buttons to select the cor-

responding demo song in the selected bank. The demo is
based on the sound associated with the button. The indi­cator on the selected demo button will stay on, while the
other indicators will turn off.

13

Before you begin > Listening to the Demo

3. After the end of the selected song, all the songs will be

played back in cycle.

4. If you want to select a different song, press one of the

sound selection buttons.

5. To pause the current song, press the PLAY/PAUSE button.

Press it again to restart playback from the same position.

6. To stop the current song without exiting from the Demo

mode, press STOP. Choose a different song and wait for it
to start playing back.

7. To stop the playback and exit the demo mode, press the

DEMO or EXIT button.

14

Basic functions





GrandPiano 4/4

120

Main sound





GrandPiano 4/4

120

Sound name

Basic functions > Playing a single sound (Single mode)

Playing a single sound (Single mode)

When you turn the instrument on, it is in Single mode.

Main

The single Grand Piano sound is selected, and plays over the
full keyboard. Its name is shown in the display:

You can replace it with any of the 40 sounds supplied with the
instrument. See the list of sounds in the following table (more
details on each sound are on page 277):

Sound

Button

Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Var. 6

PIANO 1 GrandPiano* BriteGrand* Rock Piano Piano&Str.

PIANO 2 Honky-Tonk MelloGrand* Piano&Pad Elec.Grand M1 Piano

E.PIANO 1 Tine EP 1 SuitTineEP DynoTineEP Tine EP 2

E.PIANO 2 Dig. EP 1 Dig. EP 2 Reed EP TremReedEP

HARPSI/CLAV Harpsi 8' Harpsi 16' Clav Synth Clav

VIBES/GUITAR Vibes 1 Vibes 2 Nylon Gtr.

ORGAN1 Jazz Organ Perc.Org.1 Perc.Org.2

ORGAN2 Church Org Pipe Flute Pipe Tutti

STRINGS/CHOIR Strings Slow Str. String Pad Choir ScatVoices Vocal Pad

BASS Ac. Bass El. Bass Fretless B Bass&Ride

* Note: The EPx effects are not available when you are in Layer mode.

English

Selecting a sound

You can use the sound selection buttons to select a different
sound.

1. Press one of the sound selection buttons in order to select

a sound type.

12345

678910

The indicator on the button you pressed will light. The
name of the selected sound will appear in the display:

2. Use the VARIATION button to select one of the available

variations of the base sound (see table above). When the
last variation has been selected, press it again to select the
base sound again.

As an alternative, use the +/YES button to scroll the sound
variation list forward; the -/NO button to scroll it back­wards.

15

Basic functions > Playing two sounds at the same time (Layer mode)

M:90

    



L:127

     



Main sound’s volume

Layer sound’s volume

Playing two sounds at the same time (Layer mode)

You can play two sounds at the same time on the keyboard. It
is like having two “overlapping” sounds. This is called the Lay­er mode.

Main

Layer

Keep in mind that, when in Layer mode, the total number of
voices that you can play at the same time is reduced, depend­ing on the total number of oscillators used by the selected
sounds.

Entering the Layer mode

To access Layer mode from any other mode, press together
two sound selection buttons. The lowest-numbered sound in
the following diagram will be the Main sound, while the high­est-numbered sound will be the Layer sound:

12345

678910

The name of the two sounds will appear in the display:

Main sound





GrandPiano 4/4

Strings 120

Layer sound

Exit from the Layer mode

To exit Layer mode, press a single sound selection button, or
the SPLIT button. You will return to the Single mode, with a
single sound playing on the keyboard, or to the Split mode,
with a sound on the left and one on the right of the split point.

Selecting a different pair of sounds

To select different sounds, press a different pair of sound selec­tion buttons. The last selected variation of the sounds corre­sponding to the new buttons will be selected.

Selecting a variation of the Main sound

You can select a variation of the current Main sound.

1. Be sure the cursor is in the first line of the display. If it isn’t,

use the SCROLL

Cursor





button to move it there:





GrandPiano 4/4

Strings 120

2. Use the VARIATION button to select a different sound

variation. As an alternative, use the +/YES and -/NO but­tons to choose a different sound variation.

Selecting a variation of the Layer sound

You can select a variation of the current Layer sound.

1. Use the SCROLL 

er sound.



button to move the cursor to the Lay-





GrandPiano 4/4

Strings 120



Scroll 

GrandPiano 4/4





Strings 120

2. Use the VARIATION button to select a different sound

variation. As an alternative, use the +/YES and -/NO but­tons to choose a different sound variation.

3. If you desire so, use the SCROLL 

cursor back to the Main sound.

Balancing layered sounds

You can adjust the sound’s volume balance.

• Keep the Main sound button pressed, to increase its vol­ume and (after the maximum value has been reached)
decrease the volume of the Layer sound. Release the but­ton when done.

• Keep the Layer sound button pressed, to increase its vol­ume and (after the maximum value has been reached)
decrease the volume of the Main sound. Release the but­ton when done.

While the volume is changing, a meter is shown in the display:



buttons to move the

16

Basic functions > Playing different sounds with your left and right hand (Split mode)

Playing different sounds with your left and right hand (Split mode)

You can play a sound with your right hand (the Main sound),
and a different one with the left hand (the Left sound). This is
called the Split mode.

Split Point

Selecting a variation of the Main sound

You can select a variation of the Main sound after accessing the
Split mode.

1. Be sure the cursor is in the first line of the display. If it isn’t,

use the SCROLL





button to move it there:

English

Left

Main

Entering the Split mode

To access Split mode from any other mode, press the SPLIT
button. The Main sound of the Single or Layer mode will be as­signed to the right half of the keyboard (Main area, shown in
the first line of the display), and a Bass sound will be assigned
to the left half of the keyboard (Left area, shown in the second
line of the display).

Main sound





GrandPiano 4/4

Ac.Bass 120

Left sound

While the Ac.Bass sound will be chosen as the Left sound the
first time you enter Split mode, the last selected sound will be
assigned if you return to Split mode later.

Exit from the Split mode

To exit Split mode, press the SPLIT button again to return to
the Single mode, or press two sound selection buttons together
to enter Layer mode.

Choosing a different split point

If the selected split point is too high or too low, you can choose
a different one. Please note that you can set a default split
point, to have it ready each time you turn the instrument on
(see “Default split point” on page 51).

1. Keep the SPLIT button pressed. The current split point is

shown in the display while you keep the button pressed.





SplitPoint: F#3

2. Play a note to set a different split point.

3. Release the SPLIT button.

Selecting a different Main sound

You can select a different Main sound after accessing the Split
mode. Use the sound selection buttons as you would do to se­lect a sound in Single mode.

Cursor





GrandPiano 4/4

Ac.Bass 120

2. Use the VARIATION button to select a different sound

variation. As an alternative, use the +/YES and -/NO but­tons to choose a different sound variation.

Selecting a different Left sound

You can select a different Left sound after accessing the Split
mode.

1. Keep the SPLIT button pressed. The indicator of the Left

sound lights up.

2. Use the sound selection buttons to select a different sound.

3. Release the SPLIT button.

As an alternative, use the display controls:

1. Use the SCROLL 

sound.



buttons to move the cursor to the Left





GrandPiano 4/4

Ac.Bass 120



Scroll 

GrandPiano 4/4





Ac.Bass 12

2. Use the sound selection buttons as you would do to select

a sound in Single mode.

3. Use the 

sound.



buttons to move the cursor back to the Main

Selecting a variation of the Left sound

You can select a variation of the Left sound after accessing the
Split mode.

1. Keep the SPLIT button pressed. The indicator of the Left

sound lights up.

2. Use the VARIATION button to select a different sound

variation.

3. Release the SPLIT button.

17

Basic functions > Using the pedals

M:108

    



L:127

     



Main sound’s volume

Left sound’s volume

As an alternative, use the display controls:

1. Use the SCROLL 

sound.



buttons to move the cursor to the Left





GrandPiano 4/4

Ac.Bass 120



Scroll 

GrandPiano 4/4





Ac.Bass 12

2. Use the VARIATION button to select a different sound

variation. As an alternative, use the +/YES and -/NO but­tons to choose a different sound variation.

3. If you want, use the SCROLL 

sor back to the Main sound.



buttons to move the cur-

Using the pedals

Balancing sounds in Split mode

You can adjust the sound’s volume balance.

• Keep the Main sound button (the one whose indicator is
turned on) pressed, to increase its volume and (after the
maximum value has been reached) decrease the volume of
the Left sound. Release the button when done.

• Keep the SPLIT button pressed, or press the SCROLL
button to move the cursor to the second line of the dis­play. The indicator of the Left sound lights up. Then, keep
the Left sound button pressed, to increase its volume and
(after the maximum value has been reached) decrease the
volume of the Main sound. Release the button when done.

While the volume is changing, a meter is shown in the display:





The C-520 has three assignable pedals, usually acting as damp­er, sostenuto, and soft. However, you can assign the pedals dif­ferent functions (see page 47 for sound-level assignment, or
page 52 for global programming).

With the default settings, you can use these pedals to add ex­pression to your playing, as on a traditional piano.

3

2

1

Soft

Sostenuto

Damper

(1) Damper pedal

The damper pedal simulates the natural string resonances of
an acoustic piano. Pressing this pedal will sustain the sound,

Transposing

producing a richly resonant decay. You can control the damp­er’s depth by how far down you press on the pedal (“half-ped­aling”).

Sounds like GrandPiano, BriteGrand and MelloGrand also
trigger EPx effects while in Single and Split mode. However,
these effects are not available when you are in Layer mode.

(2) Sostenuto pedal

Pressing this pedal will apply the damper effect only to the
notes that are already being held down on the keyboard, and
will sustain only those notes. The damper effect will not be ap­plied to any additional notes that you play while holding down
the Sostenuto pedal (apart for the notes already held).

(3) Soft pedal

Pressing this pedal will make the tone softer. You can control
the soft effect depth by how far down you press on the pedal
(“half-pedaling”)

In some cases, a song may be written in a difficult key (e.g.,
many black keys), or you may wish to shift the pitch to match
another instrument or vocalist. In such cases, you can trans­pose (shift the pitch) so that you can use an easier fingering, or
use the same familiar fingering to play at a different pitch. This
is called the Transpose function.

18

For example if you transpose upward by one semitone, playing
the notes shown at the lower left will produce the pitches
shown at the right.

Basic functions > Changing the brilliance

Note: When the instrument is turned on, transposing is reset.

1. Press the TRANSPOSE button to show the Transpose dis-

play:

Transpose





+02 semitones

Transpose value

If you do no changes, just wait some seconds for the page
to automatically disappear. Otherwise, you can exit from
this page by pressing the EXIT button.

Changing the brilliance

Brilliance is the sound’s brightness, that may be affected by the
sound of the room the piano is placed into. For example, a
heavy carpeted room sounds duller than a room containing
less carpeting or furniture. You can set an overall increase or
decrease of brilliance for all sounds.

This is the same parameter you can change in the Brilliance
page of the Global mode (see page 51). However, contrary to
the changes you can make in the Global mode, the changes
made with this button cannot be memorized, and are reset
when turning the instrument off.

Note: When the instrument is turned on, brilliance set in this
page is reset. (Brilliance may have permanently been set in Glo­bal mode, see page 51).

1. Press the BRILLIANCE button to show the Brilliance dis-

play:

2. Use the +/YES and -/NO buttons to change the transpose

value in steps of one semitone, within a range of ±11 semi­tones. When a transposition is active, the indicator turns
on.

3. Press the EXIT button to exit from this page.

4. Press the TRANSPOSE button again to turn transposition

off. The indicator will turn off.

5. Press the TRANSPOSE button if you want to turn transpo-

sition on again, with the last value selected. The indicator
will turn on again. Wait some seconds for the page to dis­appear, or press the EXIT button to exit immediately.

If you do no changes, just wait some seconds for the page
to automatically disappear. Otherwise, you can exit from
this page by pressing the EXIT button.

2. Use the +/YES and -/NO buttons to change the brilliance

value. When a brilliance change is active, the indicator
turns on.

3. Press the EXIT button to exit from this page.

4. Press the BRILLIANCE button again to turn brilliance

changes off. The indicator will turn off.

5. Press the BRILLIANCE button if you want to turn bril-

liance on again, with the last value selected. The indicator
will turn on again. Wait some seconds for the page to dis­appear, or press the EXIT button to exit immediately.

English

Brilliance





Bright

Brilliance setting

Turning the effects on/off

The C-520 has two global effects (reverb and chorus), in addi­tion to an insert effect for each sound (see diagram on
page 44). The reverb simulates the sound reverberation in a
room, while the chorus simulates a modulating effect that
makes the sounds richer.

The insert effect is part of the sound itself, and should remain
on to avoid a dramatic change in timbre. On the contrary, you

can turn the reverb and chorus on/off as you like, by using the
REVERB and CHORUS buttons on the control panel.

However, selecting a different sound will reset the status of the
buttons, since it is saved with the sound itself. To permanently
change the effect’s status, edit the sound by keeping one of
these buttons pressed for a couple seconds. See page 44 for
more details.

19

Using performances > Choosing performances

Using performances

Performances are registrations of sound combinations. In­stead of selecting single sounds, or a combination of sounds,
you simply select a performance. A performance then recalls
one or two sounds, each one with their own settings, plus the
memorized split point (if the sounds are in Split mode).

There are 30 performances (10 groups

× 3 banks each). Each

group corresponds to one of the numbered sound select but­tons (1 ~ 10). You can then choose one of the three banks in­side the selected group by using the VARIATION button
(more details are on page 283).

Button

Bank 1 Bank 2 Bank 3

1 (PIANO 1) Split&Layr Digital EP* Baroque*

2 (PIANO 2) Grand&Ride PaddedTine* Harpsi-Ch*

3 (E.PIANO 1) Grand&Ebas R&B EPno* Harpsi-Org*

4 (E.PIANO 2) PnoStrings* EP Choir* Church Mix*

Performance

Choosing performances

Button

Performance

Bank 1 Bank 2 Bank 3

5 (HARPSI/CLAV) EGrand Pad* EP&NoFret Guitar Pad*

6 (VIBES/GUITAR) Piano Pad* Scat&Bass GrandPiano

7 (ORGAN1) Pno Choirs* Vibes&Bass BriteGrand

8 (ORGAN2) Pno Guitar* Bass&Guitr MelloGrand

9 (STRINGS/CHOIR) Piano BX3* Org&Bass 1 2 Pianists

10 (BASS) DualManual Org&Bass 2 PnoEXp-

DEMO**

* Note: These performances, with sounds set in Layer mode, do
not use EPx effects.
** Note: Performance 30 (PnoExpDEMO) is designed to demon­strate our “Piano eXperience” technology, by exaggerating the
amount of key-off/hammer return portion of the Grand Piano
sound; it is not intended to be a play-able timbre. Normally,
these additional Piano eXperience sounds are not perceived as
separate elements, but together with the other sample layers,
they are a vital part of the realism and the authentic piano tone.

Here is how to choose a performance.

Note: While in Performance mode, you cannot switch between
Single, Layer and Split modes. However, if you select a perfor­mance with two sounds in Split, the SPLIT indicator will turn on.

1. Press the PERFORMANCE button to enter Performance

mode. The indicator turns on, and the latest selected per­formance is recalled.

Perf.01 4/4
Split&Layr 120

2. Use the sound selection buttons to select a different group

of performance.

12345

678910

3. If needed, use the VARIATION button to select a different

performance inside the same group. There are three per­formances for each group of performances.

As an alternative, use the +/YES and -/NO buttons to
choose a different performance inside the selected group.

4. Press the PERFORMANCE button again to exit Perfor-

mance mode. The previous sound or combination of
sounds will be recalled. The indicator will turn off.

20

Using performances > Changing the sounds assigned to a performance

Changing the sounds assigned to a performance

You can change the sound or sounds assigned to the current
performance, without the need of accessing the Edit mode.

Note: You cannot change performance sounds while in Perfor­mance Edit mode.

Note: The EPx effects are not available when you are in Layer
mode.

1. While you are in the Main page of the Performance mode,

press both SCROLL
(or sounds) assigned to the performance are shown in the
display:





/  buttons together. The sound

Main sound





Piano&Str.

Ac. Bass

Layer/Left sound

2. If there are two sounds, use the SCROLL 

to move the cursor to the sound you want to change.

3. Use the +/YES and -/NO button to choose a different

sound.

4. Press the EXIT button to exit from the above page. If you

chose a different performance, changes are lost.

5. To save the changes use one of the save procedures ex-

plained in “Saving a performance” on page 42.



/  buttons

Editing a performance

You can edit any performance according to your taste. You can also save any combination of sounds over an existing performance.
See “Editing sounds and performances” on page 41.

English

21

The metronome > Starting and stopping the metronome, adjusting the tempo





GrandPiano 4-4

Strings 120

4/4 drum pattern selected

01-Prelude 1
M: 1 4/4 120

Song’s tempo

Song’s time signature

The metronome

The C-520 incorporates a metronome, with which you can beat the tempo during practice or song recording. The metronome can
beat ordinary times, or drum patterns.

Starting and stopping the metronome, adjusting the tempo

Use the METRONOME button to start and stop the metro­nome.

1. Press the METRONOME button to make the metronome

start (the indicator on the button turns on).

Tempo and time signature display

The metronome’s tempo and time signature are always shown
in the Main page:

Metronome’s time signature





GrandPiano 4/4

Strings 120

Metronome’s tempo

The metronome’s tempo and time signature also appear in
Performance mode:

Metronome’s time signature

Perf 01 4/4
Split&Layr 120

2. Press the METRONOME button again to stop it (the indi-

cator turns off).

hyphen (–) (see page 23 for information o how to select drum
patterns):

When listening to a song, the tempo and time signature are
those of the current song. You can use the TEMPO buttons to
adjust the tempo while the song plays. On the contrary, the
time signature cannot be modified after recording:

When a drum pattern is selected as the time signature, the sep­arator between the fraction’s numerator and denominator is a

Adjusting the tempo

When turning the metronome on for the first time, while in
the Main page, the default tempo of 120 BPM (beats per
minute) is chosen. You can adjust it by using the TEMPO but­tons.

22

Metronome’s tempo

(Please remember you can exit from the Song Play page and
return to the Main page by pressing the EXIT button.)

When turning it on from the Song Play (page 26) or Record
page (see page 30), the tempo is that of the current song. You
can adjust it by using the TEMPO buttons.

The last change is preserved, until you don’t choose a different
song and start playing it back.

Choosing a time signature

The metronome > Choosing a time signature

When turning the metronome on from the Main page, the de­fault time signature of 4/4 is chosen, but you can adjust it by
accessing the Metronome page (as shown below).

Note: If the PLAY/PAUSE button is flashing, you cannot change
the time signature.

Note: If you enter editing later, you might see a different edit
page instead of the first one. Use the SCROLL  button to
reach it.

1. Press the TEMPO + and TEMPO – (or MET.SET) buttons

together. The first Metronome page, Metro TS/Tempo,
will appear, with the Time Signature parameter selected:

Metro TS/Tempo 1





4/4 120

Drum patterns

Instead of an ordinary time signature (4/4, 3/4, etc…), a drum
pattern can be assigned to the metronome. This will give you
the sense you are playing together with a real drum player. You
can also record a drum pattern into a song.

Note: Contrary to ordinary metronome “clicks”, drum pattern
notes can also be recorded by the internal recorder. They can
also be transmitted via MIDI, so you can record them on an ex­ternal sequencer, or make them play with an external instru­ment (see “MIDI” on page 59).

Drum patterns are in the second half of the time signature list.
While the list is selected, either scroll to it, or press both the +/
YES and -/NO buttons together, to quick jump to the drum
patterns. Press these buttons together again to quick jump to
the ordinary time signatures (4/4 selected).

Drum patterns

8 Beat 1 Ballroom 2 Bossa 1 Swing 2

8 Beat 2 Ballroom 3 Bossa 2 Swing 3

8 Beat 3 Slow 6/8 Samba Slow Waltz 1

16 Beat 1 Funk 1 Cha Cha Slow Waltz 2

16 Beat 2 Funk 2 Salsa Waltz

2. Use the +/YES and -/NO buttons to select a time signature.

Ordinary times are at the beginning, while drum patterns
are at the end. You can quick jump from the one to the
other by pressing the +/YES and -/NO button together.

Ordinary times

1/2 ~ 16/2 1/4 ~ 16/4 1/8 ~ 16/8

3. Press the EXIT button to return to the Main page.

Drum patterns

16 Beat 3 Rock Mambo Foxtrot

Ballad 1 Rock 6/8 Tango March

Ballad 2 Dance Rhumba

Ballad 3 Beguine Gospel

Ballroom 1 Unplugged

Latin

Swing 1

Here is how to use the drum patterns:

1. While in the Main page, press the METRONOME button

to start the metronome. A Count In is heard, then the
drum pattern begins.

2. While in the Main page (either with a sound or a perfor-

mance selected), or in the Record page, press EXIT (or a
pedal with the Fill In function assigned, see page 52). A Fill
In is played, then a variation of the base drum pattern start
playing.

3. Press EXIT (or the pedal) again. A second Fill In is played,

then the base drum pattern returns playing.

4. Press the METRONOME button to stop the metronome.

English

23

The metronome > Adjusting the metronome level

Metro Lev/Rev 2





Lv:100 Rv:64

Metro Lev/Rev 2
Lv:100





Rv:64

Adjusting the metronome level

You can adjust the metronome’s level, in relation to the overall
instrument’s volume.

2. Press the SCROLL 

1. Press the TEMPO/MET.SET buttons together. The first

Metronome page should appear.

3. Use the +/YES and -/NO buttons to change the metro-

4. Press the EXIT button to return to the Main page.

Adjusting the drum pattern’s reverb

You can add a reverb effect to the drum patterns.

Note: Reverb does not apply to the metronome click (i.e., when
an ordinary time signatures is chosen).

1. Press the TEMPO/MET.SET buttons together.

2. If you are not there, use the SCROLL 

3. Use the +/YES and -/NO buttons to change the metro-

4. Press the EXIT button to return to the Main page.



button to go to the second Metro­nome page, Metro Lev/Rev. The Lv (Level) parameter will
be selected:

nome’s volume.



/  buttons to se-

lect the Rv (Reverb) parameter:

nome’s reverb.

24

Selecting the accent

Metro Settings 4





Save? (Yes/No)

The metronome > Selecting the accent

The accented beat of the ordinary times signatures can be
changed to a marcato or bell sound.

Note: The accent does not apply to drum patterns.

1. Press the TEMPO/MET.SET buttons together.

2. If you are not there, use the SCROLL 

to the Metro Accent page:

Metro Accent 3





Bell



/  buttons to go

Saving the metronome settings

Metronome settings can be saved, so that they are not reset to
the default values when turning the instrument off. This pro­cedure saves time signature, volume setting, reverb setting, ac­cent. On the contrary, tempo settings are always reset.

1. Press the TEMPO/MET.SET buttons together. The first

Metronome page appears.

3. Use the +/YES and -/NO buttons to turn the bell on or off,

and choose one of the available accent options.

Option Meaning

Off No accent

Marcato The first beat is played louder

Bell The first beat is played by a bell sound

4. Press the EXIT button to return to the Main page.

2. Press the SCROLL 

fourth Metronome page. The Metro Settings Save param­eter will be selected:



button four times, to go to the

3. Press +/YES to confirm saving, or -/NO to cancel saving.

You are automatically kept back to the Main page.

English

25

Playing back a song > Accessing the Song Play mode

Playing back a song

The C-520 incorporates a multitrack recorder, with which you
can record and play back songs. Since you can turn off a single
part (say, the left hand), and leave another part playing (say,
the right hand), this can be very useful for practicing.

Together with the C-520 come a huge number of classical
songs (185), with which you can play along for practicing or
for enjoying your preferred tunes. Songs are organized in “al­bums”, that include famous lesson books (Beyer, Burgmüller),

a collection of famous songs, and all the pieces included in the
supplied SongBook.

The recorder can also read 16-track songs in the Standard
MIDI Files (SMF) format, that can be created on a computer
or easily found on the market or in the public domain. Please
note that, while the C-520 complies with General MIDI (GM)
sound mapping, it does not include all GM sounds. For a de­tailed list of sounds, see page 277.

Accessing the Song Play mode

After you press the SONG button, the Song Play page appears: To return to the Main page, just press one of the sound selec-

Song name

01-Prelude 1





M:--- 4/4 120

Current measure

Tempo

Time signature

tion buttons to select a sound, or press the EXIT button. The
selected song will still be active, but you will no longer see its
name in the display, until you press the SONG button again.

How to select a song

To play a song, you must first select it from an album. Songs
are contained into a permanent memory, and are preserved
when turning the instrument off.

1. If you are in the Main page, press the SONG button twice.

If you are already in Song Play mode, press the SONG but­ton once to access the Song Selection page:

Album:SongBook





01-Prelude 1

2. Use the +/YES and -/NO buttons to select one of the avail-

able songs inside the selected album. If the name is longer
than the display, it will scroll up to the end, then returns to
the beginning.

3. To select a different album, use the SCROLL 

move the cursor to the first line of the display:

Album:SongBook





01-Prelude 1



Scroll 



Album:SongBook



01-Prelude 1

Album
Song



button to

As an alternative, you can use the first six sound select
buttons to choose an album. See table on the next page.

4. Use the +/YES and -/NO buttons to select one of the avail-

able albums. Various song albums are available (see
page 286 for a detailed list of the included songs):

Album Content

UserSong Songs created using the internal

SongBook All the songs of the supplied

Classics A collection of famous classical

Beyer A The “Preparatory School, Op. 101”

Beyer B (5) HARPSI/

Burgmlr Burgmüller’s “25 Easy and Pro-

recorder, or created with an exter­nal sequencer and then trans­ferred to the C-520 via a USB
connection (see page 56)

SongBook

pieces

lesson book by Ferdinand Beyer,
splitted in two separate parts (A
and B)

gressive Studies, Op. 100” lesson
book

Correspondin
g sound
button

(1) PIANO 1

(2) PIANO 2

(3) E.PIANO 1

(4) E.PIANO 2

CLAV

(6) VIBES/
GUITAR

26

Playing back a song > How to start playback

01-Prelude 1





M:--- 4/4 120

01-Prelude 1





M:--- 4/4 120

5. After having selected an album, use the SCROLL 

ton to move the cursor to the song name again, then
choose a different song:





Album:SongBook



but-

01-Prelude 1



Scroll 

Album:SongBook





01-Prelude 1

How to start playback

After having selected a
song, you can play it
back.

Note: During playback,
song parts can be sent out
via MIDI. Song parts are
the following: Part 1, Part 2, and Drum (this latter is active only
if a drum patterns is playing).

6. Press the PLAY/PAUSE button to start playback and re-

turn to the Song Play page, or the EXIT button to just re­turn to the Song Play page, without starting the song.

English

1. Press PLAY/PAUSE to start playing the song. The indica-

tor on the button turns on.

2. Press PLAY/PAUSE again to stop the song at the current

position. The indicator on the button starts flashing.

3. Press PLAY/PAUSE again to resume playback. The indica-

tor on the button stays on steadily.

4. Press STOP to stop the song. The indicator on the PLAY/

PAUSE button turns off. The song returns to the begin­ning (measure “---”).

Starting from a different measure

You can start playback from a measure different than the first
one.

Note: When releasing the +YES or -/NO button, you may hear
the EPx effects, due to Damper data recorded in the song.

1. While in the Song Play page, the M (Measure) parameter

is selected. Use the +/YES and -/NO buttons to choose a

different measure (+/YES is sometimes called Fast For­ward, while -/NO is called Rewind):

2. Press the PLAY/PAUSE button to start playback from the

selected measure.

27

Playing back a song > Muting/unmuting a recorder’s part

Muting/unmuting a recorder’s part

During playback, you can mute or unmute a recorder’s part.
Muting is useful to play a part on the keyboard, while letting
the recorder to continue playing the other.

Depending on the settings made in Global mode (see “Mute
Level” on page 53), muting may completely silence the part, or
just attenuate it. Attenuation is very useful for practicing, since
it lets you play over a part that you can still hear at a very soft
level.

Note: The part’s status is automatically restored when you
choose a different song (it is turned on if there are notes, or
turned off if the part is empty).

Changing the song’s tempo

Each song contains its own tempo. You can, however, change
it during playback, for example to make it easier playing along
with the song.

1. Use the TEMPO + button to increase the tempo and make

the song play faster.

1. Press the PART 1 or

PART 2 button, de­pending on the part
you want to mute
(usually, Part 1 = left
hand, Part 2 = right
hand. This may be different with songs imported via USB).
The muted part’s indicator turns off.

At this point, you can play the muted part on the keyboard.

2. Press the same button again, to unmute the part and let its

indicator turn on again.

2. Use the TEMPO - button to decrease the tempo and make

the song play slower.

3. Press both the +/YES and -/NO buttons at the same time

to recall the original tempo of the song.

Play along with the song

During playback, you can play along with the song. The latest
selected sounds are still active on the keyboard. You can select
different sounds, as seen before. When you press a sound se­lection button, the Main page appears. Press the SONG button
to return to the Song Play page.

When selecting different sounds, their effects are also recalled.
Be careful, since this can dramatically affect the song’s overall
sound. When selecting a different song, the song’s effects are
selected again.

28

Cycle Play

Cycle Play 1





On S:1 E:1

Cycle Play 1





Off

Playing back a song > Cycle Play

When practicing, you can choose a passage to be repeated
again and again. This way, you can try it until it is perfect. This
is called the Cycle Play function.

Note: When the Cycle Play is activated, the Fast Play function no
longer works (see page 53).

Note: If you enter editing later, you might see a different edit
page instead of the first one. Use the SCROLL  button to
reach it.

1. While in Song Play mode, press the EDIT button. The first

page of the Song Edit mode, Cycle Play, will appear.

Cycle Play 1





Off

2. Press the +/YES button to turn the Cycle Play mode on.

The S (Start Measure) and E (End Measure) parameters
will appear:

Cycle Play 1





On S:1 E:99

Start Measure

3. Press the SCROLL 

sure) parameter, and use the +/YES and -/NO buttons to
choose the measure where the cycle will be starting. Keep
them pressed to scroll faster.



Cycle Play 1
On

End Measure

button to select the S (Start Mea-





S:1 E:1

5. Press the EXIT button to return to the Song Play page.

You’ll notice the Cycle Play icon appearing on the top right
corner of the display, indicating the function has been ac­tivated:

01-Prelude 1





M:--- 4/4 120

This icon will stay steadily on when cycle measures are
playing back. It will flash when measures located before or
after the cycle measures are playing (for example, it will
flash if measure 2 or 16 is playing back, when the cycle is
delimited by measures 4 and 12).

Cycle Play icon

6. Press PLAY/PAUSE to start playing. The song will cycle be-

tween the chosen starting and ending points.

During playback, you can press the PLAY/PAUSE button
to pause the song, or restart it from the current point. You
can press the STOP button to stop the song and go back to
the Cycle’s Start Measure.

Note: If the S (Start Measure) parameter has a value other
than 1, the song will be set to pause even if you press STOP.

Turning the Cycle Play off

The Cycle Play will continue until you don’t select a different
song, or turn the instrument off. Otherwise, you can manually
turn it off.

1. While in Song Play mode, press the EDIT button. The first

page of the Song Edit mode should appear.

English

By default, the “S” parameter corresponds to the first mea­sure.

4. Press the SCROLL 

sure) parameter, and use the +/YES and -/NO buttons to
choose the measure where the cycle will be ending. Keep
them pressed to scroll faster.



button to select the E (Ending Mea-

Cycle Play 1
On S:1





E:1

2. Press the -/NO button to turn the Cycle Play mode off.

3. Press the EXIT button to return to the Song Play page. The

Cycle Play icon on the top right corner of the display will
be gone.

29

Recording a song > Quick recording procedure

Metro TS/Tempo 1





4/4 120

Time Signature

Song Modified
Save? (Yes/No)

Recording a song

You can use the onboard recorder to create a song composed
of up to three parts (left hand, right hand, drum). This song
can then be played back on the C-520, or transferred to a com­puter (see “Data transfer via the USB port” on page 56) and
played back on any other sequencer (see “MIDI” on page 59).

User-created songs are first contained in a temporary, non­permanent memory, and are to be saved into a special album
called the User Song album. You must save a song into this al­bum, before turning the instrument off or choosing a different
song.

Quick recording procedure

Recording a song on the C-520 is very easy. Here is a short pro­cedure. More detailed procedures follow, starting from “Step
1: Entering the Record mode”.

1. Select the preferred sound, sound combination or perfor-

mance.

2. Press the SONG and RECORD buttons together to access

Record mode with a new, empty song.

Record:Untitled





M:--- 4/4 120

3. Use the TEMPO buttons to set the tempo.

When you try to select a different song while a new or modi­fied song has not yet been saved, you are asked whether you
want to save it or not (the “Song Modified” message appears).
If you press the +/YES button you are kept to the Save Song
page. See “Saving the song” on page 36 for more information.

Note: A song is recorded into a temporary memory, that is lost
when the instrument is turned off. To preserve a new or modi­fied song, save it into the User Song album before turning the
instrument off. See “Saving the song” on page 36.

4. Press the TEMPO/MET.SET buttons together to open the

Metro TS/Tempo page. Select the time signature, then
press the EXIT button to exit.

5. Either play the keyboard, press the PLAY/PAUSE button,

or (if you chose a drum pattern as the time signature) the
METRONOME button to start recording.

6. Play freely.

7. Press the STOP or RECORD button to stop recording.

Step 1: Entering the Record mode

Entering Record mode with a new, blank song

To enter record with a new, empty song with default settings,
press the SONG and RECORD buttons at the same time (the
recorder must not be playing).

Waltz





M:--- 3/4 120

SONG +

RECORD

Blank song name

Record:Untitled





M:--- 4/4 120

If you try to access Record mode while a new or modified song
has not been saved, you are asked whether you want to save it
or not:

If you press the +/YES button you are kept to the Save Song
page. See “Saving the song” on page 36 for more information.

Entering Record mode with an existing user song

You can enter recording with the current User song (i.e., a
song contained in the UserSong album), to add more notes
(Overdub recording) or add an additional part to. You can
even record an existing part again (Overwrite recording).

30

Recording a song > Step 2: Selecting sounds

To record over an existing song, select the song and press the
RECORD button.

Existing song name

Record:Michelle





M:--- 4/4 120

Step 2: Selecting sounds

When you enter Record mode with a new, empty song, the
sounds that were selected for playing on the keyboard are also
selected for recording. If you enter recording on a part already
recorded, the sound previously used to record that part is se­lected again. If you are not happy with them, you can still select
different sounds now.

Note: Sounds also carry their own effects. By choosing a sound,
you also choose its associated effects.

Use the sound selection buttons to select different sounds for
recording. You can also select a different mode (e.g., switching
from Single to Split) during recording.

When you enter Record on a
new, empty song, both re­corder’s parts are ready for
recording (actually, if you

play something on the key­board, recording begins).

Therefore, everything you
play on the keyboard will be
recorded to the song. De­pending on the current
mode (Single, Layer or
Split), one or both parts will
be recorded.

Each sound is recorded into a separate recorder’s part. Nor­mally, the Main sound goes to Part 2, while the Layer or Left
sound go to Part 1 (see diagram).

You can change this, for example if you don’t want to record
the Layer sound, or if you want to record the Main sound into
Part 1 instead of Part 2. To change a part’s status, repeatedly
press the corresponding PART button:

Layer/Left sound Main sound

SINGLE Mode

Main PART 2

LAYER / SPLIT Mode

Main PART 2

Layer/Left PART 1

Please remember that you can only access Record mode on
User songs. Songs contained in albums other than UserSong
cannot be modified.

Exit from the Record mode

To exit from the Record mode, press the RECORD button
again (or the STOP button, to end the Record session). The
RECORD indicator will turn off.

Here is what the indicators’ status mean:

Part 1/2 status Meaning

On The part already contains data. It may happen

when you are recording over an existing song,
or doing second-pass recording. During record­ing, you will hear this part, but not record over
it.

Off The part does not contain data or is in mute,

and is not enabled for recording.

Flashing The part is enabled for recording. If you are

recording in Overdub mode, new data will be
added to the old data (if any). If you are
recording in Overwrite mode, new data will
replace the old data.

What if I record a Layer or Split on a single part?

When only a single part is enabled for recording, only the
Main sound will be recorded. The Layer or Left sound will be
ignored.

Example 1: Recording a single sound

When you enter recording with a single sound on a new, emp­ty song, both PART indicators will be flashing. You don’t need
to do anything else. Go on with actual recording, and your
sound will be recorded over Part 2. When recording is fin­ished, the PART 1 indicator will turn off, and the PART 2 in­dicator will stay steadily on.

Example 2: Recording a single sound into Part 1

When you enter recording with a single sound on a new, emp­ty song, both PART indicators will be flashing. Press the PART
2 button to turn its indicator off. At this point, you can go on
with actual recording over Part 1.

English

Example 3: Recording first with a single sound
then both

When you enter recording a single sound on a new, empty
song, both PART indicators will be flashing. This means both
sounds will be recorded. Go on with actual recording in Single
mode, then switch to the Layer or Split mode (by respectively
pressing two sound selection buttons, or pressing the SPLIT

31

Recording a song > Step 3: Setting the record options

Tempo Record 3





Auto

button). The Main sound will be recorded over Part 2, while
the Layer or Left sound will go to Part 1.

Example 4: Recording each hand of a piano piece in two separate parts

In this case, enter recording in Single mode, and press the
PART 1 button to turn its indicator off. Only the PART 2 in-

Step 3: Setting the record options

Before starting to record, you can set some options.

Note: The Pedal Punch and Auto Punch functions will not work
on an empty song. At least one track must already be recorded.

1. While the RECORD indicator is lit, press the EDIT button

to access the Record Option pages. The first page is the
Record Mode option page:

Record Mode 1





Overwrite

Use the +/YES and -/NO buttons to choose a recording
mode.

Recording mode Meaning

Overdub Notes are added to a previous recording

Overvwrite Notes replace any older recording (every-

Pedal Punch Lets you use a pedal to enter recording on

Pnc (Auto Punch) Lets you set a start and end measure for

2. Press SCROLL 

Quantize value. This is the quantize that happens during
recording:

Use the +/YES and -/NO buttons to change the quantize
value, indicated as a musical figure. “Off” means free
rhythm, with no quantization.

thing is deleted)

the fly (see “Pedal Punch recording” on
page 35)

recording (see “Auto Punch recording” on
page 35)



to go to the second page, and set the

Quantize 2





Off

dicator will continue flashing. Go on recording your right
hand.

When done, start recording your left hand, with the PART 1
indicator flashing, and the PART 2 indicator steadily on. This
way, you will be recording your left hand to Part 1, while Part
2 will be playing back the recorded right hand.

Quantization is a
way of correcting
timing errors; notes

Off

1/16

played too soon or
too late are moved

1/8

to the nearest axis
of a rhythmic
“grid”, set with this parameter, thus playing perfectly in
time. For example, when you select 1/16, all notes are
moved to the nearest 1/16 division. When you select 1/8,
all notes are moved to the nearest 1/8 division.

Beware that choosing too low a value will over-correct,
and make everything sound mechanical.

3. Press SCROLL 



to go to the third page, and set the Tem-

po Record mode:

Use the +/YES and -/NO buttons to change the mode.
There are three options:

Tempo Record mode Meaning

Manual The latest manual tempo setting (made

Auto The recorder plays back all recorded

Record All tempo changes made during record-

using the TEMPO buttons) is considered
the current tempo value. No tempo
change events will be recorded. This is
very useful to record the song much
slower than its actual tempo

tempo events. No tempo change events
are recorded

ing will be recorded

Off

1/32 =  1/24 = 3 1/16 =  1/12 = 3 1/8 = 

32

Quantize values

4. If done, press the EXIT button to return to the Record

page.

Recording a song > Step 4: Setting the time signature and tempo

Step 4: Setting the time signature and tempo

Before starting to record, tempo and time signature are those
you last selected with the TEMPO and MET.SET buttons. You
can however choose a different tempo and time signature.

Note: After having started recording a song, you can no longer
change its time signature. However, you can append a second
section with a different time signature (see “Step 6: Second­pass recording” on page 34, step 6).

Note: You can record a drum pattern only during the first pass.
You will not be able to add or change it later. However, you can
append a second section using a drum pattern (see “Step 6: Sec­ond-pass recording” on page 34, step 6).

1. If you wish to set a different time signature at the begin-

ning of the song, press the TEMPO/MET. SET buttons to­gether to access the Metro TS/Tempo page:

Metro TS/Tempo 1





4/4 120

Step 5: Recording

After you have entered the Record mode, chosen the part(s) to
be recorded, and having set the various options, you can start
recording.

A: Recording with no metronome

Here is how to record freely, without using the metronome.

1. Press the PLAY/PAUSE button to start recording. The in-

dicator on the PLAY/PAUSE button will turn on. As an al­ternative, you can play a note on the keyboard, or press the
pedal assigned as the Play/Pause function.

To start with a pick-up measure (or anacrusis), start with
the PLAY/PAUSE button, then wait until the desired beat
is playing. Assuming the Fast Play option has been left on,
the initial pause will be ignored during playback (see “Fast
Play” on page 53).

2. Press STOP to stop recording. As an alternative, press the

RECORD button, or the pedal assigned as the Stop func­tion. The indicator on the RECORD button turns off. The
song returns to the beginning.

B: Recording with the metronome

Here is how to record, if you chose an ordinary time signature.

1. Press the METRONOME button to hear the click before

starting to record.

2. Press the PLAY/PAUSE button to start recording. The in-

dicator on the PLAY/PAUSE button will turn on. As an al­ternative, you can play a note on the keyboard, or press the
pedal assigned as the Play/Pause function.

To start with a pick-up measure (or anacrusis), start with
the PLAY/PAUSE button, then wait until the desired beat
is playing. Assuming the Fast Play option has been left on,

Use the +/YES and -/NO buttons to choose a time signa­ture. You can select either an ordinary time signature (4/4,
3/4 and the like), or a drum pattern (8 Beat, Jazz,
Waltz…). In case you choose a drum pattern, it will be
recorded with the song as the Drum part, and sent out via
MIDI.

2. If done, press the EXIT button to return to the Record

page.

3. If you wish to set a different starting tempo, use the TEM-

PO buttons to change the tempo value.





Record:Untitled

M:001 4/4 120

Tempo

the initial pause will be ignored during playback (see “Fast
Play” on page 53).

3. Press STOP to stop recording. As an alternative, press the

RECORD button, or the pedal assigned as the Stop func­tion. The indicator on the RECORD button turns off. The
song returns to the beginning.

C: Recording with a drum pattern

Recording with a drum pattern is a bit different, since you
must decide how to start the drum pattern.

1. Use one of the following ways to start recording:

• If you want to start with a keyboard-only intro, and start

the drum pattern at a measure other than the first one,
press the PLAY/PAUSE button. As an alternative, you can
play a note on the keyboard, or press the pedal assigned as
the Play/Pause function. When it is time to start the drum
pattern, press the METRONOME button, and wait until
the next measure for the drum pattern to actually start (it
will start with a 1-measure intro).

• If you want to immediately start with a drum pattern,

press the METRONOME button to start recording. A 1­measure intro will play, then the regular pattern will start
playing.

An Intro will be played back before the main pattern of
the drum pattern begins.

2. During recording, you can press the EXIT button to trigger

a Fill In, break the rhythm, and go to a variation of the ba­sic pattern. Press it again to play a different Fill In, and re­turn to the basic pattern.

English

33

Recording a song > Step 6: Second-pass recording

3. Press STOP to stop recording. As an alternative, press the

RECORD button, or the pedal assigned as the Stop func-

Step 6: Second-pass recording

After the first recording, you can start recording again over the
same song, to add parts or notes.

1. Press the RECORD button again. Its indicator will turn on.

The Record page will appear again:

Record:Untitled





M:--- 4/4 120

2. If needed, set the Record options again (see page 32). You

can choose Overdub to add notes, Overwrite to replace
notes (up to the point where you stop recording), or one
of the Punch options to record over a passage.

3. Choose the part to be recorded. When you enter Record

mode again, the indicator of the recorded part will be
turned on, the other off. Press a PART button to make its
indicator start flashing, and record over that part(s).

4. If needed, select a different sound or sound combination.

Please remember that if you record in Layer or Split mode
over a single recorder’s part, only the Main sound will be
recorded.

When you record over an already recorded part, the sound
is the same as the previous recording. However, you can
select a different sound.

5. If needed, change the tempo with the TEMPO buttons. If

the Tempo Record option (see page 32) has been activated,
any tempo change will be recorded.

tion. The indicator on the RECORD button turns off. The
song returns to the beginning.

Note: After 999 measures, the record automatically ends.

6. You cannot change the

time signature (or drum
pattern) chosen during
the first recording pass.
However, if you are start­ing to record from the end
of the song (you can move there by assigning the highest
possible value to the M, Measure, parameter), you can
choose a different time signature (or a drum pattern) for a
new section to be appended at the end of the current sec­tion. This is useful to create a song with different time sig­natures, or with a drum pattern starting to play at a section
following the first one (see diagram).

First-pass recording

4/4 3/4

Second-pass recording

7. Choose a measure to start recording from. You can start

recording from a measure other than the first one, by
changing the M (Measure) parameter before starting the
recorder.

Record:Untitled





M:001 4/4 120

+/YES

Record:Untitled





M:099 4/4 120

8. Start recording.

9. When done, press the STOP or RECORD button to stop

recording.

Changing sounds to a recorded song

If you are not happy with the sounds used for recording, it is
easy to replace them with different sounds.

Note: When you choose different sounds, effects are also
changed. Each sound, sound combination or performance also
includes its own set of effects.

1. Press the RECORD button to access recording again.

2. Be sure you are at the beginning of the song (measure

shown as “---”):

Record:Untitled





M:--- 4/4 120

34

3. Make the PART 1 and/or PART 2 indicator flash, depend-

4. Choose a different sound (or sounds). If you are editing a

5. Press RECORD to exit song recording.

ing on the part(s) you want to change the sound to.

single part, and you select a Layer or Split sound combina­tion, only the Main sound will be considered.

Recording a song > Changing tempo to a recorded song

Record:Untitled





M:001 4/4 120

Changing tempo to a recorded song

If you are not happy with the tempo used for recording (may
you recorded with a slower tempo), it is easy to adjust it after
recording.

Note: After having started recording a song, you can no longer
change its time signature. However, you can append a second
section with a different time signature (see “Step 6: Second­pass recording” on page 34, step 6).

1. Press the RECORD button to access recording again.

Pedal Punch recording

With Pedal Punch recording, you can use a pedal to start and
stop recording.

Note: The Pedal Punch function will not work on an empty
song. At least one track must already have been recorded.

Warning: The Pedal Punch function overwrites existing notes.

1. Be sure a pedal is assigned the Pedal Punch function (see

“Assigning functions to the pedals” on page 52).

2. Be sure to choose the Pedal Punch recording mode (see

“Step 3: Setting the record options” on page 32):

Record Mode 1





Pedal Punch

2. Be sure you are at the beginning of the song (measure

shown as “---”):

3. Be sure neither the PART 1 or PART 2 indicator is flashing.

4. Use the TEMPO buttons to adjust the tempo.

5. Press PLAY/PAUSE to start the song. Just let a few beats

play.

6. Press STOP or RECORD to exit song recording.

3. Press the EXIT button to return to the Record page.

4. Make the PART 1 and/or PART 2 indicator flash, depend-

ing on the part(s) you want to record.

5. Press PLAY/STOP to start the recorder. The song will be

heard.

6. When it is time to start recording, press the pedal set to the

“Pedal Punch” function, and start recording.

7. When finished, press the pedal again to end recording. The

recorder stops.

English

Auto Punch recording

With Auto Punch recording, you can set the start and stop re­cording points, so that recording automatically begins and
ends at the defined measures.

Note: The Auto Punch function will not work on an empty song.
At least one track must already be recorded.

Warning: The Auto Punch function overwrites existing notes.

1. Be sure to choose the Pnc (Auto Punch) recording mode

(see “Step 3: Setting the record options” on page 32):

Record Mode 1





Pnc S:001 E:001

Start Measure

End Measure

2. Use the SCROLL 

S (Start Measure) or E (End Measure) parameters, and use
the +/YES and -/NO buttons to choose the start and end
recording measures.



/  buttons to move the cursor to the

3. Press the EXIT button to return to the Record page.

4. Make the PART 1 and/or PART 2 indicator flash, depend-

ing on the part(s) you want to record.

5. Press PLAY/STOP to start the recorder. Recording will au-

tomatically begin at the “Start” position, and stop at the
“End” position.

6. When finished, press STOP to end recording.

35

Recording a song > Saving the song

Song Modified
Save? (Yes/No)

Save Song





Untitled Save?

Saving the song

After recording, the song is stored into a temporary, non-per­manent memory. To preserve it from deletion when turning
the instrument off or choosing a different song, you must save
it into the User Song album. There are several ways to do it.

By choosing the Save Song command

You can select the Save Song command at any moment. The
Save Song page also allows you to assign or modify the name
of the song, and save all the changes.

1. After having pressed the EDIT button while in Song Play

mode, use the SCROLL
edit page:

Save Song 7





Untitled Save?

Flashing character





button to go to the Save Song

2. Use the SCROLL buttons to select the character to be edit-

ed (it will start flashing). Use the +/YES and -/NO buttons
to change it. Press the SCROLL
insert a new character, or the +/YES and -/NO buttons to­gether to delete the character at the cursor’s position.

! #$%&‘ ( ) +, - 0123456789; =@

ABCDE F GHI J KL MNOPQR S T UVWXYZ [ ] ^ _ `

abc def ghi j kl mnopqrstuvwxyz{ }

Note: The first character is a blank space. When saving, it will be
automatically removed if added to the beginning or end of the
name.

You can give the song a long name (as explained below). If
it will not fit the display, it will scroll entirely when it is
selected. When saved, the “.MID” extension will be auto­matically added to the file name.

When you reach the end of the name, a flashing asterisk
(*) appears:

Save Song 7





MyName* Save?

Flashing asterisk

At this point, you can either use the +/YES and -/NO but­tons to choose a new character, or press SCROLL
moves the cursor to the Save command:





/ buttons together to





to

3. Press the +/YES button to save the song into the User Song

album, or the -/NO button to return to the Song Play
mode, without saving the song. As an alternative, you can
press EXIT to exit without saving, or to continue recording
the current song.

4. The “Are you sure?” message appears. Press +/YES to con-

firm, -/NO to cancel and exit.

At the end, the Song Play display will appear again, and
you will be able to choose a different song for playing.

By choosing to record a new song

You can press the SONG + RECORD button combination to
start recording a new song. If an unsaved song is still in mem­ory, the Song Modified page will appear (see below).

By choosing a different song

If you try to choose a different song, while the current one has
been recorded or modified and has not yet been saved, you are
prompted to save it.

1. Press the SONG button to select a different song. If the

current song has been recorded or edited, but not yet been
saved, the “Song Modified” message will appear.

2. Press the -/NO button to delete the song or abandon the

changes to a previously saved song. Or press EXIT to re­turn to the current song without saving. Otherwise, press
the +/YES button to make the Save Song page appear:

3. From here on, the save procedure is the same seen above.

How I delete a Song from the UserSong album?

To delete a song from memory after having saved it, use the
procedure described in “Erasing songs from the User Song al­bum” on page 57.

36

Save Song 7

MyName





Save?

Editing a song

Editing a song > Setting Cycle Play

After having been recorded, a user-created song can be edited, and then saved again in the User Song album. Please note that songs con­tained in albums other than UserSong cannot be edited. The only Edit function that can be accessed with these songs is the Cycle Play.

Setting Cycle Play

Cycle Play allows you to repeat a passage during play, to prac­tice with it over and over.

Note: If you enter editing later, you might see a different edit
page instead of the first one. Use the SCROLL  button to
reach it.

1. While in Song Play mode, press the EDIT button. The first

page of the Song Edit mode will appear. This is the Cycle

Play mode, whose use has been seen above (see “Cycle

Play” on page 29):

Cycle Play 1





On S:001 E:001

Start Measure

End Measure

2. Press the EXIT button to return to the Main page and start

practicing.

Erasing a track

You can erase a single or all song tracks, to start recording
them again, or just remove them from the song (for example,
the voice track you want to sing live).

1. After having pressed the EDIT button, use the SCROLL 

button to go to the Erase Track edit page:



Erase Track 2





All Exec?

2. Use the +/YES and -/NO buttons to select one of the fol-

lowing tracks:

3. Press the SCROLL 

Exec command.

4. Press +/YES to start erasing. The “Are you sure?” message

appears. Press +/YES to confirm, -/NO to cancel and keep
the track.

5. Press the EXIT button to return to the Main page and save

the changes (see “Saving the song after editing” on page 39),
or the SCROLL
low).



button to move the cursor to the





button to go to the next edit page (see be-

English

Option Meaning

All All tracks – this results in an empty song

Tr01 (P2), Tr02 (P1) Respectively, Recorder Parts 2 (Track 1)

and 1 (Track 2)

Tr 10 (Dr) Drum part (Track 10)

Tr03 ~ 09, 11 ~ 16 Tracks 3 ~ 9, 11 ~ 16 (Extra tracks)

37

Editing a song > Cutting measures at the end of the song

Cutting measures at the end of the song

You can cut measures at the end of the song. For example, you
could have recorded a long section, and then you erased it. Af­ter recording a shorter section, you ended up with a series of
empty measures at the end of the song. With this function, you
can cut them away.

1. After having pressed the EDIT button while in Song Play

mode, use the SCROLL
sures edit page:

Cut Measures 3





From: 99 Exec?





button to go to the Cut Mea-

Quantizing the song

Quantize allows you to correct any timing error after record­ing (see page 32 for more information). With this function, all
parts (including the Drum part) will be quantized.

1. After having pressed the EDIT button while in Song Play

mode, use the SCROLL
edit page:

Quantize 4





Q:1/16 Exec?

2. Choose one of the quantization options (from 1/32 to 1/8).

A “b ~ f” character added after the value means swing-





button to go to the Quantize

2. Choose a measure where you want to start cutting. The

value ranges from 1, to the last measure of the song.

3. Press the SCROLL 

Exec command.



button to move the cursor to the

4. Press +/YES to start cutting. The “Are you sure?” message

appears. Press +/YES to confirm, -/NO to cancel and keep
the measures.

5. Press the EXIT button to return to the Main page and save

the changes (see “Saving the song after editing” on page 39),
or the SCROLL
low).

quantization (i.e., correction with a ‘human’ feel). Triplets
are intermediate-values (12, 24).

1/4 =

 1/8a =  1/12 = 3 1/16a =  1/24 = 3 1/32 = 

3. Press the SCROLL 

Exec command.





button to go to the next edit page (see be-

Quantize values

b ~ f = swing



button to move the cursor to the

4. Press +/YES to start quantization. The “Are you sure?”

message appears. Press +/YES to confirm quantization, -/
NO to cancel and keep the original value.

5. Press the EXIT button to return to the Main page and save

the changes (see “Saving the song after editing” on page 39),
or the SCROLL
low).





button to go to the next edit page (see be-

38

Transposing the song

Editing a song > Transposing the song

You can transpose the entire song, to make it match a different
key.

1. After having pressed the EDIT button while in Song Play

mode, use the SCROLL
edit page:

Transpose 5





V:+00 Exec?





button to go to the Transpose

2. Choose a transposition value (in semitones).

Value Meaning

-127 127 semitones lower

+00 No transposition

+127 127 semitones higher

Deleting the song

The Delete Song command allows you to delete the whole song
from memory, resulting in an empty song. This is the same as
choosing the New Song command from the control panel (see
page 36).

1. After having pressed the EDIT button while in Song Play

Exec?





button to go to the Delete Song

mode, use the SCROLL
edit page:

Delete Song 6





3. Press the SCROLL 

Exec command.



button to move the cursor to the

4. Press +/YES to start transposing. The “Are you sure?” mes-

sage appears. Press +/YES to confirm, -/NO to cancel and
keep the original value.

5. Press the EXIT button to return to the Main page and save

the changes (see “Saving the song after editing” on page 39),
or the SCROLL
low).





button to go to the next edit page (see be-

2. Press +/YES to execute the command, or -/NO to cancel,

and exit from the Song Edit mode.

If you press +/YES, the “Are you sure?” message appears.
Press +/YES to confirm, or -/NO to cancel.

3. Press the EXIT button to return to the Main page and save

the changes (see “Saving the song after editing” on page 39),
or the SCROLL
below).





button to go to the next edit page (see

English

Saving the song after editing

With the Save Song page you can assign or modify the name of
the edited song, and save all changes.

1. After having pressed the EDIT button while in Song Play

mode, use the SCROLL
edit page:

Save Song 7





Untitled Save?

Flashing character

2. Use the SCROLL buttons to select the character to be edit-

ed (it will start flashing). Use the +/YES and -/NO buttons
to change it. Press the SCROLL





button to go to the Save Song





/ buttons together to

insert a new character, or the +/YES and -/NO buttons to­gether to delete the character at the cursor’s position.

! #$%&‘ ( ) +, - 0123456789; =@

ABCDE F GHI J KL MNOPQR S T UVWXYZ [ ] ^ _ `

abcdefghijkl mnopqrstuvwxyz{}

Note: The first character is a blank space. When saving, it will be
automatically removed if added to the beginning or end of the
name.

You can give the song a long name (as explained below). If
it will not fit the display, it will scroll entirely when it is
selected. When saved, the “.MID” extension will be auto­matically added to the file name.

39

Editing a song > Saving the song after editing

When you reach the end of the name, a flashing asterisk
(*) appears:

Save Song 7





MyName* Save?

Flashing asterisk

At this point, you can either use the +/YES and -/NO but­tons to choose a new character, or press SCROLL
moves the cursor to the Save command:





to

Save Song 7

MyName





Save?

3. Press the +/YES button to save the song into the User Song

album, or the -/NO button to return to the Song Play
mode, without saving the song. As an alternative, you can
press EXIT to exit without saving, or to continue recording
the current song.

4. The “Are you sure?” message appears. Press +/YES to con-

firm, -/NO to cancel and exit.

At the end, the Song Play display will appear again, and
you will be able to choose a different song for playing.

40

Editing sounds and performances > Accessing the Sound edit mode

Editing sounds and performances

The Sound edit mode is where you can edit sounds or perfor­mances. Edit parameters are exactly the same in both cases, but
performances also memorize the split point (if the sounds are
in Split mode).

Single sounds and sound
combinations can be pro­grammed in different ways.
For example, when you
press the PIANO button,
the Piano volume can be set
to the maximum. If you
press the PIANO and
STRINGS buttons together,

SOUNDS

40 x Main r.h / both

(n) Main + Layer

40 x Left l.h.

Accessing the Sound edit mode

To access the Sound edit mode, choose a sound, sound com­bination or performance, then press EDIT.

During editing, the Layer/Left parameters can only be accessed
when you are in Layer or Split mode. If you are in Sound

to turn the Layer mode on, the Piano volume could be low­ered, to mix it with the Strings sound. It is like having a differ­ent sound when the Piano is playing alone, and when it is
playing in layer with a String sound.

Left sounds are exactly the same as Main sounds. When you
are in Split mode, it is like having two different Main sounds
assigned to each of your hand.

There are 40 Main sounds, 40 Left sounds, plus a variable
number of Layer combinations. There is space for any kind of
sound combination you wish to add to your sonic palette.

mode, you can switch mode at any time during editing. If you
are in Performance mode, you cannot switch mode. However,
if you select a performance with two sounds in Split, the SPLIT
indicator will light.

English

Exit from the Sound edit mode

After having edited some parameter, press EXIT to exit the
Sound edit mode. If nothing was modified, you immediately
exit. If something was modified, the Sound Modified message
will appear:

Sound Modified
Save? (Yes/No)

Saving a sound

If you make some changes during editing, when you press
EXIT to exit the Sound edit mode, you are prompted to save
your sound. See above.

Press +/YES to save, -/NO (or EXIT) to cancel. If you choose
to cancel, all changes will be deleted when choosing a different
sound. If you choose to save, the edited sound replaces the old­er sound.

41

Editing sounds and performances > Saving a performance

Are you sure?

Saving a performance

There are three ways to save a performance. Please find them
below.

After editing a sound

1. If you entered Sound edit mode with the PERFORMANCE

indicator turned off (Sound mode), after modifying some­thing and pressing EXIT, the Sound Modified page (seen
above) will appear:

Sound Modified
Save? (Yes/No)

While in this page, the PERFORMANCE indicator will
start flashing.

PERFORMANCE button and LED indicator

2. Press the PERFORMANCE button to save the current

sound or sound combination into a performance. After
you press the button, the Performance Name page appears:

6. Use the sound selection buttons (including the VARIA-

TION button) to select the location where you want to
save your performance.

12345

678910

Here is the table of the Performance’s locations:

Performance #

Button

Bank 1 Bank 2 Bank 3

1 (PIANO 1) 01 11 21

2 (PIANO 2) 02 12 22

3 (E.PIANO 1) 03 13 23

4 (E.PIANO 2) 04 14 24

5 (HARPSI/CLAV) 05 15 25

6 (VIBES/GUITAR) 06 16 26

7 (ORGAN1) 07 17 27

8 (ORGAN2) 08 18 28

9 (STRINGS/CHOIR) 09 19 29

10 (BASS) 10 20 30

Performance Name





JazzCombo To

Flashing character

3. If you want, edit the performance name. A performance’s

name can be up to 10 characters long.

Use the SCROLL buttons to select the character to be
edited (it is flashing). Use the +/YES and -/NO buttons to
change it. Press the SCROLL





/ buttons together to

insert a new character, or the +/YES and -/NO buttons
together to delete the character at the cursor’s position.

4. When you reach the end of the name, pressing SCROLL 



moves the cursor to the To command:

Performance Name
JazzCombo





To

5. Press the +/YES button to go to the Save To Performance

page:

Save To: Perf 01
JazzCombo





Save?

7. The location number appears in the top right corner of the

display, while the name of the performance already stored
at that location appears in the lower left corner:

Target location number

Save To: Perf.01
Split&Lay

Name of the performance at the
target location





Save?

8. Press the +/YES button to save the performance into the

selected location, or the EXIT button to return to the Main
page without saving, with the last performance still select­ed. If you press +/YES, the “Are you sure?” message ap­pears.

Press +/YES to confirm, -/NO to cancel.

42

Editing sounds and performances > Setting the volume

Volume 1
M:127





L:120

Pan 2
M:R07





L:L07

After editing a performance

1. If you entered Sound edit mode with the PERFORMANCE

indicator turned on (Performance mode), after modifying
something and pressing EXIT, the Perf Modified page will
appear:

Perf.Modified
Save? (Yes/No)

2. While this page is shown, press the +/YES button to save

the changes into a performance. After you press the but-

Setting the volume

Use this page to set each sound’s volume.

Note: If you return to editing later, you might see a different
edit page instead of the first one. Use the SCROLL
reach it.

1. After having pressed the EDIT button, the Volume page

will appear:

Volume 1





M:127 L:120

2. While the Main (M) part is selected, use the +/YES and -/

NO buttons to select a different value.

Value Meaning

0 Minimum – no sound

127 Maximum – very loud





button to

ton, the Save To Performance page (seen above) will ap­pear. You will be able to save the current sound or sound
combination into a performance. (See procedure above.)

By pressing the Performance button

While in the Main page, keep the PERFORMANCE button
pressed. The Performance Name page (seen above) will ap­pear. You will be able to save the current sound or sound com­bination into a performance. (See procedure above.)

3. If you are in Layer or Split mode, press the SCROLL 

button to select the L (Layer/Left) parameter (only avail­able in Layer or Split mode):



4. While the Layer/Left (L) part is selected, use the +/YES and

-/NO buttons to select a different value.

5. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

English

Adjusting the panning

Panning is the position of each part in the stereo front (or
“panorama”).

1. After having pressed the EDIT button, use the SCROLL 

button to go to the Pan edit page, with the M (Main) pa­rameter selected:

Pan 2





M:R07 L:L07

While the Main (M) part is selected, use the +/YES and -/
NO buttons to select a different value.

Value Meaning

L64 Hard Left

C00 Center

R63 Hard Right



2. If you are in Layer or Split mode, press SCROLL

to go to select the L (Layer/Left) parameter (only available
in Layer or Split mode):





again

3. While the Layer/Left (L) part is selected, use the +/YES and

-/NO buttons to select a different value.

4. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

43

Editing sounds and performances > Adjusting the effects

'U\

Reverb Send 4





M:127 L:100

Reverb Send 4
M:127





L:100

Adjusting the effects

The C-520 is equipped with three types of effects: The following diagram shows the effect’s routing:

Effect Meaning

IFX (Insert Effect) The sound pass entirely through this effect.

This is used for effects being part of the
sound itself, like the phaser of the rotary
speaker. There is a separate IFX for each of
the sounds.

Rev (Reverb) This effect adds ambience to the sounds. In

Layer or Split mode, there is a single reverb
for all selected sounds.

Ch (Chorus) This effect adds modulation to the sounds.

In Layer or Split mode, there is a single cho­rus for all selected sounds.

0DLQ6RXQG

/D\HU/HIW6RXQG

5HYHUE6HQG

Use the following parameters to select the reverb, chorus and
insert effects, and adjust how much of the sound must be pro­cessed.

,);

,);

&KRUXV6HQG

:HW'U\

:HW



&KRUXV6HQG

5HYHUE6HQG

&KRUXV

5HYHUE

Setting the reverb effect

Reverb adds ambience to the sound. Either you are in Single,
Layer or Split mode, a single reverb effect is available for both
sounds (see diagram). A different amount of reverb can be ap­plied to each sound, thanks to the Reverb Send parameter (see
below).

1. After having pressed the EDIT button, use the SCROLL 



button to go to the Reverb Type edit page, with the reverb
type selected:

Reverb Type 3





Hall 1 On

Use the +/YES and -/NO buttons to select a different reverb.
See below the list of available reverb effects (a more detailed
list is on page 285).

Reverb

Hall 1 Hall 2 Hall 3

Wet Plate Dry Plate

Room 1 Room 2 Bright Room

2. Press SCROLL 



again to select the Reverb On/Off pa-

rameter:

Reverb Type 3
Hall 1





On

Use the +/YES and -/NO buttons to turn reverb on or off.
This corresponds to the status of the REVERB indicator.

3. Press SCROLL 



to go to the Reverb Send edit page, with

the M (Main) parameter selected:

Use the +/YES and -/NO buttons to set the amount of
reverb applied to the Main sound (0 ~ 127).

4. If you are in Layer or Split mode, press SCROLL 



again

to select the L (Layer/Left) parameter:

Use the +/YES and -/NO buttons to set the amount of
reverb applied to the Layer/Left sound (0 ~ 127).

5. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

44

Editing sounds and performances > Setting the chorus or modulation effect

Chorus Send 6





M:127 L:Off

Chorus Send 6
M:127





L:Off

IFX M/L Type 7
LoGain





Phaser

Setting the chorus or modulation effect

The chorus or modulation effect adds depth to the sound. Ei­ther you are in Single, Layer or Split mode, a single chorus ef­fect is available for both sounds (see diagram above). A
different amount of chorus can be applied to each sound,
thanks to the Chorus Send parameter (see below).

1. After having pressed the EDIT button, use the SCROLL 

button to go to the Chorus Type edit page, with the chorus
type selected:



Chorus Type 5





Chorus Off

Use the +/YES and -/NO buttons to select a different cho­rus effect. See below the list of available chorus-type
effects (a more detailed list is on page 285).

Chorus

Chorus Harm. Chorus Chorus Delay

Ensemble Flanger Tremolo

2. Press SCROLL 

rameter:



again to select the Chorus On/Off pa-

Chorus Type 5
Chorus





Off

Use the +/YES and -/NO buttons to turn the chorus on or
off. This corresponds to the status of the CHORUS indica­tor.

3. Press SCROLL 

the M (Main) parameter selected:

Use the +/YES and -/NO buttons to set the amount of
chorus applied to the Main sound (0 ~ 127).

4. If you are in Layer or Split mode, press SCROLL 

to select the L (Layer/Left) parameter:

Use the +/YES and -/NO buttons to set the amount of
chorus applied to the Layer/Left sound (0 ~ 127).



to go to the Chorus Send edit page, with



again

5. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

English

Setting the insert effects

In addition to the reverb and chorus effects, common to both
sounds in Layer and Split mode, an insert effect (IFX) is avail­able for each sound (see diagram above). The insert effect
strongly modifies the sound, and is to be considered as part of
the sound itself.

1. After having pressed the EDIT button, use the SCROLL 

button to go to the IFX Type edit page, with the IFX as­signed to the Main sound selected:

IFX M/L Type 7





EQ1 Phaser



Use the +/YES and -/NO buttons to select a different
effect. “Off ” means no effect. See below the list of available
IFX effects (a more detailed list is on page 285).

IFX

LoGain HiGain HLGain MdGain

Echo1 Echo2 Echo3

Dly4th Dly3/4 Dly8th

Pan Trem. Phaser Rotary

AmpSim Comp. Limit. Excit.

Wah PhaTrm AmpTrm CmpAmp

OD-Wah WahAmp

2. If you are in Layer or Split mode, press SCROLL 

to select the IFX assigned to the Layer/Left sound:

Use the +/YES and -/NO buttons to select a different
effect.



again

45

Editing sounds and performances > Setting the octave transposition

IFX Wet/Dry 8
M:W099





L:D020

Octave 9
M:+02





L:+00

Press the SCROLL  button to go to the IFX Wet/Dry
edit page, with the M (Main) parameter selected:

IFX Wet/Dry 8





M:W099 L:D020

Use the +/YES and -/NO buttons to set the amount of IFX
applied to the Main sound.

Value Meaning

–Wet Wet, i.e., maximum effect applied. Negative

W-99 ~ W-51 Mostly wet, with negative value.

D-50 ~ D-01 Mostly dry, i.e., minimum effect applied. Nega-

Dry Dry, i.e., with no effect at all.

D001 ~ D050 Mostly dry, i.e., minimum effect applied.

W051 ~ W099 Mostly wet.

Wet Wet, i.e., maximum effect applied.

(inverted) phase.

tive (inverted) phase.

This is the diagram of the mix betweeen Wet and Dry set­tings:

100%

100%

Dry

0%

Dry

3. If you are in Layer or Split mode, press SCROLL 

100%
Wet

Wet



again

to select the L (Layer/Left) parameter:

Use the +/YES and -/NO buttons to set the amount of IFX
applied to the Layer/Left sound.

4. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

Setting the octave transposition

Here you can set the individual octave transposition for the
Main and the Layer/Left sounds.

1. After having pressed the EDIT button, use the SCROLL 

button to go to the Octave edit page, with the M (Main)
parameter selected:

Octave 9





M:+02 L:+00

Use the +/YES and -/NO buttons to change the octave
transposition, within a range of ±4 octaves.

Value Meaning

-04 ~ -01 Four to one octave lower

+00 No transposition

+01 ~ +04 One to four octave higher



2. If you are in Layer or Split mode, press SCROLL 



again

to select the L (Layer/Left) parameter:

Use the +/YES and -/NO buttons to change the octave
transposition.

3. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

46

Adjusting the fine tune

Fine Tune 10
M:+00





L:+00

Editing sounds and performances > Adjusting the fine tune

You can fine tune the Main and the Layer sounds (in Layer
mode), so that there is some “beating” between them.

1. After having pressed the EDIT button, use the SCROLL 

button to go to the Fine Tune edit page:



Fine Tune 10





M:+00 L:+00

Use the +/YES and -/NO buttons to adjust fine tune for
the Main sound, within a range of ±99 cents (1 cent = 1/
100 of a semitone).

Value Meaning

-99 ~ -01 Ninety-nine to one cent lower

+00 No transposition

+01 ~ +99 One to 99 cents higher

Programming the pedals

By default, the three pedals act (from right to left) as damper,
sostenuto and soft. You can freely reassign them according to
your need or preference. You can either assign them to the
sounds by these pages, or globally (see page 52). Global pro­gramming override these settings.

Hint: Use sound programming to assign sound effects, like
damper, rotary speaker speed and glide; use global program-

2. If you are in Layer or Split mode, press SCROLL 

to select the L (Layer/Left) parameter:

Use the +/YES and -/NO buttons to change the fine tune
of the Layer/Left sound.



again

3. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).

ming to assign global controls, like drum pattern, recorder and
quarter tone control.

Note: When a function other than Sound is assigned to a pedal
in Global edit, therefore overriding sound programming, a (G)
abbreviation appears in the following pedal assignment pages.

1. After having pressed the EDIT button, use the SCROLL 

button to show the Pedal assignment page for the pedal
you wish to reprogram:





button to go to the next edit



English

3

Pedal 3 (G) 13





M:Soft L:Off

2. Use the SCROLL buttons to move the cursor to the M

(Main) or L (Layer/Left) parameter. Use the +/YES and -/
NO buttons to choose the required function.

You can assign different functions to the Main and Layer/
Left sounds, depending on the type of sound. This allows
for a great flexibility in pedal assignment. Some examples:

• A Grand Piano is the Main sound, and a String Ensemble
is the Layer sound. Pedal 1 triggers the Damper effect for
the Piano sound only (it is Off for the Layer sound),

Pedal 2 (G) 12





M:Sost L:Off

2

1

Pedal 1 (G) 11





M:Damper L:Off

allowing for long, held Piano notes. At the same time,
Pedal 3 triggers the Soft effect for both sounds.

• A Grand Piano is the Main sound, and an Acoustic Bass is
the Left sound. The Damper effect is assigned to the Main
sound on Pedal 1 (it is Off for the Left sound), while the
Glide effect is assigned to the Left sound on Pedal 3 (it is
Off for the Main sound). When you want Piano notes to
be held, press the rightmost pedal (#1) as in a traditional
piano; when you want the Bass to glide, press the leftmost
pedal (#3). You can use both pedals at the same time.

47

Editing sounds and performances > Selecting a scale

SubScale Sw. 15





M:On L:Off

SubScale Sw. 15
M:On





L:Off

Here are the effects that can be assigned to the pedals in
Sound edit mode:

Setting Function

Off The pedal does not affect the sound

Damper Damper pedal

Sost. (Sostenuto) Sostenuto pedal

Soft Soft pedal

Glide Glide function. When the pedal is

Rotary Rotary Speaker control, typical of electro-

depressed, the sound “glides” slightly
toward the lower pitch. Try it on the
Ac.Guitar sound (left pedal).

mechanical organs. Try it on the Percussion
Organ 1 & 2 sounds (left pedal).

Selecting a scale

There are numerous classical compositions that were com­posed using scales (or “temperaments”) that differ from the
“equal temperament” commonly used today. In order to re­produce the original sound of such compositions, the C-520
provides other classical scales, in addition to the equal temper­ament. In addition, scales to play ethnic and experimental mu­sic are given.

You can assign the alternative temperament, or “sub scale”, to
both sounds, or just one of them. The other sound will contin­ue playing using the equal temperament (or, in some cases, the
stretch one).

1. Press SCROLL 

2. Use the +/YES and -/NO buttons to select one of the avail-

able scales, chosen among the following ones:

Scale Meaning

Equal Temp. Nearly all keyboard instruments today use

Pure Major Major chords in the selected key are perfectly

Pure Minor Minor chords in the selected key are perfected

Arabic An arabic scale, with the E and B notes tuned a

Pythagorean Pythagorean scale, based on the music theo-

Werckmeister This is the Werckmeister III scale invented by



to go to the SubScale Type edit page:

SubScale Type 14





Kirnberger

equal temperament. This temperament spaces
all semitones at equal distances, and allows
identical scales to be played in any key.

tuned.

tuned.

quarter tone lower.

ries of the great Greek philosopher and mate­matician. It is most suitable for melodies.

Andreas Werckmeister, the German organist
and music theoretician. This scale was created
in the later Baroque period to allow relatively
free transposition.

3. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL





button to go to the next edit

page (see below).

Scale Meaning

Kirnberger This is the Kirnberger III scale invented by

Slendro Scale of the Indonesian Gamelan. The octave is

Pelog Scale of the Indonesian Gamelan. The octave is

Stretched Simulates the “stretched” tuning of an acous-

3. Press SCROLL 

Johann Phillip Kirnberger in the early 18th
century, and is used mainly for tuning harpsi­chords.

divided in 5 notes (C, D, F, G, A). The remaining
notes are tuned as in the Equal tuning.

divided in 7 notes (all white keys). The black
keys are tuned as in the Equal tuning.

tic piano. Basically an equal tuning, the lowest
notes are slightly lower, while the highest
notes are slightly higher than the standard.
This scale is automatically recalled when select­ing the GrandPiano, BriteGrand and MelloPi­ano sounds.



to go to the SubScale Switch edit page,

with the M (Main) parameter selected:

4. Use the +/YES and -/NO button to turn the sub scale on or

off for the Main sound. If it is off, the sound will continue
playing using the equal temperament.

5. Press SCROLL 



to select the L (Layer/Left) parameter:

6. Use the +/YES and -/NO button to turn the sub scale on or

off or the Layer/Left sound. If it is off, the sound will con­tinue playing using the equal temperament.

7. Press the EXIT button to return to the Main page and save

the changes (see “Exit from the Sound edit mode” on
page 41), or the SCROLL
page (see below).





button to go to the next edit

48

Editing sounds and performances > Resetting the current sound and performance

Resetting the current sound and performance

Any custom programming of the current sound, sound com­bination or performance, can be reset to the original values.

Hint: To reset all data, use the dedicated function in Global
mode (see “General Reset” on page 58).

1. After having pressed the EDIT button, use the SCROLL 

button to show the Reset Sound/Performance page:

Reset Snd/Prf 16





Exec?



2. Press +/YES to start resetting. The “Are you sure?” message

appears. Press +/YES to confirm resetting, -/NO to cancel
and leave your custom data untouched.

If you choose to reset, the current performance, sound or
sound combination is reset to the factory values.

English

49

Global settings > Touch settings

Global Modified
Save? (Yes/No)

Speaker 2





On

Global settings

Global edit is where you can edit some general parameters, not
tied to the single sounds or songs.

Accessing Global edit

Keep the EDIT button pressed for more than one second, to
access the Global edit mode.

Touch settings

The keyboard sensitivity, or touch, can be programmed.

1. After having kept the EDIT button pressed, use the

SCROLL

2. Use the +/YES and -/NO button to change sensitivity. The

following table lists the available touch settings.

Setting Touch sensitivity

Fixed Fixed dynamic = 100.

Soft 1~3 Loud notes can be produced even by playing

Medium 1~2 Normal piano touch.

Hard 1~3 Loud notes can be produced only by playing





button to show the Touch Sensitivity page:

Touch Sens. 1





Medium 2

lightly.

very hard.

Exit from the Global edit mode

After having edited some parameter, press EXIT to exit the
Global mode. If nothing was modified, you exit immediately.
If something was modified, the Save page will appear:

Press +/YES to save, -/NO to cancel.

This is the diagram of the touch curves:

Strong



( )

Note
loudness

Soft

Medium

Soft

Hard

Playing strength

Strong

Soft
()

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

Turning the internal speakers on or off

Whether you prefer listening to the internal speakers or to an
external amplification system, you can turn the internal speak­ers on or off.

Note: The speakers are automatically turned on when the in­strument is turned on again.

Hint: You can also turn the speaker off, by inserting a jack in
the headphone connectors.

50

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Speaker page:

2. Use the +/YES and -/NO button to turn the internal speak-

ers on or off.

3. Press the EXIT button to return to the Main or Song Play

page, or the SCROLL
(see below).





button to go to the next edit page

Master tuning

Split Point 5





F#3

Global settings > Master tuning

In order to adapt the C-520 pitch to that of another instru­ment, you can adjust the pitch. Standard tuning is A4 = 440
Hz.

Note: If you enter editing later, you might see a different edit
page instead of the first one. Use the SCROLL  button to
reach it.

1. After having kept the EDIT button pressed, the Master

Tune page will appear:

Master Tune 3





440.0 Hz

Brilliance

Brilliance is the sound’s brightness. You can set an overall in­crease or decrease of brilliance.

This is the same parameter you can change with the BRIL­LIANCE button (see page 19). However, contrary to the but­ton, these changes can be memorized, and are preserved even
when turning the instrument off.

Note: Brilliance changes can be recorded into a song. If you lat­er change them again, values recorded in the song are left un­changed.

1. After having kept the EDIT button pressed, use the

SCROLL
ternative, press the BRILLIANCE button to immediately
access the Brilliance page:





button to show the Brilliance page. As an al-

Brilliance 4





Normal

2. Use the +/YES and -/NO button to select a different tun-

ing.

Setting Tuning

415 ~ -439.5 Lower tuning. The lowest value corresponds to

440 Standard tuning

440.5 ~ 465 Higher tuning. The highest value corresponds to

about -100 cents (one semitone) from the stan­dard tuning.

about +100 cents (one semitone) over the stan­dard tuning.

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).

After having chosen a brilliance value different than Nor­mal, the BRILLIANCE indicator will turn on.





button to go to the

2. Use the +/YES and -/NO button to change the brilliance.

The following table lists the available settings.

Setting Brilliance

Very Mellow, Mellow The sound becomes darker.

Normal Normal tone.

Bright, Very Bright The sound becomes brighter.

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

English

Default split point

You can set a default split point, that will be automatically re­called each time you press the SPLIT button when playing
sounds.

Note: The split point may be different from the default split
point, if you change it after turning the instrument on. Also, it
may vary when choosing a performance with two sounds in
Split mode. The last selected split point remains selected, until
you turn the instrument off.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Split Point page:

2. Use the +/YES and -/NO button to change the split point.

When you change this value, if you are in Split mode the
current split point is also changed.

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit

51

Global settings > Assigning functions to the pedals

mode” on page 50), or the SCROLL  button to go to the
next edit page (see below).

Assigning functions to the pedals

By default, the three pedals act as (from right to left) damper,
sostenuto and soft. You can freely reassign them according to
your need or preference. You can either assign them to the
sounds (see page 47), or globally by these pages. Global pro­gramming override sound settings.

Hint: Use sound programming to assign sound effects, like
damper, rotary speaker velocity and glide; use global program-

3

Pedal 3 Glob. 8





Sound

2. Use the +/YES and -/NO button to choose the assigned

function.

Setting Function

Sound The pedal is programmed by the selected

Fill In The pedal triggers as the Fill In command

Quarter Tone The pedal activates the Quarter Tone func-

Transpose Up Each time the pedal is pressed, the master

sound, sound combination or performance
(see “Programming the pedals” on
page 47).

for the drum pattern (see “Drum patterns”
on page 23).

tion. When this function is turned on, you
can detune some notes in realtime, to make
custom scales. See “Quarter Tone (SubScale
realtime programming)” below.

transpose is raised by one semitone.

Pedal 2 Glob. 7





Sound

ming to assign global controls, like drum pattern, recorder and
quarter tone control.

Note: When a function other than Sound is assigned to a pedal,
therefore overriding sound programming, a (G) abbreviation
appears in the pedal assignment pages in Sound Edit mode.

1. After having kept the EDIT button pressed, use the

SCROLL
the pedal you wish to reprogram:

2

1

Setting Function

Transpose Down Each time the pedal is pressed, the master

Play/Pause The pedal duplicates the PLAY/PAUSE but-

Stop The pedal duplicates the STOP button’s

Pedal Punch This is used for Pedal Punch recording. This





button to show the Pedal assignment page for

Pedal 1 Glob. 6





Sound

transpose is lowered by one semitone.

ton’s function.

function.

function is detailed on page 35.

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

52

Global settings > Quarter Tone (SubScale realtime programming)

Fast Play 9





On

Quarter Tone (SubScale realtime programming)

The Quarter Tone function allows you to program a custom
scale in realtime, for example those sudden scale change typi­cal of Arabic music. Changes are not saved anywhere (they are
only used in realtime), so the scale is easily “wiped-out” when
selecting a different sound or performance, or when pressing
the Quarter Tone pedal again.

Note: Quarter Tone can only be used if the SubScale has been
activated for the Main and/or Layer/Left sounds in Sound edit
mode (see “SubScale Switch” on page 48).

You can assign the “Quarter Tone” function to any of the ped­als.

1. Assign the Quarter Tone function to one of the pedals, as

seen above.

Fast Play

When you record a song with the onboard recorder, or read a
Standard MIDI File from an external sequencer, one or more
empty beats can exist at the beginning of the song. However,
when the Fast Play function is activated, all empty beats are
skipped, making the song playback immediately begin from
the first note. If setup data are contained inside these empty
beats, they are read faster.

2. Keep the Quarter Tone pedal pressed. The keyboard will

not play at this time. Press the notes you want to lower a
quarter tone.

3. Release the Quarter Tone pedal.

4. Play with your new scale. Notes you pressed on step 2 are

now lowered of a quartertone.

5. To reset the original scale, press and release the Quarter

Tone pedal again, without playing any note. All pitches
will be reset, and the scale selected by the sound or perfor­mance will be recalled (see “Selecting a scale” on page 48).

As an alterative, you can reset the Quarter Tone settings by
choosing a different sound or performance.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Fast Play page:

2. Use the +/YES and -/NO button to turn the Fast Play func-

tion on or off.

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

English

Mute Level

Muting is useful with piano lessons, when you may want to
play one or both song parts to play them on the keyboard. You
mute a part by pressing the corresponding PART button while
in Song Play mode.

In this page, you can choose either the mute completely silenc­es a part, or just attenuates it.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Mute Level page:

Mute Level 10





Volume: 0

2. Use the +/YES and -/NO button to choose the mute level.

Setting Perceived level

0 Silence

1 ~ 30 Soft

31 ~ 60 Medium

61 ~ 90 Loud

3. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

53

Global settings > Turning the keyboard on or off (Local Control)

Local Control 11





On

MIDI IN Ch. 13





Ch:1 Track 1

MIDI IN Ch. 13
Ch:1





Track1

Turning the keyboard on or off (Local Control)

Local is the parameter that allows you to establish whether the
keyboard has to play the internal sounds and transmit MIDI
data at the same time (Local On), or whether it just has to
transmit MIDI data and not play the internal sound (Local
Off).

Local Off should be chosen when you wish to use the C-520 as
a mute keyboard, to play another instrument via the MIDI
OUT port. It should also be chosen when C-520 is connected
to an external sequencer via its MIDI IN and MIDI OUT con­nectors. This will avoid the notes to be played twice, by the
keyboard and by the sequencer, producing an annoying
“echo” effect.

Normally, you will choose Local On (automatically selected
when turning the C-520 on), so that playing the keyboard will
produce sound.

MIDI Clock

MIDI Clock allows for synchronization of two MIDI devices,
for example the internal recorder of the C-520, and an external
sequencer.

Note: When the power is turned on, the MIDI Clock will be au­tomatically set to Internal.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the MIDI Clock page:

MIDI Clock 12





External MIDI

Note: When the power is turned on, the Local will be automat­ically set to On.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Local Control page:

2. Use the +/YES and -/NO button to turn the function on or

off.

3. Press the EXIT button to return to the Main or Song Play

page, or the SCROLL
(see below).





button to go to the next edit page

2. Use the +/YES and -/NO button to choose the source of

the clock message.

Setting MIDI Clock

Internal The MIDI Clock is generated by the C-520 itself.

External MIDI The MIDI Clock is received from an external

External USB The MIDI Clock is received from an external

The message is also sent to the MIDI OUT and
USB ports.

MIDI device connected to the C-520’s MIDI IN
port.

device connected to the C-520’s USB port.

MIDI IN Channels

When C-520 is controlled from an external MIDI device, it can
work as a 16-part multitimbral tone generator. You can select
a different sound on each of the 16 MIDI channels. These
channels are not accessible from the control panel, and are
separate from the Main, Layer/Left, Recorder Part 1 and Part
2, and Drum tracks. Therefore, you can continue playing with
the piano while MIDI data are received from an external MIDI
device.

Note: MIDI data is received both from the MIDI IN port, and the
USB port at the same time. For more information about MIDI
Over USB, see “What is MIDI Over USB?” on page 59.

54

3. Press the EXIT button to return to the Main or Song Play

page, or the SCROLL
(see below).





button to go to the next edit page

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the MIDI IN Channels page:

2. Use the +/YES and -/NO button to choose one of the 16

available channels (Ch) to be programmed.

3. Press the SCROLL 

signed track.



button to move the cursor to the as-

Global settings > MIDI OUT Channels

MIDI IN Ch. 13





Ch:01 Tr01

MIDI OUT Ch. 14





Ch:1 Main

4. Use the +/YES and -/NO buttons to choose a different

track. Here is a list of the available tracks for each of the
MIDI IN channels:

Tracks Meaning

Off No data received on the selected channel. This is

Track 1~16 One of the 16 tracks of the C-520.

Global Global track. All notes and pedal controls

useful when an external sequencer is sending
data to two (or more) different devices. Turn off
all channels you want to reserve to the other
device(s).

(damper, sostenuto, soft) received via the MIDI IN
are considered as if they came from the inte­grated keyboard and pedals. The split point (if
any) is considered.

MIDI OUT Channels

The standard MIDI has 16 separate channels available for
transmission and reception of data. C-520 can transmit on six
channels at the same time. To transmit data from the C-520,
you need to choose which of the 16 MIDI channels you wish
to transmit data on, and which track they are assigned to.

Note: MIDI data is sent both to the MIDI OUT port, and the USB
port at the same time. For more information about MIDI Over
USB, see “What is MIDI Over USB?” on page 59.

1. After having kept the EDIT button pressed, use the

SCROLL
page:

2. Use the +/YES and -/NO button to choose one of the 16

available channels (Ch) to be programmed.

3. Press the SCROLL 

signed track.





button to show the MIDI OUT Channels

MIDI OUT Ch. 14





Ch:1 Main



button to move the cursor to the as-

5. Press the SCROLL 



button to move the cursor to the

channel again.

6. Use the +/YES and -/NO button to choose another chan-

nel to be programmed, and repeat the above procedure.

7. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL





button to go to the

next edit page (see below).

4. Use the +/YES and -/NO buttons to choose a track trans-

mitting on the selected channel. Here is a list of the avail­able tracks for each of the MIDI OUT channels:

Tracks Meaning

Off No data sent on the selected channel. This is useful

Main Main sound

Layer Layer sound (when in Layer mode)

Left Left Sound (when in Split mode)

Part 1, 2 Recorder part 1 or 2

Drum Drum (when a drum pattern is selected)

5. Press the SCROLL 

channel again.

when you want to play notes on the piano alone,
without sending them to another MIDI device con­nected to the C-520’s MIDI OUT port.



button to move the cursor to the

English

MIDI OUT Ch. 14
Ch:1





Main

6. Use the +/YES and -/NO button to choose another chan-

nel to be programmed, and repeat the above procedure.

7. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL





button to go to the

next edit page (see below).

55

Global settings > MIDI Filters

MIDI Filters 15
Flt:CC





Off

USB Connect 16





Enable?

USB Connect 16





Disable?

MIDI Filters

When you choose a sound, operate the damper pedal, adjust
the level balance in Layer mode, or make other adjustments on
the control panel, a MIDI message is sent to a connected exter­nal MIDI (and/or USB) device. At the same time, C-520 can
receive a MIDI message from an external MIDI (and/or USB)
device connected to its MIDI IN (or USB port), to control the
sounds, damper pedal, volume adjustment, and other data.

You can choose to deactivate (i.e., “filter”) these data selective­ly, to avoid unwanted changes or mixing data generated by ex­ternal devices and internal controls. Also, you could want to
avoid sending MIDI data to an external MIDI device, for ex­ample Program Change message selecting unwanted sounds
on a different musical instrument.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the MIDI Filters page:

MIDI Filters 15





Flt:CC Off

2. Use the +/YES and -/NO buttons to choose one of the fil-

ters to be programmed. Here is a list of the available filters:

Filter Meaning

CC Control Changes messages, e.g., pedal, modulation,

PC Program Change messages, i.e., the messages sent to

PB Pitch Bend

SysEx System Exclusive, e.g., the messages used to program

3. Press the SCROLL 

volume, pan, etc.

select a sound.

effect parameters.



button to move the cursor to the sta-

tus of the selected filter:

4. Use the +/YES and -/NO buttons to change the filter’s sta-

tus. On means that the corresponding data is filtered (not
sent or received), Off means that it is not filtered (it is sent
and received).

5. Press the EXIT button to return to the Main or Song Play

page and save the changes (see “Exit from the Global edit
mode” on page 50), or the SCROLL
next edit page (see below).





button to go to the

Data transfer via the USB port

The USB is a high-speed data port installed on most modern
computers. You can use it to transfer data from the internal
memory of the C-520, to a computer and vice-versa. Before
you do this, you must enable USB connection for data transfer.

Note: While data transfer is active, no MIDI over USB communi­cation is allowed.

Windows ME, 2000, XP, and Mac OS 9.0.4 to OS X, are sup­ported with no need for special drivers. To use the C-520 with
Windows 98SE you need the dedicated KORG Driver, a special
software that you can freely download from our website.

Warning: Since activating the USB port for data transfer au­tomatically deactivates MIDI over USB, exit from any MIDI
software on your personal computer before turning the USB
Connect function on. Failing to do so could damage the C­520’s internal memory data.

Warning: When you turn the USB connection off, the C-520
will be reinitialized and all unsaved data in the instrument’s
memory will be deleted. Save any unsaved sound, perfor­mance, song, or global setting, before activating the USB
connection.

1. First of all, connect the C-520 to a personal computer via a

standard USB cable. Make sure that the connector is ori­ented correctly, and insert it all the way into the jack.

MIDI IN

2. Then, turn USB Data Connect on on the C-520, to let the

computer see its internal memory as a USB disk.

After having kept the EDIT button pressed, use the





SCROLL

button to show the USB Connect page:

3. Press the +/YES button to activate data connection. The

Disable command will appear in the display.

Warning: Do not press the -/NO button while transferring
data, or you could damage the C-520’s memory content,
and cause malfunctioning on your personal computer

56

Global settings > Erasing songs from the User Song album

USB Connect 16





Enable?

At this point, the C-520 should appear on your com­puter’s desktop or disk window as an external USB drive,
with the name KORG SSD (i.e., KORG Solid State Disk,
the technical name of the internal permanent memory).

Windows

Mac OS X

4. Move files to or from the C-520 and the personal comput-

er as you would with any other USB drive. When moving
files, consider the following:

Warning: Do not turn the C-520 off before disconnecting it
from the personal computer. Doing so, could damage the C­520’s memory content, and cause malfunctioning on your
personal computer.

Data inside the C-520’s memory are organized in four
folders (also called ‘sub-directories’). Each folder contains
a different type of data created by yourself. The different
data is explained in the following table.

Folder Content

Global Global settings, Metronome settings

Perform Performances

Preset Modified sounds and sound combinations

UserSong Your personal songs, i.e., songs you created with

the internal recorder, or created with an external
sequencer. You can copy from the computer to this
folder songs in Standard MIDI File format (files
with the “.MID” extension). To select the correct
sounds on the C-520, imported songs must comply
with the General MIDI (GM) standard. Not all GM
sounds can be played, since C-520 includes only a
subset of the GM standard.

This is the diagram of the data::

5. After data transfer is completed, remove the KORG SSD

icon from the computer desktop. Please refer to your com­puter’s documentation for any care on ejecting/removing
USB storage devices. However, here is what you should
commonly do:

• On a Windows PC: Right-click the KORG SSD icon dis­played in the right side of your computer’s taskbar. In the
menu that appears, left-click “Stop USB disk driver (drive
name).” Make sure that a message indicating that the
“USB disk may be disconnected safely” is displayed. At
this point, the C-520 should have been automatically dis­connected from your personal computer, and the Enable
command should appear again in the C-520’s display,
meaning connection has been deactivated.

• On a Mac: Drag the KORG SSD icon over the Eject icon
on the Dock (Mac OS 9: drag it to the trashcan on the
desktop), and wait until the icon disappears. When it is no
longer shown, go to the C-520 and press the -/NO button
to deactivate data connection. The C-520 will be reinitial­ized, and the Enable command will appear in the display
again, meaning connection has been deactivated.

6. When the Enable command appears in the display again,

the USB connection has been safely turned off.

7. Press the EXIT button to return to the Main or Song Play

page, or the SCROLL
(see below).





button to go to the next edit page

English

Erasing songs from the User Song album

You can erase a song from the User Song album. On the con­trary, songs of the other albums cannot be erased.

Note: You can erase a song from the User Song album also via
an external computer, by means of the USB data connection
(see above).

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the Erase Song page:

Erase Song 17





Prelude Exec?

2. Use the +/YES and -/NO buttons to choose the song of the

User Song album you wish to delete. If the name is longer
than the display, it will scroll up to the end, then return to
the beginning.

3. Press the SCROLL



button to move the cursor to the



Exec command.

4. Press +/YES to start deletion. The “Are you sure?” message

appears. Press +/YES to confirm deletion, -/NO to cancel
and keep the song.

5. Press the EXIT button to return to the Main or Song Play

page, or the SCROLL
(see below).





button to go to the next edit page

57

Global settings > General Reset

General Reset

You can reset all memory data to the original factory settings.
This includes sounds, sound combinations, performances,
global data.

Warning: The general reset will delete all your user data, like
custom performances, Layer sound balancing and global data!
Backup this data to a personal computer before doing a gener­al reset. User Songs will not be deleted.

1. After having kept the EDIT button pressed, use the

SCROLL





button to show the General Reset page:

General Reset 18
Exec? (Yes/No)

System version number

You can see the operating system’s version number while in
Global mode. Press both the SCROLL





and +/YES buttons

2. Press +/YES to start the reset procedure (or -/NO or EXIT

to cancel and exit). The “Are you sure?” message appears.
Press +/YES again to confirm reset, -/NO to cancel and
leave your custom data untouched.

If you choose to reset, the instrument is reset, and all data
are restored to the original values. Please do not turn the

instrument off during reset.

together. The version number will appear in the display. Press
EXIT to close the message.

58

MIDI

MIDI > What is MIDI?

What is MIDI?

MIDI, is the abbreviation of Musical Instrument Digital Interface. It is an international standard that was created to connect and
transfer data between electronic musical instruments, computers and other devices.

What is MIDI Over USB?

You can let the C-520 communicate MIDI data with a com­puter using the USB port instead of the MIDI ports. This way,
you can connect your C-520 to a personal computer without
the need of a dedicated MIDI interface.

Most C-520 MIDI features can be used on a Windows XP or
Mac OS X computer with no need of special software. Howev-

er, for full and easy use of all MIDI features, we suggest you to
install the “KORG USB MIDI Driver”, a special software that
you can find in the CD that comes with your C-520. Relevant
instructions come with the software itself. See “Installing the
Korg USB MIDI Driver” on page 62.

What can you do with MIDI?

Thanks to MIDI, you can use the C-520 to control other in­struments, use other instruments to control the C-520, and
use a sequencer to create complex musical pieces.

When you use the C-520 keyboard or pedal, or select a sound,
the notes, pedal activation and change in sound are transmit­ted to another instrument, or are recorded by an external se­quencer.

English

MIDI connections

Always connect the MIDI OUT connector of the instrument to
the MIDI IN connector of another instrument. Never connect
two connectors of the same instrument to each other.

Connect the MIDI OUT connector of the transmitting (mas­ter) device to the MIDI IN connector of the receiving (slave)
device.

MIDI IN

MIDI sound module

To connect the C-520 to a computer using the MIDI ports, you
need a MIDI interface for the computer, sequencing or musi­cal notation software, and two standard MIDI cables. Connect
the C-520 MIDI OUT connector to the MIDI IN connector of

C-520 bottom

MIDI OUT

MIDI keyboard

the computer. Connect the C-520 MIDI IN connector to the
MIDI OUT connector of the computer.

MIDI
OUT

MIDI IN

MIDI
IN

MIDI OUT

59

MIDI > Standard MIDI settings

Standard MIDI settings

When turning the instrument on, the default MIDI factory
settings of the C-520 are programmed as follows:

Parameter Setting

Transmission channels (see “MIDI OUT
Channels” on page 55)

01 = Main sound
02 = Layer sound
03 = Left sound
04 = Recorder Part 1
05 = Recorder Part 2
10 = Drum

Parameter Setting

Reception channel(s) (see “MIDI IN
Channels” on page 54)

Local (see “Turning the keyboard on or
off (Local Control)” on page 54)

Using the C-520 as a multitimbral tone generator

When C-520 is controlled from an external MIDI device, it can
work as a 16-part multitimbral tone generator. You can select
a different sound on each of the 16 MIDI channels.

Note: Sounds on the C-520 are set as in the General MIDI (GM)
standard. However, not all sounds of the standard are avail­able.

1. Use a MIDI cable to connect the C-520’s MIDI IN to the

MIDI OUT of a sequencer etc. As an alternative, connect

the C-520 to a personal computer through the USB port
(see “Installing the Korg USB MIDI Driver” on page 62).

2. Transmit MIDI data from the connected sequencer (or

other device). See “Program Change” on page 60 for in­structions on how to select a sound using the MIDI Pro­gram Change message. Program Change reception must
be activated on the C-520 (it is by default).

Read the other devices user’s manual for details on send­ing Program Change messages.

All 16 tracks (1-16)

On

Program Change

The sounds of the C-520 can be selected via MIDI, by sending
a Program Change message on the channel where you wish to
assign the sound. The “Sounds / Timbres / Klänge / Suoni” ta­ble on page 277 lists the Program Change numbers corre­sponding to each C-520 sound.

Transmitting Program Change messages

You can send a MIDI Program Change message to a MIDI de­vice connected to the C-520 MIDI OUT (or USB port), to
change its sound. When selecting one of the internal sounds of
the C-520 by using the sound selection buttons, a MIDI Pro­gram Change number will be transmitted on the sound’s
MIDI channel. Program Change numbers are shown in the ta­ble on page 277.

Receiving Program Change messages

When a Program Change message is received from an external
device on a MIDI channel, the corresponding internal sound
will be selected on the C-520 for that MIDI channel. Program
Change numbers are shown in the table on page 277.

Program Change enable/disable

The C-520 usually receives Program Change data. If you don’t
want to receive (or transmit) them, use the Filter function.
Please remember that to enable full remote program switch­ing, both the PC and CC filters must be turned off, to allow
transmission of Program Change and Bank Select messages.
See “MIDI Filters” on page 56.

60

Control Change

MIDI > Control Change

When you operate the damper pedal, adjust the balance in
Layer mode, or make other adjustments on the control panel,
a Control Change message is sent to a connected external
MIDI device. At the same time, C-520 can receive a Control
Change message from an external MIDI device connected to
its MIDI IN, to control the damper pedal, volume adjustment,
and other data.

Control Change enable/disable

The C-520 usually receives Control Change data. If you don’t
want to receive (or transmit) them, use the Filter function. See
“MIDI Filters” on page 56.

English

61

Installing the Korg USB MIDI Driver > Connecting the C-520 to a personal computer

Installing the Korg USB MIDI Driver

The USB port can be used to transfer MIDI data between the
C-520 and a personal computer (this is called the MIDI Over
USB function). This is useful when your computer is not fitted
with a MIDI interface.

USB can be used in parallel with the MIDI ports. For example,
you can connect your C-520 to a sequencer running on your

computer, and at the same time control another MIDI instru­ment connected to the MIDI ports of the piano.

Connecting the C-520 this ways makes it, at the same time, a
MIDI input device, a controller, and a sound generator.

Connecting the C-520 to a personal computer

Please install the KORG USB-MIDI Driver, before connecting
the C-520 to a personal computer. Be sure your personal com-

puter meets the requirement shown on “KORG USB-MIDI
Driver system requirements” below.

KORG USB-MIDI Driver system requirements

Windows

Computer: A computer with an USB port, that satisfies the re­quirements of Microsoft Windows XP.

Operating system: Microsoft Windows XP Home Edition /
Professional / x64 Edition (a driver for the x64 Edition is in
beta release.)

Macintosh

Computer: An Apple Macintosh with an USB port that satis­fies the requirements of Mac OS X.

Operating system: Mac OS X version 10.3 or later.

Please note before use

Copyright to all software included in this product is the prop­erty of Korg Inc.

The license agreement for this software is provided separately.
You must read this license agreement before you install this
software. Your installation of this software will be taken to in­dicate your acceptance of this agreement.

62

Installing the Korg USB MIDI Driver > Windows: Installing the KORG USB-MIDI Driver

Windows: Installing the KORG USB-MIDI Driver

Please connect the C-520 to the computer via an USB cable
only after having installed the KORG USB-MIDI Driver Tools.

Warning: C-520 cannot use the KORG MIDI Data Filer at the
same time.

Note: You must install a separate driver for each USB port you
will use.

1. Insert the included CD-ROM into your CD-ROM drive.

Normally, the “Digital Piano Application Installer” will
start up automatically.

If your computer is set so that the installer does not run
automatically, double-click “KorgSetup.exe” on the CD­ROM.

2. Please follow the installation instructions appearing on-

screen.

3. Restart the computer, and turn on the C-520. Connect the

C-520 to the computer via an USB cable.

4. Select the following command from the task bar to open

the installation instructions:

Start > all programs > KORG > KORG USB-MIDI Driver
Tools > Installation manual

5. Select the following command from the task bar to open

the installation program:

Start > all programs > KORG > KORG USB-MIDI Driver
Tools > Install KORG USB-MIDI Device

6. Please follow the installation instructions appearing on-

screen to install the KORG USB-MIDI Driver.

Driver’s ports

After installation, the following ports will be shown in you
MIDI application (e.g., sequencer) among the other MIDI de­vices:

C520 KEYBOARD: This allows for reception of MIDI messag­es from the C-520 (keyboard and controller’s data) to the
MIDI application running on the computer.

C520 SOUND: This allows for transmission of MIDI messages
from the MIDI application running on the computer, to the
internal tone generator of the C-520.

Mac OS X: Installing KORG USB-MIDI Driver

English

1. Insert the included CD-ROM into your CD-ROM drive.

2. Please double click on the “KORG USB-MIDI Driver.pkg”

in the “KORG USB-MIDI Driver” folder inside the CD­ROM, to run the installer. Install it according to the in­structions appearing on-screen.

Driver’s ports

After installation, the following ports will be shown in you
MIDI application (e.g., sequencer) among the other MIDI de­vices:

C520 KEYBOARD: This allows for reception of MIDI messag­es from the C-520 (keyboard and controller’s data) to the
MIDI application running on the Mac.

C520 SOUND: This allows for transmission of MIDI messages
from the MIDI application running on the Mac, to the internal
tone generator of the C-520.

63

Assembling the stand > Cautions for assembly

Assembling the stand

Cautions for assembly

• When placing the piano on the stand, be careful not to
pinch your hands.

• Be sure that the correct parts are assembled in the correct
orientation and position, and follow the steps in order.

Assembling procedure

1. Open the packing carton and take out the contents. Check

that all of the following items are available.

Back panel

Sideboard A
(Left side)

Assembly Accessories

Screws (a)
(M6 x 20)...4pcs.

Pedal Box

Screws (b)
(M4 x 14)...6pcs.

Sideboard B
(Right side)

Caps...4pcs.

• Do not apply weight to the front edge of the piano before
tightening the screws, otherwise the piano may fall down.

els to the pedal box. Make sure that there is no gap between
the side panels and the pedal box.

Screws (a)

Pull out the
pedal cable

Align precisely, so that there is
no gap between the side panel

This is used to adjust the height
after you’ve finished assembling
the stand; don’t tighten it completely.

and pedal box.

3. With the finished surface (woodgrain) facing forward,

curve (bow) the back panel slightly and fit it into the
grooves of the side panel.

Cable holder

...2 pcs.

Piano Fasteners

...2 pcs.

Adjuster...1pc.

NB: You will need a cross-point (Phillips #2) screwdriver
for assembly.

2. Screw the adjuster into the pedal box as far as it will go, and

attach the pedal cable.Use screws (a) to fasten the side pan-

Slightly curve the back panel,
and fit it into the grooves

Finished

surface

Grooves in side panels

4. Use screws (b) to fasten the side panels.

Start by fastening the bottom edge of the back panel (four
places). In two places, pass the screw through a cable
holder to attach it to the stand. Attach the power cable
holder at either the right side or the left side depending on
the position of the AC outlet you’ll be using. Tighten these
screws.

Then fasten the top edge of the back panel (two places).
Don’t tighten these screws completely yet, since you’ll be

64

Assembling the stand > Assembling procedure

If you notice an uneven gap,
loosen screws (a) to make adjustments.

Avoid
uneven gaps

adjusting this area after you attach the instrument to the
stand.

Leave untightened

Attach together with
a cable holder
(for the pedal cable)

Fasten the cable holders
at the left or right side
(for the power cable)

5. Make sure that the stand is not tilted and that there are no

gaps in it, and then firmly tighten all of the screws, except
for the two screws you left untightened.

6. Attach the instrument.

Note: The side panels are easily scratched; please use cau-

tion.

Lift the instrument with both hands, being careful to
keep them not closer than 70mm from both ends of the
piano to avoid pinching. Position the screw heads pro-

truding from the inside of the left and right sides of the
stand, so that they are aligned with the grooves of the
metal fitting at the left and right ends of the instrument.
and gently lower the instrument onto the stand. If the
instrument is aligned correctly, the screws on the inside of
the side panels will fit firmly into the grooves of the metal
fittings.

Warning: Carefully lower the left and right ends of the
instrument evenly, keeping the instrument level, and
being careful not to pinch your hand or drop the instru­ment. Lifting only one side is very dangerous and may
also damage the metal fixtures of the instrument itself.
You must raise or lower both left and right ends of the
instrument simultaneously, keeping the instrument
level.

You can perform this step more easily if you use your body
to apply pressure to the side panel of the stand while slid­ing the instrument onto the stand.

7. While pressing the upper edge of the stand, tighten the two

back panel screws that you had left untightened.

Press against the
side of the instrument

Firmly tighten the two screws while pressing
the left and right side panels from the outside.

Press against the
side of the instrument

8. Make sure that there are no uneven gaps between the top

surface of the instrument and the top of the side panels.

If you notice any unsightly gap, make adjustments by
loosening the screws (a) that fasten the side panel to the
pedal box.

If there is a very noticeable gap between the instrument
and the side panels of the stand, or if the gap is uneven, it
may be that the instrument was not placed correctly on
the stand. If so, lift up the entire instrument and place it
correctly on the stand.

9. Fasten the instrument fastening bolts from below the in-

strument.

Then loosen the adjuster, and adjust it so that it is in firm
contact with the floor.

Note: Unless the adjuster is in firm contact with the floor,
the pedal will wobble, possibly causing malfunctions.

Screw into holes on the
back of the instrument

English

Groove

Screw head

Instrument fastening bolts

Loosen adjuster to the correct position

Verify that all screws are firmly tightened. Finally, place
caps on the heads of pedal box screws (a).

10.Connect the included power cable to the AC adaptor.

AC adaptor

DC plug

Included power cable

65

Assembling the stand > Check after assembly

11.Connect the pedal cable and the DC plug of the AC adap-

tor to the bottom of the instrument, and use the cable re­tainers to fasten the cables.

Note: Pay attention to the orientation of the connector
when connecting the pedal cable.

Check after assembly

[•] Are any parts left over?

If any parts are left over, check the diagrams to see where
they should be used.

Caution

Note: When placing your digital piano, be careful that the
stand is not resting on the AC adaptor cable.

Fasten using the cable holders

[•] Make sure that all screws are tight.

Caution when transporting the instrument

Remove the piano from its stand, and transport them sepa­rately. After transportation, refer to these instructions and re­assemble the piano and stand.

Screw loosening

After assembly, the various screws and bolts of the stand may
loosen as time goes by, causing the stand to wobble. If this oc­curs, re-tighten the screws.

Disassembly

If you need to packup the piano, reverse the assembly order by
which the piano was attached to the stand and the stand was
assembled. After disassembly, save the screws and other parts
so that no parts are lost.

66

Error messages

Error messages > Caution

Write Protect

While saving a song, you are trying to write over a write-pro­tected file. The song has been previously copied from a PC,
and it had the write-protect attribute turned on while on the
computer’s disk. Change name to the song before repeating
the save operation.

Out of Memoy

The song is too long, and the memory has been filled out.
When the maximum memory capability has been reached, re­cording is automatically stopped. Press EXIT to close this mes­sage.

Maximum song length reached

A song can’t exceed 999 measures in length. When you reach
that limit, the recorder is automatically stopped. Please note
that recording can end earlier, if there is not enough memory
for all 999 measures to be recorded.

Loading Song Error

The song could not be loaded, for problems in file integrity,
excessive file size , or other errors.

Record Mode Not Allowed

You are trying to access recording on a protected song (i.e., all
the songs contained in albums different than UserSong). This
is not possible.

Song Modified
Save?

A new or modified song exists in memory, and has not yet
been saved. Press +/YES to save it, or -NO to cancel and aban­don all changes. In this latter case, the song in memory will be
lost.

Sound Modified
Save?

The current sound or sound combination has been modified.
Press +/YES to save it, or -NO to cancel and abandon all
changes.

Perf. Modified
Save?

The current performance has been modified. Press +/YES to
save it, or -NO to cancel and abandon all changes.

English

USB Working Wait please

Disconnecting the C-520 from the computer cannot be done
yet, since the computer is still working on the files. This may
happen when you press Enable, and then immediately after
Disable. Wait a little for the USB operation to complete.

Memory Full

The internal storage memory (the one preserved when turning
the instrument off, and seen when connecting the C-520 via
USB) is full, so you cannot save the song. To free some space,
you can either delete some songs by connecting the C-520 via
USB, or using the dedicated internal function (see “Erasing
songs from the User Song album” on page 57).

Invalid Name

Your song’s name is still blank (i.e., no characters were insert­ed, or all characters were deleted). Assign a name to the song,
and try saving again.

Song Exists Execute

The song already exists in the internal storage memory. If you
press +/YES the older version is deleted and replaced by the
new one. If you press -/NO or EXIT saving is canceled, and the
older version is preserved.

Globals Modified
Save?

Global settings have been modified. Press +/YES to save it, or

-NO to cancel and abandon all changes.

Save Global Failure

There was an error during save. Global settings have not been
saved.

Save Preset Failure

There was an error during save. The sound or sound combina­tion has not been saved (a preset is the common technical
name for sounds and sound combinations).

Save Midi Failure

There was an error during save. Midi settings have not been
saved.

General Reset Wait Please

You are resetting the internal data.

General Reset / nn%

This message shown the percentage of data being reset. Warn­ing: Do not turn the instrument off while this message is in the

display.

67

Troubleshooting > Caution

Troubleshooting

If during use any of the following problems should occur,
carefully examine the instrument to see if you can find out
what the problem is, and try resolving it by following the sug­gestions below. If the instrument will still not function prop­erly refer to your dealer or to an Authorized Korg Service
Center.

Problem Possible remedy Page

The instrument
will not turn on.

No sound. (1) Make sure that the volume is not

Check that the AC adapter is correctly
connected to the piano and the out­let.

set on 0. If it is, bring it up to an ade­quate level.

(2) Make sure there is not a jack
plugged into one of the PHONES con­nectors. This would turn the internal
speakers off. if so, unplug the jack.

(3) Make sure that the MIDI Local
function is not set on OFF. If it is, set it
to ON (or turn the instrument off and
then on again).

10

12

13

54

Polyphony

The C-520 contains sampled sounds, which have been record­ed, analyzed and processed from the actual sounds of the orig­inal musical instruments. These sounds usually consist of one
or more different samples reproduced by pressing a key. Each
sample is played back by a single oscillator. Sounds using just
one oscillator have a full polyphony of max. 62 voices, while
sounds using two oscillators have a limited polyphony of max.
31 notes. Sounds using more oscillators have a more limited
polyphony. When the number of notes exceeds the limit of the
sound, some notes will be stopped, so that the new ones can be
heard.

Furthermore, when playing in Layer mode with more than two
notes, the max. polyphony depends on how many oscillators
are used in total.

Please refer to the table on page 277 for more information
about the number of oscillators used by each sound.

68

Technical specifications

Technical specifications > Caution

Specifications C-520

Keyboard 88 key, Graded Hammer Action (RH3)

Touch selection Eight velocity curves, plus fixed

Key cover Wooden sliding key cover

Tuning Transpose, Fine tuning, 10 Temperaments + Quarter Tone

Sound generation Piano eXperience stereo sampling

Polyphony 62 notes (max). The use of 2- (or more) oscillator sounds and the Layer mode reduces the maximum number of

simultaneous notes.

Modes Single, Layer, Split, Performance (30)

Sounds 40 types; (7 Acoustic Pianos, Honky-Tonk, Electric Grand, 8 Electric Pianos, 2 Harpsichords, 2 Clavs, 2 Vibra-

phones, Acoustic Guitar, 3 Jazz Organs, 3 Church Organs, 3 Strings, 3 Choirs, 4 Basses.)

Effects 8 Reverb types ,6 Chorus types

24 Insert types including Tremolo, Delay, Rotary Speaker, Equalizer, etc.
Brilliance (5 settings)

Demo 205 songs; 20 demo songs

185 classical songs with separate R.H. and L.H. parts

Metronome Tempo, Time Signature, Accent (Standard, Bell), Volume controls, Drum patterns

Recorder 2 parts, 45,000 notes per song

Controls: Record, Play/Pause, Stop, Part 1 On/Off, Part 2 On/Off.
Functions: Cycle, Erase Track, Quantize, Transpose, Delete Song,
Rename Song.

Pedals Damper (support half-pedaling), Soft (support half-pedaling), Sostenuto

All freely assignable

Connections Audio output (OUTPUT L/MONO, R), Audio input (INPUT L/MONO, R), 2 × Headphones, MIDI (IN, OUT), Pedals,

USB (supports Ms Windows XP, Apple Mac OS X 10.2 or later)

Controls Power switch, Master Volume, Performance, Variation, Split, Sound selectors, Scroll, Value (Yes/No), Edit, Exit,

Reverb, Chorus, Transpose, Brilliance, Demo, Metronome, Tempo, Recorder

Display 2 line × 16 character backlit LCD

Amplification 2 × 35 Watt amplifier, 2 × 13cm woofer in bass-reflex boxes, 2 × tweeter

Power supply DC24V, External switching adapter

Dimensions (W x D x H) 54.96" × 18.19" × 34.21" inch (1396 × 462 × 869 mm), including stand; with music stand folded down

Weight 116.84 lbs. (53 kg), including stand

Music stand With score holder

Included accessories AC adapter; Song Book, CD-ROM with KORG USB-MIDI Driver for Windows XP and Mac OS X

English

Sounds processed with INFINITY™.
Korg reserves the right to change the specifications without notice.

69

Technical specifications > Caution

70

DIGITAL PIANO

Mode d’emploi

PRECAUTIONS

Position de l’instrument

L’instrument ne doit jamais être installé :

• Aux rayons directs du soleil

• Dans des milieux extrêmement froids ou humides

• Dans des milieux particulièrement sales ou poussiéreux

• Dans des milieux soumis à de fortes vibrations

MARQUE CE POUR L’HARMONISATION DES STAN­DARDS EUROPEENS

La marque CE est apposée depuis le 31 décembre 1996 sur nos produits qui
utilisent la tension AC, conformément à la Directive EMC (89/336/CEE) et à
la Directive sur la marque CE (93/68/CEE).

er

La marque CE apposée depuis le 1
Directives EMC (89/336/CEE), sur la marque CE (93/68/CEE) et à la Direc­tive concernant la Basse Tension (73/23/EEC).

De même, la marque CE apposée sur nos appareils faisant appel à l’alimenta­tion sur piles indique la conformité à la Directive EMC (89/336/CEE) et à la
Directive sur la marque CE (93/68/EEC).

janvier 1997 indique la conformité aux

Alimentation

Brancher l’adaptateur AC fourni à une prise secteur ayant un voltage adapté. Ne
jamais brancher l’instrument à une prise secteur dont le voltage est différent de
celui pour lequel l’appareil est prédisposé.

Interférences avec d’autres dispositifs électriques

Cet instrument est doté d’un micro-ordinateur. Des appareils tels que radios
ou postes de télévision peuvent interférer sur son fonctionnement. Il faut
donc l’installer à une distance appropriée de tels appareils.

Manipulation

Ne jamais appliquer une force excessive aux interrupteurs ou aux contrôles
car ceci peut les endommager.

Nettoyage

Si le boîtier de l’appareil est sale, le nettoyer à l’aide d’un chiffon sec. Ne
jamais utiliser des détergents liquides tels que mazout ou alcool, ou abrasifs
ou détergents inflammables.

Conserver ce mode d’emploi

Après l’avoir lu, conserver le mode d’emploi pour de futures références.

Ne jamais introduire dans l’appareil des objets ou des choses

En aucun cas l’instrument ne doit être en contact avec des liquides.
Si un liquide pénètre dans l’instrument, il y a danger de panne de
courant, de feu, voire d’électrocution.

• Ne jamais introduire des objets métalliques dans l’instrument. Si de
tels objets pénètrent dans l’instrument, déconnecter l’adaptateur AC
de la prise secteur et contacter le revendeur Korg ou le magasin le
plus proche.

RECLAMATIONS

Les informations contenues dans cette publication ont été soigneusement
préparées et vérifiées. Vu notre continuel engagement à l’amélioration de
nos produits, il se peut que des spécifications soient différentes de celles
détaillées dans le mode d’emploi. Korg décline toute responsabilité envers les
éventuelles différences qui peuvent se présenter entre les spécifications et la
description détaillée dans le mode d’emploi - les spécifications sont sujettes à
modifications sans préavis.

THE FCC REGULATION WARNING (FOR THE U.S.A.
ONLY)

This equipment has been tested and found to comply with the limits for a
Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are
designed to provide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, and can radiate
radio frequency energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications.
However, there is no guarantee that interference will not occur in a particu­lar installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off
and on, the user is encouraged to try to correct the interference by one or
more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the user’s
authority to operate this equipment.

SERVICE ET ASSISTANCE AU MUSICIEN

Contactez le Service d’Assistance Agréé KORG le plus proche. Le revendeur
Agréé KORG est à votre disposition pour toute ultérieure information con­cernant les produits, les logiciels et les accessoires pour piano.

KORG SUR INTERNET

Accueil Korg Inc. : www.korg.co.jp

Accueil Korg France : www.korgfr.net

Accueil Korg Canada : www.korgcanada.com

Accueil Korg USA : www.korg.com

RETABLISSEMENT DES DONNEES

Lors de la mise hors tension de l’instrument, tous les paramètres non sauve­gardés se rétablissent à leur valeur d’usine.

GARANTIE

Les produits KORG sont fabriqués conformément aux plus rigoureuses
spécifications en vigueur dans chaque pays. Ces produits sont garantis par le
distributeur KORG dans le pays où ils ont été vendus. Le fabricant/distribu­teur décline toute responsabilité ou garantie envers tout produit KORG
vendu démuni de garantie ou de numéro de série. Ceci afin de mieux garan­tir la protection et la sécurité de l’acheteur.

© 2006 Korg Italy Spa. Imprimé en Japon

Sommaire

>

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Caractéristiques principales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Tableau de commande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Connexions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Connexion à des dispositifs audio externes . . . . . . . . . . . . . . . . . . . . .79

A lire en premier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Ouvrir le piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Mettre l’instrument sous tension . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Utiliser le pupitre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Régler le volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Utiliser les casques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Reproduire les Morceaux de Démonstration . . . . . . . . . . . . . . . . . . . 81

Fonctions de base . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Jouer un timbre (mode Single) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Jouer deux timbres à la fois (mode Layer) . . . . . . . . . . . . . . . . . . . . .84

Jouer des timbres différents à la main gauche et droite (mode Split) . 85

Utiliser les pédales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Modifier la Brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Activer/couper les effets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Utiliser les performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Sélectionner les performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Modifier les timbres affectés à une performance . . . . . . . . . . . . . . . .89

Editer une performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Le métronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Lancer et arrêter le métronome, régler le tempo . . . . . . . . . . . . . . . .91

Afficher le tempo et la vitesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Régler le tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Sélectionner la vitesse (ou time signature) . . . . . . . . . . . . . . . . . . . . .92

Phrasés rythmiques répétitifs (ou Drum patterns) . . . . . . . . . . . . . . . 92

Régler le volume du métronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Régler la réverbération du métronome . . . . . . . . . . . . . . . . . . . . . . . . 93

Sélectionner l’accent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Sauvegarder les réglages du métronome . . . . . . . . . . . . . . . . . . . . . . . 94

Reproduire un morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Entrer en mode Song Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Comment sélectionner un morceau . . . . . . . . . . . . . . . . . . . . . . . . . .95

Comment lancer la reproduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Lancer la reproduction sur une mesure différente . . . . . . . . . . . . . . .96

Couper/activer une partie enregistrée . . . . . . . . . . . . . . . . . . . . . . . . . 97

Modifier le tempo du morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Jouer avec le morceau en reproduction . . . . . . . . . . . . . . . . . . . . . . . . 97

Cycle Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Enregistrer un morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Procédure rapide d’enregistrement . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Poste 1 : Entrer en mode Record) . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Poste 2 : Sélectionner les timbres . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Poste 3 : Régler les options d’enregistrement . . . . . . . . . . . . . . . . . . 101

Poste 4 : Régler la vitesse et le tempo . . . . . . . . . . . . . . . . . . . . . . . . .102

Poste 5 : Enregistrer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Poste 6 : Deuxième passage d’enregistrement . . . . . . . . . . . . . . . . . . 104

Modifier les timbres d’un morceau enregistré . . . . . . . . . . . . . . . . .104

Modifier le tempo d’un morceau enregistré . . . . . . . . . . . . . . . . . . .105

Enregistrer avec la fonction Pedal Punch . . . . . . . . . . . . . . . . . . . . .105

Enregistrer avec la fonction Auto Punch . . . . . . . . . . . . . . . . . . . . . . 106

Sauvegarder le morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Editer un morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Réglage de Cycle Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Effacer une piste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Couper des mesures à la fin du morceau . . . . . . . . . . . . . . . . . . . . . . 109

Quantification du morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Transposition du morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Supprimer un morceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Sauvegarder le morceau après l’avoir modifié . . . . . . . . . . . . . . . . .110

Editer les timbres et les performances . . . . . . . . . . . . . . . . . 111

Entrer en mode d’édition Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Quitter le mode d’édition Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Sauvegarder un timbre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Sauvegarder une performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Régler le volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Régler le panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Régler les effets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Régler l’effet de réverbération . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Régler le chorus ou effet de modulation . . . . . . . . . . . . . . . . . . . . . 115

Régler les effets intégrés . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Régler la transposition d’octave . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Régler l’accordage fin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Programmer les pédales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Sélectionner une gamme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Rétablir les timbres et les performances à leurs valeurs originales 119

Réglages du mode Global . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Régler la dynamique du toucher . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Activer/couper les haut-parleurs intégrés . . . . . . . . . . . . . . . . . . . . 120

Accordage fin (ou Master tuning) . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Point de partage du clavier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Affecter des fonctions aux pédales . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Quarter Tone (programmation en temps réel des “SubScales”) . . 123

Fast Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Couper le volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Activer/couper le clavier (ou Local Control) . . . . . . . . . . . . . . . . . . 124

MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Canaux MIDI IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Canaux MIDI OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Filtres MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Données transférées via le port USB . . . . . . . . . . . . . . . . . . . . . . . . . 127

Supprimer des morceaux contenus dans l’album User Song . . . . . 128

Page General Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Numéro de la version du système . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Le MIDI, qu’est-ce que c’est ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Le MIDI via USB, qu’est-ce que c’est ? . . . . . . . . . . . . . . . . . . . . . . . 129

Que pouvez-vous faire avec le MIDI? . . . . . . . . . . . . . . . . . . . . . . . . 129

Connexions MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Réglages Standard MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Utiliser le C-520 en tant que générateur de sons multitimbre . . . . 130

Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Control Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Installer le Korg USB MIDI Driver . . . . . . . . . . . . . . . . . . . . . 132

Connecter le C-520 à un ordinateur . . . . . . . . . . . . . . . . . . . . . . . . . 132

Caractéristiques de système du KORG USB-MIDI Driver . . . . . . . 132

A lire avant usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Windows : Installer le KORG USB-MIDI Driver . . . . . . . . . . . . . . 133

Mac OS X : Installer le KORG USB-MIDI Driver . . . . . . . . . . . . . . 133

Assembler le stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Précautions à adopter pendant les opérations d’assemblage . . . . . 134

Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Tests à effectuer après l’assemblage . . . . . . . . . . . . . . . . . . . . . . . . . 136

Précautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Messages d’erreur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Problèmes et solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Polyphonie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Spécifications techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Appendix / Appendice / Anhang / Appendice . . . . . . . . . . . 277

Sounds / Timbres / Klänge / Suoni . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Performances / ‘Performance’-Speicher . . . . . . . . . . . . . . . . . . . . . 283

Effects / Effets / Effekte / Effetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Songs / Morceaux / Songs / Brani musicali . . . . . . . . . . . . . . . . . . . 286

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . 288

Francçais

73

Introduction > Caractéristiques principales

Introduction

Caractéristiques principales

Vaste gamme de timbres

Cinquante timbres différents avec une excellente qualité d’ex­pression, y inclut un timbre Stereo Concert Grand Piano. Avec
les fonctions Layer et Split, vous pouvez jouer une combinai­son de deux timbres ensemble. Vous pouvez librement modi­fier les timbres et les combinaisons de timbres.

Performances

Les combinaisons de timbres peuvent être sauvegardées dans
des performances ; ainsi vous disposez d’un set de 30 timbres
supplémentaires (3 banques de 10 performances chaque).
Dans les performances, vous pouvez également sauvegarder
votre partage personnel de clavier et donc des combinaisons
personnelles de timbres sur toute l’étendue du clavier.

Quatre zones de clavier

Le nouveau piano Korg RH3 présente quatre zones de clavier
différemment lestées pour vous offir une excellente et réelle re­production des timbres. C’est comme jouer sur un grand pia­no à queue, le même réalisme et les mêmes sensations.

Contrôle du toucher

Neuf différents réglages de dynamique sont disponibles pour
la réponse du clavier au toucher.

Pédale des effets

Tel un piano à queue, le C-520 reproduit trois pédales qui con­trôlent respectivement les fonctions de pédale douce, soste­nuto et de résonance. La pédale de résonance ou “Forte”
reproduit grâce à l’innovative technologie Korg EPx (Piano
eXperience) le soulèvement des étouffoirs qui limitent la vi­bration des cordes du piano acoustique . En appuyant soit sur
la pédale de résonance, soit sur la pédale douce, vous variez la
quantité d’effet appliquée en fonction de la pression que vous
exercez sur la pédale (fonction “mi-pédale”). Les pédales peu­vent également être affectées à d’autres fonctions telles que le
lancement du magnétophone ou le changement de vitesse de
l’effet du rotary speaker.

En détail, le C-520 exploite le relâchement de la touche et le
soulèvement du marteau, ainsi que la résonance des étouffoirs
pour recréer tous les tonalités d’un grand instrument de qua­lité. C’est cette attention pour les détails qui distingue le nou­veau C-520 qui devient ainsi un instrument en mesure
d’interpréter toutes les nuances d’une partition musicale poin­tue.

Les effets de Piano eXperience (ou EPx) sont particulièrement
évidents lorsque vous jouez les timbres GrandPiano, Brite­Grand et MelloPiano.

Cent quatre-vingt-cinq morceaux

Le C-520 est doté d’une énorme bibliothèque de morceaux,
basés soit sur des partitions fameuses, soit sur des leçons. Ces
morceaux s’adaptent parfaitement pour des leçons de piano
car ils sont enregistrés en deux parties différentes (la main gau­che correspond à la Partie 1, la main droite à la Partie 2) que
vous coupez ou vous jouez sur le clavier. Vous pouvez de
même modifier le tempo du métronome et reproduire cycli­quement un passage déterminé.

SongBook inclus

Le livre des morceaux (ou SongBook) est inclus, tel un livre de
musique - une grande ressource qui vous permet de vous exer­cer accompagné de vos timbres préférés.

Magnétophone intégré

Avec le magnétophone intégré multipiste vous pouvez facile­ment enregistrer vos morceaux ou lire des Fichiers Standard
MIDI que vous transfèrerz depuis un ordinateur externe via le
port USB intégré.

Métronome

Le Métronome interne permet de sélectionner la vitesse du
tempo, le tempo, le volume et d’utiliser une clochette pour
mettre l’accent. Avec le mètronome vous pouvez également
ajouter un accompagnement de batterie (soit un phrasé ryth­mique répétitif) à un style musical de votre choix.

Piano eXperience

Les techniques d’échantillonnage des timbres de piano actuel­lement disponibles sur le marché n’offrent qu’un court “résu­mé” audio, tandis que notre nouvelle technologie “Piano
eXperience” est bien plus qu’un simple hologramme car elle
reproduit ponctuellement tous les détails dimensionnels du
timbre. Tous les échantillonnages du C-520 ont été réalisés en
stéréo afin de préserver la sonorité naturelle du timbre. De mê­me, plusieurs niveaux différents de dynamique ont été “captu­rés” afin d’agrandir le vocabulaire expressif de l’instrument.

74

Données transférées via USB

La mémoire interne du C-520 peut être comparée à un disque
USB lorsque vous connectez votre instrument à un ordinateur
personnel via le port USB. C’est ainsi que vous pouvez sauve­garder vos données ou transférez des fichiers entre le C-520 et
l’ordinateur personnel.

Caractéristiques MIDI

Le C-520 est compatible avec le protocole MIDI, c’est à dire le
protocole standard qui permet d’échanger des données musi­cales entre instruments musicaux et ordinateurs. Le protocole

Introduction > Caractéristiques principales

MIDI permet à deux (ou plus) dispositifs de piloter ou d’être
pilotés l’un l’autre ; le C-520 peut ainsi fonctionner comme un
générateur de sons mutitimbre à 16 parties.

MIDI via USB

Les données MIDI peuvent également être adressées via le port
USB ; il suffit de connecter directement votre C-520 à votre or­dinateur personnel à l’aide d’un seul câble. Nul besoin d’inter­face MIDI dédiée ! Un Driver KORG USB MIDI est disponible
gratuitement pour exploiter à fond toutes les caractéristiques
MIDI du C-520.

Tempéraments

Le C-520 joue le tempérament Egal (Equal) ; il permet égale­ment de sélectionner neuf autres tempéraments pour une at­tentive reproduction historique de la musique classique ou
expérimentale. En sélectionnant un timbre de piano acousti­que, le typique Stretched Tuning (cordes pincées) correspon­dant est automatiquement choisi.

Réglage de la hauteur

La focntion Transpose permet de modifier la hauteur du tim­bre par pas de demi-tons, tandis que la fonction Master Tu­ning permet d’effectuer un accordage fin.

Effets

Le C-520 est doté d’effets numériques propres qui simulent
une salle de concert (reverb) et étoffent le timbre (chorus). En
plus, chaque timbre inclut un effet intégré (delay, phaser,
equalizer, rotary speaker, etc.), qui s’adapte particulièrement
bien à ce timbre spécifique.

Amplification de puissance intégrée

Le C-520 est intégré d’un amplificateur de puissance de 2 × 35
Watts et de deux haut-parleurs en boîte Bass Reflex. Vous re­trouvez ainsi toute la puissance d’un piano acoustique grâce à
l’authentique reproduction du timbre combinée à un volume
suffisant.

Deux paires de casques

Vous pouvez brancher deux casques stéréo de manière à jouer
avec votre professeur ou un autre musicien. Lorsque vous in­sérez un casque, les haut-parleurs sont automatiquement dé­connectés ; ainsi, vous ne risquez pas de déranger le voisinage
lorsque vous jouez la nuit.

Francçais

75

Tableau de commande >

Tableau de commande

Bouton PERFORMANCE :

Active/coupe le mode Per­formance. Lorsque ce mode
est sélectionné, les boutons
de sélection des timbre
sélectionnent des perfor­mances au lieu de timbres
individuels. Voir page 89.

Bouton VARIATION :

Molette MASTER
VOLUME : Règle le

volume des haut­parleurs, des bornes
Output et Phones

Sélectionne l’une des
variations disponibles
dans le timbre courra­ment sélectionné ou
l’une des trois banques
de performances.







/



Boutons de
défilement (Scroll) : A
l’écran, ces boutons
déplacent le curseur
sur le paramètre sui­vant ou précédent. Le
curseur est repré­senté sous la forme
d’une flèche pointée





) à côté du nom du

(
paramètre.

Ecran : Affiche les noms
des différents timbres et
paramètres.

Bouton SPLIT : Active/coupe le mode Split. En mode
Split, un timbre est affecté à la main droite et un
autre timbre à la main gauche. Appuyez et gardez
enfoncé ce bouton pour modifier le point de par­tage du clavier. Voir page 85.

Interrupteur POWER :

Interrupteur de mise
sous/hors tension de
l’instrument. En position
Standbay, le piano est
hors tension.

Témoin Power

76

Boutons de sélection des timbres (ou SOUND SELECTION) :

Appuyez sur l’un des boutons pour jouer le timbre indiqué (mode
Single). Appuyez en même temps sur deux boutons pour jouer
deux timbres simultanément (mode Layer). Appuyez sur SPLIT pour
jouer un timbre avec la main droite et un timbre différent avec la
main gauche (mode Split). Voir page 83.
Lorsque le témoin de PERFORMANCE est allumé (mode Perfor­mance), avec ces boutons vous sélectionnez les performances. Voir
page 89.

+/YES / -/NO Boutons
(Value): Ces boutons modi-

fient la valeur des paramè­tres affichés à l’écran. Le
paramètre éditable est

indiqué par le curseur (
positionné sur la gauche ou
(lorsque vous éditez un
texte) avec le caractère/
numéro en édition qui cli­gnote. En les gardant
enfoncés, les valeurs se
modifient automatique­ment, d’abord lentement
et ensuite de plus en plus
vite. En appuyant sur les
deux simultanément, le
paramètre se rétablit à sa
valeur de défaut.
Dans la page principale
(Main), utilisez ces boutons
pour sélectionner une
variation différente dans le
timbre en cours de session.





Bouton EDIT :

Appuyez sur ce bou­ton pour accéder au

)

mode Edit relatif aux
type de données
sélectionnées à
l’écran. Il y a quatre
modes Edit disponi­bles : Sound (voir
page 111), Perfor­mance (voir
page 111), Song (voir
page 108) et Global
(voir page 120). Vous
accédez directement
au mode Global en
gardant enfoncé le
bouton EDIT pendant
quelques secondes).

Bouton REVERB :

Active/coupe
l’effet de réver­bération. Le son
en est plus
étoffé. Gardez-le
enfoncé pendant
plus d’une
seconde pour
accéder à la
page d’édition
Reverb (voir
page 88).

Bouton CHORUS :

Active/coupe le
son de chorus. Le
son en est plus
enrichi. Gardez-le
enfoncé pendant
plus d’une
seconde pour
accéder à la page
d’édition Chorus
(voir page 88).

Tableau de commande >

Bouton METRONOME :

Active/coupe le clic du
métronome. Le tempo et
la vitesse dépendent des
valeurs choisies ou du
morceau sélectionné (voir
page 91).

Bouton TEMPO/
MET.SET : Règlent le

tempo du métronome.
Appuyez sur le bouton
+ pour le rendre plus
rapide, sur – pour le
ralentir. En appuyant
simultanément sur les
deux, vous accédez à
l’édition du métro­nome. Voir page 91.

Francçais

Bouton EXIT : Appuyez
sur ce bouton pour quit­ter le mode Edit ou pour
retourner à la page prin­cipale (Main) lorsque
vous êtes dans une page
différente. Lorsque vous
quittez le mode Edit,
l’écran affiche la procé­dure de sauvegarde (ou
Save). Lorsqu’un phrasé
rythmique de batterie est
affecté au Métronome,
et qu’il est en train de
jouer, ce bouton fonc­tionne comme un con­trôle de Fill In (voir
page 92, page 103).

Bouton TRANSPOSE :

Appuyez sur ce bouton
pour ouvrir la page
Transpose et modifier la
valeur principale de la
transposition. Lorsque
ce témoin est allumé, la
transposition est acti­vée. Les modifications
effectuées après avoir
appuyé sur ce bouton
ne sont pas sauvegar­dées dans la mémoire et
sont perdues lors de la
mise hors tension de
l’instrument. Voir
page 87.

Bouton BRILLIANCE :

Appuyez sur ce bouton
pour ouvrir la page
Brilliance et modifier la
valeur du brillant du
timbre. Lorsque ce
témoin est allumé, une
variation du brillant est
activée. Les modifica­tions effectuées après
avoir appuyé sur ce
bouton ne sont pas sau­vegardées dans la
mémoire et sont per­dues lors de la mise hors
tension de l’instru­ment. Voir page 88.

Boutons
RECORDER : Ces

boutons pilotent la
reproduction ou
l’enregistrement des
morceaux. Voir
page 95, page 99.

Bouton DEMO : Active/
coupe le mode Demo
pour reproduire les
morceaux de démons­tration. Sélectionnez les
morceaux à l’aide des
boutons de sélection
des timbres (voir
page 81). Vous pouvez
jouer avec l’accompa­gnement du morceau
en reproduction.

77

Tableau de commande >

Bornes PHONES : Permet-

tent de connecter un ou
deux casques. Les haut­parleurs se désactivent lors­que vous insérez le casque.

Bornes OUTPUT (L/MONO, R) :

Sorties Audio. Un système
d’amplification externe peut
être branché à ces bornes. (Avec
un système hi-fi, utilisez les bor­nes LINE, AUX, CD ou TAPE et
non pas la borne PHONO). Pour
amplifier votre C-520 en mono,
branchez-vous à la borne indivi­duelle L/MONO. Pour régler le
volume de sortie, utilisez la
molette MASTER VOLUME.

Borne Pedals :

Branchez le groupe
de pédales fourni à
cette borne.

Bornes INPUT (L/MONO, R) :

Entrées audio de ligne. Via ces
bornes, vous pouvez connecter
une source audio externe telle un
reproducteur CD, MP3, une table
de mixage ou un autre clavier.
Pour brancher un microphone,
vous nécessitez d’un préamplifica­teur externe pour microphone ou
d’une table de mixage.
Attention : Il ne faut jamais bran­cher à ces bornes un amplificateur
de puissance !

Bornes MIDI (IN, OUT) : Bor­nes utilisées pour connecter
des dispositifs MIDI tels que
séquenceurs, claviers, etc.
OUT : Sortie des données (à
connecter à la borne MIDI IN
d’un autre dispositif MIDI).
IN : Entrée de données (à
connecter à la borne MIDI
OUT d’un autre dispositif
MIDI).

Borne USB : Type B (esclave),
compatible USB 1.1, borne
standard. A connecter à un
ordinateur (PC ou Mac). Peut
être utilisée pour transférer
des données (voir page 127)
ou pour utilisations MIDI via
USB (voir page 129).

Borne AC
ADAPTER :

Branchez
l’adaptateur
AC/DC fourni
à cette borne.

78

Connexions > Connexion à des dispositifs audio externes

Connexions

Connexion à des dispositifs audio externes

Connexion à un système d’amplification externe

Utilisez les bornes OUTPUT si votre C-520 doit être branché
à une table de mixage de qualité élevée, à un système hi-fi sté­réo ou à une paire de moniteurs actifs. Avec un système hi-fi
stéréo, branchez les bornes OUTPUT aux entrées AUX ou
TAPE (ne jamais utiliser les bornes PHONO). Pour amplifier
en mono, branchez uniquement la sortie L/MONO.

Brancher d’autres dispositifs audio au C-520

Utilisez les bornes INPUT pour brancher un ordinateur, une
table de mixage, une drum machine, un synthétiseur, un MP3
ou un magnétophone à votre C-520 et écoutez leurs sons dif­fusés par les haut-parleurs. Pour amplifier en mono, branchez

uniquement la sortie L/MONO. Ne jamais connecter la sortie

à un amplificateur de puissance !

L/MONO

R

AUX IN

OUTPUT

INPUT

Francçais

79

A lire en premier > Ouvrir le piano

A lire en premier

Ouvrir le piano

Positionnez la main à mi-clavier sur l’encoche et soulevez le
couvercle avec précaution ; accompagnez son mouvement
tout au long de sa course, jusqu’à ce qu’il s’escamote entière­ment dans le C-520. Avant d’ouvrir le couvercle, vérifiez
qu’aucun objet tel du papier ou des monnaies ne soit posé sur
le couvercle même, sinon ces objets pourraient tomber dans
l’instrument.

Pour le fermer, posez la main à mi-couvercle, sur l’encoche et,
avec précaution, tirez-le en avant.

Note : Attention à ne pas vous coincer les doigts ou les mains
lorsque vous soulevez le couvercle.

Note : N’exercez pas une force excessive pour ouvrir ou fermer
le couvercle car cela peut l’endommager.

Mettre l’instrument sous tension

Introduire la fiche
DC de l’adapta­teur AC fourni
dans la borne DC
du C-520 et en­suite brancher la
fiche AC à la prise
secteur.

Témoin Power

Utiliser le pupitre

Ouvrir et fermer le pupitre

Soulevez le pupitre et utili­sez les deux arrêts prévus
en face arrière, de façon à
ce qu’il ne tombe pas.

Pour refermer le pupitre,
desserrez les arrêts et dis­posez le pupitre à plat.

Lorsque le câble de puissance est branché, appuyez sur l’inter­rupteur POWER. Lorsque l’instrument est sous tension, les té­moins du tableau de bord s’allument. De même, un témoin
positionné en face avant de l’instrument, visible aussi lorsque
le couvercle est fermé, s’allume. Pour mettre l’instrument hors
tension, appuyez de nouveau sur l’interrupteur POWER.

Utiliser les tiges à curseur

Pour que votre livre reste ouvert, utilisez les deux tiges à cur­seur disponibles sur la face avant du pupitre. Appuyez sur la
tige la plus courte pour faire remonter les curseurs. Appuyez
sur la tige la plus longue pour les faire glisser vers le bas.

N’exercez pas une force excessive sur les tiges, ni y poser des
objets trop lourds, car vous risquez de les casser.

80

Régler le volume

DEMO:-----------





Bk1 Press Sound

DEMO:GrandPiano1





Bk1 Press Sound

A lire en premier > Régler le volume

Tournez la molette MASTER VOLUME vers la droite pour
augmenter le volume ; vers la gauche pour le diminuer. La va­leur maximum est “10” ; celle minimum (silence) est “0”. Ce
contrôle règle le niveau de sortie des casques, des haut­parleurs internes et des bornes OUTPUT.

Cette molette ne règle pas le volume d’un dispositif audio
branché aux bornes INPUT. Réglez le volume du dispositif
branché en utilisant ses contrôles du volume.

On conseille de toujours commencer à jouer à faible volume et
d’augmenter progressivement.

Utiliser les casques

Pour jouer ou s’exercer la nuit, ou pour ne pas déranger
d’autres personnes présentes dans la même pièce, vous pouvez
utiliser un ou deux casques de qualité (on conseille une impé­dance de 32Ω) en les branchant aux bornes prévues PHONES.
Le standard de ces bornes est de 1/4”. Si la prise de votre casque

est dotée d’un adaptateur mini, ne tirez pas sur le casque : pre­nez en main l’adaptateur et tirez-le.

Attention : Pour protéger l’ouïe, on déconseille une écoute
prolongée à volume élevé avec le casque.

Reproduire les Morceaux de Démonstration

20 morceaux de démonstration sont stockés dans le C-520. Re­produisez-les pour écouter les riches timbres et le potentiel
d’expression sonore de votre instrument. Ci-dessous la liste
des morceaux de démonstration disponibles:

Bouton Banque 1 (1-10) Banque 2 (11-20)

PIANO 1 GrandPiano1 GrandPiano2

PIANO 2 Honky-Tonk Piano Pad

E.PIANO 1 El. Piano 1 El. Piano 2

E.PIANO 2 Digi Piano Vintage EP

HARPSI/CLAV Harpsichord Clav.

VIBES/GUI­TAR

ORGAN 1 Jazz Organ1 Jazz Organ2

ORGAN 2 Full Pipe Pipe Flute

STRING/
CHOIR

BASS Ac. Bass El. Bass

Pendant la reproduction des morceaux de démonstration,
vous ne pouvez utiliser aucun autre bouton. Toutefois, vous
pouvez jouer sur le clavier avec l’accompagnement du mor­ceau de démonstration.

Vibes Ac. Guitar

Strings Choir

Reproduire tous les morceaux

Il suffit d’une seule commande pour reproduire tous les mor­ceaux.

1. Appuyez sur le bouton DEMO. Les témoins des boutons

de sélection des timbres clignotent en séquence de gauche
à droite. L’écran affiche la page Demo:

2. Attendez quelques secondes ; n’appuyez sur aucun autre

bouton. La reproduction du premier morceau de démons­tration commence. Le témoin du morceau en reproduc­tion s’allume. L’écran affiche le nom du morceau:

Tous les morceaux de démonstration sont reproduits. A la
fin du dernier morceau, la reproduction recommence
depuis le premier.

3. Pour arrêter la reproduction du morceau, appuyez sur le

bouton PLAY/PAUSE. Appuyez de nouveau sur ce bouton
pour relancer la reproduction qui recommence exacte­ment sur la position sur laquelle le morceau avait été arrê­té.

4. Appuyez sur les boutons DEMO ou EXIT pour arrêter la

reproduction et quitter le mode de démonstration.

Francçais

81

A lire en premier > Reproduire les Morceaux de Démonstration

Reproduire un morceau individuel

Vous pouvez sélectionner un morceau spécifique et le repro­duire.

1. D’abord, vous devez sélectionner l’une des banques dispo-

nibles.

• Pour sélectionner la première banque (Bk1, morceaux 1-

10), appuyez une fois sur le bouton DEMO. Les témoins
clignotent l’un après l’autre, de gauche à droite. L’écran
affiche la page Demo:

DEMO:-----------





Bk1 Press Sound

• Pour sélectionner la deuxième banque (Bk2, morceaux
11-20), appuyez sur le bouton +/YES.

• Pour retourner à la première banque, appuyez sur le bou­ton -/NO.

2. Appuyez sur le bouton de sélection des timbres correspon-

dant à la banque sélectionnée. La démonstration est basée

sur le timbre associé au bouton. Le témoin du bouton de
démonstration sélectionné reste allumé, tandis que les
autres s’éteignent.

3. A la fin de la reproduction du morceau sélectionné, tous

les morceaux de la banque sélectionnée seront reproduits
en cycle.

4. Pour sélectionner un morceau différent, appuyez sur l’un

des boutons de sélection des timbres.

5. Pour arrêter la reproduction du morceau, appuyez sur le

bouton PLAY/PAUSE. Appuyez de nouveau sur ce bouton
pour relancer la reproduction qui recommence exacte­ment sur la position sur laquelle le morceau avait été arrê­té.

6. Pour arrêter la reproduction du morceau sans quitter le

mode Demo, appuyez sur STOP. Sélectionnez un morceau
différent et attendez que la reproduction ne démarre.

7. Appuyez sur les boutons DEMO ou EXIT pour arrêter la

reproduction et quitter le mode de démonstration.

82

Fonctions de base





GrandPiano 4/4

120

Timbre principal Main





GrandPiano 4/4

120

Nom du timbre

Jouer un timbre (mode Single)

Lorsque vous mettez sous tension votre instrument, il est pré­disposé en mode Single.

Main

Fonctions de base > Jouer un timbre (mode Single)

C’est le timbre Grand Piano qui est sélectionné et qui joue sur
toute l’étendue du clavier. Son nom est affiché à l’écran:

Vous pouvez le remplacer par l’un des 40 timbres dont votre
instrument est doté. Voir la liste des timbres dans le tableau
suivant (plus de détails de chaque timbre à page 277):

Bouton

Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Var. 6

PIANO 1 GrandPiano* BriteGrand* Rock Piano Piano&Str.

PIANO 2 Honky-Tonk MelloGrand* Piano&Pad Elec.Grand M1 Piano

E.PIANO 1 Tine EP 1 SuitTineEP DynoTineEP Tine EP 2

E.PIANO 2 Dig. EP 1 Dig. EP 2 Reed EP TremReedEP

HARPSI/CLAV Harpsi 8' Harpsi 16' Clav Synth Clav

VIBES/GUITAR Vibes 1 Vibes 2 Nylon Gtr.

ORGAN1 Jazz Organ Perc.Org.1 Perc.Org.2

ORGAN2 Church Org Pipe Flute Pipe Tutti

STRINGS/CHOIR Strings Slow Str. String Pad Choir ScatVoices Vocal Pad

BASS Ac. Bass El. Bass Fretless B Bass&Ride

* Note : Les effets EPx ne sont pas disponibles en mode Layer.

Timbre

Sélectionner un timbre

Pour sélectionner un timbre différent, appuyez sur l’un des
boutons de sélection des timbres.

Le témoin du bouton que vous avez appuyé s’allume. Le
nom du timbre sélectionné est affiché à l’écran :

1. Appuyez sur l’un des boutons de sélection des timbres

pour sélectionner un type de timbre.

Francçais

12345

678910

2. Utilisez le bouton VARIATION pour sélectionner l’une

des variations disponibles pour le timbre de base (voir le
tableau plus haut). Après avoir choisi la dernière variation,
appuyez de nouveau sur le bouton pour sélectionner de
nouveau le timbre de base.

En alternative, appuyez sur le bouton +/YES pour défiler
en avant la liste des variations du timbre ou sur le bouton

-/NO pour la défiler en arrière.

83

Fonctions de base > Jouer deux timbres à la fois (mode Layer)

Jouer deux timbres à la fois (mode Layer)

Vous pouvez jouer deux timbres ensemble sur le clavier. C’est
comme avoir à disposition deux timbres qui se “superposent”.
C’est le mode Layer.

Main

Layer

Rappelez-vous que lorsque le mode Layer est sélectionné, le
nombre total de voix pouvant jouer simultanément est réduit,
en fonction du nombre total d’oscillateurs exploités par les
timbres sélectionnés.

Entrer en mode Layer

Pour accéder au mode Layer, à partir de n’importe quel autre
mode, appuyez en même temps sur deux boutons de sélection
des timbres. Le diagramme suivant liste les timbres disponibles
; le timbre dont le numéro est inférieur correspond au timbre
principal Main, tandis que celui dont le numéro est supérieur
correspond au deuxième timbre, c’est à dire celui Layer :

12345

678910

1. Vérifiez que le curseur est positionné sur la première ligne

de l’écran:

Curseur





GrandPiano 4/4

Strings 120

2. A l’aide du bouton VARIATION, sélectionnez une varia-

tion différente du timbre. En alternative, appuyez sur les
boutons +/YES et -/NO pour choisir une variation diffé­rente.

Sélectionner une variation du timbre Layer

Vous pouvez sélectionner une variation du timbre Layer en
cours de session.

1. Appuyez sur le bouton 

timbre Layer.





GrandPiano 4/4

Strings 120

Défilement 



pour déplacer le curseur sur le



GrandPiano 4/4





Strings 120

Le nom des deux timbres est affiché à l’écran:

Timbre principal Main





GrandPiano 4/4

Strings 120

Timbre Layer

Quitter le mode Layer

Pour quitter le mode Layer, appuyez sur un seul bouton de sé­lection des timbres ou sur le bouton SPLIT. L’instrument se
rétablit en mode Single, avec un seul timbre qui joue sur toute
l’étendue du clavier, ou en mode Split, avec un timbre qui joue
à gauche et un autre à droite du point de partage.

Sélectionner une paire différente de timbres

Pour sélectionner des timbres différents, appuyez sur une pai­re différente de boutons de sélection des timbres. C’est la der­nière variation sélectionnée dans les timbres correspondants
aux nouveaux boutons choisis qui joue.

Sélectionner une variation du timbre principal Main

Vous pouvez sélectionner une variation du timbre principal
Main.

2. Appuyez sur le bouton VARIATION pour sélectionner

une variation différente du timbre. En alternative, appuyez
sur les boutons +/YES et -/NO pour choisir une variation
différente.

3. Vous pouvez également appuyer sur les boutons 

déplacer le curseur en arrière et retourner au timbre prin­cipal Main.

Egalisation des timbres en mode Layer

Vous pouvez régler le volume des timbres en mode Layer.

• Gardez enfoncé le bouton du timbre principal Main pour
augmenter son volume et (lorsque la valeur maximum a
été atteinte) pour diminuer le volume du timbre Layer.
Lorsque l’égalisation a été ainsi réglée, relâchez le bouton.

• Gardez enfoncé le bouton du timbre Layer pour augmen­ter son volume et (lorsque la valeur maximum a été
atteinte) pour diminuer le volume du timbre principal
Main. Lorsque l’égalisation a été ainsi réglée, relâchez le
bouton.

Un mètre est affiché à l’écran lorsque le volume est en cours de
modification:

Volume du timbre principal Main

M:90
L:127

Volume du timbre Layer

    
     







pour

84

Fonctions de base > Jouer des timbres différents à la main gauche et à la main droite (mode Split)





SplitPoint: F#3

Jouer des timbres différents à la main gauche et à la main droite (mode Split)

Vous pouvez jouer un timbre à la main droite (timbre de la
mélodie) et un timbre différent à la main gauche (timbre d’ac­compagnement). C’est le mode Split.

Split Point

Left

Main

Entrer en mode Split

Pour accéder au mode Split, à partir de n’importe quel autre
mode, appuyez sur le bouton SPLIT. Le son principal Main du
mode Single, ou Layer, sera affecté à la moitié droite du clavier
(zone principale de la mélodie affichée sur la première ligne de
l’écran), tandis que le son de la basse sera affecté à la moitié
gauche du clavier (zone gauche d’accompagnement affichée
sur la deuxième ligne de l’écran).

Timbre principal





GrandPiano 4/4

Ac.Bass 120

Timbre de basse

Lorsque vous accédez pour la première fois au mode Split,
c’est le timbre Ac.Bass qui est sélectionné. Successivement,
c’est le dernier timbre choisi lorsque vous avez quitté le mode
Split qui sera sélectionné lorsque vous accéderez de nouveau à
cette fonction.

Quitter le mode Split

Pour quitter le mode Split, appuyez de nouveau sur le bouton
SPLIT pour rétablir le mode Single ou appuyez simultanément
sur deux boutons de sélection des timbres pour entrer en
mode Layer.

Choisir un point de partage différent

Si le point de partage sélectionné est trop aigu ou trop bas,
vous pouvez en choisir un différent. Remarque : vous pouvez
également régler un point de partage de défaut qui sera dispo­nible chaque fois que vous mettrez l’instrument sous tension
(voir “Point de partage du clavier” à la page 121).

1. Gardez enfoncé le bouton SPLIT. L’écran affiche le point

de partage couramment sélectionné tant que vous gardez
le bouton enfoncé.

Francçais

2. Jouez la note qui doit fonctionner en tant que nouveau

point de partage.

3. Relâchez le bouton SPLIT.

Sélectionner un timbre principal Main différent

Avec le mode Split sélectionné, vous pouvez choisir un timbre
principal Main différent. Appuyez sur les boutons de sélection
des timbres comme lorsque vous choisissez un timbre en
mode Single.

85

Fonctions de base > Jouer des timbres différents à la main gauche et à la main droite (mode Split)

M:108

    



L:127

     



Volume du timbre principal

Volume du timbre de gauche

Sélectionner une variation du timbre principal

Avec le mode Split sélectionné. vous pouvez choisir une varia­tion du timbre principal Main.

1. Vérifiez que le curseur est bien positionné sur la première

ligne de l’écran. Si nécessaire, déplacez-le en appuyant sur
les boutons SCROLL

Curseur





:





GrandPiano 4/4

Ac.Bass 120

2. Choisissez une variation différente à l’aide du bouton VA-

RIATION. En alternative, appuyez sur les boutons +/YES
ou -/NO pour choisir une variation différente.

Sélectionner un timbre d’accompagnement différent

Avec le mode Split sélectionné, vous pouvez choisir un timbre
différent pour la zone gauche du clavier.

1. Gardez enfoncé le bouton SPLIT. Le témoin du timbre de

gauche s’allume.

2. Choisissez un timbre différent en appuyant sur les boutons

de sélection des timbres.

3. Relâchez le bouton SPLIT.

En alternative, vous pouvez utiliser les contrôles disponibles à
l’écran:

1. Appuyez sur les boutons SCROLL 

seur sur le timbre d’accompagnement.





GrandPiano 4/4



pour déplacer le cur-

Ac.Bass 120

Bouton 



GrandPiano 4/4





Ac.Bass 12

2. Appuyez sur les boutons de sélection des timbres comme

lorsque vous choisissez un timbre en mode Single.

3. Appuyez sur les boutons 

rière et retourner au timbre principal Main.



pour déplacer le curseur en ar-

2. Appuyez sur le bouton VARIATION pour choisir une va-

riation différente.

3. Relâchez le bouton SPLIT.

En alternative, vous pouvez utiliser les contrôles disponibles à
l’écran:

1. Appuyez sur les boutons SCROLL 

seur sur le timbre d’accompagnement.





GrandPiano 4/4



pour déplacer le cur-

Ac.Bass 120



Bouton



GrandPiano 4/4





Ac.Bass 12

2. Appuyez sur le bouton VARIATION pour sélectionner

une variation différente. En alternative, appuyez sur les
boutons +/YES et -/NO pour choisir une variation diffé­rente.

3. Si vous le souhaitez, vous pouvez appuyer sur les boutons





pour déplacer le curseur en arrière et retourner au tim-

bre principal Main.

Egalisation des timbres en mode Split

Vous pouvez régler le volume des timbres.

• Gardez enfoncé le bouton du timbre principal Main (c’est
à dire celui dont le témoin est allumé), pour augmenter
son volume et (lorsque la valeur maximum a été atteinte)
pour diminuer le volume du deuxième timbre. Lorsque
l’égalisation a été ainsi réglée, relâchez le bouton.

• Gardez enfoncé le bouton SPLIT, ou appuyez sur le bou­ton SCROLL
ligne de l’écran. Le témoin du deuxième timbre s’allume.
Gardez enfoncé le bouton de ce timbre pour augmenter
son volume et (lorsque la valeur maximum a été atteinte)
pour diminuer le volume du timbre principal Main. Lors­que l’égalisation a été ainsi réglée, relâchez le bouton.

Un mètre est affiché à l’écran lorsque le volume est en cours de
modification:





pour déplacer le curseur sur la deuxième

Sélectionner une variation du timbre d’accompagnement

Avec le mode Split sélectionné, vous pouvez choisir une varia­tion du timbre de gauche.

1. Gardez enfoncé le bouton SPLIT. Le témoin du timbre

d’accompagnement s’allume.

86

Utiliser les pédales

Fonctions de base > Utiliser les pédales

Le C-520 est doté de trois pédales assignables qui générale­ment fonctionnent en tant que pédale de résonance, de soutien
et douce. Néanmoins vous pouvez affecter à ces pédales des
fonctions différentes (voir page 117 l’affectation de la hauteur
du timbre ou page 122 la programmation globale).

Avec les réglages de défaut, vous utilisez ces pédales pour ajou­ter de l’expression lorsque vous jouez, exactement comme sur
un piano traditionnel.

3

2

1

Douce

De soutien

De résonance

(1) Pédale de résonance (ou Damper)

La pédale de résonance simule la résonance naturelle des cor­des pincées d’un piano acoustique. En appuyant sur la pédale,
les notes jouées sont maintenues et leur chute résonne riche-

ment. Vous contrôlez l’ampleur de la résonance en exerçant
une pression plus ou moins forte sur la pédale (fonction “mi­pédale”).

Les timbres tels que GrandPiano, BriteGrand et MelloGrand
sont également dotés d’effets EPx tant en mode Single, qu’en
mode Split. Toutefois, ces effets ne sont pas disponibles lors­que le clavier est prédisposé en mode Layer.

(2) La pédale de soutien (ou Sostenuto)

En appuyant sur cette pédale, l’effet “damper” s’applique uni­quement aux notes effectivement jouées sur le clavier lorsque
vous appuyez sur la pédale ; c’est ainsi que ces notes conti­nuent à résonner tant que vous appuyez sur la pédale. L’effet
“damper” ne s’applique à aucune nouvelle note jouée après
avoir appuyé sur la pédale de soutien (celles qui l’étaient aupa­ravant continuent de l’être).

(3) Pédale douce (ou Soft)

Lorsque vous appuyez sur cette pédale, le son sera plus doux et
mélodieux. La pression exercée sur la pédale règle l’application
de l’effet “soft” du son (effet mi-pédale).

Francçais

Transposition

Parfois, la clé d’écriture d’un morceau est particulièrement
difficile (par ex. beaucoup de bémols) ou vous désirez modi­fier la hauteur pour insérer un autre instrument ou voix. Dans
ce cas, vous pouvez transposer (décaler, modifier la hauteur)
de manière à faciliter le jeu ou jouer avec une hauteur différen­te. C’est la fonction “Transpose”.

Par exemple, si vous transposez les notes d’un demi-ton vers
l’aiguë, lorsque vous jouerez les notes illustrées à gauche, elles
seront reproduites à la hauteur représentée à droite.

Note : La transposition est perdue lors de la mise hors tension
de l’instrument.

1. Appuyez sur le bouton TRANSPOSE pour visualiser l’affi-

chage Transpose :

Transpose





+02 semitones

Valeur de transposition

Si vous n’apportez aucune modification, attendez quelques se­condes et la page disparaît automatiquement. Sinon, vous
quittez cette page en appuyant sur le bouton EXIT.

2. Appuyez sur les boutons +/YES et -/NO pour modifier la

valeur de transposition par pas de demi-tons, dans une
plage de ±11 demi-tons. Lorsqu’une transposition est acti­vée, le témoin s’allume.

3. Appuyez sur le bouton EXIT pour quitter cette page.

4. Appuyez de nouveau sur le bouton TRANSPOSE pour dé-

sactiver la transposition. Le témoin s’éteint.

5. Appuyez sur le bouton TRANSPOSE si vous souhaitez ré-

tablir la transposition avec la dernière valeur sélectionnée.
Le témoin s’allume de nouveau. Attendez quelques secon­des et la page disparaît automatiquement ou appuyez sur
le bouton EXIT pour quitter immédiatement.

87

Fonctions de base > Modifier la Brilliance

Modifier la Brilliance

Le paramètre Brilliance règle le brillant du timbre ; selon où
votre piano est positionné (dans une pièce ou dans une salle de
concert), le brillant du timbre peut en être affecté. Par exem­ple, si la pièce où vous jouez est pleine de tapis ou de meubles,
le son en sera étouffé. Vous pouvez programmer un réglage gé­néral pour augmenter ou diminuer le brillant de tous les tim­bres.

C’est le même paramètre que vous pouvez modifier dans la
page Brilliance du mode Global (voir page 121). Toutefois,
contrairement aux modifications apportées en mode Global,
les modifications effectuées en appuyant sur ce bouton ne sont
pas mémorisées et sont donc perdues lors de la mise hors ten­sion de l’instrument.

Note : Lors de la mise sous tension de l’instrument, le brillant du
timbre tel que réglé dans cette page ne fonctionne pas. (Le
brillant doit être programmé de manière permanente en mode
Global, voir page 121).

1. Appuyez sur le bouton BRILLIANCE pour visualiser l’affi-

chage Brilliance:

Brilliance





Bright

Réglages du brillant du timbre

Si vous n’apportez aucune modification, attendez quel­ques secondes et la page disparaît automatiquement.
Sinon, vous quittez cette page en appuyant sur le bouton
EXIT.

2. Appuyez sur les boutons +/YES et -/NO pour modifier la

valeur de ce paramètre. Lorsque vous activez une modifi­cation du brillant du timbre, le témoin s’allume.

3. Appuyez sur le bouton EXIT pour quitter cette page.

4. Appuyez de nouveau sur le bouton BRILLIANCE pour ef-

facer les modifications apportées à ce paramètre. Le té­moin s’éteint.

5. Appuyez sur le bouton BRILLIANCE si vous souhaitez ré-

tablir ce paramètre avec la dernière valeur sélectionnée. Le
témoin s’allume de nouveau. Attendez quelques secondes
et la page disparaît automatiquement ou appuyez sur le
bouton EXIT pour quitter immédiatement.

Activer/couper les effets

Le C-520 est doté de deux effets principaux (réverbération et
chorus) qui s’ajoutent à l’effet intégré dans chaque timbre
(voir diagramme de page 114). La réverbération simule la ré­flexion du son dans une salle, tandis que le chorus simule un
effet modulant qui étoffe le son.

L’effet intégré dans le timbre fait partie du timbre même et
c’est ainsi qu’il doit rester afin de ne pas provoquer une forte
modification du timbre. Tandis qu’en ce qui concerne les ef­fets de réverbération et de chorus, vous pouvez soit les activer,

soit les couper à l’aide des boutons REVERB et CHORUS dis­ponibles sur le tableau de bord.

Néanmoins, rappelez-vous que si vous sélectionnez un timbre
différent, ces boutons se désactivent car leurs fonctions ne
s’appliquent qu’au timbre correspondant. Pour modifier de
manière permanente l’état des effets, éditez le timbre en gar­dant enfoncé l’un de ces deux boutons pendant environ deux
secondes. Voir les informations détaillées à page 114.

88

Utiliser les performances

Utiliser les performances > Sélectionner les performances

Les Performances sont des enregistrements de combinaisons
de timbres. Au lieu de sélectionner des timbres individuels, ou
une combinaison de timbres, vous sélectionnez simplement
une performance. Une performance peut rappeler un ou deux
timbres, chacun contenant ses propres réglages, le point de
partage mémorisé (si les timbres sont en mode Split).

Il y a 30 performances (10 groupes

× 3 banques chaque). Cha-

que groupe correspond à l’un des boutons numérotés de sélec­tion des timbres (1 ~ 10). Vous pouvez choisir l’une des trois
banques dans le groupe sélectionné en utilisant le bouton VA­RIATION (voir les informations détaillées à page 283).

Bouton

Banque 1 Banque 2 Banque 3

1 (PIANO 1) Split&Layr Digital EP* Baroque*

2 (PIANO 2) Grand&Ride PaddedTine* Harpsi-Ch*

3 (E.PIANO 1) Grand&Ebas R&B EPno* Harpsi-Org*

4 (E.PIANO 2) PnoStrings* EP Choir* Church Mix*

Performance

Sélectionner les performances

Bouton

Performance

Banque 1 Banque 2 Banque 3

5 (HARPSI/CLAV) EGrand Pad* EP&NoFret Guitar Pad*

6 (VIBES/GUITAR) Piano Pad* Scat&Bass GrandPiano

7 (ORGAN1) Pno Choirs* Vibes&Bass BriteGrand

8 (ORGAN2) Pno Guitar* Bass&Guitr MelloGrand

9 (STRINGS/CHOIR) Piano BX3* Org&Bass 1 2 Pianists

10 (BASS) DualManual Org&Bass 2 PnoEXp-

DEMO**

* Note : Ces performances, dont les timbres sont en mode Layer,
n’utilisent pas les effets EPx.
** Note :Nous avons choisi la Performance 30 (PnoExpDEMO)
pour vous donner la démonstration de notre technologie “Piano
eXperience” en exagérant, ou non, la quantité d’activation des
marteaux et des étouffoirs sur le timbre Grand Piano ; ce n’est
donc pas un timbre que l’on peut utiliser pour jouer. Normale­ment, ces timbres Piano eXperience supplémentaires ne sont pas
perçus en tant qu’éléments séparés, mais bien en combinaison
avec d’autres échantillonnages car ils sont la partie vitale du réal­isme et de l’authenticité de la tonalité du piano.

Francçais

Voilà comment sélectionner une performance.

Note : Lorsque le mode Performance est sélectionné, vous ne
pouvez pas passer au mode Single, Layer et Split. Toutefois,
vous pouvez sélectionner une performance ayant deux timbres
en Split, le témoin de SPLIT s’allume.

2. Pour sélectionner un groupe différent de performances,

utilisez les boutons de sélection des timbres.

12345

1. Appuyez sur le bouton PERFORMANCE pour accéder au

mode Performance. Le témoin s’allume et c’est la dernière
performance sélectionnée qui est rappelée.

Perf.01 4/4
Split&Layr 120

3. Si nécessaire, utilisez le bouton VARIATION pour sélec-

tionner une performance différente dans le même groupe.
Il y a trois performances pour chaque groupe de perfor­mances.

En alternative, appuyez sur les boutons +/YES et -/NO
pour sélectionner une performance différente à l’intérieur
du groupe sélectionné.

678910

4. Appuyez de nouveau sur le bouton PERFORMANCE pour

quitter le mode Performance. Le timbre ou la combinaison
de timbres précédents seront rappelés. Le témoin s’éteint.

Modifier les timbres affectés à une performance

Vous pouvez modifier le timbre, ou les timbres, affecté à la
performance couramment sélectionnée sans devoir accéder au
mode Edit.

Note : Vous ne pouvez pas modifier les timbres d’une perfor­mance lorsque vous êtes en mode Performance Edit.

Note : Les effets EPx ne sont pas disponibles lorsque vous êtes
en mode Layer.

89

Utiliser les performances > Editer une performance

1. Lorsque vous êtes dans la page principale du mode Perfor-

mance, appuyez simultanément sur les deux boutons
SCROLL
performance est affiché à l’écran :





/ . Le timbre (ou les timbres) affecté à la

Timbre principal Main





Piano&Str.

Ac. Bass

Deuxième timbre /Layer

Editer une performance

Vous pouvez éditer (c’est à dire modifier) une performance
comme vous le souhaitez. Vous pouvez également sauvegarder
n’importe quelle combinaison de timbres dans une perfor-

2. S’il y a deux timbres, appuyez sur les boutons SCROLL 

/  pour déplacer le curseur sur le timbre que vous sou­haitez modifier.



3. Utilisez les boutons +/YES et -/NO pour choisir un timbre

différent.

4. Appuyez sur le bouton EXIT pour quitter cette page. Si

vous choisissez une performance différente, les modifica­tions sont perdues.

5. Pour sauvegarder les modifications apportées, appliquez

l’une des procédures de sauvegarde détaillées dans le para­graphe “Sauvegarder une performance” à la page 112.

mance existante. Voir “Editer les timbres et les performances”
à la page 111.

90

Le métronome > Lancer et arrêter le métronome, régler le tempo

01-Prelude 1
M: 1 4/4 120

Tempo du morceau

Vitesse du morceau

Le métronome

Le C-520 intègre un métronome qui vous permet de régler le tempo lorsque vous vous exercez ou lorsque vous enregistrez un mor­ceau.

Lancer et arrêter le métronome, régler le tempo

Appuyez sur le bouton METRONOME pour lancer et arrêter
le métronome.

1. Appuyez sur le bouton METRONOME pour lancer le mé-

tronome (le témoin du bouton s’allume).

Afficher le tempo et la vitesse

Le tempo et la vitesse (ou time signature) du métronome sont
toujours affichés dans la page principale Main :

Vitesse du métronome





GrandPiano 4/4

Strings 120

Tempo du métronome

Le tempo et la vitesse du métronome sont également affichés
en mode Performance :

Vitesse du métronome

Perf 01 4/4
Split&Layr 120

2. Appuyez de nouveau sur le bouton METRONOME pour

l’arrêter (le témoin du bouton s’éteint).

tions détaillées de comment sélectionner les modèles de batte­rie à page 92):

Mouvement 4/4 de phrasé rythmi-

que de batterie sélectionné





GrandPiano 4-4

Strings 120

Lorsque vous reproduisez un morceau, le tempo et la vitesse
correspondent à ceux du morceau en cours de reproduction.
Appuyez sur les boutons TEMPO pour régler le tempo pen­dant la reproduction du morceau. Au contraire, vous ne pou­vez pas modifier la vitesse après l’enregistrement :

Francçais

Si un phrasé rythmique de batterie est sélectionné en tant que
vitesse, le séparateur entre le numérateur et le dénominateur
de la fraction est représenté par un tiret (–) (voir les informa-

Régler le tempo

Lorsque vous lancez pour la première fois le métronome, dans
la page principale, le tempo programmé par défaut correspond
à 120 BPM (battements par minute) et il est automatiquement
sélectionné. Vous pouvez le régler à l’aide des boutons TEM­PO.

Tempo du métronome

(Rappelez-vous : pour quitter la page Song Play et rétablir la
page principale Main , il suffit d’appuyer sur le bouton EXIT.)

Si vous lancez le Tempo à partir de la page Song Play (page 95)
ou de la page Record (voir page 99), le tempo correspond à ce­lui du morceau couramment sélectionné. Vous pouvez le ré­gler à l’aide des boutons TEMPO.

La dernière modification est préservée tant que vous ne choi­sissez pas un morceau différent et que vous le reproduisez.

91

Le métronome > Sélectionner la vitesse (ou time signature)

Sélectionner la vitesse (ou time signature)

Lorsque vous lancer le métronome dans la page principale, la
vitesse programmée par défaut est de 4/4 ; vous pouvez la mo­difier dans la page Metronome (telle que représentée plus bas).

Note : Si le bouton PLAY/PAUSE clignote, vous ne pouvez pas
modifier la vitesse.

Note : Si vous saisissez des modifications par la suite, il se peut
qu’une page de modification différente de la première soit af­fichée. Appuyez sur les boutons SCROLL pour l’afficher de
nouveau.

1. Appuyez simultanément sur les deux boutons TEMPO +

2. Appuyez sur les boutons +/YES et -/NO pour choisir la vi-

tesse souhaitée. Les mouvements traditionnels sont posi­tionnés au début, tandis que ceux des phrasés rythmiques
répétitifs de batterie sont à la fin. Vous passer rapidement
d’une position à l’autre en appuyant sur les deux boutons
+/YES et -/NO simultanément.

Mouvements traditionnels

1/2 ~ 16/2 1/4 ~ 16/4 1/8 ~ 16/8

et TEMPO – (ou sur MET.SET). La première page Metro­nome, c’est à dire Metro TS, est affichée à l’écran avec le
paramètre Time Signature sélectionné :

3. Appuyez sur le bouton EXIT pour rétablir la page princi-

pale.

Metro TS/Tempo 1





4/4 120

Phrasés rythmiques répétitifs (ou Drum patterns)

Au lieu d’une vitesse traditionnelle (4/4, 3/4, etc…), vous pou­vez affecter un phrasé rythmique répétitif au métronome. Ceci
vous donnera l’impression de jouer avec un vrai “pro” de bat­terie. Vous pouvez également enregistrer un tel phrasé dans un
morceau.

Note : Contrairement au “clics” traditionnels du métronome,
les notes des phrasés rythmiques répétitifs peuvent également
être enregistrées par le magnétophone intégré. Elles peuvent
également être transmises via MIDI, afin de pouvoir les enregis­trer sur un séquenceur externe, ou les reproduire à l’aide d’un
instrument externe (voir “MIDI” à la page 129).

Les Drum patterns sont positionnés dans la seconde partie de
la liste des vitesses disponibles. Avec la liste sélectionnée, soit
vous les défilez, soit vous appuyez simultanément sur les deux
boutons +/YES et -/NO, pour passer rapidement aux drum
patterns. Appuyez de nouveau simultanément sur ces deux
boutons pour passer rapidement aux vitesses traditionnelles
(mouvement de 4/4 sélectionné).

Drum patterns

8 Beat 1 Ballroom 2 Bossa 1 Swing 2

8 Beat 2 Ballroom 3 Bossa 2 Swing 3

8 Beat 3 Slow 6/8 Samba Slow Waltz 1

16 Beat 1 Funk 1 Cha Cha Slow Waltz 2

16 Beat 2 Funk 2 Salsa Waltz

16 Beat 3 Rock Mambo Foxtrot

Drum patterns

Ballad 1 Rock 6/8 Tango March

Ballad 2 Dance Rhumba

Ballad 3 Beguine Gospel

Ballroom 1 Unplugged

Latin

Voilà comment utiliser les phrasés rythmiques répétitifs :

1. Dans la page principale, appuyez sur le bouton METRO-

NOME pour lancer le métronome. Vous entendez un
compte à rebours (ou Count In), ensuite le phrasé rythmi­que répétitif commence.

2. Dans la page principale (indépendamment du fait que soit

sélectionné un timbre ou une performance) ou dans la
page Record, appuyez sur EXIT (ou sur une pédale à la­quelle vous avez affecté la fonction Fill In, voir à page 122).
L’instrument joue un remplissage (ou Fill In) et ensuite
c’est la variation du phrasé rythmique répétitif de base qui
commence à jouer.

3. Appuyez de nouveau sur EXIT (ou sur la pédale). L’instru-

ment joue un deuxième Fill In et ensuite c’est le phrasé
rythmique répétitif de base qui recommence à jouer.

4. Appuyez sur le bouton METRONOME pour arrêter le mé-

tronome.

Swing 1

92

Régler le volume du métronome

Metro Lev/Rev 2
Lv:100





Rv:64

Le métronome > Régler le volume du métronome

Vous pouvez régler le volume du métronome afin de l’adapter
au volume général de l’instrument.

1. Appuyez simultanément sur les deux boutons TEMPO/

MET.SET. L’écran affiche la première page Metronome.

2. Appuyez sur le bouton SCROLL 

de page Metronome, c’est à dire la page Metro Lev/Rev. Le
paramètre Lv (Level) est sélectionné :



pour afficher la secon-

3. Appuyez sur les boutons +/YES et -/NO pour modifier le

volume du métronome.

4. Appuyez sur le bouton EXIT pour rétablir la page princi-

pale.

Metro Lev/Rev 2





Lv:100 Rv:64

Régler la réverbération du métronome

Vous pouvez ajouter un effet de réverbération aux phrasés
rythmiques répétitifs.

Note : La réverbération ne s’applique pas au clic du métronome
(par exemple lorsqu’une vitesse traditionnelle est sélection­née).

1. Appuyez simultanément sur les deux boutons TEMPO/

MET.SET.

2. Si l’affichage de votre écran ne correspond pas à celui re-

présenté plus bas, appuyez sur les boutons SCROLL





3. Appuyez sur les boutons +/YES et -/NO pour modifier la

réverbération du métronome.

4. Appuyez sur le bouton EXIT pour rétablir la page princi-

pale.

pour sélectionner le paramètre Rv (Reverb) :





/

Francçais

Sélectionner l’accent

Le battement accentué des vitesses traditionnelles peut être
modifié en “marcato” ou en clochette.

Note : L’accent ne s’applique pas aux phrasés rythmiques répé­titifs.

1. Appuyez simultanément sur les deux boutons TEMPO/

MET.SET.

2. Si la page affichée ne correspond pas à celle représentée

plus bas, appuyez sur les boutons SCROLL
afficher la page Metro Accent :

Metro Accent 3





Bell





/  pour

3. Appuyez sur les boutons +/YES et -/NO pour activer ou

couper le son d’une clochette et choisissez l’une des op­tions disponibles pour l’accent .

Option Signification

Off Aucun accent

Marcato C’est le premier battement qui est acentué

Bell Le son d’une clochette est reproduit sur le premier

battement

4. Appuyez sur le bouton EXIT pour rétablir la page princi-

pale.

93

Le métronome > Sauvegarder les réglages du métronome

Metro Settings 4





Save? (Yes/No)

Sauvegarder les réglages du métronome

Vous pouvez sauvegarder vos réglages personnels de manière
à ce que l’instrument ne se rétablisse pas à ses valeurs de défaut
lors de la mise hors tension. Cette procédure sauvegarde la vi­tesse, le réglage du volume, le réglage de la réverbération et
l’accent, tandis que les réglages de tempo sont toujours perdus
lors de la mise hors tension de l’instrument.

1. Appuyez simultanément sur les deux boutons TEMPO/

MET.SET. L’écran affiche la première page Metronome.

2. Appuyez quatre fois sur les boutons SCROLL 

ficher la quatrième page Metronome. Le paramètre Metro
Settings Save est sélectionné :



pour af-

3. Appuyez sur +/YES pour confirmer l’opération de sauve-

garde ou sur -/NO pour l’annuler. La page principale Main
est automatiquement rétablie.

94

Reproduire un morceau

Reproduire un morceau > Entrer en mode Song Play

Le C-520 intègre un magnétophone multipiste qui vous per­met d’enregistrer et de reproduire des morceaux. Il vous per­met également de couper une partie individuelle (dénommée
: la main gauche), tandis que l’autre partie (dénommée : la
main droite) continue à jouer, ce qui est vraiment très pratique
pour s’exercer.

Votre C-520 est fourni d’une grande quantité de morceaux
classiques (185) avec lesquels vous pouvez vous exercer ou
simplement reproduire pour écouter vos morceaux préférés.
Les morceaux sont organisés en “albums” qui recueillent des

Entrer en mode Song Play

Lorsque vous appuyez sur le bouton SONG, l’écran affiche la
page Song Play :

Nom du morceau

01-Prelude 1





M:--- 4/4 120

Mesure courrante

Vitesse

Tempo

livres de leçons très réputés (Beyer A et B, Burgmüller), une
collection de morceaux fameux, ainsi que tous les morceaux
inclus dans le SongBook fourni.

Le magnétophone est également en mesure de lire les mor­ceaux à 16 pistes des Fichiers format Standard MIDI (ou SMF)
; ces fichiers peuvent être créés à l’ordinateur et de toutes fa­çons ils sont disponibles sur le marché. Toutefois, rappelez­vous que bien que le C-520 est compatible avec la disposition
des sons du General MIDI (GM), il n’inclut pas tous les sons
GM. Voir les informations détaillées à page 277.

Pour retourner à la page principale Main, il suffit d’appuyer
sur l’un des boutons de sélection des timbres pour sélectionner
un timbre ou d’appuyer sur le bouton EXIT. Le morceau sélec­tionné n’est pas désactivé, mais son nom n’est plus affiché à
l’écran ; pour l’afficher à nouveau, appuyez de nouveau sur le
bouton SONG.

Francçais

Comment sélectionner un morceau

Pour reproduire un morceau, vous devez préalablement le sé­lectionner dans un album. Les morceaux sont stockés dans une
mémoire permanente et ils ne sont pas perdus lors de la mise
hors tension de l’instrument.

1. Si vous êtes dans la page principale, appuyez deux fois sur

le bouton SONG. Si vous êtes en mode Song Play, appuyez
une seule fois sur le bouton SONG pour afficher la page
Song Selection :

Album:SongBook





01-Prelude 1

2. Appuyez sur l’un des boutons +/YES et -/NO pour sélec-

tionner l’un des morceaux disponibles dans l’album sélec­tionné. Si le nom est plus long que l’écran, il défilera et ira
à la ligne.

Album
Morceau

3. Pour sélectionner un album différent, appuyez sur les bou-

tons SCROLL
ligne de l’écran :

En alternative, vous pouvez utiliser les six premiers bou­tons de sélection des timbres pour choisir un album. Voir
le tableau de la page suivante.





pour déplacer le curseur sur la première

Album:SongBook





01-Prelude 1

Bouton 







Album:SongBook

01-Prelude 1

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Reproduire un morceau > Comment lancer la reproduction

01-Prelude 1





M:--- 4/4 120

01-Prelude 1





M:--- 4/4 120

4. Appuyez sur les boutons +/YES et -/NO pour sélectionner

l’un des albums disponibles. Il y a plusieurs albums (voir la
liste détaillée des morceaux à page page 286) :

Album Contenu

UserSong Ce sont des morceaux créés à l’aide

SongBook Ce sont tous les morceaux contenus

Classics C’est une collection de morceaux

Beyer A C’est le livre de leçons “Preparatory

Beyer B HARPSI/

Burgmlr C’est le livre de leçons “25 Easy and

du magnétophone intégré ou créés
à l’aide d’un séquenceur externe et
ensuite transférés au C-520 via le
port USB (voir page 127)

dans le SongBook fourni

classiques très fameux

School, Op. 101” de Ferdinand Beyer,
partagé en deux parties (A et B)

Progressive Studies, Op. 100” de
Burgmüller

Bouton
sélection
timbres

PIANO 1

PIANO 2

E.PIANO 1

E.PIANO 2

CLAV

VIBES/GUI­TAR

Comment lancer la reproduction

5. Après avoir sélectionné un album, appuyez sur les boutons

SCROLL
nom du morceau, ensuite choisissez un morceau différent :





pour déplacer le curseur de nouveau sur le





Album:SongBook

01-Prelude 1

Bouton 



Album:SongBook





01-Prelude 1

6. Appuyez sur le bouton PLAY/PAUSE pour lancer la repro-

duction et retourner à la page Song Play ou sur le bouton
EXIT pour retourner à la page Song Play sans lancer la re­production du morceau .

Après avoir sélectionné
un morceau, vous pou­vez le reproduire.

Note : Pendant la repro­duction, vous pouvez
adresser les parties du
morceau via MIDI. Les parties du morceau sont les suivantes :
Part 1, Part 2 et Drum (qui est activée uniquement si des phrasés
rythmiques répétitifs jouent).

2. Appuyez de nouveau sur le bouton PLAY/PAUSE pour ar-

rêter le morceau sur la position en cours de session. Le té­moin du bouton commence à clignoter.

3. Appuyez de nouveau sur PLAY/PAUSE pour relancer la

reproduction. Le témoin du bouton arrête de clignoter.

4. Appuyez sur STOP pour arrêter le morceau. Le témoin du

bouton s’éteint. Le morceau se rétablit sur la première me­sure (measure “---”).

1. Appuyez sur PLAY/PAUSE pour lancer la reproduction du

morceau. Le témoin du bouton s’allume.

Lancer la reproduction sur une mesure différente

Vous pouvez lancer la reproduction sur une mesure différente
de la première.

Note : Lorsque vous relâchez le bouton +YES ou -/NO, parfois
vous entendrez les effets EPx à cause des données de Damper
enregistrées dans le morceau.

1. Dans la page Song Play, le paramètre M (Measure) est sé-

lectionné. Appuyez sur les boutons +/YES et -/NO pour
choisir une mesure différente (parfois le bouton +/YES est
également dénommé Avancement rapide ou Fast Forward,

tandis que -/NO est dénommé Retour en arrière ou
Rewind :

2. Appuyez sur le bouton PLAY/PAUSE pour lancer la repro-

duction sur la mesure sélectionnée.

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Reproduire un morceau > Couper/activer une partie enregistrée

Couper/activer une partie enregistrée

Pendant la reproduction, vous pouvez couper ou activer une
partie enregistrée. C’est très pratique de pouvoir couper une
partie pour la jouer sur le clavier pendant que le magnétopho­ne continue à reproduire l’autre.

En fonction des réglages effectués dans le mode Global (voir
“Couper le volume” à la page 123), l’action de couper peut soit
complètement mettre sous silence une partie, soit juste l’atté­nuer. L’atténuation est elle aussi très pratique pour s’exercer
parce qu’elle vous donne la possibilité de jouer la partie et de
l’écouter en même temps à faible volume.

Note : L’état de la partie est automatiquement restauré lorsque
vous choisissez un morceau différent (il est activé si des notes
sont présentes ou désactivé si la partie est vide).

Modifier le tempo du morceau

Chaque morceau contient son propre tempo. Toutefois, vous
pouvez le modifier en cours de reproduction, par exemple
pour faciliter votre jeu lorsque vous jouez avec le morceau.

1. Appuyez sur le bouton TEMPO + pour augmenter le tem-

po : le morceau jouera plus vite.

1. Appuyez sur le bou-

ton PART 1 ou sur
PART, selon la partie
que vous souhaitez
couper (générale­ment, Part 1 = main
gauche, Part 2 = main droite. Cette disposition peut être
différente dans les morceaux importés via USB). Le témoin
de la partie coupée s’éteint.

Maintenant, vous pouvez jouer la partie ainsi coupée sur le
clavier.

2. Appuyez de nouveau sur le même bouton pour activer la

partie : son témoin s’allume de nouveau.

2. Appuyez sur le bouton TEMPO - pour diminuer le tempo

: le morceau jouera plus lentement.

3. Appuyez simultanément sur les deux boutons +/YES et -/

NO pour rétablir le tempo original du morceau.

Francçais

Jouer avec le morceau en reproduction

Pendant la reproduction, vous pouvez jouer avec le morceau.
Les derniers timbres sélectionnés sont encore activés sur le cla­vier. Si vous le voulez, vous pouvez sélectionner des timbres
différents, tel que déjà vu précédemment. Lorsque vous ap­puyez sur l’un des boutons de sélection des timbres, l’écran af­fiche la page principale Main. Appuyez sur le bouton SONG
pour rétablir la page Song Play.

Lorsque vous sélectionnez des timbres différents, vous rappe­lez également leurs effets. Faites attention car cela peut drama­tiquement affecter tous les timbres du morceau. Lorsque vous
sélectionnez un morceau différent, les effets du morceau sont
de nouveau sélectionnés.

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Reproduire un morceau > Cycle Play

Cycle Play 1

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

On S:1 E:1

Cycle Play 1





Off

Cycle Play

Lorsque vous vous exercez, vous pouvez choisir un passage
pour le répéter plusieurs fois. Ainsi vous pouvez l’essayer jus­qu’à ce que votre jeu vous satisfait. Cette fonction est dénom­mée Cycle Play.

Note : Lorsque Cycle Play est activé, la fonction Fast Play ne
fonctionne pas (voir page 123).

Note : Si successivement vous apportez des modifications, il se
peut qu’une page d’édition différente soit affichée à la place
de la première. Appuyez sur les boutons SCROLL  pour la re­chercher.

1. En mode Song Play, appuyez sur le bouton EDIT. L’écran

affiche la première page du mode Song Edit, c’est à dire
Cycle Play.

Cycle Play 1





Off

2. Appuyez sur le bouton +/YES pour activer le mode Cycle

Play. L’écran affiche les paramètres S (mesure du début ou
Start Measure) et E (fin de la mesure ou End Measure) :

Cycle Play 1





On S:1 E:99

Mesure du début

3. Appuyez sur le bouton SCROLL 

paramètre S (Start Measure) et appuyez sur les boutons +/
YES et -/NO pour choisir la mesure sur laquelle le cycle
doit commencer. Appuyez-les simultanément pour défiler
rapidement les valeurs à l’écran.

Cycle Play 1
On

Par défaut, le paramètre Start correspond à la première
mesure.

4. Appuyez sur le bouton SCROLL 

paramètre E (Ending Measure) et appuyez sur les boutons
+/YES et -/NO pour choisir la mesure sur laquelle le cycle
doit terminer. Appuyez-les simultanément pour défiler ra­pidement les valeurs à l’écran.

Cycle Play 1
On S:1

Mesure de la fin





S:1 E:1







pour sélectionner le



pour sélectionner le

E:1

chée en haut à droite de l’écran pour indiquer que la fonc­tion est activée :

01-Prelude 1





M:--- 4/4 120

L’icône reste affichée à l’écran pendant que les mesures
cycliques sont reproduites. Elle commence à clignoter
lorsque des mesures précédentes ou suivantes celles cycli­ques sont reproduites (par exemple : elle clignotera si la
mesure 2 ou la mesure 16 jouent alors que le cycle est déli­mité par les mesures 4 et 12).

Icône de Cycle
Play

6. Appuyez sur PLAY/PAUSE pour commencer à jouer. Le

morceau jouera en boucle entre le point de départ et le
point final choisis.

Pendant la reproduction, vous pouvez appuyer sur le bou­ton PLAY/PAUSE pour mettre en pause le morceau ou le
relancer exactement sur cette position. Vous pouvez
appuyer sur le bouton STOP pour arrêter le morceau et
retourner à la mesure de départ du cycle.

Note : Si la valeur du paramètre S (Start Measure) est dif­férente de 1, le morceau se prédisposera en pause même si
vous appuyez sur STOP.

Désactiver la fonction Cycle Play

Cycle Play continue tant que vous ne choisissez un morceau
différent ou que vous mettez l’instrument hors tension. Sinon,
vous pouvez désactiver manuellement cette fonction.

Note : Si successivement vous apportez des modifications, il se
peut qu’une page d’édition différente soit affichée à la place
de la première. Appuyez sur les boutons SCROLL  pour la re­chercher.

1. En mode Song Play, appuyez sur le bouton EDIT. L’écran

affiche la première page du mode Song Edit.

2. Appuyez sur le bouton -/NO pour désactiver le mode Cy-

cle Play.

5. Appuyez sur le bouton EXIT pour retourner à la page Song

Play. Vous remarquerez que l’icône de Cycle Play est affi-

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3. Appuyez sur le bouton EXIT pour retourner à la page Song

Play. L’Icône de Cycle Play affichée en haut à droite de
l’écran disparaît.