Radio Shack 42-4058 User Manual

Page 1

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42-4058

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

Mixer Function — lets you make the keyboard sound multiple tones for auto accompaniment or memory playback, or to play MIDI data received from another MIDI device (see “Using the Mixer” on Page 12).

100 Auto-Rhythms — provide a steady beat for many styles of music, from rhumba to rock (see “Using the Preset Auto-Rhythms” on Page 9).

61 Full-Sized Keys with Touch Response — provide the feel of a fine musical instrument. The keyboard’s volume varies in response to the force of your touch, just like an acoustic piano, so you can add emotion to your music.

32-Note Polyphonic Sound — lets you play and hear up to 32 notes at the same time, so you can play or create almost any type of music.

Large Display — shows you the notes and chords as you play them, along with the current tone, rhythm, and tempo. The built-in backlight makes it easy to read, even in dim light.

248 Tones — uses technology usually found only on professional equipment to allow you to set your keyboard to sound like anything from a harpsichord to a honky-tonk piano. 100 of these tones have corresponding advanced tones, created by programming in digital signal processor (DSP) effects and other settings. You can even create up to 32 of your own tones with the custom tone synthesizer feature (see “Using the Tone Synthesizer” on Page 13).

Auto Accompaniment — lets you automatically play a preset harmonic pattern to match the selected autorhythm (see “Using Auto Accompaniment” on Page 10).

Data Expansion System — lets you download additional tones, up to four sets of accompaniment data, DSP settings, and registration from your PC and store them in your keyboard’s memory (see “Using the Data Download Service” on Page 21).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Changing the Reverb or

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

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

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

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

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

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

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

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

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

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

Using LA YE R .............................................. 8

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

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

This Owner’s Manual explains how to use this electronic keyboard. It does not teach music. The keyboard conforms to most, but not all, General MIDI specifications. Because of this, you might

experience some incompatibility when using the keyboard with another General MIDI device. For more information, see “Using MIDI” on Page 19. Your keyboard also includes a MIDI (Musical Instrument Digital Interface) feature, which lets you connect it to other MIDI-equipped musical instruments or devices — even your personal computer.

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

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

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

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

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

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

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

Adjusting the Accompaniment Volume ... 10

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

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

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

Using Auto Harm o n i ze ........................... 1 2

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

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

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

Using the Re g i stration Memo r y .......... ....... 1 4

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

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

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

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

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

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

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

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

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

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

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

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

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

Recording Mu l tiple Tracks . .. ................... 18

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

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

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

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

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

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

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

Notes About the

MIDI Implem e n tation Chart ... . .............. .. 20

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Specificat ions ............. ................... ............ 42

2002 RadioShack Corporation.

RadioShack and RadioShack.com are trademarks

used by RadioShack Corporation.

Page 2

The FCC Wants You to Know

If an icon appears at the end of a paragraph, go to the box on that page with the corresponding icon for pertinent information.

— Warning  — Important

R

 — Caution

— Note

Dispose of old batteries promptly and properly. Do not burn or bury them.

Installing Batteries

• Use only fresh batteries of the required size and recommended type.

• Do not mix old and new batteries, different types of batteries (standard, alkaline, or rechargeable), or rechargeable batteries of different capacities.

• If you do not plan to use the keyboard with batteries for a week or more, remove the batteries. Batteries can leak chemicals that can destroy electronic parts.

Using AC Power

center tip must be set to negative and its plug must fit the keyboard's DC 9V jack. Using an adapter that does not meet these specifications could damage the keyboard or the adapter.

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

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You must use a Class 2 power source that supplies 9V DC and delivers at least 800 mA. Its

°°°°







— Hint



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This equipment has been tested and found to comply with the li mi ts for a Class B digital device, pursuant to Part 15 of the

. These limits are designed to provide

Rules

reasonable protection against harmful interference in a re si dential installation . This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cau se harmful interfere nce 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 equipme nt off an d on, th e user i s encouraged to try to correct the interfere nc e by one or more of the following measures:

FCC

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equi pment int o an outlet on a circuit different from that to which the receiver is connected.

• Consult your local RadioShack store or an experienced radio/TV technician for help.

• If you cannot eliminate the int erference, the FCC requires that you stop using your keyboard.

Changes or modifications not expressly approved by RadioShack may cause interference and void the user’s authority to operate the equipment.

You must use shielded interfac e cable s with this equipment.

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You can power your keyboa rd usin g intern al batteries or with standard AC power using an optional AC adapter.

The keyboard retains the following settings in its memory even when the power is turned off as long as power is supplied to it (either by the batteries or AC adapter):

• tone number

• layer and split

• split point

• touch resp onse

• reverb/chorus

•DSP

• equalizer

• rhythm number

• tempo

•mixer mode

• MIDI keyboard channel

• MIDI in chord judge

• MIDI accompaniment out

• assignable jack

• accompaniment vo lum e

• user area tone (synthesizer tone)

• user area accompanime nt

• user area DSP

• song memory

• registration mode

If the keyboard loses power (by disconnecting the AC adapter when batteries are not installed or the batteries lose power), these settings are lost or initialized to factory settings.

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Your keyboard can use 6 D batteries (not supplied) for power. For the best performance and longest life, we recommend RadioShack alkaline batteries.

1. While pressing the tabs on the battery compartment co ver on the b ottom of the keyboard, pull up the cover to remove it.

2. Place the batteries in the compartment as indicated by the polarity symbols (+ and –) marked next to the compa rtment .

3. Replace the cover.

When the keyboard stops operating properly, replace the batteries.

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You can power the keyboard using a 9V, 800 mA AC adapter and a size M Adaptaplug™ adapter (neither supplied). Both are available at your local RadioShack store. Connecting an AC adapter automatically disconnects any internal batteries.

1. Set the AC adapter’s voltage switch to

2. Insert the Adaptaplug adapter into the

3. Connect the AC adapte r’s barrel plug to

4. Plug the AC adapter’s other end into a



adapter’s cord so it reads – TIP.

DC 9V

on the back of the keyboard.

standard AC outlet.





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R

• Always connect the AC adapter to the keyboard before you connect it to AC power. When you finish, disconnect the adapter from AC power before you disconnect it from the keyboard.

You can also delete or initialize some settings independently. See “Resetting the Keyboard” on Page 15.

Page 3

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To listen to your keyboa rd without dis turbing others, you can connect an optional pair of stereo headphones with a 1/4-inch (6.35 mm) plug. Your local RadioShack store sells a wide selection of headphones. Insert the headphones’ plug into the back of the keyboard. Connecting headphones disconnects the keyboard’s built-in speakers.

PHONES/OUTPUT

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To protect your hearing, follow these guidelines when you use headphones.

• Set the volume to the lowest setting before you begin listening. After you begin listening, adjust the vo lum e to a comfortable level.

• Do not listen at extremely high volume levels. Extended high-volume listening can lead to permanent hearing loss.

• Once you set the volume , do not increase it. Over time, your ears adapt to the volume level, so a volume level that does not cause discomfort might still damage your hearing.

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To amplify your keyboard’s sound, you can connect it to an optional external amplifier using an audio cable with a mm) plug (not supplied). To connect an external amplifier to your keyboard, insert the cable’s plug into

/4-inch (6.35

PHONES/OUTPUT

the back of the keyboard, then connect the other end of the cabl e to the ampl ifier’s in put jack(s) (such as AUX IN or TAPE IN). Your local RadioShack store sells a full line of amplifiers, speakers, and cables.

Connecting HeadphonesConnecting Headphones

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To easily view sheet music while playing your keyboard, insert the supplied sheet

music stand into the slot on the top back panel.

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Preset 4-Band Equalizers

lets you easily set the tone to your favorite sound mix (Standard, Ja zz, Rock, Dance, Classic, M ellow, Bright, and so on). You can even tailor the response of each frequency band (see “Using the Equalizers” on Page 7).

—

Registration Memory

you store up to 32 different setups of the keyboard’s controls, so you can instantly recall them when you need them (see “Using the Registration Memory” on Page 14).

— lets

Page 4

Song Memory

— lets you set the keyboard to record up to two songs, six tracks, and 3,500 notes. The recording remains stored even while the keyboard is off (see “Using the Song Memory” on Page16).

Automatic Intro/Ending Rhythm

(Back of Keyboard)

— you can set the keyboard so it automatically adds a 3- to 8measure introduction or 3- to 8measure ending to the selected auto-rhythm (see “Using INTRO” on Page 9).

MIDI In/Out Jacks

let you connect the keyboard to another MIDI-equipped device. To connect a MIDI device to your keyboard, see

A Quick Look at Your Keyboard

“Making the MIDI Connections” on Page 20.

Tune Control

keyboard so you can play in tune with other instruments (see “Tuning the Keyboard” on Page 14).

—

Headphones/Output Jack

lets you connect headphones so you can play without disturbing others, or an exte rnal amplifier so you can play for a crowd (neither supplied).

Sustain/Assignable Jack

connect a sustain pedal (not supplied , available at your local RadioShack store or at

RadioShack.com

keyboard so you can sus tain or soften your keyboard’s sound, or start/stop an auto-rhythm (see “Using a Sustain Pedal” on Page 15).

— lets you adjust the pitch of your

—

— lets you

) to the

Fill-In Rhythm

— lets you insert a short variation into any auto-rhythm (see “Using FILL-IN” on Page 9).

Tempo Control

— lets you speed up or slow down the tempo of any selected music pattern.

Effects

— lets you add reverb, ch orus , an d m ore pow e rful sound effects – e ven ta ilo r a pa ram eter to create your own effect (see “Using the Preset Tones” on Page5).

Auto Harmonize

— lets you automatically add harmony to your

melodies (see “Using Auto Harmonize” on Page12).

Split Function

— lets you use different sounds for the

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

Layer Function

— lets you set the keyboard to play two different tones at the same time, giving your music a “layered” effect (see “Using LAYER” on Page 8).

Transpose Function

— lets you instantly change the key of the music, even while you are playing (see “Changing Keys” on Page 14).

Page 5

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1. Slide

VOLUME

2. To turn on the keyboard, press The POWER indicator lights and the display tur ns on.

3. Slide

4. Slide

MODE

VOLUME

begin playing the keyboard.

• To select an auto-rhythm, see “Us ing

the Preset Auto-Rhythms” on Page 9.

• To play auto accompaniment, see

“Using Auto Accompaniment” on Page 10.

5. Slide

VOLUME

the sound level or toward decrease it.

6. To turn off the keyboard, pres s The POWER indicator and the keyboard’s display turn off.

The demo tune number appears here.

NORMAL

toward

MIN

(minimum).

MAX

slightly and

to increase

MIN



POWER

To save power, the keyboard automatically turns off after about 6 minutes if you do not

press a key. To turn on the keyboard again, press

POWER

. To cancel auto power off,

turn on the keyboard while holding down

TONE

. The next time you turn the keyboard off then back on again, it will automatically turn off after about 6 minutes.

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Your keyboard can play two preprogrammed demonstration tunes. To start the

DEMO

demonstration, press plays the first demonstration tune (No. 0). To select the other tune, press keypad. The selected tune’s number appears and the tune plays.

The treble and bass clefs show the notes as they play.

. The keyboard

–

or + on the

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

To prevent hearing damage, always set the keyboard’s volume to MIN before you turn it on

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

Basic Operation

The keyboard automatically selects the tone GRAND PIANO (No. 000) when you turn the power on. Each time you turn it on after that, it selects the last selecte d to ne. To select a different tone, see “Using the Preset Tones”.

Using the Preset Tones

• The keyboard has 32-note (maximum) polyphonic sound. This means that you can play up to 32 different notes at the same time with most of the keyboard’s preset tones. Some tones are only capable of 16note polyphony.

• Most tones on this keyboard have been recorded and processed using a technique

digital sampling

called level of tonal quality, samples are taken in the low, mid, and high ranges and are then combined to sound amazingly close to the originals. You might notice very slight differences in volume or sound quality for some tones when you play them at different positions on the keyboard. This is an unavoidable result of multiple sampling and is not a malfunction.

• Repeatedly press + or – to select the next highest or lowest numbered tone.

• If you enter an incorrect first digit, press TONE to clear your entry, then enter the correct digit.

• When you select one of the drum sets (tone numbers 228–237), each key plays a different percussion sound. See “Drum Assignment List” on Page 30. The drum set sounds change when you change the rhythm number, play back data stored in memory, or receive MIDI program change data.

• Tone numbers 238–247 are the user tone area. See “Using the Tone Synthesizer” on Page 13.

. To ensure a high

Basic Operation

The keyboard at the bottom of the display shows the location of the keys being pressed.

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Your keyboard can sound like 248 different musical instruments or sound effects. The TONES list on the keyboard’s top panel shows the name and three-digit number for the first 100 preset tones. For tones 100227, see “GM Tones” on Page 27.

Follow these steps to select and play a preset tone.

The bar graph shows the sound level on each of the 16 channels. See “Us ing the Mixer” on Page 12.

TONE

JED;

1. Press tone’s number appear.

and the current

JED;JED;

2. To play a different tone, choose a preset tone from the TONES list and enter its three-digit number on the keypad. Precede a single- or two-digit number with zeroes. As you press the keys, the selected digits appear.

3. Play the keyboard to hear the selected tone and adjust

VOLUME

to the desired

level.

Page 6

4. To select a different tone, repeat Ste p 2

JED;

JED;JED;

appears.

while

TONE

, the tone automatical ly change s to the

advanced tone version of tone number 00.

Using Reverb and Chorus

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The first 100 tones (num be rs 0 0 to 99 ) hav e corresponding advanced tones. The advanced tones use variations of standard tones created by programming in effects (DSP) and other settings. For example, PIANO is modified into STEREO PIANO, ORGAN becomes ROTARY SPEAKER ORGAN, and so on. See “Advan ced Tones” on Page 25.

If a tone number outside the range of 000 to 099 is selected when you press

ADVANCED

Only one of the channels (1 to 16) can have an advanced tone. If you assign an advanced tone to another channel, the tone in the currently assigned channel becomes the standard tone.

ADVANCED TONE

Press advanced tone. currently selected tone changes to its advanced version. Repeatedly press to scroll through the ad va nce d t ones, or use the number buttons to enter the two-digit tone number.

TONE

Press

disappears.

7:7:

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HlX

The reverb feature creates ambience by causing the sound to linger an d reverberate . You can choose from 16 different reverb effects. See “Reverb” on Page32 for details.

The chorus feature gives sound greater depth by causing it to vibrate. You can choose from 16 differe nt chorus effect s. See “Chorus” on Page 32 for details.

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1. Press

2. Repeatedly press

REVERB

indicator next to REVERB or CHORUS lights.

number buttons to enter a number to display the effect you want. See “Reverb” or “Chorus” on Page 32 for the type of the effects and the corresponding numbers.

CHORUS

or – or use the

. The

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You can control the parameters of an effect to change how it sounds. The parameters you can control vary dep ending on the effec t type.

1. After selecting the effect you want, press G ( setting screen appears.

2. Repeatedly press I or J ( display the parameter you want to change.

Reverb Parameters

Reverb effects are classified as reverb or delay type. Parameter settings vary depending on the type.

Reverb Type Parameters (No. 0 to 5, 8 to 13)

HlX

HlXHlX

Controls the reverb size. A larger number produces larger reverb.

ENTER

(Reverb)

). The parameter

CURSOR

B[l[b

B[l[b (&&&

&&&

'(-

&&&&&&

'(-'(-

B[l[bB[l[b

) to

) —

HlX J_c[

HlXHlX

long reverb continues. A larger number produces longer reverb.

;HB[l[b

;HB[l[b;HB[l[b

— Controls the initial reverb volum e. The initial echo sound is the first sound reflected from the walls and ceiling. A larger value specifies a larger echo sound.

>_]^:Wcf

>_]^:Wcf (&&&

>_]^:Wcf>_]^:Wcf

damping of high frequency reverberation. A smaller val ue damps high sounds, creating a dark reverb. A larger value does not damp high sounds, creating a brighter reverb.

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

15)

:[bWoB[l[b

:[bWoB[l[b (&&&

:[bWoB[l[b:[bWoB[l[b

size of the delay sound. A higher value produces a larger delay sound.

:[bWo<8

:[bWo<8:[bWo<8

Adjusts delay repeat. A higher value produces a greater number of repeats.

;HB[l[b

;HB[l[b;HB[l[b

— Controls the initial reverb volum e. The initial echo sound is the first sound reflected from the walls and ceiling. A larger value specifies a larger echo sound.

>_]^:Wcf

>_]^:Wcf (&&&

>_]^:Wcf>_]^:Wcf

damping of high frequency reverberation. A smaller val ue damps high sounds, creating a dark reverb. A larger value does not damp high sounds, creating a brighter reverb.

Chorus Parameters

9^e

9^e9^e

size of the ch orus sound.

9^e

9^e HWj[

9^e9^e

undulation speed of the chorus sound. A higher value produces faster undulation.

to select the

appears, and the

7:7:

to return to the standard tone.

J_c[ (&&&

&&&

'(-

J_c[J_c[

&&&&&&

(Initial Echo Sound) (

&&&

&&&&&&

&&&

&&&&&&

(Feedback) (

(Initial Echo Sound) (

&&&

&&&&&&

(Chorus)

HWj[ (&&&

&&&

HWj[HWj[

&&&&&&

) —Controls how

'(-'(-

'(-

) — – Adjusts the

'(-'(-

'(-

) — Specifies the

'(-'(-

&&&

&&&&&&

'(-

) — – Adjusts the

'(-'(-

B[l[b

B[l[b (&&&

&&&

B[l[bB[l[b

&&&&&&

'(-

)—Sets the

'(-'(-

'(-

'(-'(-

'(-

'(-'(-

–

&&&

'(-

&&&&&&

'(-'(-

) —–

&&&

'(-

&&&&&&

'(-'(-

)—Sets the

)

Page 7

9^e

9^e :[fj^

:[fj^ (&&&

&&&

'(-

9^e9^e

:[fj^:[fj^

&&&&&&

undulation depth of the ch orus sound. A higher value produces deeper undulation.

)—Sets the

'(-'(-

3. Repeatedly press + or – or use the number buttons to input the parameter setting you want.

4. Press H ( effect selection screen.

EXIT

). This returns to the

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DSP effects are applied to the path be tween the sound source and output. You can add the effect to any sound, even after you added reverb or chorus effect. See “DSP” on Page 32 for more details.

You can also create your own DSP effects or download the data from

www.radioshack.com

keyboard. The keyboard has ten DSP effec t memories so you can store custom DSP effects. See “Saving DSP Parameter Settings” on this page and “Using the Data Download Service” on Page 21 for more information.

and transfer it to the

5'.'%6+0)#&526;2'

1. Press

2. Repeatedly press

DSP

. The indicator next to DSP

lights.

or – to select the DSP type you want. See “DSP” under “Effect List” on Page 32 for the type of the effects and the corresponding

&&&

'&/

numbers. The DSP number (

(advanced tone), or

7Z7Z

created using DSP) appears.

Kih

KihKih

&&&&&&

'&/'&/

(user tone

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You can change these basic DSP parameters.

3. Repeatedly press number using the number buttons to change the parameter setting.

EXIT

4. Press H (

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You can control the relative strength of a DSP and how it is applied.

1. After selecting the DSP type you want,

press

2. Repeatedly press I or J ( display the parameter you want to change.

Parameters 0 to 7

the algorithm of the selected DSP. See “DSP Algorithm List” on Page34.

:$HlXIdZ

:$HlXIdZ:$HlXIdZ '(-

'(-

'(-'(-

processed sound is sent to reverb.

:$9^eIdZ

:$9^eIdZ:$9^eIdZ '(-

'(-

'(-'(-

processed sound is sent to chorus.

3. Repeatedly press number using the number buttons to change the parameter setting.

4. Press H (

ENTER

(

(DSP Reverb Send) (

) — Sets how much of the DSP-

(DSP Chorus Send) (

) — Sets how much of the DSP-

EXIT

or – or enter a

CURSOR

— These depend on

&&&

&&&&&&

&&&

&&&&&&

or – or enter a

) to

016'±

Changing the Reverb or Chorus Parameters

You can turn effects on/off or change the effect level for each keyboard channel separately. See “Using the Mixer” on Page 12 for more information.

Selecting a DSP Type

You must turn on the DSP lines of the required parts using the mixer function. See “Using the Mixer” on Page 12.

Changing DSP Parameters

• The effects can be turned on/off or have their levels set separately for each keyboard channel. See “Using the Mixer” on Page 12.

• Playing a demo tune automatically changes the effect to the one assigned to the tune. You cannot change or cancel a demo tune effect.

• Changing the effect setting while the keyboard is playing causes a slight break in the sound when the effect changes.

• The advanced tones automatically turn on the DSP line for more effective tones. If you assign an advanced tone to a keyboard part (Channels 1 through 4), the DSP line turns on automatically and the DSP selection changes according to the advanced tone settings.

• In the mixer mode, the DSP line on/off setting for a part with an advanced tone is on, while the setting for a part that does not have an advanced tone is off. DSP effects previously applied to these parts are cancelled and the tone might sound different. Use the mixer editing sequence to turn DSP back on (see“Using the Mixer” on Page 12).

:IFLeb

(Volume) (

:IFLeb:IFLeb

post DSP volume.

:IFFWd

:IFFWd(#,*

:IFFWd:IFFWd

stereo pan (relative position between left and right channels).

:IF>ebZed%e<<

:IF>ebZed%e<<:IF>ebZed%e<<

current DSP line after you change the tone. Select original setting of the newly selected tone.

For advanced tones, changing the tone turns off all DSP line settings except on the currently selected channel.

#,*

#,*#,*

e<<

to change the DSP line to the

e<<e<<

1. Press

2. Repeatedly press I or J ( display the parameter you want to change.

&&&

'(-

&&&&&&

'(-'(-

!,)

) — Sets the post DSP

!,)!,)

—Select

DSP

eded

) — Sets the

to keep the

CURSOR

) to

75+0)6*''37#.+<'45

The keyboard has 10 preset f our-band equalizers. You can also adjust the gain of each of the four bands to suit your personal preference.

5#8+0)&522#4#/'6'4

'66+0)5

You can save up to 10 modified DSP settings in the user area for later recall.

1. After making the DSP parameter settings you want, press G ( The DSP number of the user area flashes.

2. Repeatedly press user area DSP number (100-109) you want to save.

3. Press G (

IWl[EA

IWl[EAIWl[EA

returns to the tone or rhythm selection screen.

ENTER

briefly appears and the display

or –to select the

) to store the effect.

ENTER

5'.'%6+0)6*''37#.+<'4

;2'

1. Press

EQUALIZER

selected equalizer type appears.

. The currently

DSP (Digital Signal Processor)

Page 8

Using SPLIT

016'±

Adjusting the Gain

Gain settings apply only to the current equalizer type. When you change the equalizer type, the default gain settings for the newly selected equalizer type take effect.

Using Split

• If SPLIT is on when you turn off the keyboard, it remains on the next time you turn the keyboard back on.

• When you turn on SPLIT, the last selected settings appear.

• When you select Concert Chord or Fingered auto accompaniment, the accompaniment keyboard range is shifted to the split point you set.

Using Layer

• If LAYER is on when you turn off the keyboard, LAYER will still be on the next time you turn on the keyboard.

• When you turn on LAYER, the previous tone settings appear.

2. Repeatedly press + or – or enter a number using the number buttons to select the equalizer type you wan t.

IjWdZWhZ

The equalizer type (

Jh[Xb[!

Jh[Xb[!,BekZd[ii

Jh[Xb[!Jh[Xb[! :WdY[

:WdY[,@Wpp

:WdY[:WdY[

graph on the display shows the frequency response of the type that appears.

Press H ( equalizer setting screen.

BekZd[ii,C[bbem

BekZd[iiBekZd[ii

@Wpp

, or

@Wpp@Wpp

EXIT

IjWdZWhZ,8Wii!

IjWdZWhZIjWdZWhZ

C[bbem,8h_]^j

C[bbemC[bbem

9bWii_Y

) appears. The bar

9bWii_Y9bWii_Y

EQUALIZER

) or

8Wii!

8Wii!8Wii!

8h_]^j,HeYa

HeYa

8h_]^j8h_]^j

HeYaHeYa

to exit the

#&,756+0)6*')#+0

1. After selecting the eq ualiz er type , pres s

ENTER

(

75+0)52.+6

The SPLIT feature lets you play two d ifferent tones on opposite ends of the keyboard, so the low-end keys play one tone, and the high-end keys play another. The main tone sounds in Channel 1 and the split tone sounds in Channel 3. You can use the m ixer function to change the volume or other settings in each channel. See “Using the Mixer” on Page 12. You can change the split point at any time.

1. Press

2. Use the number buttons to enter the

3. Press

4. Enter the three-digit number for the

TONE.

three-digit number for the tone yo u want the high-end keys to play.

SPLIT

. The SPLIT indicator

appears.

tone you want the low-end keys to play.

2. Repeatedly press I or J ( select the band you wa nt to adjust (

C_ZBem

C_ZBem,C_Z>_]^

C_ZBemC_ZBem

graphs for the corresp ondin g frequen cy range flash.

3. Repeatedly press number using the number buttons to make the adjustment for the band you want. You can adjust within the range of –12 to +12. The bar graphs change in magnitude as you adjust.

4. Press H ( type selection screen, then press

EQUALIZER

5. Hold down where you want the high-end tones to begin. The selected key’s name appears.

For example, if you set the sp lit poin t to be F below middle C,

6. Play both the low and high-end keys to hear the selected split tones.

C_Z>_]^

C_Z>_]^C_Z>_]^

, or

EXIT

) to return to the equalizer

to exit the equalizer mode.

SPLIT

, and press the key

T o sele ct a different low-end ton e

the three-digit number for the new lowend tone while the SPLIT indicator appears.

To select a different high-end tone

SPLIT

press enter the three-digit number for the new high-end t one. Then pre s s so the SPLIT indicator appears.

To cancel SPLIT

SPLIT

to turn off its indicato r, then

, repeatedly press

until its indicator disappears.

CURSOR

>_]^

). The bar

>_]^>_]^

or – or enter a

appears.

<)<)

SPLIT

) to

Bem

BemBem

, enter

again

75+0).#;'4

The keyboard lets you play two different preset tones at the same time, creating a “layered” effect when you press one key. The first tone you select is called the

and the second tone is called the

tone tone

1. Press

2. Enter the three-digit number for the

3. Enter the three-digit number for the

TONE

base tone then press LAYER indicator appears.

layer tone.

LAYER

base

layer

. The

4. Play the keyboard to hear the selected layered tones.

To select a different layer tone

the three-digit nu mb er f or the new layer tone while the LAYER indicator appears.

To select a different base tone

LAYER

to turn off its ind icator , then ente r the three-digit nu mb er for the new base tone. Then press LA YER ind ic ator app ears .

To cancel LAYER

LAYER

until its indicator disappears.

75+0)52.+6#0&.#;'461)'6*'4

You can combine the split and layer features, so you can play one layered combination of tones on the low-end keys and another on the high-end keys.

1. If the SPLIT or LAYER indicator is on,

SPLIT

press

2. Enter the number f or t he hig h-e nd bas e tone on the keypad.

LAYER

, enter

, press

LAYER

again so the

, repeatedly press

to turn it off.

Page 9

3. Repeatedly pres s

SPLIT

until the SPLIT

indicator appears.

4. Enter the number for the low-end base tone.

SPLIT

5. Repeatedly pres s

until the SPLIT

indicator disappears.

LAYER

6. Repeatedly press

until the

LAYER indicator appears.

8. Press

9. Enter the number of the layered t one for

10. If desired, hold down

11. Play the keyboard to hear the selected

SPLIT

. The SPLIT indicator

appears.

the low-end keys.

the key where you want the high-end tones to begin.

tones.

7. Enter the number of the layered tone for the high-end keys.

To cancel the SPLIT/LAYER combination, press each button so both the SPLIT and LAYER indicators disappear.

75+0)6*'24'5'6#7614*;6*/5

Your keyboard has 100 preset aut o-rhythms that provide a steady beat for your music. The name and two-digit number of each preset auto-rhythm is listed on the keyboard’s top panel. You can also download up to 4 sets of accompaniment data and store them into the keyboard’s memory. See “Using the Data Download Service” on Page 21.

You can play a preset auto-rhythm on the keyboard in any of the following ways:

• Select and play a rhythm (see “Selecting/Playing an Auto-Rhythm”)

• Synchronize the start of a rhythm with your music (see “Using SYNCHRO”)

• Start a rhythm with a special introduction (see “Using INTRO”)

• Briefly vary the pattern of a rhythm (see “Using FILL-IN”)

• Play an alternate v ersion (variati on) of a rhythm (see “Using FILL-IN NEXT” on Page 10)

• Stop a rhythm with a special ending (see “Using ENDING” on Page10)

5'.'%6+0)2.#;+0)#0 #

7614*;6*/

1. Press

RHYTHM. H>OJ>C

and number of the current auto-rhythm appear.

2. To select a different rhythm, choose an auto-rhythm from the 100 RHYTHMS list and enter its three-digit number on the keypad. Precede a single- or twodigit number with zero es. Or , repeatedly

or – to move to the next higher

press or lower numbered rhythm .

H>OJ>C

H>OJ>CH>OJ>C

and the name

slightly from the normal rhythm, so it is almost like having two rhythms in one!

4. Adjust

VOLUME

to the desired level.

5. To change the auto-rhythm speed, press (or hold down) The current tempo setting appears.

6. Play the keyboard along with the autorhythm.

7. To select a different rhythm, repeat Steps 1 and 2.

8. To stop the auto-rhythm, press

STOP

75+0)5;0%*41

This feature lets you synchronize the start of an auto-rhythm with the beginning of your music.

After you select and enter an auto-rhythm,

SYNCHRO/FILL-IN NEXT

press playing the keyboard. The keyboard automatically begins to play the rhythm when you press any key in the accompaniment keyboard range (see “Using Auto Accompanim ent” on Page 10).

75+0)+0641

This feature lets you start the selected autorhythm with a light, 3- to 8-measure introduction that blends easily into the selected rhythm.

To start a rhythm with an in troduction, s elect and enter the rhythm, then press

ENDING 1

selected variation (1 or 2) plays, then the selected auto-rhythm automatically starts.

or 2. The introduction for the

SPLIT

then press

TEMPO

, then begin

¼or¹

START/

INTRO/

016'±

Selecting/Playing an Auto-Rhythm

• The keyboard automatically selects the rhythm 8 BEAT 1 (No. 000) when you turn the power on. Each time you turn it on after that, it selects the last selected rhythm.

• If you incorrectly enter the first digit of the rhythm, press RHYTHM to clear the entry and return to the last selected auto-rhythm.

• You can also adjust the tempo by first pressing TEMPO desired number of beats per minute in three digits (030 to 255), or by holding down + or – on the keypad.

• To reset the tempo to its default (original) speed, press TEMPO time.

or ¹, then entering the

and ¹at the same

Using the Preset Auto-RhythmsUsing the Preset Auto-Rhythms

MODE

3. Set

START/STOP

NORMAL

, then press

to start the selected auto-

rhythm. Or, you can press

VARIATION/FILL-IN 1

or 2 to start the rhythm. Each of the keyboard’s preset aut o-rhy thm s has a built-in variation (alter nate) to its norma l beat pattern. The variation differs

75+0)(+..+0

This feature lets you insert a short (1- to 2measure) variation in the beat pattern of a selected auto-rhythm. While the autorhythm is playing, press and release

VARIATION/FILL-IN 1

the variation you s tart ed w ith . T he ke yboard inserts a 1- to 2-measure fill-in of either variation, then the original rhythm

or 2, corresponding to

Page 10

016'±

Using Auto Accompaniment

• You can use the keyboard’s rhythm controls (INTRO/ENDING 1 or 2, VARIATION/FILL- IN 1 or 2, and SYNCHRO/FILL-IN NEXT) with all three types of auto accompaniment.

• After you press the auto accompaniment keys while using concert chord or standard fingering, the keyboard plays the same chord until you press other accompaniment keys to play a different chord or press START/STOP.

• When you select Concert Chord or Standard Fingering mode, the range of the accompaniment keys is set by the split point. See “Using SPLIT” on Page 8.

Concert Chord

You can press any labeled note(s) to the right of the lowest note in the chord to produce a minor, a dominant seventh, or minor seventh chord.

automatically resumes at the end of the current measure.

When you press another variation button

V A RIATION/FILL-IN 2

(

while you are playing variation 1, for example ), the keyboard sta rts to play the newly-selected var iati on and does not insert a fill-in.

75+0)(+..+00':6

To switch to the other variation of the selected auto-rhythm during play, press

SYNCHRO/FILL-IN NEXT

while the rhythm is playing. The fill-in pattern of the current variation plays, then fill-in of the other variation, and the rhythm switches to the other vari ation.

75+0)'0&+0)

To end the selected rhythm with a special flourish, press the auto-rhythm is playing. The keyboard plays a special ending of the selected type (1 or 2), then auto matically stops the rh ythm.

The ending pattern sta rts i mm edi ate ly if yo u press the button before the second beat of the current measure. If you press after the second beat, the ending pattern starts from the next measure.

INTRO/ENDING 1

or 2 while

Using Auto Accompaniment

75+0)#761#%%1/2#0+/'06

The 18 keys on the left side of t he ke yb oard with note labels above them are called accompaniment ke ys .

Accompaniment

Keyboard

Melody

Keyboard

You can set t he keyboard to play three different types of auto ac companime nt using the accompaniment keys.

Concert Chord

•

— lets you play chords on the accompaniment keys using chord formations of from one to four notes. The number of keys you press determines the type of chord that plays (see “Concert Chord”).

Standard Fingering

•

— lets you play chords on the accompaniment keys using standard chord formations of three or four notes (see “Standard Fingering” on Page 11).

Full-Range Chord

•

— lets you play the melody using the entire keyboard while the keyboard plays accompaniment based on your auto-rhythm selection.

2. Within 5 seconds, enter a number from

0 0 0

(softest) to keypad. The numbers appear as you press the keys.

Or, press repeatedly press – or + to select the next lowest or highest accompaniment volume setting.

To reset the accompaniment volume to its default value of 87, press

VOLUME

then press – and + at the same

time.

%10%'46%*14&

The concert chord method lets beginning keyboard players e asi ly s ele ct and play a chord .

The number of accompaniment keys you press determines the type of chord that plays. This chart shows the chord type that plays when you press one, two, three, or four accompaniment keys at the same time.

C D E F G A B C D E F

1 2 7

(loudest) on the

ACCOMP VOLUME

then

ACCOMP

The auto-accompanim ent patterns consis t of four parts: chord 1, chord 2, bass, and rhythm. You can delete any of the parts by using the mixer function. See “Using the Mixer” on Page 12.

#&,756+0)6*' #

%%1/2#0+/'0681.7/'

The keyboard lets you adjust the volume of your accompaniment separately from the overall volume of the keyboard.

1. Press

ACCOMP VOLUME

. The current accompaniment vo lume setting appears.

C D E F G A B C D E F

Page 11

The lowest note you play determines the key of the chord. For example, if the lowest note is C, the keyboard plays a C chord.

1. Set

MODE

CONCERT CHORD

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

3. To start the auto-rhythm before the auto accompaniment, press

NTRO/ENDING 1

or 2.

START/STOP

Or, to synchronize the start of the selected auto-rhythm with your accompaniment, press

IN NEXT

SYNCHRO/FILL-

4. Begin the accompaniment at the desired interval by pres sing th e desire d accompaniment key(s).

To play a melody along with the accompaniment, press any key(s) to the right of the accompaniment keys.

5. Adjust the tempo and

VOLUME

to the

desired lev els.

6. To change chords without interrupting the rhythm, simply press the auto accompaniment ke y(s) requ ired to form the new chord.

7. To stop auto accompaniment and the auto-rhythm, press

START/STOP

Follow these steps to start standard fingering auto accompan im ent.

1. Set

MODE

FINGERED

2. Select and enter an auto-rhythm.

3. To start the auto-rhythm before your auto accompaniment, press

STOP

INTRO/ENDING 1

START/

or 2.

Or, to synchronize the start of the selected auto-rhythm with you r accompaniment, press

IN NEXT

SYNCHRO/FILL-

4. Begin the accompaniment at the desired interval by pressing at least three accompaniment keys to play the desired chord.

To play a melody along with the accompaniment, press any key(s) to the right of the accompaniment keys.

5. Adjust

TEMPO

and

VOLUME

to the

desired levels.

6. To change chords without interrupting the rhythm, simply press the auto accompaniment keys required to form the new chord.

7. To stop auto accompaniment and the auto-rhythm, press

START/STOP

016'±

Standard Fingering

• You do not have to press the key marked with parentheses on the keyboard in the chart to produce a 7, m7, M7, mM7, add9, or madd9 chord.

• Although the chart shows only one possible fingering position for each chord, it is possible to play a chord using several different positions. For example, the following three positions produce the same C chord.

• When you play an aug, 7 the lowest note you play determines the root of the chord. Be sure that your fingering correctly defines the root you want.

• See “Fingered Chord Chart” on Page 31 for all the chords you can play on your keyboard using standard fingering accompaniment.

, or dim7 chord,

Full-Range Chords

• You cannot use inverted fingerings. The lowest note is the root.

• You can play the same chord without pressing the 5th G.

• When the notes of a chord are more than 5 notes apart, the lowest sound becomes the base note.

Using Auto Accompaniment

56#0&(+0)'4+0)

The standard fingering method uses standard formations of three or four notes, and lets the experienced musician play a wider variety of accompaniment chords.

This chart shows the 15 chord types you can play on your keyboard by using standard fingering.

(7..4#0)'%*14&5

While the concert chord and standard fingering methods limit ch ord formations to the accompaniment keys, the full-range chord method lets you play chords of any type using any of the key board’s keys.

MODE

Set follow the steps unde r “Stand ard Fin gering”. If you press three or more keys that form a chord anywhere on the keyboard, the keyboard plays that chord. The keyboard responds with melody sounds if you press fewer than three keys.

In the full-range chord mode, the keyboard recognizes 23 more chords (in additi on t o the 15 in the fingered chord mode). The following is an ex ampl e of th ose c hords with C as the base note.







BCmDmFm Gm Am B

FULL RANGE CHORD

and





DEFG AJB



F7Fm7Gm7A



add9



Page 12

016'±

Using Auto Harmonize

• Auto harmonize does not work when you select full range chord auto accompaniment or no auto accompaniment.

• The harmony melody in auto harmonize mode uses Channel 5. You can change the tone or volume setting of the harmony by using the keyboard’s mixer function (see “Using the Mixer”).

Using the Mixer

• Normally, keyboard play is assigned to Channel 1. When you use auto accompaniment, parts are assigned to Channels 6–10.

• When you use the keyboard as the sound source for another MIDI device, all 16 channels are assigned musical instrument parts, Channel 10 is reserved for drum parts only, per MIDI standard.

• The mixer settings also affect the corresponding MIDI output.

75+0)#761*#4/10+<'

When using auto-accompan im ent in the fingered or concert chord modes, press

AUTO HARMONIZE

harmony to your melodies. The indicator next to AUTO HARMONIZE lights, and the keyboard adds harmon y based on the chord playing on the accompaniment key section.

to automatically add

75+0)10'617%*24'5'6

The keyboard’s one-touch preset feature recalls these characteristics for a selected rhythm:

75+0)6*'/+:'4

The keyboard plays multiple parts at the same time in up to 16 separate channels during auto accompaniment, or memory playback, or when receiving MIDI data. You can control the on/off setting, volume, and parameters of each of the keyboard’s channels just as you would with a sound mixer.

This table shows the parts assig ned to each channel.

• tone

• tempo

• layer on/off

• effect type

• auto harmonize on/off

After selecting a rhythm, press

PRESET

standby mode. Start the accompaniment. The rhythm plays at a suitable setting and the keyboard sounds the selected tone for the selected rhythm.

To exit the edit mode, press display shows the edited status of the channels.

. The keyboard enters synchro

e<<

: Turns off the current channel. The

e<<e<<

bar at the bottom of the level meter disappears.

5. To edit other channels, press H ( to return to the channel selection screen, then repeat steps 2–4.

ONE TOUCH

MIXER

. The

EXIT

)

Using the Mixer

%JCPPGN 2CTV

1 Main tone 2 Layered tone 3 Split tone 4 Layered/split tone 5 Harmonize tone 6 Auto accompaniment part 1 7 Auto accompaniment part 2 8 Auto accompaniment part 3 9 Auto accompaniment bass part 10 Auto accompaniment rhythm part 11 Memory track 1 12 Memory track 2 13 Memory track 3 14 Memory track 4 15 Memory track 5 16 Memory track 6

'FKVKPIVJG5VCVWUQHC%JCPPGN

You can turn a channel off to delete a specific part.

MIXER

1. Press the last selected channel appear.

2. Repeatedly press channel you want to edit.

3. Repeatedly press G (

CURSOR

( of the channel —

4. Press turn it off.

(default): Turns on the current

eded

channel. A bar appears at th e botto m of the level meter fo r the selected cha nne l.

. The MIXER indicator and

or – to select the

ENTER

) then

) to display the current status

e<<

e<<e<<

eded

to turn on the channel or – to

'FKVKPI2CTCOGVGTU

You can change the settings of six parameters for the selected channel.

1. Select the channel you want to edit as described in Steps 1 and 2 of “Editing the Status of a Channel”.

ENTER

2. Press G ( parameter edit mode.

3. Repeatedly press I or J to select the parameter you want to change.

Tone Paramete rs

Jed[De$

Jed[De$ (&&&

Jed[De$Jed[De$

assigned to the channel. When the assigned tone is an adv an ce d ton e, th e display shows only two digits.

FWhjed%e<<

FWhjed%e<<FWhjed%e<<

off.

Lebkc[

Lebkc[ (&&&

Lebkc[Lebkc[

volume of the selected channel.

FWd

FWd (#,*

FWdFWd

(relative position of the tone between left and right speaker channels). fully left,

!,)

!,)!,)

EYj

EYjEYj

range of the tone up or down by octav e.

Tuning Parameters

9999

(Coarse) tunes the pitch of the selected channel in semitone units.

<_d[Jkd[

<_d[Jkd[ (¶'&&

<_d[Jkd[<_d[Jkd[

pitch of the selected channel in cent

&&&

&&&&&&

&&&

&&&&&&

#,*

#,*#,*

&&&&

is fully right.

(Octave)

) to enter the

(*-

) — sets the tone

(*-(*-

– turns each channel on or

'(-

) — controls the

'(-'(-

!,)

) — controls the pan

!,)!,)

#,*

#,*#,*

is the center position, and

I^_\j

I^_\j (#(

I^_\jI^_\j

Jkd[

Jkd[ (¶(*

Jkd[Jkd[

¶'&&

¶'&&¶'&&

¶(*

¶(*¶(*

!'&&

!'&&!'&&

) – shifts the

#(#(

!(!(

!(*

) — coarsely

!(*!(*

) — fine tunes the

Page 13

units. A cent is one hundredth of a

°°°°

*+06

°°°°



• To make it easier to create your own tone, start with a preset tone that is similar to the one you are trying to create.

• Experiment with different settings. There are no real rules about what a tone should sound like. Let your imagination run free and experiment with different combinations. You might be surprised at what you can achieve!

semitone. There are 12 semitones per octave.

Effect Parameters

HlX

(Reverb)

HlXHlX

how much reverb is applied. reverb off,

9^e

(Chorus)

9^e9^e

how much chorus is applied. chorus,

I[dZ

I[dZ (&&&

I[dZI[dZ

'(-

is maximum.

'(-'(-

I[dZ

I[dZ (&&&

I[dZI[dZ

'(-

is maximum.

'(-'(-

&&&

&&&&&&

&&&

&&&&&&

'(-

'(-'(-

'(-

'(-'(-

) – controls

&&&

&&&&&&

) – controls

&&&

is no

&&&&&&

4. Repeatedly press

5. To edit other channels, press H (

6. To exit the parameter edit mode, press

75+0)6*'610'5;06*'5+<'4

The keyboard’s custom tone synthesizer lets you create up to 32 of your own original tones. To create a “user” tone, you simply select one of the keyboard’s 100 preset tones or 127 GM tones, change its parameters, then store the new tone in a memory location from 238 to 247. You select and use a user tone as you would a preset tone.

The parameters you can chan ge are div ided into the following groups.

• Volume Characteristic — Attack Time, Release Time, Resonance, Cutoff Frequency

• Tone Pitch — Vibrato type, Vibrato Delay, Vibrato Depth, Vibrato Rate, Octave Shift

• Tone Characteristic — Level, Touch Sense, Reverb Send, Chorus Send, DSP Line, DSP Type, DSP Parameter

%TGCVKPICPF5VQTKPIC 7UGT6QPG

1. Select the preset tone (except 228–

237) you want to use as a basis for yo ur user tone.

2. Press Custom Tone Synthesizer mode and

7jaJ_c[

7jaJ_c[7jaJ_c[

parameter) appears.

3. Repeatedly press I or J ( display the parameter you want to change.

Attack Time

Sets the speed of the at tack (the pe riod from when you p res s a k ey to w h en the tone reaches its maximum volume). The greater the value, the quicker the attack.

Release Time

Controls the speed of a tone’s releas e (the period from when you release a key to when the tone stops sounding). The greater the value, the quicker the release.

Vibrato Type

Igh

IghIgh

wave ( wave (

±

°°°°

SYNTH

. The keyboard enters the

(Attack Time, the first

CURSOR

7jaJ_c[

(

7jaJ_c[7jaJ_c[

H[b$J_c[

(

H[b$J_c[H[b$J_c[

— Sets the vibrato type as sine

I_d

I_dI_d

I7K

I7KI7K

L_X$Jof[

L_X$Jof[)I_d

(

L_X$Jof[L_X$Jof[

), triangle wave (

), or square wave (

#,*

!,)

#,*#,*

¶,*

) (

¶,*¶,*

I_d,jh_

jh_,I7K

I_dI_d

jh_jh_

jh_

), sawtooth

jh_jh_

Igh

IghIgh

!,)

!,)!,)

!,)

!,)!,)

I7K

I7KI7K

!,)

) (

) to

) —

, or

:IFB_d[ed

:IFB_d[ed/e<<

:IFB_d[ed:IFB_d[ed

line on or off for a particular channel.

number using the number buttons to change the parameter setting.

to return to the channel selection display, select the channel, then repeat Steps 2–4.

MIXER

Vibrato Delay

Sets the amount of time before vibrato starts.

Vibrato Depth

Sets the depth of vibrato effect.

Vibrato Rate

Sets the speed of the vibrato effect.

Cut Off Frequency

!,)

!,)!,)

sound. A higher cut off frequency gives brighter timber, lower cut off frequency produces a softer timbre.

Resonance

Sets the resonance of the tone. Resonance enhances the harmonic component around th e cut off fre quency to create a dis tincti ve s ound. T he la rger the value, the more distinctive the sound.

Octave Shift

Shifts the range of the tone up or down by octave.

Level

overall volume of the tone. The greater the value, the greater the volume. Setting a level of zero means that the tone does not sound at all.

Touch Sensitivity

!,)

!,)!,)

of the tone depending on how ha rd y ou strike the keys. You can specify more volume for stronger striking and less volume for lighter striking, or you can specify 00 to set the same volume regardless of how hard you strike the keys.

Reverb Send

Controls the reverb effects.

Chorus Send

Controls the chorus effects.

DSP Line

line on or off.

DSP Type

applied DSP appears) — Selects the DSP type.

DSP Parameter

parameters. See “DSP (Digital Signal Processor)” on Page 7.

e<<

– use to turn the DSP

e<<e<<

or – or enter a

EXIT

)

L_X:[bWo

(

L_X:[bWoL_X:[bWo

L_X:[fj^

(

L_X:[fj^L_X:[fj^

L_X$HWj[

(

L_X$HWj[L_X$HWj[

) — – Adjusts the timbre of the

H[iedWd

(

H[iedWdH[iedWd

EYjI^_\j

(

EYjI^_\jEYjI^_\j

B[l[b

&&&&

'(-

) (

(

B[l[bB[l[b

) — Controls cha nge s in the volum e

'(-'(-

HlXI[dZ

(

HlXI[dZHlXI[dZ

9^eI[dZ

(

9^eI[dZ9^eI[dZ

:IFB_d[

:IFB_d[)ed

(

:IFB_d[:IFB_d[

(Number and name of the

— Sets DSP

#,*

) (

#,*#,*

#,*

) (

#,*#,*

#,*

!,)

) (

9#e\\<hg

(

9#e\\<hg9#e\\<hg

#,*

) (

#,*#,*

) (

) — Controls the

JY^I[di[

(

JY^I[di[JY^I[di[

ed/e<<

e<<

eded

e<<e<<

!,)

#,*#,*

!,)!,)

#,*

) (

#,*#,*

!,)

!,)!,)

#(#(

!(!(

¶,*

) (

¶,*¶,*

&&&&

'(-

) (

'(-'(-

&&&&

'(-

) (

'(-'(-

— Sets DSP

!,)

!,)!,)

!,)

!,)!,)

)—

) —

016'±

Using the Tone Synthesizer

• You cannot use tones 228–237 (drum set tones) as base tones.

• The preset tone you use as the basis for a user tone is not changed.

• Tone locations 238 tone number 000. The user tone you store in any of those locations replaces it.

Creating and Storing a User Tone

• A new or revised user tone replaces the existing user tone.

• Layer, split, auto accompaniment, demo tune play, and MIDI functions are all disabled while the keyboard is in the Custom Tone Synthesizer mode.

• For some tones, setting the resonance too high might cause distortion or noise. If you encounter this, lower the resonance setting

• While you are setting the three DSP parameters, an indicator appears next to DSP.

247 initially contain the

–

Using the Tone Synthesizer

Page 14

016'±

Using the Registration Memory

• You cannot use the registration memory while you are using the synthesizer, memory, or demo tune functions.

• You cannot delete a registration setup from memory, but you can store a different setup in its place.

• You can use the keyboard’s MIDI function to save your setup data to your PC or other storage device.

Changing Keys

• You cannot change the key while a prerecorded tune is selected or playing.

• A semitone is a measurement that represents the acoustical interval between the tones of any two keys on the keyboard. For example, the difference between C and C# or B and C is one semitone.

• The transpose setting also affects memory playback (see “Playing Back from Song Memory” on Page 17) and auto accompaniment.

• The keyboard automatically resets the key to the default value of 0 (middle C) each time you play a pre-recorded tune.

Tuning the Keyboard

• You cannot tune the keyboard while a prerecorded tune is displayed or playing.

• The tuning setting also affects memory playback (see “Playing Back from Song Memory” on Page 17) and auto accompaniment.

• The keyboard automatically resets the tuning pitch to the default value of 00 (cents) each time you turn off the keyboard.

When you store a tone with DSP line turned on, all the DSP parameters are recalled as you select the tone.

4. Repeatedly press parameter’s setting, or use the number buttons to directly enter a value for the parameter.

If you want to change another parameter, repeat Steps 3, 4, and 5.

5. To store the settings, press G ( to display the tone number ( where you want to save the user tone.

or – to change the

ENTER

().

().().

–

(*-

(*-(*-

)

6. Repeatedly press + or – until the tone number you want appears.

ENTER

7. Press G (

IWl[EA

appears briefly and the

IWl[EAIWl[EA

keyboard exit s the Custom Tone Synthesizer mode.

Or, press H ( Tone Synthesizer mode without storing a new tone.

) to save the user tone.

EXIT

75+0)6*'4')+564#6+10/'/14;

Your keyboard can save different setups of controls in its registration memory. This lets you instantly recall your favorite settings. The registration memory consists of four banks (0 – 3), each with four memory locations (1 – 4), totaling up to 16 settings. You can save each of the following settings in each registration memory:

•tone

•rhythm

• tempo

• split on/off

• split point

• layer on/off

• mixer settings (Channels 1–10)

• effect settings

• equalizer settings

• touch resp onse settings

• assignable jack setting (see “Using a Sustain Pedal” on Page 15)

• transpose (see “Changing Keys” on Page 14)

• tuning (see “Tuning the Keyboard” on Page 14)

• accompaniment volume

• auto harmonize on/off

5614+0)#5'672

1. Set the desired controls to the setting you want to store.

2. Within 5 seconds, repeatedly press

BANK

until the desired bank number

appears.

3. While holding down desired or bank/location number/letter.

4. Release

5. Repeat Steps 1–4 to sto re m ore s etu ps .

REGISTRATION

Ijeh[

Ijeh[Ijeh[

STORE

appears after the selected

and

4'%#..+0)#5'672

1. Repeatedly press desired bank number appears.

2. Within 5 seconds, press the desired

REGISTRATION

H[YWbb

appears after the selected bank/

H[YWbbH[YWbb

location number/letter.

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

) to exit the Custom

STORE

, press the

button (1,2,3,

REGISTRATION

BANK

until the

Using the Registration Memory

52'%+#.('#674'5

%*#0)+0)-';5

The keyboard automatically selects the key of middle C each time you turn it on. For added flexibility as you play, the keyboard lets you change (tra nspose) th e musi cal k ey in which it plays. You can trans pos e the key up or down 24 semitones (two octaves).

1. Press

2. Within 5 seconds, repeatedly press

TOUCH/TRANSPOSE/SETTING

then repeatedly press I or J (

&&JhWdi

until

&&JhWdi&&JhWdi

number is the number of semitones to which the keyboard is set, compared to its default key.

–

or + to lower or raise the key. Each time you press by 1 semitone. As you rais e the key, 1 is

appears. The displayed

–

or +, the key changes

CURSOR

C#, 2 is D, and so on. As you lower the key, –1 is B, –2 is B

3. Press

TOUCH/TRANSPOSE/SETTING

exit the menu setting mode.

, –3 is A, and so on.

670+0)6*'-';$1#4&

Although your keyboard never goes out of tune, it lets you adjust its pitch to match

)

other instruments or musical recordings. A cent is the measurement that represents

the acoustical interval between two tones. 1,200 cents equal 1 octave. You can tune the keyboard to within –99 to +99 of its default pitch.

1. Press then repeatedly press I or J ( until

TOUCH/TRANSPOSE/SETTING

&&Jkd[

appears. The number on

&&Jkd[&&Jkd[

CURSOR

)

Page 15

the display is the number of “cents” to which the keyboard is currently tuned, compared to its default pitch.

–

2. Within 5 seconds, repe atedly pres s

to lower or raise the keyb oard ’s pitch. Each time you press the key, the number decreases or increases by 1 cent.

75+0)617%*4'52105'

Your keyboard’s touch re sponse feature lets you adjust the volume of your music’s tone based on how hard you stri ke the key(s), so you can add emotion to your music.

1. Press

2. Within 5 seconds, repe atedly pres s

TOUCH/TRANSPOSE/SETTING

JekY^

and the current setting (default:

JekY^JekY^ DehcWb

DehcWb

) appear.

DehcWbDehcWb

to select the touc h respons e level,

'B_]^j

'B_]^j,(DehcWb

JekY^

JekY^JekY^

At the results in a loud sound, and very heavy key pressure results in a more powerful sound. When you select indicator next to TOUCH RESPONSE disappears and the tone does not change regardless of how you press the key.

(DehcWb

'B_]^j'B_]^j

(DehcWb(DehcWb

B_]^j

setting, light key pressure

B_]^jB_]^j

, or

e<<JekY^

e<<JekY^e<<JekY^

)>[Wlo

)>[Wlo)>[Wlo

–

e<<

e<<e<<

, the

3. Within 5 sec onds, rep eatedly press + or – until the desired settin g (

h>o

) appears.

h>oh>o

Press the sustain pedal as you play to hear the desired sound or to start/stop the selected auto-rhythm.

#&,756+0)6*'

+52.#;%1064#56

1. Press

2. Press G (

(

((

3. Within 5 seconds , repeat edly press

TOUCH/TRANSPOSE/SETTING

then repeatedly press I or J (

B9:%@WYa

until

B9:%@WYaB9:%@WYa

–

until you can view the display clearly.

The number changes from 0 to 12.

appears.

ENTER

&,9edjhWij

&,9edjhWij&,9edjhWij

4'5'66+0)6*'-';$1#4&

The keyboard retains various settings even when you turn the power off, so long as you do not disconnect power. You ca n, however, delete or initialize some settings without deleting others.

1. Press

2. Press G (

TOUCH/TRANSPOSE/SETTING

then repeatedly press I or J (

?d_j%:[b

until

?d_j%:[b?d_j%:[b

appears.

ENTER

?d_jC_n5

?d_jC_n5?d_jC_n5

IKI

IKI,IeI

IeI,I<j

IKIIKI

IeIIeI

CURSOR

appears.

CURSOR

appears.

I<j

I<jI<j

• The touch response setting does not affect memory playback, auto accompaniment, or received MIDI data.

• The MIDI data sent out from the keyboard is affected by the touch response setting.

)

016'±

75+0)#5756#+02'&#.

For added flexibility and control as you make music, you can connect an optional sustain pedal, available through your local RadioShack store or online at

www.radioshack.com

you sustain or soften the keyboard’s sound, or even start and stop an auto-rhythm.

To connect a sustain pedal to your keyboard, insert the pedal’s plu g into

SUSTAIN/AS SI GNABLE JACK

the keyboard. You can adjust the keyboard to these

settings when you use a sustain pedal.

IKI

(Sustain)—Causes one or more

IKIIKI

notes to linger after they are played.

Iei

(Sostenuto)—Similar to sustai n, but

IeiIei

only sustains the key that was pressed when you press the pedal.

I<j

(Soft)—Softens the sound.

I<jI<j

h^o

— Starts or stops the selected

h^oh^o

rhythm.

. A sustain pedal lets

on the back of

3. Within 5 seconds, repeatedly press

CURSOR

or J (

to reset appears.

?d_jC_n5

?d_jC_n5?d_jC_n5

parameters you assigned by the mixer function or by input from an external sequencer.

?d_jFWh5

?d_jFWh5?d_jFWh5

except for the display contrast setting.

h>oddd:[b5

h>oddd:[b5h>oddd:[b5

user rhythm number the Data Download Service” on Page 21.

?d_jIoi5

?d_jIoi5?d_jIoi5

area.

4. Press you to confirm the init ialization/d eletion. Press completes initializ ati on/ deletion and exits the menu setting mode.

— Initializes the mixer

— Initializes all parameters,

— Deletes all data in the user

YES

) until the item you want

— Deletes the data of the

nnn

. See “Using

Ikh[5

appears, prompting

Ikh[5Ikh[5

again. The keyboard

Follow these steps to change the setting for

SUSTAIN/AS SI GNABLE JACK

1. Press

2. Repeatedly press G (

TOUCH/TRANSPOSE/SETTING

then repeatedly press I or J (

B9:%@WYa

until

B9:%@WYaB9:%@WYa

repeatedly press I or J (

@WYa

and the current setting (default:

@WYa@WYa IKI

IKI

) appear.

IKIIKI

appears.

ENTER

CURSOR

) then

) until

)

Special Features

Page 16

016'±

Using the Song Memory

• SONG MEMORY is a four-way switch. When you press it once, the keyboard enters the memory playback mode. When you press it again, it enters the real-time memory record mode. When you press the button a third time, it enters the step recording mode. When you press the button a fourth time, it turns off the memory function.

• When you record on a track that contains data, the new recording replaces the previous recording.

• The touch response setting (on/off) is not recorded. However, the strength of the strike is recorded.

• Channel 1 mixer parameters are automatically recorded to Track 1.

• Check the display for Channels 11–16 to see which memory tracks contain data and which are empty.

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

INTRO/ENDING 1 or 2, SYNCHRO/FILL-IN NEXT, VARIATION/FILL-IN 1, or VARIATION/ FILL-IN 2 as you normally would.

°°°°

*+06

°°°°



75+0)6*'510)/'/14;

The keyboard lets you record up to two separate songs (with up to about 3,500 notes) in memory for later playback. You can use either of two methods to record a song — real-time recording (you record as you play) or step recording (you enter notes and chords one-by-one).

You can record on each of th e keyboard’s six tracks separately. Besides notes, each track can have its own tone number. Then, when you play back the tracks together, it sounds like an entire six-piece band. Also, you can use different mixer s ettings for ea ch track.

Track 1 is the main track, and you can use it to record auto accompaniment, as well as keyboard play. Tracks 2 through 6 are melody tracks, and you can use these for recording a secondary melody that includes keyboard play.

Because each track is independe nt of the others, you only need to re-record a single track if you make a mistake while recording on it.

If the remaining memory is less than 100 notes, the measure and beat num bers flash . When memory becomes full, recording automatically stops (and autoaccompaniment or rhythm stops playing, if used).

Memory contents are saved as long as power is supplied to the keyboard. Unplugging the adapter without batt erie s or with weak batteries erases the memory. To prevent data loss, connect an adapter before replacing the batteries.

Turning off the keyboard while recording erases the contents of the track you were recording.

You can transfer memory contents to another MIDI device.

4'#.6+/'4'%14&+0)

With real-time recording, the note s are recorded as you play them on the key board.

°°°°

1. Repeatedly press

H[YehZ

appears.

H[YehZH[YehZ

SONG MEMORY

until

5. Press

6. Play the keyboard. You can also record

7. Press

• Tone number

• Rhythm number. (To record without an auto-rhyt hm, skip Step 5 of “RealTime Recording.” Recording starts when you press a key.)

• Tempo. (Do not change the tempo unless you already know the desired tempo. Pressing

START/STOP

to hear the tempo causes recording to begin).

•MODE

START/STOP

to start recording.

°°°°

To start recording with synchro sta rt

SYNCHRO/FILL-IN NEXT

press

START/STOP.

Recording starts when you play a note or a chord on the accompaniment keys.

To synchro start auto accompaniment with an intro pattern

FILL-IN NEXT

or 2 instead of

and then

START/STOP.

SYNCHRO/

, press

INTRO/ENDING 1

starts with the intro pattern when you play a note or a chord on the accompaniment keys.

To start auto accompani me nt duri ng a

INTRO/ENDING 1

recording

instead of

, press

START/STOP

. Play the melody keys to start r ecording. When y ou reac h the point where you want accompaniment to start, play a chord on the accompaniment keys.

auto accompaniment chords, tuning, and pedal operations.

START/STOP

to end recording.

If you make a mistake, press

STOP

to stop recording and be gin aga in from Step 1, or you can edit the contents. See “Editing Memo ry Contents” on Page 18.

This data is stored on Track 1 along with the notes you played:

• tone number

• rhyt hm num be r

instead of

Recording

START/

2. Within 5 seconds, press + or – (or 0 or 1) to select a song number.

3. Press

CHORD/TR 1

to select Track 1. While the keyboar d is in memory record mode, the level meters for channels 11 through 16 co rrespond to memory tracks 1 through 6. When all four bars are lit, that channel has something in memory: if only one bar is lit, that track is empty.

4. If desired, you can chang e the following settings:

• rhythm controller (INTRO/ENDING 1 or 2, VARIA TION/FILL-IN 1 or 2, etc.) operations

• pedal operations

• accompaniment volume

• effect type

See “Record ing Multiple Tracks” on Page 18 to record on the other five

tracks.

Page 17

2.#;+0)$#%-(41/ 5

10)/'/14;

1. Repeatedly press

FbWo

appears.

FbWoFbWo

SONG MEMORY

until

2. Within 5 seconds, repeatedly press + or

–

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

3. Within 5 secon ds, press

START/STOP

to play back the song you selected. You can use

TEMPO

to adjust the playback

tempo.

4. Press playback.

START/STOP

again to stop

56'24'%14&+0)

With step recordi ng, yo u c an rec ord a chord progression one chord at a time. (If you want to record one note at a time, refer to “Recording Multiple Tracks” on Page 18.)

Follow these steps to record chords with step recording.

1. Repeatedly press

Ij[fH[Y

Ij[fH[YIj[fH[Y

appears.

2. Within 5 seconds, repeatedly press + or – to select a song number.

3. If desired, you can change the rhythm number and MODE settings.

4. Press

CHORD/TR1

The REC indicator flashes briefly, then lights steadily.

5. Press

SYNCHRO/FILL-IN NEXT

play a chord using the chord play method determined by the current MODE setti ng (Fingered, Concert Chord, Full Range Chord, or Normal).

When MODE is set to NORMAL

specify the chord using the root keys and chord-type keys. See “Specifying Chords in the Normal Mode”.

SONG MEMORY

until

to select Track 1.

, then

6. Use the n umber buttons to specify the length of the chord. See “Specifying the Length of a Note.”

7. For each additional chord you want to enter, play the chord and use the number buttons to specify its length.

8. When you finish recording, press

START/STOP

. The keyboard is now in playback standby mode. You can try playing back the song by pressi ng

START/STOP

5RGEKH[KPI%JQTFUKPVJG0QTOCN /QFG

To enter chords when

NORMAL

during step recording, you must specify them using a method other than Concert Chord or Fingered. That way, you can enter 18 chord types using only two keys.

While holding down the desired chord root key, press the chord key to specify the chord. The root and chord types are la bel ed abov e each key. The chord root letter and type of chord also appear as you play a chord.

MODE

is set to

5RGEKH[KPIVJG.GPIVJQH C0QVG

During step recording, repeatedly press + or – or enter a number using the number buttons to specify the length of each note.

Use numbers notes (1), half notes (2), quarter notes (3), eighth notes (4), 16th notes (5), and 32nd notes (6).

To enter a dot or triplicate

(triplicate), then press 1 through 6.

To enter a tie

and second notes.

To enter a rest,

through 9 to specify the length of the rest.

through 6 to specify whole

, hold down 7 (dot)

, press 8 then enter the first

press 0, then press

016'±

Playing Back from Song Memory

• You can use change the rhythm, use layer and/or split during memory playback.

• Pressing START/STOP during the song restarts the song from the beginning.

• You can set the volume and pan position of the playback tracks using the mixer. This setting data is output through MIDI OUT.

• The entire keyboard functions as a melody keyboard during playback, regardless of the MODE setting.

Step Recording

• If you make a mistake, see “Correcting Mistakes”.

• When you record on a track that already contains data, the keyboard automatically locates the end of the previous recording — measure, beat, or clock (1/48 of a beat) — and adds your new entry to it.

• You can enter a 0 (a rest) in Step 5 of “Step Recording”, but the rest is ignored when the accompaniment plays.

• The rhythm number and INTRO/ENDING 1 or 2, SYNCHRO/FILL-IN NEXT, and VARIATION/FILL-IN 1 or 2 operations are stored on Track 1, along with the notes you played. See “Recording Multiple Tracks” to record on the other five tracks.

• During recording on Tracks 2 through 6, the entire keyboard functions as a melody keyboard, regardless of the current MODE setting.

• The tone number is stored on the selected track in addition to the notes you played.

• You can turn off a track during playback by using the mixer function (see “Using the Mixer” on Page 12) .

Correcting Mistakes

The REC indicator lights and the STEP indicator stops flashing when you move to the end of the recording.

Using the Song Memory

To start accompaniment with an intro

, press

pattern

SYNCHRO/FILL-IN NEXT

after

INTRO/ENDING 1

To switch to a rhythm variation

VARIATION/FILL-IN 1

or 2 immediately

, press

before playing the chord.

To insert an ending or fill in

INTRO/ENDING 1 FILL-IN 1

or 2 immediately before

or 2, or

, press

VARIATION/

entering the chord.

T o step-re cord chords wi thout a rhythm

skip this step. The chord of the specified length is recorded. A rest can be specified t here, so yo u can crea te an original chord pattern.

To add chord accompaniment during rhythm play

, enter rests from the beginning of the recording up to where you want accompa niment to sta rt. Then enter only the chords (no rests).

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Before finishing your step recording entry, you can move the entry po int b ack to correct the data you entered. This deletes all data after the point where you make corrections.

1. Before you press recording, press I ( the entry point back one “space.” The data recorded at the current entry point appears, the REC indicator turns off, and the STEP indicato r flashes.

2. While monitoring the data on the display, repeatedly press I or

CURSOR

(

) to move the entry point to

the data you want to change.

3. Press G (

CURSOR

(

4. Press

ENTER

YES

current entry point. Press

START/STOP

CURSOR

) then press

H[mh_j[5

H[mh_j[5H[mh_j[5

appears.

to clear all data after the

to end

). This moves

Page 18

Using the Song Memory

016'±

• Do not change a note identical to the preceding or succeeding note. Doing so might alter the length of the note and you will have to re-record the entire track.

• When you change note, key pressure, or chord, the keyboard sounds the new setting so you can hear what it sounds like.

• Some parameters are stored in the initial portion of the memory, called “Panel Record.” You cannot edit data in this field using the procedure described here. See “Rewriting Song Data (Panel Record)” on Page 19.

• The tone and rhythm you selected before beginning recording are stored in the panel record. You can only change tone or rhythm during recording.

• The only parameters that can be edited for Tracks 2–6 are notes and tone numbers.

• You cannot add data to a recording.

• You cannot move portions of a recording to a different location within the recording.

• You cannot change note lengths.

EXIT

(

) to cancel the rewrite operation.

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In addition to Trac k 1, where y ou record auto accompaniment as well as keyboard play, there are five other tracks you can use to record melody parts only. You can record different tones on these tracks and build a full ensemble of instruments.

You can play back what you already recorded on Track 1 (or any other track) while you record on Tracks 2–6.

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1. Repeatedly press

H[YehZ

appears.

H[YehZH[YehZ

2. Within 5 seconds, repeatedly press + or – to select a song number.

3. Press the desired

TRACK

(2–6) to select the track you

want to record on.

4. If desired, you can change the tone number and tempo settings. You can change the tempo to one that is easy for you to follow.

5. Press

START/STOP

The contents of any tracks already recorded start to play.

6. Play on the keyboard what you want to record on the selected track.

7. Press

START/STOP

If you used them, tone number and optional pedal operation are also stored on the selected track in addition to the notes you played.

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1. Repeatedly press

Ij[fH[Y

Ij[fH[YIj[fH[Y

2. Within 5 seconds, repeatedly press

3. Press the desired

TRACK

want to record on.

4. Change the tone, if desired. After selecting a tone, press any keyboard key to clear t he tone selection display and return to the note input screen.

5. Use the keyboard to enter notes or enter rests.

• When you enter a note using the

• To delete a rest entry, press

appears.

or – to select a song number.

(2–6) to select the track you

keyboard with touch response turn ed on, the key pressure is also recorded.

SONG MEMORY

until

to start recording.

to end recording.

SONG MEMORY

until

again.

1–9

6. Use

to enter the length of the note

or rest.

7. Continue entering notes by playing them and specifying their length.

8. Press

START/STOP

to end recording.

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You can recall and change individual notes and parameter settings from a song in memory.

1. Repeatedly press

Ij[fH[Y

Ij[fH[YIj[fH[Y

appears.

SONG MEMORY

until

2. Within 5 seconds, repeatedly press

or – to select a song number.

3. Use

SONG MEMORY TRACK (1–6

) to

select the track you want to edit.

4. Press I (

CURSOR

5. Repeatedly press I or J (

) to enter edit mode.

CURSOR

) to

move to the entry you want to change. You can change the parameter that is

flashing on the display. To change a different parameter, repeatedly press

CURSOR

or J (

) so the parameter you

want to edit flashes.

6. Make the desired changes to the selected parameter.

The procedures you use to change a parameter depend on th e type of data it contains. See “Editing Techniques and Display Contents”.

7. Repeat Steps 5 and 6 to edit other parameters.

8. Press

START/STOP

when you are

finished.

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Key Pressure

press + and – or use the number buttons to adjust the key pressure.

Pitch

— Enter a new note on the keyboard or repeatedly press + or – to change to the next higher or lower note. The keyboard an d the staff on the di sp la y s how your new entry.

Chord

fingering method for the MODE setting.

Tone Number/Rhythm Number

Repeatedly press + or – or use the number buttons to enter a number.

Rhythm Controller

VARIATION/FILL-IN 1 NEXT

) — Press the button for the function

you want to change to.

(Velocity) — Repeatedly

— Use the appropriate chord

—

(INTRO/ENDING 1

SYNCHRO/FILL-IN

or 2,

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You can delete an entire song, a specific track, or data associated with the song.

Page 19

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1. Repeatedly press

FbWo

appears.

FbWoFbWo

2. Repeatedly press song number.

YES

ENTER

again.

3. Press G (

4. Press you to confirm the deletion.

5. Press

SONG MEMORY

or – to select the

Ied]:[b5

Ied]:[b5Ied]:[b5

Ikh[5

appears, prompting

Ikh[5Ikh[5

until

appears

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1. Repeatedly press

FbWo

appears.

FbWoFbWo

2. Repeatedly press + or – to select the song number.

3. Press G (

4. Repeatedly press I or J (

Jh$:[b5

Jh$:[b5Jh$:[b5

5. Press the appropriate

TRACK

want to delete. You can specify more than one track by pressing more than one button.

6. Press you to confirm the deletion.

7. Press

ENTER

appears.

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

YES

again to delete the track(s).

SONG MEMORY

Ied]:[b5

Ied]:[b5Ied]:[b5

CURSOR

SONG MEMORY

Ikh[5

appears, prompting

Ikh[5Ikh[5

until

appears

) until

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Each song in the keyboard’s memory has a section in i ts h eader call ed t he This section contains initial data for the recording. You can rewrite this portion if necessary.

The settings stored in panel records are:

panel record

1. Repeatedly press

FbWo

appears.

FbWoFbWo

2. Repeatedly press + or – to select the song number.

3. Make the changes in settings as desired.

4. Press G (

5. Repeatedly pr ess I or J (

Fd[bH[Y5

Fd[bH[Y5Fd[bH[Y5

6. Press

ENTER

appears.

YES

to rewrite the header data.

SONG MEMORY

Ied]:[b5

Ied]:[b5Ied]:[b5

CURSOR

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Your keyboard includes a feature called MIDI (Musical Instrument Digital Interface). MIDI is the universal standard for sending and receiving performa nce da ta betw een all types of electronic musical instrument s, regardless of manufacturer. Usi ng MIDI, you can play music on your keyboard and another instrument at the same time while pressing the keys on only one, record your music to a sequencer, acquire a wider selection of preset tones from a sound module, and much more.

Connecting your keyboard to anot her MIDI device requires a MIDI cable (not supplied).

For detailed specifications of the MIDI function, see the “MIDI Implementation Chart” on Page 41. For more information about MIDI parameters, visit

www.radioshack.com

“MD-1121 MIDI Implementation.”

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Every MIDI-equipped instrument has MIDI OUT and IN terminals, and some also have a MIDI THRU terminal. Each of these terminals serves a different purpose.

and download the

until

appears.

) until

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• To deselect a track, simply press its button again.

• You cannot change the song number while in track delete standby.

• You cannot select a track that does not contain recorded data.

• Pressing SONG MEMORY while in track delete standby mode returns to record standby mode.

Using the Song MemoryUsing the Song Memory

•Rhythm

• Tempo

• Accomp Volume

• Reverb On/O ff

• Reverb Type

•Chorus On/Off

•Chorus Type

• DSP Type

• Equalizer Type

The following mixer parameters are also stored in the panel record:

•Tone

• Part On/Off

•Volume

•Pan

•Oct Shift

• Coarse Tune

• Fine Tune

• Reverb Send

• Chorus Send

MIDI OUT sends MIDI data to (“talks to”) other MIDI instrument(s).

MIDI IN receives (“l istens to”) M IDI data s ent by other MIDI instrument(s).

MIDI THRU lets you connect (“network”) additional MIDI instruments, and sends other MIDI devices a copy of all data it receives through its MIDI IN terminal.

Your keyboard has terminals.

The cable that connects MIDI devices does not actually carry sound between them, like a speaker wire carries s ound from a receiver to a speaker. Instead, MIDI-equipped devices communic ate w i th e ac h oth er u sin g digital codes (instru ctions). One MID I device sends digital instructions representing exactly what is being playe d on it. The other MIDI device receives and translates those instructions, then produces (or records) the sound exactly as it was played on the first device.

MIDI OUT

and

MIDI IN

Page 20

016'±

You do not need to make both connections if you are only either sending or receiving.

Using the Song Memory

• Always turn off power to your keyboard and the other MIDI device before you connect or disconnect MIDI cables.

• As you make the cable connections, be sure to align the MIDI cable pins with the matching holes on your keyboard’s MI DI OUT and MIDI IN terminals. If you have trouble plugging in the cable, do not force it! You might damage the plug or the instrument.

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To connect your keyboard to another MIDIequipped device , you mu st use a MIDI c able (available at RadioShack).

To send MIDI data from your keyboard, use a MIDI cable to connec t the key boa rd’ s

OUT

terminal to the other device’s MIDI IN

terminal. To receive MIDI dat a on your keyboard, us e

a MIDI cable to connec t the key boa rd’ s

terminal to the other device’s MIDI OUT

terminal.

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MIDI

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Your keyboard ca n send and receiv e several different types of MIDI da ta. Th e ke yboard’s tones, rhythms, and other types of MIDI data are sent automatically as you play.

The keyboard parts (Channels 1 through 4) are sent over the corresponding channels. When you turn auto harmonize on (see “Using Auto Harmonize” on Page 12), the harmonized notes are sent.

You can set accompaniment parts to be sent over the corresponding channe ls (Chan nel s 6 – 10). See “Changing MIDI Settings.” The keyboard’s prerecorded tunes cannot be sent as MIDI data.

The keyboard can receive data over all 16 MIDI mixer channels at the same time.

The received message is interpreted as chord change data when you set

CONCERT CHORD

“Changing MIDI Settings.”

FINGERED

MODE

. See

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1. Press

2. Press G (

3. Within 5 seconds , repeated ly press I or

TOUCH/TRANSPOSE/SETTING

then repeatedly press I or J (

C?:?

until

until the parameter you want to

change appears.

A[oXZ9^

A[oXZ9^A[oXZ9^

(Default: sending MIDI data to an external device.

9^ehZ

9^ehZ9^ehZ E\\

E\\

E\\E\\

interprets the received basic channel note data as auto accompaniment chords using the current ch ord fingering method.

appears.

C?:?C?:?

ENTER

(Keyboard Basic Channel)

&'&'

(MIDI In Chord Judge) (Default:

) — When set to on, the keyboard

&'A[oXZ9^

&'A[oXZ9^&'A[oXZ9^

) — Sets the channel for

CURSOR

appears.

e<<

simultaneously. Set to only to another MIDI device (the keyboard’s speakers are muted).

4. Repeatedly press number buttons to change the setting as required. Then press H (

e<<

to send data

e<<e<<

or – or use the

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The “MIDI Implementation Char t ” on Page 41 shows specific details about how your keyboard is compatible with the MIDI standard. The following notes explain how the keyboard works within the MIDI standard.

Basic Channel

allows for the use of up to 16 channels to exchange data. Like a TV broadcast, each of these channel s can conta in diff erent data. The keyboard can se nd and rec eive data on all 16 of these channels.

Mode

— The MIDI standard allows for four separate modes of o pera tio n. Th e ke yboard sends and receives data in Mode 3. This means that the data sent and received by the keyboard can be polyphonic and can be sent or received on only one channel at a time.

Note Number

for note numbers from 0 through 127. This number represents eac h possible note t hat a device can play. The low est note num ber (0) is five octaves below middle C and the highest note number (127) is three octaves above middle C. The keyboard ca n send and receive all 128 note numbers.

Velocity

velocity numbers from 0 through 127. Velocity is how fast a key is pressed (or if the key is pressed at all) or how loud a note

)

sounds. A velocity of 0 means th at the key is not pressed. The lowest velocity (1) is pianissimo and the highest velocity (127) is fortissimo. The keyboard can send and receive all 128 velocity numbers.

Pitch Bender

(but cannot send) pitch bending signals.

Control Change

on various controllers, each having its own number. For the details of each parameter, see “MIDI Data”.

Program Change

the preset sounds. Each sound number corresponds to a program number between 0 and 127. See “MIDI Data”.

— The MIDI standard

— The MIDI standard allows

— The MIDI standard allows for

— The keyboard receives

— This feature sends data

— This feature changes

EXIT

7YecfEkj

7YecfEkj7YecfEkj

(Default: accompaniment as MIDI data.

BeYWb

BeYWbBeYWb

to speakers and another MIDI device

(Accompaniment Out)

E\\

) — Set to

E\\E\\

(Local Control) (Default:

to send data to the keyboard’s

eded

to send auto

eded

EdEd

) — Set

System Exclusive

special signals unique to the keyboard.

All Notes Off

panic button: it stops the current sounds from playing. Only the keyboard receives this message.

— This feature sends

— This feature is a kind of

Page 21

Active Sense

keyboard’s sound turns off in the event the connection cable to the accidentally disconnected.

— This means the

MIDI IN

terminal is

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preset accompaniments, tones, DSPs, and registration data, as well as the software to transfer the downloaded data from your PC to the keyboard.

The software not only allows you to transfer the downloaded data to the keyboard, but also to store the various settings you made on the keyboard onto your PC’s storage device. See the instructions provided with the software.

to download the

Using the Song MemoryUsing the Song Memory

Page 22

Troubleshooting

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The keyboard has turned off automatically.

The volume is turned down. Adjust VOLUME. The headphones are connected. Disconnect the headphones.

Power supply problem.

No sound, even if keys are pressed.

No sound when connected to an external amplifier.

No sound when receiving and playing MIDI data.

The key or tuning does not match when playing along with another MIDI instrument.

Some parts do not play during song memory playback.

Cannot record autoaccompaniment.

Sounds sent to another MIDI device by the keyboard do not sound correct.

Cannot record chord accompaniment data on a computer.

You are pressing too few accompaniment keys while MODE is set to FINGERED.

Local control is off.

Mixer channel 1 is turned off or its volume is set too low.

The volume is turned down. Adjust VOLUME. Defective connection cord. Replace the connection cord. MIDI cables are not connected

properly. Mixer channel is turned off or its

volume is too low.

The tuning or transpose parameter is set to a value other than 0 or 00.

Channels are turned off or volume set too low.

A track other than Track 1 is selected. (Tracks 2 through 6 are for melody only.)

The other device’s MIDI THRU function is turned on.

Accomp MIDI Out is set to e<<

Press POWER.

Make sure the batteries are fresh and inserted correctly, or the AC adapter is connected securely.

Set MODE to NORMAL or CONCERT CHORD. Or press 3 or 4 keys to form a chord while MODE is set to FINGERED.

Set local control to ON (see “Changing MIDI Settings” on Page 20).

Turn on Channel 1 or raise the volume setting (see “Using the Mixer” on Page 12).

Check the connection. Turn channel 1 ON or raise the volume

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

Set the tuning or transpose parameter to 0 or 00.

Use the mixer function to turn the channel on or to raise the volume.

Select Track 1.

Turn off the MIDI THRU function on the other device.

e<<. Set MIDI Out to ed

e<<e<<

ed.

eded

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Keep the keyboard dry; if it gets wet, wipe it dry immediately. Use and store the keyboard only in normal temperature environments. Handle the keyboard carefully; do not drop it. Keep the keyboard away from dust and dirt, and wipe it with a damp cloth occasionally to keep it looking new.

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If your keyboard is not performing as it should, take it to your local RadioShack store for assistance. M odi fyi ng o r tampering with the keyboard ’s internal com ponents can cause a malfunction and might invalidate its warranty and void your FCC authori zation to operate it.

Page 23

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Tone List

Page 24

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Tone List

Page 25

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Tone List

Page 26

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Tone List

Page 27

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Tone List

Page 28

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Tone List

Page 29

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Tone List

Page 30

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Tone List

Page 31

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Tone List

Page 32

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Effect List

Page 33

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Effect List

Page 34

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0WODGT 0COG (WPEVKQP 2CTCOGVGTU

00 Auto Pan

01 Tremolo

02 2BandEQ This is a two-band equalizer.

03 3BandEQ This is a three-band equalizer.

04 LFO Wah

05 Auto Wah

Effect List

06 Compressor

07 Limiter

08 Distortion This effect provides Distortion + AmpSimulator.

Continually performs left-right panning of the input signal in accordance with an LFO.

– Adjusts volume of input signal in accordance with an LFO.

This is a “wah” effect that can automatically affect the frequency in accordance with an LFO.

This is a “wah” effect that can automatically affect the frequency in accordance with the level of the input signal.

Compresses the input signal, which can suppress level variation and make it possible to sustain dampened sounds longer.

This is an effector that you can use to set an upper limit value on the level of the input signal.

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

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

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

frequency of the low-band equalizer.

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

equalizer.

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

frequency of the high-band equalizer.

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

equalizer.

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

frequency of the low-band equalizer.

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

equalizer.

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

(4.0kHz), 6 (6.0kHz), 7 (8.0kHz)] – Adjusts the center frequency of the midband equalizer.

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

equalizer.

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

frequency of the high-band equalizer.

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

equalizer.

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

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

resonance value is large. Adjust this parameter to eliminate such distortion. 1: Resonance (0 to 127) – Adjusts the resonance of the sound. 2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter. 3: LFO Rate (0 to 127) – Adjusts the rate of the LFO. 4: LFO Depth (0 to 127) – Adjusts the depth of the LFO.

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

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

Resonance value is large. Adjust this parameter to eliminate such distortion. 1: Resonance (0 to 127) – Adjusts the resonance of the sound. 2: Manual (0 to 127) – Adjusts the frequency used as the basis for the wah filter. 3: Depth (-64 to 0 to +63) – Adjusts the depth of the wah in accordance with the

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

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

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

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

input re-opens the Wah filter, even if it is closed. 0: Depth (0 to 127) – Adjusts compression of the audio signal.

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

value causes prompt compressor operation, which suppresses the attack of

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

attack to be output as-is. 2: Release (0 to 127) – Adjusts the time from the point when the input signal

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

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

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

times, set a high value. 3: Level (0 to 127) – Adjusts the output level. The output volume changes in

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

Use this parameter to correct for such changes. 0: Limit (0 to 127) – Adjusts the volume level from which the limit is applied.

1: Attack (0 to 127) – Adjusts the attack amount of the input signal. 2: Release (0 to 127) – Adjusts the time from when the input signal drops below

a certain level until the limit operation stops. 3: Level (0 to 127) – Adjusts the level being output. The output volume changes

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

Use this parameter to correct for such changes. 0: Gain (0 to 127) – Adjusts the input gain.

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

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

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

Page 35

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Resonance (0 to 127) – Adjusts the resonance of the sound. 1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for

Stereo

Phaser

10 Phaser

11 Rotary This is a rotary speaker simulator.

12 Drive Rotary This is an overdrive-rotary speaker simulator.

13 Enhancer

Ring

Modulator

15 Lo-Fi

1-Phase

Chorus

Sin 2-Phase

Chorus

3-Phase

Chorus

Tri 2-Phase

Chorus

Stereo

Delay 1

This is a stereo phaser that modulates the phase in accordance with a sine wave LFO.

This is a monaural phaser that modulates the phase in accordance with a sine wave LFO.

Enhances the outlines of the low range and high range of the input signal.

This is a ring modulator (AM modulator) that makes it possible to modulate the frequency of internal oscillator (OSC) in accordance with an internal LFO.

This is an effector that reproduces a retro-type Lo-Fi sound using Noise Generator 1 (phonograph record player type scratch noise generator) and Noise Generator 2 (FM radio type white noise and pink noise continuous noise generator), and by using noise modulation (amplitude modulation = AM) and distortion of frequency characteristics.

This is a monaural chorus in accordance with a sine wave LFO.

This is a stereo chorus in accordance with a sine wave LFO.

This is a 3-phase chorus in accordance with two LFOs of with different sine wave rates.

This is a stereo chorus in accordance with triangular wave LFO.

This is a delay of stereo input and output.

reference. 2: Rate (0 to 127) – Adjusts the rate of the LFO. 3: Depth (0 to 127) – Adjusts the depth of the LFO. 4: Wet Level (0 to 127) – Adjusts the volume level of the effect.

0: Resonance (0 to 127) – Adjusts the resonance of the sound. 1: Manual (-64 to 0 to +63) – Adjusts the phaser shift volume, which is used for

reference. 2: Rate (0 to 127) – Adjusts the rate of the LFO. 3: Depth (0 to 127) – Adjusts the depth of the LFO. 4: Wet Level (0 to 127) – Adjusts the level of the effect sound.

0: Speed (Slow, Fast) Switches the speed mode between fast and slow. 1: Break (Rotate, Stop) Stops speaker rotation. 2: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

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

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

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

0: Overdrive Gain (0 to 127) – Adjusts overdrive gain. 1: Overdrive Level (0 to 127) – Adjusts the output level of the overdrive. 2: Speed (Slow, Fast) Switches the speed mode between fast and slow. 3: Break (Rotate, Stop) Stops speaker rotation. 4: Fall Accel (0 to 127) – Adjusts acceleration when the speed mode is switched

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

from slow to fast. 6: Slow Rate (0 to 127) – Adjusts speaker rotation speed of the slow speed mode. 7: Fast Rate (0 to 127) – Adjusts speaker rotation speed of the fast speed mode.

0: Low Frequency (0 to 127) – Adjusts the low range enhancer frequency. 1: Low Gain (0 to 127) – Adjusts the low range enhancer gain. 2: High Frequency (0 to 127) – Adjusts the high range enhancer frequency. 3: High Gain (0 to 127) – Adjusts the high range enhancer gain.

0: OSC Frequency (0 to 127) Sets the reference frequency of the internal OSC. 1: LFO Rate (0 to 127) – Adjusts the rate of the LFO. 2: LFO Depth (0 to 127) – Adjusts the depth of the LFO. 3: Wet Level (0 to 127) – Adjusts the level of the effect sound. 4: Dry Level (0 to 127) – Adjusts the level of the original sound.

0: Noise Level 1 (0 to 127) – Adjusts the level of Noise Generator 1. 1: Noise Density 1 (0 to 127) – Adjusts the noise density of Noise Generator 1. 2: Noise Level 2 (0 to 127) – Adjusts the level of Noise Generator 2. 3: Noise Density 2 (0 to 127) – Adjusts the noise density of Noise Generator 2. 4: Tone (0 to 127) – Adjusts the tone. 5: Resonance (0 to 127) – Adjusts the resonance of the sound. 6: Bass (-64 to 0 to +63) – Adjusts the volume of low sounds. 7: Level (0 to 127) – Adjusts the output level.

0: LFO Rate (0 to 127) – Adjusts the rate of the LFO. 1: LFO Depth (0 to 127) – Adjusts the depth of the LFO. 2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound. 3: Wet Level (0 to 127) – – Adjusts the level of the effect sound.

0: LFO Rate (0 to 127) – – Adjusts the rate of the LFO. 1: LFO Depth (0 to 127) – Adjusts the depth of the LFO. 2: Feedback (-64 to 0 to +63) – Adjusts the feedback of the sound. 3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

0: Rate1 (Fast LFO Rate, 0 to 127) – Adjusts the rate of LFO1. 1: Depth1 (Fast LFO Depth, 0 to 127) – Adjusts the depth of LFO1. 2: Rate2 (Slow LFO Rate, 0 to 127) – Adjusts the rate of LFO2. 3: Depth2 (Slow LFO Depth, 0 to 127) – Adjusts the depth of LFO2. 4: Wet Level (0 to 127 – Adjusts the level of the effect sound.

0: LFO Rate (0 to 127) – Adjusts the rate of the LFO. 1: LFO Depth (0 to 127) – Adjusts the depth of the LFO. 2: Feedback (-64 to +63) – Adjusts the feedback of the sound. 3: Wet Level (0 to 127) – Adjusts the level of the effect sound.

0: Delay Time (0 to 127) – Adjusts the delay time. 1: Wet Level (0 to 127) – Adjusts the level of the effect sound. 2: Feedback (0 to 127) – Adjusts the repeat of the delay. 3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound. 4: Ratio L (0 to 127) – Adjusts the delay time of the left channel, proportional to

the value set for Delay Time. 5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to

the value set for Delay Time.

Effect List

Page 36

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Delay Time (0 to 127) – Adjusts the delay time. 1: Wet Level (0 to 127) – Adjusts the level of the effect sound. 2: Feedback (0 to 127) – Adjusts the repeat of the delay.

Stereo

Delay 2

22 3-Tap Delay This is left/center/right 3-tap delay.

Gate

Reverb

Reverse

Gate Reverb

25 Reflection

26 Reflection

Effect List

27 Reverb

28 2-Tap Delay This is left/right 2 tap delay.

This is a cross feedback delay of stereo input and output.

This is a fader that creates artificial reverb that sounds like it is being cut with a gate.

This is gate reverb with a reverse rotation effect.

This is an effector that extracts the first reflected sound from a reverb sound.

This is a flanger in accordance with a sine wave LFO.

This is an effector that preserves the breadth of a sound by adding a reverb sound.

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

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

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

the value set for Delay Time.

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

the value set for Delay Time.

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

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

the value set for Delay Time.

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

to the value set for Delay Time.

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

the value set for Delay Time.

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

value cuts the high range.

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

value cuts the low range. 2: Feedback (0 to 127) – Adjusts the repeat of the reverb. 3: High Damp (0 to 127) – Adjusts damping of the high-range delay sound. The

smaller the value, the greater the damping of high-range delay sound. 4: Diffusion (0 to 127) Provides fine adjustment of the reverb. 5: Wet Level (0 to 127) – Adjusts the level of the effect sound. 6: Dry Level (0 to 127) – Adjusts the level of the original sound.

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

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

value cuts the low range. 2: Feedback (0 to 127) – Adjusts the repeat of the reverb. 3: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The

smaller the value, the greater the damping of high-range reverb sound. 4: Diffusion (0 to 127) Provides fine adjustment of the reverb. 5: Wet Level (0 to 127) – Adjusts the level of the effect sound. 6: Dry Level (0 to 127) – Adjusts the level of the original sound.

0: Type (0 to 7) Selects from among the eight available reflection patterns. 1: Wet Level (0 to 127) – Adjusts the level of the effect sound. 2: Feedback (0 to 127) – Adjusts the repeat of the reflected sound. 3: Tone (0 to 127) – Adjusts the tone of the reflected sound.

0: Tone (0 to 127) – Adjusts the tone of the reverb sound. 1: Time (0 to 127) – Adjusts the reverb time. 2: High Damp (0 to 127) – Adjusts damping of the high-range reverb sound. The

smaller the value, the greater the damping of high-range reverb sound. 3: ER Level (0 to 127) – Adjusts the level of the initial reflection. 4: Wet Level (0 to 127) – Adjusts the level of the effect sound.

smaller the value, the greater the damping of high-range delay sound. 4: Ratio L (0 to 127) – Adjusts the delay time of the left channel, proportional to

the value set for Delay Time. 5: Ratio R (0 to 127) – Adjusts the delay time of the right channel, proportional to

the value set for Delay Time.

Page 37

The following “Multi” algorithms are used in combination with the algorithms described previously in this section. Parameters are shared by both types of algorithms.

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Chorus LFO Rate 1: Chorus LFO Depth

Multi00

M00

(Sin 2-Phase Chorus

Multi01

M01

(3-Phase Chorus

Multi02

M02

(Phaser

Multi03

M03

(Flanger

Multi04

M04

(Stereo Phaser

Multi05

M05

(Enhancer

Multi06

M06

(Enhancer

Multi07

M07

(Enhancer

3-Tap Delay)

—

3-Phase Chorus)

—

2-Tap Delay)

—

Stereo Delay 1)

—

1- Phase Chorus)

—

2- Tap Delay)

—

Flanger)

—

2-Tap Delay)

—

This is a multi effector that is related to Sin 2-Phase Chorus 2-Tap Delay.

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

This is a multi effector that is related to Phaser

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

This is a multi effector that is related to Stereo Phaser

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

This is a multi effector that is related to Enhancer

This is a multi effector related to Enhancer — Flanger.

3-Phase Chorus.

—

Stereo Delay 1.

—

2-Tap Delay.

2: Chorus Feedback 3: Chorus Wet Level 4: Delay Time 5: Delay Wet Level 6: Delay Feedback 7: Delay High Damp

0: Chorus Rate 1 1: Chorus Depth 1 2: Chorus Rate 2 3: Chorus Depth 2 4: Chorus Wet Level 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Phaser Resonance 1: Phaser Manual 2: Phaser Rate 3: Phaser Depth 4: Chorus Rate 1 5: Chorus Depth 1 6: Chorus Rate 2 7: Chorus Depth 2

0: Flanger LFO Rate 1: Flanger LFO Depth 2: Flanger Feedback 3: Flanger Wet Level 4: Delay Time 5: Delay Wet Level 6: Delay Feedback 7: Delay High Damp

0: Phaser Resonance 1: Phaser Manual 2: Phaser Rate 3: Phaser Depth 4: Phaser Wet Level 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Enhancer Low Frequency 1: Enhancer Low Gain 2: Enhancer High Frequency 3: Enhancer High Gain 4: Chorus LFO Rate 5: Chorus LFO Depth 6: Chorus Feedback 7: Chorus Wet Level

0: Enhancer Low Frequency 1: Enhancer Low Gain 2: Enhancer High Frequency 3: Enhancer High Gain 4: Delay Time 5: Delay Wet Level 6: Delay Feedback 7: Delay High Damp

0: Enhancer Low Frequency 1: Enhancer Low Gain 2: Enhancer High Frequency 3: Enhancer High Gain 4: Flanger LFO Rate 5: Flanger LFO Depth 6: Flanger Feedback 7: Flanger Wet Level

Effect List

Page 38

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Chorus LFO Rate 1: Chorus LFO Depth

Multi08

M08

(Sin 2-Phase Chorus

Multi09

M09

(Sin 2-Phase Chorus

Multi10

M10

(Stereo Phaser

Multi11

M11

(Compressor

Multi12

M12

(Ring Modulator Chorus

Multi13

M13

(Ring Modulator

Multi14

M14

(Lo- Fi

—

2-Tap Delay)

—

Reflection)

—

Auto Pan)

—

Lo- Fi)

Sin 2-Phase

—

Distortion)

—

Flanger)

Tremolo)

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

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

This is a multi effector that is related to Stereo Phaser

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

This is a multi effector that is related to Ring Modulator Sin 2-Phase Chorus.

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

This is a multi effector related to Lo-Fi

Reflection.

—

Auto Pan.

—

Flanger.

—

Effect List

Multi15

M15

M16

(Distortion

Multi16 (Drive Rotary

—

Lo- Fi)

Reflection)

—

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

This is a multi effector related to Drive Rotary

Reflection.

—

2: Chorus Feedback 3: Chorus Wet Level 4: Flanger LFO Rate 5: Flanger LFO Depth 6: Flanger Feedback 7: Flanger Wet Level

0: Chorus LFO Rate 1: Chorus LFO Depth 2: Chorus Feedback 3: Chorus Wet Level 4: Tremolo Rate 5: Tremolo Depth

0: Phaser Resonance 1: Phaser Manual 2: Phaser Rate 3: Phaser Depth 4: Phaser Wet Level 5: Auto Pan Rate 6: Auto Pan Depth

0: Compressor Depth 1: Compressor Attack 2: Compressor Level 3: Lo-Fi Noise 1 4: Lo-Fi Noise 2 5: Lo-Fi Tone 6: Lo-Fi Resonance 7: Lo-Fi Bass

0: Ring OSC Frequency 1: Ring LFO Rate 2: Ring LFO Depth 3: Ring Wet Level 4: Ring Dry Level 5: Chorus LFO Depth 6: Delay Time 7: Delay Wet Level

0: Ring OSC Frequency 1: Ring LFO Rate 2: Ring LFO Depth 3: Ring Wet Level 4: Ring Dry Level 5: Distortion Gain 6: Distortion T one 7: Distortion Level

0: Lo-Fi Noise1 1: Lo- Fi Noise2 2: Lo- Fi Tone 3: Lo- Fi Resonance 4: Reflection Type 5: Reflection Wet Level 6: Reflection Feedback 7: Reflection Tone

0: Distortion Gain 1: Distortion Low 2: Distortion High 3: Distortion Level 4: Lo- Fi Noise1 5: Lo- Fi Noise2 6: Lo- Fi Tone 7: Lo- Fi Resonance

0: Drive Rotary Gain 1: Drive Rotary Level 2: Drive Rotary Speed 3: Drive Rotary Slow Rate 4: Drive Rotary Fast Rate 5: Reflection Wet Level 6: Reflection Feedback 7: Reflection Tone

Page 39

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Rotary Speed 1: Rotary Break

M17

M18

M19

M20

M21

M22

M23

M24

M25

Multi17 (Rotary

Multi18 (Compressor - Enhancer 2-Tap Delay)

Multi19 (Compressor

Multi20 (Phaser - 1-Phase Chorus Auto Pan)

Multi21 (Auto Wah - Tri 2 Phase Chorus Tap Delay)

Multi22 (LFO Wah -Tri 2-Phase Chorus Tap Delay)

Multi23 (Compressor - Sin 2-Phase Chorus Reflection)

Multi24 (Distortion - 1-Phase Chorus Delay)

Multi25 (Compressor - Distortion Delay)

Reflection)

—

Stereo Delay 1)

—

2-Tap

—

2-Tap

This is a multi effector related to Rotary — Reflection.

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

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

This is a multi effector that is related to Phaser - 1-Phase Chorus Auto Pan.

This is a multi effector that is related to Auto Wah - Tri 2-Phase Chorus

2-Tap Delay.

This is a multi effector that is related to LFO Wah - Tri 2-Phase Chorus

2-Tap Delay.

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

—

Reflection.

—

This is a multi effector that is related to Distortion - 1-Phase Chorus Tap Delay.

This is a multi effector that is related to Compressor - Distortion 2-Tap Delay.

—

2: Rotary Slow Rate 3: Rotary Fast Rate 4: Reflection Wet Level 5: Reflection Feedback 6: Reflection Tone

0: Compressor Depth 1: Compressor Attack 2: Compressor Level 3: Enhancer Low Gain 4: Enhancer High Gain 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Compressor Depth 1: Compressor Attack 2: Compressor Release 3: Compressor Level 4: Delay Time 5: Delay Wet Level 6: Delay Feedback 7: Delay High Damp

0: Phaser Resonance 1: Phaser Manual 2: Phaser Rate 3: Phaser Depth 4: Chorus LFO Rate 5: Chorus LFO Depth 6: Auto Pan Rate 7: Auto Pan Depth

0: Wah Resonance 1: Wah Manual 2: Wah Depth 3: Chorus LFO Rate

—

4: Chorus LFO Depth 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Wah Resonance 1: Wah Manual 2: Wah LFO Rate 3: Wah LFO Depth

—

4: Chorus LFO Depth 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Compressor Depth 1: Compressor Attack 2: Compressor Level 3: Chorus LFO Rate 4: Chorus LFO Depth 5: Reflection Wet Level 6: Reflection Feedback 7: Reflection Tone

0: Distortion Gain 1: Distortion Low 2: Distortion High

3: Distortion Level

—

4: Chorus LFO Depth 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Compressor Depth 1: Distortion Gain 2: Distortion Low 3: Distortion High 4: Distortion Level 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

Effect List

Page 40

0WODGT 0COG (WPEVKQP 2CTCOGVGTU

0: Wah Manual 1: Wah Depth

Multi26

M26

(Auto Wah - Distortion

Multi27

M27

(LFO Wah - Distortion

Multi28

M28

(Distortion

Multi29

M29

(Distortion

Multi30

M30

(Distortion

Multi31

M31

(Distortion

2-T ap Delay)

—

2-Tap Delay)

—

3-Tap Delay)

—

Phaser)

—

Sin 2-Phase Chorus)

—

Flanger)

—

This is a multi effector that is related to Auto Wah - Distortion 2-Tap Delay.

This is a multi effector that is related to LFO Wah - Distortion 2-Tap Delay.

This is a multi effector that is related to Distortion

This is a multi effector related to Distortion — Phaser.

This is a multi effector that is related to Distortion

This is a multi effector related to Distortion — Flanger.

3-Tap Delay.

—

Sin 2-Phase Chorus.

—

2: Distortion Gain 3: Distortion T one 4: Distortion Level 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Wah Manual 1: Wah LFO Rate 2: Wah LFO Depth 3: Distortion Gain 4: Distortion Level 5: Delay Time 6: Delay Wet Level 7: Delay Feedback

0: Distortion Gain 1: Distortion Low 2: Distortion High 3: Distortion Level 4: Delay Time 5: Delay Wet Level 6: Delay Feedback 7: Delay High Damp

0: Distortion Gain 1: Distortion Low 2: Distortion High 3: Distortion Level 4: Phaser Resonance 5: Phaser Manual 6: Phaser Rate 7: Phaser Depth

0: Distortion Gain 1: Distortion Low 2: Distortion High 3: Distortion Level 4: Chorus LFO Rate 5: Chorus LFO Depth 6: Chorus Feedback 7: Chorus Wet Level

0: Distortion Gain 1: Distortion Low 2: Distortion High 3: Distortion Level 4: Flanger LFO Rate 5: Flanger LFO Depth 6: Flanger Feedback 7: Flanger Wet Level

Effect List

Page 41

+&++/2.'/'06#6+10%*#46

MIDI Implementation Chart

Page 42

Specifications

52'%+(+%#6+105

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

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

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

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

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

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

Auto Accompaniment

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

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

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

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

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

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

Registration Memory

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

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

Memory Function

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

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

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

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

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

Custom Tone Parameter Function

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

Mixer Function

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

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

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

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

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

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

Terminals

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

Assignable T erminal ............

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

(100 panel tones, 128 General MIDI,

10 drum sounds, 10 user,

100 advanced tones)

with Layer and Split

(110 types: internal, 10 user areas)

Reverb (16 types) Chorus (16 types)

(Concert Chord, Fingered, Full Range)

Intro/Ending 1/2

Variation/Fill-In 1/2

Synchro/Fill-In Next

settings best suited for the selected rhythm

split setting, split point, layer setting

mixer settings, mixer settings

effect setting, equalizer setting

touch response setting

SUSTAIN/ASSIGNABLE JACK setting

transpose setting, tuning setting

accompaniment volume setting

harmonize setting

(2 through 6 are melody tracks)

(total for two songs)

resonance, cutoff frequency, vibrato type,

vibrato delay, vibrato depth, vibrato rate,

octave shift, level, touch sense, reverb send,

chorus send, DSP line, DSP type,

DSP parameter

volume, expression, pan, coarse tuning,

fine tuning, on/off/solo

GM Level 1 standard

-Inch Phone Jack

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

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

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

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

at 47K ohm load

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

AC: 9V with AC adapter

Power Cons u mp tion ............. .............. ....... 7.7 W

Dimensions (HWD) 5

× 37

× 14

Inches

(14.7 × 96 × 37.5 cm)

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

(5.8 kg)

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

Specifications are typical; individual units might vary. Specifications are subject to change and improvement without notice.

Page 43

16'5

NotesNotes

Page 44

Limited One-Year Warranty

This product is warran ted by R a dioS h ack ag ain s t ma nuf actu ring defects in material and wor k ma nsh ip un der nor mal use for one (1) yea r fr om the da te o f p urch ase from RadioShack com pan y-o w ne d sto re s an d a uth ori ze d Ra dioShack franchisees and dealers. EXCEPT AS PROVIDED HEREIN, RadioShack MAKES NO EXPRESS WARRANTIES AND ANY IMPLIED WARRANTIES, INCLUDING THOSE OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO THE DURATION OF THE WRITTEN LIMITED WARRANTIES CONTAINED HEREIN. EXCEPT AS PROVIDED HEREIN, RadioShack SHALL HAVE NO LIABILITY OR RESPONSIBILITY TO CUSTOMER OR ANY OTHER PERSON OR ENTITY WITH RESPECT TO ANY LIABILITY, LOSS OR DAMAGE CAUSED DIRECTLY OR INDIRECTLY BY USE OR PERFORMANCE OF THE PRODUCT OR ARISING OUT OF ANY BREACH OF THIS WARRANTY, INCL UDING, BUT NOT LIMITED TO, ANY DAMAGES RESULTING FROM INCONVENIENCE, LOSS OF TIME, DATA, PROPERTY, REVENUE, OR PROFIT OR ANY INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, EVEN IF RadioShack HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. Some states do not allow limitations on how long an implied warranty lasts or the exclusion or limitation of incidental or consequential damages, so the above limitations or exclusions may not apply to you. In the event of a product defect during the warranty period, take the product and the RadioShack sales receipt as proof of purchase date to any RadioShack store. RadioShack will, at its option, unless otherwise provided by law: (a) correct the defe ct b y pr odu ct r ep air w it hou t ch arg e for parts and labor; ( b) rep l ace the pr od uct wi t h o ne o f th e same or similar design; or (c) refund the purchase price. All replaced parts and products, and products on which a refund is made, become the property of RadioShack. New or reconditioned parts and products may be used in the performance of warranty ser vice. R ep aire d or re place d par ts and prod ucts ar e w arr ant ed for the rem ain der of the original warranty period . You will be charged for rep air o r r epla cem en t of t he p ro duct ma de a fte r th e expiration of the warranty period. This warranty does not cover: (a) damage or failure caused by or attributable to acts of God, abuse, accident, misuse, improper or abnorm al usage, failure to fo llow instructions, impro per installation or m aintenance, alterati on, lightning or other in cidence of excess voltage or curren t; (b) any repairs other than those pr ovided by a RadioShack Authorized Service Facility; (c) consumables such as fuses or batteries; (d) cosmetic damage; (e) transportation, shipping or insu rance costs; or (f) costs of prod uct removal, installation , set-up service adjustmen t or reinstallation. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state.

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

12/99

RadioShack Corporation Fort Worth, Texas 76102

MD1121E-1

42-4058

MA0206-A

04A02

Printed in Malaysia

Radio Shack 42-4058 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual