Rodgers W-5000 User Manual

INSTRUMENTS LLC

W-5000

Contempora ry Keyboard

User’s Guide

CAUTION

RISK OF ELECTRIC SHOCK

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER

SERVICING TO QUALIFIED SERVICE PERSONNEL.

DO NOT OPEN

!

The lightning flash with arrowhead symbol, within an equilateral
triangle, is intended to alert the user to the presence of
uninsulated “dangerous voltage” within the product’s enclosure
that may be of sufficient magnitude to constitute a risk of
electric shock to persons.

The exclamation point within an equilateral triangle is intended
to alert the user to the presence of important operating and
maintenance (servicing) instructions in the literature

!

accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

WARNING: When using electric products, basic precautions should always be followed, including the following:

1. Read all the instructions before using the product.

2. Do not use this product near water — for example, near a
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.

3. This product should be used only with a cart or stand that is
recommended by the manufacturer.

4. This product, either alone or in combination with an amplifier
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an
audiologist.

5. The product should be located so that its location or position
does not interfere with its proper ventilation.

6. The product should be located away from heat sources such
as radiators, heat registers, or other products that produce
heat.

This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable
to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug.

CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
ATTENTION: POUR EVITER LES CHOCS ELECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA

BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU’ AU FOND.

7. The product should be connected to a power supply only of the
type described in the operating instructions or as marked on the
product.

8. The power-supply cord of the product should be unplugged from
the outlet when left unused for a long period of time.

9. Care should be taken so that objects do not fall and liquids are
not spilled into the enclosure through openings.

10. The product should be serviced by qualified service personnel

when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled onto the
product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate normally or exhibits
a marked change in performance; or
E. The product has been dropped, or the enclosure damaged.

11. Do not attempt to service the product beyond that described in

the user/maintenance instructions. All other servicing should
be referred to qualified service personnel.

For the USA

For Canada

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: NEUTRAL
BROWN: LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in
your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter ‘N’ or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter ‘L’ or coloured RED.

INTRODUCTION

Thank you and congratulations on your choice of the Rodgers W-5000! The W-5000 is a contemporary
keyboard instrument which combines the very best of current organ tone-generation and leading-edge
synthesizer technology. As a players’ instrument, the W-5000 will satisfy the needs of the most demanding
professional, yet is easy enough to operate for the novice player to enjoy.

This User’s Guide contains all of the ‘nuts and bolts’ of W-5000 operation. Refer to this guide when you
need specific information about particular operations or functions. The W-5000 Quick Start guide, on the
other hand, provides a very brief, step-by-step description of playing the instrument. If you want to get
playing right away, work through the Quick Start guide. When you need more detailed information, however,
the User’s Guide is where you should look.

Note: This edition of the W-5000 User’s Guide refers specifically to software version 2.970604.
To determine which version of the operating software is currently installed in your W-5000, refer to
Chapter 10 (Utility Parameters; Software Version).

Rodgers instruments are built in Hillsboro, Oregon, USA. Through the most advanced technology available,
Rodgers Instruments LLC, a member of the Roland Group, delivers proven reliability, design innovation and
a tradition of musical excellence. Rodgers ... The Sound Choice!

User’s Guide

FEATURES

• The W-5000 features a two-manual plus pedalboard design in the tradition of great players’ instruments!

• Sounds are produced by three independent tone generators; a Drawbar/Tone-Wheel generator for

contemporary organ sounds, a Classic Organ generator for church and

• classical organ sounds, and a Synth generator for synthesized instrument and percussion sounds.

• The W-5000 utilizes specially designed LED-lit Tone buttons and authentic drawbars to control the Tone-

Wheel organ sounds.

• A 160 watt, multi-speaker sound system delivers full, rich sounds without any additional amplifiers or

speakers. However, the W-5000’s extensive output array can handle virtually any sound output
configuration you might require.

• The W-5000 features full MIDI (Musical Instrument Digital Interface) capability, with the internal Synth

generator available for control via an external instrument.

• The on-board disk drive can be used to record and playback your keyboard performances. The drive can

also be used to play commercially available Standard MIDI File (SM F), General MIDI (GM), and
Roland/Rodgers GS Format data (on 3.5” disks).

iii

Rodgers W-5000

Copyright © 1997 RODGERS INSTRUMENTS LLC

All rights reserved. No part of this publication may be reproduced in any form

without the permission of Rodgers Instruments LLC.

Information in this publication is subject to change without prior notice.

iv

TABLE OF CONTENTS

Introduction...........................................................................................................................................................iii

Features..................................................................................................................................................................iii

Customer Support ............................................................................................................................................. viii

Conventions Used In Th is Manual...................................................................................................................viii

The General MIDI (GM) System......................................................................................................................... ix

The GS Format...................................................................................................................................................... ix

Standard MIDI Files (SMF)................................................................................................................................... ix

Important Notes....................................................................................................................................................x

CHAPTER 1 Introduction & Installation

Front Panel Description .....................................................................................................................................12

Rear Panel Description......................................................................................................................................14

Setup And Installation........................................................................................................................................16

Basic Assembly.....................................................................................................................................16

Installing The Pedalboard/(Model W-5000A).................................................................................17

Opening The Lid ..................................................................................................................................19

The Music Rest......................................................................................................................................19

Connecting The Power Cord, Expressio n P edal and Speakers...................................................20

CHAPTER 2 Performance Basics

Powering Up ........................................................................................................................................................24

LCD Contrast........................................................................................................................................24

Panel / Pedalboard Lighting.............................................................................................................25

Performa nce Basics ...........................................................................................................................................26

Drawbar Tones.....................................................................................................................................26

Classi c Organ Tones............................................................................................................................29

Synth Tones...........................................................................................................................................31

Layering Tones ....................................................................................................................................................33

The Solo Function................................................................................................................................................35

Bass Tones ............................................................................................................................................................37

Pedalboard .........................................................................................................................................37

Keyboard Bass .....................................................................................................................................37

Bass Sustain/Solo..................................................................................................................................38

Manual Drums.....................................................................................................................................................39

CHAPTER 3 Advanced Performance Features

Advanced Performance Features..................................................................................................................42

Tone Mapping......................................................................................................................................42

More Performance Functions...........................................................................................................................44

[DRAWBAR PRESET] Buttons................................................................................................................44

[OCTAVE +/-] Button...........................................................................................................................45

[HOLD] Button ......................................................................................................................................46

[ORGAN TREM] Button........................................................................................................................46

[SUSTAIN] Button (BASS)......................................................................................................................47

[MIDI] Buttons (UPPER/ LOWER/BASS)................................................................................................47

User’s Guide

v

Rodgers W-5000

CHAPTER 4 Effects

EFFECTS Section ..................................................................................................................................................50

[MANUAL DRUMS] Bu tton...................................................................................................................50

[UPPER DB VIB] + [LOWER DB VIB] Buttons.......................................................................................51

[DRAWBAR DISTORT] Button...............................................................................................................51

[DRAWBAR CLICK] Bu tton..................................................................................................................52

[CROSSFADE] Button...........................................................................................................................52

[AFTERTOUCH] Button.........................................................................................................................53

[GENERAL REVERB] Button .................................................................................................................54

[SYNTH CHORUS] Button .....................................................................................................................54

[TRANSPOSE] Button............................................................................................................................55

[ROTARY] + [FAST/ SLOW] Buttons......................................................................................................55

CHAPTER 5 General Presets

General Presets...................................................................................................................................................58

Globals ..................................................................................................................................................59

Preset Storage......................................................................................................................................60

CHAPTER 6 Voicing & Controller Settings

Voicing & Controller Settings............................................................................................................................66

Keyboards............................................................................................................................................................66

Controllers............................................................................................................................................................67

Controller Destinations ......................................................................................................................................67

Setting The Controllers.......................................................................................................................................69

Voicing …… .........................................................................................................................................................70

CHAPTER 7 The Floppy Disk Drive

The Floppy Disk Drive.........................................................................................................................................74

Handling Floppy Disks.........................................................................................................................74

Handling The Disk Dr ive......................................................................................................................75

Formatting A Floppy Disk ...................................................................................................................76

Using The S equencer .........................................................................................................................................77

Listening To A Song On Disk...............................................................................................................77

Playback Controls ...............................................................................................................................78

Recording Your Perf ormances.........................................................................................................................80

Storing W-5000 Data On Disk............................................................................................................................81

Registrations .........................................................................................................................................81

CHAPTER 8 Audio

The Audio System ...............................................................................................................................................86

Outputs..................................................................................................................................................86

Inputs .....................................................................................................................................................88

Speaker And Line Mixes....................................................................................................................................88

The Speaker Mix...................................................................................................................................88

Auxiliary Inputs .....................................................................................................................................89

The Line Mix ..........................................................................................................................................90

Auxiliary Inputs .....................................................................................................................................91

Audio System Configurations...........................................................................................................................92

Basic Audio Setup ...............................................................................................................................92

Mid-S ized Audio Setup .......................................................................................................................93

Large Au dio Setup ..............................................................................................................................94

vi

User’s Guide

CHAPTER 9 Using MIDI

Using MIDI ............................................................................................................................................................96

Using Exte rnal Sound Modules .........................................................................................................................96

Using The W-5000 As A Sound Module ...........................................................................................................98

External S equencing........................................................................................................................................100

Master Channel Sequencing..........................................................................................................100

Native Mode Sequencing...............................................................................................................104

Multi-Track Recording.......................................................................................................................105

Synchronizing .....................................................................................................................................106

Controlling Anothe r Rodgers Organ.............................................................................................................108

CHAPTER 10 Appendix

Parameter Lists..................................................................................................................................................110

UPPER / LOWER / BASS Sections.....................................................................................................................111

[TONE] Parameters ............................................................................................................................111

[TONE 1] + [TONE 2] Para meters.....................................................................................................111

[SOLO] Parameters............................................................................................................................111

[OCTAVE +/-] Parameter..................................................................................................................113

[ORGAN TREM] Parameter s.............................................................................................................113

Drawbar Parameters ([CURRENT DRAWBAR] + [DRAWBAR PRESET]) .......................................113

[MIDI] Parameters..............................................................................................................................115

[KEYBD B ASS] Parameter..................................................................................................................116

Bass [SUSTAIN] Parameters...............................................................................................................116

EFFECTS Section ................................................................................................................................................117

[MANUAL DRUMS] Parameters........................................................................................................117

[UPPER DB VIB] + [LOWER DB VIB] Parameters .............................................................................117

[DRAWBAR DISTORT] Parameters....................................................................................................118

[DRAWBAR CLICK] Pa rameter ........................................................................................................118

[CROSSFADE] Parameters................................................................................................................119

[AFTERTOUCH] Button .......................................................................................................................120

[GENERA L REVERB] Parameters ......................................................................................................120

[SYNTH CHORUS] Paramete rs..........................................................................................................120

[TRANSPOSE] Parameter ..................................................................................................................121

General Controls ..............................................................................................................................................122

[ROTARY] Parameters.......................................................................................................................122

[FAST/SLOW] Parameters..................................................................................................................123

[MEMORY] (General Preset) Parameter........................................................................................123

FUNCTION S Section..........................................................................................................................................124

[CONTROLS] + [VOICI NG] Parameters..........................................................................................124

[PRESETS] Parameters........................................................................................................................127

[SEQ] Parameters...............................................................................................................................128

[AUDIO] Parameters .........................................................................................................................130

[MIDI] Parameters..............................................................................................................................133

[UTILITY] Parameters..........................................................................................................................136

Synth Tone Map................................................................................................................................................139

R-300 Tone Map..............................................................................................................................................142

P

CM-64/MT-32 (PR-300 Subsets)........................................................................................................144

Classi c Organ Tone Map ................................................................................................................................145

Synth Drum Sets.................................................................................................................................................146

PR-300 Drum Sets ..............................................................................................................................................147

General Preset Parame ters.............................................................................................................................151

Global Parameters...........................................................................................................................................152

Software Updates.............................................................................................................................................153

MIDI Implementation.......................................................................................................................................154

Audio Block Diag ram ......................................................................................................................................160

Specifications....................................................................................................................................................161

vii

Rodgers W-5000

CUSTOMER SUPPORT

The Customer Service Department of Rodgers Instruments LLC is available to answer any of your questions.
Before you call, however, please try the following steps:

• Check your document ation

• Contact your local R odgers dealer

• Call the Rodgers Fiel d Service Departm ent

If you are unable to resolve your problem, please feel free to call the Customer Service Department between
the hours of 7:00 AM and 5:00 PM Pacific Time, Monday through Friday (excluding holidays). Weekend
support hours are 5:00 to 9:00 PM Friday, 7:00 AM to 5:00 PM Saturday, 7:00 AM to 12:00 PM Sundays.
Call [phone] of fax [phone]. Before you call, please have the following information in front
of you:

• Model num ber

• Serial number

• Date of installation

• A description of the problem and steps taken t o correct it

RODGERS INSTRUMENTS LLC
1300 N.E. 25th Avenue
Hillsboro, OR 97124
Telephone: [phone]

CONVENTIONS USED IN THIS MANUAL

• Panel buttons are indicated within square brackets. For example; Press the [UTILITY] button in the

FUNCTIONS section, and then the [+] button in the EDIT section.

• Whenever a panel button is pressed, the LCD will instantly display relevant information; a Program

Number and name, a parameter name and sett ing value and so on. General ly, to navigat e through the
options and to set parameter values you will:

Ê Press the relevant panel button.
Ë Use the [NEXT] and [PREVIOUS] buttons in the EDIT section to select the desired

parameter.

Ì Use the [+] and [-] buttons in the EDIT section to set a numeric value (e.g. 0—127) or select

an option (e.g. High, Low or Off). (Using the [++] and [--] buttons allow you to change
numeric values in large jumps.)

• Due to space limitations, many parameter, Tone and function names are abbreviated. For exam ple, ‘chorus’

is abbreviated as ‘Cho’. Where necessary, the abbreviations will be explained.

• Where possible, actual LCD screens will be used in explaining the instrument’s functions. Keep in mind,

however, that screens presented by your W-5000 may dif fer dependi ng on its sett ings.

viii

THE GENERAL MIDI (GM) SYSTEM

The General MIDI System is a universal set of specifications for sound generating devices which hasbeen
agreed upon by the Japanese MIDI Standards Committee and the American MMA (MIDI Manufacturer’s
Association). These specifications seek to allow for the creation of music data which is not limited to
equipment by a particular manufacturer or to specific models.

The GM System defines such things as the minimum number of voices that should be supported, the MIDI
messages that should be recognized, which sounds correspond to which Program Change Numbers, and the
layout of rhythm sounds on the keyboard. Thanks to these specifications, any device that is equipped with
sound sources supporting the GM System will be able to accurately reproduce GM Scores (music created
under the GM System), regardless of the manufacturer or model.

THE GS FORMAT

The GS Format is the Roland/Rodgers standardized set of specifications for Roland/Rodgers sound sources
which defines the manner in which multi-timbral sound generating units will respond to MIDI messages. The
GS Format also complies with the GM System. The GS Format, however, defines a number of additional
items. These include unique specifications for sounds, the functions available for Tone editing and effects
(e.g. chorus and reverb), and other specifications concerning the manner in which sound sources will
respond to MIDI messages.

User’s Guide

Any device that is equipped with GS Format sound sources can faithfully reproduce GS Music Data (music
data created under the GS Format).

The W-5000 supports both the General MIDI System and the GS Format. Song data (on 3.5 inch
floppy disks) which carries either of these logos can be accurately reproduced.

STANDARD MIDI FILES (SMF)

The W-5000 can also playback Standard MIDI Files (720 Kbyte or 1.2 Mb format, 3.5 inch floppy disks)
such as the data on any commercially available SMF music disk.

ix

Rodgers W-5000

IMPORTANT NOTES

In addition to the Important Safety Instructions inside the front cover, please read and observe the following:

POWER SUPPLY

• Before connecting the instrum ent to other devices, be sure the power t o all units is off; this will help

prevent damage or malfunction.

• Be sure the voltage in y our installa tion m eets the requirem ent of y our instrum ent. Check t he back panel of

your instrument for power requirements.

• Do not use this instrum ent on the sam e power circui t with any devi ce that m ay generate l ine noise; an

electric motor or variable lighting system for example.

• Unplug the AC cord when the instrument will not be used for an extended period of time. When

disconnecting the AC cord, always pul l on the plug i tself; never pul l on the cord.

• Avoid damaging the power cord; do not step on it or place heavy objects on it.

PLACEMENT

• Be sure to install t his instrum ent on a very solid and stable floor or stage; it s size and weight dem and t hat

safety be an important consideration.

• This device may interfere with radio and/or television reception. Avoid using this instrument in the vicinity

of such receivers. (See inside back cover for more information.)

MAINTENANCE

• For everyday cleaning wipe the i nstrume nt with a soft, dry cloth. To rem ove stubborn dirt or stains, use a

slightly dampened cloth and a mild, non-abrasive deter gent . Afterward, be sure to wipe the instrum ent with
a soft, dry cloth. (Be very careful not to spill any liquid into the instrument!)

• Never use benzine, thinners, alcohol or solvents of any kind to avoid the possibility of discoloration and/or

deformation of plastic parts.

ADDITIONAL PRECAUTIONS

• Take great care when movi ng the instrum ent as i t is very heavy. Safet y should be forem ost in your m ind

when you transport the unit. Proper care and a little common sense will ensure that no injuries occur and
that the instrument isn’t damaged.

• Before operating the inst rume nt in a foreign country, be sure t o consult with qual ified service personnel .

(Voltage incompatibility can seriously damage your instrument.)

• Setting a vase, bottle or glass containing liquid on the instrument is i nviting an accident to happen! Any

liquid spilled into the instrument can cause a great deal of damage or electric shock to users. To avoid such
an occurrence, don’t put any containers on the instrument. In the event that liquid is spilled into the
instrument, discontinue use imm ediately. Unpl ug the power cord from the wall and contact qualified
service personnel as soon as possible.

• Contact qualifie d service personnel when:

• The power cord has been damaged

• Objects or liquids have fall en into the instrum ent

• The instrument has been exposed to rain or weather dam age

• The instrument has been dropped or the enclosure has been dam aged

• The instrument does not appear to functi on norma lly

x

CHAPTER 1.

Introduction &

Installation

Chapter 1

FRONT PANEL DESCRIPTION

5

1 2 3 4 6 7 8 2

9 10 11 12 13 14 15 16 17 18 19

1 Power Switch
2 Tweeters

20

21

22

This switch turns the W-5000 on and off.
These are high-frequency speakers.

12

Introduction & Installation

3 EFFECTS

Section

4 UPPER Tone

Select
5 Music Rest
6 LOWER Tone

Select
7 BASS Tone

Select
8 Floppy Disk

Drive
9 Performance

Controls

10 BALANCE

Section
11 ROTARY

Buttons
12 UPPER

Drawbars

These buttons access a variety of the W-5000's effects, such as reverb, chorus, drawbar
click, aftertouch and so on.

These buttons select Tones and functions for the Upper manual.

Music rest and panel light intensity can be changed as required.
These buttons select Tones and functions for the Lower manual.

These buttons are used to select Tones for the Pedalboard and for the Lower manual when it
is split into two sections (Keybass).

The drive can be used to record and playback your keyboard performances, as well as to
store instrument data and playback commercial song data.

The [SPKR] knob controls the overall volume of the W-5000 (including headphones when
they're connected). The [LINE] knob controls the level of the Line Out signal. The
[Bender/Modulation] lever raises and lowers the pitch, and adds vibrato to the notes you
play.

These sliders are used to create the appropriate balance between Tones which you have
layered together. There are separate sliders for the UPPER, LOWER and BASS sections.

The [ROTARY] button activates the W-5000's rotary speaker simulator, and the
[FAST/SLOW] button changes the rotary effect speed.

Drawbars act like tone controls for sounds produced by the Tone-Wheel/Drawbar generator.
They can provide real-time control as you play the Upper manual.

13 PERC/USER

Drawbars

14 LOWER

Drawbars
15 BASS Drawbars
16 General Presets
17 Upper Manual
18 Lower Manual
19 LCD/System

Controls

20 Speaker

Enclosure
21 Expression

Pedal
22 Pedalboard

The PERC (Percussion) drawbars control the attack portion of the sound (for the Upper
manual only). The USER drawbars can be assigned a variety of different functions as
required.

These drawbars affect the Tone-Wheel sounds for the Lower manual.

These drawbars affect the Lower manual and Pedalboard.
These buttons are used to select and store overall instrument settings.
This is a 61 note, velocity sensitive, lightly weighted keyboard.
This is a 76 note, velocity and aftertouch sensitive, lightly weighted keyboard.
The LCD (Liquid Crystal Display) provides information about selected Tones and

operational status. The system controls (EDIT and FUNCTIONS) allow you to custom
configure and control your instrument.

This box contains the W-5000's speakers.

This pedal functions as a kind of volume control, but different functions can be assigned to
it. The 'kick' switches offer additional control.

This is a 25 note, velocity sensitive pedalboard.

13

Chapter 1

REAR PANEL DESCRIPTION

1 2 3 4 5 6 7 8 9 10

Internal Speaker/Expression

Pedal/Pedalboard

11 12 13 14 15 16 17 18

14

1 MIXED LINE

Introduction & Installation

These XLR connectors allow you to connect your W-5000 to a mixing console BALANCED
INPUT (using long cables if necessary). The signal from these connectors is a Line level mix
of the individual outputs (SYNTH, DRAWBAR and CLASSIC).

2 RODGERS

3 AUX INPUT

4 RODGERS

5 AUX INPUT

6 SYNTH

OUTPUT
7 DRAWBAR

OUTPUT
8 CLASSIC

OUTPUT
9 MIXED SPKR

10 MIXED LINE

11 MIDI 1

This is the standard Rodgers connector for the main individual outputs MAIN
OUTPUT(SYNTH, DRAWBAR and CLASSIC) and the MIXED LINE or SPKR OUTPUT.
It also sends a 'power on' signal to any connected amplifier(s).

These XLR inputs accept connection of microphones, external keyboards etc. Sensitivity and
other controls are accessible through the [AUDIO] button in the FUNCTIONS section.

This is the standard Rodgers connector for MIXED LINE Output. It also sends a
ANTIPHONAL OUTPUT 'power-on' signal to any connected amplifier(s).

These 1/4" inputs accept connection of microphones, sound modules, external keyboards etc.
Sensitivity and other controls are accessible through the [AUDIO] button in the
FUNCTIONS section.

These 1/4" jacks provide an individual, line-level output for sounds from the Synth tone
generator. For the best results, use both jacks.

These 1/4" jacks provide an individual, line-level output for sounds from the Tone-Wheel
generator. For the best results, especially when the Rotary simulator is active, use both jacks.

These 1/4" jacks provide an individual, line-level output for sounds from the Classic Organ
tone generator. For the best results, use both jacks.

These 1/4" jacks provide a line-level output for the same signals going to the OUTPUT
internal amplifier and speakers (the Speaker mix).

These 1/4" jacks provide an option for connection to a mixing console (an OUTPUT optional
Line mix output).

These MIDI ports allow you to connect your W-5000 to external MIDI devices (such as
sound modules, sequencers etc.). Control of these ports is accessed through the [MIDI]
buttons found in each section (UPPER/LOWER/BASS) and the [MIDI] button in the
FUNCTIONS section.

12 MIDI 2
13 SW1

14 PEDAL

15 ACC POWER

16 ROTARY TONE

CABINET
17 SPEAKER/

EXPRESSION

PEDAL
18 MAIN POWER

Same as MIDI Port 1 without the THRU connector.
This 1/4" jack accepts connection of an external, switched (on/off) controller. The function

of this controller is user defined.
This 1/4" jack accepts connection of an external controller (such as an Expression pedal).

The function of such a controller is user defined.
This is a general purpose 12v DC power outlet. It can be used to power an external piece of

equipment (like a Rodgers PR-300, for example).
This multi-pin connector is used to connect a rotary tone cabinet to your W-5000.

This multi-pin connector is used to connect the on-board speakers and Expression pedal
(both integrated into the stand) to the keyboard.

Connect the included AC power cord to this inlet.

15

Chapter 1

SETUP AND INSTALLATION

Because of the W-5000's size and weight, setup and installation are somewhat more involved than with a
smaller instrument. Your Rodgers dealer will very likely assist with the delivery and initial setup of your
new instrument, and this provides a good opportunity to gain first-hand experience with the process.

BASIC ASSEMBLY

Your Rodgers dealer may deliver your W-5000 in one piece, or it may be necessary to assemble the two
main sections; the keyboard itself and the stand. The information provided here will also be useful should
you need to disassemble the instrument for future transport.

EFFECTS

UPPER

UPPER

- +

SPKR

- +

LINE

PERC

USER

3

4

5

6

LOWER

LOWER

BASS

7

8

9

BASS

NEXT

PREVIOUS

SMF

+ +

STOP

- ­+

VOICING

REC

-

FUNCTIONS

SMF

PLAY

MIDI

CONTROLS

Ë Insert and

tighten the screws

provided
(three per side).
To disassemble

the unit, remove

these screws first.

16

Alignment pin
(both sides)

Ê Slide the locking grooves of
the brackets until they sit tightly
against the pins on the stand. To
disassemble, slightly raise the
front of the keyboard to clear the
alignment pins and then slide the
keyboard forward to disengage
the groves from the rear pins. Be
sure to disconnect the
speaker/Expression
pedal/Pedalboard cable first!

Introduction & Installation

INSTALLING THE PEDALBOARD

Once the instrument is secured to the stand, it will be necessary to install the Pedalboard.

First, however, free the two pedal cables that are temporarily secured by a fastener to the underside of the
stand. (Do not remove this fastener from the base of the instrument. Before moving the W-5000, be sure that
these cables are carefully bundled (without any slack) and secured to the base using the fastener.) [NOTE:

Refer to the following page for information on pedalboard installation for the "A" version of the W-

5000.]

Ê Connect the pedal cables to the
receptacles on the right side of the

- +
SPKR

- +
LINE

1

Pedalboard assembly; one is a 5­pin cable for the Pedalboard) and
the other is an 8-pin cable (for the
Expression pedal).

5-pin 8-

Ë Push the pedalboard (from the
center of the heelpad) so it slides
all the way into the stand.

NOTE: If your W-5000 is sitting on a very thick carpet, it may be difficult to slide the Pedalboard into place.
If that is the case, very carefully lift one side of the instrument and rotate the adjustable feet to provide more
clearance. Then lift the other side and do the same. Take great care when making this adjustment; this

500 pound instrument could cause severe injury if it were to pinch fingers or toes!

17

Chapter 1

INSTALLING THE PEDALBOARD (W-5000 Version "A" Only)

Once the instrument is secured to the stand, it will be necessary to install the Pedalboard.
The Pedalboard unit contains two metal hooks which simply hook over top of the short metal bars on the
bottom of the stand. (It's very important to make sure the Pedalboard is straight while you firmly push it into
its latched position):

¶ Place the Pedalboard
against the metal hanger
pins on the bottom of the
stand.

· Push the Pedalboard
from the center of the
heelboard.

If you like, you can also adjust the height of the Pedalboard.
Note: If you are installing the unit on thick carpet, raise the conso le b y ro tating its adjustable feet so the
Pedalboard is relatively parallel to the floor:

18

Introduction & Installation

OPENING THE LID

The instrument's lid may have been locked for transit. Find the key and unlock the lid. To open the
instrument lid, simply lift the handle and fold back. When the lid is folded, push it straight back into the
instrument case. To close the lid, pull it straight out, unfold, and gently lower over the keyboards:

Ê

Ì

PERC

USER

LOWER

Ë

Í

THE MUSIC REST

The plexiglass music rest slides easily into the deep groove on top of the keyboard:

19

Chapter 1

CONNECTING THE POWER CORD,
EXPRESSION PEDAL AND SPEAKERS

Be sure the [Power] switch (on the far left-hand side of the panel) is in the OFF position. Also be sure the
[SPKR] knob (main volume) (just below the Power switch) is at the minimum position and that the
Expression pedal is in the full-up (minimum) position:

Connect the included AC power cord to the MAIN POWER in let on the rear panel of the instrument; tuck
the power cord into the channel in the leg of the stand (but don't close the cover just yet):

Ê MAIN POWER connection
Ë Speaker / Expression Pedal /
Pedalboard connection.

20

Introduction & Installation

The speakers, Expression pedal and the Pedalboard must be connected to the keyboard. Find the multi-plug
connector (which is located in the channel of the leg) and connect it to the receptacle above and to the left of
the MAIN POWER inlet. (See graphic on the previous page.) Once both the power cord and the
speaker/Expression pedal/Pedalboard cable are secure, tuck the cables inside the channel and close the cover.

Once the instrument is fully assembled, move it carefully into its final position (if it isn't already there). Be
sure the instrument is sitting on a very solid, stable floor or stage. (If necessary, stabilize the instrument by
rotating the adjustable feet on the bottom of the unit.) Remember to leave enough space behind the
instrument so that you can easily access the rear panel. Connect the power cord to a wall outlet. (Be sure the
voltage of your power outlet matches the requirement of your instrument! And never attempt to modify the
power cord; DO NOT remove the ground pin (the third prong) from the plug.)

21

Chapter 1

22

s

CHAPTER 2

.

Performa nc e

Ba sic

Chapter 2

POWERING UP

Press the [Power] switch. (It's just that easy!)

LCD CONTRAST

If the LCD is difficult to read because of poor lighting conditions or whatever, there is a simple way to adjust
the display contrast:

Ê Find and press the [UTILITY] button in the FUNCTIONS section (directly under the LCD):

Ë Press the [NEXT] button (in the EDIT section) repeatedly until the words 'LCD Contrast' appear in

the LCD:

24

Performance Basics

Ì Press the [+] and [-] buttons in the EDIT section un til the LCD is easily readable.

(The adjustable range is 0-9.):

PANEL / PEDALBOARD LIGHTING

The W-5000 contains panel and Pedalboard lights which make it easy to see what you're doing on a dark
stage. These lights can be adjusted with the following procedure:

Ê Press the [UTILITY] button.
Ë Press the [NEXT] button until the words 'Pan el Lamp' app ear in the LCD:

Ì Press the [+] and [-] buttons until the p anel lights are properly adjusted; High, Low or Off.

25

Chapter 2

PERFORMANCE BASICS

The W-5000 contains three tone generators; the Drawbar/Tone-Wheel generator (for contemporary organ
sounds), the Classic Organ generator (for classical and church organ sounds), and the Synth generator (for
synthesized instrument and percussion sounds). The following sections describe how to select and play
sounds from these three generators. (If you've worked through the Quick Start guide, you'll already be
familiar with these procedures.)

DRAWBAR TONES

Ê While seated comfortably (on the hand some and functional bench!), raise the volume a little by

rotating the [SPKR] knob clockwise and by depressing the Expression pedal slightly.

[Bender/Modulation] lever

Ë Play a few notes on the Upper manual (the top keyboard) and

set an appropriate volume with the [SPKR] knob and Expression
pedal.

Headphones can also be used; the headphone jack is located just
below the [Bender/Modulation] lever. Note that connecting
headphones to this jack will cut off the internal and any external
speakers. Take great care when using headphones however;

excessive volume levels can easily damage your hearing!

26

Performance Basics

Ì Find the [CURRENT DRAWBAR] button in the group of buttons marked UPPER; the
button's red LED (Light Emitting Diode) should be lit. (When a [CURRENT DRAWBAR] button is
lit, the W-5000's Tone-Wheel generator is active.)

UPPER

Í While playing the Upper manual with your right hand, move some of the UPPER drawbars (the

sliders with all the numbers on them):

As you play, you'll instantly hear that each drawbar affects a different range of the harmonic content
of the sound. You'll discover that each one controls different frequency ranges, like sophisticated tone
controls. Once you get a little experience you'll be able to quickly create the sound you want.

27

Chapter 2

Î Just to the right of the nine UPPER drawbars are two PERC (Percussion) drawbars. Try pushing and

pulling these drawbars and you'll notice that they affect the attack or initial portion of the sound,
making it a little 'harder' or 'softer'.

Ï To add to the fun, find the [ROTARY] button (located on the vertical panel just under the Upper

manual). When this button is lit, the W-5000's rotary speaker simulator is active. (This simulates the
effect of real rotary speakers such as the famed Leslie.) To change the rotary speed, press the
[FAST/SLOW] button.

However, you can also change the speed using the right 'kick' switch on the Expression pedal (just
give it a little tap with the right side of your foot!):

The right foot (or ‘kick’)
switch controls rotary
speed.

The left foot (or ‘kick’)
switch controls sustain of
Synth Tones.

28

Performance Basics

All of the controls and functions described here (with the exception of the PERC drawbars) are duplicated
for the Lower manual (the bottom keyboard). All of the relevant controls for the Lower manual are (cleverly
enough) marked LOWER!

There are several parameters (settings) which you can set to customize the W-5000's drawbar sounds and
rotary effect. Refer to 'Drawbar Parameters' on page 113, and '[ROTARY] Parameters' on page 122 for a
complete list of these parameters and what they do.

Of course, the Drawbar/Tone-Wheel generator is but one of three in the W-5000. This instrument also
contains a Classic Organ tone generator which creates sounds ideally suited to classical and church music.
The next section will show you how to select and play these Tones.

CLASSIC ORGAN TONES

Ê To access the Classic Organ Tones for the Upper manual, first press the [CURRENT DRAWBAR]

button in the UPPER Tone select section; be sure the button's LED is dark. (It's important to turn the
Tone-Wheel generator off, otherwise its sounds will be layered - played together - with the Classic
Organ Tones you select.)

Ë Press [ORGAN 1] (for example) in the UPPER Tone select section. The button's red LED should

light:

UPPER

29

Chapter 2

Depending on which Tone has been assigned to that button (which you'll learn how to do), the LCD
will read something like:

This indicates a Program Number ('1' in this case), a Bank Number ('0'), and a name ('Gedackt'). (Note
that much of the terminology used with the W-5000's Classic Organ Tones comes from traditional
pipe organs.)

Play the Upper manual to hear the sound you have selected.

Ì To select different Classic Organ Tones (Program Numbers), press the [+] button in the EDIT section.

Pressing the [+] button will advance through the Program Numbers and pressing the [-] button
reselects the previous Program Number.

Í Try some of the other organ Tones under the [ORGAN 2], [ORGAN 3] and [ORGAN 4] buttons if

you like. Again, you can select additional Tones using the [+] and [-] buttons in the EDIT section.
(Don't be concerned about selecting some of the same sounds you found under the [ORGAN 1] button

- we'll explain what's going on in due time!)

UPPER

30

Performance Basics

NOTE: If you've already tried, you've discovered that the drawbars will not affect the Classic Organ Tones.
The Classic Organ and Drawbar/Tone-Wheel generators are independent of one another. The drawbars are
active ONLY when a [CURRENT DRAWBAR] button is lit.

Finally, we come to the last Tone generator in the W-5000, the generator that produces...

SYNTH TONES

Ê To access the W-5000's Synth Tones for the Upper manual, first be sure the [CURRENT

DRAWBAR] button in the UPPER Tone select section is dark. (Again, for now you probably won't
want the drawbar sounds to be heard with the Synth Tones you select.)

UPPER

Ë Press [PIANO 1] (for example) in the UPPER Tone select section. The button's red LED should light .

UPPER

31

Chapter 2

Again, depending on what Tone has been assigned to that button, the LCD might read:

Ì Play the Upper manual and you'll hear a piano sound.

You might also want to try moving the [Bender/Modulation] lever (just below the [SPKR] knob) while you
play. Note that this lever affects all but a few of the Synth Tones available; a simple trial will tell you which.
(Drawbar Tones are unaffected by this lever.)

+

NOTE: Don't press the [+] button any further at this point as the 'Tone Map' - the way sounds are organized ­may seem a little confusing at first. Eventually you'd call up sounds that aren't even remotely related to the
piano!

The [Bender/Modulation] lever is one of the
W-5000 controllers.
Pushing the [Bender/Modulation lever to the
right raises the pitch (+), pushing it to the left
lowers the pitch (-), and pushing it forward adds
a vibrato effect. Pitch bend and modulation
effects work best with synthesizer-type tones.
Experiment!

Pitch bending sounds a little strange when
applied to a fixed-interval instrument like a
piano, so just use your best judgement when
deciding which sounds to apply it to.

Í To select other piano sounds, press the [+]
button in the EDIT section. As you press this
button you'll step through these sounds, starting
with Piano 1: Piano 2, Piano 3, Honky-Tonk. E.
Piano 1, E. Piano 2, Harpsichord and Clavinet.

32

Performance Basics

The idea behind the W-5000's structure is that you're able to assign any Tone to any Tone button. So, for
example, if you have three favorite piano sounds, you can easily assign each of them to one of the three
Piano buttons ([PIANO 1], [PIANO 2] or [PIANO 3]) in a Tone select section. By doing this you'll be able
to instantly recall your favorite piano sounds without having to dig through layers of Program and Bank
Numbers. For a more detailed explanation of the W-5000's sound organization and how to assign Tones to
Tone buttons, please refer to 'Tone Mapping' on page 42.

LAYERING TONES

Further increasing the W-5000's versatility is the ability to layer Tones, that is, having two Tones sound
together.

So far we have been dealing with Tone 1 sounds only. When the [TONE 1/TONE 2] button (in any Tone
select section) is red, you'll be selecting Tone 1 sounds; any Tone button you press will light with a red LED.
Note that you can only select a single Tone 1 sound at a time (pressing another Tone select button will
replace your previous selection) .

UPPER

If, however, you press the [TONE 1/TONE 2] button again so its green LED lights, you'll be able to choose a
second Tone to layer with the Tone 1 sound you've selected. Follow this example and you'll see what we
mean.

In the UPPER Tone select section:

Ê Press the [TONE 1/TONE 2] button so its red LED lights.
Ë Press the desired Tone select button (its red LED should light).
Ì Press the [TONE 1/TONE 2] button again so its green LED lights.
Í Press another Tone select button (its green LED should light).

You'll now have two active Tone buttons; one lit with a red LED (Tone 1) and the other lit with a green LED
(Tone 2). (Note that simply pressing two Tone buttons simultaneously will achieve the same result.)

33

Chapter 2

Î Play the Upper manual to hear the two Tones together. If you'd like to adjust the balance between the

two Tones, simply move the UPPER [TONE 1] and [TONE 2] sliders in the BALANCE section (just
above the [SPKR] knob). Pulling a slider down will reduce the volume for the corresponding Tone.

34

There are a number of different parameters (settings) that you can set that affect Tone 1 and Tone 2 sounds.
For a complete list of these parameters and what they do, please refer to '[TONE] Parameters' on page 111.

THE SOLO FUNCTION

The UPPER and LOWER sections of the W-5000 each contain a [SOLO] button. When this function is
active (the button LED is lit), an additional Tone is enabled, which can be restricted to following a single
note, or arpeggiating a chord. In effect this gives you three Tones playable from each manual. Balance
among the three Tones of either manual can be adjusted using the corresponding sliders ([TONE 1], [TONE
2] and [SOLO]) in the BALANCE section.

UPPER

To use the Solo function (for either the UPPER or LOWER section), follow this pro ced ure:

Ê Press the [SOLO] button in the UPPER section (for example).

Performance Basics

Ë Select a Solo Tone using the [+] and [-] buttons in the EDIT section.
Ì Press the [NEXT] button repeatedly until the words 'Solo Mode' appear in the LCD.
Í With the [+] and [-] buttons, select the desired Solo mode: Poly, First, Last, Low, High, Sequence,

Up, Down, Up & Down, Wander, Random or Chord.

Poly : All notes use the Solo Tone

First : First note uses the Solo Tone

Last : Last note uses the Solo Tone

Low : Lowest note uses the Solo Tone

High : Highest note uses the Solo Tone

35

Chapter 2

Arpeggio Modes

The seven Arpeggio modes are an extension of the W-5000's Solo function. The delay time between
the arpeggiated notes or chords is determined by the Vibrato rate. Arpeggio sequences may also be
'latched' using the Sustain pedal. These Arpeggio modes are:

Sequence : Notes played are played back, one at a time, in the same sequence (order) they

were played in.

Up : Notes are played back, one at a time, in ascending order.

Down : Notes are played back, one at a time, in descending order.

Up & Down : Notes are played back, one at a time, in alternating ascending and descending

order.

Wander : This mode is similar to the 'Up & Down' mode except that it changes randomly.

Random : All notes are played one at a time but in a random order.

Chord : The Arpeggio sequence is based upon a repeated (or looped) four-beat measure in

which all the notes are quantized. This simply means that all the notes which fall
within the first beat of the bar will be timed to play precisely where they should.
The same applies to all the notes falling within the second, third and fourth beats.
The delay time between the beats depends upon the value set for the Vibrato rate.

Arpeggio Latching

In the Arpeggio modes the sustain function no longer sustains notes, but instead 'latches' them into the
Arpeggiator. This allows you to play longer arpeggios than you can reach at one time.

As you've seen in the LCD, the Solo function also contains a number of other parameters which you can set
(including the note range over which the Solo Tone is heard). See '[SOLO] Parameters' on page 112 for a
complete list and description of these parameters.

36

BASS TONES

PEDALBOARD

No serious players' instrument of this type would be complete without a Pedalboard! And the W-5000's is as
versatile as the rest of the instrument.

The BASS Tone select section allows you to select a variety of Tones for the Pedalboard. Again, you can
layer Tones (using the [TONE 1/TONE 2] button) and create the appropriate balance using the BASS
[TONE 1] and [TONE 2] sliders in the BALANCE section.

Performance Basics

KEYBOARD BASS

One last option allows you to split (divide) the Lower manual into two p arts, allowing you to play Bass
Tones in the section to the left of the split point, and standard Tones to the right of it.

Ê Press the [KEYBD BASS] button in the BASS Tone select section :

37

Chapter 2

The Lower manual will be divided or split into two sections:

Ë Pressing the [+]/[-] or [++]/[--] buttons in the EDIT section allow you to move the split point on the

Lower manual. Use these buttons to set the desired split point.

Ì Now you can select and layer Tones for the keybass section using the same procedure described for

the Upper and (complete) Lower manuals. The Tone(s) previously selected for the Lower manual will
now only apply to the section to the right of the split p oint.

Note also that there are four BASS drawbars which you can use to control the Drawbar organ sound when
the BASS section [CURRENT DRAWBAR] button is lit. (Remember that drawbars for a particular section
are active only when the corresponding [CURRENT DRAWBAR] button is lit.)

The drawbar parameters that we mentioned earlier also apply to the Bass drawbar sounds. Refer to 'Drawbar
Parameters' on page 113 for information about them.

BASS SUSTAIN/SOLO

When the BASS [SUSTAIN] button is lit, a release sustain is added to the Bass Tones played. This release
time is variable:

Ê Press the [SUSTAIN] button in the BASS section; 'Bass Sustain' will appear in the LCD.
Ë Set the release time (0-10) with the [+]/[-] buttons. (Higher numbers create a longer release time.)

The Pedalboard also contains a Solo function which works in a similar way as with the keyboards (however,
there are no Arpeggio modes):

Ì Press [NEXT] as necessary until the words 'Bass Sustain Solo Mode' appear in the LCD.
Í With the [+]/[-] buttons, select the desired Solo mode: High, Low, Last, First or Poly.

Refer to 'BASS [SUSTAIN] Parameters' on page 116.

MANUAL DRUMS

38

Performance Basics

2

In addition to all of its great Classic Organ, Drawbar/Tone-Wheel and Synth Tones, the W-5000 contains a
wide variety of percussion sounds. These sounds are organized into Drum Sets and are easily selected.

Ê Press the [MANUAL DRUMS] button in the EFFECTS section (on the far left-hand side of the panel)

:

Ë Play the Lower manual (towards the left) and you will hear that a different percussion sound has been

assigned to almost every key. (Note that some keys do not have an assigned sound.)

Ì (in the EDIT section) four or five times until the display stops changing. This simply moves the split

point farther and farther to the right.

Í Press the [NEXT] button until you see the wo rd s 'Manual Drums Standard Set 1' in the LCD. By

pressing the [+]/[-] buttons you can now select a different Drum Set (containing different sounds):

39

Chapter 2

NOTE: As a default setting, the USER [2] drawbar has been assigned as a volume control for the
Manual Drum sounds.

Î Press [MANUAL DRUMS] again to return to playing standard Tones across the entire Lower manual.

If you refer to page 117 you'll find the '[MANUAL DRUMS] Parameters'. All the parameters that relate to
Manual Drums are listed there.

See page 146 for a list of the available Synth Drum Sets and the sounds they contain.

40

s

CHAPTER 3

.

Advanced

Performa nc e

Fe a ture

Chapter 3

ADVANCED PERFORMANCE FEATURES

Now that you've had a little hands-on experience, you should have a good understanding of the W-5000's
basic operation. In this chapter, however, we'll move on to describe some of the instrument's more advanced
features.

TONE MAPPING

The W-5000 contains three 'Tone Maps' (collections or arrangements of sounds): Organ, Synth and PR-300.
The Organ Tone map contains the Classic Organ Tones. You select this map automatically whenever you
press one of the Organ buttons. The Synth map contains most of the other instrument sounds (Pianos, Guitars
etc.) and the PR-300 map contains the sounds found in Rodgers' PR-300 sequencer/sound module. (There is
a fair degree of overlap of sounds in the Synth and

PR-300 Tone maps and this has to do with compatibility with other Rodgers and Roland products should
they be used in conjunction with the W-5000.) (The sounds in the three Tone maps are presented starting on
page 142.)

As described earlier in the section about Synth Tones, it is possible to assign any Tone in the W-5000 to any
Tone button on the front panel. So although every button comes with a pre-assigned Tone, you can, if you
like, custom configure the entire instrument to your liking!

The Tone select buttons are marked with general instrument categories like Piano, Organ and Guitar for
example. If you look at the UPPER Tone select section for a moment, you'll notice that there are three Piano
buttons (for example). Well, the W-5000 contains some 30 different piano-type sounds, including acoustic
and electric varieties, and even harpsichord and clavinet! How do you go about selecting those different
sounds and how do you assign them to the various buttons?! Good questions! Let's take a look.

TONE SELECTION AND MAPPING

In simple terms, within each Tone Map (Organ, Synth and PR-300) sounds in the W-5000 are organized by
Program Number (abbreviated as 'Prg' in the LCD) and Bank Number ('Bnk'):

42

Advanced Performance Features

Each Program Number represents a basic instrument sound and the Bank Number represents a variation of
that basic sound. For example, if you press the [PIANO 1] button in the UPPER section (which normally
selects the PR-300 Tone Map), the display will read:

The Tone ‘Piano 1’ is found at Program Number 1
and Bank Number 0 in the PR-300 Tone map. This
Tone is assigned to the [PIANO 1] button at the
factory.

If you press [NEXT] (to move the underline cursor to the Bank field) and then press [+], the Tone 'Piano 1w'
will appear. This is the first variation of the basic Piano sound:

The Tone ‘Piano 1w’ (the ‘w’ stands for ‘warm’) is
found at Program Number 1 and Bank Number 8 in
the PR-300 Tone map. This Tone is the first
variation of ‘Piano 1’.

Press the [+] button again and the Tone 'Piano 1d' will appear (Bank Number 16):

The Tone ‘Piano 1d’ (the ‘d’ stands for ‘dark’) is
found at Program Number 1 and Bank Number 16 in
the PR-300 Tone map. This Tone is the second
variation of ‘Piano 1’.

Don't worry that the Bank Numbers don't increase by one each time, that's just the way this system works!

So basically, to select any Tone you see in a particular Tone map (starting on page 139), you simply select
the Program Number and then the Bank Number.

NOTE: To switch among the three Tone maps, you simply press any Tone select button and then press the
[NEXT] button until the word 'Map' appears in the LCD. Use the [+] and [-] buttons to select the desired
Tone map: Synth, PR-300 or Organ. The Synth map is normally selected whenever you press a Tone button
and the Organ map is normally selected when you press an Organ button.

Note also that when switching between Tone maps, the Prg and Bnk numbers may automatically change to
reflect the closest Prg or Bnk Number of the newly selected map.

43

Chapter 3

ER

OK, suppose you want to assign the Tone 'Hyper Alto' to the [PIANO 2] button in the UPPER Tone select
section:

Ê Press the [PIANO 2] button in the UPPER section.
Ë Select the Tone 'Hyper Alto' (Program Number 66, Bank Number 8 in the Synth Tone map).

Do this by pressing the [++] button (which moves you in jumps of eight) until you reach Program
Number 65, then increase the Program Number to 66 by pressing the [+] button. Now press [NEXT]
to move the cursor to the Bank field. Press [+] and Bank 8 is selected. (Again, don't worry that the
Bank numbers don't increase in simple numeric order, it's just the way things are!)

Ì That's it! 'Hyper Alto' is now assigned to the [PIANO 2] button. Press any other Tone button in the

UPPER section, play a few notes, then go back to [PIANO 2]; 'Hyper Alto' will be there! (Note,
however, that unless you save your custom Tone map by storing it in a Preset (see page 58), the
default (factory) Tone map will be in effect whenever you power up the instrument.)

NOTE: You probably wouldn't want to put a saxophone sound under a Piano button (it would likely
be better to put it under one of the Reed buttons), but the flexibility is there.

By assigning the Tones you use most often to specific Tone buttons, you'll be able to instantly recall them
without having to dig through layers of Program and Bank Numbers. In this way, you can configure the
entire instrument to suit your particular tastes and requirements.

MORE PERFORMANCE FUNCTIONS

In addition to the Tone select buttons, each of the UPPER, LOWER and BASS sections also contain a
number of performance-related controls.

[DRAWBAR PRESET] BUTTONS (UPPER; LOWER; BASS)

UPP

Each section (UPPER, LOWER and BASS) contains a [CURRENT DRAWBAR] button - a button which
activates the Tone-Wheel generator for the corresponding section. When this button is lit, you can use the
drawbars to create real-time changes in the sound produced.

Well suppose you come across a killer sound that you don't want to lose. What do you do? You could write
down the drawbar settings but that would be impractical. Instead, you can instantly save that current setting
using a [DRAWBAR PRESET] button. (Note that the UPPER and LOWER sections each have three
[DRAWBAR PRESET] buttons ([A], [B] and [C]), and the BASS section has just one.) Try the following
example.

44

Advanced Performance Features

PER

In the UPPER section (be sure any Tone select buttons are turned off):

Ê Press the [CURRENT DRAWBAR] button.
Ë Play the Upper manual and adjust the UPPER and PERC drawbars to your liking.
Ì Press and hold [DRAWBAR PRESET A] and then press the [CURRENT DRAWBAR] button.

All of the current drawbar settings are now stored under the [DRAWBAR PRESET A] button and can be
recalled at any time. Note that when [DRAWBAR PRESET A] is active the drawbars will not affect the
sound; the drawbars are active ONLY when the [CURRENT DRAWBAR] button is lit. You can, of course,
also create and store different settings for [DRAWBAR PRESET B] and [DRAWBAR PRESET C].

You can also copy the current or active drawbar settings from one manual to a Preset button of the other: Be
sure the destination Preset button is off, then press and hold that Preset button and then tap the desired
[CURRENT DRAWBAR] button from the source manual.

Several parameters (including drawbar click time and level) can be accessed whenever a [CURRENT
DRAWBAR] or [DRAWBAR PRESET] button is pressed. These parameters are listed and explained on
page 113. (When [CURRENT DRAWBAR] settings are 'captured' as described above, the other [CURRENT
DRAWBAR] parameters are also copied into the preset. These parameters can be edited individually for
each preset.) General on/off control of click sounds is controlled by the [DRAWBAR CLICK] button in the
EFFECTS section.

[OCTAVE +/-] BUTTON (UPPER; LOWER; BASS)

Each section contains a [+/- OCTAVE] button which is used to shift the pitch of the selected keyboard an
octave higher or lower:

UP

When the button LED is...

Dark : the keyboard is at normal pitch
Red : the keyboard pitch is one octave higher than normal
Green : the keyboard pitch is one octave lower than normal

NOTE: The [+/- OCTAVE] buttons do not affect Drawbar Tones. They do, however, affect Tone 1, Tone 2
and Solo Tones, as well as Classic Organ Tones and MIDI output. Notes sustained when a [+/- OCTAVE]
button is pressed are not affected either.

[HOLD] BUTTON (UPPER; LOWER; BASS)

Each section of the W-5000 has a [HOLD] button. Quite simply, whenever this button is lit in a particular
section, notes played on the corresponding keyboard will be sustained* whenever the left 'kick' switch on the

45

Chapter 3

Expression pedal is activated (i.e. moved and held to the left). The [HOLD] button also allows note latching
when in arpeggio modes (page 36).

Right ‘kick’ switch

Left ‘kick’ switch
(footswitch) controls
the Hold function.

* Some instrument sounds - like acoustic piano or acoustic guitar - cannot be sustained indefinitely. When
using the Hold function with sounds of this type, the notes will sustain for a short time and then decay
slowly. Sounds like Strings, Brass instruments and synthesizer-type sounds can, however, be sustained for as
long as the footswitch is held.

Note also that Drawbar Tones are not affected by the Hold function.

(footswitch) controls
rotary speed.

[ORGAN TREM] BUTTON (UPPER; LOWER)

The Organ Tremolo effect adds a low frequency oscillation (LFO) to pitch, volume and filtering of Classic
Organ Tones. This is a kind of vibrato effect. Organ Trem is active for a keyboard when the corresponding
button's LED is lit.

Refer to '[ORGAN TREM] Parameters' on page 113 for a list of settings you can make for this effect.

46

Advanced Performance Features

[SUSTAIN] BUTTON (BASS)

When on (the button LED is lit), this function adds a release time to the Drawbar and Synth Bass notes
played. This function affects both the Keybass section and Pedalboard Tones.

Ê Press the [SUSTAIN] button (in the BASS section).
Ë Set the release time (0-10) with the [++]/[--] or [+]/[-] buttons. (Higher numbers produce a longer

sustain time.)

Note: If the Solo Mode (under the [SUSTAIN] button) is set to something other than 'Poly', new notes played
will 'squelch' (i.e. cut off or clip) the previous notes. So the combination of a non-zero Sustain value and a
monophonic Solo mode setting allow you to mimic the old style 'walking' organ bass sounds.

[MIDI] BUTTONS (UPPER; LOWER; BASS)

Each section contains a [MIDI] button which allows you to access the MIDI parameters for the
corresponding section. Refer to 'Using MIDI' (page 96) for further information. (This button is somewhat
like the 'MIDI Coupler' in other Rodgers Organs, but is much more flexible.)

All MIDI parameters are listed under '[MIDI] Parameters' starting on page 115.

Note: The three MIDI 'layers' are selectable under the [VOICING] and [CONTROLS] buttons, so the MIDI
outputs can act like any other layer. This provides extreme flexibility in controlling external sound modules.

47

Chapter 3

48

s

CHAPTER 4

.

Effect

Chapter 4

EFFECTS SECTION

The 10 buttons in the EFFECTS section control a number of effects and special performance functions.

When an EFFECTS section button is pressed, the LCD will instantly show the current setting or value for the
first parameter of that effect. When the value is displayed, the [+] and [-] buttons in the EDIT section can be
used to change the value or setting. Keep in mind that some effects may have several parameters. Generally,
these additional parameters can be selected by pressing the [NEXT] and [PREVIOUS] buttons. Then you can
use the [+] and [-] buttons to set the value for that parameter.

NOTE: Even if a parameter for a particular effect is properly set, that effect will not be heard unless the
corresponding EFFECTS button is currently lit.

[MANUAL DRUMS] BUTTON

As we've already discussed the Manual Drums function, we won't repeat that information here. To refresh
your memory, you may want to refer back to page 39. And if you'd like to see a list of the available Drum
Sets and the sounds they contain, please refer to page 146.

All '[MANUAL DRUMS] Parameters' are listed on page 117.

50

Effects

[UPPER DB VIB] + [LOWER DB VIB] BUTTONS

These buttons (one for each manual) add low frequency modulation to the Upper and Lower Drawbar Tones
to simulate Tone-Wheel type vibrato effects. (These buttons turn the effect on and off.) There are several
settings you can make for this effect. Note that the same setting must be made for both the Upper and Lower
manuals. As that is the case, changing one setting automatically changes the other. Note also that the Vib and
Rotary effects are mutually exclusive; only one effect can be used at a time. Try setting the vibrato rate as a
sample:

Ê Press the [UPPER DB VIB] button (so it lights).
Ë Press [NEXT] as necessary until the word 'Rate' appears in the LCD.
Ì Set the vibrato rate (0-127) with the [+]/[-] (or [++]/[--]) buttons.

Refer to page 117 for a list of all the Upper and Lower Drawbar Vibrato parameters.

[DRAWBAR DISTORT] BUTTON

No contemporary organ sound would be complete without distortion! Pressing this button allows you to add
simulated amplifier and speaker distortion to your sound. Try the following sample parameter:

Ê Press the [DRAWBAR DISTORT] button (so it lights).
Ë Press [NEXT] as necessary until 'Threshold N' appears in the LCD.

Ì Set the threshold level (-10-10) with the [+]/[-] buttons. (Hold on to your ears when you get to the '10'

setting!)

All '[DRAWBAR DISTORT] Parameters' are listed on page 118.

51

Chapter 4

[DRAWBAR CLICK] BUTTON

One of the things that made those old Tone-Wheel organs sound so unique was the keyswitch noise. Pressing
the [DRAWBAR CLICK] button on the W-5000 allows you to add that distinctive quality to your own
sound:

Ê Press the [DRAWBAR CLICK] button (so the LED lights).
Ë With the [+] and [-] buttons, set the 'Filt Cutoff' point (0-127). (This controls the overall brightness of

the effect.)

Other Drawbar parameters (such as click level and time) can be accessed by pressing any [CURRENT
DRAWBAR] or [DRAWBAR PRESET] button ([A], [B] or [C]). See page 113.

[CROSSFADE] BUTTON

The Crossfade function allows you to use what we call 'velocity-controlled mixing'. What this means is that
when two Tones are selected for a keyboard, differing amounts of those two sounds can be heard depending
on how hard you play the keyboard. For example, in the 'Normal' mode (automatically selected at power up),
as you play harder both Tones increase in volume at the same rate. In the 'Switch' mode, however, playing
softly allows you to hear only Tone 1. As you play harder and harder you'll reach a point at which the Tone 1
sound is no longer heard and only the Tone 2 sound is heard. Follow this procedure to try out the Velocity
Switch mode:

52

Effects

Ê Select a Tone 1 and Tone 2 sound for the Upper manual. (Selecting Tones which have a very different

character will highlight the effect.)

Ë Press the [CROSSFADE] button (so the LED lights).
Ì Select 'Upper' as the keyboard. (Use the [+] button if it isn't already selected.)
Í Press [NEXT] until the word 'Mode' appears and press [+] to select 'Switch'.
Î Play the Upper manual softly and you should only hear Tone 1. Gradually play harder and harder. At

some point you'll only hear Tone 2.

The other Crossfade modes and related parameters are listed and explained on page 119.

[AFTERTOUCH] BUTTON

Aftertouch is modulation (or change) that occurs to a sound after the sound has been played. This
modulation is created by playing a note and then exerting further pressure on the key once it's down (at the
bottom of its travel). Only the W-5000's Lower manual is aftertouch sensitive.

The Aftertouch depth for Pitch, TVF Cutoff, Volume, LFO rate, LFO pitch depth, LFO TVF depth, LFO
TVA depth and expression can be set. All aftertouch parameters are set under the [CONTROLS] menu

(see page 69).

The [AFTERTOUCH] button is a general on/off switch for the aftertouch continuous controller.

Note: The aftertouch signal is also sent to the [CROSSFADE] button where it can be used in the '2nd Touch'
mode. In this case, aftertouch works regardless of the on/off setting of the [AFTERTOUCH] button.

53

Chapter 4

[GENERAL REVERB] BUTTON

Reverb is a digital effect which creates the illusion that you're playing in spaces of different sizes (like a
concert hall or room, for example). That is, the sound decays naturally over time. Pressing the [GENERAL
REVERB] button allows you to select the reverb time (which applies to all Tones):

Ê Press the [GENERAL REVERB] button (so the button LED lights).
Ë Press [NEXT] as necessary to select the 'Time' parameter.

Ì With the [+] and [-] buttons set the Reverb Time (0-127). Higher numbers result in a longer reverb

time.

There are several additional parameters that affect Reverb and these are listed on page 120.

[SYNTH CHORUS] BUTTON

Chorus is a digital effect which makes one instrument sound like several; as if they were playing in unison.
The [SYNTH CHORUS] button allows you to set the amount of chorus for Synth Tones:

Ê Press the [SYNTH CHORUS] button (so its LED lights).
Ë Press [NEXT] as necessary to select the 'Level' parameter.
Ì Use the [+] and [-] (or [++]/[--]) buttons to set the Chorus Level (0-127). (Note that the other

parameters must be set properly before any effect will be heard.)

All the Chorus parameters are listed on page 120.

54

Effects

[TRANSPOSE] BUTTON

The transpose function allows you to shift (raise or lower) the pitch of both manuals and the Pedalboard:

Ê Press the [TRANSPOSE] button (so the button LED lights).
Ë Use the [+] and [-] buttons to raise and lower the pitch. The range is: C#-1-B0. (You can also hold the

[TRANSPOSE] button (in the 'on' position) and press a key relative to Middle 'C' to set the
transposition value.)

[ROTARY] + [FAST/SLOW] BUTTONS

ROTARY

FAST
SLOW

While not strictly part of the EFFECTS group, these two buttons are nonetheless very important as effects,
so we'll talk a bit about them here.

As you've probably already discovered, the [ROTARY] button activates the W-5000's rotary speaker
simulator; a very special software system that generates those amazing vibrato sounds unique to real rotary
speakers. What you probably don't know is that there are several parameters which you can set to customize
the sound and speed of the rotary effect. As an example of what these parameters can do, try the following:

Ê Press the [ROTARY] button (so it lights).
Ë Press [NEXT] (as necessary) until the words 'Tw Level' appear in the LCD. (This particular parameter

allows you to set the volume of the tweeter or high frequency driver.)

Ì While you play, press the [++] button so the tweeter volume increases. Set the volume where it

sounds best (0-127).

The [FAST/SLOW] button and the right footswitch on the Expression pedal change the rotation speed of the
speaker simulation. Again there are several parameters that affect this function so we'll just mention one
which really demonstrates what they're all about.

Ê Press the [FAST/SLOW] button (so it lights).

55

Chapter 4

Ë Press [NEXT] (as necessary) until the words 'Tw Rise Time' appear. (This parameter allows you to set

the time it takes for the tweeter rotation speed to reach maximum from its minimum speed. Parameters
for setting the minimum and maximum speeds are also available.)

Ì Set the rise time (0-9) with the [+]/[-] buttons. (Higher numbers create a longer rise time.)

Now as you press the [FAST/SLOW] button (or activate the right footswitch on the Expression pedal)
the tweeter will speed up at the new rate you have set.

All of the Rotary parameters and their functions are listed on page 122. Fast/Slow parameters are listed on
page 123.

56

s

CHAPTER 5

.

General

Preset

Chapter 5

GENERAL PRESETS

Along the front edge of the instrument - between the Upper and Lower manuals - is a series of 11 buttons
(ignore [ROTARY] and [FAST/SLOW] for the moment). There are eight General Preset buttons ([1]-[8];
also called 'Pistons'), a [SET] button, a [MEMORY] button and a [CANCEL] button:

Each button allows you to store (and later instantly recall) all the panel settings that define the sound of the
instrument (minus a few global settings, described later). This collection of settings, called a 'registration',
includes Tone assignments, effect settings and function settings. (See page 150 for a complete list of the
parameter settings you can store in a General Preset.)

A total of seventeen registrations can be stored in the W-5000's memory. The eight numbered buttons
(pistons) can each contain a different registration, while the [MEMORY] button functions as a switch to
alternate between two different banks (when this button is lit, the second bank is active). One additional
registration can be stored under the [CANCEL] button. (Normally the [CANCEL] button is used to store a
'silent' registration, used to mute the instrument, or a default registration, automatically selected when the
instrument is turned on.)

In order for registrations to be retained in memory when the instrument is turned off, they are also stored in
'files' in the W-5000's internal, non-volatile memory. As we will see later, these files can also be stored on
floppy disk, greatly expanding the flexibility of your instrument.

The W-5000 comes with seventeen preset registrations in its non-volatile memory. When the instrument is
turned on, these registrations are automatically loaded and can be selected with the numbered buttons. You
can, of course, modify these registrations in whatever manner you wish and then reassign them to the
numbered buttons. This is accomplished using the [SET] button.

To store a registration:

58

General Presets

Ê Make all the necessary panel settings (Tone assignments, effects settings and function settings) until

everything sounds just right.

Ë Be sure the [MEMORY] button is on or off, depending on which bank of registrations you wish to

work with. (When lit, the second memory bank is active.)

Ì Hold the [SET] button and then press the General Preset button ([1]-[8]) you want to use.

Note: If the 'Memory Lock' parameter is 'On', the Preset memories are protected and saving a registration
will not be possible. See [PRESETS] 'Memory Lock' (page 128) for more information.

Instantly your registration is stored under the General Preset button you pressed and can be recalled at any
time. These registrations will remain in memory (even after you power down) until you change them. By
creating and storing a series of registrations for different performance needs, you can easily set up the
instrument for your next song or set; live performances become much simpler!

(You can also assign a registration to the [CANCEL] button if you like. Simply hold the [SET] button and
press [CANCEL] and your registration will be stored as described above. Be aware, however, that there is
only one [CANCEL] registration, not one for each memory bank.)

Once you've set all your General Presets the way you want, you can switch among them quickly during
performance. You can, of course, still switch to different sounds using the various Tone buttons, but the
General Preset feature lets you make much more complex changes during a performance, all at the touch of
one button.

GLOBALS

As mentioned above, there are also a number of 'global' settings, some of which affect the sound, and some
of which affect the function of the instrument. These settings are not stored as part of the registration
associated with each General Preset button. Rather, these settings are stored separately because they do not
change as you select different registrations. They are, however, stored in non-volatile memory (just like
registrations) but there are separate operations (under the [PRESETS] menu) for loading and storing them.

59

Chapter 5

PRESET STORAGE

The W-5000 contains several functions which allow you to save, load and protect important data. These
functions - accessible through the [PRESETS] button in the FUNCTIONS section - are discussed here. Note
that the various Reset functions require that the 'Preset Lock' switch be set to 'Off' (otherwise these
operations will not be possible).

Presets
Pist Kybd: All, Upper, Lower, Bass

This function allows you to recall only those settings in a General Preset that pertain to one particular
keyboard. Normally, it is set to 'All', but if you set it to 'Upper', 'Lower', or 'Bass', and then press a General
Preset button ([1]-[8]), only that part of the registration will be loaded. Further, when complete, this setting
automatically reverts to 'All', so it's a 'one-shot' function.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Pist Kybd' appear in the LCD.
Ì Press the [+]/[-] buttons to select the keyboard.
Í Press one of the General Preset ([1]-[8]) buttons.

Presets
Reset All (+)

If you'd like to restore all of the instrument's settings (including General Preset data and Global data) to their
factory defaults, use this function. It overwrites all seventeen registration 'files' in the internal, non-volatile
memory to their factory defaults, loads them into the buttons, and selects the first memory bank (the
[MEMORY] button turns off). It also overwrites the 'global' file with the factory data and loads the various
global settings from it.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë· Press [NEXT] (as necessary) until the words 'Reset All (+)' ap pear in the LCD.
Ì Press the [+] button to execute the reset fun ction.

60

General Presets

Presets
Reset Memory (+)

This function resets the eight registrations in the currently selected memory to their factory defaults. It
overwrites the eight 'files' in the internal, non-volatile memory with their factory defaults, and loads them
into the General Preset buttons.

Ê Be sure the [MEMORY] button is on or off, depending on which bank of registrations you wish to

reset.

Ë Press the [PRESETS] button in the FUNCTION section.
Ì Press [NEXT] (as necessary) until the words 'Reset Memory (+)' appear in the LCD.
Í Press the [+] button to execute the reset function.

Presets
Reset Piston (+)

This function resets the currently selected piston to its factory default. It overwrites the 'file' in the internal,
non-volatile memory with the factory default, and loads it into the selected General Preset button.

Ê Be sure the [MEMORY] button is on or off, depending on which bank of registrations you wish to

reset, and that you've selected the piston you want to reset.

Ë Press the [PRESETS] button in the FUNCTION section.
Ì Press [NEXT] (as necessary) until the words 'Reset Piston (+)' appear in the LCD.
Í Press the [+] button to execute the reset function.

Presets
Reset Global (+)

This function resets the global settings to their factory defaults. It overwrites the global 'file' in the internal,
non-volatile memory, and also loads all the settings contained in it.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Reset Global (+)' appear in the LCD.
Ì Press the [+] button to execute the reset function.

Presets
Reset Cancel (+)

This function resets the [CANCEL] button registration to its factory default. It o verwrites the CANCEL 'file'
in the internal, non-volatile memory with the factory default, and loads it into the [CANCEL] button.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Reset Cancel (+)' appear in the LCD.
Ì Press the [+] button to execute the reset function.

61

Chapter 5

Presets
Reset Lock: On, Off

This function allows you to lock the Reset functions so that they cannot be activated by accident:

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Reset Lock' appear in the LCD.
Ì Press the [+]/[-] buttons to turn the lock 'On' or 'Off'.

Presets
Auto Load: On, Off

This function tells the W-5000 whether or not to select and load a folder when a floppy disk is inserted or
removed from the disk drive. See the section entitled 'Storing W-5000 Data On Disk' on page 81 for further
details.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Auto Load' appear in the LCD.
Ì Press the [+]/[-] buttons to turn this function 'On' or 'Off'.

Presets
Read Globals (+)

This function allows you to re-read the global settings stored in the internal, non-volatile memory, thus
resetting any changes you've made to the individual settings since the instrument was turned on (or since you
last wrote the globals).

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Read Globals (+)' appear in th e LCD.
Ì Press the [+] button to read the global settings.

Presets
Write Globals (+)

This function allows you to write the global settings into the internal, non-volatile memory, thus recording
any changes you've made to the individual settings so they'll still b e there next time you turn the instrument
on.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Write Globals (+)' appear in the LCD.
Ì Press the [+] button to write the global settings.

Presets
Load Globals (+)

This function allows you to load the global settings stored in the global file on a floppy disk.
Ê Press the [PRESETS] button in the FUNCTION section.

62

General Presets

Ë Press [NEXT] (as necessary) until the words 'Read Globals (+)' appear in th e LCD.
Ì Press the [+] button to load the g lobal settings.

Presets
Save Globals (+)

This allows you to save the global settings to a floppy disk.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Save Globals (+)' appear in th e LCD.
Ì Press the [+] button to save the global settings.

Presets
Load Cancel (+)

This function allows you to load a CANCEL registration file stored on a floppy disk. It is written over the
CANCEL 'file' stored in non-volatile memory, and loaded into the [CANCEL] button.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Load Cancel (+)' appear in the LCD.
Ì Press the [+] button to load the CANCEL registratio n.

Presets
Save Cancel (+)

This function allows you to save the CANCEL registration to a floppy disk. It copies the CANCEL 'file'
from internal, non-volatile memory to the corresponding file on the disk.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Save Cancel (+)' appear in the LCD.
Ì Press the [+] button to save the CANCEL registration.

Presets
Memory Lock: On, Off

This function allows you to lock the internal, non-volatile memory so that it cannot be modified by accident.
When locked, you cannot store General Preset registrations or a CANCEL registration.

Ê Press the [PRESETS] button in the FUNCTION section.
Ë Press [NEXT] (as necessary) until the words 'Memory Lock' appear in the LCD.
Ì Press the [+]/[-] buttons to turn the lock 'On' or 'Off'.

Presets
Delete Folder (+)

This function allows you to delete a folder from a disk. See the section entitled 'Storing W-5000 Data On
Disk' on page 81 for further details.

63

Chapter 5

Ê Press the [MEMORY] button, to display the curren tly selected folder.
Ë Press the [+]/[-] buttons to select the folder you wish to delete. Note that you cannot delete the

Internal folder.

Ì Press the [PRESETS] button in the FUNCTION section.
Í Press [NEXT] (as necessary) until the words 'Delete Folder (+)' appear in the LCD.
Î Press the [+] button to turn the folder 'On' or 'Off'.

64

&

r

s

CHAPTER 6

.

Voicing

Contr olle

Setting

Chapter 6

VOICING AND CONTROLLER SETTINGS

Your W-5000 contains a number of controllers; physical controls that you use to play and manipulate sound.
In this chapter we'll tell you how you can change the settings for these controllers and even assign different
functions to them if you like. We'll also discuss how you can edit (change the basic character of) the
instrument's Synth sounds. Before we begin with Controller and Voicing settings, however, let's look at a
more basic setting.

KEYBOARDS

These are your primary controllers! With a simple setting or two, you can achieve a variety of results.

The keyboard sensitivity settings allow you to have your keyboards respond in different ways. There are
three settings to choose from (each representing a different response). To try out these settings, follow the
instructions below.

Ê Press the [UTILITY] button.
Ë Press the [NEXT] button until the words 'Upper Sen s' appear in the LCD.
Ì Use the [+]/[-] buttons to select one of the three sensitivity settings for the Upper keyboard: High,

Norm or Low.

Í Press the [NEXT] button (as necessary) to select 'Lower Sens' and then select an appropriate setting

for the Lower keyboard.

Î Press [NEXT] (as necessary) to select 'Pedal Sens' and then select a setting for the Pedalboard.

These settings allow you to set the instrument to match your general playing style. (These settings are stored
as part of the Global data.)

Select 'Low' if you normally play hard. Choose the 'High' setting if you tend to play more softly. In addition,
the Pedal sensitivity values allow for a certain minimum velocity. To provide finer control over sensitivity,
or to set a layer or keyboard to a constant (fixed) velocity, use the [VOICING] button (explained later in this
chapter). The [VOICING] button's control of sensitivity is adjustable for each layer and can be stored under
a General Preset.

66

CONTROLLERS

Controllers are the physical controls on the instrument (such as the [Bender/Modulation] lever or the right
kick switch) that you can use to manipulate or control the sound as you play. Basically there are two kinds of
controllers; continuous and switched. A continuous controller (like the [Bender/Modulation] lever) can
produce a continuous or smooth change in the sound from the controller's zero (off) position all the way to
its maximum setting if you want. By contrast, a switched controller (like the right kick switch on the
Expression pedal) is either on or off; either the effect it controls is heard or it isn't.

The continuous (continuously variable) controllers are:

• Bend R

• Bend L

• Mod

• AfterT

• Exp

• User1

• User2

• ExtEXP

The switched (on/off) controllers are:

• LeftFS

• RghtFS2

• Pedals

• ExtFS

** The 'Pedals' option allows you to use any one of the Pedalboard pedals as a controller. When a pedal is
selected as a controller it does not produce sound, but instead functions as a switched controller for the
assigned function. Pedals are selected with the 'Pedal Control' parameter found under the [UTILITY] button.
See '[UTILITY] Parameters' on page 136 for more information.

: right side of the [Bender/Modulation] lever
: left side of the [Bender/Modulation] lever
: Modulation
: aftertouch; Lower manual only
: Expression pedal
: USER [1] drawbar
: USER [2] drawbar
: external Expression pedal connected to the PEDAL jack (rear panel)

: Left footswitch; the left 'kick' switch on the Expression pedal
: Right footswitch; the right 'kick' switch on the Expression pedal
: user-selectable bass pedals**
: an external footswitch connected to the SW1 jack (rear panel)

Voicing & Controller Settings

CONTROL DESTINATIONS

Control 'Destinations' are the various aspects of the sound (such as pitch, volume, resonance etc.) that can be
connected to (that is, assigned to) the various controllers mentioned above. These destinations can be (for the
most part) edited through the [VOICING] button menu and/or assigned (connect to) a physical controller
through the [CONTROLS] button menu. There are three basic kinds of destination; switchable, voicable and
mappable.

• Switchable control destinations are either on (1) or off (0) and they cannot be edited through the

[VOICING] button menu. They can, however, be connected to any of the controllers through the
[CONTROLS] button menu by setting the corresponding value to one (1; ON) instead of zero (0; OFF).
If a switchable destination is assigned to more than one controller (which is possible), then using any
one of those controllers will activate the destination. If a switchable destination is connected to a
continuous controller, that controller must be moved to its maximum position to activate the destination,
and then returned to its zero position to turn the destination off.

• Voicable destinations are variable. They can only be edited through the [VOICING] button menu. Note

that because of their particular nature, these destinations cannot be assigned to any of the controllers.

• Mappable destinations are also variable. These destinations appear in both the [VOICING] and

[CONTROLS] button menus. Most of these destinations have a range of -10-10 in the [VOICING]
button menu, representing deviations from the normal value, and a range of -25-25 in the [CONTROLS]
button menu, representing the amount or level of the effect added to the [VOICING] value when the

67

Chapter 6

controller is at its maximum position. Basically this gives you a two-level control system, not unlike the
Gain and Master Gain controls on some amplifiers, for example.

The available destinations (and setting ranges) are:

Mappable
Destinations

Pitch
(semitones)*
Volume -20-20 Vel Offset -10-10 Sostenuto 0, 1
Vib Depth -25-25 Glide Time -10-10 Soft 0, 1
Vib Rate -25-25 Vib Delay -10-10 Glide** -1, 0, 1
Cutoff -25-25 Rotary S/F 0, 1
Resonance -25-25
Attack -25-25
Decay -25-25
Release -25-25
Pan -16-16
Seq Volume -20-20
Drum Volume -20-20
Detune (in
'cents')
Hz Detune (x 0.2
Hz)

* Pitch is a mappable destination that is NOT available under the [VOICING] button.

** Glide is a switchable control destination that is also found under the [VOICING] button because you may
want it on all the time. In addition, its [CONTROLS] destination can be set to '-1'. If the [VOICING]
destination is '1' and the [CONTROLS] destination is '-1', the ph ysical co ntroller will function backwards.

Values Voicable

Destinations

-12-12 Vel Sense -10-10 Sustain 0, 1

-25-25

-25-25

Values Switchable

Destinations

Values

Note: The switched destination 'Sustain' is also routed through the [HOLD] button in each section (UPPER,
LOWER and BASS). Therefore, the destination will not be affected unless the [HOLD] b utton is lit.

Note: The aftertouch controller is routed through the [AFTERTOUCH] button first, before being assigned to
a layer or a destination. Therefore, aftertouch works only when the [AFTERTOUCH] button is lit. However,
it will be routed to the [CROSSFADE] button regardless of the setting of the [AFTERTOUCH] button.

Just to recap, the point of all this is that you can choose any of the instrument's controllers, assign virtually
any destination (effect) to it, and have the result apply to a particular layer within a particular keyboard. The
number of possible combinations is amazing!

68

SETTING THE CONTROLLERS

The best way to understand what all of this means is to try an example. Once you've done that you'll see what
we mean!

In the LCD, [CONTROLS] parameters are presented in five fields: one for keyboard selection, layer
selection, controller selection, destination selection and finally for a depth value:

Voicing & Controller Settings

1

OK, suppose you want to be able to control the pitch of Tone 1 in the Upper manual using the USER [1]
slider. (First be sure you have a Tone 1 sound selected otherwise you won't hear anything.) Here's what you
do:

Ê Press the [CONTROLS] button.

Ë With the [++] and [--] buttons, select 'Upr' (the keyboard) in the first field.
Ì Press [NEXT] to move to the next field. With the [++] and [--] buttons, select 'Tone 1' (the layer).
Í Press [NEXT] to move to the next field. With the [++] and [--] buttons, select 'User 1' (the controller).
Î Press [NEXT] to move to the next field. With the [++] and [--] buttons, select 'Pitch' (the destination).
Ï With the [+] button, set the value to '12' (the maximum value). (This will really show the effect well!)

Now, as you play the Upper manual (with Tone 1 selected), move the USER [1] slider in and out. You
should hear the pitch of Tone 1 rise and fall as you do.

2

3

54

Note that some of the fields allow you to select all the available options (such as all the controllers or all the
layers). If you select 'All' in more than one field, the value field may display a series of question marks
('????'). This just means that the values for all of the selected options are different from one another. As you
start to assign a new value, it will be displayed in the value field because all of the values will be reset to this
new value.

For a complete list of the all the [CONTROLS] parameters and their functions, please refer to page 124.

Note: The 'Rotary S/F' switchable destination and the 'Seq Volume' and 'Drum Volume' mappable
destinations are global in nature. In other words, they work the same regardless of the settings of the
Keyboard or Layer fields. Also note that the 'MIDI' layer is the external sound module controlled by the
UPPER, LOWER and BASS [MIDI] buttons. Some controls may require a GS Format sound module before
you can hear the results.

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Chapter 6

VOICING

The Voicing parameters are provided for those who wish to customize the W-5000's Synth or Drawbar
Tones.

The available voicing parameters are as follows:

Keyboards: Upper, Lower, Pedal, All
Layers: Tone 1, Tone 2, Drawbar, MIDI, Solo, All

Mappable
Destinations

Volume 0-20 Vel Sense -10-10 Sustain ­Vib Depth -10-10 Vel Offset -10-10 Sostenuto ­Vib Rate -10-10 Glide Time -10-10 Soft
Cutoff -10-10 Vib Delay -10-10 Glide 0, 1
Resonance -10-10 Rotary S/F
Attack -10-10
Decay -10-10
Release -10-10
Pan -10-10
Seq Volume 0-20
Drum Volume 0-20
Detune (in 'cents') -25-25
Hz Detune (x 0.2 Hz) -25-25

Note: 'Pitch' is not available under the [VOICING] button as a mappable or voicable destination because
each Tone button has an octave shift parameter, and it is unlikely that you would want to shift a layer's pitch
in semitones. Therefore, please use 'Detune' and 'Hz Detune' to set the pitch of a layer.

Again, an example will best illustrate how the Voicing functions work. You'll see that th ey are set in a
manner very similar to the Controls parameters.

Values Voicable

Destinations

Values Switchable

Destinations

Values

70

In the LCD, [VOICING] parameters are presented in four fields: one for keyboard selection, layer selection,
destination selection and finally for a depth value.

1

3

Suppose you want to set the release time for Tone 2 in the Lower keyboard. (Be sure you have a Tone 2
sound selected otherwise you won't hear anything.) Here's what you do:

Ê Press the [VOICING] button.
Ë With the [++] and [--] buttons select 'Lower' (the keyboard) in the first field.
Ì Press [NEXT] to move to the next field. With the [++] and [--] buttons select 'Tone 2' (the layer).

2

4

Voicing & Controller Settings

Í Press [NEXT] to move to the next field. With the [++] and [--] buttons select 'Release' (the

destination).

Î With the [+] and [-] buttons, set the value to '10' (the maximum value). (Negative numbers in the

value field will actually 'clip' the sound you play to make it very short.)

Now as you play the Lower keyboard you'll hear that the notes you play have a very long release time; that
is, they decay very slowly over time.

For a complete list of the [VOICING] parameters and what they do, please refer to page 121.

Note: The 'MIDI' layer is the external MIDI sound module controlled by the UPPER, LOWER and BASS
[MIDI] buttons. Some voicing parameters require a GS Format sound module before the results can be
heard.

71

Chapter 6

72

CHAPTER 7

.

The

Floppy Disk

Drive

Chapter 7

THE FLOPPY DISK DRIVE

Your W-5000 includes a 3.5" floppy disk drive (located just above the LCD):

This drive can be used to play commercially available song data (GM/GS Format/SMF data), record your
keyboard performances, or store W-5000 data (General Preset or Global data). Data from one W-5000 can
also be stored on disk and used to configure another W-5000; after all, it's somewhat easier to carry a floppy
disk than a W-5000!

Before we begin describing these functions, however, we need to discuss a few things in regard to floppy
disks and the drive itself. (We recommend that you use 2HD disks as they hold more data than the 2DD type,
and they work faster too.)

HANDLING FLOPPY DISKS

Floppy disks contain a plastic disc coated with magnetic particles (like the tape inside an audio cassette).
This is the storage medium for all the data. Because this medium is rather delicate, you should always
observe the following when using floppy disks:

• Never touch the coated surface inside a disk; finger prints or dust can render a disk useless. Never pull

back the spring-loaded shutter.

• Never expose floppy disks to strong magnetic fields (such as those gen erated by l oudspeakers, for

example). A magnetic field can instantly erase all the data on a disk.

• Do not expose floppy disks to temperature extremes (e.g. direct sunlight in an enclosed vehicl e).

Recommended temperature range: 50°-110° F (10°-50°C).

• Do not store or use floppy disks in dusty or humid areas.

74

The Floppy Disk Drive

• Floppy disks contain a 'write protect' tab which protects your data from accidental erasure. To preserve

your data, keep the tab in the 'PROTECT' position. Move the ta b to the ' WRITE' posi tion onl y when you
wish to add new data to the disk:

WRITE

PROTECT

Protect Tab

This protect tab, along with the 'Lock' param eters (found under the [PRESETS] button) help prot ect your

valuable data from accidental erasure.

• All important data should be copied onto backup disks. This provides a complete duplicate i n the event the

original disks are lost or damaged.

• The identification label should be firmly fixed to t he disk. Should the l abel com e loose whi le the di sk is in

the drive, it may be difficult to remove the disk.

• Disks not in use should be placed in their storage cases.

HANDLING THE DISK DRIVE

• A void using t he drive in dusty areas, or areas of high hum idit y (e.g. condensati on). High hum idit y can

adversely affect the operation of the drive and/or damage floppy disks. When the instrum ent has been
transported, allow it to warm to room temperature before attempting to use the drive.

• T o insert a disk into the drive (label side up; metal shutter first), push it gently but firmly until it clicks into

place:

75

Chapter 7

T o rem ove a disk from the drive, press the Eject but ton firm ly. Do not use excessive force to remove a disk

lodged in the drive:

• Never attempt to remove a disk from the drive while the drive is operating (the activity LED is lit); this

could result in damage to both the disk and the drive.

• Unless specifically instructed to do otherwise, always remove any disk from the drive before powering the

instrument up or down.

• T o m aintain the drive in good working order, make occasional use of a commercially available disk drive

cleaning kit.

FORMATTING A FLOPPY DISK

Before any disk (new or previously used) can be used in the W-5000 for the first time, it must be formatted
(prepared). To format a disk, follow this procedure:

Ê Be sure the disk's write protect tab is in the 'WRITE' position.
Ë Insert the disk into the drive.
Ì Press the [UTILITY] button in the FUNCTIONS section (under the LCD).
Í If you're using an HD disk (which we recommend), press the [NEXT] button repeatedly until the

display reads: Format HD Dsk (+). If you're using a DD disk, press [NEXT] until the LCD reads:
Format DD Dsk (+).

Î Press the [+] button to format the disk.

NOTE: Formatting a disk will erase all of the data (if any) previously stored on it. Be sure the disk
you want to use doesn't already contain important data!

76

USING THE SEQUENCER

LISTENING TO A SONG ON DISK

A sequencer is simply a special kind of recording device for MIDI instruments. This same sequencer can
also play commercially available song data. The W-5000's sequencer controls are found in the SEQ
(Sequencer) section under the LCD:

The Floppy Disk Drive

If you have song data on a disk and you'd like to hear it, follow this procedure:

Ê Insert the disk into the drive (label side up; metal shutter first).
Ë Press the [SEQ] button (in the FUNCTIONS section).
Ì Press the [NEXT] button until 'Sequence Select' appears in the LCD.
Í Press the [+] or [-] button to select the different songs on the disk. (The LCD will display as much of

the song title as there is room for. If the disk does not contain title information, then file names will be
shown instead; 00_mid, 01_mid, etc.)

Î Press the [PLAY] button. (LEDs beside the [PLAY] button will indicate the playback tempo.)
Ï Control the volume using the USER [1] assignable drawbar.

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Chapter 7

PLAYBACK CONTROLS

PAUSE

You can temporarily pause playback by pressing [PLAY]. Press [PLAY] again to resume playback.

STOP

If you press [STOP], playback will stop and the song will be reset to the beginning.

SEQUENCE TEMPO

It's possible to change the playback tempo of a song while playback is in progress (or before playback
begins). Use the [NEXT] and [PREVIOUS] buttons (as necessary) to select the tempo screen:

Use the [+] and [-] buttons to change the
playback tempo (34—312 beats per minute).
Note also that the tempo will automatically
change in response to any received MIDI
clock messages, if the external MIDI Sync
Input is enabled.

SEQUENCE VOLUME

It's possible to change the volume of a song while playback is in progress. Use the [NEXT] and
[PREVIOUS] buttons (as necessary) to select the sequence volume screen while the song is playing:

Use the [+] and [-] buttons to change the
playback volume (0—127). Note that this
function can be set automatically if a
controller is mapped to the Seq Volume
destination under the Controls functions.

SEQUENCE TRANSPOSE

You can also transpose (change) the pitch of a song while the playback is in progress. Press the [NEXT] or
[PREVIOUS] button until the sequencer transpose screen appears:

78

Use the [+] and [-] buttons to change the
transposition setting (in semi tone steps; -11—
11;.’0’ means standard pitch).

The Floppy Disk Drive

SEQUENCE CHANGE TEMPO

When activated, this function sets the tempo of the current sequence to the value set under the Sequence
Tempo parameter value.

Press the [+] button to activate this function.

SEQUENCE CHANNEL VOLUME

It's also possible to make individual volume adjustments for each channel. Press the [NEXT] or
[PREVIOUS] button until the channel volume screen appears in the LCD:

This screen displays volume settings (0—9) for each
of the 16 available MIDI channels, ‘0’ is off and ‘9’ is
maximum.

Use the [NEXT] and [PREVIOUS] buttons to move
from channel to channel. Set the volume for each
channel with the [+]/[-] buttons.

ROLAND SETUP RULES

If you are using Roland music data, this parameter will instruct your W-5000 to comply with the data's
specific requirements. Press the [NEXT] or [PREVIOUS] button until the Setup Rules screen appears in the
LCD:

Press the [+] button to activate this function.

SEQUENCE MAP

This parameter allows you to select which Tone map will be used to playback your song data. Press the
[NEXT] or [PREVIOUS] button until the Map screen appears in the LCD:

Select ‘Synth’ (with the [+] and [-] buttons) if you
are playing song data created on the W-5000

Select the ‘PR-300’ option if you’re using
commercially available song data.

For a complete list of SEQ```````` parameters, please refer to page 128.

79

Chapter 7

RECORDING YOUR PERFORMANCES

The W-5000's sequencer allows you to make recordings of your own keyboard performances. Be aware,
however, that this unit is only capable of 'single-pass' recording; you can't go back and add more things to
your performance. (For information on multi-track recording, please refer to page 105.)

Ê Insert a formatted disk into the drive. (Be sure the disk 's protect tab is set to 'WRITE'.)
Ë Press the [SEQ] button.
Ì Press the [NEXT] button (as necessary) to select the sequence tempo screen. Set the desired tempo

with the [+]/[-] buttons.

Í If you're recording a song with a time signature other than 4/4 you'll have to press the [NEXT] button

to select the time signature screen. Set the desired time signature with the [+]/ [-] buttons. (Use the
[NEXT]/[PREVIOUS] buttons to move between the two time signature fields.)

Î Press [NEXT] to select the metronome volume parameter. Set the volume with the [+]/[-] buttons.
Ï When you're ready to start recording, press the [REC] button. The metronome will start clicking (if

you have the volume turned up) and the LEDs beside the [PLAY] button will flash at the set tempo.
Play your piece.

Ð Press the [STOP] button when you're finished.
Ñ Press [PLAY] to hear what you've just recorded.

If you really don't like what you hear, press [NEXT] to select the 'Delete Song' parameter. Press the [+]
button to erase your performance. Go back and record your song again if you like.

Each time you record, another file is created on the disk. All real-time controls, notes, and General Preset
storable parameters are saved in the file. Some effects are common (shared) between real-time performance
and playback. These effects are therefore turned on and off when a specific song is selected. These effects
are 1) [UPPER DB VIB] on/off, [LOWER DB VIB] on/off, and all the drawbar vibrato parameters, 2)
[ROTARY] on/off, [FAST/SLOW], and all their parameters, 3) [DRAWBAR DISTORT], and all its
parameters, 4) The Click Cutoff parameter behind [DRAWBAR CLICK], but not on/off, 5) [REVERB]
on/off and all its parameters, but only as they apply to the Classic Organ and Drawbar sounds and 6) The
Aux Volume control destination, in both the CONTROLS and VOICING menus. The Synth reverb is
independent between real-time and playback.

Other than this, there is no interaction between realtime and playback, and the sequ ence seems to control a
'parallel' instrument. The UPPER, LOWER and BASS [MIDI] button's output is also recorded.

80

The Floppy Disk Drive

STORING W-5000 DATA ON DISK

REGISTRATIONS

As explained in Chapter 5, General Presets, all the panel settings that define the sound of the instrument can
be collected together into a 'registration' and assigned to a General Preset piston ([1]-[8]) for instant recall.
There are two banks of these presets, selectable via the [MEMORY] button. One final registration can be
assigned to the [CANCEL] button giving a total of 17 registrations.

When there is no disk in the drive, these seventeen registrations are all you have access to. They are stored in
various 'files' in the internal, non-volatile memory, so that they will be available whenever the W-5000 is
turned on. When you save a registration (by holding the [SET] button and pressing one of the numbered
buttons or the [CANCEL] button), one of these files in the non-volatile memory is overwritten with new
data.

If you insert a disk into the drive, the W-5000's storage space for registrations is vastly expanded. Each set of
sixteen piston registrations (two banks of eight) constitutes a 'folder', which means that the internal, non­volatile memory consists of a single folder. A floppy disk, however, can contain eight such folders, for a
total of 128 registrations.

SAVING A FOLDER

The easiest way to create a folder on a disk is to copy the entire folder from the internal, non-volatile
memory. With a disk in the drive, simply hold both [SET] and [MEMORY], and press one of the numbered
pistons ([1]-[8]). This causes all sixteen registrations assigned to the buttons to be written to the disk folder.

This process may take half a minute or so and the [SET] LED goes out when it is complete. Once you've
done this, the folder you've stored becomes the 'current folder'. This means that whenever you store an
individual piston registration (by holding [SET] and pressing a button ([1]-[8])) it is written to the folder on
the floppy disk (not to internal memory). (This takes a few seconds, unlike writing to the internal folder
which is nearly instantaneous.)

LOADING A FOLDER

Once you have a disk that contains one or more folders, you can load an entire folder in a single operation.
Simply hold [MEMORY] and press one of the numbered pistons ([1]-[8]). This causes all sixteen registration
files to be loaded from that disk folder and assigned to the General Preset buttons. It also makes the folder
the 'current folder' for all subsequent [SET] operations. If you attempt this operation and the disk doesn't
contain the specified folder (or there is no disk in the drive), the W-5000 will inform you.

ACCESSING THE INTERNAL FOLDER

The functions for loading and saving an entire folder also apply to the internal folder, using the [CANCEL]
button instead of a numbered button. That is, you can store all your registrations in the internal folder (and
select the internal folder) by holding [SET] and [MEMORY] and pressing [CANCEL]; and you can load all
of your registrations from the internal folder by holding [MEMORY] and pressing [CANCEL].

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Chapter 7

AUTOMATIC FOLDER LOADING

The [PRESETS] menu contains an Auto Load function, mentioned earlier, which can be set to 'On' or 'Off'.
When on, the W-5000 automatically tries to load folder number one whenever a disk is inserted into the
drive. If the disk doesn't have folder number one, the internal folder remains active. Similarly, when the disk
is removed from the drive, the internal folder is automtically selected.

When this function is off, inserting or removing a disk has no effect. Well, not quite. If you have a disk
folder selected, and you remove the disk, the internal folder is 'selected' but not loaded. This means that
subsequent [SET] operations will write to the internal folder, but removing the disk doesn't cause
registrations to be loaded from the internal folder. Got it?

This function is particularly useful when you want to copy from one disk to another. With Auto Load turned
off, you can insert one disk, load one folder (using [MEMORY] and [1]-[8]), swap in a different disk, and
save that folder (using [SET] and [MEMORY] and [1]-[8]). If Auto Load is on, you wouldn't be able to do
this because the W-5000 would automatically load the internal folder when you removed the disk from the
drive and then load folder one from any new disk inserted into th e drive.

SELECTING A FOLDER WITHOUT LOADING

If there is a disk in the drive you can also 'select' a folder without actually loading it. If you press the
[MEMORY] button, the number of the currently selected folder is displayed ('Internal', or '1' through '8').
You can edit this setting like any other value using the [+] and [-] buttons. Doing so, however, will not cause
your selection to be loaded. All this does is change the folder that will be accessed when you store an
individual registration using the [SET] button. (It is also useful for selecting what fo lder will be deleted
when the Delete Folder function is selected from the [PRESETS] menu.)

Note, however, that if you select a folder in this manner, you can no longer be sure that the registrations that
are assigned to the General Preset buttons match what is in the currently selected folder. Sometimes this can
be useful because it allows you to create a folder consisting of individual registrations collected from various
other folders.

THE CANCEL AND GLOBAL FILES

A floppy disk can also store a copy of a CANCEL registration and a global file. (Even though there can be
eight folders on a disk, there can only be one CANCEL registration and one global file.) This allows you to
exchange these files with a different instrument, or simply maintain a backup file.

The CANCEL file works like this:

• When the instrument is turned on, the CANCEL file is loaded from internal memory into the [CANCEL]

button, and that registration is selected.

• When you hold [SET] and press [CANCEL], the current registration is stored to the CANCEL file in the

internal memory . It always goes to the internal m em ory, even if a disk folder is selected.

• When you execute the 'Save Cancel' function ([PRESETS] menu), the CANCEL file is copied from

internal memory to the disk. It doesn't save the current registration, it just copies this file.

• When you execute the 'Load Cancel' function ([PRESETS] menu), the CANCEL file is copied from the

disk to internal memory. It doesn't affect the current registrat ion, it just copies the file .

The Global file works like this:

• Global settings are not part of any registration. When the instrument is turned on, the global 'file' is loaded

from internal memory, and all the settings recorded in it are read.

• When you change a global setting, it is a temporary change and must be saved if you want to keep it.

82

The Floppy Disk Drive

• When you execute the 'Write Globals' function ([PRESETS] menu), the global settings are written to the

global file in the internal, non-volatile memory. They will therefore be activated next time the instrum ent is
turned on.

• When you execute the 'Save Globals' function ([PRESETS] menu), the global settings are written to the

global file on disk. This saves the current settings, not a copy of the internal global fil e.

• When you execute the 'Read Globals' function ([PRESETS] menu), the global settings are read from the

global file in the internal, non-volatile memory, just as though the instrument had just been turned on.

• When you execute the 'Load Globals' function ([PRESETS] menu), the global settings are read from the

global file on disk. This only af fects the current set tings and not the gl obal file i n the internal m em ory.

83

Chapter 7

84

CHAPTER 8

.

Audio

Chapter 8

THE AUDIO SYSTEM

Although you've no doubt discovered that the W-5000's internal sound system is extremely capable, there
may be situations in which you need greater volume or flexibility. You'll be pleased to know that the W­5000 is designed to accommodate!

NOTE: Before making any connections or disconnecting any cables, be sure all of the equipment in

your audio system is off. This includes all mixers, amps, PA systems and the W-5000 itself.
Taking this simple precaution will help prevent damage or malfunction.

Before you turn anything on, double check the connections and be sure all volume levels are

set to zero. Once all the equipment is on, then set the volume controls to appropriate levels.

OUTPUTS

Audio output from the W-5000 is provided in a variety of forms. With the output array provided you'll be
able to create the configuration you need. (Refer back to page 14 (Rear Panel Description) if you need to
refresh your memory.)

MIXED LINE BALANCED OUTPUT

These XLR connectors provide a balanced output of all the W-5000's internal sources; SYNTH,
DRAWBAR and CLASSIC ORGAN (this is called the Line mix). Any source connected to the AUX
INPUTs can also be output through these connectors. The composite signal from these outputs can be sent
directly to a mixing board (using long cables if necessary).

MIXED SPKR OUTPUT

These 1/4" jacks provide an output for the Speaker mix; the same signal heard through the instrument's
internal speakers. Any source connected to the AUX INPUTs can also be output through these connectors.
Send the output from these jacks to a mixer for house or stage monitor use.

MIXED LINE OUTPUT

These 1/4" jacks provide a line level output (Line mix) for the instrument's main sources (SYNTH,
DRAWBAR and CLASSIC ORGAN). The output from these jacks can be sent to recording devices or
outboard digital processors (for example). This is the same signal as provided by the MIXED LINE
BALANCED OUTPUTs (but the signal is not balanced and these are 1/4" jacks, not XLRs).

RODGERS MAIN OUTPUT

This is the standard Rodgers 15-pin connector providing a composite of the main individual outputs
(SYNTH, DRAWBAR and CLASSIC ORGAN) as well as the MIXED LINE or MIXED SPKR OUTPUTs.
This connector can also send a 'power on' signal to any amplifiers in the chain.

RODGERS ANTIPHONAL OUTPUT

This is the standard 9-pin connector for the MIXED LINE OUTPUTs. This connector can also send a 'power
on' signal to any amplifiers in the chain.

SYNTH OUTPUT

These 1/4" jacks allow you to send a line-level signal from the Synth generator to separate channels of a
mixing board, a dedicated effects unit and/or to separate speaker enclosures. This gives you full control over
the output of Synth sounds. For the best results, use both the Left and Right jacks.

DRAWBAR OUTPUTS

These 1/4" jacks allow you to send a line-level signal from the Drawbar/Tone-Wheel generator to separate
channels of a mixing board, a dedicated effects unit and/or to separate speaker enclosures. This is the signal

86

Audio

containing the Drawbar sounds after they are routed through the [DRAWBAR DISTORT] and [ROTARY]
effects. For the best results, use both the Left and Right jacks.

CLASSIC OUTPUT

These 1/4" jacks allow you to send a line-level signal from the Classic Organ generator to separate channels
of a mixing board, a dedicated effects unit and/or to separate speaker enclosures. This gives you full control
over the output of Classic Organ sounds. For the best results, use both the Left and Right jacks.

ROTARY TONE CABINET

Although the W-5000 provides a very realistic simulation of a rotary speaker system, there's nothing like the
real thing! This multi-pin connector allows you to use a real rotary tone cabinet with your instrument. We
recommend the following models:

• Leslie 122 (requires an 11-pin to 6-pin adapter module; Leslie Kit 1 122)

This is the old unit that most people are likely to have. It supports only a si ngle rotati ng channel.

• Leslie 122XB

This is the newer version of the Leslie 122 and does not require the 1 1-pin t o 6-pin adapter. It also supports
only a single rotating channel.

• Leslie 716/723

These models are similar the 122XB except that they support a stationary channel (called MAIN) as well
as the rotating channel. In the W-5000, the drawbar si gnal can be sent to this MAIN stationary channel.
This simulates the combination of the old Leslie 122 and the stationary or gan tone cabinet som etim es used
in church environments.

• Leslie 750

This model is like the 723, but adds another pair of stationary channels called AUX 1 and AUX 2 (four
channels in all). The W -5000 supports these AUX channels by allowing you to select whether the Speaker
mix or the Line mix goes to these pins of the ROTARY T ONE CABINET connect or.

NOTE: The Leslie 412 is NOT RECOMMENDED because it has only a single AUX channel.

The ROTARY TONE CABINET output signal (called 'XRot' in the Audio parameters) is the 'dry' Drawbar
signal split off before it reaches the W-5000's internal Rotary simulator, but after the [DRAWBAR
DISTORT] and [UPPER DB VIB]/[LOWER DB VIB] effects. Therefore, it is possible to have an external
rotary tone cabinet and the W-5000's simulated rotary sound used simultaneously for that 'multiple rotary'
sound.

®

is a registered trademark of Hammond Suzuki, Inc.

Leslie

87

Chapter 8

INPUTS

AUX INPUTS (XLR)

These XLR connectors allow you to connect a variety of external devices to your W-5000. These include
other keyboard instruments, mixing consoles or microphones. The signals input to the W-5000 can be routed
through the on-board reverb unit and then directed to one or more of the output connectors.

AUX INPUTS (1/4")

These extremely versatile 1/4" jacks accept connection of a wide variety of devices including external sound
modules, electronic instruments or microphones. The signals input to the W-5000 can be routed through the
on-board reverb unit and then directed to one or more of the output connectors.

SW1 (1/4")

This jack accepts connection of an external footswitch (usually a switched (on/off) controller).

PEDAL (1/4")

This jack accepts connection of an external footswitch (such as another Expression pedal).

ACC POWER (1/4")

This jack is a general purpose 12 volt output. External equipment (like a Rodgers PR-300) can be powered
from this jack.

All of the parameters (including sensitivity adjustments, stereo pan locations, reverb/chorus levels, signal
routing and so on) for the audio system (internal and external) are accessible through the [AUDIO] button in
the FUNCTIONS section. Please refer to page 130 for a complete list of audio parameters. Please refer to
'Specifications' on page 161 for details regarding the W-5000's internal audio system. Finally, an Audio
Block Diagram can be found on page 160.

SPEAKER AND LINE MIXES

THE SPEAKER MIX

The [SPKR] knob, as you will know, controls the overall volume of the instrument's internal speakers. The
sound that comes from the internal speakers is a mix of various sources, primarily the Classic Organ, Tone­Wheel/Drawbar and Synth generators. If you like, you can adjust the relative levels of each of these internal
sources using the corresponding parameters accessed by pressing the [AUDIO] button in the FUNCTIONS
section:

Audio Syn
Spkr Mix: 0-127

This parameter allows you to determine the level of the Synth sounds in the overall Speaker mix. Press
[NEXT] as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[-] (or
[++]/[--]) buttons.

88

Audio

Audio Org
Spkr Mix: 0-127

This parameter allows you to determine the level of the Classic Organ sounds in the overall Speaker mix.
Press [NEXT] as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[-] (or
[++]/[--]) buttons.

Audio DBar
Spkr Mix: 0-127

This parameter allows you to determine the level of the Tone-Wheel/Drawbar sounds in the overall Speaker
mix. Press [NEXT] as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[­] (or [++]/[--]) buttons.

AUXILIARY INPUTS

However, if you've connected external devices to the W-5000 (through the AUX INPUTs (XLR or 1/4"),
you can also hear these sources through the internal speakers. So, for example, if you want to connect two
microphones to the 1/4" AUX INPUTs (one for each channel), you'll be able to hear the microphone signals
through the W-5000's internal speakers.

To be able to do this however, you'll have to set a couple of parameters that will optimize the signals from
the microphones. In our example, we'll also determine the pan (stereo location) of the sounds and add reverb.
All of the parameters for the audio system (internal and external) are accessible by pressing the [AUDIO]
button in the FUNCTIONS section. For the example of connecting two microphones, however, we'll show
you which parameters you should set:

Audio Aux
Pad: L0-255 R0-255

This parameter allows you to adjust the input pad (a type of attenuation) for the microphones connected to
the 1/4" AUX INPUT jacks. Press [NEXT]/[PREVIOUS] as necessary to select this parameter. Set the Left
pad so the microphone input level is not too high or low. Use the [+]/[-] (or [++]/[--]) buttons. Press [NEXT]
to select the Right pad. Make an appropriate setting for the right microphone. (A value of '0' mutes the input.
A value of '192' is 'Unity' gain. Finally, a value of '255' is +31.5dB.)

Audio Aux
Gain: +0db, +6db, +12db, +18db

This parameter allows you to adjust the input sensitivity to match the output of the microphones. Press
[NEXT]/[PREVIOUS] as necessary to select this parameter. Set the Gain using the [+]/[-] buttons. (This
setting applies to both inputs.) This option has been optimized on the W5000C and is not configurable.

Audio Aux Left
Spkr: L0-127 R0-127

This parameter allows you to direct the microphone signal from the left AUX INPUT to the left or right
speakers in the W-5000 (the pan location). Press [NEXT]/[PREVIOUS] as necessary to select this parameter.
Set the amount of signal you want to go to the left using the [+]/[-] (or [++]/[--]) buttons. (Higher numbers
move the signal farther to the left.) Press [NEXT] to move to the next field. Set the amount of signal you
want to send to the right speakers. (Higher numbers move the signal farther to the right.)

Audio Aux Right
Spkr: L0-127 R0-127

This parameter allows you to direct the microphone signal from the right AUX INPUT to the left or right
speakers in the W-5000 (the pan location). Press [NEXT]/[PREVIOUS] as necessary to select this parameter.
Set the amount of signal you want to go to the left using the [+]/[-] (or [++]/[--]) buttons. (Higher numbers
move the signal farther to the left.) Press [NEXT] to move to the next field. Set the amount of signal you
want to send to the right speakers. (Higher numbers move the signal farther to the right.)

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Audio Aux Left
RevSnd: 0-127

This parameter allows you to send the signal from the left AUX INPUT to the W-5000's internal reverb unit.
Press [NEXT] as necessary to select this parameter. Set the reverb send level with the [+]/[-] (or [++]/[--])
buttons.

Audio Aux Right
RevSnd: 0-127

This parameter allows you to send the signal from the right AUX INPUT to the W-5000's internal reverb
unit. Press [NEXT] as necessary to select this parameter. Set the reverb send level with the [+]/[-] (or [++]/[-­]) buttons.

Audio Rev Return
Spkr Mix: 0-127

This parameter determines the level of processed signal added to the Speaker mix. Press [NEXT] as
necessary to select this parameter. Set the reverb return level to the Speaker mix with the [+]/[-] (or [++]/[--])
buttons. (Higher numbers mean a greater level of processed sound; the sound with added reverb.)

THE LINE MIX

In addition to the Speaker mix, the W-5000 also provides a Line mix; a mix of sounds (which can be
completely different from the Speaker mix) that you can send to external mixing boards, digital processors or
recording equipment via the MIXED LINE BALANCED OUPUTs (XLR) or MIXED LINE OUTPUTs
(1/4"). The overall level of the Line mix is controlled by the [LINE] knob.

As with the Speaker mix, you can set the relative levels of the primary internal tone generators for th e Line
mix. Press [AUDIO] in the FUNCTIONS section to access these parameters:

Audio Syn
Line Mix: 0-127

This parameter allows you to determine the level of the Synth sounds in the overall Line mix. Press [NEXT]
as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[-] (or [++]/[--])
buttons.

Audio Org
Line Mix: 0-127

This parameter allows you to determine the level of the Classic Organ sounds in the overall Line mix. Press
[NEXT] as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[-] (or
[++]/[--]) buttons.

Audio DBar
Line Mix: 0-127

This parameter allows you to determine the level of the Tone-Wheel/Drawbar sounds in the overall Line
mix. Press [NEXT] as necessary until this parameter appears in the LCD. Set the volume level with the [+]/[­] (or [++]/[--]) buttons.

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AUXILIARY INPUTS

Any source that you connect to the AUX INPUTs can also be sent to the Line mix if you so wish. If we
continue to use our example of the two microphones, there are a number of parameters that you can set for
the Line mix. The following parameters (which represent but a few of the total number) are again accessible
by pressing the [AUDIO] button in the FUNCTIONS section:

Audio Aux Left
Line: L0-127 R0-127

This parameter allows you to place the microphone signal from the left AUX INPUT anywhere in the stereo
spectrum (L/R) of the Line mix (the pan location). Press [NEXT]/[PREVIOUS] as necessary to select this
parameter. Set the amount of signal you want to go to the left using the [+]/[-] (or [++]/[--]) buttons. (Higher
numbers move the signal farther to the left.) Press [NEXT] to move to the next field. Set the amount of
signal you want to send to the right speakers. (Higher numbers move the signal farther to the right.)

Audio Aux Right
Line: L0-127 R0-127

This parameter allows you to place the microphone signal from the right AUX INPUT anywhere in the
stereo spectrum (L/R) of the Line mix (the pan location). Press [NEXT]/[PREVIOUS] as necessary to select
this parameter. Set the amount of signal you want to go to the left using the [+]/[-] (or [++]/[--]) buttons.
(Higher numbers move the signal farther to the left.) Press [NEXT] to move to the next field. Set the amount
of signal you want to send to the right speakers. (Higher numbers move the signal farther to the right.)

Audio Aux Left
RevSnd: 0-127

This parameter allows you to send the signal from the left AUX INPUT to the W-5000's internal reverb unit.
Press [NEXT] as necessary to select this parameter. Set the reverb send level with the [+]/[-] (or [++]/[--])
buttons.

Audio Aux Right
RevSnd: 0-127

This parameter allows you to send the signal from the right AUX INPUT to the W-5000's internal reverb
unit. Press [NEXT] as necessary to select this parameter. Set the reverb send level with the [+]/[-] (or [++]/[-­]) buttons.

Audio Rev Return
Line Mix: 0-127

This parameter determines the level of processed signal added to the Line mix. Press [NEXT] as necessary to
select this parameter. Set the reverb return level to the Line mix with the [+]/[-] (or [++]/[--]) buttons.
(Higher numbers mean a greater level of processed sound; the sound with added reverb.)

For a complete list of all the audio parameters and their functions, please refer to page 127.

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AUDIO SYSTEM CONFIGURATIONS

The following few pages present some recommended audio system setups using the W-5000 and a variety of
external Rodgers devices. Three setups are illustrated, each targeted at spaces of differing sizes (small,
medium and large). Keep in mind that these are suggestions only. To create a system which is custom­tailored to your particular needs, please consult your Rodgers dealer.

BASIC AUDIO SETUP

The setup illustrated below is suited to smaller environments (a small church or a home perhaps). A Rodgers
S-200 amplifier driving a pair of Rodgers FR 5.0s (Full Range speaker systems; for the Line mix) will create
a pleasing sound in a smaller setting:

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Audio

MID-SIZED AUDIO SETUP

For situations which require greater volume, adding a Leslie cabinet to the basic setup will not only give you
that increased volume, but it will also give you that unique sound quality of a real rotary speaker; Drawbar
sounds can be taken from the Spkr or Line mix, or the real rotary sounds from the Leslie can be 'paralleled'
with the W-5000's simulated rotary sounds:

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LARGE AUDIO SETUP

If you're using the W-5000 in situations where high volume levels (and wide sound dispersion) are required,
the setup illustrated below is an option to consider. Three pairs of FR 1.7s (one for each of the individual
outputs; DRAWBAR, CLASSIC and SYNTH) and a pair of FR 5.0s (for the LINE mix) all driven by four S­200 amplifiers should provide all the power you need. (An Audio Cable Interface (Rodgers part number
5298-300) will be necessary to distribute signals.) A Leslie cabinet added to the setup gives you additional
sonic flexibility. (If a Leslie is used in this setup, it is possible to move the Drawbar output RF 1.7s
(Channels 3 & 4) and double them up with the FR 5.0s to increase the Line Mix volume. In this case, the S­200 amp for channels 7 & 8 will support the 4-ohm load and you will not need an S-200 for channels 3 &

4.):

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CHAPTER 9

.

Using

MIDI

Chapter 9

USING MIDI

MIDI stands for 'Musical Instrument Digital Interface' - an industry-wide standard that allows electronic
musical instruments and computers to exchange musical and system data. Most electronic instruments sold
these days are MIDI compatible.

MIDI devices have unique, multi-pin connectors which are used to physically link one device to another via
special MIDI cables. The W-5000 has two sets of MIDI connectors; MIDI Port 1 and 2:

MIDI does not transmit the sound of an instrument, but rather digital messages which instruct the receiving
device to do something (e.g. change to a different sound, raise the volume, turn the reverb off and so on).
MIDI is the most significant advancement in the music industry in the last 15 years and has revolutionized
the way music is made!

USING EXTERNAL SOUND MODULES

As the W-5000 features two MIDI ports, you can connect one or two external sound modules to the
instrument and then use them to produce additional sounds. For our example, however, we'll assume that
only one module is being used (and that it is connected to MIDI port 1).

Connect the MIDI OUT of port 1 to the MIDI IN port of the sound module. Then connect the MIDI OUT
port of the sound module to the MIDI IN on the W-5000:

MIDI

W-5000 MIDI
Port 1

MIDI IN

Sound
Module

Note: If you connect the
external sound module after
powering up the W-5000,
you should use the [MIDI]
Initialize parameter to
initialize the sound module.
(See page 133.)

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Using MIDI

For this example, we'll use the Upper manual to trigger sounds in the module. Sounds from the module will
then be sent to the W-5000 where they will be played through the internal speakers. Refer to your sound
module's manual for information on using it in this type of setup.

The [MIDI] buttons in each of the three sections (UPPER, LOWER and BASS) control whether or not note
data is sent to the external module (they function as ON/OFF switches). Controller data (volume, pitch
bend/modulation, expression etc.), however, is always sent to the MIDI OUT ports regardless of the settings
of the [MIDI] buttons. The [MIDI] buttons represent 'layers' in the W-5000 and can be affected by the
[VOICING] button, as well as controllers assigned to them under the [CONTROLS] button. However, some
of these advanced capabilities require a GS Format sound module.

Press the [MIDI] button in the UPPER section. Set the parameters as indicated below:

Upper MIDI
Port: 1, 2

This parameter determines from which port on the W-5000 (1 or 2) the MIDI data is sent. Select port '1' with
the [+] and [-] buttons.

Upper MIDI
Channel: 1-16

This parameter determines on which channel (1-16) the data will be sent. Press [NEXT] to select this
parameter. Use the [+] and [-] buttons to select channel '1'.

Upper MIDI
Prg: 0-128 Bnk: 0-127

This parameter determines which Program Change Number (1-128) and Bank (Variation) Number (MSB; 0-

127) is sent when the UPPER [MIDI] button is pressed. Press the [NEXT] button to select the 'Prg' field.
Select the desired 'Prg' Number with the [+]/[-] (or [++]/[--]) buttons. Press [NEXT] to select the 'Bnk' field.
Select the desired 'Bnk' Number with the [+]/[-] (or [++]/[--]) buttons. (Select Prg '0' or Bnk '0' if you do not
want Program and/or Bank select messages sent to the MIDI port.)

Upper MIDI
Bank LSB: 0-127

This parameter selects the Bank LSB (Least Significant Bit) Number. Press the [NEXT] button to select this
parameter. Use the [+]/[-] (or [++]/[--]) buttons.

Upper MIDI
Transpose: -127-127

This parameter allows you to transpose the pitch of outgoing note data (-127-127). Press the [NEXT] button
to select this parameter. Use the [+]/[-] (or [++]/[--]) buttons to set the transposition. (If you do not wish to
transpose note data, set this parameter to '0'.)

Upper MIDI
Volume: 0-127

This parameter allows you to set the volume of note data sent to the sound module. Press the [NEXT] button
to select this parameter. Use the [+]/[-] (or [++]/[--]) buttons. (Set the volume to maximum, that is, to '127'.)

These parameters, along with the setting of each [MIDI] button (on/off), can be stored in the General Presets.
In addition, changing these parameters will result in the data being sent to MIDI port 1 allowing you to hear
the changes as you make them.

MIDI Layer
Exp CC#: 7, 11

This parameter determines which Control Change command is executed when the Expression pedal is
moved: 7 or 11. Press [NEXT] to select this parameter. Use the [+]/[-] buttons to select ‘7’.

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USING THE W-5000 AS A SOUND MODULE

While it may not seem to be practical (given the instrument's size and weight), it is possible to use the W ­5000 as a sound module for other devices! To setup for this type of arrangement, connect the MIDI OUT
port on the external sequencer or keyboard to either of the W-5000's MIDI IN ports. For our example we'll
use the MIDI IN connector of port 1:

W-5000 MIDI
Port 1

MIDI

External
Keyboard

The [MIDI] button in the FUNCTIONS section provides access to the many parameters you'll need for this
type of configuration. Note that not all of these parameters are listed here; see page 115 for a complete
description of these MIDI parameters. (MIDI Master parameters are listed on page 133.)

Press the [MIDI] button in the FUNCTIONS section. Set the following parameters:

MIDI Mst In
Port: 1, 2

This parameter determines which MIDI port (1 or 2) is used as the Master (Mst) MIDI input. Data arriving at
the selected port will be played as if the instrument itself were being played. Press [NEXT] to select this
parameter. Use the [+] and [-] buttons to select MIDI port '1'.

MIDI Mst In Chn
U:1-16 L:1-16 P:1-16

These three parameters determine which MIDI channel (1-16) will be used as the Master MIDI Input. Data
arriving on the selected channel will be played as if the instrument itself were being played. Press [NEXT] to
select this parameter (and to move to the next field). Use the [+] and [-] buttons to select channel '1' for each
section (Upper, Lower, Pedal).

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Using MIDI

MIDI Mst In Filt
U: None, PC, CC, CC+PC, Note, PC+Note, CC+Note, All

This parameter determines what type of data will be filtered out of the incoming data via the Master MIDI
Input for the Upper section. The following options can be selected:

• NONE : No filtering is done

• PC : Program Changes (preset selections) are filtered

• CC : Control Changes (such as UPPER Drawbars and UPPER BALANCE sliders) are filtered

• CC+PC : Control Changes and Program Changes are filtered

• NOTE : Note data is filtered

• PC+Not : Program Changes and Note data are filtered

• CC+Not : Control Changes and Note data are filtered

• All : All data is filtered

Press [NEXT] to select this parameter. Use the [+]/[-] buttons to select 'CC+PC'.

MIDI Mst In Filt
L: None, PC, CC, CC+PC, Note, PC+Note, CC+Note, All

This parameter determines what type of data will be filtered out of the incoming data via the Master MIDI
Input for the Lower section. The options outlined above apply. Press [NEXT] to select this parameter. Use
the [+]/[-] buttons to select 'CC+PC'.

MIDI Mst In Filt
P: None, PC, CC, CC+PC, Note, PC+Note, CC+Note, All

This parameter determines what type of data will be filtered out of the incoming data via the Master MIDI
Input for the Pedal (Bass) section (Pedalboard or Keybass). The options outlined above apply. Press [NEXT]
to select this parameter. Use the [+]/[-] buttons to select 'CC+PC'.

MIDI Mst In
Exp CC#: 7, 11

This parameter determines which Control Change command is executed when the Expression pedal is
moved: 7 or 11. Press [NEXT] to select this parameter. Use the [+]/[-] buttons to select '7'.

These parameters are stored in the Global Parameter's memory if you press the [SET] and [ROTARY]
buttons simultaneously. In addition, changing parameters may result in data being output to the MIDI port(s),
so you will be able to hear the results immediately.

Program Changes coming in on the Master MIDI Input are interpreted (if not filtered out) as General Preset
selections. Since the General Presets are 'general', it doesn't matter which section is receiving the Program
Changes. However, they are always transmitted (and, therefore, recorded) on the Lower MIDI Master
Channel. The Program Numbers representing specific presets are as outlined below:

Program # Action

1 Selects General Preset [1]
2 Selects General Preset [2]
3 Selects General Preset [3]
4 Selects General Preset [4]
5 Selects General Preset [5]
6 Selects General Preset [6]
7 Selects General Preset [7]
8 Selects General Preset [8]
20 Selects Cancel
31 Selects Memory 1
32 Selects Memory 2

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EXTERNAL SEQUENCING

As the W-5000's sequencer is only capable of 'single-pass recording', you'll need to use an external
sequencer if you want to do any multi-track recording. The Rodgers PR-300S is a very good example of such
a unit! The following explanation therefore assumes that you're using a PR-300S (or similar unit). (Refer to
your sequencer's manual for information on multi-track recording.)

W-5000 sequencing can be done using the same 'master' MIDI inputs and outputs described in the preceding
section. However, when playing back such a sequence, it plays on the same section of the instrument that the
keyboards play on (rather like a player piano). This kind of sequencing only allows for three 'tracks', one for
each keyboard, and is therefore of limited usefulness. What's more, since the 'master' channel interface only
records note messages, raw controller data and General Preset selection, the instrument must have access to
the same folder of presets for recording and playback.

Native Mode sequencing (internal or external) transcends these limitations. First, it plays back on a
completely independent section of the instrument (except for a few common global controls), so it doesn't
interfere with your ability to play along with the sequence. Second, it records the individual parameters of
the sound, not General Preset selection, so it doesn't matter what presets are available when you play back
the sequence.

MASTER CHANNEL SEQUENCING

To do Master Channel sequencing, first connect the MIDI IN port of the sequencer to one of the MIDI OUT
ports on the W-5000 (we suggest using MIDI port 1 for this mode). Then, connect the MIDI OUT port of the
sequencer to the corresponding MIDI IN port on the W-5000.

W-5000 MIDI
Port 1.

PR-300S
Sequencer/Sound
Module or similar unit.

The [MIDI] button in the FUNCTIONS section will provide access to the many parameters you'll need to set
for recording. Note that not all of these parameters are listed here; see page 115 for a complete description of
the MIDI parameters. (MIDI Master parameters are listed on page 133.)

100