Yamaha AN1x User Manual
2
Contents
PRECAUTIONS ............................................................
INTRODUCTION
How To Use This Manual
Main Features
The AN1x At A Glance
The Making Of A Modern Classic
What Is A Voice?
AN1x Memory Structure
...............................................................5
..........................................................9
..............................................5
.................................................6
.................................8
..............................................9
ANALOG PHYSICAL
MODELING SYNTHESIS
AN1x Tone Generator
................................................10
GETTING STARTED
System Examples
Switching On The Power ................................................13
Playing The Demo Songs
Basic Operation
AN1x Operating Modes.................................................14
Selecting Voices.............................................................14
Using The Controllers .....................................................15
CONTROL Knobs And Parameter Groups .........................16
AN1x Quick Tour
Exploring The Factory-set Voices......................................17
Selecting Scenes And Scene Morphing
Scene Memories............................................................19
Scene Control................................................................20
Scene Store Function......................................................21
Scene Load Function ......................................................22
Scene Swap Function .....................................................22
Selecting Layer Modes
Layer Modes .................................................................22
Portamento Play
Turning PORTAMENTO On And Off.................................24
Setting Portamento Time..................................................25
Selecting Portamento Modes ...........................................25
Selecting Parameter Groups
Using The CONTROL Knobs
Assigning Parameters To Knobs .......................................27
Using The Panel Edit Matrix
Editing Voices
Voice Edit Procedure......................................................29
Creating Original Voices................................................30
Store Operations
Turning ARPEGGIO/SEQ On And off
Using The Arpeggiator
Arpeggiator On/Off ......................................................33
Arpeggio Hold Function..................................................34
Arpeggio Pattern Types...................................................34
Arpeggio Subdivide.......................................................34
.......................................................12
............................................13
..........................................................14
........................................................17
.......................19
................................................22
.........................................................24
.......................................25
........................................26
.......................................28
.............................................................29
........................................................33
..........................33
...............................................33
4
Playing Arpeggiated Chords...........................................35
Arpeggio MIDI Output....................................................37
Using The Step Sequencer
Step Sequencer On/Off .................................................38
Step Sequencer Hold Modes...........................................38
Voice Pattern And User Pattern Banks...............................39
Playing Step Sequencer Patterns......................................40
Step Sequencer Edit.......................................................44
Step Sequencer MIDI Output...........................................46
Using The Free EG
Free EG Parameters .......................................................47
Using The Control Features
Real-time Control............................................................49
Utility Control Assign Function.........................................50
Control Matrix...............................................................51
......................................................47
..........................................37
.........................................49
FEATURE REFERENCE
Voice Select
Knob Edit
Knob Parameters
PEG/LFO......................................................................54
SYNC/FM ....................................................................58
VCO1 ..........................................................................61
VCO2 ..........................................................................63
VCF..............................................................................64
MIX/VCF ......................................................................66
VCA.............................................................................68
ASSIGN .......................................................................70
Panel Parameter Edit
Edit Procedure...............................................................71
Edit Parameters
VOICE SCENE SETUP ....................................................72
VOICE COMMON ........................................................77
VOICE FREE EG ............................................................81
VOICE ARPEGGIO/SEQ ................................................85
SEQ EDIT/SETUP...........................................................89
UTILITY SETUP................................................................92
Voice Recall
Voice Initialize
Store
Voice Store....................................................................98
Scene Store ...................................................................99
Factory Settings
.................................................................52
....................................................................53
.......................................................54
..................................................71
..........................................................72
................................................................96
............................................................97
...........................................................................98
........................................................100
APPENDIX
Voice Creation Examples
About MIDI
Error Messages
Troubleshooting
Blank Chart
Specifications
Index
...............................................................109
.........................................................112
........................................................113
..............................................................114
............................................................116
........................................................................117
..........................................101
3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• Do not open the instrument or attempt to disassemble the internal parts
or modify them in any way. The instrument contains no userserviceable parts. If it should appear to be malfunctioning, discontinue
use immediately and have it inspected by qualified Yamaha service
personnel.
• Do not expose the instrument to rain, use it near water or in damp or
wet conditions, or place containers on it containing liquids which
might spill into any openings.
• If the AC adaptor cord or plug becomes frayed or damaged, or if there
is a sudden loss of sound during use of the instrument, or if any
unusual smells or smoke should appear to be caused by it,
immediately turn off the power switch, disconnect the adaptor plug
from the outlet, and have the instrument inspected by qualified Yamaha
service personnel.
• Use the specified adaptor (PA-3B or equivalent, recommended by
Yamaha) only. Using the wrong adaptor can result in damage to the
instrument or overheating.
• Before cleaning the instrument, always remove the electric plug from
the outlet. Never insert or remove an electric plug with wet hands.
• Check the electric plug periodically and remove any dirt or dust which
may have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the AC adaptor cord near heat sources such as heaters or
radiators, and do not excessively bend or otherwise damage the cord,
place heavy objects on it, or place it in a position where anyone could
walk on, trip over, or roll anything over it.
• When removing the electric plug from an outlet, always hold the plug
itself and not the cord.
• Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly
cause overheating in the outlet.
• Remove the adaptor plug from the outlet when the instrument is not to
be used for extended periods of time, or during electrical storms.
• Before connecting the instrument to other electronic components, turn
off the power for all components. Before turning the power on or off for
all components, set all volume levels to minimum.
• Do not expose the instrument to excessive dust or vibrations, or
extreme cold or heat (such as in direct sunlight, near a heater, or in a
car during the day) to prevent the possibility of panel disfiguration or
damage to the internal components.
• Do not use the instrument near other electrical products such as
televisions, radios, or speakers, since this might cause interference
which can affect proper operation of the other products.
• Do not place the instrument in an unstable position where it might
accidentally fall over.
• Before moving the instrument, remove all connected adaptor and other
cables.
• When cleaning the instrument, use a soft, dr y cloth. Do not use paint
thinners, solvents, cleaning fluids, or chemical-impregnated wiping
cloths. Also, do not place vinyl or plastic objects on the instrument,
since this might discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument,
and do not use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing
loss. If you experience any hearing loss or ringing in the ears, consult
a physician.
■ REPLACING THE BACKUP BATTERY
• This instrument contains a non rechargeable internal backup batter y
which permits internal data to remain stored even when the power is
off. When the backup battery needs replacing, the message "Battery
Low" will display in the LCD. When this happens, immediately back up
your data (using an external device such as the floppy disk-based
Yamaha MIDI Data Filer MDF2), then have qualified Yamaha service
personnel replace the backup battery.
• Do not attempt to replace the backup batter y yourself, in order to
prevent the possible serious hazards. Always have qualified Yamaha
service personnel replace the backup battery.
• Never place the backup batter y in a location that a child can reach,
since a child might accidentally swallow the battery. If this should
happen, consult a physician immediately.
■ SAVING USER DATA
• Save all data to an external device such as the Yamaha MIDI Data Filer
MDF2, in order to help prevent the loss of important data due to a
malfunction or user operating error.
Yamaha cannot be held responsible for damage caused by improper use or
modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
The LCD screens and diagrams in this owner's manual are for
instructional purposes only, and may be different from the ones on your
instrument.
4
Congratulations! And thank you for choosing Yamaha. You are now the proud owner of the AN1x Control Synthesizer, a
fully-professional digital keyboard with powerful sound and versatile real-time control features. The AN1x is a modern
music dynamo capable of faithfully delivering the warm, fat, punchy sounds of the legendary analog synths—with the
same familiar oscillator, filter and other sound creation elements and intuitive, "hands on" style of operation—plus all the
sophisticated flexibility you'd expect from a professional digital synthesizer.
How To Use This Manual
This owner’s manual provides your basic keys to unlocking the power of
the AN1x Control Synthesizer. It is divided into the following sections:
INTRODUCTION Provides a brief rundown of the AN1x’s main
features and description of all front and rear panel controls along
with information about the AN1x’s memory
recommend you take a few minutes and read the
INTRODUCTION section carefully before you get started in order
to familiarize yourself with the basic features and capabilities of
the AN1x.
ANALOG PHYSICAL MODELING SYNTHESIS Provides an
overview of the basic concept of the tone generation technology,
plus descriptions of basic terminology and a signal flow block
diagram,
inside the instrument as you twiddle the knobs and set parameters.
in order to give you an understanding of what’s going on
structure
. We
Main Features
The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible
sound and performance capabilities. Following is a brief rundown of the main features:
Analog Physical Modeling synthesis
The AN1x generates amazingly high quality synth sounds in much the same way as traditional
legendary analog synthesizers—using voltage controlled oscillators and filters, low frequency
oscillators, ring modulator and voltage controlled amplifiers—but with the additional benefits
of digital multi-effects, MIDI control and much more.
128 voices and maximum 10 notes polyphony
The AN1x comes with an impressive array of 128 voices preprogrammed and ready to play, each of which
can be edited and overwritten to store your own. Ten notes of polyphony provide for versatile SINGLE,
DUAL and SPLIT play options.
Intuitive interface with "hands on" voice editing and multiple assignable
real-time controllers
The AN1x's eight CONTROL knobs and panel Edit matrix give you direct and instant access to
many parameters as you play. All controllers are assignable, including [PITCH] and
[MODULATION] wheels and various foot pedals, plus the [RIBBON] controller with horizontal slide
(X) and pressure (Z) control of filter, LFO, delay and more. The Control Matrix function permits
easy assignment of up to 16 sets of "source" controllers (MW, FC, Key Touch, etc.) to destination
parameters (VCA, Filter, LFO, etc.) for each Scene, all of which can be stored as voice data for
each voice.
2 Scene memories for each voice, with real-time morphing between Scenes
Each voice has two Scenes, each of which can be selected by pressing a [SCENE] switch. This
provides two distinct sounds within each voice available for instant recall as you play. You can
press both [SCENE] switches to activate the "Scene Control" function, and roll the
[MODULATION] wheel (or press a foot pedal or use any other continuous controller) to morph,
or cross-fade between the sounds of Scene 1 and Scene 2 as you play.
Six types of Layers to choose from for each voice
SINGLE, UNISON, DUAL, DUAL UNISON, SPLIT, and SPLIT UNISON Layer modes give you a
wide choice for control over how the two Scenes are configured to play in relation to each
other for each voice.
GETTING STARTED Provides a basic overview of how to set up
your AN1x and quickly familiarize yourself with all its key features
and operations. We recommend you actually be sitting in front of
your AN1x as you read through the GETTING STARTED section,
so you can try out each feature along the way to get a thorough
understanding of how the AN1x works.
FEATURE REFERENCE Provides a comprehensive explanation of
all AN1x features. This is in essence a dictionary which you can
refer to any time you need to know the details about any given
feature.
APPENDIX Provides information related to MIDI, troubleshooting,
and more.
A separate Data List book provides voice, Arpeggiator Type, Effect
Type and other lists and information.
Arpeggiator with 30 patterns and various play options, plus MIDI data
output
The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key. You can
have the Arpeggiator play only one or both Scenes, or play one Scene to the left of the Split
Point while you play the other Scene normally to the right. You can choose from various types
of arpeggio patterns, including Up, Down, and Up&Down across one or more octaves, plus
various special patterns including Techno, House, Random, and more. The arpeggio pattern
data can be output via MIDI on its own MIDI channel.
Easy-play/edit “Step Sequencer” with 128 Voice Patterns and 128 User
Patterns
The Step Sequencer permits quick, easy creation of highly sophisticated looped patterns which
can be triggered from the keyboard in a variety of ways. Each individual step event (Note,
Velocity, Gate Time, and Control Change) can be accessed and edited by a specific CONTROL
knob, over a maximum of 16 steps. There are a variety of handy Step Sequencer edit and
play options, including “Play Effects” which give you detailed control over the “feel” of your
sequence. Pattern event data can be output via MIDI on its own MIDI channel.
4-track “Free EG” records and plays real-time changes of knob positions
for up to four different parameters
The 4-track Free EG lets you record real-time CONTROL knob movements, in order to “hand
draw” filter, resonance, LFO and many other available parameters over time—and have them
play back automatically by simply playing a voice. You can control up to four different
parameters independently, each recorded into its own Free EG track. Ideal for those times
when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an
incredibly complex, completely unique voice.
Programmable multi-effects and 3-band EQ for each voice
The AN1x has three types of programmable multi-effects plus EQ built into the voice
architecture, which lets you customize the effects configuration for each voice. There are 8
Reverb effects, 5 Delay effects, 14 Variation effects (which includes Chorus, Auto Pan, Pitch
Change, Compressor, Distortion effects and more), and a stereo 3-band Equalizer. An Effect
Bypass function lets you bypass all effects or specific ones at the press of a switch.
5
Front Panel
The AN1x At A
[SCENE] switches
Each of the AN1x's 128 voices has two Scene
memories, each of which are instantly accessible
by pressing the [SCENE 1] or [SCENE 2] switch.
Each Scene can have its own distinct sound.
Pressing both [SCENE] switches simultaneously
activates the Scene Control function, which lets you
"morph", or cross-fade between Scenes in realtime using the assignable [MODULATION] wheel,
an assignable Foot Controller, or any other
continuous controller.
[RIBBON] controller
The assignable [RIBBON] controller gives you
horizontal slide (X) and pressure (Z) control of
designated controllable parameters as you play,
including filter cutoff, resonance, LFO, panpot,
reverb, and more.
[PITCH] wheel
The [PITCH] wheel lets you bend the pitch up or
down as you play. It is spring-loaded to
automatically return to center position when you let
go of it. You can use the Control Matrix to designate
specific Pitch Bend parameters for the upper and
lower bend ranges for each Scene.
[VOLUME] knob
This knob controls the AN1x’s overall
volume level output from the PHONES
and OUTPUT jacks. Turn the [VOLUME]
between left-most (minimum) and rightmost (maximum) positions to set the
proper listening level whether using
headphones or amplified speakers.
PEG Decay
Algorithm
Wave
Wave
VCO1
Attack
Level
Attack
VOLUME
SCENE
MODULATION
PITCH
Sync
Pmod Sw
PW
CTRL
VCF
Cutoff
Feedback
ASSIGN 1 ASSIGN 2
LFO1 Wave LFO1 Spd
PW
HPF
ASSIGN 5
KNOB PARAMETER GROUP switches
These switches determine which set of parameters are
controlled by the CONTROL knobs. The switches are
color coded in cross-reference to the parameter names
as printed in the same color on the panel beside each
knob. Whenever you select a voice, the [ASSIGN]
switch is automatically selected, to give you instant
access to your assigned CONTROL knob parameters.
PHONES
PEG Depth
Sync Pitch
Pitch Pitch
Decay
Decay
FM Depth
PWM Depth
PWM Depth
Reso
nance
Volume
ASSIGN 6 ASSIGN 7 ASSIGN 8
L / MONO
VCO2
Sustain
Level
VCF
Type
R
OUTPUT
Sync Pitch
PEG Sw
Depth
Fine
Sustain
ASSIGN 3
LFO1 Dly
FM Src1
PWM Src PWM Src
FEG
Depth
Amod Depth
Fine
Ring
Mod
Fmod
Depth
DC IN POWER
Sync Pitch
Src
Edge
Release
Release
ASSIGN 4
FM Src2
PmodDepth PmodDepth
Vel
Sens
Vel Sens
Port Time
LFO2 Spd
Edge
Noise
Level
Key
Track
VOLUME
FOOT
CONTROLLER
FOOT
FOOT
SWITCH
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO2
VCO1
MIX/VCF
VCF
ASSIGN
VCA
OUT
IN
MIDI
THRU
PROGRAM CHANGE
VWX
7YZ8
MNO
4
DEF
1
ABC
0
PQR
5
GHI
2
–
[MODULATION] wheel
The assignable [MODULATION] wheel lets you
apply modulation or another designated
controllable parameter as you play, or morph
between Scenes when the Scene Control function is
active (and the [MODULATION] wheel is
designated as the source controller).
Rear Panel
MIDI
OUTTHRU IN
FOOT
SWITCH
CONTROL knobs with push-switch (knob parameters)
The eight assignable CONTROL knobs are used for real-time control and edit of the various tone
generator parameters, depending on which KNOB PARAMETER GROUP select switch is currently
selected, plus instant access to each step event when the [EDIT ROTARY] switch is set to the SEQ
EDIT/SETUP menu. Press a CONTROL knob (push-switch) to confirm the current parameter in the LCD.
Turn a CONTROL knob left to decrease values or right to increase them. Make fine edit adjustments by
turning a knob while pressing it. Since all CONTROL knobs are assignable, you can have each one
access one of many different available parameters to give you maximum real-time control over specific
aspects of your sound, including versatile control of external instruments via MIDI output.
1 MIDI terminals
ASSIGNABLE
FOOT
CONTROLLER
FOOT
VOLUME
POWER
ON OFF
OUTPUT PHONES
DC IN R L/MONO
MIDI [IN], [OUT] and [THRU] terminals let you connect external MIDI
devices such as a MIDI keyboard, tone generator, sequencer or
computer or others, using a MIDI cable. [IN] is for input of MIDI data,
including data dumps from another AN1x or MIDI data storage
device. [OUT] is for output of MIDI data, including data dumps to
another AN1x or MIDI data storage device. [THRU] is for “daisychain” connection of additional MIDI instruments, as the MIDI data
received at the AN1x’s [IN] terminal is passed along unchanged to
the [THRU] terminal.
6
LCD
The back-lit LCD (Liquid Crystal
Display) provides various types
of information which clearly
indicates the current operating
status of the AN1x as you select
voices, turn knobs and press
switches.
[EDIT ROTARY]
switch
The 6-position [EDIT
ROTARY] switch lets you
designate one of the six
Edit menus, as printed on
the panel to the right of
each menu.
Parameter value [UP/DOWN] switches
These ten switches are used to access and edit specific parameters (as printed on the
panel), depending on which Edit menu is currently selected with the [EDIT ROTARY]
switch. Pressing the upper area of a parameter value [UP/DOWN] switch
increments the parameter value or setting, and pressing the lower area decrements
it. Simply pressing a switch once will display the parameter name and current value
or setting in the LCD. Thereafter, pressing or holding the upper or lower area of the
switch will change the value or setting accordingly.
Port
LoopType
Type/No
1-8/9-16
KbdTrans
LFO Rst
Vari EF/EQ
Param Data
Length
KbdMode Hold
Step Hold
Kbd Vel
Ctrl Matrix
Set No
Key Track
Pattern
Bank
MIDI
Tx Ch
Param Source
Track
Track No
SceneSw
No
Dly/Rev EF
Param
Param
MIDI
Ptn Tx Ch
BaseUnit
DeviceNo Local
YES/ENTERNO
OTHERS
Mode
Poly
Tempo Split Pnt
Track Common
Trigger
Common
LAYER
ARPEGGIO/SEQ
Arp/SEQ
Knob
Event
System
MstrTune
9
STU
6
JKL
3
DEMO
PORTAMENTO
STORE
PROGRAM CHANGE keypad
The PROGRAM CHANGE keypad is primarily
used for selecting a voice or confirming the
currently selected voice name and number.
Other functions include selecting letters when
naming a User voice, and confirming ([YES]) or
canceling ([NO]) specific store and other
operations.
Depth
Data
Scene Sw
Arpeggio
Subdivide
Length LoopType
Layer
Pan
EF
Bypass
Track Job
Rec
Play EF
Swing
BulkDump
Separate
Name
Cursor Char
Copy Undo
Velocity
Ctrl No
Ctrl
Device
Unison
Detune
GateTime
SEQ
Store
Ctrl No
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/SEQ
SEQ
EDIT/ SETUP
UTILITY
SETUP
CTRL
PEG
VCO
VCO1
SYNC
MASTER
FM
VCO2
LFO2 LFO1
SLAVE
CONTROL SYNTHESIZER
ANALOG PHYSICAL MODELING
MIX/VCF
RING
MOD
NOISE
FEEDBACK
VCA
VOLUME
VARI
AEG
[PORTAMENTO] switch
For turning the portamento function on and off.
[LAYER] switch
For selecting one of the six Layer modes.
[STORE] switch
For initiating Store operations.
EFFECT
EQ
DLY REV
Synthesis Block Diagram
The Analog Physical Modeling synthesis
block diagram provides a handy visual
reference or reminder of how the signal
flows through the key blocks, or
components of the AN1x's tone
generation architecture, which is helpful
when manipulating the various
parameters during voice editing or realtime sound control.
Keyboard
The 61-key touch-sensitive
keyboard features Initial
(velocity) and After Touch
(pressure) control.
[ARPEGGIO/SEQ] switch
For turning the Arpeggiator or Step Sequencer
on and off.
DEMO
Pressing [PORTAMENTO] and [LAYER]
simultaneously lets you access the
Demonstration songs.
2 [FOOTSWITCH] jack
An optional Yamaha FC4 or FC5 Footswitch connected to the [FOOTSWITCH] jack can be
used to control hold on/off, Portamento on/off and other discrete controllers.
3 [FOOT CONTROLLER] jack
An optional Yamaha FC7 foot controller connected to the [FOOT CONTROLLER] jack can be
used for control of various continuous or discrete controllers, depending on controller
assignment.
4 [FOOT VOLUME] jack
An optional Yamaha FC7 foot controller connected to the [FOOT VOLUME] jack can be used
to regulate overall volume (or any other assigned continuous controller function.).
5 [POWER] switch
Press the [POWER] switch to turn the AN1x on and off.
6 [DC IN] terminal
Connect the supplied Yamaha PA-3B Power Adaptor to the [DC IN] terminal.
(CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or
equivalent, since the use of an incompatible adaptor may cause irreparable damage to
the AN1x, and may even pose a serious shock hazard.)
7 OUTPUT jacks
The stereo OUTPUT jacks let you connect the AN1x to an external stereo
amplifier/speaker system. When using a mono system, connect it to the [L/MONO]
jack.
8 [PHONES] jack
The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private
listening.
7
The Making Of A Modern Classic
The classic analog synth sound is back with a vengeance and more popular than ever. Vintage analog synthesizers are hot
items, recirculating and finding their way into the arsenals of the world’s most innovative music makers, many of whom
weren’t even born when the voltage controlled synthesizer was coming of age more than a quarter of a century ago.
Enter the Yamaha AN1x Control Synthesizer—a modern classic in its own right—complete with the VCO, VCF, and VCA
blocks, or "modules" that give retro synths that famously fat, rich, warm sound, plus multiple knobs for controlling every nuance
of the sound, and even an on-board Arpeggiator and Step Sequencer for generating pattern loops at the press of a key.
What’s much more, however, is that the AN1x incorporates features that vintage synths could only dream about—like three onboard programmable digital multi-effects units and a 3-band stereo EQ, a multiple controller-to-parameter assignment architecture,
a 4-track Free EG for “hand drawing” real-time knob position movements of up to four different tone generator parameters, plus
real-time morphing between two different sounds, and more—all of which can be customized for each of the 128 voices and
stored as individual voice data.
The Histor y…
Why is the “analog sound” so popular in a digital
age? What long and winding road had to be
traveled—just to end up right back where we started
from? Let’s take a quick look at how we got from there
to here, and where here really is, anyway.
Electronic music synthesis has been around in one form
or another since the beginning of the 20th Century. But
it wasn’t until the early 1970s that developments in
voltage controlled synthesis technology made the
concept practical—and affordable.
As such, the voltage controlled synthesizer became less
and less an experimental curiosity in the world’s great
universities and sound labs and more and more a
valid—and revolutionary—musical instrument in its own
right. It quickly became a staple in professional
recording studios, and its myriad sounds started
gracing the ears of millions through popular recordings
in literally all genres of music.
Then came the 1980s, and the introduction of wildly
popular, affordable-for-the-masses, great-sounding and
easy-to-use digital synths like the famous Yamaha DX7.
What followed was the MIDI revolution, which drove
the rapid development of ever-more-sophisticated multitimbral digital synthesizers and tone generators, along
with the overwhelming acceptance of digital sampling
which has literally changed the way we create and
listen to music. And all of which have gone hand-inhand with the desktop music revolution.
Enter Analog Physical
Modeling…
The classic analog synth never fell out of favor with the
world's most innovative musicians. That's because it
has a special punch, power, plus important elements of
interactivity that digital synths and samplers have
tended to lack by comparison.
And now, with the demand for that "classic analog
sound" due to the global popularity of techno, trance,
and other modern forms of dance music, it's hardly
surprising that Yamaha—a company consistently at the
very pinnacle of electronic musical instrument
technology—would react to that demand and create a
completely new performance-oriented "control
synthesizer" that takes the company's original
breakthroughs in physical modeling synthesis and uses
it to digitally "model" the analog sound-generating
components which gives voltage controlled synthesis its
unique character and virtually unlimited range of
sound.
And package it with a host of digital extras to bring
the technology full circle with a completeness and utility
never before possible.
In short, the AN1x is a logical—and timely—
development in the evolution of electronic musical
instrument history, based on the modern needs and
demands of the world’s cutting-edge musicians. And
once again, as is often the case with creations from
Yamaha, music history will never be the same.
Most recently there has been the introduction of
breakthrough physical modeling synthesis technology,
which has been successfully applied to the accurate
reproduction of acoustic instrument sounds through
purely electronic means, as well as the creation of new
“hybrid-type” acoustic-oriented sounds.
All the tools are in the box. The rest is up to you….
8
What Is A Voice?
Voice Data 128 User Voices
SCENE 1
Utility Setup Parameters
SYSTEM: MASTER TUNE, VELOCITY,
KEYBOARD TRANSPOSE
MIDI: TRANSMIT CHANNEL,
RECEIVE CHANNEL (each Scene),
PATTERN TRANSMIT CHANNEL,
DEVICE NUMBER, LOCAL,
BULK DUMP, EFFECT BYPASS
CONTROL: ASSIGNABLE KNOB CONTROL
CHANGE NUMBERS, CONTROLLER
CONTROL CHANGE NUMBERS
Layer Parameters
PAN, SEPARATE, DETUNE
Voice Common Parameters
TEMPO, SPLIT POINT, EFFECT, NAME
Pattern Parameters
ARPEGGIATOR or SEQUENCER,
ARPEGGIATOR PATTERN NUMBER,
VOICE PATTERN, KEYBOARD MODE, HOLD,
SCENE SWITCH, SUBDIVIDE (Arpeggiator only),
PLAY EFFECT (Arpeggiator = Velocity only)
Free EG Parameters
TRIGGER MODE, LOOP TYPE, LENGTH, KEY TRACK
SCENE 2
LAYER
(SINGLE/UNISON/
DUAL/DUAL UNISON/
SPLIT/SPLIT UNISON)
PORTAMENTO
(On/Off)
ARPEGGIO/SEQ
(On/Off)
Tone Generator Knob Parameters
PEG, LFO1, LFO2, VCO1, VCO2, SYNC, FM, MIXER
(NOISE, RING MODULATOR), VCF (FEG), VCA (AEG)
Scene Setup Parameters
POLY/MONO/LEGATO, PORTAMENTO MODE,
LFO RESET, CONTROL MATRIX (Assignments),
VARIATION EFFECT DRY:WET
System Data
Step Sequencer
(User Pattern Bank)
No (1 ~ 128)
Over the years, the meaning of the term “voice”, when
applied to synthesizers, has varied depending on
manufacturers and models. In general, it means a sound,
which in some synths is called a “patch”, and in others a
“program”.
With the AN1x, a voice is a configuration of all tone
generator and other parameter settings, including effects
setups and data for a single Voice Pattern, but excluding
system settings or the bank of Step Sequencer User
Patterns. Therefore, each of the 128 voices in memory
can have its own unique configuration of all main
parameters.
● LAYER mode setting and Layer parameters including
Pan, Separation and Detune settings.
● VOICE COMMON (i.e., parameters which affect
both Scenes) settings including Tempo, Split Point,
Effect configurations and voice Name.
● Free EG parameter settings and track data and
other settings.
● ARPEGGIO/SEQ switch status and the various
Arpeggiator and Step Sequencer parameter
settings, including Play Effect settings, plus Step
Sequencer Voice Pattern data.
AN1x Memor y Str ucture
The AN1x has a simple and straightforward memor y structure. There
are only two main types of data: voice data and system data. There
is also a separate memory for the Step Sequencer User Pattern bank.
Voice Data
Voice data is comprised of the various parameter
settings which make up each of the 128 User voices,
as follows:
● Tone generator settings based on CONTROL knob
positions for each KNOB PARAMETER GROUP
parameter, PORTAMENTO switch status, Scene
status and Scene-related parameters, including
Control Matrix assignments, Mode settings and
Variation Effect Dr y:Wet setting.
System Data
System data is made up of the various “global”
parameter settings which remain in effect regardless of
which voice is selected, as follows:
● UTILITY SETUP parameters, including the settings for
System tuning and keyboard transposition and
velocity, MIDI-related parameters, and Control
device and number assignments.
User Pattern Data
User Pattern data is made up of the Step Sequencer
User Pattern bank which holds 128 User Patterns.
9
AN1x Tone Generator
VCO VCF VCA OUT
The amplifier determines
the volume
The oscillator creates the source pitch
The filter determines the timbre
As the AN1x Tone Generator Block Diagram
illustrates, the VCO module generates the basic
signal, then passes it along the signal path to
the MIX/VCF module, which processes the signal
in a variety of ways before passing it on to the
VCA module, which amplifies the signal before
passing it along the signal path to the EFFECT
module comprised of three multi-effects units
and a stereo equalizer, after which the signal is
output from the AN1x's stereo outputs. Along
the way, various real-time and other controllers
can be applied to each module in a variety of
ways.
Oscillators, Filters And Amplifiers
What does it take to make a sound? And how does the
AN1x generate sounds?
In the simplest of terms, there are three basic elements which
make up a sound: pitch, or how low or high it is; tone, or
what its overall quality, or timbre is like; and amplitude, or
how loud the volume level is.
Synthesizers rely on three key electronic components to generate
sounds and electronically imitate the soundwaves of familiar musical
instruments, as well as create entirely unique sounds. In traditional
analog synthesis, the source sound pitch is generated by an
oscillator; its tone is created by a filter; and its volume is determined
by an amplifier. With the AN1x, these three elements are termed
the VCO (voltage controlled oscillator), the VCF (voltage controlled
filter), and the VCA (voltage controlled amplifier).
The “signal path” starts at the VCO, flows to the VCF, then
flows to the VCA. The signal is “processed” at each block, or
“module” along the way to the final output.
1 VCO
The VCO module is where the original sound waveform gets
generated. Although a single oscillator is enough to generate
the basic sawtooth, pulse (square) or other waves required
for different types of musical instrument sounds, the AN1x’s
VCO module is much more complex.
First, there’s a VCO1 which includes an additional saw2 and
mix wave, and which can be configured with one of three
“sync algorithms” that syncs “master” and “slave” oscillators
within the VCO1, and can be modulated by FM according to
the algorithm. Thus, when the sync is on, the VCO1 is
actually two oscillators in one, and three additional “inner”
waves are available.
The VCO1 is always fixed as the FM carrier, but the carrier
can either be the master or slave oscillator depending on the
selected algorithm. The FM modulator can be selected from a
second VCO (VCO2), the PEG, FEG, LFO1, LFO2 or others.
The Pitch Envelope Generator (PEG) lets you determine how
the pitch of the VCO changes over time, and the LFO can be
used to modulate the VCO to create vibrato.
For more information, see as follows:
VCO1 — page 61
VCO2 — page 63
SYNC/FM — page 58
PEG/LFO — page 54
2 MIX/VCF
The MIX/VCF module is where the mixing of VCO1,
VCO2, Ring Modulator, Noise and Feedback signals
take place, which can then be filtered by the VCF High
Pass Filter (HPF), Low Pass Filter (LPF), Band Pass Filter
(BPF) and Band Eliminate Filter (BEF). You can
determine the cutoff frequency of the VCF, as well as
amount of Resonance, or emphasis around the
frequency cutoff point. The Filter Envelope Generator
(FEG) lets you determine how the timbre of the signal
changes over time, and the LFO1 can be used to
modulate the VCF to create wah.
For more information, see as follows:
MIX/VCF — page 66
VCF — page 64
HPF — page 67
10
LPF, HPF, BPF, BEF — page 67
VCO
VCO1
SYNC
MASTER
SLAVE
FM
VCO2
VCA
VOLUME
AEG
FEEDBACK
VARI
EQ
DLY REV
EFFECT
AN1x Tone Generator Block Diagram
MIX/VCF
MOD
RING
NOISE
FEG
MIX HPF
VCF
CTRL
PEG
LFO2 LFO1
FEG — page 31
PEG/LFO — page 54
RING MODULATOR — page 66
NOISE — page 66
current tempo setting. The 8 Reverb effects include
various Hall, Room and Stage types and more. Delay
and Reverb effects can be configured in a serial or
parallel connection, and specified effects or all effects
(excluding the EQ) can be bypassed at will. Controllers
can be designated to control specific effect parameters.
3 VCA
The VCA module is where the overall output level of
the signal gets determined, as well as the Feedback
level which gets “fed back” to the mixer in the
MIX/VCF module. The Amplitude Envelope Generator
(AEG) lets you determine how the volume of the signal
changes over time, and the LFO1 can be used to
modulate the VCA to create tremolo.
For more information, see as follows:
VCA — page 68
VOLUME — page 69
FEEDBACK — page 69
AEG — page 32
PEG/LFO — page 54
4 EFFECT
The EFFECT module is where three different types of
programmable effects, as well as programmable 3-band
EQ, can be applied. The 14 Variation Effects include
Chorus, Flanger, Phaser, Auto Pan, Rotary Speaker,
Pitch Change, Aural Exciter, Compressor, Distortion,
Overdrive, Amp Simulator and more. The 5 Delay
effects include Delay LCR, Delay LR, Echo, and Tempo
Delay, which automatically matches the delay time to the
For more information, see as follows:
Vari EF/EQ — page 77
Dly/Rev EF — page 79
EF Bypass — page 80
5 CONTROL
Specific parameters of the VCO, MIX/VCF, VCF, VCA
and EFFECT modules, as well as the PEG, LFO1 and
LFO2 can be controlled by many different types of realtime controllers, including [MODULATION] wheel,
[RIBBON] controller X- or Z-axis, the eight assignable
CONTROL knobs, a connected [FOOT CONTROLLER],
keyboard After Touch, and more, including MIDI
Control Change messages received at the MIDI [IN]
terminal.
The AN1x’s Control Matrix and UTILITY SETUP Control
Assign function work together flexibly to give you
complete authority over which on-board or external
controller controls which individual internal or external
parameter.
For more information, see as follows:
Control Features — page 49
Control Matrix — pages 51, 73
Utility Control Assign — pages 50, 95
11
QY700
MIDI OUT
MIDI IN
MIDI IN
AN1x
MIDI OUT
Amp
Mixer
AN1x
Speaker Speaker
Headphones
12345678910111213141516LR
L R INPUT
R OUTPUT
L
R OUTPUTPHONES
L
FC4 FC7
System Examples
FOOT
VOLUME
FOOT
CONTROLLER
FOOT
SWITCH
ON OFF
DC IN R L/MONO
OUTPUT PHONES
POWER
ASSIGNABLE
MIDI
OUTTHRU IN
PA-3B Adaptor
DC IN
There are many ways to incorporate the AN1x into
a simple or expanded music system. Following are
a few of the most common examples.
The AN1x By Itself
At the simplest level, all you need to do is connect
stereo headphones to the [PHONES] jack located on
the rear panel, and you’re ready to go. To use the
AN1x as a stand-alone performance instrument, simply
connect it to amplified speakers and optional FC Foot
Controller and Footswitch pedals as shown in the
diagram at right.
Setting Up Your AN1x
The AN1x Control Synthesizer is an ideal stand-alone performancebased electronic musical instrument as well as a powerful component
in an expanded MIDI music system. Following are instructions for
proper setup of the AN1x and connection to external devices.
1. After carefully taking your new AN1x out of
the box, place it on a keyboard stand or on
top of a sturdy table or desk.
To avoid possible damage to the speakers or other connected electronic devices, before switching on the
power of any device, make sure the AN1x’s [VOLUME] level and the volume levels of the connected
equipment are set to minimum positions.
The AN1x In A MIDI System
It’s easy to create a simple but powerful MIDI music
system with only a few basic components. The
illustration below shows how to connect the AN1x to a
Yamaha QY700 Music Sequencer.
2. Next, connect the supplied Yamaha PA-3B (or
3. Before switching on the power, connect any
Do not attempt to use an AC adaptor other than the PA-3B (or equivalent). Use of an
incompatible adaptor may result in irreparable damage to the AN1x, and could even pose a
serious shock hazard.
Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is
not in use.
equivalent) Adaptor to the AN1x’s [DC IN]
connector located on the rear panel. Then
connect the adaptor to the nearest electrical
outlet.
peripheral devices such as amplified speakers,
FC Foot Controller or Footswitch pedals, or
external MIDI instruments.
You can have the AN1x’s Tempo setting control the
external sequencer’s clock, or the sequencer’s clock
control the speed of the AN1x’s Arpeggiator or Step
Sequencer.
For details about assigning AN1x MIDI transmit and receive channels, see page 93. For
details about assigning MIDI channels and other settings for the external sequencer or other
devices which may be connected, consult the owner’s manual for each. For more
information about MIDI, see the APPENDIX, page 109.
12
Connecting The AN1x To
VOLUME
MDR SEO JOB UTIL
MIDI
MIDI DATA FILTER
CURSOR
- FILE DATA +
REC PAUSE START/STOP
TEMPO
MDF2, etc.
AN1x
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
PROGRAM CHANGE
VWX
MNO
7
YZ
8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
DEMO
PORTAMENTO LAYER
A MIDI Data Storage
Device
You can connect the AN1x to a MIDI data storage
device, such as the Yamaha MDF2 MIDI Data Filer, in
order to “bulk dump”, or save AN1x voice, Step
Sequencer and other data to floppy disks. This lets you
build up complete libraries of your favorite sounds,
sequences and settings, which you can easily load
back into the AN1x whenever you wish.
For information about how to perform Bulk Dump operations, see page 94.
Switching On The Power
Playing The Demo Songs
The AN1x comes preprogrammed with
demonstration songs which provide dynamic
examples of just how powerful the AN1x really
is. To select and play a Demo, perform the
following operation:
1. Press the [PORTAMENTO] and [LAYER]
switches simultaneously. The word “DEMO”
will appear in the LCD.
2. Press a PROGRAM CHANGE switch (0 - 9) to
select one of the 10 Demo songs. After a
brief moment the Demo song will begin, and
continue playing until the end.
Once all connections have been properly made, you’re
ready to switch on the power and start making music with
your AN1x.
1. Set the AN1x’s [VOLUME] knob to minimum
position.
2. Press the [POWER] switch, located on the rear
panel.
After a brief greeting message which appears in the LCD,
the AN1x will power up and be ready to go.
3. Gradually turn the [VOLUME] knob to the
right while playing the keyboard until you
achieve a comfortable listening level.
3. When the Demo is finished, simply press
[-/NO] to return to normal operating status.
The Demo song will continue playing repeatedly until you stop it. You can stop the
Demo song in the middle of play by pressing [-/NO].
13
PROGRAM CHANGE
VWX
MNO
7
YZ
8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
Basic Operation
You'll find the process of getting to know the
AN1x to be fun and inspiring—especially if you
keep a few fundamental things in mind as you
select and play the voices, try out the various
controls and experiment with the panel features
for the first time. Following are some important
aspects about basic operation of the AN1x
which will help you keep things in their proper
context from the very start.
AN1x Operating Modes
For the most part, except when performing a specific Store or
MIDI bulk dump operation, the AN1x is basically always in Voice
Play/Edit mode. This means that during play, as you turn the
various CONTROL knobs, change the parameter values or
settings using the Edit matrix [UP/DOWN] switches, select a
Layer mode, etc., you are actually editing the voice. (The “EDIT”
mark will appear in reverse type in the lower left area of the LCD
the first time any voice data is changed.)
Selecting Voices
The AN1x comes with 128 voices already preprogrammed and
ready to play. Not only are these voices first-rate and highly
useful in their own right, they form a dynamic living example of
the AN1x’s vast sonic range and power, as well as provide an
excellent basis for study of how voices are constructed.
They are also great for use as a starting point for creating your
own voices—by making slight or significant modifications to suit
your needs or taste—which you can then store in the AN1x’s
memory for instant recall at any time.
Of course, if you want to roll up your sleeves and get your
hands on the VCO, VCF and VCA to build up an original
voice from scratch, you can easily initialize a voice (i.e.,
reset each parameter value to its initial setting) and start
from there. The AN1x even provides a few handy
templates which save you time and all the tedious effort by
making all the basic settings for certain types of sounds for
you, so you can pick up from there and concentrate on just
the fun and creative stuff. (See page 30).
However, these changes only remain in effect as long as the voice
is selected, unless you store the newly edited voice using a Voice
Store operation before selecting another voice. If you don’t store
the changes, they will be lost when you select a different voice.
The AN1x is a very forgiving instrument, however. A Voice
Recall function (see page 96) lets you retrieve the edited data.
Plus, if you turn the power off before storing an edited voice,
when you turn the power back on the edited parameter
settings will still be retained in the voice edit buffer.
There are various other modes, but these are simply sub-modes of
Voice Play/Edit mode (such as Step Sequencer mode for creating
and editing Voice and User Patterns; see page 37), since virtually
all panel settings—including Scene, Layer, Effects, Arpeggiator,
Step Sequencer settings, and more—are stored as voice data for
each voice (excluding system-related settings).
Voice Select Operation
Each of the 128 voices has a Program Number
between 001 and 128. You select a voice using the
PROGRAM CHANGE keypad. There are two ways to
do so, as follows:
METHOD 1
Input a number between 1 and 128, then press
[ENTER].
METHOD 2
Press [+] or [–] to increment or decrement through
the voices sequentially.
14
Program Number, appears in the LCD.
The voice name, as well as voice Category and
Voice Categories
–
YES/ENTERNO
or
Press once
Indicates a voice
has been edited
but not stored.
Knob position settings 2
Knob position settings 1
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
CTRL
SCENE
MODULATION
Maximum
Minimum
PITCH
Bends the pitch up
Bends the pitch down
Voices can be organized into Categor y types and
assigned a two-letter Category code during the voice
Name operation. For a list of the available Category
types, see page 81.
Scenes
Each voice has two “Scenes”, or two distinct sounds
available for instant recall at the press of a [SCENE]
switch. Since the specific Scene on/off status is stored
as voice data, when you select a voice an LED beside
one of the [SCENE] switches will light to indicate which
Scene is active. (If both Scene LEDs light, the Scene
Control on status has been stored as part of the voice,
which means you can morph, or cross-fade between
Scenes using the assignable [MODULATION] wheel or
any other assigned continuous controller as you play.)
For more information about Scenes, see page 19.
Using The Controllers
The AN1x has various on-board controllers which let you
control specific parameters in real-time as you play.
Besides keyboard Initial and After Touch, these include
[PITCH] wheel, [MODULATION] wheel and [RIBBON]
controller, as well as the eight assignable CONTROL
knobs.
PITCH Wheel
The [PITCH] wheel lets you bend the pitch up or down
by an assignable amount. The pitch bend “depth”
(range) can be different for each Scene, as set in the
Control Matrix.
Voice Name Display
As you edit a voice by turning the knobs or changing
parameters in the Edit menu, the information in the
screen changes accordingly. To display the voice name
and number in the LCD at any time, press [-] or [+]
once.
The pitch bend range can be different for each Scene in each voice. You can also
use the [PITCH] wheel to control other parameters. For information, see page 51.
MODULATION Wheel
The [MODULATION] wheel lets you apply var ying
amounts of modulation to the sound as you play,
depending on assignment by the Utility Control Assign
function (see page 50) or in the Control Matrix (see
page 51).
You can also assign volume, pan or one of many other parameters to be
controlled by the [MODULATION] wheel. For information, see page 95. The
[MODULATION] wheel can also be used to “morph” between Scenes when the
Scene Control function is activated. For information, see page 20.
Voice Recall
If you’re editing a voice, and inadvertently select
another voice before performing a Voice Store
operation, or simply change your mind, you can recall
the most recently edited voice data using the Voice
Recall function. For more information, see page 96.
15
RIBBON Controller
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1
VCO2
MIX/ VCF
VCF
VCA
ASSIGN
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
Selected parameter group
Selected CONTROL knob parameter
X-axis
Minimum
Maximum
Z-axis
Apply pressure
DEMO
PORTAMENTO
STORE
ARPEGGIO/ SEQ
LAYER
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1
VCO2
MIX/ VCF
VCF
VCA
ASSIGN
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
Knob
Event
1-8/9-16
SEQ
EDIT/ SETUPStep Hold
Pattern
Bank
No
BaseUnit
Length LoopType Ctrl No
SEQ
Store
The [RIBBON] controller lets you control two different
assignable parameters as you play. You can control
one parameter by sliding your finger along the X-axis,
and another by applying pressure to the Z-axis. You
can assign parameters to the [RIBBON] controller using
the Utility Assign Control function (see page 50) or the
Control Matrix (see page 51).
You can assign different parameters to the [RIBBON] controller for each voice. For
information, see page 75.
To activate the Z-axis you must apply considerable pressure. A light touch will only
apply to the X-axis.
When you release your finger from the [RIBBON] controller, the value may remain
at the same position as at the time of release, or reset to the center position
depending on the Control Matrix setting. (See page 73.)
CONTROL Knobs And Parameter Groups
Which parameter is edited by each CONTROL knob for
each Scene depends on which KNOB PARAMETER
GROUP switch is currently selected, indicated by a lit LED
to the left of it. Pressing a CONTROL knob (push-switch) or
turning a knob will cause its parameter name and value to
display in the LCD.
When you set the [EDIT ROTARY] switch to the 5th position
(SEQ EDIT/SETUP menu), the CONTROL knobs will be
dedicated to the event parameters of the various steps
(beats) of the Step Sequencer.
In this situation, no LED will be lit in the KNOB
PARAMETER GROUP section, and the name of the current
step event parameters will appear in the LCD when you
turn or press a knob.
Simply pressing a KNOB PARAMETER GROUP switch will
revert the status back to normal tone generator parameter
control, as will selecting a different Edit menu with the
[EDIT ROTARY] switch. As long as the [EDIT ROTARY]
switch is still set to the SEQ EDIT/SETUP menu, however,
you can press the selected KNOB PARAMETER GROUP
switch again to revert to Step Sequencer control by the
knobs (i.e., you can toggle back and forth between knob
parameter control and step event data edit by pressing the
switch.)
For more information about the KNOB PARAMETER GROUP switches, see page 16.
For more information about the CONTROL knobs, see page 16. For information
about the Step Sequencer, see page 37.
When you select a voice the [ASSIGN] switch will
automatically be selected (unless the [EDIT ROTARY] switch
is set to SEQ EDIT/SETUP), which lets you access the eight
parameters assigned to the respective CONTROL knobs.
For more information about the Utility Control Assign function, see pages 50, 95.
Foot Controllers
The AN1x features [FOOT CONTROLLER], [FOOT VOLUME],
and [FOOTSWITCH] jacks for connecting various foot
pedals, each of which can be assigned to control one of
many types of available on-board and external parameters.
For more information about assigning controllers, see page 49.
Layer Modes And Portamento
One of six Layer modes can be assigned to each voice by
pressing the [LAYER] switch, and Portamento on/off status
can be set by pressing the [PORTAMENTO] switch.
For more information about Layer modes, see page 22. For more information
about portamento, see page 24.
16
AN1x Quick Tour
This area displays Arpeggiator/
Sequencer on/off and hold status
This area displays Layer mode status
This area displays Poly mode status
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
PHONES
L / MONO
OUTPUT
R
DC IN POWER
FOOT
VOLUME
FOOT
CONTROLLER
FOOT
SWITCH
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
IN
OUT
MIDI
THRU
PROGRAM CHANGE
VWX
MNO
7YZ8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
DEMO
PORTAMENTO
STORE
ARPEGGIO/SEQ
LAYER
Mode
Poly
Port
Tempo Split Pnt
Track Common
Trigger
LoopType
Common
Arp/SEQ
Type/No
Knob
Event
1-8/9-16
System
MstrTune
KbdTrans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/SEQ
SEQ
EDIT/SETUP
UTILITY
SETUP
LFO Rst
Ctrl Matrix
Set No
Vari EF/EQ
Param Data
Length
Key Track
KbdMode Hold
Step Hold
Pattern
Bank
Kbd Vel
MIDI
Tx Ch
Param Source
Vari EF
Dry:Wet
Dly/Rev EF
Param
Param
Track
Track No
SceneSw
MIDI
Ptn Tx Ch
No
BaseUnit
Rx Ch
DeviceNo Local
BulkDump
Length LoopType
Arpeggio
Subdivide
Play EF
Swing
Scene Sw
Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan
Separate
Unison
Detune
Name
Cursor Char
Copy Undo
Velocity
GateTime
Ctrl No
SEQ
Store
Ctrl
Device
Ctrl No
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1
VCO2
MIX/VCF
VCF
VCA
ASSIGN
This section provides a “hand’s on” journey through the key features you’ll access regularly as you
select voices, tweak sounds and adjust settings for the various parameters.
Exploring The Factor y-set Voices
Taking the time to systematically explore various aspects of the 128 factory-set voices is an excellent way to get a thorough
understanding of the AN1x’s sonic range and power. It’s also a natural way to quickly familiarize yourself with some of the
fundamental operations you’ll use during performance as well as in voice, Arpeggiator, Step Sequencer and Free EG creation
and editing sessions.
Try the simple operations which follow as you select and play each preset voice, and take note of what happens to the sound
as you change the various settings. If, along the way, you stumble upon a sound you want to keep, simply perform a Voice
Store operation (see page 98). If, however, you mess up a sound too much, there’s no need to worry: Just reselect the same
voice to retrieve the original sound data and start over again! Unless you perform a Voice Store operation, no changes you
make will be permanent. Even if you do decide to store a voice, you need not worry about losing any of the factor y-set
voices permanently, because the entire bank can be recalled (see page 100).
1 Select a voice.
● Use the PROGRAM CHANGE keypad to select a
voice (1 - 128).
For information about selecting voices, see Basic Operation, page 14.
2 Check LCD status.
● When you select a voice, first take a look at the
information which appears in the LCD, such as Poly
mode (“POLY”, “MONO”, “LEGATO”), Layer mode
(“SINGLE”, “UNISON”, “DUAL”, “SPLIT”, etc.), and
whether the Arpeggiator (“ARP”) or Sequencer
(“SEQ”) is on. This reveals the fundamental nature
of a voice at-a-glance.
3 Compare Scenes, and morph between Scenes
using Scene Control.
● When you select a voice, the LED beside the
[SCENE 1] or [SCENE 2] switch (or both LEDs) will
be lit, indicating the Scene status which was stored
as voice data. Press each switch to compare the
difference between the sound of Scene 1 and
Scene 2.
● Press both [SCENE] switches simultaneously to
activate the Scene Control function, then roll the
[MODULATION] wheel for ward and back to
morph, or cross-fade between Scenes as you play.
For more information about Scenes and Scene morphing, see page 19.
17
4 Turn the CONTROL knobs.
● Press a KNOB PARAMETER GROUP switch and turn
each CONTROL knob as you play each Scene to
hear how it affects the sound. There are eight
different groups of parameters assigned to the
knobs at the factory. These let you edit the tone
generator parameters as printed on the panel
beside each knob. Notice how easy it is to edit
and drastically change the voice.
For more information about using the CONTROL knobs, see page 26.
5 Compare Layer modes.
● Press the [LAYER] switch to compare the difference
of each of the six Layer modes as you play, one at
a time.
8 Change arpeggio Tempo, Pattern Type,
Subdivision, and Hold status.
● To speed up or slow down the Arpeggiator pattern
(or sequence), set the [EDIT ROTARY] switch to the
VOICE COMMON menu and press Tempo
[UP/DOWN] until you achieve the desired rate.
For more information about Tempo, see page 77.
● To tr y out the 30 different preset Arpeggiator
pattern types, set the [EDIT ROTARY] switch to the
VOICE ARPEGGIO/SEQ menu and press the
Type/No [UP/DOWN] switch and step through
each pattern.
For more information about the Type/No parameter, see page 34.
For more information about Layer modes, see page 22.
6 Change Poly mode setting.
● To hear how the keyboard Poly setting affects how
the voice can be played, set the [EDIT ROTARY]
switch to the VOICE SCENE SETUP menu and press
the Poly [UP/DOWN] switch to select POLY,
MONO or LEGATO. Then play the keyboard.
For more information about Poly mode, see page 72.
7 Turn [ARPEGGIO/SEQ] on and off.
● If the voice uses the Arpeggiator (“ARP” appears in
the LCD) or Sequencer (“SEQ” appears in the LCD),
press the [ARPEGGIO/SEQ] switch to turn it off
and hear how the voice sounds without the pattern.
● Pay attention to how the arpeggio or sequence is
triggered—either across the entire length of the
keyboard, or only to the left of the Split Point. In the
case of the Step Sequencer, some voices are
programmed to let you trigger a different pattern
from each key to the left of the Split Point.
● To hear how the timing resolution of a pattern
changes with the 10 different Subdivide settings, set
the [EDIT ROTARY] switch to the VOICE
ARPEGGIO/SEQ menu and press Arpeggio
Subdivide [UP/DOWN] to step through each.
For more information about Arpeggio Subdivide, see page 34.
9 Change Effects and adjust EQ.
● To hear the different Variation and EQ effects and
settings, set the [EDIT ROTARY] switch to the VOICE
COMMON menu and press Vari EF/EQ Param
[UP/DOWN] and Data [UP/DOWN] switches
accordingly. Also press the Vari EF Dry:Wet
[UP/DOWN] to change the balance between “dry”
(normal) and “wet” (effected) signals.
For more information about Vari EF/EQ, see page 77.
● To hear the different Delay and Reverb effects and
settings, press Dly/Rev EF Param [UP/DOWN] and
Data [UP/DOWN] switches accordingly.
For more information about Dly/Rev EF mode, see page 79.
● Set the [EDIT ROTARY] switch to the VOICE
ARPEGGIO/SEQ menu and press KbdMode
[UP/DOWN] once to confirm the setting which
determines how the pattern is triggered. Next, set
the [EDIT ROTARY] switch to the VOICE SCENE
SETUP menu and press Poly [UP/DOWN] and
compare the way the different Poly mode settings
affect the pattern as you play the keyboard.
● If the voice does not use the Arpeggiator or Step
Sequencer, press [ARPEGGIO/SEQ] to turn on the
Arpeggiator or Step Sequencer and hear how notes
and chords are affected.
For more information about the Arpeggiator, see page 33. For information about
the Step Sequencer, see page 37.
● To bypass specific or all effects and hear how the
voice sounds in its pristine state, press EF Bypass
[UP/DOWN] and change the status accordingly.
EF Bypass is a system parameter, and therefore will remain as you set it
regardless of which voice is selected. For more information, see page 80.
18
Assignable Real-time Controllers
Knob position settings 2
Knob position settings 1
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
CTRL
SCENE
You can assign specific parameters to the assignable
controller of your choice, including the eight CONTROL
knobs, [MODULATION] wheel, [RIBBON] controller (X-axis
and Z-axis) and keyboard After Touch, as well as (optional)
[FOOT VOLUME], [FOOT CONTROLLER] and
[FOOTSWITCH] pedals. Controller and parameter
assignments are made using the Control Matrix (see page
73) and the Utility Control Assign function (see page 95).
For more information about controllers, see Using The Control Features, page
49.
Selecting Scenes And Scene Morphing
The AN1x’s Scene select and play functions offer
an exciting range of sophisticated and
convenient real-time sound control options that
let you express yourself musically in completely
unique ways. The [SCENE] switches let you select
a Scene or activate the Scene Control function.
Parameters Stored In Each Scene
• All parameter group CONTROL knob position settings
(except for the [ASSIGN] group).
• VOICE SCENE SETUP Menu Mode and Control Matrix
(excluding common) parameter settings.
• VOICE COMMON menu Vari EF Dry:Wet settings.
Scene Memories
Each voice has two Scene memories, each of which can
have a different edit using the CONTROL knobs. Either
Scene can be recalled at any time during play by pressing
[SCENE 1] or [SCENE 2]. An LED to the left of the selected
switch will light to indicate the active Scene.
Due to the virtually unlimited number of results possible by
selecting KNOB PARAMETER GROUP switches and turning
the CONTROL knobs, each of the two Scenes can be as
similar or radically different as you want. This gives you
two specific sounds to choose from at any time within each
of the 128 voices, at the simple press of a [SCENE]
switch.
Scenes are especially handy for creating slight variations
on the same sound for use during different parts of a
song—say, one with fast attack that cuts through the mix
during rhythmic phrases, and one with a slower attack
that’s more suitable for a pad. And of course, if the two
Scenes are completely different from each other—say one
sound prepared for verse and chorus, and another for a
solo break—it’s a lot simpler to switch back and forth
between Scenes than it is to switch between voices,
especially under the pressure of a live situation.
19
Scene Edit Buffers
Scene
Scene Control
Buffer
Tone
Generator
Scene
Control knobs
1-8
Scene Edit
Buffers
Tone
Generator
Scene
Scene
Control knobs
1-8
Scene Edit
Buffers
CTRL
SCENE
MODULATION
Scene 1 setting
Scene 1/2
equal balance
Minimum
Maximum
Halfway
MODULATION
Scene 2 setting
MODULATION
Scene 2 settings
Scene 1 settings
MODULATION
Scene 1
Scene 2
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
VOLUME
CTRL
SCENE
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Src PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
CTRL
SCENE
When you select a voice, the two Scenes are loaded into the
Scene edit buffers. Since each Scene has its own buffer, you
can “work” on each Scene separately. For example, if
[SCENE 1] is selected and you edit its parameters by turning
the knobs, this data will be maintained in Scene 1 even if
you select [SCENE 2] and start editing it. When you switch
back to Scene 1, it will recall your edited data (and not the
original Scene 1 data stored with the voice).
There’s also a Scene Control buffer, where parameter
changes by moving the [MODULATION] wheel (as well as
CONTROL knob positions when Scene Control is active) take
place. This sound can be stored in either Scene edit buffer at
any time using the Scene Store operation.
Scene Control
The Scene Control function lets you “morph”, or cross-fade
between the two Scenes by rolling the assignable
[MODULATION] wheel, or using an assignable Foot
Controller or any other continuous controller.
For information about assigning controllers, see page 95.
The procedure for activating the Scene Control function is
as follows:
1. Press both [SCENE] switches simultaneously.
The LEDs to the left of both switches will light
to indicate that Scene Control is active.
2. Roll the [MODULATION] wheel forward and
back (or use a Foot Controller, etc.) as you
play.
Since Scene editing, as well as Scene Store, Load and Swap
operations (see pages 21, 22), are taking place in the Scene
edit buffers, you need not worry about losing your original
Scene data as stored with the selected voice, unless you
perform a Voice Store operation to the same voice location.
However, since the Scene buffer is volatile, you will lose your
edited Scene data unless you perform a Voice Store
operation before selecting another voice.
For information about performing a Voice Store operation, see page 98.
The minimum value of the [MODULATION] wheel (or Foot
Controller, etc.) plays Scene 1; the maximum value plays
Scene 2; any position between the two extremes (between
a range of 0 and 127) will play a blend of both Scenes
accordingly.
20
Depending on how different each Scene is, a considerable
Layer mode = SPLIT
Scene Control
Edit Buffer
SPLIT POINT
Scene 1
Scene 2
Layer mode = DUAL
Scene Control
Edit Buffer
Scene 1
Scene 2
CTRL
SCENE
STORE
number of parameters may get changed simultaneously as
you do the cross-fade. As such, you have an enormous
palette of sound textures available which you can apply in
real-time as you play. Also, you can select KNOB
PARAMETER GROUP switches and turn the CONTROL
knobs to edit the data during the Scene Control. All
parameter changes when both [SCENE] switches are
activated take place in the Scene Control edit buffer.
As you morph between the two Scenes and turn the
CONTROL knobs, you may create a killer sound you
simply must save before risking losing it. Performing a
Scene Store operation lets you store it to one of the Scenes
right then and there.
Confirming Controller Assigned To Scene Control
You can confirm at any time which controller is assigned to
perform Scene Control. Simply press and hold both [SCENE]
switches, and the name of the currently assigned controller
will display in the LCD.
For information about assigning a controller for Scene Control, see page 95.
During Scene Control, Control Matrix settings and some of the Switch parameters
(e.g., VCF Type, LFO Wave, VCO Wave, etc.) will not change. For these
parameters, the Scene 1 settings will remain in effect.
Scene Control In DUAL And SPLIT Modes
Depending on whether the Layer mode is set to DUAL or
SPLIT, the Scene Control will morph in different ways.
In DUAL mode, the Scene Control will morph from the Scene
1 sound to the Scene 2 sound.
In SPLIT mode, the Scene Control will morph from the Scene
1 sound to the Scene 2 sound when the keyboard is played
to the left of the Split Point only. When the keyboard is
played to the right of the Split Point, only the Scene 2 sound
will be played.
Scene Store Function
The Scene Store function lets you store the data in one Scene
Edit buffer to the other, or the data created during Scene
Control to either of the Scene edit buffers.
1. Hold [STORE] and press the [SCENE 1] or
[SCENE 2] switch, depending on which one
you want to store the current Scene setting
into. “SURE?[Y/N]” flashes in the LCD.
2. Press [YES/ENTER] to execute the Scene Store
operation, or [NO] to cancel it.
Since the Scene Store function stores the data to a Scene edit buffer, be sure to
execute a Voice Store operation before selecting another voice.
For more information about Layer modes, see page 22.
21
Scene Load Function
CTRL
SCENE
STORE
DEMO
PORTAMENTO
STORE
ARPEGGIO/ SEQ
LAYER
The Scene Load function lets you load Scene data from a
Scene in any voice to the corresponding Scene in the
currently selected voice. This lets you, for example, load
the Scene 1 parameters of one voice to Scene 1 of the
currently selected voice, and load the Scene 2 parameters
of another voice to Scene 2 of the currently selected voice.
1. Hold [SCENE 1] (or [SCENE 2]) and enter the
number of the voice whose Scene data you
want to copy. The selected voice number
flashes in the LCD.
2. Press [YES/ENTER] to execute the Scene Load
operation, or [NO] to cancel it.
Selecting Layer Modes
The LAYER switch is used for selecting a Layer
mode from the six available. Every time you
press the switch, a different Layer mode is
selected. The selected Layer at the time of a
Voice Store operation is saved as voice data.
Each Layer mode determines how Note On messages from
either the AN1x’s keyboard or external MIDI devices (as
received at the AN1x’s MIDI [IN] terminal) are handled.
Depending on which Layer mode is selected, either one or
both Scenes will be played, and the Scene Control
function will behave in specific ways. The selected Layer
also affects available polyphony, and determines
multitimbral status.
Data which is loaded:
•All knob parameter settings (excluding [ASSIGN] group)
•VOICE SCENE SETUP Mode and Control Matrix parameters
•VOICE COMMON Vari EF Dry:Wet parameter
Scene Swap Function
The Scene Swap function lets you exchange the data in
one Scene edit buffer with the other.
1. Hold [STORE] and press both [SCENE 1] and
[SCENE 2] switches. “SURE?[Y/N]” flashes in
the LCD.
2. Press [YES/ENTER] to execute the Scene Swap
operation, or [NO] to cancel it.
Data which is exchanged:
•All knob parameter settings (excluding [ASSIGN] group)
•VOICE SCENE SETUP Mode and Control Matrix parameters
•VOICE COMMON Vari EF Dry:Wet parameter
•VOICE FREE EG Track SceneSw parameter
•VOICE ARPEGGIO/SEQ Common SceneSw parameter
Layer Modes
SINGLE
This is the normal play mode for a voice. The sound is
determined by the data of the currently selected Scene.
In this mode the AN1x plays with maximum 10 notes
polyphony.
UNISON
This mode is great for getting those “fat” analog-type
sounds of the legendary vintage synths. In Unison
mode, the data of the currently selected Scene is
multiplied. Polyphony is determined by the Poly mode
setting (see page 72). For example, if Poly mode is set
to “mono” or “legato”, then one Note On message will
use five notes of polyphony; if it is set to “poly”, then
one Note On message will use two notes of polyphony.
The Unison Detune function (see page 76) lets you decide the detuning for the
Unison in order to fatten the sound.
22
DUAL
MIDI IN
AN1x
QY300
MUSIC SEQUENCER
MIDI OUT
External sequencer
Scene 1 range = MIDI ch. 1
Scene 2 range = MIDI ch. 2
Two incoming MIDI
signals play each Scene
independently across the
entire keyboard according
to Rx Ch settings.
MIDI IN
AN1x
QY300
MUSIC SEQUENCER
MIDI OUT
External sequencer
SPLIT POINT
Scene 2 range = MIDI ch. 1Scene 1 range = MIDI ch. 1
Two incoming MIDI signals play
each scene independently over a
range determined by the Split Point,
according to Rx Ch settings.
Plays Scene 1 sound Plays Scene 2 sound
SPLIT POINT
This mode layers the two sounds of Scene 1 and Scene
2—i.e., it plays both Scenes simultaneously. In this
mode, the AN1x is capable of multitimbral play (max.
2 sounds), where an external MIDI sequencer or device
can play each Scene on separate MIDI channels, as set
by the UTILITY SETUP Rx Ch (Receive Channel)
parameter (see page 93).
SPLIT
In this mode, Scene 1 is assigned to the keys to the left
of the variable Split Point (see page 77), and Scene 2
is assigned to the keys to the right.
To select a Scene for MIDI channel assignment, simply press a [SCENE] switch.
DUAL UNISON
In this mode, each Dual layer plays in Unison (one
Note On message uses five notes of polyphony) when
the Poly mode is set to “mono” or “legato”. If both
Scenes are set to “poly”, the result is the same as
DUAL mode. Multitimbral play from an external MIDI
source (max. 2 sounds) is also possible, as set by the
UTILITY SETUP Rx Ch (Receive Channel) parameter (see
page 93).
In SPLIT mode the AN1x is capable of multitimbral play
(max. 2 sounds).
SPLIT UNISON
In this mode, each Scene on each side of the variable
Split Point plays in Unison (One Note On message
uses five notes of polyphony) when Poly mode is set to
“mono” or “legato”. If both Scenes are set to “poly”,
the result is the same as SPLIT mode.
Multitimbral play from an external MIDI source (max. 2
sounds) is also possible, determined by the UTILITY
SETUP Rx Ch (Receive Channel) settings.
23
Layer Parameters
DEMO
PORTAMENTO
STORE
ARPEGGIO/ SEQ
LAYER
C1 C2
C1 C2
Key pressed
Key pressed
Normal play
Portamento
Pitch glides from
note to note
The AN1x features Layer parameters in the VOICE SCENE
SETUP menu which let you detune the Unison or Dual layers
when UNISON mode or DUAL mode is selected, or separate
the panning between the two layers when UNISON mode,
DUAL mode or SPLIT mode is selected. For more information,
see page 76.
Por tamento Play
Portamento is an effect commonly used in singing or when
playing a bowed instrument (glissando), where the sound
is carried in a continuous glide from one note to the next,
through all the intermediate pitches.
The portamento is applied not only to the AN1x’s voice as
audio output from the internal tone generator, portamento
data is also output from the MIDI [OUT] terminal, which
means it can affect a voice of an external tone generator
assigned to the same MIDI channel as the AN1x, or be
recorded as Control Change data in an external MIDI
sequencer.
Turning PORTAMENTO On And Off
Pressing the [PORTAMENTO] switch turns the portamento
on or off. Portamento on/off status is stored as voice data.
Pressing [PORTAMENTO] outputs a Control Change
message via the MIDI [OUT] terminal, which can be
recorded as Control Change data in an external MIDI
sequencer.
You can designate the assignable Footswitch to turn the
portamento on and off by foot, using the UTILITY SETUP
Control function (see page 95).
24
Setting Por tamento Time
Mode
Poly
Port
VOICE
SCENE SETUPLFO Rst
Ctrl Matrix
Set No
Param Source
Depth
Layer
Pan
Separate
Unison
Detune
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
CTRL
PEG
LFO2 LFO1
VCO
VCO1
SYNC
MASTER
SLAVE
FM
VCO2
MIX/VCF
MOD
RING
NOISE
FEG
VCA
VOLUME
AEG
FEEDBACK
VARI
EQ
DLY REV
EFFECT
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1
VCO2
MIX/ VCF
VCF
VCA
ASSIGN
You can determine the Portamento time by pressing
[PEG/LFO] and turning CONTROL knob 4.
When the [PORTAMENTO] switch is turned off, “– – –” will flash in the LCD.
For more information, see page 56.
Selecting Por tamento Modes
Selecting Parameter Groups
The KNOB PARAMETER GROUP switches
determine which group of tone generator
parameters you can edit by turning the
CONTROL knobs. You can change the voice
drastically by editing the various parameters.
Simply press a switch to access a group of
parameters. The selected switch will be indicated
by a lit LED to the left of it.
There are various Portamento modes available depending
on Poly mode setting. These are accessed by the VOICE
SCENE SETUP menu.
For more information, see page 73.
The name of each parameter in the group is printed on the
panel next to the knob by which it is edited, color coded
and arranged in relation to each KNOB PARAMETER
GROUP switch. A description of each parameter group,
along with available parameters and settings available
within each group, is provided in the REFERENCE section.
For details, see as follows:
1PEG/LFO — page 54
2SYNC/FM — page 58
3VCO1 — page 61
4VCO2 — page 63
5VCF — page 64
6MIX/VCF — page 66
7VCA — page 68
(ASSIGN — page 70)
For details about assigning parameters to CONTROL knobs, see page 95. For
information about the AN1x’s tone generator, see page 10.
25
Using The
ASSIGN 4
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Sr c PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
Actual value (flashing)Current knob position
CONTROL Knobs
The eight CONTROL knobs give you direct access
to dozens of tone generator parameters that let
you coax literally an unlimited range of sounds
from the AN1x in real-time. They also let you
access and edit the individual events in each
step of the Step Sequencer (when the [EDIT
ROTARY] switch is set to the SEQ EDIT/SETUP
menu).
The CONTROL knobs are assignable, so you can
designate a specific parameter to be controlled by each
knob. You can use the Control Matrix to designate each
knob parameter for each Scene in each voice. Plus, you
can use the UTILITY SETUP menu Control function to
designate specific Control Change parameters to be
controlled by each knob when the [ASSIGN] switch is
selected, which not only is routed to the internal tone
generator, but is output via the MIDI [OUT] terminal, and
therefore can be used to simultaneously control an external
MIDI device.
When you turn a knob to edit a parameter, its parameter
name and value will automatically appear in the LCD, and
the knob data graph will track knob movements
accordingly. If you simply press a knob (push-switch)
without turning it, the parameter name and value will
appear in the LCD for visual confirmation, without
changing its value.
If the [EDIT ROTARY] switch is set to positions 1 - 4 or
position 6, when you select a voice the [ASSIGN] switch
will automatically be selected (the LED beside it will light),
which means the group of parameters assigned to the
knobs by the UTILITY SETUP menu Control function can be
edited or controlled by turning the CONTROL knobs. To
access another group of knob parameters, simply press a
KNOB PARAMETER GROUP switch.
For more information about the knob parameters, see page 54.
The Knob Data Graph
During tone generator or sequence event parameter editing,
a horizontal 11-segment “knob data graph” appears in the
lower area of the LCD. When you press a knob’s push-switch
for data confirmation (before turning the knob), the data
graph provides you with a visual reference of the parameter
value in relation to the current physical position of the knob.
A flashing segment in the data graph indicates the actual
value of the parameter, whereas shaded segments to the left
or right of the flashing segment indicate the current physical
position of the knob. As you turn the knob to the left or right,
the data graph will move left or right in accordance with the
knob movements.
Coarse/Fine Edit
You can edit CONTROL knob parameters in coarse or fine
increments and decrements, depending on how you turn the
knob. The knob data graph will display differently for each
method.
Simply turning a knob will increase or decrease the
parameter value in coarse (large) amounts. In this case, the
flashing indicator in the knob data graph will be canceled.
Turning a knob while pressing it will increase or decrease the
parameter value in fine (small) amounts. In this case, the
flashing indicator in the knob data graph will position as you
turn the knob, and will remain flashing when you release the
knob.
Turning a knob left decreases numeric values (or scrolls
toward the top of a list of available parameters), and
turning a knob right increases numeric values (or scrolls
toward the bottom of a list of available parameters).
For information about assigning controllers, see page 95.
26
Assigning Parameters To Knobs
You can assign one of many available Control Change
parameters to each knob. After pressing the [ASSIGN]
switch, these parameters will be available for edit in realtime using the CONTROL knobs.
Knob assignments are made using the Control function
(Device and Control Number) parameters located in the
UTILITY SETUP menu. When you press [ASSIGN] and turn
a CONTROL knob, the MIDI Control Change data is sent
to both the internal tone generator as well as to MIDI
[OUT], where it can control external devices. The Control
function assignments are system parameter settings, which
means they will remain as set and be available regardless
of which voice is selected.
Step Sequencer Event Edit
If you set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP
menu (position 5), or if you select a voice when the [EDIT
ROTARY] switch is already set there, no LED will be lit beside
a KNOB PARAMETER GROUP switch, and turning a
CONTROL knob will edit the selected event data of the
Sequencer step assigned to that knob.
When you turn a knob to edit an event, the step event name
and value (and step number) will automatically appear in the
LCD, and the knob data graph will track knob movements
accordingly. Also, if you simply press a knob (push-switch)
without turning it, the information will display in the LCD for
confirmation.
Pressing a KNOB PARAMETER GROUP switch will activate its
group of tone generator parameters (its LED will light), and
pressing the same switch again will return to Step Sequencer
edit status. Setting the [EDIT ROTARY] switch to another
position will also disengage Step Sequencer edit.
You can also assign various other parameters to the
knobs using the Control Matrix located in the VOICE
SCENE SETUP menu, which only affects parameters for
the internal tone generator (as well as incoming MIDI
messages). And since Control Matrix parameters are
voice settings, they are stored as voice data, which
means that each voice can have customized knob
assignments for each Scene!
For details on how to assign Control function parameters to the CONTROL knobs,
see page 95. For details on how to assign Control Matrix parameters to the
CONTROL knobs, see page 73.
For a list of available parameters which can be assigned to each CONTROL knob,
see the separate Data List book.
For more information about the Step Sequencer, see page 37.
27
Using The Panel
Mode
Poly
Port
Tempo Split Pnt
Track Common
Trigger
LoopType
Common
Arp/SEQ
Type/No
Knob
Event
1-8/9-16
System
MstrTune
KbdTrans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/ SEQ
SEQ
EDIT/ SETUP
UTILITY
SETUP
LFO Rst
Ctrl Matrix
Set No
Vari EF/EQ
Param Data
Length
Key Track
KbdMode Hold
Step Hold
Pattern
Bank
Kbd Vel
MIDI
Tx Ch
Param Source
Vari EF
Dry:Wet
Dly/Rev EF
Param
Param
Track
Track No
SceneSw
MIDI
Ptn Tx Ch
No
BaseUnit
Rx Ch
DeviceNo Local
BulkDump
Length LoopType
Arpeggio
Subdivide
Play EF
Swing
Scene Sw
Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan
Separate
Unison
Detune
Name
Cursor Char
Copy Undo
Velocity
GateTime
Ctrl No
SEQ
Store
Ctrl
Device
Ctrl No
Press this area to decrement settings (hold to scroll)
Select a menu (1 - 6)
Press once to display information in LCD
Press this area to increment settings (hold to scroll)
Mode
Poly
Port
Tempo Split Pnt
Track Common
Trigger
LoopType
Common
Arp/SEQ
Type/No
Knob
Event
1-8/9-16
System
MstrTune
KbdTrans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/ SEQ
SEQ
EDIT/ SETUP
UTILITY
SETUP
LFO Rst
Ctrl Matrix
Set No
Vari EF/EQ
Param Data
Length
Key Track
KbdMode Hold
Step Hold
Pattern
Bank
Kbd Vel
MIDI
Tx Ch
Param Source
Vari EF
Dry:Wet
Dly/Rev EF
Param
Param
Track
Track No
SceneSw
MIDI
Ptn Tx Ch
No
BaseUnit
Rx Ch
DeviceNo Local
BulkDump
Length LoopType
Arpeggio
Subdivide
Play EF
Swing
Scene Sw
Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan
Separate
Unison
Detune
Name
Cursor Char
Copy Undo
Velocity
GateTime
Ctrl No
SEQ
Store
Ctrl
Device
Ctrl No
3 Utility Menu
2 Step Sequencer Menu
1 Voice Menus
Edit Matrix
The AN1x’s panel matrix of Edit menus gives
you quick and easy access to hundreds of
parameter settings. All you have to do is set the
[EDIT ROTARY] switch to one of the six menus
and press the parameter value [UP/DOWN]
switch located beneath the name of the
parameter you want to edit.
Press the [UP/DOWN] switch once to display the name of
the parameter and current value setting in the LCD. Press
the upper or lower area of the switch repeatedly to
increment or decrement through the settings, or hold the
upper or lower area of the switch to scroll through the
settings.
1 Voice Menus
The four Voice menus are primarily dedicated to parameters
which affect the tone generator.
VOICE SCENE SETUP Includes Scene Mode and Control
Matrix parameters plus Layer-related parameters for the
voice.
VOICE COMMON Includes Tempo, Split Point, Effect and
voice naming parameters which are common to both Scenes,
and Variation Effect Dry:Wet balance parameter which can
be set for each Scene.
VOICE FREE EG Includes Trigger and Length setting, Track
and Parameter select, plus recording and other parameters
related to the Free EG function.
VOICE ARPEGGIO/SEQ Includes common and specific
parameters related to the Arpeggiator and Step Sequencer.
For a description of each parameter and available settings, see the REFERENCE
section, page 72. For information about the Arpeggiator, see page 33.
2 Step Sequencer Menu
The SEQ EDIT/SETUP menu includes Knob event and
sequence editing-related parameters, as well as Pattern Bank
and Number select, and other parameters related to the Step
Sequencer.
For a description of each parameter and available settings, see the REFERENCE
section, page 89. For information about the Step Sequencer, see page 37.
3 Utility Menu
The UTILITY SETUP menu includes “global” parameters,
including System tuning and keyboard transpose and velocity
parameters, MIDI channel transmit, receive and other
settings, and Control function assignment-related parameters.
For a description of each parameter and available settings, see the REFERENCE
section, page 92. For more information about the Control function, see page
50.
28
Editing Voices
Mode
Poly
Port
VOICE
SCENE SETUPLFO Rst
Ctrl Matrix
Set No
Param Source
Depth
Layer
Pan
Separate
Unison
Detune
DEMO
PORTAMENTO
STORE
ARPEGGIO/ SEQ
LAYER
PROGRAM CHANGE
VWX
MNO
7
YZ
8
PQR
5
GHI
2
–
4
DEF
1
ABC
0
OTHERS
STU
9
6
JKL
3
YES/ENTERNO
Mode
Poly
Port
Tempo Split Pnt
Track Common
Trigger
LoopType
Common
Arp/SEQ
Type/No
Knob
Event
1-8/9-16
System
MstrTune
KbdTrans
VOICE
SCENE SETUP
VOICE
COMMON
VOICE
FREE EG
VOICE
ARPEGGIO/ SEQ
SEQ
EDIT/ SETUP
UTILITY
SETUP
LFO Rst
Ctrl Matrix
Set No
Vari EF/EQ
Param Data
Length
Key Track
KbdMode Hold
Step Hold
Pattern
Bank
Kbd Vel
MIDI
Tx Ch
Param Source
Vari EF
Dry:Wet
Dly/Rev EF
Param
Param
Track
Track No
SceneSw
MIDI
Ptn Tx Ch
No
BaseUnit
Rx Ch
DeviceNo Local
BulkDump
Length LoopType
Arpeggio
Subdivide
Play EF
Swing
Scene Sw
Track Job
Rec
Data
Depth
EF
Bypass
Layer
Pan
Separate
Unison
Detune
Name
Cursor Char
Copy Undo
Velocity
GateTime
Ctrl No
SEQ
Store
Ctrl
Device
Ctrl No
KNOB PARAMETER GROUP
PEG/LFOSYNC/FM
VCO1
VCO2
MIX/ VCF
VCF
VCA
ASSIGN
Algorithm
Wave
Attack
Attack
ASSIGN 1 ASSIGN 2
ASSIGN 3
ASSIGN 4
PEG Decay
Wave
VCO1
Fine
Fine
PEG Sw
FM Src2
LFO2 Spd
PmodDepth PmodDepth
Level
LFO1 Wave LFO1 Spd
LFO1 Dly
PW
ASSIGN 5
ASSIGN 6 ASSIGN 7 ASSIGN 8
VCF
Cutoff
Sync
Pmod Sw
Sync Pitch
Pitch Pitch
PEG Depth
Decay
Decay
VCO2
Level
FM Depth
FM Src1
Sync Pitch
Depth
Sustain
Ring
Mod
Sustain
Sync Pitch
Src
Edge
Port Time
Edge
Release
Release
Noise
Level
PW
HPF
Feedback
VCF
PWM Depth
PWM Sr c PWM Src
PWM Depth
Type
Reso
nance
Volume
FEG
Depth
Fmod
Depth
Amod Depth
Vel
Sens
Key
Track
Vel Sens
If you’ve read through all the preceding
sections, and especially if you’ve been trying out
the various features along the way, you should
have a pretty solid grounding in how the AN1x
creates and enhances sound, as well as how the
various controls work to manipulate the many
features. This section provides an overview of
the steps required for the procedure of editing a
voice, along with the key procedures required to
build up your own voices from scratch.
Voice Edit Procedure
The AN1x is so naturally intuitive, the procedure for
editing a voice is extremely simple. There are only a few
basic steps, as follows:
1. Select a voice using the PROGRAM CHANGE
keypad.
3. Edit the various tone generator parameters
for each Scene, using the KNOB PARAMETER
GROUP switches and CONTROL knobs.
4. Depending on your needs, use the panel Edit
matrix to designate effects configuration and
settings, record real-time knob movements
for one or more parameters using the 4-track
Free EG function, designate Arpeggiator
settings, create a Step Sequence, assign
Control Matrix sets, and set any other voice
parameters.
2. Set the status of Layer mode with the [LAYER]
switch and Poly mode (located in the VOICE
SCENE SETUP menu).
5. Store the voice data to a voice memory
location (1 - 128) using the Voice Store
operation (see page 98).
Parameters which you can edit at any time but which are not stored as voice data
include system-related parameters accessible from the UTILITY SETUP menu, as
well as Effect Bypass status (VOICE COMMON menu) and MIDI Pattern Transmit
Channel (VOICE ARPEGGIO/SEQ menu). As such, they will remain as set
regardless of which voice is selected.
29
CREATING ORIGINAL
Saw Wave Pulse Wave
VOICES
Following is an overview of the key procedures required to
build up your own voices from scratch. For step-by-step
examples of how to create specific types of voices,
including analog synth classics like Synth Bass and Synth
Brass, as well as traditional Electronic Organ and Electric
Piano voices and more, see page 101.
Tone Generator and
Panel Parameter Editing
By editing the tone generator parameters you can
determine the fundamental characteristics of the voice.
These are accessed by pressing a KNOB PARAMETER
GROUP switch and turning specific CONTROL knobs.
There are four key steps in the process of editing the
tone generator parameters, as follows:
1. VCO edit to select the fundamental
waveform and determine the pitch
1. VCO Edit
Pressing the [VCO1] KNOB PARAMETER GROUP
switch gives you access to the main voltage controlled
oscillator parameters, which let you select the basic
waveform and determine the fundamental pitch of the
sound. Pressing the [VCO2] switch gives you access to
the second oscillator, which contains the same set of
parameters as VCO1, and lets you add extra
dimension to the voice.
No sound will be produced if the VCO1 Level or VCO2 Level settings in the
[MIX/VCF] group are too low.
Wave
By turning CONTROL knob 1 you can select the
waveform for the VCO1 oscillator—from a list which
includes sawtooth, square (pulse) and a variety of
others—which determines the fundamental
characteristics of the voice.
2. VCF edit to apply filtering and determine
the tone, or timbre
3.
VCA edit to apply amplification to the voice
4. LFO edit to apply modulation to the VCO,
VCF and VCA
Tone generator parameter editing affects the selected Scene (loaded in the Scene
edit buffer) or the Scene Control sound (in the Scene Control buffer). For details,
see page 20.
By editing the various panel Edit menu parameters you
can determine a voice's keyboard and Scene related
modes, configure effect types and settings, record Free
EG tracks, create and assign Step Sequencer patterns
or configure the Arpeggiator. (For details, see page
71.)
Certain panel parameters apply to individual Scenes or both Scenes equally for the
voice. For details about each menu and available parameters, see page 72.
For details about the available waves, see page 61.
Pitch And Fine
By turning CONTROL knobs 2 (Pitch) and 3 (Fine) you
can determine the fundamental pitch of the wave.
Using both oscillators you can slightly “detune” the
pitch of each with the Fine parameter to fatten the
sound, or create intervals by setting different Pitch
parameters for each.
For details about the Pitch and Fine parameters, see pages 61, 62.
Edge, Pulse Width And Pmod
Depth
By turning CONTROL knob 4 you can adjust how
sharp or smooth the "edge" of the wave is. CONTROL
knob 5 lets you determine the width of the wave's
pulse to control the amount of harmonics present.
CONTROL knob 8 lets you adjust the Pitch Modulation
Depth to create a vibrato effect. Other parameters let
you apply modulation to the pulse width with the LFO1
and other waves.
For details about the Edge, Pulse Width and Pmod Depth parameters, see pages
62, 63.
30
Loading...