Yamaha CS1X, CS1XE1 User Manual

PRECAUTIONS

IMPORTANT! PLEASE READ

BEFORE PROCEEDING.

Following the important precautions below will help ensure you

many years of trouble free use from your CS1x.

LOCATION

• In order to avoid causing serious damage to the CS1x, do not expose it to direct sunlight, high temperatures, excessive humidity, excessive dust or strong vibration.

• Always place the CS1x on a solid surface such as a keyboard stand or a sturdy table or desk.

POWER SUPPLY

• Turn the power switch off when the CS1x is not in use.

• Use only the supplied PA-3B or an equivalent AC power adaptor. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard.

• The power adaptor should be unplugged from the AC outlet if the CS1x is not to be used for an extended period of time.

• Unplug the CS1x during electrical storms.

• Avoid plugging the CS1x into the same AC outlet as appliances with high power consumption such as electric heaters or ovens. Also avoid using multiple-plug adapters since these can result in reduced sound quality and possibly even damage to the instrument.

UNPLUG ALL INSTRUMENTS WHEN MAKING CONNECTIONS

• To avoid causing damage to the CS1x and other devices to which it is connected, such as a sound system or MIDI instruments, turn off the power and unplug all related devices prior to connecting or disconnecting audio and MIDI cables.

ELECTRICAL INTERFERENCE

• Avoid using the CS1x near televisions, radios or other devices which generate electromagnetic fields, since this may cause the CS1x to malfunction, and possibly generate interference noise in the other devices.

BACK-UP BATTERY

• The CS1x contains a special long-life battery that retains the contents of its User memory when the power is turned off. The back-up battery should last for several years. When it needs to be replaced, the message "Battery Low" will appear in the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel.

to replace the backup battery yourself.

Do not attempt

HANDLING AND TRANSPORT

• Always handle the CS1x with care. Physical shocks caused by dropping, bumping, or placing heavy objects on it can result in serious damage to the CS1x.

• Never apply excessive force to the controls, connectors or other parts.

• Disconnect all cables before moving the CS1x. Always unplug cables by gripping the plug firmly, and not by pulling on the cable.

CLEANING

• Never use chemical solvents or thinners to clean the CS1x, since these will damage the finish or dull the keys. Wipe the instrument clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a

diluted, mild detergent. Then wipe the instrument thoroughly with a dry cloth.

• Avoid placing vinyl objects on top of the instrument, since vinyl can stick to and discolor the surface.

DATA BACKUP

• Yamaha recommends that you regularly save your music data using an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer. Yamaha cannot be held responsible for the accidental loss of CS1x data.

SERVICE AND MODIFICATION

• The CS1x contains no user serviceable parts, so never open the case or tamper with the internal circuitry in any way. Doing so may result in electrical shock or damage to the instrument. Refer all servicing to qualified Yamaha service personnel.

IMPORTANT NOTE

Yamaha cannot be held responsible for damage to the CS1x resulting from improper handling or operation, or for the accidental loss of CS1x data.

NOTICES

• The company names and product names in this owner's manual are the trademarks or registered trademarks of their respective companies.

• The LCD screens as illustrated in this owner's manual are for instructional purposes, and may appear somewhat different from the screens which appear on your instrument.

Introduction

In the beginning, there was the knob…

And the knob was good. Great, in fact. You could just reach out and grab it. Turn it left. And turn it right.

Interact with it in realtime.

And there were knobs of all kinds. Knobs for changing the attack and release times of a sound. Knobs for setting the cutoff filter and resonance. And knobs for controlling many other aspects of analog synthesizer sounds.

By twisting a knob one way and another, a vast, practically endless variety of electronic sounds could be called forth. Fat sounds. Strange sounds. Beautiful sounds. Magical sounds.

It was the 1960s, and such was the power of the knob that music was changed forever.

And the term synthesizer became a household word.

But the knob was not perfect…

From the start the knob was brilliant and easy to grasp. It put the musician in complete control of the sound. And opened up a whole new world of sonic exploration.

It was the 1970s, and some of the greatest recordings in music history were being made. Analog "synths" were finding their way into the stages, studios and professional composing suites of the world.

But as simple, straightforward and powerful as analog synths were, they were also for the most part priced out of reach of the struggling musician. Plus they tended to be sensitive to slight fluctuations in electric current which frequently wreaked havoc with pitch, thus making tuning inherently unstable.

And there was no reliable way to save panel settings and original sounds except for tediously scrawling lists and notes with pencil and paper.

Surely there must be a better way.

Engineers the world over went to work searching for a better way, and great strides were made in the development of more stable, lower cost, and more convenient technologies.

A breakthrough in electronic sound synthesis was imminent.

Then came the miracle of digital…

The beginning of the 1980s saw breakthroughs in digital synthesizer technology which was to once again revolutionize modern music.

Musicians everywhere embraced affordable new technologies like FM, which could accurately reproduce the sound characteristics of acoustic and other instruments, and AWM (PCM), which relied on "samples" of actual instrument sounds to produce an amazing wealth of musical textures and sonic options.

The new spate of digital synthesizers were—on the outside—much more streamlined than analog synths, sporting a minimal array of buttons and a display screen which provided information about each feature.

Overnight the knob was rendered virtually obsolete.

Unstable tunings were a thing of the past. Memory was the future.

Digital synths were—on the inside—more loaded than ever, as hundreds of amazing acoustic and electronic sounds, or voices, could be stored and recalled at the touch of a button. Scores of new and exciting features were available. Entire panel settings and configurations could also be stored for instant recall.

It was the digital revolution that made MIDI, GM, XG, sequencing, sampling, looping, multitimbral play, DSP effects and many other breakthroughs in electronic music technology possible.

Developments that have changed forever the way we teach, compose,

perform and listen to music.

Global design standards ensured that music hardware and software products made by different manufacturers could work together seamlessly.

But alas, digital did not create a perfect world.

Chaos reigned over the land…

As convenient, dynamic and accessible as digital synthesis was, still it was not perfect. It had certain limitations, though different ones than analog synthesis.

Streamlined panel layouts and the demise of the knob meant that all those hundreds of great new features had to be organized and stacked in pages and subpages of hidden menus—which might mean several presses of one or more buttons just to find a feature, and several more to actually manipulate it.

And the steep learning curve of many digital synthesizers became a legend unto itself. Alarmingly, the synth was on its way to becoming a thing of science, rather than an intuitive musical instrument.

It was, therefore, inevitable that many would come to mourn nostalgically for the days of simplicity—for the knob. For those warm, fat, wonderful analog sounds. For fewer hidden features.

And for a simpler, easier to use electronic instrument.

There was a definite need for an analog-style digital synthesizer that would have intuitive knobs plus all the benefits of digital memories and other convenient—especially interactive—features.

One that could satisfy even the most die-hard advocate of analog or digital synthesis.

A perfectly versatile synthesizer as attractive to first-time synth owners as to desktop music hobbyists, serious amateurs, and even seasoned professionals.

A powerful stand-alone performance instrument with hot dance music and other versatile voices, as suited for the cutting edge as for the classics.

An ideal multitimbral MIDI component which could fit right into even the most sophisticated expanded system.

One with extremely modest pricing for such powerful utility.

It was only a matter of time before the thunder of analog would unite with the lightning of digital to once again challenge convention and ultimately change the landscape of music possibilities yet once more.

And Yamaha heard their cries…

Fortunately Yamaha recognized that something new and significant must be created to bring together the best of both analog and digital worlds.

The result was the Yamaha Control Synthesizer CS1x.

The CS1x takes the best of analog—simplicity of use, natural interactivity, thick sound, and, of course, the knob—and unites it with the best of digital—reliable pitch, plenty of memory, one-touch setting reconfigurations, hundreds of voices, MIDI, and much, much more— to begat a truly unique "control" synthesizer.

One with all the familiar concepts loved by both analog and digital afficianados. One destined to satisfy even the most meticulous purist in each camp.

Nothing to hide…

Perhaps the most striking—certainly refreshing—aspect of the CS1x Control Synthesizer is the way it wears its heart on its sleeve.

What you see is what you get: all features are self-evidently displayed

on the panel.

A collection of six rotary Sound Control Knobs are irresistible to the

touch—and provide instant sonic results when turned.

Between the Sound Control Knobs, the clearly labeled panel switches, and the back lit LCD, the current status of the CS1x is always crystal clear.

The numeric keypad and other buttons—including Scenes, or "snapshots" of knob positions—give you quick and easy access to any parameter or setup you need, the moment you need it.

As such, the CS1x is an unprecedented realtime performance instrument.

The hundreds of great sounding AWM2 (Advanced Wave Memory

2) instrument voices (created from high quality recordings of actual instrument and other sounds), three digital effects units (with 11 Reverb, 11 Chorus and 43 Variation type effects) and scores of other parameters can be configured in an almost unlimited variety of ways and stored in memory for instant recall.

Performances, or complete configurations of up to four Layers (voices) playing simultaneously, plus effect and other parameters, and Multis, or a configuration of up to 16 Parts and other parameters for multitimbral play (using an external sequencer or computer), provide a unique array of options which make the CS1x a handy synth for literally any type of music situation.

Thirty-two notes of polyphony ensure that you always have enough available notes to play even the most demanding arrangement.

The on-board arpeggiator which can generate various types of automatic arpeggios or be controlled by an external MIDI clock provides an extremely useful tool for spicing up your masterpieces—or setting the dance floor on fire.

Go forth and multiply…

As simple—yet powerful—as the CS1x is on its own, it has also been specially engineered to easily fit right into any type of expanded music system you wish to create.

General MIDI (GM) compatibility makes the CS1x an ideal multitimbral tone generator for accurately playing any of the many Standard MIDI File or other commercially available GM music data using an external sequencer.

XG compatibility makes the CS1x completely state of the art— conveniently able to take advantage of the expanded sound and expressive capabilities that this exciting new format will offer in the coming months and years.

A TO HOST terminal and HOST SELECT switch provides for direct interface with either PC and Macintosh computers, thus enabling you to easily jump right into the "desktop music" revolution without the need for any additional peripheral interfacing equipment.

If you're a first-time synthesizer owner, the CS1x lets you expand your music system at your own pace.

First you might want to add an affordable Yamaha QY series sequencer and take advantage of the CS1x's powerful multitimbral capabilities. With a QY sequencer you can record and play back up to 16 music "parts", each on an independent MIDI channel—just like a multitrack recorder, but with virtually unlimited editing capabilities.

Next you might want to add the compact, low-cost Yamaha SU10 sampler which lets you capture music phrases and other sounds to add an entirely unique dimension to your music.

Finally you might want to add a computer which will let you take advantage of the many different types of music software products now available plus those yet to come.

With the CS1x at the heart of your system, you're ready to grow your own unique music system and take your musical capabilities as far as you want—naturally.

CS1x MAIN

FEATURES

The CS1x is specially designed with an intuitive, interactive user interface through lots of dedicated panel controls and sound editing features which can easily be manipulated in realtime during performance. Main features include:

• 6 Sound Control Knobs for direct access to key parameters of the currently selected voice as you play, and 2 Scene memories for instant recall of specified Sound Control Knob positions. You can use the Modulation Wheel or a connected Foot Controller for continuous changes between Scene 1 and Scene 2 parameter values.

• 480 GM- and XG-compatible AWM2 instrument voices and 11 drum voices, or kits, in Multi Play mode. Additional voices are available in Performance mode which can be assigned to the Performances.

• Performance mode with complete configurations of Layers (4 voices either stacked or in sophisticated keyboard and velocity splits), digital effects and other parameters. There are a total of 128 Preset Performances and 128 User Performances.

• Multi Play mode for multitimbral play of up to 16 different Parts (across 16 MIDI channels; when using an external sequencer), with 32-note polyphony. TO HOST terminal and HOST SELECT switch allow direct interface with IBM PC/AT or Apple Macintosh computers.

• 3 independent DSP digital effect units which can be used simultaneously— Reverb (11 types), Chorus (11 types) and Variation (43 types).

• Arpeggiator with 30 types of arpeggiated chords and 10 timing subdivisions. The Arpeggiator's tempo can also be controlled by an external MIDI clock.

CONTENTS

The CS1x At A Glance .....................................6

Getting Started ............................................9

How The CS1x Generates Sound ................... 12

CS1x Main Operating Modes ........................ 14

Feature Reference ............ 20

Performance Mode .....................................20

Common Edit 1........................................ 22

Common Edit 2 ....................................... 25

Layer Edit 1 ............................................. 27

Layer Edit 2 ............................................. 30

Layer Edit 3 ............................................. 31

Layer Edit 4............................................. 33

Multi Play Mode.......................................... 36

Utility Mode ...............................................40

Store Mode .................................................44

Factory Settings .........................................46

Appendix ............................. 47

Digital Effects ............................................ 47

About MIDI ................................................. 53

Specifications ............................................. 57

Troubleshooting .........................................58

Error Messages ........................................... 59

Index..........................................................60

THE CS1x AT A

GLANCE

PHONES L/MONO

SCENE

PITCH MODULATION

R DC IN POWER

OUTPUT

AMP EG

MW/FC

ATTACK

FILTER

CUTOFF

VOLUME

RELEASE ASSIGN 1/DATAVOLUME

RESONANCE ASSIGN 2

FOOT

CONTROLLER

SWITCH

ARPEGGIO

PART/LAYER/

PRESET USER

TO HOSTINPUT HOST SELECT IN OUT

PERFORMANCE STORE

HOLD SHIFT

OCTAVE

PRESET USER ARPEGGIATOR

PROGRAM

THRU

MIDI

YZ'8&

VWX

MULTI

UTILITY

MNO4PQR5STU

DEF1GHI2JKL

ABC

NO/

QUICK PC

SPACE

ENTER

YES

PERFORMANCE MULTI

STORE UTILITY

ARPEGGIATOR PERFORM

REV

TYPE

TEMPO

P BEND

PMOD

RANGE

TUNE

NOTE

DETUNE

SFT

AEG

ATK

DCY

TIME

FEG

ATK

DCY

TIME

BANK

PROGRAM

DEMO

SYSTEM MIDI ASSIGN

MASTER

KBD

TUNE

TRANS

CHO

SUB

LEVEL

TYPE

DIVIDE

FC PORTA

FMOD

CUTOFF

FMOD

CUTOFF

NOTE

LIMIT

HIGH

LOW

HIGH

LOW

REL

AMOD

PMOD

SUS

TIME

LEVEL

INIT

ATK

REL

SUS

LEVEL

TIME

LEVEL

EFFECT

PAN

REV

CHO

VOLUME

SEND

TRANS

RCV

VEL

FIX

CURVE

EFECT

VARI

TYPE

PARAM

DATA

SWITCH

TIME

VARI

VEL ASSIGN2

DEPTH

OFFSET

PARAM

LFO

WAVE

FMOD

SPEED

PEG

DCY

ATK

REL

TIME

LEVEL

TIME

FILTER

VARI

CUTOFF

REZ

SEND

LOCAL

DEVICE

BULK

DUMP

PERFORM

NAME

ASSIGN1

PARAM

DATA

PHASE

REL LEVEL POLY/ MONO

CTRL

COMMON

INIT

LAYER

UTILITY

Front

Panel

! VOLUME

Turn this knob to set the proper listening level whether using headphones or amplified speakers.

" SOUND CONTROL

KNOBS

The six Sound Control Knobs give you direct access to key parameters of the currently selected Performance/voice. Turning any Sound Control Knob to the left or right will offset the parameter values accordingly (left for negative values, right for positive values) and produce an immediate result; a letter "E" will appear next to the Performance number in the LCD to indicate the original voice has been edited. Each knob has a center detent which represents the original value of the parameter.

• ATTACK (Knob 1) - This knob

controls the initial attack time of the voice. Turn it left for a faster attack

time; turn it right for a slower attack time. (See page 30)

• RELEASE (Knob 2) - This knob

controls the release time of the voice. Turn it left for a shorter release time; turn it right for a longer release time. (See page 32.)

• ASSIGN 1/DATA (Knob 3) - This

knob has two functions. As an ASSIGN 1 knob, you can assign one of 28 parameters—including Performance Volume, Arpeggiator Tempo or Type, Portamento Time, and others—to control by turning it (see page 26). As a DATA entry knob, you can use it to quickly change the edit value of the currently selected edit parameter.

• CUTOFF (Knob 4) - This knob

determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Turn it left for a deeper, more rounded tone; turn it right for a thinner, brighter tone. (See page

25.)

• RESONANCE (Knob 5) - This knob

determines the amount of filter resonance or emphasis of the cutoff frequency. Turn it left to produce a relatively flat response; turn it right to add overtones and make the sound more resonant. (See page 34.)

• ASSIGN 2 (Knob 6) - This knob can

be used to control any one of 28 parameters which you can assign to it—including Volume, Note Shift, Pan, Chorus Send, and others. (See page 29.)

# SCENE 1 & 2

Each Performance has two Scene memories which remember specific positions of the six Sound Control Knobs. (See page 16.)

• Simply press SCENE 1 or SCENE 2 to instantly recall the specified settings. An LED beside each SCENE button will light to indicate which Scene is currently active. You can store your own Scenes in advance using Store mode. (See page 44.)

• By holding one SCENE button and then pressing the other SCENE button, both LED's will light, indicating that you can use the Modulation Wheel or a connected Foot Controller for realtime continuous parameter changes between one Scene and the other. (See page 45.)

$ ARPEGGIATOR

Press this button to activate the onboard Arpeggiator, which lets you create automatic arpeggios simply by playing a chord. An indicator will appear in the lower right area of the LCD when the Arpeggiator is on. (See page 22.)

• There are various Arpeggiator Types and Arpeggiator Timing Subdivisions. These, plus the Arpeggiator Tempo, can be specified with the Common Edit 1 menu parameters. (See page 23.)

• Pressing this button while holding SHIFT will "hold" the arpeggiated chord, or make it continue playing even when you release the keys. Pressing this button again stops the Arpeggiator. (See page 23.)

• An Arpeggiator Split function lets you split the keyboard at C3; the chords you play to the left of the split point will create arpeggiated chords, and the notes and chords you play to the right of the split point will play as normal. (See page 23.)

% SHIFT

This button lets you transpose the octave up or down as well as activate the Arpeggiator Hold and Split functions. (See page 23.)

• To transpose the octave, hold the SHIFT button and press [–] (octave down) or [+] (octave up)—located directly beneath the SHIFT button. (See page 15.)

& PART/LAYER [–]/[+]

These buttons let you select one of the four Layers in Performance mode (see page 14), or one of the 16 Parts in Multi Play mode (see page 17). Which Layer or Part is currently selected will be indicated in the lower right area of the LCD.

' PRESET

In Performance mode, press this button to activate the bank of 128 Preset Performances. (See page 20.)

( USER

In Performance mode, press this button to activate the bank of 128 User Performances. (See page 20.)

) PROGRAM [–]/[+]

Press one of these to step up ([+]) or down ([–]) through each Performance (in Performance mode) or voice (in Multi Play mode), one at a time. (See page 20.)

* BACK LIT LCD

The LCD provides various types of information which clearly indicates the current operating status of the CS1x, depending on which mode or other button on the front panel that you press.

+ NUMERIC KEYPAD

The numeric keypad has several functions, depending on the currently selected mode.

• In Performance mode or Multi Play mode, you can use it to select a specific Performance number or voice number—by punching in the desired number (1~128), then pressing the ENTER button. (See page

20.)

• In Quick Program Change mode, you can use it to select a specific

Performance (Performance mode) or voice (Multi Play mode) within the currently designated group of 10—by simply punching in the last digit (0~9) of the desired Performance or voice number. (See page 21.)

• When editing parameters, you can use it to quickly select a specific value—by punching in the desired number, then pressing ENTER. (See page 20.)

• When naming a User Performance, you can use it to select the letters of the name, as indicated above each button. (See page 24.)

, [–]/NO/QUICK PC

This button has three functions.

• As a [–] button, you can use it to enter negative values when editing parameters using the numeric keypad. Press it before entering the number, followed by ENTER.

• In Performance mode or Multi Play mode, press it once to engage the Quick Program Change function. The hundredth and tenth digits of the Performance or voice number will be shown as bold characters to indicate they are fixed when Quick Program Change is active. Press the button again to turn off Quick Program Change. (See page

21.)

• In Store mode, this button lets you decline (NO) the store operation if you change your mind.

- ENTER/YES

This button has three functions.

• When selecting a Performance number (Performance mode) or voice number (Multi Play mode) using the numeric keypad, you must press ENTER to activate the change. (See page 20.)

• When designating edit parameter values using the numeric keypad, you must press ENTER to activate the change. (See page 22.)

• In Store mode, this button lets you confirm (YES) the store operation. (See page 44.)

. MODE SELECT

SWITCHES

Press one of these to select the current operating mode.

• PERFORMANCE - In Performance

mode you can choose any of the Preset or User Performances, plus perform editing operations using the Edit Parameter Rotary Switch and Parameter Value UP/DOWN buttons. Press PERFORMANCE to enter Performance mode from another mode, or to reselect the Performance select screen in the LCD after performing an edit operation in Performance mode. (See page 20.)

• MULTI - Press this button to enter

Multi Play mode, which lets you designate up to 16 Parts for multitimbral play when using an external sequencer. Parameters which can be edited in Multi Play mode are printed in a row directly above the Parameter Value UP/ DOWN buttons. (See page 36.)

• STORE - This button lets you store

User Performances. as well as Scenes. (See page 44.)

• UTILITY - Press this button to access

those "system" parameters which affect the CS1x as a whole—such as Master Tune, MIDI Transmit and Receive Channel numbers, Local On/Off, etc.—as printed directly below each Parameter Value UP/ DOWN button. (See page 40.)

/ EDIT PARAMETER

ROTARY SWITCH

Turn this knob to select one of the six menus of edit parameters in Performance mode.

• COMMON - The Common

parameters (Common Edit 1, 2 menus) are those parameters which apply to the entire currently selected Performance; i.e., it doesn't matter which Layer is currently selected, since common parameters (except for Portamento) apply to all layers equally. (See page 14.)

• LAYER - The Layer parameters (Layer

Edit 1, 2, 3, 4 menus) are those parameters which affect only the currently selected Layer (1~4, as designated by the PART/LAYER buttons) in a Performance. (See page

14.)

0 PARAMETER VALUE

UP/DOWN BUTTONS

These ten buttons are used to access specific parameters in Performance, Multi and Utility modes, as well as change the values of the currently selected edit parameter.

• PERFORMANCE MODE - After

selecting an Edit menu row with the Edit Parameter Rotary Switch, press the Parameter Value UP/DOWN button located beneath the desired parameter once to access the parameter. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 14.)

• MULTI PLAY MODE - Simply press

the Parameter Value UP/DOWN button located beneath the desired parameter as printed on the panel, directly above each button. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 17.)

• UTILITY MODE - Simply press the

Parameter Value UP/DOWN button located above the desired parameter as printed on the panel, directly below each button. The parameter name and current value will appear in the LCD. Then press [UP] or [DOWN] to increase or decrease the current parameter value as desired. (See page 40.)

1 PITCH

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. In Performance mode you can designate the Pitch Bend Range in the Common Edit 2 menu. (See page 25.)

2 MODULATION

The Modulation Wheel lets you apply or set a designated amount of vibrato or tremolo. You can set it to affect filter cutoff, filter modulation, pitch modulation (Common Edit 2 menu, see page 25), as well as other controllable parameters. (see page

43.)

THE CS1x AT A GLANCE

MIDI OUTTHRU IN MIDI Mac TO HOST INPUT SWITCH CONTROLLER

Rear

Panel

! MIDI

MIDI IN, OUT and THRU terminals let you connect other MIDI devices such as a MIDI keyboard, tone generator, sequencer, or computer with a MIDI cable. (Set the HOST SELECT switch to MIDI when using the MIDI terminals.) MIDI IN is for input of MIDI data. MIDI OUT is for output of MIDI data and for data dumps to another CS1x or MIDI data storage device. MIDI THRU is for "daisy-chain" connection of additional MIDI instruments, as the MIDI data received at the CS1x's MIDI IN terminal is passed along unchanged to the CS1x's MIDI THRU terminal. (See page 9.)

" HOST SELECT

The HOST SELECT switch lets you designate the type of host computer. (See page 10.) Set it to MIDI for normal MIDI transmission and reception when a host computer is not connected.

HOST SELECT

PC-2 PC-1

# TO HOST

The TO HOST terminal lets you connect the CS1x directly to a host computer which does not have a MIDI interface. (See page 10.)

$ INPUT

Connect an external audio source (such as a keyboard, or CD player) here using either a stereo or mono mini plug, in order to mix its audio signals with the CS1x's voices, for output from the CS1x without the need for an external mixer.

% FOOTSWITCH

An optional Yamaha FC4 or FC5 footswitch connected to this jack can be used to control hold on/off, portamento on/off and others, determined by the Assign Control Change Number setting in Utility mode. (see page 43.)

& FOOT CONTROLLER

An optional Yamaha FC7 or FC9 foot controller connected to this jack can be used for control of filter modulation, filter cutoff, and the

ASSIGNABLE

FOOT FOOT

Variation effect (Common Edit 2 menu, see page 26), as well as the Control Change Number. (see page

43.)

FOOT

VOLUME

POWER

ON OFF

' FOOT VOLUME

An optional Yamaha FC7 or FC9 foot controller connected to this jack can be used to regulate overall volume.

( POWER

Press this switch to turn the CS1x on and off.

) DC IN

Connect the supplied Yamaha PA3B Power Adaptor here. (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 CS1x, and may even pose a serious shock hazard.)

DC IN R L/MONO

OUTPUT PHONES

* OUTPUT

The stereo OUTPUT jacks let you connect the CS1x to an external stereo amplifier/speaker system. When using a mono system, connect it to the L/MONO jack.

+ PHONES

The PHONES jack lets you connect a set of stereo headphones for private listening.

GETTING STARTED

Setting Up Your CS1x

The Control Synthesizer CS1x literally comes ready to play right out of the box.

Connect the supplied PA-3B DC power adaptor to the CS1x's DC IN connector on the rear panel. Then connect the adaptor to the nearest electrical outlet.

Before

switching on the power, connect any peripheral devices such as

amplified speakers or MIDI instruments.

There are many ways to incorporate the CS1x into a simple or expanded music system. Below are a few examples to get you started.

CAUTION

• Do not attempt to use an AC adaptor other than the PA-3B. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard.

• Be sure to disconnect the power adaptor from the electrical outlet when the CS1x is not in use.

The CS1x By Itself

At the simplest level, all you need to do is connect stereo headphones to the PHONES jack located on the rear panel.

As a stand-alone performance instrument, simply connect the CS1x to amplified speakers, as follows:

For stereo use, connect one end of a pair of audio cables to the CS1x's OUTPUT (L/MONO, R) jacks, and the other end to each amplified speaker's input, as shown in the illustration below. (For mono use, connect one end of a single audio cable to the CS1x's L/MONO jack, and the other end to the amplified speaker's input.)

The CS1x With An External Sequencer

The illustration below shows how to use the CS1x with a Yamaha QY series sequencer, which lets you take full advantage of the CS1x's multitimbral capability to play up to 16 different musical instrument Parts at once.

You will need MIDI cables to make the proper connections.

1. Connect a MIDI cable from the CS1x's MIDI OUT terminal to the sequencer's MIDI In terminal, and connect another MIDI cable from the CS1x's MIDI IN terminal to the sequencer's MIDI Out terminal.

2. Set the HOST SELECT switch to MIDI.

HOST SELECT

PC-2 PC-1

MIDI Mac

In this case, the notes you play on the keyboard will be sent as MIDI note event data to a specified MIDI channel of the sequencer. By selecting different channels, you can record each Part independently, while listening to those Parts you've already recorded.

When recording Parts to an external sequencer, you need to turn the keyboard Local setting to OFF (see page 42). When keyboard Local is turned off, the notes you play on the keyboard will not sound the CS1x's internal tone generator, but note and other performance event data will still be sent from the MIDI OUT terminal.

MIDI IN

MIDI OUT

CS1x

MIDI

OUT

MIDI IN

QY300 etc...

QY300

MUSIC SEQUENCER

AMPLIFIED

SPEAKERS

R INPUTL

R OUTPUTPHONES

CS1x

CAUTION

In order to avoid possible damage to the speakers or other connected electronic equipment, before switching on the power of any component, make sure the CS1x's volume level and the volume levels of the connected equipment are set to minimum.

Since the CS1x's internal tone generator will respond to note and other data it receives at the MIDI IN terminal, the notes you play on the keyboard will be sent to the sequencer, then "echoed back" to the CS1x to play one of the 16 Parts (depending on the current MIDI channel assignment).

For details about assigning CS1x MIDI channels, see page 41. For details about assigning MIDI channels and other settings for the external devices such as a sequencer, consult the owner's manual of each.

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