Yamaha CS6X, CS6XE1 User Manual

OWNER’S MANUAL

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic products may

have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.

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

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

IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

Battery Notice: This product MAY contain a small non-rechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement.

Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.

Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-469- 1 (rear)

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CS6x

AC INLET

POWER ON OFF

3.3V

CARD

CS6R

AC INLET

MIDI OUT

THRU IN

HOST SELECT

OUTPUT

TO HOST

INDIVIDUAL OUTPUT

L MONO

PC-1PC-2

Mac

MIDI

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:

• Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument.

• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 12.)

• 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.

• This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.

• 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 power 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 electric plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel.

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 power 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 the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it.

• 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 electric 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. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.

• 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 cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber 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.

• Use only the stand/rack specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over.

• 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 battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Change internal battery." will display in the LCD. When this happens, immediately back up your data, then have qualified Yamaha service personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery.

• Never place the backup battery 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

• Always save data to a Memory Card (SmartMedia) frequently, 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.

(2)-6

Introduction

Thank you for purchasing the Yamaha CS6x/CS6R Control Synthesizer. Your new CS6x/CS6R synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. It also supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds. You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in Arpeggiator and Sequencer. Using the Phrase Clip feature, you can record real sounds or audio from a CD, then play them back across the keyboard as you would a musical instrument.

Other features include Effects, Scenes (for storing sounds created with the Control Knobs on the front panel), and Control Sets (for controlling various sound parameters in real time using different controllers). These features make this synthesizer ideal for every kind of live performance or studio work. When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much easier and smoother. To make the most use of your synthesizer, you are encouraged to read through this manual. After reading the manual, please keep it in a convenient and safe place for future reference.

About This Manual

This manual is basically divided into two sections:

■ Basics Section (Page 6)

Explains how to get started with the synthesizer, its overall structure, and how to use its main features and functions.

■ Reference Section (Page 74)

Explains the parameters in the synthesizer’s various Modes.

Package Contents

• Owner’s Manual (this book)

• Data List

• AC Power cord

• Memory Card (SmartMedia)

• Burglarproof Lock (Page 171)

• Installation Guide

• CD-ROM (TOOLS for S80 & CS6x/CS6R)

The Included CD-ROM

Application software and Phrase Clip audio files for your synthesizer are included on this CD-ROM. The Voice Editor application lets you edit your synthesizer’s sounds through a graphical user interface. The Card Filer application lets you exchange data between your synthesizer and computer. Details are given in the separate Installation Guide or the on-line manuals included with the software.

Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may result in damage to your hearing as well as to your CD player/audio speakers.

Copying of the commercially available music sequence data and/or digital audio files is strictry prohibited except for your personal use.

The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument.

The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.

Basics Section

The Controls & Connectors ................................6

Before Use ........................................................12

Power Supply ........................................................12

Connections ..........................................................13

Powering Up..........................................................19

Basic Operations ..............................................21

Selecting a Mode ..................................................21

Selecting a Screen ................................................23

Entering Data........................................................24

Demo Playback ................................................26

Voices and Performances ..................................27

Playing a Voice......................................................27

Playing a Performance..........................................29

An Overview of the CS6x/CS6R ....................31

Controller Section ................................................31

Sequencer Section ................................................31

Tone Generator Section ......................................32

Effects Section ......................................................34

About the Modes ..............................................35

Voices ................................................................36

An Overview of Voices/Waves ............................37

Waves ....................................................................38

Performances ....................................................39

Easy Real-time Editing ....................................40

Ideal for Playing Live ......................................41

1 Arpeggiator ........................................................42

2 Scene Controls (CS6x) ......................................45

3 Using Controllers ..............................................47

4 Phrase Clips ......................................................53

5 Other Useful Features ......................................59

Voice Edit..........................................................60

Effects....................................................................65

Using as a Master Keyboard

(Performance Mode) ........................................67

Using as a Multitimbral Tone Generator

(Performance Mode) ........................................72

Reference Section

Voice Mode........................................................74

Voice Play..............................................................74

Voice Edit ..............................................................78

Voice Job Mode ..................................................115

Voice Store ..........................................................116

Performance Mode ........................................117

Performance Play ..............................................117

Performance Edit ..............................................121

Performance Job Mode ......................................140

Performance Store ..............................................141

Phrase Clip Mode............................................142

Phrase Clip Play..................................................142

Phrase Clip Record ............................................143

Phrase Clip Edit..................................................146

Phrase Clip Job Mode ........................................154

Clip Kit Store ......................................................160

Sequence Play Mode ......................................161

Utility Mode....................................................163

Utility Job Mode ................................................170

Card Mode ......................................................171

Appendix

About the Plug-in Boards (Optional) ............177

Display Messages ............................................181

Troubleshooting..............................................182

Specifications ..................................................185

Index ..............................................................186

Table of Contents

Basics Section

Appendix

Reference Section

Voice Mode

Performance Mode

Phrase Clip Mode

Sequence Play Mode

Utility Mode

Card Mode

FOOT

VOLUM

PHONES INDIVIDUAL OUTPUT

OUTPUT

L/MONO R

A/D INPUT

GAIN

LINE 1MIC/LINE 2

OCTAVE

VOLUME

DOWN UP

CUTOFF RESONANCE

ATTACK

1 2

DECAY S

CONTROL

FILTER EFFE

SCENE PAN

GATE TIME

OFF

HOLD

PORTAMENTO PHRA

SEQ P

ARPEGGIO

CUTOFF RESONANCE

ATTACK

1 2

DECAY SUSTAIN

CONTROL PAN

RELEASE

REVERB CHORUS

FILTER EFFECT

SCENE PAN

1 [VOLUME] Knob (Page 20)

Adjusts the master volume. Turn the knob clockwise to raise the output level from the OUTPUT L/R jacks and the PHONES jack.

2 OCTAVE [UP] and [DOWN] keys (Page 28) (CS6x only)

Press either of these keys to shift the note range of the keyboard up or down in octaves. Press them together to returns to the standard range (0).

3 PITCH bend wheel (Page 47) (CS6x only)

Controls the pitch bend effect. You can also assign other functions to this controller.

4 MODULATION wheel (Page 47) (CS6x only)

Controls the modulation effect. You can also assign other parameters functions to this controller.

5 Ribbon Controller (Page 48) (CS6x only)

Touch and slide your finger horizontally across the controller’s surface to continuously change a specific parameter’s value. You can also assign various functions to this controller.

6-1 FILTER knobs (Page 40)

These two knobs offer dynamic and real-time tonal changes to a sound.

6-6 [PAN] knob (Page 59)

Use this knob to adjust the stereo pan position of the current sound (i.e., the sound’s position in the stereo image).

6-2 EFFECT knobs (Page 40)

These knobs respectively control depths(send level) of the Reverb and Chorus effects.

6-3 EG knobs (Page 40)

These four knobs control variances in pitch, tone, and volume.

6-4 PORTAMENTO controls (Page 59)

This section consists of the PORTAMENTO [ON/OFF] key and a knob for adjusting Portamento Time. With Portamento enabled, there will be a smooth transition in pitch from one note to the next. The Portamento Time is the speed of the transition.

6-5 SCENE controls (Page 46)

Pressing either SCENE key ([1] or [2]) to recall the stored knob settings. The LED for the key of the current Scene is lit. The [CONTROL] knob can be used to create a smooth transition between two Scenes. You can also set up the Modulation Wheel or a Foot Controller to like the SCENE [CONTROL] knob (Page 46).

6-1 6-2

6-3

6-4

6-5 6-6 6-7

CS6x

Basics

Section

Basics

Section

Basics Section

The Controls & Connectors

Front Panel

MIDIHOST SELECTTO HOSTBREATH

FOOT

SWITCH

FOOT

CONTROLLER

OUTIN THRU

SUSTAIN

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

GATE TIME

OFF

PLAY

STOP

REC

OFF

HOLD

PORTAMENTO PHRASE CLIP

SEQ PLAY

ARPEGGIO

PITCH

TEMPO

PAN

RELEASE

PLAY

STOP

REC

EMPO

CARD

3.3V

ELEMENTPARTPAGE

SHIFT

CURSOR

VOICE

PERFORM

PHRASE CLIP

UTILITY

CARD REC

JOB

STORE

EDIT COMPARE

SEQ PLAY

EF BYPASS

PLAY STOP

GAIN

VOLUME

BREATH PHONES

LINE1

MIC

LINE 2

A D INPUT

SYSTEM BA

6-7 ARPEGGIO controls (Page 42)

Press the [ON/OFF] key to enable or disable the Arpeggiator. The Arpeggiator plays according to the arpeggio settings for each Voice or Performance. Use the [GATE TIME] knob to adjust the playback length of each note in the arpeggio (Page 42). Press the [HOLD] key (its LED will light) to have the Arpeggiator continue playback even after you release the notes. To stop the arpeggio, press the HOLD key again (the LED turn off).

6-8 PHRASE CLIP controls (Page 53)

Press the PHRASE CLIP key to enter Phrase Clip Play Mode (the LED will light). Then press the [REC] key to enter Phrase Clip Record Mode. In this Mode, you can record a Phrase Clip (waveform data) using an external microphone, then treat the sound as a musical instrument. The [PITCH] knob changes the Phrase Clip’s pitch (or its tempo if the Phrase Clip is rhythmic). With the CS6R, you can play back (audition) the sound by pressing the PHRASE CLIP key in Phrase Clip Mode at note C3 and with a velocity of 127

6-9 SEQ controls (Pages 26, 161)

Press the [SEQ] key to enter Sequence Play Mode. Here, you can play a MIDI file from Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently selected file. You can use the [TEMPO] knob to adjust the playback speed.

6 Sound Control knobs (Page 40) (CS6x only)

You can modify the effects and tones in real time using these. There are knobs for Filter Cutoff Frequency and Resonance, the time parameter of the Envelope Generator (EG), and Reverb and Chorus effects. Other controls are related to the Arpeggiator, Portamento, Phrase Clip, and Sequencer.

7 MODE keys (Page 21)

Press these to keys to select Voice, Performance, Utility or other Modes. With the CS6R, you can play back (audition) the Voice at note C3 and with a velocity of 127 by pressing the [VOICE] key in Voice Play Mode. Similarly, in Performance Play Mode, pressing the [PERFORM] key plays back Voices for the Parts (Layer Switch set to "on") at note C3 with a velocity value of 127.

6-8

6-9

CS6R

71 6-8 6-9

Basics

Section

Basics

Section

Basics

Section

THRU

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

SYSTEM

CURSOR

A B C 1 2

SHIFT PAGE PART

ELEMENT DATA

CARD

3.3V

8 LCD (Liquid Crystal Display)

This is a backlit 2-line display.

) [PAGE] knob (Page 23)

Switches between screens in each Mode. Each Mode includes several screens.

! Knobs [A], [B], [C], [1] and [2] (Page 24)

In each Play Mode, these knobs mainly control the functions respectively assigned to them. In each Edit Mode, each knob is used to enter a value for the associated parameter shown in the display. Depending on the operation or the screen you are working in, these knobs will function differently. Knobs [A] to [C] can be assigned to system control functions (Page 165). Knobs [1] and [2] can be assigned control functions that affect Voices (Page 84).

@ [DATA] knob (Page 25)

Use this to increase or decrease the value of the parameter at which the cursor is positioned.

# [EF BYPASS] key (Page 66)

Enables/dsiables the Effect Bypass. Press the key (its LED will light) to bypass the effects used with the current Voice or Performance. The bypassed effects (Reverb, Chorus, or Insertion) are specified in Utility Mode (Page 164).

$ [MASTER KEYBOARD] key (pages 67, 121) (CS6x only)

The S80 keyboard can work as MIDI master keyboard in Performance mode. When the key is pressed and switched on (the LED will light), the keyboard can play and control multiple MIDI sound modules connected to the S80.

% [EXIT] key (Page 23)

The menus and screens of the S80 have a hierarchical structure. Press this key exit from the current screen and return to the previous level in the hierarchy.

9 [SHIFT] key (Page 23)

In Voice or Performance Play Mode, a screen for viewing or setting the Octave parameter and the MIDI Transmit channel (Page 23) is shown when you press the [SHIFT] key. In any of the Edit Modes, when pressing this key while turning the [PAGE] knob, a menu screen is displayed and you can quickly switch between Edit Mode screens (Page

23). If while holding this key you turn one of Knobs [A] ~ [D], [1] ~ [2], [DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can move the cursor without a parameter value being changed (Page 24).

CS6x

Basics

Section

POWER

BANK

PROGRAM

PART

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

MEMORY

PRE1

INT EXT

PLG1 PLG2

PRE2

DRUM

POWER

PLG1INTPRE1

PLG2EXTPRE2

EXIT

DATA

ELEMENTPARTPAGE

SHIFT

CURSOR

VOICE

ENTER

DEC NO

INC YES

DRUM DRUM

MEMORY

OFF

PERFORM

PHRASE CLIP

UTILITY

CARD REC

JOB

STORE

EDIT COMPARE

SEQ PLAY

EF BYPASS

PLAY STOP

SYSTEM BA

^ [ENTER] key (Pages 24, 25)

While selecting a Memory or Bank for Voice or Performance, press this key to determine such a memory location. Also, use this key to execute a Job or a Store operation.

& [DEC/NO] key (Page 24)

Use this to decrease the value of the parameter at which the cursor is positioned. Also use it to cancel a Job or a Store operation.

* [INC/YES] key (Page 24)

Use this to increase the value of the parameter at which the cursor is positioned. Also use it to execute a Job or a Store operation.

( MEMORY keys (Pages 27, 29, 75, 119)

Using one of these keys, you can select a Voice or Performance Memory. Press the [ENTER] key ^ to select the Memory. In Performance Mode, the [INT], [EXT], [PLG1] and [PLG2] keys can be used to select the Phrase Clip Part, A/D Part, Plug-in 1 Part and Plug-in 2 Part. The [PRE1] and [PRE2] keys select “Common” (for all Parts).

º BANK [A] to [H] keys (Pages 75, 119)

Each key selects a Voice or Performance Bank. Each Bank contains sixteen Voices or Performances. In Voice Edit Mode, each of the BANK [A] to [D] keys selects a Voice’s Element (ELEMENT SELECT) while each of the BANK [E] to [H] keys turns the associated Voice’s Element on or off (ELEMENT ON/OFF). When you activate Master Keyboard Mode by pressing the [MASTER KEYBOARD] key $, these keys can respectively select Zones 1 to 4 if the Master Keyboard Mode setting is “4zone” in Performance Edit Mode.

PROGRAM/PART [1] to [16] keys (Pages 76, 119)

Each key selects a Voice or Performance from the current Bank. In Voice Edit Mode, each PROGRAM/PART key selects an associated edit menu. In Performance Mode, these keys select Parts [1] to [16], respectively.

# 9 ) ! @ & *

8 ( % ^

CS6R

Basics

Section

Basics

Section

Rear Panel

CARD

3.3V

AC INLET

POWER

ON OFF

CARD

3.3V

GAIN

VOLUME

BREATH PHONES

LINE1

MIC

LINE 2

A D INPUT

POWER

OFF

AC INLET

1 POWER switch (Page 19)

Use this to switch the synthesizer on or off.

) FOOT CONTROLLER jack

(Pages 18, 48) (CS6x only)

An optional foot controller (FC7, etc.) can be connected here. Using the foot controller, you can control tones, pitches, volumes or the like by foot.

! FOOT VOLUME jack

(Pages 18, 48) (CS6x only)

An optional foot controller (FC7, etc.) can be connected here. You can control the output level from the instrument by foot. In Utility Mode, you can select Volume or

Expression for this controller.

@ INDIVIDUAL OUTPUT 1 and 2 jacks (Page 13)

Line level audio signals are output from the synthesizer via these phone jacks (1/4" mono phone plug). The output is separated from that at the OUTPUT L/MONO and R jacks. In Performance Mode, you can specify which Parts can be output from these separate outputs.

2 AC INLET terminal (Page 12)

Plug the female end of the supplied AC power cord in here before plugging it into an AC wall outlet.

3 CARD slot (Page 171)

Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 171) before using a card.

4 MIDI IN, OUT, and THRU connectors (Page 15)

MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the synthesizer from an external MIDI device. MIDI OUT sends out MIDI messages generated by the synthesizer, such as notes played on the keyboard or panel control/knob variations, to an external MIDI sound module or device. MIDI THRU just reflects the MIDI messages received at MIDI IN. Connect other MIDI devices here.

CS6x

CS6R

$ % ^ 1 2

& 3

Basics

Section

MIDI OUTTHRU IN

HOST SELECT

Mac

PC-1PC-2

MIDI

TO HOST BRE ATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE 1 MIC

LINE 2

A D INPUT

GAIN

OUTPUT

L MONO

TO HOST

MIDI OUT

THRU IN

INDIVIDUAL OUTPUT

HOST SELECT

Mac

PC-1PC-2

MIDI

8 FOOT SWITCH

jack (Pages 18, 48)

Connect an optional Foot switch (FC4 or FC5) here. Using the foot switch, you can control of a range of on or off a specific function by foot, as assigned on the instrument. (Pages 53, 165)

9 SUSTAIN jack

(Pages 18, 48)

An optional Foot Switch (FC4 or FC5) can be connected here. You can use the Foot Switch as a damper pedal on the acoustic piano or for a sustained effect.

$ PHONES jack (Page 13)

Connect a pair of headphones here.

# OUTPUT L/MONO and R jack (Page 13)

Line level audio signals are output via these phone jacks. For monophonic output, use just the L/MONO jack.

^ GAIN knob

(Pages 73, 144

)

Use this to adjust the input gain of the audio signals at the A/D INPUT jacks. You may need to adjust this depending on the type of device (microphone, other instrument output, etc.) connected when using a A/D Input part.

% A/D INPUT jacks (Page 14)

External audio signals can be input via these phone jacks. Use these when recording Phrase Clips by connecting a microphone or other audio equipment. To record a monophonic line level signal, you use LINE 1. Use MIC/LINE 2 to record a microphone level signal. To record a stereo line level signal, use both jacks. However, stereo signals are merged into a monophonic signal internally when recording.

5 HOST SELECT switch (Page 16)

Select the type of computer connected to the synthesizer via the TO HOST connector .

6 TO HOST terminal

Connect a computer here using an optional serial computer cable (Page 16).

7 BREATH jack (Pages 18, 48)

Connect an optional breath controller BC3 here. You can use the Breath Controller to change the output level or tone of the sounds according to the strength of your breath.

4 5 6 @ #

Before Use

This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the synthesizer on after you have made all the necessary connections. It is recommended that you read this section before using the synthesizer.

Power Supply

1Make sure that the instrument’s POWER switch is at the OFF position. 2Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel. 3Connect the other end of the power cord to an AC outlet. Make sure the synthesizer meets the

voltage requirement for the country or region in which it is being used.

Make sure your CS6x/CS6R is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!

Use only the AC power cord supplied with the CS6x/CS6R. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!

The type of AC power cord provided with the CS6x/CS6R may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the CS6x/CS6R. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor.

Power cord

(included)

CS6x/CS6R

rear panel

AC INLET terminal

Basics

Section

Basics

Section

Connections

Connecting to External Audio Equipment

Since the synthesizer has no built-in speakers, you need to monitor its sound output via external audio equipment. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations.

The CS6R also needs an external MIDI controller such as a keyboard, though this is not necessary when using the internal sequencer. For MIDI connections, see the next section.

Connecting Stereo Powered Speakers

A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.

When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

Connecting to a Mixer

There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. These four outputs can connect to a mixer for separately controlling the outputs of up to four Parts in Performance Mode (Page 117). You can specify the output routing of each Part in Performance Edit Mode (Page 133).

Powered speaker (Left) Powered speaker (Right)

OUTPUT

L/MONO

PHONES

OUTPUT R

CS6R

Headphones

Powered speaker (Left) Powered speaker (Right)

INPUTINPUT INPUTINPUT

PHONES

OUTPUT

L/MONO

OUTPUT R

CS6x

Basics

Section

Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.

Connecting a Microphone or Other Audio Equipment

You can record or import external sounds or waveform data and use them as instrument sounds (Phrase Clips, see Page 142). When recording from an external audio source, connect a microphone or the audio source to the A/D INPUT (LINE 1 and MIC/LINE 2) jacks.

LINE 1 and MIC/LINE 2 can receive monophonic signals. To input a monophonic line level signal to the instrument, use only LINE 1. Use MIC/LINE 2 to input a microphone level signal. When you input stereo line signals, use both jacks. However, these stereo signals are internally merged into a monophonic signal for use in a later process.

After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the input gain of the audio source using the GAIN knob. Details about Phrase Clips, including how to adjust the input gain, are given on Page 142.

If you choose the wrong type of input source (Pages 130, 144), you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly.

Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down. Do not use both LINE1 and MIC/LINE2 at the same time except for when you want to input stereo line level

signals, which will be mixed into a mono signal on the instrument. If you fail to do so, the external device connected may be damaged.

You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are given on Pages 73, 130.

Speaker

Amplifier

OUTPUT L

INDIVIDUAL

OUTPUT1

INDIVIDUAL OUTPUT2

Headphones

PHONES

OUTPUT L

INDIVIDUAL

OUTPUT1

Amplifier

Mixer

12345678910111213141516LR

OUTPUT L /

MONO

INDIVIDUAL OUTPUT2

Mixer

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R

OUTPUT L /

MONO

PHONES

CS6R

CS6x

Headphones

CD Player or other audio equipment

(merged to mono internally)

Microphone

(mono devices)

MIC/LINE2 LINE1

CS6x

CD Player or other audio equipment

(merged to mono internally)

Microphone

(mono devices)

MIC/LINE2 LINE1

CS6R

Basics

Section

Connecting External MIDI Equipment

You can connect an external MIDI device using a MIDI cable (available separately) and control it from this synthesizer. You can also use an external MIDI keyboard or sequencer to control the synthesizer’s internal sounds. This section introduces several different applications of MIDI.

The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be transmitted from the synthesizer’s MIDI OUT connector.

Controlling from an External MIDI Keyboard

The CS6R has no built-in keyboard so the above MIDI connection lets you play it in realtime.

Controlling an External MIDI Keyboard

Recording and Playback using an External MIDI Sequencer

MIDI IN

MIDI OUTMIDI IN

MIDI OUT

External MIDI

sequencer

CS6x/CS6R

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

CS6x/CS6R

HOST SELECT

PC-2 PC-1

MIDI Mac

HOST SELECT

PC-2 PC-1

MIDI Mac

CS6x/CS6R

External MIDI keyboard

or synthesizer

MIDI OUT

MIDI IN

Basics

Section

Controlling Another MIDI Device via MIDI THRU

With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI THRU jack.

The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors.

Connecting to a Personal Computer

When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the computer and the Memory Card inserted in the synthesizer’s CARD slot. There are two ways to connect your synthesizer to a computer:

1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal)

2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the

synthesizer’s MIDI IN and OUT)

Different computers require different connections, as follows.

1: Serial Port to TO HOST

IBM PC/AT

Macintosh

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

Apple Macintosh

PS422 (Modem or Printer port)

CS6x/CS6R

IBM PC/AT and compatibles

RS-232C

(DB9)

IBM

Personal System/V

PS/V

Personal System/V

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

CS6x/CS6R

External MIDI

sequencer

MIDI OUT

MIDI IN

External MIDI

synthesizer

MIDI THRU

MIDI OUT

MIDI IN

External MIDI synthesizer

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI IN

CS6x/CS6R

Basics

Section

2: MIDI Interface to MIDI IN and OUT

Using the computer’s MIDI interface

Using an external MIDI interface

You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform.

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI IN

Serial cable

MIDI OUT

CS6x/CS6R

PS/V

MIDI

IBM

OUT

MIDI

Computer with MIDI interface

Personal System/V

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI IN MIDI OUT

CS6x/CS6R

MIDI Interface

MIDI OUT

MIDI IN

Computer

Basics

Section

Connecting Various Controllers

The CS6x has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone, volume, pitch and other parameters. The CS6R only has a Breath Controller connector on its front panel, but other controls (equivalent to the CS6x) may be available using external MIDI controllers.

Details about how to these controllers are given on Page 47.

CS6x

CARD

3.3V

VOICE

PERFORM

PHRASE CLIP

UTILITY

CARD REC

JOB

STORE

EDIT COMPARE

SEQ PLAY

EF BYPASS

PLAY STOP

GAIN

VOLUME

BREATH PHONES

LINE1

MIC

LINE 2

A D INPUT

HOST SELECT

Mac

PC-1PC-2

MIDI

TO HOST BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE1 MIC

LINE 2

A D INPUT

GAIN

CS6R

BREATH

BC3

FOOT SWITCH

FC4

FC5

FC4

FC5

FC7 FC7BC3

FOOT CONTROLLER

FOOT VOLUME

BREATH

SUSTAIN

Basics

Section

Powering Up

Power-on Procedure

When you have made all the necessary connections between your synthesizer and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the last (first MIDI, then audio).

When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI).

When the CS6x/CS6R as MIDI receiver:

Switching the CS6x/CS6R On

Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it.

1Press the POWER switch.

2A splash screen is displayed briefly. 3The Voice or Performance Play Mode screen appears next.

VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-Q EQMid-G EQHi-G FLT-Rez HPF

CS6x

POWER

PLG1INTPRE1

PLG2EXTPRE2

EXIT ENTER

DEC NO

INC YES

DRUM DRUM

MEMORY

OFF

AC INLET

POWER

ON OFF

CS6R

POWER

ON!!

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R

MIDI sender Audio equipment (first mixer, then amplifier)

CS6x/CS6R

(MIDI receiver)

If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board installed, you may see other screens before the Voice or Performance Play Mode screen is displayed.

If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in EXT Memory are being loaded.

If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see a screen while a basic file is being created in EXT Memory.

If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in Board.

The final screen after the power-on sequence may change depending on the Power On Mode setting available Utility Mode (Page 164).

4Turn up the amplifier’s volume as necessary.

5Turn the synthesizer’s [VOLUME] knob clockwise to set an appropriate volume level.

About Memory Cards

You can save various kinds of data - Voice, Performance, Phrase Clip, Plug-in, Sequence Chain and so on - onto Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia), and there is a Memory Card supplied with this synthesizer.

Before using a Memory Card, read through precautions on how to handle it (Page 171).

• Formatting a Memory Card

You cannot use a new Memory Card to save files immediately. The card must be formatted in Card Mode (Page 176) beforehand. The Memory Card supplied with the synthesizer is already formatted and contains Demo Song files.

• Saving and Loading Data

You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be loaded when required. You can save and load data such as System, Voice, Performance, Phrase Clip, Plug-in, Sequence Chain or the like. Since Phrase Clips or Sequence Chain data are held temporarily in the synthesizer’s buffer memory and will be lost once you switch it off, you need to save such data onto the Memory Card first. Details about formatting a Memory Card, saving and loading data, and the recognized file types are given on Page 172.

Basics

Section

Basics

Section

Basic Operations

This section gives some basic explanations about operating the synthesizer.

Selecting a Mode

There are several operation Modes — Voice Play Mode, Performance Play Mode, Phrase Clip Mode, etc. — each of which enables you to work efficiently with the synthesizer’s various functions.

An overview of each Mode is given on Page 35.

There are separate Play Modes for Voices, Performances and Phrase Clips. To enter each of these Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance Play Mode). To enter or exit Phrase Clip Mode, press the PHRASE CLIP key. (Note that this key is not found among the MODE keys.) There are also separate Edit and Job Modes for Voices, Performances and Phrase Clips. To enter Edit or Job Mode, simply press the [EDIT] or [JOB] key while in each respective Play Mode. Similarly, pressing the [STORE] key in Voice, Performance or Phrase Clip (Play or Edit) Mode takes you into Store Mode where you can store Voices, Performances or Phrase Clips. Other Modes include Utility Mode where you can specify system settings, Card Mode where you can perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card Mode and the [SEQ] key for Sequence Mode.)

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PLAY

STOP

REC

PHRASE CLIP

SEQ PLAY

PITCH

TEMPO

Play Modes

1 Voice Play Mode (Page 74)

Press the [VOICE] key (its LED will light) to enter Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode.

2 Performance Play Mode (Page 117)

Press the [PERFORM] key (its LED will light) to enter Performance Mode. To exit to another Mode, simply press the respective key for that Mode.

PFM Play) INT:001(A01) [--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- -------

VCE Play) PRE1:001(A01) [Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

3 Phrase Clip Play Mode (Page 142)

Press the [PHRASE CLIP] key (its LED will light) to enter Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode. If you press the [REC] key while in Phrase Clip Play Mode, the Record screen in Phrase Clip Mode is displayed.

Edit Modes

When in each Play Mode, you can swiftly switch to each respective Edit Mode by simply pressing the [EDIT] key (its LED will light).

PCLP Play) 1(A01) [--:Init Voice] EQLow-G EQMid-G EQHi-G ------- -------

4 Voice Edit Mode (Page 78)

Press the [EDIT] key in Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Voice Play Mode.

4 Performance Edit Mode (Page 121)

Press the [EDIT] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode.

GEN Name) Ctgry a-Z 0-? Cursor Common [--:Init Perf ]

GEN Name) Ctgry a-Z 0-? Cursor C 1234 [Pf:Init Voice]

Basics

Section

Phrase Clip Edit Mode (Page

146)

Press the [EDIT] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play Mode.

Job Modes

When in each Play Mode, you can swiftly switch to each respective Job Mode by simply pressing the [JOB] key (its LED will light).

5 Voice Job Mode (Page 115)

Press the [JOB] key in Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Voice Play Mode.

5 Performance Job Mode (Page 140)

Press the [JOB] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode.

PFM Initialize)  Job Current Perform

VCE Initialize)  Job Current Voice

GEN Name) Ctgry a-Z 0-? Cursor Common [--:Init Perf ]

5 Phrase Clip Job Mode (Page 154)

Press the [JOB] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play Mode.

5 Utility Job Mode (Page 170)

Press the [JOB] key in Utility Mode. To exit to another Mode, press the respective key for that Mode or press the [EXIT] key to return to Utility Mode.

Other Modes

6 Utility Mode (Page 163)

Press the [UTILITY] key (its LED will light) to enter Utility Mode. To exit to another Mode, simply press the respective key for that Mode.

7 Card Mode (Page 171)

Press the [CARD] key (its LED will light) to enter Card Mode. To exit to another Mode, simply press the respective key for that Mode.

Save) Type File A-? Cursor Card all ***[NEWF ILE .S2A]

MSTR TG) Vol No teShift Tune Sys 127 +63 +102.3c

UTIL Factory Set) Job

PCLP Status)Free Used CardFree

4.0MB 0KB( 0%)-X›---.-MB

8 Sequence Play Mode (Page 161)

Press the SEQ key (its LED will light) to enter Sequence Play Mode. To exit to another Mode, simply press the respective key for that Mode.

When MIDI system exclusive messages are received from an external MIDI device, the LED for the currently selected Play Mode (VOICE, PERFORM or PHRASE CLIP) will blink.

9 Store Modes (Pages 116, 141, 160)

When in each Play or Edit Mode, you can swiftly switch to each respective Store Mode by simply pressing the [STORE] key. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Play Mode.

Another storage way of Voice, Performance and Phrase Clip is to memorize these settings as Scene 1 and 2. See Page 45 for more information (CS6x only).

SEQ) File:[ ] Perf Chain00 001 ⁄= 120 M eas=001 INT:128

VCE [Sq:Generation] > [Pf:Slamming ] Store INT:001(A01)

Basics

Section

Selecting a Screen

You can switch between screens using the [PAGE] knob and pressing [SHIFT], PROGRAM/PART, [EXIT] and [ENTER] keys.

[PAGE] Knob

Usually, there are several screens and sub-screens in each Mode. Use the [PAGE] knob to switch between screens.

As shown below, the “¥” indicator is displayed to the left of the screen if there are more screens before and after that which you are currently viewing. At the first in a series of screens, you will see the “∂” indicator meaning that there are more screens to follow, but none before it. At the last screen, you will see the “µ” indicator meaning that there are no more screens to follow.

[SHIFT] Key

If you hold down the [SHIFT] key in Voice Play Mode, you can modify the parameters on screen as follows.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

(Oct= +3) PRE1:128(H16) [Pf:GrandPiano] (Tch= 1)

LFO Depth) EL1234

Indicator

SHIFT PAGE A B

VCE Srch) PRE1: Memory

Next screenPrevious screen

Some Modes have more screens. In this case, you can use the [PAGE] knob while holding down the [SHIFT] key to switch to a specific screen. For example, if you use the [PAGE] knob while holding down the [SHIFT] key in Voice Edit Mode, the following screen is shown. Select a specific item using the cursor (≥), then release the [SHIFT] key to switch to the parameter screen for that item.

The [SHIFT] key also has other functions, as described in other sections in this manual.

PROGRAM/PART keys

With the CS6x, in Voice Edit Mode, PROGRAM/PART keys can be used to select the items shown under the keys and to switch to their screens.

[EXIT] Key

Press the [EXIT] key to move up (exit) in the hierarchical structure and return to the previous screen.

The [EXIT] key also has other more functions, as described in other sections in this manual.

Cursor

GENíOther) Com:>GEN≥QED> ARP>CTL>LFO>EFF EL1234 Elem:>OSC>PCH> FLT>AMP>LFO>EQ

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

1 2 3 4 5 6 7 8

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

9 10 11 12 13 14 15 16

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

PROGRAM

PART

MASTER KEYBOARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

Basics

Section

[ENTER] Key

Normally, the [ENTER] key is used to apply parameter settings. In some cases, however, the following screen appears prompting you to press the [ENTER] key.

The [ENTER] key has other functions, as described in other sections in this manual.

Entering Data

You can use the knobs to directly alter their respective parameters on the screen. Alternatively, you can also move the cursor (≥) to a parameter and set its value using the [INC/YES] and [DEC/NO] keys, or the [DATA] knob.

Knobs [A], [B], [C], [1] and [2]

Each parameter in a screen is normally associated with a knob ([A], [B], [C], [1] or [2]) below the display. When you use one of these knobs, the cursor (≥) moves to its respective parameter and you can change its value. For instance, you can use Knob [B] at the following screen to change the Level setting. Turn the knob clockwise to increase the value and anti-clockwise to decrease it.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

Moving the Cursor

By using a knob ([A], [B], [C], [1] or [2]) while holding down the [SHIFT] key, you can move the cursor (≥) to the respective parameter on the screen without affecting its value.

[INC/YES] and [DEC/NO] Keys

You can use the [INC/YES] key to increment a parameter setting by one step, or the [DEC/NO] key to decrement it. If you hold down either key, the value is continuously changed.

You can also use these keys to answer “YES” or “NO” when a confirmation message is displayed.

Moving the Cursor

By pressing the [INC/YES] or [DEC/NO] key while holding down the [SHIFT] key, you can move the cursor between parameters on the screen without affecting their values.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

DEC/NO INC/YES

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF EL1234 96 ≥ 0 ins2

MASTER

BYPASS

KEYBOARD

EXIT ENTER

DEC/NO INC/YES

EFFíEF1) Ctgry Type [ENTER] C 1234 MOD Tremolo to Edit

Basics

Section

[DATA] Knob

Use this knob to change the value of the parameter at which the cursor is positioned. Turn the knob clockwise to increment the value one click (step) at a time, or turn it anti-clockwise decrement it.

Moving the Cursor

Turn the [DATA] knob clockwise or anticlockwise while holding down the [SHIFT] key to move the cursor to a parameter in the screen without affecting its value.

[ENTER] Key

Use this key to apply a setting (when it is blinking, for example). The [ENTER] key is also used when executing a Job or Store operation, as described in other sections of this manual.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

Types of Parameters (Absolute and Relative)

There are many ways to set parameters. Some parameters require you to directly enter numerical settings or alphabetic characters. With others, you can choose from a number of available settings. Furthermore, some types of parameters are “absolute” whereas others are “relative.”

For example, the absolute parameter in the following illustration can be set to either “mono” or “poly.” For other absolute parameters such as Volume, the setting can be any value between zero and 127. The Volume setting has a linear, one-to-one relationship with the actual volume, as shown in the graph on the left.

However, relative parameters do not follow the same relationship. The graph on the bottom shows the role of the Velocity Offset parameter. The value you have set here, known as an “offset,” is added to, or subtracted from, the actual value. With Velocity Offset, the specified offset value is added to, or subtracted from, the actual velocity of the notes you play on the keyboard. Sometimes, these types of relative parameters are set as a percentage.

127

Volume

1 Volume (absolute)

Volume

offset added -10

Actual velocity

offset added +10

2 Velocity offset (relative)

-64

Offset

+64

QEDíLevel) Vol Pan RevSend ChoSend C 1234 127 C 127 127

0~127

GEN Other) Mode Assign MicroTuning  C 1234 poly single 31:Indian

mono/poly

Basics

Section

Demo Playback

Several demo songs are supplied with this synthesizer. You can play them back as follows.

Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12. At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices, Phrase Clip

or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 171) beforehand.

There are other demo song files provided on the included Memory Card. You can play them back in a normal Sequence Play operation after you load “all” data file from the Card (Page 174). Refer to page 162 for details.

1Press the SEQ PLAY key to enter Sequence Play Mode. You will see the following screen.

There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above.

2Press the [INC/YES] key to enter the SEQ Demo screen.

To cancel demo playback, press the [DEC/NO] key.

3Press the [PLAY/STOP] key to start playback of the song. 4Press the [PLAY/STOP] key again to stop playback.

At the end of the song, playback is automatically looped back to the beginning. You can change the playback tempo using the [TEMPO] knob or Knob [C]. To use the song’s original tempo,

select a tempo value of “***.” Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 161.

SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice,PClip will be changed.

Demo song name

SEQ Demo) Song:[DEMOSONG]  ≥ 001 ⁄= 120

Demo song number Playback tempo

Basics

Section

Voices and Performances

Playing a Voice

Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256 Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play Voices from both groups of memories, as explained in the following.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

VCE Play) PRE1:128(H16)[Pf: GrandPiano] EQ Low EQ Mid EQ Hi Cut off RevTime

CURSOR

SHIFT PAGE PART

ELEMENT DATA

SYSTEM A B C 1 2

1 [VOICE] key 2 MEMORY key3 [DEC/NO]

and

[INC/YES]

keys

3 [DATA] knob

1 Press the [VOICE] key

The [VOICE] key LED will light, showing that you are now in Voice Play Mode. The following appears in the display.

At this point, you can play the Voice (named on the screen) via keyboard.

VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

2 Press a MEMORY key to select a Voice Memory

There are six Voice Memories: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal), EXT (External), PLG1 (Plug-in 1), and PLG2 (Plug-in 2). Within each Voice Memory are several Banks (up to eight, A to H) in which the Voices are stored. The following illustration shows how Voices are stored in a Voice Memory.

PRE2 (Preset 2)

Bank A~H

1~16

Voice

EXT (External)

Bank A~H

1~16

Voice

PRE1 (Preset 1)

Bank A~H

1~16

Voice

INT (Internal)

Bank A~H

1~16

Voice

PLG1 (Plug-in 1)

Bank A~D

1~16

Voice

PLG2 (Plug-in 2)

Bank A~D

1~16

Voice

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

Now you can play a selected Voice when you play the keyboard on the CS6x or the external keyboard connected to the CS6R. Try auditioning other Voices.

Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 76.

You can also select Voices using a combination of BANK and PROGRAM/PART keys (CS6x), or using the Category Search feature. Details about selecting Voices are given on Page 75.

Octave Shifting (CS6x only)

If you need to raise or lower the keyboard note range for the Voice, you can use the OCTAVE [UP] key to raise the range by an octave and the OCTAVE [DOWN] key to lower it by an octave. You can shift the note range by up to three octaves in either direction. The current octave setting is shown in the left corner of the display while the OCTAVE [UP] or [DOWN] key is being held down. For instance, if you press the OCTAVE [UP] key twice (+2), you will actually play note C5 by pressing note C3 on the keyboard (i.e., the note you play is shifted up two octaves). To return to the standard octave range (0), press the OCTAVE [UP] and [DOWN] keys simultaneously.

You can have the current octave setting shown in the display while holding down the [SHIFT] key. Use this feature for confirmation.

If a note is shifted beyond G8 (MIDI note number 127), it will automatically be shifted to the octave below. For instance, note G#8 will be played as G#7.

OCTAVE [UP] and [DOWN] keys are linked to the “Coarse/Fine” parameter (Page 90) in the PCH Tune screen of Voice Edit Mode, and also the “Oct” parameter (Page 163) in the MSTR Kbd screen of Utility Mode. The OCTAVE [UP] and [DOWN] keys may not function if these parameters also have been set to shift the range.

You can also use the OCTAVE [UP] and [DOWN] keys in Performance Play Mode.

Basics

Section

The Drum Voices are held in separate areas of each Memory, and are accessed as follows.

• To access the Preset Drum Memories (PRE:DR1 ~ DR8):

Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key.

• To access the User Drum Memories (INT:DR1/2, EXT:DR1/2):

Press the MEMORY [EXT] key while holding down the MEMORY [INT] key.

PRE1 and PRE2 (Preset 1 and 2) are stored in internal Read Only Memory (ROM) and contain preset Voices which are never overwritten. INT (internal) is stored in Random Access Memory (RAM) and contains the factory default Voices. These can be overwritten, but can be recalled from the original factory settings at any time if required.

EXT (external) is stored on a Memory Card inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Voice, “---

--” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Voices. PLG1 or PLG2 Voices can only be selected if a Plug-in Board is installed.

3 Select a Voice Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Voice Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Voice Number.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

VCE Play) PRE1:128(H16) [Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

MEMORY

PRE1

PRE2

DRUM

INT

EXT

DRUM

PLG1 PLG2

To access Preset Drum Voices (PRE:DR1 ~ DR8)

To access User Drum Voices (INT:DR1/2, EXT:DR1/2)

OCTAVE

DOWN UP

(Oct= -3) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

Basics

Section

Playing a Performance

In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory Card) Performances. A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also let you set the synthesizer up for multitimbral operation. Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for Phrase Clip, A/D INPUT and Plug-in Boards. If the Layer Switch (Page 133) parameter is switched on for any Parts, those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI channels so that they can be played or be controlled individually using the built-in (or an external) sequencer. Up to 128 Performances can be stored in the internal memory and up to 64 on Memory Card. These Performance settings are available in Performance Edit Mode (Page 121). Here, we will show how to get started with Performance Play after selecting a Performance.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

MEMORY

PRE1

INT

DRUM

EXT

PLG1 PLG2

PRE2

DRUM

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PFM Play) INT:128(H16)[Pf: Init Perf ] EQ Low EQ Mid EQ Hi Cut off RevTime

CURSOR

SHIFT PAGE PART

ELEMENT DATA

SYSTEM A B C 1 2

1 [PERFORM] key 2 MEMORY key3 [DEC/NO]

and

[INC/YES]

keys

3 [DATA]

knob

Press the [PERFORM] key

The [PERFORM] key LED will light, showing that you are now in Performance Play Mode. The following appears in the display.

At this point, you can play the Performance (named on the screen) via keyboard.

PFM Play) INT:001(A01)[--:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

2 Press a MEMORY key to select a Performance Memory

There are two Performance Memories: INT (internal) and EXT (External). The INT memory is divided into eight Banks (A to H) of 8 Performances. The EXT memory is divided into four Banks (A to D) of 4 Performances.

INT (internal) is stored in internal Random Access Memory (RAM) and contains factory default Performances. These can be overwritten but can recalled at any time.

EXT (external) is stored on a Memory Card (RAM) inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Performance, “-----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Performances.

MEMORY

PRE1

PRE2

INT (Internal)

Bank A~H

1~16 1~16

Performance Performance

DRUM

INT

EXT

DRUM

PLG1 PLG2

EXT (External)

Bank A~D

Basics

Section

3 Select a Performance Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Performance Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Performance Number.

You can now play Parts in the Performance via the keyboard. If the Layer Switch parameter is switched on for any Parts, those Parts can be play in unison. Now try selecting other Performances.

Details about selecting Performances using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 76.

You can also select Performances using a combination of BANK and PROGRAM/PART keys (CS6x), or using the Category Search feature. Details about selecting Performances are given on Page 119.

On selection, a Performance may take a few seconds to become ready since the settings for multiple Parts are applied.

PFM Play) INT:001(A01) [--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- -------

SHIFT PAGE

PART

ELEMENT

MASTER KEYBOARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

DATAA B C 1 2

Basics

Section

An Overview of the CS6x/CS6R

In this section, an overview of the many features of the CS6x/CS6R is given. The CS6x/CS6R hardware is made up of a number of sections, as shown in the following diagram.

Controller Section

This section consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control Knobs, and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the synthesizer’s tone generator section when you plays notes. The controllers also send changes. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector.

The CS6R has no keyboard, Pitch Bend or Modulation Wheels, Ribbon Controller or Sound Control Knobs.

Sequencer Section

This section can be used to play back Standard MIDI Files held on Memory Card. The contents of Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following illustration. The sequencer can play back songs with a different Voice assigned to each Part.

Sequencer

Tone Generator

(Performance Parts)

Track1 Piano Ch1 Track2 Bass Ch2 Track3

Strings

Piano Bass

Strings

Percussion

Ch3

Track16

Percussion

Ch16

Ch1 Ch2 Ch3

Ch16

Controller Section

Sequencer

Section

Song File Playback

Arpeggiator

Keyboard

(CS6x)

Tone Generator

Section

AWM2

Plug-in Board

Phrase Clip

Controllers

Effects Section

Basics

Section

Tone Generator Section

This section plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in Voice Mode.

About the Tone Generator

The tone generator section in the CS6x/CS6R consists of AWM2, Phrase Clip and Plug-in units. AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms,

and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be applied to the basic waveform.

AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 37.

Phrase Clips are sounds recorded via microphone or from external audio equipment, or sounds loaded directly via Memory Card. These are then stored in internal RAM and can be played back as musical sounds. They can be edited and easily set up for use as rhythm loops, percussion/drum sounds and sound effect.

Plug-in Boards add more features to the system. When installed, they combine perfectly with the synthesizer’s built-in tone generator section.

The following types of Plug-in Board are available, and up to two boards can be installed in the synthesizer. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 108).

This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require.

Single Part Plug-in Boards

• Analog Physical Modeling Plug-in Board (PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have realtime control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.

• Piano Plug-in Board (PLG150-PF)

A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes.

Tone Generator Section

OSC

(Oscillator)

Outputs the waveform of each Element. Each Voice consists of up to four Elements.

Controls the pitch of each Element output from OSC.

FILTERPITCH

Changes the tonal quality of each Element output from PITCH.

AMP

(Amplitude)

Controls the output level (amplitude) of each Element output from FILTER. The signals are then sent at this level to the Effects Units.

To Effects Units

Basics

Section

• Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DXseries synthesizers to give a completely faithful reproduction. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.

• Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller (BC3) or MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.

Effect Plug-in Boards

• Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use the synthesizer like a vocoder by connecting and using a microphone while playing the keyboard.

Multi-Part Plug-in Board

• XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board.

More Plug-in Boards will be available in future.

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.

Maximum Polyphony

The maximum sonic polyphony is 64 for AWM2 (the figure includes Phrase Clips), plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board.

In the case of AWM2 Voices, the polyphony figure of 64 is divided by the number of Elements in the Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is

32.

Basics

Section

Effects Section

The effects can be used to change the sound of a Voice or Performance. There are two Insertion Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be connected in parallel or in series.

In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance, though the way they are connected (series or parallel) varies slightly. As shown in the following illustration, the two Insertion Effect units can be independently switched on or off for each Element in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed through the Insertion Effects, the signals from all individual Elements are mixed and sent to the Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole before it is sent to the outputs, and are therefore known as System Effects.

In Performance Mode, the Insertion Effects can be set for two Parts: a Voice, Phrase Clip or A/D Input Part, plus a Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts, but to the Performance as a whole.

Details about Effects are given on Page 65.

Voice Mode Performance Mode

Output

Element

1~4

Insertion

Effects

System Effects

Reverb

Chorus

Output

Voice1~16

Element

1~4

Phrase Clip

Insertion

Effects

1/2

System Effects

Reverb

Chorus

A/D Part

Plug-in 1/2 Board

Insertion

Effects

Basics

Section

About the Modes

The CS6x/CS6R has various Modes which you can select according to the task you wish to perform.

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

PLAY

STOP

REC

PHRASE CLIP

SEQ PLAY

PITCH

TEMPO

Performance Mode

Performance Play Mode Performance Edit Mode Performance Job Mode

Utility Job Mode

Card Mode

Utility Mode

Sequence Play Mode

Voice Mode

Voice Play Mode Voice Edit Mode Voice Job Mode

Phrase Clip Mode

Phrase Clip Play Mode Phrase Clip Record Mode Phrase Clip Edit Mode Phrase Clip Job Mode

Voice Mode (Page 74)

Voice Play Mode

Normal Voices and Drum Voices can be played in this Mode. You can select from Preset Voices (256 Normal Voices plus 8 Drum Kits), Internal (User) Voices (128 Normal Voices plus 2 Drum Kits) and External (Memory Card) Voices (128 Normal Voices plus 2 Drum Kits). That is a choice of 512 Normal Voices and 12 Drum Kits. The choice is extended further still if you have an optional Plug-in Board installed.

The MIDI settings for Voices are set in Utility Mode.

Voice Edit Mode

Normal Voices and Drum Voices can be created and edited in this Mode. You can save up to 128 edited Normal Voices and 2 edited Drum Kits as User Voices in internal memory. You can also store them to Memory Card as external memory.

Voice Job Mode

In this Mode, you can copy and initialize Voices, and perform other such operations (Jobs) on them.

Performance Mode (Page 117)

Performance Play Mode

This Mode is used when playing Performances. You can layer multiple Voices (Parts) to create rich sonic textures. You can also create multitimbral setups by assigning Parts to different MIDI channels. You can layer A/D Input, Phrase Clip and Plug-in Parts, as well as AWM2-based Voices.

Performance Edit Mode

In this Mode, you can edit and create Performances. You can save up to 128 Performances to internal memory or up to 64 to external memory (Memory Card).

Performance Job Mode

In this Mode, you can copy and initialize Performances, and perform other such operations (Jobs) on them.

Phrase Clip Mode (Page 142)

Phrase Clip Play Mode

In this Mode, you can select and play Phrase Clips.

Phrase Clip Record Mode

You can record sounds into the synthesizer from a microphone or other audio source in this Mode. These sounds (Phrase Clips) can then be played back in real time via keyboard. Furthermore, Phrase Clips that you have already recorded can be re-recorded as new Phrase Clips after having, say, Chorus effects applied to them.

Phrase Clip Edit Mode

This Mode is used for editing Phrase Clips. Once you have recorded the Phrase Clips, you need to edit them to set their loop points and other parameters. You can also create Clip Kits by assigning them to notes on the keyboard.

Phrase Clip Job Mode

In this Mode, you can copy and delete Phrase Clips, and perform other such operations (Jobs) on them.

Sequence Play Mode (Page 161)

In this Mode, you can use the sequencer to play back Song files (Standard MIDI Files) held on Memory Card. The Songs can be played back individually or as a chain. By switching Performance, you can also change the sounds associated with each track in a Song.

Utility Mode (Page 163)

Select this Mode when setting parameters that apply to the synthesizer system as a whole. These include MIDI settings and synthesizer setup parameters.

Utility Job Mode

In this Mode, you can restore the synthesizer’s factory settings.

Card Mode (Page 171)

Insert a Memory Card into the CARD slot and you can save files to it, load files from it, and do various other things with the data on the card.

Basics

Section

Voices

A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you can select and play any of these Voices. In Performance Play Mode, several different Voices (known as Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of

Voices are available if optional Plug-in Boards have been installed.

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

Preset1

(128 Preset Voices)

Banks A~H

Preset2

(128 Preset Voices)

Banks A~H

Internal

(128 User Voice)

Banks A~H

External

(128 User Voice)

Banks A~H

(2 User Drum

Voices)

(2 User Drum

Voices)

256 Normal +

8 Drum Voice (Preset)

Controllers

Controllers Sequencer

Song play

Tone Generator

Voice

Tone Generator

Performance

Playing a Voice Playing a Performance

Clip Kits 1~4

Clip Key

Plug-in1

(64 Plug-in Voice)

Banks A~D

1~16

Voice

Plug-in2

(64 Plug-in Voice)

Banks A~D

Plug-in

Performance Play Mode

Voice Play Mode

Part

Voice

PRE1:

(A01)

PRE1:

(A02)

PRE1: (A03)

PRE2:

(A01)

PRE2:

(A02)

PRE2: (A03)

INT:

(A01)

EXT:

(A01)

PRE1: (A16)

Phrase

Clip

CLip

kit1

A/D Part

Mic etc.

Plug-in Part 1

Plug-in

Part 2

Phrase Clip

Preset

(8 Preset Voices)

DR 1~8

Drum Voice

256 Normal +

8 Drum Voice (User)

Basics

Section

An Overview of Voices/Waves

Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform.

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of Drum Voice assignments is known as a Drum Kit.

If you have installed an optional Plug-in Board, there will be more Voices for you to choose from. These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have installed (Page 32).

The Note Limit settings (Page 90) will also affect the allocation of sounds. But basically, Normal Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard.

A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices and save them to internal (User) memory or to external memory (Memory Card), just as with Normal Voices.

Voice

Element 1~4

Element

Wave form

AWM2: 479 Preset waveforms

Normal Voice Drum Voice

Voice

Element 1~4

wave 1 wave 2 wave 3 wave 4 wave 5 wave 73

Basics

Section

Waves

Waves are waveforms used as Elements that make up a Voice. 479 high quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.

Another feature of the CS6x/CS6R is its ability to accept computer WAV/AIFF files and record real instruments, which you can then play back as musical instrument sounds. These types of sounds are known as Phrase Clips. You can record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card. The Waves can then be processed in Phrase Clip Edit Mode and assigned to notes (Clip Keys) on the keyboard to form a Clip Kit. Up to four Clip Kits can be held in memory. You can play these Clip Kits via the keyboard or you can assign them as Parts in a Performance.

The Clip Kit settings will be lost when you switch off your synthesizer. To avoid this situation, you should save your Clip Kit settings to Memory Card.

wave 1~479

Element1 Element2 Element3 Element4

C-2 G8

Voice

Microphone

Memory Card

Up to 256 Clips

Clip Kit 1~4

C0 C6

Save

Memory Card

Basics

Section

Performances

A Performance consists of up to 20 Parts, each of which can a Normal Voice, Drum Voice, Phrase Clip, A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts (up to four), you can play back rich layered sounds in Performance Play Mode. You can also create splits so that different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel number to each Part, each track of a sequencer can play back a different Part.

In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can cause note response to become slower under some circumstances.

Performance

Song

Sequencer

MIDI CH

1~16

Part 1~16, Phrase Clip, A/D INPUT Part,

Plug-in 1/2 Part

Multiple

Layered Voices

Layer Switch set to “on”

Performance

Plug-in 1/2 Part

CH1

Different Voice For Each Part

CH16

Basics

Section

Easy Real-time Editing

Sound Control Knobs (CS6x only)

The Sound Control knobs allow you for on-the-fly alteration of the tonal characteristics and effects applied to the Voice or Part of a Performance that is currently selected. The functions of each of the knobs are explained here. The altered Voices or Performances can be stored anytime as Scene 1 or

Scene 2 (Page 45). When saving each Voice or Performance (Pages 116, 141), its Scene information is also included. However, only the states of the two FILTER knobs, the ATTACK and DECAY knobs and Assignable Knobs [1] and [2] are stored with each Scene.

A preset of suitable parameter settings is assigned to each sound. By using each knob, you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded.

The functions assigned to each of these knobs are the same as those set in the Common Quick Edit Envelope Generator screens in Voice Edit (Page 78) and Performance Edit (Page 121).

FILTER Knobs

These two knobs let you directly adjust filter parameters to control the tonal characteristics of the sound. Generally, filters are used to pass certain frequencies of a sound and block others.

n The characteristics of the filter will vary

depending on the Filter Type parameter setting for each Element of the Voice.

[CUTOFF] Knob

Use this knob to increase/decrease the filter cutoff frequency. Turn the knob clockwise to decrease the cutoff frequency, which will produce a brighter sound. Turn it anti-clockwise to increase the cutoff frequency, which has the effect of muffling the sound.

[ATTACK] Knob

Use this knob to extend/shorten the Attack time, which is the time taken for the sound to reach its peak level from the moment a note is played on the keyboard. Turn the knob clockwise to extend the Attack time and anti-clockwise to shorten it.

[DECAY] Knob

Use this knob to extend/shorten the Decay time, which is the time taken for the sound to drop from its peak level to a steady, continuous level. Turn the knob clockwise to extend the Decay time and anti-clockwise to shorten it.

[RESONANCE] Knob

Use this knob to increase/decrease

the harmonic boost applied to the sound around the cutoff frequency. Turn the knob clockwise to increase the boost and anti-clockwise to decrease it. You can give a unique characteristic to the sound by adjusting this parameter.

Level

Cutoff Frequency

FILTER EFFECT

[SUSTAIN] Knob

Use this knob to increase/decrease

the Sustain level, which is the level of the sound maintained while the note is being held down. Turn the knob clockwise to increase the Sustain level and anti-clockwise to decrease it.

Resonance

Frequency

CUTOFF RESONANCE

ATTACK DECAY SUSTAIN RELEASE

EFFECT Knobs

These two knobs let you directly set the amount of reverb and chorus applied to the sound.

[REVERB] Knob

Use this knob to increase/decrease the Reverb Send level, which is the amount of reverb applied to the sound. Turn the knob clockwise to increase the level and anti-clockwise to decrease it.

n The effect of changing this parameter

will vary depending on the Reverb Type parameter setting (Page 89).

The “í” indicator

When you move a knob, the í indicator is displayed to the left of the LCD. The indicator for the Voice or Performance remains displayed until you save your edits. If you need to keep your edited data, you should

REVERB CHORUS

save it (Pages 116, 141).

GENíName) Ctgry

EG (Envelope Generator) Knobs

[RELEASE] Knob

Use this knob to extend/shorten the Release time, which is the time taken for the sound level to fade to zero after the note has been released. Turn the knob clockwise to extend the Release time and anti-clockwise to shorten it.

[CHORUS] Knob

Use this knob to increase/decrease the Chorus Send level, which is the amount of chorus applied to the sound. Turn the knob clockwise to increase the level and anti-clockwise to decrease it.

n The effect of changing this parameter

will vary depending on the Chorus Type parameter setting (Page 89).

Edit indicator

These four knobs let you directly control the “envelope” of the sound. Envelopes define the transitions in sound level from the moment you press a note on the keyboard to the moment the sound level fades out after you release the note. All instruments have their own definitive and varied envelopes, which can be simulated using these four parameters.

Level

Sustain

Level

Attack

Decay

Time

Key on Key off

Release

Time

Basics

Section

Ideal for Playing Live

Many features of this synthesizer make it ideal for live performances. These features are explained here.

The parameters for these features can be stored per Voice/Performance/Phrase Clip.

Using the Scene (CS6x) Controls (Page

1 Using the Arpeggiator (Page 42)

A wide variety of arpeggio patterns can be created automatically by just holding down a set of notes on the keyboard. You can specify the sound and the note range within which the arpeggiator is active, then use your left hand to hold down the notes being arpeggiated while using your right hand to play a melody line.

CS6x

Rear Panel

45)

Using the Sound Control knobs, you can edit sounds with ease. You can then assign two of these edits as Scenes, then switch between them or create a mix of the two in real time using the SCENE [1] or [2] keys and [CONTROL] knob on the front panel, or even a Foot

3 Using the Controllers (Page 47)

The Pitch Bend Wheel, Modulation Wheel

POWER

can be freely assigned to control various sound parameters in real time. By connecting an optional Foot Controller or Foot Switch, you can also use your feet to control parameters, to change Program Number, and so on (Page 52). Also, you can assign parameters to Knobs [A], [B], [C], [1] and [2] on the front panel below the LCD.

CS6R

5 Other Features (Page 59)

4 Using Phrase Clips (Page 53)

Existing Phrase Clips (waveform data) can be read or you can create your own Phrase Clips by recording from external audio sources, such as CD players. Rhythm loops and breakbeats can easily be created. Assign a variety of Phrase Clips to notes on the keyboard to form a Clip Kit (of which you can create up to four). Then play this Clip Kit live or assign it to a Part in a Performance for playback using a sequencer.

In addition to the Sound Control knobs, there is also a knob and an [ON/OFF] key for Portamento. These conveniently let you switch Portamento on or off and adjust the Portamento time in real time (CS6x).

Basics

Section

1 Arpeggiator

The arpeggiator is particularly suited to

dance/techno music genres. You can assign any

of 128 Arpeggio Types to each Voice, Performance

or Clip Kit, and adjust the tempo. You can also

set the Arpeggio Mode (the way in which the

arpeggio is played back when you press a note)

and Play Effects to create your own original

grooves. Arpeggio information can be transmitted

through the MIDI Out.

On the CS6R, the Arpeggiator's ON/OFF, GATE TIME, and HOLD functions are set in the relevant Edit Modes (Pages 82, 83).

Switching the

Arpeggiator On/Off

The arpeggiator can be used in Voice,

Performance or Phrase Clip Mode, and also when

the sequencer is being used. You can switch the

arpeggiator on/off using the ARPEGGIO

[ON/OFF] key on the front panel. When

switched on, the ARPEGGIO [ON/OFF] key LED

will be lit.

If the arpeggiator is already switched on and ready for use, the ARPEGGIO [ON/OFF] key LED will light when you select the Voice, Performance or Clip Kit.

The on/off state of the arpeggiator is stored with each Voice, Performance or Clip Kit. (Pages 116, 141,

160) You can check/change the Arpeggio Type, Tempo

and other parameters in the Arp screen (Page 82) in Voice, Performance or Phrase Clip Edit Mode.

Using the Arpeggiator

When the arpeggiator is switched on, the notes

you play (and hold down) on the keyboard will be

arpeggiated using the currently selected Voice,

Performance or Clip Kit, and according to the

Arpeggio Type, Tempo and Note Limit settings.

In Voice Mode, the currently selected Voice will be

arpeggiated.

In Performance Mode, the Voices of Parts for

which both the Layer and Arpeggiator are

switched on, are arpeggiated (Page 133).

In Phrase Clip Mode, the currently selected Clip

Kit (the Phrase Clips assigned to the notes you

play) will be arpeggiated.

Only notes within the Note Limit range will be arpeggiated. Therefore, if the notes you play are not arpeggiated, they may be outside this range. Details about the Note Limit settings are given later.

The Pitch Bend and Modulation Wheels can be used while the arpeggiator is running.

Changing the Gate Time

You can use the [GATE TIME] knob on the front panel to change the gate times (lengths) of notes played by the arpeggiator. Assuming that the knob is centered (i.e., the Gate Time setting is 100%), turning the knob clockwise will increase the Gate Time to a maximum of 200% and turning it anti-clockwise will shorten it to a maximum of 0%. You can vary note lengths in real time by using this knob while the arpeggio is playing. However, the effect will vary depending on the sound and phrase settings.

Changing the Arpeggio Type, Tempo and Note Limit.

You can choose from 128 different Arpeggio Type presets. You can also freely vary the Arpeggio Tempo to suit the song. The Note Limit parameter can be used to define the effective note range of the arpeggio.

Each parameter applies to, and is stored with, each Voice, Performance or Clip Kit. By playing notes on the keyboard and listening to the arpeggio, you can adjust these parameters by ear.

The arpeggiator’s parameters are available in each Edit Mode. In the following Voice Mode example, the Arpeggio Type is set for a Drum Voice in Preset Drum 1.

To select the Preset Drum, press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key, then press a PROGRAM key. Here, we will choose Preset Drum 1 so you should press the PROGRAM [1] key. On the CS6R, press the [PRE2] key while holding down the [PRE1] key , press the [ENTER] key, then select the Drum Voice using the [PAGE] knob.

ARPEGGIO

HOLD

OFF

GATE TIME

ARPEGGIO

GATE TIME

HOLD

ON OFF

Basics

Section

Selecting the Arpeggio Type

1Press the [EDIT] key in Voice Play Mode. You

will enter Voice Edit Mode at the screen where you previously exited.

2Turn Knob [A] fully anti-clockwise until Common

is displayed on the bottom line. Voice Edit Mode consists of two different Edit screens: Common Edit (for parameters common to all Drum keys/Elements) and Drum key/Element Edit. The Arpeggiator parameters are found in the Common Edit screens that you have now selected.

3Use the [PAGE] knob to switch to the ARP

Type (Arpeggio Type) screen.

If you use the [PAGE] knob while holding down the [SHIFT] key, a menu will be displayed. You can quickly jump to the ARP screen by using the [PAGE] knob to move the cursor to the ARP item in the menu, then releasing the [SHIFT] key (Page 80).

4Use Knob [B] to jump to the Type parameter.

Now use Knob [B], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to select the desired Arpeggio Type. Let’s choose “BigBeat2” here.

5Use Knob [1] or the [ARPEGGIO] key on the

front panel to switch the arpeggiator on. When you play the keyboard, the drum pattern can now be heard.

You can play multiple patterns simultaneously by pressing more than one note on the keyboard.

Now try assigning different Arpeggio Type and Drum Voice settings. There are many different drum patterns available.

Arpeggio Types are divided into the five following categories and applications are not just limited to drum patterns. You can also select Arpeggio Types for backing chords, basslines and so on. Next, why not try out Arpeggio Types with Normal Voices and Phrase Clips?

When setting the Arpeggio Category to Ct (Control), you also need to set the Key Mode parameter (two screens ahead) to “direct.”

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds.

Cl (Phrase Clip):

Select this type to a Clip Kit that is assigned with loop-mixed or loop-divided Phrase Clips, to create a new arpeggio pattern.

Ct (Control):

Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.”

Details about Arpeggio Types are given in the separate Data List.

You can also use a foot switch (optional) to switch the Arpeggiator on and off (CS6x). Details about assigning parameters to the foot switch are given on Pages 53, 165.

MODE

VOICE PERFORM

UTILITY CARD

EDIT

JOB

COMPARE

STORE

GEN Name) Ctgry a-Z 0-? Cursor Common [Dr:Rock Kit ]

SHIFT PAGE

ELEMENT

PART

ARPíType) Type Tempo Switch Hold Common GateCut2:Ct 92 off off

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

ARPíType) Type Tempo Switch Hold Common≥BigBeat2:Dr 92 on off

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Basics

Section

Setting the Tempo

You can use Knob [C] to adjust the tempo

between 25 and 300 BPM. This parameter setting

is used by the Arpeggiator. Use Knob [C] to jump

to the Tempo parameter. Now use Knob [C], the

[DATA] knob or the [INC/YES] and [DEC/NO]

keys to set the tempo. You can also set the tempo

using the [TEMPO] knob on the front panel.

Setting the Note Limit

Using the Note Limit parameter, let’s set up a

Normal Voice (say, Voice Program Number 2 of

Internal:champ) such that the Arpeggiator is

enabled in the lower part of the keyboard but the

upper part can be used to play melody lines.

You’ll need to have already set the Arpeggio Type

(say, MuteLine).

1The Note Limit parameters can be set in the

ARP Limit screen, which follows immediately after the ARP Type screen mentioned in step 3 (earlier). Use the [PAGE] knob to switch to the screen.

2Use Knob [2] to jump to the parameter for the

highest note in the range, and to set the note. Alternatively, you can set this parameter by pressing the note (say, E3) on the keyboard while holding down the [SHIFT] key. Similarly, the lowest note in the range can be set using Knob [1], or by pressing the note while holding down the [SHIFT] key.

Knobs [1] and [2] are used to set the Note Limits of the keyboard range within which the arpeggiator will play back. The cursor (≥) immediately jumps to each respective parameter when Knobs [1] and [2] are used. Once the cursor is at the parameter, you can also use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enter settings.

Outside the Note Limit range, you can play the keyboard normally without the notes being arpeggiated. Therefore, you can use your left hand to play block chords used by the Arpeggiator and your right hand to play melody lines in the upper part of the keyboard.

Combined with the OSC Limit parameter of the Element Edit screen, the sound used in the lower part of the keyboard can be different from that in the upper part.

Following the example in this manual, if you select Voice Program Number 002 of INT, Portamento is already set for this Voice. Use the PORTAMENTO knob and [ON/OFF] keys to change the portamento time and switch portamento on/off (Page 59).

Using the Arpeggiator Hold

With Arpeggiator Hold switched on, the arpeggiator will continue to play back, even after you have released your fingers from the notes on the keyboard. The same arpeggio pattern will be played back until you press another set of notes on the keyboard.

You can switch Arpeggiator Hold on/off using the ARPEGGIO [HOLD] key. When switched on, the ARPEGGIO [HOLD] key LED is lit.

Press the ARPEGGIO [HOLD] key for the Voice you edited earlier (for which you set the Note Limit parameter). With Arpeggio Hold switched on, the Arpeggiator will continue to play back, even after you have released your left hand from the keyboard. This leaves your left hand free to perform other tasks, such as adjusting the Sound Control knobs.

If Arpeggiator Hold is switched on and ready for use, the [HOLD] key LED will light when you select the Voice, Performance or Clip Kit.

Depending on the method of storage (Pages 116, 141,

160), the [HOLD] key state (on/off) can be saved with the Voice, Performance or Clip Kit.

You can set the [HOLD] key state in the Arp screen (Page 82) in Voice, Performance or Phrase Clip Edit Mode.

ARPíType) Type Tempo Switch Hold C_ 1234 BigBeat2:Ct≥ 127 on off

Arpeggiator Range Area for Playing Melody

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Arp Note HighArp Note Low

ARPíLimit) Note Limit C_ 1234 C -2 - G 8

SHIFT PAGE

DATAA B C 1 2

ELEMENT

PART

ARPíLimit) Note Limit C_ 1234 C 1 - E 3

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

ARPEGGIO

HOLD

OFF

GATE TIME

Basics

Section

2Use the Sound Control knobs and Assignable

Knobs [1]/[2] to get the sound that you will store as a Scene.

Each Voice can have its own settings for Assignable Knobs [1]/[2] (Pages 51, 84).

3If you wish, you can set up a different Scene

for the other SCENE key.

4Store the Voice (Page 116) or Performance

(Page 141); its Scene settings will be stored with it.

If you store the Voice or Performance while the LEDs of both SCENE keys are lit (i.e., after adjusting the SCENE [CONTROL] knob), this state will also be stored with the Voice or Performance.

Storing Scenes

If you use the Sound Control knobs or Assignable Knob [1]/[2] to change the sound settings while the LEDs for both SCENE keys are lit (i.e., a mixture of settings from both Scenes is being used), these new settings should be stored to either SCENE key as a new Scene. This operation is known as Scene Store, and is explained as follows.

1Press the SCENE [1] or SCENE [2] key while

holding down the STORE key. The LED for the key you select will light and the positions of the knobs will be stored.

As explained earlier, if you edit the sound while either SCENE key LED is lit, this means that you are editing the Scene directly so you do not need to perform a Scene Store.

2Store another Scene to the other SCENE key if

necessary.

3Store the Voice (Page 116) or Performance

(Page 141) to save the Scene settings.

Recalling Scenes

You can easily recall a Scene by pressing the SCENE [1] key or SCENE [2] key. The SCENE key’s LED will light.

When you switch between Voices or Performances, one of the Scenes will always be selected (the SCENE [1] key or SCENE [2] key LED will be lit). It is also possible that the LED for both SCENE keys will be lit, meaning that the sound uses a mixture of both Scenes.

When you recall a Scene, the knob position settings for that Scene will be recalled, regardless of the current physical positions of the knobs.

2 Scene Controls

(CS6x)

Scenes are used to memorize the positions of the

FILTER [CUTOFF]/[RESONANCE] knobs, EG

[ATTACK]/[DECAY] knobs and Assignable Knobs

[1]/[2], and can be recalled later at the touch of a

button. You can use the knobs to edit the sounds

in real time, then store their positions with each

Voice/Performance as Scene 1 and Scene 2.

As an example, the illustration below shows two

different groups of knob settings (A and B)

assigned, respectively, to the SCENE [1] key and

the SCENE [2] key. In effect, what this means is

that two types of sound can be memorized and

recalled for each Voice/Performance. What’s more,

you can use the SCENE [CONTROL] knob to

create a smooth transition from one Scene to the

other, or even a mix between Settings A and B.

Scene Settings

When stored, the Scenes are held in a temporary edit buffer and the settings are lost if you switch to another Voice or Performance, or if you change Mode. Therefore, once you have stored the Scene, you should store the Voice or Performance; the Scene settings will be stored along with it.

1In Voice/Performance Mode, select the Voice/

Performance for which you wish to store Scenes.

When you switch between Voices or Performances, one of the Scenes will always be selected (the SCENE [1] key or SCENE [2] key LED will be lit). Therefore, the settings for the Scene you are about to switch to will be different to those of the currently selected Scene. It is also possible that the LEDs for both SCENE keys will be lit, meaning that the sound uses a mixture of both Scenes.

Setting BSetting A

VCE Play) PRE1:128(H16)[Pf:GrandPian o] EQ Low EQ Mid EQ Hi Cutoff RevTi me

A B C 1 2

Scene Store Scene Store

SCENE

VCE Play) PRE1:128(H16)[Pf:GrandPian o] EQ Low EQ Mid EQ Hi Cutoff RevTi me

A B C 1 2

1 2

CONTROL

Voice Store or Performance Store

Basics

Section

Controlling Scenes by Foot Controller (CS6x)

By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can switch between Scenes by foot without having to use your hands. You can set this up as follows.

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Scene (System Control Scene) screen.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Scene) Scene Contr ol  Sys 65[Port Sw ]

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE1 MIC

LINE 2

A D INPUT

GAIN

FC7

Using the SCENE

[CONTROL] Knob

The SCENE [CONTROL] knob lets you create a

smooth transition from one Scene to the other, or

even a mix between the settings for both Scenes.

As an example, the illustration below shows two

different groups of knob settings (A and B)

assigned, respectively, to the SCENE [1] key and

the SCENE [2] key. Starting with the SCENE

[CONTROL] knob at its fully anti-clockwise

position, turn the knob clockwise to create a

smooth transition from the Scene 1 settings to

those of Scene 2.

For example, the Resonance can be increased and

LFO speed can become faster between Scenes.

Multiple changes to the sound can be applied in

one go using just the one knob, making this

feature ideal for live performances.

Turn the SCENE [CONTROL] fully anti-

clockwise to switch to Scene 1 or fully clockwise

to switch to Scene 2. If you set it to a position in

between, a mix of settings taken from both Scenes

will be used. By turning the knob from one end

to the other, a smooth transition from one Scene

to the other is created. While the knob is in a

position other than fully clockwise or anti-

clockwise, the LEDs for both the SCENE [1] and

SCENE [2] keys will be lit.

You can also assign Volume, Pan and other Control Change numbers to the SCENE [CONTROL] knob (Page 165).

Setting BSetting A

VCE Play) PRE1:128(H16)[Pf:Grand Piano] EQ Low EQ Mid EQ Hi Cutoff R evTime

A B C 1 2 A B C 1 2

Scene Store Scene Store

SCENE

VCE Play) PRE1:128(H16)[Pf:Grand Piano] EQ Low EQ Mid EQ Hi Cutoff R evTime

1 2

CONTROL

Settings between

Scenes 1 and 2

SCENE

Scene 1 settings

1 2

Scene 2 settings

CONTROL

3 Use Knob [B] to select “04:FootCtrl” (Foot

Controller).

4 Use the [PAGE] knob to switch to the CTL

Assign2 (Voice Control Assign 2) screen.

5 Use Knob [C] to select “04:FootCtrl” (Foot

Controller).

Switch to Voice Mode and you are now ready to use the Foot Controller to control Scenes.

The above procedure is for assigning a Foot Controller to control Scenes in Voice Mode. For Performance Mode, follow the same procedure but at steps 4 and 5, switch to the CTL Assign2 screen in Performance Edit Mode.

Basics

Section

Using Controllers

The CS6x is equipped with Pitch Bend and Modulation Wheels, plus a Ribbon Controller. Either of the CS6x and CS6R is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters.

Pitch Bend Wheel

This wheel’s prime function is to control pitch. Roll the wheel upward/downward to bend the pitch upward/downward. The effect can also be reversed.

Pitch Bend Range can be set for each Voice. The wheel can also be assigned other parameters (Page

84). Even if a different parameter is assigned to the

wheel, Pitch Bend messages are still transmitted through the MIDI Out when it is being used.

Modulation Wheel

The more you roll this wheel upwards, the greater the modulation that is applied to the sound.

Modulation depth can also be set beforehand. Also, the wheel can be assigned different parameters, such as Volume or Pan (Page 84).

CTRL Scene) Scene Contr ol  Sys 04[FootCtrl ]

SHIFT PAGE

ELEMENT

PART

CTRL Assign2) FC RB----Mode Vce [ off ] 00 22 hold

DATAA B C 1 2

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB Vce [FootCtrl] 04 22

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Pitch Up

Pitch Down

Pitch Bend

Wheel

Modulation

Wheel

Deeper

Pitch Bend

Wheel

Modulation

Wheel

Basics

Section

Foot Controller (CS6x)

An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack (Page 18) on the rear panel, can be assigned a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers). This is very convenient if you are playing live.

Foot Controller parameters can be set for each Voice.

Foot Switch (CS6x)

An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH jack (Page 18) can be assigned to a range of parameters. It is suited for a switch-type (on/off) controls such as Portamento Switch, increment/decrement of a Voice or Performance Number, start/stop of the Sequencer, holding Arpeggiator on or off. The Foot Switch is not well suited for continuous control. You could also use it to switch to between different Voices or Performances

The parameter assigned to the Foot Switch is set in the CTRL Other screen of Utility Mode (Pages 52, 165).

Sustain (CS6x)

With an optional Yamaha FC4 or FC5 Foot Switch connected to the SUSTAIN jack (Page 18) on the rear panel. This is useful when playing pianotype sounds.

You cannot assign a function other than Sustain to the SUSTAIN jack.

Foot Volume (CS6x)

Connect an optional Foot Controller (such as the FC7) to the FOOT VOLUME jack of the rear panel (Page 18). You can then use your foot to control Main Volume or Expression parameters, leaving your hands free to play the keyboard. This is very useful if you are playing live.

The parameter assigned to the Foot Volume controller is set in the CTRL Other screen of Utility Mode (Page 165).

Breath Controller

You can connect an optional Breath Controller (BC3) to the BREATH jack (Page 18) on the rear panel (or the front panel of the CS6R). Then use it to control a large number of the synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The Breath Controller is ideally suited for realistic expression with wind instrument type Voices.

Breath Controller parameters can be set for each Voice.

Ribbon Controller (CS6x)

The Ribbon Controller is a touch-sensitive

controller that lets you control, say, Filter Cutoff

in real time by running a finger lightly across its

surface to the left or right. Normally, its assigned

parameter will increase in value as you run you

finger to the right, though you can set it to do the

opposite. The Ribbon Controller can be assigned

many different parameters (Page 84).

Ribbon Controller parameters can be set for Utility Mode (Pages 164, 169).

Knobs [A]/[B]/[C]/[1]/[2]

In Voice/Performance Play Mode, Knobs [A], [B],

[C], [1] and [2] can be used as real-time controllers.

Knobs [A], [B] and [C] are assigned to control the

equalizer gain of, respectively, EQ Low, EQ Mid

and EQ Hi. With Knobs [1] and [2], you are free to

assign different parameters per Voice.

If you turn any knob clockwise, the value assigned

to it is incremented. Conversely, the value is

decremented if you turn it the other way.

Common system parameters are assigned to Knobs [A],[B] and [C] (Pages 50, 165). Voice-specific parameters are assigned to Knobs [1] and [2] (Pages 51, 84).

A preset of suitable parameter settings is assigned to each Voice. By using each knobs [1] and [2], you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded.

In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are used for entering parameter settings on screen (Page 24).

SYSTEM

CURSOR

SHIFT PAGE PART

A B C 1 2

ELEMENT DATA

Basics

Section

Aftertouch

Aftertouch lets you, for example, add vibrato to a

sound by applying further pressure to a note on the

keyboard while it is being held down. (With the

CS6R, an aftertouch-sensitive controller keyboard

must be connected.) This allows real-time

expression and control. Aftertouch can be used to

control a wide variety of parameters (Page 84).

Control Sets

Aside from their default parameters, keyboard

aftertouch, the controllers and some of the knobs

on the front panel can be assigned with various

parameters, as explained on Page 47. For

example, you could assign Resonance to the

Modulation Wheel and set aftertouch to apply

vibrato. You are free to assign parameters to suit

the kind of sound being played.

These controller assignments are known as Control

Sets. As the following illustration shows, you can

assign up to six different Control Sets per Voice.

For each Phrase Clip, you can assign up to four

different Control Sets. Within each Control Set,

the controller is known as the Source (Src) and the

parameter controlled by the Source is known as the

Destination (Dest). There are various Dest

parameters available; some will apply to the Voice

as a whole, while some will be specific to each of its

Elements. Details are given in the Controls List of

the separate Data List.

Details about the available Dest parameter settings are given in the Destination Parameter List of the separate Data List.

The Element Switches (Page 85) will be disabled if the Dest parameter setting is not specific for Elements (i.e., for settings 00 to 33).

By creating Control Sets, you can change sounds in a variety of ways.

For example, set the Src (Source) parameter of Control Set 1 to MW (Modulation Wheel) and the Dest (Destination) parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control.

In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, the Element is panned from left to right. So in other words, you can assign several Dest parameters to each Src controller.

Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth). Again, specify the Element to be controlled and also the depth of control.

Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter.

By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds.

ELFO-PM

Dest

ELFO-PM

Dest

SET 1 SET 3

Src

(Modulation Wheel)

Src FC

(Foot Controller)

You can control the pitch modulation effect using either of Modulation Wheel (MW) and Foot Controller (FC).

ELFO-PM

Dest Param

ELM PAN

Dest Param

SET 1 SET 2

Src

(Modulation Wheel)

Src

(Modulation Wheel)

Moving the Modulation Wheel changes the amount of Pitch Modulation plus the pan position.

Voice

Control Sets

1~6

Src(Source)

Controller

RB,MW,etc

Dest(Destination)

Control Parameters

Depth

Depth of control

ON/OFF ON/OFF ON/OFF ON/OFF

Elements 2 3 4

Control Sets and External MIDI Control

In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer. For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch. Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out.

Let’s say the Pan parameter is assigned to the Pitch Bend Wheel in a Control Set. Now, when you move the Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound but at the same time, the original pre-defined Pitch Bend messages will still be sent to the MIDI Out.

The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments are found in the VOICE (Vce) CTRL Assign1/2 screen of Utility Mode.

As Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch is pre-defined with specific MIDI controls, you cannot assign MIDI Control Changes.

You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out. For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the VOICE CTRL Assign2 screen of Utility Mode, you could assign Control Change Number 1 (Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator but at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out.

This aspect of the synthesizer makes it ideal for use as a master controller for controlling external MIDI devices. Add an optional Foot Controller or Breath Controller for even more control.

Basics

Section

Assigning Parameters to Knobs [A], [B] and [C]

The following procedure explains how you can assign a desired parameter to Knob [A], [B] or [C]. You can assign any parameters that are common throughout the system (for all Play Modes) and any MIDI Control Change Numbers. In the example, Knob [A] will be set up to control Reverb Return.

1 Press the [UTILITY] key to enter Utility Mode.

2 Use the [PAGE] knob to switch to the CTRL

KnobA (System Control Knob A) screen.

3 Use Knob [2] to select REV-Rtn (Reverb

Return).

Now you can use Knob [A] for on-the-fly control of the Reverb Return level in Voice/Performance/Phrase Clip Play Mode. Note that you can also send (by turning Knob [A]) or receive Control Change messages with the Controller Number set in the CC# parameter through MIDI In and Out.

For assignable parameters, refer to “System Controller Destination Parameters” in the separate Data List.

MODE

VOICE PERFORM

MIDI

Pitch Bend

Wheel

Tone Generator

OUT IN

MIDI Control

Control Set

Pitch

LFO1 PAN

UTILITY CARD

EDIT

JOB

COMPARE

STORE

CTRL KnobA) CC# Dest Sys 01[ModWheel ] EQLow-G

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL KnobA) CC# Dest Sys 01[ModWheel ] REV-Rtn

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Basics

Section

Assigning Parameters to Knobs [1] and [2]

The following procedure explains how you can assign a desired parameter to Knob [1] or [2]. You can assign controllers to each Voice (or Part in a Performance) or Clip Kit. Control Settings can be assigned as a Control Set, and a each Controller can be used to control multiple parameters (although this varies according to the type of Voice or Clip kit). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCH-Crs (Pitch: Coarse) to Knob [1].

You can also assign, separately, a different MIDI Control Change Number to the same knob in Voice Mode and Performance Mode. Details are given on Page 168.

1 Press the [VOICE] key to enter Voice Play Mode.

2 Select Internal Voice 001 (A01) and press

the [EDIT] key to enter Voice Edit Mode.

3 Use the [PAGE] knob to switch to the CTL

Set1 (Control Set 1) screen.

4 Use Knob [B] to assign “KN1 (16)” (Knob

[1]) to the Src (Source) parameter.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) FLT-Rez --34 +14

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTL Set1) Src Dest EL Sw Depth C 1234 MW(01) FLT-Rez --34 +14

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

5 Use Knob [C] to assign PCH-Crs

(Pitch:Coarse) to the Dest (Destination) parameter.

6 Use Knob [1] and the [DATA] knob to specify

the Element to be controlled. Knob [1] moves the cursor (blinking) and the [DATA] knob displays the Element to be controlled.

7 Use Knob [2] to set the Depth parameter.

The larger the setting, the greater the depth of control.

8 Store the edited Voice (Page 116).

Now you have Internal Voice 001 (A01) assigned PCH-Crs (Pitch:Coarse) to Knob [1]. When you select and play this Voice in Voice Play Mode, you can control the pitch of the Voice if you turn Knob [1].

Details about the assignable control functions are given in the Control Set Destination Parameters in the separate Data List.

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs --34 +14

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs 1--4 +14

SHIFT PAGE

DATAA B C 1 2

ELEMENT

PART

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs 1234 +34

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Controlling Parameters by Foot Controller (CS6x)

By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can control various parameters by foot without having to use your hands. In the following example, we introduce how to set up Foot Controller to work as Modulation Wheel.

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Assign2 (Voice Control Assign 2) screen.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Assign2) FC RB Vce [ off ] 00 22

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE1 MIC

LINE 2

A D INPUT

GAIN

FC7

Basics

Section

3 Use Knob [C] to select “01:ModWheel”

(Modulation Wheel).

In Voice Mode, the foot controller can now be used to control Modulation.

If the current Voice has a Control Set with a source (Src) assigned to Modulation Wheel (MW) and receives a Control Change message of Modulation Wheel, a destination (Dest) parameter for the source (MW) will be affected with that message.

The above procedure explains how to set up the Foot Control to control Modulation in Voice Mode. To create such a setup for Performance Mode, the appropriate settings are found at the CTL Assign2 screen in Performance Edit Mode.

Switching Between Programs by Foot Switch (CS6x)

By connecting an optional Foot Switch (such as the FC4 or FC5) to the FOOT SWITCH jack on the rear panel of the synthesizer, you can switch between Programs without having to use your hands. For example, if you consecutively arrange the Voices/Performances in memory, you can switch between them easily in a live performance. The following procedure explains exactly how to a about this.

CS6x

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

R L MONO

PHONES LINE1 MIC

LINE 2

A D INPUT

GAIN

FC4

FC5

CTRL Assign2) FC RB Vce [ModWheel] 01 22

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Basics

Section

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Other (System Control Other) screen.

3 Use Knob [B] to select “099:PC Inc”

(Program Change Increment).

In Voice/Performance/Phrase Clip Mode, the Foot Switch can now be used to switch between programs.

Alternatively, you can assign other functions such as Arpeggio Switch (On/Off), Sequencer (Play/Stop) and so on (Page 165).

4 Phrase Clips

Real-world sounds can be recorded or loaded into the synthesizer and played back as musical instruments sounds. The waveform data held in the synthesizer are knows as Phrase Clips. These Phrase Clips are created and played back in Phrase Clip Mode (Page 142). A basic overview of Phrase Clips is given here.

Phrase Clips Overview

As shown in the following illustration, on the rear panel (or the front panel of the CS6R), there is an A/D INPUT jack for inputting analog sources to the A/D converter. The A/D converter then converts the signals from these analog sources into digital binary signals through a process known as “sampling.” Within the synthesizer, these sampled signals are called Phrase Clips, and up to 256 of these Phrase Clips can be held within the 4MB of internal memory. You can assign Phrase Clips to any keys on the keyboard to play them back. A collection of Phrase Clip keyboard assignments is known as a Clip Kit, of which you can create up to four. You can then assign Clip Kits to Performances, just like with Voices. When playing back Phrase Clips, the processing of signals is the opposite of A/D conversion. The digital signals are passed through a D/A converter to convert them back to analog form.

256 phrase clips

4MB Internal Memory

A/D

Converter

D/A

Convertor

Analog Signal

Clip Kits

Analog

signal

AD INPUT

DRAM

Digital Binary

MODE

VOICE PERFORM

UTILITY CARD

EDIT

JOB

COMPARE

STORE

CTRL Other) FS Sys 088[ ------ ]

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

CTRL Other) FS Sys 099[PC Inc ]

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Basics

Section

Sampling Rate and Bit

Resolution

As an example, the illustration shows a sine wave.

When recording (sampling) the sine wave, the

A/D converter basically takes snapshots of the

wave’s levels at fixed intervals in time.

In the graph, the horizontal axis represents time

and the vertical axis represents signal level. The number of snapshots of levels taken in one second is known as the sampling rate and is given in Hertz. The A/D converter of this synthesizer has a sampling rate of 44.1kHz, which means that it takes 44100 snapshots of the waveform’s levels within one second. The higher the sampling rate, the closer the reproduced (digital) signal is to the original. On the vertical axis, the number of levels is given in bits and is known as the bit resolution. The A/D converter of this synthesizer has a bit resolution of 16 bits, which means that there are 2

(i.e., 65536) levels on the vertical axis. As with the sampling rate, the higher the bit resolution, the closer the reproduced (digital) signal is to the original. Incidentally, audio on CDs is also sampled at

44.1kHz in 16 bits.

Figure A: Lower sampling rate and bit resolution

Figure B: Higher sampling rate and bit resolution

Level

Time

Level

Time

Level

Sampled waveform

Level

Time

Original Analog Signal

Playing Back Phrase Clips

You can play back your Phrase Clips in three different ways, as follows.

First, there is “loop” playback. A section of the Phrase Clip is continuously looped during playback. This is often used for creating drum pattern loops from breakbeats.

When you play a note on the keyboard, the Phrase Clip plays from the start point to the end point. It then returns to the loop point and plays to the end point again, and keeps doing this until you release the note.

With musical instruments in general, the characteristic part of the sound (the “attack” section) is usually at the beginning, just after the start point. After this, the sound does not vary a great deal while the note is being held, and you can set the loop and end points at either end of this section. When playing back a Phrase Clip of an instrument that has been looped like this, the attack section of the sound is played back once and then the looped section is played back continuously until you release the note. Looping is also way of creating usable instrument sounds without using up too much memory.

The second playback method is known as “one shot.” When you press a note on the keyboard, the Phrase Clip plays from beginning to end just once. This type of playback is commonly used for Phrase Clips of drum and percussion sounds.

Third, you can select “reverse” playback. When you press a note on the keyboard, the Phrase Clip plays from end to beginning just once. This is useful for creating reversed cymbal sounds and other special effects.

You can set points and playback modes for the loop in Phrase Clip Edit Mode (Page 146).

Start Point End Point

Start Point Loop Point

Phrase Clip Looped Playback

End Point

Basics

Section

Creating a Clip Kit

You can assign Phrase Clips to notes on the keyboard (C0 to C6) and play them live or using a sequencer. You can also edit various parameters for each Phrase Clip. The assignment of Phrase Clips across the keyboard is known as a Clip Kit, and you can create up to four of these.

You can assign each Phrase Clip to one note on the keyboard. However, by assigning breakbeats and other rhythmic loops plus percussive Phrase Clips used in the rhythms, you can create a Clip Kit specifically for rhythms only. Or you could assign Phrase Clips of unusual sounds to create a Clip Kit of special effects. Essentially, you can create a Clip Kit consisting of any sounds that suit your needs.

Clip Kits can be treated the same as Voices and Performances. For instance, in Phrase Clip Play

Mode, you can play Clip Kits directly using the keyboard (Page 142). In Performance Mode, a

Clip Kit can be included as a Part in a Performance (Page 129).

You can further edit Clip Kits and Phrase Clips in Edit Mode (Page 146) and perform jobs on them in Job Mode (Page 154).

When you switch off your synthesizer, the Clip Kit will be lost. Always save important data to Memory Card.

Recording a Phrase Clip

This section explains how to record a Phrase Clip, set the loop and so on, execute jobs, and create a Clip Kit. You can create a Phrase Clip by recording from a microphone, CD player or some other audio equipment, or from an existing Voice/Performance/Phrase Clip in the synthesizer. As a simple example, we will record the drum pattern that was created earlier using the Arpeggiator and Drum Voice.

1Before entering Phrase Clip Mode, first enter

Voice Play Mode and press the MEMORY [PRE1] and [PRE2] keys simultaneously. Then use the [DATA] knob, the [DEC/NO] and [INC/YES] keys or the PROGRAM keys (CS6x) to select the Preset Drum Voices (DR1).

2Now press the PHRASE CLIP key (its LED will

light) to enter Phrase Clip Mode.

3Hold down the PHRASE CLIP [REC] key and

the following screen will be displayed. Here, you can assign a key to the Phrase Clip you are about to record. While still holding down the key simply press the respective key on the keyboard. Here, we will assign note C1. Now release the [REC] key to switch to the Recording screen.

4Use Knob [B] to set the Source parameter to

“voice” The Drum Voice you selected earlier can now be played on using the keyboard.

5Use Knob [C] to set the Trigger parameter to

“key.” With this setting, the recording process will begin when you press a note on the keyboard.

6Press the ARPEGGIO [ON/OFF] key on the

front panel (its LED will light) to switch the Arpeggiator on. When you press a note on the keyboard, a drum pattern will now play back according to the Arpeggiator settings. You can adjust the tempo using the SEQ PLAY [TEMPO] knob on the front panel. Before proceeding further, make sure that you have selected the correct sound.

With the CS6R, select the Drum Voice, enter Drum Voice Edit Mode (Page 102), set it’s Arpeggio Switch parameter to “on,” and then enter Phrase Clip Mode.

To prevent the deterioration in sound quality when recording, you should set a high output level for the Voice (in Voice Edit Mode).

PHRASE CLIP

PITCH

REC

Press and hold down

PCLP Rec) >> Select Record Key <<  >> C 1:off[ ] <<

Clip

C1 C6

C0 C6

PCLP Rec) Source Trigger [ENTER] (Key=C 1) voice key toStandby

Basics

Section

!In Phrase Clip Edit Mode, use the [PAGE] knob

to switch to the OSC Asgn screen. Normally you would assign the Phrase Clip to a note on the keyboard (Clip Key) here. However, since we have already assigned it to note C1 in step 3 the Phrase Clip name and number ([Clip 001]) will be displayed when you press note C1 on the keyboard or use Knob [A] to call up C1. When you press C1 to assign a Clip Key, the Phrase Clip will be played back.

Since it is somewhat inflexible to assign the Phrase Clip to just C1, we will also assign it to the white notes from D1 to C2. Select each respective notes by pressing it on the keyboard or by using Knob [A], and use Knob [B] to assign [Clip 001] to each.

At the same screen, use Knob [1] to select a Variation. A Variation refers to the method by which the Phrase Clip (including its loop points and other parameters) is played back. Using a Variation, each Phrase Clip can have up to eight different loop points. For example, when applied to the drum pattern Phrase Clip recorded earlier, Variations can be used to create a 1-bar loop pattern, a reversed pattern and other different playback styles.

You have assigned the same Phrase Clip ([Clip 001]) to the white notes between C1 and C2. Now you can assign a different Variation to each of the notes. Select each respective note by pressing it on the keyboard or by using Knob [A], and use Knob [1] to assign a different Variation number (1 to 8) to each. At this stage, the Variations themselves have not been set so Variations 1 to 8 will all play the Phrase Clip back in the same way. However, once you have set up all the Variations, the same Phrase Clip can be played back differently for each white note between C1 and C2.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER] Key= C 1 1[Clip 001 ] 1 to Edit

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER] Key= C 2 1[Clip 001 ] 1 to Edit

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSCíAsgn) Number Variation [ENTER] Key= C 1 1[Clip 001 ] 1 to Edit

7Press the [ENTER] key and the Recording

Standby state is entered. You will see the “Waiting for trigger...” message.

8Recording will begin when you press the

respective note on the keyboard. Press the note and let the drum pattern play for one bar.

9Press the [EXIT] key. Recording will finish and

the “Now Working...” message will be displayed. The recorded Phrase Clip is now assigned to note C1, as set in step 3. At this point, you can audition the recorded Phrase Clip by pressing note C1 while holding down the [REC] key.

There may be cases where a recorded volume level differs from one you monitored while recording. It is an effect by the automatic level adjustment function that corrects a recorded level for a proper playback. In these cases, you can adjust a playback level of the Clip in Phrase Clip Edit Mode. If you want to increase the entire volume, you can use the EQ Type parameter to set a value of “Boost12”.

If you are not satisfied with the result, you can repeat the recording by pressing the [ENTER] key.

)Once you exit Phrase Clip Record Mode, the

recorded Phrase Clip will automatically be saved to memory (DRAM) with a new number and name (Clip 001). Here, do not exit Phrase Clip Record Mode. Instead, press the [EDIT] key to enter Phrase Clip Edit Mode.

Editing the Phrase Clip

Continuing from step ) above, you are now ready to edit the Phrase Clip you have just recorded. In Phrase Clip Edit Mode, you can assign Phrase Clips to notes on the keyboard (between C0 and C6) to form a Clip Kit, create loops, edit the tonal characteristics and so on. Here, we will edit the recorded Phrase Clip in several ways.

EF BYPASS

MASTER KEYBOARD

EXIT ENTER

DEC/NO INC/YES

PCLP Rec) Source Trigger [EXIT] << Waiting for Trigger... >> toStop

Basics

Section

@Check that note C1 is selected, then press the

[ENTER] key. The Variation parameters for [Clip 001] will be displayed.

To return to the previous screen, press the [EXIT] key.

#Use Knob [A] to select the Variation number.

We will start with Variation 1.

$As explained earlier (Page 54), the Play

parameter specifies how the Phrase Clip is played back. There are three possible settings for this parameter, but we will select “reverse” here. Use Knob [B] to select.

Now press note C1 on the keyboard and check that the Phrase Clip has indeed been reversed.

Reverse playback involves the sound being played in reverse from the End point to the Start point. You can change the length by simply adjusting these points. When you record a Phrase Clip, the Start point is initially set at the beginning of the recording and the End point at the end of the recording.

%Press the [EXIT] key to return to the OSC Asgn

(Oscillator Assign) screen. This time, select the D1 note and press the [ENTER] key.

^Next, select Variation 2 but set the Play

parameter to “loop” this time. When you press note D1 at this point, the Phrase Clip is simply played back as a loop between the Start and End points of the recording. If you only want one part of the Phrase Clip to be played back as a loop, you need to set the Start/Loop/End points. As an example, we will set a loop exactly one bar in length.

&Use Knob [C] to set the Start point (the point at

which playback will begin when you press a note). To create a 1-bar looped drum pattern, you need to press note D1 and adjust the Start point so that it matches up with the first beat in the bar.

*Use Knob [1] to set the Loop point (the start of

the section to be looped). Since you will be creating a loop exactly one bar in length, the Loop point can be set to the same position as the Start point.

(Use Knob [2] to set the End point (the end of

the section to be looped). For a 1-bar drum pattern, you need to set the End point at the end of the fourth beat in the bar (i.e., immediately before the first beat of the next bar). Press note D1 and keep adjusting the End point until you find the ideal point for looped playback.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Star t Loop End (D 1) 2: loop 11912 0 119120 452316

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Star t Loop End (D 1) 2: loop 11912 0 119120 236378

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLPíVar) Play Star t Loop End (D 1) 2: loop 11912 0 0 236378

MASTER KEYBOARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

PCLPíVar) Play Start Loop End (C 1) 1: loop 0 0 236378

PCLPíVar) Play Star t Loop End (C 1) 1: loop 0 0 236378

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

PCLPíVar) Play Star t Loop End (C 1) 1: reverse 0 0 236378

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Basics

Section

[Clip 001] is now reversed as Variation 1 and looped for one bar as Variation 2, and both Variations can be played by pressing notes C1 and D1. In the same way, you can change the points for Variations 3 to 8 and set up different loops to that of Variation 1/2.

Therefore, each Phrase Clip can be played back in a variety of ways according to different notes on the keyboard, and you can assign completely different Phrase Clips with different Variations to other notes. Such a collection of Phrase Clips and Variations is known as a “Clip Kit.”

ºNext, press the [JOB] key to enter Phrase Clip

Job Mode. We will now take a quick look at how to execute a Job.

Executing a Job

In Job Mode, you can perform various operations (Jobs) on your edited Phrase Clips. You can copy and delete items, create Variations, use Loop Remix and Extract to modify your Phrase Clips and so on. In this example, the totally unique Loop Remix feature will be explained. The explanation continues from step º above.

¡In Phrase Clip Job Mode, use the [PAGE] knob

to switch to the PCLP LoopRemix screen. Loop Remix takes the data from an existing Phrase, changes it around, and creates a separate new, looped Phrase Clip. (The original Phrase Clip remains in its original state and a completely new Phrase Clip is created with Loop Remix.) By setting the Type and Vari parameters, you can easily create a variety of new Phrase Clips.

™By pressing the respective note on the keyboard

or by using Knob [A], you can select the source Phrase Clip to which Loop Remix will be applied. Let’s select [Clip 001] as the source and create a new Phrase Clip. If you have followed the previous procedure and assigned Variations to the white notes between C1 and C2, you can press any of these notes; [Clip 001] will still be selected.

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

PCLP LoopRemix) Type Vari Job C 1:001[Clip 001] 1 A

£Use Knob [1] to set the Type parameter, which

specifies the type of loop change (i.e., which part of the loop will be modified). Combined with the Vari parameter, it is possible to create a variety of loop patterns using Loop Remix. There are five Types in total, and we will use Type 2 here.

¢Use Knob [2] to set the Vari (Variation)

parameter, which specifies the amount by which the loop will be modified. The four available Variations (A to D) apply increasing amounts of modification. Let’s select “D” here in order to create the largest modification.

∞Press the [ENTER] key and you will see a

confirmation message. Now press the [INC/YES] key to confirm and the Loop Remix will be executed on [Clip 001] using the Type and Vari parameters set earlier. To cancel the operation, press the [DEC/NO] key

After the Loop Remix operation has completed, you will see the following message.

At this point, you can press the note on the keyboard assigned to [Clip 001] and listen to the sound after Loop Remix has been applied. You should hear a completely new type of pattern, including reversed sections of sound.

However, if you are not satisfied with the result, you can repeat steps £ to ∞ and apply Loop Remix by pressing the [INC/YES] key at the present screen. By changing the combination of Type and Vari parameter settings, you should be able to create loop patterns that sound completely different.

§Once you have a Phrase Clip that you are satisfied with, press the [DEC/NO] key at this screen and you will be returned to the PCLP LoopRemix screen. The new Phrase Clip will have a new name and number, and be assigned to the keyboard in place of the original Phrase Clip (which is still retained in memory but is no longer assigned to notes).

Phrase Clips are retained in memory (DRAM) even after you exit Phrase Clip Mode, and until you switch the power off. However, if a Clip Kit has been created after editing or executing a Job, it will be lost when you exit Phrase Clip Mode. Therefore, you should always store your Phrase Clips before exiting this mode. Up to four Clip Kits can be stored in internal memory. Details about storing Phrase Clips are given on Page 160.

Once you have created a Clip Kit, you can play it in Phrase Clip Play Mode or use it as a Part in a Performance, just as with Voices (Page 129).

PCLP LoopRemix) Type Vari << Retry? [YES]/[NO] >> 2 D

Basics

Section

Other Useful Features

Portamento

Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next, and can be used in Voice or Performance Mode. You can switch portamento on/off using the PORTAMENTO [ON/OFF] key on the front panel. When switched on, the PORTAMENTO [ON/OFF] key LED will be lit.

You can use the [PORTAMENTO] knob to vary the pitch transition time (Portamento Time). Turn the knob clockwise to lengthen the time.

Before enabling portamento, specify how portamento should work using parameters available in the Portamento screen (Page 84).

If Portamento is switched on and ready for use, the PORTAMENTO [ON/OFF] key LED will light when you select the Voice.

In Performance Mode, you can apply portamento to Voices of Parts that have their Layer Switch (Page

133) and Portamento switch set to “on” (Page 131). Depending on the method of storage (Pages 116,

141), the portamento state (on/off) can be saved with the Voice or Performance.

You can set the portamento state in the Portamento screen (Pages 84, 131) in Voice or Performance Edit Mode.

Pan

You can use the [PAN] knob on the front panel to set the stereo position (pan) of the currently selected Voice, Performance or Clip Kit. The Pan parameter can be set in each Edit Mode, but the front panel [PAN] knob lets you adjust this parameter in real time in any of the Play Modes.

On the CS6R, this is set at the QED Level screen (Page 81).

PORTAMENTO

OFF

PAN

1 Selecting a Voice to Edit

Enter Voice Play Mode by pressing the [VOICE] key.

Select the Voice Number of the Voice you wish to edit (Page 75).

Before editing, first enter Voice Job Mode and copy the Voice you wish to edit to internal user memory. If you are creating a Voice from scratch, use the Initialize function to initialize a Voice in internal user memory. Details are given on Page 115.

2 Entering Voice Edit Mode

Voice creation/editing is carried out in Voice Edit Mode. To enter Voice Edit Mode, press the [EDIT] key while in Voice Play Mode.

Common Edit and Element Edit

Each Voice consists of up to four Elements (Page 37). The parameters common to all four Elements are known as Common Edit parameters. Voice Edit Mode consists of Common Edit screens, plus screens for each individual Element’s parameters.

In Voice Edit Mode, you can use Knob [A] to switch between Common settings and settings for Elements 1 to 4.

Common settings

Settings for Elements 1 to 4

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSC Wave) Number Ct gry  EL1234 001[Pf:Gran d 1 ]

Element 1~4

GEN Other) Mode Assign M icroTuning  C 1234 poly single 3 1:Indian

Common

VOICE PERFORM

UTILITY CARD

EDIT

COMPARE

JOB

STORE

MODE

Basics

Section

There are 256 Normal Voice presets and 8 Drum Voice presets. You can edit these to create new Voices, or build completely new Voices from scratch. You can then store up to 128 of these new/edited Normal Voices and up to 2 new/edited Drum Voices to internal user memory or external Memory Card.

The following procedure gives a basic idea about how to go about creating/editing Voices.

Of course, this is just one example; you are free to set any parameters in any way you like. Details about each parameter are given in the Reference section of this manual.

All parameter settings are stored along with the Voice itself.

1In Voice Play Mode, select the Voice you wish

to edit.

2Enter Voice Edit Mode. 3In the Common Edit screens, set the parameters

common to all Elements in the Voice (volume, pitch, tone, etc.) You can also set parameters related to the Arpeggiator, Controllers, Effects, and so on.

4At the OSC (Oscillator) screens, select the

Waves used by the Elements in the Voice, plus the volume, pan, note range and other basic parameters.

5At the PCH (Pitch) and PEG (Pitch Envelope

Generator) screens, set the tuning and other pitch-related parameters used by the Elements. Also set the PEG parameters as necessary.

6At the FLT (Filter) and FEG (Filter Envelope

Generator) screens, adjust the parameters of the filters used by the Elements. Also set the FEG parameters as necessary.

7At the AMP (Amplitude) and AEG (Amplitude

Envelope Generator) screens, set the volume and other output level-related parameters used by the Elements. Also set the AEG parameters as necessary.

8At the LFO (Low Frequency Oscillator)

screens, set the modulation-related parameters used by the Elements.

9At the EQ (Equalizer) screens, adjust the

equalizer parameters affecting the tonal characteristics of the Elements.

)Store the edited Voice.

Voice Edit

MODE

VOICE PERFORM

UTILITY CARD

JOB

EDIT

COMPARE

STORE

Basics

Section

Selecting Elements (CS6x)

In Voice Edit Mode, you can select the Element to edit by pressing the respective ELEMENT SELECT key ([1] to [4]). When you select an Element, the cursor moves to the respective Element Number.

Example: When “Element 2” is selected

Switching Elements On/Off (CS6x)

In Voice Edit Mode, an Element can be switched off when you press the respective ELEMENT ON/OFF key ([1] to [4]). This lets you temporarily mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing. A muted (off) Element will be indicated as an asterisk (*) in the display as illustrated below.

Example: When Elements 2 and 3 are turned off

BANK

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

EQ Param)LoFreq LoGain HiFreq HiGain EL1**4 274.2Hz +12 2.82kHz +22

off off

BANK

A B C D E F G H

1 2 3 4 1 2 3 4

ELEMENT SELECT ELEMENT ON

OFF

EQ Param)LoFreq LoGain HiFreq HiGain EL12_34 274.2Hz +12 2.82kHz +22

Cursor

COMMON

Element1

Element2

Element3

Element4

Switching Between Screens and Entering Settings

After selecting a Common Edit screen or a edit screen for an Element (1 to 4), use the [PAGE] knob to switch to other screens.

There are many parameters available within a screen. To make editing easier, the knobs below the LCD are assigned to each of the parameters in the screen.

Menu Screen

If you use the [PAGE] knob while holding down the [SHIFT] key, the settings menu will be displayed. Use the [PAGE] knob to move the cursor to an item and release the [SHIFT] key to jump to the screen for that item.

You can also use other knobs and keys to enter settings. The Compare featureallows you to compare the sound being edited against the sound prior to editing. Details are given on Pages 24, 79.

3 Common Edit Screens

Each Voice consists of up to four Elements. Here, the parameters common to all Elements are explained.

• GEN (Common General)

Here, you can set general parameters in Common Edit, such as the Voice Name.

GENíName) Ctgry a-Z 0-? Cursor C 1234 [Pf:Init Voice]

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4 EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4 EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

Cursor

GENíOther) Com:>GEN≥QED> ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH> FLT>AMP>LFO>EQ

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

Basics

Section

• QED (Common Quick Edit)

These parameters mostly control the volume and tone of the Voice and you can easily change the overall sound. Many of these parameters can be set directly using the Sound Control knobs on the front panel of the CS6x.

• ARP (Common Arpeggio)

By setting these parameters, you can control how the Voice is arpeggiated. Details about how to use the Arpeggiator are given on Page 42.

• CTL (Common Controller)

You can assign various functions to the controllers

on the front/rear panel. For example, you can assign parameters to the Pitch Bend Wheel and a Foot Controller so that you can change the tone of the Voice in real time. Details about various

different uses are given on Page 47.

• LFO (Common Low Frequency Oscillator)

These are the LFO parameters. The LFO uses a

low frequency waveform to vary the

pitch/filter/amplitude characteristics, and can be

used to create vibrato, wah, tremolo and other

effect (Page 85).

• EFF (Common Effect)

These are the Effects parameters for the Voice.

There are two Insertion Effects plus two System

Effects (Reverb and Chorus).

EFFíInsEF) InsEF Connect C 1234 1=2

LFOíWave) Wave^ Speed KeyReset Phase C 1234 trpzd 63 on 270

CTLíSet1) Src Dest EL Sw Depth C 1234 FC(04) RevTime:EF1 1234 +63

ARPíType) Type Tempo Switch Hold C 1234 Up&Down1:Sq 120 on on

QEDíLevel) Vol Pan RevSend ChoSend C 1234 127 C 127 127

4 OSC (Oscillator) Screens

In these screens, you can mainly set the parameters controlling the waveforms on which the Voice is based. You can select the Wave used for the Element, the volume and note range of each Element and so on.

• OSC Wave

Select the waveform (Wave) used for each Element.

• OSC Out

• OSC Pan

Set the volume (output level) and stereo pan position of each Element. The following illustration shows the logic.

• OSC Limit

Set the note range for each Element (the range of notes on the keyboard over which the Element will sound) and also the velocity response (the range of note velocities within which the Element will sound). You can assign different settings for each Element. With these parameters, you can layer Elements and control their output.

For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range.

Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities.

Mixer

Elements

Level

Pan (Stereo)

1 2 3 4

OSCíPan) Pan Alter Random Scale EL1234 C L64 63 +63

OSCíOut) Level Delay InsEF EL1234 96 0 ins2

OSCíWave) Number Ctgry  EL1234 001[Pf:Grand 1 ]

Basics

Section

5 PCH (Pitch) and PEG (Pitch EG)

Screens

Set the basic pitch parameters for each Element.

You can detune Elements, apply Pitch Scaling and

so on. Also, by setting the PEG (Pitch Envelope

Generator), you can control how the pitch

changes over time.

• PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in

pitch from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Pitch Envelope consists of five

Time (transition speed) parameters and five Level

(pitch) parameters. This is useful for creating

automatic changes in pitch. Furthermore, different

PEG parameters can be set for each Element.

Details about PEG parameters are given on Page 91.

OSCíLimit) Note Limit Vel Limit

6 FLT (Filter) and FEG (Filter EG) Screens

You can use the filter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform from the Element. There are several types of filters, but its basic idea is similar. As illustrated below, the filter is used to pass overtones at specific frequencies and cut off (does not pass) others, to alter the harmonic factor of an original waveform. You can determine such frequencies by specifying a pointing or center frequency (cutoff frequency). With some filters, you can adjust signal levels at several frequency bands. You can also set the Filter Envelope Generator (FEG) for time variance of how the filter works, which results in a dynamic change in tonal characteristics. Here we introduce how FEG works.

Details about Filter Types are given on Page 93.

• FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Filter Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element.

Details about FEG parameters are given on Page 95.

EL1234 C-2 - G 8 1 - 127

Velocity

Element 1

C-2

Element 3

Element 2

Element 4

Level

Cutoff range Cutoff range

Range passed

PEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

Pitch

Hold Level

Hold

Time

Attack

Time

Attack Level

Decay1

Time

Level

Decay2

Time

Sustain

Level Key off

Release

Time

Release

Level

Time

Center frequency

Time

FEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

Level

Hold Level

Attack

Level

Decay1

Level

Sustain

Level Key off

Release

Level

Attack

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Basics

Section

7 AMP (Amplitude) and AEG

(Amplitude EG) Screens

Set the volume of each Element after the OSC

(Oscillator), PITCH and FILT (Filter) parameters

have been applied, and also the final overall

volume of the signal sent to the outputs. The

signal of each Element is sent at the specified

volume to the next Effect Unit.

Also, by setting the AEG (Amplitude Envelope

Generator), you can control how the volume

changes over time.

The final volume for all Elements is set in the Volume (Vol) parameter of the QED screen in Common Edit.

• Amplitude EG (Envelope Generator)

Using the AEG, you can control the transition in

volume from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Amplitude Envelope consists

of five Time (transition speed) parameters and

five Level parameters (for the amount of

filtering). When you press a note on the

keyboard, the volume will change according to

these envelope settings. Furthermore, different

AEG parameters can be set for each Element.

Details about AEG parameters are given on Page 98.

8 LFO (Low Frequency Oscillator) Screens

As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo, although the actual available LFO parameters will vary according to the type of Element.

9 EQ (Equalizer) Screens

Specific frequency bands for each Element can be attenuated or boosted using an equalizer. There are many types of equalizers available. Details are given on Page 101.

) Storing Edited Voices

Up to 128 new/edited Normal Voices and 2 new/edited Drum Voices can be stored to internal user memory or external Memory Card.

The maximum number of Plug-in Voices that can be stored to each internal memory (PLG1/2) is 64.

When storing a Voice, any existing data at the storage location will be lost. You should always back up important data to Memory Card, computer or some other storage medium beforehand.

Details about storing Voices are given on Page 116.

LFOíWave) Wave^ Speed KeySync EL1234 tri 63 on

PEG FEG

Element 1~4

EffectAMPFILTPICTH

OSC

LFO AEG

PEG FEG

Element

1~4

EffectAMPFILTPICTH

OSC

AEGLFO

Voice

AEGíTime) Attack Decay1 Decay2 EL1234 127 127 127

Level

Attack

Decay1

Level

Decay2

Time

Sustain

Level Key off

Level

Init

Level

Attack

Decay1

Time

Release

Time

Release

Level

Time

INT

Normal Voice

(128)

Drum Voice

(2)

Store

EXT

Normal Voice

(128)

Drum Voice

(2)

Basics

Section

Effects

In the final stages of programming, you can set

the effects parameters to further change the

sound’s character. To generalize, System Effects

apply to the overall sound, whether it is a Voice, a

Performance, a Song, etc. Insertion Effects, on the

other hand, can be applied individually to each

Voice. This synthesizer has two System Effect

Units (Reverb and Chorus) plus two Insertion

Effect Units. When using a Plug-in Board (PLG1

or PLG2) installed on the instrument, you can

also use a separate Insertion Effect Unit that is

dedicated for each Plug-in Part.

Different effects settings can be set per Voice (in

Voice Mode) and per Performance (in

Performance Mode), though the connection

between the Effect Units will vary in each case.

Reverb Unit

The Reverb Unit includes a selection of 12

different reverb-type effects, including realistic

simulations of the natural reverberation found in

various halls and rooms. In Voice Mode, Reverb

settings can be set for each Voice. In Performance

Mode, the Reverb settings will apply to the

Performance as a whole.

Chorus Unit

The Chorus Unit includes a selection of 23

chorus-type effects, including a flanger and

others. Most of these effects are ideal for adding

thickness to the sound.

In Voice Mode, Chorus settings can be set for each

Voice. In Performance Mode, the Chorus settings

will apply to the Performance as a whole.

Insertion Effects

The Insertion Effect 1 Unit includes 24 effects

including chorus, flanger and auto-wah. The

Insertion Effect 2 Unit offers delays, reverbs,

rotary speaker, amp simulation and other effects,

providing a total of 92 effects. If a Plug-in Board

has been installed, up to 24 Insertion Effects for

the Plug-in Voices will also be available.

Details about each Effect Type are given in the Effect Type List in the separate Data List.

Effects in Voice Mode

In Voice Mode, you can set up the effect type and its value for each Effect Unit (Reverb, Chorus and Insertion Effects) and store them with each Voice. Furthermore, you can determine that each Element connects or bypasses the Insertion Effect Units. When you connect an Element to Insertion Effects, you can also specify the connecting way of two Units (series or parallel, as illustrated below). The combined signal from all Voice Elements — after application of the Insertion Effects — is sent to the Reverb and Chorus System Effect Units.

When you want to use Plug-in Voices from a Plugin Board attached, you can also set up a dedicated Insertion Effect Unit for each Plug-in Voice. In this case, a Plug-in Voice signals processed with the Insertion Effect Unit will be then routed to Reverb and Chorus Units.

Effects in Performance Mode

In Performance Mode, you can use an Insertion Effects setting “borrowed” from ones respectively stored with Voices (Parts) . For Plug-in Parts, you can select and use an Insertion Effect setting “borrowed” from ones respectively stored with Plugin Voices. For Reverb and Chorus, you can create new settings dedicated for an entire Performance, without “borrowing” existing Reverb and Chorus settings stored with a Voice.

In the following illustration, a mixer represents the logic behind how the different effects are applied to the sound in Performance Mode. Each Part (1 to 16) is fed to the mixer through either Insertion Effect 1 or Insertion Effect 2. The signals for all Parts are summed in the mixer and then the System Effects (Reverb and Chorus) are applied to the mix as a whole.

OFF

THRU

Element 1~4

Voice

Insertion Effects

Connection

EP1➞EP2 EP2➞EP1EP1:EP2

Plug-in Voice

1 2

Chorus

Insertion Effects

Reverb

Effect Bypass

You can temporarily switch effects off or on by pressing the [EF BYPASS] key. To use this function, you will need to specify the effect to be bypassed in the MSTR EF Bypass screen of Utility Mode (Page 164). You can also specify more than one effect.

When you press the [EF BYPASS] key, its LED will light and all Effects assigned to the currently selected Voice/Performance will be bypassed.

The Effect Bypass will also apply to Effects on Plug-in Boards other than the PLG100 series.

Mixer

Basics

Section

Insertion

1/2

Effect

1 2 3 4 5 6 16

Part 1~16

System Effects

Reverb

Chorus

MASTER KEYBOARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

Basics

Section

Using as a Master Keyboard

(Performance Mode)

2Select “Common” using the Knob [A], then

open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (page 121).

3Select “split” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(split)”).

4Select the value (split point) for the Point

parameter using the Knob [2], which determines the key note that divide the keyboard into two sections. Select “C3” for this example.

You can specify the split point by directly pressing a specific key on the keyboard while holding down the [SHIFT] key. In this example, press C3 while holding down the [SHIFT] key.

5Specify MIDI transmit channels respectively for

the lower and upper key ranges using the Knob [C] (lower) and the Knob [1] (upper). These settings can make MIDI-channel-based separate controls of the internal tone generator or an external MIDI devices from the keyboard, such as using different Voice tones in the lower and upper key ranges. Select “ch01” for “Lower” and “ch02” for “Upper” for this example.

You can also use the PROGRAM/PART [1] to [16] keys to select MIDI channels for the Lower and Upper ranges (Page 123).

6Select a Part for the lower range using the Knob

[A]. For this example, select “Part01”.

7Turn the [PAGE] knob and open the MIX Vce

(Mix Voice) screen to select a Voice for Arpeggiator performance.

8Turn the [PAGE] knob and open the LYR Mode

(Layer Mode) screen. Set “on” for “Arp” (Arpeggio switch). Select “1” for “RcvCh” (MIDI Receive Channel).

LYRíMode) Mode Arp Layer RcvCh Part01 poly on off 1

MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano]

As previously explained, your Synthesizer

provides several convenient features that you can

make use of in a live show or the like. Here we

introduce some examples to combine those

features to meet your specific purposes.

The CS6x has special settings in Performance Mode

so that you can use the instrument as MIDI master

keyboard. You can activate the function (enable those

special settings) when you press the [MASTER

KEYBOARD] key on the panel (its LED will light).

Now your instrument can send performance on the

keyboard to an external tone generator, as well as the

internal tone generator, according to the master

keyboard settings in Performance Mode. If you divide

the keyboard into several (up to four) key ranges and

assign separate MIDI transmit channels, the keyboard

can control multiple parts (channels) from the

internal tone generator and external MIDI devices of

those channels at the same time.

There are three Master Keyboard Modes (how to

make key ranges) available: Split, 4 Zones, and Layer.

You can learn these Master Keyboard Modes and their

functional differences in the following examples.

Split

The illustration below shows an example of a Split

configuration. Split is a typical setting to divide a

keyboard into two key ranges (lower and upper) by

splitting at a specific key note (split point). The

following example is to split the keyboard at C3

note, enabling the lower range for automatic

performance with Arpeggiator and the upper range

for manual solo performance. You can make this

configuration in the following steps.

Edit and prepare Voices for Arpeggiator and manual play in Voice Edit Mode before you set up a Split setting in the following procedure (page 78).

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light).

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

Split point

Lower Upper

Ch1

Part1

Performance

by Arpeggiator

(C3)

Ch2

Part2

Manual play

Basics

Section

9Turn the [PAGE] knob and open the ARP Type

(Arpeggio Type) screen. Set “on” for “Switch.”

In steps 6 to 9, you now complete settings for the lower range for Arpeggiator performance. It will play in a Voice assigned to Part 1 based on MIDI Receive channel 1.

Refer to Page 82 for detailed settings of Arpeggiator.

You can copy (reuse) the arpeggio settings that belong to the Voice assigned to Part 1 (Page 141).

)In the same manner, use Knob [A] to select

Part02. Then select the solo instrument Voice at the MIX Vce screen and set the RcvCh (MIDI receive channel) parameter in the LYR Mode screen to “2.” Now, the solo Voice for Part 2 will sound when playing notes at and above the Split point, or when receiving through MIDI channel 2.

The RcvCh parameter setting will be ignored if you set the Layer parameter in the LYR Mode screen to “on.”

For Parts that you are not using, set their RcvCh parameters to something other than 1 or 2.

Further settings are available in Performance Edit Mode. If a Part does not sound, check the volume level and other settings for that Part. Details are given on Page 130.

!Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to Page 141.

In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Split configuration you made above.

4 Zones

The illustration below shows an example of a 4-zone

configuration. A zone refers to a specific key range on

the keyboard. You can logically divide a keyboard into

up to four key ranges with separate MIDI channels

and other associated settings so that you can control

multiple Parts at the same time. A Split setting can

divides the entire keyboard into two absolute sections

(key ranges). In a 4-zone setting, however, each

section can overlap to one another. You can even set a

section to cover or include other sections.

The following example is to set Zone 1 for playing a

rhythm loop created previously in Phrase Clip Mode

(page 55), Zone 2 for performance by Arpeggiator,

Zone 3 for manual solo performance, and Zone 4 for

playing an external MIDI tone generator. Also in this

settings, Zones 3 and 4 overlap in the same range, and

entire performance in four all zones is output from the

MIDI OUT connector so that you can record that

performance on an external MIDI sequencer. You can

make this configuration in the following steps.

Before you set up a 4-zone configuration in the following procedure, edit and prepare necessary Voices (for Arpeggiator and manual play) and Phrase Clip Kit in their associated Edit Modes.

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (the LED will light).

2Select “Common” using the Knob [A], then

open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (Page 121).

3Select “4zone” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(4zone)”).

4Select one of “Zone01” to “Zone04” using the

Knob [A]. As we have selected “4zone” for the Mode parameter, you can now select setting screens for four Zones. Select “Zone01” to get started with the settings.

You can also use the BANK [A] to [D] keys to respectively select “Zone01” to “Zone04.”

ARPíType) Type Tempo Switch Hold Part01 UpOct1:Sq 120 on off

ZONE4

ZONE2 ZONE3ZONE1

Ch1

Phrase Clip Part

Performance with a Clip Kit

Recording entire performance

An external MIDI sequencer

Ch2

Part2

Performance

with Arpeggiator

MIDI OUT

MIDI IN

Ch4

Performance with

an external MIDI

tone generator

MIDI THRU

in Zones 1 to 4

Ch3

Part3

Manual solo performance

Ch4

An external

MIDI tone generator

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

MKBíTransmit) TrnsCh TG MIDI Zone01 Ch01 on on

Basics

Section

Selecting a Zone opens the MKB Transmit screen. You may want to select a sub screen to set up a Zone using the [PAGE] knob. But you first specify basic items in the MKB Transmit screen, such as MIDI transmit channel, enabling or disabling MIDI output to the internal tone generator and to the MIDI OUT connector.

5Set MIDI transmit channel (TrnsCh) to “Ch01”

using the Knob [C]. Set MIDI output to the internal tone generator (TG) and MIDI OUT (MIDI) both to “on.” These settings can differentiate each Zone from one another, to internally or externally output performance made in each Zone using a separate MIDI channel. Finally, you will separately control sound tones from four zones.

To do this, set “Ch01” to “Ch04” respectively to the “TrnsCh” parameters in the MKB Transmit screens for Zones 1 to 4. For the “TG” and “MIDI” parameters, set both “on” for Zones 1 to 3. For Zone 4, set “off” to “TG” and “on” to “MIDI.” You can switch between multiple MKB Transmit screens using the Knob [A]. Some of basic settings for four zones are now complete.

6Select “Zone01” again using the Knob [A].

Open the MKB Note screen using the [PAGE] knob. In this screen, you can specify a key range for a Zone.

In the MKB Note screen, you can also find other parameters such as Note Limit, Transpose, etc. Refer to Page 138 for more information about these parameters.

7Set “Note Limit” (zone key range) with the

lowest and highest notes using Knobs [1] (lowest) and [2] (highest). For “Zone01”, select “C-2” for the lowest note and “B1” for the highest.

8Use the Knob [A] to switch to the MKB Note

screen for “Zone02”. As in the same manner in step 7, select “C2” for the lowest note and “B2” for the highest.

9Use again the Knob [A] to switch to the MKB

Note screen for “Zone03”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest.

)Use the Knob one more time [A] to switch to

the MKB Note screen for “Zone04”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. Note that this key range setting will make a overlapped range with Zone 3.

For detailed settings of a Zone, refer to Page 137.

!Turn the Knob [A] and select a Part for a Zone.

In this example, we select Phrase Clip Part for Zone 1, Part 2 and Part 3 respectively for Zone 2 and Zone 3. We don’t select any internal Part for Zone 4 since Zone 4 is set only to output performance information via the MIDI OUT connector. First, select Phrase Clip Part (PartCL) for Zone 1.

You can also use the MEMORY or PROGRAM/PART keys to select a Part for a Zone (Page 119).

@Use the [PAGE] knob and open the MIX Kit

screen, to set up a Clip Kit for performance using Phrase Clips.

A necessary Phrase Clip Kit should be prepared in Phrase Clip Mode before you use in this setting in Performance Mode.

#Use the [PAGE] knob and open the Layer Mode

(LYR Mode) screen. Set Layer Switch (Layer) to “off,” MIDI receive channel (RcvCh) to “1.”

With settings made in steps ! to #, you can now play Phrase Clips from the Clip Kit assigned to “PartCL” (Phrase Clip Part) set to MIDI receive channel 1 (RcvCh) when you play in the key range of Zone 1.

$As in the same manner in steps ! to #, set up for

Zone 2. Turn the Knob [A] and select “Part02”. Next go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select a Voice for Arpeggiator. Then, use the [PAGE] knob to open the LYR Mode (Layer Mode) screen and set RcvCh (MIDI receive channel) to “2”. Also in this screen, set the “Arp” switch to “on” for Arpeggiator performance. Finally in the ARP Type (Arpeggio Type) screen, set the Switch parameter to “on”. With settings made here, you can now play with Arpeggiator using a Voice assigned to “Part02” set to MIDI receive channel 2 (RcvCh) when you play in the key range of Zone 2.

%As in the same manner in steps ! to #, set up

for Zone 3. Turn the Knob [A] and select “Part03”. Next go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select a Voice for manual solo performance. Then, use the [PAGE] knob to open the LYR Mode (Layer Mode) screen and set the RcvCh (MIDI receive channel) to “3”. With settings made here, you can now play solo using a Voice assigned to “Part03” set to MIDI receive channel 3 (RcvCh) when you play in the key range of Zone 3.

LYRíMode) Arp Layer RcvCh PartCL on off 1

MIXíKit) Number  PartCL 001(A01)[Dr:Clip Kit]

MKBíNote)Octave Transpose Note Limit Zone01 +1 +11 C-2 - G 8

Basics

Section

You don’t need to make further settings for Zone 4 since it is not intended for an internal Part and has already been set to output performance information via the MIDI OUT connector in steps 5 to ). The key range of Zone 4 matches to that of Zone 3 so that solo performance made in that range will be sent on MIDI channels 3 (from Zone 3) and 4 (from Zone 4) via MIDI OUT to an external MIDI device.

You can set additional Part settings in Performance Edit Mode. If you have a trouble possibly associated with these settings, such as no sound from a specific Part, confirm any Part settings related to volume, etc. Refer to Page 130 for more information about Part settings.

^Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to Page 141.

In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the 4-Zone configuration you made above.

Layer

The illustration below shows an example of a

Layer configuration. Layer refers to two separate

Parts with a overlapped key range, enabling to

play unison with these Parts. The following

example is to play unison with Voices selected for

Part 1 and Plug-in 1 Part. You can make this

configuration in the following steps.

Before you set up a Layer configuration in the following procedure, edit and prepare necessary Voices for layers in associated Edit Modes.

Plug-in Voices are available only when you attach an optional Plug-in Board (Page 108).

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light).

2Select “Common” using the Knob [A], then

open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (Page 121).

3Select “layer” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(layer)”).

4Use Knobs [C] and [1] to respectively set MIDI

transmit channels for the Lower and Upper parameters. Note that Lower and Upper refer to two Parts (Zones) to be layered together. These channel settings can create and send performance information on two separate channels to the internal tone generator and an external MIDI device via the MIDI OUT connector. Here we set “Ch01” for “Lower” and “Ch02” for “Upper.”

You can also use the PROGRAM/PART keys [1] to [16] to select MIDI channels for the Lower and Upper Parts (Page 123).

5Turn the Knob [A] and select a Part. First

select “Part01” for the Upper Part.

6Use the [PAGE] knob and open the MIX Vce

(Mix Voice) screen. Select a Voice for the Upper Part.

7Use the [PAGE] knob to open the LYR Mode

(Layer Mode) screen. Set the Layer (Layer Switch) to “off” and the RcvCh (MIDI Receiving Channel) to “1.”

If other Parts’ RcvCh (MIDI receive channels) are set to the same ones assigned to two Parts, those Parts will also sound when you play on the keyboard. This might be troublesome if you simply need two layered Parts. To mute unnecessary Parts while you play on the keyboard, set “RcvCh” for those Parts to “off.” You can only play Voices from layered Parts.

Layer (Upper)

Layer (Lower)

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano]

Part 1

Voice

Plug-in 1 Part

Plug-in Voice

LYRíMode) Mode Arp Layer RcvCh Part01 poly on off 1

Basics

Section

8As in the same manner in steps 5 to 7, set up

for the Upper Part. Select “PartP1” for the Lower Part, go to the MIX Vce (Mix Voice) screen using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the LYR Mode (Layer Mode) screen to set the Layer (Layer Switch) to “off” and the RcvCh (MIDI Receiving Channel) to “2.”

9Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to Page 141.

In Performance Play Mode, recall the Performance you have just saved. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Layer configuration you made above.

Besides the Layer/Zone configuration in Master Keyboard Modes, you can use the Layer (Layer Switch) for each Part to make a Layer configuration that consists of up to four Parts (Page 133).

About Note Limit (Key Range)

Note Limit setups are provided for setting Master Keyboard Mode, Part , and Voice. They are associated to one another as follows.

While using in Master Keyboard Mode, you can control the internal tone generator (or an external MIDI device) according to “Note Limit” in the MKB Note screen. If you limit a Zone’s key range to two octaves, it is as if you connect an external two-octaves keyboard controller to play with the tone generator. Meanwhile, the key range (playable range) of an entire Voice is determined by “Note Limit” in the LYR Limit screen (page 133) for a Part assigned with that Voice. Such a playable range of each Element of a Voice is determined by “Note Limit” in the OSC Limit screen (page

90) available in Voice Edit Mode.

Tone generator

Parts

Key range for each Zone

Key range for an assigned Voice

LYR Limit

Part

MKB Note

OSC Limit

Element 1 Element 2 Element 3 Element 4

Basics

Section

Using as a Multitimbral Tone

Generator (Performance Mode)

4 Next, use the [PAGE] knob to switch to the

Mix Level screen, then set the volume for the piano Part as well as, if necessary, its pan position, chorus and reverb Send levels. Details are given on Page 130.

5Continue using the [PAGE] knob and switch to

the LYR Mode (Layer Mode) screen. Set the Mode parameter to “poly” (polyphonic), the Layer parameter to “off,” and the RcvCh parameter (MIDI receive channel) to 2.

For Parts that do not require polyphony, the Mode parameter can be set to “mono” (monophonic).

By following steps 2 to 5 above, when you play back a song file in the sequencer, the piano track is transmitted through MIDI channel 2. The MIDI data is received by the synthesizer which then plays the Voice for the Part assigned to MIDI channel 2.

6Repeat steps 2 to 5 above, but set up Part 3

for bass and to receive on MIDI channel 3.

7Repeat steps 2 to 5 again, setting up Part 10

for drums and to receive on MIDI channel 10.

To avoid situations where the Voices of unused Parts are suddenly played back, you should set the MIDI receive channels for unused Parts to “off.”

There are many other Part-specific parameters in Performance Edit Mode. Details are given on Page 121.

8Before exiting Performance Edit Mode, you

need to store the settings for the Performance. Details about storing Performances are given on Page 141.

Now, when you select this Performance in Performance Play Mode, you can play back the song file on computer (sequencer) or internal sequencer, and the piano, bass and drum Parts will be played back according to each track’s MIDI channel.

Performance Mode lets you use your synthesizer as a

multitimbral tone generator for use with computer-

based music software or external sequencers. If each

track in a song file uses a different MIDI channel,

then the Parts in a Performance can be each assigned

to those MIDI channels correspondingly. Therefore,

you can play back a song file on an external

sequencer and have different Voices playing on

different tracks simultaneously.

In the following example, we will create a

Performance suited to playing back a song file

consisting of three Parts: piano, bass and drums. The

piano track is assigned to MIDI channel 2, the bass

track to channel 3, and the drums to channel 10.

The synthesizer’s internal sequencer can be used to play back the song file. The included XGworks(lite) computer sequencer software can also be used for this, though you need to make sure that the computer has been connected to your synthesizer correctly (Page 16).

1After pressing the [PERFORM] key, press the

[EDIT] key (the respective LEDs will light). You are now in Performance Edit Mode.

Before entering Performance Edit Mode, you need to select a Performance for editing. Also make sure that the [MASTER KEYBOARD] key LED is not lit.

2Use Knob [A] to select Parts. Here, you can

select Part 2 for the piano, Part 3 for bass and Part 10 for drums. First, we will select Part02.

3Use the [PAGE] knob to switch to the MIX Vce

(Mix Voice) screen, then specify the Voice to be used as the piano Part.

MIXíVce) Memory Number Ctgry Search Part02 PRE1:128(H16)[Pf:GrandPiano]

Song File Performance

Track 1 Track 2 Track 3

(sequencer software)

Drums

PS/V

IBM

Computer

Piano

Bass

Personal System/V

Transmit Ch. 2 Transmit Ch. 3

Transmit Ch. 10

Part 2 Part 3

Part 10

Sequence

player

Piano-type Voice

Bass-type Voice

Drum Voice

Tone generator

Receive Ch. 2 Receive Ch. 3

Receive Ch. 10

section

LYRíMode) Mode Arp Layer RcvCh Part02 poly on off 2

CS6x/CS6R

Basics

Section

Performing Live while

Playing Back a Song File

While playing back the song file with the piano,

bass and drum Parts assigned earlier, you can set

up the Performance so that you can also play

another Part live.

This is the same as the Performance created

earlier, but with the addition of another Part for

live playback. Regarding settings, the important

points are as follows.

• In the Performance created earlier, Parts 2, 3 and 10 were being used. As an example, we will now assign another Part (Part 1) to a solotype Voice.

• At the LYR Mode screen, set the Layer parameter for Part 1 to “on,” and make sure it is set to “off” for Parts 2, 3 and 10.

If you want to manually play multiple (up to four) Parts using some Voices from Parts 4 to 9, 11 to 16 and Plug-in Parts, set those Parts’ Layer Switch parameters to “on.”

• At the GEN MIDI screen, set the LayerCh (Layer Channel) parameter to BasicCh. The Voice for Part 1 can now be played live using the keyboard.

Using the A/D Input Part

If you have external sources (such as a microphone or other audio equipment) connected to the synthesizer’s A/D INPUT jack, you can use them as Parts in a Performance. Continuing with our example, you can add another Part for vocals by assigning the A/D Input Part. Therefore, while the song is playing back the piano, bass and drums, you simultaneously play a solo live and sing into the microphone. Effects such as reverb can be added to the A/D Input Part (Pages 130 and 137), so you can assign an effect suited to the vocals for the song. These effect settings will also be saved with the Performance.

* You need to set the receive channel to control the A/D

Input Part parameters via MIDI. However, this is not vital in this example.

Regarding settings, the important points are as follows.

• Switch to the PartAD (A/D Input Part) parameters and set the external input source and template at the MIX Template screen.

There are 13 templates available already with a variety of gain and effects settings for you to select from according to the input source. Here, we will be using the A/D Input Part for vocals so let’s set the Src (Source) parameter to “mic” and the Number (Template Number) parameter to “Karaoke1.”

If you choose the wrong type of input source, you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly.

• Turn the [GAIN] knob (Page 11) all the way down, then connect a microphone to the A/D INPUT jack (MIC/LINE2 jack).

• Turn the [GAIN] knob back slowly while singing/talking into the microphone until you reach an ideal volume level.

There are other settings for controlling the A/D Input Part via MIDI. Details are given on Page 132.

When you play a song file bearing the XG/GM logo (available in the market), you may want to install an optional XG Plug-in Board on the instrument, to enjoy a best playback quality with a wide variety of Voices and Effects. Note that you can install an additional XG Plug-in Board to double polyphonic notes and Effects. In such cases, you do not only enjoy the playback of a song, but also can mute a specific Part from the song file for a “minus-one” setting, which is convenient for practice of solo performance or karaoke.

If you install the optional Effect Plug-in Board (PLG100-VH), you can create harmonies of up to three notes for your vocals. By assigning the harmony channel to the keyboard’s MIDI transmit channel, you can create vocoder-like effects. Or you could play back a harmony line using a sequencer to create a backing chorus for your vocals.

Playback using

keyboard

Song File

Track 1 Track 2 Track 3

Piano

Bass

Drums

Transmit Ch. 2 Transmit Ch. 3

Transmit Ch. 10

Performance

Part 1 Part 2

Piano-type Voice

Part 3

Part 10

Solo-type Voice

Bass-type Voice

Drum Voice Receive Ch. 10

Layer=on

Receive Ch. 2 Receive Ch. 3

Song File

Track 1 Track 2 Track 3

Piano Bass

Drums

Transmit Ch. 2 Transmit Ch. 3

Transmit Ch. 10

Performance

Part 1 Part 2 Part 3

Part 10

A/D Input

Template (karaoke1)

Part

Solo-type Voice

Piano-type Voice

Bass-type Voice

Drum Voice Receive Ch. 10 Source (mic)

Layer=on

Receive Ch. 2 Receive Ch. 3

Playback using

keyboard

External mic input

MIXíTemplate)Src Number  PartAD mic ≥05[Karaoke1 ]

Voice Mode

Voice Play

This mode is used for playing individual voices stored as 256 on-board presets, as well as the Internal (User) Voices, External Voices on Memory Card, and Plug-in Board Voices (optional). This section explains how to select and play voices.

Details about the Voice types and the Voice Memories are given on Page 36.

Voice Play Mode Display

The LCD will display the following in Voice Play Mode. Voice Play Mode consists of 2 screens and the [PAGE] knob can be used to switch to the Voice Search screen.

The contents of each screen are as follows. See page 77 for details about the Voice search screen.

Details about how to enter Voice Play Mode are given on Page 21.

Voice Play Mode

2nd Screen : Voice Search

1.Screen Title

This shows that you are currently in Voice Play Mode.

2.Voice Memory/Number (Bank/Number) Display

Shows the Memory/Voice Program Number (001 to

128) or Bank ([A] to [H])/Program Number ([1] to [16]). For example, in the display shown above, “PRE1:128(H16)” means that the Memory is Preset 1, the voice Program Number is 128, the Bank is H and the Program Number within the Bank is 16.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

VCE Srch) PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

VCE Play) PRE1:128(H1 6)[Pf:GrandPiano] EQ Low EQ Mid EQ H i Cutoff RevTime

1 2 3

Memory/Voice Program Number

PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset Drums, INT to Internal, EXT to External, PLG1 to Plugin Board 1 and PLG2 to Plug-in Board 2. All voice Program Numbers within each memory fall in the range 001 to 128. Drum Voices are DR1 to DR8.

Details about Voice Memories are given on Page 36.

Bank/Program Number

Voice Program Numbers 001 to 128 correspond with Banks A to H and Program Numbers 01 to 16. Therefore, you can cycle through Voice Program Numbers 001 to 128 sequentially, or you can select them randomly using a combination of BANK and PROGRAM keys. The relationship between Banks/Program Numbers and Voice Program Numbers is given below.

Voice

Program

Number

Bank

Program

Number

Voice

Program

Number

Bank

Program Number

001 A 1 065 E 1 002 A 2 066 E 2 003 A 3 067 E 3 004 A 4 068 E 4 005 A 5 069 E 5 006 A 6 070 E 6 007 A 7 071 E 7 008 A 8 072 E 8 009 A 9 073 E 9 010 A 10 074 E 10 011 A 11 075 E 11 012 A 12 076 E 12 013 A 13 077 E 13 014 A 14 078 E 14 015 A 15 079 E 15 016 A 16 080 E 16 017 B 1 081 F 1 018 B 2 082 F 2 019 B 3 083 F 3 020 B 4 084 F 4 021 B 5 085 F 5 022 B 6 086 F 6 023 B 7 087 F 7 024 B 8 088 F 8 025 B 9 089 F 9 026 B 10 090 F 10 027 B 11 091 F 11 028 B 12 092 F 12 029 B 13 093 F 13 030 B 14 094 F 14 031 B 15 095 F 15 032 B 16 096 F 16 033 C 1 097 G 1 034 C 2 098 G 2 035 C 3 099 G 3 036 C 4 100 G 4 037 C 5 101 G 5 038 C 6 102 G 6 039 C 7 103 G 7 040 C 8 104 G 8 041 C 9 105 G 9 042 C 10 106 G 10 043 C 11 107 G 11 044 C 12 108 G 12 045 C 13 109 G 13 046 C 14 110 G 14 047 C 15 111 G 15 048 C 16 112 G 16 049 D 1 113 H 1 050 D 2 114 H 2 051 D 3 115 H 3 052 D 4 116 H 4 053 D 5 117 H 5 054 D 6 118 H 6 055 D 7 119 H 7 056 D 8 120 H 8 057 D 9 121 H 9 058 D 10 122 H 10 059 D 11 123 H 11 060 D 12 124 H 12 061 D 13 125 H 13 062 D 14 126 H 14 063 D 15 127 H 15 064 D 16 128 H 16

Reference Section

Voice Mode

3.Voice Category/Name

Voice Category

The two characters to the left of the Voice Name denote the category of instrument or sound to which the voice belongs.

Details about Category names are given on Page 80.

Voice Name

This consists of up to 10 characters.

4.Knob Parameter Display

This shows the function assigned to each knob ([A] to [C] and [1]/[2]).

Knobs [1]/[2] may be assigned with several parameters (destinations) from multiple control sets. In this case, the display will show the parameter (destination) from a control set of the smallest number.

Knob Parameter Settings

In Voice Play Mode, each knob ([A] to [C] and [1]/[2]) can be used to adjust the parameter assigned to it. The parameter value is displayed briefly when you move each knob.

Details about assigning parameters to Knobs [A] to [C] are given on Pages 50, 165. Details about assigning parameters to Knobs [1]/[2] are given on Pages 51, 84.

Octave and MIDI Transmit Channel Settings

In Voice Play Mode, the Octave and MIDI Transmit Channel are shown when pressing the [SHIFT] key.

This lets you set the MIDI Transmit Channel by turning Knob [A] and holding down the [SHIFT] key. The settings for Voice Play Mode are transmitted on this MIDI channel.

The MIDI Transmit Channel can also be set in the MIDI Ch screen of Utility Mode (Page 166).

Voice Program Selection

There are four ways in which you can choose a Voice.

• Using the BANK/PROGRAM keys (CS6x)

• Using the [DEC/NO] and [INC/YES] keys

• Using the [DATA] knob

• Using the Category Search

Using the BANK/PROGRAM Keys (CS6x)

1 Press a MEMORY key to select a Voice Memory.

The Voice Memory indicator in the LCD will blink.

Details about Voice Memories are given on Pages 27, 36.

2Press a BANK key ([A] to [H]) to select a Bank. The

Bank indicator in the LCD will blink.

If you press the [EXIT] key here, the Voice selection process is canceled and the original Voice is reinstated.

If the Bank has already been selected, this step is not required. Details about Banks are given on Pages 27, 36.

VCE Play) PRE1:128(H1 6)[Pf:GrandPiano] +63 EQ Mid EQ H i Cutoff RevTime

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

MEMORY

PRE1

PRE2

DRUM

INT

EXT

DRUM

PLG1 PLG2

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

MEMORY

PRE1

DRUM

INT

DRUM

PLG1 PLG2

PRE2

A B C D E F G H

1 2 3 4 1 2 3 4

EXT

ELEMENT SELECT ELEMENT ON

1 2 3 4 5 6 7 8

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

9 10 11 12 13 14 15 16

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

BANK

OFF

PROGRAM

PART

Octave MIDI Transmit Channel

(Oct= +3) PRE1:128(H1 6)[Pf:GrandPiano] (Tch= 1)

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

SHIFT PAGE

DATAA B C 1 2

PART

ELEMENT

Voice Mode

3Press a PROGRAM key ([1] to [16]) to select a

Program Number. Voices can be selected by setting the Memory, Bank

and Program Number as explained in the three steps given above. The LCD also displays the selected voice.

<title-D> Using the DEC/NO and Using [INC/YES] and [DEC/NO] Keys

Press the [INC/YES] key to select the next Voice and the [DEC/NO] key to select the previous one.

The voice is selected by pressing just the [INC/YES] or [DEC/NO] key. This method is useful when selecting a Voice that is located near the currently selected Voice.

The method can also be used to switch to the next or previous Bank. For example, if the current Voice is A16, Voice B01 is selected by pressing the [INC/YES] key. Similarly, if the current Voice is H01, Voice G16 is selected by pressing the [DEC/NO] key.

Using the Data Knob

Turn the [DATA] knob clockwise to increment the currently selected Voice number, or anti-clockwise to decrement it.

The Voice is selected directly and sequentially.

Just as with the [INC/YES] and [DEC/NO] keys, this method can be used to switch to the next or previous Bank.

DATAC 1 2

Decrement

Number

Increment

Number

DEC/NO INC/YES

Previous Number Next Number

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

Selecting Drum Voices

The procedure for selecting a Drum Voice is different to that for selecting a Normal Voice.

Selecting Preset Drums (PRE:DR1~DR8)

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then press PROGRAM key [1] to [8] (CS6x only) to select Drum Voice PRE:DR1 (Preset Drum 1) to DR8 (Preset Drum 8).

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice.

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [DATA] knob to select the Drum Voice.

Once you have selected one Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob.

MEMORY

PRE1

PRE2

DRUM

1 2 3 4 5 6 7 8

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

9 10 11 12 13 14 15 16

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

PROGRAM

PART

MEMORY

PRE1

PRE2

DRUM

DEC/NO INC/YES

MEMORY

PRE1

PRE2

DRUM

VCE Play) PRE:001(A0 1)[Sq:Generation] EQLow-G EQMid-G EQHi- G FLT-Rez HPF

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

Voice Mode

Selecting User Drums (INT:DR1/2 and EXT:DR1/2)

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then press PROGRAM keys [1] to [4] (CS6x only) to select, respectively, User Drum Voice INT:DR1 (Internal Drum 1), INT:DR2 (Internal Drum 2), EXT:DR1 (External Drum 1) and EXT:DR2 (External Drum 2).

User Drum Voices on external memory must be loaded from Memory Card.

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice.

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [DATA] knob to select the User Drum Voice.

Once you have one User Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [4], the [INC/YES] and [DEC/NO] keys or the [DATA] knob.

Using the Voice Category Search

With the Voice Category Search, you can quickly find Voices within a specified Voice Category. For example, if you specify the “Pf” (piano) Voice Category and use the Voice Category Search, you can select from all the voices which fall into the “Pf” Voice Category.

To start the Voice Category Search, first turn the [PAGE] knob to switch to the Voice Search screen.

If the Plug-in Voice is selected from a Custom Bank (Page

114) of a Plug-in Board, the Category Search feature will not be available.

1Turn Knob [B] to select a Voice Memory. 2Turn Knob [1] to select a Voice Category. The Voice

Category in the LCD will blink.

The different Voice Categories are listed on Page 80.

3Use Knob [2], the [INC/YES] and [DEC/NO] keys,

the [DATA] knob and Knob [C] to search for a Voice. The selected voices are called up using each knob and key. The functions of knobs and keys are given below.

Knob [2]:

Use this to switch between Voices in the selected Category. Turn the knob clockwise to increment the voice number and anti-clockwise to decrement it.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

PRE1:128(H16)[Pf:Grand Piano]

DATAB C 1 2

INT

EXT

DRUM

1 2 3 4 5 6 7 8

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

9 10 11 12 13 14 15 16

PROGRAM

PART

VCE Srch) PRE1:128(H1 6)[Pf:GrandPiano] Memory Numbe r Ctgry Search

SHIFT PAGE

PART

ELEMENT

Select a

Voice Memory

Program Number

Select a

Set a

Voice Category

DATAA B C 1 2

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

INT

EXT

DRUM

DEC/NO INC/YES

INT

EXT

VCE Srch) PRE1:128(H1 6)[Pf:GrandPiano] Memory Numbe r Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

SHIFT PAGE

DRUM

VCE Play) INT:001(A0 1)[Sq:Generation] EQLow-G EQMid-G EQHi- G FLT-Rez HPF

ELEMENT

PART

DATAA B C 1 2

Voice Mode

[DATA] knob (or [INC/YES] or [DEC/NO] key)

You can scroll through Voices in the specified Category across the Memories. Turning the [DATA] knob clockwise (or press the [INC/YES] key) jumps to the next Voice number in the same Category, in ascending order. Similarly, turning the [DATA] knob anticlockwise (or press the [DEC/NO] key) jumps to the next Voice number in the same Category, in descending order. When you reach to the last (first) Voice in a Memory, you can select the first (last) Voice in that Category in the next (previous) Memory by continuously turning the knob clockwise (anticlockwise) or pressing the [INC/YES] ([DEC/NO]) key.

Knob [C]:

Using the Knob [C], you can select a Voice one by one in the current Memory, likewise for normal Voice selection. Turning the knob clockwise jumps to the next Voice number. Turning the knob anti-clockwise jumps to the previous Voice number.

If the Voice within the selected Category cannot be found within the current Voice Memory, [------] is displayed in the LCD and you will not be able to use Knob [2]. Press the [ENTER] key to start searching in the next Memory.

Voice Edit

There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following is an explanation of the parameters used to edit each kind of Voice.

Details about Voices are given on Page 36.

The following is displayed when you enter Voice Edit Mode. The displayed screens will vary according to the type of Voice being edited, but basically the [PAGE] knob is used to switch between screens and the parameters on each screen are altered using Knobs [A], [B], [C], [1] and [2]. The [DATA] knob and the [INC/YES] and [DEC/NO] keys can be used to alter parameters in small increments.

While holding down the [SHIFT] key, you can use Knobs [A], [B], [C], [1] or [2] to move the cursor to the respective parameter without changing it’s value. You can also move the cursor using the [DATA] knob or the [INC/YES] and [DEC/NO] keys while holding down the [SHIFT] key.

You need to select the Voice before entering Voice Edit Mode (Page 75). All parameters can be set and stored per Voice.

See page 21 on how to enter Voice Edit mode.

Common Edit and editing each Element

Voices can consist of up to four Elements (Page 37). Use Common Edit to edit the settings common to all four Elements. Voice Edit Mode can be divided into screens for Common Edit and those for editing each Element.

In Voice Edit Mode, Knob [A] is used to switch between the Common Edit screens and the screens for editing each Element.

Common Edit screens

Element 1~4 Edit Screens

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

OSC Wave) Numbe r Ctgry  EL1234 001[Pf :Grand 1 ]

Elements 1~4

GEN Other) Mode Assig n MicroTuning  C 1234 poly singl e 31:Indian

Common

GEN Name) Ctgry a- Z 0-? Cursor C 1234 [Pf:Init Voice]

SHIFT PAGE

ELEMENT

Change pages Set the value

PART

Choose Common or

Elements 1 to 4

DATAA B C 1 2

Voice Mode

The í Indicator

If you alter any parameters in Voice Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current voice has been modified but not yet stored.

Even if you exit to Voice Play Mode, the edited settings for the current Voice will not be lost so long as you do not select another Voice.

The í indicator will also be displayed in Voice Play Mode, and if any Sound Control knobs or Assignable knobs are used.

The “Compare” Function

Use this to listen to the difference between the Voice with your edited settings and the same Voice prior to editing.

1 Press the [COMPARE (EDIT)] key while in Voice

Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the Voice settings prior to editing will temporarily be reinstated for comparison purposes.

While the “Compare” function is enabled, editing will not be possible using knobs [A] to [C] or knob [1]/[2].

2 Press the [EDIT] key again to disable the

“Compare” function and restore the settings for your edited Voice.

The ELEMENT ON/OFF Function

Use this to mute individual Elements within a Voice. For example, you could mute all Elements other than that which you are editing. Thus, you can hear how the edited settings affect just that Element. Details are given on Page 61.

COMMON

Voice Store

The edited settings for the current Voice will be lost if you select another Voice or Mode. To avoid losing important data, you should always use Voice Store to store your edited Voice. Details about the Voice Store procedure are given earlier (Page 116).

When creating a new Voice from scratch, it can be useful, prior to editing, to clear the settings for the current Voice using the Initialize Voice function in Voice Job Mode (Page 115).

Normal Voice

When editing Normal Voices, there are 12 settings consisting of six Common Edit settings (common to all four Elements) and six Element-specific settings.

Voice Edit Mode

Common

Common General 80

GEN Name (General Name) 80 GEN Other (General Other) 81

Common Quick Edit 81

QED Level (Quick Edit Level) 81 QED EffectCtrl (Quick Edit Effect Control) 81 QED Filter (Quick Edit Filter) 82 QED EG (Quick Edit Envelope Generator) 82

Common Arpeggio 82

ARP Type (Arpeggio Type) 82 ARP Limit (Arpeggio Note Limit) 83 ARP Mode (Arpeggio Mode) 83 ARP PlayEF (Arpeggio Play Effect) 83

Common Controller 84

CTL Portamento 84 CTL Bend (Pitch Bend) 84 CTL Set1 (Control Set 1) 84 CTL Set2 (Control Set 2) 84 CTL Set3 (Control Set 3) 84 CTL Set4 (Control Set 4) 84 CTL Set5 (Control Set 5) 84 CTL Set6 (Control Set 6) 84

Common LFO (Low Frequency Oscillator) 85

LFO Wave 85 LFO Fade 87 LFO Dest1 (LFO Destination 1) 87 LFO Dest2 (LFO Destination 2) 87

Common Effect 88

EFF InsEF (Insertion Effect) 88 EFF EF1 (Insertion Effect 1) 88 EFF EF1 (Insertion Effect 2) 88 EFF Rev (Reverb) 89 EFF Cho (Chorus) 89

Element OSC (Oscillator) 89

OSC Wave (Oscillator Wave) 89 OSC Out (Oscillator Out) 89 OSC Pan (Oscillator Pan) 90 OSC Limit (Oscillator Limit) 90

Element Pitch 90

PCH Tune (Pitch Tune) 90 PEG VelSens (PEG Velocity Sensitivity) 91 PEG Time 91 PEG Level 91 PEG Release 91 PCH Scale (Pitch Scale) 92

Element Filter 93

FLT Type (Filter Type) 93 FLT HPF (High Pass Filter) 95

Element1

Element2

Element3

Element4

Edit indicator

GEN Name) Ctgry

Compare indicator

GENîName) Ctgry

Voice Mode

Menu Display

You will see the following if you use the [PAGE] knob while holding down the [SHIFT] key. Use the [PAGE] knob to move the cursor to the parameter you wish to edit, then release the [SHIFT] key to jump to the screen you were previously at.

Selecting a Menu

On the CS6x in Voice Edit Mode, you can directly select a Menu using the PROGRAM/PART keys, [1] to [6] and [9] to [15]. Each key has an associated Menu name shown below it.

Common General

You can set the Voice Name, Voice output settings and other general parameters in the Common Edit screens. The following two screens are available for general settings.

GEN Name (General Name) GEN Other (General Other)

PROGRAM

PART

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

GENíOther) Com:>GEN≥QE D>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PC H>FLT>AMP>LFO>EQ

Cursor

FLT Sens (Filter Sensitivity) 95 FEG VelSens (FEG Velocity Sensitivity) 95 FEG Time 96 FEG Level 96 FEG Release 96 FLT KeyFlw (Filter Key Follow) 96 FLT Scale (Filter Scale Break Point) 97 FLT Scale (Filter Scale Offset) 97

Element Amplitude 98

AEG VelSens (AEG Velocity Sensitivity) 98 AEG Time 98 AEG Level 98 AEG Release 98 AEG KeyFlw (AEG Key Follow) 99 AEG Scale (AEG Scale Break Point) 100 AEG Scale (AEG Scale Offset) 100

Element LFO (Low Frequency Oscillator) 100

LFO Wave 100 LFO Depth 101

Element EQ (Equalizer) 101

EQ Type 101 EQ Param (EQ Parameter) 101

GEN Name (General Name)

You can set a Voice Name consisting of up to 10 characters. You can also select the Category Name to the left of the Voice Name.

Setting the Voice Name

1 Use Knob [2] to move the cursor to the position of

the first character. The selected character will blink.

2 Use Knob [C] to enter an alphabetic character or

Knob [1] to enter a numeric character/symbol.

3 Use Knob [2] to move the cursor to the position of

the next character.

4 Repeat Steps 2 and 3 until all the characters have

been set for your Voice Name.

You can also use the [INC/YES] and [DEC/NO] keys or the [DATA] knob to enter alphabetic and numeric characters as well as symbols.

5 Use Knob [B] to set the Category Name if

necessary. By setting the Category Name, it will be easier to

identify the Voice later. The Category Search function (Page 77) can also be used to search for it. If you do not wish to set a Category Name, the Category will be shown as two hyphens.

Settings for alphabetic and numeric characters and Category Names :

LCD

Or Gt

Category

Synth Pad Synth Sound Effects Ethnic Percussive Sound Effects Drums Synth Comping Vocal Combination Material Wave Sequence

a b c d e f g h i j k l m n o p q r s

t u v w x y z B C D E F G H I J K L

M N O P Q R S T U V W X Y Z 1 2 3 4

5 6 7 8 9 ! " # $ % & ' ( ) * + , -

. / : ; < = > ? @ [ ¥ ] ^ _ ` { | }

SHIFT PAGE

PART

ELEMENT

DATAA B C 1 2

GENíName) Ctgry a- Z 0-? Cursor C 1234 [Pf:Init Voice]

Choose numeric

characters and symbols

Choose alphabetic

characters

Move the cursor

position

Choose

a Category

Category Name Voice Name

Voice Mode

GEN Other (General Other)

There are various parameters for Micro Tuning and for controlling how the generated sound is output.

■ Mode

Select monophonic or polyphonic playback. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes).

❏Settings: mono, poly

■ Assign

If you set Key Assign to “single,” the doubled playback of the same note is prevented. The synthesizer will terminate a note when the same note is received again. If you select “multi,” the synthesizer will consecutively assign each instance of the same received note to a separate channel, making multiple part tone generation possible.

❏Settings: single, multi

■ MicroTuning

Set the Micro Tuning (tuning system, or temperament) used for the Voice. Normally you would use “Equal Temperament” but there are also 31 other tuning systems available.

❏ Settings: (see the following list)

Type Key Comments

Equal temperament —

No.

00 The “compromise” tuning used for most of

the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with equal ease. How ever, none of the intervals are perfectly in tune.

1/4 shifted —28 Thi s is the normal equal tempered scale

shifted up 50 cents.

Twenty–four equally spaced notes p er

octave. (Play twenty–four notes to move one

octave.)

Werckmeister —25

Kirnberger —26

Vallotti & Young —27

Pure major C~B01~12

Pure minor A~G# The same as Pure Major, but designed for

the minor scale.

Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could b e played in any key. Each key has a unique character.

Francescantonio Vallotti and Thomas Young (both mid–1700s) divised this adjustment to the Pythagorean tuning in which the first six fifths are lower by the same amount.

Johan Phi lipp Kirnber ber was also concerned with tempering the scale to allow performances in any key.

13~24

This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means t hat ot her intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in.

1/4 tone —29

Forty–eight equally spaced notes per octave. (Play forty–eight notes to move one octave.)

1/8 tone —30

Indian C~B31 Usually observed in the Indian music (white

keys [C~B] only).

GENíOther) Mode Assign MicroTuning  C 1234 poly single 31:Indian

Common Quick Edit

Various parameters control the sonic properties of the Voice, and many can also be edited using the Sound Control knobs on the front panel of the CS6x. There are four screens.

QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator)

QED Level (Quick Edit Level)

These parameters control the output level (volume) and pan position of the Voice.

■ Vol (Volume)

Set the output level of the Voice.

❏Settings: 0 ~ 127

■ Pan

Set the stereo pan position of the Voice. You can also adjust this parameter using the [PAN] knob on the front panel of the CS6x.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

■ RevSend (Reverb Send)

Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the [REVERB] knob on the front panel of the CS6x.

❏Settings: 0 ~ 127

■ ChoSend (Chorus Send)

Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel of the CS6x.

❏Settings: 0 ~ 127

QED EffectCtrl (Quick Edit Effect)

Set the amount of Chorus applied to the entire Voice.

■ Chorus

Set an offset value for the parameters used by each type of Chorus.

❏Settings: -64 ~ 0 ~ +63

QEDíEffectCtrl) Chorus C 1234 +63

QEDíLevel) Vol Pan RevSend ChoSend C 1234 127 C 127 127

Voice Mode

QED Filter (Quick Edit Filter)

These parameters control filters which affect the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter page only affects LPF.

■ Cutoff

Set the cutoff frequency. The frequency set here will be a center frequency for signals to be filtered when they pass through each filter. On the CS6x, the frequency can be set by the [CUTOFF] knob on the front panel.

❏Settings: -64 ~ 0~ +63

■ Reso (Resonance)

Set the amount of Resonance (harmonic boost) applied to the signal around the Cutoff frequency. This is a useful way of adding further character to the sound. You can also adjust this parameter using the [RESONANCE] knob on the front panel of the CS6x.

❏Settings: -64 ~ 0~ +63

QED EG (Quick Edit Envelope Generator)

These four parameters control the change in the output level of a Voice over the time that a note is played.

■ Attack

Set the transition time from the moment a key on the keyboard is pressed to the point at which the level of the Voice reaches its peak. You can also adjust this parameter using the [ATTACK] knob on the front panel of the CS6x.

❏Settings: -64 ~ 0~ +63

■ Decay

Set the transition time from the point at which the level of the Voice reaches its peak to the point at which it levels off. You can also adjust this parameter using the [DECAY] knob on the front panel of the CS6x.

❏Settings: -64 ~ 0 ~ +63

Key on Key off

Attack

Time

Release

Time

Decay

Time

Level

Sustain

Level

QEDíEG) Attack Decay Sustain Release C 1234 +63 +63 +63 +63

QEDíFilter) Cutoff Reso C 1234 +63 +63

■ Sustain

Set the level of the Voice maintained while the note on the keyboard is being held down. You can also adjust this parameter using the [SUSTAIN] knob on the front panel of the CS6x.

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the transition time from the point at which the note on the keyboard is released to the point at which the level of the Voice reaches zero. You can also adjust this parameter using the [RELEASE] knob on the front panel of the CS6x.

❏Settings: -64 ~ 0~ +63

Common Arpeggio

The following four parameters control the behavior of the Arpeggiator.

ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect)

ARP Type (Arpeggio Type)

These are the basic parameters of the Arpeggiator.

■ Type

Set the Arpeggio Type.

❏Settings: (see the separate Data List)

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds.

Cl (Phrase Clip):

Select this type to a Clip Kit that is assigned with loopmixed or loop-divided Phrase Clips, to create a new arpeggio pattern.

Ct (Control):

Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.”

■ Tempo

Set the Arpeggio Tempo.

❏Settings: 25 ~ 300

[MIDI] is displayed here and the parameter cannot be altered if MIDI sync is enabled (Page 167).

ARPíType) Type Tempo Switch Hold C 1234 UpOct1:Sq 120 on on

Voice Mode

■ Switch

Switch the Arpeggiator on or off. You can also set this using the [ARPEGGIO ON/OFF] key on the front panel of the CS6x.

❏Settings: off, on

■ Hold

Switch the Arpeggiator Hold on or off. You can also set this using the [ARPEGGIO HOLD] key on the front panel of the CS6x.

❏Settings: syncoff, off, on

Details about this are given on Page 44.

ARP Limit (Arpeggio Note Limit)

■ Note Limit

Set the lowest and highest notes in the Arpeggiator’s note range.

❏Settings: C-2 ~ G8 (lowest and highest set separately)

If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.”

You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key.

ARP Mode (Arpeggio Mode)

These parameters control the way in which notes are played back by the Arpeggiator.

■ Key Mode

Set how the Arpeggio is played back when keys on the keyboard are pressed. There are 3 modes.

❏Settings:

sort:

Plays back notes in ascending order from the lowest key pressed to the highest.

thru:

Plays back notes in the order in which the keys are pressed.

direct:

Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data, they will be applied and reproduced whenever the Arpeggio plays back.

If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here.

With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data.

■ Vel Mode (Velocity Mode)

Set the playback velocity of the Arpeggio. There are 2 modes.

❏Settings:

original:

Preset velocities are used in the Arpeggio sequence.

thru:

Velocities of the notes you play are used in the Arpeggio sequence.

ARP PlayEF (Arpeggio Play Effects)

You can set Play Effects for the Arpeggio. Play Effects can be used to temporarily adjust the timing and velocity of MIDI notes, thus affecting the groove of the Arpeggio pattern.

■ Unit

Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo halved. Alternatively, if you set a value of 50%, the playback time will be halved and the tempo doubled. Normal playback time is 100%.

❏Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%

■ Vel (Velocity)

Set the Velocity offset value (the strength at which the keyboard is played). This determines how the original Velocities are increased or decreased during Arpeggio playback. A setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities.

❏Settings: 0% ~ 200%

If the Velocity value falls below 1, it will be limited to 1. If it exceeds 127, it will be limited to 127.

■ Gate (Gate Time)

Set the Gate Time Rate value (the length of a note). This determines how the original Gate Times are increased or decreased during Arpeggio playback. A setting of 100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes, whereas settings above 100% will lengthen them. You can also set this using the [GATE TIME] knob on the front panel of the CS6x.

❏Settings: 0% ~ 200%

If the Gate Time value falls below 1, it will be limited to 1.

ARPíLimit) Note Limit C 1234 C-2 - G 8

ARPíMode) Key Mode Vel Mode C 1234 sort thru

ARPíPlayEF) Unit Vel Gate C 1234 50% 200% 200%

Voice Mode

Common Controller

There are eight Control Settings. You can set the Controller parameters for Portamento, the Pitch Bend Wheel, and for each Element in a Voice.

CTL Portamento CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6)

CTL Portamento

Set the Portamento parameters. Portamento will create a smooth transition in pitch from the first note played to the next.

■ Switch

Switch Portamento on or off. You can also set this using the PORTAMENTO [ON/OFF] key on the front panel of the CS6x.

❏Settings: off, on

■ Time

Set the pitch transition time. Higher values mean longer transition times. You can also set this using the [PORTAMENTO] knob on the front panel of the CS6x.

❏Settings: 0 ~ 127

■ Mode

Set the Portamento mode. The behavior of the Portamento varies depending on whether Mode in GEN Other is set to “mono” or “poly.”

❏Settings: fingered, fulltime

If the Mode in GEN Other is set to “mono”: fingered:

Portamento is only applied when you play legato (playing the next note before releasing the previous one).

fulltime:

Portamento is always applied.

If the Mode in GEN Other is set to “poly”:

This is the same as for “mono,” except that Portamento is applied to multiple notes.

CTLíPortamento) Switch Time Mode C 1234 on 127 fulltime

CTL Bend (Pitch Bend)

You can set the amount by which the Pitch Bend Wheel changes the pitch of the Voice.

■ Lower

Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved downwards. For example, a value of -12 means that the pitch of the Voice drops by up to an octave when the Pitch Bend Wheel is moved downwards.

❏Settings: -48 ~ 0~ +24

■ Upper

Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved upwards. For example, a value of +12 means that the pitch of the Voice rises by up to an octave when the Pitch Bend Wheel is moved upwards.

❏Settings: -48 ~ 0~ +24

CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6)

The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. They can even be used to control parameters within individual Elements. These control assignments are called “Control Sets.” You can assign up to six different Control Sets per Voice. Thus there are six screens, each for a separate controller: CTL Set1 to CTL Set6.

Control Set 1~6 Element

Keys

Modulation Wheel

Knobs

etc.

1 2 3 4

Controller

Set 1

CTLíSet1) Src Dest EL Sw Depth C 1234 FC(04) ELFOSpd 1234 +63

CTLíPitchBend) Lower Upper C 1234 -12 +12

Voice Mode

■ Src (Source)

Set the Controller used to control the function chosen in Dest. The following nine controllers are available.

❏Settings: PB (Pitch Bend Wheel), MW (Modulation

Wheel), AT (Aftertouch), FC (Foot Controller), FS (Foot Switch), RB (Ribbon Controller), BC (Breath Controller), KN1/2 (Knobs 1/2)

■ Dest (Destination)

Set the parameter to be controlled by the Control Set in Src.

❏Settings: (see the Controls List of the separate Data List)

■ ElemSw (Element Switch)

Select whether the Controller will affect each individual Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable the Elements which the Controller will affect. Affected Elements are shown by number.

❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or

disabled (“-” displayed)

This is disabled if the Dest parameter is set to 00 to 33.

■ Depth

Set the amount by which the parameter selected in Dest can be controlled.

❏Settings: -64 ~ 0 ~ +63

Example of Control Set Assignment

Using Control Sets 1 to 6, you can assign individual Src (Source) controllers to multiple Dest (Destination) parameters, or multiple Src controllers to individual Dest parameters.

Ex.1:Use a single Src controller to control multiple

Dest parameters.

Ex.2:Use multiple Src controllers to control a single

Dest parameter.

Details about Control Set Assignments are given in the Basics Section of this manual (Page 49).

Common LFO (Low Frequency Oscillator)

There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato, wah, tremolo and other effects when applied to pitch/filter/amplitude/etc. parameters. For example, variations can be simultaneously applied to both pitch and filter parameters, and to parameters specific to individual Elements. The following four settings are available.

LFO Wave LFO Fade LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2)

LFO Wave

■ Wave

Select the LFO Wave. Depending on the Wave selected, you can create different kinds of modulated sounds. The following 12 LFO waveforms are available.

❏Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ,

squ2/3, squ3/4, trpzd, S/H 1, S/H 2

tri

saw up

saw dw

squ

LFOíWave) Wave^ Speed KeyReset Phase C 1234 trpzd 63 on 270

SET1

Src

(Modulation Wheel)MW(Modulation Wheel)

Dest

PAN

SET2

Src

Dest

LFO

Speed

Use the Modulation Wheel to change both the Pan and LFO speed parameters simultaneously.

SET1

Src

KN1

(Assignable Knob 1)

Dest

PAN

SET2

Src

KN2

(Assignable Knob 2)

Dest

PAN

Use either Assignable Knob [1] or [2] to change the pan parameter

Voice Mode

trpzd

S/H 1

S/H 2

■ Speed

Set the speed of the LFO Wave modulation. Higher values mean faster modulation speeds.

❏Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th note-

triplet), 16th. (16th dot-note), 8th (8th note), 8th/3 (8th note-triplet), 8th. (8th dot-note), 4th (4th note), 4th/3 (4th note-triplet), 4th. (4th dotnote), 2nd (half note), 2nd/3 (half note-triplet), 2nd. (half dot-note), 4thx4 (whole note), 4thx5 (5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th notes), 4thx8 (8x4th notes)

Speed = Slow

Speed = Fast

The length of the note depends on the internal or external MIDI tempo setting.

■ KeyReset (Key on Reset)

Set whether the LFO is reset each time a note is pressed. The following three settings are available.

❏Settings: off, each-on, 1st-on

off

The LFO is self-running (no synchronization) and starts a waveform at any phase when you play on the keyboard.

each-on

The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (see below).

1st-on

The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (Show below). If you play a second note while the first note is being played (Note Off has not been received), the LFO does not reset to the specified phase (no synchronization) with the second note and after.

■ Phase

Set the phase at which the LFO Wave starts whenever a note is played. Phases of 0/90/120/180/240/270 degrees are available.

❏Settings: 0, 90, 120, 180, 240, 270

Time

Phase

Key on (Second Note)

Time

Key on (First Note)

Time

Key on (Second Note)Key on (First Note)

Key on

Time

Voice Mode

LFO Fade

■ Delay

Set the delay time before the LFO comes into effect. A higher value means a longer delay time.

❏Settings: 0 ~ 127

Short delay

Long delay

■ FadeIn (Fade-In)

Set the time taken for the LFO effect to be faded in (after the Delay time has elapsed). A higher value means a slower fade-in.

❏Settings: 0 ~ 127

Low FadeIn value

Faster fade-in

High FadeIn value

Slower fade-in

FadeIn

Delay

Time

Key on

Max

FadeIn

Delay

Time

Key on

Max

Key on

LFOíFade) Delay FadeIn Hold FadeOut C 1234 127 127 127 127

■ Hold

Set the length of time during which the LFO is held at its maximum level. A higher value means a longer Hold time.

❏Settings: 0 ~ 127

■ FadeOut (Fade-Out)

Set the time taken for the LFO effect to be faded out (after the Hold time has elapsed). A higher value means a slower fade-out.

❏Settings: 0 ~ 127

Low FadeOut value

Faster fade-out

High FadeOut value

Slower fade-out

LFO Dest1 (LFO Destination 1)

LFO Dest2 (LFO Destination 2)

You can assign parameters to be controlled by the LFO Wave and set the LFO Wave Depth (amplitude). Two Destinations can be assigned, and you can choose from several parameters per Destination.

LFOíDest1) Dest ElemSw Depth C 1234 AMD 1234 127

FadeOut

Time

Key on

Hold

Max

FadeOutHold

Max

Time

Key on

Hold

Time

Max

Voice Mode

■ Ctgry (Effect Category)

Set the Category of the Effect. Select a desired Category and press the [ENTER] key. The first Effect Type in that Category will automatically be recalled.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Type (Effect Type)

Set the type of Effect. While the Category indicator is blinking in the display, you can press the [ENTER] key to recall the first Effect Type in that Category.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Dry/Wet

Set the mix level of the wet signal (which has been passed through the Effects Unit) and the dry signal (which has not been passed through the Effects Unit). This may be unavailable, depending on the selected Effect Type.

❏Settings: D63>W ~ D=W ~ D<W63

Effect Parameter Settings

These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen.

The number of Parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type list of the separate Data List.

■ Dest (Destination)

Set the parameters which will be controlled (modulated) by the LFO Wave.

❏Settings: AMD, PMD, FMD, RESO (Resonance), PAN,

ELFOSpd (Element LFO Speed)

■ ElemSw (Element Switch)

Select whether to allow variations in the LFO Wave for each Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable LFO Wave variations for Elements 1 to 4. Enabled Elements are shown by number.

❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or

disabled (“-” displayed)

■ Depth

Set the LFO Wave Depth (amplitude).

❏Settings: 0 ~ 127

Common Effect

You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following five screens are available.

EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus)

EFF InsEF (Insertion Effect)

■ InsEF Connect (Insertion Effect Connect)

Set up the connection between Insertion Effects 1 and 2. If you change this setting, the symbol denoting the signal routing (to the left of the setting) also changes to reflect the new signal flow.

Signal routing symbols

❏Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2),

2➞1 (Insertion Effect 2 to 1)

EFF EF1/2 (Insertion Effect 1/2)

You can select the Effect Category for Insertion Effect 1/2 with the Ctgry parameter and the Effect Type with the Type parameter. After selecting the Effect Type, you can set its parameters by pressing the [ENTER] key.

EFFíInsEF) InsEF Connect C 1234 1=2

1=2 (parallel)

1➞2 (serial)

2➞1 (serial)

EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123- DLY:DelayLCR D<W63 to Edit

Effect Type selection screen

EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123- DLY:DelayLC R D<W63 to Edit

EXIT ENTER

Parameter settings screen

EFFíEF2) TimeL Time R TimeC Dry/Wet DelayLCR 333.3m 166.7 m 500.0m D<W63

SHIFT PAGE

ELEMENT

PART

DATAA B C 1 2

Voice Mode

EFF Rev (Reverb)

You can select the Reverb Effect Type, then press the [ENTER] key to set its parameters.

■ Type (Reverb Effect Type)

Set the Reverb Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Return

Set the Return level of the Reverb Effect.

❏Settings: 0 ~ 127

EFF Cho (Chorus)

You can select the Chorus Effect Type, then press the [ENTER] key to set its parameters.

■ Type (Chorus Effect Type)

Set the Chorus Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ toRev (To Reverb)

Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect.

❏Settings: 0 ~ 127

■ Return

Set the Return level of the Chorus Effect.

❏Settings: 0 ~ 127

EFFíCho) Type toRev Return [ENTER] C 1234 Chorus1 127 127 to Edit

EFFíRev) Type Return [ENTER] C 1234 Basement 127 to Edit

Element OSC (Oscillator)

You can set the parameters for the Elements (Waves) which make up the Voice. Each Voice can consist of up to four Elements, and the following four screens are available for each.

OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit)

OSC Wave (Oscillator Wave)

You can use Knob [A] to select each Element and Knob [C] to assign a Wave to it.

■ Number (Wave Number)

Select the Wave Number. The Category and Wave Name are displayed to the right of the selected Wave Number. You can assign a different Wave Number to each of the Elements.

❏Settings: 000 (off) ~ 479 (Details about each Wave are

given in the separate Data List.)

■ Ctgry (Category)

Select the Category containing the Wave you wish to use. Specify a desired Category and press the [ENTER] key. The first Wave in that Category will automatically be selected.

❏Settings: Details about Wave Categories are given on Page

80.

OSC Out (Oscillator Out)

You can set the following output parameters for each Element of a Voice.

■ Level

Set the output level of each Element.

❏Settings: 0 ~ 127

■ Delay (Key On Delay)

Set the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element.

❏Settings: 0 ~ 127

Short Delay

Key on

OSCíOut) Level Delay InsEF EL1234 96 0 ins2

OSCíWave) Number Ctgry  EL1234 001[Pf:Grand 1 ]

Voice Mode

Long Delay

■ InsEF (Insertion Effect)

Set the Insertion Effect to which the output signal from each Element is sent. The Insertion Effect is bypassed if you select Thru.

❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion

Effect 2)

OSC Pan (Oscillator Pan)

You can set the following Pan parameters for each Element in the Voice.

■ Pan

Set the stereo Pan position for each Element (Wave). This will also be used as the basic Pan position for the Alternate, Random and Scale settings.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

■ Alter (Alternate)

Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position.

❏Settings: L64 ~ 0 ~ R63

■ Random

Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position.

❏Settings: 0 ~ 127

■ Scale

Set the amount by which the sound is panned left and right according to the position of the note on the keyboard. The Pan setting is used as the basic Pan position at note C3.

❏Settings: -64 ~ 0 ~ +63

OSCíPan) Pan Alter Random Scale EL1234 C L64 63 +63

Key on

OSC Limit (Oscillator Limit)

You can set parameters controlling the note range of each Element and the velocity.

■ Note Limit

Set the lowest and highest notes of the keyboard range for each Element. Each Element will only sound for notes played within its specified range.

❏Settings: C-2 ~ G8 (for the lowest and highest notes)

If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.”

You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key.

■ Vel Limit (Velocity Limit)

Set the minimum and maximum values of the velocity range within which each Element will respond. Each Element will only sound for notes played within its specified velocity range.

❏Settings: 1 ~ 127 (for the minimum and maximum values)

If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.”

Element Pitch

You can set parameters governing the pitch of each Element. The Pitch Envelope Generator (PEG) controls the change in pitch from the moment a note is pressed on the keyboard to the point at which the sound has faded out completely. The following six screens are available.

PCH Tune (Pitch Tune) PEG VelSens (PEG Velocity Sensitivity) PEG Time (PEG Time) PEG Level (PEG Level) PEG Release (PEG Release) PCH Scale (Pitch Scale)

PCH Tune (Pitch Tune)

You can set the tuning parameters and the effectiveness of the Envelope Generator (EG) for each Element.

■ EGDepth

Set the amount of change applied by the PEG. A setting of zero means the original pitch is not changed.

❏Settings: -64 ~ 0 ~ +63

PCHíTune)EGDepth Coarse Fine Random EL1234 +63 + 0 + 0 +7

OSCíLimit) Note Limit Vel Limit EL1234 C-2 - G 8 1 - 127

Voice Mode

■ Hold (Hold Time)

Set the Hold Time.

❏Settings: 0 ~ 127

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

PEG Level

You can set various Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 92). You can set different values for each Element.

■ Hold (Hold Level)

Set the Hold Level.

❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

■ Attack (Attack Level)

Set the Attack Level.

❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

PEG Release

You can set Release Time and Release Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Level settings, these can be used control the change in sound from the moment a note is released. You can set different values for each Element.

PEGíRelease) Time Level EL1234 127 +127

PEGíLevel) Hold Attack Decay1 Sustain EL1234 +127 -128 +127 + 0

■ Coarse

Adjust the pitch of each Element in semitones.

❏Settings: -48 ~ 0 ~ +48

■ Fine

Fine-tune the pitch of each Element.

❏Settings: -64 ~ 0 ~ +63

■ Random

Set the amount by which the pitch of each Element is varied at random for each note you press. A setting of zero means the original pitch is not changed.

❏Settings: 0 ~ 127

PEG VelSens (PEG Velocity Sensitivity)

You can determine how the Pitch Envelope Generator (PEG) responds to note velocity.

■ Level

Set the velocity sensitivity of the PEG Level. Positive settings will cause the level to rise the harder you play the keyboard, and negative values will cause it to fall.

❏Settings: -64 ~ 0 ~ +63

■ Time-Segment

Set the velocity sensitivity of the PEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower.

❏Settings (Time): -64 ~ 0 ~ +63 ❏Settings (Segment):

attack:Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all PEG Time parameters

PEG Time

You can set various Time parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Level and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 92). You can set different values for each Element.

PEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

PEGíVelSens) Level Time-Segment EL1234 +63 +63 attack

Voice Mode

■ Center (Center Key)

Set the basic pitch used by the Pitch parameter.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key.

■ EGTime

The EGTime parameter controls the PEG Times for each Element according to the positions of the notes on the keyboard. The Center parameter is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ Center (Center Key)

Set the basic pitch used by the EGTime parameter. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EGTime settings.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key.

Basic pitch

Higher range

Lower range

Basic pitch

Higher range

Lower range

–

Speed of PEG pitch change

Positive value

Negative value

–

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

■ Level (Release Level)

Set the Release Level.

❏Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

Pitch Envelope Generator Settings

There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the pitch). The pitch of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the pitch changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in pitch is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required.

PCH Scale (Pitch Scale)

You can set the Pitch Scaling for each Element. Pitch Scaling is used to vary the Element pitch, PEG Levels and PEG Times according to the positions of the notes on the keyboard.

■ Pitch

Adjust the sensitivity of the Pitch Scaling for each Element according to the position of the note on the keyboard. The Center parameter is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change less and that of higher notes to change more. Negative values will have the opposite effect.

❏Settings: -200% ~ 0 ~ +200% (At +100%,

neighboring notes are pitched one semitone (100 cents) apart.)

PCHíKeyFlw)Pitch-Center EGTime--Center EL1234 100% C 3 +7 C 3

Release

Level

Attack Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Pitch

Large

Small

Higher range

Lower range

Speed of pitch change

Center (Basic Pitch)

–

Voice Mode

Element Filter

You can set Filter parameters to change the tonal characteristics of each Element. The following ten screens are available.

FLT Type (Filter Type) FLT HPF (High Pass Filter) FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset)

FLT Type (Filter Type)

■ Type

Set the Filter Type. Parameters will vary according to the Type.

❏Settings:

LPF12+HPF (Low Pass Filter 12dB/oct + High Pass Filter), LPF24D (Low Pass Filter 24dB/oct Digital), LPF24A (Low Pass Filter 24dB/oct Analog), LPF18 (Low Pass Filter 18dB/oct), LPF18S (Low Pass Filter 18dB/oct Staggered), LPF6+HPF (Low Pass Filter 6dB/oct + High Pass Filter), HPF24D (High Pass Filter 24dB/oct Digital), HPF12 (High Pass Filter 12dB/oct), BPF6 (Band Pass Filter 6dB/oct), BPF12D (Band Pass Filter 12dB/oct Digital), BPFW (Band Pass Filter Wide), BEF6 (Band Elimination Filter 6dB/oct) THRU (Bypass)

Filters

To generalize, there are basically four types of filter: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each available filter has a different frequency response. There are also combinations of LPF and HPF.

• LPF (Low Pass Filter):

This only passes signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Six types of LPF are available.

FrequencyCutoff

Level

-6db/oct

-12db/oct

-18db/oct

-24db/oct

FLTíType) Type Gain Cutoff Reso EL1234 LPF12+HPF 255 255 31

LPF24D (Low Pass Filter 24dB/oct Digital)

A 4-pole (-24db/oct) dynamic LPF with a strong Resonance.

LPF24A (Low Pass Filter 24dB/oct Analog)

A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers.

LPF18 (Low Pass Filter 18dB/oct)

A 3-pole (-18db/oct) dynamic LPF.

LPF18S (Low Pass Filter 18dB/oct Staggered)

Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve.

LPF12 (Low Pass Filter 12dB/oct)

A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter).

LPF6 (Low Pass Filter 6dB/oct)

A 1-pole (-6db/oct) dynamic LPF with no Resonance, designed to be used in combination with an HPF (High Pass Filter).

Resonance

LPF18 LPF18S

Resonance

Voice Mode

• HPF (High Pass Filter)

This only passes signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Two types of HPF are available.

HPF24D (High Pass Filter 24dB/oct Digital),

A 4-pole (-24db/oct) dynamic HPF with a strong Resonance.

HPF12(High Pass Filter 12dB/oct),

A 2-pole (-12db/oct) dynamic HPF.

• BPF (Band Pass Filter)

This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Three types of BPF are available.

Range passed

Frequency

Level

Cutoff range Cutoff range

Center frequency

Resonance

FrequencyCutoff

Level

12db/oct

24db/oct

BPF6 (Band Pass Filter 6dB/oct)

The combination of a -6dB/oct HPF and LPF.

BPF12D (Band Pass Filter 12dB/oct Digital)

The combination of a -12dB/oct HPF and LPF.

BPFW (Band Pass Filter Wide)

Also the combination of a –12dB/oct HPF and LPF, but can have a wider frequency band than the BPF12D filter.

• BEF (Band Elimination Filter)

This attenuates a band of signals around the Cutoff frequency, but passes everything else.

BEF6 (Band Elimination Filter 6dB/oct)

• THRU

The filters are bypassed and the entire signal is unaffected.

■ Gain

Set the Gain (the amount of boost applied to the signal sent to the Filter Unit).

❏Settings: 0 ~ 255

Cutoff range

Frequency

Level

Range passed Range passed

Center frequency

Range passed

Frequency

Level

Cutoff range Cutoff range

width can be increased

Range passed

Frequency

Level

Cutoff Range Cutoff Range

-12db/oct

Range passed

Frequency

Level

Cutoff range Cutoff range

-6db/oct

Voice Mode

■ Cutoff

Set the Cutoff frequency. This is used as the basic frequency for the selected Filter Type.

❏Settings: 0 ~ 255

■ Reso (Resonance)/Band/Width

This parameter’s function varies according to the selected Filter Type. If an LPF or HPF has been selected, this parameter is used to set the Resonance. For the BPF (excluding the BPFW) and the BEF, it is used to select the Band. For the BPFW, it is used to adjust the Width of the band.

With the LPF and HPF, the Reso parameter is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This can be used in combination with the Cutoff frequency parameter to add further character to the sound.

With the BPF, the Band parameter is used to set the range (band) of signal frequencies passed by the filter. With the BEF, it is used to set the band of signal frequencies attenuated by the filter. In both cases, the Cutoff frequency is the center frequency of the band.

With the BPFW, the Width parameter is used to adjust the width of the band of signal frequencies passed by the filter.

❏Settings: 0 ~ 31

FLT HPF (High Pass Filter)

You can set the Key Follow parameters for the High Pass Filter. This screen is available only when you have one of the “LPF+HPF” settings for the Type parameter in the Filter Type (FLT Type) screen.

■ Cutoff

Set the center frequency of the Key Follow parameter.

❏Settings: 0 ~ 255

■ KeyFlw (Key Follow)

Set the Key Follow for the HPF Cutoff. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect.

❏Settings: -200% ~ 0 ~ +200%

FLT Sens (Filter Sensitivity)

You can set Filter Sensitivity parameters for each Element.

FLTíSens)EGDepth VelCutoff VelReso EL1234 +63 +7 +7

FLTíHPF) Cutoff KeyFlw EL1234 255 +200%

■ EGDepth

Set the sensitivity of the Filter to note velocity. A positive setting will produce large filter changes for notes played harder, and a setting of zero will produce no filter changes at all. With a negative setting, the EG envelope will be inverted.

❏Settings: -64 ~ 0 ~ +63

■ VelCutoff (Velocity Cutoff)

Set the sensitivity of the Cutoff frequency to note velocity. A positive setting will raise the Cutoff frequency for notes played harder, and lower it for notes played more softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ VelReso (Velocity Resonance)

Set the sensitivity of the selected Resonance parameter to note velocity. A positive setting will produce large Resonance changes for notes played harder, and smaller changes for notes played more softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

FEG VelSens (FEG Velocity Sensitivity)

You can set parameters controlling the sensitivity of the Filter Envelope Generator (FEG) to note velocity.

■ Level

Set the sensitivity of the FEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger tonal changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ Time-Segment

Set the velocity sensitivity of the FEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower.

❏Settings (Time): -64 ~ 0 ~ +63 ❏Settings (Segment):

attack:

Affects the Hold Time/Attack Time/Decay 1 Time

all:

Affects all FEG Time parameters

FEGíVelSens) Level Time-Segment EL1234 +63 +63 attack

Voice Mode

FEG Release

You can set Release Time and Release Level parameters for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Level settings, these can be used control the change in sound from the moment a note is released.

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

■ Level (Release Level)

Set the Release Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

Filter Envelope Generator Settings

There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the amount of filtering applied). The tone of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the tone changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in tone is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required.

FLT KeyFlw (Filter Key Follow)

You can set Filter Key Follow parameters for each Element. This parameter controls the Filter Cutoff and FEG behavior according to the position of the notes played on the keyboard.

The availability of the Filter Key Follow parameter depends on the Break Point and Offset settings in the FLT Scale screen.

FLTíKeyFlw)Cutoff-Center EGTime--Center EL1234 +200% (C 3) 63 C 3

FEG Time

You can set various Time parameters for the Filter Envelope Generator (FEG). Combined with the FEG Level and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element.

■ Hold (Hold Time)

Set the Hold Time.

❏Settings: 0 ~ 127

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

FEG Level

You can set a Level parameter for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element.

■ Hold (Hold Level)

Set the Hold Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

■ Attack (Attack Level)

Set the Attack Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

FEGíLevel) Hold Attack Decay1 Sustain EL1234 +127 -128 +127 + 0

FEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

FEGíRelease) Time Level EL1234 127 +127

Level

Hold Level

Hold Time

Attack

Time

Attack Level

Decay1

Time

Decay1

Level

Decay2

Time

Sustain

Level Key off

Release

Time

Release

Level

Time

Voice Mode

FLT Scale (Filter Scale Break Point)

You can set four Filter Scaling Break Points for each Element. Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. There are four Break Points used to divide and assign different settings across the keyboard. The Levels (Offsets) at each of Break Point are set in the FLT Scale screen.

Details about Filter Scaling are given later in the section “Filter Scaling Settings.”

■ BP1/BP2/BP3/BP4 (Break Point 1/2/3/4)

Set the Break Points for each Element. BP1 to BP4 will be automatically be arranged in ascending order across the keyboard.

❏Settings: BP1 to BP4: C-2 ~ G8

FLT Scale (Filter Scale Offset)

■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4)

Set the Filter Scaling Offset Levels. These Offsets are used by the Break Points (BP1/BP2/BP3/BP4).

Details about Filter Scaling are given below in the section “Filter Scaling Settings.”

❏Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127

Filter Scaling Settings

By way of example, you could set the Levels (Offsets) and Break Points (BP1 to BP4) as follows.

Here, the current Cutoff setting is 64. The Offsets are –4 at BP1 (set to note E1), +10 at BP2 (set to note B2), +17 at BP3 (set to note G4) and +4 at BP4 (set to A5). That is, the Cutoff frequencies at each Break Point are 60, 74, 81 and 68, respectively. For other notes, the Cutoff frequencies will be on the straight line connecting the two adjacent Break Points.

The Break Points are automatically arranged in ascending order across the keyboard. For example, BP2 cannot be set to a lower note than that of BP1.

The Break Point Levels are Offsets used to increase or decrease the current Cutoff setting at the specified notes. Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded.

A note set below the BP1 will become the BP1 Level. A note set above BP4 will become the BP4 Level.

■ Cutoff

Set the Filter Key Follow ratio (the amount by which the Filter Cutoff varies according to note position) for each Element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.

❏Settings: -200% ~ 0 ~ +200%

■ Center (Center Key)

This shows that the basic Level is at note C3. At this note, the tone remains unchanged. For other notes, the tone varies according to the Level settings. The Center setting cannot be changed. This parameter is for information only.

■ EGTime

Set the Time Scale (the speed of change in the FEG over the range of the keyboard) for each Element. The basic speed of change for the FEG is at the note specified in the Center parameter. A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ Center (Center Key)

Set the basic note used by the EGTime parameter. When the Center Key note is played, the FEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EGTime settings.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key.

Basic Pitch

Higher range

Lower range

Basic Pitch

Higher range

Lower range

–

Speed of FEG level change

Positive value

Negative value

–

Lower range

Speed of cutoff frequency change

Center (Basic Pitch)

Large

Small

Higher range

FLTíScale) BP1 BP2 BP3 BP4 EL1234 C-2 C 3 C#5 G 8

FLTíScale)Ofst1 Ofst2 Ofst3 Ofst4 EL1234 + 0 +127 -128 + 0

FLTíScale) BP1 BP2 BP3 BP4 EL1234 E 1 B 2 G 4 A 5

FLTíScale)Ofst1 Ofst2 Ofst3 Ofst4 EL1234 - 4 + 10 + 17 + 4

Voice Mode

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

AEG Level

You can set various Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element.

■ Init (Initial Level)

Set the Initial Level. (The Level when a key is pressed.)

❏Settings: 0 ~ 127

■ Attack (Attack Level)

This shows the Attack Level. (Fixed at 127.)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: 0 ~ 127

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: 0 ~ 127

AEG Release

You can set Release Time and Release Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Level settings, these can be used control the change in output level from the moment a note is released. You can set different values for each Element.

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

AEGíRelease) Time Level EL1234 127 (0)

AEGíLevel) Init Attack Decay1 Sustain EL1234 127 (127) 127 0

Element Amplitude

You can set Amplitude parameters to affect the output level of each Element. The following seven screens are available.

AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset)

AEG VelSens (AEG Velocity Sensitivity)

You can set the sensitivity of the Amplitude Envelope Generator (AEG) to note velocity.

■ Level

Set the sensitivity of the AEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger output level changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~+63

■ Time-Segment

Set the velocity sensitivity of the AEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower.

❏Settings (Time): -64 ~ 0 ~ +63 ❏Settings (Segment):

attack:

Affects the Hold Time/Attack Time/Decay 1 Time

all:

Affects all AEG Time parameters

AEG Time

You can set various Time parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Level and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element.

AEGíTime) Attack Decay1 Decay2 EL1234 127 127 127

AEGíVelSens) Level Time-Segment EL1234 +7 +63 attack

Yamaha CS6X, CS6XE1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual