Yamaha CVP-509 User Manual
CVP-509 / 505 / 503 / 501
Reference Manual
This Reference Manual explains advanced features of the CVP-509/505/503/501 that are not
explained in the Owner's Manual. Please read the Owner's Manual first, before reading this
Reference Manual.
EN
Contents
1 Perform the piano songs by Clavinova 3
2 Voices
– Playing the Keyboard – 3
Voice Characteristics ......................................................... 3
Selecting GM/XG or Other Voices from the Panel............. 4
Selecting the Harmony/Echo type...................................... 5
Pitch-Related Settings ....................................................... 7
Editing Voices (Voice Set) ................................................. 9
Editing Organ Flutes Parameters..................................... 15
3 Styles
– Playing Rhythm and Accompaniment – 16
Selecting the Chord Fingering Type ................................ 16
Style Playback Related Settings ...................................... 18
Split Point Settings........................................................... 20
Memorizing the Original One Touch Setting .................... 21
Creating/Editing Styles (Style Creator) ............................ 22
4 Songs
– Recording Your Performances and Creating Songs –
Editing Music Notation Settings ....................................... 36
Editing Lyrics/Text Display Settings .......... 39
Using the Auto Accompaniment Features with the Song
Playback .......................................................................... 40
Song Playback Related Parameters (Repeat settings,
Channel settings, Guide Function)................................... 41
Creating/Editing Songs (Song Creator) ........................... 45
CVP-503CVP-505CVP-509
36
5 Music Finder
– Calling Up Ideal Setups (Voice, Style, etc.) for Each Song –
Creating a Set of Favorite Records.................................. 61
Editing Records................................................................ 62
Saving the Record as a Single File.................................. 63
Viewing Record Information on the Internet
(MUSIC FINDER Plus)..................................................... 64
61
6 Registration Memory
– Saving and Recalling Custom Panel Setups –
Disabling Recall of Specific Items (Freeze) ..................... 65
Calling Up Registration Memory Numbers in Order
(Registration Sequence) ..................................................66
65
7 USB Audio (CVP-509/505/503)
– Playback and Recording Audio Files – 69
8 Mixing Console
– Editing the Volume and Tonal Balance – 69
Editing VOL/VOICE Parameters ...................................... 69
Editing FILTER Parameters ............................................. 70
Editing TUNE Parameters................................................ 71
Editing EFFECT Parameters ........................................... 72
Editing EQ Parameters ....................................................74
9 Internet Direct Connection
– Connecting the CVP-509/505/503/501 Directly to the Internet –
Editing the Browser Settings............................................ 76
Registering Bookmarks of Your Favorite Pages .............. 77
76
10 Connections
– Using Your Instrument with Other Devices – 79
Microphone Settings .................................. 79
Footswitch/Foot Controller Settings ................................. 86
MIDI Settings ................................................................... 89
CVP-503CVP-505CVP-509
11 Utility
– Making Global Settings – 95
CONFIG1 ......................................................................... 95
CONFIG2 ......................................................................... 97
SCREEN OUT .................................................. 98
MEDIA.............................................................................. 98
OWNER ........................................................................... 99
SYSTEM RESET ...........................................................100
CVP-505CVP-509
Index 102
* Each chapter in this Reference Manual corresponds to the relevant chapters in the Owner’s Manual.
Using the PDF manual
•To quickly jump to items and topics of interest, click on the desired items in the “Bookmarks” index to the left
of the main display window. (Click the “Bookmarks” tab to open the index if it is not displayed.)
• Click the page numbers that appear in this manual to go directly to the corresponding page.
• Select “Find” or “Search” from the Adobe Reader “Edit” menu and enter a keyword to locate related information anywhere in the document.
NOTE The names and positions of menu items may vary according to the version of Adobe Reader being used.
• The illustrations and LCD screens as shown in this manual are for instructional purposes only, and may appear somewhat different from those on your instrument.
• The displays are taken from the CVP-509, and in English.
• The company names and product names in this manual are the trademarks or registered trademarks of their respective companies.
2 CVP-509/505/503/501 Reference Manual
Perform the piano songs by Clavinova
This function is fully explained in the Owner’s Manual. Refer to the corresponding chapter in the Owner’s Manual.
Voices
1
– Playing the Keyboard –
Contents
Voice Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Selecting GM/XG or Other Voices from the Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Selecting the Harmony/Echo type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Pitch-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
• Fine-tuning the Pitch of the Entire Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
• Scale Tuning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
• Changing the Part Assignment of the TRANSPOSE Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Editing Voices (Voice Set) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
• Editable Parameters in the VOICE SET Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
• Disabling Automatic Selection of Voice Sets (Effects, etc.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Editing Organ Flutes Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Voice Characteristics
2
Voices – Playing the Keyboard –
The Voice type and its defining characteristics are indicated above the Voice name in the Voice Selection
display.
S. Articulation2! (CVP-509)
S.Articulation! (CVP-509/505)
MegaVoice (CVP-509/505/503)
Natural! These rich and luscious Voices are comprised mostly of keyboard
Live! These acoustic instrument sounds were sampled in stereo, to produce a
Cool! These Voices capture the dynamic textures and subtle nuances of elec-
See the Owner’s Manual, chapter 2.
instrument sounds and are especially intended for playing piano and
other keyboard parts. They also take full advantage of Yamaha’s
advanced sampling technology such as Stereo Sampling, Dynamic
Sampling, Sustain Sampling, and Key-off Sampling.
truly authentic, rich sound—full of atmosphere and ambience.
tric instruments—thanks to a huge amount of memory and some very
sophisticated programming.
CVP-509/505/503/501 Reference Manual 3
Sweet! These acoustic instrument sounds also benefit from Yamaha’s sophisti-
cated technology—and feature a sound so finely detailed and natural,
you’ll swear you’re playing the real thing!
Live!Drums (CVP-509) These are high-quality drum sounds taking full advantage of Stereo
Sampling and Dynamic Sampling.
Live!SFX (CVP-509) These are high-quality Latin percussion sounds taking full advantage
of Stereo Sampling and Dynamic sampling. They give you a broader
and more versatile range of Latin percussion than the normal drum
Voices.
Drums Various drum and percussion sounds are assigned to individual keys,
letting you play the sounds from the keyboard.
SFX Various special effect sounds are assigned to individual keys, letting
you play the sounds from the keyboard.
2
Voices – Playing the Keyboard –
Organ Flutes! This authentic organ Voice lets you use the Voice Set to adjust the var-
ious footages and craft your own original organ sounds. See page 15
for details.
Selecting GM/XG or Other Voices from the Panel
The GM/XG Voices cannot be directly called up from the VOICE category selection buttons. However, they
can be called up via panel operation by following the procedure below.
1 In the Main display, select a keyboard part to which you want to call up the desired
Voice.
2 Press one of the VOICE category selection buttons to call up the Voice Selection
display.
3 Press the [8 ▲] (UP) button to call up the Voice categories.
43
4 Press the [2 ▲] (P2) button to display Page 2.
5 Press the desired [A]–[J] button to call up the Voice Selection display of GM/XG
Voices, GM2 Voices, etc.
NOTE (CVP-509/505) You can find the “Legacy” folder in this display. This folder contains previous Yamaha Clavinova Voices (such as CVP-409, 407 etc.) for
data compatibility with other models.
6 Select the desired Voice.
4 CVP-509/505/503/501 Reference Manual
Selecting the Harmony/Echo type
You can select the desired Harmony/Echo effect from a variety of types.
1 Press the [VOICE EFFECT] button.
2 Turn the Harmony/Echo on by pressing the [I] (HARMONY/ECHO) button.
3 Call up the operation display by pressing the [J] (TYPE SELECT) button.
4 Use the [1 ▲▼]–[3 ▲▼] buttons to select the Harmony/Echo type.
The Harmony/Echo types are divided into the following groups, depending on the particular effect
applied.
Harmony Types
These types apply the harmony effect to notes played in the right-hand section of the keyboard according to the chord specified in the left-hand section
of the keyboard. (Note that the “1+5” and “Octave” settings are not affected
by the chord.)
Multi Assign Type
This type applies a special effect to chords played in the right-hand section
of the keyboard.
Echo Types
These types apply echo effects to notes played in the right-hand section of
the keyboard in time with the currently set tempo.
■ Harmony Types
When one of the Harmony Types is selected, the Harmony effect is applied to the note played in the righthand section of the keyboard according to the type selected above and the chord specified in the chord
section of the keyboard shown below.
Split Point
Split Point
2
Voices – Playing the Keyboard –
Chord section for Style playback
and Harmony effect
Split Point
(for Style playback)
Chord section for
Style playback and
Harmony effect
LEFT Voice
Split Point
(for the Voice)
RIGHT 1 and 2
Voi ces
LEFT Voice and chord section
for Harmony effect
RIGHT 1 and 2 Voices
CVP-509/505/503/501 Reference Manual 5
■ Multi Assign Type
The Multi Assign effect automatically assigns notes played simultaneously on the right-hand section of the
keyboard to separate parts (Voices). Both of the keyboard part [RIGHT 1] and [RIGHT 2] should be turn
on when using the Multi Assign effect. The Right 1 and Right 2 Voices are alternately assigned to the notes
in the order you play.
■ Echo Types
When one of the Echo Types is selected, the corresponding effect (echo, tremolo, trill) is applied to the
note played in the right-hand section of the keyboard in time with the currently set tempo, regardless of the
[ACMP ON/OFF] and the LEFT part on/off status. Keep in mind that Trill works when you hold down two
notes on the keyboard simultaneously (last two notes if more than two notes are held), and it plays those
notes alternately.
5 Use the [4 ▲▼]–[8 ▲▼] buttons to select various Harmony/Echo settings.
The available settings differ depending on the Harmony/Echo type.
2
Voices – Playing the Keyboard –
[4 ▲▼]VOLUME This parameter is available for all types with the exception of “Multi
Assign.” It determines the level of the harmony/echo notes generated by
the Harmony/Echo effect.
[5 ▲▼] SPEED This parameter is only available when Echo, Tremolo, or Trill is selected
in Type above. It determines the speed of the Echo, Tremolo, and Trill
effects.
[6 ▲▼] ASSIGN This parameter is available for all types with the exception of “Multi
Assign.” This lets you determine the keyboard part via which the harmony/echo notes will be sounded.
[7 ▲▼] CHORD NOTE
ONLY
[8 ▲▼]TOUCH LIMIT This parameter is available for all types with the exception of “Multi
This parameter is available when one of the Harmony Types is selected.
When this is set to “ON,” the Harmony effect is applied only to the note
(played in the right-hand section of the keyboard) that belongs to a chord
played in the chord section of the keyboard.
Assign.” It determines the lowest velocity value at which the harmony
note will sound. This allows you to selectively apply the harmony by your
playing strength, letting you create harmony accents in the melody. The
harmony effect is applied when you play the key strongly (above the set
value).
6 CVP-509/505/503/501 Reference Manual
Pitch-Related Settings
Fine-tuning the Pitch of the Entire Instrument
You can fine-tune the pitch of the entire instrument—useful when you play the Clavinova along with other
instruments or CD music. Please note that the Tune function does not affect the Drum Kit or SFX Kit Voices
and audio files.
1 Call up the operation display.
[FUNCTION] → [A] MASTER TUNE/SCALE TUNE → TAB [E][F] MASTER TUNE
2 Use the [4 ▲▼]/[5 ▲▼] buttons to set the tuning in 0.2 Hz steps, from 414.8–466.8 Hz.
Press the both 4 or 5’s [▲] and [▼] buttons simultaneously to reset the value to the factory setting of 440.0 Hz.
Scale Tuning
You can select various scales for playing in custom tunings for specific historical periods or music genres.
1 Call up the operation display.
[FUNCTION] → [A] MASTER TUNE/SCALE TUNE → TAB [E][F] SCALE TUNE
2
2 Use the [A]/[B] buttons to select the desired scale.
The tuning of each note for the currently selected scale is shown.
■ Preset Scale types
EQUAL The pitch range of each octave is divided equally into twelve parts, with each
half-step evenly spaced in pitch. This is the most commonly used tuning in
music today.
PURE MAJOR, PURE
MINOR
PYTHAGOREAN This scale was devised by the famous Greek philosopher and is created from a
MEAN-TONE This scale was created as an improvement on the Pythagorean scale, by making
These tunings preserve the pure mathematical intervals of each scale, especially for triad chords (root, third, fifth). You can hear this best in actual vocal
harmonies—such as choirs and a cappella singing.
series of perfect fifths, which are collapsed into a single octave. The 3rd in this
tuning are slightly unstable, but the 4th and 5th are beautiful and suitable for
some leads.
the major third interval more “in tune.” It was especially popular from the 16th
century to the 18th century. Handel, among others, used this scale.
Voices – Playing the Keyboard –
WERCKMEISTER,
KIRNBERGER
ARABIC1, ARABIC2 Use these tunings when playing Arabic music.
This composite scale combines the Werckmeister and Kirnberger systems,
which were themselves improvements on the mean-tone and Pythagorean
scales. The main feature of this scale is that each key has its own unique character. The scale was used extensively during the time of Bach and Beethoven,
and even now it is often used when performing period music on the harpsichord.
CVP-509/505/503/501 Reference Manual 7
3 Change the following settings as necessary.
[2 ▲▼]BASE NOTE Determines the base note for each scale. When the base note is changed,
the pitch of the keyboard is transposed, yet maintains the original pitch
relationship between the notes.
2
Voices – Playing the Keyboard –
[3 ▲▼]–
[5 ▲▼]
[6 ▲▼]/
[7 ▲▼]
[8 ▲▼] MARK ON/OFF
NOTE To register the Scale Tune settings to the Registration Memory, be sure to checkmark the SCALE item in the REGISTRATION MEMORY CONTENTS dis-
play.
TUNE Select the desired note to be tuned by using the [3 ▲▼] buttons and tune
it in cents by using the [4 ▲▼]/[5 ▲▼] buttons.
NOTE In musical terms a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)
PART SELECT Select the part to which the Scale Tune setting is applied by using the [6
▲▼]/[7 ▲▼] buttons. Then press the [8 ▲] button to add a checkmark or
press the [8 ▼] button to remove the checkmark.
Changing the Part Assignment of the TRANSPOSE Buttons
You can determine to which parts the TRANSPOSE [-]/[+] buttons are applied.
1 Call up the operation display.
[FUNCTION] → [D] CONTROLLER → TAB [E][F] KEYBOARD/PANEL
2 Use the [A]/[B] buttons to select “2. TRANSPOSE ASSIGN.”
3 Press the [4 ▲▼]/[5 ▲▼] buttons to select the desired transpose type.
KEYBOARD When this is selected, the TRANSPOSE [-]/[+] buttons affect the pitch of key-
board played Voices and Style playback (controlled by the performance in the
chord section of the keyboard)—but they do not affect Song playback.
SONG When this is selected, the TRANSPOSE [-]/[+] buttons affect only the pitch of
Song playback.
MASTER When this is selected, the TRANSPOSE [-]/[+] buttons affect the overall pitch
of the instrument, except audio playback.
You can confirm the setting here by viewing the pop-up window called up via the TRANSPOSE [-]/[+]
buttons.
8 CVP-509/505/503/501 Reference Manual
Editing Voices (Voice Set)
The instrument has a Voice Set feature that allows you to create your own Voices by editing some parameters
of the existing Voices. Once you’ve created a Voice, you can save it as a User Voice to the USER drive or
external devices for future recall.
1 Select the desired Voice (other than an Organ Flutes Voice).
The editing method is different for the ORGAN FLUTES Voices compared to other Voices. For
instructions on editing the ORGAN FLUTES Voices, see page 15.
2 Press the [6 ▲] (VOICE SET) button to call up the VOICE SET display.
3 Use the TAB [E][F] buttons to call up the relevant setting display.
For information on the available parameters in each display, see the “Editable Parameters in the VOICE
SET Displays” on page 10.
3
5
2
4
4 As necessary, use the [A]/[B] buttons to select the item (parameter) to be edited and
edit the Voice by using the [1 ▲▼]–[8 ▲▼] buttons.
By pressing the [D] (COMPARE) button, you can compare the sound of the edited Voice with the original
(unedited) Voice.
5 Press the [I] (SAVE) button to save your edited Voice as a User Voice.
CAUTION
The settings will be lost if you select another Voice or turn the power to the instrument off without executing the Save operation.
Voices – Playing the Keyboard –
CVP-509/505/503/501 Reference Manual 9
Editable Parameters in the VOICE SET Displays
0
64 127
64
127
0
64 127
64
127
Actual Velocity for
tone generator
Depth=127 (twice)
Depth=64 (normal)
Depth=32 (half)
Depth=0
TOUCH SENSE DEPTH
Changes to velocity curve according to
VelDepth (with Offset set to 64)
Received Velocity
(Actual KeyOn speed)
TOUCH SENSE OFFSET
Changes to velocity curve according to
VelOffset (with Depth set to 64)
Actual Velocity for
tone generator
Received Velocity
(Actual KeyOn
speed)
Offset=96 (+64)
Offset=127 (+127)
Offset=64 (normal)
Offset=32 (-64)
Offset=0 (-127)
Depends
on offset
Depends
on offset
The Voice Set parameters are organized into six different displays. The parameters in each display are
described separately, below.
NOTE The available parameters differ depending on the Voice.
■ PIANO Page
This display is available only when the Natural! piano Voice (page
3) is selected.
■
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
2
Voices – Playing the Keyboard –
[1 ▲▼ ]/
[2
[3
[4
]
]/
]
TUNING
CURVE
KEY OFF
SAMPLE
(CVP-509/505/503)
[5
[6
]/
]
SUSTAIN
SAMPLE
(CVP-509/505/503)
]/
[7
[8
STRING
]
RESONANCE
(CVP-509)
COMMON Page
[1
[2
[3
]VOLUME Adjusts the volume of the current edited Voice.
]/
TOUCH SENSE Adjusts the touch sensitivity (velocity sensitivity), or how greatly the vol-
]
Determines the tuning curve. Select “FLAT” if you feel the tuning curve
of the piano Voice does not quite match that of other instruments Voices.
STRETCH: Tuning curve particularly for pianos.
FLAT: Tuning curve in which the frequency is octave doubled over the
entire keyboard range.
Adjusts the volume of the key-off sound (the subtle sound that occurs
when you release a key).
Adjusts the depth of sustain sampling for the damper pedal.
Adjusts the depth of string resonance.
ume responds to your playing strength.
10 CVP-509/505/503/501 Reference Manual
DEPTH
Determines the velocity sensitivity, or how much the level of the Voice
changes in response to your playing strength (velocity).
OFFSET
Determines the amount by which received velocities are adjusted for the
actual velocity effect.
[4
[5
]/
PART OCTAVE Shifts the octave range of the edited Voice up or down in octaves. When
]
the edited Voice is used as any of the RIGHT 1–2 parts, the R1/R2 parameter is available; when the edited Voice is used as the LEFT part, the
LEFT parameter is available.
[6
[7
CONTROLLER Page
1 CENTER PEDAL
2 LEFT PEDAL
These allow you to select the function to be assigned to the center or left pedal.
[1 ▲▼ ] FUNCTION Selects the function to be assigned to the center or left pedal. For details
[2
[8
3 MODULATION
When a pedal function is assigned to MODULATION, the pedal can be used to modulate the parameters
below as well as the pitch (vibrato). Here, you can set the degree to which the pedal modulates each of the
following parameters.
] MONO/POLY Determines whether the edited Voice is played monophonically or poly-
phonically.
] PORTAMENTO
TIME
]–
RIGHT 1,
]
RIGHT 2, LEFT,
etc.
Sets the portamento time (pitch transition time) when the edited Voice is
set to “MONO” above.
NOTE
The Portamento Time determines the pitch transition time. Portamento is a function that creates a
smooth transition in pitch from the first note played on the keyboard to the next.
on the pedal functions, see page 86.
Determines whether the assigned function is effective or not for the
respective keyboard part. This also determines the depth for the function.
For details, see page 86.
■
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
▲▼
2
Voices – Playing the Keyboard –
[2
[3
[5
[6
[7
] FILTER Determines the degree to which the pedal modulates the Filter Cutoff Fre-
quency. For details about the filter, see below.
] AMPLITUDE Determines the degree to which the pedal modulates the amplitude (vol-
ume).
] LFO PMOD Determines the degree to which the pedal modulates the pitch, or the
vibrato effect.
] LFO FMOD Determines the degree to which the pedal modulates the Filter modula-
tion, or the wah effect.
] LFO AMOD Determines the degree to which the pedal modulates the amplitude, or the
tremolo effect.
CVP-509/505/503/501 Reference Manual
11
■ SOUND Page
Time
Level
Key on Key off
Sustain
Level
ATTA CK DECAY RELEASE
Pitch
DELAY
SPEED
DEPTH
Time
FILTER
Filter is a processor that changes the timbre or tone of a sound by either blocking or passing a specific
frequency range. The parameters below determine the overall timbre of the sound by boosting or cutting a
certain frequency range. In addition to making the sound either brighter or mellower, Filter can be used to
produce electronic, synthesizer-like effects.
2
Voices – Playing the Keyboard –
[1 ▲▼] BRIGHT.
(Brightness)
Determines the cutoff frequency or
effective frequency range of the filter (see diagram). Higher values
result in a brighter sound.
[2 ▲▼] HARMO.
(Harmonic content)
Determines the emphasis given to
the cutoff frequency (resonance),
set in BRIGHT. above (see diagram). Higher values result in a
more pronounced effect.
EG
The EG (Envelope Generator) settings determine how the level of the
sound changes in time. This lets you reproduce many sound
characteristics of natural acoustic instruments—such as the quick
attack and decay of percussion sounds, or the long release of a
sustained piano tone.
Volume
These frequencies are
“passed” by the filter.
Volume
Cutoff Frequency
Cutoff
range
Resonance
Frequency (pitch)
Frequency
(pitch)
12
CVP-509/505/503/501 Reference Manual
[3 ▲▼]ATTACK Determines how quickly the sound reaches its maximum level after the
key is played. The lower the value, the quicker the attack.
[4 ▲▼] DECAY Determines how quickly the sound reaches its sustain level (a slightly
lower level than maximum). The lower the value, the quicker the decay.
[5 ▲▼] RELES.
(Release)
Determines how quickly the sound decays to silence after the key is
released. The lower the value, the quicker the decay.
VIBRATO
Vibrato is a quavering, vibrating sound effect that is produced by
regularly modulating the pitch of the Voice.
[6 ▲▼] DEPTH Determines the intensity of the Vibrato effect. Higher settings result in a
more pronounced Vibrato.
[7 ▲▼] SPEED Determines the speed of the Vibrato effect.
[8 ▲▼] DELAY Determines the amount of time that elapses between the playing of a key
and the start of the Vibrato effect. Higher settings increase the delay of
the Vibrato onset.
■ EFFECT/EQ Page
1 REVERB DEPTH/CHORUS DEPTH/DSP DEPTH/VIB ROTOR
[1 ▲▼]/
[2 ▲▼]
REVERB
DEPTH
Adjusts the reverb depth.
[3 ▲▼]/
[4 ▲▼]
[5 ▲▼] DSP ON/OFF Determines whether the DSP is on or off.
[6 ▲▼] DSP DEPTH Adjusts the DSP depth.
[7 ▲▼] VIBE ROTOR This will be displayed only if VIBE VIBRATE is selected for the DSP
2 DSP
[1 ▲▼]–
[4 ▲▼]
[5 ▲▼]–
[8 ▲▼]
[5 ▲▼] ON/OFF The factory-programmed assignments are set to variation-off for all
CHORUS
DEPTH
DSP TYPE Selects the DSP effect category and type. Select a type after selecting a
VARIATION Two variations are provided for each DSP type. Here, you can edit the
Adjusts the chorus depth.
If you want to re-select the DSP type, you can do so in the “2 DSP”
menu explained below.
Type parameter explained below. Determines whether VIBE
VIBRATE should be set to on or off when selecting the Voice.
category.
VARIATION on/off status and variation’s parameter value setting.
Voices (standard variation of DSP is assigned). If you select VARIATION ON here, a variation of the DSP effect is assigned to the Voice.
The variation parameter value can be adjusted in the VALUE menu
explained below.
2
Voices – Playing the Keyboard –
PARAMETER Displays the variation parameter. (This differs depending on the effect
type and cannot be changed.)
[6 ▲▼]
–[8 ▲▼]
3 EQ
Determines the Frequency and Gain of the Low and High EQ bands. For information about EQ, refer to
page 74.
■ HARMONY Page
Harmony sets the Right 1 and 2 parts together. Select the Right 1 part in the Main display, before you set
it. This has the same settings as the display of “Selecting the Harmony/Echo type” page 5 in step 3.
VALUE Adjusts the value of the DSP variation parameter.
CVP-509/505/503/501 Reference Manual 13
Disabling Automatic Selection of Voice Sets (Effects, etc.)
Each Voice is linked to its default VOICE SET parameter settings. Usually these settings are automatically
called up when a Voice is selected. However, you can also disable this feature by the operation in the relevant
display as explained below.
For example, if you want to change the Voice yet keep the same Harmony effect, set the HARMONY/ECHO
parameter to OFF (in the display explained below).
1 Call up the operation display.
[FUNCTION] → [E] REGIST SEQUENCE/FREEZE/VOICE SET → TAB [E][F] VOICE SET
2 Use the [A]/[B] buttons to select a keyboard part.
2
Voices – Playing the Keyboard –
2
3
3 Use the [4 ▲▼]–[8 ▲▼] buttons to enable/disable automatic calling up of the settings
(ON or OFF) independently for each parameter group.
14 CVP-509/505/503/501 Reference Manual
Editing Organ Flutes Parameters
The Organ Flute Voices selected from the [ORGAN FLUTES] button can be edited by adjusting the footage
levers, adding the attack sound, applying effect and equalizer, etc.
CAUTION
After editing, go to the Voice Selection display by pressing the [I] (PRESETS) button and save the setting. The settings will be lost if you
select another Voice or turn the power to the instrument off without executing the Save operation.
■ FOOTAGE Page
Refer to the Owner’s Manual, chapter 2.
■ VOLUME/ATTACK Page
Same as the
FOOTAGE
Page.
2
[1 ▲▼]VOL (Volume) Adjusts the overall volume of the Organ Flutes. The longer the graphic
bar, the greater the volume.
[2 ▲▼] RESP
(Response)
[3 ▲▼] VIBRATO
SPEED
[4 ▲▼] MODE The MODE control selects between two modes: FIRST and EACH. In the
[5 ▲▼]–
[7 ▲▼]
[8 ▲▼] LENG (Length) Affects the attack portion of the sound producing a longer or shorter
4’, 2 2/3’, 2’ These determine the attack sound volume of the ORGAN FLUTE Voice.
Affects both the attack and release (page 12) portion of the sound,
increasing or decreasing the response time of the initial swell and release,
based on the FOOTAGE controls. The higher the value, the slower the
swell and release.
Determines the speed of the vibrato effect controlled by the Vibrato On/
Off ([F]/[G] buttons) and Vibrato Depth ([H] button).
FIRST mode, attack (percussive sound) is applied only to the first notes
played and held simultaneously; while the first notes are held, any subsequently played notes have no attack applied. In the EACH mode, attack is
applied equally to all notes.
The 4’, 2-2/3’ and 2’ controls increase or reduce the volume of attack
sound at the corresponding footages. The longer the graphic bar, the
greater the attack sound volume.
decay immediately after the initial attack. The longer the graphic bar, the
longer the decay.
Voices – Playing the Keyboard –
■ EFFECT/EQ Page
Same parameters as in the VOICE SET “EFFECT/EQ” Page explained on page 13.
CVP-509/505/503/501 Reference Manual 15
Styles
– Playing Rhythm and Accompaniment –
Contents
Selecting the Chord Fingering Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Style Playback Related Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Split Point Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Memorizing the Original One Touch Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Creating/Editing Styles (Style Creator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
• Realtime Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
• Step Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
• Style Assembly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
• Editing the Rhythmic Feel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
• Editing Data for Each Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
3
Styles – Playing Rhythm and Accompaniment –
• Making Style File Format Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Selecting the Chord Fingering Type
Style playback can be controlled by the chords you play in the chord section of the keyboard. There are seven
types of fingering.
1 Call up the operation display.
[FUNCTION] → [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING → TAB [E][F] CHORD
FINGERING
2 Press the [1 ▲▼]–[3 ▲▼] buttons to select a fingering.
For information on each fingering type, see page 17.
Chord Tutor
If you know the name of a chord but don’t know how to play, you can have the instrument show you the
notes to play. This is the Chord Tutor function.
On the CHORD FINGERING display, specify the Chord Root and Chord Type by using the [6 ▲▼]–[8
▲▼] button. The notes you need to play are shown in the display.
NOTE Depending on the chord, some notes may be omitted.
16 CVP-509/505/503/501 Reference Manual
Chord Fingering Types
SINGLE FINGER Makes it simple to produce orchestrated accompaniment using major, seventh,
minor and minor-seventh chords by pressing a minimum number of keys on the
Chord section of the keyboard. This type is available only for Style playback.
The abbreviated chord fingerings described below are used:
C
Cm
For a major chord, press
the root key only.
For a minor chord, simultaneously press the root
key and a black key to its
left.
C
Cm
7
7
For a seventh chord,
simultaneously press the
root key and a white key to
its left.
For a minor-seventh
chord, simultaneously
press the root key and both
a white and black key to its
left.
MULTI FINGER Automatically detects Single Finger or Fingered chord fingerings, so you can
use either type of fingering without having to switch fingering types.
FINGERED Lets you finger your own chords on the chord section of the keyboard, while
the instrument supplies appropriately orchestrated rhythm, bass, and chord
accompaniment in the selected Style. The Fingered type recognizes the various
chord types which are listed on the separate Data List booklet and can be
looked up using the Chord Tutor function on page 16.
FINGERED ON BASS Accepts the same fingerings as Fingered, but the lowest note played in the
Chord section of the keyboard is used as the bass note, allowing you to play
“on bass” chords. (In the Fingered mode, the root of the chord is always used
as the bass note.)
FULL KEYBOARD Detects chords in the entire key range. Chords are detected in a way similar to
Fingered, even if you split the notes between your left and right hands—for
example, playing a bass note with your left hand and a chord with your right,
or by playing a chord with your left hand and a melody note with your right.
3
AI FINGERED Basically the same as Fingered, with the exception that less than three notes
can be played to indicate the chords (based on the previously played chord,
etc.).
AI FULL KEYBOARD When this advanced fingering type is engaged, the instrument will automati-
cally create appropriate accompaniment while you play just about anything,
anywhere on the keyboard using both hands. You don’t have to worry about
specifying the Style chords. Although the AI Full Keyboard type is designed to
work with many songs, some arrangements may not be suitable for use with
this feature. This type is similar to Full Keyboard, with the exception that less
than three notes can be played to indicate the chords (based on the previously
played chord, etc.). 9th, 11th and 13th chords cannot be played. This type is
available only for Style playback.
NOTE “AI” stands for “Artificial Intelligence.”
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 17
Style Playback Related Settings
The instrument has a variety of Style playback functions which can be accessed in the display below.
1 Call up the operation display.
[FUNCTION] → [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING → TAB [E][F] STYLE
SETTING
2 Use the [1 ▲▼]–[8 ▲▼] buttons for each setting.
3
Styles – Playing Rhythm and Accompaniment –
[1 ▲▼]STOP ACMP When [ACMP ON/OFF] is turned on and [SYNC START] is off, you can
play chords in the chord section of the keyboard with the Style stopped,
and still hear the accompaniment chord. In this condition—called “Stop
Accompaniment”—any valid chord fingerings are recognized and the
chord root/type are shown in the display. Here, you can determine
whether the chord played in the chord section will sound or not in the
Stop Accompaniment status.
OFF
The chord played in the chord section will not sound.
STYLE
The chord played in the chord section will sound via the Voices for the
Pad part and the Bass channel of the selected Style.
FIXED
The chord played in the chord section will sound via the specified Voice,
regardless of the selected Style.
NOTE When the selected Style contains MegaVoices, unexpected sounds may result when this is set to
“STYLE.”
NOTE When you record a song, the chord detected by playing the Stop Accompaniment can be recorded
regardless of the setting here. Please note that both the Voice that is sounded and the chord data
will be recorded when set to “STYLE,” and only the chord data will be recorded when set to “OFF”
or “FIXED.”
18 CVP-509/505/503/501 Reference Manual
[2 ▲▼]OTS LINK TIM-
ING
This applies to the OTS Link function. This parameter determines the
timing in which the One Touch Settings change with the MAIN VARIATION [A]–[D] change. (The [OTS LINK] button must be on.)
REAL TIME
One Touch Setting is immediately called up when you press a MAIN
VARIATION button.
NEXT BAR
One Touch Setting is called up at the next measure, after you press a
MAIN VARIATION button.
[3 ▲▼] SYNCHRO
STOP WINDOW
[4 ▲▼] STYLE TOUCH Turns touch response for the Style playback on/off. When this is set to
[5 ▲▼]/
[6 ▲▼]
[7 ▲▼] TEMPO This determines whether the tempo changes or not when you change
SECTION SET Determines the default section that is automatically called up when
This determines how long you can hold a chord before the Synchro Stop
function is automatically cancelled. When the [SYNC STOP] button is
turned on and this is set to a value other than “OFF,” this is automatically
cancels the Synchro Stop function if you hold a chord for longer than the
time set here. This conveniently resets Style playback control to normal,
letting you release the keys and still have the Style play. In other words, if
you release the keys sooner than the time set here, the Synchro Stop function works.
“ON,” the Style volume changes in response to your playing strength in
the chord section of the keyboard.
selecting different Styles (when Style playback is stopped). When set to
“OFF” and Style playback is stopped, the active section is maintained
even if the different Style is selected. When any of the MAIN A–D sections is not included in the Style data, the nearest section is automatically
selected. For example, when MAIN D is not contained in the selected
Style, MAIN C will be called up.
Styles during Style playback.
3
HOLD
The tempo setting of the previous Style is maintained.
RESET
The tempo changes to that of the initial default tempo for the selected
Style.
[8 ▲▼]PART ON/OFF This determines whether the Style Channel On/Off status changes or not
when you change Styles.
HOLD
The Style Channel On/Off status of the previous Style is maintained.
RESET
All Style Channels are set to On.
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 19
Split Point Settings
Split Point (S+L)
Chord section
+ Voice LEFT
Voice RIGHT 1 and 2
These are the settings (there are two Split Points) that separate the different sections of the keyboard: the
Chord section, the LEFT part section and the RIGHT 1 and 2 section. The two Split Point settings (below)
are specified as note names.
1 Call up the operation display.
[FUNCTION] → [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING → TAB [E][F] SPLIT
POINT
2 Set the Split Point.
3
Styles – Playing Rhythm and Accompaniment –
Chord section
Split Point (S)
Voice LEFT
Split Point (L)
Voice RIGHT
1–2
[F] Split Point (S+L) Sets the Split Point (S) and Split Point (L) to the same note. Press the [F]
button and rotate the [DATA ENTRY] dial.
[G] Split Point (S) Sets each Split Point. Press one of the desired buttons and rotate the
[DATA ENTRY] dial.
[H] Split Point (L)
[1 ▲▼]/
STYLE You can specify each Split Point by note name. “STYLE” indicates Split
[2 ▲▼]
[3 ▲▼]/
LEFT
NOTE Split Point (L) cannot be set lower than Split Point (S).
Point (S) and “LEFT” indicates Split Point (L).
[4 ▲▼]
20 CVP-509/505/503/501 Reference Manual
Memorizing the Original One Touch Setting
You can create your own One Touch Setting setups.
1 Select the desired Style to memorize your One Touch Setting.
2 Set up the panel controls (such as Voice, effects, and so on) as desired.
3 Press the [MEMORY] button.
34
4 Press one of the ONE TOUCH SETTING [1]–[4] buttons.
A message appears in the display prompting you to save the panel settings.
5 Press [F] (YES) button to call up the Style Selection display and save the panel
settings as a Style file.
3
CAUTION
The panel settings memorized to each OTS button will be lost if you change the Style or turn the power off without executing the Save
operation.
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 21
Creating/Editing Styles (Style Creator)
Styles are made up of fifteen different sections (Intro, Main, Ending, etc.) and each section has eight separate
channels. With the Style Creator feature, you can create a Style by separately recording the channels, or by
importing pattern data from other existing Styles.
Sections
Channels
You can use one of the three different methods described below to create a Style. The created Style can also
be edited.
3
Styles – Playing Rhythm and Accompaniment –
• Realtime Recording This method lets you record the Style by simply playing the keyboard. See
• Step Recording This method lets you to enter each note individually. See page 26.
• Style Assembly This method lets you create a composite Style by combining various patterns
Call up the operation display.
[FUNCTION] → [F] DIGITAL REC MENU → [B] STYLE CREATOR
NOTE The Style files created on the CVP-509/505/503/501 can only be played back on instruments which are compatible with SFF GE.
There are six Pages (tabs) in the Style Creator display.
page 23.
from the internal preset Styles or Styles you have already created. See page 26.
• BASIC Creates the basic settings of the Style. You can also record your performance in realtime
to create a new Style (Realtime Recording). See page 23.
• ASSEMBLY Mixes the various parts (channels) from preset Styles or already created Style to create a
new Style. See page 26.
• GROOVE
• CHANNEL Edits data for each channel—quantizing, changing velocity, etc. See page 30.
• PARAMETER Changes the settings related for Style File Format. See page 31.
• EDIT Lets you enter notes one by one to create your Style (Step Recording). See page 26.
Changes the rhythmic feel of your created Style. See page 28.
22 CVP-509/505/503/501 Reference Manual
Realtime Recording
In the BASIC Page, you can create a single Style by recording the individual channels one-by-one, using
realtime recording.
Realtime Recording Characteristics—Loop Recording and Overdub Recording
• Loop Recording
Style playback repeats the rhythm patterns of several measures in a “loop,” and Style recording is also
done using loops. For example, if you start recording with a two-measure MAIN section, the two
measures are repeatedly recorded. Notes that you record will play back from the next repetition (loop),
letting you record while hearing previously recorded material.
•Overdub Recording
This method records new material to a channel already containing recorded data, without deleting the
original data. In Style recording, the recorded data is not deleted, except when using functions such as
Rhythm Clear (page 25) and Delete (page 24).
For example, if you start recording with a two-measure MAIN section, the two measures are repeated
many times. Notes that you record will play back from the next repetition, letting you overdub new
material to the loop while hearing previously recorded material.
When creating a Style based on an existing internal Style, overdub recording is applied only to the
rhythm channels. For all other channels (except rhythm), you need to delete the original data before
recording.
3
1 When you want to create a Style based on an existing Style, select the desired Style
to serve as the basis for recording/editing before call up the Style Creator display.
2 Call up the operation display.
[FUNCTION] → [F] DIGITAL REC MENU → [B] STYLE CREATOR
The BASIC Page is shown.
3 If you want to create a new Style from scratch, press the [C] (NEW STYLE) button to
delete all channel’s data.
4 Select the desired section (Intro, Main, Ending, etc.) for your new Style.
First close the RECORD display by pressing the [EXIT] button. Then use the [3 ▲▼]/[4 ▲▼] buttons to
select the section to be recorded.
5
-2
Styles – Playing Rhythm and Accompaniment –
5
4
NOTE To call up the RECORD display again, press the [F] (REC CH) button.
NOTE You can specify the sections to be recorded by using the Section buttons on the panel. Refer to step 3 on page 26.
NOTE You cannot select INTRO 4 and ENDING 4 sections directly via the panel operation.
-1
CVP-509/505/503/501 Reference Manual 23
5 Use the [5 ▲▼]/[6 ▲▼] buttons to determine the length (number of measures) of the
selected section, then press the [D] (EXECUTE) button to actually enter the specified
length.
6 Specify the channel to be recorded by simultaneously holding down the [F] (REC CH)
button and pressing the appropriate numbered button, [1 ▼]–[8 ▼].
To cancel the selection, press the corresponding [1 ▼]–[8 ▼] button again.
3
Styles – Playing Rhythm and Accompaniment –
7 Call up the Voice Selection display by using the [1 ▲]–[8 ▲] buttons and select the
desired Voice for the corresponding recording channels.
Press the [EXIT] button to close the Voice Selection display.
6
7
Recordable Voices
• RHY1 channel
Any except your original Organ Flute, SA and SA2 Voices are recordable.
• RHY2 channel
Only drum/SFX kits are recordable.
•BASS–PHR2 channels
Any except your original Organ Flute, drum/SFX kits, SA and SA2 Voices are recordable.
NOTE Preset Organ Flute Voice can be recorded to the RHY1 and BASS–PHR2 channels.
8 If necessary, delete a channel by simultaneously holding down the [J] (DELETE)
button and pressing the appropriate numbered button, [1 ▲]–[8 ▲].
You can cancel the deletion by pressing the same numbered button again before releasing your finger from
the [J] button.
NOTE When recording channels BASS–PHR2 based on the existing Style, you have to delete the original data before recording.
24 CVP-509/505/503/501 Reference Manual
9 Start recording by pressing the STYLE CONTROL [START/STOP] button.
Playback of the specified section starts. Since the accompaniment pattern plays back repeatedly in a loop,
you can record individual sounds one by one, listening to the previous sounds as they play. For
information on recording to channels other than the rhythm channels (RHY1, 2), refer to the section
“Rules when recording non-rhythm channels” below.
NOTE You can turn off the desired channels by pressing the corresponding [1 ▼]–[8 ▼] buttons.
Deleting recorded notes in the rhythm channel
When you are recording the rhythm channel (RHY1 or RHY2), you can delete a specific instrument
sound by simultaneously holding down the [E] (RHY CLEAR) button and pressing the appropriate key
on the keyboard.
10
To continue recording with another channel, repeat steps 6 –9.
3
11
Stop recording by pressing the STYLE CONTROL [START/STOP] button.
12
Press the [EXIT] button to close the RECORD display.
13
Press the [I] (SAVE) button to execute the Save operation.
CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.
Rules when recording non-rhythm channels
• Use only the CM7 scale tones when recording the BASS and PHRASE channels (i.e., C, D, E, G, A,
and B).
• Use only the chord tones when recording the CHORD and PAD channels (i.e., C, E, G, and B).
C = Chord note
CRC CRC
Using the data recorded here, the auto accompaniment (Style playback) is appropriately converted
depending on the chord changes you make during your performance. The chord which forms the basis for
this note conversion is called the Source Chord, and is set by default to CM7 (as in the example
illustration above).
You can change the Source Chord (its root and type) from the PARAMETER display on page 31. Keep in
mind that when you change the Source Chord from the default CM7 to another chord, the chord notes
and recommended notes will also change. For details on chord notes and recommended notes, see
page 32.
NOTE For the INTRO and ENDING sections, any appropriate chord or chord progression can be used.
C, R = Recommended note
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 25
Step Recording
In the EDIT Page, you can record notes with absolutely precise timing. This Step Recording procedure is
essentially the same as that for Song Recording (page 45) with the exception of the points listed below:
• In the Song Creator, the End Mark position can be changed freely; in the Style Creator, it cannot be changed.
This is because the length of the Style is automatically fixed, depending on the selected section. For example,
if you create a Style based on a section of four measures length, the End Mark position is automatically set to
the end of the fourth measure, and cannot be changed in the Step Recording display.
• Recording channels can be changed in the Song Creator 1-16 tab display; however, they cannot be changed
in the Style Creator. Select the recording channel in the BASIC tab display.
• In the Style Creator, the channel data can be entered and System Exclusive data can be edited (delete, copy,
or move). You can switch between the two by pressing the [F] button. However, Chord, Lyrics, and System
Exclusive data cannot be entered.
3
Styles – Playing Rhythm and Accompaniment –
For instructions on Step Recording, refer to pages 45–48. For information on the EDIT display (Event List
display), refer to page 58.
Style Assembly
Style Assembly allows you to create a single Style by mixing the various patterns (channels) from existing
internal Styles.
1 Select the desired Style to serve as the basis for recording/editing before calling up
the Style Creator display.
2 Call up the operation display.
[FUNCTION] → [F] DIGITAL REC MENU → [B] STYLE CREATOR → TAB [E][F] ASSEMBLY
3 Select the desired section (Intro, Main, Ending, etc.) for your new Style.
First call up the SECTION Selection display by pressing one of the Section buttons (INTRO, MAIN,
ENDING, etc.) on the panel. Then change the section as desired by using the [6 ▲▼]/[7 ▲▼] buttons and
actually enter the selection by pressing the [8 ▲] (OK) button.
NOTE You cannot select INTRO 4 and ENDING 4 sections directly via the panel operation.
26 CVP-509/505/503/501 Reference Manual
4 Select the channel for which you wish to replace the pattern by using the [A]–[D] and
[F]–[I] buttons. Call up the Style Selection display by pressing the same button again.
Select the Style containing the pattern you want to replace in the Style Selection
display.
To return to the previous screen, press the [EXIT] button after selecting the Style.
4
5
6
[A]–[D],
[F]–[I]
buttons
5 Select the desired section of the newly imported Style (chosen in step 4) by using the
[2 ▲▼]/[3 ▲▼] (SECTION) buttons.
6 Select the desired channel for the section (chosen in step 5) by using the [4 ▲▼]/[5
▲▼] (CHANNEL) buttons.
Repeat steps 4–6 above to replace the patterns of other channels.
Playing the Style During Style Assembly
While you are assembling a Style, you can play back the Style and select the method of playback. Use the
[6 ▲▼]/[7 ▲▼] (PLAY TYPE) buttons in the Style Assembly display to select the playback method.
3
• SOLO
Mutes all but the selected channel in the ASSEMBLY Page. Any channels set to ON in the RECORD
display on the BASIC Page are played back simultaneously.
•ON
Plays back the selected channel in the ASSEMBLY Page. Any channels set to other than OFF in the
RECORD display on the BASIC Page are played back simultaneously.
• OFF
Mutes the selected channel in the ASSEMBLY Page.
7 Press the [J] (SAVE) button to execute the Save operation.
CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 27
Editing the Rhythmic Feel
1
1 In the GROOVE Page, use the [A]/[B] buttons to select the edit menu, then edit the
3
Styles – Playing Rhythm and Accompaniment –
data by using the [1 ▲▼]–[8 ▲▼] buttons.
1 GROOVE
This lets you add swing to the music or change the “feel” of the beat by making subtle shifts in the timing
(clock) of the Style. The Groove settings are applied to all channels of the selected Style.
[1 ▲▼]/
[2 ▲▼]
[3 ▲▼]/
[4 ▲▼]
2
1
ORIGINAL
BEAT
BEAT CONVERTER
3
Specifies the beats to which Groove timing is to be applied. In other
words, if “8 Beat” is selected, Groove timing is applied to the 8th notes; if
“12 Beat” is selected, Groove timing is applied to 8th-note triplets.
Actually changes the timing of the beats (specified in the ORIGINAL
BEAT parameter above) to the selected value. For example, when ORIGINAL BEAT is set to “8 Beat” and BEAT CONVERTER is set to “12,” all
8th notes in the section are shifted to 8th-note triplet timing. The “16A”
and “16B” Beat Converter which appear when ORIGINAL BEAT is set
to “12 Beat” are variations on a basic 16th-note setting.
[5 ▲▼]/
[6 ▲▼]
[7 ▲▼]/
[8 ▲▼]
SWING Produces a “swing” feel by shifting the timing of the back beats, depend-
ing on the ORIGINAL BEAT parameter above. For example, if the specified ORIGINAL BEAT value is “8 Beat”, the Swing parameter will
selectively delay the 2nd, 4th, 6th, and 8th beats of each measure to create
a swing feel. The settings “A” through “E” produce different degrees of
swing, with “A” being the most subtle and “E” being the most pronounced.
FINE Selects a variety of Groove “templates” to be applied to the selected sec-
tion. The “PUSH” settings cause certain beats to be played early, while
“HEAVY” settings delay the timing of certain beats. The numbered settings (2, 3, 4, 5) determine which beats are to be affected. All beats up to
the specified beat—but not including the first beat—will be played early
or delayed (for example, the 2nd and 3rd beats, if “3” is selected). In all
cases, “A” types produce minimum effect, “B” types produce medium
effect, and “C” types produce maximum effect.
28 CVP-509/505/503/501 Reference Manual
2 DYNAMICS
This changes the velocity/volume (or accent) of certain notes in the Style playback. The Dynamics settings
are applied to each channel or all channels of the selected Style.
[1 ▲▼]/
[2 ▲▼]
[3 ▲▼]/
[4 ▲▼]
[6 ▲▼] STRENGTH Determines how strongly the selected Accent Type (above) will be
[7 ▲▼] EXPAND/
[8 ▲▼] BOOST/CUT Boosts or cuts all velocity values in the selected section/channel. Values
CHANNEL Selects the desired channel (part) to which Dynamics is to be applied.
ACCENT TYPE Determines the type of accent applied—in other words, which notes in
the part(s) are emphasized with the Dynamics settings.
applied. The higher the value, the stronger the effect.
Expands or compresses the range of velocity values. Values higher than
COMP.
100% expand the dynamic range, while values lower than 100% compress it.
above 100% boost the overall velocity, while values below 100% reduce
it.
2 Press the [D] (EXECUTE) button to actually enter the edits for each display.
After the operation is completed, this button changes to “UNDO,” letting you restore the original data if
you are not satisfied with the Groove or Dynamics results. The Undo function only has one level; only the
previous operation can be undone.
3 Press the [I] (SAVE) button to execute the Save operation.
3
CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.
Styles – Playing Rhythm and Accompaniment –
CVP-509/505/503/501 Reference Manual 29
Editing Data for Each Channel
1
1 In the CHANNEL Page, use the [A]/[B] buttons to select the edit menu.
1 QUANTIZE
3
Styles – Playing Rhythm and Accompaniment –
Same as in the Song Creator (page 55), with the exception of the two additional available parameters
below.
2 VELOCITY CHANGE
Boosts or cuts the velocity of all notes in the specified channel, according to the percentage specified here.
3 BAR COPY
This function allows data to be copied from one measure or group of measures to another location within
the specified channel.
4
2
Eighth notes with swing
Sixteenth notes with swing
5
3
[4 ▲▼]TOP Specifies the first (TOP) and last (LAST) measures in the region to be
[5 ▲▼] LAST
[6 ▲▼] DEST Specifies the first measure of the destination location, to which the data is
4 BAR CLEAR
This function clears all data from the specified range of measures within the selected channel.
5 REMOVE EVENT
This function lets you remove specific events from the selected channel.
copied.
to be copied.
2 Use the [1 ▲▼]/[2 ▲▼] (CHANNEL) buttons to select the channel to be edited.
The selected channel is shown at the upper left of the display.
3 Use the [4 ▲▼]–[8 ▲▼] buttons to edit the data.
4 Press the [D] (EXECUTE) button to actually enter the edits for each display.
After the operation is completed, this button changes to “UNDO,” letting you restore the original data if
you are not satisfied with the results of the edit. The Undo function only has one level; only the previous
operation can be undone.
5 Press the [I] (SAVE) button to execute the Save operation.
CAUTION
The edited Style will be lost if you change to another Style or turn the power to the instrument off without executing the Save operation.
30 CVP-509/505/503/501 Reference Manual
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