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 –	36
	Editing Music Notation Settings .......................................	36
	Editing Lyrics/Text Display Settings CVP-509 CVP-505 CVP-503 ..........	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
5	Music Finder
	– Calling Up Ideal Setups (Voice, Style, etc.) for Each Song –	61
	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

6Registration Memory

– Saving and Recalling Custom Panel Setups – 65

Disabling Recall of Specific Items (Freeze) .....................	65
Calling Up Registration Memory Numbers in Order
(Registration Sequence) ..................................................	66
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

9Internet Direct Connection

– Connecting the CVP-509/505/503/501 Directly to the Internet – 76

Editing the Browser Settings............................................	76
Registering Bookmarks of Your Favorite Pages ..............	77
10 Connections
– Using Your Instrument with Other Devices –	79
Microphone Settings CVP-509 CVP-505 CVP-503 ..................................	79
Footswitch/Foot Controller Settings .................................	86
MIDI Settings ...................................................................	89
11 Utility
– Making Global Settings –	95
CONFIG1 .........................................................................	95
CONFIG2 .........................................................................	97
SCREEN OUT CVP-509 CVP-505 ..................................................	98
MEDIA..............................................................................	98
OWNER ...........................................................................	99
SYSTEM RESET ...........................................................	100
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.

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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

– 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

The Voice type and its defining characteristics are indicated above the Voice name in the Voice Selection display.

S. Articulation2! (CVP-509)	See the Owner’s Manual, chapter 2.
S.Articulation! (CVP-509/505)
MegaVoice (CVP-509/505/503)
Natural!	These rich and luscious Voices are comprised mostly of keyboard
	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.
Live!	These acoustic instrument sounds were sampled in stereo, to produce a
	truly authentic, rich sound—full of atmosphere and ambience.
Cool!	These Voices capture the dynamic textures and subtle nuances of elec-
	tric instruments—thanks to a huge amount of memory and some very
	sophisticated programming.

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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.
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.

4

5

6

3 4

Press the [2 ▲] (P2) button to display Page 2.

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.

Select the desired Voice.

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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

Chord section for Style playback and Harmony effect

Split Point	Split Point
(for Style playback)	(for the Voice)

LEFT Voice RIGHT 1 and 2 Voices

Chord section for Style playback and Harmony effect

Split Point

RIGHT 1 and 2 Voices

LEFT Voice and chord section for Harmony effect

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■ 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.

[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 har-
		mony/echo notes will be sounded.
[7 ▲▼]	CHORD NOTE	This parameter is available when one of the Harmony Types is selected.
	ONLY	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.
[8 ▲▼]	TOUCH LIMIT	This parameter is available for all types with the exception of “Multi
		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).

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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 Use the [A]/[B] buttons to select the desired scale.

	The tuning of each note for the cur-
	rently 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	These tunings preserve the pure mathematical intervals of each scale, espe-
MINOR	cially for triad chords (root, third, fifth). You can hear this best in actual vocal
	harmonies—such as choirs and a cappella singing.
PYTHAGOREAN	This scale was devised by the famous Greek philosopher and is created from a
	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.
MEAN-TONE	This scale was created as an improvement on the Pythagorean scale, by making
	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.
WERCKMEISTER,	This composite scale combines the Werckmeister and Kirnberger systems,
KIRNBERGER	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 char-
	acter. 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 harpsi-
	chord.
ARABIC1, ARABIC2	Use these tunings when playing Arabic music.

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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.
	[3 ▲▼]–	TUNE	Select the desired note to be tuned by using the [3 ▲▼] buttons and tune
	[5 ▲▼]		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.)
	[6 ▲▼]/	PART SELECT	Select the part to which the Scale Tune setting is applied by using the [6
	[7 ▲▼]		▲▼]/[7 ▲▼] buttons. Then press the [8 ▲] button to add a checkmark or
			press the [8 ▼] button to remove the checkmark.
	[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 display.

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.

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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

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.

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Editable Parameters in the VOICE SET Displays

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.

	[1 ▲▼]/	TUNING	Determines the tuning curve. Select “FLAT” if you feel the tuning curve
	[2 ▲▼]	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.
	[3 ▲▼]/	KEY OFF	Adjusts the volume of the key-off sound (the subtle sound that occurs
	[4 ▲▼]	SAMPLE	when you release a key).
		(CVP-509/505/503)
	[5 ▲▼]/	SUSTAIN	Adjusts the depth of sustain sampling for the damper pedal.
	[6 ▲▼]	SAMPLE
		(CVP-509/505/503)
	[7 ▲▼]/	STRING	Adjusts the depth of string resonance.
	[8 ▲▼]	RESONANCE
		(CVP-509)
■ COMMON Page
	[1 ▲▼]	VOLUME	Adjusts the volume of the current edited Voice.
	[2 ▲▼]/	TOUCH SENSE	Adjusts the touch sensitivity (velocity sensitivity), or how greatly the vol-
	[3 ▲▼]		ume responds to your playing strength.
			TOUCH SENSE DEPTH	TOUCH SENSE OFFSET
			Changes to velocity curve according to	Changes to velocity curve according to
			VelDepth (with Offset set to 64)	VelOffset (with Depth set to 64)
			Actual Velocity for	Actual Velocity for
			tone generator	tone generator

		Offset=96 (+64)
	Depth=127 (twice)		Offset=127 (+127)
127		127
	Depth=64 (normal)		Offset=64 (normal)
64		64
	Depth=32 (half)	Depends
		on offset	Offset=32 (-64)
	Depth=0
0	127	0	127
64		64
	Received Velocity	Depends	Received Velocity
		on offset
	(Actual KeyOn speed)		(Actual KeyOn
			speed)
			Offset=0 (-127)

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.

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[4 ▲▼]/	PART OCTAVE	Shifts the octave range of the edited Voice up or down in octaves. When
[5 ▲▼]		the edited Voice is used as any of the RIGHT 1–2 parts, the R1/R2 param-
		eter is available; when the edited Voice is used as the LEFT part, the
		LEFT parameter is available.
[6 ▲▼]	MONO/POLY	Determines whether the edited Voice is played monophonically or poly-
		phonically.
[7 ▲▼]	PORTAMENTO	Sets the portamento time (pitch transition time) when the edited Voice is
	TIME	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.

■ 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
		on the pedal functions, see page 86.
[2▲▼]–	RIGHT 1,	Determines whether the assigned function is effective or not for the
[8▲▼]	RIGHT 2, LEFT,	respective keyboard part. This also determines the depth for the function.
	etc.	For details, see page 86.

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.

[2 ▲▼]	FILTER	Determines the degree to which the pedal modulates the Filter Cutoff Fre-
		quency. For details about the filter, see below.
[3 ▲▼]	AMPLITUDE	Determines the degree to which the pedal modulates the amplitude (vol-
		ume).
[5 ▲▼]	LFO PMOD	Determines the degree to which the pedal modulates the pitch, or the
		vibrato effect.
[6 ▲▼]	LFO FMOD	Determines the degree to which the pedal modulates the Filter modula-
		tion, or the wah effect.
[7 ▲▼]	LFO AMOD	Determines the degree to which the pedal modulates the amplitude, or the
		tremolo effect.

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■ SOUND Page

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.

[1 ▲▼]	BRIGHT.	Determines the cutoff frequency or	Volume
	(Brightness)	effective frequency range of the fil-		Cutoff Frequency
		ter (see diagram). Higher values
		result in a brighter sound.

			These frequencies are	Cutoff	Frequency
					(pitch)
			“passed” by the filter.	range
[2 ▲▼]	HARMO.	Determines the emphasis given to	Volume
	(Harmonic con-	the cutoff frequency (resonance),			Resonance
	tent)	set in BRIGHT. above (see dia-
		gram). Higher values result in a
		more pronounced effect.
					Frequency (pitch)

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.

Level
			Sustain
			Level
ATTACK	DECAY	RELEASE	Time
Key on		Key off

[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.

Determines how quickly the sound decays to silence after the key is

(Release)

released. The lower the value, the quicker the decay.

VIBRATO

Pitch

Vibrato is a quavering, vibrating sound effect that is produced by

SPEED

regularly modulating the pitch of the Voice.

DEPTH

DELAY

Time

[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.

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■ EFFECT/EQ Page

1 REVERB DEPTH/CHORUS DEPTH/DSP DEPTH/VIB ROTOR

[1 ▲▼]/	REVERB	Adjusts the reverb depth.
[2 ▲▼]	DEPTH
[3 ▲▼]/	CHORUS	Adjusts the chorus depth.
[4 ▲▼]	DEPTH
[5 ▲▼]	DSP ON/OFF	Determines whether the DSP is on or off.
[6 ▲▼]	DSP DEPTH	Adjusts the DSP depth.
		If you want to re-select the DSP type, you can do so in the “2 DSP”
		menu explained below.
[7 ▲▼]	VIBE ROTOR	This will be displayed only if VIBE VIBRATE is selected for the DSP
		Type parameter explained below. Determines whether VIBE
		VIBRATE should be set to on or off when selecting the Voice.
2 DSP
[1 ▲▼]–	DSP TYPE	Selects the DSP effect category and type. Select a type after selecting a
[4 ▲▼]		category.
[5 ▲▼]–	VARIATION	Two variations are provided for each DSP type. Here, you can edit the
[8 ▲▼]		VARIATION on/off status and variation’s parameter value setting.
[5 ▲▼]	ON/OFF	The factory-programmed assignments are set to variation-off for all
		Voices (standard variation of DSP is assigned). If you select VARIA-
		TION 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.
	PARAMETER	Displays the variation parameter. (This differs depending on the effect
		type and cannot be changed.)
[6 ▲▼]	VALUE	Adjusts the value of the DSP variation parameter.
–[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.

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– Keyboard the Playing – Voices

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

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.

[1 ▲▼]	VOL (Volume)	Adjusts the overall volume of the Organ Flutes. The longer the graphic
		bar, the greater the volume.
[2 ▲▼]	RESP	Affects both the attack and release (page 12) portion of the sound,
	(Response)	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.
[3 ▲▼]	VIBRATO	Determines the speed of the vibrato effect controlled by the Vibrato On/
	SPEED	Off ([F]/[G] buttons) and Vibrato Depth ([H] button).
[4 ▲▼]	MODE	The MODE control selects between two modes: FIRST and EACH. In the
		FIRST mode, attack (percussive sound) is applied only to the first notes
		played and held simultaneously; while the first notes are held, any subse-
		quently played notes have no attack applied. In the EACH mode, attack is
		applied equally to all notes.
[5 ▲▼]–	4’, 2 2/3’, 2’	These determine the attack sound volume of the ORGAN FLUTE Voice.
[7 ▲▼]		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.
[8 ▲▼]	LENG (Length)	Affects the attack portion of the sound producing a longer or shorter
		decay immediately after the initial attack. The longer the graphic bar, the
		longer the decay.

■ EFFECT/EQ Page

Same parameters as in the VOICE SET “EFFECT/EQ” Page explained on page 13.

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3

– Accompaniment and Rhythm Playing – Styles

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

• 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

C7

For a seventh chord,

For a major chord, press

simultaneously press the

the root key only.

root key and a white key to

its left.

Cm

Cm7

For a minor-seventh

For a minor chord, simul-

taneously press the root

chord, simultaneously

key and a black key to its

press the root key and both

left.

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.

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.”

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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.

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– Accompaniment and Rhythm Playing – Styles

[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.”

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[2 ▲▼]	OTS LINK TIM-	This applies to the OTS Link function. This parameter determines the
	ING	timing in which the One Touch Settings change with the MAIN VARIA-
		TION [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	This determines how long you can hold a chord before the Synchro Stop
	STOP WIN-	function is automatically cancelled. When the [SYNC STOP] button is
	DOW	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 func-
		tion works.
[4 ▲▼]	STYLE TOUCH	Turns touch response for the Style playback on/off. When this is set to
		“ON,” the Style volume changes in response to your playing strength in
		the chord section of the keyboard.
[5 ▲▼]/	SECTION SET	Determines the default section that is automatically called up when
[6 ▲▼]		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 sec-
		tions 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.
[7 ▲▼]	TEMPO	This determines whether the tempo changes or not when you change
		Styles during Style playback.
		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.

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Split Point Settings

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.

Split Point (S)

Split Point (L)

						Voice RIGHT
			Voice LEFT
Chord section						1–2

1 Call up the operation display.

[FUNCTION] → [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING → TAB [E][F] SPLIT POINT

2 Set the Split Point.

[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.

Split Point (S+L)

Chord section Voice RIGHT 1 and 2 + Voice LEFT

[G]Split Point (S) Sets each Split Point. Press one of the desired buttons and rotate the

		[DATA ENTRY] dial.
		NOTE Split Point (L) cannot be set lower than Split Point (S).
[H]	Split Point (L)
[1 ▲▼]/	STYLE	You can specify each Split Point by note name. “STYLE” indicates Split
[2 ▲▼]		Point (S) and “LEFT” indicates Split Point (L).
[3 ▲▼]/	LEFT
[4 ▲▼]

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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.

3

4

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.

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.

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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.

• Realtime Recording This method lets you record the Style by simply playing the keyboard. See page 23.

•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

from the internal preset Styles or Styles you have already created. See page 26.

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.

• 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 Changes the rhythmic feel of your created Style. See page 28.

•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.

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.

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

4 5-1

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.

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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.

6

7

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.

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.

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

C R C C R C C, R = Recommended note

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.

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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.

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.

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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	[A]–[D],
		[F]–[I]
		buttons

5 6

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.

•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.

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Editing the Rhythmic Feel

1

2

3

1

	3	1 In the GROOVE Page, use the [A]/[B] buttons to select the edit menu, then edit the
		data by using the [1	▲▼]–[8 ▲▼] buttons.

– Accompaniment and Rhythm Playing – Styles

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 ▲▼]/	ORIGINAL	Specifies the beats to which Groove timing is to be applied. In other
[2 ▲▼]	BEAT	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.
[3 ▲▼]/	BEAT CON-	Actually changes the timing of the beats (specified in the ORIGINAL
[4 ▲▼]	VERTER	BEAT parameter above) to the selected value. For example, when ORIG-
		INAL 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 ▲▼]/	SWING	Produces a “swing” feel by shifting the timing of the back beats, depend-
[6 ▲▼]		ing on the ORIGINAL BEAT parameter above. For example, if the speci-
		fied 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 pro-
		nounced.
[7 ▲▼]/	FINE	Selects a variety of Groove “templates” to be applied to the selected sec-
[8 ▲▼]		tion. The “PUSH” settings cause certain beats to be played early, while
		“HEAVY” settings delay the timing of certain beats. The numbered set-
		tings (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.

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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 ▲▼]/	CHANNEL	Selects the desired channel (part) to which Dynamics is to be applied.
[2 ▲▼]
[3 ▲▼]/	ACCENT TYPE	Determines the type of accent applied—in other words, which notes in
[4 ▲▼]		the part(s) are emphasized with the Dynamics settings.
[6 ▲▼]	STRENGTH	Determines how strongly the selected Accent Type (above) will be
		applied. The higher the value, the stronger the effect.
[7 ▲▼]	EXPAND/	Expands or compresses the range of velocity values. Values higher than
	COMP.	100% expand the dynamic range, while values lower than 100% com-
		press it.
[8 ▲▼]	BOOST/CUT	Boosts or cuts all velocity values in the selected section/channel. Values
		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.

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.

3

Styles – Playing Rhythm and Accompaniment –

CVP-509/505/503/501 Reference Manual

29

3

– Accompaniment and Rhythm Playing – Styles

Editing Data for Each Channel

1

4

5

2

3

1 In the CHANNEL Page, use the [A]/[B] buttons to select the edit menu.

1 QUANTIZE

Same as in the Song Creator (page 55), with the exception of the two additional available parameters below.

Eighth notes with swing

Sixteenth notes with swing

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 ▲▼]	TOP	Specifies the first (TOP) and last (LAST) measures in the region to be
			copied.
	[5 ▲▼]	LAST
	[6 ▲▼]	DEST	Specifies the first measure of the destination location, to which the data is
			to be copied.

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.

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