Yamaha EX5R, EX5, EX7 User Manual

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MUSIC SYNTHESIZER/REALTIME CONTROL/EXTENDED SYNTHESIS

TONE GENERATOR/REALTIME CONTROL/EXTENDED SYNTHESIS

OWNER’S MANUAL

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic

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

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

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

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

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

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

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

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

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

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

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

EX5/EX7

CAUTION

EX5R

CAUTION

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

92-469- 1

Model Serial No. Purchase Date

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING- When using any electrical or electronic product,

basic precautions should always be followed. These precautions include, but are not limited to, the following:

1. Read all Safety Instructions, Installation Instructions,

Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

2. Do not attempt to service this product beyond that

described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.

3. Main Power Supply Verification: Yamaha products are

manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

8. This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

9. This product should be used only with the components

supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.

10. The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity.

11. Care should be taken that objects do not fall and

liquids are not spilled into the enclosure through any openings that may exist.

4. DANGER-Grounding Instructions: This product must be

grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!

5. WARNING: Do not place this product or any other

objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

6. Ventilation: Electronic products, unless specifically

designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.

7. Temperature considerations: Electronic products should

be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.

12. Electrical/electronic products should be serviced by a

qualified service person when:

a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have

been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked

change in performance; or e. The product has been dropped, or the enclosure of the

product has been damaged.

13. This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

14. Some Yamaha products may have benches and/or

accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

92-469- 3

PLEASE KEEP THIS MANUAL

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Y amaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

NEDERLAND

NETHERLAND

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLYto those products distributed by Yamaha Corporation of America or its subsidiaries.

WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

IMPORTANT NOTICE FOR THE UNITED

KINGDOM

Connecting the Plug and Cord

GREEN-AND-YELLOW: EARTH BLUE : NEUTRAL BROWN : LIVE

• Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows:

Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical waste.

• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

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

• Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings.

• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel.

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

• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 16.)

• Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it.

• Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.

• Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms.

• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum.

• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components.

• Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might accidentally fall over.

• Before moving the instrument, remove all connected cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.

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

• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

■ REPLACING THE BACKUP BATTERY

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

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

• Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately.

■ SAVING USER DATA

• Always save data to a floppy disk frequently, in order to help prevent the loss of important data due to a malfunction or user operating error.

Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

(2)AC-2

The Yamaha EX5 and EX7 Music Synthesizers, and the EX5R Tone Generator, offer more music performance and production power than ever before available in a single keyboard or tone generator unit. All three models feature a unique Extended Synthesis system which incorporates a number of the most advanced tone generator technologies currently available … plus a full-featured sampling system. There’s also a top-quality internal effect system so no extra sound-processing equipment is required. 16-track song and 8-track pattern sequencers provide sophisticated on-board sequence programming and editing capability, while a unique 4-track arpeggiator function adds extended performance and accompaniment capability. The EX-series keyboards and tone generator also offer one of the most versatile and intuitive real-time control systems available, and they’re expandable to suit a wide range of professional systems and requirements. We urge you to read through at least the introductory section of this owner’s manual while familiarizing yourself wit your EX5, EX5R, or EX7, and keep th manual in a safe place for future reference.

About the Manual

This owner’s manual is divided into two main sections: The Introductory Section, and the Reference Section:

■Introductory Section

This section has been designed to provide you with an overall understanding of the EX5, EX5R, and EX7, as well as some hints as how to use these advanced instruments most effectively. It will also refer you to corresponding sections in the Reference section, so you can refer to the pertinent details as necessary. Use the Introductory Section as a guide and directory to the main features and functions of the EX5, EX5R, and EX7.

■Reference Section

The Reference Section contains full details and instructions for all of the EX features and functions. You should be able to find the information you need via the table of contents, the index at the back of the manual, or via the Introductory Section, described above.

(EX5/5R)

Products bearing the SONDIUS-XG logo are licensed under patents of Stanford University and Yamaha as listed on the internet web site, <http://www.sondius-xg.com>.

This product is not compatible with the XG format or XG song data.

Included Accessories

Demonstration Disk 1-4 Owner’s Manual Data List AC Power Cord

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

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

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

Introductory Section

Reference Section

Voice Mode

Performance Mode

Sample Mode

Song Mode

Pattern Mode

Arpeggio Mode

Disk Mode

Utility Mode

Appendix

Introductory Section

The Controls & Connectors ................................8

Setting Up ........................................................16

The Supplied Disks, Demos, & Factory Set Data

EX System Overview........................................28

Extended Synthesis ..........................................29

AWM Synthesis ....................................................29

Virtual Acoustic Synthesis (EX5/5R) ................30

AN Synthesis (Analog Physical Modeling) FDSP Synthesis

(Formulated Digital Signal Processing) ..............34

Voice and Performance Selection......................36

Voice Structure & Editing Hints ......................40

System Overview..................................................40

Polyphony..............................................................45

Editing Control ....................................................45

Voice Store Procedure ..........................................48

The Power of the Performance Mode ..............49

Performance Store Procedure ..............................53

Performance Mode DSP Limitations ..................54

The Controllers ................................................55

The EX Controllers ..............................................55

Scene Switching & Morphing..............................57

Controller Sets ......................................................58

Sequencer Functions ........................................60

Sequencer Record Modes & Editing....................62

Play Effects & Groove Quantization ..................64

The EX Effect System ......................................65

Sampling ..........................................................69

The Key Map Mode ..........................................72

....25

............33

Reference Section

Voice Mode........................................................75

Voice Play Mode....................................................75

Voice Edit Mode....................................................76

Voice Job Mode ..................................................148

Wave Edit Mode..................................................150

Wave Job Mode ..................................................154

Performance Mode..........................................156

Performance Play Mode ....................................156

Performance Edit Mode ....................................158

Performance Job Mode ......................................172

Sample Mode ..................................................175

Sample Play Mode ..............................................175

Sample Record Mode..........................................176

Sample Edit Mode ..............................................179

Sample Job Mode ................................................182

Song Mode ......................................................185

Song Play Mode ..................................................185

Song Record Mode..............................................193

Song Edit Mode ..................................................201

Song Job Mode....................................................206

Pattern Mode ..................................................219

Pattern Play Mode ..............................................219

Pattern Record Mode..........................................223

Pattern Edit Mode ..............................................226

Pattern Job Mode................................................227

Arpeggio Mode................................................238

Arpeggio Record Mode ......................................245

Arpeggio Edit Mode ..........................................247

Arpeggio Job Mode ............................................249

Disk Mode ......................................................259

Utility Mode....................................................270

Appendix ........................................................278

Optional Boards/Memories................................278

Troubleshooting..................................................291

LCD Messages ....................................................294

Specifications ......................................................295

Index....................................................................296

SCENE

OCTAVE

DOWN UP

PITCH MODULATION1 MODULATION 2

A D GAIN

VOLUME

MODE

EX5/7

1 OCTAVE [DOWN] and [UP] Keys (EX5 and EX7 only)

Shift the pitch of the keyboard up or down up to five octaves in one-octave steps. The pitch is shifted one octave in the corresponding direction, up to the maximum, each time one of these keys is pressed. When the current octave is higher than the normal octave the UP indicator will be lit, and vice versa. Neither indicator will be lit when the normal octave is selected.

2 [PITCH] Wheel (EX5 and EX7 only)

This self-centering pitch wheel allows smooth upward and downward pitch bends. A range of other control functions can be assigned to the PITCH wheel.

➡

See page 55 for more information.

3 [MODULATION 1] and [MODULATION 2] Wheels

(EX5 and EX7 only)

Can be assigned to any of the extensive range of controller parameters for extraordinary expressive control. The MODULATION 2 wheel can also be used for “scene morphing” — i.e. smoothly changing from one memorized scene to the other.

➡

See page 55 for more information.

4 Ribbon Controller (EX5 and EX7 only)

Another expressive EX controller, the Ribbon Controller is touch sensitive, and is controlled by running a finger lightly across its surface to the left or right. The Ribbon Controller can be assigned to the full range of EX parameters.

➡

See page 56 for more information.

9 Floppy Disk Drive

The built-in floppy disk drive allows easy, economical, highvolume storage of voice data. The disk-in-use LED indicator below the drive slot lights while any disk operation is in progress (NEVER attempt to remove a disk or turn the power off while a disk operation is in progress). The eject key, also below the disk slot, is used to remove disks from the drive.

➡

See page 259 for more information.

Introductory

Section

Introductory Section

The Controls & Connectors

The following brief descriptions of the EX controls and connectors should help you to understand the overall logic of the interface.

Front Panel

Introductory

Section

123456

POWER

EXIT

SHIFT

TONE GENERATOR REALTIME CONTROL EXTENDED SYNTHESIS

1 2 3 4 5 6

VOICE PERFORM SONG PATTERN SAMPLE

JOB

LMONO R

BREATH PHONES

VOLUME

INPUT

A D GAIN

STORE UTILITY

DISK

SC2

SC1

EDIT

COMPARE

KEYMAP BYPASS

ARPEG KNOB

CANCEL

CURSOR

DATA

TOP

REC STOP PLAY

POWER

REW FWD

ON OFF

DEC NO INC YES

SPACE

ABC

123

456

789

ENTER

DEF GHI JKL

MNO

PQR

STU

VWX YZ

F1 F2 F3 F4 F5 F6 F7 F8 EXIT

SHIFT

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILITY DISK

FWDREWTOP

KNOB MODE

ARPEGGIO

COMPARE

KEYMAP EF BYPASS REC STOP PLAY

8 Keyboard (EX5 and EX7 only)

The EX5 has a 76-key keyboard while the EX7 has a 61-key keyboard. Both are velocity and after-touch sensitive for broad, intimate expressive control.

6 A/D Gain Control

Adjusts the input level of the INPUT R and L/MONO jacks (the INPUT jack on the EX7), and therefore the level of the signal appearing at the input of the A/D (Analog-to-Digital) converter. This control is important for setting optimum record level when recording samples in the SAMPLE mode.

➡

See page 70 for more information.

5 SCENE [1] and [2] Keys ([SC1] and [SC2] on the EX5R)

The SCENE [1] and [2] keys can be used to memorize and recall different settings of the Controller Knobs, so a complete set of knob settings can be recalled instantaneously. Knob scenes are stored by using the SCENE keys in conjunction with the STORE key (page 57). When both SCENE indicators are lit (this is done by pressing one SCENE key while holding the other), the MODULATION 2 wheel or a foot controller can be used to “morph” between the two scenes stored in the SCENE [1] and [2] keys (page 57).

7 VOLUME Control

Adjusts the volume of the sound delivered via the rear-panel OUTPUT L/MONO and R jacks as well as the PHONES jack.

EX5R

9 5

* 1, 2, 3, 4 and 8 are not available on EX5R.

Introductory

Section

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILITY DISK

FWDREWTOP

KNOB MODE

ARPEGGIO

COMPARE

KEYMAP EF BYPASS REC STOP PLAY

F1 F2 F3 F4 F5 F6 F7 F8

1 2 3 4 5 6

CANCEL

CURSOR

DATA

DEC NO

INC

YES

EXIT

SHIFT

EX5/7

% MODE Keys

The MODE keys select the corresponding EX modes, or appropriate sub-modes. The upper row of MODE keys engage the primary modes, and have LED indicators to show which mode(s) are currently active. The lower row of MODE keys select secondary or utility modes.

You can not enter Pattern mode when [ARPEGGIO] key or [KEYMAP] key is turned on.

! [ARPEGGIO] Key

([ARPEG] on the EX5R)

This key turns the advanced automatic arpeggiator on or off. When the arpeggiator is turned on, the Voice or Performance Edit mode Arpeggiator edit display will appear.

➡

See page 238 for more information.

[ARPEGGIO] key functions (can be turned on or off) when in Voice mode, Performance mode and Song Play mode.

@ [KEY MAP] Key

Engages the Key Map mode in which samples, entire patterns, or pattern tracks can be individually assigned to separate keys on the keyboard.

➡

See page 72 for more information.

[KEYMAP] key functions (can be turned on or off) when in Voice mode, Performance mode and Song mode.

# [EF BYPASS] Key

([BYPASS] on the EX5R)

Turns the type of effects specified in the Utility mode Other Setup display on or off. When engaged (i.e. when the indicator is lit) the specified effects are bypassed.

➡

See page 276 for more information.

$ Sequencer Keys

The sequencer keys control recording and playback in the Song, Pattern, and Arpeggio modes, and allow you to locate a specific measure within a song or pattern. Their layout and functions are similar to the transport controls on a tape recorder.

) [KNOB MODE] Key

([KNOB] on the EX5R)

The six Controller Knobs, described below, can function either as sound controllers or data entry knobs. In the Song, Pattern, Sample, Edit, Job, Store, Utility and Disk modes the [KNOB MODE] key switches between data entry and sound control, allowing you to try out the effect of knob-related settings without having to exit from the Edit mode. The knobs function only as sound controllers in the Voice and Performance modes.

[I]

REC

[J]

STOP

[F]

START

[ ]

TOP

[G]

REW

[H]

FWD

Press this key to engage the record ready mode. You have to press the START key to actually start recording.

Press to stop recording or playback.

Press to start recording or playback.

This key takes you directly to the first measure (the “top”) of the current song or pattern.

Press briefly to move back one measure, or hold for continuous scrolling.

Press briefly to move forward one measure, or hold for continuous scrolling.

Introductory

Section

TONE GENERATOR REALTIME CONTROL EXTENDED SYNTHESIS

1 2 3 4 5 6

VOICE PERFORM SONG PATTERN SAMPLE

JOB

LMONO R

BREATH PHONES

VOLUME

INPUT

A D GAIN

STORE UTILITY

DISK

SC2

SC1

EDIT

COMPARE

KEYMAP BYPASS

ARPEG KNOB

CANCEL

CURSOR

DATA

TOP

REC STOP PLAY

POWER

REW FWD

ON OFF

DEC NO INC YES

SPACE

ABC

123

456

789

ENTER

DEF GHI JKL

MNO

PQR

STU

VWX YZ

F1 F2 F3 F4 F5 F6 F7 F8 EXIT

SHIFT

ABC

DEF GHI

MNO PQR

VWX YZ

& [F1] through [F8] Function, [SHIFT], and [EXIT] Keys

The functions of these keys depend on the selected mode. They are used to engage a function indicated on the display immediately above the key or select a page of parameters. When the “S” symbol appears in the lower left corner of the display, the [SHIFT] key can be used to select a secondary function menu for the function keys: press the appropriate function key while holding the [SHIFT] key to access a secondary function. The [EXIT] key will return you to the next highest level in the display hierarchy when in an editing, utility, or disk function display. In most cases you can return directly to the top-level primary mode display by directly pressing the appropriate MODE key.

^ LCD Display Screen & Contrast Control

This large multi-function liquid crystal display screen shows all parameters and prompts you need to operate the EX5, EX5R, or EX7 with optimum ease and efficiency. Use the contrast control to achieve the best display visibility (LCD visibility varies greatly with viewing angle and lighting).

* Controller Knobs

These knobs form an important part of the advanced EX user interface. They can can be assigned to control an impressively wide range of sound parameters in real time during performance/playback, and they can function as data entry controls in the editing, utility, disk, and some other modes. The [KNOB MODE] key, described above, determines which function the knobs assume in the appropriate modes. Normally when you rotate a controller knob being used for data entry, the corresponding value changes in relative fashion — i.e. the knob increases or decreases the value of the parameter in relation to the value that was initially on the display. If you rotate a controller knob while holding the [KNOB MODE] key, however, the relationship between the controller position and the data value becomes absolute, and the central detented position of the knob will correspond to the exact center of the parameter range.

The Voice mode lets you select, play, and edit individual voices. The [VOICE] key indicator also blinks to indicate that a MIDI System Exclusive message is being received. [→ page 75]

In the Performance mode you can select, play, and edit individual “performance” programs including multiple layered or split voices and effects. Press the [VOICE] key while holding the [PERFORMANCE] key to go directly to the Voice Edit mode from the Performance mode. The [PERFORMANCE] key indicator also blinks to indicate that a MIDI System Exclusive message is being received. [→ page 156]

The Song mode provides access to the sophisticated sequence recording, playback, and editing capabilities provided by the EX5, EX5R, and EX7. [→ page 185]

Sequence “patterns” which can be used individually or incorporated into complete songs in the Song mode can be recorded, played, and edited in the Pattern mode. [→ page 219]

Advanced sample recording and editing features are available via the Sample mode. [→ page 175]

The [EDIT] key accesses the appropriate editing functions for the currently selected mode: Voice, Performance, Song, Pattern, or Sample.

Each of the primary modes — Voice, Performance, Song, Pattern, and Sample — have a range of “jobs” which can be accessed by pressing the [JOB] key.

This key is used to store edited data to an internal memory location, or controller knob settings to either of the SCENE keys. [→ pages, 48, 53 and 57]

The UTILITY mode includes MIDI, system and other functions that are essential for general operation. [→ page 270]

The Disk mode includes disk save and load functions as well as all other functions you need for efficient data storage and management. [→ page 259]

!@ #) * $

EX5R

[VOICE]

[PERFORMANCE]

[SONG]

[PATTERN]

[SAMPLE]

[EDIT]

[JOB]

[STORE]

[UTILITY]

[DISK]

Introductory

Section

CURSOR

DATA

DEC NO

INC

YES

BANK

PROGRAM

PART

TRACK

ELEMENT SELECT ELEMENT ONOFF

COMMON OSC PITCH FILTER AMPLITUDE LFO CONTROL EFFECT

ABCDEFGH

12345678

12341234

910111213141516

SPACE

ABC

123

456

ENTER

DEF GHI JKL

MNO PQR

STU

VWX YZ

CANCEL

ELEMENT SELECT ELEMENT ONOFF

COMMON OSC PITCH FILTER AMPLITUDE LFO CONTROL EFFECT

ABCDEFGH

12345678

12341234

910111213141516

XIT

123

456

789

EX5/7

¡ [DEC/NO] and [INC/YES] Keys

Used to select voices and edit parameter values in any of the EX edit modes. Either key can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. These keys are also used to respond “Yes” or “No” to confirmation prompts when executing certain operations or saving/loading data.

º [CANCEL] Key

The [CANCEL] key can be used to cancel an entered value and return to the previous value if pressed before a different parameter is selected.

( Data Dial and [CURSOR/DATA] Key

The Data Dial provides a fast, efficient way to cover a broad range of voice numbers when, for example, you’re looking for a voice but don’t know the number. It's also handy for making large value changes in any of the editing and utility modes. When editing the Data Dial will normally increment or decrement the selected parameter value. When the [CURSOR/DATA] key is pressed and its indicator is lit, however, the Data Dial moves the cursor around the display rather than changing values. This can be handy when navigating a complex display which includes many individual parameters.

™ Cursor Keys

These 4 keys move the "cursor" around the display screen, highlighting the various items that are available for selection or parameters that are available for editing (the cursor appears as a dark block with inverse characters).

Introductory

Section

TONE GENERATOR REALTIME CONTROL EXTENDED SYNTHESIS

1 2 3 4 5 6

VOICE PERFORM SONG PATTERN SAMPLE

JOB

LMONO R

BREATH PHONES

VOLUME

INPUT

A D GAIN

STORE UTILITY

DISK

SC2

SC1

EDIT

COMPARE

KEYMAP BYPASS

ARPEG KNOB

CANCEL

CURSOR

DATA

TOP

REC STOP PLAY

POWER

REW FWD

ON OFF

DEC NO INC YES

SPACE

ABC

123

456

789

ENTER

DEF GHI JKL

MNO

PQR

STU

VWX YZ

F1 F2 F3 F4 F5 F6 F7 F8 EXIT

SHIFT

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

£ Numeric Keypad and [ENTER] Key

These keys allow direct entry of numeric values where applicable. Enter the required value via the numeric keys — the entered number will flash on the displays — then press the [ENTER] key to actually enter the specified value. The [ENTER] key is also used to enter notes and other events when editing sequence data, and to execute a specified job or disk function. The numeric keys are also used to specify note lengths and dynamics (velocity) when step recording in the SONG or PATTERN mode.

➡

See page 199 for more information.

¢ Bank [A] Through [H] Keys (EX5 and EX7 only)

Each of the EX5 and EX7 voice memories — P1 (Preset 1), P2 (Preset 2), I1 (Internal 1) and I2 (Internal 2) — has 128 voice memory locations arranged in 8 banks of 16 voices each. The 128 performance memories are also organized in 8 banks of 16 performance setups. These keys select the bank from which an individual voice or performance setup will be selected. When editing voice parameters they are also used to select and mute elements.

∞ Program Number [1] Through [16] Keys (EX5 and EX7 only)

The program number keys are used in conjunction with the bank keys to select any of the 128 voice memory locations within the currently selected voice memory — P1 (Preset 1), P2 (Preset 2), I1 (Internal 1) and I2 (Internal 2) — in the VOICE mode, or any of the 128 performance memory locations in the Performance mode. In the Voice Edit mode keys [1] through [8] can be used to directly select the various edit displays.

™ ¡£

(º

EX5R

* ¢ and ∞ are not available on EX5R.

Introductory

Section

CAUTION

ATTENTION

WARNING

:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK,DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

POWER

OFF

AC INLET

INDIVIDUAL OUTPUT

A/D

INPUT

6543

OUTPUT

R L MONO

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

SUSTAIN

DIGITAL OUTPUT WORD CLOCK IN

AES EBU

SCSI

MIDI A

OUTTHRU IN

BREATH PHONES

CAUTION

ATTENTION WARNING

:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK,DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

POWER

OFF

AC INLET

EX5

EX7

ª A/D INPUT L/MONO and

R Jacks (A/D INPUT on the EX7)

Line and microphone sampling sources can be connected to these jacks. Line or microphone input sensitivity is switched via the “line/mic” parameter in the Sample mode REC display (page 176), and fine input sensitivity adjustment can be carried out via the A/D GAIN control on the control panel.

➡

See page 70 for more

information.

• INDIVIDUAL OUTPUT 1 and

2 Jacks (EX5 and EX5R only)

In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially have two individual outputs: the INDIVIDUAL OUTPUT 1 and 2 jacks. Individual “parts” of a performance setup can be assigned to different individual outputs via the PERFORMANCE EDIT mode PART display (see page 164). Four individual outputs can be added to the EX5, EX5R, and EX7 by installing the optional EXIDO1 Individual Output Board (page 19.)

§ [POWER] Switch

Press to turn power ON or OFF. The EX5 and EX7 power switch is located on the rear panel near the AC power cord socket. The EX5R power switch is located on the front panel.

‚ MIDI IN, OUT and THRU Connectors

The MIDI IN connectors receive data from an external sequencer or other MIDI device which is to control or transmit data to the EX. The MIDI THRU connector simply re-transmits the data received at the MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI OUT connectors transmit data corresponding to all EX performance and playback operations. The EX5 is equipped with two sets of MIDI terminals: MIDI A and MIDI B. The MIDI A group includes MIDI IN, OUT, and THRU terminals, while the MIDI B group only has MIDI IN and OUT terminals.

➡

See page 22 for more information.

¶ AC Power Cord Socket

Be sure the plug the AC power cord into this socket before plugging the power cord into an AC outlet. Use only the AC power cord supplied with the EX5, EX5R, or EX7. If the supplied cord is lost or damaged ands needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!

§ ¶

‚

ﬁﬂ

›‡‹¤⁄ª

* • is not available on EX7.

Rear Panel

Introductory

Section

AC INLET

CAUTION

ATTENTION WARNING

RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

MIDI OUTTHRU IN

INDIVIDUAL OUTPUT

65 43

DIGITAL OUTPUT

WORD CLOCK IN

AES EBU

INDIVIDUAL OUTPUT

OUTPUT

L MONO

VOICE PERFORM SONG PATTERN SAMPLE

JOB

LMONO R

BREATH PHONES

VOLUME

INPUT

A D GAIN

STORE UTILITY

DISK

SC2

SC1

EDIT

COMPARE

KEYMAP BYPASS

ARPEG KNOB

CURSOR

DATA

TOP

REC STOP PLAY

POWER

REW F WD

ON OFF

DEC NO INC YES

SPACE

ABC

123

456

789

ENTER

DEF GHI JKL

MNO

PQR

STU

VWX YZ

INDIVIDUAL OUTPUT

A/D

INPUT

6543 21

R L MONO

OUTPUT

R L MONO

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

SUSTAIN

DIGITAL OUTPUT WORD CLOCK IN

AES EBU

SCSI

MIDI B MIDI A

OUT IN OUTTHRU IN

BREATH PHONES

EX5R

Front

Rear

⁄ FOOT SWITCH

Jack

(EX5 and EX7 only)

An optional Yamaha FC4 or FC5 footswitch can be connected to this jack to control of a range of on/off type functions: sustain, sotenuto, portamento, and others.

➡

See page 17 for more

information.

¤ SUSTAIN Jack

(EX5 and EX7 only)

An optional Yamaha FC4 or FC5 footswitch can be connected here for sustain control.

‹ FOOT

CONTROLLER Jack

(EX5 and EX7 only)

This jack accepts a Yamaha FC7 Foot Controller which can be used to control any of the EX controller parameters.

➡

See page 17 for

more information.

› FOOT VOLUME

Jack

(EX5 and EX7 only)

A Yamaha FC7 Foot Controller can be plugged in here for convenient foot volume or expression control.

‡ OUTPUT L/MONO and R Jacks

These are the main stereo outputs from the EX5, EX5R, and EX7. Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the EX sound and effects. Connect only the L/MONO jack when connecting to a mono sound system.

ﬂ PHONES Jack

Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for headphone monitoring of the EX sound without the need for external amplification equipment. The EX5R PHONES jack is on the front panel.

ﬁ

Breath

Controller Jack

Plug an optional Yamaha BC3 Breath Controller in here for expressive breath control capability.

➡

See page 56 for

more information.

¶

• ‡‚

ﬂª

§

ﬁ

* ⁄, ¤, ‹ and › are not available on EX5R.

Introductory

Section

Setting Up

AC Power Cord

EX5/7, EX5R Rear Panel

The EX5 or EX7 can be used virtually on its own — with a pair of headphones or a simple instrument amplifier — or it can be the core of complex and powerful music production system. Naturally, the EX5R Tone Generator will require an external MIDI keyboard or other controller.

Power Supply

Before making any other connections the “female” end of the AC power cord supplied with the EX5, EX5R, and EX7 should be firmly plugged into the rear-panel AC cord socket. Ideally the power cord should then be plugged into a convenient AC outlet after you've made all other necessary connections and placed the EX5, EX5R, or EX7 in the position in which it will be used. Always make sure that the POWER switch is in the OFF (extended) position before plugging the power cord in an AC outlet.

WARNING! Make sure your EX5, EX5R, or EX7 is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard!

Use only the AC power cord supplied with the EX5, EX5R, or EX7. If the supplied cord is lost or damaged ands needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!

The type of AC power cord provided with the EX5, EX5R, or EX7 may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the EX5/EX5R/EX7. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor.

External Controllers

Introductory

Section

In addition to the many realtime controllers provided on the EX5 and EX7 panel (the PITCH wheel, MODULATION 1 wheel, MODULATION 2 wheel and Ribbon Controller), plus the six Controller Knobs provided on the EX5, EX5R and EX7, a number of additional controllers can be plugged into the appropriate rear-panel jacks as required.

■ Foot Switches (EX5 and EX7)

At the very least you’ll probably want to plug a footswitch into the SUSTAIN jack for piano-type sustain control. You might also want to plug a second footswitch into the FOOTSWITCH jack to control other on/off type functions such as sostenuto, portamento, or arpeggio hold for the sophisticated automatic arpeggiator feature. Footswitch functions are assigned via the UTILITY mode, as described on page 275.

■ Foot Controllers (EX5 and EX7)

The EX5 and EX7 have jacks for two optional Yamaha FC7 Foot Controller units: FOOT VOLUME and FOOT CONTROLLER. An FC7 plugged into the FOOT VOLUME jack can be used (as its name implies) for main volume or expression control. The desired FOOT VOLUME function can be selected via the UTILITY mode Controller display, as described on page 275. An FC7 plugged into the FOOT CONTROLLER jack can be assigned for continuous realtime control of a wide range of parameters (pages 104 and 163).

For more information on Foot Controller setup and operation, see the instructions packed with the supplied FC7 Foot Controller.

■ Breath Controller

A Breath Controller can be an essential expressive tool for realistic expression with windinstrument type voices and unprecedented expressive control with other voices. Plug an optional BC3 Breath Controller into the BREATH jack. The Breath Controller is ideal for controlling parameters that would normally be affected by a wind player's breath: dynamics, timbre, pitch, and others.

For more information on Breath Controller setup and operation, see the instructions packed with the optional BC3 Breath Controller.

Introductory

Section

Audio Connections

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EX5/7

Headphones

EX5R

PHONES

OUTPUT L /

MONO jack

Amplified Speaker L Amplified Speaker R

Headphones

PHONES

OUTPUT L / MONO jack

Amplified Speaker L Amplified Speaker R

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

1 2 3 4 5 6

■ Headphones

For private listening and practice headphones are ideal. You don't have to hook up and complete sound system, and you won't disturb the neighbors no matter how loud or late you play. Recommended Yamaha headphones for EX monitoring are the HPE-170, HPE-160, or HPE-150 Stereo Headphones. Any standard pair of stereo headphones with a 1/4" stereo phone plug can be used.

■ Instrument Amplifier or Stereo Sound System

The EX voices and effects are designed to sound their best in stereo, so you should always use a stereo sound system to appreciate the full impact of the EX voices and expressive features. The OUTPUT L/MONO and R jacks can be connected directly to musical instrument amplifiers designed for keyboard use, or to the line inputs of a mixing console. It is also possible to connect the outputs directly to the inputs of a multitrack or stereo tape recorder. When connecting to a mono sound system be sure to use only the OUTPUT L/MONO jack.

Make sure that both the EX and your sound system are turned OFF when making connections.

■ Mixing Console

Introductory

Section

In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially have two individual outputs: the INDIVIDUAL OUTPUT 1 and 2 jacks. An additional four individual outputs (3 through 6) can be added by installing the optional EXIDO1 Individual Output Board. The stereo and individual outputs can be fed to separate channels of a mixing console for individual processing. Individual “parts” of a performance setup can be assigned to different individual outputs via the PERFORMANCE EDIT mode PART display (see page 164).

Speakers

OUTPUT L

INDIVIDUAL

OUTPUT 1

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Amp

INDIVIDUAL OUTPUT 2

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Headphones

Mixer

Headphones

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

OUTPUT

PHONES PHONES

L/MONO

EX5

EX5R

1 2 3 4 5 6

Speakers

Mixer

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

OUTPUT

L/MONO

AMP

OUTPUT L

EX7

Speakers

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Mixer

OUTPUT L

Amp

Mixer

OUTPUT L

Amp

HeadphoneHeadphone

OUTPUT L/MONO

1 2 3 4 5 6 7 8

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

INDIVIDUAL

OUTPUT

123456

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EX5

EX5R

1 2 3 4 5 6

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EXIDO1

OUTPUT

PHONESPHONES

L/MONO

1 2 3 4 5 6

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

INDIVIDUAL

OUTPUT

1234

EXIDO1

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EX7

See page 278 for details on installation of the EXIDO1 Individual Output Board.

The EXIDO1 Individual Output Board and EXDGO1 Digital Output Board use the same option slot, so only one can be installed at a time.

Introductory

Section

■ Digital Audio (Option)

The optional EXDGO1 Digital Output Board provides an AES/EBU-format digital output which can be directly connected to an external digital recorder, mixing console, or other digital processing equipment. This allows the EX sound to be recorded or processed with maximum quality. The EXDGO1 Digital Output Board also includes a WORD CLOCK IN connector for precise digital audio synchronization with the external digital devices.

EX5/7

INDIVIDUAL OUTPUT

6543

DIGITAL OUTPUT WORD CLOCK IN

AES EBU

DAT

O3D

INDIVIDUAL OUTPUT

EX5R

AC INLET

DAT

6543

DIGITAL OUTPUT WORD CLOCK IN

AES EBU

DAT

O3D

See page 278 for details on installation of the EXDGO1 Digital Output Board.

The EXDGO1 Digital Output Board and EXIDO1 Individual Output Board use the same option slot, so only one can be installed at a time.

When connecting the EXDGO1 (Digital Output AES/EBU [XLR] jack) and an external audio device, use the XLR cable with the impedance characteristics, 110 Ω.

When receiving word clock from an external audio device, you are required to connect the EXDGO1 (Word Clock In [BNC] jack) and the external audio device. In this case, use the BNC connector/coaxial cable with the impedance characteristics, 75 Ω.

■ External Sampling Sources

EX5/5R/7

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Hard Disk, etc.

SCSI

ASIB1

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Audio Device (Stereo)

AD INPUT

L / MONO

AD INPUT

L / MONO

Mic

(MONO)

Audio Device (Stereo)

Mic

(MONO)

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

1 2 3 4 5 6

EX5R

EX7EX5

Mic

(MONO)

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

AD INPUT

Introductory

Section

The Sampling mode can be used to sample external audio sources as well as internal voice data. The external source can be either a line-level source such as a CD player or other audio playback device, or a microphone for direct sampling of live sound. Line and microphone sources should be connected to the AD INPUT jacks. Line or microphone input sensitivity is switched via the “line/mic” parameter in the Sample mode REC display (page 176), and fine input sensitivity adjustment can be carried out via the A/D GAIN control on the control panel. See page 70 for details.

SCSI Interface (Option)

When the optional ASIB1 SCSI Interface Board is installed (see page 278) the EX5, EX5R, or EX7 can be connected directly to an external SCSI data storage device for high-speed, high-volume data storage and retrieval, and/or to a personal computer to allow data transfer between the EX and the Yamaha Wave Editor application (separately available) running on the computer. When connected to an appropriate external storage device — hard disk, ZIP, or JAZZ drive (see “NOTES,” below) — the storage device can be formatted by the EX5, EX5R, or EX7 via the Disk mode Device Format display (page 269). Voice, performance, song, pattern, arpeggio, wave and other data can then be saved to and loaded from the hard disk as required via the Disk mode functions described on page 259.

When connected to a personal computer (MacOS® or Windows®), either directly or “chained” via an

MIDI IN

MIDI THRU

MIDI OUT

MIDI IN

EX5/5R/7

Sequencer Synthesizer/

Tone Generator

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

EX5/5R/7

Sequencer

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

Introductory

Section

external hard disk (see “NOTES” regarding SCSI ID numbers, below), wave data can be transferred from the EX5, EX5R, or EX7 to the computer, edited using the Yamaha Wave Editor TWE application (saparately available), and then transferred back to the EX5, EX5R, or EX7.

Hard Disk

SCSI

ASIB1

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EX5/5R/7

Computer

See page 278 for details on installation of the ASIB1 SCSI Interface Board.

Please note that since the EX5, EX5R, and EX7 use a proprietary data format, the external hard disk must be formatted by the EX5, EX5R, or EX7 to allow direct data storage and retrieval. The EX5, EX5R, or EX7 will not directly write to or read from a hard disk formatted by any other computer or device, and vice-versa.

When connecting the EX5, EX5R, or EX7 to a personal computer and/or hard disk via the SCSI interface, make sure that the EX5, EX5R, or EX7 SCSI ID number — set via the UTILITY mode Other Setup display (page 276) — does not conflict with any other SCSI device in the SCSI chain. In other words, no two devices in the SCSI chain should be set to the same SCSI ID number.

The ASIB1 SCSI Interface Board only has a single SCSI connector and thus must be connected at the end of the SCSI chain (the ASIB1 interface is internally terminated).

MIDI Connections

Like any other MIDI instrument the EX5, EX5R, and EX7 can be used with MIDI tone generators, sequencers, computer software, and controllers for virtually unlimited system expansion and control capability. You might, for example, like to control it from a Yamaha wind controller such as the WX11 rather than the keyboard for even more realistic wind-instrument feel and expression.

MUSIC SYNTHESIZER

Introductory

Section

REALTIME CONTROL EXTENDED SYNTHESIS

MIDI IN

MIDI

Interface

Computer

EX5/5R/7

MIDI IN

MIDI OUT

The EX5R Tone Generator will additionally require an external MIDI master keyboard or other MIDI controller.

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

EX5R

MIDI Master Keyboard

Synthesizer

MIDI OUT

MIDI IN

1 2 3 4 5 6

To ensure reliable error-free transmission of MIDI data always use high-quality MIDI cables obtained from your Yamaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 meters, since cables longer than this can pick up noise which can cause data errors. The EX MIDI receive channel, device number, local on/off, and other parameters are available in the UTILITY mode MIDI display described on page 274. Make sure these parameters are set to match the corresponding settings of the external MIDI device(s) used.

For detailed MIDI specifications refer to the “MIDI Data Format” in the Data List book.

When using the EX5, EX5R, or EX7 with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equipment used to ensure compatibility.

Power-on Procedure

Introductory

Section

Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!).

1 Make sure your sound system's main level/volume control(s) and the EX volume control are

turned all the way down prior to turning power on.

2 Turn on the EX5, EX5R, or EX7.

CAUTION

ATTENTION

:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.

WARNING

TO REDUCE T HE RISK OF FIRE OR ELECTRIC

SHOCK,DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

AC INLET

POWER

OFF

EX5/7 EX5R

3 Turn on the sound system.

POWER

ON!!

MIDI Device

Output

Input

1 2 3 4 5 6

EX5/5R/7

MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS

4 Raise the sound system volume to a reasonable level.

CANCEL

CURSOR

DATA

DEC NO INC YES

REW FWD

TOP

REC STOP PLAY

12345678910111213141516LR

Audio Device

POWER

ON OFF

789

VWX YZ

456

PQR

STU

MNO

123

DEF GHI JKL

ENTER

ABC

SPACE

5 Gradually raise the EX VOLUME control while playing the keyboard to set the desired

listening level.

VOLUME

EX5/7 EX5R

The EX5, EX5R, and EX7 automatically transmits MIDI control change data corresponding to its control status when its power switch is turned ON or OFF. This can interfere with operation of other MIDI equipment connected to the EX MIDI OUT connectors. If the EX5, EX5R, or EX7 is transmitting MIDI data to other MIDI equipment, the EX power switch should be turned ON before, and turned OFF after the power switche(s) of the receiving MIDI device(s).

Introductory

Section

The Supplied Disks, Demos

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILIT Y DISK

VOICE PERFORM SONG PATTERN SAMPLE

JOB

LMONO R

BREATH PHONES

VOLUME

INPUT

A D GAIN

STORE UTILIT Y

DISK

SC2

SC1

EDIT

COMPARE

KEYMAP BYPASS

ARPEG KNOB

EX5/7 EX5R

& Factory Set Data

The EX5, EX5R, and EX7 are supplied with four Demonstration Disks containing various types of pre-programmed demo data which will give you an idea of some of their advanced capabilities, as well as provide a number of programming examples that may help you to create the type of sound you need. Each disk contains an all-data file (suffix “.S1A”) containing a demonstration song, and a Factory Set file (file name: “FACTSET1/2/3/4.S1Y”) containing the original factory pre-programmed voices and performance setups. Try loading these files and playing the songs, patterns, arpeggios, voices, performance setups, or samples they contain. Full disk loading details are provided on page 259, but to get you started, here’s the procedure for loading and playing the demo songs.

For information on restoring the Factory Set data, see “Restoring the Factory Set Data,” below.

Load and Play the Demo Songs

1 Insert the Demonstration Disk

Insert the Demonstration disk in the EX floppy disk drive (shutter first, label side up).

2 Engage the Disk mode

Press the [DISK] key to engage the Disk mode.

3 Select File Load

Introductory

Section

Press the [F2] function key to go to the File Load menu.

4 Select All Data

Press the [F1] function key to select All Data. Please note that all-data files have the suffix “.S1A” appended to the file name.

5 Select a file and load

Use the Data Dial, [DEC]/[INC] keys, or numeric keypad to select a file number (all of the files on the Demonstration disk contain different demo songs), then press the [ENTER] key. A confirmation display will appear.

Press the [INC/YES] key to confirm and load the data.

6 Play the song

When the file has finished loading, first press the [PERFORM (ANCE)] key to select the Performance mode, next press the [SONG] key to go to the Song mode, and then press the sequencer PLAY [F] key to start playback of the loaded demo song. Playback will stop automatically when the song has finished, but you can also stop playback at any time by pressing the STOP [J] key.

VOICE

PERFORMANCE

MODE

EDIT

JOB STORE UTILIT Y DISK

Before playing “DEMO2” song, press the [KEYMAP] key to engage the Key Map mode. To Play the Demonstrations other than “DEMO2,” always turn the Key Map mode off (pressing the [KEYMAP] key again cancels the Key Map mode).

SONG

PATTERN SAMPLE

7 Try other demo files

Go back to the Disk mode and load other files to play the songs they contain.

Introductory

Section

Restoring the Factory Set Data

CAUTION

ATTENTION WARNING

:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.

TO REDUCE T HE RISK OF FIRE OR ELECTRIC

SHOCK,DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

POWER

OFF

AC INLET

CANCEL

CURSOR

DATA

TOP

REC STOP PLAY

POWER

REW FWD

ON OFF

DEC NO INC YES

SPACE

ABC

123

456

789

ENTER

DEF GHI JKL

MNO

PQR

STU

VWX YZ

EX5/7

EX5R

F8 EXIT

Pressing...

In addition to the preset voices (which cannot be erased or overwritten), the EX5, EX5R, and EX7 come with a range of pre-programmed voices, performance setups, and other data in memory. If you perform any operations that overwrite the data in memory (including system initialization, below), the factory preset data will be lost. If at any time you want to restore the original factory preset data, simply load the Factory Set file — file name: “FACTSET1/2/3/4.S1Y” — from the appropriate Demonstration Disk via the Disk mode Load Synth All function (the same procedure described above except for the file type selection [2. SYN, in this case] for loading the demo song files).

Loading the Factory Set data will overwrite any other data in the EX voice and performance memories! Be sure to save any internal voices or performances setups you want toe keep to disk before loading the Factory Set data.

Each of the Demonstration Disk contains different Factory Set files (their contents are the same except for the voices numbered 1 through 32 in the Internal voice 1). Refer to the separate Data List book (Internal Voice 1) and choose the disk which contains the appropriate file for your EX5, EX5R or EX7.

System Initialization

To completely erase all data in the EX internal memory and initialize the entire system, turn on the power while holding the [EXIT] key.

System initialization will erase all data in the EX voice and performance memories! Be sure to save any internal voices or performances setups you want to keep to disk before initializing the system.

EX System Overview

Introductory

Section

The EX system can be broadly categorized into four main blocks, as shown in the diagram below:

SEQUENCERS

Song

Pattern

Arpeggio

KEYBOARD (EX5 & EX7), CONTROLLERS, MIDI

TONE GENERATORS

AWM Tone Generator

VL Tone Generator (EX5 & EX5R only)

AN T one Generator

FDSP Tone Generator

Sampling (wave Data)

EFFECTS

SOUND OUT

1 The keyboard, controllers, and MIDI control.

The EX5 and EX7 feature keyboards (76 and 61 keys, respectively) and a range of realtime controllers not available on the EX5R Tone Generator. Full control is available on the EX5R, however, via a MIDI master keyboard or other MIDI controller.

2 The sequencers: Song, Pattern, and Arpeggiator.

The EX5, EX5R and EX7 feature and range of sequencing functions that give them many of the capabilities of a sophisticated music production system without the need for any extra equipment.

See pages 185, 219 and 238 for more information.

3 The tone generators: AWM, VL (EX5/5R only), AN, and FDSP.

Extended Synthesis is simply the most powerful array of tone generation technologies ever provided in a single keyboard or tone generator unit. Whether you need the outstanding sound and programmability of AWM synthesis, the unmatched playability and musical response of VL synthesis (EX5 and EX5R only), beefy analog synthesizer voices, or the most responsive effects and simulated resonant systems available, you need look no further. The EX5, EX5R, and EX7 also feature a built-in sampling system which is capable of sampling sounds from external sources (line or microphone) as well as internal voices.

See pages 77, 107, 112 and 123 for more information.

4 Effects.

The EX effect system is a top-quality digital signal processing system which is capable of producing effects rivalling and even exceeding those of many separate component effect units in quality. In the EX5, EX5R, and EX7, effect programming is an integral and important part of voice programming, and the ability to control specific effect parameters in real time makes them indispensable for expressive control as well.

See page 65 for more information.

Introductory

Section

Extended Synthesis

SAMPLE

AWM

WAVE

FILTER

AMPLITUDE

EFFECT

PEG FEG

LFO

AEG

Over the years Yamaha has developed a range of industry-leading music synthesis technologies, each with its individual strengths and advantages. The EX5, EX5R, and EX7 take an innovative step forward by combining multiple state-of-the-art Yamaha tone generation technologies in one extraordinarily versatile instrument. When you need the outstanding sound and programmability of AWM synthesis, it is there. When you need the unmatched playability and musical response of VL synthesis (EX5 and EX5R only), it is right at your fingertips. When you want a beefy analog synthesizer voice, you don’t even have to change keyboards. And when you want the most responsive effects and simulated resonant systems available, you need look no further. This is Extended Synthesis: simply the most powerful array of tone generation technologies ever provided in a single keyboard or tone generator unit.

About the polyphony of each tone generator, see page 45.

AWM Synthesis

AWM, or “Advanced Wave Memory,” is Yamaha’s original system for effectively using sampled waveforms in synthesizers and tone generators. Although the basis for all AWM voices is a sampled waveform — a sample of a “real” existing instrument, a classic synthesizer sound, or other electronically created sounds — the AWM system provides an extensive range of envelope generator, filter, modulation, and other parameters which can be applied to the basic waveform. Furthermore, up to four elements, each with its own “wave” and a complete set of editable parameters, can be assigned to each voice. The strength of AWM synthesis lies not only in its outstanding sound quality (it uses 16-bit, 44.1 kHz samples), but also in its extraordinary ability to “shape” and control the sound of the samples. AWM synthesis also allows the creation of “drum voices” in which different drum and percussion instruments with individual volume, pitch, and timbre parameters can be assigned to individual notes of the keyboard (from C-2 through G8). The EX5, EX5R, and EX7 feature a built-in sampling system which is capable of sampling sounds from external sources (line or microphone) as well as internal voices. Waveforms sampled using this feature can be used in AWM voices, so your capacity to create totally new AWM voices is truly unlimited.

■ AWM System Overview

Introductory

Section

■ Layered AWM Voices

Pipes/StringDrivers

EL1

Sample Sample Sample

AWM

WAVE

WAVE parameter

EL2

Sample Sample Sample

AWM

WAVE

WAVE parameter

EL3

Sample Sample Sample

AWM

WAVE

WAVE parameter

EL4

Sample Sample Sample

AWM

WAVE

WAVE parameter

In AWM voices up to four AWM elements can be layered to create extraordinarily rich voice textures.

Virtual Acoustic Synthesis (EX5 and EX5R only)

Yamaha’s Virtual Acoustic (“VL”) Synthesis tone generation system does not use oscillators, function generators, preset waveforms or samples to produce sound. Rather, it applies sophisticated computerbased “physical modeling” technology to musical sound synthesis. In the same way that computer “models” are used to simulate weather systems or the flight characteristics of aircraft in the design stage, the VL system simulates the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. VL synthesis offers many advantages in terms of musical performance. Not just in terms of sound, but also in terms of the “behavior” that makes acoustic instruments so “musical.” For example, simply playing a note in the same way does not always produce precisely the same sound — the instrument is responsive and “alive.” Rather than simply controlling parameters like volume or pitch, you can control characteristics such as breath and reed pressure with appropriate complex effects on the timbre of the sound.

■ The VL “Instrument” or “Wave”

The VL “instrument” or “wave” defines the fundamental tone or timbre of the sound. The instrument model consists primarily of a driver — the reed/mouthpiece, lip/mouthpiece, or bow/string system — and a resonant system corresponding to the tube and air column or string. One of the remarkable features of the Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string. The EX5/5R provides a range of 272 preset VL “waves” which integrate all of the necessary characteristics, and which can be assigned to voice elements in much the same way as AWM waves (VL voices can have 1 VL element plus up to 3 AWM elements).

■ Controllers & Modifiers

Throat Formant

Pressure

Growl

Embouchure

Tonguing

Pitch

Scream

Breath Noise

Damping & Absorption

Harmonic Enhancer

Filter

Controls the characteristics of the "player's" throat or bowing arm.

The amount of breath pressure applied to the reed or mouthpiece, or bow velocity applied to the string.

A periodic pressure (bow velocity) modulation which produces the "growl" effect often heard in wind instruments.

The tightness of the lips against the reed or against each other, or the force of the bow against the string.

Simulates the half-tonguing technique used by saxophone players by changing the "slit" of the reed.

Changes the length of the air column or string, and thereby the pitch of the sound.

Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modelling technology.

Adds breath noise to produce exceptionally realistic effects with many wind instruments.

Simulates the effects of air friction in the pipe or on the string, and of high-frequency losses at the end of the pipe or string.

The Harmonic Enhancer determines the harmonic structure of the sound to the extent that it can produce radical timbral variations within an instrument "family" (e.g. saxes).

This modifier is similar to the dynamic filters found in many conventional synthesizers, with high-pass, bandpass, band elimination, and low-pass modes.

Tonguing

Breath Noise Throat Formant

Scream

Embouchure

Pitch

Damping & Absorption

Growl Pressure

Introductory

Section

The input to an acoustic wind instrument comes from the player's lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player's arm movement, transmitted to the string via a bow. These factors actually form an important part of the sound generating system and, in the VL model, are known as “controllers” (note that these are parameters, not physical controllers like the modulation wheels or knobs). The player also influences the sound of the instrument by playing the keys, tone holes, or frets, and this aspect of control constitutes another part of the “controllers” system. In essence, the controller parameters determine how the instrument “plays.” All of these parameters can be assigned to any external controller that can be used with the EX5 and EX5R: Foot Controller, Modulation Wheel, Controller Knobs, Ribbon Controller, Breath Controller, etc. The pressure parameter, for example, could be assigned to a breath controller so the player can control the dynamics of the instrument by varying the breath pressure applied to the controller — a natural, instinctive way to play wind-instrument voices. At the same time the growl and throat parameters might also be assigned to the breath controller in order to achieve life-like response and effects. Modifiers, such as the Harmonic Enhancer and Dynamic Filter, are applied after the VL controllers. Although these may appear to be simple effects, they are actually intimately related to the VL sound-producing model and have a significant effect on the sound. Some of the controller and modifier parameters provided by the EX5 and EX5R are listed in the chart below.

Introductory

Section

■ VL System Overview

Effects

Elements

AWM

Element

Driver

Pipe/String

● Pipe (Single-ended)

● Pipe (Double-ended)

● String

● Mouthpiece

● Embouchure

● Bow (for strings)

Modifier Effect

■ VL + AWM Voices

A single VL element can be combined with up to three AWM elements.

Introductory

Section

AN Synthesis (Analog Physical Modeling)

VCO 1

Mixing

VCF

AMP

NOISE

LFO

RING

MODULATER

MASTER SLAVE

SYNC

VCO 2

VCO

Increases/decreases

harmonic overtones.

Increased: brighter sound

Decreased: softer sound

Filter

Adjusts amplitude over time

small

large

Amplifier

LFO wave LFO applied

Original wave

FEEDBACK

Although synthesizers have come a long way since the days of VCOs (Voltage Controlled Oscillators), VCFs (Voltage Controlled Filters), and VCAs (Voltage Controlled Amplifiers), modern digital tone generators can’t quite reproduce the punch, power, and interactive control capabilities of such older systems. Yamaha AN Synthesis (Analog Physical Modeling), however, offers all the benefits of traditional analog synthesis with the stability, reproduceability, and precise control of digital technology. It is capable of accurately reproducing the sound of classic analog synthesizer without patch cables, setting charts, or the frustrating instability that was the bane of the analog age. AN Synthesis also offers many features that were simply not possible in pure analog systems. It is, for example, also capable of FM synthesis similar to the type that made the legendary Yamaha DX7 one of the most popular synthesizers of all time. In addition to single-element AN voices, the EX5 and EX5R allow two AN elements to be layered to create even thicker analog synth sounds.

■ AN System Overview

Introductory

Section

■ AN (Poly)+AWM Voices

note dependent note dependent

Delay Delay

Integ

Magnetic Field

Distance

Diff

LPF

Cutoff/ Resonance

Output

Input

Picking position Pickup Position

HPF

Highpass

Filter bypass

Emp

Pickup type

Flet control

picking notch

pickup notch

Drive

Effects

Elements

AWM

Effects

Elements

AWM

■ AN (Layer)+AWM Voices

As shown in the diagrams below, a single AN element can be combined with up to three AWM elements in AN(Poly)+AWM voices. In the EX5 and EX5R, two AN elements can be combined with up to two AWM elements in AN(Layer)+AWM Voices. AN + FDSP voices are described in the FDSP Synthesis section, below.

FDSP Synthesis

(Formulated Digital Signal Processing)

FDSP, or “Formulated Digital Sound Processing,” is actually an adjunct to AWM synthesis. It adds a sophisticated note-dependent effect processor to the basic AWM synthesis system. In contrast to a standard effect stage, the FDSP synthesis stage uses individual note and velocity data to control effect parameters, thus making it possible to simulate the characterics of a number of real-world musical components, as well as produce totally new effects. For example, FDSP can effectively model the frequency and velocity dependent characteristics of electromagnetic guitar or piano pickups, thus adding more realistic response to these types of voices, or adding a whole new dimension to other sounds. It can also alter the delay time of flange or chorus type effects according to the note played, thus producing totally new sounds that are responsive and “alive.” Many other effects are possible.

■ FDSP System Overview

This block diagram is only one example of an FDSP configuration. In this case the FDSP system is used to model the response of an electric guitar pickup.

Introductory

Section

■ FDSP Voice Element Structure

AWM

Effects

Elements

FDSP Unit

Effects

Elements

AWM

FDSP Unit

In an FDSP voice up to four AWM elements can be fed to the FDSP stage or routed directly to the normal effect stage as required.

■ AN+FDSP Voices

AN+FDSP voices allow a single AN element to be layered with up to three AWM elements feeding the FDSP stage.

Introductory

Section

Voice & Performance

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILIT Y DISK

Function Menu

Bank & Number

Performance Number

Performance Name

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILIT Y DISK

Function MenuVoice Type (See “Extended Synthesis”, page 29)

Memory area

Receive Channel

Transmit Channel

Bank & Number

Voice Number

Voice Name

Selection

One of the first things you'll want to do with your EX5, EX5R, or EX7 is select and play some of its voices or performance combinations … this section will show you how to do just that. The EX has 256 preset voices organized into two separate memories — Preset 1 (“P1”), and Preset 2 (“P2”) — each containing 128 voices. Two 128-voice “Internal” memory areas are also provided for storage of original voices or voices loaded from an external storage medium: Internal 1 (“I1”) and Internal 2 (“I2”). The EX voice memory can thus hold up to 512 voices at once for instant selection and performance. One internal 128-location memory area is provided for performance combinations, so there’s no need to switch memory areas as in the Voice mode.

If at any time you want to restore the original factory voices, they can be reloaded from the supplied Factory Set file as described on page 27.

1 Select the Voice or Performance Mode

To select and play voices, press the [VOICE] MODE button so that its indicator lights and “VOICE PLAY” appears in the upper left corner of the LCD screen. The voice-mode display provides a few items of information in addition to the name of the currently selected voice. The abbreviations in the section separated by a line at the bottom of the display (“P1,” “P2,” etc) indicate the functions of the corresponding function keys below the display screen.

To select and play performance combinations press the [PERFORMANCE] MODE button so that its indicator lights and “PERFORM PLAY” appears in the upper left corner of the LCD screen. The performance-mode display is somewhat simpler than the voice mode display.

Introductory

Section

2 Select a Voice or Performance

In the Voice mode the P1, P2, I1, and I2 memory areas can be directly selected by pressing the corresponding function key, [F1] through [F4], and successively pressing [ENTER] key. Each memory area contains 8 banks of 16 voices each (8 x 16 = 128). The Performance mode has just one 128-location memory area. On the EX5 and EX7, any voice or performance in the current memory area can be selected by specifying its bank using the BANK keys ([A] through [H]), and its number using the PROGRAM number keys ([1] through [16]). To select voice or performance “D7” (number 55), for example, first press the bank [D] key and then the program number [7] key. The bank [D] key indicator will flash until the program number [7] key is pressed and the D7 voice or performance is actually engaged.

ABCDEFGH

12341234

12345678

COMMON OSC PITCH FILTER AMPLITUDE LFO CONTROL EFFECT

9 10111213141516

ELEMENT SELECT ELEMENT ON OFF

BANK

PROGRAM

PAR T

TRACK

The Data Dial and [DEC]/[INC] keys, as well as the numeric keypad, can be used to select voices and performance setups on the EX5R (see “Alternate Selection Methods,” below).

CANCEL

STU

ENTER

SPACE

CURSOR

DATA

DEC NO

INC

VWX YZ

456

MNO PQR

YES

123

DEF GHI JKL

ABC

The number of the selected voice or performance will appear in the upper left corner of the display. Note that each voice or performance in the active memory area can be referred to in two ways: as a decimal number from 1 to 128, or as a bank and number (A1…A16, B1…B16, etc, through H1…H16).

To select a different voice or performance within the same bank it is only necessary to press the appropriate PROGRAM number key. To select a different bank, however, you'll always have to press both a bank key (followed by [ENTER]) and a program number key.

Introductory

Section

■ Alternate Selection Methods

The [INC] and [DEC] Keys

The [INC] and [DEC] Keys are best used for small, step-wise changes — e.g. selecting adjacent voice or performance numbers, or numbers that are only a few steps away. Press the [DEC] or [INC] key briefly to decrement or increment the number by one, or hold either key for continuous decrementing or incrementing in the corresponding direction.

The Data Dial

The Data Dial provides a fast, efficient way to cover a broad range of numbers when, for example, you’re looking for a voice or performance but don’t know the exact number. Simply rotate the data dial clockwise for higher numbers or counter-clockwise for lower numbers while watching the screen.

The Numeric Keypad

The number keys are an excellent choice when you know the decimal number of the voice or performance you want. Simply enter the number (“1” through “128” using 1, 2, or 3 digits as required), then press the [ENTER] key to actually select the voice or performance.

■ The Voice/Performance Directory

The voice/performance directory shows the names of 16 voices or performances at a time, with the cursor located at the currently selected number. To switch to the directory display, press the [F8] button — located directly below “DIR” on the display. Voices and performances are selected using the same methods described above, as well as by using the cursor keys to highlight the number and name of the desired voice or performance. When the voice directory is initially selected the voice names are preceded by the corresponding voice number. By pressing the [DIR] function key a second time, however, the voice numbers are replaced by the voice category abbreviation for that voice (“Pf” for piano, “Or” for organ, etc). A complete list of the voice categories is provided on page 76. To return to the normal voice or performance display press the [EXIT] button.

■ Selecting By Category

In both the Voice and Performance modes the [F7] function key is marked “[CTG],” for “Category.” Press the [CTG] function key to select voices belonging to the same category (e.g. all piano voices in the “Pf” category) in sequence, beginning with the currently selected voice.

Introductory

Section

Normal Voices & Drum Voices

Rev

Cho

Ins

Rev

Cho

Rev

Cho

AWM AN (Poly) FDSP

FDSP

DSP1 One of the followings can be selected

Rev Cho

Ins

Ins Ins Ins

FDSP

AWM

AWM AN (Poly)/

AN (Layer)

FDSP

DSP2 One of the followings can be selected

DSP1 Exclusive to the effects

AWM voices can be divided into two groups : normal voices and drum voices.

• A normal voice is simply a pitched voice which can be played on a musical scale from low to high, such as a piano or trumpet.

• A drum voice is a complete set of drum and other percussion sounds, each having a fixed pitch and being assigned to individual notes of the keyboard (from C-2 through G8). When initially shipped from the factory, EX instruments have 9 drum voices, numbered 123 through 128 in the Preset 2 bank and 126 through 128 in the Internal 2 bank (see the separate Data List for details). You can also create your own drum voices (page 141).

DSP Limitations

The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN, FDSP, and VL (EX5/5R only) tone generators to create voices. This means that less DSP capacity is available to produce effects when the aforementioned voice types are used. This imposes limitations which are different for the EX5/5R and EX7. The Reverb and Chorus effect units function normally regardless of the type of voice used.

EX5/5R

There are no limitations to using insertion effects in the EX5 or EX5R Voice mode. In the Performance mode, however, insertion effects can be used on a maximum of 4 parts (voices) if the performance setup consists entirely of AWM voices. If a VL, AN, or FDSP voice is used in the performance setup, however, an insertion effect can only be used on one part (voice).

EX7

In the EX7 Voice mode, Insertion effects can be used in AWM voices, but not in any other voice type (AN or FDSP). In the Performance mode, if the performance setup consists of only AWM voices, then an insertion effect may be used on one voice. But if the performance setup includes an AN or FDSP voice, then no insertion effects can be used.

Introductory

Section

Voice Structure & Editing Hints

Although the EX Extended Synthesis tone generator system is quite complicated, the overall system and interface have been designed to make voice editing as easy and efficient as possible. A thorough understanding of the system will depend on familiarity with the individual parameters connected with each tone generator type (see list, below), but in this section we’ll provide some information that may help in grasping how everything fits together, and perhaps in developing an organized approach to voice editing on the EX5/5R/7. For details on the individual parameters connected with each tone generator type, see the following pages:

AWM Parameters ............................Page 75

VL Parameters ..................................Page 107

AN Parameters ................................Page 112

FDSP Parameters..............................Page 123

System Overview

■ Individual Element Structure

Any EX voice, no matter what tone generator type it uses, can have anywhere from one to four “elements.” The structure of each element consists of four “stages” as shown in the block diagram below.

OSCILLATOR

PITCH

FILTER

AMPLITUDE

Although the individual parameters available in each stage will vary to some degree depending on the type of tone generator being edited, the basic function of each stage is the same.

OSCILLATOR

This stage is not really an “oscillator” in the traditional sense of the word, but it is here that the basic sound of the voice is produced.

● In an AWM element, the “oscillator” is the waveform or sample on which the voice is based.

● In a VL element (EX5/5R only), it is the instrument model: the reed/mouthpiece,

lip/mouthpiece, or bow/string system plus the resonant system corresponding to the tube and air column or string.

● In an AN element it is the simulated VCO (Voltage Controlled Oscillator) of the simulated

analog synthesis system.

● Since FDSP elements are based on AWM synthesis, an AWM oscillator stage is the same as in

an AWM element.

AWM OSCILLATOR parameter details begin on page 80.

VL OSCILLATOR parameter details begin on page 108.

AN OSCILLATOR parameter details begin on page 113.

Introductory

Section

PITCH

The PITCH stage determines the pitch of the sound. In addition to allowing the pitch of the voice to be controlled from the keyboard or via MIDI note data, it allows pitch control from the pitch bend wheel, keyboard aftertouch, or any other assignable controller. The PITCH stage also includes programmable pitch envelope generators which can be programmed to produce time-based pitch variation, as well as key scaling parameters which can be used to produce different tuning curves.

AWM PITCH parameter details begin on page 83.

VL PITCH parameter details begin on page 108.

AN PITCH parameter details begin on page 117.

FILTER

This stage controls the filters provided for the selected tone generator type, and thus allows both static and dynamic timbral control. Dynamic filters can be set to respond to keyboard touch response or other controllers, while filter envelope generators can produce time-based timbral variation. The type and number of filter parameters available varies considerably according to the selected tone generator type.

AWM FILTER parameter details begin on page 86.

VL FILTER parameter details begin on page 109.

AN FILTER parameter details begin on page 118.

AMPLITUDE

This stage includes all parameters which affect the amplitude or volume level of the sound, including basic level control, touch dynamics, keyboard level scaling, and amplitude envelope generation.

AWM AMPLITUDE parameter details begin on page 96.

VL AMPLITUDE parameter details begin on page 110.

AN AMPLITUDE parameter details begin on page 119.

Introductory

Section

■ Overall System Structure

If we now put all four elements together, and add in the all-important control and effect blocks, the system looks something like this:

ELEMENT 1

OSCILLATOR

ELEMENT 2

OSCILLATOR

ELEMENT 3

OSCILLATOR

ELEMENT 4

OSCILLATOR

PITCH

KEYBOARD, CONTROLLERS & LFO

FILTER

AMPLITUDE

EFFECTS

In this diagram note that the KEYBOARD, CONTROLLERS & LFO block affects the PITCH, FILTER, and AMPLITUDE stages of each element, as well as the EFFECT block.

KEYBOARD, CONTROLLERS & LFO

The EX5 and EX7 keyboards include both initial and aftertouch response which can be used for realtime control of an extremely wide range of parameters. The EX5R does not have a keyboard, but it accepts corresponding MIDI data from an external device which can be used to the same effect. The extremely versatile realtime control assignment system allows just about any controller to be assigned to any parameter — or multiple parameters, as required — for extraordinary expressive control. The LFO (in some elements multiple LFOs) can be used for pitch, filter, and/or amplitude modulation.

CONTROLLER parameter details begin on page 103.

EFFECTS

The EX internal effect system provides an extensive range of programmable effects including natural reverberation, modulation effects such as chorus and flanging, compression, distortion, auto-wah, rotary speaker, and much, much more. Controllers can also be assigned to specific effect parameters for unlimited realtime effect variation.

EFFECT parameter details begin on page 105.

FDSP ELEMENTS

The structure of FDSP elements is just slightly different from those shown above with the addition of an FDSP stage between the basic AWM element and effect block. The FDSP parameters are available via the FDSP parameter page which is accessible via the COM (COMMON) parameter page.

FDSP parameter details begin on page 123.

Introductory

Section

■ Element Configuration

Voice

Elements 1-4

Element

up to 1024

AWM: 419 presets, up to 1024 waves

FDSP: 419 presets, up to 1024 waves

Wave

AN: VCO1 and VCO 2 waves

VL (VA): 272

Sample

Presets: 1-1484

DRAM/FLASH: 1-1024

■ Element Combinations

Although the various element combinations possible with each voice type were introduced in the “Extended Synthesis” section (page 29), we’ll cover them again here because they are so pertinent to the current topic. Remember that you can create a voice with only one element, or combine as many as four. The allowable element combinations, listed below, will greatly affect the way you approach voice editing. The type of element(s) you use will always be your first decision when creating a new voice.

AWM Voices (EX5, EX5R, and EX7)

AWM voices can have from 1 to 4 AMW elements. If you’re creating an AWM voice, this is obviously the type to choose. Please note that you also want to start with an AWM element when you intend to use a wave you have sampled yourself using the Sampling feature, or sampled waveforms imported from another source. The ability to combine AWM elements means that you could, for example, combine separate samples for the attack and sustains portions of an instrument’s sound, with independent control over each.

AWM ELEMENT

EFFECTS

AWM ELEMENT

OUT

Polyphony

The maximum polyphony of the EX5 and EX5R is 126 notes, and the maximum polyphony of the EX7 is 64 notes. Full polyphony, however, is not available for all voice types. The chart below lists the maximum polyphony for each voice type.

Editing Control

The EX5, EX5R, and EX7 provide a number of tools and techniques to facilitate voice editing. Some of the more important methods are discussed below.

■ Element Selection

When editing a multi-element voice, you will obviously need to select the specific element you want to edit. On all models this can be done via the edit display, cursor keys and data entry dial/keys. The EX5 and EX7 additionally allow element selection via BANK select keys [1] through [4] (labelled “ELEMENT SELECT), corresponding to elements 1 through 4. In the VOICE EDIT mode pressing any of these keys will select the corresponding element for editing. The currently selected element is indicated by an inverse element number on the left side of the edit display, and by a lit indicator above the corresponding ELEMENT SELECT key. Any element can be selected and enabled as required in the OSC page, but only elements which are on can be selected when any other editing page is showing. Only one element can be selected at a time.

■ Element Muting

1 2 3 4 5 6

SHIFT

Introductory

Section

Another necessity when editing a multi-element voice is the ability to turn individual elements off or on. You might need to concentrate on the sound of a single element, for example, and need to “mute” any other elements so you can hear only the target element while making subtle changes. On the EX5 and EX7 individual element muting can be accomplished via BANK select keys [5] through [8] (labelled “ELEMENT ON/OFF). The key indicators corresponding to elements which are on will be lit, and will go out when the corresponding element is muted. Muted elements are also indicated by a small element number on the left side of the edit display. On all models, individual elements can also be turned on or off while editing by pressing the correspondingly-numbered key on the numeric keypad while holding the [SHIFT] key.

■ Direct Edit Page Selection

Once you’ve entered the Voice Edit mode, you can directly select each edit page by one of the following methods: use the [F1] key to select the edit pages in sequence, or select any individual page by pressing the corresponding function key while holding the [SHIFT] key. On the EX5 and EX7 all of the top-level edit pages can also be directly accessed via PROGRAM keys [1] through [8] — corresponding to the COMMON, OSC, PITCH, FILTER, AMPLITUDE, LFO, CONTROL, and EFFECT parameter pages, respectively (these are marked on the panel below the corresponding keys.

■ Controller Knob Mode Switching

The Controller Knobs are conveniently set up to act as data entry controls for voice editing. A small inverse number beside a parameter in the display indicates that the correspondinglynumbered Controller Knob will adjust that parameter.

There will be cases, however, where you’ll want to try out the effect of the Controller Knobs as they apply to the sound of the voice. Simply press the [KNOB MODE] key so that its indicator lights to instantly switch the knobs back to sound control. When you’re ready to continue editing, press the [KNOB MODE] key again so that its indicator goes out to reset the knobs to the data entry mode.

Introductory

Section

■ Relative & Absolute Controller Knob Data Entry

Normally when you rotate a Controller Knob being used for data entry, the corresponding value changes in relative fashion — i.e. the knob increases or decreases the value of the parameter in relation to the value that was initially on the display. To put it another way, the central detented position of the Controller Knob will correspond approximately to the parameter value that was on the display before the knob was rotated. If you rotate a Controller Knob while holding the [KNOB MODE] key, however, the relationship between the controller position and the data value becomes absolute, and the central detented position of the knob will correspond to the exact center of the parameter range.

■ Compare & Store

The moment you alter any parameter in the Voice Edit mode a small inverse “ ” will appear at the top left on the display, indicating that the voice has been edited but not yet stored.

You can also press the [EDIT/COMPARE] key while in the edit mode to switch back and forth between the original and edited sound (an inverse “ ” appears at the top left on the display when the Compare function is engaged — i.e. the original sound is being monitored).

When you exit from the Voice Edit mode the “ ” will remain at the top left on the display until you either store the edited voice or select a different voice number or mode. If you do select a different voice number or mode prior to storing the edited voice, the edited data will be lost! So be sure to store edited voice data you want to keep, as described on page 48.

If at any time you want to restore the original factory voices, they can be reloaded from the supplied Factory Set file as described on page 27.

Voice Store Procedure

Introductory

Section

To store an edited voice:

1 Press the [STORE] key

After editing the voice as required, press the [STORE] key either while still in the Voice Edit mode, or immediately after returning to the Voice Play mode (do not select a different voice or mode before storing the edited data, or the edited data will be lost!).

SONG

PATTERN SAMPLE

MODE

VOICE

EDIT

PERFORMANCE

JOB STORE UTILIT Y DISK

2 Select the destination voice

Use the Cursor keys in conjunction with the Data Dial, the [DEC]/[INC] keys, the numeric keypad, or Controller Knob 1 to select the internal Voice memory location to which you want to store the edited data. The BANK and PROGRAM keys can also be used on the EX5 and EX7.

3 Press [ENTER] and confirm

Press the [ENTER] key. The “Are you sure?” confirmation display will appear. Press the [INC/YES] key to confirm and actually store th edited data. Press [DEC/NO] if you want to abort the store operation.

V WX Y Z

4 5 6

MN O PQ R

1 2 3

DE F G HI J K L

AB C

8 9

ST U

ENTER

SPACE

4 Press [EXIT]

When the data has been stored (“Completed!” will appear briefly on the display), press the [EXIT] key to return to the previous display.

Up to 1024 elements can be stored onto your EX.

The Power of the Performance Mode

Introductory

Section

The EX Performance mode allows up to 16 different voices to be assigned to different “parts” and combined in a number of ways. The results can be ideal for real-time performance — as the name of the mode suggests — or for sequencing via the EX Song or Pattern mode, or via external MIDI control. Either way, the Performance mode offers versatility and control not available in the Voice mode.

Performance

Part 1~16

Plays layered

voices

Layer Switch: ON

Performance

Song/Pattern

Sequencer

MIDI CH

1~16

Part 1~16

CH1

CH16

Plays each part (voice)

■ Layers

Two different voices (know as “parts” in the Performance mode) can be combined in layers and played simultaneously. Independent volume, panning, effects, and control parameters are provided for each part, so you have total control over how the parts are mixed to create the final sound. Straightforward layering lets you combine similar voices to create exceptionally thick, rich textures. You can also detune layers in relation to each other for even greater depth. Completely different voices can also be layered for unique effects: a fairly common example would be layered piano and strings. But layering is only the beginning …

See the Performance Edit mode parameters, page 158, for part assignment, volume, panning, effects, and related parameters.

Example: a simple 2-layer performance.

LAYER 2 LAYER 1

You can layer the voices, though, the sounds being produced may be delayed depending on the voice combination.

Introductory

Section

■ Split Keyboard

PART 2 (Velocity 65...128) PART 1 (Velocity 1...64)

Instead of layering voice parts over the same keyboard range, different parts can be assigned to different areas of the keyboard for split keyboard setups. A simple example would be to assign a bass voice to the left-hand section of the keyboard and a piano voice to the right-hand section.

The Note Limit parameters in the Performance Edit mode are used to assign the various parts to the required note ranges (page 166).

Example: simple 2-way split keyboard.

PART 2

PART 1

■ Velocity Switching

Velocity switching takes layering a step further by assigning the layered voices to different velocity ranges. As an example, let’s consider how a slap bass voice could be created using two layers: the first a smooth fingered bass sound, and the second a snappy slapped bass sound. If we assign the first layer — the fingered bass — to the velocity range from, say, 1 through 64, and the slapped layer to velocities from 65 through 128 (the total keyboard velocity range is from 1 to 128), then when we play the keyboard gently we have the fingered sound, and when we play harder we get the slapped sound.

Velocity switching can be accomplished by using the Velocity Limit parameters in the Performance Edit mode (page 166).

Example: velocity switched layers.

Introductory

Section

■ Arpeggiator Accompaniment

The EX Arpeggiator (page 61) is capable of producing an essentially unlimited range of patterns which can be tailored to make ideal accompaniment for a wide spectrum of musical styles. The Arpeggiator can be assigned to any of the Performance mode parts, so in a split-keyboard setup you could control an Arpeggiator pattern with the left hand while playing a lead line with the right. You could even have two “contrapuntal” Arpeggiator patterns controlled via different sections of the keyboard. The Arpeggiator can easily be turned on or off while playing via the panel [ARPEGGIO] key (the Arpeggio editor display will appear — press [EXIT] to return to the Performance play display).

Arpeggiator programming is described on page 238, and the Arpeggiator is assigned to Performance parts via the Arpeggio parameter in the Performance Edit mode (page 160).

Example: left-hand arpeggio control+right-hand lead.

PART 2 (LEAD)

PART 1 (ARPEGGIATOR)

■ Multi-timbre Tone Generator

Another important function of the Performance mode is to assign and set up the various parts for the internal EX Song or Pattern mode sequencer, or for multi-timbre MIDI control from an external computer-based or stand-alone MIDI sequencer device. The 16 Performance mode parts correspond to the 16 Song mode tracks, so voices assigned to the Performance parts are played by the corresponding Song tracks. The Pattern mode only uses the first 8 tracks/parts. The Performance mode volume, pan, and effect parameters define the overall sequence mix.

The Song and Pattern modes are described in more detail on pages 185 and 219, respectively.

■ Voice Editing From the Performance Mode

Introductory

Section

There may be times when you’ll want to actually edit a voice being used in the Performance mode rather than just the Performance parameters. You can jump directly to the Voice Edit mode from the Performance or Performance Edit mode by pressing the [VOICE] key while holding the [PERFORMANCE] key. First the Performance mode display will appear with the [F1] and [F2] function keys assigned to part selection.

PERFORMANCE

VOICE

Part Number Voice Number/Name On/off status of

F2F1

the Layer Switch

Use the [F1] and [F2] keys to select the part corresponding to the voice you want to edit, then press the [EDIT] key to go to the Voice Edit mode. Once the voice has been edited as required, save the edited data (page 48), then press the [PERFORMANCE] key to return to the Performance mode.

The voice type cannot be changed when this method is used to access the Voice Edit mode. Use the normal Voice Edit mode — accessed via the Voice mode — if you need to change the voice type.

When you edit the voice with the Layer Switch (page 166) turned on, the voices from the other parts with the Layer Switch turned on will be produced. When you edit the voice with the Layer Switch turned off, only the currently editing voice will be produced.

■ Compare & Store

As in the Voice Edit mode, the moment you alter any parameter in the Performance Edit mode a small inverse “ ” will appear at the top left on the display, indicating that the performance has been edited but not yet stored.

When you exit from the Performance Edit mode the “ ” will remain at the top left on the display until you either store the edited performance or select a different performance number or mode. If you do select a different performance number or mode prior to storing the edited performance, the edited data will be lost! So be sure to store edited performance data you want to keep, as described on page 53.

Introductory

Section

Performance Store Procedure

SPACE

ABC

123

456

ENTER

DEF GHI JKL

MNO PQR

STU

VWX YZ

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILIT Y DISK

To store an edited performance setup:

1 Press the [STORE] key

After editing the performance setup as required, press the [STORE] key either while still in the Performance Edit mode, or immediately after returning to the Performance Play mode (do not select a different performance setup or mode before storing the edited data, or the edited data will be lost!).

2 Select the destination Performance

Use the Data Dial, the [DEC]/[INC] keys, the numeric keypad, or Controller Knob 1 to select the Performance memory location to which you want to store the edited data. The BANK and PROGRAM keys can also be used on the EX5 and EX7.

3 Press [ENTER] and confirm

Press the [ENTER] key. The “Are you sure?” confirmation display will appear. Press the [INC/YES] key to confirm and actually store the edited data. Press [DEC/NO] if you want to abort the store operation.

4 Press [EXIT]

When the data has been stored (“Completed!” will appear briefly on the display), press the [EXIT] key to return to the previous display.

Performance Mode DSP Limitations

Rev

Cho

Ins

Rev

Cho

Rev

Cho

AWM AN (Poly) FDSP

FDSP

DSP1 One of the followings can be selected

Rev Cho

Ins

Ins Ins Ins

FDSP

AWM

AWM AN (Poly)/

AN (Layer)

FDSP

DSP2 One of the followings can be selected

DSP1 Exclusive to the effects

Introductory

Section

EX5/5R

EX7

The Controllers

Introductory

Section

In addition to the standard pitch bend and modulation wheels, the EX5 and EX7 offer a range of assignable controllers that can be used for unprecedented sound control. The EX5R Tone Generator also offers extended controller versatility for enhanced programming and performance control. The keyboard models feature a second modulation wheel and a ribbon controller, plus full keyboard initial and aftertouch response. All models also have 6 Controller Knobs which can be assigned to any of the same parameters as the modulation wheels and ribbon controller, providing intimate analog-synthesizer type control convenience. Another powerful feature associated with the Controller Knobs is a “scene” memory, with two scene buttons which can be used to switch or “morph” between memorized Controller Knob setups. The Controller knobs also function as data entry controls while editing for fast, efficient operation. Jacks additionally allow connection of a foot controller (EX5 and EX7) and breath controller (particularly valuable for use with VL voices). An important feature of all models is that a number of controller “sets” can be created, with total assignment freedom: e.g. different controllers can be assigned to totally different parameters, a single controller can be assigned to several parameters, multiple controllers can control a single parameter, or just about any combination of the above.

The EX Controllers

All of the controllers that can be used with the EX5 and EX7 are listed below. Since the EX5R is a tone generator, it does not have many of the physical controllers provided on the keyboard models. The EX5R does, however, receive MIDI control change data, so the corresponding controllers on the keyboard or other master MIDI control device can be used in the same way.

Pitch Wheel (EX5/EX7)

The self-centering EX5 and EX7 PITCH wheel can be assigned to a range of internal parameters, but it's “standard” function is pitch control: roll up (away from the keyboard) to bend the pitch upward, or down (toward the keyboard) to bend down. Normal pitch is produced with the PITCH wheel at its center position.

No matter parameter the PITCH wheel is assigned to, operating it always causes MIDI pitch control data to be transmitted via the MIDI OUT terminal(s).

Modulation 1 Wheel (EX5/EX7)

This wheel produces minimum effect in its lowest position and maximum effect in the highest position. It can be assigned to the full range of available control parameters, but it’s normal function is to control modulation depth.

Modulation 2 Wheel (EX5/EX7)

The second modulation is not self-centering, but it has a center click-stop which makes it ideal for assignment to parameters that have a “normal” central setting with variations above and below. The MODULATION 2 wheel is also used for “scene morphing” (see “Scene Switching & Morphing,” below).

An optional foot controller connected to the rear-panel FOOT CONTROLLER jack can also be assigned to the scene morphing function — page 58.

Ribbon Controller (EX5/EX7)

Introductory

Section

The Ribbon Controller is a touch sensor that you control by running a finger lightly across its surface to the left or right. The Ribbon Controller can be assigned to the full range of EX parameters.

Controller Knobs (EX5/EX5R/EX7)

In addition to their function as data entry controls in the editing, utility, and some other modes, each of the six Controller Knobs can be independently assigned to any of the available EX parameters for realtime control in the Voice Play and Performance Play modes.

Breath Controller (EX5/EX5R/EX7)

An optional Yamaha BC3 Breath Controller plugged into the rear-panel BREATH jack can be assigned to control any of the available EX parameters — but it is a natural candidate for controlling Pressure, Tonguing, Throat, Growl, and other VL tone generator parameters.

Foot Controller (EX5/EX7)

AN optional Yamaha FC7 Foot Controller connected to the rear-panel FOOT CONTROLLER jack can be assigned to any EX controller parameter. The advantage of using a foot controller for parameter control is, obviously, that it leaves both your hands free to play the keyboard (or operate other controllers).

Foot Switch (EX5/EX7)

An optional Yamaha FC4 or FC5 Footswitch connected to the rear-panel FOOTSWITCH jack can be assigned to a limited range of parameters via the Utility mode Controller Setup display (page

275). Of course, the footswitch is only really useful with on/off type parameters — not with parameters that allow continuous control.

Aftertouch (EX5/EX7)

Keyboard aftertouch allows you to control any controller parameter by the pressure you apply to a key after it is initially pressed. This is perhaps the most “intimate” type of keyboard expression control. Like most of the EX controllers, keyboard aftertouch can be assigned to the full range of available parameters.

MIDI (EX5/EX5R/EX7)

Particularly on the EX5R Tone Generator, which does not have the full range of controllers provided on the keyboard models, most parameter control operations will be carried out via MIDI control change messages. The MIDI protocol provides a lot of control change numbers, some of which are pre-assigned to specific controllers — “001” is “Modulation Wheel,” for example. All of these are available for assignments to the EX controller parameters, so external MIDI control devices can be used to full advantage.

■ Extended MIDI Control Capability

In addition to controlling the internal tone generator, all of the controllers listed above — with the sole exception of the PITCH wheel — can be assigned to transmit MIDI control data using any MIDI control change number, so that the EX controllers can be used to control a wide range of external MIDI devices and parameters as well.

Scene Switching & Morphing

SCENE

MODE

VOICE

PERFORMANCE

SONG

PATTERN SAMPLE

EDIT

JOB STORE UTILIT Y DISK

SCENE

SC2

SC1

EX5/7 EX5R

Introductory

Section

The SCENE [1] and [2] keys can be used to memorize and recall different settings of the Controller Knobs for the voices, so a complete set of knob settings can be recalled instantaneously. You can also “morph” smoothly between memorized scenes for new expressive effects. Scenes can be independently stored with each internal voice and performance combination, so they will be available instantly when you recall a voice or performance.

■ Storing a Scene

Either using the preset Controller Knob assignments or assignments you have made yourself, go to the VOICE PLAY or PERFORMANCE PLAY mode and set the Controller Knobs to produce the required sound. To store the “scene” simply press either the SCENE [1] or [2] key while holding the [STORE] key. Repeat as required for the remaining scene.

In order to store the settings you have just made with a voice or performance combination, it is necessary to execute the voice store (page 48) or performance store (page 54) operation, otherwise your scene settings will be lost as soon as you select a different voice, performance, or mode.

■ Scene Recall & Switching

To recall a stored scene simply press the corresponding SCENE key so that its indicator lights. If you press the same scene button again so that its indicator goes out the recalled scene will be disengaged and the current panel Controller Knob settings will again take effect. While either scene is active, you can switch directly to the other scene by pressing its key — the indicator of the previously active scene key will go out and the new scene indicator will light.

Introductory

Section

■ Scene Control (Scene Morphing)

1 2 3 4

Controller Sets

1~16

Voice

Source Controllers

RB,MWI,etc

Utility Voice Mode Setup

Adjusts depth of each controller

Destination Parameters

Elements

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

SCENE

MODULATION2

One setting

The other setting

Scene 2

50/50 blend of the two stored scenes

Scene 1

The term “morph” comes from the word “metamorphosis,” meaning to change from one form or shape to another. In the case of the EX scenes it means to change gradually and smoothly from one scene to another, instead of switching abruptly as described in the preceding section. To morph between scenes, first press one SCENE key while holding the other so that both SCENE indicators light simultaneously. You can then use the MODULATION 2 wheel to gradually change from SCENE 1 (wheel at its lowest position) to SCENE 2 (wheel at its highest position). With the MODULATION 2 wheel at its center click-stop position you have an approximately 50/50 blend of the two stored scenes. Press either SCENE key to disengage scene morphing.

Although the MODULATION 2 wheel is normally assigned to scene morphing, the FOOT CONTROLLER can be used as an alternative (assigned via the UTILITY MODE Controller Setup display - page 276) if you want to retain use of the MODULATION 2 wheel for other parameters while scene morphing is active.

Controller Sets

One of the most powerful features of the EX controller system is the ability to create controller “sets.” Up to 16 controller sets can be created for each voice. Each set allows any or all of the “source” controllers to be assigned to one of the available parameters.

The source controllers are:

Introductory

Section

Display Abbreviation

RB MW1 MW2

KN1 KN2 KN3 KN4 KN5 KN6

AT FC BC

Controller

PITCH Wheel

Ribbon Controller MODULATION Wheel 1 MODULATION Wheel 2

Controller Knob 1

Controller Knob 2

Controller Knob 3

Controller Knob 4

Controller Knob 5

Controller Knob 6

Keyboard Aftertouch

Foot Controller

Breath Controller

The destination parameters are organized into 8 related groups, listed below. The actual parameters available in each group for a given voice will depend to some extent on the type of voice and how it is set up, the type of effects selected, etc.

The destination parameter groups are:

Display Abbreviation

COM

EF1 EF2

FDSP

AWM

AN DR

Controller

Common Effect 1 (Insertion) Effect 2 (Insertion)

FDSP Tone Generator AWM Tone Generator

AN T one Generator

AWM Drum Voice

VL Tone Generator

A controller set can, for example, assign a single controller such as the Ribbon Controller to a single parameter such as, say, AWM tone generator LFO amplitude modulation depth. Or it could assign a number of controllers to the same parameter: the Ribbon Controller, Foot Controller, and Controller Knob 1 could all be assigned to control AWM tone generator LFO amplitude modulation depth. On the other hand, the same controller can be assigned to control different parameters in different controller sets, so you end up with a single controller controlling up to 16 different parameters at the same time!

Controller set assignment on page 104.

■ Controller Set Remapping

When the Voice Edit mode Controller Set display is selected, “[REMAP]” will appear above the [F3] function key. This key can be used to “remap” non-contiguous controller set numbers to a contiguous set of sequential numbers. For example, if you have created controller sets 1, 3, 6, and 10, pressing the [REMAP] key will re-assign these sets to numbers 1, 2, 3, and 4. If a VL voice is selected, pressing [REMAP] will do the above and add a number of preset “recommended” controller sets for the selected voice in subsequent controller set numbers.

Sequencer Functions

Introductory

Section

The EX5, EX5R, and EX7 have three separate sequencing functions suited to different purposes:

● The Song Mode

The EX Song Sequencer is a full-featured 16-track sequencer complete with real-time play effects — including “groove” quantization — and a comprehensive range of editing functions. A 30,000 note memory gives this sequencer plenty of capacity for recording and playback of complete songs with rich musical textures and complex arrangements. Only one song can be retained in internal memory at a time, but like all other EX data songs can be saved to and loaded from floppy disk or another external storage medium as required.

The Song memory will always be erased when the power is turned off. If you want to keep a recorded song, use the Disk mode Save Song option to save all data to disk.

Song recording and playback details begin on page 185.

● The Pattern Mode

The 8-track “pattern” sequencer has most of the functions and features of the 16-track song sequencer, but is more suited to the production and management of shorter patterns or phrases such as drum tracks, dance grooves, or other frequently used phrases. Patterns can be used alone, they can be used in songs (the Song mode has a dedicated “Pattern Track”), or they can be assigned to specific keys and played back in a variety of ways in the Key Map mode (page 72). Up to 50 patterns can be retained in memory and played, sequenced in songs, or mapped to the keyboard as required.

Pattern recording and playback details begin on page 219.

● The Arpeggiator

Introductory

Section

4-track arpeggio patterns — from simple to sophisticated — can be stored as performance parameters for automatic recall and use with individual performance setups, or used with voices in the Voice mode. The EX Arpeggiator makes it easy to create automatic arpeggios, techno-style patterns, or a virtually unlimited range of other repeating phrases.

In the Performance mode it can be assigned to any of the Performance mode parts, so in a splitkeyboard setup you could control an Arpeggiator pattern with the left hand while playing a lead line with the right. You could even have two “contrapuntal” Arpeggiator patterns controlled via different sections of the keyboard. In both the Voice and Performance modes the Arpeggiator can easily be turned on or off while playing via the panel [ARPEGGIO] key (the Arpeggio editor display will appear — press [EXIT] to return to the Performance or Voice play display). The Arpeggiator has the same advanced play effects and in-depth editing capabilities as the Song and Pattern sequencers. 50 preset Arpeggiator patterns are provided, and an additional 50 “user” patterns can be created and retained in memory until needed.

Arpeggio recording and playback details begin on page 238.

Arpeggio Hold

This handy function adds significantly to the Argeggiator’s performance potential. When the hold function on, the arpeggiator pattern will continue repeating after the keys have been released, until the next key is pressed. This means that in a split-keyboard performance setup with the arpeggiator assigned to the left-hand section of the keyboard, for example, you only need to play a left-hand chord when a chord change is necessary. The rest of the time the arpeggiator will continue playing automatically while you play a melody on the right-hand section on the keyboard.

In the Performance mode the Hold parameter is turned on or off via the Hold parameter in the Arpeggio display (page 160). In the Voice mode the Hold parameter is turned on or off via the Arp Hold parameter in the Utility mode Voice Mode Setup display (page 272). In either mode the Hold function can be turned on or off by pressing the [ARPEGGIO] key while holding the [SHIFT] key.

Introductory

Section

Sequence Record Modes & Editing

RECORD MODES

Replace, Overdub, Step, Multi, Punch Replace, Overdub, Step, Multi Replace, Overdub, Step

SEQUENCER FUNCTION

SONG PATTERN ARPEGGIO

The number and type of recording modes available is different for each EX sequencer function:

● Replace

In the “Replace” real-time record mode the EX5, EX5R, or EX7 records exactly what you play as you play it, erasing any previous material in the record track as you do so. This is the mode you’ll usually use when recording a new track “from scratch.” The fact that you’re recording in real-time means that all the subtle timing and nuances of your performance will be accurately recorded (as well as the mistakes). If you do need to make changes after making a recording using the Replace mode, the EX editing functions (page 201) give you full control.

● Overdub

The “Overdub” real-time record mode allows the same type of real-time recording as the Replace mode, except that previous material in the record track is retained so that you can add new material to a previously recorded track. This can be particularly useful when recording a drum track, for example: you can record the bass drum and snare on the first run, then overdub the hihat and tom-toms, and finally overdub the cymbals and fills.

● Punch

The Punch mode, only available in the Song mode, is actually a variation of the real-time Replace record mode, except that you can specify the measures at which you want to begin and end recording. You can also specify the measure from which you want to begin playback prior to recording. This is perfect for re-recording a section of a track — from one or two measures to an entire chorus, as required — while leaving the rest of the track intact.

Introductory

Section

● Step

The Step record mode lets you enter each track note-by-note, with precise control over the timing, length, and loudness of each note. You can record entire tracks using the Step mode, or use it to brush-up and add data to an existing track. The Step record mode lets you record extremely fast or complex passages that would be impossible to play in real time.

● Multi

The Song and Pattern modes also provide a “Multi” real-time record mode in which all 16 or 8 tracks can be recorded simultaneously. This can be used if, for example, you need to record an entire sequence from an external sequencer or computer via MIDI. On the EX5 and EX7 to record one track form the EX keyboard while recording the rest via MIDI.

■ Sequence Editing

Sequence editing can be accomplished both via a comprehensive selection of “jobs,” and via an indepth edit mode. The jobs include a range of functions which can be used to modify all or a portion of a track or sequence in a variety of ways. You have a range of quantization options, clock shift, gate and velocity modification, transposition, data extraction, chord sorting, and much more. The in-depth editing capabilities of the EX5, EX5R, and EX7 make it easy to correct mistakes made when recording songs, patterns, or arpeggios, and to generally refine your sound. The Song, Pattern, and Arpeggio edit “change” mode lets you individually modify the timing, pitch, gate time (length) and velocity (loudness) of each note in the song or pattern. There's also an edit “insert” mode that allows insertion of note, program change, sustain on/off, pitch bend, modulation, pan, volume, expression, and other events at any point in the sequence.

Song jobs on page 206, editing details on page 201.

Pattern jobs on page 227, editing details on page 226.

Arpeggio jobs on page 249, editing details on page 247.

When the power is turned off, all sequence data, song, pattern and arpeggio, will be lost. Please remember that important sequence data should be saved to floppy disk or other optional backup device (page 259).

Play Effects & Groove Quantization

Introductory

Section

An important feature of all EX sequencer functions is “Play Effects,” … including “Groove Quantization.” Play Effects affect song, pattern, or arpeggio playback in real time, and are not actually recorded with the sequence data. The Play Effects include Groove Quantization and a range of offset parameters affecting overall clock timing, velocity, gate time, and transposition. “Groove Quantization” is different from standard quantization in that specific beats within a track are shifted away from precise on-the-beat timing to create a natural “groove.” Both the timing and velocity of certain notes can be affected by groove quantization. This means that unlike standard quantization, which can make a sequence sound cold and mechanical, groove quantization can significantly enhance the feel of a track. 100 preset groove “templates” are provided that you can simply select and use. Each groove template affects different beats in different ways, thus creating different grooves. See the separate Data List book for a complete list of the available groove templates. There’s also a Groove Editor in which you can create your own groove template by specifying the precise timing and velocity for each beat.

Groove editing details on page 190.

The EX Effect System

Introductory

Section

The EX effect system is not an “extra.” It is a top-quality digital signal processing system which is capable of producing effects rivalling and even exceeding those of many separate component effect units in quality. In the EX5, EX5R, and EX7, effect programming is an integral and important part of voice programming, and the ability to control specific effect parameters in real time makes them indispensable for expressive control as well. Two main effect types are provided: “system” and “insertion.” System effects apply to the overall sound, whether it be a voice, an entire performance setup, a song, etc. Insertion effects, on the other hand, can be applied individually to each voice so, in a performance setup which uses four voices, for example, you could have completely different insertion effects applied to each voice, plus overall system effects which apply to all voices in the performance setup.

System Effects

Two system effect “units” are provided for overall sound enhancement: Reverb and Chorus.

■ Reverb

The Reverb effect unit provides 12 different reverb-related effects including realistic simulations of the natural reverberation in various halls and rooms. Independent reverb settings can be made for each voice in the Voice mode, and for each performance setup in the Performance mode.

Effect parameter details begin on page 105.

Currently selected reverb type

■ Chorus

The Chorus effect unit includes a selection of 17 chorus-type effects, including flanging, phasing, symphonic, and others. Most of these effects are ideal for thickening and adding animation to the sound. Independent chorus settings can be made for each voice in the Voice mode, and for each performance setup in the Performance mode.

Currently selected Chorus type

See the Data List book for a complete list of the available system effects.

Insertion Effects

Introductory

Section

Two insertion effect units are provided in addition to the Reverb and Chorus system effect units described above. The Effect 1 unit includes 24 effects including chorus, distortion and overdrive, amp simulation, auto wah, equalization and more. The Effect 2 unit adds a range delay, reverb, and other effects, providing a total of 79 effects. In the Voice mode the insertion effects can be individually applied to each voice, and can be individually turned on or off for each element within the voice. In the Performance mode the insertion effects programmed for each voice within the performance setup can be turned on or off as required.

Currently selected effect type

See the Data List book for a complete list of the available insertion effects.

Effects In the Voice Mode

In the Voice mode, independent effect types and parameter settings can be programmed for each effect unit (Reverb, Chorus, Insertion Effect) and stored with each voice. Furthermore, the two insertion effects can be independently turned on or off for each voice element. It is also possible to specify the insertion effect connection mode (series or parallel), and specify the order of the effect units when series connection is used. The combined signal from all voice elements — after application of the insertion effects — is applied to the Reverb and Chorus system effect units.

EF1: EF2 EF1→EF2

Elements 1~4

Insertion Effects

1 2

OFF

Voice mode effect assignment details on page 105.

Reverb

Chorus

Connections

EF2→EF1

Effects In the Performance Mode

Introductory

Section

In the Performance mode the insertion effects apply to the voices exactly as they were set up in the Voice mode. The Voice mode Reverb and Chorus unit settings, however, are not used in the Performance mode. In the Performance mode each part has Reverb Send and Chorus Send parameters which determine how much Reverb or Chorus is applied to the corresponding part. The insertion effects set up in the Voice mode can be turned on or off for each part in the Performance mode.

performance

Mixer

Reverb Effects

Chorus

Effects

insertion

effects

1/2

1 2 3 4 5 6 16

Part 1~16

Performance mode effect details on page 161.

Effect Bypass

You can temporarily turn specified types of effects “off” or “on” by simply pressing the panel [EF BYPASS] ([BYPASS] on the EX5R) key. To use this function, you will need to specify the effect to be bypassed in the Utility mode Other Setup display (page 276).

DSP Limitations

Rev

Cho

Ins

Rev

Cho

Rev

Cho

AWM AN (Poly) FDSP

FDSP

DSP1 One of the followings can be selected

Rev Cho

Ins

Ins Ins Ins

FDSP

AWM

AWM AN (Poly)/

AN (Layer)

FDSP

DSP2 One of the followings can be selected

DSP1 Exclusive to the effects

Introductory

Section

EX5/5R

EX7

Sampling

AWM Waves

1~1024

Preset Samples

1~1484

DRAM (volatile)

1~1024

FLASH (non-volatile; option)

1~1024

Sampling

Load from a commercially available disk

8MB

(EXFLM1)

1MB (can be

expanded up

to 65MB)

* 419 (Factory set)

Introductory

Section

The EX Sample mode lets you “sample” sounds via a microphone or line source which can be used in AWM voice elements (samples are assigned to voice elements via the Voice Edit OSC display — page 80), or mapped to individual keys of the keyboard in the Key Map mode (page 72). It is also possible to sample directly from the internal EX tone genator system, so you can sample sounds and phrases for Key Mapping, for example, without requiring any external equipment at all. The Sample mode also includes a range of wave editing features which can be used to “fine tune” your samples for optimum sound. During use samples are kept in the internal wave RAM memory. The EX5, EX5R, and EX7 are supplied with a 1-megabyte wave memory which can be expanded up to 65 megabytes by installing optional SIMM memory modules (page 278). An additional 8 megabytes of nonvolatile flash memory becomes available for sample storage if the optional EXFLM1 Flash Memory Board is installed (page 278). Sampled waveforms can be saved to floppy disk, or to an external storage device via the optional ASIB1 SCSI Interface (page 278). Wave files in standard WAV, AIFF, or AKAI format produced using other equipment can also be loaded via the Disk mode Load Wave function (page 266) and used by the EX5, EX5R, and EX7.

Setting Up and Sampling From an External Source

■ Connecting the Source

The first step in setting up for sampling from an external source is to connect your source — microphone or line — to the EX5, EX5R, or EX7. If you will be using a single microphone, connect it to the L/MONO A/D INPUT jack on the EX5 or EX5R (the EX7 only has a single A/D INPUT jack). If you will be using a pair of microphones with the EX5 or EX5R, connect them to the L/MONO and R A/D INPUT jacks. Standard dynamic microphones with an impedance of about 150 ohms are recommended (the EX instruments do not support phantom-powered condenser microphones).

Introductory

Section

■ Record Mode & Input Settings

Mic/Line LevelInput Level

Trigger Level

Sample from the L A/D INPUT only Sample from the R A/D INPUT only Combine input from the L and R A/D INPUT jacks to a mono sample. stereo Sample the L and R A/D INPUT signals to separate files.

L R L+R stereo

Once your sources are connected as required (if you will be sampling from an external source), press the [SAMPLE] key to engage the Sample mode, and then the [F8] function key (“[REC]”) to go to the SAMPLE REC display. If you are sampling with an EX5 or EX5R, you will need to set the Rec Mode parameter for mono or stereo sampling (this is not necessary with the EX7, since it has a MONO A/D INPUT):

Also be sure to set the Source parameter to “A/D” if you are sampling from an external source, and the mic/line parameter to “mic” if you will be sampling from a microphone, or “line” if you will be sampling from a CD player or other line source.

When sampling from a line source with the EX7, you may have to use a stereo-to-mono cable or a “Y” cable to combine the left- and right-channel output signals from the source device for input to the EX7’s mono A/D INPUT jack.

■ Setting Levels

Once your source is connected and the Rec Mode, Source, and mic/line parameters have been set as required, you can use the A/D GAIN control in conjunction with the bar-graph level indicator(s) to the right of the new sample name(s) to set the optimum input level. Begin with the A/D GAIN control set all the way to the MIN position, and play your source at the highest expected volume. Gradually rotate the A/D GAIN control clockwise until the bar graph extends to around 80% or 90% of its maximum length. This should be approximately the optimum level setting for your source. If the bar graph extends all the way to the right regardless of the setting of the A/D GAIN control, the output level of your source is probably too high. Compensate by reducing the output level of the source device.

■ Recording the Sample

Introductory

Section

After making sure that your source is properly connected and the input parameters and levels are set, set the Trigger Level if necessary (page 177), set the desired maximum length of the sameple via the Length parameter (page 177), and press the [F8] function key (“[STANDBY]”). “Waiting ...” will appear on the display. Play your source and sampling will begin automatically as soon as a signal which exceeds the Trigger Level is detected. You can also start sampling manually by pressing the [F8] function key, which at this point will have changed to “[START].” After sampling has started (“Now recording” will appear on the display), the [F8] function key will change to “[STOP],” and you can stop recording at any time by pressing it. Sampling will continue for the amount of time specified by the Length parameter, or until the end of the sample memory is reached, if not stopped manually.

The EX5, EX5R, and EX7 record at a sample rate of 44.1 kHz.

See page 176 for details on sampling from the internal tone generators.

■ Edit the Sample

Once you have successfully recorded a sample, use the Sample Jobs (page 182) and Sample Edit mode (page 179) to normalize, extract, tune, loop, and otherwise refine your sample as required.

Save Samples to Disk

Please note than the standard EX sample memory is volatile. That means that its contents will be lost when the power is turned off. The 8-megabyte flash memory provided on the optional EXFLM1 Flash Memory Board is non-volatile, and will retain samples which have been saved to it even when the EX power is off. Since it is only possible to record to the volatile RAM sample memory, you will have to use the Copy Sample job (page 183) to copy samples to the flash memory. Whether you have installed the optional flash memory or not, it is always a good idea (essential if you only have volatile RAM) to save samples you want to keep to disk via the Disk mode Save Wave function (page 264).

The Key Map Mode

Introductory

Section

The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks to different keys of the keyboard (or MIDI note numbers in the case of the EX5R). The assigned samples and/or patterns can then be played via the EX5/EX7, or via an external sequencer or other MIDI controller on all models. Key Mapping makes it possible, for example, to combine playback of looped rhythm samples with patterns to create new rhythmic textures that can be controlled “live,” in real time.

Key Mapping Procedure

1 Engage the Key Map mode

Press the [KEYMAP] key to engage the Key Map mode. Non-assigned notes are listed as “off” on the display. (If necessary, press the [F1] key to select the Mode screen.)

ARPEGGIO

[KEYMAP] key functions (can be turned on or off) when in Voice mode, Performance mode and Song mode.

2 Select a note

KNOB MODE

KEYMAP EF BYPASS

Select a note to which you want to map a sample or pattern either by using the cursor ▲ and ▼ keys to highlight the desired note on the display (the note list will scroll up or down as required), or press the desired key on the keyboard while holding the [F8] function key (“[SEL]”).

3 Select pattern or sample assignment

Use the Data Dial, [DEC]/[INC] keys, or Controller Knob 2 to select “ptn” if you want to assign a pattern to the key, or “smpl” if you want to assign a sample to the key.

4 Specify a pattern or sample

Introductory

Section

If you chose to map a pattern to the selected note, use the cursor keys in conjunction with the Data Dial, [DEC]/[INC] keys, or appropriate Controller Knobs to specify a track — “Tr1 … Tr8” for an individual track, or “all” to map the entire pattern — and the pattern number (the pattern name will appear to the right of the pattern number).

If you chose to map a sample to the selected note, use the cursor keys in conjunction with the Data Dial, [DEC]/[INC] keys, or appropriate Controller Knobs to specify the “RAM” (internal) or “FLS” (flash memory, if the optional EXFLM1 Flash Memory Board is installed) sample memory, and the number of the desired sample (the sample name will appear to the right of the sample number).

5 Specify a play mode

The rightmost parameter on the display, following the pattern or sample number, specifies the play mode for the corresponding key.

toggle

oneshot

gating

Pattern or sample playback begins when the key is pressed, and stops when the key is pressed a second time.

The pattern or sample begins playing when the key is pressed, and stops automatically when the pattern or sample has played completely through once.

Pattern or sample playback starts when the key is pressed and stops when the key is released.

6 Continue as required

Repeat the above process, mapping as many patterns or samples to as many keys as required.

The Key Map assignments will always be erased when the power is turned off. If you want to keep a Key Map setup, use the Disk mode Save ALL option to save all data to disk.

Only one sample, pattern, or pattern track can be assigned to each key.

The number of samples available for key mapping will depend on the number of samples currently in the EX sample memory (max. 1024).

About The Tune Screen

Introductory

Section

Pressing the [F2] key selects the Tune screen, which is only available for samples and includes two tune-related parameters: Coarse and Fine.

Coarse: Raises or lowers the pitch of each sample in semitone steps. Settings: -64~+63 Fine: Allows fine adjustment of the pitch of each element. Settings: -64~+63

Using these two parameters you can adjust the playback speed of EX samples as well as data recorded at different sampling rates.

Voice Mode

Reference Section

Voice Mode

Voice Play Mode

Voice Play Mode lets you play the 256 Preset Voices and User Voices of your own creation.

Voice Play Mode screen

Press [VOICE] key on the panel to enter Voice Play mode. When you enter Voice Play mode, the following screen appears. The contents are shown below.

1234

1 Screen Title

Indicates Voice Play mode.

2 Transmit Channel/Receive Channel

Indicates which MIDI channel is used for the voices in the Voice mode. The transmit/receive channels are set in the Voice Mode Setup, Utility mode (page 271).

3 Voice Number area

Shows the Memory location, Program number (001~128) and Bank(A~H)/Program number (1~16) for the currently selected voice. For example, the displayed voice number, P1-001(A01) indicates that this is the 001 voice in Preset 1 memory location and is the 01 voice in the Bank A.

Memory

There are two types of memories: Preset and Internal (user). Each Preset—P1 (Preset 1) and P2 (Preset 2)— contain 128 preset voices. Each Internal—I1 (Internal 1) and I2 (Internal 2)— contain 128 user areas for your own voice creation.

Voice Number

Voice numbers are indicated in two ways as shown below: from 1 through 128 or 8 (A~H) banks of 16 voices each (8 x 16 = 128).

Voice

Number

001 A 1 065 E 1 002 A 2 066 E 2 003 A 3 067 E 3 004 A 4 068 E 4 005 A 5 069 E 5 006 A 6 070 E 6 007 A 7 071 E 7 008 A 8 072 E 8 009 A 9 073 E 9 010 A 10 074 E 10 011 A 11 075 E 11 012 A 12 076 E 12 013 A 13 077 E 13 014 A 14 078 E 14 015 A 15 079 E 15 016 A 16 080 E 16 017 B 1 081 F 1 018 B 2 082 F 2 019 B 3 083 F 3 020 B 4 084 F 4 021 B 5 085 F 5 022 B 6 086 F 6 023 B 7 087 F 7 024 B 8 088 F 8 025 B 9 089 F 9 026 B 10 090 F 10 027 B 11 091 F 11 028 B 12 092 F 12 029 B 13 093 F 13 030 B 14 094 F 14 031 B 15 095 F 15 032 B 16 096 F 16 033 C 1 097 G 1 034 C 2 098 G 2 035 C 3 099 G 3 036 C 4 100 G 4 037 C 5 101 G 5 038 C 6 102 G 6 039 C 7 103 G 7 040 C 8 104 G 8 041 C 9 105 G 9 042 C 10 106 G 10 043 C 11 107 G 11 044 C 12 108 G 12 045 C 13 109 G 13 046 C 14 110 G 14 047 C 15 111 G 15 048 C 16 112 G 16 049 D 1 113 H 1 050 D 2 114 H 2 051 D 3 115 H 3 052 D 4 116 H 4 053 D 5 117 H 5 054 D 6 118 H 6 055 D 7 119 H 7 056 D 8 120 H 8 057 D 9 121 H 9 058 D 10 122 H 10 059 D 11 123 H 11 060 D 12 124 H 12 061 D 13 125 H 13 062 D 14 126 H 14 063 D 15 127 H 15 064 D 16 128 H 16

Program

Bank Bank

Number

Voice

Number

Program

Number

Voice Mode

4 Voice Category/Name

Voice Category

The respective voices are organized into the two-letter-code Voice Categories. Each Category code implies the voice’s property.

LCD

Category

No Assign

Piano

Chromatic Percussion

Organ

Guitar

Bass

Strings/Orchestral

Ensemble

Brass

Reed

Pipe

Synth Lead

Voice Name

Shows the current voice name in up to 12 letters.

LCD

Category

Synth Pad

Synth Sound Effects

Ethnic

Percussive

Sound Effects

Drums

Synth Comping

Vocal

Combination

Material Wave

Sequence

5 Voice Type

Indicates the voice type of the current voice.

For more information on the voice type, see page 77.

Selecting Voices

Various methods are available for selecting voices. See page 36 for more information.

Voice Mode Setup

You can set up the connections with the internal tone generator and/or an external device for the voices in the Voice mode and assign the control numbers, in the Voice Mode Setup, Utility mode (page 271).

Voice Edit Mode

There are two types of voices: a normal voice and a drum voice. The edit parameters for each type of voice are explained separately, as are the different types of elements that make up a normal voice.

For more information about voices, see page 43. For more information about elements, see page 43.

[VOICE]

------Normal+[EDIT] AWM Element........................................77

------[F1:COMMON]..........................................................77

------[F6:Parameter] ............................................77

------[F7:Arpeggio]................................................79

------[F3:Arpeggio-Edit]..........................79

------[F8:Name] ....................................................79

------[F2:OSCILLATOR] ..................................................80

------[F6:Wave] ......................................................80

------[F3:Wave-Edit] ................................81

------[F7:Mix] ........................................................81

------[F8:Zone] ......................................................82

------[F3:PITCH] ................................................................83

------[F6:Parameter] ............................................83

------[F7:Scaling] ..................................................83

------[F8:EG] ..........................................................84

------[F4:FILTER] ..............................................................86

------[F4:Static Control Filter] ............................86

------[F5:Dinamic Control Filter] ......................91

------[F6:Sensitivity] ............................................93

------[F7:Scaling] ..................................................94

------[F8:EG] ..........................................................95

------[F5:AMPLITUDE]....................................................96

------[F6:Parameter] ............................................96

------[F7:Scaling] ..................................................97

------[F8:EG] ..........................................................98

------[F6:LFO] ..............................................................100

------[F7:LFO1] ..................................................100

------[F8:LFO2] ..................................................102

------[F7:CONTROLLER] ..............................................103

------[F7:Pitch Control]......................................103

------[F8:Controller Set] ....................................104

------[F3:Remap]....................................104

------[F8:EFFECT] ..........................................................105

------[F4:Type] ....................................................105

------[F5:Insertion Effect 1] ..............................106

------[F6:Insertion Effect 2] ..............................106

------[F7:Reverb] ................................................107

------[F8:Chorus] ................................................107

------Normal+[EDIT] VL Element ..........................................107

------Normal+[EDIT] AN Element..........................................112

------FDSP......................................................................................123

------Drum+[EDIT] ....................................................................141

Press [EDIT] key on the panel while in Voice mode to

Voice Mode

enter Voice Edit mode. When you enter Voice Edit mode, the following menu appears. Below are the eight menus in Voice Edit mode.

Before entering Voice Edit mode, select the voice to be edited. All parameters within a voice can be edited and stored as a new voice.

Compare function is not available, when the voice type is changed.

F1 F2 F3 F4 F5 F6 F7 F8

[F1]: COM (Common settings equally applied to all

elements) [F2]: OSC (Tone generator settings related to Oscillator) [F3]: PITCH (Settings related to Pitch) [F4]: FILT (Settings related to Filter, for tone) [F5]: AMP (Settings related to Amplitude, for volume) [F6]: LFO (Settings related to the Low Frequency

Oscillator, for modulation) [F7]: CTRL (Settings related to the Controllers) [F8]: EFCT (Settings related to the Effects)

Element Mute

During voice edit you may need to temporarily mute the rest elements. For information on how to mute each element, see page 44.

Compare and Store

The moment you alter any parameter in the Voice Edit mode a small inverse “ ” will appear at the top left on the display, indicating that the voice has been edited but not yet stored.

If you want to create a voice from scratch, it will be handy to use initialize voice function (Voice Job mode, see page 148) to initialize the voice you have selected.

Up to 1024 elements can be stored onto your EX.

Normal Voice (AWM Element)

[F1]: COM (Common)

Common Edit includes settings that affect all elements (maximum four) in a selected voice. There are three menus available.

[F6]: PARAM (Parameters) [F7]: ARP (Arpeggio)

[F3]: [ARP EDIT]

[F8]: NAME (Name)

[F6]: PARAM (Parameters)

Various control parameters such as Voice Type determine the fundamental characteristics of a voice.

You can also press the [EDIT/COMPARE] key while in the edit mode to switch back and forth between the original and edited sound (an inverse “ ” appears at the top left when the Compare function is engaged – i.e. the original sound is being monitored).

■ Voice Type

For selecting the type of voice. Selecting a voice type also determines the type of elements that are used in the voice.

❏ Settings:

AWM:

Uses up to a maximum of four AWM elements. AWM elements are digitally recorded waveforms, or “samples” of musical instrument and other sounds.

VL+AWM (EX5/5R only):

Uses one VL element for Virtual Acoustic synthesis, plus three AWM elements. Once the VL voice type is selected, the first element in the OSC screen (page 108) is fixed to the VL element.

Rev

Cho

Ins

Rev

Cho

Rev

Cho

AWM AN (Poly) FDSP

FDSP

DSP1 One of the followings can be selected

Rev Cho

Ins

Ins Ins Ins

FDSP

AWM

AWM AN (Poly)/

AN (Layer)

FDSP

DSP2 One of the followings can be selected

DSP1 Exclusive to the effects

Voice Mode

FDSP (Formulated Digital Sound Processing):

Voice Type

AWM/Drum* VL+AWM FDSP AN(Poly)+AWM AN(Layer)+AWM AN+FDSP

EX5/5R Polyphony

126

1+AWM

16 2+AWM 1+AWM

AN: 1; FDSP: 8

EX7 Polyphony

—

1+AWM

— —

*Please note that the actual polyphony may be reduced under certain conditions.

Uses each of the four AWM elements (up to a maximum of four), which are applied to the FDSP unit. Once the FDSP type is selected, the FDSP menu will also display. It can be accessed using [F5] at the bottom of the COM screen (see page 123).

AN (Poly)+AWM (“AN+AWM” on EX7):

Uses one AN element for Analog Physical Modeling synthesis, plus three AWM elements. Once the Analog Poly is selected, the first element in the OSC screen (page 113) is fixed to the AN element.

AN (Layer)+AWM (EX5/5R only):

This type can use two AN elements for Analog Physical Modeling, plus two AWM elements. This allows for the two AN elements to be layered. Once the Analog Layer is selected, the first and second element in the OSC screen (see page 113) are fixed to AN elements.

AN+FDSP (EX5/5R only):

This type can use one AN element for Analog Physical Modeling synthesis, plus the three AWM elements, which can be applied to the FDSP unit. Once Analog+FDSP is selected, use [F5] at the bottom of the COM screen to access the FDSP menu (see page 123). Also, the first element in the OSC screen (page 113) is fixed to an AN element.

Drum:

Uses up to a maximum of 128 AWM elements, each assigned to a specific key or note number.

DSP Limitations

EX5/5R

The available parameters and the edit menu in the Voice Edit mode will change according to the selected voice type. For more information about VL, see page 30; FDSP: page 34; Analog: page 33; Drum: page 39.

Polyphony

EX7

Voice Mode

■ Mono/Poly

Selects whether the voice is played monophonically (only one note at a time) or polyphonically (multiple notes sounding simultaneously).

■ Arp Tempo (Arpeggio Tempo)

Sets the tempo for the arpeggio.

❏ Settings: 30~250

❏ Settings: mono, poly

■ Key Assign

Selects sngl (single) or mlti (multi) Key Assign. In sngl (single), if the tone generator receives the same note twice, the first note is terminated when the next same note is received again. In mlti (multi), when the same notes are received, sounds are assigned to one channel after another, making multiple part tone generation possible.

❏ Settings: sngl, mlti

■ Volume

Sets the volume of the voice.

❏ Settings: 0~127

■ Vel Depth (Velocity Depth)

Determines the depth of velocity sensitivity.

❏ Settings: –64~0~+63

■ Vel Offset (Velocity Offset)

Sets the velocity offset value.

❏ Settings: –64~0~+63

Changing the value will add to or subtract from the current velocity value.

■ Tempo Ctrl (Tempo Control)

Sets whether one of the Knobs controls the arpeggio tempo, or not.

❏ Settings: off, knob 1~6

■ Arp Note LimitL (Note Limit Low)

Determines the lowest note of the arpeggio range on the keyboard.

❏ Settings: C–2~G8

The lowest note set here and the note set for Arp Note High (Note Limit High; see below) determine the range of notes within which the arpeggio will play.

■ Arp Note LimitH (Note Limit High)

Determines the highest note of the arpeggio range on the keyboard.

❏ Settings: C–2~G8

[F3]: ARP-EDIT (Arpeggio Edit)

Once the “USR” (USER) arpeggio type is selected, the ARP EDIT menu is accessible using [F3] at the bottom of the screen. Press [F3] to access the ARP EDIT screen, which lets you create your own custom arpeggio type (User arpeggio). For more information, see page 238.

[F7]: ARP (Arpeggio)

Following are the parameters related to the Arpeggiator.

■ Arp Sw (Arpeggio Switch)

Turns the Arpeggiator on and off.

❏ Settings: on, off

The ARPEGGIO key on the front panel serves the same function.

■ Arp Type (Arpeggio Type)

Selects the type of arpeggio.

❏ Settings: See the Arpeggio Type on page 242.

[F8]: NAME

Lets you name the edited voice, using up to twelve characters.

Category name

Voice name

Voice Mode

Setting the Voice Name

1 Press [F8] to enter the Name screen. 2 Move the [↓] cursor to the far left with the Cursor

key.

3 Use [INC]/[DEC] or Data Dial to select the

Category.

The category names help you to sort the voices you have created. If you don’t want to specify the name, select hyphens (--), no assign.

4 Move the [↓] cursor to the Name.

5 Use [INC]/[DEC] or Data Dial to select a letter,

number, or symbol.

6 Move the [↓] Cursor with the cursor keys and

select the next character.

7 Repeat the operations above to set the file name.

[F6]: WAVE

Selects the waves for the elements (maximum four elements per voice), and sets parameters related to the Loop configuration for each wave.

■ Bank (Wave Bank)

In the selected Voice Bank, this parameter lets you choose a wave bank which contains available waves. You can designate a different bank for each element.

❏ Settings: PRE (Preset), RAM (DRAM), FLS (Flash

Memory)

When an element is not used, hyphens (---) will be displayed in the bank and the cursor will not be able to select Num (Number) and some other items.

You can also enter numbers, letters, or symbols using the numeric keypad. Several letters or symbols are assigned to each key (the letters or symbols listed below correspond to the key above). Upper and Lower case letters are available. For example, each time the 0 key is pressed, the available number and letters are displayed in the following order: 0→A→B→C→a→b→c. “SPACE” (one space) is assigned to [ENTER] key. You can move through the input locations using the cursor key as mentioned above.

Available numbers and letters:

Shown in the above illustration.

[F2]: OSC (Oscillator)

The Oscillator parameters generate the sound waves that create a voice. A voice consists of a maximum of four elements (see page 29). You can select the wave for each element and make adjustments to various parameters. There are four menus available.

[F6]: WAVE

[F3]: WAVE-EDIT [F7]: MIX [F8]: ZONE

■ Number

In the selected wave bank, this parameter lets you select th wave number you want. After the number is selected, the wave category letter and wave name are displayed to the right of the number.

❏ Settings: (For information about each wave, see the Wave

List in the separate Data List book.)

Some waves may not contain the category names.

■ Cat (Category)

Selects the category containing the wave you want to use. Replacing the category from one to another selects the first wave in the newly selected category.

❏ Settings: See the following list.

LCD

Category

No Assign

Piano

Chromatic Percussion

Organ

Guitar

Bass

Strings/Orchestral

Ensemble

Brass

Reed

Pipe

Synth Lead

Hyphens displayed at the category indicate that the current wave is not assigned with a category.

LCD

Category

Synth Pad

Synth Sound Effects

Ethnic

Percussive

Sound Effects

Drums

Synth Comping

Vocal

Combination

Material Wave

Sequence

Voice Mode

■ Wave P l ay

Switches how the wave is played back. There are five

choices: “FwdLp,” “FwdLpEx,” “FwdNoLp,”

“RevNoLp” or “default.”

❏ Settings:

FwdLp:

While a key is pressed (held down), the wave playback begins from the Start point, moves to the Top point and then repeats continuously from the Top point to the End point.

FwdLpEx:

This is the same as "FwdLp" as long as the key is held. However, when you release your finger from the keyboard, the Ex5/5R/7 cancels the loop playback, goes beyond the End point, and plays the rest of the sample data, then stops at the data end.

FwdNoLp:

Each time a key is played, the wave will play back one time from the Start point to the End point.

RevNoLp:

Each time a key is played, the wave will play back in reverse one time, from the End point to the Start point.

default:

Follows the original setting made in the Wave Edit mode or Sample Edit mode.

■ KeyOn Delay

Sets the amount of delay from the point at which the

note is played on the keyboard, to when the sound is

produced. A different KeyOn delay amount can be

set for each element.

❏ Settings: 0~127

Time

Key on

1270

Actually starts playback

Key On Delay

[F7]: MIX

Sets the output balance between the various element waves that make up a voice.

■ Bank (Wave Bank)

■ Number

■ Cat (Category)

These parameters are the same as those described for the WAVE screen. For information, see page 80.

■ Level

Sets the output level of each wave, which lets you adjust the output balance between each element.

❏ Settings: 0~127

■ Pan

Sets the panning of each wave. This function determines the left or right positioning of each element in the stereo spectrum.

❏ Settings: scl (Scaling Pan), L63 (far left)~cnt

(center)~R63 (far right), rnd (Random Pan)

In scl (Scaling Pan), a base pitch is set as a reference that determines the degree to which a sound moves to the right or left in the stereo spectrum. Control depends on the pitch that is played on the keyboard in relation to the base pitch. Rnd (Random Pan) causes the sound to appear randomly from left to right in the stereo spectrum. For Scaling Pan and Random Pan settings, the fixed range of the sound movement and the standard pitch is designated in KeyFlw (Key Follow), and Pan parameters in the PARAM screen of AMP (Amplitude).

[F3]: WAVE-EDIT

Lets you edit waves. When you select “RAM” for

the Wave Bank, [F3] (WAVE-EDIT) will be added,

allowing you to edit waves. For more information

about WAVE EDIT, see page 150.

When PRE (Preset) or FLS (Flash memory) is selected in WAVE, the WAVE-EDIT screen is unavailable.

■ Detune

Sets the detune value for each wave. Detune is handy for making the sound thicker by raising or lowering the pitch of each individual element in fine increments or decrements, in relation to each other.

❏ Settings: –75~0~+75

The Level, Pan & Detune parameters are also available from the PITCH PARAM screen.

Voice Mode

[F8]: ZONE

Sets the zone of each element (the keyboard and velocity ranges within which the sounds are played). A different zone can be set for each element.

■ Vel Limit High (Velocity Limit High)

Sets the highest velocity value of each element wave that is detected when the keyboard is played.

❏ Settings: 1~127

■ Vel Xfade (Velocity Cross Fade)

Sets the cross fade velocity range (Vel Limit Low and High) for each element. As the value increases, the range becomes wider. A setting of “0” produces no effect.

■ Note Limit Low

Sets the lowest note of the zone on the keyboard, for

each element.

❏ Settings: C–2~G8

The lowest note you set here and the value in Limit High (Note Limit High; see below) determine the range of notes which can be played on the keyboard.

■ Note Limit High

Sets the highest note that each element can play.

❏ Settings: C–2~G8

It is not possible to set the Note Limit Low above the Note Limit High, or the Note Limit High below the Note Limit Low.

You can designate the key by pressing the key on the keyboard while holding [F8] key.

■ Note Xfade (Note Cross Fade)

Sets the cross fade range (Note Limit Low and High)

of each element. As the value increases, the range

becomes wider. A setting of “0” produces no effect.

Volume

Velocity Cross Fade

Vel Limit Low Vel Limit High

Velocity Note Range

127

❏ Settings: 0~127

Zone Graphical Display

On the left side of this screen the zone (keyboard and velocity range at which sound will be produced) is displayed. The note range is indicated by the horizontal axis, while the velocity note range is indicated by the vertical axis. As each parameter value is adjusted, the shape of the black box, which represents the note range, changes accordingly. The zones of other elements are stacked and displayed below the element zone that is currently selected.

Volume

Note Cross Fade

Note Range

Note Limit HighNote Limit Low

127

Note Cross Fade

❏ Settings: 0~127

■ Vel Limit Low (Velocity Limit Low)

Sets the lowest velocity value of each element wave

that is detected when the keyboard is played.

❏ Settings: 1~127

The lowest velocity value set here and for the value set in Vel Limit High (Velocity Limit High) determines the range of velocity for the selected element wave.

Velocity Note Range

127

C4C–2 G8

Note Range

Voice Mode

[F3]: PITCH

The Pitch parameters adjust the pitch of the wave and configures the tuning system. There are three menus with various parameters that can be applied to each element.

■ EG Depth

Sets the amount of pitch change in the PEG. A setting of “0” produces no change, and maintains the original pitch.

❏ Settings: –64~0~+63

[F6]: PARAM (Parameters) [F7]: SCALE [F8]: EG (Envelope Generator)

[F6]: PARAM (Parameters)

Adjusts each wave’s tuning and the PEG settings. A different value can be set for each element.

■ Coarse Tune

Raises or lowers the pitch of each element wave in

semitones.

❏ Settings: –64~+63

■ Fine Tune

Finely adjusts the pitch of each element wave.

❏ Settings: –64~+63

■ Detune

Sets the detune value for each element. Detune is

effective for making the sound thicker by raising or

lowering the pitch of each element in Hertz (Hz).

■ EG Random

Changes the Hold Level (page 85) of the PEG randomly. The higher the value, the greater the change in pitch. A setting of “0” produces no change, and maintains the original pitch.

❏ Settings: 0~15

[F7]: SCALE

Sets the pitch scaling for each element, which determines the tuning.

■ KeyFollow

Sets the KeyFollow for each element. The KeyFollow function adjusts the pitch change of the PEG in accordance with the notes played on the keyboard. When KeyFollow is applied, the amount of pitch change of the PEG is adjusted accordingly at every note relative to the Center pitch (explained below) on the keyboard.

❏ Settings: 0, 5, 10, 20, 50, 100%

❏ Settings: –75~0~+75

The Detune parameter here is the same as in the OSC’s MIX screen.

■ Ve l→EG (Velocity→EG)

Sets the velocity sensitivity for the PEG (Pitch

Envelope Generator). Positive values means the

harder a note is played, the greater the change in

pitch. Negative values will produce the opposite

effect.

❏ Settings: –7~0~+7

Large

Small

Higher range

Lower range

Speed of PEG pitch change

Center (Basic Pitch)

–

■ Center Key

Sets the basic pitch for the KeyFollow of each element. The same pitch change set in the PEG can be obtained exactly for the note set as Center pitch. The other pitches will be affected in proportion to the value set for the KeyFollow parameter.

❏ Settings: C–2~G8

Voice Mode

■ Micro Tuning

Sets the Micro Tuning (tuning system, or

temperament) each element will use. Beginning with

the standard tuning “equal temperament,” there are

32 tuning systems available.

❏ Settings: Each system is listed below.

No.

00 The “compromise” tuning used for most of

13~24

Type Key Comments

Equal temperament —

Pure major C~B01~12

Pure minor A~G# The same as Pure Major, but designed for

Werckmeister —25

Kirnberger —26

Vallotti & Young —27

1/4 shifted —28 This is the normal equal tempered scale

1/4 tone —29

1/8 tone —30

Indian C~B31 Usually observed in the Indian music (white

the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/2th of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune.

This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in.

the minor scale.

Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character.

Johan Philipp Kirnberber was also concerned with tempering the scale to allow performances in any key.

Francescantonio Vallotti and Thomas Young (both mid–1700s) deviced this adjustment to the Pythagorean tuning in which the first six fifths are lower by the same amount.

shifted up 50 cents.

Twenty–four equally spaced notes per octave. (Play twenty–four notes to move one octave.)

Forty–eight equally spaced notes per octave. (Play forty–eight notes to move one octave.)

keys [C-B] only).

[F8]: EG (Pitch Envelope Generator)

Sets the PEG, which determines how the pitch will change over time, from when the key is pressed, held, then released. A different value can be set for each element.

When setting the PEG, press [F8] and two types of screens will appear alternately. You can switch back and forth between the screens to set each parameter.

All Parameters Screen

Envelope Screen

■ Hold Time Vel (Hold Time Velocity)

Sets the velocity sensitivity for the Hold Time. When Hold Time Vel is set to a positive value, the harder the keyboard is played, the faster a change occurs. Negative values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

■ Atck Time Vel (Attack Time Velocity)

Sets the velocity sensitivity for the Attack Time. When Atck Time Vel is set to a positive value, the harder the keyboard is played, the faster a change occurs. Negative values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

■ Other Time Vel (Other Time Velocity)

Sets the velocity sensitivity for the Decay 1/2 Time and the Release 1/2 Time. When Other Time Vel is set to a positive value, the harder the keyboard is played, the faster a change occurs. Negative values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

Voice Mode

■ Time Scale

The Time Scale function determines the speed of

change in the PEG according to the pitch played on

the keyboard. When the Time Scale is set to a

positive value, the lower the note played on the

keyboard, the slower the change that occurs over

time. The higher the note played on the keyboard,

the faster the change occurs. Negative values will

have the opposite effect.

■ Dcy 1/2 Time (Decay 1/2 Time)

Sets the Decay 1/2 Time.

❏ Settings: 0~127

■ Rel1/Rel2 Time (Release 1/2 Time)

Sets the Release 1/2 Time.

❏ Settings: 0~127

❏ Settings: –7~0~+7

Positive value

Speed of PEG pitch change

Lower range

Negative value

Lower range

–

Basic Pitch

–

Basic Pitch

Higher range

Speed of PEG pitch change

Higher range

This parameter is not displayed in the ENVELOPE screen.

■ L (Loop)

Determines the loop for the PEG. As seen in the

following diagram, this function sets the position to

be returned to after reaching Decay 2 (loop point).

Selecting “off” turns the loop function off.

Pitch EG Loop

When set to “Hl”

❏ Settings: off, Hl (Hold), At (Attack), D1 (Decay 1)

This parameter is not displayed in the ENVELOPE screen.

Loop Point

(Hl)

Loop

(At)

(D1)

■ Hold Level

Sets the Hold Level.

❏ Settings: –128~0~+127

■ Atck Level (Attack Level)

Sets the Attack Level.

❏ Settings: –128~0~+127

■ Dcy 1/2 Level (Decay 1/2 Level)

Sets the Decay 1/2 Level.

❏ Settings: –128~0~+127

■ Rel1/Rel2 Level (Release 1/2 Level)

Sets the Release 1/2 Level.

❏ Settings: –128~0~+127

Setting the Pitch Envelope Generator

There are six Time settings (the speed of the changes) and six Level settings (for pitch) that shape how the pitch of the sound changes over time, from when a key is pressed, then released, and how the sound decays.

Press [F8] to select the ENVELOPE screen; each value can be set with the Envelope graphical display. The pitch of a played note can be set to continue at a defined level for a fixed period of time by setting the Hold Level and the Hold Time. Then, the pitch change over time can be controlled by setting the Attack Time/Level and the Dcy1/2 Time/Level. Finally, when the key is released, the pitch change over time can be controlled by setting the Rel1/2 Time/Level parameter.

■ Hold Time

Sets the Hold Time.

❏ Settings: 0~127

■ Atck Time (Attack Time)

Sets the Attack Time.

❏ Settings: 0~127

If necessary, Time Velocity and Loop can be set in the ALL PARAMETERS screen.

Attack

Dcy1

Dcy1 Time

Level

Dcy2 Level

Dcy2 Time

Key off

Pitch

Hold Level

Hold Time

Key on

Attack

Time

Level

Rel1 Time

Rel1

Level

Rel2 Time

Rel2

Level

Time

Voice Mode

[F4]: FILT (Filter)

The Filter parameters configure the filter setting which can be applied to each element to change the timbre of the sound. There are five menus available.

[F4]: SCF (Static Control Filter) [F5]: DCF (Dynamic Control Filter) [F6]: SENS (Sensitivity) [F7]: SCALE [F8]: EG (Envelope Generator)

L/H Shelf (Low/High Shelving Filter)

A shelving type filter that can increase or decrease the signal level in both the high and low frequency ranges.

[F4]: SCF (Static Control Filter)

Sets up the parameters for the Static Control Filter. The SCF has various types of filters that pass a specific frequency bandwidth while filtering out other frequencies. A different filtration can be set for each element.

The EX5/5R/7 has two other filters that make it possible to create a wide range of sounds. These are two sets of DCF (Dynamic Control Filter) filters. For information, see page 91.

■ Type

Selects the type of filter. The parameters available

depend on the selected filter type.

❏ Settings: L/H Shelf (Low/High Shelving Filter), 2L Shelf

(2-Low Shelving Filter), 2H Shelf (2-High Shelving Filter), LPF (Low Pass Filter), HPF (High Pass Filter), BPF (Band Pass Filter), InvertLPF (Inverted Low Pass Filter), PEQ (Parametric Equalizer), thru, boost 6dB/12dB/18dB

■ Input Gain

Sets the gain of the signal that is sent to the SCF

(Static Control Filter) unit. The higher the value, the

more the amount of gain of the input signal.

–

Low Freg High Freg

Frequency

■ High Freq (High Frequency)

Sets the high frequency shelving point. Use High Gain (see below) to increase or decrease the signal level above the specified point.

❏ Settings: 131~241

■ Low Freq (Low Frequency)

Sets the low frequency shelving point. Use Low Gain (see below) to increase or decrease the signal level below the specified point.

❏ Settings: 46~182

■ High/Low Freq Vel (High/Low Frequency

Velocity)

Sets the velocity sensitivity for the frequency ranges specified by the High Freq and Low Freq. When High/Low Freq Vel is set to a positive value, the harder a note is played on the keyboard, the higher the frequencies of the High Freq and Low Freq. This creates a greater change in the timbre of the sound. Negative values will have the opposite effect.

❏ Settings: –7~+7

❏ Settings: –32~+0

Input Gain is not available with the following types: thru, boost 6dB/12dB/18dB. Input Gain is common for the all types except for the above four.

The available filter types and associated parameters are explained below.

■ High/Low Gain

Sets the signal level for the frequencies passing above the High Freq point and for those passing below the High Freq point.

❏ Settings: –32~0~+32

Voice Mode

■ High/Low Gain Vel (High/Low Gain Velocity)

Sets the velocity sensitivity for signal levels

designated by the High Gain and Low Gain. When

the High/Low Gain Vel is set to a positive value, the

harder a note is played on the keyboard, the more

the amount of gain is applied. Negative values will

have the opposite effect.

❏ Settings: –7~+7

2L Shelf (2-Low Shelving Filter)

A shelving type filter that increases or decreases the signal levels for two low frequency ranges (Low1 and Low 2).

■ Low1/2 Gain

Sets the signal levels for the frequencies passing below the Low1/2 Freq points.

❏ Settings: –16~0~+16

■ Low1/2 Gain Vel (Low1/2 Gain Velocity)

Sets the velocity sensitivity for signal levels designated by the Low1/2 Gain. When Low1/2 Gain Vel is set to a positive value, the harder a note is played on the keyboard, the more gain that is applied. Negative values will have the opposite effect.

❏ Settings: –7~+7

2H Shelf (2-High Shelving Filter)

A shelving type filter that increases or decreases the signal levels for the two high frequency ranges (High1 and High 2).

–

Low1

Freg

Low2

Freg

Frequency

■ Low1/2 Freq (Low 1/2 Frequency)

Sets the two low frequency shelving points, Low1

and Low2. Use Low1/2 Gain (see below) to increase

or decrease the signal levels below the specified

point.

❏ Settings: 72~182

The two frequency ranges below the shelving point will overlap one another.

■ Low1/2 Freq Vel (Low1/2 Frequency Velocity)

Sets the velocity sensitivity for the frequency ranges

specified by the Low1/2 Freq parameter. When

Low1/2 Freq Vel is set to a positive value, the harder

a note is played on the keyboard, the higher the

frequencies of the Low1/2 Freq. This creates a

greater change in the timbre of the sound. Negative

values will have the opposite effect.

❏ Settings: –7~+7

–

High1

Freg

High2

Freg

Frequency

■ High1/2 Freq (High 1/2 Frequency)

Sets two high frequency shelving points, High1 and High2. Use High1/2 Gain (see below) to increase or decrease each signal level above the specified point.

❏ Settings: 131~241

The two frequency ranges above the shelving point over lap one another.

■ High1/2 Freq Vel (High1/2 Frequency Velocity)

Sets the velocity sensitivity for the frequency ranges specified by the High1/2 Freq. When High1/2 Freq Vel is set to a positive value, the harder a note is played on the keyboard, the higher the frequencies of the High1/2 Freq. This creates a greater change in the timbre of the sound. Negative values will have the opposite effect.

❏ Settings: –7~+7

Voice Mode

■ High1/2 Gain

Sets the signal levels for the frequencies passing

above the High1/2 Freq points.

❏ Settings: –16~0~+16

■ Freq Random (Frequency Random)

Freq Random causes the cutoff frequency to move randomly. The higher the value, the wider the change of the cutoff frequency. A setting of “0” produces no effect.

■ High1/2 Gain Vel (High1/2 Gain Velocity)

Sets the velocity sensitivity for signal levels

designated by the High1/2 Gain parameter. When

High1/2 Gain Vel is set to a positive value, the

harder a note is played on the keyboard, the more

the gain that is applied. Negative values will have the

opposite effect.

❏ Settings: –7~+7

LPF (Low Pass Filter)

The LPF passes only the signals below the specified cutoff frequency (point) set in the Freq parameter (below), and cuts all signals above it.

Range passed

Cutoff frequency Frequency

VCF Type = Low Pass Filter

■ Freq (Frequency)

Sets the cutoff frequency value. This determines the

cutoff frequency of the filter, or the frequency above

which all other frequencies are filtered out.

❏ Settings: 0~251

Cutoff range

❏ Settings: 0~7

■ Freq KeyFollow

Sets the KeyFollow for the cutoff frequency set in the Freq parameter. The Freq KeyFollow functions to adjust the cutoff frequency by the notes played on the keyboard. When Freq KeyFollow is set to a positive value, the higher the note played on the keyboard, the higher the cutoff frequency. When a negative value is set, the lower the note played, the higher the cutoff frequency becomes.

❏ Settings: –64~+63

■ Reso (Resonance)

Determines the amount of resonance boost, or emphasis of harmonics located near the cutoff frequency. A setting of “0” produces no effect.

❏ Settings: 0~31

■ Reso Vel (Resonance Velocity)

Sets the velocity sensitivity for the value designated in the Reso. When the Reso Vel is set to a positive value, the harder a note is played on the keyboard, the greater the resonance becomes, and a greater change occurs in the timbre of the sound. Negative values will have the opposite effect.

❏ Settings: –7~+7

■ Reso Random (Resonance Random)

Reso Random causes the amount of the Resonance effect to vary randomly. The higher the value, the greater the change in the amount of the resonance. A setting of “0” produces no effect.

❏ Settings: 0~7

■ Freq Vel (Frequency Velocity)

Sets the velocity sensitivity for the cutoff frequency.

When Freq Vel is set to a positive value, the harder a

note is played on the keyboard, the higher the cutoff

frequency. This creates a greater change in the

timbre of the sound. Negative values will have the

opposite effect.

❏ Settings: –7~+7

Voice Mode

HPF (High Pass Filter)

The HPF passes the signals above the specified cutoff frequency set in the Freq parameter (below), and cuts the signals below it.

Level

Cutoff

range

Range passed

■ Freq (Frequency)

Sets the cutoff frequency. Only the frequencies around the cutoff frequency will be passed, while other frequencies will be filtered out.

❏ Settings: 0~251

All other parameters for this filter are the same as explained for the LPF parameters. For information, see page 88.

InvertLPF (Inverted Low Pass Filter)

Cutoff frequency

Frequency

■ Freq (Frequency)

Sets the cutoff frequency. This determines the cutoff

frequency of the filter, or the frequency below which

all other frequencies are filtered out.

❏ Settings: 0~251

All other parameters for this filter are the same as

explained for the LPF (Low Pass Filter) parameters.

For information, see page 88.

BPF (Band Pass Filter)

The BPF filter passes only a band of frequencies centered at the cutoff frequency, and cuts others.

Level

Cutoff range Cutoff range

Range passed

The InvLPF inverts the function of the LPF. The signals below the specified cutoff frequency are filtered out, and other frequencies are passed. The InvLPF and LPF form a symmetrical curve on the horizontal axis.

Level

Cutoff range

Center frequency

Range passed

Frequency

■ Freq (Frequency)

Sets the cutoff frequency. The frequencies below the cutoff frequency are filtered out.

❏ Settings: 0~229

All other parameters for this filter are the same as explained for the LPF parameters. For information, see page 88.

Center frequency

Frequency

Voice Mode

PEQ (Parametric Equalizer)

The PEQ increases or decreases the signal levels around the frequency designated in Freq (see below) using the Gain parameter.

Gain

■ Freq KeyFollow

Sets the KeyFollow for the center frequency set in the Freq. The Freq KeyFollow adjusts the center frequency by the notes played on the keyboard. When the Freq KeyFollow is set to a positive value, the higher the note played on the keyboard, the higher the center frequency becomes. When a negative value is set, the lower the note played, the higher the center frequency becomes.

❏ Settings: –64~+63

■ Gain

Sets the SCF (Static Control Filter) signal level. This parameter increases or decreases the signal levels around the frequency designated in the Freq parameter.

–

Freg

Frequency

■ Freq (Frequency)

Sets the center frequency. The signal levels of the

band of frequencies designated here can be increased

or decreased by the Q setting.

❏ Settings: 83~251

■ Freq Vel (Frequency Velocity)

Sets the velocity sensitivity for the frequency

designated in the Freq parameter. When Freq Vel is

set to a positive value, the harder a note is played on

the keyboard, the higher the frequency (set in Freq)

becomes, and a greater change occurs in the timbre

of the sound. Negative values will have the opposite

effect.

❏ Settings: –7~+7

■ Freq Random (Frequency Random)

Freq Random causes the frequency set in the Freq

parameter to move randomly. The higher the value,

the wider the change of the center frequency. A

setting of “0” produces no effect.

❏ Settings: 0~7

❏ Settings: –32~0~+32

■ Gain Vel (Gain Velocity)

Sets the velocity sensitivity for the signal level designated in the Gain parameter. When Gain Vel is set to a positive value, the harder a note is played on the keyboard, the greater the gain that is applied. Negative values will have the opposite effect.

❏ Settings: –7~+7

■ Gain Random

Gain Random causes the level set in the Gain parameter to move randomly. The higher the value, the greater the change of the gain level. A setting of “0” produces no effect.

❏ Settings: 0~7

■ Reso (Frequency Characteristics)

Selects the frequency characteristics. There are 32 different Reso types.

❏ Settings: 0~31

Thru

Passes all the frequencies through without any filter applied.

boost 6dB/12dB/18dB

Increases the volume by 6dB 12dB and 18dB, respectively.

Voice Mode

[F5]: DCF (Dynamic Control Filter)

Configures the parameters for the Dynamic Control Filter. There are various kinds of filters that change the timbre of the sound by passing only specific frequencies through from the harmonic contents (other frequencies are filtered out). A different filtration can be applied to each element. The DCF filter effect can be changed over time using the Filter Envelope Generator (see FEG on page 96).

While the SCF filters are mainly used for basic voicing without change (over time), the DCF filters are used to change the harmonic content over time, from the initial attack to the ending decay by using the FEG. This lets you simulate various types of musical instruments and create sounds with a change in timbre over time.

■ DCF1 Type (Filter 1 Type)

Selects the filter type. Available parameters will

differ depending on the selected filter type.

❏ Settings: LPF24A (Low Pass Filter 24A), LPF24D (Low

Pass Filter 24D), LPF18 (Low Pass Filter 18), LPF12 (Low Pass Filter 12), LPF6 (Low Pass Filter 6), HPF (High Pass Filter), BPF (Band Pass Filter), BEF (Band Elimination Filter), thru

Frequency Characteristics Screen

All Parameters Screen

■ DCF1/2 Freq (F1/2Frequency)

Sets the cutoff frequency. The cutoff frequency set here will be effective for the signal which passes through the DCF 1/2 filters.

❏ Settings: 0~255

■ DCF1/2 Gain

Sets the amount of signal level for the DCF1/2 filters.

❏ Settings: 0~255

If a filter type other than LPF24A, LPF24D and LPF18 is selected, and the Connect setting (below) is set to seri (serial), hyphens (---) will be displayed in DCF1 Gain. In this case, the gain of the signals passed through DCF1 and DCF2 is adjusted by the DCF2 Gain.

■ DCF2 Type (Filter 2 Type)

If a type of filter other than LPF24A, LPF24D,

LPF18, and Thru is selected, two DCF (DCF1/2)

filters can be used simultaneously. The DCF2 Type

parameters will be added to the screen. The two

DCF filters can be connected in series or parallel. For

more information, see the next section.

❏ Settings: LPF (Low Pass Filter), BPF (Band Pass Filter),

HPF (High Pass Filter), BEF (Band Elimination Filter)

Press [F5] and the following two types of parameter screens alternately appear. If necessary, change the screens when adjusting each parameter. For more information, see the following section.

■ Reso (Resonance)

Determines the amount of resonance or emphasis around the cutoff frequency, and adds a pronounced effect to the sound. The setting made here is equally applied to both DCF1 and DCF2 filters.

❏ Settings: 0~31

■ Reso. Vel (Resonance Velocity)

Sets the velocity sensitivity for the value designated in the Reso parameter. When Reso Vel is set to a positive value, the harder a note is played on the keyboard, the greater the resonance becomes, and a greater change occurs in the timbre of the sound. Negative values will have the opposite effect. The setting made here is equally applied to both DCF1 and DCF2 filters.

❏ Settings: –7~+7

Voice Mode

■ Thru Gain

Determines the amount of the signals that does not

pass through the filter, or the original dry sound.

❏ Settings: 0~255

The Thru Gain is displayed and effective only when a filter type other than LPF24A, LPF24D, LPF18 and Thru is selected, and the Connect setting (see below) is set to seri (serial).

■ Connect

Sets how the DCF1 and DCF2 are connected. There

are two types of connections available.

❏ Settings: seri (serial), para (parallel)

seri

Gain

Filter Gain

Thru Gain

DCF2DCF1

para

DCF1

DCF2

LPF (Low Pass Filter)

The LPF passes the signals below the specified cutoff frequency and cuts the signals above it. There are five different types of Low Pass Filters for the DCF1.

Level

-6db/oct

-12db/oct

-18db/oct

-24db/oct

FrequencyCutoff Frequency

LPF24A (Low Pass Filter 24A):

Digital dynamic filter similar to a -24dB/oct low pass filter of an analog synthesizer.

LPF24A

Rezonance

LPF24D (Low Pass Filter 24D):

-24dB/oct low pass filter-type digital dynamic filter with pronounced resonance.

LPF24D

Resonance

The Connect parameter is displayed only when a filter type other than LPF24A, LPF24D, LPF18 or Thru is selected.

The following three parameters are displayed only when a filter type other than LPF24A, LPF24D, LPF18 or Thru is selected, and the Frequency Characteristics screen is not selected.

The parameters added in the All Parameters Screen.

■ DCF1/2 Reso (F1/2 Resonance)

Turns the resonance effect on or off for the DCF1/2.

❏ Settings: on, off

■ DCF1/2 LFO (F1/2 LFO)

Turns the LFO (Low Frequency Oscillator) effect on

or off for the DCF1/2.

❏ Settings: on, off

■ DCF1/2 EG (F1/2 EG)

Turns the PEG effect on or off for the DCF1/2.

❏ Settings: on, off

LPF18 (Low Pass Filter 18):

-18dB/oct low pass filter-type digital dynamic filter.

LPF18

LPF12 (Low Pass Filter 12):

-12dB/oct low pass filter-type digital dynamic filter.

LPF12

The following filter types are available for the DCF 1/2.

Voice Mode

LPF6(Low Pass Filter 6):

-6dB/oct low pass filter-type digital dynamic filter with no resonance.

LPF6

HPF (High Pass Filter)

The HPF filter passes the signals above the specified cutoff frequency, and cuts the signals below it.

Level

Cutoff range

Range passed

Thru

The Thru function by-passes the filter and the signal remains unaffected (dry).

Filter Graphic Display

On the right side of the Frequency Characteristics screen, the type of the filter frequency characteristics curve is displayed. The frequency bandwidth is indicated by the horizontal axis, while the level is indicated by the vertical axis. As each parameter value is adjusted, the changes are shown accordingly in the graphical display. When two DCF filters (DCF1/2) are used, the two curves are displayed on top of one another.

Cutoff frequency

Frequency

BPF (Band Pass Filter)

The BPF filter passes the signals around the specified cutoff frequency, and cuts other signals.

Level

Cutoff range Cutoff range

Range passed

Center frequency

Frequency

BEF (Band Elimination Filter)

The BEF filter cuts the signals around the specified cutoff frequency, and passes other signals.

Level

Range passed Range passed

Cutoff range

Level

Frequency

[F6]: SENS (Sensitivity)

Sets the sensitivity of the DCF filter for each element. A different value can be set for the two DCF filters of each element.

When LPF24A, LPF24D, or LPF18 is selected, only the DCF1 parameters are displayed (see page 91).

Center frequency

Frequency

■ F1/2 Vel EG (Filter 1/2 Velocity EG)

Sets the velocity sensitivity for the FEG. When set to a positive value, the harder a note is played on the keyboard, the greater the change becomes in the filtered sound. Negative values will have the opposite effect.

❏ Settings: –7~+7

Voice Mode

■ F1/2 Vel Freq (Filter 1/2 Velocity Frequency)

Sets the velocity sensitivity for the cutoff frequency

parameter. When F1/2 Vel Freq is set to a positive

value, the harder a note is played on the keyboard,

the higher the cutoff frequency becomes, and a

greater change occurs in the timbre of the sound.

Negative values will have the opposite effect.

❏ Settings: –7~+7

■ F1/2 Vel Gain (Filter 1/2 Velocity Gain)

Sets the velocity sensitivity for the gain level. When

F1/2 Vel Gain is set to a positive value, the harder a

note is played on the keyboard, the more the amount

of gain is applied. Negative values will have the

opposite effect.

[F7]: SCALE

Sets the scaling for the filter. The filter scaling function adjusts the filter cutoff frequency based on notes played on the keyboard. There are four Break Points, each with their own offset level settings. A different value can be set for the two DCF filters of each element.

Press [F2] and [F3] to select the DCF1 and the DCF2 screens, respectively.

❏ Settings: –7~+7

■ F1/2 Freq EG Depth (Filter 1/2 Frequency EG

Depth)

Sets the depth of the change in the cutoff frequency

over time. The higher the value, the wider the

change in depth becomes. Negative values will result

in an inverted envelope.

❏ Settings: –64~0~+63

■ F1/2 Freq Random (Filter 1/2 Frequency

Random)

Freq Random causes the cutoff frequency to move

randomly. The higher the value, the greater the

change in the movement. A setting of “0” produces

no effect.

❏ Settings: 0~15

■ F1/2 Freq KeyFlw (Filter 1/2 Frequency

KeyFollow)

Sets the KeyFollow for the cutoff frequency. The

F1/2 Freq KeyFollow adjusts the cutoff frequency by

the notes played on the keyboard. When the F1/2

Freq KeyFollow is set to a positive value, the larger

the note played on the keyboard, the higher the

cutoff frequency becomes. When a negative value is

set, the lower the note played, the higher the cutoff

frequency becomes.

❏ Settings: –64~+63

■ BP 1~4 point

■ BP 1~4 Level

❏Settings:

BP 1/2/3/4 Point: C–2~G8 BP 1/2/3/4 Level: –128~+127

Setting the Filter Scaling

Set the note names (pitch) and the offset levels for each break point (BP1-4) as seen in the following example.

In this example, with a cutoff frequency of 64, the note name E1 at the BP 1 Point is set to the offset value –4. B2 at the BP 2 Point is +10. G4 at the BP 3 Point is +17. And A5 at the BP 4 Point is +4. Each cutoff frequency will be offset to 60, 74, 81 and 68, respectively. The cutoff frequencies other than the ones at each Break Point will be on the straight line connected between the two adjacent Break Points.

Sets the Break Point note names from the lowest BP1 to the highest BP4. Be aware that, for example, the BP1 note name cannot be set higher than the adjacent BP2.

The Break Point level is an offset value and will increase or decrease from the currently selected cutoff frequency. Even if an offset value is set above or below the limits of the cutoff frequency, it will not go beyond the upper and lower cutoff frequency limits.

A note set below the BP1 Break Point becomes the BP1 level. Likewise, a note set above the BP4 Break Point becomes the BP4 level.

Voice Mode

[F8]: EG (Filter Envelope Generator)

Sets the FEG, which determines how the timbre of the sound will change over time, from when the key is pressed, held, then released. The FEG is effective for both DCF1/2, and different settings can be made for each element.

When setting the FEG, press [F8] and the following two types of screens appear alternately. You can switch between screens to set each parameter.

All Parameters Screen

Envelope screen

■ Hold Time Vel (Hold Time Velocity)

Sets the velocity sensitivity for the Hold Time. When

Hold Time Vel is set to a positive value, the softer

the keyboard is played, the longer the Hold Time

becomes. Negative values will have the opposite

effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

■ Other Time Vel (Other Time Velocity)

Sets the velocity sensitivity for Decay 1/2 Time and the Release 1/2 Time. When Other Time Vel is set to a positive value, the softer the keyboard is played, the longer the change becomes over time. Negative values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

■ Time Scale

The Time Scale function determines the speed of change in the FEG according to the pitch played on the keyboard. When Time Scale is set to a positive value, the lower a note that is played on the keyboard, the slower the change over time becomes. Likewise, the higher a note that is played on the keyboard, the faster the change occurs. Negative values will have the opposite effect.

❏ Settings: –7~0~+7

Positive value

Time

Higher range

–

Speed of FEG pitch change

Higher range

Speed of FEG pitch change

Lower range

Negative value

Lower range

■ Atck Time Vel (Attack Time Velocity)

Sets the velocity sensitivity for the Attack Time.

When Atck Time Vel is set to a positive value, the

softer the keyboard is played, the longer the Attack

Time becomes. Negative values will have the

opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

Voice Mode

■ L (Loop)

Sets the loop point for the FEG. As seen in the

FOLLOWING diagram, this function sets the

position to be returned to after reaching the Decay 2

(loop point). Selecting “off” turns the loop function

off.

Filter EG Loop

When Set to “HI”

❏ Settings: off, Hl (Hold), Atck (Attack), D1 (Decay 1)

This parameter is not displayed in the ENVELOPE screen.

Loop Point

(Hl)

Loop

(At)

(D1)

Setting the Filter Envelope Generator

There are six Time settings (the speed of changes) and six Level settings (the amount of changes) that shape how the timbre of the sound changes over time, from when a key is hit, then released, and how the sound decays.

Press [F8] to select the ENVELOPE screen. Each value can be set with the Envelope graphical display. The level of a played note can be set to continue at a defined level for a fixed period of time by setting the Attack Level and the Attack Time. Then the level change over time can be controlled by setting Dcy 1/2/3 Time/Level. Finally, when the key is released, the pitch change over time can be controlled by setting the Rel 1/2 Time/Level.

■ Hold Time

Sets the Hold Time.

❏ Settings: 0~127

■ Attack Time

Sets the Attack Time.

❏ Settings: 0~127

■ Dcy 1/2 Time (Decay 1/2 Time)

Sets the Decay 1/2 Time.

❏ Settings: 0~127

■ Rel1/Rel2 Time (Release 1/2 Time)

Sets the Release 1/2 Time.

❏ Settings: 0~127

■ Hold Level

Sets the Hold Level.

❏ Settings: -128~0~+127

Time Velocity and Loop can also be set in the All Parameters screen.

The level here refers to the amount of offset value relative to the current cutoff frequency.

Cutoff Frequency

Hold Level

Hold Time

Key on

Attack

Time

Attack

Level

Dcy1 Time

Dcy1 Level

Dcy2 Level

Dcy2 Time

Key off

Rel1

Time

Rel2

Time

[F5]: AMP (Amplitude)

The Amplitude parameters set the volume of each element. There are three menus available.

[F6]: PARAM (Parameters) [F7]: SCALE [F8]: EG (Envelope Generator)

■ Attack Level

Sets the Attack Level.

❏ Settings: –128~0~+127

■ Dcy 1/2 Level (Decay 1/2 Level)

Sets the Decay 1/2 level.

❏ Settings: –128~0~+127

■ Rel1/Rel2 Level (Release 1/2 Level)

Sets the Release 1/2 Level.

❏ Settings: –128~0~+127

[F6]: PARAM (Parameters)

Determines the output level for each element. A different value can be set for each element.

■ Level

Sets the output level of each element.

❏ Settings: 0~127

Voice Mode

■ Level KeyFollow

Sets the Level KeyFollow for each element. The Level

KeyFollow function determines the output level in

accordance with the notes played on the keyboard.

When Level KeyFollow is applied, the output level is

increased or decreased relative to the basic pitch,

which is designated here as C3.

❏ Settings: –64~+63

■ Level Vel (Level Velocity)

Sets the velocity level for each element. This

function lets you control the volume by the velocity

that is played on the keyboard (playing strength).

When Level Vel is set to a positive value, the harder

a note is played on the keyboard, the greater the

change in volume that occurs. Negative values will

have the opposite effect.

■ Pan KeyFollow

This parameter is displayed when you select “scl” (Scaling Pan) in Pan. The Pan KeyFollow function determines the positioning of the sound in the stereo spectrum in accordance with the notes played on the keyboard. When Pan KeyFollow is applied, the positioning shifts accordingly at every note relative to the basic pitch C3 (as Center).

❏ Settings: 0~15

■ Random Depth

This parameter is displayed when you select “rnd” (Random Pan) in Pan, to let you set the depth (width) of the Random Pan. This function causes the sound to move randomly within the stereo spectrum.

❏ Settings: 0~127

❏ Settings: –64~+63

■ ExpLowLimit (Expression Low Limit)

Sets the Expression Low Limit for each element. The

lower limit can be set so that even when a sound is

played below the set value, the volume will not go

below the designated lower limit.

❏ Settings: 0~127

Normal change in volume

Volume Volume

Exp

When Low Limit is set

The Lowest

127

Low Limit

Exp

127

■ Pan

Determines the left or right positioning of each

element in the stereo spectrum. Select “scl” to

activate the scaling pan. In this way, the designated

range of the scaling pan movement from left to right

can be controlled by Pan KeyFollow. Select “rnd” to

activate the Random Pan. In this way, the width of

the sound moving from left to right can be controlled

by Random Depth.

[F7]: SCALE

Sets the amplitude scaling. The amplitude scaling function allows for control of the output level of the element by the pitch that is played on the keyboard. A different value can be set for each element. For information about setting the level of the element, see Element Level, page 81.

■ BP 1~4 point

■ BP 1~4 Level

❏ Settings:

BP1/2/3/4 Point: C–2~G8 BP1/2/3/4 Level: –128~+127

❏ Settings: scl (Scaling Pan), L63~cnt (center)~R63, rnd

(Random)

Voice Mode

Setting the Amplitude Scaling

You can set the note (pitch) and the offset level for each break point (BP1-4), as shown in the following example.

■ Atck Time Vel (Attack Time Velocity)

Sets the velocity sensitivity for the Attack Time. When Attack Time Vel is set to a positive value, the softer the keyboard is played, the longer the Attack time becomes. Negatives values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter can be used for Attack Mode1 (see page

99). This parameter is not displayed in the ENVELOPE screen.

In this example, E1 has a level of –4. This means that the present output level is 76, because 80-4

■ Dcy 1 Time Vel (Decay 1 Time Velocity)

equals 76. B2 has an offset value of +10; therefore, the level is 80+10=90. G4 is +17, so the level is 80+17=96. And A5, with an offset of +4, would be 80+4=84. The output levels other than the ones at each Break Point will be on the straight line connected between the two adjacent Break Points.

Set the Break Point note names from BP1 to BP4 in an ascending order.

The Break Point level offset value will increase or decrease relative to the currently selected value for the element. The range of possible values for an element is 0-127. Therefore, even if a Break Point value of +50 is applied to an element set to 80, the level will not become 130, but rather 127, which is the maximum available.

A note set below the BP1 break point will become the BP1 level. Likewise, a note set above the BP4 break point will become the BP4 level.

■ Other Time Vel (Other Time Velocity)

[F8]: EG (Amplitude Envelope Generator)

Sets the AEG. This determines how the amplitude will change over time, from when the key is pressed, held, then released. A different value can be set for each element.

When setting the AEG, press [F8] and two types of screens appear alternately. You can switch between screens as you set each parameter.

All Parameters Screen

■ Time Scale

Sets the velocity sensitivity for the Decay 1 Time. When Dcy 1 Time Vel is set to a positive value, the softer the keyboard is played, the longer the Decay 1 Time becomes. Negatives values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter can be used for Attack Mode 2 (see page 99). This parameter is not displayed in the ENVELOPE screen.

Sets the velocity sensitivity for the Decay 2/3 and the Release 1/2 Time. When Other Time Vel is set to a positive value, the softer the keyboard is played, the longer the change in the sound. Negatives values will have the opposite effect.

❏ Settings: –7~0~+7

This parameter is not displayed in the ENVELOPE screen.

The Time Scale function determines the speed of change in the AEG according to pitch. When Time Scale is set to a positive value, the lower the note that is played on the keyboard, the slower the change over time becomes. The higher a note is played on the keyboard, the faster the change that occurs. Negatives values will have the opposite effect.

❏ Settings: –7~0~+7

Envelope screen

Faster

Lower range

Slower

This parameter is not displayed in the ENVELOPE screen.

Higher range

–4

Voice Mode

■ Decay Level Vel (Decay Level Velocity)

Increase or decrease the Decay Level with the

velocity.

❏ Settings: –7~0~+7

■ Attack Mode

Selects the Attack Mode (1 or 2) or switches back

and forth between modes.

❏ Settings: 1 (Attack Mode 1), 2 (Attack Mode 2)

More information about each mode is provided below.

■ Release Mode

Selects the Release Mode (1 or 2) or switches back

and forth between modes. When Release mode 2 is

selected, Release Time 2 and Release Level 2 (set at

“0”) are added and an even more complex envelope

curve can be created.

❏ Settings: 1 (Release Mode 1), 2 (Release Mode 2)

■ Attack Time

Sets the Attack Time.

❏ Settings: 0~127

■ Rel1 Level

Sets the level of Release 1 (when in Release Mode 2)

❏ Settings: 0~127

Release 1 Level is fixed to “0” in the Release Mode 1. Release 2 Level is fixed to “0” in the Release Mode 2.

Setting the Amplitude Envelope Generator

There are six Time settings (the speeds of changes) and seven Level settings that shape how the volume of the sound changes over time, from when a key is hit, then released, and how the sound decays.

Press [F8] to select the ENVELOPE screen. Here each value can be set with the Envelope graphical display.

There are two types of Attack Modes (1 and 2) for the AEG. Attack Mode 1 has one attack and Attack Mode 2 has a two-step attack. Select the Attack Mode you want to use from the All Parameters screen.

You can also set the desired values for the Time Velocity and Time Scaling in the All Parameters screen.

■ Dcy 1~3 Time (Decay 1-3 Time)

Sets the Decay 1-3 Time.

❏ Settings: 0~127

■ Rel (Rel 1/2) Time

Sets the Release Time.

❏ Settings: 0~127

You can set the Release 1/2 Time only when Release Mode 2 is selected.

■ Init Level (Initial Level)

Sets the Initial level (when in “Hold mode”).

❏ Settings: 0~127

This parameter is effective only when the “Attack mode 1” is selected.

■ Dcy 1~3 Level

Sets the level of Decay 1-3.

❏ Settings: 0~127

Attack Mode 1

Output

Key on

D2L D3L

D1L

D1T D2T D3T R1T R2T

Initial Level = Attack Level

Output

Intial Level (255)

Key on

D1L

D1T D2T D3T R1T R2T

D2L

D3L

Attack Mode 2

Output

D2L D3L

R1L R2L

Time

Key off

R1L R2L

Time

Key off

R1L R2LD1L

D1T

AT D3T R1T R2T

Key on

D2T

Key off

Time

Voice Mode

[F6]: LFO (Low Frequency Oscillator)

The LFO parameters set the LFO. The LFO oscillator generates low frequency signals that allow for modulation to be applied to specific aspects of the voice. Applying an LFO wave (shape of modulation) to the pitch, filter, or amplitude creates effects such as vibrato, waw, and tremolo. There are two LFOs (LFO1 and LFO2), available for applying the LFO to each element.

■ Sync

This switch turns the Sync on and off . When Sync is turned on, the LFO oscillator is always reset each time the keys are pressed.

Sync onSync off

Time

[F7]: LFO1 (Low Frequency Oscillator1) [F8]: LFO2 (Low Frequency Oscillator2)

[F7]: LFO1 (Low Frequency Oscillator1)

Sets parameters for the LFO1. A different value can be set for each element.

■ Wave

Selects the LFO 1 wave. Various kinds of modulated sounds can be created depending on the selected wave. Three types of waves are available.

❏ Settings: saw, tri, squ

It is possible for the LFO1 to modulate the pitch, filter and amplitude simultaneously.

saw

Key on

❏ Settings: off, on

Key on

■ Delay

Sets the delay time from when the keyboard is played to when the LFO modulation begins. As shown in the diagram below, the larger the value, the longer the delay time.

❏ Settings: 0~127

Short Delay

Key on

Long Delay

Key on

This setting can be applied to pitch only.

tri (triangle)

squ (square)

100

Yamaha EX5R, EX5, EX7 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

PRECAUTIONS

Contents

Introductory Section

The Controls & Connectors

Setting Up

EX System Overview

Extended Synthesis

AWM Synthesis

Virtual Acoustic Synthesis (EX5 and EX5R only)

AN Synthesis (Analog Physical Modeling)

Voice Structure & Editing Hints

System Overview

Polyphony

Editing Control

Voice Store Procedure

The Power of the Performance Mode

Performance Store Procedure

Performance Mode DSP Limitations

The Controllers

The EX Controllers

Scene Switching & Morphing

Controller Sets

Sequencer Functions

Sequence Record Modes & Editing

Play Effects & Groove Quantization

The EX Effect System

Sampling

The Key Map Mode

Voice Mode

Reference Section

Voice Play Mode

Voice Edit Mode