Yamaha PSR-225GM User Manual

Page 1

Page 2

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product 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.

This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.

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.

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 long periods 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.

Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with 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.

NOTICE:

Service charges incurred due to a 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.

ENVIRONMENTAL ISSUES:

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

Battery Notice:

This product MAY contain a small non-rechargeable 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.

This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.

When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.

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. If your dealer is unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-BP (bottom)

PLEASE KEEP THIS MANUAL

Page 3

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:

• Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel.

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

• Use the specified adaptor (PA-3B or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating.

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

• Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a fire.

• 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 AC adaptor 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.

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

• Unplug the AC power adaptor when not using the instrument, or during electrical storms.

• Always make sure all batteries are inserted in conformity with the +/- polarity markings. Failure to do so might result in overheating, fire, or battery fluid leakage.

• Always replace all batteries at the same time. Do not use new batteries together with old ones. Also, do not mix battery types, such as alkaline batteries with manganese batteries, or batteries from different makers, or different types of batteries from the same maker, since this can cause overheating, fire, or battery fluid leakage.

• Do not dispose of batteries in fire.

• Do not attempt to recharge batteries that are not intended to be charged.

• When the batteries run out, or if the instrument is not to be used for a long time, remove the batteries from the instrument to prevent possible leakage of the battery fluid.

• Keep batteries away from children.

• If the batteries do leak, avoid contact with the leaked fluid. If the battery fluid should come in contact with your eyes, mouth, or skin, wash immediately with water and consult a doctor. Battery fluid is corrosive and may possibly cause loss of sight or chemical burns.

• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.

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

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

(4)-7

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

• Before moving the instrument, remove all connected adaptor and other 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 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.

■ SAVING USER DATA

• As long as dry cell batteries are installed or the power adaptor is connected, the instrument retains the internal data when the power is turned off. If you remove the batteries and disconnect the adaptor, the data will be lost. Save important data to external media such as the Yamaha MDF3 MIDI data filer. Keep the power adaptor connected while you replace the batteries to prevent loss of data.

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.

When using a power adaptor, even when the power switch is in the “STANDBY” position, electricity is still flowing to the instrument at the minimum level. When you are not using the instrument for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.

Make sure to discard used batteries according to local regulations.

* The illustrations and LCD screens as shown in this owner’s manual are for in-

structional purposes only, and may be different from the ones on your instrument.

Page 4

Congratulations on your purchase of the Yamaha

PSR-225 PortaTone!

You now own a portable keyboard that combines advanced func-

tions, great sound and exceptional ease-of-use in a highly compact

package. Its outstanding features also make it a remarkably ex-

pressive and versatile instrument.

Read this Owner’s Manual carefully while playing your new

PortaTone in order to take full advantage of its various features.

Main Features

The PSR-225 is a sophisticated yet easy-to-use keyboard with the following features and functions:

Yamaha Education Suite

................................................ Pages 60-71

The PortaTone features the new Yamaha Education Suite — a set of learning tools that utilize the latest technology to make studying and practicing music more fun and fulfilling than ever before!

The Yamaha Education Suite includes:

Chord Guide functions in the Style mode — Smart and Dictionary — that make it exceptionally easy to learn chords and chord relationships. There’s also a powerful EZ Chord function that lets you easily record and play back chord progressions.

• Smart lets you easily play harmonically “correct” chord progressions for whatever key you specify. It’s great for learning — and performing!

• Dictionary is a built-in “chord encyclopedia” that teaches you how to play specific chords. You type in the chord name, and the PortaTone shows you which notes to play!

• EZ Chord is a powerful and simple way to program and play chord progressions. Record all the chord changes you need for a song, then play back the chords one after another by simply playing a single key!

Portable Grand............................ Page 24

The PortaTone also has a Portable Grand function for realistic piano performance. Pressing the PORTABLE GRAND button instantly calls up the stunningly authentic “Stereo Sampled Piano” voice and configures the entire PortaTone for optimum piano play. Special Pianist styles — with piano-only accompaniment — are also provided.

Other powerful features include:

• Exceptionally realistic and dynamic sounds with 100 voices, utilizing digital recordings of actual instruments.

• Dual voice and Split voice modes that let you layer two voices together or assign two voices to separate sections of the keyboard

• Four high-quality effects — Reverb, Chorus, DSP, and Harmony — each with a variety of different types.

• 100 auto accompaniment styles, each with different Intro, Main A and B, and Ending sections. All styles (except for the Pianist styles) also have their own four Fillin patterns. The PortaTone also gives you convenient control over accompaniment Styles — including Tempo and independent Accompaniment Volume.

• Powerful song recording operations for recording and playing back complete compositions (three User songs are available). Up to six tracks can be recorded to a song, including a special chord track for style accompaniment.

• One Touch Setting (OTS), for automatically calling up an appropriate voice for playing with the selected style. Plus, there are 16 User OTS memory spaces that let you save your custom panel settings for instant recall.

• Touch response (with front panel on/off switch) for maximum expressive level control over the voices.

• Convenient footswitch control over various functions — including sustain, start/stop, and more.

• GM (General MIDI) compatibility and full GM voice set.

• Large custom LCD gives you easy, at-a-glance confirmation of all important settings, as well as chord and note indications.

• Comprehensive MIDI functions that let you integrate the PortaTone into a MIDI music system, for sequence recording and other advanced applications.

• Built-in, high-quality stereo amplifier/speaker system.

Page 5

PANEL CONTROLS AND TERMINALS 6

• Front Panel ............................... 6

• Rear Panel ................................ 7

SETTING UP 8

POWER REQUIREMENTS ................. 8

TURNING ON THE POWER ............. 8

ACCESSORY JACKS ......................... 9

Quick Guide — How to Use Your New PSR-225 PortaTone 10

Step 1 Voices ............................. 10

Step 2 Auto Accompaniment .... 12

Step 3 Chord Guide .................. 14

Step 4 Songs ............................. 16

Step 5 Function Parameters ...... 18

Step 6 MIDI ............................... 20

PANEL DISPLAY INDICATIONS

• Music Stand ........................... 23

PORTABLE GRAND 24

PLAYING THE PORTABLE GRAND .. 24

USING THE METRONOME .............. 24

• Setting the Metronome

Time Signature ....................... 25

• Adjusting the Metronome

Volume................................... 26

PLAYING VOICES — THE VOICE MODE 27

PLAYING A VOICE — MAIN VOICE 27

• About Panel Voices and

GM Voices .............................. 29

• Drum Kit Voice Chart

(voices 101 - 110) .................. 30

Function Parameters — Main Voice

TRANSPOSE AND TUNING ............. 32

Transpose .................................... 32

Tuning ......................................... 33

PLAYING TWO VOICES —

DUAL VOICE ................................... 34

Function Parameters — Dual Voice

PLAYING TWO VOICES —

SPLIT VOICE .................................... 36

Function Parameters — Split Voice 37

ADDITIONAL VOICE FUNCTIONS — VOICE SET AND

TOUCH SENSITIVITY ...................... 38

Function Parameters —

Voice Set and Touch Sensitivity ..... 39

EFFECTS 40

REVERB ............................................ 40

CHORUS .......................................... 41

DSP ................................................. 42

HARMONY ...................................... 43

Function Parameters — Effects ...... 44

• Effect Types ............................ 45

AUTO ACCOMPANIMENT — THE STYLE MODE 47

SELECTING A STYLE AND PLAYING THE ACCOMPANIMENT .. 47

ACCOMPANIMENT CONTROLS ..... 52

USING THE AUTO

ACCOMPANIMENT FEATURES ........ 52

CHANGING THE TEMPO ................ 53

ACCOMPANIMENT SECTIONS (MAIN A, MAIN B AND FILL-INS) ... 54

ADJUSTING THE

ACCOMPANIMENT VOLUME ......... 55

USING AUTO ACCOMPANIMENT —

MULTI FINGERING .......................... 56

Single Finger Chords .................. 56

Fingered Chords ......................... 56

SETTING THE ACCOMPANIMENT

SPLIT POINT ................................... 58

Function Parameter —

Accompaniment Split Point .......... 59

WHAT IS A CHORD? ....................... 60

WRITING CHORD NAMES .............. 61

The Intervals of the Scale ........... 61

Other Chords .............................. 61

CHORD GUIDE ................................ 62

Dictionary ................................... 62

Smart ........................................... 64

• Smart Chord List .................... 65

EZ Chord ..................................... 66

EZ Chord — Playback ................... 66

• Bank Chain............................. 67

EZ Chord — Recording ................. 68

• Recording a Space.................. 69

• Playing the Accompaniment During EZ Chord Recording ... 69

• HINT — Using Spaces............. 70

Clearing an EZ Chord Bank ........... 71

ONE TOUCH SETTING (OTS) 72

ONE TOUCH SETTING — USER ...... 72

Recording a User One Touch

Setting ......................................... 72

Recalling a User One Touch Setting

• Selecting a User Bank ............. 73

ONE TOUCH SETTING — PRESET ... 74

Selecting a Preset One Touch

Setting ......................................... 74

SELECTING AND PLAYING SONGS — THE SONG MODE 75

SELECTING AND PLAYING A SONG

CHANGING THE TEMPO ................ 76

ABOUT THE BEAT DISPLAY ............. 77

ADJUSTING THE SONG VOLUME ... 78

SONG RECORDING 79

RECORDING A USER SONG —

REALTIME RECORDING .................. 80

• Using the Metronome ............ 81

• Additional Operations ............ 83

RECORDING A USER SONG —

STEP RECORDING ...........................84

Recording Notes ........................... 85

• Additional Operations ............ 87

Replacing a Note or Rest .............. 88

Entering Velocity Curves ............... 89

• Velocity Curve Chart ............... 89

CLEARING A SONG ......................... 90

FOOTSWITCH 91

• Footswitch Assign Functions ... 92

MIDI FUNCTIONS 93

WHAT IS MIDI? ............................... 93

Channel Messages ........................ 94

System Messages .......................... 94

• MIDI Terminals ....................... 94

CONNECTING TO A PERSONAL

COMPUTER ..................................... 95

FUNCTION PARAMETERS — MIDI.. 96

USING BULK DUMP SEND

TO SAVE DATA ................................ 99

Saving Bulk Data .......................... 99

Loading Bulk Data ...................... 101

USING INITIAL SETUP SEND

WITH A SEQUENCER .................... 102

Sending Initial Setup Data .......... 102

TROUBLESHOOTING .................... 104

DATA BACKUP & INITIALIZATION 105

INDEX ........................................... 106

SONG SCORES

(EZ Chord banks 1, 2) ................... 107

VOICE LIST .................................... 108

STYLE LIST .................................... 111

DRUM KIT LIST ............................. 112

MIDI IMPLEMENTATION CHART .. 114

SPECIFICATIONS ........................... 117

Page 6

PANEL CONTROLS AND TERMINALS

Front Panel

쐊

쐎

GrandPno

001

MEASURE TEMPO

001 116

쐇

쐂

쐄

쐏

쐃

쐅 쐈 쐉 씈 씉

쐋

씊 씋

쐆

씌

씍 씏

씎

쐃 MASTER VOLUME dial

This determines the overall volume of the PortaTone.

쐇 OVERALL, DEMO START buttons (

▲, ▼

, +, -)

These are for selecting the various “overall” functions and setting their values. (See pages 22, 24.) They are also used to play the Demo songs. (See page 16.)

쐋 FUNCTION button

This selects the Function mode. (See page 18.)

쐏 SONG button

This selects the Song mode. (See pages 16, 75.)

쐄 STYLE button

This selects the Style mode. (See pages 12, 47.)

쐂 VOICE button

This selects the Voice mode. (See pages 10, 27.)

쐆 Numeric keypad, +/- buttons

These are for selecting songs, voices, and styles. (See pages 28, 47, and 76.) They are also used for making various settings, such as:

• Selecting and changing the Function parameters (page 18)

• Setting note values and other settings for the Step Record function (page 85)

• Setting the time signature for the Metronome (page 25)

• Setting the key signature for the Smart Chord function (page 64)

쐊 PORTABLE GRAND button

This instantly changes to the Voice mode and calls up the Grand Piano voice. (See page 24.)

쐎 METRONOME button

This turns the metronome on and off. (See page

24.)

쐅 ACMP ON/OFF button

When the Style mode is selected, this turns the auto accompaniment on and off. (See page 52.) This button has no function in the Song Play mode.

쐈 SYNC-START button

This turns the Sync-Start function on and off. (See page 48.)

쐉 START/STOP button

When the Style mode is selected, this alternately starts and stops the auto accompaniment. (See page 48.) In the Song mode, this alternately starts and stops song playback. (See page 76.)

Page 7

PANEL CONTROLS AND TERMINALS

씈 INTRO/ENDING button

When the Style mode is selected, this is used to control the Intro and Ending functions. (See pages 49, 51.)

씉 MAIN A/B (AUTO FILL) buttons

When the Style mode is selected, these are used to change auto accompaniment sections and control the Auto Fill function. (See page 54.)

씊 CHORD GUIDE button

When the Style mode is selected, this is used to control the Chord Guide functions. (See page

62.)

씋 RECORD button

This is used for selecting and enabling the recording functions: Song (pages 80, 84), EZ Chord (page 68), and One Touch Setting (page

72).

씌 ONE TOUCH SETTING / SONG MEMORY

buttons

When the Style mode is selected, these are used

to select the One Touch Setting registrations (page 73). When the Song mode is selected, these are used to select specific tracks (pages 81,

85).

씍 HARMONY button

This turns the Harmony effect on and off. (See page 43.)

씎 REVERB button

This turns the Reverb effect on and off. (See page 40.)

씏 DUAL button

This turns the Dual mode on and off. (See page

34.)

TOUCH button

This turns the Touch function on and off. (See page 38.)

Power switch (STANDBY/ON)

Rear Panel

쐃 쐇

PHONES/

DC IN 10-12V

AUX OUT

쐃 DC IN 10-12V jack

This is for connection to a PA-3B AC power adaptor. (See page 8.)

쐇 PHONES/AUX OUT jack

This is for connection to a set of stereo headphones or to an external amplifier/speaker system. (See page 9.)

쐋

FOOT SWITCH

쐏

MIDI

IN OUT

쐋 FOOT SWITCH jack

This is for connection to an optional FC4 or FC5 Footswitch. The footswitch is generally used to control sustain, but it can conveniently be set to control one of a variety of functions instead. (See pages 9, 91.)

쐏 MIDI IN, OUT terminals

These are for connection to other MIDI instruments and devices. (See page 94.)

Page 8

SETTING UP

This section contains information about setting up your PortaTone for playing. Make sure to read this section carefully before using the instrument.

POWER REQUIREMENTS

Although the PSR-225 will run either from an optional AC adaptor or batteries, Yamaha recommends use of an AC adaptor whenever possible. An AC adaptor is more environmentally friendly than batteries and does not deplete resources.

Never interrupt the power supply (e.g. remove the batteries or unplug the AC adaptor) during any PSR-225 record operation! Doing so can result in a loss of data.

Using an AC Power Adaptor

To connect your PortaTone to a wall socket, you will need the optionally available Yamaha PA-3B Power Adaptor. Use of other AC adaptors could result in damage to the instrument, so be sure to ask for the right kind. Connect one end of the adaptor to the DC IN 10-12V jack on the rear panel of your PortaTone, and the other end to a suitable electrical outlet.

Using Batteries

■ Inserting Batteries

Turn the instrument upside-down and remove the battery compartment lid. Insert six 1.5-volt size “D”, R20P (LR20) or equivalent batteries as indicated in the battery case, making sure that the positive and negative terminals are properly aligned, and replace the lid.

■ When the Batteries Run Down

When the batteries run low and the battery voltage drops below a certain level, the PortaTone may not sound or function properly. As soon as this happens, replace them with a complete set of six new batteries.

• Never mix old and new batteries or different types of batteries (e.g., alkaline and manganese).

• To prevent possible damage from battery leakage, remove the batteries from the instrument if it is not to be used for a long time.

• Use ONLY a Yamaha PA-3B AC Power Adaptor (or other adaptor specifically recommended by Yamaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the PSR-

225.

• Unplug the AC Power Adaptor when not using the PSR-225, or during electrical storms.

TURNING ON THE POWER

With the AC power adaptor connected or with batteries installed, simply press the power switch until it locks in the ON position. When the instrument is not in use, be sure to turn the power off. (Press the switch again so that it pops up.)

Even when the switch is in the “STANDBY” position, electricity is still flowing to the instrument at the minimum level. When you are not using the PSR-225 for a long time, make sure you unplug the AC power adaptor from the wall AC outlet, and/or remove the batteries from the instrument.

Page 9

SETTING UP

ACCESSORY JACKS

■ Using Headphones

For private practicing and playing without disturbing others, connect a set of stereo headphones to the rear panel PHONES/AUX OUT jack. Sound from the built-in speaker system is automatically cut off when you insert a headphone plug into this jack.

PHONES/ AUX OUT

■ Connecting a Keyboard Amplifier or Stereo System

Though the PortaTone is equipped with a builtin speaker system, you can also play it through an external amplifier/speaker system. First, make sure the PortaTone and any external devices are turned off, then connect one end of a stereo audio cable to the LINE IN or AUX IN jack(s) of the other device and the other end to the rear panel PHONES/AUX OUT jack on the PortaTone.

■ Using a Footswitch

This feature lets you use an optional footswitch (Yamaha FC4 or FC5) to sustain the sound of the voices, or control a variety of other functions. (See page 91.) When this is used for sustain, the footswitch functions the same way as a damper pedal on an acoustic piano — press and hold down the footswitch as you play the keyboard to sustain the sound.

FOOT SWITCH

• Make sure that the footswitch plug is properly connected to the FOOT SWITCH jack before turning on the power.

• Do not press the footswitch while turning the power on. Doing this changes the recognized polarity of the footswitch, resulting in reversed footswitch operation.

■ Using the MIDI Terminals

The PortaTone also features MIDI termi-

MIDI instrument

nals, allowing you to interface the PortaTone with other MIDI instruments and devices. (For more information, see

MIDI

pages 20, 93.)

IN OUT

PHONES/ AUX OUT

To prevent damage to the speakers, set the volume of the external devices at the minimum setting before connecting them. Failure to observe these cautions may result in electric shock or equipment damage.

Stereo system

Page 10

001

001 063

MEASURE TEMPO

GrandPno

VOICE STYLE

Quick Guide — How to

Use Your New PSR-225

PortaTone

Step 1 Voices

This brief, easy-to-follow section shows you how to use the basic features and functions of your new PSR-225 PortaTone. If you’ve never touched an electronic keyboard before, reading and going through the steps in this section will make you familiar with the PortaTone in a very short time. It will also give you the tools you need to explore the advanced capabilities of the instrument and use them effectively in your own music. Good luck...and enjoy!

VOICE STYLE

GrandPno

001

MEASURE TEMPO

001 063

Playing the Piano Voice

Portable Grand

z Press the PORTABLE GRAND

button.

The Grand Piano voice is automatically selected.

x Play the keyboard.

z q

Want to find out more? See page 24.

Selecting other voices

The PSR-225 features a total of 238 high-quality voices. Let’s try a few of them out...

Panel voices ........... 1 - 100 (100 voices)

101 - 110 (10 drum kit voices)

GM voices .............. 111 - 238 (128 voices)

z Enter the Voice mode.

x Select a voice.

VOICE STYLE

BritePno

002

c Play the keyboard.

Want to find out more? See page 27.

Page 11

Playing along with the Metronome

100

001 063

TEMPO

MtrVol

VOICE STYLE

METRONOME

VOLUME

MEASURE

q Press the METRONOME button.

Want to find out more?

See page 24.

Changing the time signature of the Metronome

q Simultaneously hold down the METRONOME button

and one of the number buttons (1 - 9) on the numeric keypad.

Step1

Voices

Changing the Metronome Volume

1 Press one of the OVERALL

“MtrVol” is shown in the display.

▲/▼

buttons until

2 Press the OVERALL + or - button to raise or lower

the value.

Normally, the Metronome is set to play in 4/4 time. To change this to 2/4, press number button “2.” To change it to 3/4 time, press number button “3.”

Panel Voice List

No. Voice Name

PIANO

001 Grand Piano 002 Bright Piano 003 Honky-tonk Piano 004 Funky Electric Piano 005 DX Electric Piano 006 MIDI Grand Piano 007 CP 80 008 Hyper Electric Piano 009 Bell Electric Piano 010 Harpsichord 011 Clavi 012 Celesta

MALLET

013 Vibraphone 014 Marimba 015 Xylophone 016 Tubular Bells 017 Timpani 018 Steel Drums 019 Music Box

ORGAN

020 Jazz Organ 1 021 Jazz Organ 2 022 Jazz Organ 3

Want to find out more? See page 25.

No. Voice Name

023 Full Organ 024 Rock Organ 1 025 Rock Organ 2 026 16'+2' Organ 027 16'+4' Organ 028 Church Organ 029 Reed Organ 030 Musette Accordion 031 Traditional Accordion 032 Bandoneon

GUITAR

033 Classical Guitar 034 Folk Guitar 035 12Strings Guitar 036 Jazz Guitar 037 Octave Guitar 038 Clean Guitar 039 Muted Guitar 040 Overdriven Guitar 041 Distortion Guitar

BASS

042 Acoustic Bass 043 Finger Bass 044 Pick Bass 045 Fretless Bass

No. Voice Name

046 Slap Bass 047 Synth Bass 048 Techno Bass 049 Dance Bass

ENSEMBLE

050 Strings 051 Chamber Strings 052 Synth Strings 053 Slow Strings 054 Tremolo Strings 055 Pizzicato Strings 056 Choir 057 Choir Aahs 058 Choir Oohs 059 Synth Choir 060 Orchestra Hit

STRINGS

061 Violin 062 Cello 063 Contrabass 064 Banjo 065 Harp

BRASS

066 Trumpet 067 Muted Trumpet

Want to find out more? See page 26.

No. Voice Name

068 Trombone 069 Trombone Section 070 French Horn 071 Tuba 072 Brass Section 073 Synth Brass 074 Jump Brass 075 Techno Brass

REED

076 Soprano Sax 077 Alto Sax 078 Tenor Sax 079 Baritone Sax 080 Oboe 081 English Horn 082 Bassoon 083 Clarinet 084 Harmonica

PIPE

085 Piccolo 086 Flute 087 Pan Flute 088 Recorder 089 Ocarina

No. Voice Name

SYNTH LEAD

090 Square Lead 091 Sawtooth Lead 092 Voice Lead 093 Crystal 094 Brightness 095 Analog Lead

SYNTH PAD

096 Fantasia 097 Bell Pad 098 Xenon Pad 099 Angels 100 Dark Moon

DRUM KITS

101 Standard Kit 1 102 Standard Kit 2 103 Room Kit 104 Rock Kit 105 Electronic Kit 106 Analog Kit 107 Dance Kit 108 Jazz Kit 109 Brush Kit 110 Symphony Kit

Page 12

Step 2 Auto Accompaniment

Using the auto accompaniment

The PSR-225 has powerful and easy-to-use auto accompaniment features. All you have to do is play chords with your left hand — and the PortaTone automatically produces appropriate bass, chord, and rhythm backing for your performance. Use your right hand to play melodies, and you’ll sound like an entire band!

z Enter the Style mode.

STYLE

MEASURE TEMPO

001 116

8BtPop1

001

x Select a style.

For a list of styles, see page 13.

STYLE

8BtPop2

002

c Turn the auto accompaniment on.

Accompaniment

section

Left hand

Auto accompaniment

(for example, bass + guitar + drums)

Right hand

Melody

v Turn the Sync-Start function on.

b Play a chord with your left hand.

For help in learning how to play chords, refer to “Using the Chord Guide function” on page 14.

Accompaniment

section

n Select a section.

Try playing with the Intro, Main A/B, and Ending sections.

VOICE STYLE

GrandPno

001

MEASURE TEMPO

001 116

cxz

vnm

m Stop the auto accompa-

niment.

Want to find out more? See pages 47-61.

z x c

Page 13

Step 2

Auto Accompaniment

Selecting a complete music style with ideal voice and other settings — One Touch Setting

The PortaTone features 100 different styles in various music genres. With the One Touch Setting function, you can call up voice and other settings that best match the selected style. Each style has been programmed with two Preset One Touch Settings.

z Enter the Style mode.

x Select a style.

For a list of styles, see below.

STYLE

Style List

No. Style Name

8BEAT

1 8Beat Pop 1 2 8Beat Pop 2 3 8Beat Uptempo 4 8Beat Standard 5 Folkrock 6 Pop Rock 7 8Beat Medium 8 8Beat Ballad 9 Epic Ballad 10 Piano Ballad

16BEAT

11 16Beat Shuffle 1 12 16Beat Shuffle 2 13 16Beat Pop 14 Funk 1 15 16Beat Ballad 1 16 16Beat Ballad 2 17 Soul Ballad

6/8 BALLAD

18 Slow Rock 1 19 Slow Rock 2 20 6/8 Ballad

8BtPop2

002

STYLE

MEASURE TEMPO

001 116

No. Style Name

DANCE

21 Dance Pop 1 22 Dance Pop 2 23 Techno 24 Eurobeat 25 Euro House 26 Hip Hop 27 Synth Boogie

28 70s Disco 29 Disco Tropical 30 Polka Pop

31 8Beat Rock Ballad 32 16Beat Rock Ballad 33 Hard Rock 34 Rock Shuffle 35 6/8 Heavy Rock 36 US Rock

37 Rock & Roll 1 38 Rock & Roll 2 39 Boogie 40 Twist

DISCO

ROCK

ROCK & ROLL

8BtPop1

001

c Press one of the One Touch Setting

buttons: Preset A or B.

v Play the keyboard.

No. Style Name

RHYTHM & BLUES

41 R&B 42 Funk 2 43 Soul 44 Gospel Shuffle 45 6/8 Gospel 46 4/4 Blues

CONTEMPORARY JAZZ

47 Cool Jazz 48 Jazz Ballad 49 Jazz Waltz 50 Fusion

TRADITIONAL JAZZ

51 Swing 52 Big Band Swing 53 Big Band Ballad 54 Jazz Quartet 55 Dixieland

AMERICAS

56 Cajun 57 Banda 58 Mariachi 59 Tejano 60 Cumbia

Want to find out more? See page 74.

No. Style Name

COUNTRY & WESTERN

61 Bluegrass 62 Country 2/4 63 Country Rock 64 Country Ballad 65 Country Shuffle 66 Country Waltz

BALLROOM LATIN

67 Cha Cha 68 Rhumba 69 Pasodoble 70 Tango Continental

BALLROOM STANDARD

71 Foxtrot 72 Jive

MARCH & WALTZ

73 March 1 74 March 2 75 6/8 March 76 Polka 77 Standard Waltz 78 German Waltz 79 Viennese Waltz 80 Musette Waltz

No. Style Name

LATIN

81 Bossa Nova 1 82 Bossa Nova 2 83 Salsa 84 Samba 85 Mambo 86 Beguine 87 Merengue 88 Bolero Lento

CARIBBEAN

89 Reggae 12 90 Pop Reggae

PIANIST

91 Rock-A-Ballad 92 8Beat 93 Swing 94 Jazz Ballad 95 2Beat 96 Boogie 97 Ragtime 98 Arpeggio 99 Waltz 100 Happy

Page 14

Step 3 Chord Guide

001 116

MEASURE TEMPO

ACMP ON

Using the Chord Guide function

Learning how to play specific chords

Example:

Root note Chord type

Here, you’ll learn how to use the Chord Guide functions to show the individual notes of chords.

z Enter the Style mode, then press the

CHORD GUIDE button until “Dict.” is

c Specify the chord type of the chord.

CHORD TYPE

shown in the display.

STYLE

ACMP ON

MEASURE TEMPO

001 116

Dict.

v Play the notes of the chord as indicated

in the keyboard diagram in the display.

x Specify the root note of the chord.

ROOT

STYLE

ACMP ON

Dict.

Playing appropriate chords with just one finger

The PortaTone also lets you easily create appropriate chords for a given scale by simply playing single notes in the scale.

The notes in the keyboard diagram flash when the chord is played properly.

Want to find out more? See page 62.

z Enter the Style mode, then press the

CHORD GUIDE button until “Smart” is shown in the display.

STYLE

ACMP ON

MEASURE TEMPO

001 116

Smart

x Set the key to match that of the song you

wish to play. Enter the number of sharps or flats of the corresponding key.

STYLE

b=1

c Start the auto accompaniment.

v Play single note chords (root note) on the

keyboard.

To play these

chords....

.....press these

keys (root notes)

F Dm Gm Dm

Want to find out more? See page 64.

Page 15

Step 3

Chord Guide

Playing chord progressions (songs) with just one finger

The EZ Chord function gives you an exceptionally easy way to play the chords of a song. Simply press single keys in succession, and the PortaTone automatically plays the proper chords for you!

q Enter the Style mode, then press the

CHORD GUIDE button until “EZ. is shown in the display.

STYLE

ACMP ON

001 116

TEMPO

w Select an EZ Chord bank.

STYLE

e Start the auto accompaniment.

r Press and release a single note on the key-

board to play a chord.

Continue pressing the same key each time you want a new chord to be played.

Accompaniment

section

t Play the melody with your right hand as

the auto accompaniment plays.

Want to find out more? See page 66.

Recording your own EZ Chord banks

You can also create your own custom chord progressions, and play along with those if you like.

Want to find out more? See page 68.

VOICE STYLE

GrandPno

001

MEASURE TEMPO

001 116

Keys for playing the accompaniment

(C1 — F#2)

xwzzqce

Keys for entering the chord type

(C3 — B4)

Use these keys for the Chord Guide Dictionary function.

Keys for entering the chord root (C5 — B5)

Page 16

Step 4 Songs

ALL

001 111

MEASURE TEMPO

SONG

1 62 3 4 5

TakeOff!

Playing a song

Playing back all three songs

The PSR-225 has three Demo songs that showcase the authentic voices and dynamic accompaniment of the instrument.

z Simultaneously press both OVERALL

▲/▼

buttons.

TakeOff!

ALL

SONG

MEASURE TEMPO

001 111

1 62 3 4 5

x Stop the song.

Playing back a single song

Naturally, you can also individually select and play back any of the PortaTone’s songs.

z Enter the song mode.

x Select a song.

PF–Grand

002

SONG

c Start (and stop) the song.

Want to find out more? See page 75.

Changing the tempo (speed) of the song

q Press one of the OVERALL

“Tempo” is shown in the display.

TEMPO

▲/▼

buttons until

VOICE STYLE

116

MEASURE TEMPO

001 116

Tempo

w Press the OVERALL + or - button to speed up or

slow down the tempo.

Want to find out more? See page 76.

Want to find out more? See page 75.

Changing the volume of the song

q Press one of the OVERALL

“SongVol” is shown in the display.

ACMP/SONG

VOLUME

▲/▼

100

SONG

MEASURE TEMPO

001 205

1 62 3 4 5

buttons until

SongVol

w Press the OVERALL + or - button to raise or lower

the volume of the song.

Want to find out more? See page 78.

Page 17

Step 4

Songs

Recording your own song

The PSR-225 lets you record your own songs by using two different methods — Realtime and Step. Try out both of these recording methods yourself...

1 Select the desired

recording mode by pressing the RECORD button.

Realtime recording

This method is much like using a conventional tape recorder, letting you play and record the parts of the song in real time.

VOICE STYLE

GrandPno

001

MEASURE TEMPO

001 116

Step recording

This method is similar to using a pencil and paper to write down each note, entering the parts of the song step by step.

Want to find out more? See pages 79-90.

A B

wterzx cx 1

Creating your own custom One Touch Settings

You can also create your own One Touch Settings — letting you completely reconfigure virtually all PortaTone settings at the touch of a button! Up to 16 settings can be saved (4 User banks x 4 User buttons).

q Make all desired settings on the PortaTone. w Select the User One Touch Setting

record mode.

STYLE

OTS User

RECORD

t Turn off the User One Touch Setting record

mode.

Calling up a User One Touch Setting

A Select Function #41, and select the desired bank

(1 - 4).

e Select the desired User

bank (1 - 4).

STYLE

UserBank

r Select the desired User

button (USER 1 - 4).

STYLE

FUNCTION

B Press the appropriate USER button (1 - 4) to

instantly call up your custom panel settings.

UserBank

F41

Want to find out more? See page 72.

Page 18

Step 5 Function Parameters

M.Octave

STYLE

FUNCTION

Using the Function parameters

The PSR-225 has a variety of settings in the Function parameters. These give you detailed control over many of the PSR-225’s features.

z Press the FUNCTION button.

x Select a Function number.

For a list of functions, see page 19.

STYLE

FUNCTION

The Function number can be selected while the “FUNCTION” indication is flashing.

Enter the Function number on the numeric keypad.

M.Octave

F02

Press the FUNCTION button; each press advances through the numbers. Hold down the button to continuously advance through the numbers.

c After “FUNCTION” in the display stops

flashing, change the value or setting.

After a couple of seconds, the “FUNCTION” indication stops flashing and remains lit. At the same time, the Function number (“F02” in the example above) changes automatically to the current value of the Function parameter.

STYLE

FUNCTION

Current value of the selected Function parameter.

M.Octave

v Use the numeric keypad to change the

value or setting. For on/off settings, use the +/- buttons.

VOICE

STYLE

MEASURE TEMPO

GrandPno

001

001 116

zx v

Want to find out more? See page 30.

Page 19

Function Parameters List

Step 5

Function Parameters

Function

F01 M.Volume Main Voice Volume 31

F02 M.Octave Main Voice Octave 31

F03 M.Pan Main Voice Pan 31

F04 M.RevLvl Main Voice Reverb Send Level 31

F05 M.ChoLvl Main Voice Chorus Send Level 31

F06 M.DspLvl Main Voice DSP Effect Send Level 31

F11 D.Volume Dual Voice Volume 35

F12 D.Octave Dual Voice Octave 35

F13 D.Pan Dual Voice Pan 35

F14 D.RevLvl Dual Voice Reverb Send Level 35

F15 D.ChoLvl Dual Voice Chorus Send Level 35

F16 D.DspLvl Dual Voice DSP Effect Send Level 35

F17 D.Voice Dual Voice 35

page

Function

F31 Reverb Reverb On/Off 44

F32 RevType Reverb Type 44

F33 Chorus Chorus On/Off 44

F34 ChoType Chorus Type 44

F35 Dsp DSP On/Off 44

F36 DspType DSP Type 44

F37 Harmony Harmony On/Off 44

F38 HarmType Harmony Type 44

F39 HarmVol Harmony Volume 44

F41 UserBank One Touch Setting User Bank 73

F51 AcmpSPnt Accompaniment Split Point 59

F61 USng1Clr User Song 1 Clear 90

F62 USng2Clr User Song 2 Clear 90

page

F18 Dual Dual On/Off 35

F21 S.Volume Split Voice Volume 37

F22 S.Octave Split Voice Octave 37

F23 S.Pan Split Voice Pan 37

F24 S.RevLvl Split Voice Reverb Send Level 37

F25 S.ChoLvl Split Voice Chorus Send Level 37

F26 S.DspLvl Split Voice DSP Effect Send Level 37

F27 S.Voice Split Voice 37

F28 Split Split On/Off 37

F29 SplitPnt Split Point 37

F63 USng3Clr User Song 3 Clear 90

F71 FootSw Footswitch 92

F72 VoiceSet Voice Set 39

F73 TouchSns Touch Sensitivity 39

F81 RemoteCh Remote Channel 97

F82 KbdOut Keyboard Out 97

F83 AcmpOut Accompaniment Out 97

F84 Local Local On/Off 97

F85 ExtClock External Clock 98

F86 BulkSend Bulk Data Send 98,99

F87 InitSend Initial Data Send

98,102

Page 20

Step 6 MIDI

Using MIDI

The PSR-225 also features rear panel MIDI terminals (MIDI IN and MIDI OUT) as well as a comprehensive set of MIDI functions, that let you use the instrument in a variety of recording and performance applications.

● Sending original song and One Touch Setting data to another PSR-225.

MIDI transmit

PSR-225 PSR-225

MIDI receive

MIDI INMIDI OUT

MIDI OUTMIDI IN

➔ See “Using Bulk Dump Send to Save Data“ on pages 99 - 102.

● Using the MDF3 MIDI Data Filer to store and recall original PSR-225 data.

MIDI transmit

PSR-225

MIDI receive

Save/load data

MIDI INMIDI OUT

MIDI OUTMIDI IN

MDF3

➔ See “Using Bulk Dump Send to Save Data“ on pages 99 - 102.

● Playing back multi-track song data (up to 16 channels) on the PSR-225.

Set Remote Channel (page 97) to “off.”

PSR-225

Available disks

➔ See page 97.

MIDI receive

MIDI OUTMIDI IN

MDF3, QY700, or computer with sequencing software.

Floppy disk with GM song data.

Page 21

Step 6

● Controlling the PSR-225 with a MIDI keyboard controller (not having a tone generator) (Auto accompaniment can also be used in this setup.)

MIDI

PSR-225

MIDI receive

MIDI OUTMIDI IN

MIDI keyboard with no tone

generator

➔ See page 97.

● In this setup you can record your PSR-225 performance, including the auto accompani-

ment, to a connected computer or sequencer. (Up to 16 channels can be used.) You can then edit the recorded data on the computer or sequencer, and play it back using the sounds of the PSR-225.

Arrange and edit the data on the computer/sequencer.

MIDI transmit

PSR-225

MIDI receive

(playback)

➔ See page 95. ➔ See “Using Initial Setup Send with a Sequencer” on page 102.

MIDI INMIDI OUT

MIDI OUTMIDI IN

Computer with sequencing software.

When using a personal computer, special software (sequencer software) is needed.

GM System Level 1

“GM System Level 1” is an addition to the MIDI standard which ensures that any GM-

compatible music data can be accurately played by any GM-compatible tone generator,

regardless of manufacturer. The GM mark is affixed to all software and hardware products

that support GM System Level 1. The PSR-225 supports GM System Level 1.

Page 22

PANEL DISPLAY INDICATIONS

The PortaTone features a large multi-function display that shows all important settings for the instrument. The section below briefly explains the various icons and indications in the display.

쐃 Mode indicators

쐇 Overall functions bar indicator

쐅 Accompaniment On indicator

VOICE STYLE

001

ACMP ON

쐊 Song/Voice/Style name and number

GrandPno

쐂 Beat indicators

쐆 Chord

MEASURE TEMPO

001 116

1 CHORD2 3

쐄 Measure and

Tempo

쐈 Song track indicators

쐏 Keyboard

쐃 Mode indicators

These indicate the currently selected mode — Voice, Style, Song, or Function — with the mode name encircled in a rounded rectangle. When “STYLE” or “SONG” appear without the rectangle, the corresponding mode is active in the background.

In the first example, the Style mode is selected.

STYLE

In the second example, the Voice mode has been selected, but the Style mode is still active in the background. (This means that the style controls are active and can be used to play the currently selected style.)

쐎 Icon window

쐋 Notation

쐇 Overall functions bar indicator

The PortaTone has five Overall functions or controls. The currently selected function is indicated by a dark bar that appears next to its name (printed on the panel).

쐋 Notation 쐏 Keyboard

These two portions of the display conveniently indicate notes. When a user song (with chords) is being played back, they show the chord notes in succession. When the Style mode and auto accompaniment are active, the display also shows the specific notes of the current chord.

For a few specific chords, not all notes may be shown in the notation section of the display. This is due to space limitations in the display.

VOICE STYLE

Page 23

PANEL DISPLAY INDICATIONS

쐄 Measure and Tempo

These show the current measure during playback of a song or style, and the currently set Tempo value for the song or style.

쐂 Beat indicators

These dark bars (one large, three small) flash in sequence and in time with the song or style. The large bar indicates the first beat of the measure. (See page 77.)

쐆 Chord

When a user song (with chords) is being played back, this indicates the current chord root and type. It also indicates chords played in the ACMP section of the keyboard when the Style mode and auto accompaniment are on.

쐊 Song/Voice/Style name and number

This portion of the display indicates the name and number of the currently selected song, voice, or style. It also displays the name and current value or setting of the Overall functions and the Function parameters, as well as other important operation messages.

쐎 Icon window

Depending on the mode or function selected, this displays various symbols (icons) and other messages to provide convenient, at-a-glance information about the PortaTone operation. For example, when a song or style accompaniment is playing, this displays the level of each instrumental track.

쐅 Accompaniment On indicator

This appears when the auto accompaniment has been turned on. (See page 52.)

쐈 Song track indicators

In song recording and playback, these indicate the status of the tracks. (See pages 75, 83.)

Music Stand

Insert the bottom edge of the included music stand into the slot located at the top rear of the PortaTone control panel.

Page 24

PORTABLE GRAND

This convenient function lets you automatically exit from any other mode or function and instantly call up the Grand Piano voice.

PLAYING THE PORTABLE GRAND

Press the PORTABLE GRAND button.

“STEREO SAMPLED PIANO”

Doing this automatically cancels any other mode or function, and resets the entire instrument for playing the special “Stereo Sampled Piano” Grand Piano voice (voice 001). It automatically selects the Voice mode (with the Style mode active), and calls up style #91 (Rock Ballad). It also resets the footswitch to Sustain operation.

The Portable Grand setting is designed also for playing with the special Pianist styles (#91 - #100). When auto accompaniment is turned on, these provide piano-only accompaniment in a variety of music styles. (See page

52.)

USING THE METRONOME

1 Set the desired tempo with the Tempo function in

the Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “Tempo” appears in the display.

Indicates Tempo is selected

TEMPO

VOICE STYLE

Current Tempo value

116

Tempo

Page 25

PORTABLE GRAN D

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Tempo value. Holding down either button continuously increases or decreases the value.

Increases Tempo value

Decreases Tempo value

3 Turn on the Metronome.

Press the METRONOME button.

TEMPO

3 063

To turn the Metronome off, press the METRONOME button again.

The numeric keypad cannot be used to change values for the Overall menu settings.

TEMPO

3 063

Setting the Metronome Time Signature

The time signature of the Metronome can be set to various quarter-note based meters.

The time signature changes automatically when a style or song is selected.

Simultaneously hold down the METRONOME button and press the button on the numeric keypad that corresponds to the desired time signature (see chart at right).

Number Time button signature

1 1/4 — Plays only “1” beats (all high clicks) 2 2/4 3 3/4 4 4/4 5 5/4 6 6/4 7 7/4 8 8/4 9 9/4 0 Plays no “1” beats (all low clicks)

TEMPO

3 063

Indicates current beat number

Page 26

PORTABLE GRAN D

Adjusting the Metronome Volume

You can adjust the volume of the Metronome sound independently of the other PortaTone sounds. The volume range is 000 - 127.

1 Select the Metronome Volume function in the Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “MtrVol” appears in the display.

Current Metronome Volume value

VOICE STYLE

MtrVol

100

METRONOME

VOLUME

MEASURE

TEMPO

001 063

Indicates Metronome Volume is selected

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Metronome Volume value. Holding down either button continuously increases or decreases the value.

Increases Metronome Volume value

Decreases Metronome Volume value

Restoring the Default Metronome Volume Value To restore the default Metronome Volume value (100), press both OVERALL +/- buttons simultaneously (when Metronome Volume is selected in the Overall menu).

Page 27

PLAYING VOICES — THE VOICE MODE

The Voice mode features 228 authentic voices (including 128 General MIDI voices), plus 10 special drum kits — all of which have been created with Yamaha’s sophisticated AWM (Advanced Wave Memory) tone generation system. The Voice mode gives you many powerful and versatile tools for playing and enhancing these Voices.

The voices are divided into various instrument categories, all of which are printed on the panel for convenience. For a complete list of the available voices, see page 109.

The Voice mode is actually divided into three separate modes: Main, Dual and Split. In the Main Voice mode (see below), you can play a single voice over the entire range of the keyboard. The Dual Voice mode (page 34) allows you to “layer” two different voices together for rich, complex sounds. The Split Voice mode (page 36) lets you set up two different voices for playing from separate sections of the keyboard. Moreover, each mode features special effect sections that let you enhance the sound of the Voice or Voices. These include Reverb, Chorus,

and Harmony, as well as a “DSP” section that provides miscellaneous effects such as tremolo, echo, delay, distortion, equalization, and wah. (See page 40.) Other voice-related functions include Voice Set (page 38), which lets you automatically call up the ideal settings for each voice, and Touch Sensitivity (page 38), which determines how the voices respond to your playing technique.

The PortaTone includes special Drum Kit voices — #101 - #110 — that let you play various drum and percussion sounds from the keyboard. (Refer to the Drum Kit Voice chart on page 30.) Symbols are also printed above the keyboard, conveniently indicating which sounds are played from which keys.

PLAYING A VOICE — MAIN VOICE

1 Select the Voice mode.

Press the VOICE button.

Indicates Voice mode is selected

VOICE

STYLE

001

GrandPno

Page 28

PLAYING VOICES — TH E VOICE MODE

2 Select the desired voice number.

Use the numeric keypad. The basic categories of voices and their numbers are shown at the right side of the panel. A complete list of the available voices is given on page 109.

There are three ways to select voices: 1) directly entering the voice number with the numeric keypad, 2) using the +/- keys to step up and down through the voices, or 3) pressing the VOICE button to advance through the voice numbers.

Using the numeric keypad

Enter the digits of the voice number as indicated on the panel. For example, to select voice #42, press “4” on the numeric keypad, then “2.”

VOICE STYLE

042

ACMP ON

Aco.Bass

All two-digit voice numbers can be selected without entering an initial “0.” However, when selecting voice numbers 1 - 23, the PortaTone pauses briefly before actually calling up the voice. (This pause allows for entering threedigit voice numbers, such as “235.” Entering the numbers “2” then “4” immediately calls up voice #24, since there are no voices #240 or higher.)

If you want to immediately call up voices #1 - #23, enter one or two zeros before the number; for example, select voice #9 by pressing “0,” “0,” then “9.” Pressing only “0” does not change the voice.

Page 29

PLAYING VOICES — TH E VOIC E MODE

Using the +/- keys

Press the + key to select the next voice number, and press the - key to select the previous voice. Holding down either key continuously scrolls up or down through the numbers. The +/- keys have a “wrap around” feature. For example, pressing the + key from voice #238 returns to voice #1.

Using the VOICE button

Press the VOICE button to select the next voice number. (This functions exactly the same as the + button.)

3 Play the selected voice.

To change to another voice, repeat step 2 above.

Since either the Style or Song mode is active in the background (as indicated by the mode name in the display, without the rectangle), you can also play styles or songs, respectively, in the Voice mode by simply pressing the START/STOP button. The last selected style or song will be played.

Each voice is automatically called up with the most suitable octave range setting. Thus, playing middle C with one voice may sound higher or lower than another voice at the same key.

When you select a voice, the PortaTone also automatically calls up various settings that are appropriate for the voice. [This is true when Voice Set (Function #72, page 39) is set to on — the default setting.]

About Panel Voices and GM Voices

Keep in mind that the PortaTone has two separate sets of voices: 100 Panel voices and 128 GM (General MIDI) Voices. The GM Voices can also be used for optimum playback of GM-compatible song data. This means that any GM song data (played from a sequencer or other MIDI device) will sound just as the composer or programmer intended. When a GM voice is selected, the General MIDI icon appears at the top left of the display.

Page 30

PLAYING VOICES — TH E VOICE MODE

Drum Kit Voice Chart (voices 101 - 110)

When one of the 10 panel Drum Kit voices are selected you can play different drums and percussion instruments on the keyboard. The drums and percussion instruments played by the various keys are marked by symbols above the keys.

VOICE

STYLE

101

Std.Kit1

No. Name LCD 101 Standard Kit 1 Std.Kit1 102 Standard Kit 2 Std.Kit2 103 Room Kit Room Kit 104 Rock Kit Rock Kit 105 Electronic Kit Elct.Kit 106 Analog Kit AnlogKit 107 Dance Kit DanceKit 108 Jazz Kit Jazz Kit 109 Brush Kit BrushKit 110 Symphony Kit SymphKit

Function Parameters — Main Voice

The Function parameters provide additional settings for the Main voice. These settings are especially useful when using a second voice in the Dual or Split modes, since they let you change or enhance the sound of the Main voice separate from the Dual or Split voice. These settings include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

1 Select the Function mode.

Press the FUNCTION button.

Flashes to indicate Function parameter can be selected.

STYLE

FUNCTION

MEASURE TEMPO

F01

001 116

M.Volume

2 Select the desired Function parameter number.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the desired Main Voice Function parameter number (1 -

6). (See the “Parameters” list below for details.)

Function parameter numbers can be selected in the same way as with the voices (see page 28). You can use the numeric keypad to directly enter the number, use the +/- keys to step up and down through the parameters, or press the FUNCTION button to advance through the parameter numbers.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

Page 31

PLAYING VOICES — TH E VOIC E MODE

3 Change the parameter setting or value.

After the “FUNCTION” indication stops flashing, use the numeric keypad or +/- buttons to change the value or setting. (The value/ setting is shown to the left of the parameter name.)

Parameter value or

STYLE

FUNCTION

setting

100

M.Volume

Parameter name

4 Set other parameters as needed.

To select and set other parameters, repeat steps 1 - 3 above.

5 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

Negative values To directly enter negative values (for those parameters that have negative values), simultaneously hold down the - button and press the desired number button.

These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

Function Parameters

No. Parameter Name Display Name Range/Settings

F01 Main Voice Volume M.Volume 0 — 127

F02 Main Voice Octave M.Octave -2 — 2 (octaves)

F03 Main Voice Pan M.Pan -7 (full left) —

0 (center) — 7 (full right)

F04 Main Voice Reverb M.RevLvl 0 — 127

Send Level

F05 Main Voice Chorus M.ChoLvl 0 — 127

Send Level

F06 Main Voice DSP M.DspLvl 0 — 127

Effect Send Level

Description

This determines the volume of the Main voice, letting you create an optimum mix with the Dual or Split voice.

This determines the octave range for the Main voice. Use this to set the most suitable range for the Main voice when using the Split mode, or use it to create an octave layer in the Dual mode.

This determines the pan position of the Main voice in the stereo image.

This determines how much of the Main voice’s signal is sent to the Reverb effect. (See page 40.) Higher values result in a louder Reverb effect.

This determines how much of the Main voice’s signal is sent to the Chorus effect. (See page 41.) Higher values result in a louder Chorus effect.

This determines how much of the Main voice’s signal is sent to the DSP effect. (See page 42.) Higher values result in a louder DSP effect.

Page 32

PLAYING VOICES — TH E VOICE MODE

TRANSPOSE AND TUNING

You can also adjust the tuning and change the transposition (key) of the entire PortaTone sound with the Transpose and Tuning functions.

Transpose

Transpose determines the key of both the main voice and the bass/chord accompaniment of the selected style. It also determines the pitch of the songs. This allows you to easily match the pitch of the PortaTone to other instruments or singers, or play in a different key without changing your fingering. The Transpose settings can be adjusted over a range of ± 12 semitones (± 1 octave).

The Transpose and Tuning settings have no effect on the Drum Kit voices (#101 #110).

1 Select the Transpose function in the Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “Transpos” appears in the display.

Indicates Transpose is selected

TRANSPOSE

VOICE STYLE

Current Transpose value

Transpos

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Transpose value. Holding down either button continuously increases or decreases the value.

Increases Transpose value

Decreases Transpose value

Restoring the Default Transpose Value If you’ve changed the Transpose setting, you can instantly restore the default setting of “00” by pressing both OVERALL +/buttons simultaneously (when Transpose is selected in the Overall menu).

Page 33

PLAYING VOICES — TH E VOIC E MODE

Tuning

Tuning determines the fine pitch setting of both the main voice and the bass/chord accompaniment of the selected style. It also determines the pitch of the songs. This allows you to accurately match the tuning with that of other instruments. The Tuning settings can be adjusted over a range of ± 100 (approx. ± 1 semitone).

1 Select the Tuning function in the Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “Tuning” appears in the display.

Indicates Tuning is selected

VOICE STYLE

TUNING

Current Tuning value

000

Tuning

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Tuning value. Holding down either button continuously increases or decreases the value.

Increases Tuning value

Decreases Tuning value

Restoring the Default Tuning Value If you’ve changed the Tuning setting, you can instantly restore the default setting of “00” by pressing both OVERALL +/buttons simultaneously (when Tuning is selected in the Overall menu).

Page 34

PLAYING VOICES — TH E VOICE MODE

PLAYING TWO VOICES — DUAL VOICE

The Dual Voice mode lets you create richly textured sounds by “layering” two different voices together — one voice being the Main voice selected in the normal way (page 27), and the other a Dual voice selected as described below.

1 Turn on the Dual Voice mode.

Press the DUAL button.

MEASURE TEMPO

001 116

When you play the keyboard, both the currently selected Main and Dual voices will be heard.

To turn the Dual mode off, press the DUAL button again.

2 Select the desired Dual voice and make other set-

tings for the voice (if desired) in the Function mode.

To do this, first call up the Function mode by pressing the FUNCTION button.

The Dual Voice mode can also be turned on and off with a connected footswitch. (See page 91.)

3 Select the desired Function parameter number.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the desired Dual Voice Function parameter number (11 - 18). Actual selection of the Dual voice is made from parameter #17. (See the “Parameters” list below for details.)

STYLE

FUNCTION

Function parameter numbers can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

D.Voice

F17

• Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 2 above.

• For the Dual voice to be heard properly, make sure to: * Select a different voice (#17, Dual Voice). * Set the volume to an appropriate level (#11, Dual Volume).

Page 35

PLAYING VOICES — TH E VOIC E MODE

4 Change the parameter setting or value.

After the “FUNCTION” indication stops flashing, use the numeric keypad to change the value or setting. For on/off settings, use the +/- buttons.

STYLE

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

Strings

050

Negative values To directly enter negative values (for those parameters that have negative values), simultaneously hold down the - button and press the desired number button.

These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

5 Set other parameters as needed.

To select and set other parameters, repeat steps 2 - 4 above.

6 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

Function Parameters — Dual Voice

The Function parameters provide all settings for the Dual voice. Like the similar settings in the Main Voice mode, these settings let you change or enhance the sound of the Dual voice separate from the Main voice. These settings include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

Function Parameters

No. Parameter Name Display Name Range/Settings

F11 Dual Voice Volume D.Volume 0 — 127

F12 Dual Voice Octave D.Octave -2 — 2 (octaves)

F13 Dual Voice Pan D.Pan -7 (full left) —

F14 Dual Voice Reverb D.RevLvl 0 — 127

Send Level

F15 Dual Voice Chorus D.ChoLvl 0 — 127

Send Level

F16 Dual Voice DSP D.DspLvl 0 — 127

Effect Send Level

0 (center) — 7 (full right)

• Dual Voice

• Dual On/Off

Description

This determines the volume of the Dual voice, letting you create an optimum mix with the Main voice.

This determines the octave range for the Dual voice. Use this to create an octave layer with the Main voice.

This determines the pan position of the Dual voice in the stereo image. For a spacious sounding effect, set this value at or near -7, and set the Main Voice Pan (page 31) at the opposite positive value.

This determines how much of the Dual voice’s signal is sent to the Reverb effect. (See page 40.) Higher values result in a louder Reverb effect for the Dual voice.

This determines how much of the Dual voice’s signal is sent to the Chorus effect. (See page 41.) Higher values result in a louder Chorus effect for the Dual voice.

This determines how much of the Dual voice’s signal is sent to the DSP effect. (See page 42.) Higher values result in a louder DSP effect for the Dual voice.

F17 Dual Voice D.Voice 1 — 238

F18 Dual On/Off Dual on, off

This determines the Dual voice. (See list on page 109.)

This turns the Dual Voice mode on/off. (This is the same function as that of the DUAL button. It can also be controlled by a connected footswitch; see page 91.)

Page 36

PLAYING VOICES — TH E VOICE MODE

PLAYING TWO VOICES — SPLIT VOICE

In the Split Voice mode, you can assign two different Voices to opposite sections of the keyboard, and play one Voice with your left hand while your right plays another. For example, you could play bass with the left hand and play piano with the right. The right-hand (or upper) Voice is selected in the Main Voice mode (page 27), and the left-hand (or lower) Voice is selected in the Split Voice mode, as described below.

Split point

Split voice

Main voice

1 Call up the Function mode.

Press the FUNCTION button.

2 Select the Split On/Off parameter number.

While the “FUNCTION” indication is flashing, use the numeric keypad to select parameter #28 (Split On/Off).

STYLE

FUNCTION

F28

Split

Function parameter numbers can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

3 Set Split to “on.”

After the “FUNCTION” indication stops flashing, press the + button to turn the Split Voice mode on. (Pressing the - button turns the Split Voice mode off.)

STYLE

FUNCTION

Split

4 Make other settings for the Split voice (if desired).

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired parameter (with the numeric keypad).

3) After “FUNCTION” stops flashing, change the value/setting (with

the numeric keypad). For on/off settings, use the +/- buttons.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

Negative values To directly enter negative values (for those parameters that have negative values), simultaneously hold down the button and press the desired number button.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

For the Split voice to be heard properly, make sure to: * Set the volume to an appropriate level (#21, Split Volume). * Set the octave to a musically appropriate setting (#22 Split Octave). For example, a bass voice might best be played with a “-1” setting, while a strings voice might sound best at “1.” * Set the desired Split Point (#29). For most purposes, however, the default Split Point of “059” (Main voice starts at middle C) is suitable. (See the “Parameters” list below for details.)

These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

Page 37

PLAYING VOICES — TH E VOIC E MODE

5 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

Function Parameters — Split Voice

The Function parameters provide all settings for the Split voice. Like the similar settings in the Main Voice mode, these settings let you change or enhance the sound of the Split voice separate from the Main voice. These settings include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

Function Parameters

No. Parameter Name Display Name Range/Settings

F21 Split Voice Volume S.Volume 0 — 127

F22 Split Voice Octave S.Octave -2 —

F23 Split Voice Pan S.Pan -7 (full left) —

F24 Split Voice Reverb S.RevLvl 0 — 127

Send Level

F25 Split Voice Chorus S.ChoLvl 0 — 127

Send Level

2 (octaves)

0 (center) — 7 (full right)

• Split Voice

• Split On/Off

• Split Point

Description

This determines the volume of the Split voice, letting you create an optimum mix with the Main voice.

This determines the octave range for the Split voice. Use this to set the most suitable range for the Split (lower) voice.

This determines the pan position of the Split voice in the stereo image. For a spacious sounding effect, set this value at or near -7, and set the Main Voice Pan (page 31) at the opposite positive value.

This determines how much of the Split voice’s signal is sent to the Reverb effect. (See page 40.) Higher values result in a louder Reverb effect for the Split voice.

This determines how much of the Split voice’s signal is sent to the Chorus effect. (See page 41.) Higher values result in a louder Chorus effect for the Split voice.

F26 Split Voice DSP Effect S.DspLvl 0 — 127

Send Level

F27 Split Voice S.Voice 1 — 238

F28 Split On/Off Split on, off

F29 Split Point SplitPnt 000 — 127

This determines how much of the Split voice’s signal is sent to the DSP effect. (See page 42.) Higher values result in a louder DSP effect for the Split voice.

This determines the Split voice. (See list on page 109.)

This turns the Split Voice mode on/off. This can also be controlled by a connected footswitch. (See page 91.)

This determines the highest key for the Split voice and sets the Split “point” — in other words, the key that separates the Split (lower) and Main (upper) voices. (The Split voice sounds up to and including the Split Point key.) The default Split Point is 059 (B2). The value can also be set directly by pressing the desired key while this parameter is selected. While this is being set, the keyboard does not produce any sound. After setting this, make sure to select a different parameter or exit the Function mode before playing the keyboard.

The Split Point setting is related to and affected by the Accompaniment Split Point setting. (See page 58.)

Page 38

PLAYING VOICES — TH E VOICE MODE

ADDITIONAL VOICE FUNCTIONS — VOICE SET AND TOUCH SENSITIVITY

Voice Set and Touch Sensitivity are two important voice-related parameters, and are found in the Utility section of the Function parameters.

When Voice Set (described in greater detail below) is set to on, you can automatically call up a variety of voice-related settings that best suit the selected voice.

Touch Sensitivity (also described below) gives you dynamic, expressive control over the voices by letting you set how the volume of the PortaTone responds to your playing strength.

Once the Touch Sensitivity parameter is set below, Touch response of the keyboard can be turned on or off by pressing the TOUCH button.

Indicates Touch Sensitivity is on.

Indicates Touch Sensitivity is off.

1 Call up the Function mode.

Press the FUNCTION button.

2 Select the desired Function parameter number.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the Voice Set parameter (#72), or Touch Sensitivity (#73). (For details on these parameters, see below.)

STYLE

FUNCTION

Function parameter numbers can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

VoiceSet

F72

STYLE

FUNCTION

TouchSns

F73

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

3 Change the parameter setting or value.

After the “FUNCTION” indication stops flashing, use the numeric keypad to change the value or setting.

STYLE

FUNCTION

VoiceSet

STYLE

FUNCTION

TouchSns

Page 39

Function Parameters — Voice Set and Touch Sensitivity

Function Parameters

PLAYING VOICES — TH E VOIC E MODE

No. Parameter Name Display Name Range/Settings

F72 Voice Set VoiceSet oFF, on

F73 Touch Sensitivity TouchSns 1 — 3

Description

When this is set to on, selecting a voice also automatically calls up special voice-related parameters and values that best suit the voice. The parameters included in Voice Set are:

• Main Voice — Volume, Octave, Pan

• Dual Voice — Number, Volume, Octave, Pan, Reverb Send Level, Chorus Send Level, DSP Send Level

• Harmony — Type, On/Off, Volume

Use the panel HARMONY and DUAL buttons to turn the respective functions on or off.

A setting of “1” results in limited touch response; this setting produces a relatively narrow dynamic range, no matter how lightly or strongly you play the keys. “2” lets you play over a normal dynamic range (soft to loud), while “3” is designed for playing very soft passages, giving you slightly more detailed control in the soft volume range. When Touch is turned off (page

38), a constant velocity value of 80 is produced (total velocity range = 0 - 127).

Page 40

EFFECTS

The PortaTone is equipped with a wide variety of effects that can be used to enhance the sound of the voices. Four general categories of effects are provided — Reverb, Chorus, DSP, and Harmony — and each category has many effect types to choose from.

Application of the effects is also exceptionally flexible. All four effects can be used simultaneously, and the degree of the Reverb, Chorus, and DSP effects can be adjusted independently for each of the voices: Main, Dual, and Split.

REVERB

The Reverb effect reproduces the natural ambient “wash” of sound that occurs when a instrument is played in a room or concert hall. A total of eight different Reverb types simulating various different performance environments are available.

1 Turn on the Reverb effect.

Press the REVERB button.

MEASURE TEMPO

001 116

Indicates that Reverb is on

2 Set the desired Reverb Type in the Function mode.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired Function parameter number (#31, #32) with the

numeric keypad. (For a list of the Reverb Types, see page 45.)

STYLE

FUNCTION

Reverb

F31

3) After “FUNCTION” stops flashing, change the value (with the numeric keypad). For on/off settings, use the +/- buttons.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

STYLE

FUNCTION

RevType

F32

Reverb can also be turned on and off with a connected footswitch (page 91), or from Function parameter #31 (page 44).

• The panel REVERB on/off button affects only the keyboard played voices. If you want to turn off the Reverb effect for the overall PortaTone sound (including accompaniment and songs), set the Reverb Type (#9, page 45) to “off.”

• These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

• Three additional Reverb Types are available when controlling the PortaTone from a MIDI device. (For details, see page 116.)

3 Set the Reverb Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts of Reverb. Use the corresponding Reverb Send Level parameters in the Function mode (Main: #04, Dual: #14, Split: #24) to control this. (See pages 31, 35, 37.)

If the Reverb Send Level is set to a value near or at “000,” the Reverb effect may not be heard.

Page 41

4 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

CHORUS

The Chorus effect lets you enhance the sound of a voice with through the use of pitch modulation. Two basic types are provided: Chorus and Flanger. Chorus produces a thicker, warmer, and more animated sound, whereas Flanger creates a swirling, metallic effect. A total of four Chorus types are available.

EFFECTS

The Chorus effect can also be turned on and off with a connected footswitch. (See page 91.)

1 Turn on the Chorus effect and set the Chorus Type in

the Function mode.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired Function parameter number (#33, #34) with the

numeric keypad. (For a list of the Chorus Types, see page 45.)

STYLE

FUNCTION

3) After “FUNCTION” stops flashing, change the value/setting (with the numeric keypad). For on/off settings, use the +/- buttons.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

Chorus

F33

STYLE

FUNCTION

ChoType

F34

2 Set the Chorus Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts of Chorus. Use the corresponding Chorus Send Level parameters in the Function mode (Main: #05, Dual: #15, Split: #25) to control this. (See pages 31, 35, 37.)

• The Chorus effect is applied only to the keyboard-played voices.

• These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

• Three additional Chorus Types are available when controlling the PortaTone from a MIDI device. (For details, see page 116.)

If the Chorus Send Level is set to a value near or at “000,” the Chorus effect may not be heard.

3 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

Page 42

EFFECTS

DSP

The DSP effect section provides many reverb and chorus effects, plus a wealth of other useful and dynamic effects for enhancing and changing the sound of the voices. Included among these miscellaneous effects are reverse gate reverb, phaser, rotary speaker, tremolo, echo, delay, distortion, equalization, and wah. A total of thirty-three DSP types are available.

1 Turn on the DSP effect and set the DSP Type in the

Function mode.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired Function parameter number (#35, #36) with the

numeric keypad. (For a list of the DSP Types, see page 45.)

STYLE

FUNCTION

F35

Dsp

3) After “FUNCTION” stops flashing, change the value/setting (with the numeric keypad). For on/off settings, use the +/- buttons.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

STYLE

FUNCTION

DspType

F36

The DSP effect can also be turned on and off with a connected footswitch. (See page 91.)

• The DSP effect is applied only to the keyboard-played voices.

• These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

• Eighteen additional DSP Types are available when controlling the PortaTone from a MIDI device. (For details, see page 116.)

2 Set the DSP Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts of DSP. Use the corresponding DSP Send Level parameters in the Function mode (Main: #06, Dual: #16, Split: #26) to control this. (See pages 31, 35,

37.)

3 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

If the DSP Send Level is set to a value near or at “000,” the DSP effect may not be heard.

Page 43

HARMONY

The Harmony section features a variety of performance effects that enhance the melodies you play when using the accompaniment styles of the PortaTone. A total of twenty-six Harmony types are available.

Tremolo, Trill and Echo effects can be used even if accompaniment is off. There are five different Harmony Types that automatically create harmony parts (for notes played in the upper section of the keyboard) to match the accompaniment chords.

1 Turn on the Harmony effect.

Press the HARMONY button.

EFFECTS

The Harmony effect can also be turned on and off with a connected footswitch (page 91), or from Function parameter #37 (page 44).

ACMP ON

MEASURE TEMPO

001 116

Indicates that Harmony is on

2 Set the Harmony Type and desired Harmony Volume

in the Function mode.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired Function parameter number (#37, #38, #39)

with the numeric keypad. (For a list of the Harmony Types, see page

46.)

STYLE

FUNCTION

STYLE

FUNCTION

Harmony

F37

HarmVol

F39

STYLE

FUNCTION

HarmType

F38

• For the first five Harmony Types (Duet, Trio, Block, Country, and Octave), chords must be played in the Accompaniment section of the keyboard.

• The speed of the Trill, Tremolo, and Echo effects depends on the Tempo setting (page 76).

If the Harmony Volume is set to a value near or at “000,” the Harmony effect may not be heard.

3) After “FUNCTION” stops flashing, change the value (with the numeric keypad). For on/off settings, use the +/- buttons.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the One Touch Setting feature (page 72).

Page 44

EFFECTS

3 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

Function Parameters — Effects

The Effect Function parameters provide all effect-related settings (with the exception of the Send parameters in the Main, Dual, and Split sections). These settings include:

• Reverb On/Off

• Reverb Type

• Chorus On/Off

• Chorus Type

• DSP On/Off

• DSP Type

• Harmony On/Off

• Harmony Type

• Harmony Volume

Function Parameters

No. Parameter Name Display Name Range/Settings

F31 Reverb On/Off Reverb on, off

F32 Reverb Type RevType (See “Reverb Type”

F33 Chorus On/Off Chorus on, off

F34 Chorus Type ChoType (See “Chorus Type”

F35 DSP On/Off Dsp on, off

F36 DSP Type DspType (See “DSP Type” list

list below.)

below.)

Description

This turns the Reverb effect on/off. (This is the same function as that of the REVERB button. It can also be controlled by a connected footswitch; see page 91.)

(See “Reverb Type” list below.)

This turns the Chorus effect on/off. This can also be controlled by a connected footswitch. (See page

91.)

(See “Chorus Type” list below.)

This turns the DSP effect on/off. This can also be controlled by a connected footswitch. (See page

91.)

(See “DSP Type” list below.)

F37 Harmony On/Off Harmony on, off

F38 Harmony Type HarmType (See “Harmony Type”

list below.)

F39 Harmony Volume HarmVol 000 — 127

This turns the Harmony effect on/off. (This is the same function as that of the HARMONY button. It can also be controlled by a connected footswitch; see page 91.)

(See “Harmony Type” list below.)

This determines the level of the Harmony effect, letting you create the optimum mix with the original melody note.

Page 45

■ Effect Types

EFFECTS

Reverb Types

No. Reverb Display

Type Name

1 Hall 1 Hall1 2 Hall 2 Hall2

3 Room 1 Room1 4 Room 2 Room2

5 Stage 1 Stage1 6 Stage 2 Stage2

7 Plate 1 Plate1 8 Plate 2 Plate2

9Off Off

Description

Concert hall reverb.

Small room reverb.

Reverb for solo instruments.

Simulated steel plate reverb.

No effect.

DSP Types

No. DSP Display

Type Name

1 Hall 1 Hall1 2 Hall 2 Hall2

3 Room 1 Room1 4 Room 2 Room2

5 Stage 1 Stage1 6 Stage 2 Stage2

7 Plate 1 Plate1 8 Plate 2 Plate2

9 Early Reflection 1 ER1

10 Early Reflection 2 ER2 11 Gate Reverb Gate1

12 Reverse Gate Gate2 13 Chorus 1 Chorus1

14 Chorus 2 Chorus2 15 Flanger 1 Flanger1

16 Flanger 2 Flanger2 17 Symphonic Symphony

18 Phaser Phaser 19 Rotary Speaker 1 Rotary1

20 Rotary Speaker 2 Rotary2 21 Tremolo 1 Tremolo1

22 Tremolo 2 Tremolo2 23 Guitar Tremolo Tremolo3

24 Auto Pan AutoPan

25 Auto Wah AutoWah 26 Delay Left - DelayLCR

Center - Right 27 Delay Left - Right DelayLR

28 Echo Echo 29 Cross Delay CrossDly

30 Distortion Hard D Hard 31 Distortion Soft D Soft 32 EQ Disco EQ Disco

33 EQ Telephone EQ Tel

34 Off Off

Chorus Types

No. Chorus Display

Type Name

1 Chorus 1 Chorus1 2 Chorus 2 Chorus2

3 Flanger 1 Flanger1 4 Flanger 2 Flanger2

5 Off Off

Description

Concert hall reverb.

Small room reverb.

Reverb for solo instruments.

Simulated steel plate reverb.

Early reflections only.

Gated reverb effect, in which the reverberation is quickly cut off for special effects.

Similar to Gate Reverb, but with a reverse increase in reverb. Conventional chorus effect with rich, warm chorusing.

Pronounced three-phase modulation with slight metallic sound.

Exceptionally rich & deep chorusing.

Pronounced, metallic modulation with periodic phase change. Rotary speaker simulation.

Rich Tremolo effect with both volume and pitch modulation.

Simulated electric guitar tremolo.

Several panning effects that automatically shift the sound position (left, right, front, back).

Repeating filter sweep “wah” effect. Three independent delays, for the left, right and center stereo positions.

Initial delay for each stereo channel, and two separate feedback delays.

Stereo delay, with independent feedback level settings for each channel. Complex effect that sends the delayed repeats “bouncing” between the left and right

channels. Hard-edge distortion. Soft, warm distortion. Equalizer effect that boosts both high and low frequencies, as is typical in most disco

music. Equalizer effect that cuts both high and low frequencies, to simulate the sound heard

through a telephone receiver. No effect.

Description

Conventional chorus program with rich, warm chorusing.

Pronounced three-phase modulation with a slight metallic sound.

No effect.

Page 46

EFFECTS

Harmony Types

No. Harmony Type Display Name

1 Duet Duet 2 Trio Trio 3 Block Block

4 Country Country 5 Octave Octave

6 Trill 1/4 note Tril1/4

7 Trill 1/6 note Tril1/6

8 Trill 1/8 note Tril1/8

9 Trill 1/12 note Tril1/12

10 Trill 1/16 note Tril1/16

11 Trill 1/24 note Tril1/24

12 Trill 1/32 note Tril1/32

13 Tremolo 1/4 note Trem1/4

14 Tremolo 1/6 note Trem1/6

15 Tremolo 1/8 note Trem1/8

16 Tremolo 1/12 note Trem1/12

17 Tremolo 1/16 note Trem1/16

18 Tremolo 1/24 note Trem1/24

19 Tremolo 1/32 note Trem1/32

Description

Harmony types 1 - 5 are pitch-based and add one-, two- or three-note harmonies to the single-note melody played in the right hand. These types only sound when chords are played in the auto accompaniment section of the keyboard.

Types 6 - 26 are rhythm-based effects and add embellishments

or delayed repeats in time with the auto accompaniment. These types sound whether the auto accompaniment is on or

not; however, the actual speed of the effect depends on the Tempo setting (page 76). The individual note values in each type let you synchronize the effect precisely to the rhythm.

Triplet settings are also available: 1/6 = quarter-note triplets, 1/ 12 = eighth-note triplets, 1/24 = sixteenth-note triplets.

• The Trill effect Types (6 - 12) create two-note trills (alternating notes) when two notes are held.

• The Tremolo effect Types (13 - 19) repeat all held notes (up to four).

• The Echo effect Types (20 - 26) create delayed repeats of each note played.

20 Echo 1/4 note Echo1/4

21 Echo 1/6 note Echo1/6

22 Echo 1/8 note Echo1/8

23 Echo 1/12 note Echo1/12

24 Echo 1/16 note Echo1/16

25 Echo 1/24 note Echo1/24

26 Echo 1/32 note Echo1/32

Page 47

AUTO ACCOMPANIMENT — THE STYLE MODE

The Style mode provides dynamic rhythm/accompaniment patterns — as well as voice settings appropriate for each pattern — for various popular music styles.

A total of 100 different styles are available, in several different categories. Each style is made up of separate “sections” — Intro, Main A and B (with 4 Fill-ins), and Ending — letting you call up different accompaniment sections as you perform.

The auto accompaniment features that are built into the rhythms add the excitement of instrumental backing to your performance, letting you control the accompaniment by the chords you play. Auto accompaniment effectively splits the keyboard into two sections: The upper is used for playing a melody line, and the lower (set by default to keys F#2 and lower) is for the auto accompaniment function.

The Style mode also has the powerful Chord Guide features, which include three sophisticated learning and performance tools: Dictionary, Smart, and EZ Chord. The Dictionary and Smart functions (pages 62, 64) provide powerful, easy-to-use tools for learning chords and chord relationships. EZ Chord (page 66) lets you record chord progressions for an entire song, and then step through the chords by simply pressing a single key in the auto accompaniment section of the keyboard.

SELECTING A STYLE AND PLAYING THE ACCOMPANIMENT

1 Select the Style mode.

Press the STYLE button.

Indicates Style mode is selected

STYLE

MEASURE TEMPO

001

001 116

Style name and number

8BtPop1

2 Select the desired style number.

Use the numeric keypad. The basic categories of styles and their numbers are shown at the left of the panel. A complete list of the available styles is given on page 111.

Page 48

AUTO ACCOMPANIMENT — THE STYLE MODE

Style numbers can be selected in the same way as with the voices (see page

28). You can use the numeric keypad to directly enter the style number, use the +/- keys to step up and down through the styles, or press the STYLE button to advance through the style numbers.

3 Start the accompaniment.

You can do this in one of the following ways:

Pressing the START/STOP button

The rhythm starts playing immediately without bass and chord

accompaniment. The currently selected Main A or B section will play.

This function can also be controlled by using a connected footswitch. (See page 91.)

You can select the Main A or B section by pressing the appropriate

button — MAIN A or MAIN B — before pressing the START/STOP

button. (The icon section of the display briefly shows the letter of the

selected section: “A” or “B.”)

MEASURE TEMPO

001 116

Indicates selected section (Main A or B).

Using Sync-Start

The PortaTone also has a Sync-Start function that allows you to start

the rhythm/accompaniment by simply pressing a key on the key-

board. To use Sync-Start, first press the SYNC-START button (the

beat bars below the style name all flash to indicate Sync-Start stand-

by), then press any key on the keyboard. (When auto accompani-

ment is on, play a key or chord in the auto accompaniment section of

the keyboard.)

Auto accompaniment section

Page 49

AUTO ACCOMPANIMENT — THE STYLE MODE

Starting with an Intro section

Each style has its own two- or four-measure Intro section. When used

with the auto accompaniment, many of the Intro sections also in-

clude special chord changes and embellishments to enhance your

performance.

To start with an Intro section:

1) Press the MAIN A or MAIN B button — to select which

section (A or B) is to follow the Intro.

MEASURE TEMPO

001 116

Indicates selected section (Main A or B).

2) Press the INTRO button.

MEASURE TEMPO

001 116

Indicates Intro standby.

To actually start the Intro section and accompaniment, press the START/STOP button.

Once the Intro section is finished, the icon section of the display briefly shows the letter “A” or “B” to indicate that the selected Main section is currently playing.

Using Sync-Start with an Intro section

You can also use the Sync-Start function with the special Intro section

of the selected style.

This function can also be controlled by using a connected footswitch. (See page 91.)

To use Sync-Start with an Intro section:

1) Press the MAIN A or MAIN B button — to select which

section (A or B) is to follow the Intro.

MEASURE TEMPO

001 116

Indicates selected section (Main A or B).

Page 50

AUTO ACCOMPANIMENT — THE STYLE MODE

2) Press the INTRO button.

MEASURE TEMPO

001 116

Indicates Intro standby.

3) Press the SYNC-START button to enable Sync-Start, and start the Intro section and accompaniment by playing any key on the keyboard. (When auto accompaniment is on, play a key or chord in the auto accompaniment section of the keyboard.)

Auto accompaniment section

Once the Intro section is finished, the icon section of the display

briefly shows the letter “A” or “B” to indicate that the selected Main

section is currently playing.

About Auto Accompaniment

Auto accompaniment can be used with any of the above methods. Simply press the ACMP ON/OFF button to turn on the auto accompaniment. (This can be done at any point in the operation.)

Indicates that auto accompaniment is on.

When using Sync-Start with the auto accompaniment, only keys in the auto accompaniment section can be used to start the accompaniment. (For more information on auto accompaniment, see page 52.)

ACMP ON

Page 51

About the Beat Display

The dark bars underneath the style name in the display flash in time with the current tempo during playback (or Sync-Start standby) of the accompaniment. The flashing bars provide a visual indication of both the tempo and time signature of the accompaniment. (For more information, see page 77.)

4 Stop the accompaniment.

You can do this in one of three ways:

AUTO ACCOMPANIMENT — THE STYLE MODE

Pressing the START/STOP button

The rhythm/accompaniment stops playing immediately.

Using an Ending section

Press the INTRO/ENDING button. The accompaniment stops after

the Ending section is finished.

Pressing the SYNC-START button

This immediately stops the accompaniment and automatically en-

ables Sync-Start, letting you re-start the accompaniment by simply

playing a chord or key in the auto accompaniment section of the

keyboard.

• This function can also be controlled by using a connected footswitch. (See page 91.)

• To have the Ending section gradually slow down as it is playing, press the INTRO/ENDING button twice quickly.

Page 52

AUTO ACCOMPANIMENT — THE STYLE MODE

ACCOMPANIMENT CONTROLS

When the Style mode is active, the panel buttons below the display function as accompaniment controls.

Pressing this button alternately enables and cancels the bass and chord accompaniment. (See below.)

Pressing this button alternately starts and stops accompaniment playback.

Pressing this button alternately enables and cancels the SyncStart function. (See page 48.)

This controls the Intro and Ending sections. (See pages 49, 51.)

Pressing this button selects the Main A section, or adds a Fill-in A section. (See page 54.)

Pressing this button selects the Main B section, or adds a Fill-in B section. (See page 54.)

This controls the Chord Guide functions. (See page 62.)

USING THE AUTO ACCOMPANIMENT FEATURES

1 Turn on the auto accompaniment.

Press the ACMP ON/OFF button to turn on (enable) the auto accompaniment.

Indicates that

auto accompa-

niment is on.

ACMP ON

2 Select a style and play the accompaniment.

Select one of the styles and start playback, as described in steps 1 - 3 on page 47.

Page 53

AUTO ACCOMPANIMENT — THE STYLE MODE

3 Change chords using the auto ac-

companiment feature.

Try playing a few successive single notes with your left hand, and notice how the bass and chord accompaniment change with each key you play. You can also play full chords to control the auto accompaniment. (Refer to page 56 for more information on how to use auto accompaniment.)

• The ACMP ON/OFF button can also be used to turn off and on the bass/chord accompaniment while playing — allowing you to create dynamic rhythmic breaks in your performance.

• You can use the Sync-Start function to create a similar, yet even more dramatic break. While the accompaniment is playing, pressing the SYNC-START button immediately stops the accompaniment and enables Sync-Start. This lets you play unaccompanied until you press a key in the auto accompaniment section to start the accompaniment again. This is especially effective when you press the SYNC-START button at the end of a musical phrase.

Chords played in the auto accompaniment section of the keyboard are also detected and played when the accompaniment is stopped. In effect, this gives you a “split keyboard,” with bass and chords in the left hand and the normally selected voice in the right.

CHANGING THE TEMPO

The Tempo of song (and accompaniment) playback can be adjusted over a range of 32 - 280 bpm (beats per minute). For instructions on changing the Tempo, see page 76.

Each style has been given a default or standard tempo. (For instructions on restoring the default tempo, see page

77.) When accompaniment playback is stopped and a different style is selected, the tempo returns to the default setting of the new style. When switching styles during playback, the last tempo setting is maintained. (This allows you to keep the same tempo, even when changing styles.)

Page 54

AUTO ACCOMPANIMENT — THE STYLE MODE

ACCOMPANIMENT SECTIONS (MAIN A, MAIN B AND FILL-INS)

While the accompaniment is playing, you can add variation in the rhythm/ accompaniment by pressing the MAIN/AUTO FILL A or B button. This automatically plays one of four Fill-in sections, and smoothly leads into the next section — even if it is the same section.

MEASURE TEMPO

001 116

Each style has four different Fill-in sections that play in the following conditions:

• Main A → Main A (Fill-in “AA”)

• Main A → Main B (Fill-in “AB”)

• Main B → Main A (Fill-in “BA”)

• Main B → Main B (Fill-in “BB”)

This appears while the Fill-in section is playing.

• This function can also be controlled by using a connected footswitch. (See page 91.)

• If you press the MAIN A or B button, the Fill-in will begin immediately, and the newly selected section (A or B) will actually begin playing from the top of the next measure, unless the MAIN A or B button is pressed during the last beat of the measure — in which case the Fill-in will begin from the first beat of the next measure.

• Rhythm sounds and Fill-in sections are not available when one of the Pianist styles (#91 - #100) are selected.

Page 55

AUTO ACCOMPANIMENT — THE STYLE MODE

ADJUSTING THE ACCOMPANIMENT VOLUME

The playback volume of the accompaniment can be adjusted. This volume control affects only the accompaniment volume. The volume range is 000

- 127.

1 Select the Accompaniment Volume function in the

Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “AcmpVol” appears in the display.

Current Accompaniment Volume value

STYLE

ACMP/SONG

VOLUME

Indicates Accompaniment Volume is selected

100

AcmpVol

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Accompaniment Volume value. Holding down either button continuously increases or decreases the value.

Increases Accompaniment Volume value

Decreases Accompaniment Volume value

Restoring the Default Value To restore the default Accompaniment Volume value (100), press both OVERALL +/- buttons simultaneously (when Accompaniment Volume is selected in the Overall menu).

Accompaniment Volume cannot be changed unless the Style mode is active.

Page 56

AUTO ACCOMPANIMENT — THE STYLE MODE

USING AUTO ACCOMPANIMENT — MULTI FINGERING

When it is set to on (page 52), the auto accompaniment function automatically generates bass and chord accompaniment for you to play along with, by using Multi Fingering operation. You can change the chords of the accompaniment by playing keys in the auto accompaniment section of the keyboard using either the “Single Finger” or “Fingered” method. With Single Finger you can simply play a one-, two- or three-finger chord indication (see Single Finger Chords below). The Fingered technique is that of conventionally playing all the notes of the chord. Whichever method you use, the PortaTone “understands” what chord you indicate and then automatically generates the accompaniment.

Single Finger Chords

Chords that can be produced in Single Finger

To play a major chord: Press the root note of the chord.

operation are major, minor, seventh and minor seventh. The illustration shows how to produce the four chord types. (The key of C is used here as an example; other keys follow the same rules. For example, Bb7 is played as Bb and A.)

To play a minor chord: Press the root note together with the nearest black key to the left of it.

To play a seventh chord: Press the root note together with the nearest white key to the left of it.

To play a minor seventh chord: Press the root note together with the nearest white and black keys to the left of it (three keys altogether).

Fingered Chords

Using the key of C as an example, the chart below shows the types of chords that can be recognized in the Fingered mode.

Example for “C” chords

(9)

Csus

Caug

CmM

(9)

( )

CM aug

( )

(9)

CmM

Cdim

( )

(9)

( )

Cdim

(9)

( )

(#11)

( )

(b5)

(b9)

(9)

( )

(b13)

11)

(

( )

1+2+5

( )

(9)

( )

(#11)

( )

(13)

( )

(#9)

( )

C aug

C sus

( )

* Notes enclosed in parentheses are optional; the chords will be recognized without them.

Page 57

AUTO ACCOMPANIMENT — THE STYLE MODE

Chord Name/[Abbreviation] Normal Voicing

Major [M] 1 - 3 - 5

Add ninth [(9)] 1 - 2 - 3 - 5

Sixth [6] 1 - (3) - 5 - 6

Sixth ninth [6(9)] 1 - 2 - 3 - (5) - 6

Major seventh [M7] 1 - 3 - (5) - 7 or

Major seventh ninth [M7(9)] 1 - 2 - 3 - (5) - 7

Major seventh add sharp eleventh [M7(#11)] 1 - (2) - 3 - #4 - 5 - 7 or

Flatted fifth [(b5)] 1 - 3 - b5

Major seventh flatted fifth [M7b5] 1 - 3 - b5 - 7

Suspended fourth [sus4] 1 - 4 - 5

Augmented [aug] 1 - 3 - #5

Major seventh augmented [M7aug] 1 - (3) - #5 - 7

Minor [m] 1 - b3 - 5

Minor add ninth [m(9)] 1 - 2 - b3 - 5

Minor sixth [m6] 1 - b3 - 5 - 6

Minor seventh [m7] 1 - b3 - (5) - b7

Minor seventh ninth [m7(9)] 1 - 2 - b3 - (5) - b7

Minor seventh add eleventh [m7(11)] 1 - (2) - b3 - 4 - 5 - (b7)

Minor major seventh [mM7] 1 - b3 - (5) - 7

Minor major seventh ninth [mM7(9)] 1 - 2 - b3 - (5) - 7

Minor seventh flatted fifth [m7b5] 1 - b3 - b5 - b7

Minor major seventh flatted fifth [mM7b5] 1 - b3 - b5 - 7

Diminished [dim] 1 - b3 - b5

Diminished seventh [dim7] 1 - b3 - b5 - 6

Seventh [7] 1 - 3 - (5) - b7 or

Seventh flatted ninth [7(b9)] 1 - b2 - 3 - (5) - b7

Seventh add flatted thirteenth [7(b13)] 1 - 3 - 5 - b6 - b7

Seventh ninth [7(9)] 1 - 2 - 3 - (5) - b7

Seventh add sharp eleventh [7(#11)] 1 - (2) - 3 - #4 - 5 - b7 or

Seventh add thirteenth [7(13)] 1 - 3 - (5) - 6 - b7

Seventh sharp ninth [7(#9)] 1 - #2 - 3 - (5) - b7

Seventh flatted fifth [7b5] 1 - 3 - b5 - b7

Seventh augmented [7aug] 1 - 3 - #5 - b7

Seventh suspended fourth [7sus4] 1 - 4 - (5) - b7

One plus two plus five [1+2+5] 1 - 2 - 5

1 - (3) - 5 - 7

1 - 2 - 3 - #4 - (5) - 7

1 - (3) - 5 - b7

1 - 2 - 3 - #4 - (5) - b7

Chord (C) Display

C(9) C(9)

C6 C6

C6(9) C6(9)

CM7 CM7

CM7(9) CM7(9)

CM7(#11) CM7(#11)

C(b5) Cb5

CM7b5 CM7b5

Csus4 Csus4

Caug Caug

CM7aug CM7aug

Cm Cm

Cm(9) Cm(9)

Cm6 Cm6

Cm7 Cm7

Cm7(9) Cm7(9)

Cm7(11) Cm7(11)

CmM7 CmM7

CmM7(9) CmM7(9)

Cm7b5 Cm7b5

CmM7b5 CmM7b5

Cdim Cdim

Cdim7 Cdim7

C7 C7

C7(b9) C7(b9)

C7(b13) C7(b13)

C7(9) C7(9)

C7(#11) C7(#11)

C7(13) C7(13)

C7(#9) C7(#9)

C7b5C7b5

C7aug C7aug

C7sus4 C7sus4

C1+2+5 C

• Notes in parentheses can be omitted.

• Playing two same root keys in the adjacent octaves produces accompaniment based only on the root.

• A perfect fifth (1 + 5) produces accompaniment based only on the root and fifth which can be used with both major and minor chords.

• The chord fingerings listed are all in “root” position, but other inversions can be used — with the following exceptions:

m7, m7 aug, dim7, 7

5, 6, m6, sus4,

5, 6(9),

m7(11), 1+2+5.

• Inversion of the 7sus4 chord are not recognized if the 5th is omitted.

• The AUTO ACCOMPANIMENT will sometimes not change when related chords are played in sequence (e.g. some minor chords followed by the minor seventh).

• Two-note fingerings will produce a chord based on the previously played chord.

Page 58

AUTO ACCOMPANIMENT — THE STYLE MODE

SETTING THE ACCOMPANIMENT SPLIT POINT

The Accompaniment Split Point determines the highest key for the accompaniment section. The accompaniment can be played with the keys up to and including the Accompaniment Split Point key.

This parameter can be set lower (but not higher) than the Split Point in the Split mode. When set to different values, the two settings affect one another in the following way:

• When the Split mode Split Point is set higher than the Accompaniment Split Point:

Accompaniment

• When the Split mode Split Point is set to the same key as the Accompaniment Split Point:

Split voice + Accompaniment section

Split

Main

1 Call up the Function mode.

Press the FUNCTION button.

2 Select the Accompaniment Split Point parameter.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the Accompaniment Split Point parameter (#51). (For details on the parameter, see below.)

The Function parameter number can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

STYLE

FUNCTION

F51

AcmpSPnt

Page 59

AUTO ACCOMPANIMENT — THE STYLE MODE

3 Change the parameter setting or value.

After the “FUNCTION” indication stops flashing, use the numeric keypad to change the value or setting.

STYLE

FUNCTION

054

AcmpSPnt

The value can also be set directly by pressing the desired key while this parameter is selected. After setting this, make sure to select a different parameter or exit the Function mode before playing the keyboard.

Function Parameter — Accompaniment Split Point

Function Parameters

No. Parameter Name Display Name Range/Settings

F51 Accompaniment AcmpSPnt 000 — 127

Split Point

Description

This determines the highest key for the accompaniment section and sets the accompaniment split “point” — in other words, the key that separates the accompaniment section and the Main voice. (When accompaniment is turned on, the accompaniment section sounds up to and including the Accompaniment Split Point key.) This cannot be set higher than the Split Point in the Split mode (page 37). While this is being set, the keyboard does not produce any sound. After setting this, make sure to select a different parameter or exit the Function mode before playing the keyboard.

Page 60

AUTO ACCOMPANIMENT — THE STYLE MODE

WHAT IS A CHORD?

The simple answer: Three or more notes played simultaneously is a chord. (Two notes played

together is an “interval” — an interval being the distance between two different notes. This is

also referred to as a “harmony.”) Depending on the intervals between the three or more notes,

a chord can sound beautiful or muddy and dissonant.

The organization of notes in the example at left — a triad chord — produces a pleasant, harmonious sound. Triads are made up of three notes and are the most basic and common chords in most music.

In this triad, the lowest note is the “root.” The root (also called the “tonic”) is the most impor-

tant note in the chord, because it anchors the sound harmonically by determining its “key” and

forms the basis for how we hear the other notes of the chord.

The second note of this chord is four semitones higher than the first, and the third is three

semitones higher than the second. Keeping our root note fixed and changing these notes by a

semitone up or down (sharp or flat), we can create four different chords.

Major chord

(ex. C)

Minor 3rd

Major 3rd

Minor chord

(ex. C

Major 3rd

Minor 3rd

Augmented chord

Major 3rd

(ex. C

aug)

Major 3rd

Diminished chord

Minor 3rd

(ex. C

dim)

Minor 3rd

Keep in mind that we can also change the “voicing” of a chord — for example, change the

order of the notes (called “inversions”), or play the same notes in different octaves — without

changing the basic nature of the chord itself.

Inversion examples for the key of C

C G E

E C G

Beautiful sounding harmonies can be built in this manner. The use of intervals and chords is one of the most important elements in music. A wide variety of emotions and feelings can be created depending on the types of chords used and the order in which they are arranged.

Page 61

AUTO ACCOMPANIMENT — THE STYLE MODE

WRITING CHORD NAMES

Knowing how to read and write chord names is an easy yet invaluable skill. Chords are often written in a kind of shorthand that makes them instantly recognizable (and gives you the freedom to play them with the voicing or inversion that you prefer). Once you understand the basic principles of harmony and chords, it’s very simple to use this shorthand to write out the chords of a song.

First, write the root note of the chord in an uppercase letter. If you need to specify sharp or flat, indicate that to the right of the root. The chord type should be indicated to the right as well. Examples for the key of C are shown below.

Major chord Minor chord Augmented chord Diminished chord

For simple major chords, the type is omitted.

Cm Caug Cdim

One important point: Chords are made up of notes “stacked” on top of each other, and the

stacked notes are indicated in the chord name of the chord type as a number — the number being the distance of the note from the root. (See the keyboard diagram below.) For example, the minor 6th chord includes the 6th note of the scale, the major 7th chord has the 7th note of the scale, etc.

Dominant 7th (flatted 7th)

The Intervals of the Scale

To better understand the intervals and the numbers used to represent them in the chord name, study

Octave

11th

9th

this diagram of the C major scale:

CDE FGA BCDE

Root

2nd

4th

3rd

5th

7th

6th

Other Chords

Csus4

Cm7

CM7

5th 4th

Cm7b5

Dominant 7th

Diminished chord

Dominant 7th

Cm6

Minor chord

Major chord

6th

Dominant 7th

C(9)

9th

Minor chord

7th Major

Cdim7

Diminished 7th (double flatted 7th)

chord

* Bbb = A

Diminished chord

Page 62

AUTO ACCOMPANIMENT — THE STYLE MODE

CHORD GUIDE

The Chord Guide functions of the PortaTone provide powerful, easy-to-use tools for learning chords and chord relationships. Chord Guide features three different types of operation: Dictionary, Smart, and EZ Chord.

• Pressing the CHORD GUIDE button automatically turns on the auto accompaniment.

• When you wish to use the Style mode normally without the Chord Guide functions, make sure that OFF is selected. To do this:

1) Press the STYLE button to select the Style mode.

2) Press the CHORD GUIDE button so that a style name is shown in the display (instead of “Dict.,” “Smart,” or “EZ”).

Dictionary

The Dictionary type is essentially a built-in “chord book” that shows you the individual notes of chords. It is ideal when you know the name of a certain chord and want to quickly learn how to play it.

1 With the Style mode active, select the Dictio-

nary Chord Guide.

Press the CHORD GUIDE button so that “Dict.” appears in the display.

STYLE

Dict.

2 Specify the root of the chord.

Press the key on the keyboard that corresponds to the desired chord root (as printed on the panel).

ROOT

Pressing this key selects the root G.

ACMP ON

Page 63

AUTO ACCOMPANIMENT — THE STYLE MODE

3 Specify the type of the chord (major, minor,

seventh, etc.).

Press the key on the keyboard that corresponds to the desired chord type (as printed on the panel).

CHORD TYPE

Pressing this key selects the major seventh chord type (M7). The display shows the name of the chord, and the individual notes — both in notation and on the keyboard diagram.

STYLE

ACMP ON

MEASURE TEMPO

001 116

Individual notes of chord (keyboard)

Dict.

Notation of chord

Chord name

(root and type)

4 Play the chord.

Play the chord (as indicated in the display) in the auto accompaniment section of the keyboard. The chord name flashes when the correct notes are held down. (Inversions for many of the chords are also recognized.)

For a few specific chords, not all notes may be shown in the notation section of the display. This is due to space limitations in the display.

STYLE

ACMP ON

MEASURE TEMPO

001 116

Indicates notes to be played. Flashes when correct notes are held.

Dict.

Page 64

AUTO ACCOMPANIMENT — THE STYLE MODE

Smart

The Smart type allows you to set the basic key for the chord accompaniment. Once this is set, you can simply press single keys in the scale and have harmonically appropriate chords played automatically. For example, with the key set to C, playing an D will result in an D minor chord (rather than a harmonically inappropriate D major).

The Smart type is not only a convenient feature for easily playing various chord progressions in a specified key, it’s also an excellent learning tool to find out how chords relate to each other harmonically in a given key.

1 Select a style.

Select one of the styles, as described in steps 1 - 2 on page 47.

2 Select the Smart Chord Guide.

Press the CHORD GUIDE button so that “Smart” appears briefly in the display.

STYLE

ACMP ON

Smart

3 Set the desired key.

Use the +/- buttons on the numeric keypad to step through the available keys, or use the numeric keypad to directly enter the number corresponding to the desired key (see chart below).

Indicates selected key signature (shows number of sharps or flats in key).

STYLE

ACMP ON

Number Key (display indication, actual key)

01 #/b=0 (C, or Am) 02 #=1 (G, or Em) 03 #=2 (D, or Bm) 04 #=3 (A, or F#m) 05 #=4 (E, or C#m) 06 #=5 (B, or G#m) 07 #=6 (F#, or D#m) 08 #=7 (C#, or A#m)

#/b=0

Number Key (display indication, actual key)

09 b=7 (Cb, or Abm) 10 b=6 (Gb, or Ebm) 11 b=5 (Db, or Bbm) 12 b=4 (Ab, or Fm) 13 b=3 (Eb, or Cm) 14 b=2 (Bb, or Gm) 15 b=1 (F, or Dm)

Page 65

AUTO ACCOMPANIMENT — THE STYLE MODE

For example, to play the following music score, select number 15 so that the key is set to b=1 (F, or Dm).

Key of F

STYLE

b=1

4 Play the accompaniment, and play single note

chords (root notes) in the auto accompaniment section.

Start accompaniment playback in the desired way. (For specific instructions on starting the accompaniment, see page 48.)

For example, when the key has been set to F major, you can play the following chords by pressing the single root notes indicated below:

To play these chords...

F Dm Gm Dm

...press these root notes.

Notice that the minor chords appropriate to the key of F major are automatically converted.

Smart Chord List

No. Display Root note

indication C C# (Db) D Eb (D#)E F F# (Gb) G Ab (G#) A Bb (A#)B

01 #/b=0 C C#dim Dm Eb Em F F#dim G Ab Am Bb Bm 02 #=1 C C#dim D Eb Em F F#mG Abdim Am Bb Bm 03 #=2 C C#mD Ebdim Em F F#mG Abdim A Bb Bm 04 #=3 C C#mD Ebdim E F F#mG AbmA Bbdim Bm 05 #=4 C C#mD Ebm E Fdim F#mG AbmA Bbdim B 06 #=5 Cdim C#mD Ebm E Fdim F# GAbmA BbmB 07 #=6 Cdim C# DEbmE Fm F# Gdim AbmA BbmB 08 #=7 Cm C# Ddim EbmE Fm F# Gdim Ab ABbmB 09 b=7 Cdim C#mD Ebm E Fdim F# GAbmA BbmB 10 b=6 Cdim C# DEbmE Fm F# Gdim AbmA BbmB 11 b=5 Cm C# Ddim EbmE Fm F# Gdim Ab ABbmB 12 b=4 Cm C# Ddim Eb EFmF# Gm Ab Adim BbmB 13 b=3 Cm C# Dm Eb Edim Fm F# Gm Ab Adim Bb B 14 b=2 Cm C# Dm Eb Edim F F# Gm Ab Am Bb Bdim 15 b=1 C C# Dm Eb Em F F#dim Gm Ab Am Bb Bdim

Page 66

AUTO ACCOMPANIMENT — THE STYLE MODE

EZ Chord

The EZ Chord function is an exceptionally flexible and easy way to program semi-automatic backing for your performances. It lets you record all necessary chord changes for an entire song, and then allows you to “play” each chord in the sequence you programmed by simply pressing a single key in the auto accompaniment section of the keyboard.

Besides being a convenient performance tool, EZ Chord is also ideal for practicing right hand melodies and soloing techniques, since it lets you easily produce the chord accompaniment with your left hand — allowing you to concentrate on your right hand.

EZ Chord gives you eight separate banks (each of which contains up to 128 chord spaces) to which you can record chords. A special bank chain function allows you to connect all banks, letting you switch automatically from one bank to the next, without breaking up your chord progression.

EZ Chord — Playback

Once you’ve recorded your own EZ Chord bank (page 68), you can play it back using the operation steps below.

However, you can try out EZ Chord on your own right now, without having to record your own EZ Chord bank. Several chord progressions have already been recorded to EZ Chord banks 1 and 2, letting you try out this convenient feature and get some ideas on how to best use EZ Chord in your own performances. (For your convenience, the scores for factory-programmed banks 1 and 2 are given on page 107.)

1 Call up the Style mode and select a style. Also

select an OTS setting, if desired.

Press the STYLE button and select the desired style with the numeric keypad. (For more information on OTS, see page 72.)

2 Select the EZ Chord function.

Press the CHORD GUIDE button, repeatedly if necessary, until “EZ” appears. The auto accompaniment is automatically turned on when EZ Chord is selected.

STYLE

Page 67

A-1

STYLE

AUTO ACCOMPANIMENT — THE STYLE MODE

3 Select the desired EZ Chord bank.

Use the numeric keypad. Buttons 1 - 8 select EZ Chord banks #1 #8, respectively. Button 9 selects the bank chain “A-1” bank (see box below).

4 Start the accompaniment.

Use any one of the methods described on page 48 to start the accompaniment.

The EZ Chord chords can also be played back without the full (bass and rhythm) accompaniment. To do this, simply skip step #4.

5 Play the chords.

To play a chord, press any one key in the auto accompaniment section of the keyboard.

Auto accompaniment section

ACMP ON

Chord name

006 116

Indicates the chord position (128 are available in a bank).

TEMPO

Each dark “block” indicates a recorded chord. Currently selected block flashes.

Each time you press a single key in the accompaniment section of the keyboard, EZ Chord plays the recorded chord and automatically advances to the next one. (Unrecorded “empty” blocks are skipped.) In this way, you can control the timing of chords with just a single finger of your left hand, and still use the powerful auto accompaniment features to create full backing — while you play melodies or solo with your right hand.

• To reset the position to the first chord in the bank, simply select the same bank again by pressing the corresponding number button of the numeric keypad.

• The accompaniment Split Point can be freely set, letting you determine what keys comprise the auto accompaniment section of the keyboard. (See page

59.)

• You can use the footswitch to select successive chords, letting you play the full keyboard while still being able to use EZ Chord. (See page 91.)

Bank Chain

A special bank chain function allows you to connect all banks, letting you go automatically from one bank to the next, without breaking up your chord progression. This, for example, lets you program chord changes for an entire set of songs, and not have to interrupt your performance by changing banks.

To use this, go to step #3 above (in “EZ Chord Playback”) and press the “9” button of the numeric keypad.

Indicates that bank chain is selected.

Page 68

RECORD

AUTO ACCOMPANIMENT — THE STYLE MODE

EZ Chord — Recording

1 Enable recording.

Press the RECORD button, repeatedly if necessary, until EZ Chord recording is selected. (“EZ” appears in the display and the “RECORD” indication flashes for a couple of seconds.)

RECORD indication flashes briefly.

STYLE

RECORD

ACMP ON

2 Select the desired EZ Chord bank.

Use the numeric keypad. Buttons 1 - 8 select EZ Chord banks #1 #8, respectively.

3 Start recording.

When the “RECORD” indication stops flashing (and is lit continuously), you can start recording. Recording chords in EZ Chord is essentially a three-step operation:

— Clearing

the Bank

Before recording, you may want to erase (clear) all recorded chords for the selected EZ Chord bank. For instructions on doing this, see “Clearing an EZ Chord Bank” on page 71.

Even if you’ve recorded over (erased) the factory set EZ Chord banks, you can restore the original banks. (See page 105.)

1) Select the desired block with the +/- buttons.

ACMP ON

3 025

Indicates the chord position.

Currently selected block flashes.

2) At the selected block, record the desired chord. You can do this in one of two ways:

• Play Multi Fingering chords in the auto accompaniment section. (See page 56.)

• Enter the chord root and name manually from the ROOT and CHORD TYPE section of the keyboard.

ACMP ON

3 025

Indicates the recorded chord.

1 — 16 Block 17 — 32 Block 33 — 48 Block 49 — 64 Block 65 — 80 Block 81 — 96 Block 97 — 112 Block 113 — 128 Block

Bank number

Block number (128 are available in a bank)

Page 69

AUTO ACCOMPANIMENT — THE STYLE MODE

3) Press the + button in the numeric keypad.

This actually records the chord to the selected block and automatically moves to the next block.

This step is necessary; the chord is not actually recorded until you press the + button. (Pressing the - button will select the previous block without recording the chord.)

To record a sequence of chords, repeat steps 2) and 3) above (play a chord, select the next step, play a different chord, select the next step, etc.).

4 Stop recording and exit from the record mode.

When finished recording the chords, press the RECORD button. This exits from the record mode and lets you playback your newly recorded chords. (See page 66.)

Recording a Space

To leave a block empty (creating a space between blocks), simply select the next block without entering a chord. To leave the rest of a row empty and start at the next row, use the + button to move to the first block in the next row and start recording from that position. (For more infomation, see the hint “Using Spaces” on page 70.)

Playing the Accompaniment During EZ Chord Recording

It may be helpful for you to hear the style and auto accompaniment as you are recording chords in the EZ Chord function. To do this:

1) Press the STYLE button. This briefly calls up the Style mode, while keeping EZ Chord recording active.

2) Select the desired style. Before the display reverts back to EZ Chord (a couple of seconds after pressing the STYLE button), use the numeric keypad to select a style.

3) Start accompaniment playback. Press the START/STOP button.

4) Record the chord. Play the desired chord in the auto accompaniment section of the keyboard. Remember that the chord is not actually recorded until you press the + button to move to the next block.

If you manually enter the chord root and type (as described on page

68), the chord and bass accompaniment will not sound.

Page 70

AUTO ACCOMPANIMENT — THE STYLE MODE

HINT — Using Spaces

If your chord progressions are not long and the maximum memory space for chords isn’t very important to you, you can use the spaces between recorded blocks to good advantage. (Keep in mind that spaces have no effect during playback; the EZ Chord function automatically skips the space or spaces and plays the next chord.)

To record a space:

Press the + button without recording a chord.

Some advantages to using spaces:

• Put one or two spaces between recorded chord blocks — for example, between the different sections (verse, chorus, bridge, etc.) of your song. This gives you a clear visual indication of where you are in a song, and makes it easier to perform the chord changes.

• Regardless of the musical genre — rock, pop, country, jazz, and even much contemporary music — the structure of most songs and music, in terms of length in measures, is based on the number four and its multiples. Examples of this include four- and eight-measure melodic phrases, the popular “twelve-bar” blues, and the sixteen-measure length of verses and choruses in many pop songs and jazz standards. What does this have to do with “spaces”? If your chord progression follows this kind of structure closely, you may want to group the chord changes for each section in four-, eight, twelve- or sixteen-block groups. For example, the first song in the illustration below shows a sixteen-block group, followed by a group of twelve, then one of eight.

3 040-

8 Blocks

12 Blocks

16 Blocks

Page 71

AUTO ACCOMPANIMENT — THE STYLE MODE

Clearing an EZ Chord Bank

This operation lets you erase (clear) all recorded chords for the selected EZ Chord bank.

1 Enable the EZ Chord Record mode.

Press the RECORD button, repeatedly if necessary, until EZ Chord recording is selected. (“EZ” appears in the display and the “RECORD” indication flashes for a couple of seconds.)

2 Select the desired point from which chords will

be cleared.

Use the +/- buttons. All chords following the selected point will be erased.

3 Call up the EZ Chord Clear function.

Wait for a couple of seconds until the “RECORD” indication stops flashing and “EZ” appears in the display. Then, hold down the “0” button until the “Clear?” prompt appears.

STYLE

YES

RECORD

ACMP ON

Clear?

4 Execute the Clear function.

At the “Clear?” prompt, press the + button (“YES”) to actually clear the bank, or press the - button to cancel.

5 Continue recording, or exit the Record mode.

Operation returns to EZ Chord Record, letting you record a new bank of chords. To exit, simply press the RECORD button.

Erasing a Single Chord

To erase (clear) a single recorded chord in an EZ Chord bank:

1) Enable the EZ Chord Record mode. Press the RECORD button, repeatedly if necessary, until EZ Chord recording is selected.

2) Select the desired point at which the chord will be cleared. Use the +/- buttons.

3) Execute the Clear function. Press the C6 key (highest key on the keyboard) to actually clear the chord data.

Page 72

ONE TOUCH SETTING (OTS)

One Touch Setting is a powerful and convenient Style mode function that lets you instantly reconfigure virtually all settings of the PortaTone — with the touch of a single button. Two types of One Touch Settings are available: User and Preset.

ONE TOUCH SETTING — USER

Four User banks each with four different settings — a total of sixteen — are available for your custom settings. Each of the sixteen User One Touch Settings can have different settings for the following parameters:

• Main voice number

• All Main voice settings (Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Dual voice number

• All Dual voice settings (On/Off, Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Split voice number

• All Split voice settings (On/Off, Split Point, Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Reverb Type and On/Off

• Chorus Type and On/Off

• DSP Type and On/Off

• Harmony Type, On/Off, and Volume

• Style number, and style-related settings: Accompaniment On/Off, Section (Main A or B), and Accompaniment Split Point

• Overall menu settings: Tempo, Transpose, Tuning, and Accompaniment Volume

• Footswitch assignment

• Touch Sensitivity setting

Recording a User One Touch Setting

1 Make all desired settings for the PortaTone.

Virtually all PortaTone settings can be saved to a User button. Refer to the list above for details.

2 Select the OTS Record mode.

Press the RECORD button, repeatedly if necessary, until “OTS User” appears at the top of the display.

RECORD indication flashes briefly.

STYLE

ACMP ON

RECORD

OTS User

3 Select the desired bank.

Use the +/- buttons or the numeric keypad to select the desired User bank number (1 - 4).

STYLE

RECORD

OTS User

Page 73

4 Select the desired User number.

Press the corresponding USER ONE TOUCH SETTING button (1 - 4). Doing this records the settings to the selected button.

Briefly appears to

MEASURE

001

116

TEMPO

indicate that settings have been saved to OTS User button 1.

5 Exit from the Record mode.

Press the RECORD button.

ONE TOUCH SETTING (OTS)

Recalling a User One Touch Setting

Once you’ve recorded your settings to a User button, you can instantly recall those settings any time you want.

1 Call up the Style mode.

Press the STYLE button.

2 Press the appropriate ONE TOUCH SETTING

USER button.

Press the USER button (1 - 4) corresponding to the desired settings.

MEASURE

001

116

TEMPO

Briefly appears to indicate that OTS User 1 is active.

Selecting a User Bank

Before selecting a User One Touch Setting (in step #2), you may want to select a different bank. To do this:

1) Select Function #41. (Press the FUNCTION button, then use the +/- buttons or the numeric keypad

to select #41.)

2) After the “FUNCTION“ indication stops flashing, select the desired bank number with the +/-

buttons or the numeric keypad.

Page 74

ONE TOUCH SETTING (OTS)

ONE TOUCH SETTING — PRESET

Preset One Touch Settings are used in a slightly different way than the User settings. First, select a style, then select a Preset OTS. The Preset A and B settings have been specially programmed at the factory to match the selected style. This means that you can select the style you want, then choose a Preset that has the best suited voice, effect, and other settings for that style.

• Main voice number

• All Main voice settings (Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Dual voice number

• All Dual voice settings (On/Off, Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Split voice number

• All Split voice settings (Volume, Octave, Pan, Reverb Level, Chorus Level, and DSP Level)

• Reverb Type and On/Off

• Chorus Type and On/Off

• DSP Type and On/Off

• Harmony Type, On/Off, and Volume

• Style-related settings: Accompaniment On/Off, Section (Main A or B), and Accompaniment Split Point

Selecting a Preset One Touch Setting

1 Select a style.

Select one of the styles, as described in steps 1 - 2 on page 47.

2 Press the appropriate ONE TOUCH SETTING

PRESET button.

Press the PRESET button (A, B) corresponding to the desired settings.

Briefly appears to

MEASURE

001

116

TEMPO

indicate that OTS Preset A is active.

3 Play the accompaniment.

Since both Sync-Start and auto accompaniment are automatically set to On when One Touch Setting is on, playing a key or chord in the auto accompaniment section of the keyboard starts the accompaniment.

Page 75

SELECTING AND PLAYING SONGS — THE SONG MODE

The Song mode features six songs — three demo songs that have been created using the rich and dynamic sounds of the PortaTone, and three User songs to which you can record your own performance.

The demo songs are generally for your listening enjoyment; however, you can also play along with them on the keyboard.

The User songs are “empty” and cannot be played until something has been recorded to them. (For instructions on recording your own songs, see page 79.)

Song Playback Display

When playing User songs using accompaniment, these display the notes and name of the current chord.

Current measure number

SONG

003

Rockin'

MEASURE TEMPO

008 205

1 62 3 4 5

Indicates the tracks currently playing back. (These can be alternately muted and sounded during playback by pressing the corresponding SONG MEMORY buttons.)

SELECTING AND PLAYING A SONG

1 Select the Song mode.

Press the SONG button.

“Level meters” show performance data recorded to each track.

Indicates Song mode is selected

SONG

003

Rockin'

Song name and number

Page 76

SELECTING AN D PLAYING SONGS — TH E SONG MODE

2 Select the desired song number.

Use the numeric keypad.

Song numbers can be selected in the same way as with the voices (see page 28). You can use the numeric keypad to directly enter the song number, use the +/- keys to step up and down through the songs, or press the SONG button to advance through the song numbers.

3 Start the selected song.

Press the START/STOP button. As the song plays back, the measure number and chords are shown in the display.

4 If you want to change to another song, repeat step

2 above.

5 Stop the song.

Press the START/STOP button. If playback was started by pressing the START/STOP button, the selected song stops automatically.

CHANGING THE TEMPO

• You can play along with the song using the currently selected voice, or even select a different voice for playing along. Simply call up the Voice mode while the song is playing back and select the desired voice.

• This function can also be controlled by using a connected footswitch. (See page 91.)

The tempo of song (and style) playback can be adjusted over a range of 32

- 280 bpm (beats per minute).

1 Select the Tempo function in the Overall menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “Tempo” appears in the display.

Indicates Tempo is selected

TEMPO

SONG

Current Tempo value

205

Tempo

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SELECTING AN D PLAYING SONGS — TH E SONG MODE

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Tempo value. Holding down either button continuously increases or decreases the value.

Increases Tempo value

Decreases Tempo value

Restoring the Default Tempo Value Each song and style has been given a default or standard tempo. If you’ve changed the tempo, you can restore the original default setting by pressing both OVERALL +/- buttons simultaneously (when Tempo is selected in the Overall menu).

Also, the tempo of a song or style returns to the default setting when selecting a different song or style. (The set tempo remains, however, when switching styles during playback.) When you turn on the power of the PortaTone, the tempo is automatically set to 116 bpm.

ABOUT THE BEAT DISPLAY

This section of the display provides a convenient, easy-to-understand indication of the rhythm for song and style playback. The dark bars below the name section in the display flash in time with the beat. The first dark bar indicates the first beat of the measure, and the other bars flash in sequence to indicate subsequent beats.

SONG

003

Rockin'

Fourth beat

Third beat

Second beat

First beat of measure

Page 78

SELECTING AN D PLAYING SONGS — TH E SONG MODE

ADJUSTING THE SONG VOLUME

The playback volume of the song can be adjusted. This volume control affects only the song volume. The volume range is 000 - 127.

1 Select the Song Volume function in the Overall

menu.

Press one of the OVERALL ▲/▼ buttons, repeatedly if necessary, until “SongVol” appears in the display.

Indicates Song Volume is selected

ACMP/SONG

VOLUME

SONG

MEASURE TEMP O

001 205

1 62 3 4 5

Current Song Volume value

100

SongVol

2 Change the value.

Use the OVERALL +/- buttons to increase or decrease the Song Volume value. Holding down either button continuously increases or decreases the value.

Increases Song Volume value

Decreases Song Volume value

Song Volume cannot be changed unless the Song mode is active. (This function becomes Accompaniment Volume when the Style mode is active.)

Restoring the Default Value To restore the default Song Volume value (100), press both OVERALL +/buttons simultaneously (when Song Volume is selected in the Overall menu).

Page 79

SONG RECORDING

The PortaTone features powerful and easy-to-use song recording features that let you record your keyboard performances — using up to six separate tracks — and create your own complete, fully orchestrated compositions. Up to three User songs can be recorded and saved. There are two record modes: Realtime and Step.

STYLE

RECORD

001 116

TEMPO

STYLE

MEASURE TEMPO

STYLE

RealTime

004

RECORD

001 116

OTS User

RECORD

TEMPO

001 116

STYLE

004

RECORD

MEASURE TEMPO

001 116

Realtime recording is similar to using a tape recorder; whatever you play on the keyboard is recorded in real time as you play it. Also, when you record subsequent parts to other tracks, you can hear the previously recorded parts as you record new ones.

Step recording allows you to enter notes individually. As such, it is very similar to writing down the notes on a sheet of music paper; each note is entered one at a time.

Each method has its own advantages and uses. Step recording is excellent for precision and for entering notes whose placement, rhythmic value, and velocity are fixed or consistent — such as individual drum parts in a rhythm pattern, or single notes in a syncopated bass part. It also gives you precise control in recording fast or complex passages that would be difficult or impossible to record in real time. Realtime

Step

Each press of the RECORD button cycles through the four Record modes — Realtime, Step, OTS, and EZ Chord — before exiting back to normal operation. (The OTS and EZ Chord modes are unrelated to Song recording; they are described on pages 72 and 68, respectively.)

recording on the other hand, is best for capturing the natural “feel” of a performance, since it allows you to record as you are playing and simultaneously hear what you are recording.

Which method you use depends partly on the type of music you wish to create and partly on your own personal preference. You can even use both methods in tandem. For example, you could record a basic song guide to track 1 with Realtime, then use Step to record your “precision” parts to other tracks (and perhaps even rerecord track 1, once all the other parts are in place). Or you could program basic riffs and patterns with Step first, then use Realtime to add melodies and embellishments.

Keep in mind that all recording operations “replace” the data. In other words, if you record to a track that already has recorded data, all previous data in the track will be erased and replaced by the newly recorded data.

Page 80

SONG RECORDING

RECORDING A USER SONG — REALTIME RECORDING

In brief, the basic operation for recording is:

1) Make all desired PortaTone settings.

2) Select the Realtime Record mode.

3) Select a User song for recording.

4) Select a track number.

5) Start recording.

6) Stop recording.

7) Listen to your new recording.

8) Record to other tracks as desired.

9) Exit from the Record mode.

Data that can be recorded to the normal (melody) tracks:

• Note on/off

• Velocity

• Main voice settings (Voice Number*, Volume*, Octave, Pan*, Reverb Send Level, Chorus Send Level, DSP Send Level)

• Dual voice settings (Dual on/off, Voice Number*, Volume*, Octave, Pan*, Reverb Send Level, Chorus Send Level, DSP Send Level)

• Reverb on/off, Reverb Type*

• Chorus on/off, Chorus Type*

• DSP on/off, DSP Type*

• Harmony on/off, Harmony Type

• Sustain on/off

• Tempo*, Time Signature* (if there is no such data in the Chord track)

Data that can be recorded to the Chord track:

• Style number*

• Chord changes and timing

• Changing sections (Intro, Main A/B, etc.)

• Accompaniment Volume*

• Tempo*, Time Signature*

* These settings can only be recorded once at the beginning of a song; other settings can be changed in the middle of a song.

1 Make all desired PortaTone settings.

Before you actually start recording, you’ll need to make various settings for the song — such as selecting a style, setting the Tempo, and selecting a voice. (See pages 47, 76, and 27.)

Selecting a style lets you use the sophisticated auto accompaniment features as part of your song. In this way, you can simply play the chords, and the PortaTone automatically creates the appropriate bass and chord backing. (For more information on auto accompaniment, see page 52.)

If desired, also make other settings. Refer to the list above for settings that can be recorded to a song.

Page 81

Using the Metronome

You can use the Metronome instead of a style if desired. This allows you to keep your performance “in time,” even when recording without rhythmic accompaniment. To do this, press the METRONOME button before recording in step #5 below. After the song is completely recorded, simply play back the song with the Metronome turned off.

SONG RECORDING

2 Select the Realtime Record mode.

Press the RECORD button, repeatedly if necessary, until “RealTime” appears at the top of the display.

RECORD indication flashes briefly, then stays lit to indicate record standby.

STYLE

MEASURE TEMPO

004

RECORD

001 116

RealTime

3 Select a User song for recording.

Use the numeric keypad to select the desired song: User 1 (004), User 2 (005), or User 3 (006).

User song numbers can be selected in the same way as with the voices (see page 28). You can use the numeric keypad to directly enter the song number, use the +/- keys to step up and down through the songs, or press the SONG button to advance through the song numbers.

Realtime and Step recording methods can be mixed in the same song, but not the same track.

4 Select a track number.

Press the SONG MEMORY button corresponding to the desired track. (This step is optional; the PortaTone automatically selects the first available track. When there is no song data, track 1 is automatically selected.)

Page 82

SONG RECORDING

RECORD

SONG

Recording to the Chord Track

A special Chord track is provided for recording accompaniment data. This is automatically recorded to the Chord track (track 6). To select the Chord track and turn on the accompaniment, press the ACMP ON/OFF button.

ACMP ON

MEASURE TEMPO

001 116

CHORD

You can also simultaneously record one of the melody tracks (1 - 5) and the Chord track (6).

5 Start recording.

When the “RECORD“ indication stops flashing and the beat bars and track number start flashing, you can start recording simply by playing the keyboard (or by pressing the START/STOP button).

If accompaniment has already been turned on before entering the Record mode, the Chord track is automatically selected.

This function can also be controlled by using a connected footswitch. (See page 91.)

RECORD

ACMP ON

MEASURE TEMPO

001 116

CHORD

Indicates Record standby. Flashing beat bars indicate Sync-Start is on.

If you want to rehearse your part before recording, press the SYNC-START button to turn Sync-Start off. After rehearsing, press SYNC-START again to return to the above condition.

When recording the Chord track

With Sync-Start on, play the first chord of the song in the auto accompaniment section of the keyboard. The accompaniment starts automatically and you can continue recording, playing other chords in time with the accompaniment.

If you wish to cancel recording at this point, press the RECORD button again.

6 Stop recording.

After you’ve finished playing the part, press the START/STOP button.

Page 83

7 Listen to your new recording.

To play back the song from the beginning, simply press the START/STOP button again. Playback stops automatically at the end of the song, or when the START/STOP button is pressed again.

8 Record to other tracks as desired.

To do this, simply repeat steps #4 - #7 above. Make sure that when you press the SONG MEMORY button corresponding to the desired track, the track number in the display flashes.

9 Exit from the Record mode.

Press the RECORD button.

SONG RECORDING

■ Additional Operations

Muting Tracks During Playback

While recording is enabled, you can selectively mute different tracks. This is useful for when you want to clearly hear certain tracks, and not others, during recording. Muting can also be done “on the fly” during playback. To use muting, press the corresponding SONG MEMORY button, repeatedly if necessary, until the desired track number in the display is off.

Each press of a SONG MEMORY button (when playback is stopped) cycles through the following settings:

MEASURE TEMPO

001 116

1 CHORD

Track number off — Track is muted.

Track number on — Track will play back.

Re-recording a Track

If you’ve made a mistake and wish to record a track over again:

Press the corresponding SONG MEMORY button, repeatedly if necessary, until the desired track number in the display flashes (indicating record standby for that track). Since doing this turns Sync-Start off, press the SYNC-START button to turn Sync-Start on again, then start recording (as explained in step #5 above). Alternately, simply press the START/STOP button to start recording.

Clearing a Single Track

If you wish to erase a single track without clearing the entire song (in the Song Clear operation, page 90):

1) Press the RECORD button.

2) Select the desired track (with the corresponding SONG MEMORY button).

3) Press the START/STOP button once to start recording, and once again to stop (without playing any keys).

This erases previous data, and creates a blank track.

Track number flashes — Track will record.* * Cannot be selected during playback.

Page 84

SONG RECORDING

RECORDING A USER SONG — STEP RECORDING

The basic steps for Step recording are similar to those for Realtime recording. In brief, the basic operation is:

1) Make all desired PortaTone settings.

2) Select the Step Record mode.

3) Select a User song for recording.

4) Select a track number.

5) Start recording. Enter notes and rests individually, playing back the song occasionally to hear

the results.

6) Listen to your new recording.

7) Record to other tracks as desired.

8) Exit from the Record mode.

Data that can be recorded to the normal (melody) tracks:

• Note on/off

• Velocity**

• Main voice settings (Voice Number*, Volume*, Octave, Pan*, Reverb Send Level*, Chorus Send Level*, DSP Send Level*)

• Dual voice settings (Dual on/off, Voice Number*, Volume*, Octave, Pan*, Reverb Send Level*, Chorus Send Level*, DSP Send Level*)

• Reverb on/off, Reverb Type*

• Chorus on/off, Chorus Type*

• DSP on/off, DSP Type*

• Tempo*, Time Signature* (if there is no such data in the Chord track)

Data that can be recorded to the Chord track:

• Style number*

• Chord changes and timing

• Changing sections (Intro, Main A/B, etc.)

• Accompaniment Volume*

• Tempo*, Time Signature*

* These settings can only be recorded once at the beginning of a song; other settings can be changed in the middle of a song. ** All notes are entered at the same velocity; however, this can be changed in various ways with the Velocity Curve function (page 89).

1 Make all desired PortaTone settings.

This operation is the same as that of Realtime recording (page 80).

2 Select the Step Record mode.

Press the RECORD button, repeatedly if necessary, until “Step” appears at the top of the display.

STYLE

004

RECORD

Step

RECORD indication flashes briefly, then stays lit to indicate record standby.

Realtime and Step recording methods can be mixed in the same song, but not the same track.

MEASURE

001

116

TEMPO

Page 85

3 Select a User song for recording.

RECORD

This operation is the same as that of Realtime recording (page 81).

4 Select a track number.

Press the SONG MEMORY button corresponding to the desired track.

Recording to the Chord Track

ACMP ON

SONG RECORDING

Unlike Realtime Recording, Step Recording only allows you to record one track at a time; the Chord track cannot be recorded simultaneously with another track.

MEASURE

001

101-

CHORD

5 Start recording.

When the RECORD indication stops flashing and the track number starts flashing, you can start recording. Record each note (or chord) and rest individually, as described below:

Recording Notes

1) Select the desired position in the song (measure/beat) with the +/- buttons. (Each press of the button moves one beat forward or backward.)

2) Play the desired key or keys. (The note name is shown at the top of display.) When recording chords to the Chord track, make sure the accompaniment is on, then play the desired chord in the accompaniment section of the keyboard.

More than one note can be recorded at a time; however, only the last pressed note appears in the display.

Page 86

SONG RECORDING

3) Select the note (time) value with the numeric keypad. (The note value is shown as an icon in the display.)

For example, play middle C (C3), then press the “4” button (1/8 note).

Note name

001 201

004

RECORD

Beat number

SONG

MEASURE

Measure number Clicks

Note value

Beat bars

q(96 Clicks) q(96 Clicks) q(96 Clicks) q(96 Clicks)

Beat Beat Beat Beat

Measure (384 Clicks)

The beat bars also indicate the current recording position (as the beat of the measure).

The note is automatically entered and Step recording moves to the next available position. For example, if a whole note is entered at the beginning of measure 1, the next position is the beginning of measure 2.

As mentioned above, you can use the +/- keys to move backward and forward in the track. When material has been recorded, this steps through and sounds each note in succession.

Page 87

■ Additional Operations

RECORD

Recording Chords and Sections to the Chord Track:

1) Play a chord in the accompaniment section of the keyboard. (“Chord“

and the chord name appears in the display.)

SONG RECORDING

• The Intro section can only be recorded at the beginning of a song.

ACMP ON

Chords can be entered manually (with the Dictionary function), or played with Multi Fingering. (See page 62, 56.)

2) Select a section by pressing the corresponding button. When selecting an Intro or Ending section, the length is fixed, and need not be entered in step 3 below.

3) Select the note (time) value with the numeric keypad.

Recording Triplets and Dotted Notes:

1) At the desired position, press the corresponding numeric keypad

button (“7” for dotted or “9” for triplets).

2) Press the numeric keypad button for the desired note value.

Dotted note

Triplet

• When an Ending section is selected, no further notes can be recorded.

Triplets are three notes within a single beat — in other words, one beat is divided up into three equal units. Each note (or rest) of a triplet must be entered separately.

Two eighth notes (within a quarter-note beat).

Three eighth-note triplets (within a quarter-note beat).

Dotted notes extend the length of a note by half — in other words, the length of a dotted eighth note is an eighth note plus a sixteenth note.

Recording Rests:

1) Select the desired position in the song with the +/- buttons.

2) Press the “8” (rest) button in the numeric keypad.

3) If you want to record a dotted rest or triplet rest, press the appropriate

numeric keypad button (“7” for dotted or “9” for triplets).

4) Press the numeric keypad button (1 - 6) corresponding to the desired rest value. (The specified rest value appears as an icon in the display.)

MEASURE

001 201

5) After recording the desired rest value(s), record the next note.

Rest value icon (eighth-note rest)

If you want to enter two or more consecutive beats of rest, you can simply use the + button to move forward in the track (for as many beats rest as desired). This saves you the trouble of repeatedly entering rests when there are several beats or measures of silence between notes.

Page 88

SONG RECORDING

6 Listen to your new recording.

You can listen to the entire step recorded track at any time by pressing the START/STOP button. The track you are working on plays back (until stopped), and returns to Step recording at the next position.

Keep in mind that this only plays the selected track. To hear all tracks of the song, exit from Step Rec (press the RECORD button), then press the START/STOP button to start song playback.

7 Record to other tracks as desired.

To do this, simply repeat steps #4 - #6 above. Make sure that when you press the SONG MEMORY button corresponding to the desired track, the track number in the display flashes.

8 Exit from the Record mode.

This operation is the same as step #9 of Realtime recording (page 83).

Replacing a Note or Rest

If you want to change a note or rest you’ve just recorded, you can easily replace it with a new one. To do this:

1) Select the desired position in the song with the +/- buttons.

2) Press the new note on the keyboard (or the appropriate rest value

button on the numeric keypad).

3) Enter the new note value on the numeric keypad. (Enter dotted note or triplet first, if desired.)

4) At the “Delete?” prompt press the + button. To cancel, press the button.

This operation deletes all previously recorded notes that follow the note to be replaced. Make sure you wish to delete any subsequent notes before actually replacing the selected note or rest.

Page 89

SONG RECORDING

Entering Velocity Curves

In Step recording, all notes are recorded at the same velocity or volume. To make a Step-recorded track sound more natural or to create some dynamic changes in the track, use the Velocity Curve function.

1) Select the first note to be affected by the Velocity Curve (by using the +/- buttons of the numeric keypad). All subsequent notes will be velocity-transformed.

2) Simultaneously hold down the VELOCITY button (“0” in the numeric keypad) and press + or to select the desired Velocity Curve.

MEASURE

001 201

Selected Velocity Curve appears as icon in the display.

3) At the “Change?” prompt, press the + button (“YES”) to actually enter the selected Velocity Curve, or press the - button to cancel the operation.

Velocity Curve Chart

Display Type/Description

Mezzoforte

This sets all subsequent notes to a velocity value of 80.

Forte

This sets all subsequent notes to a velocity value of 100.

Fortissimo

This sets all subsequent notes to a velocity value of 120.

Mezzopiano

This sets all subsequent notes to a velocity value of 60.

Piano

This sets all subsequent notes to a velocity value of 40.

Pianissimo

This sets all subsequent notes to a velocity value of 20.

Crescendo 1

This creates a two-measure crescendo, starting with the current velocity at the selected note and ending with a velocity increase of 40.

Crescendo 2

This creates a two-measure crescendo, starting with the current velocity at the selected note and ending with a velocity increase of 20.

Crescendo 3

This creates a two-measure crescendo, starting with the current velocity at the selected note and ending with a velocity increase of 10.

You can specify a Velocity Curve in the middle of a track BEFORE recording the notes that the curve will affect. To do this, select the last note of the track (by using the +/- buttons), then enter the desired Velocity Curve. In this case, the Velocity Curve is NOT applied to that last note, but affects all subsequently entered notes.

Display Type/Description

Diminuendo 1

This creates a two-measure diminuendo, starting with the current velocity at the selected note and ending with a velocity decrease of 40.

Diminuendo 2

This creates a two-measure diminuendo, starting with the current velocity at the selected note and ending with a velocity decrease of 20.

Diminuendo 3

This creates a two-measure diminuendo, starting with the current velocity at the selected note and ending with a velocity decrease of 10.

Accent 1

This increases the velocity of notes at the top (1st beat) of all measures by 30. (Display icon represents two measures.)

Accent 2

This increases the velocity of notes at the top and halfway points of all measures by 30. (Display icon represents two measures.)

Triangle wave

This alternately and gradually increases and decreases the velocity by 30 in the pattern of a triangle wave. The wave repeats every two measures throughout the track. (Display icon represents two measures.)

Square wave

This alternately and abruptly increases and decreases the velocity by 30 in the pattern of a square wave. The wave repeats every two measures throughout the track. (Display icon represents two measures.)

Page 90

SONG RECORDING

CLEARING A SONG

The Song Clear operation (of the Function parameters) completely erases all recorded data on all tracks of a selected User song. Use this operation only when you’re sure you want to erase a song and record a new one.

1 Select the Function mode.

Press the FUNCTION button.

STYLE

FUNCTION

Flashes to indicate Function parameter can be selected.

F61

USng1Clr

2 Select the Function parameter (61 - 63) correspond-

ing to the song you wish to clear.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the desired Function parameter number:

• 61 — Clear song #1 (“F61 USng1Clr”)

• 62 — Clear song #2 (“F62 USng2Clr”)

• 63 — Clear song #3 (“F63 USng3Clr”)

3 Start the Song Clear operation.

After the “FUNCTION” indication stops flashing and the “Clr?” prompt appears, press the + button to start the Song Clear operation.

STYLE

FUNCTION

YES

#1 Clr?

These parameter numbers can be selected in the same way as with the voices (see page 28). You can use the numeric keypad to directly enter the number, use the +/- keys to step up and down through the parameters, or press the FUNCTION button to advance through the parameter numbers.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

4 At the “Sure?” prompt, clear the selected song.

Press + to actually clear the corresponding song, or press - to cancel the operation and return to step 3.

STYLE

FUNCTION

To exit from the Song Clear operation, press one of the other mode buttons: SONG, STYLE, or VOICE.

YES

Sure?

Page 91

FOOTSWITCH

The PortaTone has a footswitch feature that can be used to control a variety of functions and operations. By using your foot to conveniently control these functions, you free your hands to concentrate on your performance.

Normally, this is used as a damper pedal, producing pedal-controlled sustain for piano and other instrument sounds that have a natural decay. It can also be assigned to any of these eleven other functions:

• EZ Chord increment

• START/STOP

• INTRO/ENDING

• MAIN A

• MAIN B

• Harmony On/Off

• Dual On/Off

• Split On/Off

• Reverb On/Off

• Chorus On/Off

• DSP On/Off

1 Call up the Function mode.

Press the FUNCTION button.

2 Select the Footswitch Assign parameter.

While the “FUNCTION” indication is flashing, use the numeric keypad to select Footswitch Assign (#71).

Function parameter numbers can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

STYLE

FUNCTION

F71

FootSw

3 Select the desired footswitch function.

After the “FUNCTION” indication stops flashing, use the numeric keypad to change the setting. (See the “Footswitch Assign Functions” list below for details.)

STYLE

FUNCTION

Sustain

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting (Sustain) by pressing both +/- buttons simultaneously.

Page 92

FOOTSWITCH

Footswitch Assign Functions

Function Name Display Name

Sustain Sustain

EZ Chord Increment EZChdInc

Start/Stop StartStp

Intro/Ending IntroEnd

Main A Main A

Main B Main B

Harmony On/Off Harmony

Dual On/Off Dual

Split On/Off Split

Reverb On/Off Reverb

Chorus On/Off Chorus

DSP On/Off Dsp

Description

Damper pedal or sustain operation. Pressing the footswitch applies a natural sustain to the keyboard-played voice.

When using EZ Chord (page 66), this provides the same function as pressing a key in the accompaniment section of the keyboard. Each press of the footswitch advances to and plays the next EZ Chord entry. When accompaniment is playing back, simply press and release the footswitch; when accompaniment playback is off, hold down the footswitch to keep playing the chord.

This does not disable the accompaniment section of the keyboard; either the footswitch or the keyboard can be used for EZ Chord increment when this is selected.

When the Song mode or Style mode is active, this provides the same function as the START/STOP button (see pages 48). Each press of the footswitch alternately starts and stops song or accompaniment playback.

When the Style mode is active, this provides the same function as the INTRO/ENDING button (see page 49). Pressing the footswitch twice while the accompaniment is playing back causes the Ending section to gradually slow down (page 51).

When the Style mode is active, this provides the same function as the MAIN A (AUTO FILL) button (see page 54).

When the Style mode is active, this provides the same function as the MAIN B (AUTO FILL) button (see page 54).

When the Style mode is active, this provides the same function as the HARMONY button (and the Harmony On/Off parameter, #37). (See page 43.)

This provides the same function as the DUAL button (and the Dual On/ Off parameter, #18). (See page 34.)

This provides the same function as the Split On/Off parameter, #28. (See page 36.)

This provides the same function as the REVERB button (and the Reverb On/Off parameter, #31). (See page 40.)

This provides the same function as the Chorus On/Off parameter, #33. (See page 41.)

This provides the same function as the DSP On/Off parameter, #35. (See page 42.)

4 Exit the Function mode.

Once you’ve made the desired setting, press one of the other mode buttons (SONG, STYLE, or VOICE).

Page 93

MIDI FUNCTIONS

The PortaTone is MIDI-compatible, featuring MIDI IN and MIDI OUT terminals and providing a variety of MIDI-related controls. By using the MIDI functions you can expand your musical possibilities. This section explains what MIDI is, and what it can do, as well as how you can use MIDI on your PSR-225.

The MIDI functions cannot be used in the Song mode.

WHAT IS MIDI?

No doubt you have heard the terms “acoustic instrument” and “digital instrument.” In the world today, these are the two main categories of instruments. Let’s consider an acoustic piano and a classical guitar as representative acoustic instruments. They are easy to understand. With the piano, you strike a key, and a hammer inside hits some strings and plays a note. With the guitar, you directly pluck a string and the note sounds. But how does a digital instrument go about playing a note?

Acoustic guitar note production Digital instrument note production

Tone Generator

(Electronic circuit)

Playing the keyboard

Sampling

Note

Pluck a string and the body resonates the sound.

Sampling

Note

Based on playing information from the keyboard, a sampling note stored in the tone generator is played through the speakers.

As shown in the illustration above, in an electronic instrument the sampling note (previously recorded note) stored in the tone generator section (electronic circuit) is played based on information received from the keyboard. So then what is the information from the keyboard that becomes the basis for note production?

For example, let’s say you play a “C” quarter note using the grand piano sound on the PSR-225 keyboard. Unlike an acoustic instrument that puts out a resonated note, the electronic instrument puts out information from the keyboard such as “with what voice,” “with which key,” “about how strong,” “when was it pressed,” and “when was it released.” Then each piece of information is changed into a number value and sent to the tone generator. Using these numbers as a basis, the tone generator plays the stored sampling note.

Example of Keyboard Information

Voice number (with what voice) 01 (grand piano)

Note number (with which key) 60 (C3)

Note on (when was it pressed) and Timing expressed numerically (quarter note) note off (when was it released)

Velocity (about how strong) 120 (strong)

Page 94

MIDI FUNCTIONS

MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. The PSR-225 can control a MIDI device by transmitting note related data and various types of controller data. The PSR-225 can be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI channels, voices and effects, change parameter values and of course play the voices specified for the various parts.

MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which the PSR-225 can receive/transmit.

● Channel Messages

The PSR-225 is an electronic instrument that can handle 16 channels. This is usually expressed as “it can play 16 instruments at the same time.” Channel messages transmit information such as Note ON/ OFF, Program Change, for each of the 16 channels.

Message Name PSR-225 Operation/Panel Setting

Note ON/OFF Messages which are generated when the keyboard is played.

Program Change Voice number (along with corresponding bank select MSB/LSB

Control Change Messages that are used to change some aspect of the sound

Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is stuck.

settings, if necessary).

(modulation, volume, pan, etc.).

● System Messages

This is data that is used in common by the entire MIDI system. System messages include messages like Exclusive Messages that transmit data unique to each instrument manufacturer and Realtime Messages that control the MIDI device.

Message Name PSR-225 Operation/Panel Setting

Exclusive Message Reverb/chorus/DSP settings, etc.

Realtime Messages Clock setting

The messages transmitted/received by the PSR-225 are shown in the MIDI Implementation Chart on page 114.

Start/stop operation

MIDI Terminals

In order to exchange MIDI data between multiple devices, each device must be connected by a cable. The MIDI terminals of the PSR-225 are located on the rear panel.

MIDI IN ...........Receives MIDI data from another MIDI device.

MIDI OUT ....... Transmits the PSR-225’s keyboard information as

MIDI data to another MIDI device.

MIDI

IN OUT

• Special MIDI cables (sold separately) must be used for connecting to MIDI devices. They can be bought at music stores, etc.

• Never use MIDI cables longer than about 15 meters. Cables longer than this can pick up noise which can cause data errors.

Page 95

CONNECTING TO A PERSONAL COMPUTER

By connecting your PSR-225’s MIDI terminals to a personal computer, you can have access to a wide variety of music software.

When using a MIDI interface device installed in the personal computer, connect the MIDI terminals of the personal computer and the PSR-225.

Use only special MIDI cables when connecting MIDI devices.

● Connect the MIDI terminals of the PSR-225 to the MIDI terminals of the personal computer.

MIDI FUNCTIONS

MIDI INMIDI OUT

MIDI OUTMIDI IN

Computer

(sequencer software)

PSR-225

● When using a MIDI interface with a Macintosh series computer, connect the RS-422 terminal of the computer (modem or printer terminal) to the MIDI interface, as shown in the diagram below.

MIDI

interface

RS-422

Computer

(sequencer software)

MIDI IN

MIDI OUT

PSR-225

When using a Macintosh series computer, set the MIDI interface clock setting in the application software to match the setting of the MIDI interface you are using. For details, carefully read the owner’s manual for the software you are using.

Page 96

MIDI FUNCTIONS

FUNCTION PARAMETERS — MIDI

The Function parameters provide additional, more detailed MIDI settings for the PortaTone. These settings include:

• Remote Channel

• Keyboard Out

• Accompaniment Out

• Local Control

• External Clock

• Bulk Dump Send

• Initial Setup Send

1 Call up the Function mode.

Press the FUNCTION button.

2 Select the desired Function parameter.

While the “FUNCTION” indication is flashing, use the numeric keypad to select the desired MIDI Function parameter number (81 - 87). (See the “Parameters” list below for details.)

Function parameter numbers can be selected in the same way as with the voices (see page 28) — with the numeric keypad, +/- keys, or the FUNCTION button.

Since the “FUNCTION” indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.

STYLE

FUNCTION

F81

RemoteCh

3 Change the parameter setting or value.

After the “FUNCTION” indication stops flashing, use the numeric keypad to change the value or setting.

Restoring the Default Value If you’ve changed the parameter setting, you can instantly restore the default setting by pressing both +/- buttons simultaneously.

4 Set other parameters as needed.

To select and set other parameters, repeat steps 1 - 3 above.

5 Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).

The MIDI settings below are saved even when the power is turned off. However, MIDI settings are NOT included in the data saved to the User banks in the One Touch Setting feature (page 72).

Page 97

Function Parameters

No. Parameter Name Display Name Range/Settings

81 Remote Channel RemoteCh off, 01 - 16

This determines how the PortaTone is controlled by a “remote” (external) MIDI keyboard.

Set this to one of the 16 channels (01 - 16) for using an external keyboard to remotely control the PortaTone functions over the selected channel. (The remaining 15 channels can be used for multitimbral operation.) When this is set to “off,” the PortaTone can be used as a full 16-channel multi-timbral sound source. The default setting is “off.”

82 Keyboard Out KbdOut on/off

This determines whether the keyboard performance data of the PortaTone is transmitted or not.

When this is set to “off,” notes played on the PortaTone will not affect (not be transmitted to) the connected MIDI device. When this is set to “on,” the following keyboard data is transmitted: Main voice part over channel 1, Split voice part over channel 2, and Dual voice part over channel 11. The default setting is “on.”

MIDI FUNCTIONS

If both Keyboard Out and Local Control (#84 below) are set to “off,” neither the connected MIDI device nor the PortaTone voices will sound when playing the keyboard.

83 Accompaniment Out AcmpOut on/off

This determines whether Auto Accompaniment data is transmitted via MIDI OUT or not.

When set to “on,” Auto Accompaniment data is transmitted over channels 3 - 10 (as listed below). The default setting is “on.”

Accompaniment Transmit Channels:

Channel 3 — Bass Channel 4 — Chord part 1 Channel 5 — Chord part 2 Channel 6 — Pad Channel 7 — Phrase part 1 Channel 8 — Phrase part 2 Channel 9 — Rhythm part 2 Channel 10 — Rhythm part 1

84 Local Control Local on/off

You can use Accompaniment Out in several ways. One useful application would be to play all or selected parts on a connected MIDI tone generator. In this way you could reinforce the PortaTone sounds by layering (or substituting) with the sounds of the tone generator. In a different application, you could record the individual parts from each channel to a sequencer, and use the comprehensive editing features of the sequencer to re-arrange the accompaniment parts.

This determines whether the keyboard is “connected” to the internal Voices of the PortaTone.

When set to “on,” the Voices respond to notes played from the keyboard. When set to “off,” the Voices respond only to incoming MIDI data (via MIDI IN). The default setting is “on.” If you are routing the MIDI OUT on the PortaTone to a sequencer and back to the MIDI IN, you may want to set this to “off” to avoid MIDI “feedback.”

Page 98

MIDI FUNCTIONS

No. Parameter Name Display Name Range/Settings

85 External Clock ExtClock on/off

This determines whether the style playback function is controlled by the PortaTone’s internal clock (off) or by MIDI clock data from an external sequencer or computer (on).

This should be set to “on” when you want to have style playback follow the external device (such as a rhythm machine or a sequencer). The default setting is “off.”

External Clock is automatically set to “off” when the Song mode is selected.

86 Bulk Dump Send BulkSend

This lets you save important PortaTone data and settings to another device (such as a sequencer, computer, or MIDI data filer).

The saved settings are: User One Touch Setting banks 1 - 4, User Songs 1 - 3, and EZ Chord banks 1 -

8), which you can then reload any time you need. For example, you can save data to floppy disk on a computer or a MIDI data filer (such as the Yamaha MDF3), and have unlimited storage capability for your valuable PortaTone data. (For detailed instructions, see the section “USING BULK DUMP SEND TO SAVE DATA” on page 99.)

87 Initial Setup Send InitSend

This function lets you transmit the initial setup settings of the PortaTone to a sequencer and record them as part of a song.

This ensures that when you playback the song, the PortaTone is instantly and automatically reconfigured to the proper settings for the song. (For detailed instructions, see the section “USING INITIAL SETUP SEND WITH A SEQUENCER” on page 102.)

Page 99

USING BULK DUMP SEND TO SAVE DATA

Saving Bulk Data

1 First, set up the connected MIDI device for re-

cording the data.

The actual procedure may differ depending on your particular equipment and software. For example, if you are using the Yamaha MDF3 MIDI Data Filer:

1) Make the appropriate MIDI connections.

MIDI FUNCTIONS

PSR-225

2) Set up the MDF3 for recording MIDI data. (Refer to the MDF3 Owner’s Manual.)

MIDI INMIDI OUT

MDF3

2 On the PortaTone, select the Bulk Dump Send

function.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select parameter #86 (with the numeric keypad).

STYLE

FUNCTION

STYLE

FUNCTION

F86

YES

BulkSend

BulkSnd?

This function cannot be used in the Song mode or when the accompaniment is playing.

3 At the “BulkSnd?” prompt above, set the opera-

tion to standby.

Press the + button to start the Bulk Dump Send operation.

Page 100

MIDI FUNCTIONS

4 At the “Sure?” prompt, start sending the data.

Press the + button to actually start transmitting the data, or press the

- button to cancel the operation and return to step 3.

STYLE

FUNCTION

As the data is being sent, the display indicates the various stages of data transmission until the operation is complete:

STYLE

FUNCTION

STYLE

FUNCTION

STYLE

FUNCTION

YES

Sure?

Send:OTS

Send:Sng

Send:Chd

Indicates One Touch Setting User data is being sent.

Indicates User Song data is being sent.

Indicates EZ Chord data is being sent.

Bulk Dump Send can be cancelled in mid-operation by pressing the - button.

100

When the operation is completed, the following displays appear:

STYLE

FUNCTION

STYLE

FUNCTION

YES

End

BulkSnd?

5 Exit from the Bulk Dump Send operation.

To exit from Bulk Dump Send, press one of the other mode buttons: SONG, STYLE, or VOICE.

Yamaha PSR-225GM User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

PRECAUTIONS

Main Features

Contents

PANEL CONTROLS AND TERMINALS

Front Panel

Rear Panel

SETTING UP

POWER REQUIREMENTS

TURNING ON THE POWER

ACCESSORY JACKS

Step 1 Voices

Step 2 Auto Accompaniment

Step 3 Chord Guide

Step 4 Songs

Step 5 Function Parameters

Step 6 MIDI

PANEL DISPLAY INDICATIONS

Music Stand

PORTABLE GRAND

PLAYING THE PORTABLE GRAND

USING THE METRONOME

Setting the Metronome Time Signature

Adjusting the Metronome Volume

PLAYING VOICES — THE VOICE MODE

PLAYING A VOICE — MAIN VOICE

About Panel Voices and GM Voices

Drum Kit Voice Chart (voices 101 - 110)

Function Parameters — Main Voice

TRANSPOSE AND TUNING

Transpose

Tuning

PLAYING TWO VOICES — DUAL VOICE

Function Parameters — Dual Voice

PLAYING TWO VOICES — SPLIT VOICE

Function Parameters — Split Voice

ADDITIONAL VOICE FUNCTIONS — VOICE SET AND TOUCH SENSITIVITY

Function Parameters — Voice Set and Touch Sensitivity

EFFECTS

REVERB

CHORUS

HARMONY

Function Parameters — Effects

AUTO ACCOMPANIMENT — THE STYLE MODE

SELECTING A STYLE AND PLAYING THE ACCOMPANIMENT

ACCOMPANIMENT CONTROLS

USING THE AUTO ACCOMPANIMENT FEATURES

CHANGING THE TEMPO

ACCOMPANIMENT SECTIONS (MAIN A, MAIN B AND FILL-INS)

ADJUSTING THE ACCOMPANIMENT VOLUME

USING AUTO ACCOMPANIMENT — MULTI FINGERING

Single Finger Chords

Fingered Chords

SETTING THE ACCOMPANIMENT SPLIT POINT

Function Parameter — Accompaniment Split Point

WHAT IS A CHORD?

WRITING CHORD NAMES

The Intervals of the Scale

Other Chords

CHORD GUIDE

Dictionary

Smart

EZ Chord

EZ Chord — Playback

EZ Chord — Recording

Clearing an EZ Chord Bank

ONE TOUCH SETTING (OTS)

ONE TOUCH SETTING — USER

Recording a User One Touch Setting

Recalling a User One Touch Setting

Selecting a User Bank

ONE TOUCH SETTING — PRESET

Selecting a Preset One Touch Setting

SELECTING AND PLAYING SONGS — THE SONG MODE

SELECTING AND PLAYING A SONG

CHANGING THE TEMPO

ABOUT THE BEAT DISPLAY