Yamaha PSR-5700, PSR-5700E2 User Manual

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Page 1

OWNER’S MANUAL

Advanced Features

BEDIENUNGSANLEITUNG

Programmieranleitung

MODE D’EMPLOI

Fonctions avancées

MANUAL DE INSTRUCCIONES

Características avanzadas

Page 2

The PSR-5700 Advanced Features manual contains operating instructions for the instrument’s more complex and advanced features. If you are yet familiar with PSR-5700’s basic features and the way it works in general, we recommend that you go through the PSR-5700 Getting Started manual prior to attempting to use the features described in this manual.

Contents

The Sequencer .................................................................... 3

■ Recording ....................................................................... 3

■ Deleting Tracks ............................................................... 5

■ Playback ......................................................................... 6

■ Sequence Editing ........................................................... 7

E1 CONDITION/REC TYPE ............................................. 7

E2 VOLUME................................................................... 8

E3 TRACK COPY/MIX ..................................................... 9

E4 QUANTIZE .............................................................. 10

E5 DELETE ALL TRACKS ............................................. 11

E6 INSERT ALL TRACKS .............................................. 12

E7 ERASE ................................................................... 12

E8 REMOVE EVENT ..................................................... 13

E9 NOTE SHIFT ........................................................... 14

E10 SONG CLEAR ....................................................... 14

The Custom Accompaniment Programmer............... 15

■ Basic Programming Procedure ..................................... 15

■ Using a Custom Accompaniment ................................. 18

■ Custom Accompaniment Editing .................................. 19

1 CUSTOM ACCOMP. (Measure/Beat)............................ 19

2 VOLUME ................................................................... 19

3 FADER SELECT ........................................................ 20

4 NAME ....................................................................... 20

5 SAVE TO ACCOMP.................................................... 20

6 QUANTIZE ................................................................ 21

7 COPY ....................................................................... 22

8 REMOVE EVENT ....................................................... 23

9 CHANGE PATTERN ................................................... 23

• CREATING INTRO, FILL-IN, & ENDING PATTERNS ...... 24

• EXITING FROM THE CUSTOM ACCOMPANIMENT

MODE ....................................................................... 25

Other Functions ................................................................ 26

■ General Function Selection & Editing Procedure ......... 26

[F1] Custom Voice Edit ................................................... 27

■ Standard Voice Edit Functions

1 NAME ....................................................................... 27

2 COMMON ................................................................. 28

3 MODULATION ........................................................... 28

4 EG RATE .................................................................. 29

5 TONE ....................................................................... 30

■ Dual Voice Edit Functions (Voices 90 through 97) ........... 30

1 DUAL NAME.............................................................. 30

2 DUAL VOICE ............................................................. 31

3 DUAL OCTAVE .......................................................... 31

4 DUAL VOLUME ......................................................... 31

5 DUAL PAN ................................................................ 32

6 DUAL DETUNE .......................................................... 32

■ Drum Voice Edit Functions (Voices 98 and 99) ............... 33

1 PERC. NAME ............................................................ 33

2 PERC. PITCH ............................................................ 33

3 PERC. PAN ............................................................... 34

4 PERC. TONE ............................................................. 34

(Voices 00 through 89) .... 27

[F2] Reverb, Effect............................................................ 35

1 REVERB TYPE .......................................................... 35

2 REVERB DEPTH ....................................................... 35

3 EFFECT TYPE........................................................... 36

4 EFFECT DEPTH ........................................................ 36

[F3] Controller & Key Velocity....................................... 37

1 KEY VELOCITY ......................................................... 37

2 FOOT SWITCH SELECT ............................................ 37

3 EXP. PEDAL SELECT ................................................ 38

4 SUSTAIN PART SELECT ............................................ 38

5 PITCH BEND SELECT ............................................... 39

6 WHEEL SELECT ....................................................... 39

[F4] Split Point, Interactive Accompaniment, &

Super Style Play Mode ........................................... 40

1 SPLIT POINT ............................................................. 40

2 INTERACTIVE ACCOMP. ........................................... 40

3 SUPER STYLE PLAY MODE ....................................... 41

[F5] Disk .............................................................................. 42

■ The [TO DISK] Button ................................................... 42

■ The [FROM DISK] Button ............................................. 44

■ The [F5] DISK Functions .............................................. 45

1 FROM DISK .............................................................. 45

2 TO DISK ................................................................... 46

3 RENAME FILE ........................................................... 46

4 DELETE FILE ............................................................ 47

5 FORMAT DISK .......................................................... 47

6 DISK FREE AREA ...................................................... 47

• Disk Error Messages .................................................. 48

[F6] Utility & MIDI .............................................................. 49

1 MEMORY BACKUP .................................................... 49

2 RECALL INITIAL DATA ............................................... 50

■ The [DISK ORCHESTRA/GENERAL MIDI] Button ...... 50

3 MIDI CHANNEL SETTING ........................................... 54

4 MULTI PART SETTING .............................................. 56

5 MIDI SWITCH ............................................................ 56

6 MIDI SYSTEM ........................................................... 57

7 DATA TRANSMIT ...................................................... 58

Index..................................................................................... 59

MIDI Function Tree ......................................................... 242

MIDI Messages .............................................................. 246

DISK ORCHESTRA (DOC) Mode Voice List ................. 253

GENERAL MIDI (GM) Mode Voice List .......................... 254

PSR-5700 Percussion Map ............................................ 255

GM/DOC Mode Percussion Map .................................... 256

MIDI Implementation Chart ............................................ 257

Specificationes ............................................................... 258

Page 3

The Sequencer

The PSR-5700 features an 8-track sequencer that allows you to record and play back original musical creations — along with auto accompaniment if required. You can record the accompaniment and orchestra parts separately or at the same time. If, for example, you record the accompaniment first and then record your own performance while listening to playback of the accompaniment, you’re free to use the entire keyboard for your performance rather than being limited to only the upper keyboard area. You can also play back each part independently or in any combination. For even further versatility, the PSR-5700 sequencer allows different songs to be saved to or re-loaded from floppy disk.

Recording

As you become more familiar with the PSR-5700 sequencer you’ll probably develop a recording procedure that best suits your particular musical requirements. Here, to get you started, is the most simple, straightforward way to approach sequencer recording.

ZEngage the Sequencer

SEQUENCER

CUSTOM ACCOMPANIMENT PRO

SONG SELECT

XSelect a Song Number

SEQUENCER

CUSTOM ACCOMPANIMENT PROGRAMMER

SONG SELECT

123456

CSet Up All Record Parameters

Press the [SEQUENCER] button to engage the sequencer. “SEQ” will appear on the TEMPO display if the currently selected song contains no data, or the measure number will appear if the song does contain data. The

number-1 indicator to the right of the [SONG SELECT] button will also light.

If the sequencer contains previously recorded data, the green PLAY indicators of tracks containing data will light when the sequencer is engaged. Any of these tracks can be muted prior to engaging the record-ready mode (below) by pressing the corresponding track button so that the green PLAY indicator flashes.

The sequencer can also be engaged by pressing one of the track buttons, or by pressing the [SONG SELECT] button.

DETAIL

The PSR-5700 sequencer can record up to 6 separate songs. Use the [SONG SELECT] button to select the song number you want to record. The selected song number is shown by the indicators, 1 through 6, to the right of the [SONG SELECT] button.

Select the accompaniment style you want to record with, voices, orchestration, harmony, and other parameters before actually beginning recording. A list of the parameters that can be recorded by the PSR-5700 sequencer is given below.

You may also need to select a specific record mode and other conditions accessible via the sequencer’s CONDITION/RECORD TYPE functions, described on page 7.

Page 4

The Sequencer

Recordable Parameters

Tracks 1 — 7

• Note on/off

• Pitch bend

• Modulation

• Sustain on/off

• Orchestra 1 & 2 volume

• Voice change (including custom voice on/off)

• Tempo (if ACCOMP. track contains no data)

• Glide on/off

• Percussion pad on/off*

• Tempo pad tempo value*

• Multi pad on/off (phrase only)* * The pad mode selected when the sequence

is played back will be used.

Accompaniment Track

• Chord & root (note on/off in Manual Bass mode)

• Style change (styles with the same time signature only)

• Rhythm volume

• Bass volume

• Chord 1 volume

• Chord 2 volume

• Tempo

• Reverb on/off & depth

• Reverb type

• Effect on/off & depth

• Effect type

When the sequencer mode is engaged all previous panel settings are ignored.

IMPORTANT

If the record and playback pad modes are different, pad on/off events will not be reproduced.

DETAIL

If parameter changes are memorized using the Voice Registration, Panel Registration, or Super Styleplay features during recording, only those parameters that can be recorded on the current track will be memorized.

DETAIL

• Effect control

• Harmony on/off and type

• Interactive Accompaniment on/off

• Interactive Accompaniment variation

• Interactive Accompaniment mode & sensitivity

• Auto Bass Chord mode

• Percussion Pad on/off

• Pad function (Multi/Tempo/Perc)

• Repeat/Synchro/Break on/off

• Manual bass on/off, voice

• Intro, fill in & ending

• Chord pad chord sequence

• Tempo pad tempo value

VSelect the Record Track(s)

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC

1 2 3 4 5 6 7 ACCOMP.

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BASS RHYTHM

The time signature cannot be changed once a song has been recorded.

DETAIL

AUTO BASS CHORD accompaniment can only be recorded on the ACCOMP. track. The ORCH.1 and ORCH.2 voices can be recorded on any of the remaining 7 tracks, but only one of these tracks can be recorded at a time if the normal ORCH.1 orchestration is selected. If the ORCH.2+1 or ORCH.2v1 orchestration is selected, two record tracks must be selected — the ORCH.1 voice will be recorded on the lower-numbered track while the ORCH.2 voice will be recorded on the higher-numbered track. This means that a maximum of three record tracks can be specified when the ORCH.2+1 or ORCH.2v1 orchestration is selected: ACCOMP. and any two numbered tracks.

To select the record track(s) and engage the record-ready mode, hold the [RECORD] button and press the appropriate track button(s). The red REC indicator for the tracks will flash. Also note that the AUTO BASS CHORD indicator will light automatically when the ACCOMP. track is selected.

RECORD DELETE EDIT

prf

The upper markings on the track buttons apply when the SEQUENCER mode is engaged (1 through 7, and ACCOMP.). The lower markings when the CUSTOM ACCOMPANIMENT PROGRAMMER described on page 15 is operating.

DETAIL

If you are adding new material to tracks that have already been recorded, the [r] and [f] buttons can be used at this point to move to any measure number

HINT

from which you want to begin recording. The [r] and [f] buttons will not function once recording has been started.

Page 5

The Sequencer

BStart Recording

SYNCHRO

START/

START

RE-START

FILL IN

NPlay

Recording will start as soon as the [START/RE-START] button is pressed or,

STOP

if you also press the [SYNCHRO START] button, as soon as any key on the keyboard is pressed.

If the ACCOMP. track is selected and you start recording by pressing the [START/RE-START] button, only the rhythm will play until the first chord (FINGERED or SINGLE FINGER) is played on the left-hand section of the keyboard.

If you start recording in the SYNCHRO START mode by playing on the right-

ENDING/

rit.

hand section of the keyboard, a metronome will sound in place of the rhythm and AUTO BASS CHORD accompaniment until a key is played on the left-hand

INTRO.3INTRO.2INTRO.1

section of the keyboard.

Before starting recording you can also choose an introduction by pressing any of the [INTRO.] buttons.

HINT

The restart function can not be used while the sequencer mode is engaged.

DETAIL

Previously recorded fill-ins may not always be erased if that section is re-recorded or deleted.

DETAIL

Play the accompaniment and/or orchestra parts. The current measure number is shown on the TEMPO display as you record.

MStop Recording

SYNCHRO

START

START/

RE-START

STOP

FILL IN

<Record a New Track

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC

1 2 3 4 5 6 7 ACCOMP.

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BASS RHYTHM

FILL IN

ENDING/

rit.

INTRO.3INTRO.2INTRO.1

Press the [STOP] button to stop recording immediately, or the [ENDING/rit.] button to finish off the recording with an appropriate ending. The first measure of the sequence is automatically selected when recording is stopped.

To record a new track, simply select a new voice and other parameters as required, select a new track as described in step 4, then record. All previously recorded tracks will automatically be set to the PLAY mode so you can record the new material while listening to the material you’ve already recorded. Repeat this procedure until your sequence is complete.

Up to approximately 7,000 notes can be recorded for all six sequencer songs. The exact number of notes that can be recorded, however, will depend on the type of data

DETAIL

you record.

Deleting Tracks

If you make a mistake while recording or simply want to delete a track from your sequence, press the track button corresponding to the track you want to delete while holding the [DELETE] button.

RD DELETE EDIT

prf

Tracks cannot be deleted during recording or playback.

DETAIL

Page 6

The Sequencer

Playback

ZStart Playback

SYNCHRO

START/

START

RE-START

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY

12345 67

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BA

RECORD DELETE EDIT

prf

STOP

XPlay along If You Like

Since tracks are automatically set to the PLAY mode once they have been recorded, and tracks containing data are automatically set to the PLAY mode when the sequencer is initially engaged by pressing the [SEQUENCER] button, all you have to do to play back a sequence is to press the [START/RE-START] button. If you first press the [SYNCHRO START] button, sequencer playback can be started by playing any key on the keyboard.

Any of the PLAY tracks can be muted before or during playback by pressing the corresponding track button. The PLAY indicator will flash when a track is muted. Normal playback can be restored by pressing the track buttons of muted tracks a second time (the PLAY indicator will light continuously).

Before starting playback you can use the [r] and [f] buttons to move to any measure number from which you want to begin playback. The [p] button goes directly to measure number 1.

HINT

If the Super Styleplay section change parameter (page 41) is turned ON during ACCOMP. track playback, the Super Styleplay section will change in accordance with accompaniment variation transitions and the result may be different from the

DETAIL

recorded data.

You can play along with the sequence using the entire PSR-5700 keyboard, selecting different voices and changing the tempo as required (subsequently recorded tempo changes will still take effect).

Parameters That Can Be Changed During Playback

• Style select (styles with different time signatures cannot be selected)

• Volume (rhythm, bass, chord 1 & chord 2)

• Tempo

• Reverb & effect on/off

• Pad repeat and break on/off

• Interactive Accompaniment on/off & accompaniment variation

(VERSE 1, VERSE 2, CHORUS 1, CHORUS 2, SOLO)

• Pad

• Some FUNCTION parameters (pages 26 through 58)

CStop Playback

SYNCHRO

START

START/

RE-START

STOP

VPress [EXIT] When Done

FUNCTION

EXIT

If changes to any of the above parameters are recorded in the sequence, the recorded changes will still take effect even if you manually change the parameters

DETAIL

while playing.

Playback will stop automatically when the end of the sequence is reached. At this point the parameters recorded on the ACCOMP. track will revert to their initial values. You can also stop playback at any time by pressing the [STOP] button.

Press the [EXIT] key to exit the sequencer mode and return to the normal play mode. The sequencer mode can also be exited by pressing the [SEQUENCER] button.

Page 7

Sequence Editing

The Sequencer

RECORD DELETE EDIT

The PSR-5700 sequencer edit mode offers a range of functions that let you modify the re-

corded data and the way in which it is recorded in a number of ways.

Press the [EDIT] button while the sequencer is engaged to enter the sequencer edit mode.

prf

When you’re finished editing press the [EDIT] button again or press the [EXIT] button to return to the sequencer.

The various functions in the sequencer edit mode are accessed by using the [s] and [t] buttons (these are the same as the [ABC MODE] and [HARMONY TYPE] buttons, respectively), while the various display screens provided by each function are accessed by using the [<] and [>] buttons (the [TRANSPOSE/TUNE] and [OCTAVE CHANGE] buttons, respectively).

`CONDITION/REC TYPE ‡

Metro=On Harmony=Key

+– +–

DETAIL

A. B. C. MODE

TRANSPOSE/

TUNE

The sequencer record and playback modes can not be engaged while in the edit mode.

The edit functions may not work if a large amount of sequence data has been recorded.

HARMONY

TYPE

OCTAVE CHANGE

E1 CONDITION/REC TYPE

Edit function 1 (“E1”) actually includes two separate functions: CONDITION and RECORD TYPE.

● Condition

`CONDITION/REC TYPE ‡

Metro=On Harmony=Key

+– +–

Purpose:

This display page allows the recording metronome sound to be turned on or off, and determines whether harmony will be applied to the keyboard or a track part.

Procedure:

Use the left [-] and [+] buttons to turn the metronome on or off, and the right [-] and [+] buttons to select the harmony part — “Key” or “Tr1” through “Tr7”.

Notes:

The metronome sound only appears during recording

when no rhythm is playing.

When the “Key” harmony setting is selected (this is the default setting when the sequencer mode is engaged), harmony will be applied to notes played on the keyboard. If the “Tr1” harmony setting is selected, harmony will be applied to the track-1 part. If “Tr2” is selected harmony is applied to track 2, and so on.

If Harmony is not turned on during recording, it will automatically be turned off each time playback is stopped if it is turned on before or during playback.

Harmony can only be applied to tracks that contain data.

Page 8

The Sequencer

● Recording Type

† `REC TYPE

Mode=Replace

+–

Purpose:

Selects the Replace, Overdub, or Punch record mode.

Procedure:

Press the [>] button to access the REC TYPE display. Use the left [-] and [+] buttons to select the Replace, Overdub, or Punch record mode:

• Replace

If replace recording is selected, any previous data on the track being recorded will be erased and replaced by the new material.

• Overdub

If overdub recording is selected, previous material on that track will be retained and the new material will be added to it.

• Punch

Punch-in recording allows a specified measure or range of measures to be re-recorded (replaced) without affecting previously recorded material before and after the punch-in range.

When the Punch mode is selected you must also specify the measure from which playback is to begin prior to the “punch-in” point at which recording will actually begin (Play St), the punch-in measure from which recording is

to begin (In), and the punch-out measure at which recording is to end (Out). Use the [<] and [>] buttons to switch between these two display screens, and the associated [-] and [+] buttons to specify the required measure numbers.

† `REC TYPE ‡

Mode=Punch Play St= 1

+– +–

† `Punch IN/OUT MEAS.

In= 1 Out= 1

+– +–

Notes:

It’s generally convenient to set the “Play St” measure in the Punch mode to just a few measures before the punch-in point. This allows you to get the feel of the music and prepare to start playing at the punch-in point. You can even play along with the material prior to the actual punch-in point so you’ll flow naturally into the punch-in recording range.

A footswitch (the supplied FC5 footswitch can be used) plugged into the rear-panel FOOT SW jack can also be used to punch-in and punch-out when the footswitch “Punch In” function is selected via the “FOOT SWITCH SELECT” function described on page 37. With the sequencer running in the Punch Record mode, press the footswitch at the point you want to begin recording (i.e. to “punch in”), and again to stop recording (punch out).

Please note that the punch-in record function can only be used on tracks that already contain recorded material.

E2 VOLUME

“VOL. 1~2'3~4'5~6'7~ _

99/81/99/81/99/81/99

+– +–

Purpose:

This page lets you independently set the playback volume

of each of the sequencer’s seven orchestra tracks.

Procedure:

Use the [<] and [>] buttons to position the cursor at the

volume parameter of the track you want to adjust (1 through

7, from left to right), then use either the left or right [-] and [+] buttons to set the volume to a value between “00” (minimum volume — no sound) and “99” (maximum volume). Vertical bar-graphs to the right of each track number on the top line of the display provide a graphic representation of the track volume levels.

Notes:

Only tracks that contain data are available for volume control.

Any recorded volume changes will override these settings.

Page 9

E3 TRACK COPY/MIX

The Sequencer

£TRACK COPY/MIX ‡

Source1=Tr1 Source2=Tr2

+– +–

† £COPY/MIX Tr1+Tr2 Dest.=Tr1 Execute

+– +–

Purpose:

Copies the data from one recorded track to another, or mixes the data from two recorded tracks (except the ACCOMP. track).

● Copy

Source track 1

Data

Copy to Destination track

Data

● Mix

Source track 1

Data

Source track 2

Data

Destination track (mix result)

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left or right [-] and [+] buttons to set the first source track (Source1), the second source track (Source2), and the destination track (Dest.). If “CopyToDest.” is selected for the Source2 parameter, only the Source1 track is copied to the destination track.

Once the source and destination tracks have been selected, press the [+] button below “Execute” on the right side of the display to actually execute the mixdown operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the mixdown if it was executed by mistake. The undo function is only available until the next operation is performed.

Notes:

The mix function is most useful when you want to record more than 7 individual parts on the seven orchestra-part tracks. Successfully recorded parts can be combined using this function, thus opening up more tracks for further recording. The data in the source tracks is not erased during a mix operation.

If the tracks that are mixed use different voices, the voice of the lower-numbered track will be used. Subsequent recorded voice changes will operate normally.

Please note that only tracks containing data can be specified as the source tracks.

Any data in the destination track will be overwritten by data copied from the source 1 and 2 tracks.

Page 10

The Sequencer

E4 QUANTIZE

¢QUANTIZE 1/32 ‡

Track=Tr1 Execute

+– +–

† ¢QUANTIZE Tr1

Size=1/32 Execute

+– +–

Purpose:

Aligns notes in the specified track to the nearest specified

beat.

One measure of 8th notes before quantization

eeee eee

After quantization

eeeeeeee

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left [-] and [+] buttons to set the track number (Track) and the quantize size (Size).

Once the track number and quantize size have been selected, press the [+] button below “Execute” on the right side of the display to actually execute the quantize operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the quantize operation if it was executed by mistake. The undo function is only available until the next operation is performed.

The Quantize Sizes are:

1/4 = 1/4 note 1/6 = 1/4 note triplet 1/8 = 1/8 note 1/12 = 1/8 note triplet 1/16 = 1/16 note 1/24 = 1/16 note triplet 1/32 = 1/32 note 1/96 = maximum resolution

(default)





 

  



 

Notes:

Quantization is generally used to tighten up sloppy timing. Use it judiciously, however, because timing that is too perfect can sound cold and mechanical — unless, of course, you’re specifically aiming for a cold, mechanical feel. Always use a quantize value that is at least as “short” as the shortest notes in the track to be quantized. If you quantize a track containing 16th notes to 1/8 (8th notes), for example, some of the 16th notes will be aligned with 8th note beats, thus ruining the track.

Page 11

E5 DELETE ALL TRACKS

The Sequencer

DELETE ALL TRACKS ‡

TopMeas= 4 LastMeas= 6

+– +–

† DELETE from 4 to 6

Execute

Purpose:

Deletes the specified measure or range of measures from

all tracks (including the accompaniment track).

Delete Measures 4 through 6.

123456789

Measure 4 through 6 deleted.

123 789

Subsequent measures moved back.

123456

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left or right [-] and [+] buttons in the first display screen to specify the number of the first measure in the range to be deleted (TopMeas) and the number of the last measure in the range to be deleted (LastMeas).

Once the top and last measure numbers have been selected, press the [+] button below “Execute” on the right side of the second display screen to actually execute the delete operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Notes:

It’s important to remember that a delete operation affects all tracks simultaneously, and that measures following the deleted range are moved back to take the place of the deleted measures. This differentiates the delete job from the erase job (described later), which replaces data in the specified range with rests.

Be careful when deleting measures that contain effect on/ off events — e.g. pitch bend, modulation, sustain, harmony, etc. If, for example, you delete a measure that contains a pitch bend off event, the pitch bend applied in a previous measure will remain in effect until the next pitch bend event is encountered.

The delete operation has no “undo” function, so be absolutely sure you want to delete the selected material before actually executing the delete operation.

Page 12

The Sequencer

E6 INSERT ALL TRA CKS

⁄INSERT ALL TRACKS ‡

TopMeas= 6 Size= 3

+– +–

†⁄INSERT from 6size 3

Execute

Purpose:

Inserts a specified number of blank measures in all tracks (including the accompaniment track) at the specified measure number.

Insert measure, size 3, at measure 6.

123456

Measure 6 moved up; 3 blank measures inserted.

12345 6

Result with new measure numbers.

123456789

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left or right [-] and [+] buttons in the first display screen to specify the number of the measure at which the blank measures are to be inserted (TopMeas) and the number of blank measures to be inserted (Size).

Once the top measure number and size have been selected, press the [+] button below “Execute” on the right side of the second display screen to actually execute the insert operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Notes:

Insert affects all tracks simultaneously. The specified number of blank measures is inserted before the existing data beginning at the specified insert measure number.

The insert operation has no “undo” function.

E7 ERASE

ƒERASE ‡ Track=Tr1 TopMeas= 4

+– +–

†ƒERASE Tr1 from 4 LastMeas= 6 Execute

+– +–

Purpose:

Erases all note and event (pitch bend, volume changes, etc.) data from the specified measure or range of measures in the specified track (accompaniment track not available), leaving blank measures.

Erase measures 4 through 6.

TRACK 1

123456789

Measures 4 — 6 “blank, ”

containing only rests.

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left or right [-] and [+] buttons to set the track number (Track), the number of the first measure in the range to be erased (TopMeas), and the number of the last measure in the range to be erased (LastMeas).

Once the track and measure numbers have been selected, press the [+] button below “Execute” on the right side of the display to actually execute the erase operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the erase operation if it was executed by mistake. The undo function is only available until the next operation is performed.

Notes:

An erase operation leaves the specified measures intact but blank.

Page 13

E8 REMOVE EVENT

The Sequencer

¥REMOVE EVENT ‡ Track=Tr1 Event=PB

+– +–

†¥REMOV Tr1 PB ‡ TopMeas= 3 LastMeas= 4

+– +–

†¥REMOV Tr1 PB 3> 4

Execute

+–

Purpose:

Removes all occurrences of the specified event type (pitch bend, modulation wheel, volume, or sustain operations) from the specified measure or range of measures in the specified track (accompaniment track not available).

Procedure:

Use the [<] and [>] buttons to switch between the three display screens, and the left or right [-] and [+] buttons to set the track number (Track), the type of event to be removed (Event), the number of the first measure in the range from which the events are to be removed (TopMeas), and the number of the last measure in the range from which the events are to be removed (LastMeas).

Once the track, event, and measure numbers have been specified, press the [+] button below “Execute” on the right side of the display to actually execute the remove event operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the remove event operation if it was executed by mistake. The undo function is only available until the next operation is performed.

The Event Abbreviations are:

PB = Pitch Bend MOD = Modulation Wheel VOL = Volume SUS = Sustain VC = Voice Change

Notes:

This function is handy if, for example, you’ve played some wild pitch bends that don’t sound right. You can remove only the offending pitch bends without erasing the entire track.

Be careful when removing effect on/off events. If, for example, you remove a pitch bend off event in a specified measure, the pitch bend applied in a previous measure will remain in effect until the next pitch bend event is encountered. Similarly, if you remove all program change events from the beginning of a track, the voice that was initially selected when the track was recorded will be used.

Page 14

The Sequencer

E9 NOTE SHIFT

»NOTE SHIFT ‡

Track=Tr1 Shift=+12

+– +–

†»NOTE Tr1 +12 ‡ TopMeas= 1 LastMeas= 16

+– +–

†»NOTE Tr1 1> 16 +12

Execute

+–

Purpose:

Shifts the pitch of notes in the specified measures of the specified track (accompaniment track not available) up or down by a maximum of two octaves, in semitone increments.

Procedure:

Use the [<] and [>] buttons to switch between the three display screens, and the left or right [-] and [+] buttons to set the track number (Track), the amount of note shift (Shift — see “Notes” below), the number of the first measure in the range in which the notes are to be shifted (TopMeas), and the number of the last measure in the range in which the notes are to be shifted (LastMeas).

Once the track, shift, and measure numbers have been specified, press the [+] button below “Execute” on the right side of the display to actually execute the note shift operation. “Sequencer Executing!” will appear on the lower line of the display while the operation is in progress, and “Completed!” will appear briefly when the operation has finished.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the note shift operation if it was executed by mistake. The undo function is only available until the next operation is performed.

Notes:

The range of “Shift” values is from -24 to +24. A setting of “0” produces no note shift. Each increment represents a semitone, so a setting of +4, for example, would shift the pitch of notes in the specified range up by an interval of a third. A setting of -12 would shift the notes down by one octave.

The ability to selectively shift the pitch of specified measures and tracks makes it simple to create “modulations” (key changes) without having to reprogram entire passages, and to create simple harmonies.

E10 SONG CLEAR

`…SONG 1 CLEAR FREE:31k Execute

Purpose:

Deletes the entire song — i.e. deletes all data from all

sequencer tracks.

Procedure:

Press the [+] button below “Execute” on the display to execute the song clear operation. “Completed!” will appear briefly when the operation has finished.

Notes:

Remember that this function deletes all data in the sequencer in one operation. If you think you might want to keep the data for later use or editing, be sure to save it to floppy disk (page 42, 46) before executing the song clear operation. Be careful with SONG CLEAR — it has no “undo” function!

The remaining amount of sequencer memory is shown on the bottom line of the display in kilobytes.

Page 15

The Custom Accompaniment Programmer

The PSR-5700 CUSTOM ACCOMPANIMENT feature allows you to create and store up to six original accompaniments — including rhythm, bass, and chords — in addition to 36 internal preset accompaniment styles. You can even create intro, fill-in, and ending patterns that can be saved with your accompaniments. More custom accompaniments can be created and saved to floppy disk (page 42, 46). Your original accompaniments can be selected and played at any time, just like the presets.

Basic Programming Procedure

Although many of the steps outlined below do not have to be carried out in the order given, the basic pro-

gramming procedure presented below will serve as useful guide to get you started.

Select a Suitable Accompani-

ment Style

STYLE SELECT

BANK

NUMBER

012345

Engage the Custom Accom-

paniment Programmer

SEQUENCER

CUSTOM ACCOMPANIMENT PROGRAMMER

SONG SELECT

Select an Accompaniment

Variation

VERSE

CHORUS2SOLOCHORUS

12345

Begin by selecting one of the preset accompaniment styles that is close to the type of accompaniment you want to create. For example, select a WALTZ accompaniment style if you want to program a rhythm pattern in 3/4 time.

Press the [CUSTOM ACCOMPANIMENT PROGRAMMER] button. The selected accompaniment style will begin playing, with accompaniment based on a C major chord. Also, the rhythm track will be set to the record mode (red REC indicator lit) and the 98 DRUM KIT voice will be selected. All other tracks containing data will be set to the PLAY mode (green PLAY indicator lit). PLAY tracks can be muted by pressing the corresponding track button (the green PLAY indicator will flash when the track is muted).

Use the [VERSE1], [VERSE2], [CHORUS1], [CHORUS2], and [SOLO] buttons to select the accompaniment variation you want to program (variations cannot be selected when a custom style is selected).

Intro, fill-in, and ending patterns will be based on the selected variation. If you delete all existing data to program an accompaniment from scratch, and change the time signature (beat), the intro, fill-in, and ending patterns cannot be used.

VProgram the Rhythm Part

Since the RHYTHM track is initially set to the REC mode and the 98 DRUM KIT voice is selected, you can start programming the RHYTHM track immediately.

You can add new notes to the rhythm by playing the keys corresponding to the PSR-5700 drums and percussion instruments. The drums and percussion instruments produced are indicated by the symbols immediately above the keys (see the “KEYBOARD PERCUSSION KEYS” chart on page 14 of the “Getting Started” manual). Please note that pitch bend can not be applied to the rhythm instruments.

Page 16

The Custom Accompaniment Programmer

If you want to create a totally new rhythm track, press the RHYTHM track button while holding the [DELETE] button. This cancels all the instruments in the original rhythm track, leaving only a metronome sound (the metronome sound will not be heard while the rhythm is playing). The rhythm pattern can be up to 8 measures long (see “1. CUSTOM ACCOMP. Measure/Beat” on page 19), and the pattern will continue to repeat so you can add new instruments during each repeat, if necessary.

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC

1 2 3 4 5 6 7 ACCOMP.

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BASS RHYTHM

To Cancel A Single Percussion Instrument

Although you can cancel all instruments in the RHYTHM track by pressing the RHYTHM track button while holding the [DELETE] button, it is also possible to cancel a single instrument to eradicate a mistake or simply eliminate an unwanted instrument. While holding the CANCEL key (the highest key on the PSR-5700 keyboard), press the percussion key corresponding to the instrument you want to cancel. The selected instrument should now be cleared from the pattern.

CANCEL

To Add Accents

To accent specific beats after recording the rhythm, press the accent key (the second to highest key on the keyboard, with the “>” symbol) at the timing of beats you want to accent.

RECORD DELETE EDIT

prf

If you can’t cancel an instrument even after following the above procedure, switch to VOICE SELECT number 8 or 9 and try again.

HINT

Program the Bass and Chord Parts

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC

1 2 3 4 5 6 7 ACCOMP.

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BASS RHYTHM

if no changes are required), you can select a bass or chord track for programming by pressing the BASS or a CHORD track button while holding the [RECORD] button (tracks containing preset data cannot be selected for recording). The RHYTHM track will automatically switch to the PLAY mode when a new REC track is specified. Please remember that only one track can be programmed at a time.

After the RHYTHM track has been programmed (or it can be left as it is

RECORD DELETE EDIT

prf

Page 17

The Custom Accompaniment Programmer

Play notes or chords to be added to the existing data, or delete all data on the track (press the track button while holding the [DELETE] button) and start from scratch. The bass and chord tracks must be programmed in the key of C major!

PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC PLAY REC

1 2 3 4 5 6 7 ACCOMP.

CHORD 1 CHORD 2 CHORD 3 CHORD 4 CHORD 5 CHORD 6 BASS RHYTHM

your custom accompaniment is complete.

RECORD DELETE EDIT

prf

Continue selecting new record tracks and variations, and program until

Unwanted tracks can be deleted from the accompaniment by holding the [DELETE] button and pressing the appropriate track button.

HINT

Although the bass and chord tracks must be programmed in C major, they are automatically re-harmonized when the custom accompaniment is used in the

HINT

play mode, and can be used in any key, major or minor.

When programming an accompaniment from scratch, you can select a new voice that will take effect from the beginning of the accompaniment after deleting all tracks. Other voice changes added while programming will take effect

HINT

from the point at which they are made.

The synchro start, start, and stop functions can be used when recording a custom accompaniment. The re-start function, however, cannot be used.

HINT

Pitch bend, modulation, and sustain changes are not recorded if the accompaniment is stopped — the accompaniment must be running for parameter

HINT

changes to be recorded.

Work Area Full !!

Memory Area Full!!

Can not Save

NSet a New Default Tempo

The Custom Accompaniment Programmer memory capacity is limited. When the available memory for the track you are recording is exhausted, the “Work

DETAIL

Area Full !!” display will appear and further recording on that track will be impossible unless existing data is deleted. Further, if the data size is too big when you perform a save operation, “Memory Area Full!!/ Can not Save” will appear on the display.

Only preset voices 00 through 89 can be used to record bass and chord parts (custom voices cannot be used).

DETAIL

If necessary, set a new default tempo for the custom accompaniment by using the TEMPO [-] and [+] buttons.

Page 18

The Custom Accompaniment Programmer

Give the Finished Accompa-

niment a Name and Assign it to a CUSTOM Number

¢NAME

Big Band

+– +–

SAVE TO ACCOMP.

Set to=Cus0 -Execute-

+– +–

SAVE ßCancel´

Set to=Cus0 No Yes

+– +–

Use the “4. NAME” function described on page 20 to give your custom accompaniment an original name, then use the “5. SAVE TO ACCOMP.” function described on page 20 to assign the accompaniment to a CUSTOM number and exit from the Custom Accompaniment Programmer mode.

Please note that if you attempt to exit from the Custom Accompaniment Programmer by pressing the [EXIT], [SEQUENCER], or [CUSTOM ACCOMP PRO-

IMPORTANT

GRAMMER] button, the confirmation display shown to the left will appear:

Use the left [-] and [+] buttons to select the custom accompaniment number to which the accompaniment is to be stored (C0 through C5), then press the [+] button under “YES” on the display to store the accompaniment. Press the [-] button under “NO” on the display to exit from the Custom Accompaniment Programmer without storing the data. You can also press both the [-] and [+] buttons simultaneously to cancel the store operation and return to the Custom Accompaniment Programmer if you want to make a few more changes or additions to the accompaniment before storing.

NUMBER

0 CUSTOM12345

BANK

0 DISK12345

STYLE SELECT

Using a Custom Accompaniment

Once created and stored, your original accompaniment can be selected and used in the same way as the preset accompaniment styles.

Press the [CUSTOM] button and then the appropriate STYLE SELECT NUMBER button (0 through 5) to select a custom accompaniment — C0, C1, C2, C3, C4, or C5. The selected custom accompaniment can then be operated just like any of the preset accompaniment styles — it can be started and stopped as usual, and can be used in the FINGERED or SINGLE FINGER AUTO BASS CHORD modes.

To select a preset accompaniment style after selecting a custom accompaniment, use the STYLE SELECT buttons in the normal way.

HINT

Interactive Accompaniment cannot be used with custom accompaniments.

IMPORTANT

Page 19

The Custom Accompaniment Programmer

Custom Accompaniment Editing

The PSR-5700 Custom Accompaniment Programmer offers a range of functions that let you modify the recorded data in a number of ways. The various Custom Accompaniment Programmer functions are accessed by using the [s] and [t] buttons, while the various display screens provided by each function are accessed by using the [<] and [>] buttons.

1 CUSTOM ACCOMP. (Measure/Beat)

Procedure:

`CUSTOM ACCOMP. Normal Measure:4 Beat:4

+– +–

Use the left [-] and [+] buttons to specify the numbers of measures the accompaniment is to have (from 1 to 8), and the right [-] and [+] buttons to specify the number of beats per measure — from “3” to “5”.

Purpose:

This display page allows the length (in measures) and time signature of the accompaniment to be defined when the Custom Accompaniment mode is initially engaged.

2 VOLUME

“VOL. 1~2~3~4~5~6~B~R~

15/15/15/15/15/15/15/15

+– +–

Purpose:

This page lets you independently set the volume of each of the Custom Accompaniment Programmer’s tracks.

Notes:

These parameters can only be changed when you’re creating an entirely new pattern from scratch — i.e. you have deleted all tracks from the original accompaniment by holding the [DELETE] button and pressing the buttons of all tracks containing data so that no PLAY indicators remain lit. The INTRO, FILL, and ENDING variations must also be empty.

FILL patterns can have a maximum length of 1 measure.

Procedure:

Use the [<] and [>] buttons to position the cursor at the volume parameter of the track you want to adjust (1 through 6, “B” for BASS, and “R” for RHYTHM, from left to right), then use either the left or right [-] and [+] buttons to set the volume to a value between “0” (minimum volume — no sound) and “15” (maximum volume). Vertical bar-graphs to the right of each track number on the top line of the display provide a graphic representation of the track volume levels.

Notes:

Only tracks that contain data are available for volume control.

Page 20

The Custom Accompaniment Programmer

3 FADER SELECT

£FADER SELECT

—

C1` C2` C3` C4“ C5“ C6“

+– +–

Purpose:

Assigns the CHORD 1 and CHORD 2 volume controls to Custom Accompaniment Programmer CHORD tracks 1 through 6, determining which control affects which chord tracks when the accompaniment is played back.

Procedure:

Use the [<] and [>] buttons to position the cursor at the chord track you want to assign (C1 through C6), then use the left or right [-] and [+] buttons to assign either “1” (the CHORD 1 volume control) or “2” (the CHORD 2 volume control) to the selected chord track.

Notes:

It is a good idea to group the chord tracks according to their musical function. For example, tracks containing basic block chords could be assigned to the CHORD 1 control while tracks containing more “decorative” chord work could be assigned to the CHORD 2 control.

4 NAME

¢NAME

Big Band

+– +–

Purpose:

Allows a name of up to 8 characters to be assigned to the current custom accompaniment before it is stored via the following “5. SAVE TO ACCOMP.” function.

5 SAVE TO ACCOMP.

SAVE TO ACCOMP.

Set to=Cus0 -Execute-

+– +–

Purpose:

This function stores the current custom accompaniment to a specified custom accompaniment number.

Procedure:

Use the [<] and [>] buttons to move the underline cursor to the various character positions, then use the left [-] and [+] buttons to select the required character for each position.

Notes:

Independent names can not be assigned to INTRO, FILL, and ENDING patterns. Here’s a list of the characters that can be selected via the left [-] and [+] buttons.

Character list

[Space]!"#$%&'()*+,-./0123456789:;<=>?@

ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}≤≥

Procedure:

The “Set to” parameter in the first display screen determines to which custom accompaniment number the accompaniment will be stored — Cus0, Cus1, Cus2, Cus3, Cus4, or Cus5. When the “Set to” parameter has been set as required by using the left [-] and [+] buttons, press the right [-] and [+] buttons under “-Execute-” on the display to actually store the current custom accompaniment in the specified custom accompaniment number. “Completed” will appear when the operation is complete.

Page 21

6 QUANTIZE

⁄QUANTIZE 1/32 ‡

Track=Rhythm Execute

†⁄QUANTIZE Rhythm

Size=1/32 Execute

+– +–

The Custom Accompaniment Programmer

The Quantize Sizes are:

1/4 = 1/4 note 1/6 = 1/4 note triplet 1/8 = 1/8 note 1/12 = 1/8 note triplet 1/16 = 1/16 note 1/24 = 1/16 note triplet 1/32 = 1/32 note





 

  



 

Purpose:

Aligns notes in the specified track to the nearest specified

beat.

One measure of 8th notes before quantization

eeee eee

After quantization

eeeeeeee

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left [-] and [+] buttons to set the track number (Track) and the quantize size (Size).

Once the track number and quantize size have been selected, press the [+] button below “Execute” on the right side of the display to actually execute the quantize operation.

Notes:

Quantization can not be applied to tracks containing preset data. If you attempt to quantize a track containing preset (including disk style) data, “!” will appear on the display in place of “=”.

Page 22

The Custom Accompaniment Programmer

7 COPY

ƒCOPY ‡

Track=Rhythm TopMeas=1

+– +–

†ƒCOPY Rhythm 1- ‡ LastMeas=2 Meas=5

+– +–

†ƒCOPY Rhythm 1-2>5

Execute

+–

Purpose:

Copies a specified measure or range of measures to a dif-

ferent location within the same track.

Procedure:

Use the [<] and [>] buttons to switch between the three display screens, and the left or right [-] and [+] buttons in the various screens to specify the track number (Track), the number of the first measure of the range to be copied (TopMeas), the number of last measure of the range to be copied (LastMeas), and the number of the measure (Meas) to which the data is to be copied.

Once the track numbers and measure numbers have been selected, press the [+] button below “Execute” on the right side of the third display screen to actually execute the copy operation.

Immediately after execution “Undo” will appear above the right [-] button, and that button can be used to undo the copy operation if it was executed by mistake. The undo function is only available until the next operation is performed.

Copy measures 1 through 2 to measure 5 in the same track.

12345678

12341278

Notes:

A copy operation overwrites the data from the beginning of the specified destination measure with the data from the source measure(s). Previous data in the overwritten measures is therefore lost.

The COPY function cannot be used with tracks containing preset data.

Page 23

8 REMOVE EVENT

The Custom Accompaniment Programmer

¥REMOVE EVENT ‡

Track=Rhythm Event:VOL

+– +–

†¥REMOVE Rhythm VOL

Execute

+–

Purpose:

Removes all occurrences of the specified event type (volume, sustain, pitch bend, or modulation wheel operations) from the specified track.

Procedure:

Use the [<] and [>] buttons to switch between the two display screens, and the left or right [-] and [+] buttons to set the track number (Track) and the type of event to be removed (Event).

Once the track and event have been specified, press the [+] button below “Execute” on the right side of the display to actually execute the remove event operation.

Immediately after execution “UndoExecute” will appear above the right [-] button, and that button can be used to undo the remove event operation if it was executed by mistake. The undo function is only available until the next operation is performed.

The Event Abbreviations are:

PB = Pitch Bend MOD = Modulation Wheel VOL = Volume SUS = Sustain

Notes:

This function is handy if, for example, you’ve played some wild pitch bends that don’t sound right. You can remove only the offending pitch bends without erasing the entire track.

Only the VOL event type can be selected when the RHYTHM tracks is selected.

The REMOVE EVENT function cannot be used with tracks containing preset data.

9 CHANGE PATTERN

»CHANGE PATTERN

Pattern=I/F/E: Intro

+– +–

Purpose:

Selects the Normal or Intro/Fill/Ending accompaniment

pattern for editing.

Procedure:

Use the left [-] and [+] buttons to select either “Normal” if you want to edit the normal accompaniment pattern, or “I/F/E” if you want to edit the INTRO, FILL or ENDING pattern. If you select “I/F/E”, the next step is to use the right [-] and [+] buttons to select “Intro”, “Fill” or “Ending”.

Once the desired pattern has been selected, go back to the preceding screens and create your custom accompaniment.

Page 24

The Custom Accompaniment Programmer

● CREATING INTRO, FILL-IN, & ENDING PA TTERNS

The custom accompaniment programmer allows you to create one set of intro, fill-in, and ending patterns that can be saved and

later used with custom accompaniments Cus0 … 5 (see “SET INTRO/FILL/ENDING” in step 7 for more details).

■ EDITING A PRESET INTRO, FILL-IN, OR

ENDING PATTERN

1. Select the preset style that your custom accompaniment

is to be based on.

2. Go to the “5 SAVE TO ACCOMP” screen and save the

accompaniment to a custom accompaniment number (Cus0 … 5).

When this is done any custom accompaniment data previously saved in the same location will be overwritten!

IMPORTANT

3. Use the [CUSTOM] and [NUMBER] buttons to select

the custom accompaniment you saved in the preceding step.

4. Go to the “9 CHANGE PATTERN” screen and use the

left [-] and [+] buttons to select “I/F/E”, then use the right [-] and [+] buttons to select “Intro,” “FillIn,” or “Ending.”

»CHANGE PATTERN

Pattern=I/F/E: Intro

+– +–

5. After selecting the type of pattern to be programmed, go

to any other custom edit screen and program the pattern using the standard custom accompaniment programming procedure.

6. When the pattern is complete, go to the “5 SAVE TO

ACCOMP” screen and save the pattern.

7. At this point the “SET INTRO/FILL/ENDING” screen

will appear. Shift to the second screen and use the left and right [-] and [+] buttons to select “User” for the custom accompaniment numbers with which you want to use your original intro/fill/ending patterns.

Shift back to the first screen and press the [+] button under “RETURN” on the display to return to the “5 SAVE TO ACCOMP” screen.

SET INTRO/FILL/ENDING‡

Return

† SET INTRO/FILL/ENDING Style=Cus0 = User

+– +–

8. Repeat steps 4 through 7 to create other patterns.

If you select “Preset” in the “SET INTRO/FILL/ENDING” screen, then the un-edited intro, fill-in and ending patterns of the original preset style will be used with the selected

DETAIL

custom style. If you select “NoAssign”, then no intro, fill-in, or ending patterns will be used. In this case the [INTRO] button functions in the same way as the [START] button, the [ENDING] button functions in the same way as the [STOP] button, and the [FILL IN] button has no effect.

If the user patterns have a different time signature than the custom accompaniment patterns, then “User” cannot be selected in the “SET INTRO/FILL/ENDING” screen.

DETAIL

The “SET INTRO/FILL/ENDING” screen appears automatically when an intro, fill-in, or ending pattern is saved, or when “I/F/E” is reset to “Normal” in the “9 CHANGE

DETAIL

PATTERN” screen.

If you go to the “9 CHANGE PATTERN” screen and select a different “Pattern,” the screen you need to save

DETAIL

the pattern you created in step 5 will appear automatically. Press the [+] button under “YES” on the display and the pattern will be saved.

SAVE TO ACCOMP.

Set to:I/F/E No Yes

+– +–

To prevent differences between the time signatures of the intro, fill-in, and ending patterns, all the patterns for the selected styles are saved simultaneously when any one

HINT

pattern is saved. For example, if you edit an intro pattern while a preset style is selected and then save the intro pattern, the fill-in and ending patterns for the selected style will also be saved. If you then edit and save the fill-in pattern, the intro and ending patterns will also be saved, meaning the intro pattern you just saved will be overwritten. To prevent this, first copy the preset style to a custom style number, as described in steps 1 through 3, above, and then use this as a basis for your new patterns. Of course, you must be careful that you don’t overwrite a previously saved custom accompaniment style when doing this.

Page 25

The Custom Accompaniment Programmer

■ EDITING A PREVIOUSLY SAVED USER

INTRO, FILL-IN, OR ENDING PATTERN

To edit intro, fill-in, and ending patterns that you have previously created and saved, simply select the custom accompaniment to which the user patterns are assigned (Cus0 … 5) and follow steps 4 through 8, above.

■ CREATING A NEW INTRO, FILL-IN, OR

ENDING PATTERN

After selecting an intro, fill-in, or ending pattern as described in step 4, above, use the [DELETE] button to delete all data from all tracks. Then follow steps 5 through 8 to create your original pattern.

To create an intro, fill-in, or ending pattern with a different time signature, go to the “1 CUSTOM ACCOMP” screen and set the “BEAT” parameter as required. If you delete and save the intro pattern, the fill-in pattern, and the ending pattern, the “1 CUSTOM ACCOMP” screen will appear automatically no matter what pattern edit mode you’re in, and you can set the “BEAT” parameter as required.

Use the synchro start function when you want to enter data precisely on the first beat of the first measure.

HINT

● EXITING FROM THE CUSTOM A CCOMPANIMENT MODE

To exit from the custom accompaniment mode, press either the [CUSTOM ACCOMPANIMENT PROGRAMMER] or [EXIT] button. This will return you to the normal play mode.

If you have not performed a save operation via the “5 SAVE TO ACCOMP” screen after performing any other operation in the custom accompaniment mode, however, the following display will appear automatically when you exit from the custom accompaniment mode:

SAVE ßCancel´

Set to=Cus0 No Yes

+– +–

To save the edited data before exiting, use the left [-] and [+] buttons to select the destination custom accompaniment number, and then press the [+] button below “YES” on the display. If you want to exit without saving, simply press the [-] button below “NO” on the display.

If you attempt to exit after programming an intro, fill-in,

or ending pattern, the following display will appear:

SAVE ßCancel´

Set to:I/F/E No Yes

From this display you will exit to the “SET INTRO/FILL/ ENDING” display, from which you can exit as described above.

+–

You can return to the custom accompaniment mode by pressing both the right [-] and [+] buttons simultaneously.

DETAIL

Page 26

Other Functions

The PSR-5700 [FUNCTION] button selects 6 groups of functions that access single or multiple display “pages” of parameters. Here’s a list of the functions and the manual page numbers on which they are described in detail.

[F1] Custom Voice Edit .......................... 27

[F2] Reverb Type ................................... 35

Effect Type ...................................... 36

[F3] Controller ........................................ 37

Key Velocity ....................................37

General Function Selection & Editing Procedure

FUNCTION

F1: CUSTOM VOICE EDIT F2: REVERB / EFFECT F3: CONTROLLER / KEY VELOCITY F4: SPLIT POINT / I.A. / S.S.P. MODE F5: DISK F6: UTILITY / MIDI

EXIT

Each of the function groups selected by the [FUNCTION] button includes several display

“pages.” These are accessed by using the [s] and [t] buttons. Furthermore, in some cases a display page have more parameters than fit in a single screen. The different screens are accessed by using the [<] and [>] buttons.

Each display screen will have a maximum of two parameters, and these can be adjusted by using the [-] and [+] buttons immediately below each parameter. Pressing both the [-] and [+] buttons simultaneously will generally set the “normal” value for the selected parameter.

[F4] Split Point ........................................40

Interactive Accompaniment.............40

Super Style Play Mode ................... 41

[F5] Disk .................................................42

[F6] Utility ............................................... 49

MIDI ................................................ 50

“COMMON ……Piano 1 ‡

PitBend=0 TouchSens=0

+– +–

These buttons set the left parameter.

■ The [EXIT] Button

FUNCTION

EXIT

The left and right arrows select

A. B. C. MODE

TRANSPOSE/

TUNE

These buttons set the right parameter*.

* Some functions have only one parameter which will be shown to the left of the display. In such

cases the right [-] and [+] buttons will have no effect.

HARMONY

TYPE

OCTAVE CHANGE

other parameters within the same page (if available).

The up and down arrows select different display “pages.”

The [EXIT] button can be used at any time to exit from a function and return to the normal play mode.

“Not Available in SEQ!” may appear on the lower display line when a function button is pressed in the sequencer, custom accompaniment programmer, DOC, or GM mode (depending on the mode, “SEQ”

DETAIL

in the display may be replaced by “CUS”, “DOC”, or “GM”). If this message appears, the selected function cannot be accessed or edited.

Page 27

[F1] Custom V oice Edit

The Custom Voice Edit mode allows you to edit any of the PSR-5700 voices to create new sounds that ideally match your own music style. 100 custom voices — 00 through 99 — can be programmed, each based on the correspondingly-numbered preset voice.

After selecting the voice you want to edit*, engage the Custom Voice Edit mode by pressing the [FUNCTION] button so that “F1” appears on the TEMPO display. Use the various editing functions described below to modify the sound to suit your needs. Then press the [EXIT] button when you’re finished editing to return to the normal play mode.

Your custom voices can be selected and played by pressing the [CUSTOM VOICE] button and using the VOICE SELECT buttons in the normal way (the custom voice numbers are displayed in reversed letters).

* You can also select a different voice while the Custom Voice Edit mode is engaged via the VOICE SELECT buttons. In this

case the normal voice selection display will appear while the VOICE SELECT buttons are being used, and for a few seconds afterwards. The display will then revert to the previous Custom Voice Edit display page.

Please note that some voices may suddenly shift to a different octave or change in level when played on the highest or lowest keys. There may also be slight tonal changes at one or more points on the keyboard.

DETAIL

The preset value can be instantly recalled by pressing both the [-] and [+] buttons simultaneously.

HINT

Some settings may produce noise or no sound.

DETAIL

Standard Voice Edit Functions (Voices 00 through 89)

The following functions are available when editing voices 00 through 89. Different groups of edit functions are provided for the PSR-5700 dual voices (90 through 97 — page 30) and drum voices (98 and 99 — page 33).

For all parameters described here the preset value can be instantly recalled by pressing both the [-] and [+] buttons simultaneously.

DETAIL

1 NAME

Character list

`NAME ……:Piano 1

+–

Purpose:

Allows an 8-character name to be assigned to the voice.

Procedure:

Use the [<] and [>] buttons to position the cursor at the desired character location, then use the left [-] and [+] buttons to select the desired character. A chart of the available characters is given below.

[Space]!"#$%&'()*+,-./0123456789:;<=>?@

ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}≤≥

Notes:

It’s a good idea to give your voices names that make them easily identifiable. If you’ve created a new voice that is a variation on the standard piano voice, for example, you could call it something like “PianVar”.

Page 28

[F1] Custom Voice Edit

2 COMMON

COMMON includes two display screens covering a range of parameters that affect the entire voice. Use the [<] and [>] buttons to switch between the two display screens, and the [-] and [+] buttons

below each parameter to set the required values.

“COMMON ……Piano 1 ‡

PitBend=2 TouchSens=2

+– +–

†“COMMON ……Piano 1 Oct=Normal Pan=L R

+– +–

● Pitch Bend Range (PitBend)

Sets the range of the pitch bend wheel to “0” (OFF), “1”

(±1 semitone), “2” (±2 semitones), “3” (±3 semitones), or “Glis” (maximum 1-octave glissando in semitone steps).

● Touch Sensitivity (TouchSens)

Allows the touch sensitivity of the keyboard to be set to three different levels, or turned off: “0” (OFF), “1”, “2” , or “3”.

● Octave (Oct)

Shifts the pitch of the voice up one octave (1up) or down one octave (1down). A setting of “normal” produces the normal pitch for that voice.

Some voices may exhibit sudden pitch changes in the highest and lowest ranges of the keyboard when shifted up or down by

DETAIL

an octave. The pitch bend wheel may also cause sudden pitch changes.

● Pan

Sets the apparent position of the voice in the stereo sound field. The graphic display indicates the approximate location of the sound between the left and right speakers.

When Pan is set to the center position, the preset pan position of the selected voice is used. The center pan position can be

DETAIL

recalled immediately by pressing both the [-] and [+] buttons simultaneously.

3 MODULATION

The two parameters provided in this screen are used to adjust the depth and speed of

modulation produced by the PSR-5700 MODULATION/EFFECT wheel.

Use the [-] and [+] buttons below each parameter to set the required values.

£MODULATION ……Piano 1 Depth= 0 Speed= 0

+– +–

● Modulation Depth

Decreases (-) or increases (+) the depth of modulation produced by the PSR-5700 MODULATION/EFFECT wheel relative to the original modulation depth of the selected voice.

● Modulation Speed

Decreases (-) or increases (+) the speed of modulation produced by the MODULATION/EFFECT wheel relative to the original modulation speed of the selected voice.

Notes:

The maximum range of the depth and speed is from -7 through 0 to +7, although this range is more limited with some voices. An exclamation mark (!) will appear next to the parameter when the maximum or minimum allowable setting for the selected voice has been reached.

The default modulation depth and speed values for the selected voice are produced by settings of “0”. Minus settings produce gentler or slower modulation, while plus settings produce deeper or faster modulation, respectively. Pressing both the [-] and [+] buttons below a parameter immediately recalls the default value (“0”).

Modulation is applied automatically to some voices, and in some cases operating the wheel causes modulation to be applied automatically.

Page 29

4 EG RATE

[F1] Custom Voice Edit

Decay

shape the volume envelope of the voice.

Attack

Level

Key Pressed

Time

Key Released

Sustain

Release

and the [-] and [+] buttons below each parameter to set the required values.

¢EG RATE ……Piano 1 ‡ Attack= 0! Decay= 0

+– +–

†¢EG RATE ……Piano 1 Release= 0 Sustain= 0

+– +–

● Attack

Sets the speed of attack — i.e. how fast the sound

reaches maximum level after a key is pressed.

“0” sets the normal attack for the selected voice, minus settings produce a slower attack, and plus settings produce a faster attack.

● Decay

Sets the speed of decay portion of the envelope — i.e. how fast the sound decays from the maximum attack level to its normal level.

“0” sets the normal decay for the selected voice, minus settings produce a slower decay, and plus settings produce a faster decay.

The attack, decay, sustain, and release parameters provided here let you

Use the [<] and [>] buttons to switch between the two display screens,

● Sustain

Sets the speed of sustain decay — i.e. how fast the sound decays after a key is released when the panel [SUSTAIN] button is on or the sustain pedal is pressed.

“0” sets the normal sustain for the selected voice, minus settings produce a longer sustain decay, and plus settings produce a faster sustain decay.

Notes:

The maximum range for all parameters is from -50 through 0 to +50, although this range is more limited with some voices. An exclamation mark (!) will appear next to the parameter when the maximum or minimum allowable setting for the selected voice has been reached.

The default values for the selected voice are produced by settings of “0”. Pressing both the [-] and [+] buttons below a parameter immediately recalls the default value (“0”).

With voices like 21 STRINGS, in which key velocity (keyboard dynamics) controls the speed of attack, attack speed changes

DETAIL

in the same way even if the attack parameter is set to a minus value.

Since PIANO 1 (00) and some other voices already have the fastest possible attack, no sound will be produced if the Decay parameter for such voices is set to “+50.”

The Decay parameter will have no effect on some sustaintype voices which have no inherent decay.

● Release

Sets the speed of release — i.e. how fast the sound decays after a key is released when the panel [SUSTAIN] button is off and the sustain pedal is not pressed.

“0” sets the normal release for the selected voice, minus settings produce a slower release decay, and plus settings produce a faster release decay.

Changing the EG rate parameter may have no effect on the sound with some voices.

DETAIL

Page 30

[F1] Custom Voice Edit

5 TONE

The brilliance and resonance parameters provided here make it possible to vary the tone of the voice over a wide range. Use the [-] and [+] buttons below each parameter to set the required values.

TONE ……Piano 1

Brilli= 0 Resonanc= 0!

+– +–

● Brilliance (Brilli)

This parameter alters the cutoff frequency of the filter applied to the voice, thereby making the sound more or less brilliant. Minus settings reduce brilliance for a rounder, more mellow tone, while plus setting increase brilliance for a sharper tone.

● Resonance (Resonanc)

Plus settings increase the height of a resonant peak at the filter cutoff frequency, giving the voice greater presence and sometimes a more “nasal” tone. Minus settings reduce resonance for a “flatter” sound.

Dual Voice Edit Functions (Voices 90 through 97)

Notes:

The maximum range of both parameters is from -50 through 0 to +50, although this range is more limited with some voices. An exclamation mark (!) will appear next to the parameter when the maximum or minimum allowable setting for the selected voice has been reached.

The default values for the selected voice are produced by settings of “0”. Pressing both the [-] and [+] buttons below a parameter immediately recalls the default value (“0”).

The following functions are available when editing voices 90 through 97. Different groups of edit functions are provided for the PSR-5700 normal voices (00 through 89 — page 27) and drum voices (98 and 99 — page 33).

For all parameters described here the preset value can be instantly recalled by pressing both the [-] and [+] buttons simultaneously.

DETAIL

1 DUAL NAME

`DUAL NAME »…:SpacePno

+–

Purpose:

Allows an 8-character name to be assigned to the custom dual voice.

Procedure:

Character list

[Space]!"#$%&'()*+,-./0123456789:;<=>?@

ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}≤≥

Notes:

Give your dual voice names that identify both the voices used, if possible. If you’ve created a new dual voice that combines piano and organ, for example, you could call it something like “PianOrg”.

Page 31

2 DUAL VOICE

[F1] Custom Voice Edit

“DUAL VOICE »…SpacePno

00:Piano 1 19:Voyager

+– +–

Purpose:

This function allows any two of the PSR-5700’s standard voices (numbers 00 through 89) to be assigned to the dual voice.

3 DUAL OCTA VE

£DUAL OCTAVE »…SpacePno A=1down B=Normal

+– +–

Purpose:

Allows the two voices used in the dual voice to be independently shifted up or down one octave.

Procedure:

Use the left and right [-] and [+] buttons to set the desired octaves for voices A and B. A setting of “normal” produces the normal pitch for that voice. “1up” shifts the pitch up one octave, and “1down” shifts the pitch down one octave.

Procedure:

Use the left and right [-] and [+] buttons to select the de-

sired voices.

Notes:

Remember that you can only use voices 00 through 89 in a custom dual voice. If you increment past voice number 89, the next voice selected will be 00, and vice versa.

The pitch bend range for DUAL VOICE is limited to ±1 whole tone.

Notes:

Some voices may exhibit sudden pitch changes in the highest and lowest ranges of the keyboard when shifted up or down by an octave. The pitch bend wheel may also cause sudden pitch changes.

Previous OCTAVE settings for the normal voice will be ignored.

4 DUAL VOLUME

¢DUAL VOLUME »…SpacePno

A=50! B=45

+– +–

Purpose:

Independently adjusts the volumes of the two voices used

in the dual voice.

Procedure:

Use the left and right [-] and [+] buttons to set the desired

volume levels for voices A and B.

Notes:

The volume range is from “00” (no sound) to “50” (maximum volume). Use this function to set the optimum balance between the two voices.

When the parameter is set to “00” or “50” an exclamation mark (!) will appear next to the parameter indicating that the limit has been reached.

Page 32

[F1] Custom Voice Edit

5 DUAL PAN

DUAL PAN »…SpacePno

A=L R B=L R

+– +–

Purpose:

Independently sets the pan positions of the two voices

used in the dual voice.

6 DUAL DETUNE

⁄DUAL DETUNE »…SpacePno

A= 0 B=+ 2

+– +–

Purpose:

Allows the two voices used in the dual voice to be detuned

slightly to create a thicker sound.

Procedure:

Use the left and right [-] and [+] buttons to set the desired

detune for voices A and B.

Procedure:

Use the left and right [-] and [+] buttons to set the desired pan positions for voices A and B. The graphic display indicates the approximate location of the sound between the left and right speakers.

Notes:

When Pan is set to the center position, the preset pan position of the selected voice is used. The center pan position can be instantly recalled by pressing both the [-] and [+] buttons simultaneously.

Notes:

The normal tune value is “0”. This can be tuned down to a maximum setting of -50 or up to a maximum setting of +50. Each increment equals approximately 0.78 cents (a cent is one hundredth of a semitone). The maximum amount of detune that can be set in either direction is therefore 39 cents — not quite a quarter tone.

This function can be used by leaving one of the voices set at “0” and detuning the other until the desired effect is achieved. Another approach is to tune one voice down and the other up.

The pitch bend range is always ±200 cents, regardless of the setting of this function.

When the parameter is set to “-50” or “50” an exclamation mark (!) will appear next to the parameter indicating that the limit has been reached.

Page 33

[F1] Custom Voice Edit

Drum Voice Edit Functions (Voices 98 and 99)

The following functions are available when editing voices 98 and 99. Different groups of edit functions are pro-

vided for the PSR-5700 normal voices (00 through 89 — page 27) and dual voices (90 and 97 — page 30).

1 PERC. NAME

Character list

`PERC. NAME »¥:Drum Kit

+–

[Space]!"#$%&'()*+,-./0123456789:;<=>?@

ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}≤≥

Purpose:

Allows an 8-character name to be assigned to the custom

drum voice.

Procedure:

Use the [<] and [>] buttons to position the cursor at the

desired character location, then use the left [-] and [+] buttons to select the desired character. A chart of the available characters is given below.

2 PERC. PITCH

“PERC. PITCH »¥Drum Kit

Prc=Kick1 Pitch= 0

+– +–

Purpose:

Allows the pitch of each instrument in the drum voice to

be individually tuned.

Notes:

Give your drum voice names that identify their character. If you’ve created a new drum voice intended for rock music, for example, you could call it something like “RockDrum”.

Procedure:

Use left [-] and [+] buttons to select the instrument to be tuned, and then the right [-] and [+] buttons to set the desired degree of tuning.

Notes:

The maximum tuning range is from -50 through 0 to +50, with “0” being the normal pitch for the instrument. Each increment equals approximately 6.25 cents (a cent is one hundredth of a semitone), for a total tuning range of about ±312 cents.

Page 34

[F1] Custom Voice Edit

PERC. PAN

£PERC. PAN »¥Drum Kit

Prc=Kick1 Pan=L R

+– +–

Purpose:

Allows the pan position of each instrument in the drum

voice to be individually adjusted.

Procedure:

Use left [-] and [+] buttons to select the instrument to be panned, and then the right [-] and [+] buttons to set the desired pan position. The graphic display indicates the approximate location of the sound between the left and right speakers.

4 PERC. TONE

¢PERC. TONE »¥Drum Kit

Prc=Kick1 Softnes= 0

+– +–

Purpose:

Allows the tone (softness) of each instrument in the drum voice to be individually adjusted.

Procedure:

Use left [-] and [+] buttons to select the instrument to be adjusted, and then the right [-] and [+] buttons to set the desired degree of softness.

Notes:

Use this function to create the required “stereo image” for your drum voice. View in the drum kit from the audience side, for example, the bass drum is normally in the center, the snare to its right, the tom-toms to the left, and so on.

The center pan position can be instantly selected by pressing both the [-] and [+] buttons simultaneously.

When the parameter is set to “-50” or “50” an exclamation mark (!) will appear next to the parameter indicating that the limit has been reached.

Notes:

The “softness” setting range is from 0 through -9, with “0” being the normal setting for the selected instrument. Lowering the softness setting lowers the cutoff frequency of the filter applied to the selected drum instrument, thereby creating a softer tone.

Some voices may produce no sound if this parameter is set too low.

When the parameter is set to “0” or “-9” an exclamation mark (!) will appear next to the parameter indicating that the limit has been reached.

Page 35

[F2] Reverb, Effect

The PSR-5700 has 23 reverb-based effects and 9 other effects that can be selected via the four pages accessed by this function. The selected reverb and effect types are applied to the sound when the [EFFECT] and [REVERB] buttons are used (see page 37 in the Getting Started manual).

1 REVERB TYPE

`REVERB TYPE No. 1

Type=Reverb : Hall

+– +–

Purpose:

Selects the reverb effect to be applied when the [REVERB] button is turned on (see page 37 of the “Getting Started” manual).

Procedure:

The right [-] and [+] buttons step through the reverb list effect by effect. For faster selection you can use the left [-] and [+] buttons to directly select the reverb categories — Reverb, Delay, etc. — and then use the right [-] and [+] buttons to select the desired reverb effect within that category.

2 REVERB DEPTH

The Reverb Effects are:

1. Reverb : Hall

2. Reverb : Room

3. Reverb : Plate

4. Reverb : Church

5. Reverb : Club

6. Reverb : Stage

7. Reverb : Bathroom

8. Reverb : Metal

9. Delay : Short

10. Delay : Medium

11. Delay : Long

12. Delay : OneShot

13. TempoSync : Short

14. TempoSync : Long

15. Echo : Stereo

16. Echo : PingPong

17. Refl&Gate : Panned

18. Refl&Gate : Early

19. Refl&Gate : Gate

20. Delay&Rev : Single

21. Delay&Rev : DelayL/R

22. Variation : Distort.

23. Variation : Tunnel

Notes:

The “TempoSync” effects produce a delay that is synchronized to the currently selected tempo. “Variation : Distort” produces a distortion effect.

Try out all of the effects to get a feel for what they can do to your sound.

“REVERB DEPTH

R' B˜ C2' C1' O2¶ O1~

+– +–

Purpose:

Independently sets the depth of the selected reverb effect for the rhythm, bass, chord 1, chord 2, orchestra 1, and orchestra 2 sound.

Procedure:

Use the [<] and [>] buttons to select the parameter for

which reverb depth is to be adjusted (R = rhythm; B = bass; C1 = chord 1; C2 = chord 2; O1 = orchestra 1; O2 = orchestra 2), and use the [-] and [+] buttons to set the reverb depth for each parameter. Pressing the [-] and [+] buttons simultaneously instantly recalls the default depth value.

Notes:

Reverb depth can be adjusted in 7 steps, represented by a vertical bar to the right of each parameter. The longer the bar, the greater the reverb depth.

Page 36

[F2] Reverb, Effect

EFFECT TYPE

£EFFECT TYPE No. 4

Type=Chorus : 1

+– +–

Purpose:

Selects the effect to be applied when the [EFFECT] button

is turned on (see page 37 of the “Getting Started” manual).

Procedure:

The right [-] and [+] buttons step through the effect list effect by effect. For faster selection you can use the left [-] and [+] buttons to directly select the effect categories — Tremolo, Chorus, etc. — and then use the right [-] and [+] buttons to select the desired effect within that category.

4 EFFECT DEPTH

¢EFFECT DEPTH

B˜ C2' C1' O2¶ O1~

+– +–

Purpose:

Independently sets the depth of the selected effect for the bass, chord 1, chord 2, orchestra 1, and orchestra 2 sound.

The Effects are:

1. Tremolo :1

2. Tremolo : 2

3. Tremolo : 3

4. Chorus :1

5. Chorus : 2

6. Flange :1

7. Flange : 2

8. Symphony :1

9. Symphony : 2

Notes:

Try out all of the effects to get a feel for what they can do

to your sound.

Procedure:

Use the [<] and [>] buttons to select the parameter for

which effect depth is to be adjusted (B = bass; C1 = chord 1; C2 = chord 2; O1 = orchestra 1; O2 = orchestra 2), and use the [-] and [+] buttons to set the effect depth for each parameter. Pressing the [-] and [+] buttons simultaneously instantly recalls the default depth value.

Notes:

Effect depth can be adjusted in 7 steps, represented by a vertical bar to the right of each parameter. The longer the bar, the greater the effect depth.

Page 37

[F3] Controller & Key V elocity

The [F3] function group includes six functions that affect how the PSR-5700 responds to control via the keyboard, a footswitch plugged into the rear-panel FOOT SW jack, an expression pedal plugged into the rear-panel EXP. PEDAL jack, the [SUSTAIN] button and SUSTAIN footswitch, the PITCH BEND/GLISSANDO wheel, and the MODULATION/EFFECT wheel.

1 KEY VELOCITY

`KEY VELOCITY

+– +–

Purpose:

Turns keyboard velocity response on or off.

Procedure:

Use the left or right [-] and [+] keys to turn keyboard ve-

locity response ON or OFF.

2 FOOT SWITCH SELECT

“FOOT SWITCH SELECT 1

Type=Glide

+–

Purpose:

Determines the function of a footswitch plugged into the

rear-panel FOOT SW jack.

Procedure:

Use the left [-] and [+] buttons to select one of the follow-

ing footswitch functions:

• Glide ............ Lower orchestra 1 sound by a semitone while

• Harmony ..... Harmony occurs only while footswitch pressed.

• Effect ........... Same as panel [EFFECT] button.

•

Punch In/Out .

• Tension ....... Modifies dominant 7th chords in the accompani-

• Perc. 1 ......... Footswitch plays a percussion instrument from

• Perc. 2 ......... Footswitch plays a percussion instrument from

footswitch pressed.

Sets punch-in and punch-out points when sequencer record mode set to “Punch.”

ment to produce a more consistent sound when playing in a minor key. Also automatically reharmonizes non-scale tones on chords other than the tonic and 7th.

the 98 DRUM KIT voice (see “Notes”).

the 99 POP DRUM KIT voice (see “Notes”).

Notes:

This function should normally be turned ON so that you can create expressive dynamics by varying the velocity with which you play the keys (i.e. how hard you play the keys). Key velocity can be turned OFF when playing voices that normally don’t have velocity response (organ, for example), or to assist young children learning to play the keyboard who have not yet developed the finger strength and touch for playing dynamics.

• Start/Stop............. Same as panel [START] and [STOP]

buttons.

• Start/Re-Start....... Same as panel [START/RE-START] but-

ton.

• Intro1/Fill.............. Same as panel [INTRO.1/FILL IN] button.

• Intro2/Fill.............. Same as panel [INTRO. 2/FILL IN] button.

• Intro3/Ending/rit .. Same as panel [INTRO. 3/ENDING/rit.]

button.

• V.Regist. + ........... Recall next (increment) voice registration.

• P.Regist. + ........... Recall next (increment) panel registration.

• Tap Start .............. Same as PAD Tap Start function.

Notes:

When the “Perc. 1” or “Perc. 2” setting is selected a new parameter appears to the right of the screen. This allows you to select the drum or percussion instrument that will be played when the footswitch is pressed. To select an instrument either use the right [-] and [+] buttons, or press the corresponding key on the keyboard. The preset velocity value will be assigned if the [-] and [+] buttons are used, while the velocity at which the key is played will be assigned if the keyboard is used to select the drum/percussion instrument.

“FOOT SWITCH SELECT 6

Type=Perc.1 Prc=Kick1

+–

Page 38

[F3] Controller & Key Velocity

3 EXP. PEDAL SELECT

£EXP. PEDAL SELECT ‡ Effect=OFF MastVol=ON

+– +–

†£EXP. PEDAL SELECT ‡ Orc1Vol=OFF Orc2Vol=OFF

+– +–

†£EXP. PEDAL SELECT

ABCVol=OFF RhmVol=OFF

+– +–

Purpose:

Determines which of the PSR-5700’s parts (orchestra, rhythm, etc.) an expression pedal plugged into the rear-panel EXP. PEDAL jack will control.

Procedure:

Use the [<] and [>] buttons to switch between the three

display screens. Use the [-] and [+] buttons below each parameter to turn expression control on or off:

• Effect ......... Effect control (Same as MODULATION/EFFECT

wheel. All other parameters automatically OFF).

• MastVol .....Master volume control.

• Orch1Vol ... Orchestra 1 volume control.

• Orch2Vol ... Orchestra 2 volume control.

• ABCVol .....ABC accompaniment volume control.

• RhmVol ..... Rhythm volume control.

Notes:

Normally you’ll want to be able to apply expression control to the orchestra voices without affecting the accompaniment and rhythm sound, so “Orch1Vol” should be turned on while the remaining parameters are turned off.

When “MastVol”, “Orc1Vol”, “Orc2Vol”, “ABCVol” , or “RhmVol” is turned ON, “Effect” is automatically turned OFF.

DETAIL

When “Orc1Vol”, “Orc2Vol”, “ABCVol” , or “RhmVol” is turned ON, “MastVol” and “Effect” are automatically turned OFF.

DETAIL

The “Effect” setting only applies when the panel [EFFECT] button is turned ON.

DETAIL

4 SUSTAIN PAR T SELECT

¢SUSTAIN PART SELECT Orch1=ON Orch2=ON

+– +–

Purpose:

Determines whether the PSR-5700 sustain effect is to be applied to the orchestra 1 voice, the orchestra 2 voice, or both orchestra voices.

Procedure:

Use the left [-] and [+] buttons to turn sustain on or off for the orchestra 1 voice, and the right [-] and [+] buttons to turn sustain on or off for the orchestra 2 voice.

Notes:

The sustain effect is applied to the specified orchestra part(s) only when the panel [SUSTAIN] button is turned on or when the sustain pedal is pressed.

Page 39

5 PITCH BEND SELECT

PITCH BEND SELECT

Orch1=ON Orch2=ON

+– +–

[F3] Controller & Key Velocity

Procedure:

Use the left [-] and [+] buttons to turn pitch wheel control on or off for the orchestra 1 voice, and the right [-] and [+] buttons to turn pitch wheel on or off for the orchestra 2 voice.

Purpose:

Determines whether the PITCH BEND/GLISSANDO wheel will affect the orchestra 1 voice, the orchestra 2 voice, or both orchestra voices.

6 WHEEL SELECT

⁄WHEEL SELECT ‡

Type=Modulation

+–

†⁄WHEEL SELECT

Orch1=ON Orch2=OFF

+– +–

Notes:

If, for example, you’re using the split mode (ORCH.

2v1) with a bass voice on the left and a sax voice on the right, you’ll want pitch bend to apply only to the right-hand sax voice. In this case simply turn orchestra 1 pitch bend on and orchestra 2 pitch bend off.

If AUTO BASS CHORD is on and the ORCH. 2v1 or-

chestration mode is selected, no pitch bend is applied to the ORCH. 2 voice.

Procedure:

Use the left [-] and [+] buttons to select either “Modula-

tion” or “Effect” operation, then press the [>] button to move to the second display screen and use the left [-] and [+] buttons to turn wheel control on or off for the orchestra 1 voice, and the right [-] and [+] buttons to turn wheel control on or off for the orchestra 2 voice.

Purpose:

Determines whether the MODULATION/EFFECT wheel will control modulation or the selected effect (page 36), and whether it will affect the orchestra 1 voice, the orchestra 2 voice, or both orchestra voices.

Notes:

This function can be used to apply modulation or the se-

lected effect to just one of the voices being played in the split mode (ORCH. 2v1) to emphasize that voice and provide greater contrast with the other voice.

When “Effect” operation is selected, the wheel will func-

tion only when the panel [EFFECT] button is turned on.

If AUTO BASS CHORD is on and the ORCH. 2v1 or-

chestration mode is selected, no modulation is applied to the ORCH. 2 voice.

Yamaha PSR-5700, PSR-5700E2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual