Yamaha S03 User Manual

OWNER’S MANUAL

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

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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-3C 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.

• 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 multipleconnector. 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.

• 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.

• 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.

REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message “!BatteryLo” will display in the LCD. When this happens, immediately back up your data (using an external device such as the ﬂoppy disk-based Yamaha MIDI Data Filer MDF3), then have qualiﬁed Yamaha service personnel replace the backup battery.

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

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

SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunction or user operating error.

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

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

(3)-6

Introduction

Thank you for purchasing the Yamaha S03 Music Synthesizer. In order to get the most out of your new S03 and its sophisticated functions, we suggest you read through this manual thoroughly. Also keep it in a safe, convenient place so that you can regularly refer to it when necessary.

Package Contents

•PA-3C AC Adaptor *

n Since the PA-3C has the same speciﬁcations as the PA-3B, the PA-3C can be used as the AC adapter for any product

requiring the PA-3B.

• Owner’s Manual

• Data List

* May not be included in your area. Please check with your Yamaha dealer.

Main Features

•Exceptionally high-quality dynamic Voices — including many sounds from Yamaha’s top-of-the-line S80 Music Synthesizer (page 18).

• Wide variety of pro-quality digital effects (page 53).

• Category Search function for quickly calling up Voices in a desired instrument group (page 35).

•A total of 480 Normal Voices and 20 Drum Voices, all XG-compatible — in addition to Preset Voices and User Voices (page 25).

• Comprehensive, detailed editing features for customizing your Voices (page 70).

• Convenient TO HOST terminal for direct, easy connection to computer — with just one cable (page 13).

GM System Level 1

“GM System Level 1” is a standard speciﬁcation that deﬁnes the arrangement of voices in a tone generator and its MIDI functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator, regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo.

“XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” speciﬁcation to meet the ever-increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward compatibility of data. “XG” greatly expands “GM System Level 1” by deﬁning the ways in which voices are expanded or edited and the structure and type of effects. When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you will enjoy a full musical experience that includes unlimited expansion voices and effect functions.

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About This Manual

This manual is basically divided into two sections:

Basics Section (Page 8)

Explains how to get started with the S03, it’s overall structure, and how to use its main features and functions.

Reference Section (Page 55)

Explains the parameters of the S03’s various modes.

About the “Page” References in this Manual

PAGE xx ..... Refers to a display “page” in the LCD

page xx........ Refers to an actual page in this manual.

Many of the functions and parameters of the S03 are shown on various display “pages,” each of which is numbered within each mode and indicated in the display. Searching for a function or parameter is made more convenient and fast by the use of these page numbers.

To distinguish these display page references from actual pages in the manual, we’ve applied the following convention: “PAGE” (all capital letters) refers to the display page. Unless indicated otherwise, the PAGE reference is for display pages within the same mode (as described for other parameters in the same section).

Throughout the manual, parameter names are prefaced by numbers, such as “13-2 Resonance.” This, for example, indicates that the Resonance parameter is on display PAGE 13 in the selected mode.

When one display page contains two or more related parameters, use the [ E ]/[ F ] buttons (page 30) to scroll through the available parameters. These related parameters selected by the [ E ]/[ F ] buttons are indicated by hyphenated numbers (e.g., 13-1, 13-2, etc.). In the example above, you can select the Resonance parameter by using the [ E ]/[ F ] buttons to move to the second page.

n For a full listing of the parameters and their corresponding display pages, refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

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

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

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

Basics Section............................8

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

Front Panel ................................................................................... 8

Rear Panel .................................................................................. 10

Before Use........................................................................... 11

Power Supply ............................................................................. 11

Connections................................................................................ 11

Powering Up ..............................................................................15

Demo Playback................................................................... 16

Overview of the S03 ........................................................... 17

Controller ................................................................................... 17

Tone Generator ..........................................................................17

Effects ........................................................................................18

About the Modes ................................................................ 19

Function Tree chart ........................................................... 20

Parameter Table................................................................. 22

Multis .................................................................................. 24

Voices .................................................................................. 25

Overview of Voices/Waves .......................................................26

Waves......................................................................................... 27

Basic Operations ................................................................28

Selecting a Mode........................................................................ 28

Selecting a Screen ...................................................................... 30

Entering Data .............................................................................31

Playing the S03 ................................................................... 33

Playing the Voices .....................................................................33

Reference Section ....................55

Multi Mode ......................................................................... 55

Multi Edit................................................................................... 55

Common (Settings for all Parts) ........................................... 56

Part (Settings for each Part).................................................. 59

Multi Job.................................................................................... 67

Performing a Job................................................................... 67

Multi Store................................................................................. 69

Voice Mode ......................................................................... 70

Voice Edit.................................................................................. 70

Normal Voice ....................................................................... 70

Drum Voices......................................................................... 84

Voice Job ................................................................................... 87

Performing a Job................................................................... 87

Voice Store ................................................................................ 89

Utility Mode........................................................................ 90

Utility Job .................................................................................. 92

Factory Set (Restore Factory Defaults) ................................ 92

MIDI Mode......................................................................... 93

Appendix................................95

About MIDI ........................................................................ 95

Display Messages.............................................................. 100

Troubleshooting ............................................................... 101

Specifications.................................................................... 105

Index.................................................................................. 106

Using Multi Mode .............................................................. 37

Playing in Multi Mode ............................................................... 37

Using the S03 as a Multitimbral Tone Generator (Multi Edit)..38

Performing Live While Playing Back a Song File..................... 40

Splitting the Keyboard — Setting Upper and Lower Ranges for the Voices

Layering Two Voices (Parts) Together...................................... 42

Using Controllers ............................................................... 44

Pitch Bend Wheel ......................................................................44

Modulation Wheel .....................................................................44

Foot Controller........................................................................... 45

Foot Switch ................................................................................ 46

Voice Edit............................................................................ 47

Effects.................................................................................. 53

Effects in Voice Mode ...............................................................53

Effects in Multi Mode................................................................53

.... 41

Application Index

This convenient, easy-to-use index is divided to general categories to help you when you want to ﬁnd information on a speciﬁc topic or function.

Listening/Playing

• Listening to Demo songs ........................................................................................................................................ Demo Playback (Page 16)

• Playing the voices............................................................................................................................................................................... (Page 33)

• Calling up Voices in a desired instrument group .............................................................................Using Voice Category Search (Page 35)

•Performing live while playing back a Song ﬁle ................................................................................................................................ (Page 40)

• Splitting the keyboard — Setting upper and lower ranges for the Voices

In Multi mode .................................................................................................................................................................................... (Page 41)

In Voice mode.................................................................................................................................................................. Note Limit (Page 73)

•Layering two voices (Parts together) ................................................................................................................................................ (Page 42)

Using controllers

• Connecting controllers ...................................................................................................................................................................... (Page 14)

• Using a Foot Controller to control parameters................................................................................................................................. (Page 45)

• Using a Footswitch to advance through Voice or Multi programs.................................................................................................. (Page 46)

• Maintaining the controller state/position when you switch between voices..................................................... Controller Reset (Page 91)

• Setting the AC1 (Assignable Controller 1) Controller .......................................................................................... Foot Controller (Page 45)

AC1 (Assignable Controller 1) (Page 66)

Basics Section Multi Mode Voice Mode Utility Mode MIDI Mode Appendix

Copying

• Copying the Voice Variation Effect settings to the Multi mode ..................................................................Copy Variation Effect (Page 68)

• Copying the Controller settings of the Voice mode to the Multi mode ...............................................................Copy Controller (Page 68)

• Copying Part parameter settings of the Multi being edited to another Part in the same Multi..................................................... (Page 68)

• Copying Element parameter settings of the Voice being edited to another Element in the same Voice....................................... (Page 88)

• Backing up your S03 data............................................................................................Saving S03 Settings to an External Device (Page 42)

Changing the sound

• Editing a Voice ................................................................................................................................................................. Voice Edit (Page 47)

• Effect structure and signal ﬂow ............................................................................................................................................Effects (Page 53)

• Details on the parameters of the modes .............................................................................................................Reference Section (Page 55)

Saving data

• Storing the edited Voice to the S03 internal (USER) memory.....................................................................................Voice Store (Page 89)

• Storing the edited Multi to the S03 internal (USER) memory ................................................................................... Multi Store (Page 69)

•Saving S03 settings (Voice/Multi/MIDI/Utility) to an external device such as a computer .......... Saving S03 Settings to an External Device (Page 42)

Connecting the S03 to other devices

• Connecting a computer............................................................................................................... Connecting a Personal computer (Page 13)

• Setting Local On/Off .................................................................................................................................................. Local On/Off (Page 93)

• Using the S03 as a multitimbral tone generator............................................................................................................................... (Page 38)

• Sending the S03 data using the Bulk Dump function ...............................................Saving S03 Settings to an External Device (Page 42)

Resetting parameters (Initializing)

• Initializing Multi parameters ............................................................................................................................................ Initialize (Page 68)

• Initializing Voice parameters............................................................................................................................................. Initialize (Page 88)

•Resetting the S03 to its default settings............................................................................Factory Set (Restore Factory Defaults) (Page 92)

Quick solutions

• Global functions of the S03.............................................................................................................................Function Tree chart (Page 20)

• S03 parameter structure and the LCD PAGES..................................................................................................... Parameter Table (Page 22)

• General information on MIDI......................................................................................................................................About MIDI (Page 95)

• Meaning of the display messages ...................................................................................................................... Display Messages (Page 100)

•Troubleshooting................................................................................................................................................................................(Page 101)

Basics Section

The Controls & Connectors

Basics Section

Font Panel

12 5 6 78 9)!$

PHONES

MUSIC SYNTHESIZER

OUTPUT

MONO

STANDBY

RDCINON

FOOT FOOT

CONTROLLER SWITCH TO HOST HOSTSELECT IN OUT THRU

VOLUME

OCTAVE

DOWN

MIDI

UTILITY

ELEM

KEY

PAGE

PART

KEYELEMPART

PAGE

MIDI

OCTAVE

1 OCTAVE [UP] and [DOWN] buttons (Page 36)

Press either of these buttons to shift the note range of the keyboard up or down in octaves. Press them together to restore the normal range (0).

[VOLUME] slider (Page 15)

Adjusts the master volume output from the OUTPUT L/R jacks and the PHONES jack. Move the slider upwards to raise the level.

PITCH bend wheel (Page 44)

Controls the pitch bend effect.

MODULATION wheel (Page 44)

Controls the modulation effect. You can also assign other parameters and functions to this controller.

LCD (Liquid Crystal Display)

This backlit LCD displays various operation messages and information.

Parameter Type List (Page 30)

Follow the arrow in the LCD across to the appropriate column in the list; the arrow indicates the type of the currently selected parameter.

MULTI PAR T

VOICE

MIX

GENERAL

TONE

CONTROLLER

EFFECT

UTILITY MIDI MODE PART ELEMENT KEY

EDIT

COMMON ELEMENT

OSC MIX

PITCH

KEYBOARD

FILTER

MIDI CHANNEL

AMP

MIDI FILTER

LFO

CONTROLLER

EFFECT

MODE buttons (Page 19)

Press these to buttons to select one of the modes: Multi, Voice, Utility, or another mode.

[PART/ELEMENT/KEY] buttons

These buttons are used to select Parts/Elements/ Drum keys in the Multi Edit or Voice Edit Mode.

In the Multi Mode, these buttons select Parts 1 to

16. In the Multi Part Edit mode, press both of these buttons simultaneously to call up the Common Edit screens. To return to the Part Edit screens, press only one of these buttons, [–] or [+]. In the Voice Edit Mode, these buttons select Elements 1 to 4 or the Drum keys. In the Voice Element Edit mode, press both of these buttons simultaneously to call up the Common Edit screens. To return to the Element Edit screens, press only one of these buttons, [–] or [+].

In the Multi Mode, this button mutes the selected Parts. In the Voice Edit Mode, this button mutes the selected Elements or Drum keys.

789

Rear Panel

Basics Section

MIDI OUTTHRU IN

HOST SELECT

MacPC-2

MIDI OFF

TO HOST

12 5678934

1 MIDI IN/OUT/THRU terminals (Page 12)

MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the S03 from an external MIDI device. MIDI OUT sends out MIDI messages generated by the S03 (including notes played on the keyboard and panel control movements) to an external MIDI sound module or device. MIDI THRU simply relays the MIDI messages received at MIDI IN. Connect other devices here.

2 HOST SELECT switch (Page 12)

For selecting the type of computer connected to the S03 via the TO HOST connector. When using the MIDI IN/OUT/THRU terminals, set this switch to MIDI.

3 TO HOST terminal (Page 13)

For connection to a computer, using an optional serial computer cable.

4 FOOT SWITCH jack (Pages 14, 46)

For connecting an optional footswitch (FC4 or FC5). Depending on the assigned function, you can use the footswitch to turn speciﬁc functions on and off.

FOOT

SWITCH

FOOT

CONTROLLER

STANDBY

DC IN PHONES

RLMONOON

OUTPUT

5 FOOT CONTROLLER jack (Pages 14, 45)

For connecting an optional foot controller (FC7, etc.). This gives you real-time control over various aspects of the sound, such as tone, pitch, and volume.

6 STANDBY/ON switch (Page 15)

Use this to turn the S03 on or off.

Even when the switch is in the “STANDBY” position, electricity is still ﬂowing to the instrument at a minimum level. When not using the S03 for an extended period of time, be sure to unplug the AC power adaptor from the wall AC outlet.

7 DC IN terminal (Page 11)

For connecting an appropriate AC power adaptor (PA-3C or an equivalent recommended by Yamaha) to supply power to the S03.

8 OUTPUT L/MONO and R jack (Page 11)

Line level audio signals are output from the S03 via these phone jacks (1/4" mono phone plug). For monophonic output, use just the L/MONO jack.

9 PHONES jack (Page 11)

For connection to a pair of stereo headphones.

Before Use

This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the S03 on after you have made all the necessary connections. We strongly recommended you read this section BEFORE using the S03.

Basics Section

Power Supply

S03 Rear Panel

STANDBY

DC IN

1 Make sure that the S03’s STANDBY/ON switch is

at the STANDBY (off) position.

2 Connect the PA-3C’s DC plug to the S03’s DC IN

terminal on the instrument’s rear panel.

3 Connect the adaptor’s AC plug to the nearest

electrical outlet.

Do not attempt to use an AC adaptor other than the Yamaha PA-3C or an equivalent recommended by Yamaha. The use of an incompatible adaptor may cause irreparable damage to the S03, and may even pose a serious shock hazard! ALWAYS UNPLUG THE AC ADAPTOR FROM THE AC POWER OUTLET WHEN THE S03 IS NOT IN USE.

OUTPUT

RLMONOON

DC IN PHONES

To electrical outlet

Connections

Connecting to External Audio Equipment

Since the S03 has no built-in speakers, you need to monitor its sound output via external audio equipment. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations.

Connecting Stereo Powered Speakers

A pair of powered speakers can accurately produce the S03’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.

Powered speaker

(Left)

OUTPUT L /

MONO

Powered speaker

(Right)

INPUTINPUT

OUTPUT R

Stereo headphones

PHONES

S03

n When using just one powered speaker, connect it to the

OUTPUT L/MONO jack on the rear panel.

Connecting to a Mixer

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

S03

HOST SELECT

MacPC-2

MIDI OFF

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

S03

HOST SELECT

MacPC-2

MIDI OFF

If you want to integrate the S03 into a larger system with other instruments and additional audio processing capabilities, connect it to a mixer, ampliﬁer and stereo monitor system as shown below.

Basics Section

Speaker

Mixer

12345678910111213141516LR

Amplifier

OUTPUT L

Stereo headphones

Connecting External MIDI Equipment

You can connect an external MIDI device using a MIDI cable (available separately) and control it from the S03. You can also use an external MIDI keyboard or sequencer to control the S03’s internal sounds. This section introduces several different MIDI applications.

n The HOST SELECT switch on the rear panel should be

set to “MIDI” Otherwise, MIDI data will not be transmitted from the S03’s MIDI OUT connector.

Controlling the S03 from an External MIDI Keyboard

OUTPUT

L / MONO PHONES

S03

OUTPUT R

n Connecting a pair of headphones does not affect audio

output from the OUTPUT (L/MONO and R) jacks. The audio output at the PHONES jack and the OUTPUT jacks is exactly the same.

Controlling an External MIDI Keyboard with the S03

Recording and Playback using an External MIDI Sequencer

Connecting to a Personal Computer

Basics Section

MIDI IN

HOST SELECT

MacPC-2

MIDI OFF

External

MIDI sequencer

MIDI OUT

MIDI IN

MIDI OUT

S03

Controlling Another MIDI Device via MIDI THRU

External

HOST SELECT

MacPC-2

MIDI OFF

MIDI sequencer

MIDI OUT

MIDI IN

S03

External MIDI synthesizer

MIDI IN

MIDI THRU

External MIDI

synthesizer

MIDI OUT

MIDI IN

You can use a connected computer to control the S03 and to transfer S03 data to/from computer via MIDI.

There are two ways to connect your S03 to a computer:

1: Serial connection (the computer’s serial port to

the S03’s TO HOST terminal)

2: MIDI connection (the computer’s MIDI

interface or external MIDI interface to the S03’s MIDI IN and OUT)

Depending on your particular computer, the connections may differ. (See below.)

n You may also want to change the Local On/Off setting

(page 93), depending on how you are using the S03 in your MIDI system.

1: Serial Port to TO HOST

IBM-PC/AT

HOST SELECT

MacPC-2

MIDI OFF

S03

8-pin MINI DIN to

D-SUB 9-pin Cable

HOST

RS-232C

(DB9)

PS/V

IBM-PC/AT

and compatibles

Personal System/V

With the above MIDI connections, you can send MIDI data from the S03’s MIDI OUT terminal, while sending MIDI data from the external sequencer to an external MIDI synthesizer via the S03’s MIDI THRU terminal.

n The MIDI cable should be no greater than 15 meters in

length, and there should be no more than three devices in a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors.

mini DIN 8-pin

Macintosh

HOST SELECT

MIDI OFF

mini DIN 8-pin mini DIN 8-pin

D-SUB 9-pin

MacPC-2

HOST

S03

Macintosh Peripheral

Cable (M0197)

Macintosh

MIDI Interface to MIDI IN and OUT

Connecting Controllers

Using the computer’s MIDI interface

HOST SELECT

Basics Section

PC-2 PC-1

MIDI Mac

MIDI IN

MIDI OUT

S03

Using an external MIDI interface

■ Connection to serial port

HOST SELECT

MacPC-2

MIDI OFF

MIDI IN MIDI OUT

S03

MIDI Interface

MIDI OUT

MIDI IN

NEC MultiSync

MIDI OUT

PC-9821

MIDI

Computer with

MIDI interface

Computer

The S03 has controller jacks on the rear panel, including FOOT SWITCH and FOOT CONTROLLER. You can connect optional controllers such as a footswitch (the FC4 or FC5) and foot controller (the FC7) to control tone, volume, pitch and other parameters.

n Details about how to use these controllers are given on

NEC

page 45.

OST SELECT

MacPC-2

TO HOST

IOFF

FOOT SWITCH FC4 or FC5

FOOT

SWITCH

FOOT

CONTROLLER

STANDBY

DC IN PHONES

FOOT CONTROLLER FC7

RLMONOON

S03

OUTPUT

■ Connection to USB terminal

USB-MIDI interface

HOST SELECT

MacPC-2

MIDI OFF

MIDI IN MIDI OUT

S03

n You will also need the appropriate MIDI application

(sequencer, editor, etc.), compatible with your computer platform.

MIDI OUT

MIDI IN

(UX256, etc.)

Computer

Powering Up

GrandPno

KEYELEMPART

OCTAVE

PAGE

XG001

Turning on the S03

Basics Section

Power-on Procedure

When you have made all the necessary connections between your S03 and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then the audio equipment (mixers, ampliﬁers, speakers, etc.). This ensures smooth MIDI operation and prevents speaker damage.

When powering down the setup, ﬁrst turn down the volume for each audio device, then switch off each device in the reverse order (ﬁrst audio devices, then MIDI).

When using the S03 as MIDI slave:

POWER

ON!!

MIDI master (transmitting device)

In order to avoid possible damage to the speakers or other connected electronic equipment, always switch on the power of the S03 before switching on the power of the ampliﬁed speakers or mixer and ampliﬁer. Likewise, always switch off the power of the S03 after switching off the power of the ampliﬁed speakers or mixer and ampliﬁer.

n Before you switch your S03 on or off, ﬁrst turn down the

volume of any connected audio equipment.

1 Press the STANDBY/ON switch

FOOT

CONTROLLER

STANDBY

DC IN PHONES

RLMONOON

OUTPUT

S03 as MIDI slave (MIDI receiving device)

12345678910111213141516LR

Audio equipment (first mixer, then amplifier)

2 A splash screen (“Welcome to S03”) is displayed

brieﬂy.

3 The Multi or Voice Play Mode screen appears next.

4 Turn up the ampliﬁer’s volume as necessary.

5 Adjust the S03’s [VOLUME] slider to set an

appropriate volume level.

VOLUME

Demo Playback

The S03 features a variety of demo songs, showcasing its dynamic sound and sophisticated functions.

n Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on page 11.

Basics Section

At the “Demo” screen, any data in the instrument’s User Voice memory will be overwritten by the data for the demo song. Important data should be saved to the external MIDI device or computer beforehand.

At the “DEMO” screen, the Master Tune parameter (in Utility) will be overwritten and set to “0.”

1 Press the [DEMO] button.

The following screen appears.

MODE

MULTI VOICE DEMO

2 Press the [INC/YES] button to call up the Demo screen and automatically start playback of the Demo song.

3 To stop Demo playback, press one of the following buttons: [MULTI], [VOICE], or [EXIT].

This exits from the Demo mode and automatically returns to the Multi mode, Voice mode, or the mode previously selected.

n Demo song playback continues indeﬁnitely until stopped.

EraseUserV

KEYELEMPA RT

PAGE

OCTAVE

OK?

MODE PART ELEMENT K EY

VOICE DEMO MUTE

MULTI

EDIT

MIDI

JOB STORE

DEC INC

UTILITY

COMPARE

COMMON

DATA

NO YES

DRUM

CATEGORY SEARCH

PRESET

DRUM/PERC

USER

GM XG

OTHER KEYBOARD

789

PIANO

ORGAN GUITAR

456

BASS

STRINGS

REED/PIPE

SYN COMP

BRASS

SYN PAD

SYN LEAD

ENTER EXIT

CHROMATIC PERCUSSION

Demo Song Selection

While the Demo song is playing back, you can select the particular Demo song that you wish to hear. Enter the desired Demo song category from the numeric keypad to call up the song.

DRUM

PRESET

DRUM/PERC

USER

GM XG

CATEGORY SEARCH

789

PIANO

ORGAN GUITAR

456

BASS

STRINGS

REED/PIPE

BRASS

SYN PAD

SYN LEAD

ENTER EXIT

Select the category

SYN COMP

OTHER KEYBOARD

CHROMATIC

PERCUSSION

For example, you can play the piano song by pressing button 7 (PIANO) in the numeric keypad. If you don’t select a particular song, an ensemble (OTHER) song will play back automatically.

n When there are several Demo songs contained in one category, you can select from among the available songs by using the

[DEC/NO] and [INC/YES] buttons.

Overview of the S03

The S03 has a wide variety of advanced and convenient features. This section gives you an overview of these features. The following diagram shows the various component sections or “blocks” of the S03.

Controller

keyboard controllers

Basics Section

Tone Generator

Effect

Controller

This block consists of the keyboard, Pitch Bend and Modulation wheels and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the S03’s tone generator section for the notes you play. The controllers also send non-note performance data. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector.

Tone Generator

This block plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in the Voice Mode.

Controls the output level (amplitude) of each

Controls the pitch of each Element output from the OSC section.

Tone Generator

Element output from the FILTER section. The signals are then sent at this level to the Effects Units.

OSC

(Oscillator)

Outputs the waveform of each Element. Each Voice consists of up to four Elements.

FILTERPITCH

Changes the tonal quality of each Element output from the PITCH section.

AMP

(Amplitude)

To E ff ects Units

About the Tone Generator

The tone generator of the S03 utilizes the sophisticated AWM2 system. AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms, and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, ﬁlter, modulation, and other parameters can be

Basics Section

applied to the basic waveform.

n AWM2 is not just limited to conventional pitched instruments (Normal Voices), but also produces various drum and percussion

instruments (Drum Voices). For details about Normal and Drum Voices, see page 26.

Maximum Polyphony

The maximum polyphony of the S03 is 64 notes. However, the actual note polyphony will vary depending on the number of Elements in the Voice. To calculate the actual polyphony, divide the total polyphony of 64 by the number of Elements in the Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is 32.

Effects

The effects can be used to change or enhance the sound of a Multi or Voice. These include the effects of the Reverb section (11 types) for adding ambient after-tones to the sound, the Chorus section (11 types) that add animation and depth, and the Variation section (42 types) which features a wealth of additional effects.

n For more details about the effects, see page 53.

About the Modes

The S03 has various modes, each covering a different set of operations and functions.

Basics Section

Multi Mode (Page 55)

Multi Play Mode

Select this mode when you want to use the S03 as a multi-timbral tone generator. In this mode, you can use an external MIDI sequencer to play several different instrument parts simultaneously. This mode can also be used to combine several different Voices together in a layer.

Multi Edit Mode

In this mode, you can edit and create Multis. You can save up to 32 Multis to internal memory.

Multi Job Mode

In this mode, you can copy and initialize Multis, and perform other similar operations (Jobs).

Multi Mode

Multi Play Mode Multi Edit Mode Multi Job Mode

Utility Mode

MULTI

UTILITY

EDIT

COMPARE

Voice Mode

Voice Play Mode Voice Edit Mode Voice Job Mode

MODE

VOICE DEMO

MIDI

JOB STORE

Voice Mode (Page 70)

Voice Play Mode

Normal Voices and Drum Voices can be played in this mode. You can select from the Preset Voices (128 Normal Voices), User Voices (128 Normal Voices plus two Drum Kits) and XG Voices (480 Normal Voices plus 20 Drum Kits). The S03 also features a convenient Category Search function that lets quickly select a Voice according to its instrument type.

Voice Edit Mode

Normal Voices and Drum Voices can be created and edited in this mode. You can save up to 128 edited Normal Voices and two edited Drum Kits as User Voices in internal memory.

DEMO Mode

MIDI Mode

Store Mode

DEMO Mode (Page 16)

In this mode, you can play the Demo songs contained in internal memory. The various Demo songs play back continuously.

Utility Mode (Page 90)

This mode contains global settings related to the entire system of the S03, such as master tuning and controller-related settings.

MIDI Mode (Page 93)

In this mode, you can make MIDIrelated settings, such as the MIDI transmit/receive channels and device number.

Voice Job Mode

In this mode, you can copy Elements and initialize Voices, and perform other similar operations (Jobs).

Store Mode (Pages 69, 89)

In this mode, you can store your original Voices and Multis to internal memory.

Function Tree chart

Basics Section

LCD Display (parameter name) LCD

Multi Edit 56

Common

GENERAL

Name 1 56 Total Vol (Total Volume) 2 56 Transpose 3 56

EFFECT

RevEF (Reverb Effect Type) 4 56 Reverb Parameters 5 56 Rev Return (Reverb Return) 6 56 Reverb Pan 7 57 ChoEF (Chorus Effect Type) 8 57 Chorus Parameters 9 57 Cho Return (Chorus Return) 10 57 Chorus Pan 11 57 SndChoRev (Send Chorus to Reverb) 12 57 VarEF (Variation Effect Type) 13 57

Variation Parameters 14 57

VarConnect (Variation Connection) 15 58 Var Return (Variation Return) 16 58 Var Pan 17 58 SndVarRev (Send Variation to Reverb) 18 58 SndVarRev (Send Variation to Chorus) 19 58 MW VarCtl (MW Variation Effect Control Depth) 20 58 AC1VarCtl (AC1 Variation Effect Control Depth) 21 59

Part

VOICE

Voice Selection 1 59

MIX

Volume 2 60 Pan 3 60 NtLmt-H (Note Limit Low/High) 4 60 VelLmt-L (Velocity Limit Low/High) 5 60

GENERAL

Rcv Ch (MIDI Receive Channel) 6 61 NoteShift/Detune 7 61 Mono/Poly 8 61 Part Mode 9 61

TONE

VelSnsDpt/Ofs (Velocity Sensitivity Depth/Offset) 10 62 Cutoff/Resonance 11 63 Attack/Decay/Releas Tm (Attack/Decay/Release Time) 12 63 PEG L/Tm (PEG Level/Time) 13 64 Vib Rate/Depth/Delay (Vibrato Rate/Depth/Delay) 14 64

CONTROLLER

Por ta Sw/Time (Portamento Switch/Time) 15 65 PB Range (Pitch Bend Range) 16 65 MW FltCtl (MW Filter Control) 17 65 MW PMod (MW Pitch Modulation Depth) 18 65 MW FMod (MW Filter Modulation Depth) 18 65 MW AMod (MW Amplitude Modulation Depth) 18 65 AC1 CC No (AC1 Control Change Number) 19 66 AC1FltCtl (AC1 Filter Control) 20 66 AC1 FMod (AC1 Filter Modulation Depth) 21 66 AC1 AMod (AC1 Amplitude Modulation Depth) 21 66

EFFECT

ReverbSend 22 66 ChorusSend 23 66 Var Send (Variation Send) 24 67

Multi Job 67

Init (Initialize) 1 68 CpyVar (Copy Variation Effect) 2 68 CpyCtl (Copy Controller) 3 68 CpyPart (Copy Part) 4 68 BlkDmp (Bulk Dump) 5 68

Owner's Manual

PAG E Pag e

LCD Display (parameter name) LCD

Voi ce Edit 71

Common

GENERAL

Name 1 71 Total Vol/Lvl (Total Volume/Level) 2 71 Mono/Poly 3 71 VelSnsDpt/Ofs (Velocity Sensitivity Depth/Offset) 4 72

CONTROLLER

Por ta Sw/Time (Portamento Switch/Time) 5 72 PB Range (Pitch Bend Range) 6 72 MW FltCtl (MW Filter Control) 7 72 MW PMod (MW Pitch Modulation Depth) 8 72 MW FMod (MW Filter Modulation Depth) 8 72 MW AMod (MW Amplitude Modulation Depth) 8 72 AC1FltCtl (AC1 Filter Control) 9 72 AC1 FMod (AC1 Filter Modulation Depth) 10 72 AC1 AMod (AC1 Amplitude Modulation Depth) 10 72

EFFECT

ReverbSend 11 72 ChorusSend 12 72 SndChoRev (Send Chorus to Reverb) 13 72 VarEF (Variation Effect Type) 14 72 Var iation Parameters 15 72 MW VarCtl (MW Variation Effect Control Depth) 16 72 AC1 VarCtl (AC1 Variation Effect Control Depth) 17 72

Element

OSC/MIX (Oscillator/Mixer)

Element Sw (Element Switch) 1 73 Wave Selection 2 73 Level 3 73 Pan 4 73 NtLmt-L/H (Note Limit Low/High) 5 73 VelLmt-L/H (Velocity Limit Low/High) 6 74

PITCH

NoteShift/Detune 7 74 PchSclSns (Pitch Scale Sensitivity) 8 74 PchSclCN (Pitch Scale Center Note) 8 74 PEG R (PEG Rate) 9 75 PEG L (PEG Level) 10 75 PEGSclSns (PEG Scale Sensitivity) 11 76 PEGSclCN (PEG Scale Center Note) 11 76 PEGRtVel (PEG Rate Velocity) 12 76 PEGLvlVel (PEG Level Velocity) 12 76

FILTER

Cutoff/Resonance 13 77 CutoffVel (Cutoff Velocity Sensitivity) 14 77 ResoVel (Resonance Velocity Sensitivity) 14 77 FltSclFlag (Filter Scale Flag) 15 77 Flt BP1~4 (Filter Scale Break Point 1~4) 16 78 Flt Ofs1~4 (Filter Scale Offset 1~4) 17 78 FltSclSns (Filter Scale Sensitivity) 18 78 FltSclVel (Filter Scale Velocity Sensitivity) 18 78 FEG R (FEG Rate) 19 79 FEG L (FEG Level) 20 79 FEGSclSens (FEG Scale Sensitivity) 21 79 FEGAtkVel (FEG Attack Velocity) 22 80 FEGOthVel (FEG Other Velocity) 22 80

AMP (Amplitude)

AEG R (AEG Rate) 23 80 AEG L (AEG Level) 24 80 AEGSclSens (AEG Scale Sensitivity) 25 81 AEGLvlVel (AEG Level Velocity Sensitivity) 26 81 AEGAtkVel (AEG Attack Velocity Sensitivity) 26 81 LvlSclFlag (AEG Level Scale Flag) 27 81 Lvl BP1~4 (Level Break Point 1~4) 28 81 Lvl Ofs1~4 (Level Offset 1~4) 29 82 LvlSclSens (Level Scale Sensitivity) 30 82 KeyonDelay 31 82

LFO (Low Frequency Oscillator)

LFO Wave 32 82 LFO Phase (LFO Phase Initialize) 32 82 LFO Speed 33 83 LFO PMod (LFO Pitch Modulation) 34 83 LFO FMod (LFO Filter Modulation) 34 83 LFO AMod (LFO Amplitude Modulation) 34 83 PLFODelay (Pitch LFO Delay) 35 83 PLFO Fade (Pitch LFO Fade Time) 35 83

Owner's Manual

PAG E Pag e

LCD Display (parameter name) LCD

Voice Edit (Drum) 84

Common

GENERAL

Name 1 85 OrgKt (Original Kit) 2 85

Key

OSC/MIX (Oscillator/Mixer)

Level 1 85 Pan 2 85 Alt.Group (Alternate Group) 3 85 Key Assign 4 85 RxNoteOff/On (Receive Note On/Off) 5 86

PITCH

PitchCors/Fine (Pitch Coarse/Fine) 6 86

FILTER

Cutoff/Resonance 7 86

AMP (Amplitude)

EG Attack/Decay1/Decay2(EG Attack/Decay1/Decay2 Rate) 8 86

EFFECT

ReverbSend 9 87 ChorusSend 10 87

Voice Job 87

Init (Initialize) 1 88 CpyElm (Copy Element)/CpyKey (Copy Drum Key) 2 88 BlkDmp (Bulk Dump) 3 88

DEMO Mode 16

Demo Song Play 16

Utility Mode 90

TG (Tone Generator)

MasterTune 1 90

KEYBOARD

Kbd Trans (Keyboard Transpose) 2 90 Vel Curve (Velocity Curve) 3 90 Fixed Vel (Fixed Velocity) 3 90

CONTROLLER

MWTxCtlNo (MW Transmit Control Number) 4 91 FCTxCtlNo (Foot Controller Transmit Control Number) 4 91 FSTxCtlNo (Footswitch Transmit Control Number) 5 91 Ctl Reset (Controller Reset) 6 91 AC1 CC No (AC1 Control Change Number) 7 92

EFFECT

V EfBypass (Voice Effect Bypass) 8 92

MIDI Mode 93

MIDI CHANNEL

Device No (Device Number) 1 93 Local Sw (Local On/Off Switch) 2 93 Rcv Ch (Voice Mode MIDI Receive Channel) 3 94 Trans Ch (MIDI Transmit Channel) 4 94

MIDI FILTER

RxPgmChng (Receive Program Change On/Off) 5 94 RxBankSel (Receive Bank Select On/Off) 5 94 TxPgmChng (Transmit Program Change On/Off) 6 94 TxBankSel (Transmit Bank Select On/Off) 6 94 Thru Port 7 94

Owner's Manual

PAG E Pag e

Basics Section

n For details about the Multi Store procedure, see page 69;

for details about the Voice Store procedure, see page 89.

Parameter Table

The numbers in each column indicate the display PAGE corresponding to the parameter at left (with the exception of the column on the far right, which indicates the corresponding manual page). For example, you can see that the Reverb Send

Basics Section

parameter is found on three separate display pages: PAGE 22 of Multi Part Edit, PAGE 11 of Normal Voice Common Edit, and PAGE 9 of Drum Voice Key Edit.

This table is helpful in locating the corresponding display pages in different modes. This is handy when you want to make the same or similar settings to the same parameter in a different mode — for example, setting the Reverb Send in the Multi mode to the same value as Reverb Send in the Voice mode. It’s also handy for cross-checking same parameters for programming complex sound changes — such as setting the Voice’s Filter Cutoff to a certain value, then going to Cutoff in the Multi mode and tweaking it further.

Since the owner’s manual page reference is also provided, you can quickly ﬁnd the corresponding explanation by checking the currently selected mode and PAGE number on the S03, and referring to this table.

n When the parameter is the same for both the Voice mode and Multi mode, the manual page reference is generally for the

explanation in the Multi mode.

Parameter Type LCD Display (parameter name)

GENERAL Name 1 1 1 56, 71

EFFECT* RevEF (Reverb Effect Type) 4 56

VOICE Voice Selection 1 59 MIX Volume 2 60

TONE VelSnsDpt/Ofs (Velocity Sensitivity Depth/Offset) 10 4 62

CONTROLLER* Porta Sw/Time (Portamento Switch/Time) 15 5 65

Tot a l Vol (Total Volume) 2 2 56, 71 Total Lvl (Level) 2 3 1 71, 73, 85 Tra n spose 3 56 Rcv Ch (MIDI Receive Channel) 6 3 61, 94 NoteShift/Detune 7 7 61, 74 Mono/Poly 8 3 61, 71 Part Mode 9 61 OrgKt (Original Kit) 285

Reverb Parameters 5 56 Rev Return (Reverb Return) 6 56 Reverb Pan 7 57 ChoEF (Chorus Effect Type) 8 57 Chorus Parameters 9 57 Cho Return (Chorus Return) 10 57 Chorus Pan 11 57 SndChoRev (Send Chorus to Reverb) 12 13 57 VarEF (Variation Effect Type) 13 14 57 Variation Parameters 14 15 57 VarConnect (Variation Connection) 15 58 Var Return (Variation Return) 16 58 Var Pan 17 58 Snd VarRev (Send Variation to Reverb) 18 58 Snd VarCho (Send Variation to Chorus) 19 58 MW VarCtl (MW Variation Effect Control Depth) 20 16 58 AC1VarCtl (AC1 Variation Effect Control Depth) 21 17 66 ReverbSend 22 11 9 66 ChorusSend 23 12 10 66 Var Send (Variation Send) 24 67 V EfBypass (Voice Effect Bypass) 892

Pan 3 4 2 6 0, 73, 85 NtLmt-H (Note Limit Low/High) 4 5 60, 73 VelLmt-L (Velocity Limit Low/High) 5 6 60, 74

Cutoff/Resonance 11 13 7 63, 77, 86 Attack/Decay/Release Tm (Attack/Decay/Release Time) 12 63 PEG L/Tm (PEG Level/Time) 13 64 Vib Rate/Depth/Delay (Vibrato Rate/Depth/Delay) 14 64

PB Range (Pitch Bend Range) 16 6 65 MW FltCtl (MW Filter Control) 17 7 65 MW PMod (MW Pitch Modulation Depth) 18 8 65 MW FMod (MW Filter Modulation Depth) 18 8 65 MW AMod (MW Amplitude Modulation Depth) 18 8 65 AC1 CC No (AC1 Control Change Number) 19 7 66, 92 AC1FltCtl (AC1 Filter Control) 20 9 66 AC1 FMod (AC1 Filter Modulation Depth) 21 10 66 AC1 AMod (AC1 Amplitude Modulation Depth) 21 10 66 MWTxCtlNo (MW Transmit Control Number) 491 FCTxCtlNo (Foot Controller Transmit Control Number) 491 FSTxCtlNo (Footswitch Transmit Control Number) 591 Ctl Reset (Controller Reset) 691

Multi Edit Voice Edit

Common Part

Common Element/Key Manual

Normal Drum Normal Drum

UTILITY MIDI

Owner's

Page

Parameter Type LCD Display (parameter name)

OSC/MIX (Oscillator/Mixer) Element Sw (Element Switch) 173

PITCH NoteShift/Detune 7 7 61, 74

FILTER Cutoff/Resonance 11 13 7 63, 77, 86

AMP (Amplitude) AEG R (AEG Rate) 23 80

LFO (Low Frequency Oscillator) LFO Wave 32 82

TG (Tone Generator) MasterTune 190 KEYBOARD Kbd Trans (Keyboard Transpose) 290

MIDI CHANNEL Device No (Device Number) 193

MIDI FILTER RxPgmChng (Receive Program Change On/Off) 594

Wave Selection 273 Level 385 Alt.Group (Alternate Group) 385 Key Assign 485 RxNoteOff/On (Receive Note On/Off) 586

PchSclSns (Pitch Scale Sensitivity) 874 PchSclCN (Pitch Scale Center Note) 8 74 PEG R (PEG Rate) 975 PEG L (PEG Level) 10 75 PEGSclSns (PEG Scale Sensitivity) 11 76 PEGSclCN (PEG Scale Center Note) 11 76 PEGRtVel (PEG Rate Velocity) 12 76 PEGLvlVel (PEG Level Velocity) 12 76 PitchCors/Fine (Pitch Coarse/Fine) 686

CutoffVel (Cutoff Velocity Sensitivity) 14 77 ResoVel (Resonance Velocity Sensitivity) 14 77 FltSclFlag (Filter Scale Flag) 15 77 Flt BP1~4 (Filter Scale Break Point 1~4) 16 78 Flt Ofs1~4 (Filter Scale Offset 1~4) 17 78 FltSclSns (Filter Scale Sensitivity) 18 78 FltSclVel (Filter Scale Velocity Sensitivity) 18 78 FEG R (FEG Rate) 19 79 FEG L (FEG Level) 20 79 FEGSclSens (FEG Scale Sensitivity) 21 79 FEGAtkVel (FEG Attack Velocity) 22 80 FEGOthVel (FEG Other Velocity) 22 80

AEG L (AEG Level) 24 80 AEGSclSens (AEG Scale Sensitivity) 25 81 AEGLvlVel (AEG Level Velocity Sensitivity) 26 81 AEGAtkVel (AEG Attack Velocity Sensitivity) 26 81 LvlSclFlag (AEG Level Scale Flag) 27 81 Lvl BP1~4 (Level Break Point 1~4) 28 81 Lvl Ofs1~4 (Level Offset 1~4) 29 82 LvlSclSens (Level Scale Sensitivity) 30 82 KeyonDelay 31 82 EG Attack/Decay1/Decay2(EG Attack/Decay1/Decay2 Rate)

LFO Phase (LFO Phase Initialize) 32 82 LFO Speed 33 83 LFO PMod (LFO Pitch Modulation) 34 83 LFO FMod (LFO Filter Modulation) 34 83 LFO AMod (LFO Amplitude Modulation) 34 83 PLFODelay (Pitch LFO Delay) 35 83 PLFO Fade (Pitch LFO Fade Time) 35 83

Vel Curve (Velocity Curve) 390 Fixed Vel (Fixed Velocity) 390

Local Sw (Local On/Off Switch) 293 Rcv Ch (Voice Mode MIDI Receive Channel) 394 Trans Ch (MIDI Transmit Channel) 494

RxBankSel (Receive Bank Select On/Off) 594 TxPgmChng (Transmit Program Change On/Off) 694 TxBankSel (Transmit Bank Select On/Off) 694 Thru Port 794

Multi Edit Voice Edit

Common Part

Common Element/Key Manual

Normal Drum Normal Drum

UTILITY MIDI

886

Owner's

Page

Basics Section

n For parameters in different modes having the same name, the available parameter values and settings for that parameter may

differ depending on the mode. Refer to each parameter explanation for details.

n For details on parameters for the Reverb, Chorus and Variation effects, refer to the separate Data List.

n For information on the Job pages, refer to the Function Tree chart (page 20).

* In the Multi mode, the Voice Common Effect/Controller settings are ignored, and the Multi settings become effective. The Variation

Effect/Controller settings of the Voice mode can be copied to the Multi mode by using the Multi Job function (page 68).

Multis

A Multi consists of up to 16 Parts, each of which can play a Normal Voice or Drum Voice Part.

By assigning different Voices and MIDI channels to each part, and by using a sequencer or computer for song data

Basics Section

playback, you can have a complete ensemble of 16 independent instrument sounds.

You can also play Multis from the keyboard. This allows you to set up layers of different Voices, or special key splits in which your right and left hands can play separate Voices (page 41).

Multi

Part 1~16

External MIDI sequencer

Song File

MIDI CH

1~16

CH1

Different Voice for each part

CH16

Multi

Part 1~16

Tw o Layered

Voices

A Voice is a single instrument sound, created by using the Elements and setting various parameters. In the Voice Play mode, you can select and play any of these Voices. In the Multi Play mode, you assign a different Voice to each part and use an external sequencer to play several Voices simultaneously. Voices are stored in the internal memory (PRESET, USER, GM/XG).

Basics Section

Voice Play Mode

Tone Generator

Voice

Playing a Voice Playing a Multi

128 Preset Voice

Controllers

Preset

Tone Generator

Multi

Part

Voi ce

001

GM/XG Voice

Multi Play Mode

Controllers

002

003

XG 001

External MIDI sequenser

002

003

001

002

016

User

128 User Voice

PR001~128

480

Normal Voice

US001~128

20 Drum Voice *

* Drum Voices XG121~128 are not of the GM/XG set, but are original drum kits speciﬁcally programmed for the S03.

2 User

Drum Voice

Overview of Voices/Waves

Each Voice can consist of up to four Elements. Each Element itself is a high-quality waveform or instrument sound.

Voice

Basics Section

There are two Voice types: Normal Voices and Drum Voices. Normal Voices are mainly pitched instrument sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. The Drum Voices also include special sound effects. In general, a Voice (containing up to four Elements) can be played across the entire range of the keyboard. However, this can be changed; the actual key range for the Voice is determined by the Note Limit parameters (page 73).

Element 1~4

Nomal Voice Drum Voice

Element

Wave form

AWM2: 453 Prest waveforms

Voice

Element 1~4

Individual drum sounds (different for each key)

n A total of 480 (XG) and 128 (Preset) Normal Voices plus 20 Drum Voices are available as presets. You can create and store your

own original Voices; the S03 has User memory space for 128 User Normal Voices and two User Drum Voices.

Waves

Wa ves (or waveforms) are the basic sonic building blocks, and are used as Elements in making up a Voice. A total of 453 high-quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.

Wave 1~453

Element 1 Element 2 Element 3 Element 4

C-2 G8

Voice

Basics Section

Basic Operations

KEYELEMPART

OCTAVE

PAGE

Init Mlt

MLT01

KEYELEMPART

OCTAVE

PAGE

GrandPno

XG001

KEYELEMPART

OCTAVE

PAGE

1 P

Init Mlt

Name

In this section, you’ll learn the fundamental operations of the S03.

Basics Section

Selecting a Mode

There are several operation modes — the Multi Play mode, Voice Play mode, etc. — each of which enables you to work efﬁciently with the S03’s various functions.

n For an overview of the various modes, see page 19.

There are separate Play modes for Multis and Voices. To enter each of these modes, use the appropriate MODE button ([Multi] for Multi Play mode, [VOICE] for Voice Play mode). There are also separate Edit and Job modes for Multis and Voices. To enter the Edit or Job mode, simply press the [EDIT] or [JOB] button while in each respective Play mode.

Similarly, pressing the [STORE] button in the Multi or Voice mode takes you into the Store mode where you can store Multis or Voices. In addition the modes mentioned above, there is also a Utility mode, which is for making global settings to the instrument, and the MIDI mode, which contains MIDIrelated settings. Finally, there is the Demo mode, which allows you to play back the Demo songs.

To select these, press the [UTILITY] button for the Utility mode, the [MIDI] button for the MIDI mode and the [DEMO] button for the Demo mode.

12 7

MODE

MULTI

VOICE DEMO

Play Modes

1 Multi Play Mode (Page 37)

Press the [MULTI] button (the LED lights) to enter the Multi Play mode. To exit to another mode, simply press the respective button for that mode.

2 Voice Play Mode (Page 33)

Press the [VOICE] button (the LED lights) to enter the Voice Play mode. To exit to another mode, simply press the respective button for that mode.

Edit Modes

There are also separate Edit and Job modes for each Play mode. The [EDIT] lamp lights along with the appropriate Play mode lamp, [MULTI] or [VOICE].

3 Multi Edit Mode (Page 55)

UTILITY

EDIT

COMPARE

MIDI

JOB STORE

Press the [EDIT] button in the Multi Play mode. To exit to another mode, simply press the respective button for that mode. Press the [EXIT] button to return to the Multi Play mode.

3 Voice Edit Mode (Pages 47, 70)

KEYELEMPART

OCTAVE

PAGE

Store

MLT01

Press the [EDIT] button in the Voice Play mode. To exit to another mode, simply press the respective button for that mode. Press the [EXIT] button to return to the Voice Play mode.

UTILITY

MIDI

MasterTune

PAGE

OCTAVE

KEYELEMPART

+0000

Basics Section

GrandPno

PAGE

1 E

OCTAVE

KEYELEMPART

XG001

Job Modes

Each Play mode features a separate Job mode. You can select the desired Job mode when the appropriate Play mode lamp, [MULTI] or [VOICE], is lit.

4 Multi Job Mode (Page 67)

Press the [JOB] button in Multi Play mode. To exit to another mode, simply press the respective button for that mode. Press the [EXIT] button to return to the Multi Play mode.

Init

4 Voice Job Mode (Page 87)

Press the [Job] button in Voice Play mode. To exit to another mode, simply press the respective button for that mode. Press the [EXIT] button to return to the Voice Play mode.

PAGE

OCTAVE

KEYELEMPART

multi

6 MIDI Mode (Page 93)

Press the [MIDI] button to enter the MIDI mode. To exit to another mode, simply press the respective button for that mode. If one of the Play mode lamps ([MULTI] or [VOICE]) is lit, the corresponding Play mode is still active, even while entering this mode. An arrow appears in the lower left of the LCD, pointing to “MIDI” on the panel, indicating the MIDI mode.

UTILITY

MIDI

Device No

PAGE

OCTAVE

KEYELEMPART

all

7 Demo Mode (Page 16)

Press the [DEMO] button (the LED lights) to enter the Demo mode. To exit from the Demo mode and switch to the Multi or Voice Play mode, press the [EXIT], [MULTI] or [VOICE] button.

At the “DEMO” screen, the Master Tune parameter (in Utility) will be overwritten and set to “0.”

8 Store Mode (Pages 69, 89)

Init

PAGE

OCTAVE

KEYELEMPART

voice

Other Modes

5 Utility Mode (Page 90)

Press the [UTILITY] button to enter the Utility Mode. To exit to another mode, simply press the respective button for that mode. If one of the Play mode lamps ([MULTI] or [VOICE]) is lit, the corresponding Play mode is still active, even while entering this mode. An arrow appears in the upper left of the LCD, pointing to “UTILITY” on the panel, indicating the Utility mode.

Pressing the [STORE] button in the Multi or Voice mode enters the Store mode where you can store Multis or Voices. The Play mode lamp ([MULTI] or [VOICE]) remains lit, even when entering this mode. To exit to another mode, simply press the corresponding mode’s button. Pressing the [EXIT] button exits from the Store mode.

Selecting a Screen

[E]/[F] buttons

You can switch between screens by using the [▲]/[▼], [E]/[F], [+]/[–] and [EXIT] buttons.

Basics Section

[▲]/[▼] buttons

Many of the displays consist of different screens. Use the [▲]/[▼] buttons to select the various screens.

Previous screen (PAGE)

DATA

DEC INCNO YES

Next screen (PAGE)

When selecting the various display pages, an arrow appears at the right of the LCD, indicating the parameter type in the printed list on the panel. For example, if the display for the Total Volume parameter in the Multi Edit mode is called up, the arrow in the LCD indicates that this parameter belongs to the General type.

Some of the display pages have multiple “screens.” These are indicated by special arrow marks in the top right of the LCD (see below). Use the [E]/[F] buttons to select these pages. When the ﬁrst screen of a mulitple-page set is called up, the arrow points to the right (ﬁ), indicating further screens are available. When a page in the middle of the set is called up, arrows point in both directions (‹ ﬁ), indicating you can select either the next or previous screens. When the last screen is called up, the arrow points to the left (‹), indicating no further screens are available. For certain parameters (such as Voice Name, etc.), these buttons are used to move the cursor position in the display.

Selects the

previous screen.

Decay Tm

DEC INCNO YES

PAGE

OCTAVE

KEYELEMPART

+00

DATA

Selects the next screen.

VOICE

Total Vol

PAGE

2 P

OCTAVE

KEYELEMPART

127

MIX

GENERAL

TONE

CONTROLLER

EFFECT

In the example below, the display for the (Element) Cutoff parameter in the Voice Edit mode is shown, and the arrow indicates that this parameter belongs to the Filter type.

Cutoff

PAGE

13 E

OCTAVE

KEYELEMPART

2047

VOICE

MIX

GENERAL

TONE

CONTROLLER

EFFECT

OSC MIX

PITCH

FILTER

AMP

LFO

EFFECT

[+]/[–] buttons

In the Multi Edit mode, these buttons are used to select each part. To select the Common parameters, press both buttons simultaneously. In the Voice Edit mode, these buttons are used to select each Element. To select the Common parameters, press both buttons simultaneously.

PART ELEMENT KE Y

MUTE

COMMON

n For details on the parameters and page conﬁgurations of

the Multi Edit and Voice Edit modes, refer to the relevant mode explanations in the Reference section of this manual.

[EXIT] button

Entering Data

Basics Section

Press the [EXIT] button to move up (exit) in the hierarchical structure and return to the previous screen.

789

PIANO

ORGAN GUITAR

456

BASS

STRINGS

REED/PIPE

SYN COMP

SYN LEAD

CHROMATIC PERCUSSION

n Depending on the particular operation, the [EXIT]

button performs other functions as well. These alternate functions are indicated in the appropriate sections of the manual.

BRASS

SYN PAD

ENTER EXIT

KEYBOARD

Use the [INC/YES] and [DEC/NO] buttons to increment through the values, or input the value directly by using the numeric keypad and the [ENTER] button. For certain parameters (such as Voice Name, etc.) which have more than one value to be set, use the [E]/[F] buttons to move the cursor position in the display, then set the value accordingly.

[INC/YES] and [DEC/NO] buttons

These are used to change the value of the currently selected parameter. You can use the [INC/YES] button to increment a parameter setting by one step, or the [DEC/NO] button to decrement it. If you hold down either button, the value is continuously changed. You can also use these buttons to answer “YES” or “NO” when a conﬁrmation message is displayed.

DATA

DEC INCNO YES

Numeric keypad, [ENTER]

KEYELEMPART

OCTAVE

PAGE

2 E

KEYELEMPART

OCTAVE

PAGE

4 E

Total Vol

127

VelSnsOfs

064

Mono/Poly

KEYELEMPART

OCTAVE

PAGE

poly

3 E

button

You can specify the value for the selected parameter by using the numeric keypad, then actually set that value

Basics Section

by pressing the [ENTER] button. For example, to set a value of “100,” press (in order) the numeric keypad buttons [1], [0], and [0]. (The parameter indicator ﬂashes.) Finally, press the [ENTER] button to set the value.

789

PIANO

ORGAN GUITAR

STRINGS

BASS

REED/PIPE

SYN COMP

Specify the value.

SYN LEAD

CHROMATIC PERCUSSION

BRASS

SYN PAD

ENTER

KEYBOARD

Set the value.

PAGE

OCTAVE

The displayed value flashes.

KEYELEMPART

100

Types of Parameters (Absolute and Relative)

There are many ways to set parameters. Some parameters require you to directly enter numerical settings or alphabetic characters. With others, you can choose from a number of available settings. Furthermore, some types of parameters are “absolute” whereas others are “relative.” For example, the absolute parameter in the following illustration can be set to either “mono” or “poly.” For other absolute parameters such as Volume, the setting can be any value between zero and 127. The Volume setting has a linear, one-to-one relationship with the actual volume, as shown in the graph on the left. However, relative parameters do not follow the same relationship. The graph on the bottom shows the role of the Velocity Offset parameter. The value you have set here, known as an “offset,” is added to, or subtracted from, the actual value. With Velocity Offset, the speciﬁed offset value is added to, or subtracted from, the actual velocity of the notes you play on the keyboard. Sometimes, these types of relative parameters are set as a percentage.

Moving the Cursor Position

For certain parameters, such as Voice Name and others, the [E]/[F] buttons are used to move the cursor position in the display. (The selected character ﬂashes.) Move the cursor to the desired position, then set the value.

DATA

DEC INCNO YES

1. Total Volume (absolute)

Volume

2. Velocity offset (relative)

Offset

+64

–64

127

Offset added (+10)

Actual velocity

Offset subtracted (–10)

Volume

Playing the S03

Playing the Voices

You can freely select and play Voices from the PRESET, USER and GM/XG memory groups, as explained below.

n Details about voice, see page 25.

n The user memory can contain up to 128 Normal Voices and 2 Drum Voices.

123

Basics Section

OUTPUT

MONO

PHONES

RDCINON

MUSIC SYNTHESIZER

Press the [VOICE] button.

FOOT FOOT

STANDBY

CONTROLLER SWITCH TOHOST HOST SELECT IN OUT THRU

OCTAVE

DOWN

MIDI

VOLUME

UTILITY

MIDI

Press the [VOICE] button (the LED lights) to enter the Voice Play mode. The following display appears.

GrandPno

PAGE

OCTAVE

KEYELEMPART

XG001

Now, play the Voice (indicated in the display) from the keyboard.

UTILITY MIDI MODE PART ELEMENT KEY

EDIT

MULTI PART

VOICE

COMMON ELEMENT

OSC MIX

VOICE

PITCH

KEYBOARD

MIX

FILTER

MIDICHANNEL

GENERAL

AMP

MIDI FILTER

TONE

LFO

CONTROLLER

EFFECT

MULTI

VOICE DEMO MUTE

UTILITY

MIDI

EDIT

JOB STORE

COMPARE

DRUM

COMMON

NO YES

DEC INC

PRESET

DRUM/PERC

USER

GM XG

DRUM

DATA

CATEGORY SEARCH

789

CATEGORY SEARCH

ORGAN GUITAR

PIANO

456

PRESET

STRINGS

DRUM/PERC

BASS

1023

USER

REED/PIPE

SYN LEAD

GM XG

SYN COMP

CHROMATIC

OTHER KEYBOARD

PERCUSSION

BRASS

SYN PAD ENTER EXIT

Preset Voice

1~128

User Voice

1~128

2 Press a MEMORY button to select a Voice Memory.

There are three different memory sections for the Normal Voices: PRESET, USER, and GM/XG. The various Voices are assigned to each memory section as shown below. The GM/XG Voices are divided into several different banks.

OTHER

GM/XG Voice

GM Bank Other Bank

........

The Drum Voices are stored in separate areas of the User and GM/XG memory sections.

3 Select a Voice number.

•To call up the User Drum memory (USDR1/ USDR2):

Basics Section

Press the [USER] button while holding down the [DRUM] button.

•To call up the GM/XG Drum memory

•To call up the XG SFX Kit memory

Press the [GM/XG] button while holding down the [DRUM] button.

CATEGORY SEARCH

PRESET

DRUM/PERC

USER

GM XG

OTHER

User Drum

XG Drum 1~20

Selecting with the [INC/YES] and [DEC/NO] buttons

First, press the [ENTER] button to specify the Voice Memory, then press the [INC/YES] button to increment the Voice Number, and press [DEC/NO] to decrement it.

DATA

DEC INCNO YES

1/2

Selecting with the numeric keypad and [ENTER] button

First, specify the Voice number with the numeric keypad, then press the [ENTER] button to actually set it. For example, to select voice number 100, press buttons [1], [0] and [0] in order. (The indicated number ﬂashes.) Finally, press the [ENTER] button to select the Voice.

n PRESET, of course, contains the Preset Voices. The XG

Voices are assigned in order according to the GM format, starting with Bank 1, and various XG Voices are distributed throughout the GM/XG memory banks. USER is stored in internal RAM memory and contains factory default Voices. These can be overwritten, but can be recalled from the original factory settings at any time if required.

789

PIANO

ORGAN GUITAR

BASS

REED/PIPE

2 3

SYN COMP

STRINGS

SYN LEAD

CHROMATIC PERCUSSION

BRASS

SYN PAD

ENTER

KEYBOARD

GrandPno

Set the number.Specify the number.

KEYELEMPART

PAGE

OCTAVE

The displayed value flashes.

XG100

n For one- or two-digit numbers, it’s not necessary to enter

all three digits (such as, “001” or “010”). For example, to enter Voice number “3,” simply press numeric keypad button [3], then press the [ENTER] button.

4 Now, play the keyboard and hear the selected Voice. Try selecting and playing other Voices as well.

Selecting XG Banks

The XG Voices are divided up into several different banks. This gives you access to an even greater number of Voices and a wider variety of sounds.

Using Voice Category Search

With the Voice Category Search feature, you can quickly ﬁnd Voices within a speciﬁed Voice Category. For example, by selecting the PIANO Voice Category, you can instantly call up for selection all and only those Voices which fall into the “PF” (PIANO) Voice Category.

1 Press the [CATEGORY SEARCH] button in

Voice Mode. Its LED will light and Category Search will be enabled. The Memory buttons and the numeric keypad are used for selecting categories.

Basics Section

1 Make sure that XG memory is selected, then call

up the BK (Bank Select) display by using the [E] button.

DATA

DEC INCNO YES

GrandPno

OCTAVE

KEYELEMPART

PAGE

BK000

2 Select the desired Bank number by using the

[INC/YES] and [DEC/NO] buttons, or by using the numeric keypad and the [ENTER] button.

The bank is now changed. Return to the XG display by using the [E]/[F] buttons and select the desired Voice number.

n For details about Bank types, refer to the separate

Data List booklet.

DRUM

CATEGORY SEARCH

PRESET

DRUM/PERC

USER

GM XG

OTHER KEYBOARD

789

PIANO

ORGAN GUITAR

456

BASS

REED/PIPE

SYN COMP

STRINGS

SYN LEAD

CHROMATIC PERCUSSION

BRASS

SYN PAD

ENTER EXIT

Select the category

n Press the [EXIT] button to disable Category Search.

n The category names are printed under each button.

To switch between the “ME” and “CO” categories, press the [OTHER] button.

n Refer to the Category List on page 71 for more

information on Voice category types.

2 Specify the desired Category using the buttons

above. The ﬁrst Voice in that Category will be automatically selected.

n In this step, the lowest numbered Voice of the

category is selected.

n The S03 searches in the following order: PRESET,

then USER, then GM/XG.

3 Press the [INC/YES] button to increment the

Voice number in that category and press the [DEC/NO] button to decrement it.

n You can use the same operation as described here

in selecting Voices for Multi Part Edit (page 59).

Transposing the Octave

If you need to raise or lower the keyboard note range for the Voice, you can use the OCTAVE[UP] button to raise the range by an octave and the OCTAVE

Basics Section

[DOWN] button to lower it by an octave. You can shift the note range by up to three octaves in either direction. The current octave setting is shown in the left corner of the display while the OCTAVE [UP] or [DOWN] button is being held down. For instance, if you press the OCTAVE [UP] button twice (+2), pressing note C3 on the keyboard will actually play note C5 (i.e., the note you play is shifted up two octaves). To return to the standard octave range (0), press the OCTAVE [UP] and [DOWN] buttons simultaneously.

DOWN

OCTAVE

PAGE

OCTAVE

KEYELEMPART

PAG E

OCTAVE

Normal Pitch

KEYELEMPAR T

UPDOWN

n If you set the octave beyond the limits of the Voice’s

note range, notes played outside of the range will sound one octave higher or lower than normal.

n The OCTAVE [UP] and [DOWN] buttons may not

function if the “Note Shift” parameter (pages 61,

74) in Voice Edit Mode, and also the “Kbd Trans (Keyboard Transpose)” parameter (page 90) in the Utility Mode have been set to shift the range.

n You can also use the OCTAVE [UP] and[DOWN]

buttons in Multi Play Mode.

Using Multi Mode

Playing in Multi Mode

In the Multi Play mode, you can select and play any of the Multis.

n For more details about Multis, see page 24.

n Up to 32 Multis can be stored in the USER (internal) memory. These Multi settings are available in Multi Edit mode (page 55).

Here, we’ll show you how to get started with Multi Play after selecting a Multi.

Basics Section

MIDI

VOLUME

UTILITY

MIDI

MUSIC SYNTHESIZER

PHONES

OUTPUT

MONO

STANDBY

RDCINON

FOOT FOOT

CONTROLLER SWITCH TOHOST HOST SELECT IN OUT THRU

OCTAVE

DOWN

1 Press the [Multi] button

The [MULTI] button LED will light, showing that you are now in the Multi Play mode. The following appears in the display.

MODE

MULTI VOICE DEMO

At this point, you can play the Multi (named on the screen) via keyboard.

Init Mlt

PAGE

1 P 1

OCTAVE

KEYELEMPART

MLT01

UTILITY MIDI MODE PART ELEMENT KEY

EDIT

MULTI PART

VOICE

COMMON ELEMENT

VOICE

OSC MIX

KEYBOARD

MIX

PITCH

MIDICHANNEL

GENERAL

FILTER

MIDI FILTER

TONE

AMP

CONTROLLER

LFO

EFFECT

n USER is stored in internal Random Access Memory

2 Select a Multi Number

Press the [INC/YES] button to increment the Multi Number. Press the [DEC/NO] button to decrement the Multi Number.

VOICE DEMO MUTE

MULTI

MIDI

UTILITY

JOB STORE

EDIT

COMPARE

COMMON

DATA

NO YES

DEC INC

DRUM

789

CATEGORY SEARCH

PIANO

ORGAN GUITAR

456

PRESET

BASS

STRINGS

DRUM/PERC

1023

USER

REED/PIPE

SYN LEAD

GM XG

SYN COMP

CHROMATIC

OTHER KEYBOARD

PERCUSSION

BRASS

SYN PAD ENTER EXIT

(RAM) and contains the factory default Multis. These can be overwritten but can recalled at any time.

DATA

DEC INCNO YES

Up to 32 Multis can be stored in the USER (internal) memory.

PRESET

DRUM/PERC

USER

GM XG

OTHER

CATEGORY SEARCH

USER

1~32

DRUM

n This is selected in the same way as in selecting Voices,

using the numeric keypad and the [ENTER] button. Refer to the instructions on selecting Voice numbers (page 34).

3 You can now play Parts in the Multi via the keyboard.

Using the S03 as a Multitimbral Tone

Basics Section

If the MIDI receive channel parameter is the same for any Parts, those Parts can be played in unison. Now try selecting other Multis.

n To play a Voice from the keyboard, make sure that the

MIDI Receive Channel for that Voice’s Part and the MIDI Transmit Channel for the keyboard are both set to the same value.

Generator (Multi Edit)

Multi mode lets you conﬁgure the S03 as a multitimbral tone generator for use with computerbased music software or external sequencers. If each track in a song ﬁle uses a different MIDI channel, then the Parts in a Multi can be each assigned to those MIDI channels correspondingly. Therefore, you can play back a song ﬁle on an external sequencer and have different Voices playing on different tracks simultaneously. In the following example, we will create a Multi suited to playing back a song ﬁle consisting of three Parts: piano, bass and drums. The piano track is assigned to MIDI channel 2, the bass track to channel 3, and the drums to channel 10.

Song File Multi

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch.2

Transmit Ch.3

Transmit Ch.10

Part 2

Part 3

Part 10

Piano Voice

Bass Voice

Drum Voice

Receive Ch.2

Receive Ch.3

Receive Ch.10

Computer

(sequencer software)

Tone

generator

S03

1 After pressing the [MULTI] button, press the

KEYELEMPART

OCTAVE

PAGE

1 P 2

GrandPno

XG001

KEYELEMPART

OCTAVE

PAGE

Volume

001

KEYELEMPART

OCTAVE

PAGE

6 P 2

Rcv Ch

KEYELEMPART

OCTAVE

PAGE

8 P 2

Mono/Poly

poly

KEYELEMPART

OCTAVE

PAGE

9 P 2

Part Mode

norm

[EDIT] button (the respective LEDs will light). You are now in the Multi Edit mode.

MODE

VOICE DEMO

MULTI

4 Use the [▲] and [▼] buttons to switch to the Voice

Selection screen (PAGE 1), then specify the Voice to be used as the piano Part.

Basics Section

UTILITY

EDIT

COMPARE

MIDI

JOB STORE

n Before entering the Multi Edit mode, you need to select a

Multi for editing.

2 If the Common Edit display is shown, press the [+]

or [–] button to switch to the Part Edit display.

PART ELEMENT KE Y

MUTE

COMMON

Total Vol

Volume

KEYELEMPART

PAGE

2 E

OCTAVE

Common indicator

PAGE

2 P

OCTAVE

127

KEYELEMPART

100

Part indicator

3 Use the [+] and [–] buttons to select Parts. Here,

you can select P2 (Part 2) for the piano, P3 (Part 3) for bass and P10 (Part 10) for drums. First, let’s select P2 (Part 2).

PART ELEMENT KE Y

MUTE

COMMON

5 Next, use the [▲] and [▼] buttons to switch to the

Volume screen (PAGE 2), then set the volume for the piano Part as well as its Pan position, Chorus and Reverb Send levels, if necessary. For details, see page 56.

6 Continue using the [▲] and [▼] buttons and switch

to the Rcv Ch (MIDI Receive Channel) screen (PAGE 6). Set the parameter to 2.

7 Use the [▲] and [▼] buttons and switch to the

Mono/Poly screen (PAGE 8). Set the parameter to “poly” (polyphonic).

n For Parts that do not require polyphony, the Mode

parameter can be set to “mono” (monophonic).

8 Use the [▲] and [▼] buttons and switch to the Part

Mode screen (PAGE 9). Set the parameter to “norm” (normal).

n In the case of a Drum Part, set the mode to “drum.”

n For details about the Part mode, see page 61.

9 Use the [▲] and [▼] buttons to call up the NtLmt

(Note Limit) and VelLmt (Velocity Limit) settings, and check whether or not the Part of the piano Voice is set appropriately — in other words, make sure that the Note or Velocity settings do not

Basics Section

prevent the Voice from being played normally. Except in special cases, you should generally avoid setting limits on the note and velocity ranges, in order to ensure that notes are sounded properly and are not cut off.

NtLmt-L

PAGE

4 P 2

OCTAVE

KEYELEMPART

C-2

By following steps 3 to 9 above, when you play back a song ﬁle in the sequencer, the piano track is transmitted through MIDI channel 2. The MIDI data is received by the S03 which then plays the Voice for the Part assigned to MIDI channel 2.

) Repeat steps 3 to 9 above, but set up Part 3 for

bass and to receive on MIDI channel 3.

! Repeat steps 3 to 9 again, setting up Part 10 for

drums and to receive on MIDI channel 10.

n To avoid situations where the Voices of unused Parts

are suddenly played back, you should set the MIDI receive channels for unused Parts to “off.”

n There are many other Part-speciﬁc parameters in the

Multi Edit mode. For details, see page 55.

@ Before exiting Multi Edit Mode, you need to store

the settings for the Multi. For details about storing Multis, see page 69.

Now, when you select this Multi in the Multi Play mode, you can play back the song ﬁle on computer (sequencer), and the piano, bass and drum Parts will be played back according to each track’s MIDI channel.

Performing Live While Playing Back a Song File

While playing back the song ﬁle with the piano, bass and drum Parts assigned earlier, you can set up the Multi so that you can also play another Part live.

Playback using

Multi

Part 1

Song File

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch.2

Transmit Ch.3

Transmit Ch.10

Part 2

Part 3

Part 10

Solo-type Voice

Piano Voice

Bass Voice

Drums Voice

Receive Ch.1

Receive Ch.2

Receive Ch.3

Receive Ch.10

This is the same as the Multi created earlier (page 38), but with the addition of another Part for live playback. Be careful to make the following important settings.

• In the Multi created earlier, Parts 2, 3 and 10 were being used. As an example, we will now assign another Part (Part 1) to a solo-type Voice and set the MIDI Receive Channel to 1.

•At the Trans Ch (PAGE 4) screen in MIDI Mode, set the MIDI Receive Channel to 1. The Voice for Part 1 can now be played live using the keyboard.

n Because the S03 features a fully-compatible XG tone

generator, you can play any of the wide variety of commercially available XG/GM song software. This ensures broad dynamic and expressive range, with a wide variety of rich instrument sounds and effects. You can also mute speciﬁc parts of the MIDI data — allowing you to practice the missing parts yourself, or to use the song data as instrumental backing for your own singing and playing.

keyboard

Splitting the Keyboard —

KEYELEMPART

OCTAVE

PAGE

Strings1

XG049

4 Use the [▲] and [▼] buttons (if necessary) and call

up the Voice Selection screen (PAGE 1) to select a strings Voice for the lower range Part.

Setting Upper and Lower Ranges for the Voices

The illustration below shows an example in which the keyboard has been effectively divided into two spearate key ranges, letting you play one Voice over one range, and a second Voice over the other. In the following example, the Voices change at the note C3, letting you play a string Voice in the lower range and a piano Voice in the upper. To set up the Voices in this way, follow the instructions below.

(C3)

Part 1

Strings

Ch1

UpperLower

Part 2 Piano

Ch1

n For details about Voice selection, see page 59.

5 Use the [▲] and [▼] buttons to call up the Volume

screen (PAGE 2), then set the volume for the piano Part as well as its Pan position, Chorus and Reverb Send levels, if necessary. For details, see page 56.

6 Use the [▲] and [▼] buttons to call up the NtLmt

screen (PAGE 4), and specify a key range for the lower and upper Parts. Switch between the NtLmtL (Note Limit Low) and NtLmt-H (Note Limit High) screens by pressing the [E] and [F] buttons. Select “C-2” for the lowest note and “B2” for the highest.

NtLmt-L

PAGE

4 P

OCTAVE

KEYELEMPART

C-2

NtLmt-H

PAGE

4 P

OCTAVE

KEYELEMPART

Basics Section

1 Press the [MULTI] button, followed by the [EDIT]

button (each LED will light) to enter the Multi Edit mode.

n You need to select the Multi before entering the Multi

Edit mode (page 37).

2 If the Common Edit screen is shown, press the [+]

or [–] button to select the Part Edit display.

3 Select a Part for the lower range by using the PART

[+] and [–] buttons. For this example, select “P1 (Part 1).”

7 Use the [▲] and [▼] buttons to call up the Rcv Ch

(MIDI Receive Channel) screen (PAGE 6). Select “1” for “RcvCh.”

n Set the MIDI Transmit Channel to 1 from the Trans

Ch display (PAGE 4 ) in the MIDI mode. Now you are ready to play the Part 1 Voice within the lower range. The Voice assigned to Part 1 can be played over MIDI Receive Channel 1.

8 Use the [▲] and [▼] buttons to call up the Mono/

Poly screen (PAGE 8). Set the parameter to “poly” (polyphonic).

9 Use the [▲] and [▼] buttons to call up the Part

Mode screen (PAGE 9). Set the parameter to “norm” (normal)

With settings made in steps 3 to 9 above, you can now play the strings voice assigned to “P1” (Part 1)

Basics Section

and set to MIDI Receive Channel 1 (RcvCh) — when you play in the key range of B2 and lower.

) Make the settings for the upper Part (Part 2), in the

same manner as you did in steps 3 to 9.

For Part 2, select a piano Voice, setting the Note Limit Low to “C3” and the Note Limit High to the maximum of “G8.” Also set the MIDI Receive Channel to 1, as you did with Part 1. The piano Voice of Part 2 sounds when you play keys higher than C3.

n In the Edit mode, the selected Part’s Voice is played

back.

n To avoid situations where the Voices of unused Parts

are suddenly played back, you should set the MIDI receive channels for unused Parts to “off.”

n There are many other Part-speciﬁc parameters in the

Multi Edit mode. For details, see page 55.

Layering Two Voices (Parts) Together

The illustration below gives one application example of combining two Voices in a layer. In this example, a strings Voice is selected for Part 1 and a piano Voice is selected for Part2, and the two are played together in unison.

Part 1

Part 2

Strings Piano

This Multi can be easily created and set so that both Parts 1 and 2 are layered together across the entire range of the keyboard.

•For both Part 1 and Part 2, set the Note Limit Low parameter to “C-2” and the Note Limit High parameter to “G8.”

! Before exiting the Multi Edit mode, store the above

settings to a Multi. For instructions on storing a Multi, refer to page 69.

Now that you’ve created and stored the Multi, you can call it up anytime within the Multi play mode — and play a strings Voice from keys B2 and below, while playing a piano Voice from keys C3 and above.

n In the Edit mode, the selected Part’s Voice is played

back.

Saving S03 Settings to an External Device (Bulk Dump Send)

Using the Bulk Dump function, you can transmit your S03 settings to an external device, such as a computer, and save them. This is a fast and convenient way to back up your important data. You can also use this function to record important S03 data at the beginning of a song, so that all your original settings and data are automatically reset when your play back the song. The following explanation shows you how to do this using the realtime recording functions of the sequencer software. In this example, track 1 is used for recording the User Multi data.

n The explanations in this section apply in general to

sequencer software and are not speciﬁc to any particular program or device. The steps in each procedure may vary slightly, depending on your particular computer or sequencer software. For speciﬁc information and operation instructions, refer to the owner’s manual (or help messages) of your particular sequencer.

n Make sure that the S03 is properly connected to the

computer (page 13). For information on settings for your sequencer, refer to the owner’s manual (or help messages) of your particular sequencer.

1 In the Multi mode, select the S03 Multi you want

to transmit.

2 Press [JOB] to enter the Multi Job mode.

3 From the “BlkDmp” parameter (PAGE 5) in the

Multi Job mode, select the data type for transmitting. Here, select “Curnt” (Current) to transmit the currently selected Multi data, then press the [ENTER] button.

Basics Section

BlkDmp

PAGE

OCTAVE

KEYELEMPART

Sure?

4 In the sequencer, specify track 1 for recording.

5 After starting recording on the sequencer, press

the S03’s [INC/YES] button to transmit the data.

DATA

DEC INCNO YES

Bulk transmit start

6 When data transmission is ﬁnished, stop

recording on the sequencer. Check the list window in your sequencer (the window that shows recorded events in a list) to conﬁrm that the data (shown in hexadecimal) has been properly received and recorded by the sequencer.

n For information about recording or saving, refer to

the owner’s manual (or help messages) of your particular sequencer.

Now, whenever you play back the song ﬁle with this recorded data, the appropriate S03 Multi settings are sent as System Exclusive messages (page 99) from the sequencer.

n For best results, try to keep the playback tempo at

the same setting as was used for recording.

n When you assign the User Voice to the selected

Multi’s Part, record the User Voice as the same manner. Select the AllUS (All User Voices) in the BlkDmp screen (PAGE 3) in the Voice Job mode, then transmit the bulk data using the same method as Multi.

n If necessary, S03 system (Utility and MIDI) data

can also be recorded. In the BlkDmp screen of the Multi Job or Voice Job mode, select “Systm.”

n To save the all S03 settings, transmit all three data

types below, and record/save them to the computer.

• All: All Multis (Multi Job mode)

• AllUs: All User Voices (Voice Job mode)

• Systm: System (Multi Job or Voice Job mode)

Using Controllers

The S03 is equipped with Pitch Bend and Modulation Wheels. By connecting an optional Foot Controller or Footswitch, you can also control a variety of parameters (such as changing the sound, changing Program Numbers,

Basics Section

etc.) with your feet— and leave your hands free to play the keyboard.

Pitch Bend Wheel

This wheel’s function is to control pitch. Move the wheel upward/downward to bend the pitch upward/ downward. The effect can also be reversed.

Pitch up

Pitch down

Pitch Bend

Wheel

n The Pitch Bend Range can be set for each Voice

(page 65).

Modulation

Wheel

Modulation Wheel

The more you move this wheel upwards, the greater the modulation that is applied to the sound.

n The Modulation Depth can also be set. Also, the wheel

can be assigned to control different parameters, such as Volume or Pan (page 91).

n The Modulation Wheel can also be set to control the

tone, amplitude (volume), pitch, or ﬁlter setting of the Voice. The Modulation Wheel can be used to control the parameters below.

•MW Variation Control Depth

•MW Filter Control

•MW Pitch Modulation Depth

•MW Filter Modulation Depth

•MW Amplitude Modulation Depth

Controllers and External MIDI Control

Various control functions can be assigned to the Modulation Wheel and the Assignable Controller (page 66). Besides these other functions, the controllers are already set to control the tone, volume, pitch, and ﬁlter settings. When the controller is used, it not only affects the built-in tone generator of the S03, but also simultaneously outputs corresponding MIDI data via the MIDI OUT terminal.

MIDI OUT

MIDI Control

MIDI IN

Pitch Bend

Wheel

Modulation

Wheel

Deeper

Modulation Wheel

Assignable Controller 1

Voice Control

Tone

Vol ume

Pitch ....

Tone generator

n When the Multi mode is active, this controls the

Part for which the Transmit Channel setting of the MIDI mode (PAGE 4) and the Receive Channel setting of Multi Part Edit (PAGE 6) are the same.

Foot Controller

An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack (page 10) on the rear panel, can be assigned to any one of a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers). This is very convenient when performing live.

Using the Foot Controller to Control Parameters

In live performance, you can use the Foot Controller onstage to keep your hands free to play the keyboard, yet still be able to control various functions necessary for your songs or performance. In the following example, we’ll show you how to set up the Foot Controller to function the same as (and substitute for) the Modulation Wheel.

1 Press the [UTILITY] button to enter the Utility

mode.

MODE

MULTI

VOICE DEMO

Basics Section

Foot Controller FC7

n By setting the AC1 to the same control number as the

Foot Controller, you can use the Foot Controller to continuously control the parameters below for each Part or Voice.

• AC1 Filter Control

• AC1 Filter Modulation Depth

• AC1 Amplitude Modulation Depth

• AC1 Variation Control Depth

The control number for AC1 can be set in the following pages: Multi Part Edit PAGE 19 (when controlling in the Multi mode) Utility PAGE 7 (when controlling in the Voice mode)

See next section below for information on setting the control number for the Foot Controller.

UTILITY

EDIT

COMPARE

MIDI

MasterTune

JOB STORE

PAGE

OCTAVE

KEYELEMPART

+0000

2 Press the [▲] and [▼] buttons to call up the

FCTxCtlNo (FC transmit Control Number) screen (PAGE 4).

DATA

DEC INCNO YES

n Select this parameter by using the [F] button

when the MWTxCtlNo screen is displayed.

3 Use the [INC/DEC] buttons to select “01”

(Modulation Wheel).

DATA

DEC INCNO YES

FCTxCtlNo

PAGE

OCTAVE

KEYELEMPART

The Foot Controller can now be used to perform the same control function as that of the Modulation Wheel.

n For details about Control Numbers and Control

Change messages, refer to the separate Data List.

Foot Switch

An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH jack (page 10) can be assigned to a range of parameters. This is designed for switch-type (on/off) controls such

Basics Section

as incrementing/decrementing Voice or Multi numbers, and cannot be used for continuous control of a parameter. The default factory setting for this is to control sustain (FSTxCtlNo = 64).

Using the Foot Switch to Advance Through Programs

When performing live, you can set up the Foot Switch to change Voices or Multis with your feet, without having to take your hands from the keyboard. For example, if you arrange the Voices/ Multis in memory in consecutive order (as you’ll use them), you can easily advance through them one-byone by pressing the Foot Switch while you perform. The following instruction steps show you how to do this.

1 Press the [UTILITY] button to enter the Utility

mode.

MODE

MULTI

VOICE DEMO

Foot Switch FC4 or FC5

n See next section below for information on setting the

control number for the Foot Switch. For details about Control Numbers and Control Change messages, refer to the separate Data List.

UTILITY

EDIT

COMPARE

MIDI

MasterTune

JOB STORE

OCTAVE

KEYELEMPART

PAGE

+0000

2 Use the [▲] and [▼] buttons to to call up the

FSTxCtrlNo (FS transmit Control Number) screen (PAGE 5).

DATA

DEC INCNO YES

FSTxCtlNo

PAGE

OCTAVE

KEYELEMPART

3 Press the [INC/DEC] buttons to select “96”

(PCInc). (Or, input the number 96 and press the [ENTER] button.)

DATA

DEC INCNO YES

FSTxCtlNo

PAGE

OCTAVE

KEYELEMPART

PCInc

In the Voice/Multi mode, the Foot Switch can now be used to advance through program numbers.

Voice Edit

MODE

MULTI VOICE DEMO

MODE

MULTI

UTILITY

EDIT

COMPARE

JOB STORE

MIDI

VOICE DEMO

The following procedure shows you the fundamentals in creating and editing Voices.

Of course, this is just one example; you are free to set any parameters in any way you like. Details about each parameter are given in the Reference section of this manual.

n All parameter settings are stored along with the Voice itself.

1 Selecting a Voice to Edit

In Voice Play mode, select the Voice you wish to edit.

Enter the Voice Edit mode.

Set the common parameters

● Set the parameters common to all Elements in the Voice (volume, pitch, tone, etc.) You can also set parameters related to the Controllers, Effects, and so on.

Set the element parameters

● From the OSC/MIX (Oscillator/Mix) screens, select the Waves used by the Elements in the Voice, plus the volume, pan, note range and other basic parameters.

● From the PITCH screens, set the tuning and other pitch-related parameters used by the Elements. Also set the PEG (Pitch Envelope Generator) parameters as necessary.

● From the FILTER screens, adjust the parameters of the filters used by the Elements. Also set the FEG (Filter Envelope Generator) parameters as necessary.

● From the AMP (Amplitude) screens, set the volume and other output level-related parameters used by the Elements. Also set the AEG (Amplitude Envelope Generator) parameters as necessary.

● From the LFO (Low Frequency Oscillator) screens, set the modulation-related parameters used by the Elements.

Enter the Voice Play mode by pressing a [VOICE] button.

Select the Voice Number of the Voice you wish to edit (page 34).

n When you’re creating a Voice by editing an existing one,

it helps to select a Voice with a sound that’s relatively similar to the one you intend to create. In this way, you can avoid having to make large changes and many parameter edits — allowing you to create a Voice quickly and easily. If you are creating a Voice from scratch, use the convenient Initialize function (in the Voice Job mode) to initialize a Voice in internal user memory. For details, see pages 87 and 88.

2 Entering the Voice Edit Mode

All Voice creation and editing is carried out in Voice Edit Mode. To enter the Voice Edit mode, press the [EDIT] button while in the Voice Play mode.

Basics Section

Store the edited Voice.

Common Edit and Editing Individual Elements

Voices can consist of up to four Elements (page 26). Use Common Edit to edit the settings common to all

Basics Section

four Elements. The Voice Edit mode can be divided into screens for Common Edit and those for editing each Element. In the Voice Edit mode, simultaneously press both the [–] and [+] buttons to switch between the Common Edit screens and the screens for editing each Element.

Common Edit screens

Switching Between Screens and Entering Settings

After selecting a Common Edit screen or an edit screen for an Element (1 to 4), press the [▲] and [▼] buttons to switch to other screens.

DATA

DEC INCNO YES

KEYELEMPART

PAGE

1 E

OCTAVE

Page

GrandPno

KEYELEMPART

PAGE

1 E

OCTAVE

Common indicator

Name

Element Edit screens

PART ELEMENT KE Y

MUTE

COMMON

Element SW

KEYELEMPART

PAGE

1 E 1

OCTAVE

Element indicator

Switching Elements On/Off (Mute)

In Voice Edit Mode, an Element can be switched on/ off temporarily when you press the [MUTE] button. The Element indicator which is muted will ﬂash. This lets you mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing.

PART ELEMENT KE Y

MUTE

COMMON

The S03 has a huge variety of available parameters. As you change the display pages, an arrow mark on the right side of the display points to the parameter chart printed on the panel, indicating the parameter type and what aspect of the instrument it’s related to.

OSC MIX

PITCH

FILTER

AMP

LFO

EFFECT

Level

PAGE

3 E

OCTAVE

KEYELEMPART

100

VOICE

MIX

GENERAL

TONE

CONTROLLER

EFFECT

Use the INC/YES and DEC/NO buttons to set each parameter value.

DATA

DEC INCNO YES

Level

PAGE

3 E

OCTAVE

KEYELEMPART

101

Some parameters have multiple “pages,” indicated by a special arrow mark (“ﬁ”) in the top right of the LCD (see below). Use the [E]/[F] buttons to select these pages.

DATA

DEC INCNO YES

NtLmt-L

NtLmt-H

PAGE

5 E 1

OCTAVE

PAGE

5 E 1

OCTAVE

KEYELEMPART

C-2

KEYELEMPART

3 Set the Common Parameters

4 Set the Element Parameters

Basics Section

Each Voice consists of up to four Elements. Here, the parameters common to all Elements are explained.

●

GENERAL (Common General)

In PAGES 1 to 4, you can set the Voice Name, Voice output settings and other general parameters.

GrandPno

●

CONTROLLER (Common Controller)

PAGE

1 E

OCTAVE

KEYELEMPART

XG001

VelSnsDpt

PAGE

4 E

OCTAVE

1~4

KEYELEMPART

064

In PAGES 5 to 10, you can assign and set various functions for the controllers on the front (such as the Modulation and Pitch Bend Wheels) and the controllers connectable to the rear panel. For example, you can assign parameters to the Modulation Wheel so that you can change the tone of Voice in real time. For details about different controller uses, see page 45.

Porta Sw

PAGE

5 E

OCTAVE

KEYELEMPART

off

AC1 FMod

PAGE

10 E

OCTAVE

KEYELEMPART

000

● OSC/MIX (Oscillator/Mix)

In PAGES 1 to 6, you can set the various parameters controlling the waveforms on which the Voice is based. You can select the Wave used for the Element, the volume and note range of each Element and so on.

Element Sw

PianoL@

Level

PAGE

1 E

OCTAVE

PAGE

2 E

OCTAVE

PAGE

3 E

OCTAVE

KEYELEMPART

W*001

KEYELEMPART

100

Pan

NtLmt-L

VelLmt-L

PAGE

4 E

OCTAVE

PAGE

5 E

OCTAVE

PAGE

6 E

OCTAVE

KEYELEMPART

C-2

KEYELEMPART

001

Element Sw (Element Switch)

Determines whether each Element sounds or not.

Wave Selection

Select the Wave for each Element.

Level Pan

Set the volume (output level) and stereo pan position of each Element.

5~10

●

EFFECT (Common Effect)

In PAGES 11 to 17, you can set the Effects parameters for the Voice. There are System Effects (Reverb and Chorus) and Variation Effects.

ReverbSend

PAGE

11 E

OCTAVE

KEYELEMPART

040

AC1VerCtl

PAGE

17 E

OCTAVE

11~17

KEYELEMPART

+00

NtLmt-L/H (Note Limit Low/High) VelLmt-L/H (Velocity Limit Low/High)

Set the note range for each Element (the range of notes on the keyboard over which the Element will sound) and also the velocity response (the range of

Basics Section

note velocities within which the Element will sound). You can assign different settings for each Element. With these parameters, you can layer Elements and control their output. For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities.

●

PITCH

In PAGES 7 to 12, you can set the basic pitch parameters for each Element. You can detune Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time.

PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in pitch from the moment a note is pressed on the keyboard to the point at which it is released. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element.

Attack

Decay1

Pitch

Initial

Level

Sustain

Level

Key off

Release

Level

Velocity

C-2

Element 1

Element 3

Element 2

Element 4

Attack

Decay1

Time

Decay2

Time

Release

Time

In the illustration, the letters a - d indicate the respective Rate (R) settings for Attack - Release. The greater the value for each Rate, the faster the pitch goes to the next set Level — in other words, the time it takes for the pitch to change (between Level settings) becomes shorter.

n For details about the PEG parameters, see page 75.

● FILTER

EffectAMPFILTPITCH

OSC

Element

1~4

PEG FEG

AEGLFO

In PAGES 13 to 22, you can use the ﬁlter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform from the Element. The S03 employs an LPF (low pass ﬁlter). Only frequencies below this point are passed. You can also set the Filter Envelope Generator (FEG) for time variance of how the ﬁlter works, which results in a dynamic change in tonal characteristics. Here, we’ll show you how the FEG works.

Range passed

Level

Volume

Cutoff range

● AMP (Amplitude)

In PAGES 23 to 31, you can set the volume of each Element after the OSC (Oscillator), PITCH and FILTER parameters have been applied, as well as the ﬁnal overall volume of the signal sent to the outputs. The signal of each Element is sent at the speciﬁed volume to the next Effect section. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.

Basics Section

Cutoff Frequency

Frequency

FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element.

Release

Time

Release

Level

Time

Level

Attack

Decay1

Level

Decay2

Time

Sustain

Level Key off

Level

Initial Level

Attack

Decay1

Time

In the illustration, the letters a - d indicate the respective Rate (R) settings for Attack - Release. The greater the value for each Rate, the faster the ﬁlter goes to the next set Level — in other words, the time it takes for the ﬁlter to change (between Level settings) becomes shorter.

n For details about the FEG parameters, see page 79.

The ﬁnal volume for all Elements is set in the Total Vol (Total Volume) parameter, Common Edit PAGE 2.

AEG (Amplitude Envelope Generator)

By using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released. When you press a note on the keyboard, the volume will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element.

Release

Time

Release

Level

Time

Volume

Initial Level

Attack

Time

Attack Level

Decay1

Level

Decay1

Time

Sustain

Level Key off

Decay2

Time

In the illustration, the letters a - d indicate the respective Rate (R) settings for Attack - Release. The greater the value for each Rate, the faster the volume goes to the next set Level — in other words, the time it takes for the volume to change (between Level settings) becomes shorter.

n For details about the AEG parameters, see page 80.

About EG Rate and Time (Voice Mode)

EffectAMPFILTPITCH

OSC

Element

1~4

PEG FEG

AEGLFO

KEYELEMPART

OCTAVE

PAGE

1 E

LFO Wave

tri

The EG (Envelope Generator) processes and shapes the output level of the tone generator from the moment you press a key until the sound decays to silence. The level (Y-axis in the illustrations below)

Basics Section

is a different aspect of the sound, depending on which EG is being used. For the PEG, level corresponds to Pitch. For the FEG, it corresponds to the cutoff frequency. For the AEG, it corresponds to the volume.

The behavior of the EG over time is controlled by the Rate (R) parameters. Rate refers to the time it takes to go from one level to the next (for example, from the initial level to the attack level).

The illustrations below show how different Rate settings affect the sound. To extend the time between level changes and make it long, set the Rate (R) to a small value.

● LFO (Low Frequency Oscillator)

In PAGES 32 to 35, you can edit the LFO, which (as its name suggests) produces waveforms of a low frequency. These waveforms can be used to vary the pitch, ﬁlter or amplitude of each Element to create effects such as vibrato, wah and tremolo. However, the actual available LFO parameters will vary according to the type of Element.

The LFO is capable of producing a wide variety of effects in various ways. By modulating the pitch over an adjustable amount, it creates vibrato. By modulating the ﬁlter over an adjustable range of frequencies, it creates wah-wah and dynamic ﬁlter sweep effects. By modulating the volume (or “amplitude”) of the sound over an adjustable depth, it creates tremolo.

Level

Rate (R) is set to a large value.

Initial Level

Attack Time

is short.

Attack

Level

Rate (R) is set to a small value.

Time

Initial Level

Level

Attack

Level

Attack

Time

is long.

Time

5 Storing Edited Voices

Up to 128 new/edited Normal Voices and 2 new/edited Drum Voices can be stored to internal user memory.

Voice

Store

Normal Voice

USER 1~128

Drum Voice

USER DRUM

1~2

When storing a Voice, any existing data at the storage location will be lost. You should always back up important data to computer or some other storage medium beforehand.

n For details about storing Voices, see page 89.

Effects

In the ﬁnal stages of programming, you can set the effects parameters to further change the sound’s character. In general, System Effects apply to the overall sound, whether it is a Voice, a Multi. Insertion Effects, on the other hand, can be applied individually to each Voice. The S03 has two System Effect sections (Reverb and Chorus) plus a Variation Effect section (see below). Different effects settings can be set per Voice (in the Voice mode) and per Multi (in the Multi mode), though the connection between the Effect sections will vary in each case.

Basics Section

Reverb Section

The Reverb section includes a selection of 11 different reverb-type effects, including realistic simulations of the natural reverberation found in various halls and rooms. In the Multi mode, the Reverb settings will apply to the Multi as a whole. In the Voice mode, the Reverb Send parameter can be set for each Voice.

Chorus Section

The Chorus section includes a selection of 11 chorustype effects, including a ﬂanger and others. Most of these effects are ideal for adding thickness to the sound. In the Multi mode, the Chorus settings will apply to the Multi as a whole. In the Voice mode, the Chorus Send parameter can be set for each Voice.

Variation Effects

A total of 42 different Effect types are available in the Variation section. These range from conventional effects such as Reverb, for enhancing the sound, to wilder effects such as Distortion, for actively changing the sound, or creating new sounds.

n For details about each Effect Type, refer to the Effect

Type List in the separate Data List.

System and Insertion Effects

The S03 effects sections can be designated as either System or Insertion effects. Reverb and Chorus are always System effects, which means they can be applied to any or all Parts. The Variation effect can also be a System effect, or it can be designated as an Insertion effect, which means it can be dedicated to a speciﬁc Part.

Basically, S03 System and Insertion effects work the same way as in a sound mixer, as shown in the diagram on the next page. For example, System effects can be applied to instruments (i.e., Parts) which are connected to the various mixer channels; the amount of each System effect is determined by channel “send” and system “return” level controls. An Insertion effect can be connected (“inserted”) into the signal ﬂow of a speciﬁc channel in order to process the sound of that instrument (i.e., Voice/ Part) only.

In the Voice mode of the S03, the Insertion effect (Variation) can be applied to a Voice, while in the Multi Play mode it can only be applied to a single Part. The System and Insertion effect conﬁgurations can be controlled in detail by XG song data (signiﬁed by the XG mark) when the S03 is in the Multi Play mode.

Effects in Voice Mode

In the Voice mode, you can set the Effect Send parameter for the Reverb and Chorus sections, and store them with each Voice.

For the Variation Effect, the Effect Type and the various effect parameters can be set, as well as the effect on/off setting for each Voice. The signals that are processed by the Variation block are mixed and sent to the Reverb and Chorus sections.

Var iation

Voice

n Drum Voices in Voice mode have no Variation effect.

Effect

Output

System Effects

Chorus

Effects in Multi Mode

You can set the desired Effect type for each Effect section as well as its parameter values for each Multi in the Multi mode. By using Variation as an Insertion effect, you can apply the effect to only one of the Parts (see illustration below).

Basics Section

As shown in the illustration below, the Reverb section and Chorus section function as System effects, which process all of the Parts, according to each Part’s effect send setting and the global effect return setting — just like on an actual mixer. When using Variation as an Insertion effect, the signal connection is serial, and the effect is applied only to the selected Part — just like patching in an outboard effect on a single instrument channel.

Voice

Reverb Send

VOICE

Variation (Var)

Total Lvl

Dry/Wet

* Depending on the selected effect type, the Dry/Wet parameter

may not be available. For details, refer to the Effect Parameter List in the separate Data List booklet.

(Fixed setting: Hall 1)

SndChoRev

Chorus

(Fixed setting: Chorus 1)

Send

Reverb (Rev)

Chorus (Cho)

Total Vol

Out

Mixer

Insertion Effect

1 2 3 4 5 6 16

Part 1~16

System Effects

Reverb Effect

Chorus Effect

Var iation Effect

Can be used as either System or

Insertion effect.

Multi

Var Connect=INS Part 3 Var Send set to on

Part 1

Part 2

Part 3

Part 16

Variation (Var)

Dry/Wet

Chorus SendReverb Send

Reverb (Rev)

SndChoRev

Chorus (Cho)

* Depending on the selected effect type, the Dry/Wet parameter

may not be available. For details, refer to the Effect Parameter List in the separate Data List booklet.

Rev Return

Cho Return

Total Vol

Out

Var Connect set to SYS

Rev

Return

Cho

Return

Var

Return

Total Vol

Part 1

Part 2

Part 16

Dry Level

Reverb

Send

Chorus

Send

Reverb (Rev)

SndChoRev

Chorus (Cho)

SndVarRev

SndvarCho

Variation (Var)

Var Send

* The default value of Dry Level is 127. This cannot be set

from the panel of the S03; however, it can be set by transmitting appropriate MIDI messages from an external device.

Out

Reference Section

Multi Mode

Multi Edit

In this mode, you can set Multi Edit parameters. These can roughly be divided into Common parameters, which apply to all Parts, and Part-speciﬁc parameters.

n You need to select the Multi before entering Multi Edit

mode (page 37). All parameters can be set and stored per Multi.

n For details about using the Multi mode, see page 37.

n See page 28 on how to enter Multi Edit mode.

The E Indicator

If you alter any parameters in Multi Edit mode, the E (Edit) indicator will be displayed in the PAGE column of the screen after exiting from the Multi Edit mode. This gives a quick indication that the current Multi has been modiﬁed but not yet stored.

Init Mlt

KEYELEMPART

PAGE

E P

OCTAVE

MLT01

PAG E

E P 1

OCTAVE

Edit Indicator

KEYELEMPA R T

Switching Parts On/Off

In the Multi Edit mode, a Part can be switched on/ off when you press the [MUTE] button. The Part indicator which is muted will ﬂash. This lets you mute other Parts in the Multi so that you can listen to the changes to the Part that you are editing.

Multi Store

The edited settings for the current Multi will be lost if you select another Multi or mode. To avoid losing important data, you should always use Multi Store to store your edited Multi. For details about the Multi Store procedure, see page 69.

n When creating a new Multi from scratch, it can be

useful, prior to editing, to clear the settings for the current Multi using the Initialize Multi function in the Multi Job mode (pages 67 and 68).

Common Edit and Editing Individual Parts

A Multi can consist of 16 Voice Parts (page 24). The parameters common to all Parts are known as a Common Edit. The Multi Edit mode can be divided into screens for Common Edit and those for editing each Part. In the Multi Edit mode, simultaneously press both the [+] and [–] buttons to select the Common Edit screens.

Multi Mode

The Compar

e Function

Use this to listen to the difference between the Multi with your edited settings and the same Multi prior to editing.

1 Press the [COMPARE (EDIT)] button while in

Multi Edit mode. The EDIT LED will ﬂash and the Multi settings prior to editing will temporarily be reinstated for comparison purposes.

n While the Compare function is enabled, the DEC/NO

and INC/YES buttons cannot be used for editing.

2 Press the [EDIT] button again to disable the

Compare function and restore your recently edited settings.

Init Mlt

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1 P

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Name

PAG E

1 P

OCTAVE

Part Edit screensCommon Edit screens

GrandPno

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PAGE

1 P

OCTAVE

KEYELEMPA R T

XG001

PAG E

KEYELEMPA R T

1 P 1

OCTAVE

Part indicatorCommon indicator

Common

Transpose

+00

KEYELEMPART

OCTAVE

PAGE

Hall 1

RevEF

KEYELEMPART

OCTAVE

PAGE

Rev Time

2.1

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PAGE

Rev Return

064

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PAGE

(Settings for all Parts)

Here we explain how to edit common settings for all Parts in a Multi. There are two types available, each of which consists of multiple pages.

n Refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

Common General (PAGES 1 to 3)

Multi Mode

Common Effect (PAGES 4 to 21)

3. Transpose

This determines the overall Transpose setting of the Parts, in semitone units. It does not affect information transmitted via MIDI.

❏ Settings: –24 (–2 octaves) ~ +24 (+2 octaves)

n This parameter has no effect for Parts set to the Drum

mode (page 61).

1. Name

You can set a Multi Name consisting of up to 8 characters. You can also select the Category Name to the left of the Multi Name.

Init Mlt

n The method of setting the Multi Name is the same as for

the Voice Name. Details are given on page 71.

PAGE

OCTAVE

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Name

2. Total Vol (Total Volume)

Set the overall volume of the Multi.

Total Vol

❏ Settings: 0~127

PAGE

OCTAVE

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127

4. RevEF (Reverb Effect Type)

Select the Reverb Effect Type here, then set the effect’s parameters in the following PAGES.

❏ Settings: Details are given in the Effect Type list in the

separate Data List.

5. Reverb Parameters

Set the various Reverb effect parameters.

❏ Settings: The number of parameters and the contents of each

screen will vary depending on the selected Effect Type. Details are given in the Effect Type/ Parameter list in the separate Data List.

Common General/Common Effect

6. Rev Return (Reverb Return)

Set the Return level of the Reverb Effect.

❏ Settings: 0 ~ 127

7. Reverb Pan

Chorus Pan

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SndCho Rev

000

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PAGE

Delay LCR

VarEF

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PAGE

11. Chorus Pan

Set the stereo pan position of the Reverb Effect.

Reverb Pan

❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

n You can also enter the settings below using the numeric

keypad.

1~63: L63~L01 64: C (Center)

65~127: R01~R63

PAGE

OCTAVE

KEYELEMPART

8. ChoEF (Chorus Effect Type)

Select the Chorus Effect Type here, then set the effect’s parameters in the following PAGES.

Chorus 1

❏ Settings: Details are given in the Effect Type list in the

separate Data List.

PAGE

OCTAVE

KEYELEMPART

ChoEF

Set the stereo pan position of the Chorus Effect.

❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

n You can also enter the settings below using the numeric

keypad.

1~63: L63~L01 64: C (Center) 65~127: R01~R63

12. SndCho➞Rev (Send Chorus to Reverb)

Set the send level of the signal sent from the Chorus Effect to the Reverb Effect.

❏ Settings: 0 ~ 127

Multi Mode

9. Chorus Parameters

Set the various Chorus effect parameters.

LFO Freq

❏ Settings: The number of parameters and the contents of each

screen will vary depending on the selected Effect Type. Details are given in the Effect Type/ Parameter list in the separate Data List.

PAGE

OCTAVE

KEYELEMPART

0.25

10. Cho Return (Chorus Return)

Set the Return level of the Chorus Effect.

Cho Return

❏ Settings: 0 ~ 127

PAGE

OCTAVE

KEYELEMPART

064

13. VarEF (Variation Effect Type)

Select the Variation Effect Type here, then set the effect’s parameters in the following PAGES.

❏ Settings: Details are given in the Effect Type list in the

separate Data List.

14. Variation Parameters

Set the various Variation effect parameters.

❏ Settings: The number of parameters and the contents of each

screen will vary depending on the selected Effect Type. Details are given in the Effect Type/ Parameter list in the separate Data List.

Common Effect

15. VarConnect

SndVar Rev

000

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SndVar Cho

000

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PAGE

MW VarCtl

+00

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PAGE

(Variation Connection)

18. SndVar➞Rev (Send Variation to Reverb)

This determines how the Variation Effect is used in the signal processing chain — as an Insertion effect or as a System effect.

VarConnect

❏ Settings: INS (Insertion), SYS (System)

Multi Mode

n The function of the Variation Effect changes depending

on this setting, as do the types of parameter changes.

n For more details on System and Insertion Effects, see

page 53.

PAGE

OCTAVE

KEYELEMPART

INS

16. Var Return (Variation Return)

Set the Return level of the Variation Effect.

Var Return

❏ Settings: 0 ~ 127

n This can be set only when Variation Connection (above)

is set to “SYS.” When Variation Connection is set to “INS,” “***” appears in the display and the setting cannot be changed.

PAGE

OCTAVE

KEYELEMPART

064

Set the send level of the signal sent from the Variation Effect to the Reverb Effect.

❏ Settings: 0~127

n This can be set only when Variation Connection (above)

is set to “SYS.” When Variation Connection is set to “INS,” “***” appears in the display and the setting cannot be changed.

19. SndVar➞Cho (Send Variation to Chorus)

Set the send level of the signal sent from the Variation Effect to the Chorus Effect.

❏ Settings: 0~127

n This can be set only when Variation Connection (above)

is set to “SYS.” When Variation Connection is set to “INS,” “***” appears in the display and the setting cannot be changed.

17. Var Pan (Variation Pan)

Set the stereo pan position of the Variation Effect.

Var Pan

❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

n You can also enter the settings below using the numeric

keypad.

1~63: L63~L01 64: C (Center) 65~127: R01~R63

n This can be set only when Variation Connection (above)

is set to “SYS.” When Variation Connection is set to “INS,” “***” appears in the display and the setting cannot be changed.

PAGE

OCTAVE

KEYELEMPART

20. MW VarCtl (MW Variation Effect Control Depth)

This determines the degree to which the Modulation wheel controls the Variation Effect.

❏ Settings: –64~+63

n This can be set only when Variation Connection (above)

is set to “INS.” When Variation Connection is set to “SYS,” “***” appears in the display and the setting cannot be changed.

n The particular parameter that can be controlled with the

Modulation wheel is ﬁxed for each of the Variation effects. Refer to the separate Data List for details.

Common Effect

21. AC1VarCtl

StPiano1

PR001

KEYELEMPART

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PAGE

(AC1 Variation Effect Control Depth)

This determines the degree to which the Assignable Controller 1 controls the Variation Effect.

Part (Settings for each Part)

The following is an explanation of the Part parameters used to edit each Multi.

AC1VarCtl

❏ Settings: –64~+63

n This can be set only when Variation Connection (above)

is set to “INS.” When Variation Connection is set to “SYS,” “***” appears in the display and the setting cannot be changed.

n The particular parameter that can be controlled with the

Assignable Controller 1 is ﬁxed for each of the Variation effects. Refer to the separate Data List for details.

n For information on the AC1, refer to AC1 CC No (pages

66 and 92 ) in the Multi and Utility modes.

PAGE

OCTAVE

KEYELEMPART

+00

n Refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

Voice Selection (PAGE 1)

Part Mix (PAGES 2 to 5)

Part General (PAGES 6 to 9)

Part Tone (PAGES 10 to 14)

Part Controller (PAGES 15 to 21)

Part Effect (PAGES 22 to 24)

1. Voice Selection

You can assign a Voice to each Part. Use the [+] and [–]

buttons to select the Part, then select its Voice. The display will vary as follows according to the Memory selected.

n Specify the particular Voice Memory by pressing the

appropriate Memory button: PRESET, USER or GM/XG.

n To select a Drum Voice, simultaneously hold down the

[DRUM] button and press the appropriate Memory button: [USER] or [GM/XG].

n The Voice can be set by using the same method as with

Category Search (page 35).

n For details about Categories, refer to the Category List on

page 71. For details about using Category Search, see page 35.

Multi Mode

●PRESET

❏ Settings: PR001 ~ PR128

Common Effect/Voice Selection

●USER

Pan

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PAGE

NtLmt-L

C-2

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PAGE

NtLmt-H

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PAGE

VelLmt-L

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PAGE

VelLmt-H

127 001

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PAGE

❏ Settings: US001~US128, USDR01~USDR02

3. Pan

Set the stereo pan position of the Part.

Synth St

PAGE

OCTAVE

KEYELEMPART

US001

●GM/XG

GrandPno

Multi Mode

Use the [E] and [F] buttons to switch among the different banks for selecting program numbers.

❏ Settings:

Bank Select: BK*** (Refer to the XG Voice List and

Program Number: XG001~XG128 (The actual number of

KEYELEMPART

PAGE

OCTAVE

XG001

XG Drum List in the separate Data List.

available programs differs depedning on the selected bank. For details, refer to the XG Voice List and XG Drum List in the separate Data List.)

2. Volume

Set the output level of the Part.

❏ Settings: Rnd (random; the pan position moves randomly

each time a key is played), L63 (Left) ~ C (Center) ~ R63 (Right)

n You can also enter the settings below using the numeric

keypad.

0: Rnd 1~63: L63~L01 64: C (Center) 65~127: R01~R63

4-1. NtLmt-L (Note Limit Low) 4-2. NtLmt-H (Note Limit High)

Set the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its speciﬁed range.

❏ Settings: 0~127

Volume

PAGE

OCTAVE

KEYELEMPART

100

❏ Settings: C-2 ~ G8

n You can set the lowest and highest notes in the range by

pressing notes on the keyboard while holding down the [ENTER] button.

n For more information and some example settings, see

page 41.

5-1. VelLmt-L (Velocity Limit Low) 5-2. VelLmt-H (Velocity Limit High)

Set the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its speciﬁed velocity range.

❏ Settings: 1~127

Voice Selection/Part Mix

6. Rcv Ch (MIDI Receive Channel)

Part Mode

norm

KEYELEMPART

OCTAVE

PAGE

9. Part Mode

Set the MIDI Receive Channel for each Part. Each Part receives MIDI messages according to the channel set here. Select “off” for Parts that you do not want to respond to MIDI.

Rcv Ch

❏ Settings: 1 ~ 16, off

n For information on setting the MIDI Receive channel in

the Voice mode, see page 94.

PAGE

OCTAVE

KEYELEMPART

7-1. NoteShift 7-2. Detune

These parameters determine the pitch of each Part.

NoteShift

PAGE

OCTAVE

KEYELEMPART

+00

■ NoteShift

Set the amount (in semitones) by which the note pitch is shifted.

❏ Settings: –24~0~+24

■ Detune

Determines the ﬁne tuning setting of the pitch. Use this to create warm detuning effects by setting each Part to a slightly different value.

Detune

PAGE

OCTAVE

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-12.0

This determines whether the Part uses Normal Voices or Drum Voices.

❏ Settings:

norm (Normal Voice)

With this setting, Normal Voices can be assigned to the Part.

drum (Drum Voice)

With this setting, Drum Voices can be assigned to the Part.

drumS1/2 (Drum Setup 1/2)

Used to play commercially available song data (switches automatically).

n The part set to a setting other than “norm” is called a

Drum Part.

n If you’ve edited a drum kit in Drum Voice Edit mode and

you wish to use that kit, set this to “drum.”

n When an XG System On message is received from an

external sequencer, this is automatically set to “drumS1.” In order to use the settigs made in Drum Voice Edit, record the appropriate message in the song data (Part Mode set to Drum). Refer to the MIDI Data Format section in the separate Data List.

F0 43 10 4C 08 nn 07 01 F7 (nn=Part number) (hexadecimal)

Multi Mode

❏ Settings: –12.8 (Hz)~0~+12.7 (Hz)

n Ignore the decimal place when inputting values from the

numeric keypad. For example, to enter the value “–1.5,” press the following buttons in order: “–,” “1,” then “5.”

8. Mono/Poly

Select monophonic or polyphonic playback. Select whether each Part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes).

Mono/Poly

❏ Settings: mono, poly

n When the Part Mode is set to “drum,” “***” appears in

the display and the parameter cannot be set.

PAGE

OCTAVE

KEYELEMPART

poly

Part General

10-1. VelSnsDpt (Velocity Sensitivity Depth)

10-2. VelSnsOfs (Velocity Sensitivity Offset)

Set the Velocity Sensitivity and Velocity Offset for each Part.

VelSnsDpt

PAGE

OCTAVE

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064

VelSnsOfs

PAGE

OCTAVE

KEYELEMPART

064

■ VelSnsOfs

As illustrated below, the velocity will be increased by the speciﬁed amount.

Changes to velocity curve according to VelDepth

(with offset set to 64)

Actual Velocity

for tone generator

Offset=127

Depth=64 Offset=96

Depth=64 Offset=64

Multi Mode

❏ Settings: 0~127

■ VelSnsDpt

As illustrated below, a large setting will cause large changes in velocity when you play the keyboard.

Changes to velocity curve according to VelDepth

(with offset set to 64)

Depth=127

Actual Velocity

for tone generator

Offset=64

Depth=0 Offset=64

Received Velocity

Depth=64 Offset=64

Depth=32 Offset=64

Offset=96

Offset=64

Velocity=1

Offset=32

Depends on

offset

Depends on

offset

Depth=64 Offset=32

Received

Velocity

Part Tone

11-1. Cutoff

Attack Tm

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PAGE

Attack Tm

KEYELEMPART

OCTAVE

PAGE

Decay Tm

KEYELEMPART

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PAGE

Releas Tm

+00

KEYELEMPART

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PAGE

+00 +00

12-1. Attack Tm (Attack Time)

11-2. Resonance

You can set Filter parameters to change the tonal characteristics of each Part

Cutoff

PAGE

OCTAVE

KEYELEMPART

+00

Filter is the section of the tone generator that changes the tonal qualities of a Voice by passing only a limited frequency range and cutting signals outside that range. The S03 employs an LPF (low pass ﬁlter).

❏ Settings: –64 ~ +63

■ Cutoff

Set the Cutoff frequency of the low pass ﬁlter. Only frequencies below this point are passed.

Level

Range passed

Resonance

PAGE

OCTAVE

KEYELEMPART

+00

Cutoff range

12-2. Decay Tm (Decay Time) 12-3. Releas Tm (Release Time)

This determines the EG (Envelope Generator) Parameters for each Part. There are three parameters governing the transition in tone and output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the level has faded to zero.

n These three parameters affect both the AEG and the

FEG.

Level

Multi Mode

Frequency

Cutoff

■ Resonance

Set the amount of Resonance (harmonic boost) applied to the signal around the Cutoff frequency. This is a useful way of adding further character to the sound.

Level

Resonance

Frequen

Cutoff

Time

Attack

Time

Key on Key off

Decay

Time

Release

Time

❏ Settings: –64 ~ +63

■ Attack Tm

Determines the transition time from the moment a key on the keyboard is pressed to the point at which the level of the Voice reaches its peak. Positive values will lengthen the transition time and negative values will shorten it.

■ Decay Tm

Determines the transition time from the point at which the level of the Voice reaches its peak to the point at which it levels off. Positive values will lengthen the transition time and negative values will shorten it.

■ Releas Tm

Determines the transition time from when the key is released to when the sound level decays to zero. Positive values will lengthen the transition time and negative values will shorten it.

Part Tone

13-1. PEGIntL (PEG Initial Level)

Vib Rate

+00

KEYELEMPART

OCTAVE

PAGE

Vib Depth

+00

KEYELEMPART

OCTAVE

PAGE

Vib Delay

+00

KEYELEMPART

OCTAVE

PAGE

14-1. Vib Rate (Vibrato Rate) 13-2. PEGAtkTm (PEG Attack Time) 13-3. PEGRelL (PEG Release Level) 13-4.

You can set PEG (Pitch Envelope Generator) Parameters for each Part. There are four parameters that control how the pitch changes from the moment a note is pressed on the keyboard to the moment it is released or the point at which the level has faded to zero.

Multi Mode

❏ Settings: –64 ~ +63

■ PEGIntL

Determines the initial pitch, or the pitch that sounds the moment the key is played.

■ PEGAtkTm

Determines the time it takes after you play the key for the pitch to return to normal (or original), from the pitch set in PEG Initial Level above.

PEGRelTm (PEG Release Time)

PEGInitL

PEGRelL

KEYELEMPART

PAGE

OCTAVE

PAGE

OCTAVE

PEG Initial Level

+00

KEYELEMPART

+00

Normal Pitch

Key on

PEG

Attack

Time

PEGAtkTm

PEGRelTm

Release

Key off

KEYELEMPART

PAGE

OCTAVE

KEYELEMPART

PAGE

OCTAVE

PEG Release Level

PEG

Time

+00

Time

14-2. Vib Depth (Vibrato Depth)

14-3. Vib Delay (Vibrato Delay)

Depth

Key on

Delay

Rate

❏ Settings: –64 ~ +63

■ Vib Rate

Determines the speed of pitch modulation.

■ Vib Depth

Determines the depth or degree of pitch modulation.

n This Parameter is not available for Drum Parts.

■ Vib Delay

Determines the amount of time that elapses from when a key is played to when the Vibrato effect starts. The higher the value, the longer the delay before the onset of the Vibrato effect.

n The Parameter is not available for Drum Parts.

Time

■ PEGRelL

Determines the ﬁnal pitch that is reached after you release your ﬁnger from the key.

■ PEGRelTm

Determines the time it takes for the pitch to reach the setting made in PEG Release Level above, from when you release your ﬁnger from the key.

Part Tone

15-1. Porta Sw

MW PMod

010

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18 P 1

MW FMod

000

KEYELEMPART

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PAGE

18 P 1

MW AMod

000

KEYELEMPART

OCTAVE

PAGE

18 P 1

(Portamento Switch)

18-1. MW PMod

(MW Pitch Modulation Depth) 15-2. PortaTime (Portamento Time)

Set the Portamento parameters. Portamento creates a smooth transition from the pitch of the ﬁrst note played to the pitch of the next.

Porta Sw

PAGE

15 P 1

OCTAVE

KEYELEMPART

off

PortaTime

PAGE

15 P 1

OCTAVE

KEYELEMPART

000

■ Porta Sw

Switch Portamento on or off.

❏ Settings: off, on

■ PortaTime

Set the pitch transition time. Higher values result in longer transition times.

❏ Settings: 0~127

16. PB Range (Pitch Bend Range)

Set the amount (in semitones) by which the pitch of the note is varied when you move the Pitch Bend wheel up/down. For example, if you set a value of +12, moving the wheel up raises the pitch by a maximum of octave.

PB Range

❏ Settings: –24~+24

PAGE

16 P 2

OCTAVE

KEYELEMPART

+02

17. MW FltCtl (MW Filter Control)

Set the depth of control of the Modulation wheel over the ﬁlter cutoff frequency.

MW FltCtl

PAGE

17 P 1

OCTAVE

KEYELEMPART

+00

18-2. MW FMod

(MW Filter Modulation Depth)

18-3. MW AMod (MW Amplitude

Modulation Depth)

These parameters let you set the depth of control the

Modulation wheel has over the pitch, ﬁlter and

amplitude modulation of the Voice.

❏ Settings: 0~127

■ MW PMod

Set the amount by which the pitch modulation changes when the Modulation wheel is used. The larger the setting, the greater the depth of control. (The vibrato effect becomes deeper.)

■ MW FMod

Set the amount by which the ﬁlter Cutoff frequency changes when the Modulation wheel is used. The larger the setting, the greater the depth of control. (The wah effect becomes deeper.)

■ MW AMod

Set the amount by which the amplitude modulation changes when the Modulation Wheel is used. A larger setting produces greater modulation depth. (The tremolo effect becomes deeper.)

n Depending on the selected LFO wave type and the

amplitude modulation depth setting, noise may result when the controller is moved. If this happens, reduce the modulation depth value.

Multi Mode

❏ Settings: –64~+63

Part Controller

19. AC1 CC No

AC1 FMod

000

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PAGE

21 P 1

AC1 AMod

000

KEYELEMPART

OCTAVE

PAGE

21 P 1

ReverbSend

040

KEYELEMPART

OCTAVE

PAGE

22 P 1

ChorusSend

000

KEYELEMPART

OCTAVE

PAGE

23 P 1

(AC1 Control Change Number)

21-1. AC1 FMod

(AC1 Filter Modulation Depth)

Determines the Control Change number for the AC1 (Assignable Controller 1) of each Part

AC1 CC No

❏ Settings: 0~95

n The AC1 CC No parameter in the Voice mode is set in the

Multi Mode

Utility mode (PAGE 7).

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19 P 1

OCTAVE

KEYELEMPART

AC1 (Assignable Controller 1)

The AC1 (Assignable Controller 1) is only available by using an external MIDI controller (such as a foot controller connected to a MIDI keyboard). By setting the AC1 Control Change number here to match the controller on the connected MIDI device, you can use that controller to change the sound, according to the settings made in the other AC1 parameters — such as AC1FltCtl, AC1 FMod/PMod, or the Variation Effect’s AC1VarCtl.

For example, by setting AC1 to “2” here, you can use a breath controller to control the Voice of a Part.

If the connected MIDI controller is set to “0,” the Part cannot be controlled, even by setting the proper Control Change number. For best results, also make sure that the sensitivity parameters (AC1FitCl, AC1 FMod/PMod, or the Variation Effect’s AC1VarCtl) are set appropriately, as needed.

21-2. AC1 AMod

(AC1 Amplitude Modulation Depth)

These parameters let you set the depth of control the

Control Change messages (via Assignable Controller 1)

have over the ﬁlter and amplitude of the Part (Voice).

❏ Settings: 0~127

■ AC1 FMod

Set the amount by which the ﬁlter Cutoff frequency changes when Assignable Controller 1 is used. The larger the setting, the greater the depth of control. (The wah effect becomes deeper.)

■ AC1 AMod

Set the depth of control that Assignable Controller 1 has over the amplitude modulation. A larger setting means a larger modulation depth. (The tremolo effect becomes deeper.)

n Depending on the selected LFO wave type and the

amplitude modulation depth setting, noise may result when the controller is moved. If this happens, reduce the modulation depth value.

22. ReverbSend

Set the send level of the Reverb Effect.

20. AC1FltCtl (AC1 Filter Control)

Set the amount by which the ﬁlter cutoff frequency changes when the controller (Assignable Controller 1) is used.

AC1FltCtl

❏ Settings: –64~+63

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20 P 1

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+00

❏ Settings: 0~127

n In the value is too high, noise may result. If this happens,

reduce the value.

23. ChorusSend

Set the send level of the Chorus Effect.

❏ Settings: 0~127

Part Controller/Part Effect

24. Var Send (Variation Send)

Init

multi

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PAGE

Init

Sure?

KEYELEMPART

OCTAVE

PAGE

When the Variation effect is set as an Insertion effect, this determines whether the Variation effect is applied or not. When the Variation effect is set as an System effect, this determines the send level for the effect. (Make the Insertion/System setting from the Variation Connection parameter (PAGE 15) in Multi Common Edit; see page 58.)

Var Send

PAGE

24 P 1

OCTAVE

KEYELEMPART

off

Multi Job

You can perform various operations (Jobs) in the Multi

Job mode. For example, you can initialize Multis to

their original settings (including those currently being

edited) or copy Parts.

n Before entering the Multi Job mode and using the

Initialize or Copy function, you must select the Multi you wish to use the particular operation on (page 37).

n For details about how to enter the Multi Job mode, see

page 28.

Multi Mode

❏ Settings:

When VarConnect is set to “INS”: on (effect is applied), off (effect is not applied)

When VarConnect is set to “SYS”: 0~127

n When VarConnect is set to “INS,” this parameter

determines whether or not the Variation effect is applied to the particular Part. In this condition, the Variation effect cannot be used for several Parts at the same time. Only the Part last selected will be routed through the Variation effect. When VarConnect is set to “SYS,” this parameter lets you adjust the send level for the Variation effect for each Part. Also set the related Multi Common Edit parameters (in PAGES 16 to 21) as desired.

n For more details on the Effects, see page 53.

Performing a Job

1In the Multi Play mode, select the Multi Number you

wish to perform the Job on.

2Press the [JOB] button to enter the Multi Job mode.

3Use the [

showing the Job you wish to perform.

4Use the [DEC/NO] and [INC/YES] buttons to select

the parameter you wish to perform the Job on.

n This step is not applicable for the Bulk Dump Job.

n Use the [+]/[–] buttons to set the Part or destination

5When you press the [ENTER] button, you will be

prompted for conﬁrmation.

▲][▼] buttons and switch to the screen

Part when using Init Part/CpyVar/CpyCtl or Copy Part (CpyPart).

6Press the [INC/YES] button to conﬁrm. A

“Completed” message appears when the Job has been completed, and operation returns to the original screen.

Press the [DEC/NO] button to cancel the Job.

n For Jobs that take longer to process, you will see the

message “Executing” during processing. If you switch off the power to the S03 while this message is displayed, you risk corrupting your data.

7Press the [Multi] button to exit the Multi Job mode

and return to the Multi Play mode.

Part Effect

1. Init (Initialize)

CpyCtl

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3 P 1

BlkDmp

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Curnt

3. CpyCtl (Copy Controller)

You can reset (initialize) all parameters of a Multi to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Part, and so on. Note that this does not return the Multi to its original state prior to editing. Instead, it is useful when building a completely new Multi from scratch.

Init

Multi Mode

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multi

■ Select Parameter Type to be Initialized

Use the [DEC/NO] and [INC/YES] buttons to select the parameter to be initialized. When this is set to “Part,” use the [+]/[–] buttons to select the desired Part (1 - 16).

❏ Settings: multi (Current Multi), cmmn (Current

Common), part (Current Part 1 ~ 16)

2. CpyVar (Copy Variation Effect)

When Var Connect is set to “SYS,” this lets you copy the Effect settings for the Voice assigned to the Current Part. When Var Connect is set to “INS,” this lets you copy the Variation Effect settings for the Voice assigned to the Part for which “Var Send” (PAGE 24 in Multi Part Edit) was set to “on.” If all of the Parts’ Var Send settings are “off,” the Part having the Voice Effect settings to be copied can be selected, just as above (when Var Connect is set to “SYS”).

This let you copy the Controller settings for the Voice

assigned to the Part.

❏ Settings: 1 ~ 16, A (All Parts)

n The following parameters can be copied.

• MW Filter Control

• MW Pitch Modulation Depth

• MW Filter Modulation Depth

• MW Amplitude Modulation Depth

• Pitch Bend Range

• AC1 Filter Control

• AC1 Filter Modulation Depth

• AC1 Amplitude Modulation Depth

• Portamento Switch

• Portamento Time

4. CpyPart (Copy Part)

This lets you copy Part parameter settings of the Multi

being edited to another Part in the same Part. Use the

[DEC/NO] and [INC/YES] buttons to select the source

Part. Use the [–] and [+] buttons to select the desired

destination Part (1 - 16).

CpyPart

Part (1 - 16)

❏ Settings: P1 ~ P16 (Part 1 ~ 16)

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4 P 1

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KEYELEMPART

P 02

source Partdesired destination

Var Connect=INSVar Connect=SYS

CpyVar

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KEYELEMPART

CpyVar

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2 2 P 1

❏ Settings:

P1 ~ P16 (Part 1 ~ 16) (When Var Connect is set to “SYS,” or when Var Connect is set to “INS” and all Parts’ Var Send settings are “off.”) No Parameter (When Var Connect is set to “INS” and one Part’s Var Send settings is “on.”)

n The following parameters can be copied.

• Variation Effect Type

• Variation Parameters

• MW Variation Control Depth

• AC1 Variation Control Depth

n When you copy the Variation effect data of a Drum Voice,

the 2 Band EQ effect settings are copied.

5. BlkDmp (Bulk Dump)

You can send all the parameter settings for the current

Multi or all Multis to your computer or some other

external MIDI device using Bulk Dump.

❏ Settings: Curnt (Current Multi), All (All Multis), Systm

(All Utility and MIDI data)

n To send Voice data, refer to the corresponding Bulk

Dump function in the Voice Jobs (page 88).

n In order to perform a Bulk Dump, the appropriate MIDI

Device Number must be set. For details, see page 93.

n For an application example showing how to use the Bulk

Dump function, see page 42.

Multi Store

You can store (save) your original parameter settings for up to 32 Multis to User Memory. The procedure is as follows.

n When you perform this, the settings for the destination

Multi will be overwritten. Important data should always be backed up to computer, Yamaha MIDI Data Filer MDF3 or some other storage device.

1Press the [STORE] button after editing a Multi.

The Multi Store screen appears.

Multi Mode

Store

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MLT01

2Use [DEC/NO] and [INC/YES] buttons to select the

destination Multi Number.

3When you press the [ENTER] button, you will be

prompted for conﬁrmation.

Store

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Sure?

4Press the [INC/YES] button to conﬁrm. The

message “Executing” will be displayed while the Job is being processed. When it has been completed, a “Completed” message appears, and operation returns to the Multi Play mode.

n You can press the [DEC/NO] button to cancel the Job.

This will return you to the original screen.

Voice Mode

Voice Edit

There are two types of Voices: Normal Voices and Drum Voices. The following is an explanation of the parameters used to edit each Voice.

n Details about the Voice types and the Voice Memories are

given on Page 25.

n For more information on playing Voices, see page 33.

n You need to select the Voice before entering Voice Edit

mode (Page 33). All parameters can be set and stored per Voice.

n See page 28 on how to enter Voice Edit mode.

Voice Mode

The E Indicator

If you alter any parameters in Voice Edit mode, the E (Edit) indicator will be displayed in the PAGE column of the screen after exiting from the Voice Edit mode. This gives a quick indication that the current Voice has been modiﬁed but not yet stored.

GrandPno

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XG001

Switching Elements On/Off

In Voice Edit Mode, an Element can be switched on/ off when you press the [MUTE] button. This lets you mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing.

PART ELEMENT KE Y

MUTE

COMMON

Voice Store

The edited settings for the current Voice will be lost if you select another Voice or mode. To avoid losing important data, you should always use Voice Store to store your edited Voice. For details about the Voice Store procedure, see page 89.

n When creating a new Voice from scratch, it can be

useful, prior to editing, to clear the settings for the current Voice using the Initialize Voice function in the Voice Job mode (pages 87 and 88).

PAG E

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Edit indicator

The Compare Function

Use this to listen to the difference between the Voice with your edited settings and the same Voice prior to editing.

1 Press the [COMPARE (EDIT)] button while in

Voice Edit mode. The EDIT LED will ﬂash and the Voice settings prior to editing will temporarily be reinstated for comparison purposes.

n While the Compare function is enabled, the DEC/

NO and INC/YES buttons cannot be used for editing.

2 Press the [EDIT] button again to disable the

Compare function and restore your recently edited settings.

Normal Voice

When editing Normal Voices, there are 52 PAGES

consisting of 17 Common Edit settings (common to all

four Elements) and 35 Element-speciﬁc settings.

n For information on how to switch between the Common

Edit displays and the Element Edit displays, see page 48.

n Many parameters are the same as those for the Multis.

For details about those parameters, see page 22.

n Refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

Common General (PAGES 1 to 4)

Total Vol

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127

2 E

Total Lvl

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PAGE

127

2 E

Mono/Poly

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poly

3 E

Common Controller (PAGES 5 to 10)

Common Effect (PAGES 11 to 17)

The following is an explanation of the Common parameters used to edit each Voice.

1. Name

You can set a Voice Name consisting of up to 8 characters. You can also select the Category Name to the left of the Voice Name.

LCD

Voice Job

You can perform various operations (Jobs) in the Voice Job mode. For example, you can initialize Voices to their original settings (including those currently being edited) or copy Elements.

n Before entering Voice Job mode and using the Initialize

or Copy function, you must select the Voice for which you wish to use the operations (page 33).

n For details about how to enter the Voice Job mode, see

page 28.

Settings: 0 ~ 127

❏

ChorusSend

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127

Performing a Job

1In the Voice Play mode, select the Voice Number for

which you wish to perform the Job.

2Press the [JOB] button to enter the Voice Job mode. 3Use the [▼][▲] buttons and switch to the screen

showing the Job you wish to perform.

4Use the [DEC/NO] and [INC/YES] buttons to select

the parameter for which you wish to perform the Job.

n This step is not applicable for the Bulk Dump Job.

n Use the [+]/[–] buttons to set the destination Element

or Drum Key when using Copy Element (CpyElm) or Copy Drum Key (CpyKey).

5When you press the [ENTER] button, you will be

prompted for conﬁrmation.

Voice Mode

6Press the [INC/YES] button to conﬁrm. A

“Completed” message appears when the Job has been completed, and operation returns to the original screen.

Press the [DEC/NO] button to cancel the Job.

n For Jobs that take longer to process, you will see the

message “Executing” during processing. If you switch off the power to your synthesizer while this message is displayed, you risk corrupting your data.

7Press the [VOICE] button to exit the Voice Job mode

and return to the Voice Play mode.

Drum Key Effect

1. Init (Initialize)

BlkDmp

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Curnt

You can reset (initialize) all parameters of a Voice to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Element/Drum Key, and so on. Note that this does not return the Voice to its original state prior to editing. Instead, it is useful when building a completely new Voice from scratch.

Init

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voice

■ Select Parameter Type to be Initialized

Use the [DEC/NO] and [INC/YES] buttons to select the parameter to be initialized. The parameters available for initialization will vary depending on the type of Voice currently selected (Normal/Drum).

Voice Mode

❏ Settings:

Normal Voice:

voice (Current Voice), cmmn (Current Common), elmnt (Current Element 1 ~ 4)

n When this is set to “elmnt,” use the [+]/[–]

buttons to select the desired Element (1 - 4).

Drum Voice:

kit (all Current Drum Voice), cmmn (data common to all Drum Keys), key (Drum Key C#-1 ~ G5)

n When this is set to “key,” you can select the desired

Drum Key by pressing the appropriate key on the keyboard (from C#-1 to G5).

Init

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kit

2. CpyElm (Copy Element)/ CpyKey (Copy Drum Key)

This lets you copy Element/Drum Key parameter settings of the Voice being edited to another Element/ Drum Key in the same Voice.

CpyElm

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elm1

(1)(2) (1)(2)

CpyKey

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D-1

■ (1) Source Element/Drum Key

Select the source Element/Drum Key (the data to be copied) of the Voice.

❏

Settings: Normal Voice:

elm1 ~ elm4

Drum Voice:

C#-1 ~ G5 (Drum Key C#-1 ~ G5)

■ (2) Destination Element/Drum Key

Set the Element/Drum Key of the Voice that is to be the destination for the copy.

❏ Settings:

Normal Voice:

E1 ~ E4

Drum Voice:

C#-1 ~ G5 (Drum Key C#-1 ~ G5)

3. BlkDmp (Bulk Dump)

You can send all the parameter settings for the current Voice or all user Voices to your computer or some other external MIDI device using Bulk Dump.

Settings: Curnt (Current Voice), AllUs (all user voices),

❏

Systm (All Utility and MIDI data)

n To send Multi data, refer to the corresponding Bulk

Dump function in the Multi Jobs (page 68).

n For an application example showing how to use the Bulk

Dump function, see page 42.

n In order to perform a Bulk Dump, the appropriate MIDI

Device Number must be set. For details, see page 93.

Voice Store

You can store (save) your original parameter settings for up to 128 Normal Voices and 2 Drum Voices to User Memory. The procedure is as follows.

n When you perform this, the settings for the destination

Voice will be overwritten. Important data should always be backed up to computer, Yamaha MIDI Data Filer MDF3 or some other storage device.

1Press the [STORE] button after editing a Voice.

The Voice Store screen appears.

Store

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US001

2Use [DEC/NO] and [INC/YES] buttons to select the

destination Voice Number

3When you press the [ENTER] button, you will be

prompted for conﬁrmation.

Store

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Sure?

4Press the [INC/YES] button to conﬁrm. The

message “Executing” will be displayed while the Job is being processed. When it has been completed, a “Completed” message appears, and operation returns to the Voice Play mode.

n You can press the [DEC/NO] button to cancel the Job.

This will return you to the original screen.

Voice Mode

Utility Mode

Vel Curve

norm

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Fixed Vel

off

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PAGE

Keyboard playing strength

Volume

The Utility mode contains eight parameter pages, including global settings for the entire S03 system, as well as certain controller settings.

n For instructions on how to enter the Utility mode, see

page 28.

n MIDI settings are made from the MIDI mode (page 93).

n Refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

Tone Generator (PAGE 1)

Keyboard (PAGES 2 to 3)

Controller (PAGES 4 to 7)

Effect (PAGE 8)

1. Master Tune

Utility Mode

Adjust the keyboard tuning (in 0.1 cent steps).

3-1. Vel Curve (Velocity Curve) 3-2. Fixed Vel (Fixed Velocity)

■ Vel Curve

Set the Velocity Curve determining how the strength of the notes played will affect the sound output. The Vel Curve parameter is only available if Fixed Velocity below is set to “off.”)

❏

Settings:

norm (Normal)

The velocity is in proportion to playing strength (how hard you play the keyboard).

Volume

MasterTune

Settings: –1024 ~ +1023

❏

n A value of 100 cents is equal to one semitone.

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+0000

2. Kbd Trans (Keyboard Transpose)

Transpose the pitch of the keyboard up or down (in semitones). This affects information transmitted via MIDI.

❏

Settings: –11 ~ +11

Kbd Trans

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Keyboard playing strength

soft1

A softer playing style increases the volume level. This is suitable for people with a soft key touch.

soft2

A softer playing style increases the volume level; the response is between Soft1 and Normal.

Volume

Keyboard playing strength

Tone Generator/Keyboard

easy

MWTxCtlNo

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FCTxCtlNo

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FSTxCtlNo

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Ctl Reset

reset

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This curve is also designed to increase the volume level with a softer playing style. However, the volume level is stable in all registers since the velocity curve in the mid range is close to Normal.

4-1. MWTxCtlNo (MW Transmit Control Number)

4-2. FCTxCtlNo (Foot Controller Transmit Control Number)

Volume

Keyboard playing strength

wide

A softer playing style lowers the volume level and a stronger playing style increases the volume level. This results in a wider apparent dynamic range.

Volume

Keyboard playing strength

hard

A stronger playing style increases the volume level. This is suitable for people with a strong key touch.

Volume

Keyboard playing strength

■ Fixed Vel

The velocity is ﬁxed at this setting. The sound output is always the same, regardless of how strongly or softly you play the keyboard.

This determines the MIDI Control Change numbers assigned to the Modulation Wheel and Foot Controller.

❏ Settings: 0 ~ 95 (0/32=off), AT (After Touch)

n For details about Control Numbers and Control Change

messages, see the separate Data List.

5. FSTxCtlNo (Footswitch Transmit Control Number)

This determines the MIDI Control Change numbers assigned to the Footswitch.

Utility Mode

❏ Settings: 0 ~ 95 (0/32=off), 96 (PCInc: Program Change

INC), 97 (PCDec: Program Change DEC)

n For details about Control Numbers and Control Change

messages, see the separate Data List.

n The default factory setting for this is to control sustain

(64).

6. Ctl Reset (Controller Reset)

Select whether or not the controller (Modulation Wheel, Foot Controller) state/position is maintained (“hold”) or reset when you switch between Voices.

❏

Settings: off, 1 ~ 127

Volume

Keyboard playing strength

❏

Settings: hold, reset If you select “reset,” the controllers will be reset to the following states/positions:

Pitch Bend Center Modulation Wheel Minimum Foot Controller Maximum Foot Switch Off

Keyboard/Controller

7. AC1 CC No

FactorySet

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MODE

MULTI

UTILITY

EDIT

COMPARE

JOB STORE

MIDI

VOICE DEMO

(AC1 Control Change Number)

Utility Job

In the Voice mode, this determines which Control Change number is assigned to the AC1 (Assignable Controller 1).

AC1 CC No

❏

Settings: 0~95

n For details about Assignable Controller 1, see page 66.

n The AC1 CC No parameter in the Multi mode is set in

the Multi Part Edit mode (page 66).

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8. V EfBypass (Voice Effect Bypass)

This determines whether or not effects in the Voice Mode can be bypassed. Only System effects can be bypassed.

❏

Utility Mode

V EfBypass

Settings: off (not bypassed), on

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off

In the Utility Job mode, you can restore your synthesizer’s factory default settings of the S03 (Factory Set).

Factory Set (Restore Factory Defaults)

This lets you restore the synthesizer’s default Internal Voices (User Memory) and Multis, as well as its System and other settings.

Once you edit any settings, the corresponding factory defaults will be overwritten and lost.

Use the procedure below to restore the factory default settings.

When you restore the factory default settings, all the current settings for the all the Multis and User Voices will be overwritten with the factory defaults. Make sure you are not overwriting any important data. You should back up any important data to your computer or to some external device beforehand.

1Press the [JOB] button in Utility Mode. The Factory

Set display appears.

Controller/Effect

2Press the [ENTER] button. A conﬁrmation message

appears.

3Press the [INC/YES] button to execute the Factory

Set job. After the job has been completed, a “Completed!” message appears. To cancel a job while it is being executed, press the [DEC/NO] button.

4Press the [EXIT] button to return to the Utility

mode.

MIDI Mode

Echo Back Off

Local On

Computer with

Application Software

S03 Local Sw=on

OUTTO HOST

Tone

Generator

Keyborad

The MIDI mode contains seven parameter pages, including global settings for the entire S03 system, as well as certain controller settings.

n For instructions on how to enter the MIDI mode, see

page 28.

n Refer to the Function Tree chart (page 20) or the

Parameter Table (page 22).

MIDI Channel (PAGES 1 to 4)

MIDI Filter (PAGES 5 to 7)

1. Device No (Device Number)

This determines the MIDI Device Number. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it.

❏

Settings: 1 ~ 16, all, off

Device No

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all

2. Local Sw (Local On/Off Switch)

If you set Local to “off,” the keyboard and controllers are internally disconnected from the synthesizer’s tone generator section so that no sound is output when you play the keyboard or use the controllers. However, the data will be transmitted through the MIDI OUT. Also, the tone generator section will respond to messages received at the MIDI IN.

Local On/Off — When Connected to a Computer

When connecting the S03 to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator or sound source. If the Local Switch is set to “on,” a “double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; speciﬁc instructions may differ depending on your computer and the software used.

When MIDI “Echo” is enabled on the software/ computer, set the S03 Local Switch to “off.”

TO HOST

IN OUT

Tone

Generator

Local Off

S03 Local Sw=off

Keyborad

n When transmitting or receiving System Exclusive

data (such as with the Bulk Dump function, pages 68 and 88), use the setting example below, making sure that MIDI “Echo” on the computer software is set to “off.”

Computer with

Application Software

OUT

Echo Back On

When MIDI “Echo” is disabled on the software/ computer, set the S03 Local Switch to “on.”

MIDI Mode

❏

Settings: off, on

Tone

Generator

Local Sw

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External MIDI Device

MIDI OUT

MIDI IN

Local Off

MIDI IN MIDI OUT

Keyboard

n Although not indicated in the illustration above,

the S03 actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the S03.

* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.”

n Refer to the owner’s manual of your particular

software for speciﬁc instructions.

MIDI Channel

3. Rcv Ch

TxPgmChng

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TxBankSel

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Thru Port

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(Voice Mode MIDI Receive Channel)

6-1. TxPgmChng (Transmit Program Change On/Off)

Set the MIDI Receive channel for using the S03 (in the Voice mode) with an external sequencer, computer and so on, and for using it as a MIDI tone generator.

Rcv Ch

❏

Settings: 1 ~ 16, omni (all channels)

n For information on setting the MIDI Receive channel for

each Part in the Multi mode, see page 61.

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omni

4. Trans Ch (MIDI Transmit Channel)

Set the MIDI Transmit channel for transmitting MIDI from the keyboard, controllers and so on.

Trans Ch

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❏ Settings: 1 ~ 16

5-1. RxPgmChng (Receive Program Change On/Off)

6-2. TxBankSel (Transmit Bank Select On/Off)

Determines whether Program Change/Bank Select messages executed from the S03’s panel are transmitted via MIDI or not. Set this to “on” when you want to change programs on a connected MIDI device.

❏

Settings: off (disable), on (enable)

7. Thru Port

You can connect the S03 to a computer via a dedicated serial cable on the TO HOST connector. In this situation, MIDI messages received via the TO HOST connector can be passed through the MIDI OUT connector of the S03 to other connected devices. Set the port number here.

5-2. RxBankSel (Receive Bank Select On/Off)

Set to enable or disable reception of Program Change/ Bank Select messages between the S03 and an external

MIDI Mode

MIDI device.

RxPgmChng

❏

Settings: off (disable), on (enable)

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RxBankSel

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❏

Settings: 1 ~ 8

MIDI Channel/MIDI Filter

Appendix

About MIDI

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 S03 can control a MIDI device by transmitting note related data and various types of controller data. The S03 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.

Many MIDI messages are expressed in hexadecimal or binary numbers. Hexadecimal numbers may include the letter “H” as a sufﬁx. The letter “n” indicates a certain whole number. The chart below lists the corresponding decimal number for each hexadecimal/binary number.

Decimal Hexadecimal Binary

0000 0000

0000 0001

0000 0010

0000 0011

0000 0100

0000 0101

0000 0110

0000 0111

0000 1000

0000 1001

0000 1010

0000 1011

0000 1100

0000 1101

0000 1110

0000 1111

0001 0000

0001 0001

0001 0010

0001 0011

0001 0100

0001 0101

0001 0110

0001 0111

0001 1000

0001 1001

0001 1010

0001 1011

0001 1100

0001 1101

0001 1110

0001 1111

0010 0000

0010 0001

0010 0010

0010 0011

0010 0100

0010 0101

0010 0110

0010 0111

0010 1000

0010 1001

0010 1010

0010 1011

0010 1100

0010 1101

0010 1110

0010 1111

0011 0000

0011 0001

0011 0010

0011 0011

0011 0100

0011 0101

0011 0110

0011 0111

0011 1000

0011 1001

0011 1010

0011 1011

0011 1100

0011 1101

0011 1110

0011 1111

Decimal Hexadecimal Binary

0100 0000

0100 0001

0100 0010

0100 0011

0100 0100

0100 0101

0100 0110

0100 0111

0100 1000

0100 1001

0100 1010

0100 1011

0100 1100

0100 1101

0100 1110

0100 1111

0101 0000

0101 0001

0101 0010

0101 0011

0101 0100

0101 0101

0101 0110

0101 0111

0101 1000

0101 1001

0101 1010

0101 1011

0101 1100

0101 1101

0101 1110

0101 1111

0110 0000

0110 0001

0110 0010

0110 0011

0110 0100

0110 0101

0110 0110

0110 0111

0110 1000

0110 1001

0110 1010

0110 1011

0110 1100

0110 1101

0110 1110

0110 1111

0111 0000

0111 0001

0111 0010

0111 0011

0111 0100

0111 0101

0111 0110

0111 0111

0111 1000

0111 1001

0111 1010

0111 1011

0111 1100

0111 1101

0111 1110

0111 1111

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

MIDI channels

MIDI performance data is assigned to one of sixteen MIDI channels. Using these channels, 1 - 16, the performance data for sixteen different instrument parts can be simultaneously sent over one MIDI cable.

Think of the MIDI channels as TV channels. Each TV station transmits its broadcasts over a speciﬁc channel. Your home TV set receives many different programs simultaneously from several TV stations and you select the appropriate channel to watch the desired program.

Weather Report

News

MIDI operates on the same basic principle. The transmitting instrument sends MIDI data on a speciﬁc MIDI channel (MIDI Transmit Channel) via a single MIDI cable to the receiving instrument. If the receiving instrument’s MIDI channel (MIDI Receive Channel) matches the Transmit Channel, the receiving instrument will sound according to the data sent by the transmitting instrument.

MIDI

cable

MIDI Transmit channel 2 MIDI Receive channel 2

The S03 is a fully multi-timbral tone generator, allowing you to sound several different instrument parts simultaneously — from just the S03 — by assigning a different MIDI channel to each part.

News

Appendix

MIDI Messages Transmitted/ Received by the S03

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 S03 can receive/transmit.

Portamento Time (Control #005)

Messages which control the duration of portamento, or a continuous pitch glide between successively played notes. When the parameter Portamento Switch (page 96) is set to on, the value set here can adjust the speed of pitch change. Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time.

CHANNEL MESSAGES

Channel messages are the data related to the performance on the keyboard for the speciﬁc channel.

■

Note On/Note Off (Key On/Key Off)

Messages which are generated when the keyboard is played. Reception note range = C-2 (0) - G8 (127), C3 = 60 Velocity range = 1 - 127 (Only the Note On velocity is received) Note On: Generated when a key is pressed. Note Off: Generated when a key is released. 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 struck.

■ Control Change

Control Change messages let you select a voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through speciﬁc Control Change numbers which correspond to each of the various parameters.

Bank Select MSB (Control #000) Bank Select LSB (Control #032)

Messages which select variation voice bank numbers by combining and sending the MSB and LSB from an external device. MSB and LSB functions differently depending on the tone generator mode. MSB numbers select voice type (Normal Voice or Drum Voice), and LSB numbers select voice banks.

Appendix

(For more information about Banks and Programs, see Voice List in the “Data List” book.) A new bank selection will not become effective until the next Program Change message is received.

Modulation (Control #001)

Messages which control vibrato depth using the Modulation Wheel. Setting the value to 127 produces maximum vibrato and 0 results in vibrato off.

Data Entry MSB (Control #006) Data Entry LSB (Control #038)

Messages which set the value for the parameter speciﬁed by 1.2.23RPN MSB/LSB and 1.2.22 NRPN MSB/LSB. Parameter value is determined by combining MSB and LSB.

Main Volume (Control #007)

Messages which control the volume of each Part. Setting the value to 127 produces maximum volume and 0 results in volume off.

Pan (Control #010)

Messages which control the stereo panning position of each Part (for stereo output). Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left.

Expression (Control #011)

Messages which control intonation expression of each Part during performance. Setting the value to 127 produces maximum volume and 0 results in volume off.

Hold1 (Control #064)

Messages which control sustain on/off. Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off.

Portamento Switch (Control #065)

Messages which control portamento on/off. Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off.

Sostenuto (Control #066)

Messages which control sostenuto on/off. Holding speciﬁc notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Setting the value between 64 -127 turns the sostenuto on, between 0 - 63 turns the sostenuto off.

Soft Pedal (Control #067)

Messages which control soft pedal on/off. Notes played while holding the soft pedal will be dampened. Setting the value between 64 -127 turns the soft pedal on, between 0 - 63 turns the soft pedal off.

Harmonic Content (Control #071)

Messages which adjust the ﬁlter resonance set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. Higher values will result in a more characteristic, resonant sound. Depending on the voice, the effective range may be narrower than the range available for adjustment.

Release Time (Control #072)

Messages which adjust the EG release time set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data.

Attack Time (Control #073)

Messages which adjust the EG attack time set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data.

Brightness (Control #074)

Messages which adjust the ﬁlter cutoff frequency set for each voice. The value set here is an offset value which will be added to or subtracted from the voice data. Lower values will result in a softer sound. Depending on the voice, the effective range may be narrower than the range available for adjustment.

Portamento Control (Control #084)

Messages which apply a portamento between the currently-sounding note and the subsequent note. Portamento Control is transmitted specifying the note-on key of the currently-sounding note. Specify a Portamento Source Key number between 0 -

127. When a Portamento Control message is received, the currently sounding pitch will change with a Portamento Time of 0 to the next note-on key on the same channel. For example, the following settings would apply a portamento from note C3 to C4.

90H 3CH 7FH ......... C3 Note on

B0H 54H 3CH......... Source key number set to C3

90H 48H 7FH.......... C4 Note on (When C4 is on, C3 is

raised by a portamento to C4.)

Effect1 Depth (Reverb Send Level) (Control #091)

Messages which adjust the send level for the Reverb effect.

Effect3 Depth (Chorus Send Level) (Control #093)

Messages which adjust the send level for the Chorus effect.

Effect4 Depth (Variation Effect Send Level) (Control #094)

Messages which adjust the send level for the Variation effect. If Variation effect uses System effect, this message sets the send level for the Variation effect. If it uses Insertion effect, this setting is invalid.

Data Increment (Control #096) Decrement (Control #097) for RPN

Messages which increase or decrease the MSB value of pitch bend sensitivity, ﬁne tune, or coarse tune in steps of

1. You are required to assign one of those parameters using the RPN in the external device in advance. The data byte is ignored. When the maximum value or minimum value is reached, the value will not be incremented or decremented further. (Incrementing the ﬁne tune will not cause the coarse tune to be incremented.)

NRPN (Non-Registered Parameter Number) LSB (Control #098) NRPN (Non-Registered Parameter Number) MSB (Control #099)

Messages which adjust a voice’s vibrato, ﬁlter, EG, drum setup or other parameter settings. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry (page 96) to set the value of the speciﬁed parameter. Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPN’s value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. The following NRPN numbers can be received.

NRPN MSB NRPN LSB

01 08 01 09 01 0A 01 20 01 21 01 63 01 64 01 66 14 rr 15 rr 16 rr 17 rr 18 rr 19 rr 1A rr 1C rr 1D rr 1E rr 1F rr

PARAMETER

Vibrato Rate Vibrato Depth Vibrato Delay Filter Cutoff Frequency Filter Resonance EG Attack Time EG Decay Time EG Release Time Drum Filter Cutoff Frequency Drum Filter Resonance Drum EG Attack Rate Drum EG Decay Rate Drum Instrument Pitch Coarse Drum Instrument Pitch Fine Drum Instrument Level Drum Instrument Panpot Drum Instrument Reverb Send Level Drum Instrument Chorus Send Level Drum Instrument Variation Send Level

*rr=Note number for each drum voice instrument.

Appendix

RPN (Registered Parameter Number)LSB (Control #100) RPN (Registered Parameter Number)MSB (Control #101)

Messages which offset, or add or subtract values from a Part’s pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use Data Increment/Decrement (page 97) to set the value of the speciﬁed parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN’s value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. The following RPN numbers can be received.

RPN MSB RPN LSB PARAMETER

00 00 Pitch Bend Sensitivity 00 01 Fine Tune 00 02 Coarse Tune

7F 7F Null

All Notes Off (Control #123)

Clears all notes currently on for the speciﬁed channel. However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off.

Mono (Control #126)

Performs the same function as when an All Sounds Off message is received, and if the 3rd byte (mono number) is in the range of 0 - 16, sets the corresponding channel to Mono Mode (Mode 4 : m = 1).

Poly (Control #127)

Performs the same function as when an All Sounds Off message is received, and sets the corresponding channel to Poly Mode.

■ Program Change

Messages which determine which voice to select for each Part. With a combination of Bank Select, you can select not only basic voice numbers, but also variation voice bank numbers.

■ Channel Mode Messages

The following Channel Mode Messages can be received.

2nd BYTE 3rd BYTE MESSAGE

120 0 All Sounds Off 121 0 Reset All Controllers 123 0 All Notes Off 126 0 ~ 16 Mono 127 0 Poly

All Sounds Off (Control #120)

Clears all sounds currently sounding on the speciﬁed channel. However, the status of channel messages such as Note On and Hold On is maintained.

Reset All Controllers (Control #121)

The values of the following controllers will be reset to the defaults.

Appendix

CONTROLLER VALUE

Pitch Bend Change 0 (center) Aftertouch 0 (off) Polyphonic Aftertouch Modulation 0 (off) Expression 127 (max) Hold1 0 (off) Portamento 0 (off) Sostenuto 0 (off) Soft Pedal 0 (off) Portamento Control Cancels the Portamento source key number RPN NRPN

0 (off)

Number not specified; internal data will not change Number not specified; internal data will not change

■ Channel Aftertouch

Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. The S03 does not transmit this data from the keyboard; however, the S03 does properly respond to this data when received from an external device.

■ Polyphonic Aftertouch

Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key. The S03 does not transmit this data from the keyboard; however, the S03 does properly respond to this data when received from an external device.

■ Pitch Bend

Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a speciﬁed amount over a speciﬁed duration.

SYSTEM MESSAGES

System messages are the data related to the overall system of the device.

■ System Exclusive Messages

System Exclusive messages control various functions of the S03, including master volume and master tuning, tone generator mode, effect type and various other parameters.

General MIDI Mode On

When General MIDI mode on is received, the tone generator mode will be changed to XG mode. When this happens, the S03 will receive the MIDI messages which are compatible with GM System Level 1, and consequently will not receive NRPN and Bank Select messages. Since approximately 50ms is required to execute this message, be sure to leave an appropriate interval before the subsequent message. The S03 responds to this message only when it is set to the Multi mode.

F0 7E 7F 09 01 F7 (Hexadecimal)

Master Volume

When received, the Volume MSB will be effective for the System Parameter.

■ Active Sensing (Receive only)

Once FE (Active Sensing) has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300msec, the S03 will perform the same function as when All Sounds Off, All Notes Off, and Reset All Controllers messages are received, and will then return to a status in which FE is not monitored. Refer to the MIDI Data Format in the “Data List” book for more information on the various messages.

F0 7F 7F 04 01 ll mm F7 (Hexadecimal)

* mm(MSB) = appropriate volume value, ll(LSB) = ignored

XG System On

When this data is received, the S03 will switch to XG mode and all the parameters will be initialized accordingly, and XG-compatible messages such as NRPN and Bank Select messages can be received. Since approximately 50ms is required to execute this message, be sure to leave an appropriate interval before the subsequent message. The S03 responds to this message only when it is set to the Multi mode.

F0 43 1n 4C 00 00 7E 00 F7 (Hexadecimal)

*n = device number (normally set to “0”)

Multi Mode On

F0 43 1n 6C 0A 00 00 01 F7 (Hexadecimal)

*n = device number (normally set to “0”)

n There are some operating conditions in which the

S03 does not respond to MIDI data, such as when using the Compare function or when in the Demo mode.

Appendix

Display Messages

Message Meaning

Bulk Tx... ...................MIDI Bulk data being transmitted.

Bulk Rx... ...................MIDI Bulk data being received.

Executing ...................Operation is being executed.

Completed!.................Operation has been completed.

!Buff Full....................Failed to process the MIDI data because too much data was received at once.

!MIDI Data ................Error occurred when receiving MIDI data.

!Checksum .................Error occurred when receiving bulk data.

!DeviceNum...............Bulk data cannot be transmitted/received because the device number does not

match or is set to “off.”

Sure?...........................Final conﬁrmation.

Host:MIDI..................HOST SELECT switch has been set to “MIDI.”

Host:PC2 ....................HOST SELECT switch has been set to “PC2.”

Host:Mac....................HOST SELECT switch has been set to “Mac.”

Host:off ......................HOST SELECT switch has been set to “off.”

!BatteryLo..................The memory-backup battery is low; memory cannot be backed up. Store the

Appendix

necessary data to a MIDI data storage device such as Yamaha MIDI Data Filer MDF3, and have the battery changed by your local Yamaha dealer or any other authorized Yamaha service personnel.

100

Yamaha S03 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

SPECIAL MESSAGE SECTION

WARNING:

SPECIFICATIONS SUBJECT TO CHANGE:

NOTICE:

ENVIRONMENTAL ISSUES:

Battery Notice:

Warning:

Disposal Notice:

NAME PLATE LOCATION:

PLEASE KEEP THIS MANUAL

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

Introduction

Package Contents

Main Features

About This Manual

Table of Contents

Application Index

Basics Section

The Controls & Connectors

Font Panel

Rear Panel

Before Use

Power Supply

Connections

Powering Up

Demo Playback

Overview of the S03

Controller

Tone Generator

Effects

About the Modes

Function Tree chart

Parameter Table

Multis

Voices

Overview of Voices/Waves

Waves

Basic Operations

Selecting a Mode

Selecting a Screen

Entering Data

Playing the S03

Playing the Voices

Using Multi Mode

Playing in Multi Mode

Performing Live While Playing Back a Song File

Layering Two Voices (Parts) Together

Using Controllers

Pitch Bend Wheel

Modulation Wheel

Foot Controller

Foot Switch

Voice Edit

Effects

Effects in Voice Mode

Effects in Multi Mode

Reference Section

Multi Mode

Multi Edit

Multi Job

Multi Store

Voice Mode

Voice Edit

Voice Job

Voice Store

Utility Mode

Utility Job

MIDI Mode

Appendix

About MIDI

Display Messages