Yamaha S30E1 User Manual

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Page 1

MUSIC SYNTHESIZER

OWNER’S MANUAL

Page 2

SPECIAL MESSAGE SECTION

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

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

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

SPECIFICATIONS SUBJECT TO CHANGE:

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

This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.

IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using.

Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

NOTICE:

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

ENVIRONMENTAL ISSUES:

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

Battery Notice:

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

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

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

Warning:

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

Disposal Notice:

Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

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

Model

Serial No.

Purchase Date

PLEASE KEEP THIS MANUAL

92-BP (bottom)

Page 3

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

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

• 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-5C 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 multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.

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

• 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 "Change internal battery" will display in the LCD. When this happens, immediately back up your data, then have qualified Yamaha service personnel replace the backup battery.

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

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

■ SAVING USER DATA

• Always save data to a Memory Card (SmartMedia) frequently, in order to help prevent the loss of important data due to a malfunction or user operating error.

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

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

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:

(3)-6

Page 4

Introduction

Thank you for purchasing the Yamaha S30 Music Synthesizer. Your new S30 synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. It supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds. You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in Arpeggiator and Sequencer. The Quick Access feature lets you access various genres of sounds quickly and directly via the front panel.

Other features include Effects and Control Sets (for controlling various sound parameters in real time using different controllers.) These features make this synthesizer ideal for every kind of live performance or studio work. When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much easier and smoother. To make the most use of your synthesizer, you are encouraged to read through this manual. After reading the manual, please keep it in a convenient and safe place for future reference.

About This Manual

This manual is basically divided into two sections:

■ Basics Section (Page 6)

Explains how to get started with the synthesizer, its overall structure, and how to use its main features and functions.

■ Reference Section (Page 59)

Explains the parameters in the synthesizer’s various Modes.

Package Contents

• Owner’s Manual (this book)

• Data List

• PA-5C AC Adaptor*

• Installation Guide

• CD-ROM (TOOLS for S80/S30 & CS6x/CS6R)

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

The Included CD-ROM

Application software for your synthesizer included on this CD-ROM. The Voice Editor application lets you edit your synthesizer's sounds through a graphical user interface. The Card Filer application lets you exchange data between your synthesizer and computer. Details are given in the separate Installation Guide or the on-line manuals included with the software.

Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may result in damage to your hearing as well as to your CD player/audio speakers.

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.

Page 5

Basics Section

The Controls & Connectors................................6

Before Use ..........................................................9

Power Supply ..........................................................9

Connections ............................................................9

Powering Up..........................................................14

Basic Operations ..............................................16

Selecting a Mode ..................................................16

Selecting a Screen ................................................18

Entering Data........................................................19

Demo Playback ................................................21

Voices and Performances ..................................22

Playing a Voice ......................................................22

Playing a Performance..........................................24

An Overview of the S30 ..................................26

Controller Section ................................................26

Sequencer Section ................................................26

Tone Generator Section ......................................27

Effects Section ......................................................29

About the Modes ..............................................30

Voices ................................................................31

An Overview of Voices/Waves ............................32

Waves ....................................................................33

Performances ....................................................34

Ideal for Playing Live ......................................35

1 Arpeggiator ........................................................36

2 Using Controllers ..............................................38

Voice Edit..........................................................45

Effects....................................................................50

Using as a Master Keyboard

(Performance Mode) ........................................52

Using as a Multitimbral Tone Generator

(Performance Mode) ........................................57

Reference Section

Voice Mode........................................................59

Voice Play..............................................................59

Voice Edit ..............................................................63

Voice Job Mode ..................................................100

Voice Store ..........................................................101

Performance Mode ........................................102

Performance Play ..............................................102

Performance Edit ..............................................106

Performance Job Mode ......................................123

Performance Store ..............................................124

Sequence Play Mode ......................................125

Utility Mode....................................................127

Utility Job Mode ................................................134

Card Mode ......................................................135

Appendix

About the Plug-in Boards (Optional) ............141

Display Messages............................................144

Troubleshooting..............................................145

Specifications..................................................148

Index ..............................................................149

Table of Contents

Basics Section

Reference Section

Voice Mode

Performance Mode

Sequence Play Mode

Utility Mode

Card Mode

Appendix

Page 6

Basics

Section

Basics

Section

1PITCH bend wheel (Page 38)

Controls the pitch bend effect. You can also assign other functions to this controller.

2MODULATION wheel (Page 38)

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

3[VOLUME] Slider (Page 15)

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

4Control Sliders (Page 56)

In Master Keyboard Mode, the sliders can be used to control various functions assigned to them (as Control Change messages). Each slider controls each of four Zones.

5[SHIFT] key (Page 18)

In Voice or Performance Play Mode, a screen for viewing or setting the Octave parameter and the MIDI Transmit channel (Page 18) is shown when you press the [SHIFT] key. In any of the Edit Modes, when pressing this key while turning the [PAGE] knob, a menu screen is displayed and you

can quickly switch between Edit Mode screens (Page

18). If while holding this key you turn one of Knobs [A] ~ [C], [1] ~ [2], [DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can move the cursor without a parameter value being changed (Page 19).

6[PAGE] knob (Page 18)

Switches between screens in each Mode. Each Mode includes several screens.

7LCD (Liquid Crystal Display)

This is a backlit 2-line display.

8Knobs [A], [B], [C], [1] and [2] (Page 19)

In each Play Mode, these knobs mainly control the functions respectively assigned to them. In each Edit Mode, each knob is used to enter a value for the associated parameter shown in the display. Depending on the operation or the screen you are working in, these knobs will function differently. Knobs [A] to [C] can be assigned to system control functions (Pages 41, 129). Knobs [1] and [2] can be assigned control functions that affect Voices (Pages 42, 69).

CONTROL SLIDER

1 2 3 4

SHIFT

PART/ELEMENT

ASSIGNABLE NKOB

PAGE

DATA

EF BYPASS

MASTER KEYBOARD

EXIT ENTER

COMPARE

EDIT JOB

UTILITY CARD

DEC/NO INC/YES

A B C 1 2

VOLUME

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MODE

STANDBY

ON DC IN PHONES

OUTPUT OUTPUT

CARD

3.3V

L/MONO R FOOT

CONTROLLER

FOOT SWITCH

TO HOST

MIDI

OUTIN THRU

VOICE STORE

SEQ PLAY

PLAY/ STOP

PERFORM

PLGEXT

DRUMDRUM

QUICK

ACCESS

INTPRE2PRE1

A B

A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER

C D E F G H

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

1 3 4 5 96 7 * (2 8 ) ^ &

º¡

The Controls & Connectors

Front Panel

Basics Section

Page 7

Basics

Section

9[DATA] knob (Page 20)

Use this to increase or decrease the value of the parameter at which the cursor is positioned.

)[EF BYPASS] key (Page 51)

Enables/dsiables the Effect Bypass. Press the key (its LED will light) to bypass the effects used with the current Voice or Performance. The bypassed effects (Reverb, Chorus, or Insertion) are specified in Utility Mode (Page 128).

![MASTER KEYBOARD] key (pages 52, 106)

The S30 keyboard can work as MIDI master keyboard in Performance mode. When the key is pressed and switched on (the LED will light), the keyboard can play and control multiple MIDI sound modules connected to the S30.

@[EXIT] key (Page 18)

The menus and screens of the S30 have a hierarchical structure. Press this key exit from the current screen and return to the previous level in the hierarchy.

#[ENTER] key (Pages 19, 20)

While selecting a Memory or Bank for Voice or Performance, press this key to determine such a memory location. Also, use this key to execute a Job or a Store operation.

$[DEC/NO] key (Page 19)

Use this to decrease the value of the parameter at which the cursor is positioned. Also use it to cancel a Job or a Store operation.

%[INC/YES] key (Page 19)

Use this to increase the value of the parameter at which the cursor is positioned. Also use it to execute a Job or a Store operation.

^MODE keys (Page 16)

Press these to keys to select Voice, Performance, Utility or other Modes.

&SEQ controls (Pages 21, 125)

Press the [SEQ PLAY] key to enter Sequence Play Mode. Here, you can play a MIDI file from Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently selected file.

*MEMORY keys (Pages 22, 24, 60, 104)

Using one of these keys, you can select a Voice or Performance Memory. Press the [ENTER] key to select the Memory. In Performance Mode, the [PLG] key can be used to select the Plug-in Part. The [PRE1] and [PRE2] keys select “Common” (for all Parts).

([QUICK ACCESS] key (Page 63)

When you press the [QUICK ACCESS] key (its LED will light), you can use BANK keys [A] to [H] to directly select Categories and PROGRAM keys [1] to [16] to quickly select Voices.

ºBANK [A] to [H] keys (Pages 60, 104)

Each key selects a Voice or Performance Bank. Each Bank contains sixteen Voices or Performances. In Voice Edit Mode, each of the BANK [A] to [D] keys selects a Voice’s Element (ELEMENT SELECT) while each of the BANK [E] to [H] keys turns the associated Voice’s Element on or off (ELEMENT ON/OFF) (Page 46). When you activate Master Keyboard Mode by pressing the [MASTER KEYBOARD] key, these key ([A] to [D]) can respectively select Zones 1 to 4 if the Master Keyboard Mode setting is 4 zone in Performance Edit Mode.

¡PROGRAM/PART [1] to [16] keys (Pages 60,

104)

Each key selects a Voice or Performance from the current Bank. In Voice Edit Mode, each PROGRAM/PART key selects an associated edit menu (Page 65). In Performance Mode, these keys select Parts [1] to [16], respectively.

Page 8

Basics

Section

Basics

Section

1CARD slot (Page 135)

Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 135) before using a card.

2MIDI IN, OUT, and THRU connectors (Page 11)

MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the synthesizer from an external MIDI device. MIDI OUT sends out MIDI messages generated by the synthesizer, such as notes played on the keyboard or panel control/knob variations, to an external MIDI sound module or device. MIDI THRU just reflects the MIDI messages received at MIDI IN. Connect other MIDI devices here.

3HOST SELECT switch (Page 12)

Select the type of computer connected to the synthesizer via the TO HOST connector .

4TO HOST terminal

Connect a computer here using an optional serial computer cable (Page 12).

5FOOT SWITCH jack (Pages 13, 39)

Connect an optional Foot switch (FC4 or FC5) here. Using the foot switch, you can control of a range of on or off a specific function by foot, as assigned on the instrument. (Pages 43, 129)

6FOOT CONTROLLER jack (Pages 13, 39)

An optional foot controller (FC7, etc.) can be connected here. Using the foot controller, you can control tones, pitches, volumes or the like by foot.

7OUTPUT L/MONO and R jack (Page 10)

Line level audio signals are output via these phone jacks. For monophonic output, use just the L/MONO jack.

8PHONES jack (Page 10)

Connect a pair of headphones here.

9DC IN terminal (Page 9)

For connecting an appropriate AC power adaptor (PA-5C or an equivalent recommended by Yamaha) to supply power to the S30.

)STANDBY/ON switch (Page 14)

Use this to switch the synthesizer 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 S30 for an extended period of time, be sure to unplug the AC power adaptor from the wall AC outlet.

Rear Panel

3.3V

CARD

THRU OUT IN TO HOST

HOST SELECT

PC-1PC-2

MIDI Mac

FOOT

SWITCH

OUTPUT

L/MONO PHONES DC IN

STANDBY

FOOT

CONTROLLER

MIDI

1 2 73 4 5 6 8 9 )

Page 9

Basics

Section

Before Use

This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the synthesizer on after you have made all the necessary connections. It is recommended that you read this section before using the synthesizer.

Power Supply

1Make sure that the instrument’s STANDBY/ON switch is at the STANDBY(off) position. 2Connect the PA-5C’s DC plug to the S30’s DC IN terminal on the instrument’s rear panel. 3Connect the adaptor’s AC plug to the nearest electrical outlet.

Do not attempt to use an AC adaptor other than the Yamaha PA-5C or an equivalent recommended by Yamaha. The use of an incompatible adaptor may cause irreparable damage to the S30, and may even pose a serious shock hazard! ALWAYS UNPLUG THE AC ADAPTOR FROM THE AC POWER OUTLET WHEN THE S30 IS NOT IN USE.

Connections

Connecting to External Audio Equipment

Since the synthesizer 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 instrument’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.

When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

2 DC IN

1 STANDBY

HOST SELECT

MIDI

PC-1PC-2

MIDI Mac

Rear panel

3.3V

CARD

THRU OUT IN TO HOST

OUTPUT

FOOT

CONTROLLER

SWITCH

L/MONO PHONES DC IN

STANDBY

3 To electrical output

Powered speaker (Left) Powered speaker (Right)

Headphones

INPUT

OUTPUT R

PHONES

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

INPUT

OUTPUT L/MONO

S30

Page 10

Basics

Section

Connecting to a Mixer

If you want to integrate the S30 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.

Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks.

Speaker

OUTPUT L

Amplifier

Headphones

PHONES

Mixer

12345678910111213141516LR

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

OUTPUT L /

MONO

S30

Page 11

Basics

Section

Connecting External MIDI Equipment

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

The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be transmitted from the synthesizer’s MIDI OUT connector.

Controlling from an External MIDI Keyboard

Controlling an External MIDI Keyboard

Recording and Playback using an External MIDI Sequencer

MIDI IN

MIDI OUTMIDI IN

MIDI OUT

External MIDI

sequencer

HOST SELECT

PC-2 PC-1

MIDI Mac

S30

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

External MIDI keyboard

or synthesizer

S30

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

HOST SELECT

PC-2 PC-1

MIDI Mac

S30

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

Page 12

Basics

Section

Controlling Another MIDI Device via MIDI THRU

With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI THRU jack.

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.

Connecting to a Personal Computer

When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the computer and the Memory Card inserted in the synthesizer’s CARD slot. There are two ways to connect your synthesizer to a computer:

1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal) 2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the

synthesizer’s MIDI IN and OUT)

Different computers require different connections, as follows.

1: Serial Port to TO HOST

IBM PC/AT

Macintosh

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

Apple Macintosh

PS422

(Modem or

Printer port)

S30

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

IBM PC/AT and compatibles

RS-232C

(DB9)

IBM

Personal System/V

PS/V

Personal System/V

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

S30

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

External MIDI

sequencer

MIDI OUT

MIDI IN

External MIDI

synthesizer

MIDI THRU

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI IN

External MIDI synthesizer

S30

Page 13

Basics

Section

2: MIDI Interface to MIDI IN and OUT

Using the computer’s MIDI interface

Using an external MIDI interface

You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform.

Connecting Controllers

The S30 has controller jacks on the rear panel, including FOOT SWITCH and FOOT CONTROLLER. You can connect optional controllers like a Foot Switch (the FC4 or FC5) and Foot Controller (the FC7) to control tone, volume, pitch and other parameters.

Details about how to these controllers are given on Page 39.

3.3V

CARD

THRU OUT IN TO HOST

HOST SELECT

PC-1PC-2

MIDI Mac

FOOT

SWITCH

OUTPUT

L/MONO PHONES DC IN

STANDBY

FOOT

CONTROLLER

MIDI

FOOT SWITCH

FOOT CONTROLLER

FC4 or FC5 FC7

HOST SELECT

PC-2 PC-1

MIDI Mac

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI IN

Serial cable

MIDI OUT

S30

PS/V

MIDI

IBM

OUT

MIDI

Computer with MIDI interface

Personal System/V

HOST SELECT

PC-2 PC-1

MIDI Mac

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI IN MIDI OUT

MIDI Interface

MIDI OUT

MIDI IN

Computer

S30

Page 14

Basics

Section

Powering Up

Power-on Procedure

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

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

When the S30 as MIDI receiver:

Switching the S30 On

In order to avoid possible damage to the speakers or other connected electronic equipment, always switch on the power of the S30 before switching on the power of the amplified speakers or mixer and amplifier. Likewise, always switch off the power of the S30 after switching off the power of the amplified speakers or mixer and amplifier.

Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it.

1Press the STANDBY/ON switch.

2A splash screen is displayed briefly. 3The Voice or Performance Play Mode screen appears next.

VCE Play) PRE1:001(A01)[Pf:StereoGrnd] EQLow-G EQMid-G EQHi-G ChoSend RevSend

PHONES DC IN

STANDBY

POWER

ON!

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

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

MIDI sender Audio equipment (first mixer, then amplifier)

S30

(MIDI receiver)

Page 15

Basics

Section

If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board installed, you may see other screens before the Voice or Performance Play Mode screen is displayed.

If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in EXT Memory are being loaded.

If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see a screen while a basic file is being created in EXT Memory.

If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in Board.

The final screen after the power-on sequence may change depending on the Power On Mode setting available Utility Mode (Page 128).

4Turn up the amplifier’s volume as necessary. 5Adjust the synthesizer’s [VOLUME] slider to set an appropriate volume level.

About Memory Cards

You can save various kinds of data - Voice, Performance, Plug-in, Sequence Chain and so on - onto Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia).

Before using a Memory Card, read through precautions on how to handle it (Page 135).

• Formatting a Memory Card

You cannot use a new Memory Card to save files immediately. The card must be formatted in Card Mode (Page 140) beforehand.

• Saving and Loading Data

You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be loaded when required. You can save and load data such as System, Voice, Performance, Plug-in, Sequence Chain or the like. Since Sequence Chain data is held temporarily in the synthesizer’s buffer memory and will be lost once you switch it off, you need to save such data onto the Memory Card first. Details about formatting a Memory Card, saving and loading data, and the recognized file types are given on Page 136.

Page 16

Basics

Section

Basic Operations

This section gives some basic explanations about operating the synthesizer.

Selecting a Mode

There are several operation Modes — Voice Play Mode, Performance Play Mode, etc. — each of which enables you to work efficiently with the synthesizer’s various functions.

An overview of each Mode is given on Page 30.

There are separate Play Modes for Voices and Performances. To enter each of these Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance Play Mode). There are also separate Edit and Job Modes for Voices and Performances. To enter Edit or Job Mode, simply press the [EDIT] or [JOB] key while in each respective Play Mode. Similarly, pressing the [STORE] key in Voice or Performance Mode takes you into Store Mode where you can store Voices or Performances. Other Modes include Utility Mode where you can specify system settings, Card Mode where you can perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card Mode and the [SEQ PLAY] key for Sequence Mode.)

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPA RE

Play Modes

1 Voice Play Mode (Page 59)

Press the [VOICE] key (its LED will light) to enter Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode.

2 Performance Play Mode (Page 102)

Press the [PERFORM] key (its LED will light) to enter Performance Mode. To exit to another Mode, simply press the respective key for that Mode.

PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- -------

VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

Edit Modes

When in each Play Mode, you can swiftly switch to each respective Edit Mode by simply pressing the [EDIT] key (its LED will light).

3 Voice Edit Mode (Page 63)

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

GEN Name) Ctgry a-Z 0-? Cursor C 1234 [Pf:Init Voice]

3 Performance Edit Mode (Page 106)

Press the [EDIT] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode.

GEN Name) Ctgry a-Z 0-? Cursor Common [--:Init Perf ]

Page 17

Basics

Section

Job Modes

When in each Play Mode, you can swiftly switch to each respective Job Mode by simply pressing the [JOB] key (its LED will light).

4 Voice Job Mode (Page 100)

Press the [JOB] key in Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Voice Play Mode.

4 Performance Job Mode (Page 123)

Press the [JOB] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode.

4 Utility Job Mode (Page 134)

Press the [JOB] key in Utility Mode. To exit to another Mode, press the respective key for that Mode or press the [EXIT] key to return to Utility Mode.

UTIL Factory Set) Job

PFM Initialize) Job Current Perform

VCE Initialize) Job Current Voice

Other Modes

5 Utility Mode (Page 127)

Press the [UTILITY] key (its LED will light) to enter Utility Mode. To exit to another Mode, simply press the respective key for that Mode.

6 Card Mode (Page 135)

Press the [CARD] key (its LED will light) to enter Card Mode. To exit to another Mode, simply press the respective key for that Mode.

7 Sequence Play Mode (Page 125)

Press the [SEQ PLAY] key (its LED will light) to enter Sequence Play Mode. To exit to another Mode, simply press the respective key for that Mode.

When MIDI system exclusive messages are received from an external MIDI device, the LED for the currently selected Play Mode (VOICE or PERFORM) will blink.

8 Store Modes (Pages 101, 124)

When in each Play or Edit Mode, you can swiftly switch to each respective Store Mode by simply pressing the [STORE] key. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Play Mode.

VCE [Sq:Generation] >[Pf:Slamming ] Store INT:001(A01)

MSTR TG) Vol NoteShift Tune Sys 127 +63 +102.3c

Save) Type File A-? Cursor Card all ***[NEWFILE .S2A]

SEQ) File:[ ] Perf Chain00 001 ⁄= 120 Meas=001 INT:128

Page 18

Basics

Section

Selecting a Screen

You can switch between screens using the [PAGE] knob and pressing [SHIFT], [PROGRAM/PART], [EXIT] and [ENTER] keys.

[PAGE] Knob

Usually, there are several screens and sub-screens in each Mode. Use the [PAGE] knob to switch between screens.

As shown below, the “ ” indicator is displayed to the left of the screen if there are more screens before and after that which you are currently viewing. At the first in a series of screens, you will see the “ ” indicator meaning that there are more screens to follow, but none before it. At the last screen, you will see the “ ” indicator meaning that there are no more screens to follow.

[SHIFT] Key

If you hold down the [SHIFT] key in Voice Play Mode, you can modify the parameters on screen as follows.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

(Oct= +3) PRE1:128(H16)[Pf:GrandPiano] (Tch= 1)

LFO Depth) EL1234

Indicator

SHIFT P AGE AB

VCE Srch) PRE1: Memory

Next screenPrevious screen

Some Modes have more screens. In this case, you can use the [PAGE] knob while holding down the [SHIFT] key to switch to a specific screen. For example, if you use the [PAGE] knob while hoilding down the [SHIFT] key in Voice Edit Mode, the following screen is shown. Select a specific item using the cursor (≥), then release the [SHIFT] key to switch to the parameter screen for that item.

The [SHIFT] key also has other functions, as described in other sections in this manual.

PROGRAM/PART keys

In Voice Edit Mode, PROGRAM/PART keys can be used to select the items shown under the keys and to switch to their screens.

[EXIT] Key

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

The [EXIT] key also has other more functions, as described in other sections in this manual.

Cursor

GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF EL1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ

SHIFT PAGE

PART

ELEMENT

DATAABC12

12345678

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

910111213141516

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

MASTER KEYBO ARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

Page 19

Basics

Section

[ENTER] Key

Normally, the [ENTER] key is used to apply parameter settings. In some cases, however, the following screen appears prompting you to press the [ENTER] key.

The [ENTER] key has other functions, as described in other sections in this manual.

Entering Data

You can use the knobs to directly alter their respective parameters on the screen. Alternatively, you can also move the cursor (≥) to a parameter and set its value using the [INC/YES] and [DEC/NO] keys, or the [DATA] knob.

Knobs [A], [B], [C], [1] and [2]

Each parameter in a screen is normally associated with a knob ([A], [B], [C], [1] or [2]) below the display. When you use one of these knobs, the cursor (≥) moves to its respective parameter and you can change its value. For instance, you can use Knob [B] at the following screen to change the Level setting. Turn the knob clockwise to increase the value and anti-clockwise to decrease it.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

Moving the Cursor

By using a knob ([A], [B], [C], [1] or [2]) while holding down the [SHIFT] key, you can move the cursor (≥) to the respective parameter on the screen without affecting its value.

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

You can use the [INC/YES] key to increment a parameter setting by one step, or the [DEC/NO] key to decrement it. If you hold down either key, the value is continuously changed.

You can also use these keys to answer “YES” or “NO” when a confirmation message is displayed.

Moving the Cursor

By pressing the [INC/YES] or [DEC/NO] key while holding down the [SHIFT] key, you can move the cursor between parameters on the screen without affecting their values.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

DEC/NO INC/YES

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

DEC/NO INC/YES

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF EL1234 96 ≥ 0 ins2

MASTER

BYPASS

KEYBOARD

EXIT ENTER

DEC/NO INC/YES

EFFíEF1) Ctgry Type [ENTER] C 1234 MOD Tremolo to Edit

Page 20

Basics

Section

[DATA] Knob

Use this knob to change the value of the parameter at which the cursor is positioned. Turn the knob clockwise to increment the value one click (step) at a time, or turn it anti-clockwise decrement it.

Moving the Cursor

Turn the [DATA] knob clockwise or anticlockwise while holding down the [SHIFT] key to move the cursor to a parameter in the screen without affecting its value.

[ENTER] Key

Use this key to apply a setting (when it is blinking, for example.). The [ENTER] key is also used when executing a Job or Store operation, as described in other sections of this manual.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF EL1234 ≥ 96 0 ins2

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, on-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.

127

Volume

1 Volume (absolute)

Volume

offset added -10

Actual velocity

offset added +10

2 Velocity offset (relative)

-64

Offset

+64

QEDíLevel) Vol Pan RevSend ChoSend C 1234 127 C 127 127

0~127

GEN Other) Mode Assign MicroTuning C 1234 poly single 31:Indian

mono/poly

Page 21

Basics

Section

Demo Playback

Several demo songs are supplied with this synthesizer. You can play them back as follows.

Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 9. At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices or the like)

will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 137) beforehand.

1Press the [SEQ PLAY] key to enter Sequence Play Mode. You will see the following screen.

There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above.

2Press the [INC/YES] key to enter the SEQ Demo screen.

To cancel demo playback, press the [DEC/NO] key.

3Press the [PLAY/STOP] key to start playback of the song. 4Press the [PLAY/STOP] key again to stop playback.

At the end of the song, playback is automatically looped back to the beginning. You can change the playback tempo using the Knob [C]. To use the song’s original tempo, select a tempo value

of “***.” Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 125.

SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice will be changed.

Demo song name

SEQ Demo) Song:[DEMOSONG] ≥ 001 ⁄= 120

Demo song number Playback tempo

Page 22

Basics

Section

Voices and Performances

Playing a Voice

Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256 Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play Voices from both groups of memories, as explained in the following.

SHIFT

PART/ELEMENT

ASSIGNABLE NKOB

PAGE

DATA

EF BYPASS

MASTER KEYBOARD

EXIT ENTER

COMPARE

EDIT JOB

UTILITY CARD

DEC/NO INC/YES

ABC1 2

MODE

VOICE STORE

SEQ PLAY

PLAY/ STOP

PERFORM

PLGEXT

DRUMDRUM

QUICK

ACCESS

INTPRE2PRE1

A. PIANO E. PIANO ORGAN GTR/BASS STRI NGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

1 [VOICE] key

2 MEMORY key

3 [DATA] knob

3 [DEC/NO] and [INC/YES] keys

1 Press the [VOICE] key

The [VOICE] key LED will light, showing that you are now in Voice Play Mode. The following appears in the display.

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

VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLA Y

PERFORM

COMPARE

2 Press a MEMORY key to select a Voice Memory

There are five Voice Memories: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal), EXT (External), and PLG (Plug-in). Within each Voice Memory are several Banks (up to eight, A to H) in which the Voices are stored. The following illustration shows how Voices are stored in a Voice Memory.

The Drum Voices are held in separate areas of each Memory, and are accessed as follows.

• To access the Preset Drum Memories (PRE:DR1 ~ DR8):

Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key.

PLGEXT

DRUMDRUM

INTPRE 2PRE1

PRE1 (Preset 1)

Bank A~H

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

EXT (External)

Bank A~H

PRE2 (Preset 2)

Bank A~H

PLG (Plug-in)

Bank A~D

INT (Internal)

Bank A~H

Page 23

Basics

Section

Using the Quick Access

Using Quick Access, you can quickly select any of 12 types of Preset Voices and 4 types of Internal Voices (at their factory default settings) in each Bank according to their Categories. The procedure is as follows.

Details about the Voices that can be selected using Quick Access are given in the separate Data List.

1 Press the [QUICK ACCESS] key in Voice

Mode. Its LED will light and Quick Access will be enabled.

Press the key again or switch to another Mode to disable Quick Access.

When you enable Quick Access, the Voice you previously selected using Quick Access is selected again.

If you enable Quick Access while editing a Voice, the Voice is not changed until you select another Voice via Quick Access.

You cannot use the MEMORY keys while Quick Access is enabled.

Use BANK keys [A] to [H] to select the Category. There are eight Categories, as listed below. The Category names are printed below the respective BANK keys.

Use PROGRAM keys [1] to [16] to select the Voice within the specified Category. The name of the Voice is displayed.

For each BANK [A] to [H], Preset Voices are accessed using PROGRAM keys [1] to [12]. The remaining four keys (PROGRAM keys [13] to [16]) are used to access each of four internal Voices. Details about Voices are given in the separate Data List. By selectively assigning your own selected Voices to the PROGRAM keys [13] to [16] in each BANK, you can make use of the Quick Access feature to quickly switch between them.

• To access the User Drum Memories (INT:DR1/2, EXT:DR1/2):

Press the MEMORY [EXT] key while holding down the MEMORY [INT] key.

PRE1 and PRE2 (Preset 1 and 2) are stored in internal Read Only Memory (ROM) and contain preset Voices which are never overwritten. INT (internal) is stored in Random Access Memory (RAM) and contains the factory default Voices. These can be overwritten, but can be recalled from the original factory settings at any time if required.

EXT (external) is stored on a Memory Card inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Voice, “---

--” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Voices. PLG Voices can only be selected if a Plug-in Board is installed.

3 Select a Voice Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Voice Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Voice Number.

Now you can play a selected Voice when you play the keyboard.

Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 61.

You can also select Voices using a combination of BANK and PROGRAM/PART keys, using the Quick Access feature, or using the Category Search feature. Details about selecting Voices are given on Pages 60, 62, 63.

PLGEXT

To access Preset Drum Voices (PRE:DR1 ~ DR8)

INTPRE 2PRE1

DRUMDRUM

To access User Drum Voices (INT:DR1/2, EXT:DR1/2)

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

SHIFT PAGE

PART

ELEMENT

MASTER KEYBOARD

BYPASS

DATAABC1 2

VCE Quick) INT:017(H01)[Pf:GrandPiano] EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend

QUICK

A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER

CDEFGH

ACCESS

12345678

EXIT ENTER

DEC/NO INC/YES

910111213141516

Page 24

Basics

Section

Playing a Performance

In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory Card) Performances. A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also let you set the synthesizer up for multitimbral operation. Each Performance can contain up to 16 Parts assigned to different Voices, plus an extra Part for a Plug-in Board. If the Layer Switch (Page 117) parameter is switched on for any Parts, those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI channels so that they can be played or be controlled individually using the built-in (or an external) sequencer. Up to 128 Performances can be stored in the internal memory and up to 64 on Memory Card. These Performance settings are available in Performance Edit Mode (Page 106). Here, we will show how to get started with Performance Play after selecting a Performance.

SHIFT

PART/ELEMENT

ASSIGNABLE NKOB

PAGE

DATA

EF BYPASS

MASTER KEYBOARD

EXIT ENTER

COMPARE

EDIT JOB

UTILITY CARD

DEC/NO INC/YES

ABC1 2

MODE

VOICE STORE

SEQ PLAY

PLAY/ STOP

PERFORM

PLGEXT

DRUMDRUM

QUICK

ACCESS

INTPRE2PRE1

A. PIANO E. PIANO ORGAN GTR/BASS STRI NGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

1 [PERFORM] key

2 MEMORY key

3 [DATA] knob

3 [DEC/NO] and [INC/YES] keys

Press the [PERFORM] key

The [PERFORM] key LED will light, showing that you are now in Performance Play Mode. The following appears in the display.

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

PFM Play) INT:001(A01)[--:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLA Y

PERFORM

COMPARE

2 Press a MEMORY key to select a Performance Memory

There are two Performance Memories: INT (internal) and EXT (External). INT consists of 128 Performances divided into eight Banks (A to H). EXT consists of 64 Performances divided into four Banks (A to D).

INT (internal) is stored in internal Random Access Memory (RAM) and contains factory default Performances. These can be overwritten but can recalled at any time.

EXT (external) is stored on a Memory Card (RAM) inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Performance, “-----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Performances.

EXT (External)

Bank A~D

1~16

Performance

PLGEXT

INTPRE 2PRE1

INT (Internal)

Bank A~H

1~16

Performance

DRUMDRUM

Page 25

Basics

Section

3 Select a Performance Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Performance Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Performance Number.

You can now play Parts in the Performance via the keyboard. If the Layer Switch (Page 117) parameter is switched on for any Parts, those Parts can be play in unison. Now try selecting other Performances.

Details about selecting Performances using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 61.

You can also select Performances using a combination of BANK and PROGRAM/PART keys, or using the Category Search feature. Details about selecting Performances are given on Page 104.

On selection, a Performance may take a few seconds to become ready since the settings for multiple Parts are applied.

With some of the Performance presets (INT), you can use Knob [2] to switch the Arpeggiator on/off. Details are given in the separate Performance List.

PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- -------

SHIFT PAGE

PART

ELEMENT

MASTER KEYBO ARD

BYPASS

EXIT ENTER

DEC/NO INC/YES

DATAABC1 2

Page 26

Basics

Section

An Overview of the S30

In this section, an overview of the many features of the S30 is given. The S30 hardware is made up of a number of sections, as shown in the following diagram.

Controller Section

This section consists of the keyboard, Pitch Bend and Modulation Wheels, Control Sliders, Assignable knobs and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the synthesizer’s tone generator section when you plays notes. The controllers also send changes. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector.

Sequencer Section

This section can be used to play back Standard MIDI Files held on Memory Card. The contents of Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following illustration. The sequencer can play back songs with a different Voice assigned to each Part.

Sequencer

Tone Generator

(Performance Parts)

Track1 Piano Ch1 Track2 Bass Ch2 Track3

Strings

Piano

Bass

Strings

Percussion

Ch3

Track16

Percussion

Ch16

Ch1 Ch2 Ch3

Ch16

Controller Section

Tone Generator

Section

Effects Section

Sequencer

Section

Keyboard Controllers

Song File Playback

Arpeggiator

AWM2

Plug-in Board

Page 27

Basics

Section

Tone Generator Section

This section 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 Voice Mode.

About the Tone Generator

The tone generator section in the S30 consists of AWM2 and Plug-in units. 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 applied to the basic waveform.

AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 32.

Plug-in Boards add more features to the system. When installed, they combine perfectly with the synthesizer’s built-in tone generator section.

The following types of Plug-in Board are available, and can be in the synthesizer. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 93).

This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. By adding one of the following types of Plug-in Boards to your S30, you can build your own system based on the sounds you require.

The PLG100-VH Effect Plug-in Board cannot be used with the S30.

Single Part Plug-in Boards

• Analog Physical Modeling Plug-in Board (PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have realtime control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.

• Piano Plug-in Board (PLG150-PF)

A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony.

Tone Generator Section

OSC

(Oscillator)

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

Controls the pitch of each Element output from OSC.

FILTERPITCH

Changes the tonal quality of each Element output from PITCH.

AMP

(Amplitude)

Controls the output level (amplitude) of each Element output from FILTER. The signals are then sent at this level to the Effects Units.

To Effects Units

Page 28

Basics

Section

• Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DXseries synthesizers to give a completely faithful reproduction. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.

• Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.

Multi-Part Plug-in Board

• XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board.

More Plug-in Boards will be available in future.

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.

Maximum Polyphony

The maximum sonic polyphony is 64 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board.

In the case of AWM2 Voices, the polyphony figure of 64 is divided 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.

Page 29

Basics

Section

Effects Section

The effects can be used to change the sound of a Voice or Performance. There are two Insertion Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be connected in parallel or in series.

In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance, though the way they are connected (series or parallel) varies slightly. As shown in the following illustration, the two Insertion Effect units can be independently switched on or off for each Element in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed through the Insertion Effects, the signals from all individual Elements are mixed and sent to the Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole before it is sent to the outputs, and are therefore known as System Effects.

In Performance Mode, the Insertion Effects can be set for two Parts: a Voice Part, plus a Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts, but to the Performance as a whole.

Details about Effects are given on Page 50.

Voice Mode Performance Mode

Output

Element

1~4

Insertion

Effects

System Effects

Reverb

Output

Voice1~16

Element

1~4

Insertion

Effects

1/2

System Effects

Reverb

Chorus

Output

Plug-in Board

Insertion

Effects

Chorus

Page 30

Basics

Section

About the Modes

The S30 has various Modes which you can select according to the task you wish to perform.

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPA RE

Performance Mode

Performance Play Mode Performance Edit Mode Performance Job Mode

Utility Job Mode

Card Mode

Utility Mode

Sequence Play Mode

Voice Mode

Voice Play Mode Voice Edit Mode Voice Job Mode

Voice Mode (Page 59)

Voice Play Mode

Normal Voices and Drum Voices can be played in this Mode. You can select from Preset Voices (256 Normal Voices plus 8 Drum Kits), Internal (User) Voices (128 Normal Voices plus 2 Drum Kits) and External (Memory Card) Voices (128 Normal Voices plus 2 Drum Kits). That is a choice of 512 Normal Voices and 12 Drum Kits. The choice is extended further still if you have an optional Plug-in Board installed.

The MIDI settings for Voices are set in Utility Mode.

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 2 edited Drum Kits as User Voices in internal memory. You can also store them to Memory Card as external memory.

Voice Job Mode

In this Mode, you can copy and initialize Voices, and perform other such operations (Jobs) on them.

Performance Mode (Page 102)

Performance Play Mode

This Mode is used when playing Performances. You can layer multiple Voices (Parts) to create rich sonic textures. You can also create multitimbral setups by assigning Parts to different MIDI channels. You can layer Plug-in Part, as well as AWM2-based Voices.

Performance Edit Mode

In this Mode, you can edit and create Performances. You can save up to 128 Performances to internal memory or up to 64 to external memory (Memory Card).

Performance Job Mode

In this Mode, you can copy and initialize Performances, and perform other such operations (Jobs) on them.

Sequence Play Mode (Page 125)

In this Mode, you can use the sequencer to play back Song files (Standard MIDI Files) held on Memory Card. The Songs can be played back individually or as a chain. By switching Performance, you can also change the sounds associated with each track in a Song.

Utility Mode (Page 127)

Select this Mode when setting parameters that apply to the synthesizer system as a whole. These include MIDI settings and synthesizer setup parameters.

Utility Job Mode

In this Mode, you can restore the synthesizer’s factory settings.

Card Mode (Page 135)

Insert a Memory Card into the CARD slot and you can save files to it, load files from it, and do various other things with the data on the card.

Page 31

Basics

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Voices

A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you can select and play any of these Voices. In Performance Play Mode, several different Voices (known as Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four groups of Voices are available (Preset 1, Preset 2, Internal and External). Another Group Voices is also available if an optional Plug-in Board has been installed.

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

Preset1

(128 Preset Voices)

Banks A~H

Preset2

(128 Preset Voices)

Banks A~H

Internal

(128 User Voice)

Banks A~H

External

(128 User Voice)

Banks A~H

(2 User Drum

Voices)

(2 User Drum

Voices)

256 Normal +

8 Drum Voice (Preset)

Controllers

Controllers Sequencer

Song play

Tone Generator

Voice

Tone Generator

Performance

Playing a Voice Playing a Performance

1~16

Voice

Plug-in

(64 Plug-in Voice)

Bank A~D

Performance Play Mode

Voice Play Mode

Part

Voice

PRE1: (A01)

PRE1: (A02)

PRE1:

(A03)

PRE2: (A01)

PRE2:

(A02)

PRE2:

(A03)

INT: (A01)

EXT:

(A01)

PRE1: (A16)

Plug-in

Part

Preset

(8 Preset Voices)

DR 1~8

Drum Voice

256 Normal +

4 Drum Voice (User)

PLG: (A01)

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Basics

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An Overview of Voices/Waves

Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform.

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly musical instrument-type 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. A collection of Drum Voice assignments is known as a Drum Kit.

If you have installed an optional Plug-in Board, there will be more Voices for you to choose from. These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have installed (Page 27).

The Note Limit settings (Page 75) will also affect the allocation of sounds. But basically, Normal Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard.

A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices and save them to internal (User) memory or to external memoly (Memory Card), just as with Normal Voices.

Voice

Element 1~4

Element

Wave form

AWM2: 553 Preset waveforms

Normal Voice Drum Voice

Voice

Element 1~4

wave 1 wave 2 wave 3 wave 4 wave 5 wave 73

Page 33

Basics

Section

Waves

Waves are waveforms used as Elements that make up a Voice. 553 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 1~553

Element1 Element2 Element3 Element4

C-2 G8

Voice

Page 34

Basics

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Performances

A Performance consists of up to 17 Parts, each of which can a Normal Voice, Drum Voice or Plug-in Part. By switching on the Layer Switch parameter for different Parts (up to four), you can play back rich layered sounds in Performance Play Mode. You can also create splits so that different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel number to each Part, each track of a sequencer can play back a different Part.

In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can cause note response to become slower under some circumstances.

Performance

Part 1~16

Plug-in Part

Multiple

Layered Voices

Layer Switch set to “on”

Performance

Part 1~16

Plug-in Part

Song

Sequencer

MIDI CH

1~16

CH1

Different Voice For Each part

CH16

Page 35

Basics

Section

Ideal for Playing Live

Many features of this synthesizer make it ideal for live performances. These features are explained here.

The parameters for these features can be stored per Voice/Performance.

2 Using the Controllers (Page 38)

1 Using the Arpeggiator (Page 36)

A wide variety of arpeggio patterns can be created automatically by just holding down a set of notes on the keyboard. You can specify the sound and the note range within which the arpeggiator is active, then use your left hand to hold down the notes being arpeggiated while using your right hand to play a melody line.

Rear Panel

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

The Pitch Bend Wheel, Modulation Wheel and Control Sliders can be freely assigned to control various sound parameters in real time. By connecting an optional Foot Controller or Foot Switch, you can also use your feet to control parameters, to change Program Number, and so on (Page 43). Also, you can assign parameters to Knobs [A], [B], [C], [1] and [2] on the front panel below the LCD.

Page 36

Basics

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1 Arpeggiator

The arpeggiator is particularly suited to dance/techno music genres. You can assign any of 128 Arpeggio Types to each Voice, Performance and adjust the tempo. You can also set the Arpeggio Mode (the way in which the arpeggio is played back when you press a note) and Play Effects to create your own original grooves. Arpeggio information can be transmitted through the MIDI Out.

Selecting and Playing Back an Arpeggio Type

You can choose from 128 different Arpeggio Type presets. You can also freely vary the Arpeggio Tempo to suit the song. The Note Limit parameter can be used to define the effective note range of the arpeggio.

Each parameter applies to, and is stored with, each Voice or Performance. By playing notes on the keyboard and listening to the arpeggio, you can adjust these parameters by ear.

The arpeggiator’s parameters are available in each Edit Mode. In the following Voice Mode example, the Arpeggio Type is set for a Drum Voice in Preset Drum 1.

To select the Preset Drum, press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key and press a PROGRAM key. Here, we will choose Preset Drum 1 so you should press the PROGRAM [1] key.

If the Arpeggiator switch is already enabled for the Voice/Performance, this means that the Arpeggiator will be ready for use whenever you select the Voice/Performance.

The on/off state of the Arpeggiator can be stored (Pages 101, 124) for each Voice/Performance.

Selecting the Arpeggio Type

1Press the [EDIT] key in Voice Play Mode. You

will enter Voice Edit Mode at the screen where you previously exited.

STOREVOIC E

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPARE

2Turn Knob [A] fully anti-clockwise until

Common is displayed on the bottom line. Voice Edit Mode consists of two different Edit screens: Common Edit (for parameters common to all Drum keys/Elements) and Drum key/Element Edit. The Arpeggiator parameters are found in the Common Edit screens that you have now selected.

3Use the [PAGE] knob to switch to the ARP

Type (Arpeggio Type) screen.

If you use the [PAGE] knob while holding down the [SHIFT] key, a menu will be displayed. You can quickly jump to the ARP screen by using the [PAGE] knob to move the cursor to the ARP item in the menu, then releasing the [SHIFT] key(Page

65).

4Use Knob [B] to jump to the Type parameter.

Now use Knob [B], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to select the desired Arpeggio Type. Let’s choose “BigBeat2” here.

Arpeggio Types are divided into the four following categories and applications are not just limited to drum patterns. You can also select Arpeggio Types for backing chords, basslines and so on.

When setting the Arpeggio Category to Ct (Control), you also need to set the Key Mode parameter (two screens ahead) to “direct.”

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds.

Ct (Control):

Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.”

Details about Arpeggio Types are given in the separate Data List.

GEN Name) Ctgry a-Z 0-? Cursor Common [Dr:Rock Kit ]

SHIFT PAGE

DATAABC12

ELEMENT

PART

ARPíType) Type Tempo Switch Hold Common GateCut2:Ct 92 off off

SHIFT PAGE

ELEMENT

PART

DATAABC12

Page 37

Basics

Section

Using the Arpeggiator

Use Knob [1] to set the Arpeggiator Switch parameter to “on.”

You can hold down multiple notes to create complex arpeggio patterns.

When the arpeggiator is switched on, the notes you play (and hold down) on the keyboard will be arpeggiated using the currently selected Voice or Performance, and according to the Arpeggio Type, Tempo and Note Limit settings. In Voice Mode, the currently selected Voice will be arpeggiated. In Performance Mode, the Voices of Parts for which both the Layer and arpeggiator are switched on, are arpeggiated (Page 117).

Only notes within the Note Limit range will be arpeggiated. Therefore, if the notes you play are not arpeggiated, they may be outside this range. Details about the Note Limit settings are given later.

The Pitch Bend and Modulation Wheels can be used while the arpeggiator is running.

Now try selecting other Arpeggio Types and arepggiating different Voices.

You can use a Foot Switch (optional) to switch the Arpeggiator on/off. Details about assigning parameters to the Foot Switch are given on Pages 43, 129.

Setting the Tempo

You can use Knob [C] to adjust the tempo between 25 and 300 BPM. This parameter setting is used by the Arpeggiator. Use Knob [C] to jump to the Tempo parameter. Now use Knob [C], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to set the tempo. You can also set the tempo using the [TEMPO] knob on the front panel.

Setting the Note Limit

Using the Note Limit parameter, let’s set up a Normal Voice (say, Voice Program Number 098:G02 of Internal:champ) such that the Arpeggiator is enabled in the lower part of the keyboard but the upper part can be used to play melody lines. You’ll need to have already set the Arpeggio Type (say, MuteLine).

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

ARPíType) Type Tempo Switch Hold C_ 1234 BigBeat2:Ct≥ 127 on off

1The Note Limit parameters can be set in the

ARP Limit screen, which follows immediately after the ARP Type screen mentioned in step 3 (earlier). Use the [PAGE] knob to switch to the screen.

2Use Knob [2] to jump to the parameter for the

highest note in the range, and to set the note. Alternatively, you can set this parameter by pressing the note (say, E3) on the keyboard while holding down the [SHIFT] key. Similarly, the lowest note in the range can be set using Knob [1], or by pressing the note while holding down the [SHIFT] key.

Knobs [1] and [2] are used to set the Note Limits of the keyboard range within which the arpeggiator will play back. The cursor (≥) immediately jumps to each respective parameter when Knobs [1] and [2] are used. Once the cursor is at the parameter, you can also use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enter settings.

Outside the Note Limit range, you can play the keyboard normally without the notes being arpeggiated. Therefore, you can use your left hand to play block chords used by the Arpeggiator and your right hand to play melody lines in the upper part of the keyboard.

Combined with the OSC Limit parameter of the Element Edit screen, the sound used in the lower part of the keyboard can be different from that in the upper part.

The Note Limit parameters in Performance Mode are different to those in Voice Mode, and notes outside the set range will not sound. The Arpeggiator Switch parameter (Page 117) for each Part should be set to “on,” except for the Part which you wish to use to play the melody. Then, if necessary, use the Note Limit parameter (Page 117) to restrict the keyboard range for that Part.

ARPíType) Type Tempo Switch Hold Common≥BigBeat2:Dr 92 on off

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

ARPíLimit) Note Limit C_ 1234 C -2 - G 8

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

ARPíLimit) Note Limit C_ 1234 C 1 - E 3

SHIFT PAGE

PART

ELEMENT

DATAABC12

Arpeggiator Range Area for Playing Melody

Arp Note HighArp Note Low

Page 38

Basics

Section

Following the example in this manual, if you select Voice Program Number 098(G02) of INT, Portamento is already set for this Voice. Use the PORTAMENTO knob and [ON/OFF] keys to change the portamento time and switch portamento on/off (Page 69).

Using the Arpeggiator Hold

With Arpeggiator Hold switched on, the arpeggiator will continue to play back, even after you have released your fingers from the notes on the keyboard. The same arpeggio pattern will be played back until you press another set of notes on the keyboard.

You can switch Arpeggiator Hold on/off by using Knob [2] to change the Hold parameter of the ARP Type screen.

With Arpeggio Hold switched on, the Arpeggiator continues to play back after releasing the keyboard, leaving your left hand free to perform other tasks, such as adjusting the sliders.

ARPíType) Type Tempo Switch Hold Common BigBeat2:Dr≥ 127 on on

Using Controllers

The S30 is equipped with Pitch Bend and Modulation Wheels. Either of the S30 is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters.

Pitch Bend Wheel

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

Pitch Bend Range can be set for each Voice. The wheel can also be assigned other parameters (Page

69). Even if a different parameter is assigned to the

wheel, Pitch Bend messages are still transmitted through the MIDI Out when it is being used.

Modulation Wheel

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

Modulation depth can also be set beforehand. Also, the wheel can be assigned different parameters, such as Volume or Pan (Page 69).

Pitch Up

Pitch Down

Pitch Bend

Wheel

Modulation

Wheel

Deeper

Pitch Bend

Wheel

Modulation

Wheel

Page 39

Basics

Section

Knobs [A]/[B]/[C]/[1]/[2]

In Voice/Performance Play Mode, Knobs [A], [B], [C], [1] and [2] can be used as real-time controllers. Knobs [A], [B] and [C] are assigned to control the equalizer gain of, respectively, EQ Low, EQ Mid and EQ Hi. With Knobs [1] and [2], you are free to assign different parameters per Voice.

If you turn any knob clockwise, the value assigned to it is incremented. Conversely, the value is decremented if you turn it the other way.

Common system parameters are assigned to Knobs [A],[B] and [C] (Pages 41, 129). Voice-specific parameters are assigned to Knobs [1] and [2] (Pages 42, 69).

A preset of suitable parameter settings is assigned to each Voice. By using each knobs [1] and [2], you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded.

In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are used for entering parameter settings on screen (Page

19).

Control Sliders

In Performance Mode, if Master Keyboard Mode is enabled, you can use the four Control Sliders to control the functions assigned to each zone. Details are given on Pages 56 and 122.

CONTROL SLIDE R

1234

VOLUME

Foot Controller

An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack (Page 13) on the rear panel, can be assigned 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 if you are playing live.

Foot Controller parameters can be set for each Voice.

Foot Switch

An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH jack (Page 13) can be assigned to a range of parameters. It is suited for a switch-type (on/off) controls such as Portamento Switch, increment/decrement of a Voice or Performance Number, start/stop of the Sequencer, holding Arpeggiator on or off. The Foot Switch is not well suited for continuous control. You could also use it to switch to between different Voices or Performances

The parameter assigned to the Foot Switch is set in the CTRL Other screen of Utility Mode (Pages 43,

129).

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 40

Basics

Section

By creating Control Sets, you can change sounds in a variety of ways.

For example, set the Src (Source) parameter of Control Set 1 to MW (Modulation Wheel) and the Dest (Destination) parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control.

In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, the Element is panned from left to right. So in other words, you can assign several Dest parameters to each Src controller.

Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth). Again, specify the Element to be controlled and also the depth of control.

Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter.

By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds.

ELFO-PM

Dest

ELFO-PM

Dest

SET 1 SET 3

Src

(Modulation Wheel)

Src FC

(Foot Controller)

You can control the pitch modulation effect using either of Modulation Wheel (MW) and Foot Controller (FC).

ELFO-PM

Dest Param

ELM PAN

Dest Param

SET 1 SET 2

Src Sw

(Modulation Wheel)

Src Sw

(Modulation Wheel)

Moving the Modulation Wheel changes the amount of Pitch Modulation plus the pan position.

Aftertouch

Aftertouch lets you, for example, add vibrato to a sound by applying further pressure to a note on the keyboard while it is being held down. This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (Page 69).

Control Sets

Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned with various parameters, as explained on Page 38. For example, you could assign Resonance to the Modulation Wheel and set aftertouch to apply vibrato. You are free to assign parameters to suit the kind of sound being played.

These controller assignments are known as Control Sets. As the following illustration shows, you can assign up to six different Control Sets per Voice. Within each Control Set, the controller is known as the Source (Src) and the parameter controlled by the Source is known as the Destination (Dest). There are various Dest parameters available; some will apply to the Voice as a whole, while some will be specific to each of its Elements. Details are given in the Controls List of the separate Data List.

Details about the available Dest parameter settings are given in the Destination Parameter List of the separate Data List.

The Element Switches (Page 70) will be disabled if the Dest parameter setting is not specific for Elements (i.e., for settings 00 to 33).

Voice

Control Sets

1~6

Src(Source)

Controller

PB,MW,etc

Dest(Destination)

Control Parameters

Depth

Depth of control

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

Elements 234

Page 41

Basics

Section

Control Sets and External MIDI Control

In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send predefined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer.

For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch. Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out.

Let’s say the Pan parameter is assigned to the Pitch Bend Wheel in a Control Set. Now, when you move the Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound but at the same time, the original predefined Pitch Bend messages will still be sent to the MIDI Out.

The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments are found in the VOICE (Vce) CTRL Assign1/2 screen of Utility Mode.

As Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch is pre-defined with specific MIDI controls, you cannot assign MIDI Control Changes.

You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out.

For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the VOICE CTRL Assign2 screen of Utility Mode, you could assign Control Change Number 1 (Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator but at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out.

This aspect of the synthesizer makes it ideal for use as a master controller for controlling external MIDI devices. Add an optional Foot Controller for even more control.

Assigning Parameters to Knobs [A], [B] and [C]

The following procedure explains how you can assign a desired parameter to Knob [A], [B] or [C]. You can assign any parameters that are common throughout the system (for all Play Modes) and any MIDI Control Change Numbers. In the example, Knob [A] will be set up to control Reverb Return.

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

KnobA (System Control Knob A) screen.

3 Use Knob [2] to select REV-Rtn (Reverb

Return).

Now you can use Knob [A] for on-the-fly control of the Reverb Return level in Voice/Performance Play Mode. Note that you can also send (by turning Knob [A]) or receive Control Change messages with the Controller Number set in the CC# parameter through MIDI In and Out.

For assignable parameters, refer to “System Controller Destination Parameters” in the separate Data List.

OUT IN

MIDI Control

Control Set

Pitch Bend

Wheel

Tone Generator

MIDI

ODE

STOREVOICE

PERFORM

CARD

SEQ PLAY

PLAY STOP

UTILITY

EDIT JOB

COMPA RE

CTRL KnobA) CC# Dest Sys 01[ModWheel] EQLow-G

SHIFT PAGE

DATAABC1 2

Pitch

LFO1 PAN

PART

ELEMENT

CTRL KnobA) CC# Dest Sys 01[ModWheel] REV-Rtn

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 42

Basics

Section

5 Use Knob [C] to assign PCH-Crs

(Pitch:Coarse) to the Dest (Destination) parameter.

6 Use Knob [1] and the [DATA] knob to

specify the Element to be controlled. Knob [1] moves the cursor (blinking) and the [DATA] knob displays the Element to be controlled.

7 Use Knob [2] to set the Depth parameter.

The larger the setting, the greater the depth of control.

8 Store the edited Voice (Page 101).

Now you have Internal Voice 001 (A01) assigned PCH-Crs (Pitch:Coarse) to Knob [1]. When you select and play this Voice in Voice Play Mode, you can control the pitch of the Voice if you turn Knob [1].

Details about the assignable control functions are given in the Control Set Destination Parameters in the separate Data List.

Assigning Parameters to Knobs [1] and [2]

The following procedure explains how you can assign a desired parameter to Knob [1] or [2]. You can assign controllers to each Voice (or Part in a Performance). Control Settings can be assigned as a Control Set, and a each Controller can be used to control multiple parameters (although this varies according to the type of Voice). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCHCrs (Pitch: Coarse) to Knob [1].

You can also assign, separately, a different MIDI Control Change Number to the same knob in Voice Mode and Performance Mode. Details are given on Page 132.

1 Press the [VOICE] key to enter Voice Play

Mode.

2 Select Internal Voice 001 (A01) and press

the [EDIT] key to enter Voice Edit Mode.

3 Use the [PAGE] knob to switch to the CTL

Set1 (Control Set 1) screen.

4 Use Knob [B] to assign “KN1 (16)” (Knob

[1]) to the Src (Source) parameter.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) FLT-Rez --34 +14

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTL Set1) Src Dest EL Sw Depth C 1234 MW(01) FLT-Rez --34 +14

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPA RE

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs --34 +14

SHIFT PAGE

PART

ELEMENT

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs 1--4 +14

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth C 1234 KN1(16) PCH-Crs 1234 +34

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 43

Basics

Section

Controlling Parameters by Foot Controller

By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can control various parameters by foot without having to use your hands. In the following example, we introduce how to set up Foot Controller to work as Modulation Wheel.

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Assign2 (Voice Control Assign 2) screen.

SHIFT PAGE

PART

ELEMENT

DATAABC12

CTRL Assign2) FC RB Vce [ off ] 00 22

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPA RE

FC7

THRU OUT IN TO HOST

HOST SELECT

PC-1PC-2

MIDI Mac

FOOT

SWITCH

OUTPUT

L/MONO PHONES DC IN

STANDBY

FOOT

CONTROLLER

MIDI

3 Use Knob [C] to select “01:ModWheel”

(Modulation Wheel).

In Voice Mode, the foot controller can now be used to control the same function as that assigned to the Modulation Wheel.

If the current Voice has a Control Set with a source (Src) assigned to Modulation Wheel (MW) and receives a Control Change message of Modulation Wheel, a destination (Dest) parameter for the source (MW) will be affected with that message.

The above procedure explains how to set up the Foot Control to control Modulation in Voice Mode. To create such a setup for Performance Mode, the appropriate settings are found at the CTL Assign2 screen in Performance Edit Mode.

Switching Between Programs by Foot Switch

By connecting an optional Foot Switch (such as the FC4 or FC5) to the FOOT SWITCH jack on the rear panel of the synthesizer, you can switch between Programs without having to use your hands. For example, if you consecutively arrange the Voices/Performances in memory, you can switch between them easily in a live performance. The following procedure explains exactly how to a about this.

THRU OUT IN TO HOST

HOST SELECT

PC-1PC-2

MIDI Mac

FOOT

SWITCH

OUTPUT

L/MONO PHONES DC IN

STANDBY

FOOT

CONTROLLER

MIDI

FC4 or FC5

CTRL Assign2) FC RB Vce [ModWheel] 01 22

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 44

Basics

Section

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Other (System Control Other) screen.

3 Use Knob [B] to select “099:PC Inc”

(Program Change Increment).

In Voice/Performance Mode, the Foot Switch can now be used to switch between programs.

Alternatively, you can assign other functions such as Arpeggio Switch (On/Off), Sequencer (Play/Stop) and so on (Page 129).

Using Knob [1]/[2] To Control the Arpeggio

You can assign Arpeggiator ON/OFF and Hold functions to Knob [1]/[2] (Performance Mode). The following is an explanation of how to do this. In the example, we use Internal Performance 075 (E11), and assign Arpeggio Hold to Knob [1] and Arpeggio ON/OFF to Knob [2].

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the MIDI

Arp screen.

3 Use Knob [B] to assign the Control Change

Number for Arpeggio ON/OFF, which is 90 here. Similarly, use Knob [C] and set the Control Change Number to 89 to assign Arpeggio Hold to Knob [1].

4 Press the [PERFORM] key to enter

Performance Mode.

5 Select Internal Performance 075 (E11), then

enter Performance Edit Mode by pressing the [EDIT] key.

6 Turn Knob [A] until “Common” is

displayed at the bottom left of the screen.

7 Use the [PAGE] knob to switch to the CTL

Assign1 screen.

8 Turn Knobs [1]/[2] to set their parameters

to the same values as the Control Change Numbers set in Step 3. That is, assign a value of 89 to Knob [1] and a value of 90 to Knob [2].

9 Store the edited Performance (Page 124).

Now, for Internal Performance 075 (E11), Arpeggio Hold is assigned to Knob [1] and Arpeggio ON/OFF to Knob [2]. If you select this Performance in Performance Play Mode, turning each knob left or right will switch its respective parameter off or on, respectively. (The Arpeggiator responds to notes below C3 on the keyboard.)

If you do not wish to control the Destination parameter of the Voice, enter Performance Edit Mode, switch to the RCV Sw2 screen of Performance Part Edit, then set the parameters for Knobs [1] and [2] to “off.”

In Performance Mode, to use the Arpeggiator for Parts which have their Layer parameter (Layer Switch) set to “on,” their Arp parameter (Arpeggio Switch) also has to be set to “on.” (Page 117)

ODE

STOREVOICE

PERFORM

CARD

SEQ PLAY

PLAY STOP

UTILITY

EDIT JOB

COMPA RE

MIDI Arp) Switch Hold Out(Vce)Ch(Vce) Sys[ ] 90 89 off 16

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTRL Other) FS Sys 088[ ------ ]

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTRL Other) FS Sys 099[PC Inc ]

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTLíAssign1) BC Knob1 Knob2 Common [FootCtrl] 02 89 90

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 45

Basics

Section

1 Selecting a Voice to Edit

Enter Voice Play Mode by pressing a [VOICE] key.

Select the Voice Number of the Voice you wish to edit (Page 60).

Before editing, first enter Voice Job Mode and copy the Voice you wish to edit to internal user memory. If you are creating a Voice from scratch, use the Initialize function to initialize a Voice in internal user memory. Details are given on Page 100.

2 Entering Voice Edit Mode

Voice creation/editing is carried out in Voice Edit Mode. To enter Voice Edit Mode, press the [EDIT] key while in Voice Play Mode.

Common Edit and Element Edit

Each Voice consists of up to four Elements (Page 32). The parameters common to all four Elements are known as Common Edit parameters. Voice Edit Mode consists of Common Edit screens, plus screens for each individual Element’s parameters.

In Voice Edit Mode, you can use Knob [A] to switch between Common settings and settings for Elements 1 to 4.

Common settings

Settings for Elements 1 to 4

SHIFT PAGE

PART

ELEMENT

DATAABC12

OSC Wave) Number Ctgry EL1234 001[Pf:Grand 1 ]

Element 1~4 Indicator

GEN Other) Mode Assign MicroTuning C 1234 poly single 31:Indian

Common Indicator

STOREVOIC E

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ PLAY

PERFORM

COMPARE

Voice Edit

There are 256 Normal Voice presets and 8 Drum Voice presets. You can edit these to create new Voices, or build completely new Voices from scratch. You can then store up to 128 of these new/edited Normal Voices and up to 2 new/edited Drum Voices to internal user memory or external Memory Card.

The following procedure gives a basic idea about how to go about creating/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.

All parameter settings are stored along with the Voice itself.

1In Voice Play Mode, select the Voice you wish

to edit.

2Enter Voice Edit Mode. 3In the Common Edit screens, set the

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

4At the OSC (Oscillator) screens, select the

Waves used by the Elements in the Voice, plus the volume, pan, note range and other basic parameters.

5At the PCH (Pitch) and PEG (Pitch Envelope

Generator) screens, set the tuning and other pitch-related parameters used by the Elements. Also set the PEG parameters as necessary.

6At the FLT (Filter) and FEG (Filter Envelope

Generator) screens, adjust the parameters of the filters used by the Elements. Also set the FEG parameters as necessary.

7At the AMP (Amplitude) and AEG

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

8At the LFO (Low Frequency Oscillator)

screens, set the modulation-related parameters used by the Elements.

9At the EQ (Equalizer) screens, adjust the

equalizer parameters affecting the tonal characteristics of the Elements.

)Store the edited Voice.

ODE

STOREVOIC E

PERFORM

CARD

SEQ PLAY

PLAY STOP

UTILITY

EDIT JOB

COMPARE

Page 46

Basics

Section

Selecting Elements

In Voice Edit Mode, you can select the Element to edit by pressing the respective BANK key ([A] to [D]). When you select an Element, the cursor moves to the respective Element Number.

Example: When “Element 2” is selected

Switching Elements On/Off

In Voice Edit Mode, an Element can be switched off when you press the respective BANK key ([E] to [H]). This lets you temporarily mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing. A muted (off) Element will be indicated as an asterisk (*) in the display as illustrated below.

Example: When Elements 2 and 3 are turned off

EQ Param)LoFreq LoGain HiFreq HiGain EL1**4 274.2Hz +12 2.82kHz +22

off off

PLGEXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1

A. PIANO E. PI ANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER

CDEFGH

1234

ELEMENT SELECT ELEMENT ON/OFF

EQ Param)LoFreq LoGain HiFreq HiGain EL12_34 274.2Hz +12 2.82kHz +22

Cursor

EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1

A. PIANO E. PI ANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER

CDEFGH

1234

ELEMENT SELECT ELEMENT ON/OFF

PLG

COMMON

Element1

Element2

Element3

Element4

Switching Between Screens and Entering Settings

After selecting a Common Edit screen or a edit screen for an Element (1 to 4), use the [PAGE] knob to switch to other screens.

There are many parameters available within a screen. To make editing easier, the knobs below the LCD are assigned to each of the parameters in the screen.

Menu Screen

If you use the [PAGE] knob while holding down the [SHIFT] key, the settings menu will be displayed. Use the [PAGE] knob to move the cursor to an item and release the [SHIFT] key to jump to the screen for that item.

You can also use other knobs and keys to enter settings. The Compare featureallows you to compare the sound being edited against the sound prior to editing. Details are given on Pages 19, 64.

3 Common Edit Screens

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

• GEN (Common General)

Here, you can set general parameters in Common Edit, such as the Voice Name.

GENíName) Ctgry a-Z 0-? Cursor C 1234 [Pf:Init Voice]

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4 EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4 EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Cursor

GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 47

Basics

Section

4 OSC (Oscillator) Screens

In these screens, you can mainly set the 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.

• OSC Wave

Select the waveform (Wave) used for each Element.

• OSC Out

• OSC Pan

Set the volume (output level) and stereo pan position of each Element. The following illustration shows the logic.

• OSC Limit

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 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.

Mixer

Elements

Level

Pan(Stereo)

1 2 3 4

OSCíPan) Pan Alter Random Scale EL1234 C L64 63 +63

OSCíOut) Level Delay InsEF EL1234 96 0 ins2

OSCíWave) Number Ctgry EL1234 001[Pf:Grand 1 ]

• QED (Common Quick Edit)

These parameters mostly control the volume and tone of the Voice and you can easily change the overall sound.

• ARP (Common Arpeggio)

By setting these parameters, you can control how the Voice is arpeggiated. Details about how to use the Arpeggiator are given on Page 36.

• CTL (Common Controller)

You can assign various functions to the controllers on the front/rear panel. For example, you can assign parameters to the Pitch Bend Wheel and a Foot Controller so that you can change the tone of the Voice in real time. Details about various different uses are given on Page

38.

• LFO (Common Low Frequency Oscillator)

These are the LFO parameters. The LFO uses a low frequency waveform to vary the pitch/filter/amplitude characteristics, and can be used to create vibrato, wah, tremolo and other effect (Page 70).

• EFF (Common Effect)

These are the Effects parameters for the Voice. There are two Insertion Effects plus two System Effects (Reverb and Chorus).

EFFíInsEF) InsEF Connect C 1234 1=2

LFOíWave) Wave^ Speed KeyReset Phase C 1234 trpzd 63 on 270

CTLíSet1) Src Dest EL Sw Depth C 1234 FC(04) RevTime:EF1 1234 +63

ARPíType) Type Tempo Switch Hold C 1234 Up&Down1:Sq 120 on on

QEDíLevel) Vol Pan RevSend ChoSend C 1234 127 C 127 127

Page 48

Basics

Section

5 PCH (Pitch) and PEG (Pitch EG) Screens

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. As illustrated below, the Pitch Envelope consists of five Time (transition speed) parameters and five Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element.

Details about PEG parameters are given on Page 76.

OSCíLimit) Note Limit Vel Limit

6 FLT (Filter) and FEG (Filter EG) Screens

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. There are several types of filters, but its basic idea is similar. As illustrated below, the filter is used to pass overtones at specific frequencies and cut off (does not pass) others, to alter the harmonic factor of an original waveform. You can determine such frequencies by specifying a pointing or center frequency (cutoff frequency). With some filters, you can adjust signal levels at several frequency bands. 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 introduce how FEG works.

Details about Filter Types are given on Page 78.

• 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. As illustrated below, the Filter Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). 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.

Details about FEG parameters are given on Page 80.

EL1234 C-2 - G 8 1 - 127

Velocity

Element 1

C-2

Element 3

Element 2

Element 4

PEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

Release

Time

Release

Level

Time

Pitch

Hold Level

Hold Time

Attack

Time

Attack Level

Decay1

Level

Decay1

Time

Sustain

Level Key off

Decay2

Time

Level

Cutoff range Cutoff range

FEGíTime) Hold Attack Decay1 Decay2 EL1234 127 127 127 127

Range passed

Center frequency

Attack

Decay1

Level

Sustain

Level Key off

Time

Release

Level

Hold Level

Level

Attack

Hold Time

Time

Decay1

Time

Decay2

Time

Release

Time

Page 49

Basics

Section

7 AMP (Amplitude) and AEG (Amplitude EG) Screens

Set the volume of each Element after the OSC (Oscillator), PITCH and FILT (Filter) parameters have been applied, and also 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 Unit. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.

The final volume for all Elements is set in the Volume (Vol) parameter of the QED screen in Common Edit.

• Amplitude EG (Envelope Generator)

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. As illustrated below, the Amplitude Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). 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.

Details about AEG parameters are given on Page

83.

8 LFO (Low Frequency Oscillator) Screens

As its name suggests, the LFO creates 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, although the actual available LFO parameters will vary according to the type of Element.

9 EQ (Equalizer) Screens

Specific frequency bands for each Element can be attenuated or boosted using an equalizer. There are many types of equalizers available. Details are given on Page 86.

) Storing Edited Voices

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

The maximum number of Plug-in Voices that can be stored to internal memory (PLG) is 64.

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

Details about storing Voices are given on Page 101.

PEG FEG

Element 1~4

EffectAMPFILTPICTH

OSC

LFO AEG

AEGíTime) Attack Decay1 Decay2 EL1234 127 127 127

Attack Level

Decay1

Level

Sustain

Level Key off

Release

Level

LFOíWave) Wave^ Speed KeySync EL1234 tri 63 on

PEG FEG

Element

1~4

EffectAMPFILTPICTH

OSC

AEGLFO

Voice

Store

INT

Normal Voice

(128)

EXT

Normal Voice

(128)

Level

Init

Level

Attack

Decay1

Time

Decay2

Time

Release

Time

Drum Voice

(2)

Drum Voice

(2)

Page 50

Basics

Section

Effects

In the final stages of programming, you can set the effects parameters to further change the sound’s character. To generalize, System Effects apply to the overall sound, whether it is a Voice, a Performance, a Song, etc. Insertion Effects, on the other hand, can be applied individually to each Voice. This synthesizer has two System Effect Units (Reverb and Chorus) plus two Insertion Effect Units. When using a Plug-in Board (PLG) installed on the instrument, you can also use a separate Insertion Effect Unit that is dedicated for the Plug-in Part.

Different effects settings can be set per Voice (in Voice Mode) and per Performance (in Performance Mode), though the connection between the Effect Units will vary in each case.

Reverb Unit

The Reverb Unit includes a selection of 12 different reverb-type effects, including realistic simulations of the natural reverberation found in various halls and rooms. In Voice Mode, Reverb settings can be set for each Voice. In Performance Mode, the Reverb settings will apply to the Performance as a whole.

Chorus Unit

The Chorus Unit includes a selection of 23 chorus-type effects, including a flanger and others. Most of these effects are ideal for adding thickness to the sound. In Voice Mode, Chorus settings can be set for each Voice. In Performance Mode, the Chorus settings will apply to the Performance as a whole.

Insertion Effects

The Insertion Effect 1 Unit includes 24 effects including chorus, flanger and auto-wah. The Insertion Effect 2 Unit offers delays, reverbs, rotary speaker, amp simulation and other effects, providing a total of 92 effects. If a Plug-in Board has been installed, up to 24 Insertion Effects for the Plug-in Voices will also be available.

Details about each Effect Type are given in the Effect Type List in the separate Data List.

Effects in Voice Mode

In Voice Mode, you can set up the effect type and its value for each Effect Unit (Reverb, Chorus and Insertion Effects) and store them with each Voice. Furthermore, you can determine that each Element connects or bypasses the Insertion Effect Units. When you connect an Element to Insertion Effects, you can also specify the connecting way of two Units (series or parallel, as illustrated below). The combined signal from all Voice Elements — after application of the Insertion Effects — is sent to the Reverb and Chorus System Effect Units.

When you want to use Plug-in Voices from a Plug-in Board attached, you can also set up a dedicated Insertion Effect Unit for each Plug-in Voice. In this case, a Plug-in Voice signals processed with the Insertion Effect Unit will be then routed to Reverb and Chorus Units.

Effects in Performance Mode

In Performance Mode, you can use an Insertion Effects setting “borrowed” from ones respectively stored with Voices (Parts) . For a Plug-in Part, you can select and use an Insertion Effect setting “borrowed” from ones respectively stored with Plug-in Voices. For Reverb and Chorus, you can create new settings dedicated for an entire Performance, without “borrowing” existing Reverb and Chorus settings stored with a Voice.

In the following illustration, a mixer represents the logic behind how the different effects are applied to the sound in Performance Mode. Each Part (1 to 16) is fed to the mixer through either Insertion Effect 1 or Insertion Effect 2. The signals for all Parts are summed in the mixer and then the System Effects (Reverb and Chorus) are applied to the mix as a whole.

OFF

THRU

Element 1~4

Voice

Insertion Effects

Connection

EP1➞EP2 EP2➞EP1EP1:EP2

Plug-in Voice

1 2

Chorus

Insertion Effects

Reverb

Page 51

Basics

Section

Effect Bypass

You can temporarily switch effects off or on by pressing the [EF BYPASS] key. To use this function, you will need to specify the effect to be bypassed in the MSTR EF Bypass screen of Utility Mode (Page 128). You can also specify more than one effect.

When you press the [EF BYPASS] key, its LED will light and all Effects assigned to the currently selected Voice/Performance will be bypassed.

The Effect Bypass will also apply to Effects on Plug-in Boards other than the PLG100 series.

Mixer

Insertion

1/2

Effect

1 2 3 4 5 6 16

Part 1~16

System Effects

MASTER

BYPASS

KEYBOARD

Reverb

Chorus

EXIT ENTER

DEC/NO INC/YES

Page 52

Basics

Section

Using as a Master Keyboard (Performance Mode)

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light).

2Select “Common” using the Knob [A], then

open the General Master Keyboard (GEN M. Kbd) page using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (page 106).

3Select “split” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(split)”).

4Select the value (split point) for the Point

parameter using the Knob [2], which determines the key note that divide the keyboard into two sections. Select “C3” for this example.

You can specify the split point by directly pressing a specific key on the keyboard while holding down the [SHIFT] key. In this example, press C3 while holding down the [SHIFT] key.

5Specify MIDI transmit channels respectively

for the lower and upper key ranges using the Knob [C] (lower) and the Knob [1] (upper). These settings can make MIDI-channel-based separate controls of the internal tone generator or an external MIDI devices from the keyboard, such as using different Voice tones in the lower and upper key ranges. Select “ch01” for “Lower” and “ch02” for “Upper” for this example.

You can also use the [PROGRAM/PART 1 to 16] keys to select MIDI channels for the Lower and Upper ranges. (Page 108)

6Select a Part for the lower range using the

Knob [A]. For this example, select “Part01”.

7Turn the [PAGE] knob and open the MIX Vce

(Mix Voice) page to select a Voice for Arpeggiator performance.

MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano]

As previously explained, your Synthesizer provides several convenient features that you can make use of in a live show or the like. Here we introduce some examples to combine those features to meet your specific purposes.

The S30 has special settings in Performance Mode so that you can use the instrument as MIDI master keyboard. You can activate the function (enable those special settings) when you press the [MASTER KEYBOARD] key on the panel (its LED will light). Now your instrument can send performance on the keyboard to an external tone generator, as well as the internal tone generator, according to the master keyboard settings in Performance Mode. If you divide the keyboard into several (up to four) key ranges and assign separate MIDI transmit channels, the keyboard can control multiple parts (channels) from the internal tone generator and external MIDI devices of those channels at the same time. There are three Master Keyboard Modes (how to make key ranges) available: Split, 4 Zones, and Layer. You can learn these Master Keyboard Modes and their functional differences in the following examples.

Split

The illustration below shows an example of a Split configuration. Split is a typical setting to divide a keyboard into two key ranges (lower and upper) by splitting at a specific key note (split point). The following example is to split the keyboard at C3 note, enabling the lower range for automatic performance with Arpeggiator and the upper range for manual solo performance. You can make this configuration in the following steps.

Edit and prepare Voices for Arpeggiator and manual play in Voice Edit Mode before you set up a Split setting in the following procedure (page 63).

Split point

Lower Upper

(C3)

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

Ch1

Part1

Performance

by Arpeggiator

Ch2

Part2

Manual play

Page 53

Basics

Section

8Turn the [PAGE] knob and open the LYR

Mode (Layer Mode) page. Set “on” for “Arp” (Arpeggio switch). Select “1” for “RcvCh” (MIDI Receive Channel).

9Turn the [PAGE] knob and open the ARP

Type (Arpeggio Type) page. Set “on” for “Switch.”

In steps 6 to 9, you now complete settings for the lower range for Arpeggiator performance. It will play in a Voice assigned to Part 1 based on MIDI Receive channel 1.

Refer to page 67 for detailed settings of Arpeggiator.

You can copy (reuse) the arpeggio settings that belong to the Voice assigned to Part 1 (page 123).

)As in the same manner as in steps 6 to 8,

make settings for the upper range. So you can use the Knob A and select “Part02”, select a Voice for solo performance in the MIX Vce page, set “2” for “RcvCh” in the LYR Mode page. Now you are ready for solo performance within the upper range. You can play in a Voice assigned to Part 2 based on MIDI Receive channel 2.

If you set “on” to “Layer” in the LYR Mode page, the RcvCh setting will be ignored.

For unwanted Parts in Split play, set their MIDI

Receive channels (RcvCh) to other than those

used for the lower and upper Parts. In the example above, the “RcvCh” values for Part 3 to 16 must be set to any other than 1 and 2.

In Performance Edit Mode, you can make detailed settings for every Part. In case that a Part does not sound, make sure the volume setting for that Part. For more information, refer to page 115.

!Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to page 124. In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Split configuration you made above.

4 Zones

The illustration below shows an example of a 4Zone configuration. A zone refers to a specific key range on the keyboard. You can logically divide a keyboard into up to four key ranges with separate

MIDI channels and other associated settings so that you can control multiple Parts at the same time. A Split setting can divides the entire keyboard into two absolute sections (key ranges). In a 4-zone setting, however, each section can overlap to one another. You can even set a section to cover or include other sections. In the following example, Zone 1 is set up for performance by the Arpeggiator, Zone 2 for bass sound, Zone 3 manual solo performance, and Zone 4 for playing an external MIDI tone generator. Also in this settings, Zones 3 and 4 overlap in the same range, and entire performance in four all zones is output from the MIDI OUT connector so that you can record that performance on an external MIDI sequencer. You can make this configuration in the following steps.

Before you set up a 4-Zone configuration in the following procedure, edit and prepare necessary Voices (for Arpeggiator and manual play) in their associated Edit Modes.

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (the LED will light).

2Select “Common” using the Knob [A], then

open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (page 106).

LYRíMode) Mode Arp Layer RcvCh Part01 poly on off 1

ARPíType) Type Tempo Switch Hold Common UpOct1:Sq 120 on off

ZONE4

ZONE2 ZONE3ZONE1

Ch1

Part1

Performance

with Arpeggiator

Recording entire performance

An external MIDI sequencer

Ch2

Part2

Bass Sound Performance

MIDI OUT

Ch4

Performance with

an external MIDI

tone generator

MIDI THRU

in Zones 1 to 4

MIDI IN

Ch3

Part3

Manual solo performance

Ch4

An external

MIDI tone generator

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

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Basics

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3Select “4zone” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(4zone)”).

4Select one of “Zone01” to “Zone04” using the

Knob [A]. As we have selected “4zone” for the Mode parameter, you can now select setting screens for four Zones. Select “Zone01” to get started with the settings.

You can also use the BANK [A] to [D] keys to respectively select “Zone01” to “Zone04.”

Selecting a Zone opens the MKB Transmit page. You may want to select a sub screen to set up a Zone using the [PAGE] knob. But you first specify basic items in the MKB Transmit page, such as MIDI transmit channel, enabling or disabling MIDI output to the internal tone generator and to the MIDI OUT connector.

5Set MIDI transmit channel (TrnsCh) to

“Ch01” using the Knob [C]. Set MIDI output to the internal tone generator (TG) and MIDI OUT (MIDI) both to “on.” These settings can differentiate each Zone from one another, to internally or externally output performance made in each Zone using a separate MIDI channel. Finally, you will separately control sound tones from four zones.

To do this, set “Ch01” to “Ch04” respectively to the “TrnsCh” parameters in the MKB Transmit pages for Zones 1 to 4. For the “TG” and “MIDI” parameters, set both “on” for Zones 1 to 3. For Zone 4, set “off” to “TG” and “on” to “MIDI.” You can switch between multiple MKB Transmit screens using the Knob [A]. Some of basic settings for four zones are now complete.

6Select “Zone01” again using the Knob [A].

Open the MKB Note screen using the [PAGE] knob. In this screen, you can specify a key range for a Zone.

In the MKB Note page, you can also find other parameters such as Note Limit, Transpose, etc. Refer to page 121 for more information about these parameters.

7Set “Note Limit” (zone key range) with the

lowest and highest notes using Knobs [1] (lowest) and [2] (highest). For “Zone01”, select “C-2” for the lowest note and “B1” for the highest.

8Use the Knob [A] to switch to the MKB Note

page for “Zone02”. As in the same manner in step 7, select “C2” for the lowest note and “B2” for the highest.

9Use again the Knob [A] to switch to the MKB

Note screen for “Zone03”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest.

)Use the Knob one more time [A] to switch to

the MKB Note page for “Zone04”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. Note that this key range setting will make a overlapped range with Zone 3.

For detailed settings of a Zone, refer to page 121.

!Turn the Knob [A] and select a Part for a

Zone. In this example, we select Part 1 for Zone 1, Part 2 and Part 3 respectively for Zone 2 and Zone 3. We don’t select any internal Part for Zone 4 since Zone 4 is set only to output performance information via MIDI Out. First, select Part 1 (Part01) for Zone 1.

You can also use the [MEMORY] or PROGRAM/PART keys to select a Part for a Zone (page 104).

@Use the [PAGE] knob and open the MIX Vce

screen, to set up a Voice for performance using the Arpeggiator.

#Use the [PAGE] knob and open the Layer

Mode (LYR Mode) screen. Set the Arpeggiator Switch (Arp) to “on,” Layer Switch (Layer) to “off,” and MIDI receive channel (RcvCh) to “1.” Finally in the Arpeggio type (ARP Type) screen, set the Switch parameter to “on.”

Prepare basic Arpeggiator settings (Type, etc.) in Voice Edit Mode before you set up a Zone setting in Performance Edit Mode.

With settings made in steps ! to #, you can now play the Arpeggiator with a Voice assigned to “Part01” (Part 1) set to MIDI receive channel 1 (RcvCh) when you play in the key range of Zone 1.

MKBíTransmit) TrnsCh TG MIDI Zone01 Ch01 on on

MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano]

MKBíNote)Octave Transpose Note Limit Zone01 +1 +11 C-2 - G 8

LYRíMode) Mode Arp Layer RcvCh Part01 Poly on off 1

Page 55

Basics

Section

$As in the same manner in steps ! to #, set up

for Zone 2. Turn the Knob [A] and select “Part02”. Next go to the Mix Voice (MIX Vce) screen using the [PAGE] knob, and select a Voice for the bass sound. Then, use the [PAGE] knob to open the Layer Mode (LYR Mode) screen and set MIDI receive channel (RcvCh) to “2”. With settings made here, you can now play with the bass sound using a Voice assigned to “Part02” set to MIDI receive channel 2 (RcvCh) when you play in the key range of Zone 2.

%As in the same manner in steps ! to #, set

up for Zone 3. Turn the Knob [A] and select “Part03”. Next go to the Mix Voice (MIX Vce) page using the [PAGE] knob, and select a Voice for manual solo performance. Then, use the [PAGE] knob to open the Layer Mode (LYR Mode) page and set the MIDI receive channel (RcvCh) to “3”. With settings made here, you can now play solo using a Voice assigned to “Part03” set to MIDI receive channel 3 (RcvCh) when you play in the key range of Zone 3.

You don’t need to make further settings for Zone 4 since it is not intended for an internal Part and has already been set to output performance information via the MIDI OUT connector in steps 5 to ). The key range of Zone 4 matches to that of Zone 3 so that solo performance made in that range will be sent on MIDI channels 3 (from Zone 3) and 4 (from Zone 4) via [MIDI OUT] to an external MIDI device.

You can set additional Part settings in Performance Edit Mode. If you have a trouble possibly associated with these settings, such as no sound from a specific Part, confirm any Part settings related to volume, etc. Refer to page 115 for more information about Part settings.

^Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to page 124.

In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the 4-Zone configuration you made above.

Layer

The illustration below shows an example of a Layer configuration. Layer refers to two separate Parts with a overlapped key range, enabling to play unison with these Parts. The following example is to play unison with Voices selected for Part 1 and Plug-in Part. You can make this configuration in the following steps.

Before you set up a Layer configuration in the following procedure, edit and prepare necessary Voices for layers in associated Edit Modes.

Plug-in Voices are available only when you attach an optional Plug-in Board (page 98).

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light).

2Select “Common” using the Knob [A], then

open the General Master Keyboard (GEN M. Kbd) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (Page 106).

3Select “layer” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(layer)”).

4Use Knobs [C] and [1] to respectively set MIDI

transmit channels for the Lower and Upper parameters. Note that Lower and Upper refer to two Parts (Zones) to be layered together. These channel settings can create and send performance information on two separate channels to the internal tone generator and an external MIDI device via the MIDI OUT connector. Here we set “Ch01” for “Lower” and “Ch02” for “Upper.”

You can also use the PROGRAM/PART keys [1] to [16] to select MIDI channels for the Lower and Upper Parts (Page 108).

5Turn the Knob [A] and select a Part. First

select “Part01” for the Upper Part.

6Use the [PAGE] knob and open the Mix Voice

(MIX Vce) screen. Select a Voice for the Upper Part.

MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano]

Layer (Upper)

Layer (Lower)

Part 1

Voice

Plug-in Part

Plug-in Voice

GENíM.Kbd) Mode Lower Upper Point Common split ch01 ch02 C 3

Page 56

Basics

Section

7Use the [PAGE] knob to open the Layer Mode

(LYR Mode) screen. Set the Layer Switch (Layer) to “off” and the MIDI Receiving Channel (RcvCh) to “1.”

If other Parts’ MIDI receive channels (RcvCh) are set to the same ones assigned to two Parts, those Parts will also sound when you play on the keyboard. This might be troublesome if you simply need two layered Parts. To mute unnecessary Parts while you play on the keyboard, set “RcvCh” for those Parts to “off.” You can only play Voices from layered Parts.

8As in the same manner in steps 5 to 7, set

up for the Upper Part. Select “PartPL” for the Lower Part, go to the Mix Voice (MIX Vce) page using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the Layer Mode (LYR Mode) page to set the Layer Switch (Layer) to “off” and the MIDI Receiving Channel (RcvCh) to “2.”

9Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a Performance, refer to page 124.

In Performance Play Mode, recall the Performance you have just saved. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Layer configuration you made above.

Besides the Layer/Zone configuration in Master Keyboard Modes, you can use the Layer Switch (Layer) for each Part to make a Layer configuration that consists of up to four Parts (Page 117).

About Note Limit (Key Range)

Note Limit setups are provided for setting Master Keyboard Mode, Part , and Voice. They are associated to one another as follows.

While using in Master Keyboard Mode, you can control the internal tone generator (or an external MIDI device) according to “Note Limit” in the MKB Note screen. If you limit a Zone’s key range to two octaves, it is as if you connect an external two-octaves keyboard controller to play with the tone generator. Meanwhile, the key range (playable range) of an entire Voice is determined by “Note Limit” in the LYR Limit screen (page 117) for a Part assigned with that Voice. Such a playable range of each Element of a Voice is determined by “Note Limit” in the OSC Limit screen (page 75) available in Voice Edit Mode.

About the Control Sliders

While Master Keyboard Mode is turned on, the Control Sliders [1] to [4] on the front panel are respectively linked to Zones 1 to 4. When these Sliders, for instance, are set to control volumes for their corresponding Zones, you can use them like a mixer’s channel faders to balance volumes of Zones. These Sliders can separately work so that you can assign a different control function to each of them (volume for Zone 1, pan for Zone 2, etc.). You can make such assignments in the MKB Assign screen (Page 122) in Performance Edit Mode.

CONTROL SLIDER

1234

VOLUME

Zone1

2 3 4

Tone generator

Parts

Key range for each Zone

Key range for an assigned Voice

LYR Limit

Part

MKB Note

OSC Limit

Element 1 Element 2 Element 3 Element 4

LYRíMode) Mode Arp Layer RcvCh Part01 poly on off 1

Page 57

Basics

Section

Using as a Multitimbral Tone Generator (Performance Mode)

4Next, use the [PAGE] knob to switch to the

Mix Level screen, then set the volume for the piano Part as well as, if necessary, its pan position, chorus and reverb Send levels. Details are given on Page 115.

5Continue using the [PAGE] knob and switch

to the LYR Mode (Layer Mode) screen. Set the Mode parameter to “poly” (polyphonic), the Layer parameter to “off,” and the RcvCh parameter (MIDI receive channel) to 2.

For Parts that do not require polyphony, the Mode parameter can be set to “mono” (monophonic).

By following steps 2 to 5 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 synthesizer which then plays the Voice for the Part assigned to MIDI channel 2.

6Repeat steps 2 to 5 above, but set up Part 3

for bass and to receive on MIDI channel 3.

7Repeat steps 2 to 5 again, setting up Part 10

for drums and to receive on MIDI channel 10.

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.”

There are many other Part-specific parameters in Performance Edit Mode. Details are given on Page 106.

8Before exiting Performance Edit Mode, you

need to store the settings for the Performance. Details about storing Performances are given on Page 124.

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

Performance Mode lets you use your synthesizer as a multitimbral tone generator for use with computer-based music software or external sequencers. If each track in a song file uses a different MIDI channel, then the Parts in a Performance 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 Performance 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.

The synthesizer’s internal sequencer can be used to play back the song file. The included XGworks lite computer sequencer software can also be used for this, though you need to make sure that the computer has been connected to your synthesizer correctly (Page 12).

1After pressing the [PERFORM] key, press the

[EDIT] key (the respective LEDs will light). You are now in Performance Edit Mode.

Before entering Performance Edit Mode, you need to select a Performance for editing. Also make sure that the [MASTER KEYBOARD] key LED is not lit.

2Use Knob [A] to select Parts. Here, you can

select Part 2 for the piano, Part 3 for bass and Part 10 for drums. First, we will select Part 02.

3Use the [PAGE] knob to switch to the MIX

Vce (Mix Voice) screen, then specify the Voice to be used as the piano Part.

MIXíVce) Memory Number Ctgry Search Part02 PRE1:128(H16)[Pf:GrandPiano]

Song File Performance

Track 1 Track 2 Track 3

(sequencer software)

Piano

Bass

Drums

Personal System/V

PS/V

Computer

Personal System/V

Transmit Ch. 2 Transmit Ch. 3

Transmit Ch. 10

Part 2 Part 3

Part 10

Sequence

player

S30

Piano-type Voice Bass-type Voice Drum Voice

Tone generator

Receive Ch. 2 Receive Ch. 3

Receive Ch. 10

section

LYRíMode) Mode Arp Layer RcvCh Part02 poly on off 2

Page 58

Basics

Section

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 Performance so that you can also play another Part live.

This is the same as the Performance created earlier, but with the addition of another Part for live playback. Regarding settings, the important points are as follows.

• In the Performance created earlier, Parts 2, 3 and 10 were being used. As an example, we will now assign another Part (Part 1) to a solotype Voice.

• At the LYR Mode screen, set the Layer parameter for Part 1 to “on,” and make sure it is set to “off” for Parts 2, 3 and 10.

If you want to manually play multiple (up to four) Parts using some Voices from Parts 4 to 9, 11 to 16 and a Plug-in Part, set those Parts’ Layer Switch parameters to “on.”

• At the GEN MIDI screen, set the LayerCh (Layer Channel) parameter to BasicCh. The Voice for Part 1 can now be played live using the keyboard.

When you play a song file bearing the XG/GM logo (available in the market), you may want to install an optional XG Plug-in Board on the instrument, to enjoy a best playback quality with a wide variety of Voices and Effects. Note that you can install an additional XG Plug-in Board to double polyphonic notes and Effects. In such cases, you do not only enjoy the playback of a song, but also can mute a specific Part from the song file for a “minus-one” setting, which is convenient for practice of solo performance.

Playback using

Song File

Track 1 Track 2 Track 3

Piano

Bass

Drums

Transmit Ch. 2 Transmit Ch. 3

Transmit Ch. 10

Solo-type Voice

Part 2

Piano-type Voice

Part 3

Bass-type Voice

Part 10

Drum Voice Receive Ch. 10

Layer=on

Receive Ch. 2 Receive Ch. 3

Performance

Part 1

keyboard

Page 59

Voice Mode

Voice Play

This mode is used for playing individual voices stored as 256 on-board presets, as well as the Internal (User) Voices, External Voices on Memory Card, and Plug-in Board Voices (optional). This section explains how to select and play voices.

Details about the Voice types and the Voice Memories are given on Page 31.

Voice Play Mode Display

The LCD will display the following in Voice Play Mode. Voice Play Mode consists of 2 screens and the [PAGE] knob can be used to switch to the Voice Search screen.

The contents of each screen are as follows. See page 62 for details about the Voice search screen.

Details about how to enter Voice Play Mode are given on Page 16.

Voice Play Mode

2nd Screen : Voice Search

1.Screen Title

This shows that you are currently in Voice Play Mode.

2.Voice Memory/Number (Bank/Number) Display

Shows the Memory/Voice Program Number (001 to

128) or Bank ([A] to [H])/Program Number ([1] to [16]). For example, in the display shown above, “PRE1:128(H16)” means that the Memory is Preset 1, the voice Program Number is 128, the Bank is H and the Program Number within the Bank is 16.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

VCE Srch) PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

1 2 3

Memory/Voice Program Number

PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset Drums, INT to Internal, EXT to External and PLG to Plug-in Board. All voice Program Numbers within each memory fall in the range 001 to 128. Drum Voices are DR1 to DR8.

Details about Voice Memories are given on Page 31.

Bank/Program Number

Voice Program Numbers 001 to 128 correspond with Banks A to H and Program Numbers 01 to 16. Therefore, you can cycle through Voice Program Numbers 001 to 128 sequentially, or you can select them randomly using a combination of BANK and PROGRAM keys. The relationship between Banks/Program Numbers and Voice Program Numbers is given below.

Voice

Program

Number

Bank

Program

Number

Voice

Program

Number

Bank

Program Number

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

Reference Section

Voice Mode

Page 60

Voice Mode

3.Voice Category/Name

Voice Category

The two characters to the left of the Voice Name denote the category of instrument or sound to which the voice belongs.

Details about Category names are given on Page 65.

Voice Name

This consists of up to 10 characters.

4.Knob Parameter Display

This shows the function assigned to each knob ([A] to [C] and [1]/[2]).

Knobs [1]/[2] may be assigned with several parameters (destinations) from multiple control sets. In this case, the display will show the parameter (destination) from a control set of the smallest number.

Knob Parameter Settings

In Voice Play Mode, each knob ([A] to [C] and [1]/[2]) can be used to adjust the parameter assigned to it. The parameter value is displayed briefly when you move each knob.

Details about assigning parameters to Knobs [A] to [C] are given on Page 41, 129. Details about assigning parameters to Knobs [1]/[2] are given on Page 42, 69.

Octave and MIDI Transmit Channel Settings

In Voice Play Mode, the Octave and MIDI Transmit Channel are shown when pressing the [SHIFT] key.

This lets you set the MIDI Transmit Channel by turning Knob [A] and holding down the [SHIFT] key. The settings for Voice Play Mode are transmitted on this MIDI channel.

The MIDI Transmit Channel can also be set in the MIDI Ch. screen of Utility Mode (Page 130).

Voice Program Selection

There are four ways in which you can choose a Voice.

• Using the BANK/PROGRAM keys

• Using the [DEC/NO] and [INC/YES] keys

• Using the [DATA] knob

• Using the Category Search

Using the BANK/PROGRAM Keys

1Press a MEMORY key to select a Voice Memory.

The Voice Memory indicator in the LCD will blink.

Details about Voice Memories are given on Pages 22, 31.

2Press a BANK key ([A] to [H]) to select a Bank. The

Bank indicator in the LCD will blink.

If you press the [EXIT] key here, the Voice selection process is canceled and the original Voice is reinstated.

If the Bank has already been selected, this step is not required. Details about Banks are given on Pages 22, 31.

3Press a PROGRAM key ([1] to [16]) to select a

Program Number. Voices can be selected by setting the Memory, Bank

and Program Number as explained in the three steps given above. The LCD also displays the selected voice.

12345678

910111213141516

VCE Play) PRE1:128(H16)[Pf:GrandPiano] +63 EQ Mid EQ Hi Cutoff RevTime

SHIFT PAGE

DATAABC1 2

INTPRE 2PRE1

DRUMDRUM

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

INTPRE2PRE1

DRUMDRUM

A. PIANO E. PIANO ORGAN GTR/BASS STRIN GS BRASS SYNTH OTHER

12345678

CDEFGH

PLGEXT

QUICK

ACCESS

PART

ELEMENT

Octave MIDI Transmit Channel

(Oct= +3) PRE1:128(H16)[Pf:GrandPiano] (Tch= 1)

SHIFT PAGE

PART

ELEMENT

910111213141516

VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime

DATAABC1 2

Page 61

Voice Mode

Using [INC/YES] and [DEC/NO] Keys

Press the [INC/YES] key to select the next Voice and the [DEC/NO] key to select the previous one.

The voice is selected by pressing just the [INC/YES] or [DEC/NO] key. This method is useful when selecting a Voice that is located near the currently selected Voice.

The method can also be used to switch to the next or previous Bank. For example, if the current Voice is A16, Voice B01 is selected by pressing the [INC/YES] key. Similarly, if the current Voice is H01, Voice G16 is selected by pressing the [DEC/NO] key.

Using the Data Knob

Turn the [DATA] knob clockwise to increment the currently selected Voice number, or anti-clockwise to decrement it.

The Voice is selected directly and sequentially.

Just as with the [INC/YES] and [DEC/NO] keys, this method can be used to switch to the next or previous Bank.

Selecting Drum Voices

The procedure for selecting a Drum Voice is different to that for selecting a Normal Voice.

Selecting Preset Drums (PRE:DR1~DR8)

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then press PROGRAM key [1] to [8] to select Drum Voice PRE:DR1 (Preset Drum 1) to DR8 (Preset Drum 8).

DATAC12

Decrement

Number

Increment

Number

DEC/NO INC/YES

Previous Number Next Number

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice.

• Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [DATA] knob to select the Drum Voice.

Once you have selected one Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob.

Selecting User Drums (INT:DR1/2 and EXT:DR1/2)

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then press PROGRAM keys [1] to [4] to select, respectively, User Drum Voice INT:DR1 (Internal Drum 1), INT:DR2 (Internal Drum 2), EXT:DR1 (External Drum 1) and EXT:DR2 (External Drum 2).

User Drum Voices on external memory must be loaded from Memory Card.

INTPRE 2PRE1

DRUMDRUM

12345678

910111213141516

PLGEXT

EXT

INTPRE 2PRE1

DRUMDRUM

DEC/NO INC/YES

PLG

EXT

SHIFT PAGE

INTPRE 2PRE1

DRUMDRUM

VCE Play) PRE:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

ELEMENT

PART

PLG

DATAABC1 2

Page 62

Voice Mode

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice.

• Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [DATA] knob to select the User Drum Voice.

Once you have one User Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob.

Using the Voice Category Search

With the Voice Category Search, you can quickly find Voices within a specified Voice Category. For example, if you specify the “Pf” (piano) Voice Category and use the Voice Category Search, you can select from all the voices which fall into the “Pf” Voice Category.

To start the Voice Category Search, first turn the PAGE knob to switch to the Voice Search screen.

If a Plug-In board Voice is currently selected in Voice Play Mode, there is no Voice Search screen available.

EXT

1Turn Knob [B] to select a Voice Memory. 2Turn Knob 1 to select a Voice Category. The Voice

Category in the LCD will blink.

The different Voice Categories are listed on Page 65.

3Use Knob [2], the [INC/YES] and [DEC/NO] keys,

the [DATA] knob and Knob [C] to search for a Voice. The selected voices are called up using each knob and key. The functions of knobs and keys are given below.

Knob [2]:

Use this to switch between Voices in the selected Category. Turn the knob clockwise to increment the voice number and anti-clockwise to decrement it.

[DATA] knob (or [INC/YES] or [DEC/NO] key)

You can scroll through Voices in the specified Category across the Memories. Turning the [DATA] knob clockwise (or press the [INC/YES] key) jumps to the next Voice number in the same Category, in ascending order. Similarly, turning the [DATA] knob anticlockwise (or press the [DEC/NO] key) jumps to the next Voice number in the same Category, in descending order. When you reach to the last (first) Voice in a Memory, you can select the first (last) Voice in that Category in the next (previous) Memory by continuously turning the knob clockwise (anticlockwise) or pressing the [INC/YES] ([DEC/NO]) key.

Knob [C]:

Using the Knob [C], you can select a Voice one by one in the current Memory, likewise for normal Voice selection. Turning the knob clockwise jumps to the next Voice number. Turning the knob anti-clockwise jumps to the previous Voice number.

DEC/NO INC/YES

EXIT ENTER

EF BYPASS

MASTER KEYBOARD

Memory Number Ctgry Search

DATABC1 2

INTPRE 2PRE1

DRUMDRUM

12345678

910111213141516

PLG

VCE Srch) PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

Select a

Voice Memory

Program Number

Select a

Set a

Voice Category

DATAABC1 2

SHIFT PAGE

EXT

INTPRE 2PRE1 PLG

DRUMDRUM

DEC/NO INC/YES

EXT

INTPRE 2PRE1 PLG

DRUMDRUM

VCE Play) INT:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF

ELEMENT

PART

VCE Srch) PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

Page 63

Voice Mode

If the Voice within the selected Category cannot be found within the current Voice Memory, [------] is displayed in the LCD and you will not be able to use Knob [2]. Press the [ENTER] key to start searching in the next Memory.

Using the Quick Access

Details about the Voices that can be selected using Quick Access are given in the separate Data List.

1Press the [QUICK ACCESS] key in Voice Mode. Its

LED will light and Quick Access will be enabled.

Press the key again or switch to another Mode to disable Quick Access.

When you enable Quick Access, the Voice you previously selected using Quick Access is selected again.

If you enable Quick Access while editing a Voice, the Voice is not changed until you select another Voice via Quick Access.

You cannot use the MEMORY keys while Quick Access is enabled.

Use BANK keys [A] to [H] to select the Category. There are eight Categories, as listed below. The Category names are printed below the respective BANK keys.

Use PROGRAM keys [1] to [16] to select the Voice within the specified Category. The name of the Voice is displayed.

Voice Edit

There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following is an explanation of the parameters used to edit each kind of Voice.

Details about Voices are given on Page 31.

The following is displayed when you enter Voice Edit Mode. The displayed screens will vary according to the type of Voice being edited, but basically the [PAGE] knob is used to switch between screens and the parameters on each screen are altered using Knobs [A], [B], [C], [1] and [2]. The [DATA] knob and the [INC/YES] and [DEC/NO] keys can be used to alter parameters in small increments.

While holding down the [SHIFT] key, you can use Knobs [A], [B], [C], [1] or [2] to move the cursor to the respective parameter without changing it’s value. You can also move the cursor using the [DATA] knob or the [INC/YES] and [DEC/NO] keys while holding down the [SHIFT] key.

You need to select the Voice before entering Voice Edit Mode (Page 60). All parameters can be set and stored per Voice.

See page 16 on how to enter Voice Edit mode.

Common Edit and editing each Element

Voices can consist of up to four Elements (Page 32). Use Common Edit to edit the settings common to all four Elements. Voice Edit Mode can be divided into screens for Common Edit and those for editing each Element.

In Voice Edit Mode, Knob [A] is used to switch between the Common Edit screens and the screens for editing each Element.

Common Edit screens

Element 1~4 Edit Screens

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

OSC Wave) Number Ctgry EL1234 001[Pf:Grand 1 ]

Elements 1~4 Indicator

GEN Other) Mode Assign MicroTuning C 1234 poly single 31:Indian

Common Indicator

VCE Quick) INT:017(H01)[Pf:GrandPiano] EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend

QUICK

A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER

CDEFGH

ACCESS

12345678

910111213141516

GEN Name) Ctgry a-Z 0-? Cursor C 1234 [Pf:Init Voice]

SHIFT PAGE

PART

Change pages Set the value

ELEMENT

Choose Common or

Elements 1 to 4

DATAABC1 2

Page 64

Voice Mode

The í Indicator

If you alter any parameters in Voice Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current voice has been modified but not yet stored.

Even if you exit to Voice Play Mode, the edited settings for the current Voice will not be lost so long as you do not select another Voice.

The í indicator will also be displayed in Voice Play Mode, and if any Assignable knobs are used.

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)] key while in Voice

Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the Voice settings prior to editing will temporarily be reinstated for comparison purposes.

While the “Compare” function is enabled, editing will not be possible using knobs [A] to [C] or knob [1]/[2].

2 Press the [EDIT] key again to disable the

“Compare” function and restore the settings for your edited Voice.

The ELEMENT ON/OFF Function

Use this to mute individual Elements within a Voice. For example, you could mute all Elements other than that which you are editing. Thus, you can hear how the edited settings affect just that Element. Details are given on Page 46.

Element1

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. Details about the Voice Store procedure are given on Page 101.

Details about the Edit Recall function are given on Page 100.

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 Voice Job Mode (Page 100).

Normal Voice

When editing Normal Voices, there are 12 settings consisting of six Common Edit settings (common to all four Elements) and six Element-specific settings.

Voice Edit Mode

Common

Common General 65

GEN Name (General Name) 65 GEN Other (General Other) 66

Common Quick Edit 66

QED Level (Quick Edit Level) 66 QED EffectCtrl (Quick Edit Effect Control) 66 QED Filter (Quick Edit Filter) 67 QED EG (Quick Edit Envelope Generator) 67

Common Arpeggio 67

ARP Type (Arpeggio Type) 67 ARP Limit (Arpeggio Note Limit) 68 ARP Mode (Arpeggio Mode) 68 ARP PlayEF (Arpeggio Play Effect) 68

Common Controller 69

CTL Portamento 69 CTL Bend (Pitch Bend) 69 CTL Set1 (Control Set 1) 69 CTL Set2 (Control Set 2) 69 CTL Set3 (Control Set 3) 69 CTL Set4 (Control Set 4) 69 CTL Set5 (Control Set 5) 69 CTL Set6 (Control Set 6) 69

Common LFO (Low Frequency Oscillator) 70

LFO Wave 70 LFO Fade 72 LFO Dest1 (LFO Destination 1) 72 LFO Dest2 (LFO Destination 2) 72

Common Effect 73

EFF InsEF (Insertion Effect) 73 EFF EF1 (Insertion Effect 1) 73 EFF EF2 (Insertion Effect 2) 73 EFF Rev (Reverb) 74 EFF Cho (Chorus) 74

Element

Element OSC (Oscillator) 74

OSC Wave (Oscillator Wave) 74 OSC Out (Oscillator Out) 74 OSC Pan (Oscillator Pan) 75 OSC Limit (Oscillator Limit) 75

Element Pitch 75

PCH Tune (Pitch Tune) 75 PEG VelSens (PEG Velocity Sensitivity) 76 PEG Time 76 PEG Level 76 PEG Release 76 PCH Scale (Pitch Scale) 77

Element Filter 78

FLT Type (Filter Type) 78 FLT HPF (High Pass Filter) 80

Element2

COMMON

Element3

Element4

Edit indicator

GEN Name) Ctgry

Compare indicator

GENîName) Ctgry

Page 65

Voice Mode

Setting the Voice Name

1 Use Knob [2] to move the cursor to the position of

the first character. The selected character will blink.

2 Use Knob [C] to enter an alphabetic character or

Knob [1] to enter a numeric character/symbol.

3 Use Knob [2] to move the cursor to the position of

the next character.

4 Repeat Steps 2 and 3 until all the characters have

been set for your Voice Name.

You can also use the [INC/YES] and [DEC/NO] keys or the [DATA] knob to enter alphabetic and numeric characters as well as symbols.

5 Use Knob [B] to set the Category Name if

necessary. By setting the Category Name, it will be easier to

identify the Voice later. The Category Search function (Page 62) can also be used to search for it. If you do not wish to set a Category Name, the Category will be shown as two hyphens.

Settings for alphabetic and numeric characters and Category Names :

LCD

Pf Cp Or Gt Ba

St En Br Rd

Pi Ld

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