Page 1
MUSIC SYNTHESIZER
OWNER’S MANUAL
OWNER’S MANUAL
Page 2
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may
have either labels similar to the graphics shown below or
molded/stamped facsimiles of these graphics on the enclosure. The
explanation of these graphics appears on this page. Please observe
all cautions indicated on this page and those indicated in the safety
instruction section.
The exclamation point within the equilateral triangle is
intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
The lightning flash with arrowhead symbol, within the
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within
the product’s enclosure that may be of sufficient
magnitude to constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are tested
and approved by an independent safety testing laboratory in order
that you may be sure that when it is properly installed and used in its
normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless
specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed
warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.
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.
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-rechargable
battery which (if applicable) is soldered in place. The average life span
of this type of battery is approximately five years. When replacement
becomes necessary, contact a qualified service representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incinerate this
type of battery. Keep all batteries away from children. Dispose of used
batteries promptly and as regulated by applicable laws. Note: In some
areas, the servicer is required by law to return the defective parts.
However, you do have the option of having the servicer dispose of
these parts for you.
Disposal Notice: Should this product become damaged beyond
repair, or for some reason its useful life is considered to be at an end,
please observe all local, state, and federal regulations that relate to the
disposal of products that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge relating
to how a function or effect works (when the unit is operating as
designed) are not covered by the manufacturer’s warranty, and are
therefore the owners responsibility. Please study this manual carefully
and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location
of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model
number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your
purchase.
Model
Serial No.
Purchase Date
92-469- 1 (rear)
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
S80
3.3V
CARD
POWER AC INLET
ON OFF
Page 3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,
short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• This instrument contains no user-serviceable parts. Do not attempt to disassemble
or modify the internal components in any way.
• Do not expose the instrument to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss
of sound during use of the instrument, or if any unusual smells or smoke should
appear to be caused by it, immediately turn off the power switch, disconnect the
electric plug from the outlet, and have the instrument inspected by qualified Yamaha
service personnel.
• Only use the voltage specified as correct for the instrument. The required voltage is
printed on the name plate of the instrument.
• Always connect the three-pin attachment plug to a properly grounded power source.
(For more information about the main power supply, see page 12.)
• Before cleaning the instrument, always remove the electric plug from the outlet.
Never insert or remove an electric plug with wet hands.
• Check the electric plug periodically and remove any dirt or dust which may have
accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the
instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the power cord near heat sources such as heaters or radiators, and do
not excessively bend or otherwise damage the cord, place heavy objects on it, or
place it in a position where anyone could walk on, trip over, or roll anything over it.
• When removing the electric plug from the instrument or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
• Do not connect the instrument to an electrical outlet using a multiple-connector.
Doing so can result in lower sound quality, or possibly cause overheating in the
outlet.
• Remove the electric plug from the outlet when the instrument is not to be used for
extended periods of time, or during electrical storms.
• Before connecting the instrument to other electronic components, turn off the power
for all components. Before turning the power on or off for all components, set all
volume levels to minimum. 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 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.
(2)-6
Page 4
4
Introduction
Thank you for purchasing the Yamaha S80 Music Synthesizer.
Your new S80 synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the
creation of super-realistic sounds. You can play these sounds over the 88-note fully-weighted
keyboard. It also 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 64)
Explains the parameters in the synthesizer’s various Modes.
Package Contents
• Owner’s Manual (this book)
• Data List
• Performance List
• AC Power cord
• Installation Guide
• CD-ROM
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
5
Basics Section
The Controls & Connectors................................6
Before Use ........................................................12
Power Supply ........................................................12
Connections ..........................................................13
Powering Up..........................................................19
Basic Operations ..............................................21
Selecting a Mode ..................................................21
Selecting a Screen ................................................23
Entering Data........................................................24
Demo Playback ................................................26
Voices and Performances ..................................27
Playing a Voice......................................................27
Playing a Performance..........................................29
An Overview of the S80 ..................................31
Controller Section ................................................31
Sequencer Section ................................................31
Tone Generator Section ......................................32
Effects Section ......................................................34
About the Modes ..............................................35
Voices ................................................................36
An Overview of Voices/Waves ............................37
Waves ....................................................................38
Performances ....................................................39
Ideal for Playing Live ......................................40
1 Arpeggiator ........................................................41
2 Using Controllers ..............................................43
Voice Edit..........................................................50
Effects....................................................................55
Using as a Master Keyboard
(Performance Mode) ........................................57
Using as a Multitimbral Tone Generator
(Performance Mode) ........................................62
Reference Section
Voice Mode........................................................64
Voice Play..............................................................64
Voice Edit ..............................................................68
Voice Job Mode ..................................................105
Voice Store ..........................................................106
Performance Mode ........................................107
Performance Play ..............................................107
Performance Edit ..............................................111
Performance Job Mode ......................................130
Performance Store ..............................................131
Sequence Play Mode ......................................132
Utility Mode....................................................134
Utility Job Mode ................................................141
Card Mode ......................................................142
Appendix
About the Plug-in Boards (Optional) ............148
Display Messages ............................................151
Troubleshooting..............................................152
Specifications..................................................155
Index ..............................................................156
Table of Contents
Basics Section
Reference
Section
Voice Mode
Performance
Mode
Sequence Play
Mode
Utility Mode
Card Mode
Appendix
Page 6
CONTROL SLIDER
1234
VOLUME
PITCH MODULATION
GAIN
.....
A/D INPUT PHONES OUTPUT
L
/
MONO R 1 2
INDIVIDUAL O UTP UT SUSTAIN BREATH TO HOST HOST SELECT
IN OUT
M
IDI
THRU
FOOT
VOLUME
FOOT
CONTROLLER
FOOT
SWITCH
PITCH bend wheel (Page 43)
Controls the pitch bend effect. You can also assign
other functions to this controller.
MODULATION wheel (Page 43)
Controls the modulation effect. You can also assign
other parameters functions to this controller.
[VOLUME] Slider (Page 20)
Adjusts the master volume. Move the slider upwards
to raise the output level from the OUTPUT L/R jacks
and the PHONES jack.
Control Sliders (Page 61)
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.
6
Basics
Section
Basics
Section
Basics Section
The Controls & Connectors
Front Panel
Page 7
CARD
3.3V
DATAPAGE
PART/ELEMENT
ABC12
SHIFT
ASSIGNABLE KNOB
LCD (Liquid Crystal Display)
This is a backlit 2-line display.
[PAGE] knob (Page 23)
Switches between screens in each Mode. Each Mode includes
several screens.
Knobs [A], [B], [C], [1] and [2] (Page 24)
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
46, 136). Knobs [1] and [2] can be assigned control functions that
affect Voices (Pages 47, 74).
[DATA] knob (Page 25)
Use this to increase or decrease the value of the parameter at which
the cursor is positioned.
[SHIFT] key (Page 23)
In Voice or Performance Play Mode, a screen for viewing or setting the
Octave parameter and the MIDI Transmit channel (Page 23) 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 23). 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 24).
7
Basics
Section
Page 8
8
Basics
Section
Basics
Section
EF
BYPASS
M
ASTER
KEYBOARD
EXIT
DEC
/
NO INC/YES
ENTER
STOREVOICE
M
ODE
UTILITY
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPARE
[ENTER] key (Pages 24, 25)
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 24)
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 24)
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.
[EF BYPASS] key (Page 56)
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 135).
[MASTER KEYBOARD] key (pages 57, 111)
The S80 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 S80.
[EXIT] key (Page 23)
The menus and screens of the S80 have a hierarchical structure.
Press this key exit from the current screen and return to the previous
level in the hierarchy.
MODE keys (Page 21)
Press these to keys to select Voice, Performance, Utility or other
Modes.
SEQ controls (Pages 26, 132)
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.
Page 9
9
Basics
Section
POWER
ON / OFF
AC INLET
PLG1EXT
DRUMDRUM
QUICK
ACCESS
INTPRE 2PRE1 PLG2
AB
A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNT H OTHER
CDEFGH
12345678
910111213141516
MEMORY keys (Pages 27, 29, 65, 109)
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 [EXT], [PLG1] and [PLG2] keys can be used
to select the A/D Part, Plug-in 1 Part and Plug-in 2 Part. The [PRE1]
and [PRE2] keys select “Common” (for all Parts).
BANK [A] to [H] keys (Pages
65, 109)
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 51). 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 65, 109)
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 70). In Performance Mode, these keys select Parts [1] to [16],
respectively.
[QUICK ACCESS] key (Page 68)
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.
Page 10
10
Basics
Section
Basics
Section
Rear Panel
POWER AC INLET
ON OFF
CARD
3.3V
POWER switch (Page 19)
Use this to switch the
synthesizer on or off.
FOOT CONTROLLER jack
(Pages 18, 44)
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.
FOOT VOLUME jack (Pages 18, 44)
An optional foot controller (FC7, etc.)
can be connected here. You can
control the output level from the
instrument by foot. In Utility Mode, you
can select Volume or Expression for
this controller.
INDIVIDUAL OUTPUT 1 and 2 jacks
(Page 13)
Line level audio signals are output from
the synthesizer via these phone jacks (1/4"
mono phone plug). The output is
separated from that at the OUTPUT
L/MONO and R jacks. In Performance
Mode, you can specify which Parts can be
output from these separate outputs.
AC INLET terminal (Page 12)
Plug the female end of the
supplied AC power cord in here
before plugging it into an AC
wall outlet.
CARD slot (Page 142)
Insert a Memory Card here to
transfer various data to/from
the instrument. Read
carefully the precautions on
use of a Memory Card (Page
142) before using a card.
MIDI IN, OUT, and THRU connectors (Page 15)
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.
Page 11
11
Basics
Section
MIDI
OUTTHRU IN
HOST SELECT TO HOST BREATH SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
FOOT
VOLUME
Mac
PC-1PC-2
MIDI
INDIVIDUAL OUTPUT
OUTPUT
1 R L MONO PHONES A D INPUT GAIN
2
SUSTAIN jack
(Pages 18, 44)
An optional Foot
Switch (FC4 or
FC5) can be
connected here.
You can use the
Foot Switch as a
damper pedal on
the acoustic piano
or for a sustained
effect.
FOOT SWITCH jack
(Pages 18, 44)
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
53, 165)
PHONES jack (Page 13)
Connect a pair of headphones
here.
OUTPUT L/MONO and R jack
(Page 13)
Line level audio signals are output
via these phone jacks. For
monophonic output, use just the
L/MONO jack.
GAIN knob
(Pages 63
)
Use this to adjust the
input gain of the audio
signals at the A/D INPUT
jack. You may need to
adjust this depending on
the type of device
(microphone, other
instrument output, etc.)
connected when using a
A/D Input Part.
A/D INPUT jack (Page 14)
External audio signals can be input via this
phone jack. When an A/D Input Part is used
in a Performance, signals from devices
connected to this jack can be input in mono.
HOST SELECT switch (Page 16)
Select the type of computer
connected to the synthesizer via
the TO HOST connector .
TO HOST terminal
Connect a computer here using
an optional serial computer cable
(Page 16).
BREATH jack (Pages 18, 44)
Connect an optional breath
controller BC3 here. You
can use the Breath
Controller to change the
output level or tone of the
sounds according to the
strength of your breath.
Page 12
12
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 POWER switch is at the OFF position.
2Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel.
3Connect the other end of the power cord to an AC outlet. Make sure the synthesizer meets the
voltage requirement for the country or region in which it is being used.
Make sure your S80 is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear
panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may
even pose a shock hazard!
Use only the AC power cord supplied with the S80. If the supplied cord is lost or damaged and needs to be
replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard!
The type of AC power cord provided with the S80 may be different depending on the country in which it is
purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding
conductor can create the risk of electrical shock. Do NOT modify the plug provided with the S80. If the plug will
not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats
the grounding conductor.
Power cord
(included)
Rear panel
AC INLET terminal
Basics
Section
Page 13
13
Basics
Section
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.
Connecting to a Mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. These four
outputs can connect to a mixer for separately controlling the outputs of up to four Parts in
Performance Mode (Page 107). You can specify the output routing of each Part in Performance Edit
Mode (Page 111).
Powered speaker (Left) Powered speaker (Right)
Headphones
INPUTINPUT
PHONES
OUTPUT
L/MONO
OUTPUT R
S80
Page 14
14
Basics
Section
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. However, you cannot monitor the
sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.
Connecting a Microphone or Other Audio Equipment
When an A/D Input Part is used in a Performance, signals from devices connected to either of these
jacks can be input in mono.
After the above connections are complete, you are ready to set up for recording. When starting a recording, you
may need to adjust the input gain of the audio source using the GAIN knob. Details about A/D Input, including
how to adjust the input gain, are given on Pages 63, 119.
If you choose the wrong type of input source (Pages 119, 120), you may possibly damage your hearing and/or any
connected audio equipment. Make sure you set this parameter correctly.
Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down.
You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are
given on Pages 63, 119.
Speaker
Amplifier
OUTPUT L
INDIVIDUAL
OUTPUT1
R
INDIVIDUAL
OUTPUT2
R
Headphones
PHONES
L
Mixer
12345678910111213141516LR
OUTPUT L /
MONO
R
S80
CD Player or other audio equipment
(merged to mono internally)
Microphone
(mono devices)
A/D INPUT
S80
Page 15
15
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
S80
HOST SELECT
PC-2 PC-1
MIDI Mac
MIDI OUT
MIDI IN
External MIDI keyboard
or synthesizer
S80
HOST SELECT
PC-2 PC-1
MIDI Mac
MIDI OUT
MIDI IN
External MIDI keyboard
or synthesizer
S80
HOST SELECT
PC-2 PC-1
MIDI Mac
Page 16
16
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
TO
HOST
Serial cable
HOST SELECT
PC-2 PC-1
MIDI Mac
Apple Macintosh
PS422
(Modem or
Printer port)
S80
IBM PC/AT and compatibles
RS-232C
(DB9)
IBM
Personal System/V
PS/V
Personal System/V
TO
HOST
Serial cable
HOST SELECT
PC-2 PC-1
MIDI Mac
S80
External MIDI
sequencer
MIDI OUT
MIDI IN
External MIDI
synthesizer
MIDI THRU
MIDI OUT
MIDI IN
External MIDI synthesizer
HOST SELECT
PC-2 PC-1
MIDI Mac
MIDI IN
S80
Page 17
17
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.
HOST SELECT
PC-2 PC-1
MIDI Mac
MIDI IN
MIDI OUT
S80
Serial cable
PS/V
MIDI
IBM
OUT
MIDI
IN
Computer with MIDI interface
Personal System/V
Personal System/V
HOST SELECT
PC-2 PC-1
MIDI Mac
MIDI IN MIDI OUT
MIDI Interface
MIDI OUT
MIDI IN
Computer
S80
Page 18
18
Basics
Section
Connecting Various Controllers
The S80 has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT
CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot
Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone,
volume, pitch and other parameters.
Details about how to these controllers are given on Page 44.
FOOT
SWITCH
FC4
or
FC5
FC4
or
FC5
FC7 FC7BC3
FOOT
CONTROLLER
FOOT
VOLUME
BREATH
SUSTAIN
MIDI
OUTTHRU IN
HOST SELECT TO HOST BRE ATH SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
FOOT
VOLUME
Mac
PC-1PC-2
MIDI
INDIVIDUAL OUTPUT
OUTPUT
1 R L MONO PHONES A D INPUT GAIN
2
Page 19
19
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 S80 as MIDI receiver:
Switching the S80 On
Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it.
1Press the POWER switch.
2A splash screen is displayed briefly.
3The Voice or Performance Play Mode screen appears next.
VCE Play) PRE1:001(A01)[Sq:Generation]
EQLow-Q EQMid-G EQHi-G FLT-Rez HPF
POWER AC INLET
ON OFF
POWER
ON!!
12 345 678 910111213141516L R
MIDI sender Audio equipment (first mixer, then amplifier)
S80
(MIDI receiver)
Page 20
20
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 135).
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 142).
• Formatting a Memory Card
You cannot use a new Memory Card to save files immediately. The card must be formatted in Card
Mode (Page 147) 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 143.
Page 21
21
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 35.
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
M
ODE
UTILITY
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPA RE
6
43
82
75
1
Play Modes
1 Voice Play Mode (Page 64)
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 107)
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 68)
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 111)
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 22
22
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 105)
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 130)
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 141)
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 134)
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 142)
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 132)
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 106, 131)
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 23
23
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 PA GE 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
EF
MASTER
KEYBO ARD
BYPASS
EXIT ENTER
DEC/NO INC/YES
Page 24
24
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
EF
MASTER
BYPASS
KEYBOARD
EXIT ENTER
DEC/NO INC/YES
EFFíEF1) Ctgry Type [ENTER]
C 1234 MOD Tremolo to Edit
Page 25
25
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)
0
Volume
offset added -10
Actual velocity
offset added +10
2 Velocity offset (relative)
0
-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 26
26
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 12.
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 144)
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 132.
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 27
27
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.
1 [VOICE] key
2 MEMORY key
3 [DEC/NO] and [INC/YES] keys
3 [DATA] knob
PLG1EXT
DRUMDRUM
QUICK
ACCESS
INTPRE 2PRE1 PLG2
AB
A. PIANO
STOREVOICE
EF
BYPASS
M
ASTER
KEYBOARD
M
ODE
UTILITYEXIT
DATAPAGE
PART/ELEMENT
ABC12
SHIFT
ASSIGNABLE KNOB
DEC
/
NO INC/YES
ENTER
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPARE
E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER
CDEFGH
12345678
910111213141516
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)[Pf:StereoGrnd]
EQLow-G EQMid-G EQHi-G ChoSend RevSend
STOREVOICE
M
ODE
UTILITY
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLA Y
PERFORM
COMPARE
2 Press a MEMORY key
to select a Voice Memory
There are six Voice Memories: PRE1 (Preset 1),
PRE2 (Preset 2), INT (Internal), EXT (External),
PLG1 (Plug-in 1), and PLG2 (Plug-in 2). 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.
PLG1EXT
DRUMDRUM
INTPRE 2PRE1 PLG2
PRE1 (Preset 1)
Bank A~H
1~16
Voice
1~16
Voice
1~16
Voice
1~16
Voice
1~16
Voice
1~16
Voice
PLG2 (Plug-in 2)
Bank A~D
EXT (External)
Bank A~H
PRE2 (Preset 2)
Bank A~H
PLG1 (Plug-in 1)
Bank A~D
INT (Internal)
Bank A~H
Page 28
Details about selecting Voices using the [DATA]
knob or the [DEC/NO] and [INC/YES] keys are
given on Page 66.
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 65, 67,68.
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.
2
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.
3
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.
28
Basics
Section
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.
• 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. PLG1 or PLG2 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.
DEC/NO INC/YES
EXIT ENTER
EF
BYPASS
MASTER
KEYBOARD
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
INTPRE 2PRE1 PLG2
DRUMDRUM
To access Preset Drum Voices
(PRE:DR1 ~ DR8)
To access User Drum Voices
(INT:DR1/2, EXT:DR1/2)
PLG1EXT
VCE Quick) INT:017(H01)[Pf:GrandPiano]
EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend
AB
A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER
CDEFGH
12345678
910111213141516
QUICK
ACCESS
Page 29
29
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 extra Parts for A/D
INPUT and Plug-in Boards. If the Layer Switch (Page 123) 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 111). Here, we will show how to
get started with Performance Play after selecting a Performance.
1 [PERFORM] key
2 MEMORY key
PLG1EXT
DRUMDRUM
QUICK
ACCESS
INTPRE 2PRE1 PLG2
AB
A. PIANO
STOREVOICE
EF
BYPASS
M
ASTER
KEYBOARD
M
ODE
UTILITYEXIT
DATAPAGE
PART/ELEMENT
ABC12
SHIFT
ASSIGNABLE KNOB
DEC
/
NO INC/YES
ENTER
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPARE
E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER
CDEFGH
12345678
910111213141516
3 [DEC/NO] and [INC/YES] keys
3 [DATA] knob
1
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
M
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.
INTPRE 2PRE1 PLG2
INT (Internal)
Bank A~H
1~16
Performance
DRUMDRUM
PLG1EXT
EXT (External)
Bank A~D
1~16
Performance
Page 30
30
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 123)
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 66.
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 109.
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
EF
MASTER
KEYBO ARD
BYPASS
EXIT ENTER
DEC/NO INC/YES
DATAABC1 2
Page 31
31
Basics
Section
An Overview of the S80
In this section, an overview of the many features of the S80 is given.
The S80 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 32
32
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 S80 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 37.
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 up to two boards can be installed 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 98).
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. Using these, you can build your own system based on the sounds you
require.
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. You can even install two of these boards to double the
polyphony to 128 notes.
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 33
• 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 Breath Controller (BC3) or
MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind
instruments.
Effect Plug-in Boards
• Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects.
Chorus parts for vocals can be created automatically from chords that have been prepared and
stored as MIDI data. You can also use the synthesizer like a vocoder by connecting and using a
microphone while playing the keyboard.
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.
33
Basics
Section
Page 34
34
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 or A/D Input 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 55.
Voice Mode Performance Mode
Output
Reverb
Chorus
Element
1~4
Insertion
Effects
1
2
System Effects
Reverb
Chorus
Output
Output
Voice1~16
Element
1~4
Insertion
Effects
1/2
1
2
System Effects
A/D Part
Plug-in 1/2 Board
Insertion
Effects
1
Page 35
35
Basics
Section
About the Modes
The S80 has various Modes which you can select according to the task you wish to perform.
STOREVOICE
M
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 64)
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 107)
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 A/D Input and Plugin Parts, as well as AWM2based 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 132)
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 134)
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 142)
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 36
36
Basics
Section
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). Up to two further groups of
Voices are available if optional Plug-in Boards have been installed.
1~16
Voice
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
Plug-in1
(64 Plug-in Voice)
Bank A~D
1~16
Voice
Plug-in2
(64 Plug-in Voice)
Bank A~D
Plug-in
Performance Play Mode
Voice Play Mode
Part
Voice
1
PRE1:
(A01)
2
PRE1:
(A02)
3
PRE1:
(A03)
4
PRE2:
(A01)
5
PRE2:
(A02)
6
PRE2:
(A03)
7
INT:
(A01)
8
EXT:
(A01)
16
PRE1:
(A16)
A/D
Part
Mic
etc.
Plug-in
Part 1
1
Plug-in
Part 2
2
Preset
(8 Preset Voices)
DR 1~8
Drum
Voice
256 Normal +
4 Drum Voice (User)
Page 37
37
Basics
Section
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 32).
The Note Limit settings (Page 80) 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 38
38
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 39
39
Basics
Section
Performances
A Performance consists of up to 19 Parts, each of which can a Normal Voice, Drum Voice, A/D Input
Part or Plug-in 1/2 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, A/D INPUT Part,
Plug-in 1/2 Part
Multiple
Layered Voices
Layer Switch set to on
Performance
Part 1~16, A/D INPUT Part,
Plug-in 1/2 Part
Song
Sequencer
MIDI CH
1~16
CH1
Different Voice
For Each part
CH16
Page 40
40
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 43)
1 Using the Arpeggiator (Page 41)
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.
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 48). Also, you can assign parameters to
Knobs [A], [B], [C], [1] and [2] on the front panel
below the LCD.
Rear Panel
Page 41
41
Basics
Section
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 106, 131) 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
M
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 70).
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
/
ELEMENT
PART
DATAABC12
ARPíType) Type Tempo Switch Hold
Common GateCut2:Ct 92 off off
SHIFT PAGE
/
ELEMENT
PART
DATAABC12
Page 42
42
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 123).
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 48, 136.
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 123) 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
123) to restrict the keyboard range for that Part.
ARPíType) Type Tempo Switch Hold
Common≥BigBeat2:Dr 92 on off
SHIFT PAGE
PART
/
ELEMENT
ARPíLimit) Note Limit
C_ 1234 C -2 - G 8
DATAABC1 2
SHIFT PAGE
DATAABC1 2
PART
/
ELEMENT
ARPíLimit) Note Limit
C_ 1234 A -1 - E 3
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
Arpeggiator Range Area for Playing Melody
Arp Note HighArp Note Low
Page 43
43
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 74).
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
2
Using Controllers
The S80 is equipped with Pitch Bend and
Modulation Wheels. Either of the S80 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
74).
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 74).
Pitch Up
Pitch Down
Pitch Bend
Wheel
Modulation
Wheel
Deeper
Pitch Bend
Wheel
Modulation
Wheel
Page 44
44
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 46, 136). Voice-specific
parameters are assigned to Knobs [1] and [2] (Pages
47, 74).
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 24).
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 61 and 129.
.
CONTROL SLIDE R
1234
VOLUME
Foot Controller
An optional Foot Controller (such as the FC7),
connected to the FOOT CONTROLLER jack
(Page 18) 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 18) 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 48, 136).
Sustain
With an optional Yamaha FC4 or FC5 Foot Switch
connected to the SUSTAIN jack (Page 18) on the
rear panel. This is useful when playing pianotype sounds.
You cannot assign a function other than Sustain to
the SUSTAIN jack.
Foot Volume
Connect an optional Foot Controller (such as the
FC7) to the FOOT VOLUME jack of the rear
panel (Page 18). You can then use your foot to
control Main Volume or Expression parameters,
leaving your hands free to play the keyboard. This
is very useful if you are playing live.
The parameter assigned to the Foot Volume
controller is set in the CTRL Other screen of Utility
Mode (Page 136).
Breath Controller
You can connect an optional Breath Controller
(BC3) to the BREATH jack (Page 18) on the rear
panel . Then use it to control a large number of
the synthesizer’s parameters, particularly those
controlled by a wind player’s breath: dynamics,
timbre, pitch and so on. The Breath Controller is
ideally suited for realistic expression with wind
instrument type Voices.
Breath Controller parameters can be set for each
Voice.
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
Page 45
45
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
MW
(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
MW
(Modulation Wheel)
Src Sw
MW
(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 74).
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 43. 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 75) 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
1
Page 46
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 pre-defined 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 pre-defined 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
or Breath Controller for even more control.
46
Basics
Section
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.
M
ODE
STOREVOICE
PERFORM
OUT IN
MIDI Control
Control Set
Pitch
LFO1 PAN
Pitch Bend
Wheel
Tone Generator
MIDI
CARD
SEQ
PLAY
PLAY
STOP
/
UTILITY
EDIT JOB
COMPA RE
CTRL KnobA) CC# Dest
Sys 01[ModWheel] EQLow-G
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
CTRL KnobA) CC# Dest
Sys 01[ModWheel] REV-Rtn
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
Page 47
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 106).
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.
47
Basics
Section
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 139.
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
M
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
DATAABC1 2
CTLíSet1) Src Dest EL Sw Depth
C 1234 KN1(16) PCH-Crs 1--4 +14
SHIFT PAGE
DATAABC1 2
PART
/
ELEMENT
CTLíSet1) Src Dest EL Sw Depth
C 1234 KN1(16) PCH-Crs 1234 +34
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
Page 48
48
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
M
ODE
UTILITY
EDIT JOB
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPA RE
FC7
SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
FOOT
VOLUME
INDIVIDUAL OUTPUT
OUTPUT
1 R L MONO PHONES A D INPUT GAIN
2
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.
FC4
SUSTAIN
FOOT
SWITCH
FOOT
CONTROLLER
FOOT
VOLUME
INDIVIDUAL OUTPUT
OUTPUT
1 R L MONO PHONES A D INPUT GAIN
2
CTRL Assign2) FC RB
Vce [ModWheel] 01 22
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
Page 49
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 136).
49
Basics
Section
M
ODE
STOREVOICE
PERFORM
CARD
SEQ
PLAY
PLAY
STOP
/
UTILITY
EDIT JOB
COMPA RE
CTRL Other) FS
Sys 088[ ------ ]
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
CTRL Other) FS
Sys 099[PC Inc ]
SHIFT PAGE
DATAABC1 2
PART
/
ELEMENT
Page 50
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 65).
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 105.
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 37). 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
M
ODE
UTILITY
EDIT JO B
PLAY
/
STOP
CARD
SEQ
PLAY
PERFORM
COMPARE
50
Basics
Section
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.
M
ODE
STOREVOIC E
PERFORM
CARD
PLAY
STOP
SEQ
PLAY
/
UTILITY
EDIT JO B
COMPARE
Page 51
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
PLG1EXT
DRUMDRUM
QUICK
ACCESS
INTPR E2P RE1 PLG2
AB
A. PIANO E. PIANO 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
PLG1EXT
DRUMDRUM
QUICK
ACCESS
INTPR E2P RE1 PLG2
AB
A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER
CDEFGH
1234
ELEMENT SELECT ELEMENT ON/OFF
COMMON
Element1
Element2
Element3
Element4
51
Basics
Section
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 24, 69.
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 52
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 ]
52
Basics
Section
• 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 41.
• 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 43.
• 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 75).
• 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 53
53
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 81.
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 83.
• 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 85.
EL1234 C-2 - G 8 1 - 127
Velocity
Element 1
C-2
Element 3
Element 2
Element 4
G8
Level
Cutoff range Cutoff range
Range passed
PEGíTime) Hold Attack Decay1 Decay2
EL1234 127 127 127 127
Release
Time
Release
Level
Time
Attack
Decay1
Level
Decay2
Time
Sustain
Level Key off
Pitch
0
Hold Level
Hold
Time
Attack
Time
Level
Decay1
Time
Center frequency
Time
FEGíTime) Hold Attack Decay1 Decay2
EL1234 127 127 127 127
Release
Level
Level
Hold Level
Attack
Level
Decay1
Level
Sustain
Level Key off
0
Attack
Hold
Time
Time
Decay1
Time
Decay2
Time
Release
Time
Time
Page 54
54
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 88.
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 91.
) 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 each internal memory (PLG1/2) 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 106.
LFOíWave) Wave^ Speed KeySync
EL1234 tri 63 on
PEG FEG
Element 1~4
EffectAMPFILTPICTH
OSC
LFO AEG
PEG FEG
Element
1~4
EffectAMPFILTPICTH
OSC
AEGLFO
Voice
AEGíTime) Attack Decay1 Decay2
EL1234 127 127 127
Release
Time
Release
Level
Time
Level
Attack
Decay1
Level
Sustain
Decay2
Time
Level Key off
Level
Init
Level
0
Attack
Decay1
Time
Time
Store
INT
Normal Voice
(128)
Drum Voice
(2)
EXT
Normal Voice
(128)
Drum Voice
(2)
Page 55
55
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 (PLG1
or PLG2) installed on the instrument, you can
also use a separate Insertion Effect Unit that is
dedicated for each 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 Plugin 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 Plug-in Parts, you
can select and use an Insertion Effect setting
“borrowed” from ones respectively stored with Plugin 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
1
2
2
1
1
2
Chorus
Insertion Effects
Reverb
Page 56
56
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 135). 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
Reverb
Chorus
EF
MASTER
BYPASS
KEYBOARD
EXIT ENTER
DEC/NO INC/YES
Page 57
57
Basics
Section
Using as a Master Keyboard
(Performance Mode)
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 111).
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 113)
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.
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).
LYRíMode) Mode Arp Layer RcvCh
Part01 poly on off 1
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:001(A01)[Pf:StereoGrnd]
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 S80 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 68).
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).
GENíM.Kbd) Mode Lower Upper Point
Common split ch01 ch02 C 3
Split point
Lower Upper
Ch1
Part1
Performance
by Arpeggiator
(C3)
Ch2
Part2
Manual play
Page 58
58
Basics
Section
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 72 for detailed settings of
Arpeggiator.
You can copy (reuse) the arpeggio settings that belong
to the Voice assigned to Part 1 (page 131).
)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 120.
!Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to page 131.
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 4-Zone
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 111).
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)”).
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
MIDI IN
Ch4
Performance with
an external MIDI
tone generator
MIDI THRU
in Zones 1 to 4
Ch3
Part3
Manual solo
performance
Ch4
An external
MIDI tone generator
GENíM.Kbd) Mode Lower Upper Point
Common split ch01 ch02 C 3
Page 59
59
Basics
Section
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 128 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 127.
!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 109).
@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.
$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.
MKBíTransmit) TrnsCh TG MIDI
Zone01 Ch01 on on
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:001(A01)[Pf:StereoGrnd]
LYRíMode) Mode Arp Layer RcvCh
Part01 Poly on off 1
MKBíNote)Octave Transpose Note Limit
Zone01 +1 +11 C-2 - G 8
Page 60
60
Basics
Section
%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 120
for more information about Part settings.
^Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to page 131.
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 1 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 111).
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 113).
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.
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.
GENíM.Kbd) Mode Lower Upper Point
Common split ch01 ch02 C 3
Layer (Upper)
Layer (Lower)
Part 1
Voice
Plug-in 1 Part
Plug-in Voice
MIXíVce) Memory Number Ctgry Search
Part01 PRE1:001(A01)[Pf:StereoGrnd]
LYRíMode) Mode Arp Layer RcvCh
Part01 poly on off 1
Page 61
61
Basics
Section
8As in the same manner in steps 5 to 7, set up
for the Upper Part. Select “PartP1” 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.”
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 120
for more information about Part settings.
9Before exiting Performance Edit Mode, store
above settings in a Performance. For storing a
Performance, refer to page 131.
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 123).
Sometimes, depending on the settings for each Part
of the source Performance, the desired effect may not
be achieved when editing. In this case, check the
following:
• Whether the Note Limit parameters at each Part’s
LYR Limit screen (Page 123) are set to a valid
range
• That the Output parameter at each Part’s LYR Out
screen (Page 123) has been set to “L&R”
If you’ve checked the above but still can’t resolve the
problem, initialize the Performance (Page 130) and
apply the settings again.
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 123) 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
80) 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 129) 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
Page 62
62
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 120.
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 111.
8Before exiting Performance Edit Mode, you
need to store the settings for the Performance.
Details about storing Performances are given on
Page 131.
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 computerbased 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 16).
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
Drums
Personal System/V
PS/V
IBM
Computer
Bass
Personal System/V
Transmit Ch. 2
Transmit Ch. 3
Transmit Ch. 10
or
Part 2
Part 3
Part 10
Sequence
player
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
S80
Page 63
63
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 Plug-in Parts, 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.
Using the A/D Input Part
If you have external sources (such as a microphone
or other audio equipment) connected to the
synthesizer’s A/D INPUT jack, you can use them
as Parts in a Performance.
Continuing with our example, you can add another
Part for vocals by assigning the A/D Input Part.
Therefore, while the song is playing back the piano,
bass and drums, you simultaneously play a solo live
and sing into the microphone. Effects such as
reverb can be added to the A/D Input Part (Pages
119 and 127), so you can assign an effect suited to
the vocals for the song. These effect settings will
also be saved with the Performance.
* You need to set the receive channel to control the A/D
Input Part parameters via MIDI. However, this is not
vital in this example.
Regarding settings, the important points are as
follows.
• Switch to the PartAD (A/D Input Part)
parameters and set the external input source
and template at the MIX Template screen.
There are 13 templates available already with a
variety of gain and effects settings for you to
select from according to the input source. Here,
we will be using the A/D Input Part for vocals
so let’s set the Src (Source) parameter to "mic"
and the Number (Template Number) parameter
to “Karaoke1.”
If you choose the wrong type of input source, you
may possibly damage your hearing and/or any
connected audio equipment. Make sure you set this
parameter correctly.
• Turn the GAIN knob (Page 11) all the way
down, then connect a microphone to the A/D
INPUT jack (MIC/LINE2 jack).
• Turn the GAIN knob back slowly while
singing/talking into the microphone until you
reach an ideal volume level.
There are other settings for controlling the A/D
Input Part via MIDI. Details are given on Page 122.
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 or karaoke.
If you install the optional Effect Plug-in Board
(PLG100-VH), you can create harmonies of up to
three notes for your vocals. By assigning the
harmony channel to the keyboard’s MIDI transmit
channel, you can create vocoder-like effects. Or you
could play back a harmony line using a sequencer to
create a backing chorus for your vocals.
Playback using
keyboard
Song File
Track 1
Track 2
Track 3
Piano
Bass
Drums
Transmit Ch. 2
Transmit Ch. 3
Transmit Ch. 10
Performance
Part 1
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
Song File
Track 1
Track 2
Track 3
Piano
Bass
Drums
Transmit Ch. 2
Transmit Ch. 3
Transmit Ch. 10
Performance
Part 1
Part 2
Part 3
Part 10
A/D Input
Template (karaoke1)
Part
Solo-type Voice
Piano-type Voice
Bass-type Voice
Drum Voice Receive Ch. 10
Source (mic)
Receive Ch. 2
Receive Ch. 3
Layer=on
*
Playback using
keyboard
External
mic input
MIXíTemplate)Src Number
PartAD mic ≥05[Karaoke1 ]
Page 64
64
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 36.
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 67
for details about the Voice search screen.
Details about how to enter Voice Play Mode are given on
Page 21.
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
4
Memory/Voice Program Number
PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset
Drums, INT to Internal, EXT to External, PLG1 to Plugin Board 1 and PLG2 to Plug-in Board 2. 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 36.
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 65
65
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 70.
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 46, 136. Details about
assigning parameters to Knobs [1]/[2] are given on
Page 47, 74.
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 137).
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 27, 36.
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 27, 36.
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 PLG2
DRUMDRUM
VCE Play) PRE1:128(H16)[Pf:GrandPiano]
EQ Low EQ Mid EQ Hi Cutoff RevTime
INTPR E2P RE1 PLG2
DRUMDRUM
AB
A. PIANO E. PIANO ORGAN GTR/BASS STRIN GS BRASS SYNTH OTHER
12345678
CDEFGH
PLG1EXT
PLG1EXT
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 66
66
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 PLG2
DRUMDRUM
12345678
910111213141516
PLG1EXT
INTPRE 2PRE1 PLG2
PLG1EXT
DRUMDRUM
DEC/NO INC/YES
INTPRE 2PRE1 PLG2
DRUMDRUM
VCE Play) PRE:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
SHIFT PAGE
/
ELEMENT
PART
PLG1EXT
DATAABC1 2
Page 67
67
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.
INTPRE 2PRE1 PLG2
1Turn Knob [B] to select a Voice Memory. You can
select Voice Memories other than those on PLG1/2.
2Turn Knob 1 to select a Voice Category. The Voice
Category in the LCD will blink.
The different Voice Categories are listed on Page 70.
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.
If the Voice within the selected Category cannot be found
DRUMDRUM
12345678
PLG1EXT
SHIFT PAGE
VCE Srch) PRE1:128(H16)[Pf:GrandPiano]
Memory Number Ctgry Search
PART
/
ELEMENT
Select a
Voice Memory
Program Number
Select a
Set a
Voice Category
Search
DATAABC1 2
910111213141516
INTPRE 2PRE1 PLG2
DRUMDRUM
DEC/NO INC/YES
PLG1EXT
INTPRE 2PRE1 PLG2
DRUMDRUM
PLG1EXT
VCE Srch) PRE1:128(H16)[Pf:GrandPiano]
Memory Number Ctgry Search
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
EF
MASTER
KEYBOARD
rch) PRE1:128(H16)[Pf:GrandPiano]
Memory Number Ctgry Search
NT
DATABC1 2
BYPASS
EXIT ENTER
DEC/NO INC/YES
VCE Play) INT:001(A01)[Sq:Generation]
EQLow-G EQMid-G EQHi-G FLT-Rez HPF
SHIFT P AGE
/
ELEMENT
PART
DATAABC1 2
Page 68
68
Voice Mode
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
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.
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.
2
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.
3
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.
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 36.
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 65). All parameters can be set and stored per Voice.
See page 21 on how to enter Voice Edit mode.
Common Edit and editing each Element
Voices can consist of up to four Elements (Page 37). 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
GEN Name) Ctgry a-Z 0-? Cursor
C 1234 [Pf:Init Voice]
QUICK
AB
A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER
CDEFGH
ACCESS
12345678
910111213141516
SHIFT PAGE
/
ELEMENT
Change pages Set the value
PART
Choose Common or
Elements 1 to 4
DATAABC1 2
Page 69
69
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 51.
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 106.
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 105).
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 70
GEN Name (General Name) 70
GEN Other (General Other) 71
Common Quick Edit 71
QED Level (Quick Edit Level) 71
QED EffectCtrl (Quick Edit Effect Control) 71
QED Filter (Quick Edit Filter) 72
QED EG (Quick Edit Envelope Generator) 72
Common Arpeggio 72
ARP T ype (Arpeggio T ype) 72
ARP Limit (Arpeggio Note Limit) 73
ARP Mode (Arpeggio Mode) 73
ARP PlayEF (Arpeggio Play Effect) 73
Common Controller 74
CTL Portamento 74
CTL Bend (Pitch Bend) 74
CTL Set1 (Control Set 1) 74
CTL Set2 (Control Set 2) 74
CTL Set3 (Control Set 3) 74
CTL Set4 (Control Set 4) 74
CTL Set5 (Control Set 5) 74
CTL Set6 (Control Set 6) 74
Common LFO (Low Frequency Oscillator) 75
LFO Wav e 75
LFO Fade 77
LFO Dest1 (LFO Destination 1) 77
LFO Dest2 (LFO Destination 2) 77
Common Effect 78
EFF InsEF (Insertion Effect) 78
EFF EF1 (Insertion Effect 1) 78
EFF EF2 (Insertion Effect 2) 78
EFF Rev (Reverb) 79
EFF Cho (Chorus) 79
Element
Element OSC (Oscillator) 79
OSC Wav e (Oscillator Wav e) 79
OSC Out (Oscillator Out) 79
OSC Pan (Oscillator Pan) 80
OSC Limit (Oscillator Limit) 80
Element Pitch 80
PCH T une (Pitch Tune) 80
PEG VelSens (PEG V elocity Sensitivity) 81
PEG Time 81
PEG Level 81
PEG Release 81
PCH Scale (Pitch Scale) 82
Element Filter 83
FL T Type (Filter Type) 83
FLT HPF (High Pass Filter) 85
Element2
COMMON
Element3
Element4
Edit indicator
GEN Name) Ctgry
Compare indicator
GENîName) Ctgry
Page 70
GEN Name (General Name)
You can set a Voice Name consisting of up to 10
characters. You can also select the Category Name to
the left of the Voice Name.
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 67) 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
Category
Unassigned
Piano
Chromatic Percussion
Organ
Guitar
Bass
Strings/Orchestral
Ensemble
Brass
Reed
Pipe
Synth Lead
LCD
Pd
Fx
Et
Pc
Se
Dr
Sc
Vo
Co
Wv
Sq
Category
Synth Pad
Synth Sound Effects
Ethnic
Percussive
Sound Effects
Drums
Synth Comping
Vocal
Combination
Material Wave
Sequence
a b c d e f g h i j k l m n o p q r s
t u v w x y z B C D E F G H I J K L
M N O P Q R S T U V W X Y Z 1 2 3 4
5 6 7 8 9 ! " # $ % & ' ( ) * + , -
. / : ; < = > ? @ [ ¥ ] ^ _ ` { | }
A
0
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
GENíName) Ctgry a-Z 0-? Cursor
C 1234 [Pf:Init Voice]
Choose numeric
characters and symbols
Choose alphabetic
characters
Move the cursor
position
Choose
a Category
Category Name Voice Name
70
Voice Mode
Menu Display
You will see the following if you use the [PAGE]
knob while holding down the [SHIFT] key. Use the
[PAGE] knob to move the cursor to the parameter
you wish to edit, then release the [SHIFT] key to
jump to the screen you were previously at.
Selecting a Menu
On the S80 in Voice Edit Mode, you can directly
select a Menu using the PROGRAM/PART keys, [1]
to [6] and [9] to [15]. Each key has an associated
Menu name shown below it.
Common General
You can set the Voice Name, Voice output settings and other
general parameters in the Common Edit screens. The
following two screens are available for general settings.
GEN Name (General Name)
GEN Other (General Other)
12345678
910111213141516
GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT
OSC PITCH FILTER AMPLITUDE LFO EQ PLG
SHIFT PAGE
PART
/
ELEMENT
DATAABC1 2
GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF
C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ
Cursor
FLT Sens (Filter Sensitivity) 85
FEG VelSens (FEG V elocity Sensitivity) 85
FEG Time 86
FEG Level 86
FEG Release 86
FLT KeyFlw (Filter Key Follow) 86
FLT Scale (Filter Scale Break Point) 87
FLT Scale (Filter Scale Offset) 87
Element Amplitude 88
AEG VelSens (AEG V elocity Sensitivity) 88
AEG Time 88
AEG Level 88
AEG Release 88
AMP KeyFlw (AMP Key Follow) 89
AMP Scale (AMP Scale Break Point) 90
AMP Scale (AMP Scale Offset) 90
Element LFO (Low Frequency Oscillator) 90
LFO Wav e 90
LFO Depth 91
Element EQ (Equalizer) 91
EQ T ype 91
EQ Param (EQ Parameter) 91
Page 71
71
Voice Mode
GEN Other (General Other)
There are various parameters for Micro Tuning and for
controlling how the generated sound is output.
■ Mode
Select monophonic or polyphonic playback.
Select whether the Voice is played back
monophonically (single notes only) or
polyphonically (multiple simultaneous notes).
❏Settings: mono, poly
■ Assign
If you set Key Assign to “single,” the doubled
playback of the same note is prevented. The
synthesizer will terminate a note when the same
note is received again. If you select “multi,” the
synthesizer will consecutively assign each instance
of the same received note to a separate channel,
making multiple part tone generation possible.
❏Settings: single, multi
■ MicroTuning
Set the Micro Tuning (tuning system, or temperament) used
for the Voice. Normally you would use “Equal Temperament”
but there are also 31 other tuning systems available.
❏Settings: (see the following list)
Type Key Comments
Equal temperament
No.
00 The “compromise” tuning used for most of
the last 200 years of Western music, and
found on most electronic keyboards. Each
half step is exactly 1/12 of an octave, and
music can be played in any key with equal
ease. However, none of the intervals are
perfectly in tune.
1/4 shifted28 This is the normal equal tempered scale
shifted up 50 cents.
Twenty–four equally spaced notes per
octave. (Play twenty–four notes to move one
octave.)
Werckmeister25
Kirnberger26
Vallotti & Young27
Pure major C~B01~12
Pure minor A~G# The same as Pure Major, but designed for
the minor scale.
Andreas Werckmeister, a contemporary of
Bach, designed this tuning so that keyboard
instruments could be played in any key.
Each key has a unique character.
Francescantonio Vallotti and Thomas Young
(both mid–1700s) divised this adjustment to
the Pythagorean tuning in which the first six
fifths are lower by the same amount.
Johan Philipp Kirnberber was also
concerned with tempering the scale to allow
performances in any key.
13~24
This tuning is designed so that most of the
intervals (especially the major third and
perfect fifth) in the major scale are pure. This
means that other intervals will be
correspondingly out of tune. You need to
specify the key (C~B) you will be playing in.
1/4 tone29
Forty–eight equally spaced notes per octave.
(Play forty–eight notes to move one octave.)
1/8 tone30
Indian C~B31 Usually observed in the Indian music (white
keys [C~B] only).
GENíOther) Mode Assign MicroTuning
C 1234 poly single 31:Indian
Common Quick Edit
Various parameters control the sonic properties of the
Voice. There are four screens.
QED Level (Quick Edit Level)
QED EffectCtrl (Quick Edit Effect)
QED Filter (Quick Edit Filter)
QED EG (Quick Edit Envelope Generator)
QED Level (Quick Edit Level)
These parameters control the output level (volume)
and pan position of the Voice.
■ Vol (Volume)
Set the output level of the Voice.
❏Settings: 0 ~ 127
■ Pan
Set the stereo pan position of the Voice.
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
■ RevSend (Reverb Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Reverb
effect.
❏Settings: 0 ~ 127
■ ChoSend (Chorus Send)
Set the Send level of the signal sent from Insertion
Effect 1/2 (or the bypassed signal) to the Chorus
effect.
❏Settings: 0 ~ 127
QED EffectCtrl (Quick Edit Effect)
Set the amount of Chorus applied to the entire Voice.
■ Chorus
Set an offset value for the parameters used by each
type of Chorus.
❏Settings: -64 ~ 0 ~ +63
QEDíEffectCtrl) Chorus
C 1234 +63
QEDíLevel) Vol Pan RevSend ChoSend
C 1234 127 C 127 127
Page 72
72
Voice Mode
QED Filter (Quick Edit Filter)
These parameters control filters which affect the tonal
quality of the Voice. If you are using LPF (Low Pass
Filter) and HPF (High Pass Filter) combined together,
the parameters in the QED Filter page only affects LPF.
■ Cutoff
Set the cutoff frequency. The frequency set here will be
a center frequency for signals to be filtered when they
pass through each filter.
❏Settings: -64 ~ 0~ +63
■ Reso (Resonance)
Set the amount of Resonance (harmonic boost)
applied to the signal around the Cutoff frequency.
This is a useful way of adding further character to the
sound.
❏Settings: -64 ~ 0~ +63
QED EG (Quick Edit Envelope Generator)
These four parameters control the change in the output
level of a Voice over the time that a note is played.
■ Attack
Set the transition time from the moment a key on
the keyboard is pressed to the point at which the
level of the Voice reaches its peak.
❏Settings: -64 ~ 0~ +63
■ Decay
Set the transition time from the point at which the
level of the Voice reaches its peak to the point at
which it levels off.
❏Settings: -64 ~ 0 ~ +63
Key on Key off
Attack
Time
Release
Time
Decay
Time
Time
Level
Sustain
Level
QEDíEG) Attack Decay Sustain Release
C 1234 +63 +63 +63 +63
QEDíFilter) Cutoff Reso
C 1234 +63 +63
■ Sustain
Set the level of the Voice maintained while the note
on the keyboard is being held down.
❏Settings: -64 ~ 0 ~ +63
■ Release
Set the transition time from the point at which the
note on the keyboard is released to the point at
which the level of the Voice reaches zero.
❏Settings: -64 ~ 0~ +63
Common Arpeggio
The following four parameters control the behavior of
the Arpeggiator.
ARP Type (Arpeggio Type)
ARP Limit (Arpeggio Note Limit)
ARP Mode (Arpeggio Mode)
ARP PlayEF (Arpeggio Play Effect)
ARP Type (Arpeggio Type)
These are the basic parameters of the Arpeggiator.
■ Type
Set the Arpeggio Type.
❏Settings: (see the separate Data List)
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.”
■ Tempo
Set the Arpeggio Tempo.
❏Settings: 25 ~ 300
[MIDI] is displayed here and the parameter cannot be
altered if MIDI sync is enabled (Page 138).
ARPíType) Type Tempo Switch Hold
C 1234 UpOct1:Sq 120 on on
Page 73
Voice Mode
■ Switch
Switch the Arpeggiator on or off.
❏Settings: off, on
■ Hold
Switch the Arpeggiator Hold on or off.
❏Settings: syncoff (see below), off, on
syncoff
The first time you press a key, the first note of the
arpeggiator pattern is played. From the second and
subsequent key presses, the arpeggiator note that is played
back will depend on the arpeggiator tempo and the timing
of the arpeggio pattern. For example, in the case of a 1-bar
arpeggio pattern, if the second key press falls on the third
beat of the bar, the arpeggio pattern plays back from the
third beat onward. In other words, the first key press is
used to start the arpeggio pattern and thereafter you can
use the key to “mute” or “un-mute” the pattern by,
respectively, holding it down or releasing it. This is
particularly useful when the arpeggiator is being used to
generate drum patterns.
Details about this are given on Page 43.
ARP Limit (Arpeggio Note Limit)
■ Note Limit
Set the lowest and highest notes in the Arpeggiator’s
note range.
❏Settings: C-2 ~ G8 (lowest and highest set separately)
If you specify the highest note first and the lowest note
second, for example “C5 to C4,” then the note range
covered will be “C-2 to C4” and “C5 to G8.”
You can set the lowest and highest notes in the range by
pressing notes on the keyboard while holding down the
[SHIFT] key.
ARP Mode (Arpeggio Mode)
These parameters control the way in which notes are
played back by the Arpeggiator.
■ Key Mode
Set how the Arpeggio is played back when keys on
the keyboard are pressed. There are 3 modes.
❏Settings:
sort:
Plays back notes in ascending order from the lowest key
pressed to the highest.
thru:
Plays back notes in the order in which the keys are pressed.
direct:
Plays back the notes exactly as you play them. If changes
to Voice parameters (such as Pan or Cutoff frequency) are
included in the Arpeggio sequence data, they will be
applied and reproduced whenever the Arpeggio plays back.
ARPíMode) Key Mode Vel Mode
C 1234 sort thru
If the Arpeggio Category is set to Ct, you will not hear
any sounds unless you select “direct” here.
With the “sort” and “thru” settings, the order in which
notes are played back will depend on the Arpeggio
sequence data.
■ Vel Mode (Velocity Mode)
Set the playback velocity of the Arpeggio. There are
2 modes.
❏Settings:
original:
Preset velocities are used in the Arpeggio sequence.
thru:
Velocities of the notes you play are used in the Arpeggio
sequence.
ARP PlayEF (Arpeggio Play Effects)
You can set Play Effects for the Arpeggio. Play Effects
can be used to temporarily adjust the timing and
velocity of MIDI notes, thus affecting the groove of the
Arpeggio pattern.
■ Unit
Adjust the Arpeggio playback time. For example, if
you set a value of 200%, the playback time will be
doubled and the tempo halved. Alternatively, if you
set a value of 50%, the playback time will be halved
and the tempo doubled. Normal playback time is
100%.
❏Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
■ Vel (Velocity)
Set the Velocity offset value (the strength at which
the keyboard is played). This determines how the
original Velocities are increased or decreased during
Arpeggio playback. A setting of 100% means the
original values are used. Settings below 100% will
reduce the velocity of the Arpeggio notes, whereas
settings above 100% will increase the velocities.
❏Settings: 0% ~ 200%
If the Velocity value falls below 1, it will be limited to 1.
If it exceeds 127, it will be limited to 127.
■ Gate (Gate Time)
Set the Gate Time Rate value (the length of a note).
This determines how the original Gate Times are
increased or decreased during Arpeggio playback. A
setting of 100% means the original values are used.
Settings below 100% will shorten the gate times of
the Arpeggio notes, whereas settings above 100%
will lengthen them.
❏Settings: 0% ~ 200%
If the Gate Time value falls below 1, it will be limited to 1.
73
ARPíLimit) Note Limit
C 1234 C-2 - G 8
ARPíPlayEF) Unit Vel Gate
C 1234 50% 200% 200%
Page 74
74
Voice Mode
Common Controller
There are eight Control Settings. You can set the
Controller parameters for Portamento, the Pitch Bend
Wheel, and for each Element in a Voice.
CTL Portamento
CTL Bend (Pitch Bend)
CTL Set1 (Control Set 1)
CTL Set2 (Control Set 2)
CTL Set3 (Control Set 3)
CTL Set4 (Control Set 4)
CTL Set5 (Control Set 5)
CTL Set6 (Control Set 6)
CTL Portamento
Set the Portamento parameters. Portamento will create
a smooth transition in pitch from the first note played
to the next.
■ Switch
Switch Portamento on or off.
❏Settings: off, on
■ Time
Set the pitch transition time. Higher values mean
longer transition times.
❏Settings: 0 ~ 127
■ Mode
Set the Portamento mode. The behavior of the
Portamento varies depending on whether Mode in
GEN Other is set to “mono” or “poly.”
❏Settings: fingered, fulltime
If the Mode in GEN Other is set to “mono”:
fingered:
Portamento is only applied when you play legato (playing
the next note before releasing the previous one).
fulltime:
Portamento is always applied.
If the Mode in GEN Other is set to “poly”:
This is the same as for “mono,” except that Portamento is
applied to multiple notes.
CTLíPortamento) Switch Time Mode
C 1234 on 127 fulltime
CTL Bend (Pitch Bend)
You can set the amount by which the Pitch Bend
Wheel changes the pitch of the Voice.
■ Lower
Set the amount (in semitones) by which the Voice
pitch changes when the Pitch Bend Wheel is moved
downwards. For example, a value of -12 means that
the pitch of the Voice drops by up to an octave when
the Pitch Bend Wheel is moved downwards.
❏Settings: -48 ~ 0~ +24
■ Upper
Set the amount (in semitones) by which the Voice
pitch changes when the Pitch Bend Wheel is moved
upwards. For example, a value of +12 means that
the pitch of the Voice rises by up to an octave when
the Pitch Bend Wheel is moved upwards.
❏Settings: -48 ~ 0~ +24
CTL Set1 (Control Set 1) to CTL Set6
(Control Set 6)
The controllers and knobs on the front panel, the
keyboard, and so on can be assigned a variety of uses.
For example, keyboard aftertouch can be used to
control vibrato and the Modulation Wheel could be
used to control Resonance. They can even be used to
control parameters within individual Elements. These
control assignments are called “Control Sets.” You can
assign up to six different Control Sets per Voice. Thus
there are six screens, each for a separate controller:
CTL Set1 to CTL Set6.
■ Src (Source)
Set the Controller used to control the function chosen
in Dest. The following nine controllers are available.
❏Settings: PB (Pitch Bend Wheel), MW (Modulation
Wheel), AT (Aftertouch), FC (Foot Controller),
FS (Foot Switch), RB (Ribbon Controller), BC
(Breath Controller), KN1/2 (Knobs 1/2)
Control Set 1~6 Element
Keys
Modulation Wheel
Knobs
etc.
1
2
3
4
Controller
Set 1
CTLíSet1) Src Dest EL Sw Depth
C 1234 FC(04) ELFOSpd 1234 +63
CTLíPitchBend) Lower Upper
C 1234 -12 +12
Page 75
75
Voice Mode
■ Dest (Destination)
Set the parameter to be controlled by the Control Set
in Src.
❏Settings: (see the separate “Controls” list)
■ ElemSw (Element Switch)
Select whether the Controller will affect each individual
Element. Move the cursor (blinking) using Knob [1] and
use the [DATA] knob or the [INC/YES] and [DEC/NO]
keys to enable/disable the Elements which the Controller
will affect. Affected Elements are shown by number.
❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or
disabled (“-” displayed)
This is disabled if the Dest parameter is set to 00 to 33.
■ Depth
Set the amount by which the parameter selected in
Dest can be controlled.
❏Settings: -64 ~ 0 ~ +63
Example of Control Set Assignment
Using Control Sets 1 to 6, you can assign individual
Src (Source) controllers to multiple Dest
(Destination) parameters, or multiple Src controllers
to individual Dest parameters.
Ex.1:Use a single Src controller to control multiple
Dest parameters.
Ex.2:Use multiple Src controllers to control a single
Dest parameter.
Details about Control Set Assignments are given in
the Basics Section of this manual (Page 45).
Common LFO (Low Frequency Oscillator)
There are various settings for the LFO. The LFO is
used to generate low frequency signals and can be used
to create vibrato, wah, tremolo and other effects when
applied to pitch/filter/amplitude/etc. parameters. For
example, variations can be simultaneously applied to
both pitch and filter parameters, and to parameters
specific to individual Elements. The following four
settings are available.
LFO Wave
LFO Fade
LFO Dest1 (LFO Destination 1)
LFO Dest2 (LFO Destination 2)
LFO Wave
■ Wave
Select the LFO Wave. Depending on the Wave
selected, you can create different kinds of modulated
sounds. The following 12 LFO waveforms are
available.
❏Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ,
squ2/3, squ3/4, trpzd, S/H 1, S/H 2
tri
saw up
saw dw
squ
LFOíWave) Wave^ Speed KeyReset Phase
C 1234 trpzd 63 on 270
SET1
Src
MW
(Modulation Wheel)MW(Modulation Wheel)
Dest
PAN
SET1
Src
KN1
(Assignable Knob 1)
Dest
PAN
SET2
Src
Dest
LFO
Speed
SET2
Src
KN2
(Assignable Knob 2)
Dest
PAN
Use the Modulation
Wheel to change
both the Pan and
LFO speed
parameters
simultaneously.
Use either
Assignable Knob [1]
or [2] to change the
pan parameter
Page 76
76
Voice Mode
trpzd
S/H 1
S/H 2
■ Speed
Set the speed of the LFO Wave modulation. Higher
values mean faster modulation speeds.
❏Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th note-
triplet), 16th. (16th dot-note), 8th (8th note),
8th/3 (8th note-triplet), 8th. (8th dot-note), 4th
(4th note), 4th/3 (4th note-triplet), 4th. (4th dotnote), 2nd (half note), 2nd/3 (half note-triplet),
2nd. (half dot-note), 4thx4 (whole note), 4thx5
(5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th
notes), 4thx8 (8x4th notes)
Speed = Slow
Speed = Fast
The length of the note depends on the internal or external
MIDI tempo setting.
■ KeyReset (Key on Reset)
Set whether the LFO is reset each time a note is
pressed. The following three settings are available.
❏Settings: off, each-on, 1st-on
off
The LFO is self-running (no synchronization) and starts a
waveform at any phase when you play on the keyboard.
each-on
The LFO resets with each note you play and starts a waveform
at the phase specified by the Phase parameter (see below).
1st-on
The LFO resets with every note you play and starts the
waveform at the phase specified by the Phase parameter
(Show below). If you play a second note while the first
note is being played (Note Off has not been received), the
LFO does not reset to the specified phase (no
synchronization) with the second note and after.
■ Phase
Set the phase at which the LFO Wave starts
whenever a note is played. Phases of
0/90/120/180/240/270 degrees are available.
❏Settings: 0, 90, 120, 180, 240, 270
Time
Phase
Key on (Second Note)
Time
Key on (First Note)
Time
Key on (Second Note)Key on (First Note)
Key on
Time
Time
Time
Page 77
77
Voice Mode
LFO Fade
■ Delay
Set the delay time before the LFO comes into effect.
A higher value means a longer delay time.
❏Settings: 0 ~ 127
Short delay
Long delay
■ FadeIn (Fade-In)
Set the time taken for the LFO effect to be faded in
(after the Delay time has elapsed). A higher value
means a slower fade-in.
❏Settings: 0 ~ 127
Low FadeIn value
Faster fade-in
High FadeIn value
Slower fade-in
FadeIn
Delay
Time
Key on
Max
FadeIn
Delay
Time
Key on
Max
Key on
Key on
LFOíFade) Delay FadeIn Hold FadeOut
C 1234 127 127 127 127
■ Hold
Set the length of time during which the LFO is held
at its maximum level. A higher value means a longer
Hold time.
❏Settings: 0 ~ 127
■ FadeOut (Fade-Out)
Set the time taken for the LFO effect to be faded out
(after the Hold time has elapsed). A higher value
means a slower fade-out.
❏Settings: 0 ~ 127
Low FadeOut value
Faster fade-out
High FadeOut value
Slower fade-out
LFO Dest1 (LFO Destination 1)
LFO Dest2 (LFO Destination 2)
You can assign parameters to be controlled by the LFO
Wave and set the LFO Wave Depth (amplitude). Two
Destinations can be assigned, and you can choose from
several parameters per Destination.
LFOíDest1) Dest ElemSw Depth
C 1234 AMD 1234 127
FadeOut
Time
Key on
Hold
Max
FadeOutHold
Max
Time
Key on
Hold
Time
Max
Page 78
78
Voice Mode
■ Ctgry (Effect Category)
Set the Category of the Effect. Select a desired
Category and press the [ENTER] key. The first Effect
Type in that Category will automatically be recalled.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ Type (Effect Type)
Set the type of Effect. While the Category indicator
is blinking in the display, you can press the
[ENTER] key to recall the first Effect Type in that
Category.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ Dry/Wet
Set the mix level of the wet signal (which has been
passed through the Effects Unit) and the dry signal
(which has not been passed through the Effects
Unit). This may be unavailable, depending on the
selected Effect Type.
❏Settings: D63>W ~ D=W ~ D<W63
Effect Parameter Settings
These parameters are available when you press the
[ENTER] key for certain Effect Types.
Use the [PAGE] knob to switch between screens,
and use the other knobs and the [INC/YES] and
[DEC/NO] keys to set each parameter.
When you press the [EXIT] key, you will be
returned to the Effect Type selection screen.
The number of Parameters and the contents of each
screen will vary depending on the selected Effect
Type. Details are given in the Effect Type
List/Effect Parameter List of the separate Data List.
■ Dest (Destination)
Set the parameters which will be controlled
(modulated) by the LFO Wave.
❏Settings: AMD, PMD, FMD, RESO (Resonance), PAN,
ELFOSpd (Element LFO Speed)
■ ElemSw (Element Switch)
Select whether to allow variations in the LFO Wave
for each Element. Move the cursor (blinking) using
Knob [1] and use the [DATA] knob or the
[INC/YES] and [DEC/NO] keys to enable/disable
LFO Wave variations for Elements 1 to 4. Enabled
Elements are shown by number.
❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or
disabled (“-” displayed)
■ Depth
Set the LFO Wave Depth (amplitude).
❏Settings: 0 ~ 127
Common Effect
You can set two types of Insertion Effects, plus two
System Effects (Reverb and Chorus). The following
five screens are available.
EFF InsEF (Insertion Effect)
EFF EF1 (Insertion Effect 1)
EFF EF2 (Insertion Effect 2)
EFF Rev (Reverb)
EFF Cho (Chorus)
EFF InsEF (Insertion Effect)
■ InsEF Connect (Insertion Effect Connect)
Set up the connection between Insertion Effects 1
and 2. If you change this setting, the symbol
denoting the signal routing (to the left of the setting)
also changes to reflect the new signal flow.
Signal routing symbols
❏Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2),
2➞1 (Insertion Effect 2 to 1)
EFF EF1/2 (Insertion Effect 1/2)
You can select the Effect Category for Insertion Effect
1/2 with the Ctgry parameter and the Effect Type with
the Type parameter. After selecting the Effect Type,
you can set its parameters by pressing the [ENTER] key.
EFFíInsEF) InsEF Connect
C 1234 1=2
1=2 (parallel)
1➞2 (serial)
2➞1 (serial)
EFFíEF2) Ctgry Type Dry/Wet [ENTER]
C 123- DLY:DelayLCR D<W63 to Edit
Effect Type selection screen
EFFíEF2) Ctgry Type Dry/Wet [ENTER]
C 123- DLY:DelayLCR D<W63 to Edit
EXIT ENTER
Parameter settings screen
EFFíEF2) TimeL TimeR TimeC Dry/Wet
DelayLCR 333.3m 166.7m 500.0m D<W63
SHIFT PAGE
/
ELEMENT
PART
DATAABC1 2
Page 79
79
Voice Mode
EFF Rev (Reverb)
You can select the Reverb Effect Type, then press the
[ENTER] key to set its parameters.
■ Type (Reverb Effect Type)
Set the Reverb Effect Type.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ Return
Set the Return level of the Reverb Effect.
❏Settings: 0 ~ 127
EFF Cho (Chorus)
You can select the Chorus Effect Type, then press the
[ENTER] key to set its parameters.
■ Type (Chorus Effect Type)
Set the Chorus Effect Type.
❏Settings: Details are given in the Effect Types list of the
separate Data List.
■ toRev (To Reverb)
Set the Send level of the signal sent from the Chorus
Effect to the Reverb Effect.
❏Settings: 0 ~ 127
■ Return
Set the Return level of the Chorus Effect.
❏Settings: 0 ~ 127
EFFíCho) Type toRev Return [ENTER]
C 1234 Chorus1 127 127 to Edit
EFFíRev) Type Return [ENTER]
C 1234 Basement 127 to Edit
Element OSC (Oscillator)
You can set the parameters for the Elements (Waves)
which make up the Voice. Each Voice can consist of up
to four Elements, and the following four screens are
available for each.
OSC Wave (Oscillator Wave)
OSC Out (Oscillator Out)
OSC Pan (Oscillator Pan)
OSC Limit (Oscillator Limit)
OSC Wave (Oscillator Wave)
You can use Knob [A] to select each Element and Knob
[C] to assign a Wave to it.
■ Number (Wave Number)
Select the Wave Number. The Category and Wave
Name are displayed to the right of the selected Wave
Number. You can assign a different Wave Number
to each of the Elements.
❏Settings: 000 (off) ~ 553 (Details about each Wave are
given in the separate Data List.)
■ Ctgry (Category)
Select the Category containing the Wave you wish to
use. Specify a desired Category and press the
[ENTER] key. The first Wave in that Category will
automatically be selected.
❏Settings: Details about Wave Categories are given on Page
70.
OSC Out (Oscillator Out)
You can set the following output parameters for each
Element of a Voice.
■ Level
Set the output level of each Element.
❏Settings: 0 ~ 127
■ Delay (Key On Delay)
Set the time (delay) between the moment you press a
note on the keyboard and the point at which the
sound is played. You can set different delay times
for each Element.
❏Settings: 0 ~ 127
Short Delay
Key on
OSCíOut) Level Delay InsEF
EL1234 96 0 ins2
OSCíWave) Number Ctgry
EL1234 001[Pf:Grand 1 ]
Page 80
80
Voice Mode
Long Delay
■ InsEF (Insertion Effect)
Set the Insertion Effect to which the output signal
from each Element is sent. The Insertion Effect is
bypassed if you select Thru.
❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion
Effect 2)
OSC Pan (Oscillator Pan)
You can set the following Pan parameters for each
Element in the Voice.
■ Pan
Set the stereo Pan position for each Element (Wave).
This will also be used as the basic Pan position for
the Alternate, Random and Scale settings.
❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
■ Alter (Alternate)
Set the amount by which the sound is panned
alternately left and right for each note you press.
The Pan setting is used as the basic Pan position.
❏Settings: L64 ~ 0 ~ R63
■ Random
Set the amount by which the sound is panned
randomly left and right for each note you press. The
Pan setting is used as the basic Pan position.
❏Settings: 0 ~ 127
■ Scale
Set the amount by which the sound is panned left
and right according to the position of the note on the
keyboard. The Pan setting is used as the basic Pan
position at note C3.
❏Settings: -64 ~ 0 ~ +63
OSCíPan) Pan Alter Random Scale
EL1234 C L64 63 +63
Key on
OSC Limit (Oscillator Limit)
You can set parameters controlling the note range of
each Element and the velocity.
■ Note Limit
Set the lowest and highest notes of the keyboard
range for each Element. Each Element will only
sound for notes played within its specified range.
❏Settings: C-2 ~ G8 (for the lowest and highest notes)
If you specify the highest note first and the lowest note
second, for example “C5 to C4,” then the note range
covered will be “C-2 to C4” and “C5 to G8.”
You can set the lowest and highest notes in the range by
pressing notes on the keyboard while holding down the
[SHIFT] key.
■ Vel Limit (Velocity Limit)
Set the minimum and maximum values of the
velocity range within which each Element will
respond. Each Element will only sound for notes
played within its specified velocity range.
❏Settings: 1 ~ 127 (for the minimum and maximum values)
If you specify the maximum value first and the minimum
value second, for example “93 to 34,” then the velocity range
covered will be “1 to 34” and “93 to 127.”
Element Pitch
You can set parameters governing the pitch of each
Element. The Pitch Envelope Generator (PEG) controls
the change in pitch from the moment a note is pressed on
the keyboard to the point at which the sound has faded out
completely. The following six screens are available.
PCH Tune (Pitch Tune)
PEG VelSens (PEG Velocity Sensitivity)
PEG Time (PEG Time)
PEG Level (PEG Level)
PEG Release (PEG Release)
PCH Scale (Pitch Scale)
PCH Tune (Pitch Tune)
You can set the tuning parameters and the effectiveness
of the Envelope Generator (EG) for each Element.
■ EGDepth
Set the amount of change applied by the PEG. A
setting of zero means the original pitch is not
changed.
❏Settings: -64 ~ 0 ~ +63
PCHíTune)EGDepth Coarse Fine Random
EL1234 +63 + 0 + 0 +7
OSCíLimit) Note Limit Vel Limit
EL1234 C-2 - G 8 1 - 127
Page 81
81
Voice Mode
■ Hold (Hold Time)
Set the Hold Time.
❏Settings: 0 ~ 127
■ Attack (Attack Time)
Set the Attack Time.
❏Settings: 0 ~ 127
■ Decay1 (Decay 1 Time)
Set the Decay 1 Time.
❏Settings: 0 ~ 127
■ Decay2 (Decay 2 Time)
Set the Decay 2 Time.
❏Settings: 0 ~ 127
PEG Level
You can set various Level parameters for the Pitch
Envelope Generator (PEG). Combined with the PEG
Time and PEG Release settings, these can be used control
the change in sound from the moment a note is pressed
on the keyboard to the moment it is released (Page 82).
You can set different values for each Element.
■ Hold (Hold Level)
Set the Hold Level.
❏Settings: -128 ~ 0 ~ +127
(-4800 cents ~ 0 ~ +4800 cents)
■ Attack (Attack Level)
Set the Attack Level.
❏Settings: -128 ~ 0 ~ +127
(-4800 cents ~ 0 ~ +4800 cents)
■ Decay1 (Decay 1 Level)
Set the Decay 1 Level.
❏Settings: -128 ~ 0 ~ +127
(-4800 cents ~ 0 ~ +4800 cents)
■ Sustain (Sustain Level)
Set the Sustain Level.
❏Settings: -128 ~ 0 ~ +127
(-4800 cents ~ 0 ~ +4800 cents)
PEG Release
You can set Release Time and Release Level parameters for
the Pitch Envelope Generator (PEG). Combined with the
PEG Time and PEG Level settings, these can be used
control the change in sound from the moment a note is
released. You can set different values for each Element.
PEGíRelease) Time Level
EL1234 127 +127
PEGíLevel) Hold Attack Decay1 Sustain
EL1234 +127 -128 +127 + 0
■ Coarse
Adjust the pitch of each Element in semitones.
❏Settings: -48 ~ 0 ~ +48
■ Fine
Fine-tune the pitch of each Element.
❏Settings: -64 ~ 0 ~ +63
■ Random
Set the amount by which the pitch of each Element
is varied at random for each note you press. A
setting of zero means the original pitch is not
changed.
❏Settings: 0 ~ 127
PEG VelSens (PEG Velocity Sensitivity)
You can determine how the Pitch Envelope Generator
(PEG) responds to note velocity.
■ Level
Set the velocity sensitivity of the PEG Level.
Positive settings will cause the level to rise the
harder you play the keyboard, and negative values
will cause it to fall.
❏Settings: -64 ~ 0 ~ +63
■ Time-Segment
Set the velocity sensitivity of the PEG’s Time
parameters. Use Knob [2] to select the Segment,
then use Knob [1] to set its Time parameter. Positive
Time settings will play back the specified Segment
faster and negative values will play it back slower.
❏Settings (Time): -64 ~ 0 ~ +63
❏Settings (Segment):
attack:Affects the Hold Time/Attack Time/Decay 1 Time
all: Affects all PEG Time parameters
PEG Time
You can set various Time parameters for the Pitch
Envelope Generator (PEG). Combined with the PEG
Level and PEG Release settings, these can be used
control the change in sound from the moment a note is
pressed on the keyboard to the moment it is released
(Page 82). You can set different values for each
Element.
PEGíTime) Hold Attack Decay1 Decay2
EL1234 127 127 127 127
PEGíVelSens) Level Time-Segment
EL1234 +63 +63 attack
Page 82
82
Voice Mode
■ Center (Center Key)
Set the basic pitch used by the Pitch parameter.
❏Settings: C-2 ~ G8
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
■ EGTime
The EGTime parameter controls the PEG Times for
each Element according to the positions of the notes
on the keyboard. The Center parameter is used as
the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes
to change slower and that of higher notes to change
faster. Negative values will have the opposite effect.
❏Settings: -64 ~ 0 ~ +63
■ Center (Center Key)
Set the basic pitch used by the EGTime parameter.
When the Center Key note is played, the PEG
behaves according to its actual settings. The pitch
change characteristics for other notes will vary in
proportion to the EGTime settings.
❏Settings: C-2 ~ G8
You can also set this parameter by pressing the
respective note on the keyboard while holding down the
[SHIFT] key.
Basic pitch
Higher range
Lower range
Basic pitch
Higher range
Lower range
+
–
Speed of PEG
pitch change
Speed of PEG
pitch change
Positive value
Negative value
+
–
■ Time (Release Time)
Set the Release Time.
❏Settings: 0 ~ 127
■ Level (Release Level)
Set the Release Level.
❏Settings:
-128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)
Pitch Envelope Generator Settings
There are five Time settings (controlling the speed
of changes to the sound) and five Level settings
(controlling the pitch). The pitch of a note is held
at the Hold Level for the length of time defined by
the Hold Time. After the Hold Time has elapsed,
the pitch changes in accordance with the Attack
Time/Level, Decay 1/2 Time and the Decay 1 Level,
then settles at the Sustain Level. When the note is
released, the change in pitch is governed by the
Release Time/Level settings.
Velocity Sensitivity and other parameters can also
be set if required.
PCH Scale (Pitch Scale)
You can set the Pitch Scaling for each Element. Pitch
Scaling is used to vary the Element pitch, PEG Levels
and PEG Times according to the positions of the notes
on the keyboard.
■ Pitch
Adjust the sensitivity of the Pitch Scaling for each
Element according to the position of the note on the
keyboard. The Center parameter is used as the basic
pitch for this parameter.
A positive setting will cause the pitch of lower notes
to change less and that of higher notes to change
more. Negative values will have the opposite effect.
❏Settings: -200% ~ 0 ~ +200% (At +100%,
neighboring notes are pitched one semitone (100
cents) apart.)
PCHíKeyFlw)Pitch-Center EGTime--Center
EL1234 100% C 3 +7 C 3
0
Release
Level
Attack
Level
Hold Level
Attack
Time
Hold
Time
Decay1
Time
Decay2
Time
Release
Time
Decay1
Level
Sustain
Level Key off
Time
Pitch
Large
Small
Higher range
Lower range
Speed of
pitch change
Center (Basic Pitch)
+
—
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