Yamaha S90E1 User Manual

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Page 1

MUSIC SYNTHESIZER

Basics SectionQuick GuideReferenceAppendix

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.

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.

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:

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.

All Yamaha electronic products are tested

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 nonrechargable 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.

POWER ON/ OFF

AC INLET

THRU OUT IN

GREEN

MIDI

YELLOW

Plug-in SLOT

ORANGE

RRL/MONO PHONES

A/D INPUT12

GAIN

ASSIGNABLE

BREATH

SUSTAIN

ASSIGNABLE

OUTPUT OUTPUT

FOOT CONTROLLER

FOOT SWITCH

3.3V

CARD

USB

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.

92-469-1(rear)

Model

Serial No.

Purchase Date

Page 3

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING-

basic precautions should always be followed. These precautions include, but are not limited to, the following:

Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

Do not attempt to service this product beyond that described in

the user-maintenance instructions. All other servicing should be referred to qualiﬁed service personnel.

Main Power Supply Veriﬁcation: Yamaha products are manufactured speciﬁcally for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage veriﬁcation and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

DANGER-

grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!

WARNING:

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

Ventilation: Electronic products, unless speciﬁcally designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.

Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.

When using any electrical or electronic product,

Grounding Instructions: This product must be

Do not place this product or any other objects on

This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

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

The power supply cord (plug) should be disconnected from

10.

the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity.

11.

Care should be taken that objects do not fall and liquids are

not spilled into the enclosure through any openings that may exist.

12.

Electrical/electronic products should be serviced by a

qualiﬁed service person when:

a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have

been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked

change in performance; or e. The product has been dropped, or the enclosure of

the product has been damaged.

This product, either alone or in combination with an ampliﬁer

13.

and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

14.

Some Yamaha products may have benches and/or accessory mounting ﬁxtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional ﬁxtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

92-469-3

PLEASE KEEP THIS MANUAL

Page 4

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

ARNING

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:

Power supply/Power cord

• Only use the voltage speciﬁed as correct for the instrument. The required voltage is printed on the name plate of the instrument.

• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

• Use only the supplied power cord/plug.

• 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.

Do not open

• This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.

Water warning

• 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.

• Never insert or remove an electric plug with wet hands.

Fire warning

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

If you notice any abnormality

• 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.

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:

Power supply/Power cord

• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 14.)

• 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.

• Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms.

• 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.

(2)-8

Location

• 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 in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio may generate noise.

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

• Before moving the instrument, remove all connected cables.

• 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 place objects in front of the instrument’s air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating.

1/2

Page 5

Connections

• 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.

Maintenance

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning ﬂuids, or chemical-impregnated wiping cloths.

Handling caution

• Do not insert a ﬁnger or hand in any gaps on the instrument.

• Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualiﬁed Yamaha service personnel.

• 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.

• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

Saving data

Saving and backing up your data

• DRAM data (see page 27) is lost when you turn off the power to the instrument. Save the data to the Flash ROM (USER memory; see page 73).

Saved data may be lost due to malfunction or incorrect operation. Save important data to a Memory Card (SmartMedia).

Never attempt to turn off the power while data is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is shown). Turning the power off in this state results in loss of all user data and may cause the system to freeze (due to corruption of data in the Flash ROM).

When you exit from the Utility mode or Favorite Category function, the parameter you changed in the display is automatically stored. However, this edited data is lost if you turn off the power without properly exiting from the display.

Backing up the Memory Card (SmartMedia)/ external media

•To protect against data loss through media damage, we recommend that you save your important data onto two Memory Cards (SmartMedia)/external media.

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)-8

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Page 6

Introduction

Thank you for purchasing the Yamaha S90 Music Synthesizer. sophisticated functions, we suggest you read through this manual thoroughly. so that you can regularly refer to it when necessary.

In order to get the most out of your new S90 and its

Also keep it in a safe, convenient place

Package Contents

• AC Power cord • CD-ROM x 2 • Installation Guide

• Owner’s Manual • Data List

About the Included CD-ROM

Application software for your S90 is included on this CD-ROM. The Voice Editor lets you edit the Voices of the S90 with a highly intuitive graphical interface, and a File Utility, which lets you easily transfer data between the memory card and a computer. With the included sequencing software (Windows only), you can easily create and edit your own original songs on your computer. For details, refer to the separate Installation Guide or the on-line manual included with the software.

Never attempt to play back the CD-ROM on an audio CD player. Doing so may result in damage to your hearing as well as to your CD player/audio speakers.

Main Features

• Wide range of dynamic and authentic voices — over 512 in total, with 49 drum kits (page 25). Use the Category Search function to quickly call up the sounds you want, based on their instrument type (page 38).

•Performance mode lets you use four different voices together — in layers or in a keyboard split (page 25).

• Extensive effect processing, with Reverb (12 types), Chorus (25 types), two separate Insertion sections (total 104 types), a Variation section (25 types), and a Master 5-band EQ (page 67).

• Comprehensive real-time control with four sliders — letting you adjust ﬁlter, levels, effects, EG, and more, while you play (page 53).

• The built-in Arpeggio feature not only puts a wealth of hip rhythmic sequences at your ﬁngertips, it even has special “human” patterns — such as guitar strumming and woodwind trills (page 45).

• Master mode for using the S90 as a master keyboard controller (with independent Zones), and for easily reconﬁguring the instrument between Voice/Performance play and Sequence Play in live applications (page 48).

•Exceptionally easy-to-understand interface with two-tiered operation buttons: [F1] - [F6] and [SF1] - [SF5] (page 32)

•Remote Control — for operating your favorite sequencing software from the panel controls of the S90. Mute tracks, control transport (Play, Stop, etc.), mix both MIDI and audio tracks (up to 16) with the S90’s sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse (page 57).

• Three Modular Synthesis Plug-in System slots let you upgrade the S90 with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored to the S90, ready to be played as soon as you install the proper board (page 25).

• Comprehensive I/O terminals — including assignable outputs, audio inputs, MIDI, USB for multi-port connection to a computer, and SmartMedia card slot for data storage.

• Expansion bay for optional mLAN — Yamaha’s new mLAN interface technology makes it possible to transfer all your digital audio and MIDI data via a single broad-band cable.

• Naturally responsive 88-Key Balanced Hammer Effect Keyboard (with Aftertouch), drawing on our extensive experience and expertise in piano-making.

Page 7

About This Manual

This manual consists of the following sections.

■

Basics Section (page 12)

This section provides an overview of the main functions and features of the S90 and introduces you to the basic operating conventions.

■

Quick Guide (page 36)

This section explains how to use the basic functions.

■

Reference (page 98)

The S90 encyclopedia. This section explains all functions and parameters.

■

Appendix (page 114)

This section contains detailed information on the S90 such as MIDI, instructions for installing optional equipment, Display Messages, Troubleshooting and Speciﬁcations.

■

Installation Guide (separate booklet)

Refer to this for instructions on installing the included software programs (on the CD-ROM) to your computer.

■

Data List (separate booklet)

This contains various important lists such as the Voice List, Wave List, Performance List, and MIDI Implementation Chart.

About the Reference Numbers

In addition to the regular page references, this manual also includes special Reference Numbers (e.g., Ref. #15). These let you easily and quickly cross-reference the corresponding parameters in the Parameter Table on page 93. (For more information, also see page 96.)

●

Copying of commercially available music sequence data and/or digital audio ﬁles for any purpose other than your own personal use, is strictly prohibited.

●

This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others’ copyrights. Such copyrighted materials include, without limitation, all computer software, styles ﬁles, MIDI ﬁles, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES.

●

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 name “mLAN” and its logo are trademarks of Yamaha Corporation.

●

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

Page 8

Application Index

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

■

Listening/Playing

• Listening to Demo songs .............................................................................................................................................. Demo Playback (Page 19)

• Playing the voices..................................................................................................................................................................................... (Page 36)

• Calling up Voices in a desired instrument group.......................................................................Using the Voice Category function (Page 38)

• Playing songs from memory cards ......................................................................................................................................................... (Page 75)

•

Converting Standard MIDI ﬁle from format 1 to format 0

• Using as a Master keyboard....................................................................................................................................................................(page 48)

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

· In Master mode

· In Performance mode ........................................................................................................................................................................... (Page 42)

· In Voice mode .................................................................................................................................................................... Note Limit (Page 62)

• Layering several voices (Parts together)

· In Master mode

• Changing the keyboard played part

In Master mode

In Sequence Play mode......................................................................................................................................... Song track selection (Page 76)

• Selecting the touch sensitivity (Global setting) ...................................................................................................................................(Page 87)

• Changing the volume response to your playing strength — getting high volume from soft playing or soft volume from strong playing

(for each Voice/Performance).........................

• Playing Arpeggios..................................................................................................................................................................................... (Page 45)

• Setting Arpeggio MIDI OUT on/off

· Voice setting

· Performance/Mixing setting.................................................... Output Switch (Performance/Mixing Common Edit [F3]

• Changing the Arpeggio tempo (compared to Song tempo) .........................................................................................................................

................................................................................................ Unit Multiply (Voice/Performance/Mixing Common Edit [F3]

..................................................................................................................................................................................... (Page 51)

..................................................................................................................................TransCh (Master Zone Edit [F1] Ref. #25)

Velocity Depth/Velocity Offset (Performance/Mixing Part Edit [F1]

............................................................................................................................... Output Switch (Utility [F3]

...... The separate Installation Guide and the File Utility Owner’s Manual (PDF)

→

[SF5] Ref. #39, #40)

→

[SF2] Ref. #86)

→

[SF4] Ref. #86)

→

[SF3] Ref. #83)

■

Using controllers

• Connecting controllers .................................................................................................................................................................. (Page 18)

• Setting the Pitch Bend Range..............PB Upper/Lower (Voice Common Edit, Performance/Mixing Part Edit [F1]→[SF5] Ref. #14)

• Using a Foot Controller/Footswitch to control parameters.........................................................................................................(Page 54)

• Using a Footswitch to start/stop the sequencer..................................................................................FS (Utility [F4]→[SF3] Ref. #130)

• Using a Footswitch to advance through Voice/Performance/Master programs................................FS (Utility [F4]→[SF3] Ref. #130)

• Using a Footswitch to start/stop the Arpeggio ...................................................................................FS (Utility [F4]→[SF3] Ref. #130)

• Using Remote Control function for external sequencer.............................................................................................................. (Page 57)

• Maintaining the controller state/position when you switch between voices .............. Controller Reset (Utility [F1]→[SF4] Ref. #24)

• Setting the Controllers...................................................................................................................................................................(Page 55)

• Using Control Sliders.....................................................................................................................................................................(Page 53)

■

Copying

• Copying the Voice Effect/Arpeggio settings to the Performance mode ............................................. Using the copy function (Page 71)

• Copying Performance Part parameters to Parts in the Mixing mode.......................................................... Performance Copy (Page 72)

• Copying Element/Key parameter settings of the Voice to another Element/Key ...................................................................... (Page 71)

• Copying Part parameter settings of the Performance/Mixing to another Part........................................................................... (Page 71)

■

Changing the sound

• Editing a Voice .............................................................................................................................................................Voice Edit (Page 60)

• Effect structure and signal ﬂow.............................................................................................................................Using Effects (Page 67)

• Editing the effect settings.................................................................................................................Example of Effect Settings (Page 67)

• Adjusting the Voice sustain..............................................................................................................................AEG REL TIME (Page 66)

• Getting a brighter sound ................................................................................................................................................... Cutoff (Page 63)

• Getting a more pronounced effect ............................................................................................................................. Resonance (Page 63)

Application Index

Page 9

• Simulating monophonic instruments.............Mono/Poly (Voice Common Edit, Performance/Mixing Part Edit [F1]

• Setting the stereo pan position............................................................................................................................................. Pan (Ref. #44)

• Changing the Element/Part that is sounded according to the velocity............................................................................... Velocity Limit

In Voice Mode ................................................................................................................................................................................ (Page 62)

In Performance/Mixing Mode ............................................................................ (Performance/Mixing Part Edit [F1]→[SF3] Ref. #33)

• Getting a smooth transition in pitch from one note to the next.................................................................................................................

......................... PORTA Switch/Time (Voice /Performance Common Edit, Performance/Mixing Part Edit [F1]→[SF4] Ref. #7-#11)

• Synchronizing the LFO to the tempo of the Arpeggio or sequencer .......... Tempo Sync (Voice Common Edit [F5]→[SF1] Ref. #161)

• Modulating the Resonance according to the LFO settings....................... LFO Dest (Voice Common Edit [F5]→[SF3/4/5] Ref. #170)

• Editing Voices using a computer............................ See separate Installation Guide and Voice Editor for S90 Owner’s Manual (PDF)

• Setting the User LFO...........................COMMON LFO (See separate Installation Guide and Voice Editor for S90 Owner’s Manual)

■

Changing the pan position

• Moving the pan position alternately each time a key is played .........Alternate Pan (Voice Element/Key Edit [F4]

• Moving the pan position randomly each time a key is played .............Random Pan (Voice Element/Key Edit [F4]

• Moving the pan position according to the key position ......................... Scaling Pan (Voice Element/Key Edit [F4]→[SF1] Ref. #138)

• Modulating the pan position according to the LFO settings.................... LFO Dest (Voice Common Edit [F5]→[SF3/4/5] Ref. #170)

■

Changing the pitch

• Transposing the sound/Adjusting the pitch (tone generator settings)

· Voice (Element) settings ............................................................... Coarse/Fine (Voice Element/Key Edit [F2]→[SF1] Ref. #59, #60)

· Plug-in Voice, Performance/Mixing (Part) settings...................................................................................................... (Ref. #41, #153)

· Global setting .......................................................................................................................... Note Shift (Utility [F1]→[SF1] Ref. #41)

• Transposing the keyboard

· Global Setting..........................................................................................................................Transpose (Utility [F1]→[SF2] Ref. #18)

· Master Setting................................................................................................................... Transpose (Master Zone Edit [F2] Ref. #18)

• Adjust the tuning to other instruments ......................................................................................... Tune (Utility [F1]→[SF1] Ref. #216)

• Setting the all notes (keys) to the same pitch ......................................................PitchSens (Voice Element Edit [F2]→[SF4] Ref. #70)

• Setting the tuning system for the voice ......................................................... Micro Tuning (Voice Common Edit [F1]→[SF2] Ref. #5)

→

[SF2] Ref. #3)

→

[SF1] Ref. #136)

→

[SF1] Ref. #137)

■

Setting the volume/level

• Adjusting the total volume.............................................................................................................. MASTER VOLUME slider (Page 14)

• Adjusting the global volume.......................................................................................................... Volume (Utility [F1]

• Adjusting the Performance volume (affects all parts)..................................................... Volume (Common Edit [F2]

• Adjusting each part’s volume.................................................................................................... Volume (Part Edit [F2]→[SF1] Ref. #43)

• Adjusting the Voice volume (affects all elements)........................................................................Volume (Common Edit [F2] Ref. #43)

• Adjusting each element/key’s volume......................................................................... Level (Element/Key Edit [F4]→[SF1] Ref. #135)

• Adjusting the volume by using Control Sliders ...........................................................................................................................(Page 53)

• Adjusting the output gain of OUTPUT jacks ................................. L & R Gain, Assign L/R Gain (Utility [F2]→[SF2] Ref. #55, #56)

■

Setting the sound of a drum voice

• Setting the drum key for independent open and closed hi-hat sounds ............. Altnate Group (Voice Key Edit [F1]

• Setting the key release response: Enabling a sound to decay naturally even when a key is released, or having the sound cut off when

key is released ......................................................................................................... Rcv Note Off (Voice Key Edit [F1]

■

Selectively disabling sounds

• Keeping certain elements from sounding temporarily during editing....................................................... Mute function (Pages 30, 61)

•

Disabling the sound of speciﬁc elements/parts........... Element Sw/Part Sw (Voice Element/Key Edit, Performance Part Edit [F1]→[SF1] Ref. #28)

• Keeping certain Performance parts from sounding temporarily................................................Performance Part on/off (Pages 30, 42)

• Keeping certain Song parts from sounding temporarily.......................................................................Song Track on/off (Pages 30, 76)

• Disabling the sound of speciﬁc Song parts.......................................................................................................................RcvCh (Page 80)

■

Convenient editing functions

• Creating a completely new Voice/Performance from scratch......................................................................................Initialize (Page 70)

•

Listening to the difference between the Voice/Performance with your edited settings and the same Voice/Performance prior to

editing.............................................................................................................................................................Compare Function (Page 61)

• Restore the voice/Performance with your latest edits intact ........................................................................................... Recall (Page 71)

→

[SF1] Ref. #43)

→

[SF1] Ref. #43)

→

[SF5] Ref. #38)

→

[SF5] Ref. #37)

Application Index

Page 10

■

Entering data

• Entering characters (Program/File Name Settings) ............................................................................................................ (Pages 34, 84)

■

Saving data

• Storing the edited data to the S90’s internal (USER) memory................................................................................................... (Page 73)

• Saving S90 settings to Memory Card............................................................................................................................................ (Page 82)

• Saving S90 settings to an external device such as a computer............................................................................... Bulk Dump (Page 72)

• Saving Board voices.......................................................................................................................................................................(Page 73)

■

Connecting the S90 to other devices

• Connecting a computer ..........................................................................................................Connecting a Personal computer (Page 17)

• Setting Local Control On/Off............................................................................................. Local Control (Pages 18, Utility [F5]→[SF2])

• Using the S90 as a multitimbral tone generator ..........................................................................................................................(Page 80)

• Editing Voices using a computer........................... The separate Installation Guide and Voice Editor for S90 Owner’s Manual (PDF)

• Using the included sequencing software (Windows only)............ The separate Installation Guide and the application’s on-line help

• Setting the S90 to either receive or ignore program changes from an external device

· Voice settings ...........................................................................................Pgm Change/BankSel (Utility [F5]→[SF2] Ref. #180, #181)

· Performance/Mixing settings...................................................................... RCV SW (Performance/Mixing Part Edit [F5] Ref. #175)

• Determining whether or not the S90 sends program changes to an external device

· Voice settings ...........................................................................................Pgm Change/BankSel (Utility [F5]→[SF2] Ref. #180, #181)

· Master settings........................................................................................................................ TXSW (Master Zone Edit [F3] Ref. #89)

• Determining whether or not an external sequencer starts/stops when starting/stopping the S90’s sequencer .....................................

.....................................................................................................................................................SeqCtrl (Utility [F5] → [SF3] Ref. #187)

• Determining whether or not the S90’s sequencer starts/stops when starting/stopping an external sequencer ....................................

.....................................................................................................................................................SeqCtrl (Utility [F5] → [SF3] Ref. #187)

• Determining whether or not Song/Arpeggio playback is synchronized to an external MIDI device’s clock

...............................................................................................................................................MIDI Sync (Utility [F5] → [SF3] Ref. #185)

■

Resetting parameters (Initializing)

• Initializing Voice/Performance/Mixing/Master parameters....................................................................................... Initialize (Page 70)

• Formatting Memory Card..............................................................................................................................................................(Page 82)

• Resetting the S90 to its default settings.......................................................................Factory Set (Restore Factory Defaults) (Page 72)

■ Installing and using optional hardware

• Installing the Plug-in Board ........................................................................................................................................................(Page 124)

• Using two or three identical Plug-in Boards as one board to increase polyphony.....................................................................................

..............................................................................................................................................Poly Expand (Utility [F6]→[SF1] Ref. #206)

• Installing the mLAN8E ...............................................................................................................................................................(Page 126)

■ Quick solutions and reference materials

• Global functions of the Function List ............................................................................................................................(Pages 88 and 98)

• S90 parameter structure and the Reference Number......................................................................................Parameter Table (Page 92)

• Reference Number (Ref. #) and its page reference ......................................................................................................................(Page 96)

• Function Tree ................................................................................................................................................................................ (Page 88)

• Display Indications........................................................................................................................................................................ (Page 30)

• NUMBER Button functions..........................................................................................................................................................(Page 30)

• Memory Structure – indicating where various settings are stored...............................................................................(Pages 25 and 27)

• Voice/Performance Structure........................................................................................................................................................(Page 26)

• Filter Types....................................................................................................................................................................................(Page 63)

• Category List

· Voice/Performance ..................................................................................................................................................................... (Page 35)

· Arpeggio......................................................................................................................................................................................(Page 45)

• Lists of the Voices, Performances, Waves, Arpeggio types, Effect types, etc........................................................The separate Data List

• File types that can be handled.......................................................................................................................................................(Page 83)

• General information on MIDI .............................................................................................................................. About MIDI (Page 118)

• Information Displays................................................................................................................................................................... (Page 114)

• Meaning of the display messages..................................................................................................................Display Messages (Page 116)

• Troubleshooting...........................................................................................................................................................................(Page 128)

Application Index

Page 11

Table of Contents

Basics Section ............................. 12

The Controls & Connectors ..................................... 12

Top Panel ...................................................................................12

Rear Panel .................................................................................13

Setting Up ................................................................ 14

Power Supply .............................................................................14

Power-on Procedure ..................................................................14

Turning on the S90 ...................................................................14

Connections .............................................................. 15

Demo Playback ........................................................ 19

Overview of the S90 ................................................ 20

Controller ...................................................................................20

Tone Generator .........................................................................20

Effects ........................................................................................ 24

Card Drive/Sequencer ..............................................................24

Voices & Performance ............................................. 25

Bank (Memory) Structure ........................................................25

Overview of Voice/Element/Performance ..............................26

Normal Voices & Drum Voices ................................................27

GM Voices .................................................................................27

Internal Memory and File Management .................. 27

Basic Operations ...................................................... 29

Modes .........................................................................................29

Mode Table ................................................................................29

Selecting a Mode ........................................................................30

Display Indications ...................................................................30

Selecting Functions and Parameters ........................................32

Display-based Controls .............................................................33

Quick Guide .............................. 36

Playing Voices .......................................................... 36

Selecting a voice ........................................................................36

Using the Category Search function ........................................38

Voice editing in the Voice Play mode (Quick Edit) .................39

Playing Performances .............................................. 41

Selecting a Performance ............................................................41

Layering Voices (Parts) Together (Layer)

Splitting the Keyboard (Split) ...................................................42

Editing Performances in the Performance Play mode

(Quick Edit)................................................................................44

Using the Arpeggio function .................................... 45

What is the Arpeggio function? ...............................................45

Arpeggio playback..................................................................... 46

Arpeggio Type, Tempo, and Limit ...........................................46

Using as a Master Keyboard .................................... 48

What is the Master Mode? ........................................................48

Playing the Master Demo (Selecting Masters) ........................49

Memorize to a Master ...............................................................50

Using Zones — Creating a Layer/Split with an external

tone generator ...........................................................................51

Using Controllers ..................................................... 53

Pitch Bend Wheel & Modulation Wheel .................................53

Control Sliders (CS) .................................................................. 53

Foot Controller ..........................................................................54

Footswitch (assignable) ............................................................54

Footswitch (sustain) .................................................................54

Breath Controller ...................................................................... 54

Aftertouch .................................................................................54

Remote Control for external sequencer ................... 57

Setting Up ..................................................................................57

Using the Remote Control function .........................................58

Voice Edit ................................................................. 60

Using Effects ............................................................ 67

Effect structure ..........................................................................67

Effect connection ......................................................................68

Using the Jobs .......................................................... 70

Saving the Settings (Store) ...................................... 73

Playing the Songs ..................................................... 75

Mixing mode ..............................................................................77

Using Memory Cards................................................ 82

Touch Sensitivity ..................................................... 87

Function Tree ........................................................... 88

Parameter Table ....................................................... 92

Parameter/Function List ..........................................................97

Reference ...................................98

Reference (Function List) ........................................ 98

Appendix .................................114

Information Displays ............................................. 114

Display Messages ................................................... 116

About MIDI ............................................................ 118

Installing Optional Hardware ................................ 123

Optional units that can be installed to the S90 .................... 123

Installation locations .............................................................. 123

Installation Precautions ......................................................... 123

Optional Plug-in Board Installation ...................................... 124

Optional mLAN8E Installation ............................................. 126

Troubleshooting ..................................................... 128

Specifications ......................................................... 131

Index ...................................................................... 132

Basics SectionQuick GuideReferenceAppendix

Table of Contents

Page 12

Basics Section Quick Guide Reference Appendix

Basics Section

The Controls & Connectors

Top Panel

CONTROL FUNCTION

MASTER VOLUME

CUTOFF ASSIGN A MEQ LOW VOLUME 1

ZONE 1

CS 1

PAN

REVERB RESONANCE ASSIGN B MEQ LOW MID VOLUME 2

ZONE 2

TEMPO

CHORUS

RELEASE

ATTAC K

ASSIGN 2

ASSIGN 1 MEQ HI MID

MEQ HIGH

VOLUME 3

VOLUME 4

ZONE 3

ZONE 4

CS 4

CS 2

CS 3

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

7635

DEC/NO INC/YES

INFORMATION

EXIT ENTER

)

MODE PROGRAM

VOICE

PERFORM

MASTER

UTILITY

CARD

SEQ PLAY

JOBEDIT

STORE

COMPARE

EFFECT

PLAY/

ARPEGGIO

BYPASS

STOP

EXECUTE

^* º £

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

FAVORITES

A. PIANO

COMMON

A B C D E F G H

SYN LEAD SYN PAD/

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

™

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

SYN COMP

CHOIR

ELEMENT / PERF.PART / ZONE

3.3V

PITCH MODULATION

A-1 B-1C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B5 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7

OUTINBREATH

ASSIGNABLESUSTAIN21A/D INPUTGAINRRL/MONOPHONESUSBCARD

THRU

MIDIFOOT SWITCHFOOT CONTROLLERASSIGNABLE OUTPUTOUTPUT

CONTROL

PAN

TEMPO

REVERB

CHORUS

FUNCTION

MASTER VOLUME

RELEASE

ATTACK

CUTOFF

RESONANCE

ASSIGN 2

ASSIGN 1

ASSIGN B

ASSIGN A

MEQ HIGH

MEQ LOW MID

MEQ HI MID

MEQ LOW

VOLUME 4

VOLUME 2

VOLUME 3

VOLUME 1

ZONE 4

ZONE 2

ZONE 3

ZONE 1

CS 1

CS 4

CS 2

CS 3

SF1 SF2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

DEC/NO INC/YES

EXIT ENTER

MODE PROGRAM

VOICE

PERFORM

UTILITY

CARD

JOBEDIT

COMPARE

EFFECT

ARPEGGIO

BYPASS

EXECUTE

MASTER

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

FAVORITES

A. PIANO

COMMON

SEQ PLAY

A B C D E F G H

SYN LEAD SYN PAD/

STORE

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

PLAY/

9 10 11 12 13 14 15 16

STOP

SLOT 1 SLOT 2 SLOT 3

CATEGORY

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

PLUCKED

CHROMATIC

SYN COMP

PERCUSSION

CHOIR

REMOTE CONTROL

DRUM/

MUSICAL FX

COMBI

PERCUSSION

TRACK SELECT

MUTE

SOLO

PLUCKED

CHROMATIC PERCUSSION

DRUM/

PERCUSSION

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

•

SLOT 1 SLOT 2 SLOT 3

MUSICAL FX

POWER ON/ OFF

CATEGORY

REMOTE CONTROL

COMBI

∞

TRACK SELECT

MUTE

SOLO

1 [PITCH] Bend wheel (page 53)

2 [MODULATION] wheel (page 53)

3 [MASTER VOLUME] slider (page 14)

4 [CONTROL FUNCTION] button (pages 53, 59)

5 [CS1] - [CS4] (Control Slider) (pages 53, 56)

6 LCD Contrast control (page 14)

7 [F1] - [F6] (Function) buttons (page 32)

8 [SF1] - [SF5] (Sub Function) buttons (page 32)

9 LCD (Liquid Crystal Display) (pages 30, 114)

) [INFORMATION] button (pages 33, 34, 35)

! Data dial (pages 33, 76)

@ [INC/YES] button (page 33)

# [DEC/NO] button (page 33)

$ Cursor buttons (page 33)

The Controls & Connectors

% [EXIT] button (page 32)

^ [ENTER] button (page 32)

& MODE buttons (page 29)

* [ARPEGGIO] button (page 45)

( [EFFECT BYPASS] button (page 67)

º [PLAY/STOP] button (page 75)

¡ BANK buttons (pages 36, 38, 41)

™ GROUP [A] - [H] buttons (pages 37, 41)

£ NUMBER [1] - [16] buttons

(pages 30, 37, 42, 49, 58, 61, 76, 80)

¢ [CATEGORY SEARCH] button (page 38)

∞ [REMOTE CONTROL] ON/OFF button (page 57)

§ [TRACK SELECT] button (pages 30, 37, 76)

¶ [MUTE] button (pages 30, 42, 61, 76)

• SLOT 1-3 lamps (page 125)

Page 13

Rear Panel

ª‹‡HIJ LK›ﬁﬂ °·⁄

POWER

ON/ OFF

AC INLET

Plug-in SLOT

GREEN

YELLOW

ORANGE

‚¤

ª [POWER] switch (page 14)

‚ AC INLET (AC power cord socket) (page 14)

⁄ Plug-in Board cover (page 126)

¤ mLAN Expansion Board (mLAN8E) cover (page 126)

‹ MIDI IN/OUT/THRU terminals (page 16)

› BREATH Controller jack (page 18)

ﬁ FOOT SWITCH jack (ASSIGNABLE) (pages 18, 54)

ﬂ FOOT SWITCH jack (SUSTAIN) (pages 18, 54)

‡ FOOT CONTROLLER 1, 2 jacks (pages 18, 54)

° A/D INPUT jack (page 15)

· [GAIN] knob (page 15)

ASSIGNABLE OUT L & R jacks (page 15)

OUTPUT L/MONO & R jacks (page 15)

PHONE jack (page 15)

USB terminal (page 17)

CARD slot (page 82)

THRU OUT IN

MIDI

BREATH

ASSIGNABLE

FOOT SWITCH

SUSTAIN

FOOT CONTROLLER

A/D INPUT12

ASSIGNABLE

OUTPUT OUTPUT

3.3V

USB

CARD

RRL/MONO PHONES

GAIN

USB

USB is an abbreviation for Universal Serial Bus. It is a serial interface for connecting a computer with peripheral devices. It allows “hot swapping” (connecting peripheral devices while the power to the computer is on).

mLAN

“mLAN” is a digital network designed for musical applications. It uses and extends the industry standard IEEE 1394 high performance serial bus. For details, refer to the Guide Book of the mLAN8E.

Basics SectionQuick GuideReferenceAppendix

The Controls & Connectors

Page 14

Basics Section Quick Guide Reference Appendix

AC INLET

POWER

ON/ OFF

Setting Up

Power Supply

AC INLET terminal

Power cord (included)

Make sure the POWER switch on the S90 is set to OFF.

2 Connect the supplied power cord to the AC INLET

terminal on the instrument’s rear panel.

3 Connect the other end of the power cord to an AC

outlet. Make sure your S90 meets the voltage requirement for the country or region in which it is being used.

Make sure your S90 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 S90. 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 S90 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 S90. 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.

When using the S90 as MIDI receiver:

POWER ON!

MIDI master (transmitting device)

S90 as MIDI slave (MIDI receiving device)

12345678910111213141516LR

Audio equipment (ﬁrst mixer, then ampliﬁer)

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

Turning on the S90

Before you switch your S90 on or off, ﬁrst turn down the volume of any connected audio equipment.

1 Press the POWER switch.

Power-on Procedure

Once you’ve made all the necessary connections (page

15) between your S90 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 smooth signal ﬂow 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).

Setting Up

After a while, the default display appears (as set in the Utility parameter, Power On Mode Display).

n Adjusting the display contrast if the LCD is difﬁcult

to read, adjust the contrast with the LCD contrast control knob (page 12).

2 Raise the sound system volume to a reasonable

level.

3 Gradually raise the MASTER VOLUME control

while playing the keyboard to set the desired listening level.

Page 15

Connections

Before connecting the S90 to other electronic components, turn off the power to all the components. Before turning the power on or off to all components, set all volume levels to minimum (0). Otherwise, electrical shock or damage to the components may occur.

Basics SectionQuick GuideReferenceAppendix

Connecting to External Audio Equipment

Since the S90 has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup.

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.

Powered speaker

(Left)

INPUT

OUTPUT L/MONO OUTPUT R

Powered speaker

(Right)

INPUT

S90

Headphones

PHONES

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

A/D input

■ Connecting a microphone or other audio

equipment (analog input)

You can import external sounds (page 44). When importing from an external audio source, connect a microphone or the audio source to the A/D INPUT jack.

Audio Device (merged to mono internally)

L/MONO

A/D INPUT

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

S90

Mic (MONO)

A/D INPUT

Apply effects to the microphone sound by using the Vocal Harmony Plug-in Board (PLG100-VH).

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

n 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. Connect these outputs to a mixer for separately controlling the outputs of up to four Parts in Performance mode (pages 29, 41).

Mixer

12345678910111213141516LR

ASSIGNABLE

OUTPUT

LR R

OUTPUT L

OUTPUT

L/MONO

S90

PHONES

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

Speaker

Ampliﬁer

Headphones

S90

n After the above connections are complete, you are ready

to set up for importing. When starting an importing, you may need to adjust the input gain of the audio source by using the GAIN knob.

■ Connecting to mLAN-compatible audio

equipment (When an optional mLAN8E has been installed)

mLAN audio device

mLAN jacks

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

S90

n Sound can be input via either the mLAN jacks or the

A/D INPUT jacks. Which jacks are used is determined in the Utility mode ([F2]→[SF1] A/DSource Ref. #53).

Connections

Page 16

Connecting External MIDI

Basics Section Quick Guide Reference Appendix

Equipment

Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the S90. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the S90. Below are several different MIDI connection examples; use the one most similar to your intended setup.

■

Controlling from an external MIDI keyboard

■ Controlling another MIDI device via MIDI

THRU

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

External MIDI sequencer

MIDI OUT

MIDI IN

External MIDI synthesizer 1

MIDI IN

MIDI THRU

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

MIDI IN

S90

MIDI OUT

External MIDI keyboard or synthesizer

■

Controlling an external MIDI keyboard

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

MIDI OUT

S90

MUSIC

SYNTHESIZER

PRODUCTION

Sequencer

Sampling

Integrated Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MIDI OUT

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI IN

S90

External MIDI synthesizer 2

In the above setup, Synthesizer 2 can be played from the S90 (via MIDI OUT), while the external sequencer plays Synthesizer 1 (via MIDI THRU).

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

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

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

■ Using an mLAN interface (when an optional

mLAN8E has been installed)

UTILITY [F5]→[SF4] MIDI IN/OUT=mLAN

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

MIDI IN

External MIDI keyboard or synthesizer

■

Recording and playback using an external MIDI sequencer

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

External MIDI sequencer

MIDI OUT

MIDI IN

Connections

S90

MIDI IN

MIDI OUT

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

S90

IEEE1394 (mLAN) cable

Transmit & Receive

mLAN keyboard

n Any one of the following interfaces can be used for MIDI

data transmission/reception: the MIDI connectors, the mLAN terminal connector, or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data transfer in the Utility mode ([F2]→[SF1] AD/Source Ref. #53).

Page 17

Connecting to a Personal Computer

By connecting a computer, you can transfer data between the S90 and the computer via MIDI, and use the computer to control, edit and organize data on the S90. For example, you can use the included Voice Editor program to edit the S90’s voices. There’s also a special File Utility program that lets you use your computer to manage ﬁles in the Memory Card inserted in the S90’s CARD slot.

■ Using an USB interface

About the USB connector

USB cables have different connectors on each end: an A type and a B type. When using the USB connection, connect the A type to your computer and the B type to the S90.

Disconnecting/connecting the USB cable or turning the power off/on may cause the computer operation to hang-up, or may stop the S90 from functioning properly. Be careful NOT to disrupt the USB connection or turn the power on/off in the following operating conditions.

Basics SectionQuick GuideReferenceAppendix

UTILITY [F5]→[SF4] MIDI IN/OUT=USB

USB cable

USB terminal

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

Computer with a

S90

USB Interface

n If you are using the Remote Control function to control

operations on a computer sequencer, we recommend making connections with a USB cable.

n The USB connection can only be used for transfer of

MIDI data. No audio data can be transferred via USB.

Data send/receive

S90

MIDI IN

MIDI OUT

USB terminal

MIDI cable

MIDI OUT

MIDI IN

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

USB cable

Computer with a

USB Interface

• While the S90 is recognizing the device or while loading the driver.

• While starting or shutting down the operating system.

• While computer operation is suspended (with power management controls such as sleep or hibernation).

• While a MIDI application is starting.

The computer may also hang up and/or the S90’s functions may stop if you do the following:

• Turn the power on/off, or connect/disconnect the cable too often.

• Enter the sleep mode while transmitting the MIDI data, and resume operation.

• Disconnect/connect the cable while the S90 is on.

• Turn the S90 on/off, start the computer, or install driver software while a huge amount of data is being transferred.

■ Using an IEEE1394 interface (when an

optional mLAN8E has been installed)

UTILITY [F5]→[SF4] MIDI IN/OUT=mLAN

External MIDI synthesizer

External MIDI sequencer

n For details about the signal ﬂow of this setting, see page

113 (*67).

S90

IEEE1394 cable

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

Computer with an

IEEE1394 interface

Connections

Page 18

Basics Section Quick Guide Reference Appendix

■ Using a MIDI interface

Using the computer’s MIDI interface

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

MIDI cable

MIDI OUTMIDI IN

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

S90

MIDI OUT

MIDI IN

Computer with MIDI Interface

n When transmitting or receiving System Exclusive

data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI “Echo” on the computer software is set to “off.”

When MIDI “Echo” is disabled on the software/ computer, set the S90 Local Control to “on.”

Computer with

OUTUSB

Application Software

Using an external MIDI interface

UTILITY [F5]→[SF4] MIDI IN/OUT=MIDI

MIDI Interface

MIDI OUT

Computer

Serial port (modem or printer port) or USB port

S90

MIDI IN

MIDI OUTMIDI IN

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

n Make sure to use the appropriate MIDI interface for your

computer.

n If you are using a computer that has a USB interface,

make sure to connect the computer and the S90 by USB. (The data transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.)

Local On/Off - When Connected to a Computer (Utility [F5] [SF2])

When connecting the S90 to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator or sound source. If the Local Control is set to “on,” a “double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; speciﬁc instructions may differ depending on your computer and the software used.

Tone

Generator

Local On

S90 Local Control=on

Keyboard

Echo Back On

n Although not indicated in the illustration above,

the S90 actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the S90.

* MIDI “Echo” is a function on sequencers that takes

any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.”

n Refer to the owner’s manual of your particular

software for speciﬁc instructions.

Connecting Various Controllers

The S90 features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers (page 53).

BC3

FC4 or FC5

FC7

When MIDI “Echo” is enabled on the software/ computer, set the S90 Local Control to “off.”

Computer with

Application Software

OUT

Echo Back On

Generator

Tone

Local Off

S90 Local Control=off

Connections

USB

OUTIN

Keyboard

BREATH

ASSIGNABLE

FOOT SWITCH

SUSTAIN

FOOT CONTROLLER

Page 19

Demo Playback

The S90 features a variety of demo songs, showcasing its dynamic sound and sophisticated functions.

n Make sure the synthesizer is ready for playback. Details are given in the section “Setting Up” on page 14.

VOICE

PERFORM

MASTER

UTILITY

CARD

SEQ PLAY

DEC/NO INC/YES

JOBEDIT

STORE

SF1 SF2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

(34)

1 Press the [SEQ PLAY] button to call up the CHAIN screen.

2 Press the [SF5] (DEMO) button to call up the Demo data.

n You can select the ﬁrst song for playback by using the [▲ ▼] buttons.

INFORMATION

EXIT ENTER

EXECUTE

COMPARE

ARPEGGIO

EFFECT BYPASS

PLAY/ STOP

345

Basics SectionQuick GuideReferenceAppendix

3 Press the [PLAY/STOP] (or [SF5]) button to start playback of the Demo song.

n You can set the song tempo or the song position. The operations are the same as the ones in SEQ PLAY mode (page 76).

The [PLAY/STOP] (or [SF5]) button lets you pause playback and then start again from the same point in the song.

5 To exit from the Demo mode, stop playback, then press one of the [MODE] buttons or [EXIT] button.

n Demo song playback continues indeﬁnitely until stopped.

Demo Playback

Page 20

Basics Section Quick Guide Reference Appendix

Overview of the S90

The S90 has a wide variety of advanced and convenient features. This section gives you an overview of these features. The following diagram shows the various component sections or “blocks” of the S90.

Controller

Keyboard

Controllers

MIDI OUT

Memory Card

Song (SMF) File

S90 Data

Load

Save

Sequencer

(Playback)

Tone Generator

AWM2 Plug-in Board Arpeggiator

Reverb

Chorus

Variation

Effect

Insertion 1

Insertion 2

Master Equalizer

Output

Controller

This block consists of the keyboard, Pitch Bend and Modulation wheels, Control Sliders, and so on (page 53). The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the S90’s tone generator section for the notes you play. The controllers also send non-note performance data. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector.

Tone Generator

This block plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in the Voice Mode (page 26).

Overview of the S90

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

Tone Generator

OSC (Oscillator)

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

PITCH

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

FILTER

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

AMP (Amplitude)

To Effects units

Page 21

Internal AWM2 Tone Generator and Optional Plug-in Boards

The tone generator block in the S90 consists of the built-in AWM2 and optional Plug-in Boards.

Plug-in Boards (optional)

Internal AWM2 Tone Generator

● AWM2 (Advanced Wave Memory2) & Waveform

AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), 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.

n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive

instruments (Drum Voices). For details on Normal and Drum Voices, see page 27.

● Plug-in Boards

Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work seamlessly and transparently within the system of the S90 — meaning that you can use their sounds and functions just as if they were built right into the S90 at the factory. Up to three Plug-in Boards can be installed to the S90 (see box below for available boards). 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. In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (page 25). The S90 is compatible with the Modular Synthesis Plug-in System. There are three types of Modular Synthesis Plugin System-compatible Plug-in Boards: Single Part, Multi-Part and Effect. Using these, you can build your own system based on the sounds you require.

Basics SectionQuick GuideReferenceAppendix

Plug-in board line-up

● Single Part Plug-in Boards

Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by using a single part of the S90.

• 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 real-time 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 waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install three of these boards to triple the polyphony to 192 notes.

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

The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.

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

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

• Drums Plug-in Board/Percussion Plug-in Board (PLG150-DR/PLG150-PC)

Incorporates the highly-acclaimed AWM2 engine dedicated to the reproduction of drum/percussion sounds. This board also has its own dedicated effects processing. This means that you can apply Reverb and Insertion effect to the voice, letting you use all of the effects on the “mother” device for the other Parts.

Overview of the S90

Page 22

Basics Section Quick Guide Reference Appendix

●

Effect Plug-in Board

• Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts using four types of effects. Backing chorus parts for your vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use the S90 like a vocoder by connecting and using a microphone while playing the keyboard.

●

Multi-Part Plug-in Board

Multi-Part Plug-in Boards let you expand the voice polyphony of the S90 by giving you a full 16 independent instrumental parts. By using this type of board to play back sequencer tracks, you can reserve the maximum polyphony of the S90 for your keyboard performance.

• 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.

About

MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-incompatible 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(s) (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 Boards. In the case of AWM2 Voices, the polyphony ﬁgure of 62 is divided by the number of Elements in the Voice.

Part Structure of the Tone Generator Block

The S90 plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller block or Sequencer block. MIDI data is assigned to one of sixteen channels, and the S90 is capable of simultaneously playing sixteen separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the S90 (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.

Tone Generator block

Part for Voice mode

Port 1

part 1 part 2

part 14 part 15 part 16

Port 2

part 17 part 18

part 30 part 31 part 32

Port 3

part 33 part 34

part 46 part 47 part 48

These parts are used in modes other than the Voice mode.

As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode). However, the number of parts that are actually used is a maximum of 34 in the Sequence Play mode, as we’ll see later in some examples.

n See page 29 for details about the modes.

n The USB cable supports up to eight separate MIDI ports. The S90’s Tone Generator block supports three separate ports as

illustrated above, and the S90’s MIDI Thru function supports eight separate MIDI ports.

n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle independent MIDI port data.

Overview of the S90

Page 23

Part Structure – Voice/Performance/Sequence Play Modes

● Voice mode

Controller block

Keyboard

Tone Generator block

Part for Voice mode

Port 1 Port 2 Port 3

part 1 part 2

part 3 part 4 part 5

part 16

(Internal / Plug-in)

part 17 part 18

part 30 part 31 part 32

Controllers

part 33 part 34

part 46 part 47 part 48

The sequencer block is not available in the Voice mode.

Parts 1-48 are not used.

Output

n In the Voice mode, the MIDI port number is 1.

n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used.

● Performance mode

Basics SectionQuick GuideReferenceAppendix

Controller block

PLG3 part

PLG2 part

PLG1 part

Keyboard

A maximum of four parts can be used among parts 1-4 and 14-16. Parts that are set to on in the Performance Play mode are used.

Tone Generator block (Internal / Plug-in)

Port 1 Port 2 Port 3

Part 1

Part 2

Part 3 Part 4

Part 5

Part 14 Part 15 Part 16

Controllers

Part 17 Part 18

Part 30 Part 31 Part 32

Part 33 Part 34

Part 46 Part 47 Part 48

The sequencer block is not available in the Performance mode.

Parts 5-13 and 17-48 are not used.

Output

n In the Performance mode, the MIDI port number is 1.

n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used.

Overview of the S90

Page 24

Basics Section Quick Guide Reference Appendix

● Sequence Play mode

External sequencer

MIDI cables by themselves cannot handle data from multiple ports. If a MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple por ts of the S90, use a USB cable.

Sequencer block

MIDI sequence data

Tra ck 1 Tra ck 2 Tra ck 3 Tra ck 4

Tra ck 15 Tra ck 16

Controller block

Keyboard

In the Sequence Play Mixing mode, the only parts that sound are the currently selected (edited) part, and parts having the same receive channel as the selected one.

Controllers

Tone Generator block (example)

When the Multi-Part Plug-in board and two Single Part Plug-in boards have been installed:

Port 1 Port 2

Part 1 Part 2

Part 3 Part 4

Part 15 Part 16

(Multi-Part Plug-in

Board) Part 17 Part 18

Part 30 Part 31 Part 32

Port 3

(Single Part Plug-in

Board) Part 33 Part 34

Part 46 Part 47 Part 48

Parts 33-46 are not used.

Each track of music (MIDI) data sounds a corresponding part on the S90, according to the MIDI channel/Port settings. (The receive channel/Port for each part must match the transmit channel/Port of each track.)

These Port settings are available in Utility mode (PORT NO. [F6] → {SF2} Ref. #207).

PLG1 part

PLG2 part

Effects

Utilizing sophisticated DSP (digital signal processing) technology, the effects of the S90 can be used to change or enhance the sound.

n For more details about the effects, see page 67.

Card Drive/Sequencer

The Card Drive block lets you transfer or load data to and from the Memory Card (page 82). The sequencer block can be used to play back Standard MIDI Files contained on Memory Card (page 75).

Overview of the S90

Page 25

Voices & Performance

Bank (Memory) Structure

A Voice is a single instrument sound, created by using the Elements and setting various parameters. In the Voice Play mode (page 36), you can select and play any of these Voices. Performances, on the other hand, combine Voices in various ways. In the Performance Play mode (page 41), you can select and play any of these Performances.

(384 Normal Voices + 48 Drum Voices)

Preset 1

(128 Normal Voices)

Group A~H

Number 1~16

Voice

Preset 2

(128 Normal Voices)

Group A~H

Number 1~16

Voice

GM Preset Voice

(128 Normal Voices+1Drum Voice)

GM Preset

(128 Normal Voices)

Group A~H

Number 1~16

Voice

GM Preset

(1 Drum Voice)

Voice

Voices

Preset Voice

(128 Normal Voices)

Preset 3

Group A~H

Number 1~16

Voice

Preset 1

(48 Drum Voices)

Group A~C

Number 1~16

Voice

User Voice

(128 Normal Voices+16 Drum Voices)

User

(128 Normal Voices)

Group A~H

Number 1~16

Voice

User

(16 Drum Voices)

Group A

Number 1~16

Voice

Performance

User (128)

Group A~H

Number 1~16

Performance

Indicates the separate “Banks” of Voices/ Performances.

Basics SectionQuick GuideReferenceAppendix

PLG1

Preset

(AN/PF/DX/DR/PC board:

64 voices

VL board: 192 voices)

Number 1~16

Voice

User

(64 Voices)

Group A~D

Number 1~16

Voice

(The maximum amount of Preset and Users Banks is three, depending on

the number of Plug-in Board that are installed.)

PLG2 PLG3

Preset

(AN/PF/DX/DR/PC board:

64 voices

VL board: 192 voices)

Number 1~16

Voice

User

(64 Voices)

Group A~D

Number 1~16

Voice

(AN/PF/DX/DR/PC board:

VL board: 192 voices)

Number 1~16

Plug-in Voice

Preset

64 voices

Voice

User

(64 Voices)

Group A~D

Number 1~16

Voice

Voices & Performance

Page 26

Basics Section Quick Guide Reference Appendix

Overview of Voice/Element/Performance

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

Voice & Element

Each Voice can consist of up to four Elements. Elements are made from waveforms, and the quality of the Elements is high enough that each can be used on its own as a voice. Since you can combine up to four Elements together in a voice, highly expressive and richly textured sounds are possible. You can also split different instrument sounds across the keyboard to be playable separately with your left and right hands — without having to specially set up a

Performance program (Voice Element Edit [F1]→[SF3] NoteLimit Ref. #32).

Performance

A Performance consists of up to four Parts, each of which can play a Normal Voice or Drum Voice Part. By assigning different Voices to each part, you can play these four Parts simultaneously from the keyboard — either in layers of different Voices, or special key splits in which your right and left hands can play separate Voices (page 42).

n Song playback settings are available in Mixing setup of Sequence Play mode.

One V oice

Up to four elements

Element 1~4

Common Edit parameters

One Element

Element Edit parameters

Oscillator

Wave (AWM2)

PITCH

PEG

Pitch Envelope

Generator

One Mixing (Template) (CH1-16)

Voice

LFO

Low Frequency

Oscillator

FILTER

FEG

Filter Envelope

Generator

One Performance

Up to four parts

One Part

Voice

Part Edit parameters

Common Edit parameters

Up to 16 parts (Up to 34 parts if the optional Multi Part Plug-in Board & Single Part Plug-in Boards have been installed)

One Part

Part Edit parameters

CH1

CH16

Common Edit parameters

Sequencer

Song File Playback

(SMF Format 0)

MIDI CH 1~16

SMF Format1→0

Voice Editor

Sequencer (Playback/ Recording)

Amplitude Envelope

Element 1 Element 2 Element 3 Element 4

AMP

(Amplitude)

AEG

Generator

Voice Edit

Different Voice

for each part

(Channel setting affects all parts.)

Different Voice

for each part

(Each Part can be assigned to a different MIDI channel.)

Song File Playback

via MIDI/USB MIDI

Computer

Included CD-ROM

Sequencer software (Windows) Voice Editor File Utility

Voices & Performance

C-2 G8

Page 27

Normal Voices & Drum Voices

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched 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 assigned percussion/drum wave or Normal Voice is known as a Drum Kit.

Normal Voice Drum Voice

Voice

Element 1-4

Key 1 Key 2 Key 3 Key 4 Key 5 Key 76

GM Voices

GM is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It was designed primarily to ensure that any song data created with a speciﬁc GM device would sound virtually the same on any other GM device — no matter the manufacturer or the model. The GM Voice bank on the S90 is designed to appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the original tone generator.

Basics SectionQuick GuideReferenceAppendix

Internal Memory and File Management

In this section, how to store the various types of data and use the memory media for storing them. This diagram details the relationship among the S90’s functions and the internal memory and memory card.

Recall Buffer

(DRAM)

* Voice/Performance only

Edit Buffer

(DRAM)

• Voice Edit

• Plug-in Voice Edit

• Performance Edit

• Master Edit

• Mixing Edit

Put (save)

S90 Internal Memory

Preset Data (ROM)

Flash ROM

• User Voice (Normal 128, Drum 16)

• User Plug-in Voice (64 Voices x 3 boards)

• User Performance (128)

Store

• User Master (128)

• Chain

• User Arpeggio (128)

• System setting (Utility setting)

• Voice

• Plug-in Voice

• Preset Arpeggio

• Demo

MIDI bulk

User Memory

(Load only)

Bulk transmission cannot be used to transfer the data of User Arpeggios and part of the System settings.

External MIDI device

Memory Card

File extensions “.W4V”

File extensions “.W4C”

File extensions “.W2G”

Load / Save

File extensions “.W4A”

Computer

For editing Plug-in Voices

Plug-in board

Personal System/V

PS/V

Personal System/V

(DRAM)

• Plug-in All Bulk

File extensions “.W2B”

Internal Memory and File Management

Page 28

Basics Section Quick Guide Reference Appendix

Internal Memory

● ROM and RAM

ROM (Read Only Memory) is memory designed speciﬁcally for reading out of data, and as such data cannot be written to it. This is the location where preset data for the instrument is permanently stored. On the other hand, RAM (Random Access Memory) allows both reading and writing of data. This is the location for the edit buffer data.

● Flash ROM and DRAM

The data contained in Flash ROM can be read and written and maintained indeﬁnitely, even if the power is off. This is the location where the data created by editing is stored. On the other hand, data contained in DRAM is lost when the power is turned off. Because of this, you should always store any data residing in DRAM to Flash ROM or a memory card before turning off the power.

Edit Buffer (DRAM) and Recall Buffer (DRAM)

● Edit Buffer and User Memory

The edit buffer is the memory location for edited data of these types: Voice, Performance and Master. Data edited in this location will be stored to the User Memory. If you select another Voice, Performance, Master, or Mixing setup, the entire contents of the edit buffer will be rewritten with the newly selected Voice/Performance/Master/Mixing setup. Make sure to store any important data before selecting another Voice, etc.

● Edit Buffer and Recall Buffer

If you’ve selected another Voice or Performance without storing the one you were editing, you can recall your original edits, since the edit buffer’s contents are stored in backup memory. Keep in mind that the recall buffer is available only in the Voice or Performance mode.

Memory Card

To properly protect and store your valuable User data, you should save it to Memory Card for indeﬁnite safekeeping (page 82).

There are two different ways to save data created on the S90 to memory card:

• By saving all data in the User memory as a single ﬁle (with the extension “.W4A”).

• By saving the ﬁles separately according to their speciﬁc functions (with the extensions corresponding to each type).

Internal Memory and File Management

Page 29

Basic Operations

In this section, you’ll learn about the structure of the modes of the S90, its panel display indications and its fundamental operations.

Modes

The S90 is organized into various modes, each covering a different set of operations and functions.

Basics SectionQuick GuideReferenceAppendix

Voice Mode

Voice Play Mode Voice Edit Mode Voice Job Mode Voice Store Mode

Performance Mode

Performance Play Mode Performance Edit Mode Performance Job Mode Performance Store Mode

Utility Mode

Edit Mode

VOICE

UTILITY

COMPARE

MODE

PERFORM

CARD

JOBEDIT

MASTER

SEQ PLAY

STORE

Master Mode

Master Play Mode Master Edit Mode Master Job Mode Master Store Mode

Sequence Play Mode

Sequence Play Mixing Mode

Sequence Play Mixing Edit Mode Sequence Play Mixing Job Mode

Card Mode

Store Mode

Job Mode

Mode Table

Mode (Status) Play

VOICE (LED lights) page 36 page 60 page 70 page 73 Play/Edit/Save the Voice

PERFORMANCE (LED lights) page 41 page 98 page 70 page 73 Play/Edit/Save the Performance

MASTER (LED lights) page 48 page 51 page 70 page 73

SEQ PLAY (LED lights) page 75

SEQ PLAY MIXING (Displayed)

UTILITY (LED lights)

CARD (LED lights)

EDIT (LED lights.

When comparing,

it flashes.)

page 79 page 70

JOB (Displayed) STORE (Displayed) Relevant function

Make/Register Master Keyboard function settings.

Song playback (from memory card)

Set the tone generation parameters of each part in Sequence Play mode (page 77).

page 72

Global settings for the entire system (page 98)

Save/Load the S90 data (page 82)

n You need to select the Voice/Performance/Master before entering Edit mode. All parameters can be set and stored per Voice/

Performance/Master.

n Utility mode is a sub-mode of the Voice/Performance/Sequence Play mode. For example, if you press the [UTILITY] button while

in the Performance mode, you enter the Utility mode as a sub-mode of the Performance mode — allowing you to select and play performances while in the Utility mode.

Parameters are divided into two basic groups: 1) functions that are related to each Voice, Performance etc., and 2) functions that affect all Voices, Performances etc. The former are set in the Edit mode and latter in the Utility mode. Utility mode settings can be saved to memory card along with the Voices and Performances.

Basic Operations

Page 30

Basics Section Quick Guide Reference Appendix

Selecting a Mode

Display Indications

There are separate Play modes for Performances/ Voices and Sequence Play mode. To enter each of these modes, use the appropriate MODE button.

In the Sequence Play mode, there is a Mixing mode. To enter the Mixing mode, press the [F6] button while selecting the Sequence play mode.

To enter the Master mode, press the [MASTER] button. Depending on the Master program, the indicator of the VOICE/PERFORMANCE/SEQ PLAY lights.

There are also separate Edit and Job modes for Performances, Voices, Masters and Mixing setups. To enter the Edit or Job mode, simply press the [EDIT] or [JOB] button while in each respective mode.

Similarly, pressing the [STORE] button in the Voice, Performance, Master mode takes you into the Store mode where you can store Performances, Voices and Masters.

In addition, the modes mentioned above, there is also a Utility mode, which is for making global settings to the instrument and the Card mode, which contains Card related settings.

n Keep in mind that the particular displays and parameters

in the Utility mode differ depending on which main mode was active before calling up the sub-mode.

n Note that the Mixing settings are memorized with the

“Put” function (not “Store”) (page 79).

To exit to another mode, press the respective button for that mode or the [EXIT] button.

Here we explain how to read the display indications.

Voice Play Mode

1 2

3 6

Voice Play Mode (Quick Edit)

1 9

Voice Edit Mode

8 7

Performance Play Mode

1 2

3 6

243@

)

2!43

)

) 9

Functions of the NUMBER [1] - [16] buttons

Use of these buttons differs depending on the on/off status of the [TRACK SELECT] and [MUTE] buttons.

Voice Play mode

Voice Edit mode

Performance Play mode

Performance Edit mode

Master Play mode

Master Edit mode

Sequence Play mode Mixing mode

Basic Operations

When [TRACK SELECT] is on

Keyboard transmit channel setting

Element selection (1 - 4) and Element Mute setting (9 - 12)

Keyboard transmit channel setting Per formance part

Performance part selection (1 - 4)

Zone selection (1 - 4)

Mixing part selection

When [MUTE]

is on

—

Mute setting (1 - 4)

—

Zone Mute setting (1 - 4)

Mixing part Mute setting

When both

[TRACK SELECT]

[MUTE] are off

Voice selection, according to Groups A - H

—

Performance or Voice selection (if cursor is located at Voice name), according to Groups A - H

Master selection, according to Groups A - H

—

Performance Play Mode (Quick Edit)

243@

99)

Performance Edit Mode

)

2!43@

8 7

)

) 9

Page 31

Master Play Mode

1 2

Indicates the mode assigned to the Master

Indicates the bank number assigned to the Master

Store Mode (Ex. Voice Store)

Basics SectionQuick GuideReferenceAppendix

Master Quick Edit Mode

Naming List

Master Edit Mode

1 Mode (PERF=PERFORMANCE) 2 Bank/Number

P1-P3 =PLG1-PLG3

3 Category (page 35) 4 Name (refer to the separate Data List) 5 Keyboard MIDI transmit channel (page 37)

Keyboard Octave setting set via the Octave parameter

Sequence Play Mode

^%&

(UTILITY [F1]→[SF1] Octave Ref. #17)

6 Functions assigned to the respective Control sliders

(3rd row). AS=ASSIGN (page 53)

7 Function (selected via [F1]-[F6]buttons)

*(º ™

Sequence Play Mixing Mode

8 Sub-Function (selected via [SF1]-[SF5]buttons) 9 Parameter/function name (page 98) ) Settings ! Edit type

COMMON=Common Edit status EL1-EL4=Element Edit status KEY=Key Edit Status

PART01-PART16=Part Edit status

Edit indicator (Indicates the current Voice/ Performance has been modiﬁed but not yet stored; page

39. In the Compare condition,

Sequence Play Mixing Edit Mode

shown; page 61.)

# Pop-up character list (page 35) $ Chain Step number (page 75) % Settings (Song ﬁle/Mix template)

the indicator

^ Tempo & Song position

Job Mode (Ex. Voice Copy)

* Tempo button (page 76) ( Measure button (page 76) º Folder setting button (page 75) ¡ Press the button to enter the Demo mode (page 19) ™ Press the button to enter the Mixing mode (page 77)

Source Voice Source Data Type

Destination Data Type

£ Destination for Store operation

Basic Operations

Page 32

Basics Section Quick Guide Reference Appendix

Selecting Functions and Parameters

Using the Sub-Function buttons [SF1] - [SF5]

Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).

Using the Function buttons [F1] - [F6]

These functions can be selected via the corresponding button ([F1] - [F6]).

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

In this example, press the [F5] button to go to the LFO display.

INFORMATION

These functions can be selected via the corresponding button ([SF1]-[SF5]).

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

In this example, press the [SF5] button to go to the SCALE display.

INFORMATION

Depending on the currently selected mode, up to ﬁve functions (sub-functions) are available and can be called up with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any subfunctions for these buttons.)

How to leave the current display

For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the current display and return you to the next highest level or to the normal play mode display.

DEC/NO INC/YES

Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode.

n In some cases, the function buttons are used for special

operations, such as the ones in the Sequence Play (CHAIN) display (page 76).

Basic Operations

EXIT ENTER

EXECUTE

[ENTER] button

Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Bank or Group for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Page 33

Display-based Controls

Information Display

Data Entry

Changing (editing) values

Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counterclockwise) decreases it.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Moving the cursor

Use these four cursor buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the relevant item is highlighted (the cursor appears as a dark block with inverse characters).

For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button.

This convenient function lets you call up relevant details about the selected mode — simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.

INFORMATION

In the Sequence Play mode, you can conﬁrm the selected (current) folder (directory).

Basics SectionQuick GuideReferenceAppendix

Conﬁrmation Message

When you execute certain operations, such as those in the Job, Store, and File modes, the S90 shows a conﬁrmation message. This lets you actually execute the operation or cancel it if desired.

If a conﬁrmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it.

INFORMATION

For details about Information Display, see page 114.

Basic Operations

Page 34

Basics Section Quick Guide Reference Appendix

Note (Key) settings

Several S90 parameters let you set a key range for a function — for example, in setting up a keyboard split — by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below). In the example display here, Element 1 of a voice is being edited.

When Note Limit is selected, the [KBD] mark appears, indicating that you can use the keyboard to set the value. Simultaneously hold down the [INFORMATION] button and press the appropriate key.

INFORMATION

1 Move the cursor to the ﬁrst position of the name by

using the cursor buttons.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

2 Select a character by using the [INC/YES] button,

[DEC/NO] button or the data dial.

Naming (Entering Characters)

The S90 allows you to create your own original data such as voices, performances, masters. You can also freely name the data as desired. The following data types can be named.

• User voices page 66

• User performances page 43

• User masters pages 50, 52

• Mix templates page 79

• Files saved to memory card page 85

The example below applies when naming a User voice.

DEC/NO INC/YES

3 Move the cursor to the next position of the name by

using the cursor buttons.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

Basic Operations

4 Enter the other characters as desired by repeating

steps 1 - 3 above.

Page 35

Using the Character List

In steps 2 and 3 above, you can use the special popup Character List, which shows you all the available characters, making it exceptionally easy to enter names and text. To call up the list, press and hold down the [INFORMATION] button. To select a character, keep holding down the [INFORMATION] button and use the [INC/YES] and [DEC/NO] buttons or data dial.

When the cursor is located at the Name, this [LIST] icon appears and you can call up the Character List display by holding the [INFORMATION] button. Release the [INFORMATION] button to return back to the original display.

INFORMATION

Types of Parameters (Absolute and Relative)

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

Basics SectionQuick GuideReferenceAppendix

While holding the [INFORMATION] button....

Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial.

DEC/NO INC/YES

EXIT ENTER

EXECUTE

LCD Category LCD Category

-- Unassigned Ld Synth Lead

Ap Acoustic Piano Pd Synth Pad

Kb Keyboard Sc Synth Comping

Or Organ Cp Chromatic Percussion

Gt Guitar Dr Drums

Ba Bass Se Sound Effects

St Strings/Orchestral Me Musical Effects

Br Brass Co Combination

Rp Reed/Pipe

Move the cursor to the desired position.

Use these two buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the relevant item is highlighted (the cursor appears as a dark block with inverse characters).

1. Volume (absolute)

Volume

127

2. Velocity Sensitivity offset (relative)

Offset

+64

Offset added (+10)

Actual velocity

Offset subtracted (-10)

Volume

-64

Basic Operations

Page 36

Basics Section Quick Guide Reference Appendix

Quick Guide

Playing Voices

Here, you’ll learn how to select and play Voices (instrument sounds) from the PRESET1-3, GM, USER and PLG 1-3 memory groups (Banks).

n For details about voices, see pages 25, 26. For information on the Voice List, see the separate Data List.

n Up to 128 Normal Voices and 16 Drum Voices can be stored to User memory (pages 25, 27, 73). The Voice settings can be

changed in the Voice Edit mode (page 60).

Selecting a voice

14 234

3.3V

PITCH MODULATION

THRU

OUTINBREATH

ASSIGNABLESUSTAIN21A/D INPUTGAINRRL/MONOPHONESUSBCARD

MIDIFOOT SWITCHFOOT CONTROLLERASSIGNABLE OUTPUTOUTPUT

CONTROL

PAN

TEMPO

REVERB

CHORUS

FUNCTION

CUTOFF

RESONANCE

RELEASE

ATTACK

ASSIGN B

ASSIGN A

ASSIGN 2

ASSIGN 1

MEQ LOW

MEQ LOW MID

MEQ HI MID

MEQ HIGH

VOLUME 2

VOLUME 3

VOLUME 1

VOLUME 4

ZONE 2

ZONE 3

ZONE 1

ZONE 4

MASTER

CS 1

CS 4

CS 2

CS 3

VOLUME

SF1 SF2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

DEC/NO INC/YES

EXIT ENTER

MODE PROGRAM

VOICE

PERFORM

UTILITY

CARD

JOBEDIT

COMPARE

EFFECT

ARPEGGIO

BYPASS

EXECUTE

MASTER

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

A. PIANO

FAVORITES

COMMON

SEQ PLAY

A B C D E F G H

SYN LEAD SYN PAD/

STORE

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

PLAY/

9 10 11 12 13 14 15 16

STOP

SLOT 1 SLOT 2 SLOT 3

CATEGORY

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

SYN COMP

CHOIR

PLUCKED

REMOTE CONTROL

CHROMATIC

DRUM/

MUSICAL FX

COMBI

PERCUSSION

TRACK SELECT

MUTE

SOLO

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

POWER ON/ OFF

1 Enter the Voice Play mode.

MODE

VOICE

PERFORM

MASTER

When the Voice Play mode is active, the currently selected voice is shown in huge letters — so you can easily check which voice you’re about to play.

2 Select a Voice Bank.

● Normal Voice

PRE 1 PRE 2 PRE 3 GM USER

A. PIANO

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

PLUCKED

Select a Normal Voice Bank. Select a Plug-in Voice Bank.

● Drum Voice

DRUM KITS

n When shipped from the factory, the S90 contains a full

set of specially programmed User voices in the User bank. Naturally, you can edit these and overwrite them if you want. You can also restore them to the original factory set from the Utility Job (page 72). For details about Voice Banks and Groups, see page 25.

PRE 1 PRE 2 PRE 3 GM USER

A. PIANO

KEYBOARD

PLG 1 PLG 2 PLG 3

ORGAN BASSGUITAR/

PLUCKED

Bank name

Playing Voices

Page 37

3 Select a Voice Group.

Voices in each Bank are divided into Groups [A] - [H]. Select the desired Group, and all the Voices of that Group are shown in the display.

Group

A B C D E F G H

SYN LEAD SYN PAD/

CHOIR

SYN COMP

CHROMATIC PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

4 Select a Voice number.

Decreases number

Decreases

DEC/NO INC/YES

number

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

Increases number

● Program numbers and the corresponding

Group/Numbers

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

Group Number Program

Number

Group Number

Basics SectionQuick GuideReferenceAppendix

5 Play the keyboard.

Keyboard MIDI transmit channel setting

Press the [TRACK SELECT] button so that its indicator lights, and press any of the NUMBER [1] [16] buttons to change the Keyboard MIDI transmit channel.

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

n You can set this parameter also in the Utility mode

([F5]→

[SF1] KBDTransCh Ref. #177). This

parameter cannot be stored in the Store mode.

Playing Voices

TRACK SELECT

MUTE

SOLO

Page 38

Basics Section Quick Guide Reference Appendix

Using the Category Search function

The S90 features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can browse through all related voices one by one — and audition each of them, too. Plus, you can use the special Favorites category to store the voices you use most.

132

3.3V

PITCH MODULATION

THRU

OUTINBREATH

ASSIGNABLESUSTAIN21A/D INPUTGAINRRL/MONOPHONESUSBCARD

MIDIFOOT SWITCHFOOT CONTROLLERASSIGNABLE OUTPUTOUTPUT

CONTROL

PAN

TEMPO

REVERB

CHORUS

FUNCTION

CUTOFF

RESONANCE

RELEASE

ATTACK

ASSIGN A

ASSIGN B

ASSIGN 2

ASSIGN 1

MEQ LOW

MEQ HIGH

MEQ LOW MID

MEQ HI MID

VOLUME 1

VOLUME 4

VOLUME 2

VOLUME 3

ZONE 1

ZONE 4

ZONE 2

ZONE 3

MASTER

CS 1

CS 4

CS 2

CS 3

VOLUME

SF1 SF2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

DEC/NO INC/YES

EXIT ENTER

MODE PROGRAM

VOICE

PERFORM

UTILITY

CARD

JOBEDIT

COMPARE

EFFECT

ARPEGGIO

BYPASS

EXECUTE

MASTER

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

A. PIANO

FAVORITES

COMMON

SEQ PLAY

A B C D E F G H

SYN LEAD SYN PAD/

STORE

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

PLAY/

9 10 11 12 13 14 15 16

STOP

SLOT 1 SLOT 2 SLOT 3

CATEGORY

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

SYN COMP

CHOIR

PLUCKED

REMOTE CONTROL

CHROMATIC

DRUM/

MUSICAL FX

COMBI

PERCUSSION

TRACK SELECT

MUTE

SOLO

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

POWER ON/ OFF

1 Turn the Category Search function on by pressing the [CATEGORY SEARCH] button.

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

A. PIANO

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

PLUCKED

n To turn the function off, press [CATEGORY SEARCH]

button again.

CATEGORY

2 Select a Category.

■ Select a Category

Press the Category buttons to display the Category name and the voice list. The ﬁrst voice in this Category is selected.

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

■ Select a Sub Category

All Categories are divided into two or three Sub Categories for further ease in selection. The Sub Category names are displayed at the bottom of the Category Search display. Press the [F1] - [F3] buttons to select the ﬁrst voice in the corresponding Sub Category.

SF1 SF2 SF3

F2F1 F3

3 Select a voice and play it.

Step through the available voices by using the data dial. You can also use the [INC/YES] and [DEC/NO] buttons,

or use the cursor [▲]/[▼] buttons.

play and audition each Voice as you select it — without having to leave the Category Search function.

Remember, you can

Category names

Playing Voices

A. PIANO

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

SYN COMP

PLUCKED

CHROMATIC PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

A B C D E F G H

SYN LEAD SYN PAD/

CHOIR

Category name Voice list

DEC/NO INC/YES

COMBI

EXIT ENTER

EXECUTE

Page 39

To actually call up the Voice and return to the Play mode, press the [ENTER] button.

Voice editing in the Voice Play mode

Favorite Category

Use this convenient function to store all your favorite, often-used voices in a single, easy-to-access location — and call them up by pressing the [FAVORITES] button. Select any voice you want, from any desired category, and enter each to the Favorites Category. In this way, you can go directly to all the voices you use the most, without having to hop around other Categories — a great aid when playing live. Select the desired Category, then move the cursor to your favorite voice in the Category list, and press the [F5] button to checkmark the box next to the voice name. (You can un-checkmark it by pressing the [F5] button again.) Go on to other Categories and continue registering your favorites. After you’ve checkmarked all the voices you want, press the [FAVORITES] button to store them to the Favorites Category. All the voices you’ve checkmarked — and only those voices — will be shown in the list. To exit from the Favorites Category, simply press the [FAVORITES] button again.

When you exit from the Favorite Category function, the parameter you changed in the display is automatically stored. However, this edited data is lost if you turn off the power without properly exiting from the display.

(Quick Edit)

The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode.

1 Select the desired Voice (page 36).

2 Select the menu you wish to edit by pressing the

[F4] - [F6] buttons and edit the parameters in each display.

n When the Plug-in voice is selected (when the Single

part Plug-in board is installed), you can press the [F2] button to call up the BANK display.

3 Store the settings edited in step 2 to the User

Memory as required (page 73).

4 Press the [F1] button to return to the original

display.

n Depending on the particular Plug-in Voice, certain

parameters may not be available for editing.

n Parameters in the Voice Play mode and Voice Edit mode

having the same name also have the same functions and settings.

The [ ] Indicator

If you alter any parameters, the [ ] indicator will appear in the top left of the display. This indicates that the current settings have been modiﬁed but not yet stored.

Basics SectionQuick GuideReferenceAppendix

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

DRUM KITS

FAVORITES

Pressing this toggles between the two settings:

Checkmark on Checkmark off

Edit indicator

If you select another program or mode during editing, the [ ] indicator will disappear and all your edits will be lost. It is a good idea to store the edited data from the Store mode (page 73). Even if you lose the edited data, you can restore it by using the Edit Recall function (page 71).

Playing Voices

Page 40

Basics Section Quick Guide Reference Appendix

● [F2] Voice Play Plug-in Bank

From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Simply put, the difference between the two types of voices is this:

• Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” for Plugin voices.

• Plug-in voices are edited Board voices — voices that have been specially programmed and processed for optimum use with the S90.

❏

Settings (with Plug-in Board installed to Slot 1)

PLG1USR (User Plug-in voice), PLGPRE1 (Preset Plug-in voice), 032/000... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board)

n This display is available only when the Plug-in board

is installed to the S90 and the Plug-in voice is selected.

● [F4] Voice Play Portamento

From this display you can select monophonic or polyphonic playback and set the Portamento

parameters (Voice Edit Common [F1]→ [SF4] Ref.

#7, 8, 10, 11).

● [F5] Voice Play EG (

Envelope Generator)

● [F6] Voice Play Arpeggio

This display contains the basic settings for Arpeggio playback, including Type and Tempo (page 45).

About Plug-in voices and Board voices

The voices of a Plug-in Board installed to the S90 can be divided into two types: Board voices and Plug-in voices. Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” used for the Plug-in voices. Plug-in voices, on the other hand, are edited Board voices — voices that have been specially programmed and processed for optimum use with the S90. Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a computer connected to the S90, using special editing software included with the Plug-in board. (See page 73.)

Plug-in voice

Plug-in preset voice

Plug-in user voice

S90 voice parameter

Board voice

Board preset voice

Board custom voice

Copy

Plug-in Voice Edit

Store

Cannot be edited

Save

Bulk send/ edit

Computer

(Voice Editor in CD-ROM

supplied with the Plug-in board)

This display contains the basic EG settings, both volume and ﬁlter, for the voice, as well as the ﬁlter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Edit mode (pages 65, 66).

The full names of the available parameters are shown in the chart below, as they appear in the display.

ATK DCY SUS REL DEPTH CUTOFF RESO

AEG

Attack

time

FEG --- Depth

Playing Voices

Decay

time

Sustain

level

Release

Time

--- --- --Cutoff

frequency

Resonance

n Depending on the particular Plug-in board you are

using, some of the parameters may not be available. For details, refer to the relevant owner’s manual of the Plug-in board.

n For details on the current lineup of available Plug-

in boards, see page 21.

Page 41

Playing Performances

In the Performance mode, you can select and play individual User performances.

n For details about the performances and their memory (bank) structure, see page 26.

Selecting a Performance

1323

3.3V

PITCH MODULATION

THRU

OUTINBREATH

ASSIGNABLESUSTAIN21A/D INPUTGAINRRL/MONOPHONESUSBCARD

MIDIFOOT SWITCHFOOT CONTROLLERASSIGNABLE OUTPUTOUTPUT

CONTROL

PAN

TEMPO

REVERB

CHORUS

FUNCTION

CUTOFF

RESONANCE

RELEASE

ATTACK

ASSIGN A

ASSIGN B

ASSIGN 2

ASSIGN 1

MEQ LOW

MEQ LOW MID

MEQ HI MID

MEQ HIGH

VOLUME 2

VOLUME 3

VOLUME 1

VOLUME 4

ZONE 2

ZONE 3

ZONE 1

ZONE 4

MASTER

CS 1

CS 4

CS 2

CS 3

VOLUME

SF1 SF2 SF3 SF4 SF5

F1 F2 F3 F4 F5 F6

INFORMATION

DEC/NO INC/YES

EXIT ENTER

MODE PROGRAM

VOICE

PERFORM

UTILITY

CARD

JOBEDIT

COMPARE

EFFECT

ARPEGGIO

BYPASS

EXECUTE

MASTER

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

A. PIANO

FAVORITES

COMMON

SEQ PLAY

A B C D E F G H

SYN LEAD SYN PAD/

STORE

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

PLAY/

9 10 11 12 13 14 15 16

STOP

KEYBOARD

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

PLUCKED

SYN COMP

CHROMATIC

CHOIR

PERCUSSION

Basics SectionQuick GuideReferenceAppendix

POWER ON/ OFF

SLOT 1 SLOT 2 SLOT 3

CATEGORY

MUSIC SYNTHESIZER

Modular Synthesis Plug-in System

REMOTE CONTROL

DRUM/

MUSICAL FX

COMBI

PERCUSSION

TRACK SELECT

MUTE

SOLO

1 Enter the Performance Play mode.

MODE

VOICE

PERFORM

MASTER

When the Performance Play mode is active, the currently selected performance is shown in huge letters — so you can easily check which performance you’re about to play.

2 Select a Performance Group.

Performances in each Bank are divided into Groups A~H. Select the desired Group, and all the Performances of that Group are shown in the display.

A B C D E F G H

SYN LEAD SYN PAD/

n All performances are stored to a single bank, so you need

not select a bank here.

CHOIR

SYN COMP

CHROMATIC

DRUM/

PERCUSSION

Performance

Group

MUSICAL FX

COMBI

Playing Performances

Page 42

Basics Section Quick Guide Reference Appendix

3 Select a Performance number.

To solo part

1 2 3 4 5 6 7 8

TRACK SELECT

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

Decreases number

DEC/NO INC/YES

Increases number

4 Play the keyboard.

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

MUTE

SOLO

NUMBER

Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [4] to solo the corresponding part.

Once you’ve selected a part for soloing, the [MUTE] button’s lamp ﬂashes, indicating the Solo function is active. While Solo is active, you can change the soloed track simply by pressing the corresponding NUMBER button [1] to [4]. To exit from the Solo function, press the [MUTE] button again.

Layering Voices (Parts) Together (Layer) Splitting the Keyboard

n The Category Search function (page 38) can be used also

in the Performance Play mode in the same way as in the Voice Play mode.

n The MIDI transmit channel can be set in the same way

as in the Voice mode.

Performance Part on/off

Each performance can contain a maximum of four parts, selected from a total of seven — internal Parts 1 - 4 and Plug-in Parts 1 - 3.

n This operation is available also in the Edit mode.

1 Press the [MUTE] button so that its indicator

lights.

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

2 Press any of the [1] - [4] buttons you wish to

mute. The part corresponding to the unlit indicator is muted.

TRACK SELECT

MUTE

SOLO

(Split)

Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3. You can create a performance by layering several voices together, and/or by assigning different voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited performances (page 73) to internal User memory (page 28).

Layer

Built-in tone generator parts Plug-in parts

PRE1 PRE2 PRE3 USER PL1 PL2 PL3

Split

Built-in tone generator parts Plug-in parts

PRE1 PRE2 PRE3 USER PL1 PL2 PL3

3 Press the [MUTE] button again so that its

indicator goes out.

Playing Performances

Page 43

1 Call up the VOICE display

3 Specify the note range of

by pressing the [F3] button in the Performance Play mode.

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

INFORMATION

2 Assign the desired voice to each part.

Move the cursor to the desired part and select a voice by pressing the [F1] or [F2] button.

each part, as required.

You can set the lowest note of the range over which the voice of the selected part sounds by pressing the desired key while holding the [SF4] button. To set the highest note of the range, press the desired key while holding the [SF5] button. This lets you create a split keyboard, with up to four different parts (voices) sounding in four different ranges. You can also overlap parts to create layers.

Note Limit Low

SF4 SF5

Note Limit High

Basics SectionQuick GuideReferenceAppendix

Edit indicator (page 39)

Assign the built-in voice to the selected part.

DEC/NO INC/YES

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

Delete the voice assignment of the selected part.

Assign the Plug-in voice to the selected part.

INFORMATION

4 Change the volume of each part and adjust the relative balance among the four parts

When the CONTROL FUNCTION is set to VOLUME, you can adjust the volume of each part by using the Control sliders.

n The Portamento, EG (Envelope Generator), and

Arpeggio parameters can be edited by calling up the corresponding display via the [F4] - [F6] buttons in the same way as in the Voice mode. A wider variety of detailed editing controls is also available in the Performance Edit mode. See page 98.

5 Store the settings.

Before exiting from the Performance Edit mode, make sure to store the settings you made to the Performance (page 73).

Playing Performances

Page 44

Basics Section Quick Guide Reference Appendix

Editing Performances in the Performance Play mode (Quick Edit)

The Performance Play mode lets you perform a variety of general editing operations on the selected performance. For more detailed and comprehensive editing operations, use the Performance Edit mode.

n Parameters in the Performance Play mode and

Performance Edit mode having the same name also have the same functions and settings.

● [F2] Performance Play A/D

From this display you can make settings for the A/D input parts. The A/D input feature lets you input external audio (such as from a microphone or guitar), then process and mix it with the other sounds of the S90. The audio signal can be input via the A/D INPUT jack or the mLAN terminal (if an optional mLAN8E has been installed).

n For details about effect connection, see page 67.

In the Utility mode, you can set whether you use the A/

D INPUT jack or the mLAN8E terminal as an input jack for the A/D part ([F2]

• Volume

Determines the output level of the A/D part.

• Pan

Determines the stereo pan position of the A/D part.

• RevSend Determines the Send level of the A/D part signal sent to the Reverb effect.

• ChoSend

Determines the Send level of the A/D part signal sent to the Chorus effect.

→

[SF1] A/DSource Ref. #53).

• Mono/Stereo (mLAN Input)

Determines the signal conﬁguration for the mLAN audio (input), or how the signal or signals are routed (stereo or mono). This parameter can be set only when the mLAN terminal (with the optional mLAN8E installed) is set as the input source for the A/D part.

❏Settings

ster Audio received via mLAN terminal is processed in stereo.

L (left) mono Audio received the L (left) channel via mLAN terminal is processed in mono.

R (left) mono Audio received the R (right) channel via mLAN terminal is processed in mono.

L+R mono Audio received via mLAN terminal is mixed and processed in mono.

• OutputSel (Output Select)

Determines the output jack assignment for the A/D part.

❏ Settings (below)

LCD Output Jack

L&R OUTPUT L&R Stereo

as L&R ASSIGNABLE OUTPUT L&R Stereo

as1&2 mLAN8E ASSIGNABLE OUTPUT 3&4

as3&4 mLAN8E ASSIGNABLE OUTPUT 3&4

asL ASSIGNABLE OUTPUT L Mono

asR ASSIGNABLE OUTPUT R Mono

as1 mLAN8E ASSIGNABLE OUTPUT1 Mono *

as2 mLAN8E ASSIGNABLE OUTPUT2 Mono *

as3 mLAN8E ASSIGNABLE OUTPUT3 Mono *

as4 mLAN8E ASSIGNABLE OUTPUT4 Mono *

* Available only when the optional mLAN8E board has been installed.

Stereo/ Mono

Stereo 1 : L 2 : R

Stereo 3 : L 4 : R

● [F3] Performance Play Voices

From this display you can select a voice for each part and determine the note range it can be played from (page 43).

• VarSend(Variation Send)

Determines the Send level of the A/D part signal sent to the Variation effect.

• DryLevel

Determines the level of the unprocessed A/D part — in other words, the signal not affected by the System Effects (Reverb, Chorus, Variation; Utility

[F1]→[SF3] Ref. #21).

Playing Performances

● [F4] Performance Play P

ortamento

From this display you can set the Portamento parameters for each part (Performance Edit

[F1]→[SF4] Ref. #7-10).

[F5] Performance Play EG (Envelope Generator)

●

Same as in Voice Play mode. See page 40.

● [F6] Performance Play Arpeggio

This display contains the basic settings for Arpeggio playback, including Type and Tempo (page 45).

Page 45

Using the Arpeggio function

What is the Arpeggio function?

This function automatically triggers preset arpeggio phrases, according to the keys you play. It is particularly suited to dance/techno music genres. You can assign the desired Arpeggio Types to each Voice/Performance, and adjust the tempo. You can also set the Arpeggio playback method, Velocity range and Play Effects to create your own original grooves. What’s more, Arpeggio playback can be transmitted through the MIDI Out (Ref. #86), letting you record the Arpeggio data to a sequencer or play it back from another tone generator.

Arpeggio structure

The following illustration shows the Arpeggio structure.

In the Voice mode

Voice

Arpeggio data

Preset 1

(128)

Arpeggio

In the Performance mode

Performance

Arpeggio on/off during Song playback

Basics SectionQuick GuideReferenceAppendix

Arpeggio On/Off can be set individually for each part of a Song (Mixing mode). Just like playing Arpeggios manually from the keyboard, this inserts Arpeggios in the playback of Song sequence data (page 79).

Four playback categories of Arpeggio

Arpeggio types are divided into the four following categories.

Sq: Sequence

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

Ph: Phrase

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

Voice

Preset 2

Voice

Voice Performance

Different Arpeggio types can assigned

to each Voice/Performance.

* User Arpeggio data of the MOTIF can be loaded.

(128)

Arpeggio

User * (128)

Arpeggio

Performance

Dr: Drum Pattern

Creates drum pattern-type phrases. Any note produces the same drum pattern. This type is ideal for use with drum and percussion sounds.

Ct: Control

Creates dynamic tonal and volume changes by using control change data. No note data is created — the tonal variations affect the played notes.

Using the Arpeggio function

Page 46

Basics Section Quick Guide Reference Appendix

Arpeggio playback

1 Select a Voice/ Performance (pages 36, 41).

2 Turn the Arpeggio on by

Arpeggio Type, Tempo, and Limit

A variety of Arpeggio types are provided with the S90. You can change the tempo of Arpeggio as desired. The Arpeggio function is available in all modes. The explanation below applies to the Performance Play mode.

pressing the [ARPEGGIO] button.

EFFECT BYPASS

PLAY/ STOP

ARPEGGIO

n When you select a voice or performance for which the

Arpeggio Switch is set to on, the [ARPEGGIO] button is automatically turned on.

n The on/off status of the [ARPEGGIO] button can be

stored to each voice or performance setup (page 73).

3 Play the keyboard.

While holding the key(s), the Arpeggio is played back according to the played note, Arpeggio type, tempo, note limit settings, and so on.

n In the Voice Play mode, the Arpeggio is played back via

the selected voice.

n In the Performance/Mixing mode, the Arpeggio is played

back via the voice assigned to the selected part when the Arpeggio Switch (Part Edit [F1]→[SF2] Ref. #77) of the selected part is set to on (page 47).

1 Call up the ARP (Arpeggio) display by pressing the [F6] button in the Performance Play mode.

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

INFORMATION

2 Select an Arpeggio Bank.

Move the cursor to the Bank parameter and select.

Using the Arpeggio function

3 Select an Arpeggio Type.

Move the cursor to the Type parameter and select.

Page 47

4 Set the Tempo for Arpeggio playback.

Move the cursor to the Tempo parameter and set it.

5 Set the Velocity Limit for Arpeggio playback.

Move the cursor to the Velocity Limit parameter and set it.

Low Limit High Limit

The Arpeggio is played back only when the key is played at a velocity within this range

127

High Limit

Low Limit

(stronger than normal).

Basics SectionQuick GuideReferenceAppendix

6 Set the Arpeggio part switch. (Performance only)

You can set the Arpeggio playback on or off for each part. Move the cursor to the box of the desired part and checkmark the box to turn the part on.

7 Store the Arpeggio settings to the desired User Performance (page 73).

Using the Arpeggio function

Page 48

Basics Section Quick Guide Reference Appendix

Using as a Master Keyboard

What is the Master Mode?

The S90 is loaded with such a wealth of different features, functions and operations, you may ﬁnd it difﬁcult to locate and call up the particular feature you need. This is where the Master mode comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The S90 has space for a total of 128 of your own User Master settings.

Master number Setting examples

Master 001 Voice mode Voice number 102 Master 002 Voice mode Voice number 88 Master 003 Performance mode Performance number 043 *Zone Switch Off Master 004 Performance mode Performance number 059 *Zone Switch Off

Performance mode Performance number 077 *Zone Switch On

Master 005

Performance mode Performance number 093 *Zone Switch On

Master 006

MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4

Tone Generator block

MIDI ch8 MIDI ch9

Four Zones

In the Master mode, the keyboard can be divided into a maximum of four separate Zones (as shown below) — each with its own MIDI channel setting. In this way, you can use just a single keyboard to control several different instrument parts independently. Moreover, you can have these independent Zones control different channels on connected MIDI devices as well. You can set these four Zones and store them as a User Master in the Master mode.

n MIDI channel of each Zone for internal tone generator

(including plug-in board) is available only when the Mode is set to Sequence Play (SeqPlay) from the MEMORY display.

External T one Generator

Master Zone Edit MIDI Switch (Ref. #27)

MIDI OUT MIDI OUT MIDI OUT MIDI OUT

Keyboard (Max 4 zones)

MIDI ch1

MIDI ch2 MIDI ch3 MIDI ch4

Master Zone Edit TG Switch (Ref. #26)

Tone Generator block

Master 007 Sequence Play mode Mix template number 7

•

Master 128 Sequence Play mode Mix template number 24

* Parameters other than those shown above (e.g., Slider settings) can be stored

(Master Common Edit [F2] Ref. #58).

•

Tone Generator block (Internal/Plug-in)

The four Zones can also be conﬁgured as Voice “layers” — letting you have more than one Voice sound at the same time when you play within a single Zone. (See the example below.)

External T one Generator

Master Zone Edit MIDI Switch (Ref. #27)

MIDI OUT

ZONE4

MIDI OUT MIDI OUT

MIDI ch1

Tone Generator block (Internal/Plug-in)

ZONE2 ZONE3ZONE1

MIDI ch2 MIDI ch3

MIDI ch4

MIDI OUT

Master Zone Edit TG Switch (Ref. #26)

Using as a Master Keyboard

Page 49

■ Split

You can use the Zone settings to create a “Split” — dividing the keyboard into two key ranges, at a speciﬁc note (split point). In the example below, the keyboard is split at C3, with the lower range used to trigger Arpeggios, and the upper range used conventionally to play a Voice.

Split point

Lower Upper

(C3)

1 Enter the Master mode.

MODE

VOICE

PERFORM

MASTER

Basics SectionQuick GuideReferenceAppendix

Ch1

Part 1

For playing

Arpeggios

Ch2

Part 2

For playing a Voice

■ Layer

You can also use the Zone settings to create a “Layer” — in which the keyboard is used to play two separate parts simultaneously, in unison with each other. In the example below, the keyboard plays two Voices in unison — one an internal Voice, and the other a Plugin Voice.

Layer (Upper)

Layer (Lower)

Part 1

Voice

Plug-in 1 Part

Plug-in Voice

2 Select a Master.

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

Decreases number

DEC/NO INC/YES

Mode

Increases number

Playing the Master Demo (Selecting Masters)

The S90 has so many powerful features, functions, and modes, it may seem difﬁcult to understand them all and grasp how they work together. One good place to start learning about the various pieces in the S90 puzzle is the Master mode. We’ve programmed a variety of Master programs to show you how this powerful feature can be used. Try some of these out now. (You’ll be setting up your own Master programs later in this Guide.)

3 Play the selected Master program.

When the Mode is set to Voice or Performance, play the keyboard.

When the Mode is set to Sequence Play, press the [PLAY/STOP] button.

EFFECT BYPASS

PLAY/ STOP

ARPEGGIO

Using as a Master Keyboard

Page 50

Basics Section Quick Guide Reference Appendix

Memorize to a Master

The selected mode and program are memorized to a Master in the Master Play mode.

1 Enter the Master mode and select a Master number (page 49).

2 Call up the MEMORY display by pressing the [F2] button.

4 Select the desired program /template to be memorized (pages 36-38).

DRUM KITS

PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3

FAVORITES

COMMON

DEC/NO INC/YES

Program

KEYBOARD

A. PIANO

A B C D E F G H

SYN LEAD SYN PAD/

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

ORGAN BASS STRINGS BRASS REED/PIPEGUITAR/

SYN COMP

CHOIR

ELEMENT / PERF.PART / ZONE

PLUCKED

CHROMATIC PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

INFORMATION

3 Select the mode to be memorized.

DEC/NO INC/YES

Mode

5 Name the Master.

You can name the Master in the Master Edit mode (page 34). You can also set the functions assigned to the Control Sliders (Common [F2] Ref. #58, Zone [F5] Ref. #134).

6 Store the settings as a User Master (page 73).

Using as a Master Keyboard

Page 51

Using Zones —

2 Set the Zone Switch to on.

Creating a Layer/ Split with an external tone generator

In the example below, we’ll set up three Zones as shown below. We’ll program a split at the note C3. In the lower range (B2 and lower), a bass voice and cymbal voice will sound. In the upper range (C3 and above), we’ll layer piano and vibraphone voices — played from an external MIDI tone generator. Using this sophisticated setup, you can easily sound like an entire jazz group, with just your two hands. In the example instructions here, we’ll use the Voice mode for the Master.

Zone 2

(Piano)

Zone 1

(Bass + Cymbal)

Zone 3

(Vibraphone)

DEC/NO INC/YES

EXIT ENTER

EXECUTE

3 Enter the Master Edit mode.

JOBEDIT

STORE

COMPARE

Basics SectionQuick GuideReferenceAppendix

Internal tone generator

External tone generator

1 Select a Voice in the Master Play mode.

Set the Mode to Voice, then select the PRE1 bank and voice 123.

DEC/NO INC/YES

Common Edit and Individual zone Edit

To edit parameters common to all of the zones, press the [DRUM KITS] button (which serves as a “COMMON” button here).

DRUM KITS

FAVORITES

To edit parameters of the individual zones, select the desired zone with the corresponding NUMBER button, [1] - [4].

1 2 3 4

ELEMENT / PERF.PART / ZONE

n This operation is available only when the Zone

Switch is set to on in the [F2] (MEMORY) display in the Master Play mode.

4 Call up the display for Zone editing.

Press any of the buttons.

1 2 3 4

ELEMENT / PERF.PART / ZONE

Using as a Master Keyboard

Page 52

Basics Section Quick Guide Reference Appendix

5 Call up the TRANS display.

SF1 SF2 SF3 SF4 SF5

INFORMATION

1 Set the Note Limit H (High) of Zone 1 to B2. Set

the Note Limit L (Low) of Zone 1 to C-2.

2 Set the Note Limit H (High) of Zones 2 and 3 to G8.

Set the Note Limit L (Low) of Zones 2 and 3 to C3.

Each Zone will sound the assigned voice within the note range set above.

n You can also set other parameters if necessary.

F2F1 F3 F4 F5 F6

1 Set the TG Switch of Zone 1 to on and set those for

all other Zones to off. This enables the data played only in Zone 1 to affect the S90 voices; other Zones will not play the S90.

2 Set the MIDI Switch of the Zone 2 and 3 to on and

set the ones of the other Zones to off. This is for transmitting the data played in Zones 2 and 3 to the external tone generator.

3 Set the MIDI transmit channel of Zone 1 to 1. Set

the MIDI transmit channel of Zones 2 and 3 to match the Receive channel of the external tone generator (slave).

4 Make sure the external tone generator is set to

multi-timbral operation (different voices for each of the 16 MIDI channels), and select the appropriate voices on the tone generator, corresponding to the MIDI channels you set in 3 above.

7 Store the settings to a Master (page 73).

Control Number settings (Zone)

Here in the CS display of the Master Edit mode, you can set how the Control sliders will affect each Zone. This lets you specify a MIDI Control number for each slider. In the example below, the Control sliders have been set to 11 (Expression). In this way, you can use the sliders to adjust the relative volume balance among the Zones. This setting is available only when the Zone Switch is set to on from the Memory display in the Master Play mode.

6 Call up the NOTE display.

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

Using as a Master Keyboard

INFORMATION

SF1 SF2 SF3 SF4 SF5

F2F1 F3 F4 F5 F6

INFORMATION

Page 53

Using Controllers

The S90 gives you an amazing amount of control options. Not only is it equipped with the conventional Pitch Bend and Modulation Wheels, it also features special sliders — and has an additional set of rear-panel jacks for connecting foot controllers and footswitches. You can connect controllers to the rear panel jacks to control various parameters by foot as well as by hand. This section explains the basic functions of each controller.

Basics SectionQuick GuideReferenceAppendix

Pitch Bend Wheel & Modulation Wheel

The Pitch Bend wheel’s prime function is to control pitch. Move the wheel up or down to bend the pitch up or down. The Modulation wheel is generally used to add modulation effects (tremolo, vibrato, ﬁlter variations, etc.) to the sound. The more you move Modulation wheel up, the greater the modulation that is applied to the sound.

Pitch Bend

Wheel

Pitch Up

Pitch Down

Modulation

Wheel

Deeper

Control Sliders (CS)

These sliders let you change various aspects of the Voice’s sound in real time — while you play. You can change which particular group of functions or parameters the sliders are assigned to by pressing the [CONTROL FUNCTION] button. Selecting the ASSIGN group (A, B, 1, 2) lets you control a group of user-assignable functions.

n You can also determine which row of Controls is

automatically made active when you select a particular program (Ref. #12, 58).

n Common system parameters are assigned to Sliders [A]

and [B] ([F4]→[SF2] Ref. #128). Voice-speciﬁc parameters are assigned to Sliders [1] and [2] (page 55). Sliders [1] and [2] can be assigned to Control Set Source (page 55).

n A preset of suitable parameter settings is assigned to each

Voice. By using each Sliders [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.

PITCH MODULATION

n Pitch Bend Range can be set for each Voice/Performance

(Ref. #14). The wheel can also be assigned to other parameters (page 55).

n Even if a different parameter is assigned to the wheel,

Pitch Bend messages are still transmitted through MIDI OUT when it is being used.

n Modulation depth can also be set beforehand. Also, the

wheel can be assigned to different parameters, such as volume or pan (page 55).

Control Sliders & Tracks (when selecting VOLUME)

In the Voice mode, these are used to control the volume of each of the four Elements (page 26). In the Performance mode, these are used to control the volume of the four parts. In the Sequence Play mode, these let you adjust the volume of speciﬁc tracks (parts), depending on which group of tracks is currently selected.

CS1 CS2 CS3 CS4

When the selected tracks (parts) are 1-4:

When the selected tracks (parts) are 5-8:

When the selected tracks (parts) are 9-12:

When the selected tracks (parts) are 13-16:

When the Zone Switch is set to on in the Master Play mode, various functions (Control Number) can be assigned to these Control Sliders (Master Zone Edit [F5] Ref. #134).

1234

5678

9101112

13 14 15 16

Using Controllers

Page 54

Basics Section Quick Guide Reference Appendix

Example of Control Slider Settings

1 Select the row of functions you wish to control by

pressing the [CONTROL FUNCTION] button. The corresponding indicator lights, showing you which row is active. For example if you want to use the Sliders to control Pan, Reverb, Chorus and Tempo, press the [CONTROL FUNCTION] button (repeatedly if necessary) until the top indicator is lit.

1 Pan, Effect Send and Tempo 2 Filter and EG 3 Assign 4 Master EQ 5 Volume 6 Zone

Press this repeatedly to select each function row.

CONTROL

FUNCTION

2 Move the appropriate slider ([CS1] - [CS4]) to

adjust the desired function.

PAN

CUTOFF ASSIGN A MEQ LOW

VOLUME 1

ZONE 1

CS 1

REVERB

RESONANCE

ASSIGN B

MEQ LOW MID

VOLUME 2

ZONE 2

CS 2

MEQ HI MID

2 3 4 5 6

CHORUS

ATTACK

ASSIGN 1

VOLUME 3

ZONE 3

CS 3

TEMPO RELEASE ASSIGN 2 MEQ HIGH VOLUME 4

ZONE 4

CS 4

Foot Controller

An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jacks (page

13) on the rear panel, can be assigned to 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), — exceptionally convenient when you’re playing live.

n Foot Controller parameters can be set for each Voice

(page 55).

Footswitch (assignable)

An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack (page 13) can be assigned to a range of parameters. It is suited for switch-type (on/ off) controls, such as Portamento Switch, increment/ decrement of a Voice or Performance Number, start/ stop of the Sequencer, and holding the Arpeggiator on or off.

n The parameter assigned to the Footswitch is set in the

Utility mode ([F4]→

[SF3] Ref. #130).

The available functions are shown at the top of the display, and the value changes as you move the corresponding Slider. For example, to change the amount of Reverb (in the top row), move Slider 2 (CS2). To change the Pan position, move Slider 1 (CS1).

(A) (B)

If the “Pan” slider in the display is dark (A), any tweaking you do to the Slider immediately affects the sound. However if the Slider in the display is light (B), moving the slider will not have any effect until you reach the current setting. Control Sliders can be used for controlling Zones (page 52) or as remote controls for an external sequencer (page 57).

Footswitch (sustain)

An optional FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel (page 13) lets you control sustain — particularly useful when playing piano and strings voices.

n You cannot assign a function other than Sustain to the

SUSTAIN jack.

Breath Controller

You can connect an optional Breath Controller (BC3) to the BREATH jack (page 13) on the rear panel. Then use it to control a large number of the S90’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.

n Breath Controller parameters can be set for each Voice.

Aftertouch

Aftertouch lets you change the sound (adding vibrato, for example) 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 55).

Using Controllers

Page 55

Control Sets (Voice Common Edit [F4])

Keyboard aftertouch, the controllers and some of the sliders on the front panel can be assigned to control various parameters other than the ones set as defaults, as explained on page 53. For example, the Modulation wheel could be assigned to control ﬁlter resonance, while aftertouch could be used to apply vibrato. This provides enormous ﬂexibility in controlling parameters and setting up the controllers 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.

Voice

Control sets 1-6

Source

Controller

PB, MW, etc.

■ Using one source to control several

destinations

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, and the Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a single controller.

Basics SectionQuick GuideReferenceAppendix

Destination

Control Parameters

Depth

Depth of control

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

Elements

234

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.

n Details about the available Dest parameter settings

are given in the Destination Parameter List of the separate Data List.

n The Element Switches (Voice Common Edit [F4]

Ref. #117) will be disabled if the Dest parameter setting is not speciﬁed for the Elements (i.e., to settings 00 to 33).

n Elements ON/OFF switch is available only when a

Normal Voice is selected.

SET 1

Src

(Modulation Wheel)

Dest

ELFO-PM

SET 2

Src

(Modulation Wheel)

Dest

ELM PAN

Moving the Modulation Wheel changes both the amount of Pitch Modulation and the pan position.

■ Using several sources to control one

destination

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. Doing this assigns Pitch Modulation to both the Modulation wheel and Foot Controller. In this way, you can assign several different Src controllers to a single Dest parameter.

SET 1

Src

(Modulation Wheel)

ELFO-PM

Dest

SET 3

Src

(Foot Controller)

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

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

Using Controllers

Page 56

Basics Section Quick Guide Reference Appendix

■ Control Sets and External MIDI Control

Primary control number and function

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; however, at the same time, the original pre-deﬁned Pitch Bend messages will still be sent to the MIDI Out.

MIDI

Pitch Bend

Wheel

Tone Generator

OUT IN

MIDI Control

Controller Set

MW/AC1/FC (Variable control) FS (on/off switch)

7 Volume 64 Hold 1 (Sustain)

10 Pan 65 Portamento Switch

11 Expression 66 Sostenuto

71 Harmonic Contents (Resonance) 96 Arpeggio Switch

72 Release Time 97 Arpeggio Hold

73 Attack Time 98 PLAY/STOP

74 Brightness 99 Program Change INC

75 Decay Time 100 Program Change DEC

91 Reverb Send Level 101 Octave Reset

93 Chorus Send Level

See page 119

LFO1Pitch PAN

The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments can be set in the Utility Mode.

n Since Pitch Bend Wheel, Modulation Wheel and

keyboard aftertouch are pre-deﬁned with speciﬁc MIDI controls, other MIDI Control Change numbers cannot be assigned to them.

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 1 Slider. Then, in the Utility Mode, you could assign Control Number 1 (Modulation) to the same controller. Now, when you use the controller, resonance will be applied to the sound of the internal tone generator; however, at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out.

Using Controllers

Page 57

Remote Control for external sequencer

The Remote Control function lets you use the hardware controls on the panel of the S90 to control fundamental operations on the sequencing software of your computer. You can mute your tracks, control the sequencer transport (Play/Stop), mix both MIDI and audio tracks (up to 16) with the S90’s control sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. Not only is this a more convenient and efﬁcient way to work — since it gives you dedicated controls for the functions you use the most — it also (with the control sliders) gives you ﬁner control over crucial level parameters. If you’ve ever used a mixing console or a hardware sequencer, you’ll love being able to ﬁnally control your sequencing software with buttons and sliders.

Basics SectionQuick GuideReferenceAppendix

Setting Up

Before you can use the Remote Control function, you’ll need to set up the system as described below.

1 Connect your computer to the S90 via USB cable. See page 17.

2 Install the setup ﬁle.

Install the USB MIDI driver and the setup ﬁle for the sequence software (contained in the included CDROM) to your computer. For details on how to install, see the separate Installation Guide.

3 Select the template for your particular sequence software in the Utility mode

2 Call up the OTHER display in the MIDI menu

→→

([F5] →→

3 Move the cursor to the MIDI IN/OUT

parameter and set to USB.

4 Call up the REMOTE display in the CTLASN

menu ([F4] →→

5 Select the Template type, then press the

[ENTER] button.

[SF4]).

→→

[SF4]).

on the S90.

1 Enter the Utility mode.

UTILITY

CARD

SEQ PLAY

Remote Control for external sequencer

Page 58

Basics Section Quick Guide Reference Appendix

Using the Remote Control function

3 Control the level of selected track of the

sequencer by using the Control sliders (page 59).

1 Turn the Remote Control function on by pressing the [REMOTE CONTROL] button so that its lamp ﬂashes.

REMOTE CONTROL

2 Operate the Control sliders or the buttons on the S90’s panel as required.

1 Select a track on your computer’s sequencer

from the S90.

CONTROL FUNCTION

MASTER VOLUME

PAN

CUTOFF ASSIGN A MEQ LOW VOLUME 1

ZONE 1

CS 1

REVERB RESONANCE ASSIGN B

MEQ LOW MID

VOLUME 2

ZONE 2

CS 2

CHORUS

ATTACK

ASSIGN 1

MEQ HI MID

VOLUME 3

ZONE 3

CS 3

TEMPO RELEASE ASSIGN 2

MEQ HIGH VOLUME 4

ZONE 4

CS 4

4 Control the transport functions on the

sequencer.

The operations below can be used to control Play, Stop, Forward and Rewind on the computer sequence software.

PLAY/STOP

EFFECT BYPASS

PLAY/ STOP

ARPEGGIO

The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software.

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

TRACK SELECT

MUTE

SOLO

2 Turn the track of the sequencer on or off

(mute).

The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software.

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

TRACK SELECT

MUTE

SOLO

FORWARD/REWIND (CHAIN display in Sequence Play mode)

UTILITY

CARD

SEQ PLAY

Remote Control for external sequencer

Page 59

Remote Control Assignments

Functions to be controlled by the S90 differ depending on the software you use. When the appropriate template is selected, the following functions on the corresponding software can be controlled.

n For certain software programs, it may be necessary to

install the setting ﬁle in the included CD-ROM.

Logic Audio Platinum Ver5

When the template is set to “Logic,” the following functions can be controlled by the S90.

These control the track selected via the NUMBER [1] - [16] buttons.

Set via

[CONTROL

FUNCTION]

Each

parameters

VOLUME

(5th row)

SEQ

TRANS-

PORT

TRACK

MUTE

TRACK

SELECT

1st row PAN SEND1 SEND2 SEND3

2nd row PAN EQ1 Freq EQ1 Gain EQ1 Q

3rd row PAN EQ2 Freq EQ2 Gain EQ2 Q 4th row PAN EQ3 Freq EQ3 Gain EQ3 Q

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

1 ~ 4 VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 5 ~ 8 VOLUME 5 VOLUME 6 VOLUME 7 VOLUME 8

9 ~ 12 VOLUME 9 VOLUME 10 VOLUME 11 VOLUME 12

13 ~ 16

These control PLAY, STOP, G, H of the computer sequence software.

When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software.

When the [TRACK SELECT] button on the S90 is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software.

Cubase VST/32, Cubase VST 5.1r1, SQ01

When the template is set to “Cubase/SQ01” the following functions can be controlled by the S90.

These control the track selected via the NUMBER [1] - [16] buttons.

Set via

[CONTROL

FUNCTION]

Each

parameters

VOLUME

(5th row)

SEQ

TRANS-

PORT

TRACK

MUTE

TRACK

SELECT

1st row PAN SEND1 SEND2 SEND3

2nd row PAN EQLo Freq EQLo Gain EQLo Q

3rd row PAN EQMidLo Fre EQMidLo Gai EQMidLo Q 4th row PAN EQHi Freq EQ3Hi Gain EQ3Hi Q

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

1 ~ 4 VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 5 ~ 8 VOLUME 5 VOLUME 6 VOLUME 7 VOLUME 8

9 ~ 12 VOLUME 9 VOLUME 10 VOLUME 11 VOLUME 12

13 ~ 16

These control PLAY, STOP, G, H of the computer sequence software.

When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software.

When the [TRACK SELECT] button on the S90 is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software.

CS1 CS2 CS2 CS4

CS1 CS2 CS3 CS4

VOLUME 13

VOLUME 14 VOLUME 15 VOLUME 16

CS1 CS2 CS2 CS4

CS1 CS2 CS3 CS4

VOLUME 14 VOLUME 15 VOLUME 16

SONAR2/Cakewalk ProAudio Ver9.0

When the template is set to “SONAR,” the following functions can be controlled by the S90.

These control the track selected via the NUMBER [1] - [16] buttons.

Set via

Each

parameters

VOLUME

(5th row)

SEQ

TRANS-

PORT

TRACK

MUTE

TRACK

SELECT

[CONTROL FUNCTION]

1st row PAN SEND1 SEND2 SEND3

2nd row --- --- --- ---

3rd row --- --- --- --4th row --- --- --- ---

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

1 ~ 4 VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 5 ~ 8 VOLUME 5 VOLUME 6 VOLUME 7 VOLUME 8

9 ~ 12 VOLUME 9 VOLUME 10 VOLUME 11 VOLUME 12

13 ~ 16

Control PLAY, STOP, G, H of the computer sequence software.

When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software.

When the [TRACK SELECT] buttons on the S90 is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software.

CS1 CS2 CS2 CS4

CS1 CS2 CS3 CS4

VOLUME 13

VOLUME 14 VOLUME 15 VOLUME 16

Pro Tools V5.0

When the template is set to “ProTools,” the following functions can be controlled by the S90.

Each

parameters

VOLUME

(5th row)

TRANS-

PORT

TRACK

MUTE

TRACK

SELECT

Not available. These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

1 ~ 4 VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 5 ~ 8 VOLUME 5 VOLUME 6 VOLUME 7 VOLUME 8

9 ~ 12 VOLUME 9 VOLUME 10 VOLUME 11 VOLUME 12

13 ~ 16

SEQ

These control PLAY, STOP, G, H of the computer sequence software.

When the [MUTE] button on the S90 is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software.

When the [TRACK SELECT] button on the S90 is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software.

CS1 CS2 CS3 CS4

VOLUME 13

VOLUME14 VOLUME 15 VOLUME 16

Basics SectionQuick GuideReferenceAppendix

Remote Control for external sequencer

Page 60

Basics Section Quick Guide Reference Appendix

MODE

VOICE

PERFORM

MASTER

JOBEDIT

COMPARE

STORE

VOICE

PERFORM

MASTER

UTILITY

CARD

SEQ PLAY

ARPEGGIO

EFFECT BYPASS

PLAY/ STOP

MODE

Voice Edit

The following procedure shows you the fundamentals in creating and editing Voices. Of course, this is just one example; you are free to set any parameters in any way you like. Details about each parameter are given in the Reference section of this manual (page 98).

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

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

Enter the Voice Edit mode.

Set the common parameters

● Set the parameters common to all Elements in the

Voice (volume, pitch, tone, etc.) You can also set parameters related to Arpeggio, Controllers, Effects, and so on.

Set the element parameters

● From the OSC (Oscillator) screens, select the

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

● From the PITCH screens, set the tuning and other

pitch-related parameters used by the Elements. Also set the PEG (Pitch Envelope Generator) parameters as necessary.

● From the FILTER screens, adjust the parameters of

the ﬁlters used by the Elements. Also set the FEG (Filter Envelope Generator) parameters as necessary.

● From the AMP (Amplitude) screens, set the volume

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

● From the LFO (Low Frequency Oscillator) screens,

set the modulation-related parameters used by the Elements.

● From the EQ (Equalizer) screens, adjust the

sounds as necessary.

1 Selecting a Voice to Edit

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

Select the Voice Number of the Voice you wish to edit (page 36).

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

it helps to select a Voice with a sound that’s relatively similar to the one you intend to create. In this way, you can avoid having to make large changes and many parameter edits — allowing you to create a Voice quickly and easily. If you are creating a Voice from scratch, use the convenient Initialize function (in the Voice Job mode) to initialize a Voice in internal user memory. For details, see page 70.

2 Entering the Voice Edit Mode

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

Set the effect parameters.

Store the edited Voice.

Voice Edit

Page 61

Common Edit and Editing Individual Elements Switching Elements (or Keys) On/Off (Mute)

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

Switching Between Screens and Entering Settings

1Select the menu you wish to edit by pressing

the [F1] - [F6] and [SF1] - [SF5] buttons.

2Select the desired parameter by using

[ ▲ ▼ EF] buttons.

Basics SectionQuick GuideReferenceAppendix

To edit parameters common to all four elements, press the [DRUM KITS] button (which serves as a “COMMON” button here).

DRUM KITS

FAVORITES

COMMON

To edit parameters of the individual elements, select the desired element with the corresponding NUMBER button ([1] - [4]).

1 2 3 4

Element selection

ELEMENT / PERF.PART / ZONE

9 10 11 12

Element mute setting

You can mute other elements (those you aren’t editing and don’t wish to hear) by using the NUMBER [9] - [12] buttons (Normal Voice only). Muted elements are indicated by lit buttons; the indicator of the button corresponding to the muted element lights.

3Use the [INC/YES] and [DEC/NO] buttons to

set each parameter value.

n For details about the Edit indicator, see page 39.

Compare Function

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

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

Edit mode. The EDIT LED will ﬂash and the settings prior to editing will temporarily be reinstated for comparison purposes. (The indicator is shown at the top of the display in place of the indicator.)

While the Compare function is enabled, the [DEC/NO] and [INC/YES] buttons cannot be used for editing.

2 Press the [EDIT] button again to disable the

Compare function and restore your recently edited settings.

To solo an element

1 2 3 4 5 6 7 8

ELEMENT / PERF.PART / ZONE

9 10 11 12 13 14 15 16

Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [9] to [12] to solo the corresponding element.

Once you’ve selected an element for soloing, the [MUTE] button’s lamp ﬂashes, indicating the Solo function is active. While Solo is active, you can change the soloed element simply by pressing the corresponding NUMBER button [9] to [12]. To exit from the Solo function, press the [MUTE] button again.

TRACK SELECT

MUTE

SOLO

n The Compare function is also available in the

Performance Edit mode.

Voice Edit

Page 62

Basics Section Quick Guide Reference Appendix

3 Set the Common Parameters

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

●

GENERAL [F1]

For setting general parameters in Common Edit, such as the Voice Name.

●

OUTPUT [F2]

For setting the Voice output parameters such as the output level (volume) and pan position.

●

ARP [F3]

By setting these parameters, you can control how the Voice is arpeggiated (page 45).

●

CTL SET [F4]

For assigning 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 (page 55).

●

LFO [F5]

For setting 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.

●

EFFECT [F6]

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

4 Set the Element Parameters

Element Edit Process

PEG FEG AEG

Element 1-4

AMPFILTERPITCH

OSC

LFO

● OSC (Oscillator) [F1]

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

ElementSw (Element Switch)

Determines whether each Element sounds or not.

WaveNo. (Wave Number)

Select the Wave for each Element.

NoteLimit (Note Limit Low/High) VelocityLimit (Velocity Limit Low/High)

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

Effect

Voice Edit

Element 3

Velocity

n In the Performance mode, similar settings can be

Element 1

C-2 G8

assigned for each Part (Ref. #42, 43).

Element 2

Element 4

Page 63

● PITCH [F2]

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

PEG (Pitch Envelope Generator) [F2] →→

→→

[SF3]

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.

● FILTER [F3]

You can use the ﬁlter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform of the Element.

Basics SectionQuick GuideReferenceAppendix

Cutoff Frequency and Resonance

Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff. Resonance, on the other hand, boosts the level of the signal at the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder.

The full names of the available parameters are shown in the chart below, as they appear in the display.

HOLD ATK DCY1 DCY2 REL DEPTH

TIME Hold time Attack time

LEVEL Hold level Attack level

Attack

Time

Level

Decay1

Pitch

Hold Level

Hold Time

Time

Decay 1

level

Decay1

Level

time

Decay2

Time

Decay 2

time

Decay 2

(Sustain)

level

Decay2

(Sustain)

Level

Release

Key off

time

level

Release

Time

---

Depth

Release

Level

Time

Level

Cutoff frequency

Frequency (pitch) These frequencies are “passed” by the ﬁlter.

Level

Resonance

Frequency (pitch)

Cutoff frequency

About the Filter types

The Low Pass Filter is shown in the illustration above — however, the S90 features other Filter types as well.

LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong resonance.

Resonance

Voice Edit

Page 64

Basics Section Quick Guide Reference Appendix

LPF24A (Lo

w Pass Filter 24dB/oct Analog) A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers

BPF12D (Band Pass Filter 12dB/oct Digital)

Level

Range passed

Resonance

LPF18 (Lo

w Pass Filter18dB/oct)

A 3-pole (-18db/oct) dynamic LPF.

LPF18s (Lo

w Pass Filter [18dB/oct Staggered) Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve.

Resonance

LPF18 LPF18S

LPF12 (Lo

w Pass Filter12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter).

Resonance

-12db/oct

Frequency

Cutoff range

BPF12s (Band Pass Filter 12dB/oct Staggered) Basically same as BPF12D, but with a shallower frequency curve.

BPF6 (Band P

Level

Cutoff range Cutoff range

ass Filter 6dB/oct)

Range passed

-6db/oct

Frequency

BPFw (Band Pass Filter Wide) Also the combination of –12dB/oct HPF and LPF, but allows a wider frequency band.

Level

Range passed

LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no resonance, designed to be used in combination with an HPF (High Pass Filter).

HPF24D (High Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic HPF with strong resonance.

Resonance

HPF12 (High P

ass Filter 12dB/oct)

A 2-pole (-12db/oct) dynamic HPF.

width can be

increased

Cutoff range Cutoff range

BEF12 (

Band Elimination Filter 12dB/oct)

Frequency

BEF6 (Band Elimination Filter 6dB/oct)

Level

Range passed

Cutoff range

Frequency

Range passedCenter frequency

Dual LPF A combination of two sets of –12dB/oct LPF in parallel.

Level

The cutoff frequency can be set directly on the display.

Distance

Frequency

Resonance

Voice Edit

Page 65

Dual HPF A combination of two sets of –12dB/oct HPF in parallel.

Level

Distance

HPF12 (High P

ass Filter 12dB/oct)+ BPF6 (Band Pass Filter) A combination of a HPF and BPF.

Level

Basics SectionQuick GuideReferenceAppendix

The cutoff frequency can be set directly on the display.

Frequency

Dual BPF A combination of two sets of –6dB/oct BPF in parallel.

Level

The cutoff frequency can be set directly on the display.

Distance

Frequency

Dual BEF A combination of two sets of –6dB/oct BEF in parallel.

Level

Frequency

Distance

The cutoff frequency can be set directly on the display.

Frequency

thru The ﬁlters are bypassed and the entire signal is unaffected.

n Filter parameters are also available in Part editing.

You can also set the Filter Envelope Generator (FEG) for time variance of how the ﬁlter works, which results in a dynamic change in tonal characteristics. Here, we’ll show you how the FEG works.

FEG (Filter Envelope Generator) [F3] →→

→→

[SF3]

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 at right, 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.

LPF12 (Lo

w Pass Filter 12dB/oct)+ HPF12 (High Pass Filter) A combination of a LPF and HPF.

Level

Distance

The cutoff frequency can be set directly on the display.

Frequency

LPF12 (Low Pass Filter 12dB/oct)+ BPF6 (Band Pass Filter) A combination of a LPF and BPF.

Level

Frequency

The full names of the available parameters are shown in the chart below, as they appear in the display.

HOLD ATK DCY1 DCY2 REL DEPTH

TIME Hold time Attack time

Attack

Level

Attack

Time

Attack

level

LEVEL Hold level

Cutoff Frequency

Hold Level

Hold Time

Decay1

Level

Decay1

Time

Decay 1

Decay2

time

level

Time

Decay 2

(Sustain)

Decay2

(Sustain)

Level

time

level

Key off

Release

time

Release

level

Release

Time

Release

Level

---

Depth

Time

Voice Edit

Page 66

Basics Section Quick Guide Reference Appendix

● AMP (Amplitude) [F4]

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

●

EQ (Equalizer) [F6]

Adjusting the sound can serve to draw out the special characteristics of the sound and help achieve the proper balance among the Elements (Ref. #210-215).

Set the Effect Parameters

For an application example showing how to use the effect, see page 67.

AEG (Amplitude Envelope Generator) [F4] →→

→→

[SF3]

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 four Time (transition speed) parameters and three 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.

The full names of the available parameters are shown in the chart below, as they appear in the display.

INIT ATK DCY1 DCY2 REL DEPTH

Time

Decay1

Level

Decay 1

time

Decay 1

level

Decay2

Time

TIME --- Attack time

LEVEL Initial level ---

Level

●

LFO (Low Frequency Oscillator) [F5]

Attack

Level

Init Level

Attack

Decay1

Time

Decay2

(Sustain)

Level

Decay 2

time

Decay2

(Sustain)

level

Key off

Release

time

---

Release

Time

Release

Level

---

Time

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. LFO can be set independently for each Element; it can also be set globally for all Elements (Ref. #159-174).

6 Storing Edited Voices

Up to 128 new/edited Normal Voices and 16 new/ edited Drum Voices can be stored to internal user memory.

Voice

Store

Normal Voice

USER (US)

1-128

Drum Voice

USER DRUM (USDR)

1-16

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

n For details about storing Voices, see page 73.

About Board Custom Voice Editing

You can edit Board Custom voices of the Plug-in Board by using the Editor software included with the board.

n Select the Part Number of the Editor software to

“1” when using the software with the Voice mode. Also make sure to match the basic MIDI receive channel of the S90 (Ref. #176) to the MIDI channel of the Editor software.

The original Board Custom voices you’ve edited can be saved and controlled from the computer.

Make sure to save the edited data to a memory card, since any edited data in the DRAM of the Plug-in board will be lost when you turn off the power on the S90 (page 82).

n For details about how to use the Editor software

included with the Plug-in board, refer to the Online help of the Voice Editor.

n Editing the above parameters may or may not have

much effect on the sound, depending on the particular Plug-in board you’ve installed.

Voice Edit

Page 67

Using Effects

In the ﬁnal stage of programing, you can set the effects parameters to further change the sound’s character.

Basics SectionQuick GuideReferenceAppendix

Effect structure

The S90’s effect processing features the following effect units.

■ System Effects (Reverb, Chorus, Variation)

System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc. With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect sound and the original sound of the parts.

Reverb

The Reverb effects add a warm ambience to the sound, simulating the complex reﬂections of actual performance spaces, such as a concert hall or a small club. A total of 12 different Reverb types are available.

Chorus

The Chorus effects use modulation to create a rich ensemble sound — as if one part were being played by several instruments simultaneously. A total of 25 different Chorus types are available.

Variation

The Variation effects provide a wide variety of sound transformations and enhancements. A total of 25 different Variation types are available. Variation is not available in the Voice mode.

■ Insertion Effects (1, 2)

Insertion effects can be applied individually to each part. Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to 100%. The S90 features two Insertion effect systems — one with a total of 104 internal effect types and the other with 25.

■ Master Equalizer

Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the correction is made. Adjusting the sound you play according to the genre— classical music being more reﬁned, pops music more crisp, and rock music more dynamic—can also serve to draw out the special characteristics of the music and make your performance more enjoyable. The S90 possesses a high grade ﬁve-band digital equalizer function. The four sliders can be used to adjust the gain of the four bands (among ﬁve).

Example of Effect Settings

Here we’ll show an example of editing effect settings in the Voice Edit mode (page 60). In this example, we’ll change the Insertion1 setting of the Voice Or: BreathPipe (PRE1: E13) from Thru to FLANGER (a jet-like sound).

1 Select the Voice Number of the Voice you wish to

edit (Here, Or: BreathPipe=PRE1: E13), then enter the Voice Edit mode (pages 36 and 60).

2 Press the [COMMON] button to select the

Common Edit display (page 61).

3 Press the [F6]→[SF1] buttons to call up the

CONNECT display.

4 Use the [▲ ▼ EF] button to select the INS1

(INS1 Type) screen.

■ Plug-in Insertion Effects

This is a special effect system, only available when an effect-type Plug-in Board (page 22) is installed. Plug-in Board effects are not available in the Voice mode.

Using Effects

Page 68

Basics Section Quick Guide Reference Appendix

5 Use the data dial to select “FLG: FLANGER1”

then play the keyboard. Try out other different Effect Types, referring to the Effect Type List in the separate Data List.

n You can listen to and compare the difference

between the edited Voice with your edited settings and the same Voice prior to editing (page 61).

n To bypass effect processing, press the [EFFECT

BYPASS] button (the LED lights).

n In the effect parameter screens ([SF2]-[SF5]), you

can make various detailed parameter settings. You can scroll through the screens by using the [EF] buttons. For information on the Effect Parameters, refer to the separate Data List.

6 If you wish to save your new settings, store the

settings as a single Voice before you leave the Voice Edit mode. For details about storing Voices, see page 73.

Effect connection

● In the Voice mode:

Three different Insertion connection types are available, as shown below.

System Effects

Tone Generator block

Element 1

Element 2

Element 3

Element 4

This determines which Insertion system, 1 or 2, is applied to each Element (or to each key when the Drum voice is selected). The Insertion effect can also be bypassed.

Insertion Effects

1 to 2

Send Level

n The parallel connection type is not available for Plug-in voices.

Reverb

Chorus

Return Level

You can select the Insertion connection from the three types shown below.

2 to 1

Master Equalizer

parallel

Output

Using Effects

Page 69

● In the Performance mode:

The diagram below indicates the internal signal ﬂow when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1.

Select the part to which the Insertion effect is applied from parts 1-4 and Plug-in parts 2-3. The connection type depends on the setting of the Voice assigned to the selected part.

Tone Generator block

Parts 1-4, Plug-in parts 2-3

Insertion Effects

System Effects

Reverb

Chorus

Variation

Send Level

Return Level

Master Equalizer

Output

Insertion Effect

(Plug-in)

PLG 100-VH

Select the part to which the Plug-in Insertion effect is applied from parts 1-4, Plug-in parts 2-3 and A/D Input part.

A/D

• External audio source

• Microphone sound

n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.

Basics SectionQuick GuideReferenceAppendix

● In the Sequence Play/Mixing mode:

The diagram below indicates the internal signal ﬂow when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.

Select the part to which the

Tone Generator block

Part 1~16

Part 17-32 *

(When the Multi-part Plugin board has been installed)

Plug-in Part 2

(When the Single part Plugin board has been installed)

Select the part to which the Plug-in Insertion effect is applied.

Insertion effect is applied. The connection type depends on the setting of the Voice assigned to the selected part.

Insertion Effects

Insertion Effect

(Plug-in)

PLG100-VH

• External audio source

• Microphone sound

A/D

System Effects

Reverb

Chorus

Variation

Send Level

Return Level

Master Equalizer

Output

* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effects cannot be applied to parts 17~32

(using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master Equalizer.

Using Effects