Yamaha W7E1 User Manual

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Page 2

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic prod-

ucts 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.

See the name plate for graphic symbol markings.

The exclamation point within the equilateral triangle is intended to alert the user to the present 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.

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 nonrechargeable 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 manufacture's warranty, and are therefore the owner's 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.

IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.

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

92-469-➀

Model Serial No. Purchase Date

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. WARNIING TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK. DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1)THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2)THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

MODEL

SER.NO.

POWER ON/ OFF

AC INLET

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IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING- When using any electrical or electronic product,

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

1. 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.

2. 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.

3. 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.

4. DANGER-Grounding Instructions: This product must be

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!

5. WARNING: Do not place this product or any other

objects on 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.

6. 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 installation are not provided, it must be assumed that unobstructed ventilation is required.

7. 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.

8. 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.

9. 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.

10. The power supply cord (plug) should be

disconnected from 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 on 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.

13. This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. Do NOT operate for 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

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CONTENTS

BEFORE YOU BEGIN ....................................................7

FRONT PANEL .......................................................10

REAR PANEL .........................................................15

SYSTEM LOGIC ...................................................... 17

GETTING STARTED...................................................43

SETUP & PLAY ......................................................44

LOADING & PLAYING THE DEMO ...........................52

PROGRAMMING ....................................................56

SAVING & LOADING .............................................64

INTEGRATING INTO A MIDI SYSTEM ......................67

■ FEATURE REFERENCE................71

SONG MODE.................................................................72

SONG PLAY ...........................................................73

SONG MULTI .........................................................74

SYSTEM EFFECTS ...................................................79

SONG SEQUENCE PLAY...........................................80

SONG SETUP .........................................................82

SONG RECORD ......................................................85

REALTIME RECORDING...........................................87

STEP RECORDING ..................................................89

SONG EDIT ...........................................................91

SEQUENCE TRACK GRAPH ......................................91

SEQUENCE/TEMPO TRACK DATA CHANGE................ 92

SEQUENCE/TEMPO TRACK DATA INSERT ..................93

SONG JOB .............................................................95

SONG JOB 1 ...........................................................96

SONG JOB 2 ...........................................................98

SONG JOB 3 ......................................................... 100

AWM TONE GENERATION ...................................104

VOICE MODE .............................................................106

VOICE PLAY ........................................................107

VOICE EDIT.........................................................108

NORMAL VOICE EDIT MODE..................................109

DRUM VOICE EDIT MODE......................................124

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STORE MODE.............................................................129

STORE MULTI ......................................................129

STORE VOICE ......................................................130

DISK MODE ................................................................131

DISK STATUS .......................................................133

SAVE TO DISK .....................................................134

LOAD FROM DISK ................................................136

RENAME FILE ......................................................139

DELETE FILE .......................................................140

FORMAT DISK .....................................................141

UTILITY MODE..........................................................142

SONG VOICE MEMORY .........................................143

INITIALIZE ..........................................................144

VOICE BULK DUMP ..............................................144

SYNTHESIZER SETUP ...........................................145

CONTROLLERS ....................................................147

MIDI SETUP .........................................................148

OTHER SETUP .....................................................149

GREETING MESSAGE ...........................................149

BEFORE YOU BEGIN

GETTING STARTED

SONG MODE

AWM TONE GENERATION

VOICE MODE

■ APPENDIX .............................151

ERROR MESSAGES ...............................................152

TROUBLESHOOTING ............................................153

MOUNTING THE EXPANSION BOARD ....................155

SPECIFICATIONS .................................................156

INDEX ...........................................................................158

STORE MODE

DISK MODE

UTILITY MODE

APPENDIX

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THANK YOU FOR PURCHASING THE YAMAHA W5/W7 MUSIC SYNTHESIZER

The Yamaha W5 (76-key) / W7 (61-key) Music Synthesizer is a full-featured, professional level music production and performance keyboard complete with 32-note synthesizer and sequencer, extensive voice and song editing capabilities, digital effects, GM compatibility and much more.

Featuring Yamaha s unique AWM2 (second generation Advanced Wave Memory) tone generation system, where sounds are generated from high quality digital recordings of actual instruments, the W5/W7 is a at once and play up to 16 different instrument sounds simultaneously via the internal song sequencer or an external MIDI source.

The W5/W7 is specifically designed with the music composer and performer in mind to give serious musicians all the tools they need to make great sounding music, in one compact, easy-to-use, yet powerful, package.

To take full advantage of the W5/W7 s many in-depth features and music production capabilities, and to enjoy many years of long and trouble-free use, please read this manual carefully.

multitimbral

keyboard that can function as several synthesizers

HOW TO USE THIS MANUAL

This manual is divided into three distinct sections, as follows:

● INTRODUCTORY SECTION: BEFORE YOU BEGIN

A big picture overview of the W5/W7, complete with

explanation of the instrument s main features and capabili-

ties, front and rear panel diagrams with detailed descrip-

tions of controls and other features, plus an explanation of

system logic and other technical considerations everything

you need to know before you begin using the W5/W7 in

order to put its numerous features and capabilities into

proper context.

● TUTORIAL SECTION: GETTING STARTED

A simple yet comprehensive guided tour of the basic

operation of all main features of the W5/W7, including

setting up and connecting to a monitor system, exploring

the preprogrammed voices and realtime control features,

basic voice editing, song creation and sound mixing, saving and loading data, plus integrating the W5/W7 into a larger MIDI system everything you need to get started right away familiarizing yourself with the W5/W7 through hands on experience.

● REFERENCE SECTION: FEATURE REFERENCE

A virtual encyclopedia of all features of the W5/W7, including detailed information about voice, song, utility, disk and storage modes, as well as an extensive feature index everything you need for quick and easy access to any subject you want to locate.

IMPORTANT NOTE: Keep this manual in a safe place for future reference.

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PRECAUTIONS

IMPORTANT! PLEASE READ BEFORE PROCEEDING.

The W5/W7 is a powerful electronic musical instrument featuring sensitive high technology. To ensure many years of trouble-free use, please take the important precautions below seriously.

LOCATION

● In order to avoid causing serious damage to the W5/W7, do

not expose the instrument to direct sunlight, high tempera-

tures, excessive humidity, excessive dust or strong vibration.

● Place the W5/W7 on a solid surface such as a keyboard

stand or a sturdy table or desk.

POWER SUPPLY

● Turn the power switch off when the instrument is not in

use.

● The power supply cord should be unplugged from the AC

outlet if the instrument is not to be used for an extended

period of time. (NOTE: When AC power is reconnected,

song sequencer data, including Song voice data, will have

been erased.)

● Unplug the instrument during electrical storms.

● Avoid plugging the instrument into the same AC outlet as

appliances with high power consumption such as electric

heaters or ovens. Also avoid using multiple-plug adapters

since these can result in reduced sound quality and possibly

even damage to the W5/W7.

UNPLUG ALL INSTRUMENTS WHEN MAKING CONNECTIONS

● To avoid causing damage to the instrument and other

devices to which it is connected (such as a sound system or

MIDI instruments), turn off power and unplug all related

devices prior to connecting or disconnecting audio and

MIDI cables. When connecting AC power be sure the W5/

W7 is properly grounded.

ELECTRICAL INTERFERENCE

● Avoid using the W5/W7 near televisions, radios or other

devices which generate electromagnetic fields, since this

may cause the W5/W7 to malfunction, and possibly

generate interference noise in the other devices.

BACK-UP BATTERY

● The W5/W7 contains a special long-life battery that retains

the contents of its internal voice and multi memory when

the power is turned off. The back-up battery should last for

several years. When it needs to be replaced, the message

Change internal battery! will appear on the display when

the power is turned on. When this happens, have the

backup battery replaced by qualified Yamaha service personnel. Do not attempt to replace the backup battery yourself.

HANDLING AND TRANSPORT

● Handle with care. Physical shocks caused by dropping,

bumping the instrument, or placing heavy objects upon it, can result in serious damage to the W5/W7.

● Never apply excessive force to the controls, connectors or

other parts of the instrument.

● Disconnect all cables before moving the instrument. Always

unplug cables by gripping the plug firmly, and not by pulling on the cable itself.

CLEANING

● Never use chemical solvents or thinners to clean the W5/

W7, since these will damage the finish or dull the keys. Wipe the instrument clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a diluted, mild detergent. Then wipe the instrument thoroughly with a dry cloth.

● Avoid placing vinyl objects on top of the instrument, since

vinyl can stick to and discolor the surface.

DATA BACKUP AND STORAGE

● Be sure to save all song sequence and Song voice data to

floppy disk before turning off the power. At power off, these types of data are not retained in the W5/W7 s internal memory.

● Since it is possible for data in internal memory to be lost as

a result of improper operation, handling, or other reasons, always keep floppy disk backups of important voice, song sequence and multi data, and store them in a cool, dry place. Since it is also possible for the data in a floppy disk to be lost as a result of static electricity, magnetic fields, or other causes, it is always a good idea to make at least two backup copies of the floppy disks and store them in different locations, just to be safe.

● To prevent accidental erasure of important data you have

saved to floppy disk, be sure to slide the disk s write-protect tab to the write protect position (the tab window should be open). When this is done the data on the disk cannot be accidentally overwritten.

Page 8

● Make regular backup copies of important data to a separate

floppy disk, and keep your backup disks in a separate, safe

place.

● To ensure the safety of your data (and of the disk drive

itself) always use floppy disks from a well-known, reliable

manufacturer. No-name brand disks may cause trouble.

IMPORTANT NOTE: Yamaha recommends that you regularly save your data onto floppy disks and store the disks in a safe place! Yamaha cannot be held responsible for the accidental loss of important music data.

HANDLE FLOPPY DISKS AND TREAT THE DISK DRIVE WITH CARE

● Use only 3.5 2DD type floppy disks.

● The actual recording medium inside a floppy disk has a fine

coating of magnetic particles in which the data is stored. To

protect this coating as well as the disk drive s delicate read-

write head, always keep floppy disks in their protective

cases when they are not in use.

● Do not place heavy objects on a disk or bend or apply

pressure to the disk in any way. Do not open the sliding

shutter and touch the exposed surface of the floppy disk

inside. Do not expose the disk to direct sunlight, extremely

high or low temperatures, or excessive humidity, dust or

liquids. Do not expose the disk to magnetic fields, such as

those produced by televisions, speakers, motors, etc., since

magnetic fields can partially or completely erase data on the

disk, rendering it unreadable.

● Never use a floppy disk with a deformed shutter or housing.

● Do not attach anything other than the provided labels to a

floppy disk. Also make sure that labels are attached in the

proper location.

● To insert a floppy disk into the W5/W7 s disk drive, hold

the disk so that the label of the disk is facing upward and

the sliding shutter is facing forward, towards the disk

insertion slot. Carefully insert the disk shutter first into

the slot, slowly pushing it all the way in until it clicks into

place and the eject button pops out.

millimeters. If this happens, do not attempt to pull out the partially ejected disk, since using force in this situation can damage the disk drive mechanism or the floppy disk. To remove a partially ejected disk, try pressing the eject button once again, or push the disk back into the slot and then repeat the eject procedure.

● Never insert anything but floppy disks into the disk drive.

Other objects may cause damage to the disk drive or floppy disks.

● Be sure to remove the floppy disk from the disk drive before

turning off the power. A floppy disk left in the drive for extended periods can easily pick up dust and dirt that can cause data read and write errors.

CLEANING THE DISK DRIVE READ/WRITE HEAD

● Clean the read/write head regularly. This instrument

employs a precision magnetic read/write head which, after an extended period of use, will pick up a layer of magnetic particles from the disks used that will eventually cause read and write errors. To maintain the disk drive in optimum working order Yamaha recommends that you use a commercially-available dry-type head cleaning disk to clean the head about once a month. Ask your Yamaha dealer about the availability of proper head-cleaning disks.

SERVICE AND MODIFICATION

● The W5/W7 contains no user serviceable parts, so never

open the case or tamper with the internal circuitry in any way. Doing so may result in electrical shock or damage to the instrument. Refer all servicing to qualified Yamaha service personnel.

THIRD PARTY SOFTWARE

● Yamaha cannot take responsibility for software produced for

this product by third-party manufacturers. Please direct any questions or comments about such software to the manufacturer or their official agents.

IMPORTANT NOTE: Yamaha cannot be held responsible for damage to the W5/W7 resulting from improper handling or operation.

● When writing and reading data to and from disk, the red

LED on the floppy disk drive will light up. Never attempt to

remove the disk or turn the power off while this LED is lit.

Doing so could damage the disk and possibly the disk drive.

● To eject a floppy disk, press the eject button slowly as far as

it will go; the disk will automatically pop out. When the

disk is fully ejected, carefully remove it by hand. If the eject

button is pressed too quickly, or if it is not pressed in as far

as it will go, the disk may not eject properly. The eject

button may become stuck in a half-pressed position with

the disk extending from the drive slot by only a few

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BEFORE YOU BEGIN

Congratulations! You are now the proud owner of the Yamaha W5/W7 Music Synthesizer. The W5/W7 is a self contained, full-featured, easy-to-operate multitimbral music production and performance 16-track sequencer, full voice and song editing capabilities, studio quality digital effects, powerful stereo sound mixing features, large memory capacity, on-board floppy disk drive, GM compatibility, friendly user-interface and more. Main features include:

●

AWM2 TONE GENERATION

Second generation Advanced Wave Memory tone generation system, where instrument sounds are generated from high-quality digital samples of actual instruments and other sounds.

●

LARGE-CAPACITY WAVEFORM ROM

8Mbytes of 16-bit linear waveforms sampled at maximum 48kHz sampling frequency, plus expandability.

●

EASY CONTROL AND FRIENDLY USER INTERFACE

Multiple assignable controllers, large LCD screen, multi-purpose function keys, data entry pad, jog/shuttle and other data input features, plus individual sequencer track buttons and more give you instant access to any mode or parameter. Accessing functions rarely takes more than two or three presses of a button.

workstation

, complete with 32-note polyphonic synthesizer,

BEFORE YOU BEGIN

●

SONG MULTI

The basic Song Play operation mode of the W5/W7, a multi lets you design a complete music production from start to finish and store it as a song in any of the 16 internal song memories. A multi is the configuration of all performance and voice settings and other data which combine to create a stereo song mix . Within a multi, you can assign up to 16 on-board track sequencer, plus determine all effects and mixer settings as well as MIDI control status and many other parameters.

●

16-TRACK, 16-SONG MUSIC SEQUENCER

Large capacity memory (approximately 100,000 notes) song sequencer with realtime, step and punch-in recording, and extensive song editing jobs. The 16 sequences in song memory can be specified to play back one after another.

Instrument

voices to the 16-

Page 10

●

GENERAL MIDI

Global standard configuration of 128 instrument voices and specified MIDI channel assignments and other parameters. General MIDI lets you load and play music data created by another sequencer and saved to disk in the Standard MIDI File format.

BEFORE YOU BEGIN

ABOUT THE GM SYSTEM LEVEL 1

instrument hardware and software makers in order to minimize confusion and the need for reprogramming when playing music software created by one device on another device. The W5/W7 supports the

GM System Level 1 , which is the current minimum MIDI configuration standard recognized by the

International MIDI Association.

instruments made by different manufacturers. For example, sequence data originally created to control a specific tone generator can be used to control a different tone generator from another manufacturer without reconfiguring MIDI channel and other assignments. Program change and other data transmitted from the sequencer will select the correct voices and settings on the destination tone generator.

same program change numbers (001 ~ 128) and MIDI channels (1 ~ 16), and the same type of drum sounds are assigned to specific keys, and controllers such as pitch bend range, octave registration, expression, modulation, etc., are designated with specific controller numbers. (For more information about GM sounds and mapping, see the

●

384 INSTRUMENT VOICES AND 10 DRUM KITS

384 preset normal voices plus 10 drum voices (or kits), including the 128 General MIDI voices and 8 kits, constructed from the hundreds of preset AWM

elements and the many on-board synthesizer parameters.

The General MIDI ( GM ) world standard protocol was developed by a consortium of musical

GM permits performance and other data to be transferred between different instruments, even

GM defines a standard voice allocation chart in which the same or similar voices are accessed by the

W5/W7 Technical Information

booklet, supplied separately.)

●

VOICE EDITING

Extensive synthesizer voice editing features give you unlimited sound creation potential. A voice, which can be constructed from between 1 and 4 AWM elements, has hundreds of editable parameters.

●

LARGE INTERNAL VOICE AND SONG VOICE RAM

128 Internal or user normal voice memories and 2 Internal drum voice memories, for storing your own instrument sounds and drum kits. There are also 16 banks of 128 Song voice memories and 16 banks of 2 Song drum voice memories one Song voice bank per each song memory which are handy for organizing voices and drums for specific songs or live performance setups and storing them together with song multi data on floppy disks for quick and easy access.

Page 11

●

75 DIGITAL EFFECTS

Two independent, studio quality DSP effects systems Insertion Effects and

System Effects each with three different types of effects generators. An Insertion Effect can be assigned to each voice in Voice Edit Mode, and switched on and off via the mixer. As many as three Insertion Effects can be used in a multi. The three System Effects can be applied to the overall sound mix. Preset stereo effects

include reverb, delay, chorus, auto panning, 3-band EQ, Aural Exciter

, pitch change, distortion and many more. There are a total of 35 preprogrammed Insertion Effects and 40 System Effects, which can be edited and configured in a variety of ways in the multi for a song or performance setup.

* Aural Exciter¤ is a registered trademark of and is manufactured under license from Aphex Systems Ltd.

●

STEREO SOUND MIXING

Extensive stereo sound mixing capabilities, via the on-board tone generator sound mixer, the digital effects and others. In conjunction with the sequencer you can even achieve an automated mixdown for your final playback output.

●

PERFORMANCE FEATURES

76-key (W5) or 61-key (W7) polyphonic keyboard with key velocity sensitivity and aftertouch, plus keyboard splitting, layering and 4-Zone capabilities. The W5/W7 can play a maximum of 32 notes simultaneously. In Song Multi Mode, it can play a maximum of 16 timbres, or voices, simultaneously; in Voice Mode, it can play one timbre at a time. There are also many performance controllers, including pitch bend and modulation wheels, foot controller, and a multifunction continuous slider.

BEFORE YOU BEGIN

●

FLOPPY DISK DRIVE

For storing your song and voice data on 3.5 2DD type floppy disks.

●

EXPANSION POTENTIAL

The factory preprogrammed sound memory can be expanded with an optional Yamaha 4Mbyte Expansion Wave/Voice Board.

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FRONT PANEL

DIAGRAM & FEATURES

BEFORE YOU BEGIN

PITCH MODULATION

SEQUENCER

STOP/TOPRECORD

CSVOLUME

RUN

SONG

EDIT

JOB

MODE

VOICE

UTILITY

DISK

STORE VOICE EDIT

TRACK

SELECT SOLO

SHIFT

F1 F2

ELEMENT SELECT

223344516

ON/O

NOTE: The above diagram is the 61-key W7 Music Synthesizer. The 76-key W5 has precisely the same on-board controls and internal operating system only the number of keys on the keyboard is different.

Page 13

BEFORE YOU BEGIN

3F4F5F6F7F8

73849 10

ELEMENT

COMMON FILTERAMP EFFECTPITCH CONTROLLFO

VOICE EDIT

11 12 13 14 15 16

ENTER

CANCEL

DATA/CURSOR

EXIT

REST TIE UTILITY

–

INCDEC

Page 14

KEYBOARD

76-key (W5) or 61-key (W-7) keyboard with key-on velocity sensitivity and channel aftertouch sensitivity gives you full control over expression and nuance as you play.

PITCH AND MODULATION WHEELS

The pitch wheel lets you bend the pitch up or down as you play. It is spring-loaded

BEFORE YOU BEGIN

to return to center position when you let go of it. The modulation wheel lets you apply or set a designated amount of vibrato or tremolo. You can also assign it to affect EG bias, filter cutoff, amplitude modulation, pitch modulation, frequency modulation and various other controllable parameters.

FLOPPY DISK DRIVE

The 3.5 2DD floppy disk drive can store large amounts of voice, multi and song sequence data. The red disk drive indicator LED will light when the disk is being written or read. (NOTE: Never attempt to remove the disk while this LED is let. Doing so could damage the disk and the disk drive. Always insert the disk with the label facing up, from the end with the shutter facing forward. To remove the disk, press the eject button at the lower right of the drive.)

VOLUME SLIDER

Regulates the output volume from the stereo output jacks on the rear panel.

CONTINUOUS SLIDER (CS)

This is a multiple function controller that can control the parameter you assign to it, including pan, foot control functions, expression, data entry and others.

MODE SECTION

For choosing the six main operation modes of the W5/W7 Song, Edit, Job, Voice, Utility and Disk.

SEQUENCER SECTION

For starting and stopping the recording and playback functions of the internal sequencer, and returning the song to the top, or first measure. Pressing RECORD engages the Song Record Mode; pressing STOP/TOP once stops a song which is playing back, while pressing STOP/TOP twice returns the song to the top, or measure one; pressing RUN starts the song playback from the currently designated measure.

STORE BUTTON

For entering Store Mode in order to store multis into the song memory bank and voices into the Internal voice bank. In Store Mode the STORE button will light green.

Page 15

VOICE EDIT BUTTON

For switching directly into Voice Edit Mode, regardless of whatever mode you re in at the time, to access the voice editing functions and parameters. During the editing operation, pressing VOICE EDIT lets you compare the sound of the voice you re editing to the sound of the original voice you started from. In Voice Edit Mode the VOICE EDIT button lights in orange (as do various TRACK buttons, which in Voice Edit Mode double as voice editing function and element selectors).

TRACK SELECT BUTTON

In the normal operating modes the TRACK SELECT button will be lit with a green light, indicating that you can select tracks 1 ~ 16 of the song multi. In Voice Edit and Solo Modes, the light on the TRACK SELECT button will go out, indicating that you cannot select tracks.

TRACK SOLO BUTTON

When a song sequence is playing back, pressing the SOLO button will allow you to solo and mute the various tracks with music data in them. Soloed tracks will light in red and muted tracks will light in green.

BEFORE YOU BEGIN

TRACK BUTTONS 1 ~ 16

In Song Play, Voice Play and Song Record Modes, the TRACK buttons let you select any track in the multi the selected track button will be indicated with a red light. In Song Sequence Play Mode, the TRACK buttons corresponding with tracks which have music data in them will be indicated with a green light. In Voice Edit Mode, various TRACK buttons double as edit function select, element select and element on/ off switches as indicated on the panel directly above each button. In Voice Edit Mode, the selected buttons will be indicated with orange lights.

LCD SCREEN

The 240 x 64 dot Liquid Crystal Display with adjustable contrast provides graphic, numeric and much other visual information.

SHIFT KEY

SHIFT is used in conjunction with the function keys to access secondary functions and parameters, as well as to jump directly to main menus and other functions.

FUNCTION KEYS 1 ~ 8

The functions of these keys [F1 ~ F8] depend on the selected mode. They are used to engage a function indicated on the display immediately above the key.

EXIT KEY

EXIT is for exiting from any function or submode. In many cases pressing EXIT more than once will let you retrace your previous few steps .

Page 16

DATA ENTRY KEYPAD

For precise, specific entry of data, by punching in a number, then pressing ENTER. The [—] button lets you enter a negative value. In Song Record Mode you can enter music notation values according to the corresponding musical symbols and indications printed above the buttons. ENTER is used to execute many different operations.

BEFORE YOU BEGIN

CANCEL BUTTON

If you change a parameter and then decide you want to retrieve the previous data value, pressing CANCEL before proceeding to another function will cancel out the data entry, reverting to the previous value status.

JOG/SHUTTLE DIAL

Two-function concentric (inner and outer) dial. The JOG (inner dial) lets you enter data or scroll through functions. The SHUTTLE (outer dial) lets you fast forward or

rewind through measures in a song sequence.

DATA/CURSOR BUTTON

Determines the function of the JOG dial. When switched off (no light), the JOG will be used primarily for entering data. When switched on (red light indicator), spinning the JOG will move the cursor.

CURSOR CONTROL & INC/DEC BUTTONS

The arrow CURSOR-UP, -DOWN, -LEFT and -RIGHT buttons let you move the cursor in these respective directions one step at a time. INC lets you enter data one increment with each press of the button, while DEC lets you enter data one decrement with each press of the button. The INC/DEC buttons are also used to confirm execution of or abort an operation after pressing ENTER.

Page 17

REAR PANEL

DIAGRAM & FEATURES

THRU OUT

CAUTION

RISK OF ELECTRIC SHOCK

ATTENTION:RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. WARNIING TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK. DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1)THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2)THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DO NOT OPEN

POWER ON/ OFF

MODEL

US4584921 US4967635

PATENTS

US4738179 US4731835 US4763553 US4731835

YAMAHA CORPORATION MADE IN JAPAN

VS25750

SER.NO.

MIDI

SUSTAIN FOOT

FOOT

VOLUME

CONTROLLER

OUTPUT

R L/MONO

BEFORE YOU BEGIN

AC INLET

PHONES

POWER SWITCH

Press to turn the power on or off.

POWER CONNECTOR

Attach the power supply cord and plug into the AC power outlet.

MIDI CONNECTORS

For connecting other MIDI devices. The MIDI IN connector receives MIDI data from an external sequencer or other MIDI device which will control or transmit data to the W5/W7. The MIDI THRU connector simply passes along the data received at the MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI OUT connector transmits data corresponding to all W5/W7 performance operations, or bulk data when one of the MIDI data transmission functions are activated.

SUSTAIN JACK

An optional Yamaha FC4 or FC5 foot switch connected here will permit press-on/ release-off sustain control by foot. You can also determine the expression level limit.

Page 18

FOOT CONTROLLER JACK

An optional Yamaha FC7 or FC9 foot controller connected here can be used for amplitude modulation, pitch modulation, frequency modulation, envelope generator bias, and filter cutoff frequency control.

BEFORE YOU BEGIN

FOOT VOLUME JACK

An optional FC7 or FC9 foot controller connected here can be used to regulate overall volume.

OUTPUT JACKS

Audio outputs for monitoring the W5/W7 by external amplification in either stereo or mono. If a plug is inserted into only the L/MONO jack, the left and right channel signals are combined and delivered via this single jack.

PHONES JACK

Accepts a standard pair of stereo headphones (1/4 stereo phone plug) for private monitoring of the W5/W7.

Page 19

SYSTEM LOGIC

MUSICIAN S WORKSTATION

The W5/W7 Music Synthesizer is a true music workstation designed with the composer as well as performer in mind. In one streamlined, easy-to-use package is bundled all the tools a musician needs to concentrate on making music ing, recording, performing or practicing rather than being distracted by lots of machines and cables.

The W5/W7 comes equipped with 32-note polyphonic keyboard, 16-track, 16-song sequencer, full voice and song editing capabilities, studio quality digital effects, powerful stereo sound mixing features, large memory capacity, on-board floppy disk drive, GM compatibility, and more everything a musician needs for any modern music situation. Its AWM2 tone generation, which includes hundreds of high quality digital samples that form the core wave of sound elements from which the synthesizer voices are constructed, provides rich, dynamic and powerful,

With the W5/W7, there is no single prescribed method of working the way you use it will be dictated by the needs of your particular music session. All operations are performed within a song multi , or configuration of all parameter settings and other data which make up a song , that can be stored in one of the 16 internal song memories and saved to floppy disk.

professional

quality sound.

naturally

whether compos-

BEFORE YOU BEGIN

One key to the W5/W7 s ease of operation is its intuitive, friendly user interface. Through a balance of easy reach, multi-purpose buttons, sliders and controllers, plus a large LCD screen, the W5/W7 allows you to go directly to any function, whether it s voice editing, recording, song editing, or others, in usually the touch of a single button, and rarely more than two or three.

Another key to the W5/W7 s ease of operation is the flexible nature of the song multis. A song multi is a specific configuration of all settings you make for a particular music session whether composing, recording, performing or practicing which you store in the 16 song memories, and can save to floppy disk in a variety of ways.

Finally, with the W5/W7 you can literally perform any operation on the fly , moving around within functions and jumping from mode to mode intuitively switching back and forth between the various modes freely as you work. You can even switch into Voice Edit Mode while the sequencer is running, in order to make specific voice editing parameter adjustments during song mixdown.

Page 20

SYSTEM OVERVIEW

BEFORE YOU BEGIN

128 normal

+ 2 drum

Song voice

memory

(Volatile RAM)

Disk Drive

16-song

sequencer

memory

(Volatile RAM)

Song Sequencer

Record

Edit

Job

“External”

normal and drum

voice memory

(Optional)

128 normal

+ 2 drum

Internal voice

memory

(RAM)

128 normal

+ 2 drum

Preset voice

memory

(ROM)

128 normal

+ 8 drum GM voice

memory

(ROM)

Voice Edit Buffer

Tone Generator

16-song

multi memory

(RAM)

Controller

Keyboard

Data entry

MIDI IN

16 Tracks

SEQUENCER VOICE MULTI OUTPUTINPUT

On/Off

16 Instruments

Assign

Insertion

Effect

16 Channels Stereo Mixer

System

Effect

L R

MIDI OUT

Page 21

OPERATING MODES

The basic operating modes of the W5/W7 are as follows:

●SONG MODE

For performing Song Play, Song Record, Song Edit and Song Job mode operations. (For more information, see Song Mode, page 72.)

SONG PLAY - Lets you choose between Song Multi, Song Sequence Play and Song Setup functions, in order to voice to each of the 16 tracks and determining sound mixer and other settings for each track (including volume, panning, effects, tuning, note shift and pitch bend), choose any of the 16 songs in internal song memory, assign various MIDI settings including transmit channel, set the keyboard mode to Normal, Split, Layer or 4-Zone, set the sequencer clock to internal or MIDI sync, and determine other settings which affect the currently selected song multi. (For more information, see Song Play Mode, page 73.)

define

BEFORE YOU BEGIN

a multi by assigning an Instrument

SONG RECORD - Lets you record a sequence in the currently selected song memory, either in real-time (including replace, overdub and punch-in recording) or step-time, as well as determine record parameters like quantize, tempo, click volume and others. (For more information, see Song Record Mode, page

85.)

SONG EDIT - Lets you view and edit individual note, controller and other MIDI events in the song sequence, through three separate functions Data Change, which lets you modify the data, Data Insert, which lets you insert new data, and Graph, which lets you view notes as black squares on a keyboard diagram plus a horizontal line which displays black dots that indicate the position of note data in a measure. (For more information, see Song Edit Mode, page 91.)

Page 22

SONG JOB - Lets you make changes to the sequence that apply to all the data in one or more entire measures. Song Job operations include song copy, append and clear, track copy, clear and mix, measure copy, erase, create, delete and insert, data thin out, extract and chord sort, plus quantize, move clock, modify gate time, modify velocity, transpose, shift note, and crescendo. (For more information, see Song Job Mode, page 95.)

BEFORE YOU BEGIN

● VOICE MODE

For performing single Voice Play and Voice Editing operations. (For more information, see Voice Mode, page 106.)

VOICE PLAY - Lets you play the individual voices (from the Preset, GM, Internal, Song or optional External voice banks) without multi settings applied. (For more information, see Voice Play, page 107.)

VOICE EDIT - Lets you edit any and all parameters which make up a voice, including Insertion Effect and controller settings. You can go directly to Voice Edit Mode from either Voice Play or Song Play and start editing the currently selected voice at any time, even while the sequencer is running. (For more information, see Voice Edit Mode, page 108.)

Page 23

● STORE MODE

Lets you store multis in an internal song multi memory (01 ~ 16) as well as store original and preset voices in the Internal voice bank. Store Mode is handy for organizing your voices and multis before saving them to disk. (For details, see Store Mode, page 129.)

● DISK MODE

Lets you save your original voices, song multis and sequence data in various combinations into disk files on a floppy disk (3.5 2DD type), as well as load the files back into Internal/Song voice and song memory. It also lets you perform various disk file management functions like renaming and deleting files and formatting a disk for the W5/W7 operating system. (For details, see Disk Mode, page 131.)

BEFORE YOU BEGIN

●UTILITY MODE

Lets you manage Song voices, initialize the Internal voice bank, determine various MIDI settings and transmit bulk MIDI data, set master tuning and keyboard velocity parameters, and access other functions which affect the W5/W7 s overall system. (For details, see Utility Mode, page 142.)

Page 24

SYSTEM ARCHITECTURE

The W5/W7 s overall system is comprised of three distinct sections: the Controller section, the Sequencer section and the Tone Generator section. The MIDI signal, originated externally or from the keyboard and controllers, flows through the sequencer before reaching the tone generator.

BEFORE YOU BEGIN

Controller

MIDI IN

Keyboard

Controllers

Sequencer Tone Generaor

Song

Sequencer

Tracks

1 ~ 16

Song Memory Voice Memory

Track Transmit Channels

1 ~ 16

Mixer

Tracks

1 ~ 16

System

Effects

Insertion

Effects

L R

MIDI OUT

●CONTROLLER SECTION

Controls the source of the MIDI data, whether from an external source, or via the W5/W7 s keyboard and controllers, or from both.

●SEQUENCER SECTION

Receives 16 channels of MIDI data from a source and routes each channel to the corresponding 16 tracks in the sequencer. The sequencer lets you record, edit and play back song sequences, and assign MIDI transmit channel for each track.

●TONE GENERATOR SECTION (MIXER)

Can play up to 16 different Instrument voices simultaneously, as assigned to the sequencer tracks. The tone generator s mixer lets you determine song multi parameters including voice select, volume, pan, Insertion Effect on/off, System Effect (1 ~ 3) send levels, tuning, note shift and pitch bend range for each track, as well as overall settings which affect all tracks equally.

Page 25

SONG MULTIS

The Song Multi function lets you assign an Instrument voice to each of the 16 TRACK buttons on the panel, plus designate all sound mixer and other settings for each track as well as for the overall mix including volume, panning and digital effects settings, as well as tuning, note shift and pitch bend parameters.

A song multi is the complete configuration of all MIDI, voice, mixer and other assignments and settings which determine the operating status of the W5/W7.

● multi settings (i.e., all parameter settings), song

sequence data, and accompanying Song voice bank;

● multi settings with accompanying Song voice bank;

● multi settings only.

A song multi can be stored in any of the 16 song memories in the W5/W7 and saved to floppy disk and loaded back in via the disk drive. And since each song memory also contains a Song voice bank into which you can store up to 128 normal voices and 2 drum voices copied from the Internal, Preset or GM voice bank (or the External voice bank if the optional Expansion Wave/Voice Board is installed), you can organize an entire bank of Song voices specifically for a single multi. This lets you keep all data for a multi in one place, i.e., inside a single song memory.

BEFORE YOU BEGIN

Song multis are an integral part of the W5/W7 s flexibility and user friendliness. Basically, you define the multis naturally as you work, whether you re composing, or recording, or preparing setups for live performance by selecting a track and assigning an Instrument voice to it, setting a pan position here, an effect send level there, and so on. Every multi will take on the unique character of the work session. Then you save your multis to floppy disk, so that whenever you need any particular multi, you can load it back into one of the 16 song memories and be assured that all settings and other data are always exactly as they should be and instantly accessible.

There are literally hundreds of parameters which make up a song multi, but only four basic steps involved in the process of creating and defining the multi: (1) select a song memory location; (2) assign Instrument voices to tracks and determine multi parameter settings as you work, whether you re recording or structuring a performance setup; (3) store the multi in song memory as you work; and (4) save the multi to floppy disk. (For more information about song multis, see Song Mode, page 74.)

NOTE: Song multis can be saved to floppy disk and loaded back into the

W5/W7 in various ways, including

all 16 songs with accompanying

Song voice banks, one song only,

one song with accompanying Song

voice bank, and in the Standard

MIDI File format. For more information on saving to and loading from disk, see Disk Mode,

page 131.

Page 26

MIXER CHANNEL

BEFORE YOU BEGIN

Pitch Bend Range

1~9/11~16

Note Shift

Tune

System Effect

Send 1 Level

System Effect

Send 2 Level

System Effect

Send 3 Level

Insertion Effect

On/Off

Pan Position

MIXER CHANNEL

System Effect

Send 1 Level

System Effect

Send 2 Level

System Effect

Send 3 Level

Insertion Effect

On/Off

Pan Position

Volume Level

INSTRUMENT

Assign

Volume Level

INSTRUMENT

Assign

Voice Edit

STEREO VOICE

Voice Name

Volume Level

Insertion Effect Type/Parameter

Element Edit

Element

Insertion Effect Type/Parameter

Voice Edit

STEREO VOICE

Voice Name

Volume Level

Key (Element) Edit

Pan

Volume

System Effect Send Levels

NORMAL VOICE DRUM VOICE

Page 27

INSTRUMENT VOICES AND POLYPHONY

Instrument voices are those Preset, GM, Internal, Song and (optional) External voices assigned to tracks in the tone generator mixer. The number of notes you can play simultaneously with an Instrument voice either from the keyboard or from the sequencer is a maximum of 32, but is determined practically by the number of elements used in a voice, as well as the number of voices used in a sequence. The more elements that make up a voice, the fewer number of keys that can be played on the keyboard, or generated by the tone generator from the sequencer.

VOICE BANKS

BEFORE YOU BEGIN

The W5/W7 has a total of 10 separate standard features, while two of them are available as optional ROM memories that you can purchase separately and plug into the W5/W7 s logic board via a special access located on the bottom of the instrument.

The various voice banks are organized according to the type of instrument sounds that are in them i.e., by normal voices (voices with pitched sounds) or drum voices (voices with assorted percussion sounds). Whether the voice bank is a normal or a drum voice bank is indicated by a one- or two-letter abbreviation code, respectively, which appears immediately to the left of the voice number. Following is a list of the various voice banks, along with abbreviation codes and descriptions:

NORMAL VOICES

voice banks

. Eight of these are provided as

●(G) GM VOICE

128 ROM sounds preset according to the General MIDI standard, which cannot be overwritten.

●(P) PRESET VOICE

128 ROM sounds preset at the factory, which cannot be overwritten.

●(I) INTERNAL VOICE

128 RAM user memory locations which have voices stored in them when shipped from the factory, but can be overwritten when storing your own original normal voices, and will be retained in memory even when the power is turned off.

●(S) SONG VOICE

128 RAM user memory locations for storing GM, Preset or Internal voices used in a particular song or multi. Song voice banks each holding 128 normal voices for each song can be saved to and loaded from floppy disks via the disk drive. Song voices will not be retained in memory when the power is turned off.

● (E) EXTERNAL VOICE

Additional ROM voices available as an option. (NOTE: The E will not display unless the optional Expansion Wave/Voice Board memory upgrade package is installed.)

Page 28

DRUM VOICES

● (GD) GM DRUM VOICE

8 ROM drum sets, each with dozens of sounds arrayed on the keyboard, preset according to the General MIDI standard, which cannot be overwritten.

BEFORE YOU BEGIN

2 ROM drum sets, each with dozens of sounds arrayed on the keyboard, preset at the factory, which cannot be overwritten.

●(ID) INTERNAL DRUM VOICE

● (PD) PRESET DRUM VOICE

2 RAM user memory locations for storing your own original drum voices, which will be retained in memory even when the power is turned off.

●(SD) SONG DRUM VOICE

2 RAM user memory locations for storing GM, Preset or Internal drum voices used in a particular song or multi. Up to 16 Song drum voice banks each holding 2 drum voices can be saved to and loaded from floppy disks via the disk drive. Song drum voices will not be retained in memory when the power is turned off.

●(ED) EXTERNAL DRUM VOICE

Additional ROM drum sets available as an option. (NOTE: The ED will not display unless the optional Expansion Wave/Voice Board memory upgrade package is installed.)

(For more information about voices and elements, please refer to the

Technical Information

W5/W7

booklet, supplied separately.)

Page 29

VOICE CATEGORIES

The individual voices are organized into 21 classes of instrument groups, called Voice Categories, for easier access, as follows:

—

No Assign

Piano

Chromatic Percussion

Organ

Guitar

Bass

Strings/Orchestral

Ensemble

Brass

Reed

Pipe

Synth Lead

Synth Pad

Synth Sound Effects

Ethnic

Percussive

Sound Effect

Drums

Synth Comping

Voice

Combination

The Voice Category for each voice is identified by a two-character prefix, which in Voice Mode will appear to the left of the voice name, and in Song Mode will appear just below the track volume section in the mixer screen.

NOTE: When the voice bank is set to

off , no Voice Category code will

display.

BEFORE YOU BEGIN

NOTE: You can assign a voice category code to your own voices, in Voice Edit Mode.

Page 30

INSERTION EFFECTS & SYSTEM EFFECTS

The W5/W7 has 75 digital effects inside two independent, studio quality DSP stereo effects processors with editable parameters called Insertion Effects and System Effects , which provides for enormous sound processing flexibility and control. Effects include reverb, delay, chorus, auto panning, 3-band EQ, Aural Exciter and many more.

BEFORE YOU BEGIN

, pitch change, distortion

Stereo

Voice

Element 1

Pan

Element 2

Pan

Element 3

Pan

Element 4

Pan

Fader

Insertion Effect Assign

Insertion

Effect Switch

on off

1: Stereo In/Out

2: Mono In/Mono Out

3: Mono In/Stereo Out

Pan

System Effect

Send Levels

System Effects

Effect 1 : Rev Module

Effect 2 : Chorus Module

Effect 3 : Dly/Rev Module

System

Return 1

Return 2

Return 3

Mixer

* Aural Exciter¤ is a registered trademark of and is manufactured under license from Aphex Systems Ltd.

Page 31

INSERTION EFFECTS - An Insertion Effect can be assigned to an Instrument voice. A maximum of three voices may use an Insertion Effect at any one time, one Insertion Effect per voice for a song. A specific Insertion Effect, along with user-assigned parameter settings, can be specified for a voice within Voice Edit Mode.

The Insertion Effect for each voice may be switched on and off from within a mixer track. There are a total of 35 preprogrammed Insertion Effects, which can be edited and configured in a variety of ways in the voice and multi for a song or performance setup. (For more information about Insertion Effects, see page 119.)

SYSTEM EFFECTS - There are three System Effects which can be applied to the overall mix, and send levels for each effect can be adjusted via the mixer. System Effects can be designated, and System Effect parameters can be edited, from within the multi.

BEFORE YOU BEGIN

There are a total of 40 preprogrammed System Effects, which can be edited and configured in a variety of ways in the voice and multi for a song or performance setup. (For more information about System Effects, see page 79.)

Page 32

AWM2 TONE GENERATION

The W5/W7 creates sounds through Yamaha s exclusive AWM2 (2nd generation Advanced Wave Memory) tone generation process, which starts with high-quality digital samples of actual instruments and sounds.

The W5/W7 s extensive on-board synthesizer and voice editing features give you

BEFORE YOU BEGIN

unlimited sound sculpting potential, and its intuitive user interface lets you access literally any sound parameter in rarely more than two pushes of a button.

The W5/W7 comes equipped with a large capacity waveform ROM full of preset AWM sound elements 8Mbytes of 16-bit linear waveforms sampled at maximum 48kHz sampling frequency. These preset sounds are the fundamental waves which make up a W5/W7 element the building blocks that make up an Instrument voice .

There are hundreds of preset elements to choose from, and an optional External Expansion Wave/Voice Board can be purchased separately and plugged into the W5/W7 s logic board to increase the on-board capacity by another 4Mbytes.

OSCILLATOR FILTER AMPLIFIER

MIX

PEG Range

Tune

Note Shift

Random

Scale

PMD FMD AMD

Speed Delay

Speed

LFO

Delay

Speed Delay

FEG AEG

Cutoff Freq.

Reso./Band

Velocity Sensitivity

Level

ELEMENT 1

ELEMENT 2LFO

ELEMENT 3LFO

ELEMENT 4LFO

Pan

Voice Level

Insertion

Effect

Type/Param.

System Effect

Send Levels

(Controller)

AWM elements are at the heart of the W5/W7 s rich, dynamic sound quality. One AWM element is capable of making an Instrument voice, but the W5/W7 lets you construct voices that contain as many as four elements in order to obtain virtually unlimited sonic and performance potential.

An AWM element is a wholly formed, complete musical instrument sound unto itself. It is made up of an AWM sample, or wave , plus pitch, filter, amplitude, LFO and controller components, all of which can be manipulated in a variety of ways.

To mixer

Page 33

The AWM wave, which forms the fundamental characteristic of a voice, can be controlled in various ways to modify the pitch of the sound. The pitch envelope generator (PEG) can be used to give each note a fixed pattern of pitch change over time. The pitch change can also be affected by key velocity. Vibrato (pitch modulation) can be created using the low frequency oscillator (LFO). Amount of vibrato can be regulated by a controller. The pitch can be controlled directly by the pitch bend wheel and by aftertouch.

The filter can be controlled in various ways to modify the tone of the sound. Each note can be given a fixed pattern of tonal change by using the filter envelope generator (FEG), which can also be affected by key velocity. Wah-wah (filter modulation) can be created using the LFO, and wah-wah depth can be regulated by a controller. Tone can also be directly affected by a controller.

The amplifier, or amp, can be controlled in various ways to manipulate the volume of the sound. Each note can be given a fixed pattern of volume change by using the amplifier envelope generator (AEG), which can also be affected by key velocity. Tremolo (volume modulation) can be created using the LFO, and tremolo depth can be regulated by a controller. Volume can also be directly affected by a controller.

CONTROLLING THE SOUND

Musical instrument sounds are complex and constantly changing. Different types of instrument sounds change over time in very different ways. With an instrument such as a piano, for example, the tone and volume of each note changes in a predictable way over time. With an instrument such as a violin, on the other hand, the volume, tone, or pitch may be continuously modified by the musician during performance. The W5/W7 provides many ways to control the various aspects of the sound, as follows:

BEFORE YOU BEGIN

● ENVELOPE GENERATOR (EG) - The EG produces a fixed pattern of change

over time. For example, to simulate the attack and decay of a piano, you would set the amplitude EG to be loud when the note is first played, and then to gradually diminish in volume over the following moments.

● KEY VELOCITY - The velocity (speed) with which you play each key can affect

various aspects of the sound. For example, strongly and softly played notes can be made to differ in pitch, tone, or volume.

Page 34

● LOW FREQUENCY OSCILLATOR (LFO) - The LFO produces various

patterns of cyclical change. Applying the LFO to the pitch component produces vibrato; applying it to the filter component produces wah-wah; applying it to the amplifier component produces tremolo.

BEFORE YOU BEGIN

● CONTROLLERS - Controllers such as the pitch and modulation wheels,

aftertouch, and optional foot controllers can be used to control the sound in a variety of ways. Some controllers such as the pitch bend wheel can directly determine the pitch. You can assign the various other controllers to control many aspects of the sound. For example, you might assign aftertouch so that the amount of vibrato (LFO modulation to the wave component) increases as you apply pressure to the keyboard after the initial attack.

Page 35

VOICE EDITING

In Voice Edit Mode you can edit any and all parameters which make up a voice, including Insertion Effect assignment and parameter settings, as well as controller settings. You can go directly to Voice Edit Mode from any mode and start editing the currently selected voice at any time, even while the sequencer is running.

STORE VOICE EDIT

TRACK

SELECT SOLO

ELEMENT SELECT

223344516273849 10

ON/OFF

ELEMENT

COMMON FILTERAMP EFFECTPITCH CONTROLLFO

VOICE EDIT

11 12 13 14 15 16

In Voice Edit Mode, the TRACK buttons on the panel double as voice editing function access and control, letting you choose the main voice editing functions with one touch, as well as select the AWM elements and switch them on and off. The orange lights in the VOICE EDIT and TRACK buttons will always indicate the voice editing status, including which elements are selected or switched on or off, and which element edit function is currently selected. Also, in Voice Edit Mode, the VOICE EDIT button doubles as a compare button, to let you compare the sound of the original voice to the sound of the voice you re creating.

Normal voice editing starts with either an initialized voice when you want to edit a voice from scratch, or a Preset, GM, Internal (or optional External) voice when you want to modify an existing sound. Accessing all voice editing features, including common, element, amplifier, filter, pitch, effect, LFO and control, rarely takes more than the press of a button or two, and adjusting parameter settings is just as simple, using the JOG, INC/DEC and KEYPAD.

BEFORE YOU BEGIN

Drum voice editing starts with an existing Preset or GM drum voice. Accessing all voice editing features, including common, key, effect and control, rarely takes more than the press of a button or two, and adjusting parameter settings is just as simple, using the JOG, INC/DEC and KEYPAD.

(For more information about voice editing, see Voice Edit Mode, page 108.)

Page 36

SONG SEQUENCING

The W5/W7 comes equipped with a powerful 16-track, 16-song music sequencer with large capacity memory (approximately 100,000 notes) that permits realtime (including overdub and punch-in) and step recording, plus extensive song editing.

The W5/W7 s sequencer doesn t record actual sounds, it records note, controller,

BEFORE YOU BEGIN

program change and other MIDI data.˚Regardless of whatever sound you used to record a specific part, you can always change the sound later by assigning a different voice to the track. The music events inside each track can be singled out in the song editing process and changed in many ways.

The currently selected sequencer track will be lit red. TRACK buttons for tracks with sequencer data in them will be lit green, while an unlit Track button will indicate that no music data is in the track. During sequence playback, you can solo and mute the different tracks.

SEQUENCER

STOP/TOPRECORD

RUN

As you re composing, you can use some or all of the 16 song memories to hold parts of a song, then hear how they sound in context by having them play back in numeric order without pausing in between.

During song editing you can view and edit individual note, controller and other MIDI events in the song sequence, through three separate functions Data Change, which lets you modify the data, Data Insert, which lets you insert new data, and Graph, which lets you view notes as squares on a keyboard diagram plus a horizontal line which displays dots that indicate the position of note data in a measure.

Page 37

You can also make changes to the sequence that apply to all the data in one or more entire measures with song jobs . Song Job operations include song copy, append and clear, track copy, clear and mix, measure copy, erase, create, delete and insert, data thin out, extract and chord sort, plus quantize, move clock, modify gate time, modify velocity, transpose, shift note, and crescendo.

(For more information about song sequencing, see Song Record Mode, page 85.)

SOUND MIXING

The W5/W7 has extensive stereo sound mixing capabilities, via the on-board tone generator sound mixer, the digital effects and other Song Multi parameters. In conjunction with specific program change, controller and other events you can record into the sequencer, you can even achieve an automated mixdown for your final playback output.

BEFORE YOU BEGIN

Sound mixing doesn t necessarily have to be a final procedure in the music making process using the W5/W7. You can construct your mix as you go along, then fine-tune it at the end. What s more, depending on the sound, you may want to switch into Voice Edit Mode and tweak a few parameters in individual voices in order to make them sit better within the context of the sounds of all tracks.

The Song Multi function screen, which displays a graphic representation of a sound mixer, is designed to let you quickly access all functions and parameters in the multi, as well as give you ample visual feedback as you work. This basic operating home screen, in conjunction with the function keys [F1 ~ F8], the CURSOR keys, the JOG, INC/DEC and the KEYPAD, give you enormous sound sculpting capabilities.

The sound mixer as displayed in the LCD screen is actually only a partial view, since the mixer is made up of several sections, and in effect extends beyond the top of the screen! The diagram below shows the mixer as it would appear in its entirety, complete with other visual information in and functions accessible from the Song Multi screen.

NOTE: Pressing a TRACK button will select the track, and automatically place the cursor within that track on the mixer. With that track still selected, you can use CURSORLEFT and CURSOR-RIGHT to specify another track, so that you can adjust parameters of another track that s playing back from the sequencer while you are performing a live part.

Page 38

BEFORE YOU BEGIN

The 16-channel sound mixer is made up of various sections, or blocks , devoted to specific functions available in all tracks, including the following:

VOICE SELECT

The Voice Select block is the first stop in each of the 16 mixer channels, represented graphically by the two-letter Voice Category code of the voice currently assigned to the track. The cursor must be positioned at Voice Select before you can choose a voice to assign to the track.

VOICE VOLUME

The Voice Volume block is the second stop in each of the 16 mixer channels, represented graphically by a fader. The cursor must be positioned at Voice Volume before you can make volume adjustments to the track.

MASTER VOLUME

From within Voice Volume parameter select, pressing [F8] ( Mst ) accesses the Master Volume control, which lets you set the overall output volume of the sound mix.

VOICE PAN

The Voice Pan block is the third stop in each of the 16 mixer channels, represented graphically by a pot. The cursor must be positioned at Voice Pan before you can set the stereo pan position of the voice between the left and right outputs.

INSERTION EFFECT SWITCH

The Insertion Effect switch block is the fourth stop in each of the 16 mixer channels, represented graphically by an empty square ( off ) or a solid square ( on ). It lets you apply an Insertion Effect to a voice. (Up to three Insertion Effects can be applied in a song, one per Instrument voice.) The cursor must be positioned at Insertion Effect Switch before you can turn the Insertion Effect on and off. (Insertion Effect type assignment and parameter settings for any particular voice are determined in Voice Edit Mode.)

SYSTEM EFFECT SENDS 1/2/3

The System Effect block, with sends 3, 2, and 1, are the fifth, sixth and seventh stops, respectively, in each of the 16 mixer channels, represented graphically by pots. From within a System Effect Send you can determine the amount of signal level which gets sent to each respective System Effect, as well as designate the type of System Effects for the multi, plus edit System Effect parameters. The cursor must be positioned at a System Effect Send stop before you can set the send level You can also directly access System Effect type and parameters from the mixer.

NOTE: The Master Volume, Master Tune and Master Note Shift settings affect all songs.

NOTE: You can modify a particular parameter for all tracks at once by holding down SHIFT while modifying the parameter. All value changes will be realtime to the setting in each track unless you use the KEYPAD, in which case all value will be entered as the same.

Page 39

TUNE

The Voice Tune block is the eighth stop in each of the 16 mixer channels, represented graphically by a pot. It lets you adjust the fine-tuning of the voice in steps of 1.17 cents. The cursor must be positioned at Voice Tune before you can set the track tuning. Pressing [F8] ( Mst ) lets you set the Master Tune, which affects overall fine-tuning for all tracks equally.

NOTE SHIFT

The Note Shift block is the ninth stop in each of the 16 mixer channels, represented graphically by a pot. It lets you determine the coarse-tuning of the voice in half-steps. The cursor must be positioned at Note Shift before you can set the track note shift. Pressing [F8] ( Mst ) lets you set the Master Note Shift, which affects overall note shift for all tracks equally.

PITCH BEND RANGE

The Pitch Bend Range block is the tenth and final stop in each of the 16 mixer channels, represented graphically by a pot. It lets you designate the range the voice s pitch bends up or down by the Pitch Bend wheel. The cursor must be positioned at Pitch Bend Range before you can set the track pitch bend value.

VOICE DIRECTORY

From within Voice Select, pressing [F8] ( Dir ) accesses the Voice Directory, which displays the voices i n the currently selected voice bank b y list, eight at a time .

BEFORE YOU BEGIN

VOICE BANK SELECT

When the cursor is positioned at Voice Select, pressing [F6] and [F7] lets you choose a voice bank. The one- or two-letter voice bank code will begin flashing, indicating that you must then press ENTER to lock in the desired bank.

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MEMORY ALLOCATION

The W5/W7 has large internal ROM and RAM memory capacity, but some RAM data is retained at power off and some is not. Data which is retained at power off includes Internal normal and drum voice banks, and multi Data which is not retained at power off include song sequences and accompanying Song voice bank memories.

BEFORE YOU BEGIN

Because of the on-board floppy disk drive, the voice and multi storing functions, and the many ways in which you can save and load the various types of data, this need not be a problem. A little discipline in the area of always remembering to save important music data to floppy disk before turning the power off a good habit to foster in any case will render this not a problem at all.

There are various modes and functions for managing the various types of data.

settings

in the 16 song multi memories.

NOTE: When the power is turned back on, the multi set-up data for all songs in the memory at power off will still be retained, and therefore the song name will still appear; however, the song sequence data and Song voice data will be gone.

●SONG VOICE MEMORY

The Song Voice Memory function lets you manage Song voice memory banks by copying an entire bank of normal and drum voices from the Internal, GM and Preset voice banks to the Song voice memory bank of the currently selected song.

Each internal song multi (01 ~ 16) can accommodate a Song voice memory bank that will hold 128 normal and 2 drum voices. These Song voices are exclusive to each song multi, and can only be accessed by the currently selected multi. (Song voices from other multis cannot be accessed from within the currently selected multi).

One of the most useful ways to manage Song voices is to first arrange the voices you want in the Internal voice bank, using the Voice Store function. Then copy the Internal voice bank to the currently selected Song voice bank using the Utility Mode s Song Voice Memory function.

NOTE: You can also copy from the External preset voice bank if the optional Expansion Wave/Voice Board is installed.

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●

STORE MULTI

Store Multi Mode lets you store the currently selected multi into a song memory location (01 ~ 16). Multi data which can be stored in a Song memory location includes all multi settings (i.e., MIDI, mixer and other parameter settings for the 16 Instrument voice tracks) and other setup data.

BEFORE YOU BEGIN

As you set parameters in a multi, as well as record or edit a song sequence within the song multi, all settings and data are entered within the currently selected song memory as you input it. However, you must store the multi using Store Mode before you select another song, or the setting changes will be lost.

Also, all song sequence data and Song voice data will only be retained as long as the power is on. Therefore, you must

Song voice data to floppy disks before turning the power off

always save your important song sequence and

, or it will be lost.

● STORE VOICE

Store Voice Mode lets you store the currently selected voice, including any voice edit changes, to an Internal voice bank memory (001 ~ 128).

As you make parameter setting changes in Voice Edit Mode, the changes are made on a copy of the original voice which is temporarily held in the voice edit buffer. The settings will be retained as you switch back and forth between edit and

compare , but will be lost if you select another voice before storing it to an

Internal voice memory. Therefore, you must

created voices to an Internal voice bank memory before selecting another voice

always store your important user-

NOTE: Multi settings for SMF song data will load into the W5/W7, but will not be retained at power off unless you first store it in a song location. In order to be sure that you dont accidentally lose your important multi settings, it is a good habit to periodically perform the Store Multi operation as you work.

In Store Voice Mode, currently selected Preset, GM and Internal voices can only be stored in the Internal voice bank; therefore, the Internal bank is automatically selected as the store destination.

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●DISK

Disk Mode lets you save your original voices, song multis and sequence data in various combinations into disk files on a floppy disk (3.5 2DD type), as well as load the files back into Internal/Song voice and song memory. It also lets you perform various disk file management functions like renaming and deleting files and formatting a disk for the W5/W7 operating system.

BEFORE YOU BEGIN

And it permits the saving of songs in Standard MIDI File Format-0, as well as the loading of sequences recorded on other devices and saved in the Standard MIDI File Format-0 and -1, and the Yamaha ESEQ format.

Within the respective file management operations, the File Directory provides a convenient display of data lists.

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DATA ENTRY

The W5/W7 provides many convenient ways to access and manipulate data. The various multi-purpose buttons, sliders and controllers allow you to go directly to any function, in usually the touch of a single button, and rarely more than two or three. The large LCD screen and other visual indicators give you ample feedback to always let you know exactly where you are and what status the W5/W7 is in.

Selecting parameters and entering data entry is equally straightforward. The basic data entry section is made up of a keypad, four-way cursor controls, increment and decrement buttons and a jog/shuttle dial.

Following is a breakdown of the various indicators and data controls:

LCD SCREEN - The 240 x 64 dot Liquid Crystal Display with adjustable contrast provides graphic, numeric and much other visual information depending on the selected mode or current status.

TRACK BUTTONS 1 ~ 16 - In Song Play, Voice Play and Song Record Modes, the TRACK buttons let you select any track in the multi the selected TRACK button will be indicated with a red light.

BEFORE YOU BEGIN

SHIFT EXIT

ELEMENT SELECT

223344516273849 10

F1 F2 F3 F4 F5 F6 F7 F8

ON/OFF

ELEMENT

COMMON FILTERAMP EFFECTPITCH CONTROLLFO

VOICE EDIT

11 12 13 14 15 16

In Song Sequence Play Mode, the TRACK buttons corresponding with tracks which have music data in them will be indicated with a green light. (In Solo Mode, a green TRACK button indicates that the track is muted, and a red TRACK button indicates that the track is soloed.) In Normal Voice Edit Mode, TRACK buttons 1 ~ 4 double as element select switches, buttons 5 ~ 8 as element on/off switches, and buttons 9 ~ 16 as edit function selectors as indicated on the panel directly above each button. When in Voice Edit Mode, the selected buttons will be indicated with orange lights.

Page 44

FUNCTION KEYS 1 ~ 8 - The functions of these keys [F1 ~ F8] depend on the selected mode. They are used to engage a function indicated on the display immediately above the key.

SHIFT KEY - The SHIFT key is used in conjunction with the function keys to access secondary functions and parameters, as well as to jump directly to main menus and other functions. A small capital S inside a black box in the

BEFORE YOU BEGIN

lower left corner of the screen will indicate that SHIFT functions are accessible.

EXIT KEY - EXIT is for exiting from any function or submode. Depending on

more than once to return to the basic mode screen.

DATA ENTRY KEYPAD - For precise, specific entry of data, by punching in a number, then pressing ENTER. The [—] button lets you enter a negative value, by pressing it immediately before pressing ENTER. In Song Record Mode you can enter music notation values according to the corresponding musical symbols and indications printed above the buttons. ENTER is used to execute many different operations.

how deep inside a function you are, you may need to press the EXIT key

ENTER

CANCEL

DATA/CURSOR

INCDEC

REST TIE UTILITY

–

CANCEL BUTTON - If you change a parameter and then decide you want to retrieve the previous data value, pressing CANCEL before proceeding to another function will cancel out the data entry, reverting to the previous value status.

JOG/SHUTTLE DIAL - The two-function concentric (inner and outer) dial has various uses. The JOG (inner dial) lets you enter data or scroll through functions. The SHUTTLE (outer dial) lets you fast forward or rewind through measures in a song sequence.

DATA/CURSOR BUTTON - The DATA/CURSOR button status determines the function of the JOG dial. When switched off (no light), the JOG will be used primarily for entering data. When switched on (red light indicator), spinning the JOG will move the cursor.

CURSOR CONTROL & INC/DEC BUTTONS - The arrow CURSOR-UP,

-DOWN, -LEFT and -RIGHT buttons let you move the cursor in these respective directions one step at a time. INC lets you enter data one increment with each press of the button, while DEC lets you enter data one decrement with each press of the button. The INC/DEC buttons are also used to confirm execution of or abort an operation after pressing ENTER.

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GETTING STARTED

You re probably in a hurry to get started enjoying the W5/W7 s beautiful sounds and other spectacular musical wonders, so we ve structured this section as a basic tutorial to get you up and going with a minimum of detail, so you can spend your first few hours pushing buttons, twiddling knobs, riding faders and just generally having a good time familiarizing yourself with the W5/W7.

We ll take the grand tour of the instrument and step through all of the basic operating procedures, including:

● Connecting the W5/W7 to a monitor system, powering

up and exploring the preset musical instrument voices and realtime performance control capabilities.

● Loading the demonstration songs from the floppy disk

provided with the instrument and exploring the W5/ W7 s song play options.

● Editing and naming user voices and storing them in

Internal voice memory.

● Creating song sequences and stereo sound mixing.

● Saving voices and songs to floppy disk, plus tips on

how to best organize and manage your music data.

● Integrating the W5/W7 into an expanded music system

by connecting it to other external MIDI devices like tone generators, samplers and computers, and using it as either a master keyboard controller or a multitimbral tone generator or sequencer controlled by other devices.

GETTING STARTED

The subsequent tutorial assumes that you have not yet hooked up the W5/W7 and started exploring its many features. If you have already begun using the W5/W7, some of the screens may be different from the ones which appear in the tutorial.

Finally, since this and other sections in this manual use concepts and terms specific to the W5/W7, if you haven t done so already, please take a few moments to go back and read

Before You Begin , page 7.

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SETUP & PLAY

After unpacking the W5/W7 and placing it on a keyboard stand or sturdy table or desk, you ll want to MAKE ALL CONNECTIONS BEFORE PLUGGING IN AND TURNING ON THE POWER OF ALL DEVICES. This is extremely important in order to avoid the possibility of causing a power spike that could potentially damage the W5/W7 or your monitor system, or worse, the possibility of electrical shock.

GETTING STARTED

IMPORTANT NOTE:

Danger! Type of electrical cable may be different depending on countries 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 W5/W7. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use an adapter which defeats the grounding conductor. If you are unsure as to whether the W5/W7 is properly grounded, check with a qualified service technician or electrician.

CONNECTING TO A MONITOR SYSTEM

The diagram below shows a basic setup using only the W5/W7 monitored by a stereo

system.

Monitor System

Stereo Amp

W5/7

Stereo outputs

THRU OUT

MIDI

SUSTAIN FOOT

CONTROLLER

OUTPUT

PHONES

R L/MONO

FOOT

VOLUME

NOTE: Connect only L/Mono if you

have a monophonic sound system

Optional Yamaha FC4 or FC5 foot switch

Optional Yamaha FC7 or FC9 foot controller

Page 47

POWER-ON PROCEDURE

There is actually a correct process for switching the various components in an electronic music system on and off. The rules are simple but important. Before turning anything on:

● Be sure that all components are actually plugged in, and

check to make sure that all volume controls are turned down to their zero positions.

● Always turn the W5/W7 on first (followed by any

additional MIDI devices which may be connected).

● Always turn the sound system on last.

● Raise the sound system volume to a reasonable level.

● Gradually raise the W5/W7 volume fader while playing

the keyboard to set the desired listening level.

EXPLORING THE PRESET VOICES

NOTE:

When turning the various components off, simply reverse the process: lower all volume levels to zero, turn the sound system off first, and the W5/W7 off last. The reason for turning the W5/W7 on first and off last is to avoid the possibility of sending a power surge through the sound system which could damage the amplifier or speakers. If other MIDI devices are connected to the W5/W7 MIDI OUT port and the W5/W7 is acting as the controller keyboard, turning the W5/W7 on before them is wise because the W5/ W7 automatically transmits MIDI control change data corresponding to its control status when its power switch is turned on and off, which could interfere with operation of other MIDI equipment.

GETTING STARTED

The W5/W7 powers up in Song Multi Play Mode, ready for you to play the Instrument voices from the keyboard. After the brief startup process, a graphic representation of a 16 track stereo sound mixer will appear on the screen. A brand new W5/W7 (or one that has been reset to its default settings) will start up with Track 1 selected and GM voice #001 Grand Piano assigned to it.

This basic default sound mixer screen, plus the red light over the SONG MODE button, a green TRACK SELECT button, and a red TRACK 1 button, indicate that the W5/ W7 is in Song Multi Play Mode, with Track 1 of the song multi #01 selected, and GM voice #001 [Grand Piano] assigned to the track. (For more information about song multis, see page 74.)

You can select any of the 16 tracks in the multi and play the instrument voice assigned to it simply by pressing one of the TRACK buttons. With the W5/W7, an instrument can be either a normal or pitched voice, or a drum or percussion voice.

NOTE: In the factory set default setup, the 16 tracks of all 16 song multis are basically unassigned, meaning that they are ready and waiting for you to assign the Instrument voice of your choice to each track. At factory default, every track except Track 10 will have GM normal voice #001 assigned to it. Track 10 will have GM drum voice #01 assigned to it. Track 10 is dedicated to drum voices only in accordance with the General MIDI standard which mandates that MIDI channel 10 be reserved for drums. (Therefore, normal voices can not be assigned to Track 10.)

Page 48

GETTING STARTED

In Song Multi Play Mode, the W5/W7 is set to play a stereo mix of the Instrument voice assigned to the currently selected track in the multi, complete with System Effects and other various parameters applied to the sound through the tone generator mixer.

INCDEC

You can use the CURSOR keys to move around to the various mixer sections, or feature blocks such as panning and effects sections in order to adjust those parameters. At power on, the cursor is always placed over the Voice Select block of Track 1 (of song multi #01) as indicated by the two-letter Voice Category abbreviation in reverse type (for details, see below, page 47).

There are many submodes and functions you can access from the Song Multi Play screen, but for the time being take a look at the three-digit voice number (001 ~ 128) and name on the second line of the display and start choosing the various preset voices. There are a variety of ways to call them up, as follows:

● Spin the JOG dial back and forth.

● Press the INC and DEC buttons.

● Use the data entry KEYPAD to punch in a 1-, 2-, or 3-

digit number (between 1 ~ 128), followed by ENTER.

As you choose the different sounds, the voice number and name on the screen will change accordingly. When you find a voice you like and want to assign it as the Instrument voice of Track 1 of the multi, you do not have to perform any specific execute operation all you have to do is leave that particular sound selected and then simply press another TRACK button, and assign an Instrument voice to the next track in the same way.

Thus, it is simple to set up Instrument voices in a song multi quickly: Choose a track, select a voice, choose another track, select another voice, and so on. It is just as simple to select the various parameters and adjust their settings for each track. For example, if you position the cursor over the Voice Volume section of a mixer track and adjust its level, simply pressing another TRACK button will cause the cursor to jump to the Voice Volume of the new track. Also, the cursor will remain wherever you leave it as you jump from function to function.

NOTE: As you move around within the multi assigning Instrument voices to tracks, adjusting a pan position, tweaking a System Effect Send level, etc. the parameter setting changes you make will be

entered as you make them,

without having to perform a specific

execute operation to lock these settings in. Sometimes you may want to revert to a previous setting of the value you just changed. In such a case, pressing the CANCEL button before performing any other function will retrieve the previous parameter value. You should always store multis you want to keep into song memories, using the Store Mode, before selecting any other song multi. Also, you should always save your multis and other important data to floppy disk.

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SONG PLAY & VOICE PLAY

The Instrument voices you hear in Song Multi Play Mode also have digital effects, such as reverb and chorus, and other performance related parameters assigned to them which define the currently selected multi.

As you work, sometimes it will be necessary for you to single out a specific voice and hear it without any System Effects or other multi parameter settings applied to it. To do this, you must switch into Voice Mode.

To switch into Voice Mode, press the VOICE button in the Mode section of the panel, located just to the left of the LCD. The Voice Play screen will appear.

This screen indicates that the W5/W7 is in Voice Play Mode. Within this mode you can select the various instrument sounds precisely the same way as in Song Play mode using the JOG, INC/DEC, or the KEYPAD (i.e., punch in a number between 1 and 128 followed by ENTER). You can still change Instrument tracks from within Voice Play Mode. As you do, the voice name and number on the screen will change accordingly.

GETTING STARTED

The two-letter abbreviation preceding the voice name is the Voice Category code for the currently selected voice. The individual voices are organized into 21 Voice Categories, or groups, for easier access.

—

No Assign

Piano

Chromatic Percussion

Organ

Guitar

Bass

Strings/Orchestral

Ensemble

Brass

Reed

Pipe

Synth Lead

Synth Pad

Synth Sound Effects

Ethnic

Percussive

Sound Effect

Drums

Synth Comping

Voice

Combination

NOTE: In Voice Mode the Voice Category will appear to the left of the voice name, and in Song Mode it will appear just below the track volume section in the mixer screen. You can assign a Voice Category to your own voices in Voice Edit Mode.

NOTE: When the voice bank is set to

off , no Voice Category code will

display.

Page 50

GETTING STARTED

From within Voice Play or Song Multi Play, you can call up voices via the Voice Directory. Press [F8], the function key located directly beneath the abbreviation Dir at the lower right of the screen. A subpage that displays the voices in groups of eight will overlay onto the Voice Play screen.

From within the Voice Directory you can select voices with the JOG, the CURSOR keys, INC/DEC and the KEYPAD. As you scroll through the voice list the display will advance accordingly. To return to the Voice Play screen, simply press EXIT.

SELECTING VOICE BANKS

The sounds you have been selecting in Song Play and Voice Play are stored in the GM voice bank, indicated by the letter G appearing immediately to the left of the three-digit voice number. These preset General MIDI sounds were programmed at the factory and stored in ROM (Read Only Memory) and therefore cannot be overwritten; however, they can be edited in Voice Edit Mode and then stored in the Internal voice bank RAM (Random Access Memory) by Store Mode.

NOTE: When switching back to Song Play Mode from Voice Play Mode, the Voice Play settings (i.e., the voice in its original state) will be maintained for that specific track. To restore the original multi setting for the track, you must switch to another song and then back again.

The W5/W7 has a total of 10 separate

voice banks

. Eight of these are provided as standard features, while two of them are available as optional ROM memories that you can purchase separately and plug into the W5/W7 s logic board via a special access located on the bottom of the instrument.

F5 F6 F7 F8

EXIT

To choose the different voice banks, press function keys [F6] and [F7], located directly

beneath the

display at the lower right of the screen. The letter P will change according to the particular voice bank selected, and will flash on and off, indicating that you need to press ENTER (or rotate the JOG or press INC/DEC) to lock in the voice bank you want.

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NORMAL VOICES

(G) GM PRESET VOICE - 128 ROM sounds preset according to the General

MIDI standard, which cannot be overwritten.

(P) PRESET VOICE - 128 ROM sounds preset at the factory, which cannot be overwritten.

(I) INTERNAL VOICE - 128 RAM user memory locations which have voices stored in them when shipped from the factory, but can be overwritten when storing your own original normal voices, and will be retained in memory even when the power is turned off.

DRUM VOICES

(S) SONG VOICE - 128 RAM user memory locations for storing GM, Preset

or Internal voices used in a particular song or multi. Song voice banks—each holding 128 normal voices for each song—can be saved to and loaded from floppy disks via the disk drive. Song voices will not be retained in memory when the power is turned off.

(E) EXTERNAL VOICE - Additional ROM voices available as an option.

NOTE: The “E” will not display unless the optional Expansion Wave/Voice Board memory upgrade package is installed.

(GD) GM PRESET DRUM VOICE - 8 ROM drum sets, each with dozens of sounds arrayed on the keyboard, preset according to the General MIDI standard, which cannot be overwritten.

(PD) PRESET DRUM VOICE - 2 ROM drum sets, each with dozens of sounds arrayed on the keyboard, preset at the factory, which cannot be overwritten.

(ID) INTERNAL DRUM VOICE - 2 RAM user memory locations for storing your own original drum voices, which will be retained in memory even when the power is turned off.

GETTING STARTED

(SD) SONG DRUM VOICE - 2 RAM user memory locations for storing GM, Preset or Internal drum voices used in a particular song or multi. Up to 16 Song drum voice banks—each holding 2 drum voices—can be saved to and loaded from floppy disks via the disk drive. Song drum voices will not be retained in memory when the power is turned off.

(ED) EXTERNAL DRUM VOICE - Additional ROM drum sets available as an option.

NOTE: The “ED” will not display unless the optional Expansion Wave/Voice Board memory upgrade package is installed.

For more information about voices and elements, please refer to the

Information

booklet (supplied separately).

W5/W7 Technical

Page 52

GETTING STARTED

REALTIME CONTROL

The W5/W7 has a number of controllers and control functions that can be used for realtime performance control. Some, such as the pitch bend wheel, have a single function, while others can be set to control a wide range of parameters as you play, including amplitude and pitch modulation, filter modulation, effect parameters like stereo panning, and others.

Each voice has its own completely independent set of controller assignments, so any assignments you make using the appropriate Voice Edit Mode functions will apply only to the current voice.

● PITCH WHEEL

Rolling the pitch wheel forward will raise the pitch of notes played on the keyboard, while rolling it backward will lower the pitch. The pitch bend wheel is automatically self-centering so it will always return to center position (normal pitch) when released.

● MODULATION WHEEL

Rolling the modulation wheel forward will increase the depth of the type of modulation set for the currently selected voice. The modulation wheel will stay wherever you position it, so you can set it to any position that produces the desired modulation effect and leave it. You can use the modulation wheel to control pitch, amplitude, and frequency modulation, as well as envelope generator bias and filter cutoff frequency. (For more information, see Voice Edit Mode, Controller function, page 123.)

● CONTINUOUS SLIDER

The continuous slider (CS) is assignable to just about any parameter, including reverb, chorus depth or speed, filter cutoff frequency plus other parameters that produce a useful realtime sound variation. (For more information, see Utility Mode, Controllers function, page 147.)

● FOOT CONTROLLER

An optional Yamaha FC7 or FC9 foot controller plugged into the rear panel foot controller jack can be assigned to control amplitude modulation, pitch modulation, frequency modulation, envelope generator bias depth and filter cutoff frequency depth. (For more information, see Voice Edit Mode, Controller function, page 123.)

● FOOT VOLUME

An optional Yamaha FC7 or FC9 foot controller plugged into the rear panel foot volume jack can regulate the overall volume of the W5/W7. (For more information, see Utility Mode, Controllers function, page 147.)

● FOOT SUSTAIN

An optional Yamaha FC4 or FC5 foot switch plugged into the rear panel sustain jack can act as a sustain pedal. You can assign the expression level limit. (For more information, see Voice Edit Mode, Controller function, page 122.)

NOTE: Changes made by the CS while playing in the voice or song modes are not stored by the W5/W7.

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●KEYBOARD VELOCITY SENSITIVITY

The W5/W7 s keyboard responds to attack pressure (or speed) as you play, thus permitting control over nuance and expression as you play. (For more information, see Utility Mode, Velocity function, page 145.)

●KEYBOARD AFTERTOUCH

Keyboard aftertouch response is most frequently used for vibrato control, i.e., the harder you press the keys after the initial attack, the more vibrato is applied. This makes it possible to control vibrato without having to remove one hand from the keyboard to use the modulation wheel. For the same reason, aftertouch is also often used for pitch control. Many of the voices provided with the W5/W7 have preset aftertouch functions, but you can assign aftertouch to control pitch, amplitude, and frequency modulation, as well as envelope generator bias and filter cutoff frequency depth. (For more information, see Voice Edit Mode, Controller function, page 122.)

GETTING STARTED

Page 54

LOADING & PLAYING THE DEMO

Before you dive deeper into the many features of the W5/W7, you might enjoy listening to one or more of the demonstration songs by loading song data into the sequencer from the Factory Set & Demonstration disk provided with the instrument. This will give you an idea of the powerful potential of the W5/W7 s programming capabilities. It will also give you a brief overview of some of the disk options and song playback features.

GETTING STARTED

LOADING THE DEMONSTRATION SONGS

Following is the procedure for loading and playing the demonstration songs:

1. INSERT THE FACTORY SET & DEMONSTRATION DISK

Insert the disk into the floppy disk drive. (NOTE: Make sure the label of the disk is facing upward, and be sure to put the end with the sliding disk shutter into the disk drive slot first.)

2. ENTER DISK MODE

Press the DISK button in the Mode section. The screen will display the various Disk Mode functions.

3. CHOOSE LOAD FROM DISK

Using the CURSOR keys or the JOG dial, position the cursor at Load From Disk and press ENTER. (You can also directly access the load function by pressing function key [F4], located directly beneath the word Load at the bottom of the screen.)

NOTE: Loading the demonstration data overwrites the multi settings and sequencer data in the destination song multi locations, so if you have any important music data you don t want to lose, make sure it is safely saved to disk before loading the demonstration data.

The various file types All, 1 Song, 1 Song + Voice, ESEQ/SMF, Voice will appear on the display.

4. CHOOSE ALL DATA

Now position the cursor at All Data and press ENTER (or press function key [F2], located beneath the word All at the bottom of the screen). The Load from Disk/All Data screen will appear.

NOTE: The entire memory bank of 16 songs can be saved at once into one file on a floppy disk, and then loaded back into the W5/W7. The number of files a floppy disk can hold depends on how large the file is i.e., longer, more complex songs will naturally take up more disk space. Within the Load from Disk/ All function, you can press [F8] ( Dir ) to view the File Directory of the All Data type files currently on the inserted disk. You may also select a file and execute the loading operation from within the File Directory.

Page 55

5. LOAD THE DEMONSTRATION SONGS

Press ENTER and the W5/W7 will give you a chance to change your mind, asking

Are You Sure? . Press DEC to abort the operation, or press INC and the demonstration songs will begin loading. As they do, the screen will display the Executing message. When the loading operating is finished, the Completed! message will appear briefly before returning to the previous display.

6. SELECT A DEMONSTRATION SONG

Before you can play the demonstration song you must return to Song Play Mode. Press SONG in the Mode section on the panel to leave Disk Mode and return to Song Play Mode.

Before you can select a demonstration song, you must switch to the Song Sequence Play function. Press function key [F2] ( Seq ) and the Song Sequence Play function screen will appear.

Position the cursor over the Song number and press INC/DEC (or use the JOG) to select a song.

7. PLAY THE DEMONSTRATION SONG

In Song Multi Play Mode, the TRACK buttons should indicate which tracks have sequencer data in them. Green Track buttons will signify that there is data in the track. (The red Track button is the currently selected track.) Unlit TRACK buttons signify that there is no data in the track.

Press the RUN button in the Sequencer section on the panel and the song will begin playing.

8. EJECT THE DISK

When you ve finished loading the demonstration songs, press the eject button on the disk drive to eject the Factory Set & Demonstration disk. Store the disk in a safe place for future reference.

NOTE: the sequencer will not run when you are in Disk, Utility, Song Edit, or Song Job modes.

GETTING STARTED

NOTE: To access the Song Directory and view a list of the songs loaded into the W5/W7, press [F8] ( Dir ). Positioning the cursor over a song name in the list, then pressing ENTER will select the song. Likewise, you could punch in the song number on the KEYPAD, followed by ENTER, to select a song.

NOTE: If you want, you can play

along with the demo. Just press a green TRACK button to play on top of one of the parts, or press an unlit TRACK button to play with an Instrument voice not used in any of the parts. If you want to stop playback before the song is finished, press the STOP/TOP button once. To resume play from that point, press RUN again. To reset the song at the first measure, or the top of the song, press STOP/TOP twice. Then pressing RUN again will start the song from the beginning. You can also fast-forward and rewind through the song as it plays, using the SHUTTLE dial.

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GETTING STARTED

EXPLORING SONG PLAYBACK OPTIONS

As the song plays, you might want to explore some of the various playback options like adjusting instrument volumes or stereo panning, soloing instruments, changing the tempo and others.

●SELECTING TRACKS AND ADJUSTING PARAMETERS

After loading the demonstration song data and choosing a demonstration song number in the Song Sequence Play function screen, press [F1] ( Mlt ) to return to the Song Multi Play screen, which displays the sound mixer.

TRACK SELECT - The TRACK SELECT button (located on the panel just to the left of the 16 TRACK buttons) will be green. The 16 TRACK buttons will be either green, red or unlit. (Green indicates that there is data in the track. Red indicates the currently selected track. An unlit button indicates that no data is recorded in the sequencer track.)

NOTE: Any changes you make will be reset when you restart the song from the top, since all voice selection and other performance event data is programmed in the sequence.

STORE VOICE EDIT

TRACK

SELECT SOLO

ELEMENT SELECT

223344516273849 10

ON/OFF

ELEMENT

COMMON FILTERAMP EFFECTPITCH CONTROLLFO

VOICE EDIT

11 12 13 14 15 16

At this stage, since the cursor should be positioned at the Voice Category section of the mixer, spinning the JOG, or pressing the INC/DEC buttons, or entering a number on the KEYPAD followed by ENTER will change the Instrument voice. To make volume, panning or other adjustments to any given track as the song plays back, press the green TRACK button corresponding to the Instrument you want to work with; it will then change to red.

VOLUME ADJUST - To change the volume level of the instrument voice, first press the CURSOR-UP button once. The volume fader on the mixer will become highlighted. Now entering data will increase or decrease the instrument volume level; the graphic fader corresponding to the track on the mixer will change accordingly, and you will also see the numeric value of the volume level at the top right area of the screen change as well.

NOTE: Use the CURSOR keys to move around to the various mixer sections, and the JOG or INC/DEC or KEYPAD to change parameter settings. Every time you press CURSOR-UP you access another mixer section, or feature block , in the selected track, whose parameters you can change. Pressing CURSOR-DOWN will step you back through each block until you end up back where you started at the Voice Select section. The CURSOR-LEFT and CURSOR-RIGHT keys will step you up or down through the 16 mixer tracks.

PANNING ADJUST - To adjust stereo panning, press CURSOR-UP once more. The pan pot on the mixer will become highlighted, and entering data will change the stereo pan position of the instrument.

NOTE: Sequence note-on data for each track will indicate by blinking track buttons and Voice Category sections as the song plays back.

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● SOLOING AND MUTING INSTRUMENTS

To isolate one or more Instrument voices as the song plays, press the SOLO button while the sequencer is running. The SOLO button will become red, indicating that the W5/W7 is in Solo Mode. Tracks with sequencer data in them will be either red (solo status), or green (mute status).

SOLO - After pressing the SOLO button the currently selected TRACK button will become red, indicating that it is in solo status. Also, it will be the only sound you hear. You can solo more than one track at a time.

MUTE - The other tracks with data in them will all be green, indicating that they are in mute status, or are turned off, and therefore you won t be able to hear them.

EXIT - To exit Solo Mode, simply press the TRACK SELECT button.

GETTING STARTED

●CHANGING THE TEMPO

To change the tempo, press function key [F2], located immediately below the abbreviation Seq . The Song Sequence Play function screen will appear.

While the sequencer is running, you can position the cursor over the musical note symbol (which represents tempo in quarter-notes per minute). Now you can change the tempo as the song plays, using the JOG, INC/DEC, or the KEYPAD.

NOTE: The Song Sequence Play function also lets you choose a specific measure to start playing the song from, as well as choose different songs, name a song, or view the Song Directory. (For more information about the Song Sequence display when recording and playing back songs, see Song Mode, page 88.)

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PROGRAMMING

GETTING STARTED

The various types of programming operations you can perform with the W5/W7 include setting up or defining a multi, voice editing, song recording and editing, and sound mixing. Each generate different types of data.

Practically, since you ll be performing the various programming operations according to your needs as you work, and since the W5/W7 s flexibility lets you switch back and forth easily between the different modes, most of the time you re main concern will be with the overall

sound

It is important to distinguish between the various types of data, however, since you must store them within the W5/W7 and save them to floppy disk in various ways.

Voice editing operations affect only voice data; song recording and editing operations affect only sequence data, and defining a multi and sound mixing operations affect only song multi data.

128 normal

+ 2 drum

Song voice

memory

(Volatile RAM)

16-song

sequencer

memory

(Volatile RAM)

Song Sequencer

Record

SEQUENCER VOICE MULTI OUTPUTINPUT

Edit

Job

16 Tracks

On/Off

Disk Drive

Controller

Keyboard

Data entry

MIDI IN

“External”

normal and drum

voice memory

(Optional)

128 normal

+ 2 drum

Internal voice

memory

(RAM)

128 normal

+ 2 drum

Preset voice

memory

(ROM)

128 normal

+ 8 drum

GM voice

memory

(ROM)

Voice Edit Buffer

Tone Generator

16 Instruments

Assign

Insertion

Effect

16-song

multi memory

(RAM)

16 Channels Stereo Mixer

System

Effect

L R

MIDI OUT

DEFINING MULTIS

The process of defining a multi is basically just making the various Instrument assignments, setting volume, panning, System Effect send levels and other parameters for each of the 16 tracks in the tone generator mixer. Every multi will take on the unique character of the work session.

A multi may be made up of multi settings only (i.e., all parameter settings), or multi settings plus song sequence data, or multi settings plus song sequence data and accompanying Song voice bank. You can store multis in any of the 16 song memory locations using Store Mode.

There are literally hundreds of parameters which make up a song multi, but only four basic steps involved in the process of creating and defining the multi, as follows:

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1. SELECT A SONG MEMORY

In Song Multi Play Mode, press [F2] ( Seq ) to access the Song Sequence Play function, then select a song memory location (01 ~ 16). Then press [F1] ( Mlt ) to jump to the Song Multi function, which displays the mixer screen.

selected song is the currently selected multi.

The currently

2. ASSIGN INSTRUMENTS TO TRACKS AND DETERMINE MULTI PARAMETER SETTINGS

Press a TRACK button (1 ~ 16) on the panel (it will light red, indicating that it is the currently selected track in the multi) and assign an Instrument to it by selecting a voice from the Preset, GM, or Internal voice bank. Then determine the settings for each parameter (voice volume, pan, effects send levels, tuning, etc., plus keyboard, controller and MIDI assignments, etc.) as you work, whether you re recording a song sequence or structuring a performance setup.

that you make in Song Mode define the multi.

All settings

3. STORE THE MULTI IN A SONG MEMORY

When you re in the middle of an intense music session, it s a good idea to be in the habit of storing your song multi (and sequence) in a song memory bank. If you keep storing the multi periodically as you go, perhaps even storing the various noteworthy permutations of it in different song memories, you ll always have a back-up to resume from in a worst case scenario where an important multi is lost. Before storing your multi, give it a name within the Song Sequence Play function. To store the multi in a song memory location (01 ~ 16), press STORE followed by [F2] ( Multi ). Use the JOG, INC/DEC or KEYPAD to choose an internal song memory location, then press ENTER to execute the operation. To exit the Store Mode, press EXIT or any other desired MODE button.

multis in a song memory location as you work.

Always store

GETTING STARTED

4. SAVE THE MULTI TO FLOPPY DISK

When you ve finished defining a multi, or even if you re in the middle of the process and have to stop, save the multi to floppy disk, so you can load it back into the W5/W7 the next time you need it and pick up from precisely where you left off. A

For more information about song multis, see Song Mode, page 74.

lways save multis and other important music data to floppy disk.

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EDITING VOICES

The process of voice editing may be as simple as shortening the envelope decay for a single-element voice, or as complex as constructing a four-element voice with crossfades between elements and other interesting sonic tricks.

Voice editing can be done from within the multi (i.e., in Song Play Mode) or in Voice Play Mode. You can even edit a voice while the sequencer is running, which allows you to make sonic adjustments to a voice in context with other Instruments in the mix.

Although there are literally thousands of ways you can change the sound of a voice, there are really only three steps to Voice Editing, as follows:

GETTING STARTED

1. SELECT A VOICE

Select a voice from a Preset, GM or Internal voice bank that s as similar to the sound you want to create as you can find.

set it to its most basic values, and build up a new voice from scratch (see page 110).

It is also possible to initialize a voice, or

2. EDIT THE PARAMETERS

Press VOICE EDIT. The Voice Edit button will light orange, as will some of the Track buttons, indicating that you are in Voice Edit Mode. Choose the various Voice Edit functions with the function keys [F1 ~ F8], and modify the parameters as you like.

between compare and edit status so you can listen to the sound of the voice youre editing in comparison with the sound of the original voice you started with.

As you edit a voice, pressing the VOICE EDIT button toggles back and forth

3. NAME AND STORE THE VOICE

When you re happy with the voice you ve created, you must first give it a name by pressing [F1] ( Com ) to access the Common parameters function, followed by [F7] ( Name ). Then, press STORE to enter Store Mode and store the voice to an Internal voice bank location.

memory before selecting any other voice or your newly created voice will be lost.

In Voice Edit Mode, the 16 Track buttons double as voice editing functions. Tracks 1 ~ 4 serve as element selectors; Tracks 5 ~ 8 serve as element on/off switches; Tracks 9 ~ 16 serve as edit function selectors.

You must store the voice in an Internal voice bank

When you re inside a specific function parameter screen, you can jump to other functions by pressing SHIFT followed by the function key [F1 ~ F8] which corresponds to the abbreviation of the parameter name at the bottom of the screen of the parameter you want to access.

Although the basic editing operation for normal voices and drum voices are the same, there are some differences, due to the different natures and requirements of pitched sounds and percussion sounds.

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Following is the basic normal voice edit screen, along with a brief overview of its various functions and parameters.

COMMON - Lets you access those parameters which affect the voice as a whole, including Voice Category, Voice Volume, Voice Name, and Initialize. (For details, see page 110.)

ELEMENT - Lets you access those parameters which affect each element as a whole, including Element Assign, Element Pan, Keyboard Velocity Limit, and Note Limit. (For details, see page 112.)

AMP - Lets you access those parameters which modify each element s volume in various ways, including output Level, Velocity Sensitivity and Amplitude Envelope Generator (AEG). (For details, see page 113.)

GETTING STARTED

FILTER - Lets you access those parameters which modify each element s tone, including Cutoff frequency and Filter Envelope Generator (FEG). (For details, see page 115.)

PITCH - Lets you access those parameters which modify each element s pitch, including keyboard Scale, Tune, Note Shift, Velocity Sensitivity, and Pitch Envelope Generator (PEG). (For details, see page 117.)

EFFECT - Lets you assign an Insertion Effect to the voice and determine its parameters, as well as assign a send level for each of the three System Effects. (For details, see page 119.)

LFO - Lets you determine each element s Low Frequency Oscillator s Speed and Delay, as well as Amplitude Modulation, Frequency Modulation and Pitch Modulation ranges. (For details, see page 121.)

CONTROLLER - Lets you determine how each element responds to the various controllers, including Sustain, Pitch Bend, Aftertouch, Modulation Wheel, Foot Control and MIDI Control. (For details, see page 122.)

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GETTING STARTED

Following is the basic drum voice edit screen, along with a brief overview of its various functions and parameters.

COMMON - Lets you access those parameters which affect the voice as a whole, including Voice Category, Voice Volume, Voice Name, and Initialize. (For details, see page 125.)

KEY - Lets you assign a different element to each key on the keyboard, and set each element s Gate Time, Decay and Alternate Group, Tune, Volume and Pan, and send levels for each of the three System Effects. (For details, see page 125.)

EFFECT - Lets you assign an Insertion Effect to the voice and determine its parameters, as well as assign an overall send level for each of the three System Effects. (For details, see page 127.)

CONTROLLER - Let s you assign Expression Low Limit for the voice, as well as MIDI Control. (For details, see page 128.)

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CREATING SONG SEQUENCES

The process of creating a song sequence may be as simple as recording a solo piano performance from start to finish, with no subsequent alterations, or as complex as a quantized dance floor techno marvel with a heavy groove and many instrument parts that starts as a four-measure riff and is copied, appended, transposed, note shifted and crescendoed into an eight-minute masterpiece!

With the W5/W7, a sequence is a piece of music inside a song memory with up to 16 different Instrument parts that s as short as you want or as long as internal song memory will allow. Depending on the size of your songs, you can store between one and sixteen songs in song memory at any one time while the power is on (but must be saved to floppy disk before the power is turned off). Therefore, a song sequence may be a complete song from start to finish, or it might be the A part of a song, while another is the B part, and still another is the C part for working on smaller chunks of a song at a time that you can play back in numeric order using the Next Song function to hear in context, or piece together in any way you like using Song Jobs to create one complete song sequence.

●SEQUENCER CONTROLS

When recording and playing back song sequences you will use the three controls in the Sequencer section on the panel.

GETTING STARTED

SEQUENCER

STOP/TOPRECORD

RUN

RECORD - For engaging the record standby mode.

RUN - For engaging recording (if the RECORD button has been pressed

beforehand) or song playback after recording.

STOP/TOP - For stopping the sequence in either record or playback status. Pressing STOP/TOP once will stop the song at a specific location, from where you can continue recording or playback from that point by pressing RUN again. Pressing STOP/TOP twice resets the song to measure 1 for starting the song at the top the next time RUN is pressed.

●SONG SEQUENCING

There are three different types of operations involved in the process of song sequencing, which all work hand-in-hand to give you enormous music making power:

recording

time to input the basic sequence; events inside measures; and song performing other functions which involve single measures and groups of measures. The basic steps in song sequencing are as follows:

, in either realtime (including overdub and punch-in) or step-

editing

, or inserting and changing specific music

jobs

, or inserting and deleting measures and

Page 64

GETTING STARTED

1. SELECT A SONG MEMORY AND DEFINE THE MULTI

From within Song Play Mode, press [F2] ( Seq ) and select a song memory location (01 ~ 16), then press [F1] ( Mlt ) to jump to the Song Multi function and assign Instrument voices to Tracks, so that when you record, all you have to do is press a TRACK button in preparation for recording each Instrument part. (For more information about selecting songs, see page 80. For more information about song multis, see page 74.)

2. RECORD THE SONG PARTS

After defining the multi, press [F2] ( Seq ) again, then press RECORD; this engages the record standby mode, where you determine quantizing, metronome click status, tempo, time signature, and realtime or step record status. After determining these, press the TRACK button assigned with the Instrument voice of the first part you want to record. Then press RUN to either perform the part in realtime or input the performance in step-time. When you re finished, press STOP/TOP. Then record other Instrument parts in the same way. (For more information about song recording, see page 85.)

3. EDIT SONG EVENTS

After recording, if you want to single out and change any event, or insert new events (including program change and other MIDI control messages) inside any measure in any track, press EDIT in the Mode section on the panel. Locate the specific event to change, or the place to insert an event, with the SHUTTLE, which lets you rewind and fast forward through the measures, or the CURSOR keys. Insert and change data with the JOG, INC/DEC and KEYPAD. (For more information about song editing, see page 91.)

4. PERFORM SONG JOBS

You can press JOB in the Mode section on the panel in order to perform operations like appending one song onto another, deleting and inserting measures, transposing specific tracks, modifying gate time and velocity, and others. (For more information about song jobs, see page 95.)

5. FINE-TUNE THE MIX

After creating a song sequence, you can have it play back in a loop, or chain more than one song sequence to play back one after another using the Next Song feature in the Song Setup function [F3] ( Setup ). By pressing [F1] ( Mlt ), you can make adjustments to volume levels and panning, System Effect send levels, and other parameters for each track in the multi. You can also assign completely different voices to tracks, or even switch into Voice Edit Mode while the sequencer is running and make modifications to specific voice parameters in context with the overall mix. When you re finished, you can dub your digital masterpiece to cassette, DAT, or other format simply by pressing RUN!

6. SAVE THE SONG TO FLOPPY DISK

When you ve finished creating a song sequence, or if you re in the middle of the process and have to stop, save the song to floppy disk, so you can load it back into the W5/W7 the next time you need it and pick up from where you left off.

lways save important music data to floppy disk.

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FINE-TUNING THE STEREO MIX

The process of sound mixing may be as simple as slightly increasing a volume level on a single track, or as complex as completely overhauling the sound of a song with different voices and effects and drastic parameter setting changes.

Mixing happens within the multi, in Song Multi Play mode. To access the Song Multi Play function, from within Song Mode, press [F1] ( Mlt ). The Song Multi Play function screen, which displays a partial view of a 16 channel sound mixer, will appear.

Mixing consists of selecting tracks, and selecting parameters and modifying parameter settings. Primarily you use the TRACK buttons or CURSOR-LEFT and CURSOR-RIGHT keys to select tracks, and CURSOR-UP and CURSOR-DOWN keys to select mixer sections, or parameters, and the JOG, INC/DEC and KEYPAD to change settings.

GETTING STARTED

INSTRUMENT TRACK SELECT (1 ~ 16) - To select an Instrument track, press a TRACK button or use the CURSOR-LEFT and CURSORRIGHT keys. The Track button will light red, indicating that it is the currently selected track.

INSTRUMENT PARAMETER SELECT (Voice, Volume, Pan, Insertion Effect, System Effect Send 1 ~ 3, Tune, Note Shift, Pitch Bend Range) - To select a parameter within the track, use the CURSOR-UP and

CURSOR-DOWN keys. (The screen advances or retreats accordingly as you step through each parameter.) The currently selected parameter will be highlighted, and the parameter name, plus a numeric value of its current setting, will be displayed in the upper right area of the screen. (For more information about the various parameters, see page 76.)

INSTRUMENT PARAMETER DISPLAY - To select parameters via the Instrument Parameter display, which lets you view all Instrument parameter settings for the selected track at once, from within the Song Multi Play function, press and hold SHIFT, then press [F1] ( Inst ). Use the CURSOR keys to select a parameter, and the JOG, INC/DEC or KEYPAD to modify parameter settings.

To return to the Song Multi screen, press EXIT or hold SHIFT and press [F1] ( Mixer ).

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GETTING STARTED

SAVING & LOADING

MUSIC DATA

You can save your songs, multis and voices to floppy disk in a variety of ways for easier file management and access. All saving and loading (and other disk management) operations are performed from within Disk Mode. The basic steps are as follows:

1. INSERT DISK AND ENTER DISK MODE

First insert a floppy disk into the disk drive, then press DISK in the Mode section on the panel.

2. SELECT A FUNCTION

From within Disk Mode, select the type of function you want to perform. If you want to save data to floppy disk, position the cursor over Save To Disk and press ENTER, or press [F3] ( Save ). If you want to load data from a floppy disk into the W5/W7, position the cursor over Load From Disk and press ENTER, or press [F4] ( Load ).

3. SELECT A FILE TYPE

From within Save To Disk or Load From Disk , you can select the specific type of file you want to save or load, respectively. File types include the following:

All , or multi, sequence and Song voice data for all 16 songs; 1 Song , or multi and sequence data for one song; 1 Song + Voice , or multi and sequence data plus Song voice data for one song; (ESEQ)/SMF , for saving a song in the Standard MIDI File Format-0 or loading a song which has been saved in either the Yamaha ESEQ format or the Standard MIDI File Format-0 or Format-1; and

Voice , for saving the entire Internal voice memory bank, or loading an entire set of voices into the Internal voice bank or individual voices into Internal or Song voice memories.

4. EXECUTE THE OPERATION

After selecting a file type, press ENTER, followed by INC to execute the operation, or DEC to abort the operation.

NOTE: If the floppy disk is new, you will need to format it to be compatible with the W5/W7 operating system. If a disk is already too full to receive more data, you may want to delete some or all files on the disk to make space. These and other file management operations can be done within Disk Mode. For more information, see page 131.

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ORGANIZING & MANAGING DATA

If you re a prolific composer and/or voice programmer, the number of floppy disks lying around can mount up quickly. It s amazing how easy it is to lose track of what voices, multis and song sequences you ve stored where. To wit, a well-organized data library is essential.

For general purposes, it s a good idea to store different types of files on different disks, i.e., keep voices on one disk, performance type multis on another, composing type multis on another, and sequences on another. Or you might want to keep all multi, sequence and voice data for a specific song or session together on its own disk.

It s a good strategy to store specific types of voices on different disks. For example, you might store a complete bank of Strings voices on one disk, so you can load them in to find just the right one without having to wade through a lot of different disks. This is where the Store Mode comes in handy, since you can store the desired voices for a song into its accompanying Song voice bank, in order to put your data together in one place when you need it.

It s helpful to prepare sets of Internal voice banks with good all round selections of instruments for practicing, or different genres of music or prepare multis for the same purpose and save them to disk for quick access.

Likewise, it s a good idea to prepare special disks for either upcoming performances or studio gigs, so you ll be ready to load and play within seconds of powering up. In such cases, you ll want to prepare voice data in entire banks, and perhaps even song data for more than one song, since loading each voice or song individually from your data library is not practical in time-limited situations.

Always label your disks clearly, with as much detail as possible, so that you ll be able to find exactly the file you need when you need it. And it s always a good idea to back your disks up at least once, preferably twice, and keep them in separate places, in case of a worst case scenario where one is defective or gets destroyed or lost somehow. That way, you can rest assured that you ll always have that important song or sound whenever you need it.

GETTING STARTED

Page 68

RELOADING THE FACTORY SET VOICE DATA

If you ve initialized the Internal voice bank, or have replaced the original Internal voices shipped with the instrument, you can reload them at any time using the Factory Set & Demonstration disk that comes with the W5/W7.

Following is the procedure for reloading the preprogrammed data.

1. INSERT THE FACTORY SET & DEMONSTRATION DISK

Insert the disk into the disk drive. (NOTE: Make sure the label of the disk is facing upward, and be sure to put the end with the sliding disk shutter into the disk drive slot first.)

NOTE: Loading the preprogrammed voice data overwrites any other data that is in the W5/W7 s memory, so make sure all your important music data is saved to floppy disk before loading the operation.

GETTING STARTED

2. ENTER DISK MODE

Press the DISK button in the Mode section. The screen will display the various Disk Mode functions.

3. CHOOSE LOAD FROM DISK

Press the function key [F4] located directly beneath the word Load displayed at the bottom of the screen. The screen will display the various file types.

4. CHOOSE VOICE

Press the function key [F6] ( Voice ).

5. LOAD THE VOICES

Press ENTER to load the voices into the W5/W7.

6. EJECT THE DISK

When you re finished with the voice loading operation, press the eject button on the disk drive to eject the disk. Store the disk in a safe place in case you need to reload the voice data again in the future.

Page 69

INTEGRATING INTO A MIDI SYSTEM

The W5/W7 includes all the basic MIDI features which make it suitable for any role in an expanded electronic music system as the main keyboard controller at the heart of the system, or as a powerful support component in the system, or as a subordinate tone generator.

CONTROLLING OTHER MIDI DEVICES

The diagram below shows one of the simplest systems possible, where the W5/W7 is the master keyboard controller, and an external tone generator is connected to provide additional musical instrument sounds.

Stereo Amp

Sound mixer

NOTE: Before connecting other MIDI devices, first make sure power switches for all devices are turned off and all power cables are unplugged. Follow all safety and other relevant instructions as printed in the owner s manual of the W5/W7 and other devices.

GETTING STARTED

Tone Generator

Out

W5/7

With this system only a single MIDI cable is required, with one end plugged into the W5/W7 s MIDI OUT port and the other end plugged into the tone generator s MIDI IN port. Each device s stereo outputs are plugged into the two channels of an external audio mixer, which is in turn plugged into a stereo amp and speakers for monitoring.

With this system the W5/W7 can control the other device through MIDI note, control, program change and other messages, from both its keyboard and controllers as well as onboard sequencer.

Page 70

GETTING STARTED

MIDI SYSTEM COMPONENT

The diagram below shows a much more complicated system, configured with a personal computer operating as the main sequencer and system brain , the W5/W7 acting as the master performance input device, and three additional samplers or tone generators also connected.

Stereo Amp

External sound mixer

TG 1 TG 2 TG 3

MIDI Patch Bay

MIDI

THRU OUT

MIDI

in/out

Optional Yamaha FC4

or FC5 foot switch

SUSTAIN FOOT

FOOT

CONTROLLER

OUTPUT

PHONES

R L/MONO

VOLUME

Stereo

outputs

Optional Yamaha FC7 or FC9 foot controller

W5/7

With this system a MIDI patch bay is required, and MIDI INs and OUTs of all devices are connected to it. Each device s stereo outputs are plugged into the two channels of an external audio mixer, which is in turn plugged into a stereo amp and speakers for monitoring.

With this system the W5/W7 can switch back and forth between master and slave roles, as designated by the sequencing (and or librarian) software installed on the personal computer.

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SLAVING TO OTHER MIDI DEVICES

The diagram below shows a relatively simple system, where the W5/W7 is the master keyboard controller, and an external drum machine is acting as the master clock driving the W5/W7 s sequencer; the W5/W7 s sequencer and keyboard are in turn controlling an additional tone generator.

Stereo Amp

Sound mixer

Drum machine Tone Gen.

Out InThru

OutIn

GETTING STARTED

W5/7

With this system the drum machine s MIDI OUT is connected to the W5/W7 s MIDI IN, and the W5/W7 s MIDI OUT is connected to the drum machine s MIDI IN. The tone generator s MIDI IN is connected to the drum machine s MIDI THRU. Each device s stereo outputs are plugged into the two channels of an external audio mixer, which is in turn plugged into a stereo amp and speakers for monitoring.

With this system the W5/W7 s sequencer clock can be controlled by the drum machine, or rhythm note data can be fed from the drum machine into the W5/W7 s sequencer. Any MIDI messages sent from the W5/W7 to the tone generator will be ignored by the drum machine.

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SONG MODE

The W5/W7 s Song Mode is actually made up of four separate operating modes: Song Play, Song Record, Song Edit and Song Job. Jumping back and forth between each requires only the push of a MODE button on the panel, so it is easy to access any feature you need quickly as you work with rarely more than two or three clicks of a function key.

● SONG PLAY MODE

Song Play Mode is accessed by pressing the SONG button in the Mode section on the panel. From within Song Play Mode you can choose between Song Multi, Song Sequence Play and Song Setup functions, in order to assigning an Instrument voice to each of the 16 tracks, determining sound mixer and other settings for the voice in each track (including volume, panning, effects, tuning, note shift and pitch bend), select any of the 16 songs in internal song memory, assign various MIDI settings including

SONG MODE

transmit channel, set the keyboard mode to Normal, Split, Layer or 4-Zone, set the sequencer clock to internal or MIDI sync, and determine other settings which affect the currently selected song multi.

● SONG RECORD MODE

Song Record Mode is accessed by pressing the RECORD button in the Sequencer section on the panel from within the Song Multi function or Song Sequence Play function of Song Mode. From within Song Record Mode you can record a sequence in the currently selected song memory, either in real-time (including replace, overdub and punchin recording) or step-time, as well as determine record parameters like time signature, tempo, quantize, click volume and others.

define

a multi by

● SONG EDIT MODE

Song Edit Mode is accessed by pressing the EDIT button in the Mode section on the panel. From within Song Edit Mode you can view and edit individual note, controller and other MIDI events in the sequence, through three separate functions Data Change, which lets you modify the data, Data Insert, which lets you insert new data, and Graph, which lets you view notes as dots on a keyboard diagram plus a horizontal line which displays dots that indicate the position of note data in a measure.

● SONG JOB MODE

Song Job Mode is accessed by pressing the JOB button in the Mode section on the panel. From within Song Job Mode you can make changes to the sequence that apply to all the data in one or more entire measures. Song Job operations include song copy, append and clear, track copy, clear and mix, measure copy, erase, create, delete and insert, data thin out, extract and chord sort, plus quantize, move clock, modify gate time, modify velocity, transpose, shift note, and crescendo.

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SONG PLAY

In Song Play Mode you can access the functions which let you define a song multi, select and playback a song sequence, or designate various keyboard, MIDI and controller settings.

At power on, the W5/W7 always starts up in Song Play Mode, Song Multi function status, ready to play the Instrument voice assigned to Track 1 of Song Multi #01, as indicated by the Song Multi function screen, which displays the 16 channel stereo mixer.

SONG SEQUENCE PLAY - The Song Sequence Play function lets you select any of the 16 songs in internal song memory, designate a specific measure for the sequence to start playing back from, adjust tempo, assign two measure-locate positions for instant access to the two most frequently accessed measures, name a

When the W5/W7 is shipped from the factory, all 16 song multis are undefined, i.e., every track in every multi is set to GM voice #001, except for Track 10 the drum voice track which is set to GM drum voice #01.

NOTE: At power on, the names and parameter settings of all 16 song multis in internal song memory remain as they were stored at the time of power off; however, song sequencer data and Song voice bank memory is always dumped at power off, and therefore must be reloaded when needed. data to floppy disk before turning the power off!

Always remember to save your important song

● ENTERING AND EXITING SONG PLAY MODE

To enter Song Play Mode from another mode, simply press SONG in the Mode section on the panel. To exit song play mode, simply press another MODE button.

song, and access the Song Directory.

SONG SETUP - The Song Setup function lets you assign various MIDI settings including transmit channel, MIDI filter and control status, set the keyboard mode to normal, split, layer or 4-zone, set the sequencer clock to internal or MIDI sync, and determine a transposition value.

SONG MODE

NOTE: When entering Song Play Mode from another mode, either the Song Multi function screen or the Song Sequence Play function screen will appear, depending on which one was selected the last time you were in Song Play Mode.

● ACCESSING A SONG PLAY FUNCTION

To access the Song Play functions, press the SONG button in the Mode section on the panel. Pressing [F1] ( Mlt ) accesses the Song Multi function. Pressing [F2] ( Seq ) accesses the Song Sequence Play function. Pressing [F3] ( Setup ) accesses the Song Setup function.

SONG MULTI PLAY - The Song Multi function lets you assign an Instrument voice to each of the 16 track buttons on the panel and designate all sound mixer and other settings for each track as well as for the overall

mix including volume, panning and digital effects settings, plus tuning, note shift and pitch bend parameters and access the Voice Directory.

● PLAYING A SONG SEQUENCE

You can play back the currently selected song sequence from within either the Song Multi function or the Song Sequence Play function, by pressing the RUN button in the Sequencer section on the panel. You can also switch back and forth between the two functions and adjust parameter settings as the song plays. (NOTE: When you start the sequence again from the top, all settings will be reset according to the MIDI events as recorded in the sequence.)

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● SELECTING TRACKS FOR PLAYBACK

Use the 16 memory select buttons to select the tracks for playback. The track button of each track with data in it will be lit in green. A red track button indicates the currently selected track.

● TRACK SOLO AND MUTE

When a song is playing back, pressing SOLO lets you isolate

SONG MODE

one or more Instrument voices as the song plays. The SOLO button will become red, indicating that the W5/W7 is in Solo Mode. In Solo Mode, tracks with sequencer data in them will be either red (solo status), or green (mute status).

SIMULTANEOUS NOTE CAPACITY - The W5/W7 can play up to 32 notes at once (either from the keyboard or the sequencer). During playback, any new notes which would exceed this number will be ignored.

NOTE: The sequencer will not run when the W5/W7 is in Song Edit, Song Job, Utility, or Disk Modes, nor will it run when the Song Setup function is selected. Likewise, when the sequencer is running in record or playback modes you cannot enter Song Edit, Song Job, Utility, or Disk Modes, nor can you select the Song Setup function.

SOLO - After pressing the SOLO button the currently selected Track button will become red, indicating that it is in solo status. Also, it will be the only sound you hear. You can solo more than one track at a time.

MUTE - The other tracks with data in them will all be green, indicating that they are in mute status, or are turned off, and therefore you won t be able to hear them.

EXIT - To exit Solo Mode, simply press the TRACK SELECT button.

SONG MULTI

The Song Multi function lets you assign an Instrument voice to each of the 16 Track buttons on the panel, plus designate all sound mixer and other settings for each track as well as for the overall mix including volume, panning and digital effects settings, as well as tuning, note shift and pitch bend parameters.

A song multi , also referred to as a multi , is the complete configuration of all MIDI, voice, mixer and other assignments and settings which determine the operating status of the W5/ W7 within each song , or song memory location.

Depending on your particular needs for a setup, i.e., whether you are composing, practicing, recording, or performing live or are using the W5/W7 as a master keyboard controller or as a slave tone generator a song multi may be comprised of multi settings (i.e., all parameter settings), song sequence data, and accompanying Song voice bank, or it may be comprised of multi settings with accompanying Song voice bank, or it may be comprised of multi settings only.

A song multi can be stored in any of the 16 song memories in the W5/W7 and saved to floppy disk and loaded back in via the disk drive. And since each song memory also contains a Song voice bank into which you can store up to 128 normal voices and 2 drum voices copied from the Internal, Preset or GM voice bank (or the External voice bank if the optional Expansion Wave/Voice Board is installed). You can organize an entire bank of Song voices specifically for a single multi. This lets you keep all data for a multi together in one place, i.e., inside a single song memory. (NOTE: Sequence data and Song voice data are not retained in memory when the power is turned off.

before turning off the power

Always save your important song data to floppy disk

NOTE: Song multis can be saved to floppy disk and loaded back into the W5/W7 in various ways, including all 16 songs with accompanying Song voice banks, one song only, and one song with accompanying Song voice bank. (For more information on saving to and loading from disk, see Disk Mode, page 131.)

● DEFINING A SONG MULTI

There are literally hundreds of parameters which make up a song multi, but only four basic steps involved in the process of creating and defining the multi, as follows:

1. SELECT A SONG MEMORY

currently selected song is the currently selected multi.

The

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2. ASSIGN INSTRUMENTS TO TRACKS AND DETERMINE MULTI PARAMETER SETTINGS

All settings

that you make in Song Mode define the multi.

● ACCESSING SONG MULTI

To access the Song Multi function, from within Song Mode, press [F1] ( Mlt ). The Song Multi function screen, which displays a partial view of a 16 channel stereo sound mixer, will appear.

3. STORE THE MULTI IN A SONG MEMORY

The settings you make in the song multi will stay as is unless you choose another song memory location. Therefore, you must

store

your multi in a song memory. When you re in the middle of an intense music session, it s a good idea to be in the habit of storing your song multi (and sequence) in a song memory bank. If you keep storing the multi periodically as you go, perhaps even storing the various noteworthy permutations of it in different song memories, you ll always have a back-up to resume from in a worst case scenario where an important multi is lost. Before storing your multi, give it a name within the Song Sequence Play function. To store the multi in a song memory location (01 ~ 16), press STORE followed by [F2] ( Multi ). Use the JOG, INC/DEC or KEYPAD to choose an internal song memory location, then press ENTER to execute the operation. To exit the Store Mode, press EXIT or any other desired MODE button.

Always store multis in a song memory

location as you work.

4. SAVE THE MULTI TO FLOPPY DISK

Always save multis and other important music data to

floppy disk.

NOTE: Once a multi has been stored in a song memory location, you can switch back and forth between other song memories and the multi settings will still be retained. The multi settings will even be maintained when the power is turned off. When the power is turned back on, the multi set-up data for all songs in the memory at power off will still be retained, and therefore the song name will still appear; however, the song sequence data and Song voice data will be gone. When storing the currently selected multi to another multi location, although multi settings will be stored in the new location, sequencer and Song voice data will transferred to the new location. Song sequence and Song voice data in one song memory location can be locations in Song Job Mode (for details, see page 96.)

copied into other song

not be

INSTRUMENT TRACK SELECT (1 ~ 16) - To select an Instrument track in the song multi, simply press a TRACK button, or use the CURSOR-LEFT and CURSOR-RIGHT keys. The Track button will light red, indicating that it is the currently selected track.

INSTRUMENT PARAMETER SELECT (Voice, Volume, Pan, Insertion Effect, System Effect Send 1 ~ 3, Tune, Note Shift, Pitch Bend Range) - To

select a parameter within the track, use the CURSOR-UP and CURSOR-DOWN keys. (The screen advances or retreats accordingly as you step up and down through each parameter.) The currently selected parameter will be highlighted, and the parameter name, plus a numeric value of its current setting, will be displayed in the upper right area of the screen.

INSTRUMENT PARAMETER DISPLAY - To select parameters via the Instrument Parameter display, which lets you view all instrument parameter settings for the selected track at once, from within the Song Multi Play function, press and hold SHIFT, then press [F1] ( Inst ). Use the CURSOR keys to select a parameter.

To return to the Song Multi screen, press EXIT or hold SHIFT and press [F1] ( Mixer ).

SONG MODE

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● MOVING AROUND IN THE SONG MULTI

The operations you perform in Song Multi Play Mode go hand-in-hand with the sound mixing process, since besides assigning voices, you ll be selecting tracks and accessing the sections, or blocks , on the mixer which contain the parameters volume, pan, System Effect sends, etc. whose settings you ll need to modify. Primarily you use the CURSOR-LEFT and CURSOR-RIGHT keys to specify the track whose parameters you want to access, and CURSORUP and CURSOR-DOWN to access the mixer sections, or parameters, and the JOG, INC/DEC and KEYPAD to change settings.

SONG MODE

NOTE: Pressing a TRACK button will select the track, and automatically place the cursor within that track on the mixer. With that track still selected, you can use CURSOR-LEFT and CURSOR-RIGHT to specify another track, so that you can adjust parameters of another track that s playing back from the sequencer while you are performing a live part.

SONG MULTI SCREEN - The Song Multi Play screen is designed to let you quickly access all functions and parameters in the multi, as well as give you ample visual feedback as you work. This is the W7 s basic operating

home screen.

AVAILABLE MEMORY

Displays a visual gauge of the available memory left. Used memory portion will be indicated in black. This is always displayed, regardless of selected mode or function screen.

SONG NUMBER AND NAME

Displays the currently selected song memory number (01 ~ 16) and the song name. You cannot select a song from the Song Multi Play function screen. To select a different song, you must first press [F2] ( Seq ), and then select the song from the Song Sequence Play function screen.

MIDI CHANNEL/INSTRUMENT TRACK (Ch 1 ~ 16)

Displays the MIDI channel number of the currently selected track. Since each track of the 16 tracks corresponds with each MIDI input channel, this number represents both MIDI channel input number and selected track number.

VOICE BANK (G, P, I, S, E*, GD, PD, ID, SD, ED*)

Displays the one-letter (for normal voice) or two-letter (for drum voice) code that represents each voice bank. (* NOTE: E and ED will display only if the optional Expansion Wave/Voice Board has been installed.)

The sound mixer as displayed in the LCD is actually only a partial view, since the mixer is made up of several sections, and in effect extends beyond the top of the screen! The black up- or down-arrows at the far left side of the screen indicate that other parameters are accessible, by using the CURSOR-UP or CURSOR-DOWN keys.

The diagram below shows the mixer as it would appear in its entirety, complete with other visual information in and functions accessible from the Song Multi Play function screen.

VOICE NUMBER (001 ~ 128) / NAME

Displays the currently selected voice number and name in the voice bank.

VOICE SELECT (Voice Category)

Voice Select is the first section, or stop , in each of the 16 mixer channels, represented graphically by the twoletter Voice Category code of the voice currently assigned to the track. The cursor must be positioned at Voice Select before you can choose a voice to assign to the track. To access Voice Select, use the CURSORDOWN key.

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VOICE VOLUME (0 ~ 127)

Voice Volume is the second stop in each of the 16 mixer channels, represented graphically by a fader. It lets you make volume adjustments to the track. To access Voice Select, use the CURSOR-UP or CURSOR-DOWN keys.

voices inside a multi. (NOTE: Insertion Effect type and parameter settings for any particular voice are determined in Voice Edit Mode, Effect parameters function. For more information, see page 119.) To access the Insertion Effect switch, use the CURSOR-UP or CURSOR-DOWN keys.

MASTER VOLUME (0 ~ 127) - When the cursor is positioned at Voice Volume you can access the Master Volume control, by pressing [F8] ( Mst ). The Master Volume lets you set the overall output volume of the sound mix. (You can also select Master Volume using the CURSOR-RIGHT key.)

VOICE PAN (L31 ~ R31)

Voice Pan is the third stop in each of the 16 mixer channels, represented graphically by a pot. It lets you set the stereo pan position of the voice between the left and right outputs. L values position the voice in the left side of the stereo spectrum and R values position the voice in the right side of the stereo spectrum. A setting of 0 positions the voice straight-up center. To access Voice Pan, use the CURSOR-UP or CURSOR-DOWN keys. To input L values, press the DEC key or spin the JOG counter-clockwise, or punch in a number between 1 ~ 31 on the KEYPAD followed by [—] and then ENTER. To input R values, press the INC key, or spin the JOG clockwise, or punch in a number between 1 ~ 31 on the KEYPAD followed by ENTER.

NOTE: When the Insertion Effect is off, changing a pan setting while keys are pressed will not change the pan position for those notes.

SYSTEM EFFECT SENDS 1/2/3 (0 ~ 127, vce)

System Effect Sends 3, 2, and 1 are the fifth, sixth and seventh stops, respectively, in each of the 16 mixer channels, represented graphically by pots. From within a System Effect Send you can determine the amount of signal level which gets sent to each System Effect, as well as designate the types of System Effects for the song multi, plus edit System Effect parameters. To access a System Effect Send, use the CURSOR-UP or CURSORDOWN keys.

When the cursor is positioned over one of the three System Effect sends, you can also access several effects related parameters via the function keys.

VOICE - Pressing [F7] ( vce ) assigns the effect send value for the selected voice as designated in Voice Edit Mode, Effect parameters function. (For more information, see page 119.)

MASTER RETURN LEVEL - Pressing [F8] ( Mst ) lets you access the Master Return level, in order to set the overall return level for all tracks. (You can also access the Master Return using the CURSORRIGHT key.)

SONG MODE

NOTE: If you set the voice pan to the left or right side in Voice Edit Mode, then set the pan to the opposite side on the mixer, the voice may not be audible, or the result may be different from your intention.

INSERTION EFFECT SWITCH (off, on)

The Insertion Effect switch is the fourth stop in each of the 16 mixer channels, represented graphically by an empty square ( off ) or a solid square ( on ). It lets you apply an Insertion Effect to up to three Instrument

TYPE - Pressing [F5] ( Type ) lets you access the System Effect Type display, from where you can choose which type of effect is assigned to each of the three effect sends, as well as set the return level for each effect. (To return to the Song Multi function screen, press EXIT.)

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SONG MODE

PARAMETER - Pressing [F6] ( Param ) lets you access the System Effect parameter edit display, from where you can edit the individual parameters of the effect as selected in the System Effect Type display.

The black arrow pointing downwards in the lower left of the parameter display indicates that the list of editable parameters continues, which you can access using the CURSOR-DOWN key. To return to the Song Multi function screen, press EXIT.

NOTE: For a complete listing of System Effect Types and Parameters, see the booklet.

W5/W7 Technical Information

TUNE (-63 ~ +63)

Voice Tune is the eighth stop in each of the 16 mixer channels, represented graphically by a pot. It lets you adjust the fine-tuning of the voice in steps of 1.17 cents. To access Tune, use the CURSOR-UP or CURSORDOWN keys.

VOICE BANK SELECT

When the cursor is positioned at Voice Select, pressing [F6] and [F7] lets you choose a voice bank. The one- or two-letter Voice Bank code will begin flashing, indicating that you must then press ENTER to lock in the desired bank. (For more information about voice banks, see page 25.)

VOICE DIRECTORY

When the cursor is positioned at Voice Select, pressing [F8] ( Dir ) accesses the Voice Directory, which displays the voices in the currently selected voice bank by list, eight at a time.

Within the Voice Directory you can select voices by scrolling through the entire list using the JOG, INC/ DEC, or the CURSOR keys, or enter a specific number on the KEYPAD the list will advance accordingly. (You can also select voice banks from within the Voice Directory.) To return to the Song Multi screen, press EXIT. To jump directly to the Instrument Parameter display, press [F1] ( Mlt ) once.

MASTER TUNE - When the cursor is positioned at Voice Tune, pressing [F8] ( Mst ) lets you set the Master Tune, which affects overall fine-tuning for all tracks equally.

NOTE SHIFT (-63 ~ +63)

Note Shift is the ninth stop in each of the 16 mixer channels, represented graphically by a pot. It lets you determine the coarse-tuning of the voice in half-steps. To access Note Shift, use the CURSOR-UP or CURSORDOWN keys.

MASTER NOTE SHIFT - When the cursor is positioned at Note Shift, pressing [F8] ( Mst ) lets you set the Master Note Shift, which affects overall note shift for all tracks equally.

PITCH BEND RANGE (0 ~ 12)

Pitch Bend Range is the tenth and final stop in each of the 16 mixer channels, represented graphically by a pot. It lets you designate the range the voice s pitch bends up or down by the Pitch Bend wheel. To access Pitch Bend Range, use the CURSOR-UP key.

VOICE - When the cursor is positioned at Pitch Bend Range, pressing [F7] ( vce ) assigns the pitch bend setting for the voice as determined in Voice Edit Mode, Control parameters function. (For more information, see page 122.)

JUMP TO SONG SEQUENCE PLAY FUNCTION

Pressing [F2] ( Seq ) lets you jump directly to the Song Sequence Play function.

JUMP TO SONG SETUP FUNCTION

Pressing [F3] ( Setup ) lets you jump directly to the Song Setup function.

NOTE: The Master Volume, Master Tune and Master Note Shift settings affect all songs.

NOTE: Multi settings for SMF song data will load into the W5/W7, but will not be retained at power off unless you first store it in a song location. In order to be sure that you don t accidentally lose your important multi settings, it is a good habit to periodically perform the Store Multi operation as you work.

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SYSTEM EFFECTS

The W5/W7 s three System Effects are powerful, studio quality stereo digital sound processing modules that you assign to a multi in order to provide extra depth and dimension to the overall mix. There are a total of 40 separate effects devices, or effect types , from which you can choose to assign to each of the three System Effect sends of the mixer. You can also access and edit the various parameters of each device.

System Effects

1 : Rev Module

System

Return 1

The System Effect send levels for each Instrument track are located in the effects block section of the mixer, and are accessed and adjusted from within Song Multi Play Mode by positioning the cursor over any effect send (1, 2, or 3) pot in any track. The send level is simply the amount of volume of the Instrument voice that gets routed, or sent, to an effects device.

2 : Chorus Module

3 : Dly/Rev Module

Return 2

Mixer

Return 3

Each System Effect is routed to a specific processor

module .

The types of effects that you can assign to each of the three System Effects depends on the particular send, as each System Effect send is routed to a specific DSP module. You cannot assign a hall reverb from system effect module 1 to a send 2.

SYSTEM EFFECT 1: REVERB MODULE - The types of effects in the reverb module includes halls, rooms, tunnel, plate and other reverbs, plus echo and various stereo delays.

SYSTEM EFFECT 2: CHORUS MODULE - The types of effects in the chorus module includes chorus, flanger, phaser, auto pan, rotary speaker, pitch change, Aural Exciter¤, and more.

SYSTEM EFFECT 3: DELAY/REVERB MODULE The types of effects in the delay/reverb module includes˚various delays and reverbs, including gate, reverse and early reflection, as well as series combinations such as distortion/delay, EQ/reverb and others.

NOTE: For a complete listing of System Effect Types and Parameters, see the

W5/W7 Technical Information

booklet.

When you position the cursor over an effect send pot, you can adjust the send level using JOG, INC/DEC, or the KEYPAD. Also, the screen will display additional functions which you can access via the function keys.

TYPE - Pressing [F5] ( Type ) lets you assign which type of effect (i.e., which particular effects device) you want for each of the three System Effects, as well as the return level for each. The return level is simply the amount of volume of the effected signal which gets sent back, or returned, to the stereo mixer.

To assign an effect type to each System Effect, using the CURSOR keys, position the cursor over the value field of EF1 , EF2 , or EF3 , and using JOG, INC/DEC (or the KEYPAD), select an effects device the names of each effect will appear to the right of the value field as you step or scroll through them.

To set the return level of each effect, position the cursor over the corresponding Return level field of the desired effect, and using the JOG, INC/DEC or the KEYPAD, adjust the value.

PARAMETER - Whichever type of effect the cursor is placed at in the System Effect Type display, above, determines the parameter list which will appear when you press [F6] ( Param ).

SONG MODE

* Aural Exciter tured under license from Aphex Systems Ltd.

is a registered trademark of and is manufac-

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SONG MODE

To modify the effect parameters, using CURSOR-UP and CURSOR-DOWN, scroll through the various parameters and select the one you want to adjust. (The inverted black arrow-head to the left of the display indicates that more parameters are on the list, out of view.)

(To choose another System Effect whose parameters you also want to adjust, press [F5] ( Type ) and do so from the System Effect Type display, as noted above. Then press [F6] ( Param ) again to modify the parameters.)

VOICE - Pressing [F7] ( vce ) assigns the effect send level as assigned in Voice Edit Mode. Via the Effect parameters function of Voice Edit Mode, you can access a System Effect display which lets you assign an effect send level for each of the three System Effects which become the Voice Send Levels for that particular voice. (NOTE: For more information, see Voice Edit Mode, Normal Voice, Effect parameters function, page 119, and Voice Edit Mode, Drum Voice, Effect parameters function, page 127.)

SONG SEQUENCE PLAY

The Song Sequence Play function lets you select any of the 16 songs in internal song memory, access a specific measure in the song, adjust tempo, assign two measure-locate positions, name a song, and access the Song Directory.

● ACCESSING SONG SEQUENCE PLAY

To access the Song Sequence Play function, from within Song Mode, press [F2] ( Seq ). The Song Sequence Play function screen will appear.

SONG SELECT (01 ~ 16)

To select a song from song memory, position the cursor over the song number and use the JOG, INC/DEC, or KEYPAD. (NOTE: You can also select a song from the Song Directory. See page 81.)

MEASURE SELECT (001 ~ 999)

To select a specific measure from which the song will begin playing when you press RUN on the sequencer, position the cursor over the measure number and use the JOG, INC/DEC, or KEYPAD.

TEMPO SELECT (30 ~ 250)

To set the tempo of the song in quarter notes per minute, position the cursor over the quarter note value and use the JOG, INC/DEC, or KEYPAD.

TIME SIGNATURE SELECT

For viewing the time signature of the song, as specified in Song Record Mode. (You cannot modify this setting in Song Play Mode.)

CLICK BEAT SELECT (1/4, 1/8, 1/16)

To determine the beat on which the metronome click will sound, position the cursor over the beat value and use the JOG, INC/DEC, or KEYPAD.

CLICK MODE SELECT (off, rec, play, always)

To determine in what status the metronome click will sound, position the cursor over the mode setting and use the JOG or INC/DEC.

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OFF - Off means the metronome will not sound. REC - Rec means the metronome will sound only

during song recording. PLAY - Play means the metronome will sound

during recording and playback. ALWAYS - Always turns the metronome on

whether the sequencer is running or not, in order to set the tempo before recording or the tempo level.

CLICK LEVEL SELECT (0 ~ 31)

To set the volume level of the metronome click, position the cursor over the level value and use the JOG, INC/ DEC, or KEYPAD.

MEASURE LOCATE (Loc 1, Loc 2)

To tag, or specify two different measures that you need to locate often, so you can jump directly to them with one touch, by pressing [F5] and [F6] even during playback.

MEASURE LOCATE ASSIGN - To assign the measure locations, first position the cursor over Measure Select and enter the measure number you want to tag for [F5]. Then press the SHIFT key, and while keeping the SHIFT key held down, press [F5] the measure number will be assigned to it instantly. To tag a measure for [F6], simply repeat the process using the [F6] key.

NAMING THE SONG - To name the song, position the inverted pointer over a letter space with [F4] and [F5], and choose a character with the JOG dial, INC/DEC buttons, or CURSOR keys. When you ve entered the name, simply press EXIT to return to the Song Sequence Play function screen.

SONG DIRECTORY

To view the list of all 16 songs currently in memory, press [F8] ( Dir ). (The song names in the list are abbreviated, but the name of the song with the cursor positioned over it will display in all 10 characters in the upper right area of the screen.)

SELECTING A SONG - To select a song from within the Song Directory, use the KEYPAD, or position the cursor over a song name using the CURSOR keys and press ENTER. (You can also position the cursor using [F1] ~ [F8] to select songs 1 ~ 8, respectively, and SHIFT plus [F1] ~ [F8] to select songs 9 ~ 16, respectively.) After pressing ENTER, the W5/W7 automatically returns you to the Song Sequence Play function screen. To leave the Song Directory without selecting a different song, press EXIT or any Mode button on the panel.

SONG MODE

SONG NAME

To give your song a 10-character name, press [F7] ( Name ). The Song Name screen will appear.

All the available characters will appear on the display. (A

space can be entered by pressing [F3] ( [SPC] ).

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SONG SETUP

The Song Setup function lets you assign various MIDI settings including transmit channel, MIDI filter and control status, as well as designate keyboard mode, set the sequencer clock to internal or MIDI sync, and set overall transposition.

● ACCESSING SONG SETUP

To access the Song Setup function, from within Song Mode, press [F3] ( Setup ). One of the Song Setup function displays will appear Playback Filter, Track Transmit Channel, Keyboard Setup, or Other Setup depending on which was selected the last time you exited the Song Setup function.

MIDI FILTER - Pressing [F5] ( Filter ) accesses the MIDI Filter, from where you determine how the W5/W7 responds to various MIDI data.

SONG MODE

Through the MIDI Filter, the W5/W7 s internal sequencer can receive Aftertouch, Control Change and System Exclusive messages when these parameters are set to rec status. The W5/W7 s internal sequencer can send Bank Select, Program Change and Control Change messages when these parameters are set to play status. When a parameter is set to ignore status, the W5/W7 will not acknowledge these messages.

To select a MIDI Filter parameter, use the CURSOR-UP and CURSOR-DOWN keys. to change a parameter setting, use the JOG or INC/DEC.

TRACK TRANSMIT CHANNEL - Pressing [F6] ( T.Ch ) accesses the MIDI transmit channel display, from where you can turn MIDI transmit channels on and off, or assign the transmit channel for each W5/W7 track.

TRACK NUMBER (1 ~ 16) - The first line of information is a row of numbers which represent each track number, and therefore cannot be changed.

EXTERNAL ON/OFF (ext) - The second line of information represent the on/off switches for each track that determine whether W5/W7 MIDI data will be transmitted to external devices. A dot means the track is turned on, and a horizontal line means the track is turned off. To set External On or Off for a track, position the cursor over the field just below the number of the track you want to set, and use the JOG or INC/ DEC.

INTERNAL ON/OFF (int) - The third line of information represents the on/off switches for each track that determine whether W5/W7 MIDI data will be transmitted to the internal tone generator. A dot means the track is turned on, and a horizontal line means the track is turned off. To set Internal On or Off for a track, position the cursor over the field just above the number of the track you want to set, and use the JOG or INC/DEC.

MIDI TRANSMIT CHANNEL (1 ~ 16) - The fourth line of information is a row of numbers which represent the MIDI channel the track is transmitting on. The MIDI transmit channel of each track can be changed freely. To change the MIDI transmit channel number, position the cursor over the transmit channel number field corresponding with the track whose transmit number you want to change, and use the JOG, INC/DEC or KEYPAD.

NOTE: Changing a transmit channel affects the way tracks respond in Song Multi Play Mode. For example, if you change the transmit channel of Track 4 to MIDI channel 1, pressing the TRACK 4 button in Song Multi Play Mode will cause the cursor to automatically position itself at Track 1 within the mixer.

KEYBOARD SETUP - Pressing [F7] ( Kbd ) accesses the four keyboard setup modes, from where you determine whether the W5/W7 s keyboard will operate in Normal, Split, Layer, or 4-Zone modes.

To access one of the keyboard setup modes, use the JOG or INC/DEC.

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NORMAL MODE - In Normal Mode, the keyboard will play one voice at a time the currently selected track over the entire range of the keyboard. (NOTE: A small

+ plus sign on the keyboard represents middle C, or

C3.)

SPLIT MODE - In Split Mode, the keyboard will play two voices at once, one track from the left side (Lower) of the designated split point, and another track from the right side (Upper) of the split point.

4-ZONE MODE - In 4-Zone Mode, the keyboard will play four voices at once, by specifying four different tracks to play simultaneously. You can set the note range and octave shift, as well as turn controllers on and off, for each zone track. (Horizontal lines on the keyboard will indicate the note range of each zone.)

Only two zones are visible on the screen at a time. To access Zone-3 and Zone-4, use the CURSOR-UP and CURSOR-DOWN keys the screen will advance accordingly. To access the various parameters within each zone, use the CURSOR-LEFT and CURSORRIGHT keys.

SONG MODE

POINT - To designate the split point, position the cursor over Point and use the JOG or INC/DEC, or press a key on the keyboard while holding down [F7] ( Kbd ). (NOTE: The actual split point key will belong to the Upper region.)

UPPER/LOWER - To determine which voices will play in each region, position the cursor over Upper or Lower and assign a track (1 ~ 16) to it with the JOG, INC/DEC or the KEYPAD. Horizontal lines on the keyboard will indicate the range of each region.

LAYER MODE - In Layer Mode, the keyboard will play two voices at once, by specifying two tracks to play simultaneously.

UPPER/LOWER - To determine which voices will play, position the cursor over Upper or Lower and assign a track (1 ~ 16) to it with the JOG, INC/DEC or the KEYPAD.

ZONE TRACK SELECT (1 ~ 16) - To assign a track to each zone, position the cursor over Zone (1 ~ 4) and use the JOG, INC/DEC, or the KEYPAD.

ZONE LOW LIMIT (C-2 ~ G8) - To assign the lowest note that will play in the zone, position the cursor over the first note parameter and use the JOG or INC/DEC, or press a key on the keyboard while holding down [F7] ( Kbd ).

ZONE HIGH LIMIT (C-2 ~ G8) - To assign the highest note that will play in the zone, position the cursor over the second note parameter and use the JOG or INC/DEC, or press a key on the keyboard while holding down [F7] ( Kbd ).

OCT (-3 ~ +3) - To shift the pitch of the zone up or down by up to 3 octaves, position the cursor over

+0 oct and use the JOG, INC/DEC or the KEYPAD.