Yamaha EX5R - Manual

PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,short-circuiting, damages, fire or other h...

6 The Yamaha EX5 and EX7 Music Synthesizers, and the EX5R Tone Generator, offer moremusic performance and production power than ever before available in a single keyboard ortone generator unit. All three models feature a unique Extended Synthesis system whichincorporates a number of the most advance...

7 Introductor y Section The Controls & Connectors ................................8 Setting Up ........................................................16 The Supplied Disks, Demos, & Factory Set Data ....25 EX System Overview ........................................28 Extended Synthesis .......

SCENE 2 1 OCTAVE DOWN UP PITCH MODULATION 1 MODULATION 2 A D GAIN VOLUME MODE EX5/7 1 OCTAVE [DOWN] and [UP] Keys (EX5 and EX7 only) Shift the pitch of the keyboard up or down up to five octaves in one-octave steps. The pitch is shifted one octave in the corresponding direction, up to the maximum, e...

9 Introductor y Section 1 2 3 4 5 6 POWER EXIT SHIFT TONE GENERATORREALTIME CONTROLEXTENDED SYNTHESIS 1 2 3 4 5 6 VOICE PERFORM SONG PATTERN SA MPLE JOB L MONO R BRE ATH PHONES VOLUME A D INPUT A D GAIN STORE UTILIT Y DISK SC2 SC1 EDIT COMPARE KEYMAP BYPASS ARPEG KNOB CANCEL CURSOR DATA TOP REC STOP...

10 Introductor y Section MODE VOICE PERFORMANCE SONG PATTERN SAMPLE EDIT JOB STORE UTILITY DISK FWD REW TOP KNOB MODE ARPEGGIO COMPARE KEYMAP EF BYPASS REC STOP PLAY F1 F2 F3 F4 F5 F6 F7 F8 1 2 3 4 5 6 CANCEL CURSOR DATA DEC NO INC YES EXIT SHIFT EX5/7 % MODE Keys The MODE keys select the correspond...

11 Introductor y Section TONE GENERATORREALTIME CONTROLEXTENDED SYNTHESIS 1 2 3 4 5 6 VOICE PERFORM SONG PATTERN SA MPLE JOB L MONO R BRE ATH PHONES VOLUME A D INPUT A D GAIN STORE UTILIT Y DISK SC2 SC1 EDIT COMPARE KEYMAP BYPASS ARPEG KNOB CANCEL CURSOR DATA TOP REC STOP PLAY POWER RE W F WD ON OFF...

12 Introductor y Section CURSOR DATA DEC NO INC YES BANK PROGRAM PART TRACK ELEMENT SELECT ELEMENT ON OFF COMMON OSC PITCH FILTER AMPLITUDE LFO CONTROL EFFECT A B C D E F G H 1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 9 10 11 12 13 14 15 16 SPACE A B C 0 1 2 3 4 5 6 7 8 9 ENTER D E F G H I J K L M N O P Q R S ...

13 Introductor y Section TONE GENERATORREALTIME CONTROLEXTENDED SYNTHESIS 1 2 3 4 5 6 VOICE PERFORM SONG PATTERN SA MPLE JOB L MONO R BRE ATH PHONES VOLUME A D INPUT A D GAIN STORE UTILIT Y DISK SC2 SC1 EDIT COMPARE KEYMAP BYPASS ARPEG KNOB CANCEL CURSOR DATA TOP REC STOP PLAY POWER RE W F WD ON OFF...

14 Introductor y Section CAUTION ATTENTIONWARNING : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. POWER ON OFF AC INLET INDIVIDUAL OUTPUT A/D INPUT 6 5 4 3 OUTPUT R L MONO FOOT SWITCH FOOT CONTROLLER FOOT VOLUME...

15 Introductor y Section AC INLET CAUTION ATTENTIONWARNING RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. MIDI OUT THRU IN INDIVIDUAL OUTPUT 6 5 4 3 DIGITAL OUTPUT WORD CLOCK IN AES EBU INDIVIDUAL OUTPUT 2 1 OUTPU...

16 Introductor y Section Setting Up The EX5 or EX7 can be used virtually on its own — with a pair of headphones or a simpleinstrument amplifier — or it can be the core of complex and powerful music productionsystem. Naturally, the EX5R Tone Generator will require an external MIDI keyboard or otherco...

External Controllers In addition to the many realtime controllers provided on the EX5 and EX7 panel (the PITCH wheel,MODULATION 1 wheel, MODULATION 2 wheel and Ribbon Controller), plus the six ControllerKnobs provided on the EX5, EX5R and EX7, a number of additional controllers can be plugged intoth...

18 Introductor y Section Audio Connections ■ Headphones For private listening and practice headphones are ideal. You don't have to hook up and completesound system, and you won't disturb the neighbors no matter how loud or late you play.Recommended Yamaha headphones for EX monitoring are the HPE-170...

■ Mixing Console In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially have twoindividual outputs: the INDIVIDUAL OUTPUT 1 and 2 jacks. An additional four individualoutputs (3 through 6) can be added by installing the optional EXIDO1 Individual Output Board.The stereo and i...

■ External Sampling Sources The Sampling mode can be used to sample external audio sources as well as internal voice data.The external source can be either a line-level source such as a CD player or other audio playbackdevice, or a microphone for direct sampling of live sound. Line and microphone so...

22 When connected to a personal computer (MacOS® or Windows®), either directly or “chained” via anexternal hard disk (see “NOTES” regarding SCSI ID numbers, below), wave data can be transferredfrom the EX5, EX5R, or EX7 to the computer, edited using the Yamaha Wave Editor TWE application(saparately ...

25 Introductor y Section The Supplied Disks, Demos & Factory Set Data The EX5, EX5R, and EX7 are supplied with four Demonstration Disks containing varioustypes of pre-programmed demo data which will give you an idea of some of their advancedcapabilities, as well as provide a number of programmin...

26 3 Select File Load Press the [F2] function key to go to the File Load menu. 4 Select All Data Press the [F1] function key to select All Data. Please note that all-data files have the suffix “.S1A”appended to the file name. 5 Select a file and load Use the Data Dial, [DEC]/[INC] keys, or numeric k...

27 Introductor y Section Restoring the Factory Set Data In addition to the preset voices (which cannot be erased or overwritten), the EX5, EX5R, and EX7come with a range of pre-programmed voices, performance setups, and other data in memory. If youperform any operations that overwrite the data in me...

28 EX System Overview The EX system can be broadly categorized into four main blocks, as shown in the diagrambelow: 1 The keyboard, controllers, and MIDI control. The EX5 and EX7 feature keyboards (76 and 61 keys, respectively) and a range of realtimecontrollers not available on the EX5R Tone Genera...

29 Introductor y Section Extended Synthesis Over the years Yamaha has developed a range of industry-leading music synthesis technologies,each with its individual strengths and advantages. The EX5, EX5R, and EX7 take aninnovative step forward by combining multiple state-of-the-art Yamaha tone generat...

30 Introductor y Section ■ Layered AWM Voices In AWM voices up to four AWM elements can be layered to create extraordinarily rich voicetextures. Virtual Acoustic Synthesis (EX5 and EX5R only) Yamaha’s Virtual Acoustic (“VL”) Synthesis tone generation system does not use oscillators, functiongenerato...

■ Controllers & Modifiers The input to an acoustic wind instrument comes from the player's lungs, trachea, oral cavity, andlips. In a string instrument it comes from the player's arm movement, transmitted to the string viaa bow. These factors actually form an important part of the sound generati...

32 Introductor y Section ■ VL System Over view ■ VL + AWM Voices A single VL element can be combined with up to three AWM elements. Effects Elements 1 2 3 4 VL AWM AWM AWM Element Driver Pipe/String ● Pipe (Single-ended) ● Pipe (Double-ended) ● String ● Mouthpiece ● Embouchure ● Bow (for strings) Mo...

33 Introductor y Section AN Synthesis (Analog Physical Modeling) Although synthesizers have come a long way since the days of VCOs (Voltage Controlled Oscillators),VCFs (Voltage Controlled Filters), and VCAs (Voltage Controlled Amplifiers), modern digital tonegenerators can’t quite reproduce the pun...

34 Introductor y Section ■ AN (Poly)+AWM Voices ■ AN (Layer)+AWM Voices As shown in the diagrams below, a single AN element can be combined with up to three AWMelements in AN(Poly)+AWM voices. In the EX5 and EX5R, two AN elements can be combinedwith up to two AWM elements in AN(Layer)+AWM Voices. AN...

35 Introductor y Section ■ FDSP Voice Element Structure In an FDSP voice up to four AWM elements can be fed to the FDSP stage or routed directly to thenormal effect stage as required. ■ AN+FDSP Voices AN+FDSP voices allow a single AN element to be layered with up to three AWM elements feedingthe FDS...

36 Introductor y Section Voice & Performance Selection One of the first things you'll want to do with your EX5, EX5R, or EX7 is select and play someof its voices or performance combinations … this section will show you how to do just that.The EX has 256 preset voices organized into two separate ...

37 Introductor y Section 2 Select a Voice or Performance In the Voice mode the P1, P2, I1, and I2 memory areas can be directly selected by pressing thecorresponding function key, [F1] through [F4], and successively pressing [ENTER] key.Each memory area contains 8 banks of 16 voices each (8 x 16 = 12...

38 Introductor y Section ■ Alternate Selection Methods The [INC] and [DEC] Keys The [INC] and [DEC] Keys are best used for small, step-wise changes — e.g. selecting adjacentvoice or performance numbers, or numbers that are only a few steps away. Press the [DEC] or[INC] key briefly to decrement or in...

39 Introductor y Section Normal Voices & Drum Voices AWM voices can be divided into two groups : normal voices and drum voices. • A normal voice is simply a pitched voice which can be played on a musical scale from low to high, such as a piano or trumpet. • A drum voice is a complete set of drum...

40 Introductor y Section Voice Structure & Editing Hints Although the EX Extended Synthesis tone generator system is quite complicated, the overall systemand interface have been designed to make voice editing as easy and efficient as possible. A thoroughunderstanding of the system will depend on...

41 Introductor y Section PITCH The PITCH stage determines the pitch of the sound. In addition to allowing the pitch of the voiceto be controlled from the keyboard or via MIDI note data, it allows pitch control from the pitchbend wheel, keyboard aftertouch, or any other assignable controller. The PIT...

42 Introductor y Section ■ Overall System Structure If we now put all four elements together, and add in the all-important control and effect blocks, thesystem looks something like this: In this diagram note that the KEYBOARD, CONTROLLERS & LFO block affects the PITCH,FILTER, and AMPLITUDE stage...

43 Introductor y Section ■ Element Configuration ■ Element Combinations Although the various element combinations possible with each voice type were introduced in the“Extended Synthesis” section (page 29), we’ll cover them again here because they are so pertinentto the current topic.Remember that yo...

45 AN+FDSP Voices (EX5 and EX5R only) AN+FDSP voices can have 1 AN element and from 1 to 3 FDSP elements. The FDSP stage can beapplied to any or all of the AWM elements used, as required. Polyphony The maximum polyphony of the EX5 and EX5R is 126 notes, and the maximum polyphony of theEX7 is 64 note...

47 Introductor y Section ■ Relative & Absolute Controller Knob Data Entr y Normally when you rotate a Controller Knob being used for data entry, the corresponding valuechanges in relative fashion — i.e. the knob increases or decreases the value of the parameter inrelation to the value that was i...

48 Voice Store Procedure To store an edited voice: 1 Press the [STORE] key After editing the voice as required, press the [STORE] key either while still in the Voice Editmode, or immediately after returning to the Voice Play mode (do not select a different voice ormode before storing the edited data...

49 The Power of the Performance Mode The EX Performance mode allows up to 16 different voices to be assigned to different “parts” andcombined in a number of ways. The results can be ideal for real-time performance — as the name ofthe mode suggests — or for sequencing via the EX Song or Pattern mode,...

50 Introductor y Section ■ Split Keyboard Instead of layering voice parts over the same keyboard range, different parts can be assigned todifferent areas of the keyboard for split keyboard setups. A simple example would be to assign abass voice to the left-hand section of the keyboard and a piano vo...

51 Introductor y Section ■ Arpeggiator Accompaniment The EX Arpeggiator (page 61) is capable of producing an essentially unlimited range of patternswhich can be tailored to make ideal accompaniment for a wide spectrum of musical styles. TheArpeggiator can be assigned to any of the Performance mode p...

52 ■ Voice Editing From the Performance Mode There may be times when you’ll want to actually edit a voice being used in the Performance moderather than just the Performance parameters. You can jump directly to the Voice Edit mode fromthe Performance or Performance Edit mode by pressing the [VOICE] k...

53 Introductor y Section Performance Store Procedure To store an edited performance setup: 1 Press the [STORE] key After editing the performance setup as required, press the [STORE] key either while still in thePerformance Edit mode, or immediately after returning to the Performance Play mode (do no...

54 Performance Mode DSP Limitations The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN,FDSP, and VL (EX5/5R only) tone generators to create voices. This means that less DSP capacity isavailable to produce effects when the aforementioned voice types are us...

55 The Controllers In addition to the standard pitch bend and modulation wheels, the EX5 and EX7 offer a rangeof assignable controllers that can be used for unprecedented sound control. The EX5R ToneGenerator also offers extended controller versatility for enhanced programming andperformance control...

56 Ribbon Controller (EX5/EX7) The Ribbon Controller is a touch sensor that you control by running a finger lightly across itssurface to the left or right. The Ribbon Controller can be assigned to the full range of EXparameters. Controller Knobs (EX5/EX5R/EX7) In addition to their function as data e...

57 Scene Switching & Morphing The SCENE [1] and [2] keys can be used to memorize and recall different settings of the ControllerKnobs for the voices, so a complete set of knob settings can be recalled instantaneously. You can also“morph” smoothly between memorized scenes for new expressive effec...

59 The source controllers are: The destination parameters are organized into 8 related groups, listed below. The actual parametersavailable in each group for a given voice will depend to some extent on the type of voice and how it isset up, the type of effects selected, etc. The destination paramete...

60 Sequencer Functions The EX5, EX5R, and EX7 have three separate sequencing functions suited to different purposes: ● The Song Mode The EX Song Sequencer is a full-featured 16-track sequencer complete with real-time play effects— including “groove” quantization — and a comprehensive range of editin...

61 ● The Arpeggiator 4-track arpeggio patterns — from simple to sophisticated — can be stored as performanceparameters for automatic recall and use with individual performance setups, or used with voices inthe Voice mode. The EX Arpeggiator makes it easy to create automatic arpeggios, techno-stylepa...

62 Introductor y Section Sequence Record Modes & Editing The number and type of recording modes available is different for each EX sequencer function: ● Replace In the “Replace” real-time record mode the EX5, EX5R, or EX7 records exactly what you play asyou play it, erasing any previous material...

63 Introductor y Section ● Step The Step record mode lets you enter each track note-by-note, with precise control over the timing,length, and loudness of each note. You can record entire tracks using the Step mode, or use it tobrush-up and add data to an existing track. The Step record mode lets you...

64 Play Effects & Groove Quantization An important feature of all EX sequencer functions is “Play Effects,” … including “GrooveQuantization.” Play Effects affect song, pattern, or arpeggio playback in real time, and are not actuallyrecorded with the sequence data. The Play Effects include Groove...

65 The EX Effect System The EX effect system is not an “extra.” It is a top-quality digital signal processing systemwhich is capable of producing effects rivalling and even exceeding those of many separatecomponent effect units in quality. In the EX5, EX5R, and EX7, effect programming is anintegral ...

67 Effects In the Performance Mode In the Performance mode the insertion effects apply to the voices exactly as they were set up in theVoice mode. The Voice mode Reverb and Chorus unit settings, however, are not used in thePerformance mode. In the Performance mode each part has Reverb Send and Choru...

69 Sampling The EX Sample mode lets you “sample” sounds via a microphone or line source which can beused in AWM voice elements (samples are assigned to voice elements via the Voice Edit OSCdisplay — page 80), or mapped to individual keys of the keyboard in the Key Map mode (page 72).It is also possi...

70 Introductor y Section ■ Record Mode & Input Settings Once your sources are connected as required (if you will be sampling from an external source),press the [SAMPLE] key to engage the Sample mode, and then the [F8] function key (“[REC]”) togo to the SAMPLE REC display.If you are sampling with...

71 ■ Recording the Sample After making sure that your source is properly connected and the input parameters and levels areset, set the Trigger Level if necessary (page 177), set the desired maximum length of the sameplevia the Length parameter (page 177), and press the [F8] function key (“[STANDBY]”...

72 The Key Map Mode The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks todifferent keys of the keyboard (or MIDI note numbers in the case of the EX5R). The assignedsamples and/or patterns can then be played via the EX5/EX7, or via an external sequencer orother M...

74 About The Tune Screen Pressing the [F2] key selects the Tune screen, which is only available for samples and includes twotune-related parameters: Coarse and Fine. Coarse: Raises or lowers the pitch of each sample in semitone steps. Settings: -64~+63 Fine: Allows fine adjustment of the pitch of ea...

75 Voice Mode Reference Section Voice Number Voice Number Bank Bank Program Number Program Number 001 A 1 065 E 1 002 A 2 066 E 2 003 A 3 067 E 3 004 A 4 068 E 4 005 A 5 069 E 5 006 A 6 070 E 6 007 A 7 071 E 7 008 A 8 072 E 8 009 A 9 073 E 9 010 A 10 074 E 10 011 A 11 075 E 11 012 A 12 076 E 12 013 ...

76 Voice Mode 4 Voice Category/Name Voice Category The respective voices are organized into the two-letter-codeVoice Categories. Each Category code implies the voice’sproperty. Voice Name Shows the current voice name in up to 12 letters. 5 Voice Type Indicates the voice type of the current voice. Fo...

Press [EDIT] key on the panel while in Voice mode toenter Voice Edit mode. When you enter Voice Editmode, the following menu appears. Below are the eightmenus in Voice Edit mode. Before entering Voice Edit mode, select the voice to beedited. All parameters within a voice can be edited andstored as a...

DSP Limitations The DSP (Digital Signal Processing) system used tocreate the EX effects is also used by the AN, FDSP,and VL (EX5/5R only) tone generators to createvoices. This means that less DSP capacity isavailable to produce effects when theaforementioned voice types are used. This imposeslimitat...

79 Voice Mode ■ Mono/Poly Selects whether the voice is played monophonically(only one note at a time) or polyphonically (multiplenotes sounding simultaneously). ❏ Settings: mono, poly ■ Key Assign Selects sngl (single) or mlti (multi) Key Assign. Insngl (single), if the tone generator receives the s...

80 Voice Mode Setting the Voice Name 1 Press [F8] to enter the Name screen. 2 Move the [ ↓ ] cursor to the far left with the Cursor key. 3 Use [INC]/[DEC] or Data Dial to select theCategory. The category names help you to sort the voices youhave created. If you don’t want to specify the name,select ...

82 Voice Mode [F8]: ZONE Sets the zone of each element (the keyboard andvelocity ranges within which the sounds are played). Adifferent zone can be set for each element. ■ Note Limit Low Sets the lowest note of the zone on the keyboard, foreach element. ❏ Settings: C–2~G8 The lowest note you set her...

83 Voice Mode [F3]: PITCH The Pitch parameters adjust the pitch of the wave andconfigures the tuning system. There are three menuswith various parameters that can be applied to eachelement. [F6]: PARAM (Parameters)[F7]: SCALE[F8]: EG (Envelope Generator) [F6]: PARAM (Parameters) Adjusts each wave’s ...

84 Voice Mode ■ Micro Tuning Sets the Micro Tuning (tuning system, ortemperament) each element will use. Beginning withthe standard tuning “equal temperament,” there are32 tuning systems available. ❏ Settings: Each system is listed below. Type Key Comments Equal temperament — No. 00 The “compromise”...

85 Voice Mode ■ Time Scale The Time Scale function determines the speed ofchange in the PEG according to the pitch played onthe keyboard. When the Time Scale is set to apositive value, the lower the note played on thekeyboard, the slower the change that occurs overtime. The higher the note played on...

88 Voice Mode ■ High1/2 Gain Sets the signal levels for the frequencies passingabove the High1/2 Freq points. ❏ Settings: –16~0~+16 ■ High1/2 Gain Vel (High1/2 Gain Velocity) Sets the velocity sensitivity for signal levelsdesignated by the High1/2 Gain parameter. WhenHigh1/2 Gain Vel is set to a pos...

90 Voice Mode PEQ (Parametric Equalizer) The PEQ increases or decreases the signal levelsaround the frequency designated in Freq (see below)using the Gain parameter. ■ Freq (Frequency) Sets the center frequency. The signal levels of theband of frequencies designated here can be increasedor decreased...

92 Voice Mode ■ Thru Gain Determines the amount of the signals that does notpass through the filter, or the original dry sound. ❏ Settings: 0~255 The Thru Gain is displayed and effective only when afilter type other than LPF24A, LPF24D, LPF18 andThru is selected, and the Connect setting (see below) ...

93 Voice Mode LPF6(Low Pass Filter 6): -6dB/oct low pass filter-type digital dynamic filter with noresonance. HPF (High Pass Filter) The HPF filter passes the signals above the specifiedcutoff frequency, and cuts the signals below it. BPF (Band Pass Filter) The BPF filter passes the signals around t...

94 Voice Mode ■ F1/2 Vel Freq (Filter 1/2 Velocity Frequency) Sets the velocity sensitivity for the cutoff frequencyparameter. When F1/2 Vel Freq is set to a positivevalue, the harder a note is played on the keyboard,the higher the cutoff frequency becomes, and agreater change occurs in the timbre o...

96 Voice Mode ■ L (Loop) Sets the loop point for the FEG. As seen in theFOLLOWING diagram, this function sets theposition to be returned to after reaching the Decay 2(loop point). Selecting “off” turns the loop functionoff. ❏ Settings: off, Hl (Hold), Atck (Attack), D1 (Decay 1) This parameter is no...

97 Voice Mode ■ Level KeyFollow Sets the Level KeyFollow for each element. The LevelKeyFollow function determines the output level inaccordance with the notes played on the keyboard.When Level KeyFollow is applied, the output level isincreased or decreased relative to the basic pitch,which is design...

98 Voice Mode Setting the Amplitude Scaling You can set the note (pitch) and the offset level foreach break point (BP1-4), as shown in the followingexample. In this example, E1 has a level of –4. This meansthat the present output level is 76, because 80-4equals 76. B2 has an offset value of +10; the...

99 Voice Mode ■ Decay Level Vel (Decay Level Velocity) Increase or decrease the Decay Level with thevelocity. ❏ Settings: –7~0~+7 ■ Attack Mode Selects the Attack Mode (1 or 2) or switches backand forth between modes. ❏ Settings: 1 (Attack Mode 1), 2 (Attack Mode 2) More information about each mode ...

100 Vo ice M od e [F6]: LFO (Low Frequency Oscillator) The LFO parameters set the LFO. The LFO oscillatorgenerates low frequency signals that allow formodulation to be applied to specific aspects of thevoice. Applying an LFO wave (shape of modulation) tothe pitch, filter, or amplitude creates effect...

101 Vo ic e M od e ■ Fade Sets the fade-in effect of the LFO after thedesignated delay time has passed. As shown in thediagram below, the larger the value, the longer ittakes for the LFO effect to reach the peak inmodulation. ❏ Settings: 0~255 This setting can be applied to pitch only. ■ Speed Sets ...

103 Voice Mode ■ Sync The parameters for LFO2 Sync are the same as forLFO1 Sync. For an explanation, see page 100. ■ Delay The parameters for LFO2 Delay are the same as forLFO1 Delay. For an explanation, see page 100. ■ Fade The parameters for LFO2 Fade are the same as forLFO1 Fade. For an explanati...

105 Voice Mode ■ Dest Depth (Destination Depth) Sets the depth for the control function selected inDst Param. ❏ Settings: –64~0~63 Assigning Controllers to the Controller Set Due to the 16 voice controller sets, there are manypossible combinations. For example, one Src Sw(Source Switch) can control ...

106 Voice Mode ■ 3 InsEF1 (Insertion Effect 1) Selects the type of effect for Insertion Effect 1. ❏ Settings: 00 (thru)~24 For more information about each type of effect, see theEffect Type List in the separate Data List book. ■ 4 InsEF2 (Insertion Effect 2) Selects the type of effect for Insertion ...

108 Voice Mode ■ KeyOn Delay When the VL Element is selected, KeyOn Delay isinactive and hyphens (---) will display. [F3]: WAVE-EDIT When the VL Element is selected, Wave-Edit isinactive. For more information about Wave-Edit,see page 150. [F3]: PITCH (Pitch Parameters) [F6]: PARAM (Parameters) Only ...

109 Voice Mode [F8]: EG (Pitch Envelope Generator) The following screen appears when the VL Element isselected in the PEG screen. ■ Initial Level Sets the initial pitch of the VL Element when a noteis played. When the Initial Level is set to a positivevalue, the pitch generated will be higher than t...

110 Voice Mode [F8]: DCF (Dynamic Control Filter) ■ Resonance Parameters which let you boost specific frequenciesaround the cutoff frequency. ❏ Settings: –64~0~+63 ■ Cutoff Freq (Cutoff Frequency) Sets the cutoff frequency for the filter. ❏ Settings: –64~0~+63 ■ Freq EG Depth (Frequency EG Depth) Se...

111 Voice Mode ■ Attack Time Sets the amount of time it takes to reach the peak involume from when a note is played. When AttackTime is set to a positive value, the peak is reachedmore slowly. Negative values cause the peak to bereached more quickly. ❏ Settings: – 64~0~+63 ■ Decay Time Sets the amou...

113 Voice Mode ■ AN Priority Determines the priority for notes played as an ANElement. When chords or several notes are played atthe same time, you can select which note will sound,as follows: last (the note that was played last), top(the highest note), bottom (the lowest note). ❏ Settings: last, to...

114 Voice Mode Sync Synchronizing the master and slave oscillator inVCO1 will increase the wave harmonics and createa more complex sound. The Sync is automaticallyset to “on” when an algorithm other than FM isselected. The FM algorithm does not contain the master andslave oscillators but functions j...

117 Voice Mode ■ Bank In the COM PARAM screen (explained above),when the Voice Type, AN (Poly)+AWM orAN+FDSP is selected, the first Element wave isalways set as an AN Element. When the AnalogLayer is selected, the first and second Elements arealways set as an AN Element. The remaining threeor two El...

118 Voice Mode ■ PEG Decay Time Sets the PEG Decay Time. When set to a positivevalue, this setting determines the amount of time forthe sound to reach its basic pitch from the PEGDepth level. When a negative value is set, this settingdetermines the amount of time starting from thebasic pitch to the ...

119 Voice Mode [F8]: EG (Filter Envelope Generator) Sets the FEG for the AN Element. You can control thechange in the timbre of the sound over time, fromwhen the key is played until it is released. This iseffective for VCF 1/2 filters. ■ Time K.Follow (Time KeyFollow) Sets the Time Key Follow for th...

121 Voice Mode ■ Release Time This sets the amount of time it takes for the signal toreach “0,” after releasing the key. ❏ Settings: 0~127 [F6]: LFO (Low Frequency Oscillator) When an AN Element is selected, there is one type ofmenu related to LFO settings available. [F8]: LFO (Low Frequency Oscilla...

123 Voice Mode ■ LFO1 Delay Sets the delay of the time from when the keyboard isplayed to when the LFO modulation begins. Thelarger the value, the longer the delay time. For moreinformation, see the Delay concept graph, page 100. ❏ Settings: 0~127 ■ LFO1 Speed Sets the speed of the LFO1 wave. The hi...

124 Voice Mode ■ ElmSw (Element Switch) This switch sets the FDSP unit for each AWMelement as active, “on” or inactive, “off.” ❏ Settings: on or off for each element, 1~4 (for AN+FDSPvoice type, element 2~4) ■ Type Selects the FDSP type that will be used. Beginningwith guitar pickup simulators, ther...

125 Voice Mode ■ BP High (Break Point High) Sets the Break Points, which affect the parametersPosition and Out Level in accordance with the pitchchange, in the note range above C3. Values can be setin semitones from C3, which is regarded as the valueof 0. ❏ Settings: 0 (=C3)~+48 (=C7) ■ Position Set...

130 Voice Mode ■ Dry Level Sets the output level for the original input signal. Asetting of “0” produces no output. Settings with thenegative values reverse the phase of the waveform. ❏ Settings: –64~0~+63 ■ Pan The same as the one in the EP Pickup. See page 126for information. 04: PWM (Pulse Width ...

131 Voice Mode ■ LFO Depth (Low Frequency Oscillator Depth) Sets the depth of the LFO wave for the pulse widthmodulation. When set to “0,” only the EG functions.When set to “32,” the LFO wave ranges from “0” tothe extent of the EG amplitude. When set to “64,”the absolute values of LFO wave range bet...

132 Voice Mode ■ Pitch Coarse Adjusts the length of the delay in semitones. Asetting of “0” produces the delay lengthcorresponding to the pitch of C3 = 261.63Hz. Ingeneral this should be adjusted to the basic pitch ofthe input signal. ❏ Settings: –64~0 (C3)~+63 ■ Pitch Fine Adjusts the length of the...

133 Voice Mode ■ Wet Level Sets the output level for the signal that is affected bythe flanger. You can adjust the FDSP (Flange)balance by combining this parameter and the DryLevel below. ❏ Settings: –64~0~+63 ■ Dry Level Sets the output level for the original input signal. ❏ Settings: –64~0~+63 ■ P...

134 Voice Mode ■ KeyFollow Sets the KeyFollow for the peak frequency change.This KeyFollow function controls the first peakfrequency in accordance with the notes played onthe keyboard. When set to “+32,” the KeyFollowfunctions at 100% and the peak frequency moves inproportion to the pitch played on ...

135 Voice Mode 07: Self FM Self FM lets you add extra richer harmonics to thesounds. The mechanism how the Self FM type isformed is as follows: first, input signals are sent to thedelay unit. Next, the phases of each signal sent fromthe delay unit are modulated (phase/frequency) by theinput signals ...

136 Voice Mode ■ LPF K.Flw (Low Pass Filter KeyFollow) Sets the KeyFollow for the Low Pass Filter cutofffrequency. The Low Pass Filter KeyFollow functioncontrols the cutoff frequency in accordance with thenotes played on the keyboard. When set to a positivevalue, the higher the note played on the ke...

139 Voice Mode ■ PEG Depth (Pitch Envelope Generator Depth) Sets the PEG depth that affects the modulationwave’s pitch. ❏ Settings: –64~0~+63 ■ PEG DepthVel (Pitch Envelope GeneratorDepth Velocity) Sets the velocity sensitivity for the PEG depth. ThePEG depth can be controlled by the velocity at whi...

140 Voice Mode ■ Pan The same as the one in the EP Pickup. See page 126for information. 10: Seismic The Seismic, as its name implies, makes the soundsroar. The input signal is sent to the time-variant low-boost filter, then passed through the overdrive. Sincethe low-boost amount can be controlled by...

141 Voice Mode ■ Overdrive Sets the amount of the over drive. ❏ Settings: 0~127 ■ HPF (High Pass Filter) Sets the cutoff frequency which cuts the lower rangeof the output signals. ❏ Settings: 0~127 ■ HPF K.Flw (High Pass Filter KeyFollow) Sets the KeyFollow for the High Pass Filter cutofffrequency. ...

142 Voice Mode [F1]: COM (Common) [F6]: PARAM (Parameters) When Drum is selected for Voice Type in the PARAMmenu, a maximum of 128 AWM Elements can be usedto create drum voices (i.e., drum kits). When Drum is selected for Voice Type, the panelELEMENT SELECT keys 1-4 (EX5/7) for normal voicesbecome i...

143 Voice Mode 3 (When setting the layers more than one for akey) Select a layer. When many layers have been assigned to thecurrently selected key, move the cursor to Layer,select the layer to which you want to assign anelement. These steps are not necessary when you want toassign an element to the ...

145 Voice Mode ■ Sample Play Sets the way in which the sample will be played. ❏ Settings: FwdLp, FwdLpEx, FwdNoLp, RevNoLp, default For more information about each setting, see page 81. ■ Recv Note Off (Receive Note Off) Sets whether or not MIDI Note Off messages foreach element will be received or ...

148 Voice Mode [F8]: EFCT (Effects) Sets the effects for the drum elements. The signalsfrom the maximum of 128 drum elements can beconnected either to Insertion Effect 1 or 2, then sent tothe Reverb/Chorus unit. “InsRev” and “InsCho”parameters added to the Type screen allow you toemphasize the effec...

149 Voice Mode 5 Press [ENTER]. The following pop-up menu willappear, prompting confirmation of the operation. 6 Press [YES] to execute the job. “Completed!” willmomentarily appear in the screen indicating that thejob was executed and the previous screen will bedisplayed. Press [NO] to cancel the jo...

150 Voice Mode Wave Edit Mode When you select a DRAM (RAM) bank and AWMwave number (0001~1024) from the Bank andNumber in the WAVE display of the OSC menu in theVoice Edit mode, [F3] (WAVE-EDIT) sub menu isadded to the screen.Press [F3] to enter the Wave Edit mode. In the WaveEdit mode, you can crea...

152 Voice Mode [F5]: NAME Lets you give a name to the wave with up to eightcharacters. You can also put a category name to whichthe current wave belongs by moving the cursor to theleft of the wave name and using the [INC]/[DEC] orthe Data Dial to select a two-letter category name. The method for nam...

[F7]: MIX Sets the mix (output), pan, and other settings related topitch for each sample which make up a wave. Settingscan be made for each layer. The Layer and Sample Bank/Number parameters here arethe same as those in the SMPL display. For moreinformation on these parameters, see page 152. The Zon...

154 Voice Mode Zone Graphical Display On the left side of this screen, the zone (keyboardand velocity range at which sound will be produced)is displayed. The note range is indicated by thehorizontal axis, while the velocity note range isindicated by the vertical axis. As each parametervalue is adjus...

5 Press [YES] to execute the job. “Completed!” willmomentarily appear in the screen indicating that thejob was executed and the previous screen will bedisplayed. Press [NO] to cancel the job. “Executing...” will appear when the Wave Job takessome time to execute. Take note that if the power isturned...

Perfor mance Mode 156 Performance Mode 2 Edit/Compare When the currently selected Performance is beingedited (see page 159), an “ ” (Edit) mark is displayed. When comparing sounds (page 159), a “ ” (Compare) mark is displayed. 3 Performance number The selected Performance number (001~128) andthe Ban...

Per for mance Mode 157 4 Performance Category/name ■ Performance Category A two letter abbreviation for the sound Category islocated to the left of the Performance name. Thisabbreviation lets you see at-a-glance the type of voiceselected. For more information about categories, see page 76. ■ Perform...

158 Perfor mance Mode Performance Edit Mode Following are explanations of the parameters related toPerformance Edit mode. There are parameters whosesettings affect all the parts and parameters which affecteach individual part. These settings can be stored ineach Performance. Press [EDIT] key on the ...

Per for mance Mode 159 About the E (Edit) mark Whenever any setting is being made or anoperational change is taking place, the “ ”(Edit) mark appears in the upper left corner of the screen,next to the part number. This lets you confirm thatthe currently selected Performance is being editedand has no...

Perfor mance Mode 160 ■ Total Volume Sets the overall volume for the performance. Thevolume for each part will be explained later (see page164). ❏ Settings: 0~127 ■ Kbd/TG Mode (Keyboard/Tone Generator Mode) Configures how the tone generator is connected (thesignal flow) when in Performance mode. Se...

Per for mance Mode 161 ■ Arp Sw (Arpeggio Switch) Turns the Arpeggiator on and off. ❏ Settings: off, on The ARPEGGIO key on the front panel also serves thesame function. However, to actually activate thefunction, in the LYR (Layer) screen of each part, set theLayer Sw (Layer Switch) and the Arpeggio...

Perfor mance Mode 162 ■ 2 Cho Type (Chorus Type) Selects the type of chorus for the Chorus unit. ❏ Settings: 00 (off)~17 For information about each type of chorus, see theEffect Type List in the separate Data List book. ■ 3 Cho → Rev (Chorus → Reverb) Sets the send level of the signal output from th...

Per for mance Mode 163 [F7]: CTRL (Controller) These settings are related to the Controllers. Beginningwith the [PITCH] wheel, the settings that are commonto all parts are arranged in a chart-type screen and canbe set within the chart. When the CTRL menu isselected with the [F7] key, the following m...

Perfor mance Mode 164 [F2]: PART Lets you edit any one of the 16 parts that make up aperformance. The parameters that can be set are thesame as those explained for the MLT (multi) screen. [F4]: MIX[F5]: LYR (Layer)[F6]: SOUND (Sound)[F7]: CTRL (Controller)[F8]: PRE (Preset) [F4]: MIX These parameter...

Per for mance Mode 165 ■ MIDI Pan/Vol (MIDI Pan/Volume) Sets the MIDI Pan/Volume to “on” or “off” whenchanging to another performance. Pan and Volumeare sent to MIDI [OUT] when set to “on,” and arenot sent when set to “off.” ❏ Settings: on, off ■ Rev Send (Reverb Send) Sets each part’s send level of...

Perfor mance Mode 166 ■ 4 ArpeggioSw (Arpeggio Switch) Determines whether the currently selected part willbe arpeggiated, or not. ❏ Settings: on, off ■ 5 Layer Sw (Layer Switch) Sets the Layer SW to “on” or “off.” When set to“on” you can play two parts in a layer. ❏ Settings: on, off When the parts’...

Per for mance Mode 167 wide: This curve decreases the volume level with a light touch playing and increases the volume level with a heavytouch playing. This lets you produce a wider dynamicrange. fix: This sets the velocity to a fixed value, and the tone generator will produce sound at that value, r...

Perfor mance Mode 168 ■ Decay Time Sets the amount of time it takes to reach the level setin the Decay Time, from the peak level. When DecayTime is set to a positive value, change occurs moreslowly. Negative values cause the change to occurmore quickly. ❏ Settings: –64~0~+63 The Decay Time are set f...

Perfor mance Mode 170 [F8]: PRE (Preset) Settings related to the preset values and MIDI mattersapplied to the tone generator for each part. ■ Part ■ Bank (Voice Bank) ■ Number These parameters are the same as those explained inthe MIX screen. See page 164. Bank/PC:MD (Bank/Program Change: MIDI) Sets...

171 Per for mance Mode Knob ■ Knob To TG (Knob To Tone Generator) When making bank/program changes, this setswhether or not the preset values for Knobs 1-6 aresent to the tone generator. When set to “on” themessages are sent, and when set to “off” they are notsent. ❏ Settings: off, on ■ Knob To MIDI...

Perfor mance Mode 172 Lyr 1:Pf 2:Pf 3:Pf 14:Pf 15:Pf 16:Pf Bank P1 P1 P1 P1 P1 P1 Number 001 001 001 001 001 001 Volume 100 100 100 100 100 100 100 P a n cnt cnt cnt cnt cnt cnt cnt Rev Send 40 40 40 40 40 40 40 Cho Send 0 0 0 0 0 0 0 InsEF Sw off off off off off off Out Sel L&R L&R L&R ...

Per for mance Mode 173 5 Press [ENTER]. The following pop-up menu willappear, prompting confirmation of the operation. 6 Press [YES] to execute the job. “Completed!” willmomentarily appear in the screen indicating that thejob was executed and the previous screen will bedisplayed. Press [NO] to cance...

174 ■ 3 Types of Source Data Selects the type of data that will be copied. It ispossible to designate common data that affects all ofthe parts, and specific data for specified parts. When Common (All parts) is selected for the SourcePart: ALL (All performance data), PARAM (Parameter settings),ARP (A...

175 Sample Mode Sample Mode ■ Sample Bank Sets the bank that contains the sample you want toplay. When “stereo” is selected, you can set adifferent sample bank for the L (left channel) andthe R (right channel). Although “FLASH” can beselected, the selection is not effective unless youinstall the Fla...

176 Sample Mode ■ Source Selects the recording source. When sampling, forexample, with a microphone connected to the A/DINPUT jack(s), select “A/D” (Analog/Digital).When “A/D” is selected, the input level bars for eachchannel will be displayed according to the selectedrecord mode. If you plan to re-...

177 Sample Mode 7 Check the input level of the microphone or audiodevice with the input level bar(s). For setting the destination sample bank/number, (evenwhen FLS is selected for the sample bank in the SamplePlay mode) an empty DRAM sample number isautomatically selected. Therefore it is not necess...

179 Sample Mode Sample Edit Mode In the Sample Edit mode, you can edit samplesrecorded in the Sample Record mode to put them intothe final form as you like. Press [EDIT] key on the panel while in Sample mode toenter Sample Edit mode. You cannot enter Sample Editmode, if the targeted sample number (i...

Sample Mode 180 FwdNoLp: Each time a key is played, the sample will play back onetime from the Start point to the End point. RevNoLp: Each time a key is played, the sample will play back inreverse one time, from the End point to the Start point. About the Unit of the Sample Playback Parameters If yo...

Sample Mode 181 ■ Fraction Finely adjusts the length of the loop. For example,when the loop is set to 100, and Loop Fraction is setto 1, the loop becomes 100 points and 1/64 point inlength. ❏ Settings: 0~63 ■ Loop End Sets the End point of the loop playback within therange of the entire sample. As s...

Sample Mode 182 [F8]: NAME Lets you give a name to the sample with up to eightcharacters. The method for naming an sample and its category is thesame as that for a Voice. For more information, see page79. When edited as a stereo data, only the first five letters willbe effective (e. g. ***** L 01). ...

Sample Mode 183 4 Press [ENTER]. The following pop-up menu willappear, prompting confirmation of the operation. 5 Press [YES] to execute the job. “Completed!” willmomentarily appear in the screen indicating that thejob was executed and the previous screen will bedisplayed. Press [NO] to cancel the j...

Sample Mode 184 ■ Src1 Sample (Source 1 Sample Number) Sets the source number of sample 1. ❏ Settings: 0001~1024 ■ Src2 Sample (Source 2 Sample Number) Sets the source number of sample 2 that will beappended. ❏ Settings: 0001~1024 ■ Dst Sample (Destination Sample Number) Set the destination number o...

185 Song Mode Song Mode ■ Remaining Memory This bar graph indicates the amount of memoryavailable for recording, or the remaining memory ofthe internal sequencer. This is common for all theinternal sequencer functions, Song, Pattern andArpeggio. ■ Measure/SONG (Song Name) The song name and the curre...

186 Song Mode When the cursor is on the Mute or the FxThru line, youcan directly select a track by pressing correspondingTRACK [1~16] key on the panel (EX5/7 only). Youcan directly set the Mute or FxThru to “on” or “off” byholding the [F1] PTN key and pressing the targetedTRACK [1~8] key as far as t...

187 Song Mode Song Control Song playback is controlled with the sequencer keys. [TOP]: Returns the song to the first measure. [REW] (Rewind): Rewinds through the song measure numbers. [FWD] (Forward): Fast Forwards through song measure numbers. [REC] (Recording): Engages the Song Record mode. [STOP]...

188 Song Mode ■ Tr (Track Number) Indicates the currently selected track number(1~16). Select the track that will be affected by thePlay Effects. ❏ Settings: Tr1~16 TRACK [1~16] keys on the panel can also be used toselect a track number (EX5/7 only). When ALL is selected with [F5], whichever track y...

189 Song Mode ■ Clk (Clock Shift) The Clock Shift function moves (shifts) the playbacktiming forwards or backwards in clock units. Oneclock unit length is equal to 1/480th of a quarternote. When set to a positive value, the playbacktiming moves backwards. When set to a negativevalue, the playback ti...

190 Song Mode ■ Gat (Gate Time) Sets the Gate Time Rate value. Multiplying the gatetime of the original data by the gate time value sethere results in the actual gate time value forplayback. When set to 100%, there is no changefrom the original gate time value. When set to avalue larger than 100%, t...

191 Song Mode ■ Tr (Track Number) Indicates the currently selected track number(1~16). Select the track you want to edit the groovetemplate. ❏ Settings: Tr1~16 TRACK [1~16] keys on the panel can also be used toselect a track number (EX5/7 only). ■ Type The current template type for each track is dis...

192 Song Mode [F6]: COPY Lets you copy the currently selected Preset groovetemplate to a User groove template. A specificPreset groove template can be used as the basis forcreating a User groove template. 1 Move the cursor to the Type parameter, andselect the Preset groove template that will becopie...

193 Song Mode Song Record Mode In Song Record mode there are two methods availablefor recording songs, real time recording and steprecording. There are also various functions related torecording songs. For organizing your songs after theyhave been recorded, they can be stored to floppy disk sothat y...

194 Song Mode [F1]: SONG These are various settings related to song recording,such as selecting a track for recording, and setting thetime signature and tempo. In addition to those settings,there are Mute on/off, Play Effect on/off and Loopplayback for each of the playback tracks (tracks 1~16,Pt tra...

196 Song Mode Real Time Recording: Tr1~Tr16 Real Time recording is just like a multi-track recorderwhere you record the performance as it is. There arethree types of recording methods, Over Dubbing(recording over original data but not erasing it),Replace (erasing and replacing the original data),Pun...

197 Song Mode 8 Change the pattern numbers you want to use andrecord them. While recording, without moving thecursor from the Ptn No parameter, use Data Dial,[INC]/[DEC], and the numeric keypad to set thepattern numbers. The patterns are recorded in measure units. When “off”is selected for a measure...

198 Song Mode Real Time Recording: Tempo The Tempo real time recording function recordschanges in the tempo onto the song Tempo Track. Youcan change the tempo in the middle of the song. Thereare the following two types of recording modesavailable: Replace, and Punch In. Multi mode and OverDubbing ca...

199 Song Mode ■ Time Signature Displays the time signature of the currently selectedsong that is being recorded. The displayed timesignature cannot be changed. It is necessary to selectthe time signature for recording before entering theStep recording. ■ Note Length Sets the length of the note that ...

200 Song Mode Keyboard Illustration Shows the currently input note(s) at the present ↓ cursor position. If you move the ↓ cursor to the location where the note has been input (the locationwhere the “ ● ” mark is on the beat graph), the input note(s) will be indicated on the key(s) on thekeyboard ill...

201 Song Mode Inputting Staccato and Slurs Move the cursor to the Gate Time parameter, afterselecting Stac (Staccato) or Slur, play a note on thekeyboard to input that note. The note is input with theselected gate time. Usually this will be set to Norm(Normal). Inputting Rests After setting the note...

202 Song Mode Insert To insert an event, first designate the insert location andselect the event then press [ENTER]. Change To change the location of an event, designate the locationand press [ENTER]. Delete To delete an event, move the cursor to an event and press[F8] (Delete). For more information...

204 Song Mode Inserting Events You can also insert new event data that is not includedin the performance data. 1 When in the Song Play mode, press [EDIT] to enterthe Song Edit mode. 2 Press [F1] (SEQ) to display the Sequence Track Event List. 3 Press Track [1~16] to select a track number to edit.The...

205 Song Mode [F2]: PFX (Pattern Play Effects Track) When editing the Pattern Play Effects Track, you caninsert new Play Effects control data for each patterntrack (1~8), as well as change the location and valueof the existing event data. Press [F2] (PFX) to displaythe Pattern Play Effects Track Eve...

206 Song Mode [F4]: TEMPO (Tempo Track) When editing the Tempo Track, you can insert tempodata (tempo changes) as well as change the locationand value of the current tempo data. Press [F4](TEMPO) to display the Tempo Track Event List. [F5]INS (Insert) and [F6] CHNG (Change) functions areadded to the...

207 Song Mode Press [JOB] key on the panel while in Song mode toenter Song Job mode. When you enter the Song Jobmode, the following menu will be displayed. There are22 types of jobs in Song Job mode. The jobs are dividedinto three groups JOB1~3. Press [F2] (JOB1), [F3](JOB2) or [F4] (JOB3) to select...

209 Song Mode [F3]: JOB2 Press [F3] (JOB2) and JOB2 menu will be displayed.There are eight jobs that are executed in measure units. 1. Copy Measure (Copies data in the designated range.)2. Erase Measure (Erases data in the designated range.)3. Create Measure (Inserts empty measures in all tracks.)4....

210 Song Mode ■ Measure Sets the location (the beginning measure forinsertion) where empty measures will be inserted. ❏ Settings: 001~999 ■ Size Sets the number of empty measures that will beinserted. ❏ Settings: 01~99 ■ TIME Sets the time signature for the empty measures. ❏ Settings: 1/4~8/4, 1/8~1...

211 Song Mode ■ Track Select the track that will be extracted from (Extractsource) and the track that will be copied to (Extractdestination). ❏ Settings: Extract Source: 1~16 Extract Destination: 1~16, off (extracted data is deleted) ■ Measure Sets the measure range (beginning measure to theend meas...

212 Song Mode [F4]: JOB3 Press [F4] (JOB3) and JOB3 menu will be displayed.There are eight jobs that are effective for note eventdata on a specified track. 1. Quantize (Corrects the timing of the notes in a designated range.) 2. Move Clock (Moves all of the events in a designated range.) 3. Modify G...

213 Song Mode ■ Streng (Quantize Strength) When quantizing, the Strength value sets the degreehow much the timing of the note events is movedtoward the quantizing line, or the original quantizevalue. A setting of 100% moves each note event all the wayto the quantizing line. A setting of 50% moves ea...

214 Song Mode When the quantize value is , , : In this case, 100% represents three times the lengthof the quantize value. Therefore the original positionof the third beat in the triplet which will be affectedby the Rate setting is 66%.A 66% setting produces no adjustment so that thethird beat in the...

215 Song Mode ■ Track Sets the track where Move Clock will be executed. ❏ Settings: 1~16 (Sequence tracks 1~16), pfx, tempo ■ Measure Sets the measure range (beginning measure to theend measure) where Move Clock is executed. ❏ Settings: 001~999 (for the beginning measure and the end measure) ■ Clock...

217 Song Mode 5. Transpose This job lets you transpose in semitones the notes inthe designated range of a specified sequence track. ■ Track Sets the track where Transpose will be executed. ❏ Settings: 1~16 (Sequence tracks 1~16) ■ Measure Sets the measure range (beginning measure to theend measure) ...

218 Song Mode ❏ Settings: –99~+0~+99 8. Shift Event This job replaces all occurrences of a specific eventtype (within the designated range of the specifiedsequence track) with some other designated event type.For example, you can use this function to changebreath controller data into channel afterto...

Patter n Mode 219 Pattern Mode ■ Remaining Memory This bar graph indicates the amount of memoryavailable for recording, or the remaining memory ofthe internal sequencer. This is common for all theinternal sequencer functions, Song, Pattern andArpeggio. ■ Measure/PTN (Pattern Name) The pattern number...

220 Patter n Mode ■ 3 Play Effects Thru Sets FxThru (Play Effects Thru) for a track, bymoving the cursor to FX Thru line, and using DataDial or [INC]/[DEC] to select “on” or “off.” Asshown in the screen, the box colored black indicatesthat FxThru is turned “on.” When FxThru is turned“on” for a track...

221 Patter n Mode Steps for Setting the Play Effects 1 Start pattern playback. Press [PLAY] key for pattern playback to begin. Play Effects can be set when the pattern isstopped, and also can be set in real time whenthe pattern is playing back. This lets you checkthe effect that results from the Pla...

222 Patter n Mode ■ Clock Number Displays and sets the currently selected track clocknumber. Available settings will differ depending onthe current time signature. ❏ Settings: 000~479 ■ Unit You can extend or shorten each track playback time.For example, a setting of 200% will make theplayback time ...

223 Patter n Mode Pattern Record Mode In Pattern Record mode there are two methodsavailable for recording patterns, real time recording andstep recording. There are also various functions relatedto recording patterns and a maximum of 50 patternscan be stored in the internal memory. For organizingyou...

224 Patter n Mode ■ No (Pattern Number) Selects the pattern number of the pattern that will berecorded. The pattern name will be displayed to theright of the pattern number. ❏ Settings: 01~50 ■ Meas (Measure) The Measure/Beat numbers will be displayed butcannot be changed. The start position for rec...

225 Patter n Mode 5 Select the track (Tr1-8) for recording with the Trackparameter. 6 Select one of the following recording modes: [F6](Over Dubbing) or [F7] (Replace). To record on allthe tracks simultaneously, press [F3] (MULTI), Multimode is turned on and highlighted. 7 Press [PLAY] and recording...

Patter n Mode 226 Pattern Edit Mode Press [EDIT] key on the panel while in Pattern modeto enter Pattern Edit mode. In Pattern Edit mode, youcan edit events of patterns for each sequence track1~8, that were recorded in real time or in steprecording. [F5] INS (Insert) allows you to insert new events a...

Patter n Mode 227 3 Move the cursor to the location of the event that youwant to change, and edit the parameters. You can scroll through the Event List and search forevent locations and select parameters with the vertical ¹ / cursor keys. Also you can move to a parameter with the horizontal à / ¨ cu...

Patter n Mode 228 Press [JOB] key on the panel while in Pattern mode toenter Pattern Job mode. When you enter the PatternJob mode, the following menu will be displayed. Thereare 24 types of jobs in Pattern Job mode. The jobs aredivided into three groups JOB1~3. Press [F2] (JOB1),[F3] (JOB2) or [F4] ...

Patter n Mode 229 1. Copy Pattern This job copies all data from a source pattern to adesignated destination pattern. The pattern’s PlayEffects data and other settings are also copiedsimultaneously. ■ Src Ptn (Source Pattern) Sets the source pattern number that will be copied. ❏ Settings: 1~50 ■ Dst ...

Patter n Mode 231 8. Time Stretch This job expands or compresses the timing over thedesignated range on the specified track. The operationaffects all note step times, gate times, and event timing,expanding or compressing the entire designated range. ■ Track Sets the track where Time Stretch is execu...

Patter n Mode 232 ■ Measure Sets the measure range (beginning measure to theend measure) where Erase Measure is executed. ❏ Settings: 01~16 (for the beginning measure and the end measure) 3. Get Phrase This job borrows sequence data from a song track ontothe currently selected pattern track. The job...

Patter n Mode 234 8. Chord Separate This job arranges chord notes in order with a specifiedinterval (within the designated range of the specifiedsequence track). For example, if the Clock value is setto 30, a block chord consisting of C3, E3, G3 will beplayed as a C3 (at the chords original timing) ...

Arpeggio Mode 238 Arpeggio Mode [F1]: ARP (Settings related to playing arpeggios)[F2]: PFX (Settings related to Play Effects)[F3]: MODE (Settings related to the sounding mode for each arpeggio track) [F4]: NAME (Settings related to naming arpeggios) The arpeggio sequencer doesn’t read the messages o...

239 Arpeggio Mode Track Section These settings are used to set the Mute and Play EffectsThru to “on” or “off” for each track even duringarpeggio playback. ■ 1 Track Number An arpeggio consists of 1~4 sequence tracks. TheTrack Number is highlighted (box colored black) fortracks that have been recorde...

Arpeggio Mode 240 ■ ) Key Sets the keyboard mode how the arpeggio respondswhen keys are pressed. The following three modesare available: ❏ Settings: sort: Plays the arpeggio in ascending order (from the lowestpitch to the highest). thru: Plays the arpeggio in the order keys are pressed. drct(direct)...

Arpeggio Mode 241 [F2]: PFX (Play Effects) These settings are related to Play Effects. The PlayEffects function lets you temporarily adjust the velocityand the sound timing of MIDI notes. You can changethe playback groove without altering the original data.Also you can apply various grooves to an ar...

Arpeggio Mode 242 ■ Unit You can extend or shorten each track playback time.For example, a setting of 200% will make theplayback time twice as long and result in a tempothat is half as fast. Conversely, a setting of 50% willmake the playback time half as long and the tempowill become twice as fast. ...

Arpeggio Mode 243 In the following modes, the arpeggio reproduction isindependent of the pitch data of the arpeggiosequence. Typical arpeggiated chords will be formedaccording to the notes played on the keyboard andthe timing of the sequence data. 02: note up 1oct (octave): The chord (phrase) you pl...

Arpeggio Mode 244 11: alternate2 1oct: The chord (phrase) ascends up to one octave, then descends down to the lowestnote. Slightly different from 08 above. C3, E3, G3 and B3 are played in order. C3, E3 and G3 are played in order. C3 and E3 are played in order. C3 is played. 12: alternate2 2oct: The ...

Arpeggio Mode 245 Arpeggio Record Mode In Arpeggio Record mode there are two methodsavailable for recording arpeggio sequence data, realtime recording and step recording. There are alsovarious functions related to recording arpeggios and amaximum of 50 arpeggios, each of which areaccompanied with th...

Arpeggio Mode 246 ■ Meas (Measure) Sets the measure number where recording will begin,using the Sequencer keys (the Cursors cannnot beused). ❏ Settings: 001~016 ■ Time Signature Sets the time signature for an arpeggio. ❏ Settings: 1/4~8/4, 1/8~16/8, 1/16~16/16 You can change the time signature after...

Arpeggio Mode 247 The Procedure for Step Recording 1 In the Arpeggio Mode screen, press [REC] to enter Arpeggio Record mode (stand-by recordstatus). Before displaying the Arpeggio Mode screen, youare required to select a user arpeggio number forrecording. 2 In the ARP display, set the necessary sett...

Arpeggio Mode 248 Inserting Events You can insert new event data that is not included inthe arpeggio sequence data. 1 When in the Arpeggio Mode screen (or Arpeggio Jobmode), press [EDIT] to enter the Pattern Edit mode.The Event List will be displayed. 2 Press Track [1~4] to select a track number to ...

Arpeggio Mode 249 Arpeggio Job Mode Here are various jobs for user arpeggios that werecreated in Arpeggio Edit mode (or are being edited).These jobs which allow you to copy or erase, as well asmany other operations, are executed by the measure orthe track. [F2]: JOB1[F3]: JOB2[F4]: JOB3[F7]: UNDO/RE...

Arpeggio Mode 250 6 Press [ENTER]. The following pop-up menu willappear, prompting confirmation of the operation. 7 Press [YES] to execute the job. “Completed!” willmomentarily appear in the screen indicating that thejob has been executed and the previous screen willbe displayed. Press [NO] to cance...

Arpeggio Mode 252 ■ Dst Track (Destination Track) Sets the Append destination arpeggio track. ❏ Settings: 1~4 7. Split Arpeggio This job splits track data of a arpeggio (Split sourcearpeggio) at a specified measure and moves the latterhalf of the split track data to the beginning of the trackof anot...

Arpeggio Mode 255 6. Chord Sort This job “sorts” chordal note events (simultaneousnote events) by order of pitch. The notes can be eithersorted from the highest pitch to the lowest or from thelowest pitch to the highest. The chords within thedesignated range of the specified sequence track can besor...

258 ■ To Key: Oct ❏ Settings: Key Number: 1~16 Octave: -4~0~+3 For information on the Key Number and Octave, see page240. 7. Crescendo This job gradually increases or decreases the volume ofthe arpeggio. This job produces the crescendo(increasing) or diminuendo (decreasing) effect byapplying a gradu...

259 Disk Mode In Disk mode you can transfer data between a floppydisk and the EX5/5R/7; you can save data to floppydisk and load data back from floppy disk. Also withinstallation of the optional SCSI board, data can betransferred between an external SCSI data storagedevice such as a hard disk and yo...

260 Disk Mode • Do not open the sliding shutter and touch the exposed surface of the floppy disk inside. • Do not expose the disk to magnetic fields, such as those produced by televisions, speakers,motors, etc., since magnetic fields can partially orcompletely erase data on the disk, rendering itunr...

261 Disk Mode ■ 6. SONG A “SONG” file handles all of the song data (1 song)created in Song mode as a single file. Play Effects,Track Transmit Channel, and Controller data areincluded in a “Song” file. ❏ Data Song ❏ File Extension .S1S ■ 7. PTN (Pattern): A “PTN” file handles all of the User pattern ...

262 Disk Mode 2 Move the cursor to one of the seven types in thebasic menu, and press [ENTER] to select anoperation. Also you can directly select an operationfrom the basic menu by pressing [F1]~[F7] underthe screen. 3 (When 1: SAVE, 2: LOAD, 3: RENAME or 4:DELETE is first selected) select a file ty...

Disk Mode 263 6 Press [ENTER]. The following pop-up menu will appear, promptingconfirmation of the operation. 7 Press [YES] (INC) to execute the operation.Press [NO] to cancel the job.When the operation is being executed, “Executing...”will be displayed . When the operation is completed“Complete!” w...

Disk Mode 264 [F2]: SYN (Synth All) Saves all of the internal voice and performance data(265 voices and 128 performances) and the system dataas a single file. Sequence and sample data are notincluded in “SYN” files. ❏ Settings: File number (destination) Device name/directory (destination) [F3]: VCE ...

Disk Mode 265 [F8]: ARP (Arpeggio) Saves all of the User arpeggio data as a single file. ❏ Settings: File number (destination) Device name/directory (destination) [F2]: LOAD (File Load) This operation loads a file from disk to the internalmemory. If many files exist on a disk, displaying the Directo...

Disk Mode 267 ■ Sample destination data (To) The destination that can be selected will differdepending on the setting designated in “From.” ❏ Settings: The samples of WAV, AIFF and AKAI file types can beloaded. As to the WAV and AIFF files, you can select “1file” or “all files” as the source. When “...

Disk Mode 268 ■ Pattern destination data (To) The destination that can be selected will differdepending on the setting designated in “From.” ❏ Settings: [F8]: ARP (Arpeggio) Loads an arpeggio file from the disk into the internalmemory. Data such as Play Effects, Track TransmitChannel and Controller ...

270 Utility Mode Utility Mode [F1]: SYN (Synthesizer Setup) The Synthesizer Setup allows you to make settings forthe entire keyboard such as the volume and pitch. ■ Master Volume Sets the master volume for the entire keyboard. ❏ Settings: 0~127 ■ Master Tune Adjusts the tuning for the entire keyboar...

■ 3 Arp MIDI A/B (Arpeggio MIDI A/B) Sets whether or not the arpeggio data is output fromMIDI OUT A/B to an external device. ❏ Settings: (output), (not output) MIDI B for the above two parameters is available onlywith the EX5. ■ 4 MIDI Trans Ch (MIDI Transmit Channel) Sets which MIDI channel the ope...

272 Utility Mode ■ Curve Sets and changes the controller curve (displayed tothe right of the values). ❏ Settings: -6~0~+7 The Control Curve Displayed to the far right of the screen is the currentcontrol curve image for each device. You can refer tothis image when selecting the curve. [F3]: SEQ (Sequ...

Utility Mode 274 MTC (MIDI Time Code) is a Time Code that controlsthe timing of multiple audio devices through MIDIcables. The code is made up of “ hour, minute, second,and frame.” The EX itself cannot output MTC andtherefore to play in sync using MTC it is necessary touse a device such as the Yamah...

275 Utility Mode ■ Device No (Device Number) Sets the MIDI device number. When sending orreceiving system exclusive messages such as bulkdump or parameter change messages with anexternal device, you must match the device numbersfor both the EX and the external device. ❏ Settings: off, 1~16, all ■ Tr...

■ Word Clock Sets whether the EX is used as the Word Clockmaster or as a slave. “Word Clock” meanssynchronization of the audio signal that passesthrough digital devices. It is necessary to use WordClock when one or more digital audio devices areconnected for playback or recording. When the EX is use...

Appendix 278 Appendix Precautions When Installingthe Optional Boards Remember the following precautions and install theboards properly. • To avoid using the wrong parts and making mistakes during installation, follow the steps as written. • Before starting installation, be sure that you have a Phill...

279 Appendix Precautions WhenPurchasing DRAM SIMMs Some of the commercially available DRAM SIMMsmay not work on the EX5/5R/7. Yamaha cannotbe held responsible for malfunction of DRAMSIMMs. BEFORE purchasing, please consult(which to buy) the shop where you boughtEX5/5R/7 or your nearest Yamaha (or th...

280 Appendix 3 Move to a position facing the rear panel of theEX5/7, and remove the screws from the optionalboard cover on the left side with a Phillipsscrewdriver (eight screws). Do not remove the largescrew shown in the illustration. Remove the optional board cover and you will seethe installation...

282 Appendix How to Install theEXDGO1 in the EX5/7 Necessary Items • EXDGO1 (Digital Output Board) x 1 • Flat cable x 1 (included in the EXDGO1 package) Installation You can install the EXDGO1 after removing theoptional board cover. For more information onremoving the optional board cover, see How t...

3 Unplug the 2-pin power cable from the ASIB1 andremove it from the ASIB1. To remove the 2-pinpower cable, cut the cable and then pull it out fromthe hoop as shown in the illustration. 4 Remove the ASIB1 power cable (1 red and 1 white, 2pin cable) from the hook-shaped bundle tie in theEX5/7. Make su...

284 Appendix How to Install the EXFLM1/DRAM SIMM in the EX5/7 Necessary Items • EXFLM1 x 2 (use only in pairs) or • DRAM SIMM x 2 (use only in pairs) Make sure always use the EXFLMs in pairs, also alwaysuse the DRAM SIMMs with the same memory capacity inpairs. Installation You can install the EXFLM1...

How to Install theOptional Board/Memory (EX5R) Preparation On the EX5R, remove the main unit top cover for alloptional board/memory installations. For information on how to handle the EX5/7, go to page279. How to Remove the EX5R Top Cover 1 Turn the EX power off, and disconnect the powercord. 2 Turn...

286 Appendix How to Install the EXIDO1in the EX5R Necessary Items • EXIDO1 (Individual Output Board) x 1 • Flat cable x 1 (included in the EXIDO1 package) Installation You can install the EXIDO1 after removing the mainunit top cover. For more information on removing themain unit top cover, see above...

7 Turn over the EXIDO1 and place face down into thesupport arms. The EXIDO1 and the EXDGO is installed in the EX5Rupside down (with the board facing down). Ifinstalled underside down, the output jack numberswill not match the Individual Out settings. 8 Slide the EXIDO1 towards the rear panel of theE...

288 Appendix How to Install the ASIB1 (SCSI Interface Board) in the EX5R Necessary Items • ASIB1 (SCSI Interface Board) x 1 • SCSI cable (Flat cable 50P; length: 280mm) x 1 (included in the ASIB1 package) • Cutting pliers or scissors (to cut a cable) When you open the package of the ASIB1 board, you...

Appendix 291 Troubleshooting The following table provides troubleshooting hints and page references for some commonproblems. Most problems may be simply the result of incorrect settings. Before calling forprofessional service, refer to the troubleshooting advice below to see if you can find andcorre...

292 No arpeggiator sound. ● Is each part of the arpeggiator muted? (P. 239) ● Are the settings, Velocity Sensitivity and Velocity Limit appropriate? (P. 166) ● Is the note range for the arpeggiator set appropriately? (P. 161) ● (User arpeggio) Are the sequence data properly recorded? (P. 245) ● (Per...

293 Only one note sounds at a time. ● Is the “mono” selected from Mono/Poly parameter in PARAM, COM menu (Voice Edit)? (P. 79) ● (Performance) Is the "mono" selected from Mono/Poly parameter of each part? (P. 165) No effect applied. ● Is [EF BYPASS] key turned off? (P. 10) ● Is the InsEF Ele...

LCD Messages 294 Appendix Failed to process the MIDI data because too much data is received at one time. Information Remaining memory of the internal sequencer has been consumed. An error occurred when receiving MIDI data. An error occurred when receiving bulk data. The internal backup battery has b...

295 Specifications Appendix KEYBOARD Number of Keys Touch TONE GENERATION SYSTEM Tone Generators Polyphony VOICE Voice Types Number of Voices Modes WAVE Preset User Modes PERFORMANCE Multi-Timbres Number of Performances Modes SAMPLE Sampling Modes EFFECT Reverb Chorus Insertion SCENE SONG Tracks Not...

296 0~9 123... (Chronological order) ...................................... 262 2H Shelf (2-High Shelving Filter) ................................ 87 2L Shelf (2-Low Shelving Filter) .................................. 87 u Mark ...................................................................... 1...