Yamaha TG500 - Manual - manualsarea.com

Page 3 - S P E C I A L M E S S A G E S E C T I O N

S P E C I A L M E S S A G E S E C T I O N PRODUCT SAFETY MARKINGS: Yamaha electronic prod-ucts may have either labels similar to the graphics shownbelow or molded/stamped facsimiles of these graphics on theenclosure. The explanation of these graphics appears on thispage. Please observe all cautions ...

Page 4 - I M P O RTA N T S A F E T Y I N S T R U C T I O N S; INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,; PLEASE KEEP THIS MANUAL

I M P O RTA N T S A F E T Y I N S T R U C T I O N S INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIER HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. PLEASE KEEP THIS MANUAL 8. This product was NOT designed for use in wet/damplocations and should not be used near water or expo...

Page 5 - MAIN FEATURES; nd-generation Advanced Wave Memory (AWM2) technology delivers; Large-capacity Waveform ROM; and “layered” to form performance combinations.; Advanced Digital Filters

i The TG500 Tone Generator delivers the incredible Yamaha AWM2 sound with improved quality and versatility. In addition to superior sound, the TG500features “Quick Edit” modes that provide fast, easy access to the most impor-tant voice and performance editing jobs so you can customize the sound with...

Page 6 - ii; Other Features

ii ● Top-quality Effects The basic quality of the TG500 voices is further enhanced by a range of programmable effects offering quality rivalling some of the finest separatesignal processing systems. ● Other Features • Slots for dual external memory card sets (VOICE and WAVE).• Easy-to-read 24-charac...

Page 7 - iii; APPENDIX; UTILITY MODE / WAVE EDIT MODE; GETTING STARTED

iii APPENDIX UTILITY MODE / WAVE EDIT MODE MULTI EDIT MODE DRUM VOICE EDIT MODE VOICE EDIT MODE PERFORMANCE EDIT MODE GETTING STARTED FEATURE REFERENCE

Page 8 - iv; • SELECTING DIFFERENT; CONTENTS; Getting Started

iv 4. The Multi Mode ...................... 35 • WHAT’S IN A MULTI SETUP? ......... 35• MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION ...... 36 • SELECTING A MULTI SETUP .......... 36 ■ Editing a Multi Setup ........................... 36• THE MULTI PARAMETER EDIT SCREENS ........................

Page 9 - Feature Reference; Performance; Voice Edit Mode

v General Editing Procedure ■ Edit Mode Access ................................. 45 ■ Selecting Specific Edit Functions ....... 46 ■ Selecting & Editing Parameters .......... 48 Performance Edit Mode Layer Selection & Muting•Layer Selection .............................................. 50•L...

Page 10 - Voice; Drum Voice Edit Mode

vi 3: Full Edit 3-1: Oscillator 3-1-01: Wave Select .......................... 1073-1-02: Parameter .............................. 109 3-2: AEG 3-2-01: Level ...................................... 1113-2-02: Rate ....................................... 1113-2-03: Scale Point ...........................

Page 11 - vii; Multi Edit Mode

vii 4-06: Output Level ............................. 1834-07: Wet:Dry ..................................... 1844-08: Mix Level .................................. 1854-09: Parameter 1 ............................. 1864-10: Parameter 2 ............................. 1864-11: Control 1 ....................

Page 12 - viii; Appendix; INITIAL DATA

viii Appendix INITIAL PERFORMANCE LIST(Preset 1) ................................................ 300INITIAL PERFORMANCE LIST(Preset 2) ................................................ 301INITIAL PERFORMANCE LIST(Internal) .................................................. 302INITIAL VOICE LIST (Pre...

Page 15 - Precautions

3 Precautions ■ Location Do not expose the instrument to the following conditions to avoid deforma- tion, discoloration, or more serious damage. • Direct sunlight (e.g. near a window). • High temperatures (e.g. near a heat source, outside, or in a car during thedaytime). • Excessive humidity. • Exce...

Page 17 - About the Manual; The TG500 manual has two sections —; The; Section

5 About the Manual The TG500 manual has two sections — Getting Started and Feature Reference. ■ The Getting Started Section In addition to an overview of the TG500 controls and connectors (page 8), the Getting Started section contains five chapters that take you through themain procedures you will n...

Page 18 - Icons

6 ■ Icons The following simple icons are used throughout the Getting Started section of the manual to draw attention to important points and information wherenecessary. The icons also make it easier to differentiate between informationthat you should read immediately and information that can be skip...

Page 19 - Once you have become familiar with the way the TG500 works by going

7 ■ The Feature Reference Section The Feature Reference section is the “nuts and bolts” reference for the TG500, individually describing its many functions in detail. The Feature Refer-ence section is divided into 5 main chapters, each describing the various func-tions within a particular TG500 edit...

Page 20 - The Controls & Connectors; Front Panel; Press to turn the TG500 power on or off.; PHONES Jack; jacks as well as the PHONES jack.; Liquid Crystal Display Panel; -line backlit liquid crystal display panel shows all

8 The Controls & Connectors ■ Front Panel 1 [POWER] Switch Press to turn the TG500 power on or off. page 15. 2 PHONES Jack Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for headphone monitoring of the TG500 sound without the need for external ampli-fication equipment....

Page 22 - ,] key moves the cursor to the left and the; CAUTION: Do not attempt to plug a waveform card into a

10 9 [ , , , , , ] and [ . . . . . ] Keys These keys do not function in the TG500 play modes (voice, performance, or multi), but in the edit and utility modes they are used to move the cursor to theparameter to be edited. Logically, the [ ,] key moves the cursor to the left and the [ .] key moves it...

Page 23 - The MIDI IN connector receives the data from an external keyboard,; Rear Panel

11 % OUTPUT L/MONO and OUTPUT R Jacks These are the main stereo outputs from the TG500. If a plug is inserted only into the L/MONO jack, the left and right-channel signals are combinedand delivered via this jack (for connection to a monaural sound system). page 12. ^ INDIVIDUAL OUTPUT 1, 2, 3, &...

Page 24 - Setting Up Your System; Connections; The diagram below shows the basic connections in a setup using the; AUDIO CONNECTIONS; If you plan to use the TG500 with a mixing console or an integrated

12 1. Setting Up Your System 1. Setting Up Your System ■ Connections The diagram below shows the basic connections in a setup using the TG500, a MIDI keyboard (with built-in sequencer), and a stereo sound system. Make sure that the TG500, your keyboard, and your soundsystem are turned OFF when makin...

Page 25 - UTL; MIDI CONNECTIONS & SETTINGS; Basic MIDI Settings; Press [ENTER] to select the UTILITY mode MIDI functions PARAMETER

1. Setting Up Your System 13 UTL 3:MIDI UTL MIDI Param <Rch > omni normal all UTL MIDI 3-1:Parameter ● MIDI CONNECTIONS & SETTINGS The MIDI OUT connector of the keyboard, sequencer, or other controller which is to control the TG500 must be connected to the MIDI IN conne...

Page 26 - Set the MIDI parameters.; ,] to move the underline cursor to the leftmost parameter; PLAY THE DEMO; once your system is set up.; Engage the demo mode.; demo mode. The following display will appear:; Internal data OK?

14 1. Setting Up Your System 6 Set the MIDI parameters. Use the [ ,] to move the underline cursor to the leftmost parameter (“<Rch >” will appear in the upper right corner of the display). This is thereceive channel parameter. Use the [-1/NO and [+1/YES] keys to set it to theappropriate channe...

Page 27 - Press [EXIT] when you want to stop playback. You can now select and

1. Setting Up Your System 15 DEMO PLAY 1:R.Y.O Press [ENTER] to start 2 Select a DEMO and press [ENTER]. Use the [-1/NO] and [+1/YES] keys to select one of the three demo se- quences provided, then press [ENTER] to start playback. DEMO PLAY 1:R.Y.O Press [EXIT] to stop 3 Press [EXIT] to stop playb...

Page 28 - PRESET VOICE MEMORY; PRESET VOICE MEMORY; INTERNAL VOICE MEMORY; INTERNAL VOICE MEMORY; Selecting And Playing Voices

16 2. Selecting And Playing Voices One of the first things you’ll want to do with your TG500 is select and play some of its outstanding voices … this section will show you how to dojust that. ■ The Preset, Internal, & Card Voice Memories Voices played by the TG500 can come from three different s...

Page 29 - CARD VOICE MEMORY; CARD memory voice numbers begin with the letter “C”. The CARD; DATA 1 CARD VOICE MEMORY; DATA 2 CARD VOICE MEMORY; Select a Voice & Play; Select the Voice Play Mode; Press the [PLAY MODE] key as many times as necessary to select the; VCE PLAY

2. Selecting And Playing Voices 17 CARD VOICE MEMORY CARD memory voice numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro-grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot.Memory cards are convenient for external storage...

Page 30 - Select a Memory Area & Bank

18 2. Selecting And Playing Voices 2 Select a Memory Area & Bank The [MEMORY] key is used to access the TG500’s internal, preset, and card memory areas, and the different memory banks they contain. Try pressingthe [MEMORY] key a few times while watching the voice number on thedisplay. The voice ...

Page 31 - Voice List

2. Selecting And Playing Voices 19 ● Preset Voice Lists 1 ■ Voice List ● Preset Voice Lists 2 ● Preset Voice Lists 3 No. Voice Name 00 AP Grand 01 AP Chors 02 AP Dance 03 AP Rock 04 AP Tack 05 AP Touch 06 BA Wood 07 BA Pitz 08 BA Fingr 09 BA Frtls 10 BA Pick1 11 BA Pick2 12 BA Slap 13 BA Thump 14 BA...

Page 33 - A more detailed voice list is provided in the appendix (page 303).

2. Selecting And Playing Voices 21 Note that the voices are arranged in categories for easier access. The cat- egory of each voice is identified by a two-character prefix, as follows: AP ............... Acoustic PianoOR ............... OrganKY ............... KeyboardBR ............... BrassST ........

Page 34 - The TG500 PERFORMANCE mode makes it possible to combine up to four; PRESET PERFORMANCE MEMORY; INTERNAL PERFORMANCE MEMORY; The Performance Mode

22 3. The Performance Mode The TG500 PERFORMANCE mode makes it possible to combine up to four voices in “performance combinations” that significantly enhance the instru-ment’s performance capabilities. 128 performance combinations can be stored ininternal memory and recalled in the same way as the v...

Page 35 - CARD PERFORMANCE MEMORY; CARD memory performance numbers begin with the letter “C”. The CARD; DATA 1 CARD PERFORMANCE MEMORY

3. The Performance Mode 23 CARD PERFORMANCE MEMORY CARD memory performance numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro-grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot.An MCD64 Memory Card holds 128 performance c...

Page 36 - Play the Performance Combinations; Select the Performance Play Mode; Select a Performance Combination; PFM PLAY

24 3. The Performance Mode ■ Play the Performance Combinations 1 Select the Performance Play Mode Press the [PLAY MODE] key as many times as necessary to select the performance play mode. “PFM PLAY” will appear on the top line of the LCDpanel. The information displayed on the bottom display line tel...

Page 37 - Performance List

3. The Performance Mode 25 No. Voice Name 32 CO Jazzr 33 OR Gimme 34 SP Lite 35 SC Buzz 36 CH Munch 37 BA Rezzo 38 ST Dark 39 BR Saw 40 CO E.S.P 41 KY Elek 42 SP Stars 43 SC Snaps 44 CH Abyss 45 BA Mini 46 ST 2002 47 BR Obie 48 CO Pnooh 49 OR Nave 50 SP Ace 51 SC Point 52 CH Comet 53 BA Guppy 54 ST ...

Page 38 - Programming Your Own Performance Combinations; A single TG500 “performance combination” can have one, two, three, or; PERFORMANCE

26 3. The Performance Mode ■ Programming Your Own Performance Combinations A single TG500 “performance combination” can have one, two, three, or four “layers,” each having a different voice and several other importantattributes. In addition to the individual attributes that can be programmed for eac...

Page 39 - AN EXAMPLE; Although we won’t use anywhere near the TG500’s full complement of; Engage the PERFORMANCE PLAY mode and select any performance; Initialize the Selected Performance Combination; Make sure that the PERFORMANCE PLAY mode is selected, and then; PFM EDIT

3. The Performance Mode 27 ● AN EXAMPLE Follow these steps to create a 3-layer voice in which you play a bass voice on the lower octaves of the controlling keyboard (below C3), and piano plusstrings on the upper octaves. Although we won’t use anywhere near the TG500’s full complement of performance ...

Page 40 - appear briefly when the performance data has been initialized.; Select the Performance Edit “LAYER” Mode

28 3. The Performance Mode 2-2 Press [ENTER], then [PAGE], and then use the [-1/NO] and [+1/YES] keys to select the “4-2:Initialize” screen. 2-3 Press [ENTER]. 2-4 Press [ENTER] again. 2-5 Press [+1/YES] to execute the performance initialize job. “Completed!” will appear briefly when the performance...

Page 41 - Select the Voices for Each Layer; If the “PFM Voice” display doesn’t appear as soon as you engage the; the display. After initialization, voice “P; 0” is assigned to all four layers.; number “P

3. The Performance Mode 29 3-2 Press [ENTER], then use the [-1/NO] and [+1/YES] keys to select the “3- 1:Layer” screen. When you’ve located this screen, press [ENTER] to engage the performance edit “Layer” mode. 4 Select the Voices for Each Layer If the “PFM Voice” display doesn’t appear as soon as ...

Page 42 - Lower the Volume of the Strings Voice; You can now use the [; Pan the Piano & Strings Voices; Set the layer-B pan parameter to “-15” and the layer-C pan parameter to

30 3. The Performance Mode 5 Lower the Volume of the Strings Voice Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-02:Volume” screen, then press [ENTER]. You can now use the [ ,] and [.] keys to move the cursor to the volume parameters for each layer, and use the [-1/NO] a...

Page 43 - Shift the Bass Voice Up One Octave

3. The Performance Mode 31 7 Shift the Bass Voice Up One Octave Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-04:Note Shift” screen, then press [ENTER] (or simply press [ .] while holding [PAGE]). Since the bass voice we have selected will sound too low if played only on...

Page 44 - Set the High Note Limits

32 3. The Performance Mode 9 Set the High Note Limits Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-07:Note Limit-H” screen, then press [ENTER] (or simply press [ .] while holding [PAGE]). Set the upper note limit for the layer-A voice to “B2”. Although the current layer...

Page 45 - Store Your Performance Combination; Press the [PLAY MODE] key to return to the PERFORMANCE PLAY

3. The Performance Mode 33 12 Store Your Performance Combination Once you’re satisfied with the sound of your original performance combina- tion, you can store it to an internal performance memory location as follows: 12-1 Press the [PLAY MODE] key to return to the PERFORMANCE PLAY mode. 12-2 Press ...

Page 46 - TG500 will return to the PERFORMANCE PLAY mode.; Further Possibilities ...

34 3. The Performance Mode 12-4 Press [+1/YES] again. “Completed !” will appear briefly when the data has been stored, then the TG500 will return to the PERFORMANCE PLAY mode. When you return to the PERFORMANCE PLAY mode, an inverseletter “E” will appear to the right of the performance number,indica...

Page 47 - WHAT’S IN A MULTI SETUP?; The Multi Mode

4. The Multi Mode 35 If you’ve been going through the tutorials section in sequence as we recom- mended, so far you’ve used the VOICE PLAY, PERFORMANCE PLAY, andPERFORMANCE EDIT modes. If, however, your intention is to use the TG500with a sequencer or computer to play a number of different voices si...

Page 48 - MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION; ” or “; SELECTING A MULTI SETUP; Editing a Multi Setup; MLT PLAY ́00 :InitMlt

36 4. The Multi Mode ● MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION The TG500 actually consists of two 32-note tone generator units (“A” and “B”), giving it a total polyphony of 64 notes. Some of the preset waves areproduced by tone gerator “A,” while others are produced by tone generator“B.”...

Page 49 - THE MULTI PARAMETER EDIT SCREENS; MLT OutSel

4. The Multi Mode 37 ● THE MULTI PARAMETER EDIT SCREENS MLT (AP Brite) Vol Pan [ 1] V¡00 127 0 é MLT OutSel è[ 1] off MLT EfSend NtShft Tune è[ 1] 127 0 0 é Stereo pan position. “0” for center,“-” values pan left; “+” valuespan right. Feature Reference page 200. Volume. “0” is n...

Page 50 - When you’re finished editing a multi setup, simply press the [PLAY; Be sure to read through the “MULTI EDIT MODE” (page 197) for full; MLT é è

38 4. The Multi Mode ● SELECTING DIFFERENT INSTRUMENTS FOR EDITING The currently selected multi instrument (1 of 16) is shown in square brack- ets in the lower left hand corner of each screen. A different instrument can beselected for editing in this mode by using the [-1/NO] and [+1/YES] keys while...

Page 51 - programming any new voice.; Oscillator Parameters; The first thing you’ll need to do when programming a new voice is to; Amplitude Envelope Generator

5. Voice Editing & Effects 39 5. Voice Editing & Effects For the programmer who wants to get serious about voice programming, the TG500 offers an extensive range of parameters that allow extremely fine con-trol. All parameters are discussed in detail in the VOICE EDIT mode (page95), and we r...

Page 53 - Don’t forget this obvious but important step!; Bypassing the Effects While Editing

5. Voice Editing & Effects 41 7: Effects Page 150 … 162 The last step in programming any voice is selecting and adjusting the effects you need to give your sound the required warmth and “spaciousness”.Of course, you might simply want to edit the effects applied to an existingvoice, in which case...

Page 57 - GENERAL EDITING PROCEDUTRE; GENERAL EDITING PROCEDURE; Edit Mode Access

45 GENERAL EDITING PROCEDUTRE GENERAL EDITING PROCEDURE The TG500 makes editing easy by providing a consistent, logical control interface via which parameters can be located and edited. Once you’ve learned the generalprocedure, you can locate and edit any of the TG500’s many parameters quickly andea...

Page 58 - Selecting Specific Edit Functions

46 GENERAL EDITING PROCEDUTRE ■ Selecting Specific Edit Functions The uppermost layer of the edit mode function tree is a menu that is used to select the desired group of functions. Use the [-1/NO] and [+1/YES] keys toselect the function group you want to access, then press [ENTER] to go di-rectly t...

Page 59 - An alternative method is to use the [

47 GENERAL EDITING PROCEDUTRE An alternative method is to use the [ ,] and [.] keys while holding the [PAGE] key. This lets you switch directly between adjacent edit screens with-out having to go to the menu first. In some cases there is another layer of functions below the first layer (the voice ed...

Page 60 - Selecting & Editing Parameters; ,” or “.”) will appear at either or both ends of the bottom display; è 63 0 2 7 + 3

48 GENERAL EDITING PROCEDUTRE ■ Selecting & Editing Parameters Most TG500 edit screens contain several parameters that can be selected and edited. The parameters are edited by first moving the cursor to the requiredparameter by using the [ ,] and [.] keys, and then by using the [-1/NO] and [+1/ ...

Page 62 - LAYER SELECTION & MUTING; Programming All Layers Simultaneously; Layer Muting; PFM

50 PERFORMANCE EDIT MODE LAYER SELECTION & MUTING LAYER SELECTION & MUTING The display will return to the current edit screen as soon as you release the [UTILITY/SELECT] key. The currently selected layer is shown in squarebrackets in appropriate layer edit screens. Programming All Layers Sim...

Page 63 - PFM LAYER SELECT é è

51 PERFORMANCE EDIT MODE LAYER SELECTION & MUTING Active layers appear as upper-case characters and muted layers appear as lower-case characters while the [UTILITY/SELECT] key is held. In the follow-ing display, for example, layers “A” and “C” are active while layers “b” and“d” are muted. PFM LA...

Page 65 - RR; Modifies the “RR” parameter of the voice amplitude EG — see page 112.; Vel; values cannot be exceeded.

53 PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-1: VOICE AMPLITUDE EG OFFSET RR (Release rate) Range: -63 … +63 Modifies the “RR” parameter of the voice amplitude EG — see page 112. Plus (+) values produce a faster release rate while minus (–) values produce aslower release rate. No matter how much offse...

Page 66 - Cof; Res

54 PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-2: VOICE FILTER OFFSET 1-2: VOICE FILTER OFFSET These parameters allow the main filter parameters of the voices assigned to each layer to be modified to some degree. The actual filter parameters of the voices arenot affected. These “offset” values are only ...

Page 67 - Depth; Speed

55 PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-3: VOICE LFO OFFSET 1-3: VOICE LFO OFFSET These parameters allow the main LFO parameters of the voices assigned to each layer to be modified to some degree. The actual LFO parameters of the voices are notaffected. These “offset” values are only effective in...

Page 68 - AT

56 1-4: VOICE CONTROLLER These parameters determine how the performance layers are affected by keyboard aftertouch response and the control devices assigned to MIDI Controller 1 and MIDIController 2 (MIDI controller assignments are made via the “UTILITY” mode“2:Controller” screen — page 223). PERFOR...

Page 69 - corresponds to “middle C” on a keyboard.; Sus

57 1-5: VOICE SETTING Other parameters that can be individually set for each performance layer are provided in this screen: sustain enable, pitch envelope generator enable, oscillatorfixed note mode and note number. PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-2: VOICE SETTING The layer to be edited is s...

Page 70 - For full effect parameters see page 84.; Type; Range: Depends on the selected effect and parameter.; .] key to scroll to the parameter screen. This screen provides; Parameter 1

58 1-6: EFFECT 1 / 1-7: EFFECT 2 PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-6: EFFECT 1 / 1-7: EFFECT 2 The TG500 features a complex, high-performance effect system that can be pro- grammed easily via the parameters presented here and in the following screen. For full effect parameters see page 84. PFM...

Page 72 - PFM Total Level; Total Level

60 2-1: PERFORMANCE TOTAL LEVEL This parameter sets the overall volume level of the current performance combina- tion in relation to the others, making it possible to match levels for smooth transitionwhen switching between performance combinations. PERFORMANCE EDIT MODE / 2: Level/Name 2-1: PERFORM...

Page 73 - P F M N a m e; Name; ›fi

61 2-2: PERFORMANCE NAME Your original performance combinations should naturally have original names. This function can be used to assign a name of up to 8 characters to the currentperformance. PERFORMANCE EDIT MODE / 2: Level/Name 2-2: PERFORMANCE NAME P F M N a m e ...

Page 75 - Volume

63 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-02: VOLUME 3-1-02: VOLUME For optimum balance between the voices in a performance combination, this screen allows the volume of each voice to be adjusted individually. PFM Volume [A] WN Flut1 11 7ÿ 100ÿ 112ÿ 127ÿ Volume (layer A) The laye...

Page 76 - Pan

64 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-03: PAN 3-1-03: PAN In multi-layer performance combinations, interesting stereo effects can be pro- duced by placing the output from different layers at different locations in the stereosound field. The parameters in this screen determine the p...

Page 77 - NtShft

65 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-04: NOTE SHIFT 3-1-04: NOTE SHIFT The note shift parameters individually shift the pitch of each layer up or down in semitone steps, making it possible to create harmony effects between layers. The layer to be edited can be selected as describe...

Page 78 - Fine

66 3-1-05: TUNE The fine tune parameters allow slight upward or downward pitch adjustment of each layer, making it possible to create voice-thickening detune effects betweenlayers. PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3: Full Edit. 3-1: Layer Tune (layer A) PFM Tune [A] WN Flut1 0...

Page 80 - If the High Note Limit is set to a note that is lower than the Low Note

68 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H If the High Note Limit is set to a note that is lower than the Low Note Limit for the same layer, it will set a range of notes in the middle that thelayer will not play. The name of the currently selected...

Page 81 - each active layer will produce output.

69 3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H The high and low velocity limit parameters make it possible to produce a range of “velocity switching” effects in which different layers of a pe...

Page 87 - LAYER DATA COPY; PFM LAYER Copy from?; PFM LAYER Copy Sure?

75 LAYER DATA COPY This function facilitates performance editing by allowing the layer parameters from any layer in any other performance (the “source” performance) to be copied tothe current layer. You can copy a layer setup that is close to the type you want, thenedit it to produce the required so...

Page 88 - PFM EF Mode; Mode

76 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-01: MODE 3-2-01: MODE The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providingan extensive range of possible configurations. PFM EF ...

Page 89 - EFECT 1 and EFFECT 2 signal processors.; Ef1 Type; Ef2 Type

77 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-02: TYPE 3-2-02: TYPE These parameters assign any of the TG500’s 90 effects independently to the EFECT 1 and EFFECT 2 signal processors. PFM EF Type (Pit & Rev ) Ef1:6 7 Ef2:57 Ef1 Type Range: 0 … 90 Selects any of the TG500’s ...

Page 90 - on on on on; Lvl

78 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-03: SEND 3-2-03: SEND The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level. 2b PFM EF Send [A]<Lvl> 12 7 on on on on The laye...

Page 91 - Plus (“+”) settings produce a higher send level for the high notes and a

79 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-04: SEND SENSITIVITY 3-2-04: SEND SENSITIVITY These parameters determine how the effect send level is affected by keyboard dynamics and key scaling. PFM EF Send Sens[A] Vel= 0 Scl= 0 The layer to be edited is selected as desc...

Page 95 - EF2Mix

83 3-2-08: MIX LEVEL These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for detailson the overall TG500 effect system. PFM EF Mix Level<Ef2Mix> -- - % ---% ---% 100% PERFORMANCE EDIT MO...

Page 96 - parameters in these three screens to fine-tune the effect.; Parameters

84 3-2-09: PARAMETER 1 / 3-2-10: PARAMETER 2 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-09: PARAMETER 1 / 3-2-10: PARAMETER 2 Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect. Use the [ ,] and [.] keys to ...

Page 97 - Device; è Ef2Prm; EF Param

85 3-2-11: CONTROL 1 / 3-2-12: CONTROL 2 PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-11: CONTROL 1 / 3-2-12: CONTROL 2 MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performancemodes. The ...

Page 98 - MIDI CONTROL CHANGE NUMBER/DEVICE

86 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-2-11: CONTROL 1 / 3-2-12: CONTROL 2 91: “Effect D” 92: “TremoloD” 93: “Chorus D” 94: “CelesteD” 95: “Phaser D” 96: “Inc. ” 97: “Dec. ” 98: “NRPN LSB” 99: “NRPN MSB” 100: “RPN LSB”101: “RPN MSB”121: “AfterTch”122: “Velocity”123: “KeyScale”124: “LF...

Page 99 - Min; Sets the lower limit of the control range. A setting of “0”, for example,; Max

87 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-2-11: CONTROL 1 / 3-2-12: CONTROL 2 Ef1Prm1Ef1Prm2Ef1Prm3Ef1Prm4Ef1Prm5Ef1Prm6Ef1Prm7Ef1Prm8Ef_Out1aEf_Out1bEf2Prm1 Ef2Prm2Ef2Prm3Ef2Prm4Ef2Prm5Ef2Prm6Ef2Prm7Ef2Prm8Ef_Out2aEf_Out2bEf2_MixOut1_Wet Out2_WetCtrl1MinCtrl1MaxLFO_WaveLFO_SpdLFO_DlyEf_...

Page 100 - Wave; Determines the waveform of the effect LFO.; effect LFO operation for the selected element.; tr; Delay

88 3-2-13: CONTROL LFO All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The TG500 has an independent effect LFO that is set up by the following pa-rameters. PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-13: CONTROL LFO Wave (LFO waveform) Range: tri, dwn, ...

Page 101 - EFFECT DATA COPY; Move the cursor to the left parameter (press the [; PFM EF Copy from?

89 EFFECT DATA COPY PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect EFFECT DATA COPY This function facilitates performance effect editing by allowing the effect parameters from any other performance combination, voice, or multi setup to becopied to the current performance combination. You can copy...

Page 102 - EFFECT SIGNAL FLOW DISPLAY; configuration while in the effect edit mode.; 7 : E Q ¥ S y m Ø Ø Ø Ø Ø Ë Ô Á

90 EFFECT SIGNAL FLOW DISPLAY PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTI...

Page 103 - data has been recalled.; PFM Recall Sure?

91 4-1: RECALL PERFORMANCE EDIT MODE / 4: Recall/Init. 4-1: RECALL If you’re dissatisfied with the results of edits you’ve made to a performance combination, or have accidentally lost track of changes made, use the RECALLfunction to recall the pre-edit performance data from the TG500’s backupbuffer ...

Page 104 - PFM Initialize

92 4-2: INITIALIZE PERFORMANCE EDIT MODE / 4: Recall/Init. 4-2: INITIALIZE When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initial-ize all performance parameters. Press [ENTER] to begin the initialize pr...

Page 105 - PERFORMANCE COMPARE; PERFORMANCE EDIT MODE / PERFORMANCE

93 PERFORMANCE COMPARE PERFORMANCE EDIT MODE / PERFORMANCE PERFORMANCE COMPARE The performance compare function makes it possible to compare the sound of a performance combination being edited with the same performance combi-nation prior to editing. To temporarily recall the original performance dat...

Page 106 - PERFORMANCE STORE; PERFORMANCE EDIT MODE / PERFORMANCE; store procedure. The following confirmation display will appear:; PFM STORE ́00œ:CO Aster

94 PERFORMANCE STORE PERFORMANCE EDIT MODE / PERFORMANCE PERFORMANCE STORE When you’re satisfied with a new performance combination you’ve created in the performance edit mode, use the store function described below to storethe new performance combination to an internal or card memory location. When...

Page 107 - VOICE EDIT MODE

VOICE EDIT MODE 1: Quick Edit 2: Level/Name 3: Full Edit 3-3: Filter 3-3-01: Parameter ............... 1193-3-02: Level ....................... 1243-3-03: Rate ........................ 1243-3-04: Scale Point ............. 1273-3-05: Scale Offset ........... 1283-3-06: Sensitivity ............... 129...

Page 108 - Wave Groups; Grp

96 1-1: WAVE SELECT VOICE EDIT MODE / 1: Quick Edit 1-1: WAVE SELECT VCE QED WAVE Select<Grp> 1 0:Synth É133:SynLead2Õ Grp (Wave group) Range: 0 … 15 For fast, easy selection of the preset TG500 waves this parameter selects 16 different wave categories or “groups”, each containing a number of...

Page 109 - No; units — “A” and “B”. The inverse character “

97 No (Wave number) Range: 1 … 244 (Preset 1), 1 … 50 (Preset 2) Selects the wave (AWM waveform) to be used in the current voice. Use the “Grp” parameter, above, to select the group containing the wave that is to beselected. The [MEMORY] key can also be used to select the memory area fromwhich the w...

Page 110 - Quick Edit Envelope Types; Synthesizer bass 1.

98 Type (Envelope type) Range: 00 … 21 Selects either the envelope defined by the current amplitude envelope pa- rameter settings (page 111), or one of 21 preset amplitude envelope types forthe current voice. The envelope types are: Quick Edit Envelope Types 00:-------- Full-edit envelope. 01:Piano ...

Page 111 - AtkRate; attack, while “0” produces the slowest attack.; SusLvl; Sets the sustain level for the selected envelope.; RlsRate; Sets the release rate for the selected envelope.

99 VOICE EDIT MODE / 1: Quick Edit 1-2: AMPLITUDE EG 14:SynPad Synthesizer pad. 15:SynComp Synthesizer comping (backing). 16:Percusiv Percussive. 17:S.Ideal1 Sound ideal envelope 1. 18:S.Ideal2 Sound ideal envelope 2. 19:S.Ideal3 Sound ideal envelope 3. 20:S.Ideal4 Sound ideal envelope 4. 21:Init In...

Page 112 - For full filter parameters see page 119.; Quick Edit Filter Types

100 VOICE EDIT MODE / 1: Quick Edit 1-3: FILTER 1-3: FILTER The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 119. VCE QED Filter <Type> 0 9 :Sweep 127 71 +45 Type (Filter type) Rang...

Page 114 - For full LFO parameters see page 136.; cutoff (wahwah) modulation that can be applied to the current voice.

102 1-4: LFO VOICE EDIT MODE / 1: Quick Edit 1-4: LFO Here, the main LFO parameters are simplified and concentrated in a single screen for quick, easy programming. For full LFO parameters see page 136. VCE QED LFO <Type > 1 :vibrato 33 64 Type (LFO modulation type) Range: -------...

Page 116 - VCE QED EF Wet:Dry

104 1-7: EFFECT WET:DRY VOICE EDIT MODE / 1: Quick Edit 1-7: EFFECT WET:DRY VCE QED EF Wet:Dry Out1= 8 0 : 20 The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. Theparameter p...

Page 117 - Total

105 VOICE EDIT MODE / 2: Level/Name 2-1: LEVEL 2-1: LEVEL The ability to independently adjust the volume of each voice makes it possible to match levels for smooth transition when switching between voices. It is also possibleto set the minimum volume level that can be set via MIDI control. VCE Level...

Page 118 - used to assign a name of up to 8 characters to the current voice.; V C E N a m e; abcdefghijklmnopqrstuv

106 VOICE EDIT MODE / 2: Level/Name 2-2: NAME 2-2: NAME Your original voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current voice. V C E N a m e Ö62-[ S P Nehan] Name Range: See charact...

Page 119 - the voice will be based.

107 3-1-01: WAVE SELECT VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator 3-1-01: WAVE SELECT This parameters provided in this screen are used to select the waveform on which the voice will be based. VCE OSC WAVE Select<Grp> 10:Synth É133:SynLead2Õ Grp (Wave group) Range: 0 … 15 For fast, easy ...

Page 121 - Normally you want the pitch of the AWM wave (or waves) used in a voice

109 VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator 3-1-02: PARAMETER 3-1-02: PARAMETER The five parameters provided here all affect how the AWM waveform assigned to the voice is reproduced, thereby determining the basic sound of the voice. VCE OSC Param <Mode > norm 0 0 0 off Mod...

Page 122 - When the “norm” mode is selected, this parameter is used to shift the; RndPt; When this parameter is set to a value other than “0,” the pitch changes; Rvs; automatically turned “off.”

110 VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator 3-1-02: PARAMETER NtShft (Note shift)/Note (Fixed note) Range: C-2 … G8, -64 … +63 When the “fix” mode is selected this parameter sets the frequency (note) at which the selected wave will be played. The C-2 to G8 range of this parametercovers a ful...

Page 123 - RS

111 R4 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-01: LEVEL / 3-2-02: RATE 3-2-01: LEVEL / 3-2-02: RATE The TG500’s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility.Next to the fundamental waveform used...

Page 124 - determine the overall shape of the amplitude envelope.; “Atk” Mode

112 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-01: LEVEL / 3-2-02: RATE The envelope begins at zero level, reaches maximum level at the rate deter- mined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves onto L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate ...

Page 125 - “hold” Mode

113 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-01: LEVEL / 3-2-02: RATE ● “hold” Mode If the “hold” mode is selected, the envelope begins immediately from maxi- mum AWM level, allowing the fast attack transients of waveforms to passunaffected. In this case the R1 parameter is replaced by the HT (H...

Page 126 - across the entire pitch range.

114 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-01: LEVEL / 3-2-02: RATE For the level parameters, a setting of “0” corresponds to the lowest possible level (no sound) while a setting of 63 produces the highest output level. A “0”rate parameter setting produces the slowest rate between levels, whil...

Page 127 - E 1 B 2 G 4 A 5

115 3-2-03: SCALE POINT VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-03: SCALE POINT Level scaling produces natural level variations across the range of the keyboard by allowing different level “offset” values to be applied to each of four “breakpoints”set at appropriate keys. VCE AMP Scal Point <...

Page 129 - responds to changes in keyboard velocity and range.; time of the amplitude envelope generator.

117 3-2-05: SENSITIVITY VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-05: SENSITIVITY The parameters provided here determine how the amplitude envelope generator responds to changes in keyboard velocity and range. VCE AMP Sens <Vel > + 3 0 Vel (Vel...

Page 130 - AEG DATA COPY; VCE AEG Copy from?; VCE AEG Copy Sure?

118 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG AEG DATA COPY AEG DATA COPY This function facilitates voice editing by allowing the amplitude EG data from any other voice (the “source” voice) to be copied to the current voice. You can copyan envelope that is close to the type you want, then edit it to ...

Page 131 - LP; “LPF” and “LP12” Types

119 3-3-01: PARAMETER VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER The TG500 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways. Changes in the responseand cutoff frequency can be used to define the basic...

Page 132 - “HPF” Type

120 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER Cutofffrequency. FREQUENCY LEVEL PASSBAND(Signals in thisfrequency rangepass through) Signals above the cutoff frequencyare blocked Cutofffrequency. FREQUENCY LEVEL PASSBAND(Signals in thisfrequency rangepass through) Signals below th...

Page 133 - “BEF” Type

121 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER FREQUENCY LEVEL Cutoff (center) frequency. PASSBAND ● “BEF” Type The “BEF” (Band Elimination Filter) setting produces a filter response that eliminates a band of frequencies centered at the cutoff frequency (See “Cutoff”below) to pass...

Page 134 - produce a higher cutoff frequency.; frequencies passed, making the sound “thinner” or “sharper.”

122 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER Cof (Cutoff frequency) Range: 0 … 127 Sets the cutoff frequency of the selected filter.Lower cutoff values produce a lower cutoff frequency and higher values produce a higher cutoff frequency. Cutofffrequency. LEVEL Lower (0) Higher (...

Page 135 - Band

123 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER Cutofffrequency. LEVEL LPFResponse ResonantPeak LowerResonance HigherResonance Higher resonance values produce a higher resonant peak and reduce the overall bandwidth of the filter, passing a narrow band of frequencies at thefilter’s ...

Page 136 - è 1

124 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-02: LEVEL / 3-3-03: RATE 3-3-02: LEVEL / 3-3-03: RATE L0 L1 VCE FEG Level <L0 > -4 0 0 +5 0 -10 RL1 RL2 VCE FEG Level <RL1> è -4 0 -63 L2 L3 L4 VCE FEG Rate <R1 > 2 3 0 1 0 ...

Page 137 - The “Rate” parameters work in the same way as the amplitude and pitch

125 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-02: LEVEL / 3-3-03: RATE L0 … L4, RL1, RL2 (Levels 0 … 4, release levels 1 & 2) Range: -63 ... +63 The level parameters work in conjunction with the rate parameters described below to determine the “shape” of the cutoff envelope generator for t...

Page 139 - B 2 G 4 A 5

127 3-3-04: SCALE POINT BP1 … BP4 (Breakpoints 1 … 4) Range: C-2 ... G8 Allows four separate cutoff envelope generator level-scaling breakpoints to be set at any notes between C-2 and G8 for the selected filter. The level offsetsfor each breakpoint are set using the “Scale Offset” parameters in the ...

Page 141 - of the filter EG envelope.; RateVel

129 3-3-06: SENSITIVITY VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-06: SENSITIVITY These parameters determine how the filter envelope generator is affected by key- board dynamics. VCE Flt Sens <Type > EG_shift — +45 0 Type (Velocity sensitivity type) Range: EG_attack, EG_shi...

Page 142 - FILTER DATA COPY; VCE FLT Copy from?; VCE FLT Copy Sure?

130 This function facilitates voice editing by allowing the filter parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy afilter setup that is close to the type you want, then edit it to produce the requiredsound. Press the [STORE/COPY] key while in the...

Page 144 - Loop; When the Loop parameter is set to “on” the pitch EG cycle repeats from

132 VOICE EDIT MODE / 3: Full Edit. 3-4: PEG 3-4-01: LEVEL / 3-4-02: RATE Loop Range: off, on When the Loop parameter is set to “on” the pitch EG cycle repeats from the beginning (L0) to the L3 level until the keys being played are released.When set to “off,” the L3 level is maintained until the key...

Page 145 - be varied across the entire pitch range.

133 RS (Pitch EG rate scaling) Range: -7 … +7 Allows the overall pitch envelope generator rate for the selected element to be varied across the entire pitch range. Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes. The maximum...

Page 146 - Range

134 3-4-03: SENSITIVITY VOICE EDIT MODE / 3: Full Edit. 3-4: PEG 3-4-03: SENSITIVITY These parameters determined the overall range of the pitch EG, and how it is affected by variations in keyboard velocity. VCE PEG Sens <Range > 1/8oc t +2 0 Range (Maximum PEG range) Range: 1/...

Page 147 - PITCH EG DATA COPY; VCE PEG Copy from?; VCE PEG Copy Sure?

135 PITCH EG DATA COPY PITCH EG DATA COPY VOICE EDIT MODE / 3: Full Edit. 3-4: PEG This function facilitates voice editing by allowing the pitch EG parameters from any other voice (the “source” voice) to be copied to the current voice. You can copya pitch EG setup that is close to the type you want,...

Page 148 - fl

136 VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-01: PARAMETER 3-5-01: PARAMETER These parameters define the operation of the TG500’s main LFO (Low Frequency Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoffmodulation applied via the modulation wheel, the foot control...

Page 149 - Phase

137 VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-01: PARAMETER Phase (LFO start phase) Range: 0 … 180 Determines at which point in the LFO waveform the LFO will begin opera- tion for the selected element. The values 0 through 180 correspond to phaseangles in degrees. The illustration below shows how...

Page 150 - parameters set the maximum depth of each type of modulation.; Amod; Fmod

138 3-5-02: DEPTH VOICE EDIT MODE / 3: Full Edit. 3-5: LFO The LFO can be used to apply amplitude, pitch, and frequency modulation. These parameters set the maximum depth of each type of modulation. 3-5-02: DEPTH VCE LFO Depth <Amod> 0 0 1 2 7 Amod (Am...

Page 151 - Rnd; When this parameter is set to a value other than “0,” the LFO speed; Scl

139 VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-03: SENSITIVITY 3-5-03: SENSITIVITY The speed of the TG500 LFO can be varied randomly, and according to variations in keyboard velocity and range. Such variations can produce more natural, musicaleffects. Rnd (Random speed) Range: 0 … 7 Sets the amoun...

Page 152 - VCE LFO Copy from?; LFO DATA COPY; VCE LFO Copy Sure?

140 LFO DATA COPY VOICE EDIT MODE / 3: Full Edit. 3-5: LFO This function facilitates voice editing by allowing the LFO parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy anLFO setup that is close to the type you want, then edit it to produce the requ...

Page 153 - VCE CTRL

141 3-6-01: PITCH BEND, AFTER TOUCH VOICE EDIT MODE / 3: Full Edit. 3-6: Controller This screen includes parameters that set the TG500’s pitch bend range and the aftertouch mode. VCE CTRL PB_Range= 2 AT= ch's 3-6-01: PITCH BEND, AFTER TOUCH PB_Range (Pitch bend range) Range: 0 ...

Page 154 - 2 0 é; Pmod

142 3-6-02: AFTER TOUCH DEPTH VOICE EDIT MODE / 3: Full Edit. 3-6: Controller For truly “intimate” modulation control, the TG500 allows a number of modula- tion effects to be controlled via keyboard aftertouch response. The parameters in thisscreen set the depth of the aftertouch modulation effects....

Page 155 - type effects) applied via keyboard aftertouch.; EGBs

143 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via keyboard aftertouch. A setting of “0” allows no frequency modulation, while a setting of 127 results in...

Page 156 - PtBs

144 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-02: AFTER TOUCH DEPTH PtBs (Pitch bias depth) Range: -12 … +12 Sets the maximum pitch variation range achievable via after-touch control.Each increment represents a semitone. A setting of “0” produces no pitch variation. A setting of “+12” allo...

Page 158 - type effects) applied via MIDI controller 1 or 2.

146 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-03: MIDI CONTROLLER 1 / 3-6-04: MIDI CONTROLLER 2 Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via MIDI controller 1 or 2. A setting of “0” allows n...

Page 159 - Param

147 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-05: MIDI CONTROLLER 3 / 3-6-06: MIDI CONTROLLER 4 3-6-05: MIDI CONTROLLER 3 / 3-6-06: MIDI CONTROLLER 4 VCE CTRL MC3 <Param> 4 1 :LFO_Phase 0% 49% set the maximum and minimum limits of the control range. Param (MC3 or MC4 paramet...

Page 160 - Sets the upper limit of the MIDI controller 3 or 4 range. A setting of

148 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-05: MIDI CONTROLLER 3 / 3-6-06: MIDI CONTROLLER 4 40: “LFO_Wave ”41: “LFO_Phase”42: “LFO_SpdVel”43: “LFO_SpdRnd”44: “AEG_Rate1 ”45: “AEG_Rate2 ”46: “AEG_Rate3 ”47: “AEG_Rate4 ”48: “AEG_RlsRt ”49: “AEG_Level2”50: “AEG_Level3”51: “AEG_LvlVel”52: ...

Page 161 - VCE CTRL Copy from?; CONTROLLER DATA COPY; VCE CTRL Copy Sure?

149 CONTROLLER DATA COPY VOICE EDIT MODE / 3: Full Edit. 3-6: Controller This function allows the controller parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a controller setup that is closeto the type you want, then edit it to produce the required...

Page 162 - VCE EF Mode

150 3-7-01: MODE VOICE EDIT MODE / 3: Full Edit. 3-7: Effect The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providingan extensive range of possible configurations. Mode Range: 0:off, 1:seri...

Page 164 - Level

152 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-03: SEND The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big different to the final sound. The“Send” parameter plays a vital role in determining the depth of the effect soun...

Page 166 - VCE EF Wet:Dry

154 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-05: WET:DRY 3-7-05: WET:DRY The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. Theparameter provided in this screen provides precise balance ...

Page 167 - VCE EF Mix Level; EF2 Mix; Mix Level

155 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-06: MIX LEVEL 3-7-06: MIX LEVEL This parameter determines how the output of the EFFECT 2 processor is mixed with that of the EFFECT 1 processor when the serial effect mode is selected. Seepage 251 for details on effect signal flow. VCE EF Mix Level...

Page 168 - eters in these three screens to fine-tune the effect.

156 3-7-07: PARAMETER 1 / 3-7-08: PARAMETER 2 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-07: PARAMETER 1 / 3-7-08: PARAMETER 2 Each of the TG500’s 90 effects has 8 parameters that can be edited via the param- eters in these three screens to fine-tune the effect. VCE EF1 Param <Rev.Time> ...

Page 169 - è Ef1Prm

157 3-7-09: CONTROL 1 / 3-7-10: CONTROL 2 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-09: CONTROL 1 / 3-7-10: CONTROL 2 MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performancemodes. The param...

Page 173 - VCE EF Copy from?; VCE EF Copy Sure?

161 EFFECT DATA COPY VOICE EDIT MODE / 3: Full Edit. 3-7: Effect This function facilitates voice effect editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to thecurrent voice. You can copy an effect setup that is close to the type you...

Page 174 - 7:EQ ¥ Sym ìÁîÁÎ; tion while in the effect edit mode.

162 EFFECT SIGNAL FLOW DISPLAY VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 06:Rev.Stage1 ÒëÒÒí Ú 57:EQ ¥ Sym ìÁîÁÎ EFFECT SIGNAL FLOW DISPLAY This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. In the effect edit mode pres...

Page 177 - VOICE COMPARE; being edited with the same voice prior to editing.

165 VOICE EDIT MODE / VOICE VOICE COMPARE VOICE COMPARE The voice compare function makes it possible to compare the sound of a voice being edited with the same voice prior to editing. To temporarily recall the original voice data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash...

Page 178 - VOICE STORE; procedure. The following confirmation display will appear:; VCE STORE Ö56œ:SP Goner; display, then the display will return to the voice play mode.

166 VOICE EDIT MODE / VOICE VOICE STORE VOICE STORE When you’re satsfied with a new voice you’ve created in the voice edit mode, use the store function described below to store the new voice to an internal or cardmemory location. VCE STORE Ö56œ:SP Goner ¥ ¡5 6 :OR Smoth When you’ve finishe...

Page 180 - D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r; é o; Key

168 1-1: PARAMETER DRM Key Param <Key > C 4 É 194-Clave Ã 127 Key D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r 1 - 1 : P A R A M E T E R Volume Wave DRM Key Param <NtShft> é 0 0 -25 108 EfSend DRM Key Param <Rvs > é o ff short off o...

Page 181 - by one octave a setting of “+4” shifts the pitch up by a major third.; Tune; The maximum minus setting of “-63” produces a downward pitch shift of

169 D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r 1 - 1 : P A R A M E T E R The TG500 actually incorporates two 32-note polyphonic tone generator units — “A” and “B”. The inverse character “A” or “B” that appears to theright of the wave name indicates whether that wave is produced ...

Page 182 - EfSend; use waves from the same tone generator unit: A or B.; OutSel; Sends the sound of the selected drum key to one of the TG500’s four

170 D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r 1 - 1 : P A R A M E T E R EfSend (Effect send level) Range: 0 … 127 Sets the effect send level for the selected drum key. The ability to set different effect send levels for each drum key provides extremely fine controlover the drum...

Page 183 - When you want to program a single drum key “from scratch,” rather than; DRM Key Initialize

171 When you want to program a single drum key “from scratch,” rather than editing an existing key, use this function to initialize all data for the specifieddrum key. D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r 1-2: INITIALIZE 1 - 2 : I N I T I A L I Z E DRM Key Initialize ...

Page 184 - DRM Key Exchange; exchanging the data between any two specifed drum keys.; DRM Key Exchange Sure?

172 1-3: EXCHANGE D R U M V O I C E E D I T M O D E / 1 : K e y P a r a m e t e r 1 - 3 : E X C H A N G E DRM Key Exchange (Clave ) C 4 †¥ C 1 This function makes it simple to re-arrange you drum key layout by directly exchanging the data between any two specifed drum keys. DRM Key Ex...

Page 185 - DRUM KEY COPY; DRM Key Copy

173 This function facilitates drum voice editing by allowing the data from one drum key (the “source” key) to be copied to any other drum key. You can copy the datafrom a key that is close to the sound you want, then edit it as required. DRUM KEY COPY D R U M V O I C E E D I T M O D E / 1 : K e y P ...

Page 186 - VolLoLim

174 This parameter sets the overall volume of the current drum voice in relation to the others, making it possible to match levels for smooth transition when switchingbetween voices. 2-1: LEVEL D R U M V O I C E E D I T M O D E / 2 : L e v e l / N a m e 2 - 1 : L E V E L Total DRM Level <Tota...

Page 187 - D R U M V O I C E E D I T M O D E / 2 : L e v e l / N a m e; D R M N a m e

175 Your original drum voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current drum voice. 2-2: NAME D R U M V O I C E E D I T M O D E / 2 : L e v e l / N a m e 2 - 2 : N A M E D R M N a m e ...

Page 188 - D R U M V O I C E E D I T M O D E / 3 : Q u i c k E d i t; grammed easily via the parameters presented in these screens.

176 D R U M V O I C E E D I T M O D E / 3 : Q u i c k E d i t 3-1: EFFECT 1 / 3-2: EFFECT 2 3 - 1 : E F F E C T 1 / 3 - 2 : E F F E C T 2 The TG500 features a complex, high-performance effect system that can be pro- grammed easily via the parameters presented in these screens. For full effect parame...

Page 189 - D R U M V O I C E E D I T M O D E / 3 : Q U I C K E D I T

177 D R U M V O I C E E D I T M O D E / 3 : Q U I C K E D I T 3-3: EFFECT WET:DRY 3 - 3 : E F F E C T W E T : D R Y The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound.The parameters provided in ...

Page 190 - See page 251 for the effect diagrams.; DRM EF Mode

178 DRUM VOICE EDIT MODE / 4: Effect 4-01: MODE 4-01: MODE The TG500 features a dual-processor effect system that includes 90 top- quality digital effects. Two different effects can be connected in series orparallel, providing an extensive range of possible configurations. Mode Range: 0:off, 1:seria...

Page 193 - fected by keyboard dynamics and key scaling.; DRM EF Send Sens

181 DRUM VOICE EDIT MODE / 4: Effect 4-04: SEND SENSITIVITY These parameters determine how the effect send level of each drum key is af- fected by keyboard dynamics and key scaling. DRM EF Send Sens C 4 Vel= 0 Key (Key number) Range: C1 … C5 Selects the the drum key to be edit...

Page 194 - DRM Output

182 4-05: OUTPUT DRUM VOICE EDIT MODE / 4: Effect 4-05: OUTPUT These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur atOUTPUT 1 and OUTPUT 2. Individual settings can be made for each drum key....

Page 196 - DRM EF Wet:Dry

184 4-07: WET:DRY DRUM VOICE EDIT MODE / 4: Effect 4-07: WET:DRY The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound.The parameters provided in this screen provide precise balance control. DRM EF...

Page 198 - rameters in these three screens to fine-tune the effect.

186 4-09: PARAMETER 1 / 4-10: PARAMETER 2 DRUM VOICE EDIT MODE / 4: Effect 4-09: PARAMETER 1 / 4-10: PARAMETER 2 Each of the TG500’s 90 effects has 8 parameters that can be edited via the pa- rameters in these three screens to fine-tune the effect. DRM EF1 Param <Rev.Time> 1. 2 0.8 8 (...

Page 199 - è O u t 1 _ W e

187 4-11: CONTROL 1 / 4-12: CONTROL 2 DRUM VOICE EDIT MODE / 4: Effect 4-11: CONTROL 1 / 4-12: CONTROL 2 MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performancemodes. The parameters provided in t...

Page 203 - DRM EF Copy from?; DRM EF Copy Sure?

191 EFFECT DATA COPY DRUM VOICE EDIT MODE / 4: Effect EFFECT DATA COPY This function facilitates drum voice editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the currentdrum voice. You can copy an effect setup that is close to the...

Page 206 - DRM Initialize Sure?

194 5-2: INITIALIZE DRUM VOICE EDIT MODE / 5: Recall/Init. 5-2: INITIALIZE When you want to program a totally new drum voice “from scratch,” rather than editing an existing voice, use this function to initialize all parameters. DRM Initialize Type= 1 Use the [-1/NO] and [+...

Page 207 - DRUM VOICE COMPARE; drum voice being edited with the same drum voice prior to editing.

195 DRUM VOICE COMPARE DRUM VOICE EDIT MODE / 5: Recall/Init. DRUM VOICE COMPARE The drum voice compare function makes it possible to compare the sound of a drum voice being edited with the same drum voice prior to editing. To temporarily recall the original drum voice data while editing, press the ...

Page 208 - DRM STORE É63œ:DR Kit; DRM STORE É63œ:DR Kit

196 DRUM VOICE EDIT MODE / 5: Recall/Init. DRUM VOICE STORE When you’re satisfied with a new drum voice you’ve created in the drum voice edit mode, use the store function described below to store the new drum voice to aninternal or card memory location. DRM STORE É63œ:DR Kit ¥ ¡63 :DR Rev...

Page 209 - MULTI EDIT MODE

MULTI EDIT MODE 1: Parameter .............................. 199 2: Name ..................................... 202 3: Initialize ................................ 203 4: Effect ..................................... 204 4-01: Mode ................................. 2044-02: Type ...........................

Page 210 - MULTI INSTRUMENT SELECTION; MLT é è

198 MULTI EDIT MODE MULTI INSTRUMENT SELECTION MULTI INSTRUMENT SELECTION TG500 multi setups have 16 separate “instruments” controllable via the corre- sponding MIDI channels. The multi edit mode functions allow each instrument to beindividually set up as required. The instrument to be edited in the...

Page 211 - VÉ; MLT EfSend NtShft Tune

199 MULTI EDIT MODE / 1: Parameter PARAMETER 1: PARAMETER Each TG500 “multi setup” that can have up to 16 voices or performance combina- tions assigned to “instruments” 1 trough 16. Each instrument is controlled via thecorrespondingly numbered MIDI channel. These screens let you assign voices to eac...

Page 212 - Please note that if the “Src” parameter in the “4-03: SEND” screen (page; PARAMETER

200 Voice Range: ----, Any voice or performance combination. The cursor can be placed at two locations in the voice number parameter: under the “P” or “V” to the left of the number, and under the number itself.With the cursor at the leftmost position select “P” if you want to assign aperformance com...

Page 213 - set to “off” or “drm”.

201 NtShft (Note shift) Range: -63 … +63 Individually shifts the pitch of the currently selected instrument up or down in semitone steps. A setting of “-12,” for example, shifts the pitch of the se-lected instrument down by one octave; a setting of “+4” shifts the pitch up bya major third. Please no...

Page 214 - NAME; M L T N A M E

202 MULTI EDIT MODE / 2: Name NAME 2: NAME Your original multi setups should naturally have original names. This function can be used to assign a name of up to 8 characters to the current multi setup. M L T N A M E ´00-[ M yMulti ] Name Range: See characte...

Page 215 - INITIALIZE; MLT Initialize; See page 293 for initial multi parameters.

203 MULTI EDIT MODE / 3: Initialize INITIALIZE 3: INITIALIZE When you want to program a totally new multi setup “from scratch,” rather than editing an existing setup, use this function to initialize all multi parameters. MLT Initialize Press ...

Page 216 - MLT EF Mode

204 MULTI EDIT MODE / 4: Effect 4-01: MODE 4-01: MODE Mode Range: 0:off, 1:serial, 2:parallel Determines whether the TG500’s two effect processors are connected in series (“1:serial”) or in parallel (“2:parallel”), or whether the entire effectsystem is turned off (“0:off”). See page 251 for effect m...

Page 217 - EFFECT 1 and EFFECT 2 signal processors.

205 MULIT EDIT MODE / 4: Effect 4-02: TYTE 4-02: TYPE These parameters assign any of the TG500’s 90 effects independently to the EFFECT 1 and EFFECT 2 signal processors. Ef1 Type MLT EF Type (EQ ¥ Rev1 ) Ef1:5 0 Ef2:52 Ef1 Type Range: 0 … 90 Selects any of the TG500’s 90 effect types for...

Page 218 - ML; Src

206 MULIT EDIT MODE / 4: Effect 4-03: SEND 4-03: SEND The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each instrument is sent, and at what level. 2b MLT EF Send [ 1] <Src> ML T 127 on on on on The instrument to be edited ...

Page 225 - given to the last data received.

213 MULIT EDIT MODE / 4: Effect 4-10: CONTROL 1 / 4-11: CONTROL 2 4-10: CONTROL 1 / 4-11: CONTROL 2 MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performancemodes. The parameters provided in these ...

Page 229 - MLT EF Copy from?; MLT EF Copy Sure?

217 MULIT EDIT MODE / 4: Effect EFFECT DATA COPY EFFECT DATA COPY This function facilitates multi editing by allowing the effect parameters from any other performance combination, voice, or multi setup to be copied to the current multisetup. You can copy an effect setup that is close to the type you...

Page 230 - 0:EQ ¥ Rev1 ØËÔÁîîîîÎ

218 MULIT EDIT MODE / 4: Effect EFFECT SIGNAL FLOW DISPLAY EFFECT SIGNAL FLOW DISPLAY 50:EQ ¥ Rev1 ØËÔÁîîîîÎ 5 2 : E Q ¥ E R Ø Ø Ø Ø Ø Ë Ô Á This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode. In the effect edit mode...

Page 232 - setting of “+4” shifts the pitch up by a major third.; voices or multi-play setups are switched.; 0 off; CtlRst

220 UTILITY MODE / WAVE EDIT MODE / 1: System 1-1: SETUP 1-1: SETUP NtShft (Note shift) Range: -63 … +63 Shifts the overall pitch of the TG500 up or down in semitone steps.A setting of “-12,” for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch up by a major third. Tu...

Page 233 - Effect Bypass; This parameter turns the entire TG500 effect system on or off.; UTL SYSTEM

221 UTILITY MODE / WAVE EDIT MODE / 1: System 1-2: EFFECT BYPASS 1-2: EFFECT BYPASS Effect Bypass Range: off, on When effect bypass is turned “off” the TG500 effect system is active and the effect sound will be delivered via the TG500 outputs. When turned “on,”the internal effect system is completel...

Page 234 - Output; When set to “norm,” the stereo outputs (OUTPUT L and R) and individual

222 UTILITY MODE / WAVE EDIT MODE / 1: System 1-3: OUTPUT 1-3: OUTPUT Output Range: norm, indiv When set to “norm,” the stereo outputs (OUTPUT L and R) and individual outputs 1 and 2 are active. In this case individual outputs 3 and 4 can not beused. When “indiv” is selected individual outputs 3 and...

Page 235 - MIDI Controllers 1 ... 4

223 UTILITY MODE / WAVE EDIT MODE / 2: Controller 2-1: MIDI CONTROL 2-1: MIDI CONTROL The four parameters provided in this screen allow any MIDI control device num- bers to be assigned to TG500 controllers 1, 2, 3, and 4 (MC1, MC2, MC3, andMC4). UTL CTRL MC (Mod.Whl.) 1:001 2:004 3:018 4:109 MIDI...

Page 237 - overall volume level.; Volume= 007

225 UTILITY MODE / WAVE EDIT MODE / 2: Controller 2-2: VOLUME CONTROL 2-2: VOLUME CONTROL This parameters specifies which MIDI control device will control the TG500’s overall volume level. UTL CTRL (Main Vol) Volume= 007 Volume Range: 000 … 119 The normal setting for this parameter i...

Page 239 - munication between the TG500 and other MIDI instruments.; omni direct all; Sets the MIDI receive channel to any channel between 1 and 16, or the; PgmCh; DevNo

227 UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-1: PARAMETER 3-1: PARAMETER The MIDI channel parameters provided here are essential to ensure proper com- munication between the TG500 and other MIDI instruments. UTL MIDI Param <Rch > omni direct all Rch (Receive channel) Range: 1 … 16, ...

Page 241 - Sets the TG500 MIDI device number — i.e. the MIDI channel on which all

229 3-1: PARAMETER UTILITY MODE / WAVE EDIT MODE / 3: MIDI When “table” is selected, transmission conforms to the program change table (see “3-4: PROGRAM CHANGE TABLE,” below), while reception is thesame as in the “direct” mode, above. DevNo (Device number) Range: off, 1 … 16, all Sets the TG500 MID...

Page 242 - on off on; CtrlCh; BulkPr

230 UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-2: FILTER 3-2: FILTER More MIDI parameters that determine how the TG500 responds to external MIDI control. UTL MIDI Filter <BulkPr> on off on BulkPr (Bulk receive protect) Range: off, on Enables or disables bulk data reception. When thi...

Page 243 - The various data types are as follows:

231 UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-3: BULK DUMP 3-3: BULK DUMP Initiates MIDI bulk transmission of the selected voice, performance, multi-play, and/or system data. UTL MIDI Bulk Dump Type= 1:all Type Range: all, 1 PFM, 1VCE, 1 MLT The various data types are as follows: 1: ...

Page 244 - Source

232 UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-4: PROGRAM CHANGE TABLE 3-4: PROGRAM CHANGE TABLE These parameters determine which voice, performance combination, or multi setup will be selected when a specific MIDI program change number is received. UTL MIDI PC Tbl <PgmNo > 000 VCE ¡00:AP Bri...

Page 245 - plugged into the DATA 1 and DATA 2 slots.

233 UTILITY MODE / WAVE EDIT MODE / 4: Card 4-1: BANK 4-1: BANK This function is used to select bank 1 or 2 of Yamaha MCD64 memory cards plugged into the DATA 1 and DATA 2 slots. UTL Card Bank (TG500 ) Slot1= 1 Slot2= 1 Slot1, Slot2 (Slot 1 and slot 2 card banks) Range: 1, 2 Each MCD64 memory...

Page 246 - memory card plugged into the DATA 1 or DATA 2 card slot.; UTL Card Load

234 UTILITY MODE / WAVE EDIT MODE / 4: Card 4-2: LOAD 4-2: LOAD Loads all internal voices and performance combinations from a Yamaha MCD64 memory card plugged into the DATA 1 or DATA 2 card slot. UTL Card Load Slot=1 Bank=1 (TG500 ) Position the cursor at the “Slot=” parameter and selec...

Page 247 - memory card plugged into to the DATA 1 or DATA 2 card slot.; UTL Card Save

235 UTILITY MODE / WAVE EDIT MODE / 4: Card 4-3: SAVE 4-3: SAVE Saves all internal voices and performance combinations to a Yamaha MCD64 memory card plugged into to the DATA 1 or DATA 2 card slot. UTL Card Save Slot=1 Bank=1 (TG500 ) Position the cursor at the “Slot=” parameter and sele...

Page 249 - WAVE; U T L W A V E

237 UTILITY MODE / WAVE EDIT MODE / 5: Wave WAVE This function only appears if one or two SYEMB06 Memory Expansion Boards are installed in the TG500 expansion memory slot (see page 282 for details on memoryexpansion). Specifies the number of the waveform to be edited using the WAVE EDIT func- tions ...

Page 250 - THE WAVE EDIT MODE; The wave edit mode can only be accessed if one or two SYEMB06 Memory

238 UTILITY MODE / WAVE EDIT MODE THE WAVE EDIT MODE THE WAVE EDIT MODE Unlike the other TG500 edit modes, the WAVE mode is not directly accessed from a play mode. To access the WAVE mode, press the [EDIT/COMPARE] keywhile utility mode “UTL WAVE” screen (“5: Wave”) is showing. The wave edit mode can...

Page 251 - UTL Waveform Assign; The “From” and “To” parameters specify the range of samples to be as-

239 UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-1: ASSIGN 1-1: ASSIGN UTL Waveform Assign (InitWave) From - - To -- From, To (Sample number range) Range: 00 … 63 The “From” and “To” parameters specify the range of samples to be as- signed to the current waveform. “From” specifies the first s...

Page 252 - Turns waveform assignment on or off.; UTL Waveform Enable; Enable

240 UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-2: ENABLE 1-2: ENABLE Turns waveform assignment on or off. UTL Waveform Enable (InitWave) of f Enable Range: off, on Set to “on” to turn wave assignment on. If wave assignment is turned “off”, “---” appears in place of the “From” and “To”...

Page 253 - UTL Waveform Name

241 UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-3: NAME 1-3: NAME This function can be used to assign a name of up to 8 characters to the current sample. UTL Waveform Name [ I nitWave] Name Range: See character list, below Use the [ ,] key to move the character cursor to the le...

Page 254 - SAMPLE; G 3 C 3 C 4; waveform will be assigned.

242 UTILITY MODE / WAVE EDIT MODE / 2: Sample SAMPLE SAMPLE The parameters in the first screen here are used to “map” the samples assigned to the waveform to specific regions of the keyboard. If more than one sample is as-signed, start by selecting the sample you want to map via the “SmplNo” paramet...

Page 255 - which the selected sample will sound.; FOn

243 UTILITY MODE / WAVE EDIT MODE / 2: Sample SAMPLE LoKey/HiKey (Low and high key limits) Range: C-2 … G8 These parameters specify the lowest and highest notes on the keyboard on which the selected sample will sound. If “Low” is set to “C1” and “High” is set to “C3”, for example, then the current s...

Page 257 - UTL WAVE Init.

245 UTILITY MODE / WAVE EDIT MODE / 3: Initialize INITIALIZE This function erases and initializes all wave memory, the specified type of wave memory, or a single specified sample. INITIALIZE UTL WAVE Init. UTL WAVE Init. Sure? Press [ENTER] to begin the wave initialize procedure. The f...

Page 258 - UTL Sample Receive; sample; UTL Sample Receive Sure?

246 UTILITY MODE / WAVE EDIT MODE / 4: Sample Dump 4-1: SAMPLE RECEIVE This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the exter-nal MIDI device, since the TG500 transmits a sample dump request message t...

Page 260 - CARD LOAD

248 UTILITY MODE / WAVE EDIT MODE / 5: Card Load CARD LOAD CARD LOAD Loads all samples from a pre-programmed card plugged into the WAVEFORM 2 card slot. Plug the memory card containing the waveform data you want to load into the WAVEFORM 2 slot, then press [ENTER] to begin the card load procedure. P...

Page 263 - The 90 effects are further divided into three types:; EFFECTS

251 EFFECTS Appendix The TG500 features a sophisticated effect system that affords extraordinary sound-shaping potential. It includes two separate effect processors — referredto a EFFECT 1 and EFFECT 2 in this manual — that can be connected eitherin series or in parallel via the effect “Mode” parame...

Page 264 - The “Dual” effects include two effects connected in parallel.

252 Appendix EFFECTS The “Cascade” effects actually include two effects connected in a cascade configuration. Effect number 33 (Flg → Rev), for example, includes cascaded flanger and reverb. The “Dual” effects include two effects connected in parallel. Clearly, the possibilities for combining effect...

Page 273 - Drum Voice; In the diagrams a diamond (

261 EFFECTS Appendix ■ Effect Signal Flow Diagrams — Drum Voice, Performance,and Multi Modes The following diagrams illustrate effect signal flow with different effect mode and effect type combinations in the drum voice, performance, and songmodes. The “Tone Generator” block has slightly different m...

Page 283 - The Effects & Their Parameters; Parameters with “; “Single” Effects

271 EFFECTS Appendix ■ The Effects & Their Parameters ■ ✩ Parameters with “ B” in the QE column are editable in the Quick Edit modes. • 00 : Through No. PARAMETER RANGE QE 1~8 — — • 01 : Rev. Hall1 No. PARAMETER RANGE QE 1 Rev.Time [s] 0.3 ~ 30.0s 2 High 0.1 ~ 1.5 3 Dffusion 0 ~ 10 4 Density 0 ~...

Page 286 - “Cascade” Effects

274 Appendix EFFECTS “Cascade” Effects • 32 : Echo → Rev No. PARAMETER RANGE QE 1 L Dly [ms] 0 ~ 200ms 2 L FB Gain [%] -99 ~ +99% 3 R Dly [ms] 0 ~ 200ms 4 R FB Gain [%] -99 ~ +99% 5 Rev.Time [s] 0.3 ~ 30.0s 6 High 0.1 ~ 1.5 7 LPF [kHz] 1.0 ~ 16.0kHz, thru 8 Rev Lvl [%] 0 ~ 100% • 31 : Dly → Rev No. ...

Page 290 - “Dual” Effects

278 Appendix EFFECTS “Dual” Effects • 62 : Echo & Rev No. PARAMETER RANGE QE 1 L Dly [ms] 0 ~ 200ms 2 L FB Gain [%] -99 ~ +99% 3 R Dly [ms] 0 ~ 200ms 4 R FB Gain [%] -99 ~ +99% 5 Rev.Time [s] 0.3 ~ 30.0s 6 High 0.1 ~ 1.5 7 ER/Rev [%] 0 ~ 100% 8 LPF [kHz] 1.0 ~ 16.0kHz, thru • 61 : Hall & Pla...

Page 294 - Installation of the SYEMB06; Installation of the SYEMB06 Expansion Memory Board

282 Appendix EFFECTS Turn the TG500 power switch off and disconnect the AC power cord from themain outlet. Locate the small cover on the top of the TG500 and remove the two screws thathold it in place (Figure 1). Below the cover you will see a recessed panel (Figure 2). When installing a singleSYEMB...

Page 321 - WAVE LIST

309 INITIAL DATA Appendix Wave No. Group Wave Name A/B 1 Piano Piano A 2 Key HardEp A 3 HardEpLp A 4 SoftEp A 5 SoftEpLp A 6 SynthEp A 7 SynthEpLp A 8 Clavi 1 A 9Clavi 1Lp A 10 Clavi 2 A 11 Clavi 2Lp A 12 Harpsi A 13 HarpsiLp A 14 Acrdion A 15 AcrdionLp A 16 Organ 1 A 17 Organ 1Lp A 18 PrcOrg1 B 19P...

Page 322 - Preset 2

310 Appendix INITIAL DATA Wave No. Group Wave Name A/B 201 Timbale A 202 Timbale2 A 203 Triangle A 204 Whistle B 205 SE Bottle B 206 E.P. Np B 207 Bamboo B 208 Temp Ra B 209Typist B 210 VoiceAtk A 211 ChouCho B 212 Vox Bell B 213 Mellow B 214 Bell Mix B 215 Seq1 B 216 Seq2 B 217 OrchHit1 B 218 OrchH...

Page 323 - SPECIFICATIONS; Data slot

311 SPECIFICATIONS Appendix SPECIFICATIONS Tone Generator Systems AWM2 (2nd-generation Advanced Wave Memory),64-note polyphony Internal Memory Wave ROM: 8 megabytesWave RAM: Expandable to 1 megabyte (optional SYEMB06 × 2) Preset ROM: 256 voices, 128 Performance combinationsInternal RAM: 128 voices, ...

Page 324 - ERROR MESSAGES; MIDI

312 Appendix ERROR MESSAGES ERROR MESSAGES ● MIDI COMMENTS DISPLAY Bulk ` protected ` ! Device ` No. ` is ` off ` ! Device ` No. ` mismatch ` ! MIDI ` buffer ` full ` ! MIDI ` data ` error ` ! MIDI ` checksum ` err ` ! When the TG500 attempted to receive or transmit a largeamount of MIDI data, its h...

Page 325 - Data card

313 ERROR MESSAGES Appendix ● Data card DISPLAY COMMENTS Data ` Card ` not ` ready ` ! Card ` protected ` ! Illegal ` format ` ! The data card is not correctly inserted into the slot. Since the memory protect switch of the card is on, datacannot be saved to the card. The card is the wrong format. Ve...

Page 326 - Sample

314 Appendix ERROR MESSAGES ● Sample COMMENTS DISPLAY Over `` waveform ` number ` ! Over ` Sample ` number ` ! Sample ` memory ` full ` ! Sample data not exists ` ! Since the sample memory is full, further loading of sampledata is not possible. Since the waveform card is write protected, data save a...

Page 327 - TROUBLE SHOOTING; Listen Via Headphones.; The following are some common problems and probable causes:

315 TROUBLE SHOOTING Appendix TROUBLE SHOOTING The TG500 is a very versatile instrument with many features and functions that affect operation. In many cases, what appears to be a fault with the TG500 can actually be traced to an improperly setparameter or, at the most fundamental level, to somethin...

Page 328 - Voice Mode Problems; Multi Mode Problems; Other Problems

316 Appendix TROUBLE SHOOTING ● Voice Mode Problems Symptom Possible Cause No Sound Wrong pitch. Unstable/indefinite pitch. • Is the pitch envelope generator set properly? If the L0 through L3 param- eters are set too low, the resultant pitch may be below the audible range(page 131). • Is the filter...

Page 329 - Card; INDEX

317 INDEX Appendix Cutoff frequency depth ............................... 143, 146 D Data backup ................................................................ 4Data card slots .................................................. 10, 17Decay rate ........................................................

Page 330 - Edit

318 Appendix INDEX Initial drum voice data ........................................ 285Initial multi data ................................................... 293Initial performance data ...................................... 283Initial performance list (Internal) ...................... 302Initial pe...

Page 332 - Velocity

320 Appendix INDEX Scale point .................................................... 115, 117Send key scaling ..................................................... 79Send level ................................................................ 78Single effect parameters ...................................

Yamaha TG500 - Manual

Table of Contents:

Other Manuals for Yamaha TG500

Summary

Other Yamaha Models