Casio CTK-900 Organ Musical Instrument User Manual

CTK900-ES-1

CASIO Europe GmbH

Bornbarch 10, 22848 Norderstedt, Germany

Important!

Please note the following important information before using this product.

•

Before using the optional AD-5 Adaptor to power the unit, be sure to check the AC Adaptor

for any damage first. Carefully check the power cord for breakage, cuts, exposed wire and

other serious damage. Never let children use an AC adaptor that is seriously damaged.

• Never attempt to recharge batteries.

• Do not use rechargeable batteries.

• Never mix old batteries with new ones.

• Use recommended batteries or equivalent types.

• Always make sure that positive (+) and negative (–) poles are facing correctly as indicated

near the battery compartment.

• Replace batteries as soon as possible after any sign they are getting weak.

• Do not short-circuit the battery terminals.

• The product is not intended for children under 3 years.

• Use only CASIO AD-5 adaptor.

• The AC adaptor is not a toy.

• Be sure to disconnect the AC adaptor before cleaning the product.

GUIDELINES LAID DOWN BY FCC RULES FOR USE OF THE UNIT IN THE U.S.A. (not applicable to other areas).

NOTICE

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in

accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee

that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or

television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct

the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

FCC WARNING

Changes or modifications not expressly approved by the party responsible for compliance could void the user’s authority

to operate the equipment.

707A-E-002A

This mark applies in EU countries only.

Safety Precautions

E-1

Safety Pre cautions

Congratulations on your selection of the CASIO electronic

musical instrument.

• Before using the instrument, be sure to carefully read

through the instructions contained in this manual.

• Please keep all information for future reference.

Symbols

Various symbols are used in this user’s guide and on the

product itself to ensure that the product is used safely and

correctly, and to prevent injury to the user and other persons

as well as damage to property. Those symbols along with

their meanings are shown below.

DANGER

This symbol indicates information that, if ignored or applied

incorrectly, creates the danger of death or serious personal

injury.

WARNING

This indication stipulates matters that have the risk of

causing death or serious injury if the product is operated

incorrectly while ignoring this indication.

CAUTION

This indication stipulates matters that have the risk of

causing injury as well as matters for which there is the

likelihood of occurrence of physical damage only if the

product is operated incorrectly while ignoring this

indication.

Symbol Examples

This triangle symbol ( ) means that the user

should be careful. (The example at left indicates

electrical shock caution.)

This circle with a line through it ( ) means that

the indicated action must not be performed.

Indications within or nearby this symbol are

specifically prohibited. (The example at left

indicates that disassembly is prohibited.)

The black dot ( ) means that the indicated

action must be performed. Indications within

this symbol are actions that are specifically

instructed to be performed. (The example at left

indicates that the power plug must be unplugged

from the electrical socket.)

Alkaline Batteries

Perform the following steps immediately if fluid

leaking from alkaline batteries ever gets into

your eyes.

1. Do not rub your eyes! Rinse them with

water.

2. Contact your physician immediately.

Leaving alkaline battery fluid in your eyes can

lead to loss of sight.

Smoke, Strange Odor, Overheating

Continued use of the product while it is

emitting smoke, a strange odor, or heat creates

the risk of fire and electric shock. Take the

following steps immediately.

1. Turn off power.

2. If you are using the AC adaptor for power,

unplug it from the wall outlet.

3. Contact your original retailer or an

authorized CASIO Service Provider.

AC Adaptor

● Misuse of the AC adaptor creates the risk of

fire and electric shock. Always make sure

you observe the following precautions.

• Be sure to use only the AC adaptor that is

specified for this product.

• Use only a power source whose voltage is

within the rating marked on the AC

adaptor.

• Do not overload electrical outlets and

extension cords.

● Misuse of the AC adaptor’s electric cord can

damage or break it, creating the risk of fire

and electric shock. Always make sure you

observe the following precautions.

• Never place heavy objects on the cord or

subject it to heat.

• Never try to modify the cord or subject it to

excessive bending.

• Never twist or stretch the cord.

• Should the electric cord or plug become

damaged, contact your original retailer or

authorized CASIO Service Provider.

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Safety Precautions

E-2

● Never touch the AC adaptor while your hands

are wet.

Doing so creates the risk of electric shock.

● Use the AC adaptor where it will not be

splashed with water. Water creates the risk of

fire and electric shock.

● Do not place a vase or any other container

filled with liquid on top of the AC adaptor.

Water creates the risk of fire and electric shock.

Batteries

Misuse of batteries can cause them to leak,

resulting in damage to nearby objects, or to

explode, creating the risk of fire and personal

injury. Always make sure you observe the

following precautions.

• Never try to take batteries apart or allow them

to become shorted.

• Never expose batteries to heat or dispose of

them by incineration.

• Never mix old batteries with new ones.

• Never mix batteries of different types.

• Do not charge the batteries.

• Make sure the positive (+) and negative (–)

ends of the batteries are facing correctly.

Do not incinerate the product.

Never throw the product into fire.

Doing so can cause it to explode, creating the risk

of fire and personal injury.

Water and Foreign Matter

Water, other liquids, and foreign matter (such as

pieces of metal) getting into the product create

the risk of fire and electric shock. Take the

following steps immediately.

1. Turn off power.

2. If you are using the AC adaptor for power,

unplug it from the wall outlet.

3. Contact your original retailer or an

authorized CASIO Service Provider.

Disassembly and Modification

Never try to take this product apart or modify it

in any way. Doing so creates the risk of electric

shock, burn injury, or other personal injury.

Leave all internal inspection, adjustment, and

maintenance up to your original retailer or

authorized CASIO Service Provider.

Dropping and Impact

Continued use of this product after it has been

damaged by dropping or subjecting it to strong

impact creates the risk of fire and electric shock.

Take the following steps immediately.

1. Turn off power.

2. If you are using the AC adaptor for power,

unplug it from the wall outlet.

3. Contact your original retailer or an

authorized CASIO Service Provider.

Plastic Bags

Never place the plastic bag the product comes in

over your head or in your mouth. Doing so

creates the risk of suffocation.

Particular care concerning this precaution is

required where small children are present.

Keep off of the product and stand.*

Climbing onto the product or stand can cause it

to tip over or become damaged. Particular care

concerning this precaution is required where

small children are present.

Location

Avoid locating the product on an unstable

stand, on an uneven surface, or any other

unstable location. An unstable location can

cause the product to fall over, creating the risk

of personal injury.

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E-3

Safety Precautions

AC Adaptor

● Misuse of the AC adaptor creates the risk of

fire and electric shock. Always make sure

you observe the following precautions.

• Do not locate the electric cord near a stove

or other sources of heat.

• Never pull on the cord when unplugging

from the electrical outlet. Always grasp

the AC adaptor when unplugging.

● Misuse of the AC adaptor creates the risk of

fire and electric shock. Always make sure

you observe the following precautions.

• Insert the AC adaptor into the wall outlet as

far as it will go.

• Unplug the AC adaptor from the wall

outlet during lightening storms or before

leaving on a trip or other long-term

absence.

• At least once a year, unplug the AC

adaptor from the wall outlet and wipe

away any dust that is built up in the area

around the prongs of the plug.

Relocating the Product

Before relocating the product, always unplug

the AC adaptor from the wall outlet and

disconnect all other cables and connecting cords.

Leaving cords connected creates the risk of

damage to the cords, fire, and electric shock.

Cleaning

Before cleaning the product, always unplug the

AC adaptor from the wall outlet first. Leaving

the AC adaptor plugged in creates the risk of

damage to the AC adaptor, fire, and electric

shock.

Batteries

Misuse of batteries can cause them to leak

resulting in damage to nearby objects, or to

explode, creating the risk of fire and personal

injury. Always make sure you observe the

following precautions.

• Use only batteries that are specified for use

with this product.

• Remove batteries from the product if you do

not plan to use it for a long time.

Connectors

Connect only the specified devices and

equipment to the product’s connectors.

Connection of a non-specified device or

equipment creates the risk of fire and electric

shock.

Location

Avoid the following locations for this product.

Such locations create the risk of fire and electric

shock.

• Areas subject to high humidity or large

amounts of dust

• In food preparation areas or other areas

subject to oil smoke

• Near air conditioning equipment, on a

heated carpet, in areas exposed to direct

sunlight, inside of a vehicle parked in the

sun, or any other area that subjects the

product to high temperatures

Display Screen

• Never push on the display screen’s LCD panel

or subject it to strong impact. Doing so can

cause the LCD panel’s glass to crack, creating

the risk of personal injury.

• Should the LCD panel ever crack or break,

never touch the liquid inside of the panel.

LCD panel liquid can cause skin irritation.

• Should LCD panel liquid ever get inside your

mouth, immediately wash out your mouth

with water and contact your physician.

• Should LCD panel liquid ever get into your

eyes or onto your skin, rinse with clear water

for at least 15 minutes, and then contact a

physician.

Sound Volume

Do not listen to music at very loud volumes for

long periods. Particular care concerning this

precaution is required when using headphones.

High volume settings can damage your hearing.

Heavy Objects

Never place heavy object on top of the product.

Doing so can make the product top heavy,

causing the product to tip over or the object to

fall from it, creating the risk of personal injury.

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Safety Precautions

E-4

* Stand is available as an option.

When using batteries, be sure to replace them or shift to one of

the alternate power sources whenever you notice any of the

following symptoms.

• Dim power indicator

• Instrument does not turn on

• Display that is flickering, dim, or difficult to read

• Abnormally low speaker/headphone volume

• Distortion of sound output

• Occasional interruption of sound when playing at high

volumes

• Sudden power failure when playing at high volumes

• Flickering or dimming of the display when playing at high

volume

• Continued sound output even after you release a key

• A tone that is totally different from the one that is selected

• Abnormal rhythm pattern and demo tune play

• Loss of power, sound distortion, or low volume when playing

from a connected computer or MIDI device

•

Correct Stand* Assembly

An incorrectly assembled stand can tip over,

causing the product to fall and creating the risk

of personal injury.

Make sure you assemble the stand correctly,

following the assembly instructions that come

with it. Make sure you mount the product on the

stand correctly.

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Introduction

E-5

Introduction

Congratulations upon your selection of this CASIO musical instrument. This keyboard provides you with the following features

and functions.

J 550 Tones Include Rich Advanced Tones

A total of 332 Advanced Tones are programmed with DSP tones to make them richer and more powerful. Advanced tones like

Stereo Piano and Tremolo Electric Piano enhance the Piano and Electric Piano tones to create a totally new sound.

J 50 Drawbar Organ Tones

In addition to the 550 standards tones, the keyboard also includes 50 realistic drawbar organ tones. Drawbar organ tones can be

controlled using nine digital drawbars. You can also select percussion or key click, and even edit the parameters of preset tone and

save up to 100 original tones in user tone memory.

J Flash Memory

Built-in Flash memory lets you expand your selection of tones and rhythms by downloading data from the CASIO MUSIC SITE, or

by the CD-ROM that comes bundled with the keyboard. You can also store up to 200 SMF format music files for playback.

J PIANO SETTING Button

The press of a button optimizes the keyboard setup for piano play.

J 160 Preset Rhythms + 16 User Rhythms

A selection of 160 rhythms includes accompaniments for everything from rock to pops and jazz.

You can also transfer accompaniment data from your computer and store up to 16 of them as user rhythms in keyboard memory.

J Auto Accompaniment

Simply play a chord and the corresponding rhythm, bass and chord parts play automatically. One-touch Preset instantly recalls the

most suitable tone and tempo settings to match the rhythm you are using.

J Big, Information-packed Display

A big built-in display shows chord names, tempo setting, keyboard information, staff notation of notes played, and more for full

support of all your keyboard play. A built-in backlight keeps the display easy to read, even in total darkness.

J Song Memory

Record up to six parts in memory, along with their tone, volume, pan position, and other parameters for later playback. Realistic

ensemble play can also be created using the Auto Accompaniment function.

J Synthesizer Mode

Edit built-in sounds to produce your own original creations. Up to 120 of your own sounds can be stored in memory for recall, just

like the built-in tones.

J General MIDI compatibility

The General MIDI tones of this keyboard let you connect to a personal computer to enjoy “desktop music” capabilities. This

keyboard can be used as a desktop music input device or sound source, and it's just the thing for playback of commercially available

pre-recorded General MIDI music software.

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Introduction

E-6

J Powerful effects

A collection of powerful effects, such as DSP, reverb, chorus, and more, give you total control over the type of sound you want. You

can even change the parameters of an effect to create your own, original effects. A 4-band equalizer is also included.

J Mixer

You can specify tone, volume, pan position, and other parameters for each built-in Auto Accompaniment part. You can also control

the same parameters for each channel during MIDI input.

J Registration Memory

Keyboard setups can be stored in memory for later recall and instant set up whenever you need them. Up to 32 setups (4 setups ×

8 banks) can be stored in registration memory.

J Data download from your computer

You can use your computer to download data from the CASIO MUSIC SITE.

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Contents

E-7

Safety Precautions......... E-1

Introduction .................... E-5

General Guide................. E-9

Attaching the Score stand ...................E-10

Playing a Demo Tune..........................E-11

Power Supply ............... E-12

Using batteries ....................................E-12

Using the AC Adaptor .........................E-13

Auto Power Off....................................E-13

Turning Off the Keyboard....................E-14

Memory Contents................................E-14

Connections ................. E-15

Basic Operations.......... E-16

To play the keyboard...........................E-16

Selecting a Tone .................................E-16

PIANO SETTING Button .....................E-18

Using the Drawbar

Organ Mode .................. E-19

To select a drawbar organ tone ..........E-20

To edit a drawbar organ tone ..............E-20

Parameter Details ...............................E-21

To save an edited drawbar

organ tone...........................................E-22

Applying Effects to

Tones.............................E-23

Effect Blocks....................................... E-23

Selecting a DSP Type ........................ E-23

DSP Button......................................... E-25

Selecting REVERB............................. E-25

Selecting CHORUS ............................ E-26

Using the Equalizer ............................ E-27

Auto

Accompaniment ........... E-28

About the MODE button ..................... E-28

Selecting a Rhythm ............................ E-29

Playing a Rhythm ............................... E-29

Adjusting the Tempo .......................... E-29

Using Auto Accompaniment ............... E-30

Using an Intro Pattern ........................ E-32

Using a Fill-in Pattern ......................... E-32

Using a Rhythm Variation................... E-32

Synchro Starting Accompaniment

with Rhythm Play................................ E-33

Finishing with an Ending Pattern........ E-33

Using One-touch Preset ..................... E-34

Using Auto Harmonize ....................... E-34

Adjusting the Accompaniment

Volume ............................................... E-35

Mixer Function.............. E-36

What you can do with the Mixer ......... E-36

Turning Channels On and Off ............ E-36

Using the Parameter Edit Mode ......... E-37

How Parameters Work ....................... E-38

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Contents

E-8

Synthesizer Mode......... E-40

Synthesizer Mode Functions...............E-40

Creating a User Tone..........................E-43

Storing a User Tone In Memory ..........E-45

Registration Memory ... E-46

Registration Memory Features............E-46

To Save a Setup in Registration

Memory ...............................................E-47

To Recall a Setup from Registration

Memory ...............................................E-48

Song Memory Function

... E-49

Tracks .................................................E-49

Basic Song Memory operations ..........E-50

Using Real-time Recording .................E-50

Mixer Mode Settings ...........................E-51

Playing Back from Song Memory........E-52

Recording Melody and Chords

with Step Recording ............................E-52

Recording Multiple Tracks...................E-55

Correcting Mistakes While Step

Recording............................................E-57

Editing Memory Contents....................E-58

Editing a Song.....................................E-59

Keyboard Settings ....... E-61

Using Layer.........................................E-61

Using Split ...........................................E-62

Using Layer and Split Together...........E-63

Transposing the Keyboard ..................E-64

Using Touch Response.......................E-64

Tuning the Keyboard...........................E-65

Changing Other Settings.....................E-66

Using the SMF Player... E-71

Playing Back an SMF ......................... E-73

Configuring Other Settings ................. E-73

MIDI................................ E-75

What is MIDI?..................................... E-75

General MIDI ...................................... E-75

MIDI Settings...................................... E-75

Using the Music Data Management

Software (on the Bundled CD-ROM)

.. E-76

Troubleshooting ........... E-78

Specifications ............... E-80

Care of your

Instrument..................... E-82

DSP Algorithm List....... E-83

Appendix .........................A-1

Tone List............................................... A-1

Drum Assignment List .......................... A-8

Rhythm List ........................................ A-10

Fingered Chord Chart......................... A-11

Effect List............................................ A-13

MIDI Implementation Chart

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General Guide

E-9

General Gui de

*1 *2

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General Guide

E-10

POWER button

Power indicator

SONG MEMORY button

SYNTH button

TRANSPOSE/FUNCTION button

MIXER button

EFFECT button

SMF PLAYER button

MAIN VOLUME knob

MODE button

ONE TOUCH PRESET button

ACCOMP VOLUME button

DATA ACCESS indicator

RHYTHM button

TONE button

DRAWBAR ORGAN button

DSP button

PIANO SETTING button

EXIT button

AUTO HARMONIZE button

SPLIT button

LAYER button

[ ] / [ ] / [ ] / [ ]CURSOR buttons

DEMO button (*3)

Speaker

Rhythm list

Tone list

Display

CHORD root names

Percussion instrument list

Chord types name

INTRO/ENDING 1/2 buttons

VARIATION/FILL-IN 1/2 buttons

SYNCHRO/FILL-IN NEXT button

START/STOP button

TEMPO buttons

REGISTRATION buttons

a) BANK button

b) STORE button

SONG MEMORY TRACK buttons

J Attaching the Score stand (*1)

Insert the score stand into the slot at the top of the keyboard as shown in the illustration.

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E-11

General Guide

J Playing a Demo Tune (*3)

Pressing the DEMO button starts demo tune play. There are 3 demo tunes, which continuously play in sequence. To stop demo tune

play, press either the DEMO button or the START/STOP button.

• Pressing the [+]/[–] buttons skips to the next demo tune.

• The PIANO SETTING button, Layer, and Split are disabled while a demo tune is playing.

• Display examples shown in this User’s Guide are intended for illustrative purposes only. The actual text and values that appear on the

display may differ from the examples shown in this User’s Guide.

• Due to LCD element characteristics, display contrast changes depending on the angle from which you view it. The initial default contrast

setting is one that allows easy viewing for a musician seated directly in front of the display. You can also adjust the contrast to the level

that suits your particular needs. For more information, see page E-69.

Number buttons

• For input of numbers to change displayed settings.

[+]/[–] buttons (YES/NO)

• Negative values can be changed only by using [+] and [–] to

increment and decrement the displayed value.

Rear Panel

MIDI OUT terminal

MIDI IN terminal

SUSTAIN/ASSIGNABLE JACK terminal

PHONES/OUTPUT terminal

DC 9V jack

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Power Supply

E-12

Power Supply

This keyboard can be powered by current from a standard

household wall outlet (using the specified AC adaptor) or by

batteries. Always make sure you turn the keyboard off

whenever you are not using it.

Always make sure you turn off the keyboard before loading

or replacing batteries.

1. Remove the battery compartment cover.

2. Load six D-size batteries into the battery

compartment.

• Make sure that the positive (

) and negative (–) ends

are facing correctly.

3. Insert the tabs on the battery compartment cover

into the holes provided and close the cover.

Tab

• The keyboard may not function correctly if you load or

replace batteries with power turned on. If this happens,

turning the keyboard off and then back on again should

return functions back to normal.

 The following shows the approximate battery life.

• Manganese batteries: Approximately 4 hours

The above value is standard battery life at normal

temperature, with the keyboard volume at a medium

setting. Temperature extremes or playing at very loud

volume settings can shorten battery life.

Misuse of batteries can cause them to leak, resulting in damage

to nearby objects, or to explode, creating the risk of fire and

personal injury. Always make sure you observe the following

precautions.

• Never try to take batteries apart or allow them to

become shorted.

• Never expose batteries to heat or dispose of them by

incineration.

• Never mix old batteries with new ones.

• Never mix batteries of different types.

• Do not charge the batteries.

• Make sure the positive (

) and negative (–) ends of the

batteries are facing correctly.

Misuse of batteries can cause them to leak resulting in damage

to nearby objects, or to explode, creating the risk of fire and

personal injury. Always make sure you observe the following

precautions

• Use only batteries that are specified for use with this

product.

• Remove batteries from the product if you do not plan to

use it for a long time.

Using batteries

To load batteries

Important Battery Information

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E-13

Power Supply

Make sure that you use only the AC adaptor specified for this

keyboard.

Rear Panel

DC 9V jack

AC adaptor AD-5

AC outlet

Note the following important precautions to avoid damage to

the power cord.

● During Use

• Never pull on the cord with excessive force.

• Never repeatedly pull on the cord.

• Never twist the cord at the base of the plug or

connector.

• The power cord should not be stretched tight

while it is in use.

● During Movement

• Before moving the keyboard, be sure to

unplug the AC adaptor from the power outlet.

● During Storage

• Loop and bundle the power cord, but never

wind it around the AC adaptor.

• Make sure that the keyboard is turned off before connecting

or disconnecting the AC adaptor.

• Using the AC adaptor for a long time can cause it to become

warm to the touch. This is normal and does not indicate

malfunction.

When you are using battery power, keyboard power turns off

automatically whenever you leave it on without performing

any operation for about 6 minutes. When this happens, press

the POWER button to turn power back on.

• Auto Power Off is disabled (it does not function) when you

are using the AC adaptor to power the keyboard.

Hold down the TONE button while turning on the keyboard

to disable Auto Power Off.

• When Auto Power Off is disabled, the keyboard does not

turn off automatically no matter how long it is left with no

operation being performed.

• Auto Power Off is automatically enabled whenever you

turn on keyboard power.

Tone, rhythm, and other “main keyboard settings” in effect

when you turn off the keyboard manually by pressing

POWER button or when Auto Power Off turns off power are

still in effect the next time you turn power back on.

Using the AC Adaptor

Specified AC Adaptor: AD-5

Auto Power Off

To disable Auto Power Off

Settings

Main Keyboard Settings

Tone number, layer, split, split point, drawbar organ

tone settings, transpose, tuning, contrast settings, touch

response, reverb, chorus, DSP, equalizer, rhythm

number, tempo, keyboard channel, MIDI In Chord

Judge on/off, accomp MIDI out on/off, assignable jack

setting, accompaniment volume, user area tones

(Synthesizer Mode), user area accompaniments, user

DSP area, Auto Harmonize on/off, Auto Harmonize

type, Mixer hold, DSP hold, Auto Accompaniment

mode, all Mixer parameters, all Synthesizer Mode

parameters, Song Memory song numbers, SMF player

settings (play mode, manual play part, SMF playback

volume)

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Power Supply

E-14

• Be sure to press the POWER button to turn off power and

make sure that the LCD backlight is off before

disconnecting the AC adaptor or doing anything else.

• Never disconnect the AC adaptor while the keyboard is

turned on or try to turn off power using any other

technique besides pressing the POWER button. Doing so

can cause the contents of the keyboard's Flash memory to

become corrupted. Strange keyboard operation and

abnormal startup when power is turned on are symptoms

of corrupted Flash memory contents. See

“Troubleshooting” on page E-78 for more information.

• While the following message is on the display, never turn off

the keyboard by pressing the POWER button, disconnecting

the AC adaptor, etc.

(message)“Pls Wait” or “Bulk In”

Turning off the keyboard while the above message is on the

display can cause user data (user tones, song memory data,

etc.) currently stored in keyboard memory to become

corrupted. Once corrupted, you may not be able to recall the

data again.

In addition to the above settings, data stored in the

Registration Mode and Song Memory Mode is also retained

when keyboard power is turned off.

J About Flash memory

Your keyboard comes with built-in Flash memory, which can

continue to hold data even when electrical power is totally cut

off. This means that even after batteries go completely dead,

you can attach the AC adaptor, turn on power, and still recall

data stored in memory.

• When running under battery power, be sure to replace

batteries as soon as possible after the first signs of low

battery power (dim power indicator lamp, dim display

characters, etc.) Though the keyboard’s Flash memory is

non-volatile (which means that data is not lost when power is

interrupted), data can be lost if power suddenly fails while

data is being written to flash memory*.

* While storing or deleting user data, while recording with

the synthesizer, while transferring data from a computer,

etc.

J Backing Up Data to a Computer

You can use a MIDI connection to back up keyboard settings

and memory contents on a computer’s hard disk. See

“MIDI”on page E-75 for more information.

Initialization can be used to return keyboard parameters to

their initial factory default settings, or to delete all data

currently in keyboard memory. See page E-70 for more

information about initialization.

 Returning the keyboard to its initial factory defaults

You can use the CD-ROM that comes with the keyboard and

your computer to return the keyboard’s flash memory and all

of its parameters to their initial factory default settings. See

“Bundled CD-ROM Data” on page E-76 for details.

Turning Off the Keyboard Memory Contents

Saving Setups and Memory Contents

Initializing the Keyboard

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Connections

E-15

Connections

Before connecting phones or other external equipment, be

sure to first turn down the volume settings of the keyboard

and the connected equipment. You can then adjust volume to

the desired level after connections are complete.

Rear Panel

J Connecting Phones 1

Connecting phones cuts off output from the keyboard’s built-

in speakers, so you can play even late at night without

disturbing anyone.

J Audio Equipment 2

Connect the keyboard to a audio equipment using a

commercially available connecting cord with a standard plug

on one end and two PIN plugs on the other end. Note that the

standard plug you connect to the keyboard must be a stereo

plug, otherwise you will be able to output only one of stereo

channels. In this configuration, you normally set the input

selector of the audio equipment to the terminal (usually

marked AUX IN or something similar) where the cord from

the keyboard is connected. See the user documentation that

comes with your audio equipment for full details.

J Musical Instrument Amplifier 3

Use a commercially available connecting cord to connect the

keyboard to a musical instrument amplifier.

• Be sure to use a connecting cord that has a stereo standard

plug on the end you connect to the keyboard, and a

connector that provides dual channel (left and right) input to

the amplifier to which you are connecting. The wrong type of

connector at either end can cause one of the stereo channels

to be lost.

• When connected to a musical instrument amplifier, set the

volume of the keyboard to a relatively low level and make

output volume adjustments using the amplifier’s controls.

Connection Example

• You can also connect the keyboard to a computer or

sequencer. See “MIDI” on page E-75 for details.

You can connect an optional sustain pedal (SP-3 or SP-20) to

the SUSTAIN/ASSIGNABLE JACK terminal to enable the

capabilities described below.

For details on how to select the pedal function you want, see

“Changing Other Settings” on page E-66.

SUSTAIN/ASSIGNABLE JACK Terminal

J Sustain Pedal

• With piano tones, depressing the pedal causes notes to

linger, much like a piano’s damper pedal.

• With organ tones, depressing the pedal causes notes to

continue to sound until the pedal is released.

J Sostenuto Pedal

• As with the sustain pedal function described above,

depressing the sostenuto pedal causes notes to be

sustained.

• This difference between a sostenuto pedal and sustain

pedal is the timing.

• With a sostenuto pedal, you press the keys and then

depress the pedal before you release the keys. Only the

notes that are sounding when the pedal is depressed are

sustained.

J Soft Pedal

Depressing the pedal softens the sound of the notes being

played.

J Rhythm Start/Stop Pedal

In this case, the pedal performs the same functions as the

START/STOP button.

Use only the accessories and options specified for this

keyboard. Use of non-authorized items creates the danger of

fire, electrical shock, and personal injury.

Phones/Output Terminal

White

Red

PIN plug

Stereo standard plug

Audio connection

PHONES/OUTPUT jack

Keyboard amp,

guitar amp, etc.

LEFT

RIGHT

AUX IN or similar terminal

of audio amplifier

Sustain/Assignable jack Terminal

Accessories and Options

SP-20

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Basic Operations

E-16

Basic Op erations

This section provides information on performing basic

keyboard operations.

1. Press the POWER button to turn the keyboard on.

• This causes the power indicator to light.

2. Use the MAIN VOLUME knob to set the volume to

a relatively low level.

3. Play something on the keyboard.

This keyboard comes with tones built-in, as shown below.

A partial list of the available tone names is printed on the

keyboard console. See the “Tone List” on page A-1 of this

manual for a complete list.

“Advanced Tones” are variations of standard tones, which

are created by programming in effects (DSP) and other

settings.

For details about drawbar organ tones, see “Using the

Drawbar Organ Mode” on page E-19.

Standard Tones: 550 Preset Tones + 124 User Tones

MAIN VOLUME

POWER

TONE

DSP

PIANO SETTING

START/STOP

Number buttons

[+]/[–]

1 2

43 5

To play the keyboard

Selecting a Tone

Tone Types

Number

Number of

Tones

Tone Type

DSP Line On/Off

(*1)

000-331 332 Advanced Tones On

400-599 200 Preset Tones Off

600-617 18 Drum Sets Off

700-799 100 User Tones (*2) On/Off (*3)

800-819 20

User Tones with Waves

(*4)

On/Off (*3)

900-903 4

User Drum Sets with

Waves (*4)

On/Off (*5)

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E-17

Basic Operations

Drawbar Organ Tones:

50 Preset Tones + 100 User Tones

*1 See “Changing Tones and Configuring DSP Effect

Settings” on page E-18.

*2 Memory area for tones created by you. See “Synthesizer

Mode” on page E-40. User tone areas 700 through 799

initially contain the same data as DSP types 000 through

099.

*3 Depends on source tone or user setting. See “Synthesizer

Mode” on page E-40 for more information.

*4 Area for data transferred from a computer. See “Using the

Music Data Management Software (on the Bundled CD-

ROM)” on page E-76 for more information. For

information about waveforms, see “Creating a User Tone”

on page E-43.

*5 Depends on tone. This status can be checked by viewing

the DSP button. See “DSP Button” on page E-25 for more

information.

*6 Memory area for tones created by you. See “To edit a

drawbar organ tone” on page E-20. User drawbar organ

tone areas initially contain two sets of the same data as

drawbar organ tones types 000 through 049.

• You cannot select tone numbers not included in the above

ranges (standard tones 332 through 399, 618 through 699

and 820 through 899, and drawbar organ tones from 050 to

099). When you use the [+] and [–] buttons to scroll through

tone numbers, scrolling jumps across the unused numbers.

Pressing [+] when 617 is selected, for example, jumps to

700.

1. Find the tone you want to use in the tone list and

note its tone number.

2. Press the TONE button.

3. Use the number buttons to input the three digit

tone number for the tone you want to select.

Example:

To select “432 GM ACOUSTIC BASS”, input 4, 3

and then 2.

• Always input all three digits for the tone number, including

leading zeros (if any).

• You can also increment the displayed tone number by

pressing [

] and decrement it by pressing [–].

• When one of the drum sets is selected (tone numbers 600

through 617), each keyboard key is assigned a different

percussion sound. See page A-8 for details.

The term polyphony refers to the maximum number of notes

you can play at the same time. The keyboard has 32-note

polyphony, which includes the notes you play as well as the

rhythms and auto-accompaniment patterns that are played

by the keyboard. This means that when a rhythm or auto-

accompaniment pattern is being played by the keyboard, the

number of notes (polyphony) available for keyboard play is

reduced. Also note that some of the tones offer only 10-note

polyphony.

Number

Number of

Tones

Tone Type

DSP Line On/Off

(*1)

000-049 50 Preset Tones On/Off (*5)

100-199 100 User Tones (*6) On/Off (*3)

To select a tone

Polyphony

AuBsGsoc

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Basic Operations

E-18

This keyboard has only a single DSP sound source. Because of

this, selecting tones for which DSP is enabled for multiple

parts when layering or splitting tones (page E-61, E-62) can

cause conflicts. To avoid conflicts, DSP is allocated to the last

DSP enabled tone, and DSP is disabled (DSP line OFF) for all

other parts.

DSP line is a parameter that controls whether or not the

currently selected DSP effect is applied to a part.* Each tone

has a DSP line parameter. Selecting a tone for a part applies

the tone’s DSP line parameter setting to all parts.

* The DSP line parameter is turned on (DSP effect is applied)

for the 332 Advanced Tones numbered 000 through 331,

and turned off (DSP effect not applied) for the 200 preset

tones from 400 to 599. For information about other tones,

see “Tone Types” on page E-16.

Pressing this button changes the setup of the keyboard to

optimize it for piano play.

Settings

J To optimize keyboard settings for piano play

1. Press the PIANO SETTING button.

2. Now try playing something on the keyboard.

• The notes you play will sound with a piano tone.

3. If you want to play with rhythm accompaniment,

press the START/STOP button.

• This causes a rhythm that is optimized for piano will

start to play.

• To stop rhythm play, press the START/STOP button

again.

• Pressing the PIANO SETTING button while a rhythm is

playing stops rhythm play and then changes the keyboard

setup.

• Pressing the PIANO SETTING button while the keyboard is

in the Synthesizer Mode or other mode exits the current

mode and then changes the keyboard setup.

• The setup of the keyboard does not change if you press the

PIANO SETTING button when any one of the following

exists.

* During real-time recording, step recording, or while using

the editing function of the Song Memory

* While the data save or overwrite message is on the

display

* During demo tune play

Changing Tones and Configuring DSP

Effect Settings

PIANO SETTING Button

Tone number: “000”

Rhythm number: “140”

Accompaniment Mode: Normal

Layer: Off

Split: Off

Auto Harmonize: Off

Transpose: 0

Touch Response: Off: Returns to initial default

On: No change

Assignable Jack: SUS

Local Control: On

Mixer Channel 1 Parameter

Setup:

Depends on tone

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Using the Drawbar Organ Mode

E-19

Using the Draw bar Organ Mode

Your keyboard has built-in “drawbar organ tones” that can be altered using nine digital drawbars whose operations are similar to

the controls on a drawbar organ. You can also select percussion or key click. There is room in memory for storage of up to 100 user-

created drawbar tone variations.

Drawbar Organ Mode Operational Flow

* You can also display the drawbar organ tone selection screen from the Song Memory Mode or SMF Playback Mode screen. In

this case, however, the Drawbar Organ Tone Editing Screen does not appear.

DRAWBAR ORGAN

[ ]/[ ]/[ ]/[ ] CURSOR

EXIT

Number buttons

[

]/[–]

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Using the Drawbar Organ Mode

E-20

1. Find the drawbar organ tone you want to use in the

tone list and note its tone number.

2. Press the DRAWBAR ORGAN button.

• This causes the drawbar organ tone selection screen to

appear.

Tone Number

Tone Name

3. Use the number buttons to input the three digit

tone number for the tone you want to select.

• Always input all three digits for the tone number, including

leading zeros (if any).

• You can also increment the displayed tone number by

pressing [

] and decrement it by pressing [–].

1. Select the drawbar organ tone (000 to 049, 100 to

199) you want to edit.

Use the [ ] and [ ] CURSOR buttons to display

the drawbar organ tone editing screen. Select the

parameter whose setting you want to change

Example:

Selecting the “Ft16’” parameter

Parameter Setting

Parameter Name

• There are a total of 13 parameters. You can use the

[ ] and [ ] CURSOR buttons to cycle through

them. See “Parameter Details” on page E-21 for more

information.

• While the “More?” screen is on the display, you can

advance to the synthesizer and DSP effect editing

screens by pressing the [ ] CURSOR button or the

[+] button.

3. Use the [ ] and [ ] CURSOR buttons or the [

]

and [–] buttons to change the setting of the

currently displayed parameter.

• You can also change a parameter setting by entering a

value with the number buttons.

• You can monitor the changes in a tone by playing

notes on the keyboard as you adjust parameter

settings.

• Selecting a different tone after you edit parameters replaces

parameter settings with those of the newly selected tone.

• If you have drawbar organ tones assigned to more than one

channel, changing the drawbar organ tone setting for one of

the channels causes the same setting to be applied to all of

the other channels as well.

• See “To save an edited drawbar organ tone” on page E-22

for information about saving your edits.

As with standard (non-drawbar) tones, you can edit the

Synthesizer Mode parameters and DSP parameters of

drawbar organ tones (See “Drawbar Organ Mode

Operational Flow” on page E-19).

1. Use the [ ] and [ ] CURSOR buttons to display

“More?”, and then press the [ ] CURSOR button.

• This enters the Synthesizer Mode, which is indicated

by the pointer next to SYNTH on the display screen.

• For the remainder of this procedure, perform the steps

starting from step 3 under “Creating a User Tone” on

page E-43.

To select a drawbar organ tone

To edit a drawbar organ tone

Dwar1bar

1 2

F6’1t

1 2

Editing Synthesizer Mode Parameters and

DSP Parameters of Drawbar Organ Tones

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E-21

Using the Drawbar Organ Mode

The following provides details about the parameters you can

configure using the drawbar organ tone editing screen.

This parameter defines the position of each drawbar, and the

volume of each overtone. The larger the value, the greater the

corresponding overtone’s volume.

(Ft: Feet)

The parameter determines whether or not a key click is added

when a sustained tone configured using the drawbars is

played.

This parameter lets you add percussion sound, which

provides modulation to sustained tones that you create.

When you hold down a key on the keyboard, the sound

produced decays until it is no longer audible. Pressing the key

again sounds the note again at a louder volume. Percussion

has “2nd Percussion” (2nd overtone pitch) and “3rd

Percussion” (3rd overtone pitch) settings, each of which can

be turned on or off.

You can also specify the percussion decay time, which

controls how long it takes for the percussion sound to decay.

J Display Contents in the Drawbar Organ Mode

In the Drawbar Organ Mode, the current status of the

drawbar positions, key click, and percussion parameters are

indicated on the display’s bar graph as shown in the

illustrations below. There is one line for each parameter, and

the bottom segment of the selected parameter line flashes.

The bottom segment of the bar graph column that represents

the currently selected parameter flashes to indicate that it is

selected.

None of the channel numbers (1 to 16) are displayed in the

drawbar organ tone selection mode and editing mode.

Drawbar Position Graph

Click and Percussion On/Off Graph

Percussion Decay Time Graph

Parameter Details

Drawbar Position

Parameter Name

Parameter Display

Indication

Settings

Drawbar 16’ Ft16’ 0 to 3

Drawbar 5 1/3’ Ft 5 1/3’ 0 to 3

Drawbar 8’ Ft 8’ 0 to 3

Drawbar 4’ Ft 4’ 0 to 3

Drawbar 2 2/3’ Ft 2 2/3’ 0 to 3

Drawbar 2’ Ft 2’ 0 to 3

Drawbar 1 3/5’ Ft 1 3/5’ 0 to 3

Drawbar 1 1/3’ Ft 1 1/3’ 0 to 3

Drawbar 1’ Ft 1’ 0 to 3

Click

Parameter Name

Parameter Display

Indication

Settings

Click Click

oFF:

on:

Click Off

Click On

Percussion

Parameter Name

Parameter Display

Indication

Settings

2nd Percussion Second

oFF:

on:

Off

3rd Percussion Third

oFF:

on:

Off

Percussion Decay Time Decay 000 to 127

Setting Value 0 1 2 3

Display

Off

Flash

Setting Value Off On

Display

Setting Value 0-31 32-63 64-95 96-127

Display

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Using the Drawbar Organ Mode

E-22

1. After editing parameters, use the [ ] and [ ]

CURSOR buttons to display “More?”.

2. Press the [ ] CURSOR button three times to

display the screen for inputting a tone name and

assigning a tone number.

3. Use the [

] and [–] buttons to select a tone number.

• You can select a tone number in the range of 100 to 199.

4. After the tone name is the way you want, press the

[ ] CURSOR button to store the tone.

•Use the [

] and [–] buttons to scroll through letters at

the current cursor location.

• Use the [ ] and [ ] CURSOR buttons to move the

cursor left and right.

• See the page E-45 for information about inputting text.

5. After everything is the way you want, press the

[ ] CURSOR button to store the tone.

• This will display a confirmation message asking

whether you really want to save the data. Press the

YES button to save the data.

• After the save operation is complete, the message

“Complete” appears and then the display returns to

the tone selection screen.

• To cancel save, press the EXIT button.

To save an edited drawbar

organ tone

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Applying Effects to Tones

E-23

Applying E ffects to Tones

This keyboard provides you with a selection of effects that

you can apply to tones.

The built-in effects include a wide variety of variations that

give you access to a selection of general digital effects.

The following shows how the effects of this keyboard are

organized.

J DSP

DSP effects are applied to the connection between the sound

source and output. You can select distortion and modulation

effects. You can create DSP effect setups and also transfer

downloaded DSP data from your computer. The keyboard

has memory that lets you store up to 100 DSP effect setups.

See “Using the Music Data Management Software (on the

Bundled CD-ROM)” on page E-76 and “Saving the Settings of

DSP Parameters” on page E-25 for more information.

J REVERB

Reverb simulates the acoustics of specific types of

environments. You can choose from among 16 different

reverb effects, including “Room” and “Hall.”

J CHORUS

The chorus effect gives sound greater depth by causing it to

vibrate. You can choose from among 16 different chorus

effects, including “Chorus” and “Flanger.”

The equalizer is another type of effect that you can use to

make adjustments in tone quality. Frequencies are divided

among a number of bands, and raising and lowering the level

of each frequency band alters the sound.

You can reproduce the optimal acoustics for the type of music

you are playing (classics, for example) by selecting the

applicable equalizer setting.

In addition to the 100 built-in effect types, you can also edit

effect types to create your own and store them in user

memory. You can have up to 100 effect types in user memory

at one time. You can also select the DSP type of the last DSP

enabled tone that you used. This means you always have

access to the DSP type of Advanced Tones and tones you

download over the Internet. To select the DSP type of the last

DSP enabled tone that you used, select “ton” in step 3 of the

procedure below.

Perform the following steps to select a DSP type.

• When using a DSP effect, you should use the Mixer to

confirm that the DSP lines of the required parts are turned

on. See “Mixer Function” on page E-36 for more information.

1. Press the EFFECT button so the pointer appears

next to EFFECT on the display.

• The DSP type setting screen (step 3) will appear

automatically about fives seconds after you press the

button.

EFFECT

EXIT

DSP

[ ]/[ ]/[ ]/[ ] CURSOR

Number buttons

[

]/[–]

2 3

Effect Blocks

Selecting a DSP Type

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Applying Effects to Tones

E-24

2. Press the [ ] CURSOR button.

3. Use the [+] and [–] buttons or the number buttons

to select the type of DSP you want.

• See the “Effect List” on page A-13 for information

about the DSP types that can be selected.

• Here you could also change the parameters of the

effect you selected, if you want. See “Changing the

Settings of DSP Parameters” for more information.

• The DSP type display area shows the DSP number (000 to

199) or “ton” (user tone created using DSP).

You can control the relative strength of a DSP and how it is

applied. See the following section titled “DSP Parameters” for

more information.

1. After selecting the DSP type you want, use the

[ ] and [ ] CURSOR buttons to display the

parameter whose setting you want to change.

• This displays the parameter setting screen.

2. Use the [

] and [–] buttons or the number buttons

to make the parameter setting you want.

•Pressing the [

] and [–] buttons at the same time

returns the parameter to its recommended setting.

3. Press the EFFECT or EXIT button.

• This exits the tone or ryhthm setting screen.

The following describes the parameters for each DSP.

J DSP

z Parameter 0 to 7

These parameters differ in accordance with the

algorithm* of the selected DSP type. See the “Effect List”

on page A-13 and the “DSP Algorithm List” on page E-83

for more information.

* Effector structure and operation type

z DSP Reverb Send (Range: 000 to 127)

Specifies how much of the post-DSP sound should be sent

to reverb.

z DSP Chorus Send (Range: 000 to 127)

Specifies how much of the post-DSP sound should be sent

to chorus.

• Whether or not an effect is applied to the parts that are

sounding also depends on Mixer Mode Reverb Send,

Chorus Send, and DSP on/off settings. See “Mixer Function”

on page E-36 for more information.

• Playing a demo tune (page E-11) automatically changes the

effect to the one that is assigned to the tune. You cannot

change or cancel a demo tune effect.

• Changing the effect setting while sound is being output by

the keyboard causes a slight break in the sound when the

effect changes.

• A number of tones, called “Advanced Tones,” automatically

turn on the DSP line for richer, higher quality sound. If you

assign an Advanced Tone to a keyboard part (Channels 1

through 4), the DSP line turns on automatically and the DSP

selection changes in accordance with the settings of the

Advanced Tone. Also, the Mixer Mode DSP line on/off

setting for the keyboard part to which the Advanced Tone is

assigned is turned on.*

* The Mixer DSP line setting is automatically turned off for

each part that does not have an Advanced Tone assigned.

Because of this, DSP effects previously applied to these

parts are cancelled, which can make their tone sound

different. In this case, display the Mixer screen and turn

DSP back on.

Changing the Settings of DSP Parameters

DSP Parameters

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E-25

Applying Effects to Tones

You can save up to 100 modified DSPs in the user area for

later recall when you need them.

• User DSP areas 100 through 199 initially contain the same

data as DSP types 000 through 099.

1. After making the DSP parameter settings you

want, press the [ ] CURSOR button.

• This causes the DSP number of the user area where the

DSP will be saved to flash on the display.

2. Use the [

] and [–] buttons to select the user DSP

area number where you want to save the new

DSP.

• You can select a user DSP area number in the range of

100 to 199 only.

3. After the user DSP area number you want is

selected, press the [ ] CURSOR button.

•Use the [

] and [–] buttons to scroll through letters at

the current cursor location.

• Use the [ ] and [ ] CURSOR buttons to move the

cursor left and right.

• See the page E-45 for information about inputting text.

4. After everything is the way you want, press the

[ ] CURSOR button to store the effect.

• This will display a confirmation message asking

whether you really want to save the data. Press the

YES button to save the data.

• The message “Complete” appears momentarily on the

display, followed by the tone or rhythm selection

screen.

Checking the DSP button will tell you whether or not DSP is

enabled for the tone that is currently selected for a part. The

DSP button will be lit for a tone that is DSP enabled (DSP line

ON), and unlit for a tone that is DSP disabled (DSP line OFF).

For example, when you move each part while using the split/

layer function, the DSP button lights or goes out in

accordance with that parts setting.

Pressing the DSP button toggles the tone of the part you are

currently playing on the keyboard between enabled (DSP line

ON) and disabled (DSP line OFF).

1. Press the DSP button to toggle DSP line for the

currently selected part on and off.

Perform the following steps to select REVERB.

1. Press the EFFECT button, so the pointer appears

next to EFFECT on the display screen.

Pointer

2. Press the [ ] CURSOR button once.

• This displays the reverb editing screen.

• The reverb type setting screen (step 4) will appear

automatically about fives seconds after you press the

button.

3. Press the [ ] CURSOR button.

4. Use the [

] and [–] buttons or the number buttons

to scroll through the reverb types until the one you

want is displayed, or use the number buttons to

input the reverb number you want to select.

• See the list on page A-13 for information about the

types of REVERB effects that are available.

• Here you could also change the parameters of the

effect you selected, if you want. See “Changing the

Settings of REVERB Parameters” on page E-26 for

more information.

Saving the Settings of DSP Parameters

DSP Button

To turn DSP line on and off

Selecting REVERB

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Applying Effects to Tones

E-26

You can control the relative strength of a reverb and how it is

applied. See the following section titled “REVERB

Parameters” for more information.

1. After selecting the reverb type you want, use the

[ ] and [ ] CURSOR buttons to display the

parameter whose setting you want to change.

• This displays the parameter setting screen.

Example:

To set the Reverb Time parameter

2. Use the [+] and [–] buttons or the number buttons

to input the parameter setting you want.

3. Press the EFFECT or EXIT button.

• This returns to the tone or rhythm selection screen.

Reverb effects are associated with either a reverb type or

delay type. Parameter settings depend upon the associated

type.





 Reverb Type (No. 0 to 5, 8 to 13)

z Reverb Level (Range: 000 to 127)

Controls the reverb size. A larger number produces

larger reverb.

z Reverb Time (Range: 000 to 127)

Controls how long reverb continues. A larger

number produces longer reverb.

z ER Level (Initial Echo Sound) (Range: 000 to 127)

This parameter controls the initial reverb volume.

The initial echo sound is the first sound reflected

from the walls and ceiling when a sound is output

by this keyboard. A larger value specifies a larger

echo sound.

z High Damp (Range: 000 to 127)

Adjusts the damping of high frequency

reverberation (high sound). A smaller value damps

high sounds, creating a dark reverb. A larger value

does not damp high sounds, for a brighter reverb.





 Delay Type (No. 6, 7, 14, 15)

z Delay Level (Range: 000 to 127)

Specifies the size of the delay sound. A higher value

produces a larger delay sound.

z Delay Feedback (Range: 000 to 127)

Adjusts delay repeat. A higher value produces a

greater number of repeats.

z ER Level

Same as Reverb Type

z High Damp

Same as Reverb Type

• Whether or not an effect is applied to the parts that are

sounding also depends on Mixer Mode Reverb Send,

Chorus Send, and DSP on/off settings. See “Mixer Function”

on page E-36 for more information.

Perform the following steps to select CHORUS.

1. Press the EFFECT button, so the pointer appears

next to EFFECT on the display screen.

2. Press the [ ] CURSOR button twice.

• This displays the chorus editing screen.

• The chorus type setting screen (step 4) will appear

automatically about fives seconds after you press the

button.

3. Press the [ ] CURSOR button.

4. Use the [

] and [–] buttons or the number buttons

to scroll through the chorus types until the one you

want is displayed, or use the number buttons to

input the chorus number you want to select.

• See the list on page A-13 for information about the

types of CHORUS effects that are available.

• Here you could also change the parameters of the

effect you selected, if you want. See “Changing the

Settings of CHORUS Parameters” for more

information.

You can control the relative strength of an effect and how it is

applied. The parameters you can control depend on the effect.

See the following section titled “CHORUS Parameters” for

more information.

1. After selecting the chorus type you want, use the

[ ] and [ ] CURSOR buttons to display the

parameter whose setting you want to change.

2. Use the [

] and [–] buttons or the number buttons

to input the parameter setting you want.

3. Press the EFFECT or EXIT button.

• This returns to the tone or rhythm selection screen.

Changing the Settings of REVERB

Parameters

REVERB Parameters

SimeTvR

Selecting CHORUS

Changing the Settings of CHORUS

Parameters

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E-27

Applying Effects to Tones

 Chorus Level (Range: 000 to 127)

Specifies the size of the chorus sound.

 Chorus Rate (Range: 000 to 127)

Specifies the undulation speed of the chorus sound. A

higher value produces faster undulation.

 Chorus Depth (Range: 000 to 127)

Specifies the undulation depth of the chorus sound. A

higher value produces deeper undulation.

• Whether or not an effect is applied to the parts that are

sounding also depends on Mixer Mode Reverb Send,

Chorus Send, and DSP on/off settings. See “Mixer Function”

on page E-36 for more information.

This keyboard has a built-in four-band equalizer and 10

different settings from which you can choose. You can adjust

the gain (volume) of all four equalizer bands within the range

of –12 to 0 to +12.

1. Press the EFFECT button so the pointer appears

next to EFFECT on the display screen.

2. Press the [ ] CURSOR button three times.

• This displays the equalizer editing screen.

• The equalizer type setting (step 4) screen will appear

automatically about fives seconds after you press the

button.

3. Press the [ ] CURSOR button.

4. Use the [

] and [–] buttons or the number buttons

to select the equalizer type you want.

• See the list on page A-13 for information about the

equalizer types that are available.

Example:

To select Jazz

• Pressing the EXIT or EFFECT button exits the

equalizer setting screen.

1. After selecting the equalizer type you want, use the

[ ] and [ ] CURSOR buttons to select the band

whose gain you want to adjust.

Example:

To adjust the HIGH band

2. Use the [

] and [–] buttons or the number buttons

to adjust the band gain.

Example:

To adjust the gain to 10

• Pressing the EXIT or EFFECT button exits the

equalizer setting screen.

• Changing to another equalizer type causes the band gain

settings to change to the initial settings for the newly selected

equalizer type automatically.

CHORUS Parameters

Using the Equalizer

To select the equalizer type

Jzza

To adjust the gain (volume) of a band

M i

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Auto Accompaniment

E-28

Auto Accompanim ent

This keyboard automatically plays bass and chord parts in

accordance with the chords you finger. The bass and chord

parts are played using sounds and tones that are

automatically selected to select the rhythm you are using. All

of this means that you get full, realistic accompaniments for

the melody notes you play with your right hand, creating the

mood of a one-person ensemble.

Use the MODE button to select the accompaniment mode you

want to use. Each press of the MODE button cycles through

the available accompaniment modes as shown in the

illustration below.

• Only rhythm sounds are produced when all

accompaniment mode lamps are off.

• The currently selected accompaniment mode is shown by

the mode lamps above the MODE button. Information on

using each of these modes starts from page E-30.

MODE

ONE TOUCH PRESET

ACCOMP VOLUME

RHYTHM

EXIT

INTRO/ENDING 1/2

VARIATION/FILL-IN 1/2

SYNCHRO/FILL-IN NEXT

START/STOP

TEMPO

AUTO HARMONIZE

Number buttons

[

]/[–]

421 3 5

9 bl

bk86 7

About the MODE button

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E-29

Auto Accompaniment

This keyboard provides you with 160 exciting rhythms that

you can select using the following procedure.

You can also transfer accompaniment data from your

computer and store up to 16 of them as user rhythms in

keyboard memory. See “Using the Music Data Management

Software (on the Bundled CD-ROM)” on page E-76 for more

information.

1. Find the rhythm you want to use in the rhythm list

and note its rhythm number.

•

Not all of the available rhythms are shown on the

rhythm list printed on the keyboard console. For a

complete list, see the “Rhythm List” on page A-

10.

2. Press the RHYTHM button.

Appears when RHYTHM button is pressed

Number and name of selected rhythm

3. Use the number buttons to input the three digit

rhythm number for the rhythm you want to select.

Example:

To select “052 ROCK 2”, input 0, 5 and then 2.

• You can also increment the displayed rhythm number by

pressing [

] and decrement it by pressing [–].

1. Press VARIATION/FILL-IN button 1 or 2.

• This starts the play of the selected rhythm.

• To stop rhythm play, press the START/STOP button.

• Chords will sound along with the rhythm if any of the three

accompaniment mode lamps above the MODE button is lit. if

you want to play the rhythm pattern without chords, press the

MODE button until all of the lamps are off.

You can adjust the tempo of rhythm play within a range of 30

to 255 beats per minute. The tempo setting is used for Auto

Accompaniment chord play, and song memory operations.

Press one of the TEMPO buttons ( or ).

• Pressing both TEMPO buttons ( and ) at the same time

resets the tempo to the default value of the currently selected

rhythm.

Selecting a Rhythm

To select a rhythm

8a1teB

Rk2co

Playing a Rhythm

To play a rhythm

Adjusting the Tempo

To adjust the tempo

: Increments displayed value (increases tempo)

: Decrements displayed value (decreases tempo)

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Auto Accompaniment

E-30

The following procedure describes how to use the keyboard’s

Auto Accompaniment feature. Before starting, you should

first select the rhythm you want to use and set the tempo of

the rhythm to the value you want.

1. Use the MODE button to select FULL RANGE

CHORD, FINGERED, or CASIO CHORD as the

accompaniment mode.

2. Press the START/STOP button to start play of the

currently selected rhythm.

3. Play a chord.

• The actual procedure you should use to play a chord

depends on the currently selected accompaniment

mode. Refer to the following pages for details on

chord play.

Chord name

Current measure number and beat number

Basic fingering of current chord

(May be different from chord actually being played

on the keyboard.)

4. To stop Auto Accompaniment play, press the

START/STOP button again.

• If you press the SYNCHRO/FILL-IN NEXT button and then

the VARIATION/FILL-IN 1/2 buttons in place of the START/

STOP button in step 2, accompaniment will start with an intro

pattern when you perform the operation in step 3. For details

about these buttons, see pages E-32 and E-33.

• If you press the VARIATION/FILL-IN 1/2 buttons in place of

the START/STOP button in step 4, an ending pattern will

play before accompaniment play is ended. For details about

this button, see page E-33.

• You can adjust the accompaniment part volume level

independently of the main volume. For details, see

“Adjusting the Accompaniment Volume” on page E-35.

This method of chord play makes it possible for anyone to

easily play chords, regardless of previous musical knowledge

and experience. The following describes the CASIO CHORD

“accompaniment keyboard” and “melody keyboard,” and

tells you how to play CASIO CHORDs.

J CASIO CHORD Accompaniment Keyboard and

Melody Keyboard

• The accompaniment keyboard can be used for playing

chords only. No sound will be produced if you try playing

single melody notes on the accompaniment keyboard.

J Chord Types

CASIO CHORD accompaniment lets you play four types of

chords with minimal fingering.

Using Auto Accompaniment

To use Auto Accompaniment

CASIO CHORD : Page E-30

FINGERED : Page E-31

FULL RANGE CHORD : Page E-31

Rk2co

1 2

CASIO CHORD

Chord Types

Example

Major chords

Major chord names are marked

above the keys of the

accompaniment keyboard. Note

that the chord produced when you

press an accompaniment keyboard

does not change octave, regardless

of which key you use to play it.

C Major (C)

Minor chords (m)

To play a minor chord, keep the

major chord key depressed and

press any other accompaniment

keyboard key located to the right

of the major chord key.

C minor (Cm)

Seventh chords (7)

To play a seventh chord, keep the

major chord key depressed and

press any other two

accompaniment keyboard keys

located to the right of the major

chord key.

C seventh (C7)

Minor seventh chords (m7)

To play a minor seventh chord,

keep the major chord key

depressed and press any other

three accompaniment keyboard

keys located to the right of the

major chord key.

C minor seventh (Cm7)

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E-31

Auto Accompaniment

• It makes no difference whether you press black or white keys

to the right of a major chord key when playing minor and

seventh chords.

FINGERED provides you with a total of 15 different chord

types. The following describes the FINGERED

“accompaniment keyboard” and “melody keyboard”, and

tells you how to play a C-root chord using FINGERED.

J FINGERED Accompaniment Keyboard and Melody

Keyboard

• The accompaniment keyboard can be used for playing

chords only. No sound will be produced if you try playing

single melody notes on the accompaniment keyboard.

See the “Fingered Chord Chart” on page A-11 for details on

playing chords with other roots.

*1 Inverted fingerings cannot be used. The lowest note is the

root.

*2 The same chord can be played without pressing the 5th G.

• Except for the chords specified in note*

above, inverted

fingerings (i.e. playing E-G-C or G-C-E instead of C-E-G) will

produce the same chords as the standard fingering.

• Except for the exception specified in note*

above, all of the

keys that make up a chord must be pressed. Failure to press

even a single key will not play the desired FINGERED chord.

This accompaniment method provides a total of 38 different

chord types: the 15 chord types available with FINGERED

plus 23 additional types. The keyboard interprets any input of

three or more keys that matches a FULL RANGE CHORD

pattern to be a chord. Any other input (that is not a FULL

RANGE CHORD pattern) is interpreted as melody play.

Because of this, there is no need for a separate

accompaniment keyboard, so the entire keyboard, from end

to end, functions as a melody keyboard that can be used for

both melody and chords.

J FULL RANGE CHORD Accompaniment Keyboard

and Melody Keyboard

Chords Recognized by This Keyboard

The following table identifies patterns that are recognized

as chords by FULL RANGE CHORD.

FINGERED

FULL RANGE CHORD

Pattern Type Number of Variations

FINGERED

The 15 chord patterns shown under

FINGERED on page E-31. See the

“Fingered Chord Chart” on page A-11

for details on playing chords with other

roots.

Standard

Fingerings

23 standard chord fingerings. The

following are examples of the 23 chords

available with C as the bass note.

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Auto Accompaniment

E-32

Example:

To play the chord C major.

Any of the fingerings shown in the illustration below will

produce C major.

• As with the FINGERED mode (page E-31), you can play the

notes that form a chord in any combination (

• When the lowest note of a chord is separated from its

neighboring note by six or more semitones, the lowest note

becomes the bass note (

This keyboard lets you insert a short intro into a rhythm

pattern to make startup smoother and more natural.

The following procedure describes how to use the Intro

feature. Before starting, you should first select the rhythm you

want to use, set the tempo, and use the MODE button to select

the chord play method you want to use (NORMAL, CASIO

CHORD, FINGERED, FULL RANGE CHORD).

1. Press INTRO/ENDING button 1 or 2.

• With the above setup, the intro pattern is played and

the auto accompaniment with intro pattern starts as

soon as you play chords on the accompaniment

keyboard.

• The standard rhythm pattern starts to play after the intro

pattern is complete.

Fill-in patterns let you momentarily change the rhythm

pattern to add some interesting variation to your

performances.

The following procedure describes how to use the Fill-in

feature.

1. Press the START/STOP button to start rhythm

play.

2. Select the fill-in variation you want.

• To insert Fill-in 1, press the VARIATION/FILL-IN 1

button while Variation 1 of the rhythm is playing.

• To insert Fill-in 2, press the VARIATION/FILL-IN 2

button while Variation 2 of the rhythm is playing.

• Only the SYNCHRO/FILL-IN NEXT button is operational

while an intro is playing.

• Holding down the SYNCHRO/FILL-IN NEXT or VARIATION/

FILL-IN 1/2 buttons causes the fill-in pattern to repeat.

In addition to the standard rhythm pattern, you can also

switch to a secondary “variation” rhythm pattern for a bit of

variety.

1. Press the START/STOP button to start rhythm

play.

2. Press the SYNCHRO/FILL-IN NEXT button.

• If a Variation 1 rhythm is currently playing, this plays

Fill-in 1, followed by Fill-in 2, and then switches to the

Variation 2 rhythm.

• If a Variation 2 rhythm is currently playing, this plays

Fill-in 2, followed by Fill-in 1, and then switches to the

Variation 1 rhythm.

• Holding down the SYNCHRO/FILL-IN NEXT button

causes the fill-in pattern to repeat.

Using an Intro Pattern

To insert an intro

Using a Fill-in Pattern

To insert a fill-in

Using a Rhythm Variation

To insert the variation rhythm pattern

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E-33

Auto Accompaniment

You can set up the keyboard to start rhythm play at the same

time you play the accompaniment on the keyboard.

The following procedure describes how to use synchro start.

Before starting, you should first select the rhythm you want to

use, set the tempo, and use the MODE button to select the

chord play method you want to use (NORMAL, CASIO

CHORD, FINGERED, FULL RANGE CHORD).

1. Press the SYNCHRO/FILL-IN NEXT button to put

the keyboard into synchro start standby.

2. Play a chord and the rhythm pattern starts to play

automatically.

• If the MODE button is set to NORMAL, only the rhythm plays

(without a chord) when you play on the accompaniment

keyboard.

• If you press the INTRO/ENDING button 1 or 2 before playing

anything on the keyboard, the rhythm starts automatically

with an intro pattern when you play something on the

accompaniment keyboard.

• To cancel synchro start standby, press the SYNCHRO/FILL-

IN NEXT button one more time.

You can end your performances with an ending pattern that

brings the rhythm pattern you are using to a natural-

sounding conclusion.

The following procedure describes how to insert an ending

pattern. Note that the actual ending pattern played depends

on the rhythm pattern you are using.

1. While the rhythm is playing, press INTRO/

ENDING button 1 or 2.

• The timing when the ending pattern starts depends on

when you press the INTRO/ENDING button 1 or 2. If

you press the button before the second beat of the

current measure, the ending pattern starts playing

immediately.

• Pressing the INTRO/ENDING button prior to the first half

beat at the beginning of a measure plays the ending

immediately. Pressing the button after the first half beat of a

measure causes the ending to be played from the beginning

of the following measure.

Synchro Starting Accompaniment

with Rhythm Play

To use synchro start

Finishing with an Ending

Pattern

To finish with an ending pattern

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Auto Accompaniment

E-34

One-touch preset automatically makes the main settings

listed below in accordance with the rhythm pattern you are

using.

•Keyboard tone

•Layer on/off

•Split on/off

• Auto Harmonize on/off

• Auto Harmonize type

• Accompaniment volume level

•Tempo

• Effect settings

1. Select the rhythm you want to use.

2. Use the MODE button to select the

accompaniment mode you want to use.

3. Press the ONE TOUCH PRESET button.

• This automatically makes the one-touch preset

settings in accordance with the rhythm you selected.

• The keyboard automatically enters synchro standby at

this time.

4. Start rhythm and Auto Accompaniment, and play

something on the keyboard.

• Accompaniment is played using the one-touch preset

settings.

When you are using Auto Accompaniment, Auto Harmonize

automatically adds additional notes to your melody in

accordance with the chord that is being played. The result is a

harmony effect that makes your melody line richer and fuller.

1. Use the MODE button to select FINGERED or

CASIO CHORD as the accompaniment mode.

• The currently selected accompaniment mode is the

one whose lamp is lit. See “About the MODE button”

on page E-28 for details.

2. Press AUTO HARMONIZE to turn on Auto

Harmonize.

• This causes a pointer to appear next to AUTO

HARMONIZE on the display.

3. Start Auto Accompaniment play, and play

something on the keyboard.

4. To turn off Auto Harmonize, press AUTO

HARMONIZE once.

• This causes the pointer next to AUTO HARMONIZE

to disappear.

• Auto Harmonize turns off temporarily whenever you start

demo tune play. It turns back on as soon as the operation or

function that caused it to turn off is finished.

• Auto Harmonize is enabled only when the Auto

Accompaniment mode is FINGERED or CASIO CHORD.

Using One-touch Preset

To use one-touch preset

Using Auto Harmonize

To use Auto Harmonize

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E-35

Auto Accompaniment

Auto Harmonize lets you select from among the 10 Auto

Harmonize types. Type changing is performed by the setting

item using the TRANSPOSE/FUNCTION button.

See “Changing Other Settings” on page E-66 for more

information.

The notes you play on the keyboard are called “melody

notes,” while the notes added to the melody by Auto

Harmonize is called the “harmonize notes.” Auto Harmonize

normally uses the tone you selected for the melody notes as

the tone for the harmonize notes, but you can use the Mixer

(page E-36) to specify a different tone for the harmonize notes.

The harmonize note tone is assigned to Mixer Channel 5, so

change Channel 5 to the tone you want to use for the

harmonize notes.

In addition to the tone, you can also use the Mixer to change

a number of other parameters, such as volume balance. See

“Using the Parameter Edit Mode” on page E-37 for details on

these procedures.

• The default harmonize note tone when you first turn on Auto

Harmonize is the same tone as the melody note tone.

• Changing the melody tone setting automatically changes the

harmonize note tone to the same setting.

You can adjust the volume of the accompaniment parts as a

value in the range of 000 (minimum) to 127 (maximum).

1. Press the ACCOMP VOLUME button.

Current accompaniment volume setting

2. Use the number buttons or the [+]/[–] buttons to

change the current volume setting value.

Example: 110

• Pressing the ACCOMP VOLUME button or EXIT button

returns to the tone or rhythm setting screen.

• Any channel balance settings you make with the Mixer are

maintained when you change the accompaniment volume

setting.

• Pressing [+] and [–] buttons at the same time automatically

sets an accompaniment volume of 100.

Auto Harmonize Types

About Auto Harmonize notes and tones

Adjusting the Accompaniment

Volume

AmVol

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Mixer Function

E-36

Mixer F unction

This keyboard lets you play multiple different musical

instrument parts at the same time during auto-accompaniment

play, song memory playback, receipt of data through the MIDI

terminal, etc. The Mixer assigns each part to a separate channel

(1 through 16) and lets you control the channel on/off, volume,

and pan pot parameters of each channel.

In addition to channels 1 through 16, the Mixer also has a DSP

channel that you can use to adjust the DSP level, DSP pan, and

other DSP parameters.

The following shows the parts that are assigned to each of the

16 channels.

See pages E-61 to E-63 for information on layered, split, and

layered/split tones.

See page E-49 for information on the song memory.

• Normally, keyboard play is assigned to Channel 1. When

Auto Accompaniment is being used, each part of the

accompaniment is assigned to Channels 6 through 10.

• When this keyboard is being used as the sound source for an

externally connected computer or other MIDI device, all 16

channels are assigned musical instrument parts. The notes

played over the channel selected by steps 1 and 2 under

“Turning Channels On and Off” on page E-36 are shown on

the displayed keyboard and staff.

Turning a channel off mutes any instrument recorded in the

channel.

1. Press the MIXER button.

• This causes a pointer to appear on the display next to

MIXER.

2. Use the [ ]/[ ] CURSOR buttons to select a

channel.

Example:

To select Channel 1.

Flash

• This causes the upper three segments of the selected

channel's level meter to flash.

MIXER

DRAWBAR ORGAN

TONE

EXIT

[ ]/[ ]/[ ]/[ ] CURSOR

Number buttons

[+]/[–]

1 2 3

What you can do with the Mixer

Channel Assignments

Channel

Number

Part

Channel 1 Main tone

Channel 2 Layered tone

Channel 3 Split tone

Channel 4 Layered/split tone

Channel 5 Harmonize Tone

Channel 6 Auto Accompaniment chord part 1

Channel 7 Auto Accompaniment chord part 2

Channel 8 Auto Accompaniment chord part 3

Channel 9 Auto Accompaniment bass part

Channel 10 Auto Accompaniment rhythm part

Channel 11 Song Memory track 1

Channel 12 Song Memory track 2

Channel 13 Song Memory track 3

Channel 14 Song Memory track 4

Channel 15 Song Memory track 5

Channel 16 Song Memory track 6

Turning Channels On and Off

To turn channels on and off

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E-37

Mixer Function

3. Press the [ ]/[ ] CURSOR buttons to display

the on/off selection screen.

4. Use the [

]/[–] buttons to select on or off.

Example:

To turn the channel off.

• Press the [ ] CURSOR button to return to the

channel selection screen.

• Pressing the MIXER button returns to the Tone Screen.

• The MIDI data display shows only the data for the channels

selected with the Mixer.

The following describes what happens and what appears on

the display when you turn a channel on or off.

z On (on)

This setting turns on the currently selected channel, which is

indicated by a bar appearing at the bottom of the level meter

for that channel. This is also the default setting for all channels

when the keyboard is turned on.

z Off (oFF)

This setting turns off the currently selected channel, which is

indicated by the absence of the bar at the bottom of the level

meter for that channel.

Off

In the Parameter Edit Mode, you can change the settings of

ten different parameters (including tone, volume, and pan

pot) for the channel you selected on the Mixer screen.

1. Press the MIXER button.

• This causes a pointer to appear on the display next to

MIXER.

2. Use the [ ] and [ ] CURSOR buttons to select

the channel you want.

3. Use the [ ] and [ ] CURSOR buttons to select

the parameter whose setting you want to change.

Example:

Select volume setting by displaying “Volume”.

• Each press of the [ ] or [ ] CURSOR buttons cycles

through the parameters.

• You can use the [ ] and [ ] CURSOR buttons to

change to another channel at any time during this

procedure.

Indicates channel volume of 127

4. Use the number buttons or [

] and [–] to change

the parameter setting.

Example:

Change the setting to “060”.

• Pressing the MIXER or EXIT button exits the

parameter edit mode.

How Channel On/Off Works

Cnelnah

Using the Parameter Edit Mode

Editing the Parameters for Channels 1

through 16

To change parameters

Vuemlo

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Mixer Function

E-38

1. While Channel 16 is selected, press the [ ]

CURSOR button.

• This selects the DSP channel.

• Pressing the [ ] CURSOR button while the DSP

channel is selected returns to Channel 16.

The following are the parameters whose settings can be

changed in the Parameter Edit Mode.

z Tone (Range: 000 to 903, Drawbar organ tones 000 to 199)

This parameter controls the tones assigned to each part.

Anytime the tone is on the display, you can use the TONE

button or DRAWBAR ORGAN button and then select a

different tone, if you want.

z Part On/Off (Settings: on, oFF)

This parameter can be used to turn each part on (sounds) and

off (does not sound). The current on/off status of each part is

indicated on the display as described below.

z Volume (Range: 000 to 127)

This is the parameter that controls the volume of the selected

channel.

z Pan Pot (Range: –64 to 00 to +63)

This parameter controls the pan pot, which is the center point

of the left and right stereo channels. Setting “00” specifies

center, a value less than “00” moves the point left, and a value

greater than “00” moves it right.

z Octave Shift (Range: –2 to 0 to +2)

You can use octave shift to shift the range of the tone up or

down. When using the piccolo tone, there may be cases when

very high notes you want to play are not included within the

range of the keyboard. When this happens, you can use

octave shift to shift the keyboard range one octave up.

You can use these parameters to tune each of the parts

individually.

z Coarse Tune (Range: –24 to 00 to +24)

This parameter controls the coarse tuning of the selected

channel’s pitch in semitone units.

z Fine Tune (Range: –99 to 00 to +99)

This parameter controls the fine tuning of the selected

channel’s pitch in cent units.

The Mixer lets you control the effects applied to each

individual part, making it different from the Effect Mode,

whose settings are applied to all parts in general.

z Reverb Send (Range: 000 to 127)

This parameter controls how much reverb is applied to a part.

A setting of “000” turns reverb off, while a setting of 127

applies maximum reverb.

• “Reverb Send” does not work with some drum sounds.

Editing DSP Channel Parameters

How Parameters Work

Tone Parameters

SGPnor.t

Cnelnah

Vuemlo

Pna

–2 :Range shifted two octaves down.

–1 :Range shifted one octave down.

0 :No shift

+1 :Range shifted one octave up.

+2 :Range shifted two octaves up.

Tuning Parameters

Effect Parameters

OSifthtc

CuenT.

FeuneTni

RendSbv

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E-39

Mixer Function

z Chorus Send (Range: 000 to 127)

This parameter controls how much chorus send is applied to

a part. A setting “000” turns chorus send off, while a setting

of 127 applies maximum chorus send.

• “Chorus Send” does not work with drum sounds.

z DSP Line (Settings: on, oFF)

You can use this parameter to turn DSP line off for a particular

channel, or to turn it on.

z DSP Level (Range: 0 to 127)

Sets the post-DSP volume.

z DSP Pan (Range: –64 to 0 to 63)

Sets the post-DSP stereo pan.

z DSP System Reverb Send (Range: 000 to 127)

This parameter adjusts how much reverb is applied to all

parts.

z DSP System Chorus Send (Range: 000 to 127)

This parameter adjusts chorus.

• Changing the tone, volume, pan pot, coarse tune, fine tune,

reverb send, or chorus send setting causes the

corresponding MIDI message to be output from the MIDI

terminal.

• Changing the tone settings changes the tone, octave shift,

reverb send, chorus send, and DSP line* parameter settings.

* When DSP is off (See the note on page E-24).

• Turning on the Mixer’s DSP line parameter (page E-24)

causes the settings of the DSP Pan, DSP System Reverb

Send, and DSP System Chorus parameters to be used in

place of the Pan Pot, Reverb Send, and Chorus Send

parameter’s settings.

DSP Part Parameters

CendSoh

DineLPS

DLvelePS

DanPPS

DvSndbR.

DhSndoC.

707A-E-041A

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Synthesizer Mode

E-40

Synthesizer Mode

The Synthesizer Mode of this keyboard provides the tools for

creating your own original tones. Simply select one of the

built-in tones and change its parameters to create your own

original sound. You can even store your sounds in memory

and select it using the same procedure as that used to select a

preset tone.

The following describes how to use each of the functions

available in the Synthesizer Mode.

The preset tones that are built into this keyboard consist of a

number of parameters. To create a user tone, you first recall

an advanced tone (000 to 331) or a preset tone (400 to 599) and

then change its parameters to change it to your own tone.

Note that drum set tones (600 through 617) cannot be used as

the basis of a user tone.

The illustration nearby shows the parameters that make up

the preset tones and what each parameter does. As can be

seen in the illustration, parameters can be divided into four

groups, each of which is described in detail below.

• Note that the tone whose parameter you can edit is the one

assigned to the channel (1 through 4) that is currently

selected with the Synthesizer Mode.

SYNTH

EXIT

[ ]/[ ]/[ ]/[ ] CURSOR

Number buttons

[

]/[–]

Synthesizer Mode Functions

Synthesizer Mode Parameters

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E-41

Synthesizer Mode

J Tone Characteristic Waveform

z Tone Setting

Specifies which of the preset tones should be used as the

original tone.

J Volume Characteristic Parameters

These parameters control how the tone changes over time,

from when the keyboard key is pressed until the tone decays.

You can specify changes in volume and sound characteristics.

z Attack time

This is the rate or time it takes for the tone to reach its highest

volume level. You can specify a fast rate, where the tone

reaches its highest volume level immediately, a slow rate

where it gradually rises, or something in between.

z Release time

z Cutoff Frequency

The cutoff frequency is a parameter for adjusting timbre by

cutting any frequency that is higher than a specific frequency.

A larger cutoff frequency produces a brighter (harder) timbre,

while a smaller frequency produces a darker (softer) timbre.

z Resonance

Resonance enhances the harmonic components in the vicinity

of the cutoff frequency, which creates a distinctive sound. A

larger resonance value enhances the sound as shown in the

figure.

• With some tones, a large resonance value can cause

distortion or noise during the attack part of the tone.

J Tone Pitch Parameters

z Vibrato Type, Vibrato Delay, Vibrato Rate, Vibrato Depth

These parameters adjust the vibrato effect, which causes

periodic changes in the tone.

z Octave Shift

This parameter controls the octave of all tones.

J Tone Characteristic Setting Parameters

z Level

This parameter controls the overall volume of the tone.

z Touch Sense

This parameter controls changes in volume and timbre in

accordance with the relative amount of pressure applied to

the keyboard keys. You can specify more volume for stronger

pressure and less volume or a lighter pressure, or you can

specify the same volume regardless of how much pressure is

applied to the keys.

z Reverb Send, Chorus Send, DSP Line , DSP Type, DSP

Parameter

These parameters control the effects applied to tones.

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Synthesizer Mode

E-42

The group of tone numbers from 700 through 799 (User 001 through User 100) is called the “user area” because they are reserved

for storage of user tones. After you recall a preset tone and change its parameters to create your own user tone, you can store it in

the user area for later recall. You can recall your tones using the same procedure that you use when selecting a preset tone.

*1: You can select any Advanced Tone, preset tone, or user tone. User tone areas 700 through 799 initially contain the same data

as advanced tones 000 through 099.

*2: Area where data transferred from computer is stored (see “Using the Music Data Management Software (on the Bundled CD-

ROM)” on page E-76). After transfer, you can use the keyboard to edit parameters, but you can only overwrite existing

parameters. You cannot save the data to another number.

*3: Area where data transferred from computer is stored (see “Using the Music Data Management Software (on the Bundled CD-

ROM)” on page E-76). Transfer only is allowed, and no parameter editing is allowed.

*4: User tones created by modifying parameters of one of the preset tones (000 to 049). User drawbar organ tone areas initially

contain two sets of the same data as drawbar organ tones types 000 through 049.

• You can create an original tone using a user tone that includes a waveform (tone number 800 to 819). In this case, the storage area is

the same as the source tone area. For example, an original tone created using tone number 800 as a source tone is stored in user area

number 800.

Saving User Tones

707A-E-044A

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E-43

Synthesizer Mode

Use the following procedure to select a preset tone and

change its parameters to create a user tone.

1. First, select the preset tone you want to use as a

basis for your user tone.

2. Press the SYNTH button.

• This enters the Synthesizer Mode, which is indicated

by the pointer next to SYNTH on the display screen.

Parameter setting value

Currently selected parameter

3. Use the [ ] and [ ] CURSOR buttons to display

the parameter whose setting you want to change.

• Each press of the [ ] or [ ] CURSOR buttons

changes to the next parameter. See “Parameters and

Their Settings” on page E-43 for information on setting

range for each parameter.

4. Use [

] and [–] to change the setting of the

currently selected parameter.

• You can also use the number buttons to input a value

to change a parameter setting. See “Parameters and

Their Settings” on page E-43 for information on setting

range for each parameter.

5. After you are finished editing the sound, press the

SYNTH button to exit the Synthesizer Mode.

• See “Storing a User Tone In Memory” on page E-45 for

details on saving user tone data to memory so it is not

deleted.

The following describes the function of each parameter and

provides its setting range.

z Attack Time (Range: –64 to 00 to +63)

Time it takes before the tone sounds after a key is pressed

z Release Time (Range: –64 to 00 to +63)

Time the tone continues to sound after a key is released

z Cutoff Frequency

(Range: –64 to 00 to +63)

High-band cutoff for the harmonic components of the tone

z Resonance (Range: –64 to 00 to +63)

Resonance of the tone

z Vibrato Waveform (Range: See below.)

Specifies the vibrato waveform.

Creating a User Tone

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1 2

VDla

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Parameters and Their Settings

Value Meaning Waveform

Sin Sine Wave

tri Triangle Wave

SAU Sawtooth Wave

Sqr Square Wave

AimeTkt

R.imeTle

CfFr

fo-

Roan

nse

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707A-E-045A

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Synthesizer Mode

E-44

z Vibrato Delay (Range: –64 to 00 to +63)

Specifies the amount of time before vibrato starts.

z Vibrato Rate (Range: –64 to 00 to +63)

Rate (speed) of the vibrato effect

z Vibrato Depth (Range: –64 to 00 to +63)

Depth of the vibrato effect

z Octave Shift (Range: –2 to 0 to +2)

Up/down octave shift

z Level (Range: 000 to 127)

This parameter controls the overall volume of the tone. The

greater the value, the greater the volume. Setting a level of

zero means that the tone does not sound at all.

 Touch Sensitivity (Range: –64 to 00 to +63)

This parameter controls changes in the volume of the tone in

accordance with the pressure applied to the keyboard keys. A

greater positive value increases the volume of the output as

pressure increases, while a negative value decreases volume

with increased keyboard pressure. A setting of zero specifies

no change in output volume in accordance with keyboard

pressure.

z Reverb Send (Range: 000 to 127)

This parameter adjusts reverb.

z Chorus Send (Range: 000 to 127)

This parameter adjusts chorus.

z DSP Line (Settings: on, oFF)

This parameter controls whether or not the DSP effect is used.

Use the DSP editing screen to select the DSP type and to edit

parameters.

1. Select a tone, press the SYNTH button, and then

configure parameter settings.

2. After everything is the way you want, press the

[ ] CURSOR button once. This advances to the

DSP parameter editing screen.

Pressing the [ ] CURSOR button returns to the Synthesizer

Mode parameter screen.

This setting specifies DSP parameters. See “DSP Parameters”

on page E-24, “Effect List” on page A-13, and “DSP Algorithm

List” on page E-83 for more information.

• If you store an original tone with the DSP line turned on (see

next page), simply recalling the tone automatically changes

the DSP line, DSP type, and DSP parameter settings. This

simplifies the recall of original tones that include a DSP

effect.

• An indicator appears next to DSP on the display while you

are making DSP type or DSP parameter settings.

VDla

ebi

V . ateRbi

thebi

OSifthtc

Lelve

T S nseehc

DSP Settings

R endSbv

C endSoh

D ineLPS

707A-E-046A

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E-45

Synthesizer Mode

The following hints provide helpful advice on making user

tone creation a bit quicker and easier.

Use a preset tone that is similar to the one you are trying to

create.

Whenever you already have a rough idea of the tone you are

trying to create, it is always a good idea to start with a preset

tone that is similar.

z Experiment with various different settings.

There are no real rules about what a tone should sound like.

Let your imagination run free and experiment with different

combinations. You may be surprised at what you can achieve.

The following procedure shows how to store a user tone in

memory. Once a tone is stored, you can call it up just as you

do with a preset tone.

1. Select a preset tone to use as the basis for the

user tone, press the SYNTH button to enter the

Synthesizer Mode, and make the parameter

settings you want.

2. After making parameter settings to create the user

tone, press the [ ] CURSOR button twice.

3. Use [+] and [–] to change the user area tone

number on the display until the one where you

want to store the tone is shown.

• You can select any tone number from 700 to 799.

4. After the tone name is the way you want, press the

[ ] CURSOR button to store the tone.

•Use the [

] and [–] buttons to scroll through letters at

the current cursor location.

• Use the [ ] and [ ] CURSOR buttons to move the

cursor left and right.

• See “Inputting Characters” for information about

inputting text.

5. Press the [ ] CURSOR button to save the user

tone.

• This will display a confirmation message asking

whether you really want to save the data. Press the

YES button to save the data.

• The message “Complete” appears momentarily on the

display, followed by the tone or rhythm selection

screen.

• To abort the save operation at any time, press the

SYNTH button or the EXIT button to exit the

Synthesizer Mode. Pressing the SYNTH button again

(before selecting another tone) returns to the

Synthesizer Mode with all of your parameter settings

still in place.

The following are the types of characters you can input when

saving data to the user area.

User Tone Creation Hints

Storing a User Tone In Memory

To name a user tone and store it in memory

Inputting Characters

707A-E-047A

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Registration Memory

E-46

Registration Memory

Registration memory lets you store up to 32 keyboard setups

(4 sets × 8 banks) for instant recall whenever you need them.

The following is a list of settings that are saved in registration

memory.

•Tone

•Rhythm

•Tempo

•Layer on/off

•Split on/off

• Split point

• Auto Harmonize on/off

• Mixer settings (Channels 1 to 10)

• Effect settings

• Touch Response settings

• Assignable jack setting

•Transpose

•Tuning

• Accompaniment volume setting

• Auto Harmonize type

• MODE button setting

• Synchro standby state

•Mixer Hold

•DSP Hold

• Synthesizer Mode parameters (Vibrato Waveform, Vibrato

Delay, Vibrato Rate, and Vibrato Depth only)

• Each bank of registration memory initially contains data

when you first use the keyboard. Simple replace the existing

data with your own data.

• Registration memory functions are disabled while you are

using the SMF Player, Song Memory or demo tune function.

MODE

BANK

REGISTRATION

STORE

Number buttons

2 43

Registration Memory Features

Registration Memory Settings

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E-47

Registration Memory

You can assign setups into one of 32 areas, which you can

select using BANK buttons 1 through 4 and the four

REGISTRATION buttons. Area names range from 1-1

through 8-4 as shown below.

• Whenever you save a setup and assign it a setup name, any

setup data previously assigned to that name is replaced with

the new data.

• You can use the keyboard’s MIDI capabilities to save your

setup data to a computer or other external storage device.

See “Using the Music Data Management Software (on the

Bundled CD-ROM)” on page E-76 for details.

1. Select a tone and rhythm, and otherwise set up the

keyboard the way you want it.

• See “Registration Memory Features” on page E-46 for

details on what data is stored in the registration

memory.

2. Use the BANK button or the number buttons to

select the bank you want.

• If you do not perform any operation for about five

seconds after pressing the BANK button, the display

returns to the contents in step 1, above.

• Bank 1 selected.

3. While holding down the STORE button, press a

REGISTRATION button (1 to 4).

• The following display appears when you press the 2

button.

4. Release the STORE and REGISTRATION

buttons.

• The setup is saved as soon as you press a REGISTRATION

button in step 3, above.

Setup Names

Use the BANK button to select the bank. Each press of

BANK cycles through the bank numbers from 1 to 8.

Pressing one of the REGISTRATION buttons (1 to 4)

selects the corresponding area in the currently selected

bank.

To Save a Setup in Registration

Memory

Bkna

Sreot

707A-E-049A

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Registration Memory

E-48

1. Use the BANK button or the number buttons to

select the bank.

• If you do not perform any operation for about five

seconds after pressing the BANK button, the keyboard

automatically clears the registration memory recall

screen.

2. Press the REGISTRATION button (1 to 4) for the

area whose setup you want to recall.

• The setup name along with the message “Recall”

appears on the display.

• If you press a REGISTRATION button without using the

BANK button to select a bank first, the last bank number

selected is used.

To Recall a Setup from

Registration Memory

Bkna

Rallce

707A-E-050A

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Song Memory Function

E-49

Son g Mem ory Fu ncti on

This keyboard lets you record up to five separate songs in

song memory for later playback. There are two methods you

can use to record a song: real-time recording where you

record the notes as you play them on the keyboard, and step

recording where you input chords and notes one-by-one.

• Layer and split cannot be used while standing by for

recording or while recording is being performed in the Song

Memory Mode. Also, layer and split are automatically turned

off whenever the keyboard goes into record standby or starts

recording.

Keyboard song memory records and plays back much like a

standard tape recorder. There are a total of six tracks, each of

which can be recorded separately. Besides notes, each track

can have its own tone number. Then when you play back the

tracks together, it sounds like an entire six-piece band. During

playback, you can adjust the tempo to change the speed of

playback.

• With this keyboard, Track 1 is the basic track, which can be

used to record keyboard play, along with Auto

Accompaniment. Tracks 2 through 6 can be used for

keyboard play, so they are called melody tracks. Tracks 2

through 6 are used to add other parts to what is recorded in

Track 1.

• Note that each track is independent of the others. This

means that even if you make a mistake while recording, you

only need to re-record the track where the mistake was

made.

• You can use different Mixer settings for each track (page

E-36).

MODE

SONG MEMORY

TONE

DRAWBAR ORGAN

[ ]/[ ]/[ ]/[ ] CURSOR

INTRO/ENDING 1/2

VARIATION/FILL-IN 1/2

SYNCHRO/FILL-IN NEXT

START/STOP

TEMPO

SONG MEMORY TRACK

Number buttons

[+]/[–], YES/NO

2 41

9 bk86 7

3 5

Tracks

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Song Memory Function

E-50

Use the SONG MEMORY TRACK buttons marked CHORD/

TR1 through TR6 to select the track you want.

J SONG MEMORY TRACK Buttons

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

The status of the Song Memory changes each time you press

the SONG MEMORY button.

With real-time recording, the notes you play on the keyboard

are recorded as you play them.

1. Press the SONG MEMORY button twice to enter

real-time record standby.

• Perform step 2, below, within five seconds after

entering record standby.

• The level meters for tracks 11 through 16 are shown on

the display while the keyboard is in record standby, so

you can easily check which tracks are already

recorded. See “Level Meter Contents During Record/

Edit Standby” on page E-57 for details.

2. Use the number buttons to select a song number

(0 to 4).

Song number

• The above song number screen remains on the display

for about five seconds. If it disappears before you have

a chance to select a song number, use the [ ]

CURSOR button to re-display it.

3. Make the following settings.

•Tone number

• Rhythm number

•Tempo

•MODE button

4. Press the START/STOP button to start recording.

•

Real-time recording without a rhythm starts. If you want

to record with a rhythm, press the INTRO/ENDING 1/2

or VARIATION/FILL-IN 1/2

• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stops

flashing, and remains on the display.

Selecting a Track

Basic Song Memory operations

1 2 4 63 5

Using Real-time Recording

To record with real-time recording

Rodrce

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E-51

Song Memory Function

5. Play something on the keyboard.

• You can also record Auto Accompaniment chords by

selecting the applicable mode with the MODE button.

• Optional pedal operation is also recorded. See “Track

1 Contents After Real-time Recording”.

6. Press the START/STOP button to end recording

when you are finish playing.

• If you make a mistake while recording, you can stop

the record operation and begin over again from step 1,

or you can use the editing function (page E-58) to

make corrections.

• Using real-time recording to record to a track that already

contains recorded data replaces the previous recording with

the new one.

In addition to keyboard notes and accompaniment chords,

the following data is also recorded to Track 1 during real-time

recording. This data is applied whenever Track 1 is played

back.

• Tone number

• Rhythm number

• INTRO/ENDING 1 button, INTRO/ENDING 2 button,

VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2

button, SYNCHRO/FILL-IN NEXT button operations

• Pedal operations (option)

The following data is recorded in the header whenever you

start a recording of a track.

• Mixer settings of other tracks

• Effect type

• Accompaniment volume

• Reverb Level

•Chorus Level

• DSP Hold On/Off

• Mixer Hold On/Off

Channel 1 Mixer parameters (page E-36) are automatically

recorded to Track 1. You can use the Mixer to change each of

the parameters.

The keyboard has memory for approximately 10,000 notes.

• The measure number and note number flash on the display

whenever remaining memory is less than 100 notes.

• Recording automatically stops (and auto-accompaniment

and rhythm stops playing if they are being used) whenever

memory becomes full.

• Initially, nothing is stored in song memory.

• Whenever you make a new recording, anything previously

stored in memory is replaced.

• Turning off the keyboard while a record operation is in

progress causes the contents of the track your are currently

recording to be lost.

• Remember that you can dump memory contents to another

MIDI device using the procedure described under “Using

the Music Data Management Software (on the Bundled

CD-ROM)” on page E-76.

The following describes a number of different variations you

can use when recording to Track 1 using real-time recording.

All of these variations are based upon the procedure

described under “To record with real-time recording” on

page E-50.

J To start recording with synchro start

In place of step 4, press the SYNCHRO/FILL-IN NEXT

button. Auto-accompaniment and recording will both start

when you play a chord on the accompaniment keyboard.

J To record using an intro, ending, or fill-in

During recording, the INTRO/ENDING 1/2, SYNCHRO/

FILL-IN NEXT, and VARIATION/FILL-IN 1/2 buttons

(pages E-32 to E-33) can all be used as they normally are.

J To synchro start Auto Accompaniment with an intro

pattern

In place of step 4, press the SYNCHRO/FILL-IN NEXT

button and then INTRO/ENDING 1 or INTRO/ENDING 2

button. Auto-accompaniment will start with the intro pattern

when you play a chord on the accompaniment keyboard.

Track 1 Contents After Real-time Recording

Mixer Mode Settings

Memory Capacity

Memory Data Storage

Track 1 Real-time Recording Variations

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Song Memory Function

E-52

J To start Auto Accompaniment part way into a

recording

In place of step 4, press the SYNCHRO/FILL-IN NEXT

button and then play something on the melody keyboard to

start recording without Auto Accompaniment. When you

reach the point where you want accompaniment to start, play

a chord on the accompaniment keyboard to start Auto

Accompaniment.

Once you record tracks to song memory, you can play them

back to see what they sound like.

1. Use the SONG MEMORY button to enter playback

standby, and then use the number buttons to

select a song number (0 to 4).

Song number

Playback standby

• The above song number screen remains on the display

for about five seconds. If it disappears before you have

a chance to select a song number, use the [ ]

CURSOR button to re-display it.

2. Press the START/STOP button to playback the

song you selected.

• You can use the TEMPO buttons to adjust the

playback tempo.

• Press the START/STOP button again to stop playback.

• You can play along on the keyboard using layer (page

E-61) and split (page E-62) during playback.

• Pressing the START/STOP button to start playback from

song memory always starts from the beginning of the song.

• The entire keyboard functions as a melody keyboard,

regardless of the accompaniment mode setting.

Press the SONG MEMORY TRACK button of the track you

want to turn off, or use the Mixer (Page E-36) to turn off the

channel of the track.

With step recording, you can record Auto-Accompaniment

chords and notes, and even specify note lengths one by one.

Even those who find it difficult to play along on the keyboard

with an Auto-Accompaniment can create Auto-

Accompaniments based on their own original chord

progressions. The following shows the type of data that can

be recorded in Tracks 1 through 6.

With step recording, first record the chords and Auto-

Accompaniment in Track 1. Next, record the melody in

Tracks 2 through 6.

• Use the procedure under “To record to Tracks 2 through 6

using real-time recording” on page E-55 for details on how to

record to Tracks 2 through 6.

Playing Back from Song

Memory

To play back from song memory

1 2

To turn off a specific track

Recording Melody and Chords

with Step Recording

Track 1 : Chords and Auto-Accompaniment

Tracks 2 through 6 : Keyboard play

707A-E-054A

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E-53

Song Memory Function

1. Press the SONG MEMORY button three times to

enter step recording standby, and then use the

number buttons to select the song number (0 to 4).

Flash

2. Make the following settings.

• Rhythm number

•MODE button

3. Press the CHORD/TR1 button, which is one of the

SONG MEMORY TRACK buttons, to select

Track1.

• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stops

flashing, and remains on the display.

4. Press the SYNCHRO/FILL-IN NEXT button.

5. Play a chord.

• Use the chord play method that is specified by the

current MODE setting (FINGERED, CASIO CHORD,

etc.).

• When the accompaniment mode is set to NORMAL,

specify the chord using the root input keyboard and

chord type input keyboard. See “Specifying Chords in

the Normal Mode” on page E-54 for details.

Chord name

Measure, beat, and clock at current location*

* 96 clocks = 1 beat

6. Input the length of the chord (how long it should be

played until the next chord is played).

• Use the number buttons to specify the length of the

chord. See “Specifying the Length of a Note” on page

E-54 for details.

• The specified chord and its length are stored in

memory and the keyboard stands by for input of the

next chord.

• Repeat steps 5 and 6 to input more chords.

7. After you are finished recording, press the

START/STOP button.

• This enters playback standby for the song you have

just recorded.

• To play back the song at this time, press the START/

STOP button.

• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-57 to correct input mistakes you make

during step recording.

• You can add on to a track that already contains recorded

data by selecting that track in step 3 of the above procedure.

Doing so automatically locates the step recording start point

at the first beat immediately following the previously

recorded data.

• Inputting “0” as the chord length in steps 5 and 6 of the above

procedure specifies a rest, but the rest is not reflected in the

accompaniment contents when the accompaniment is

played.

In addition to chords, the following data is also recorded to

Track 1 during step recording. This data is applied whenever

Track 1 is played back.

• Rhythm number

• INTRO/ENDING 1 button, INTRO/ENDING 2 button,

VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2

button, SYNCHRO/FILL-IN NEXT button operations

• You can also use number buttons 1 through 7, and button 9

to specify the button release timing for the VARIATION/FILL-

IN 1, VARIATION/FILL-IN 2, and SYNCHRO/FILL-IN NEXT

buttons. For more information, see “Specifying the Length of

a Note” on page E-54. Specifying release timing specifies

that the applicable button remains depressed for a particular

amount of time. If you do not specify the release timing, it is

assumed that the button is pressed and then immediately

released.

To record chords with step recording

Recet

Crdoh

Track 1 Contents After Step Recording

707A-E-055A

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Song Memory Function

E-54

When the accompaniment mode is set to NORMAL during

step recording, you can specify chords using a method that is

different from CASIO CHORD and FINGERED fingerings.

This chord specification method can be used to input 18

different chord types using only two keyboard keys, so

chords can be specified even if you don’t know how to

actually play them.

To specify a chord, hold down the key on the root input

keyboard that specifies the root, and press the key in the

chord type input keyboard to specify the chord type. When

inputting a chord with a specified bass note, pressing two

keys of the root input keyboard causes the lower note to be

specified as a bass note.

Example 1:

To input Gm7, hold down G on the root input

keyboard and press the m7 key on the chord

type input keyboard.

Example 2:

To input Gm/C, hold down C and G on the root

input keyboard and press the m key on the chord

type input keyboard.

During step recording, the number buttons are used to

specify the length of each note.

J Note lengths

Use number buttons [1] through [6] to specify whole notes ( ),

half notes ( ), quarter notes ( ), eighth notes ( ), 16th notes

( ), and 32nd notes ( ).

Example:

To specify a quarter note ( ), press [3].

J Dots ( ) and triplicates ( )

While holding down the [7] (dot) or [9] (triplicate), use

buttons [1] through [6] to input the lengths of the notes.

Example:

To input a dotted eighth notes ( ), hold down [7]

and press [4].

J Ties

Input the first and then the second note.

Example:

To input , press [4] and then [8]. Next, press

[5]. This note will be tied to the next note you

input (16th note in this example).

J Rest

Hold down [0] and then use number buttons [1] through [9]

to specify the length of the rest.

Example:

To input an eighth note rest, hold down [0] and

press [4].

• Pressing the [ ] CURSOR button inputs rests up to the

beginning of the next measure.

Specifying Chords in the Normal Mode

Major

Minor

Augmented

Diminished

Suspended four

Seventh

Minor seventh

Major seventh

Minor major seventh

Seventh flat five

Minor seventh flat five

Seventh suspended four

Diminished seventh

Minor add ninth

Add ninth

Minor sixth

Sixth

Six ninth

Press key to specify chord.Hold down key to specify

chord root.

Specifying the Length of a Note

Press key to specify chord.Hold down key to specify on bass

and chord root.

707A-E-056A

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E-55

Song Memory Function

The following describes a number of different variations you

can use when recording to Track 1 using step recording. All

of these variations are based upon the procedure described

under “To record chords with step recording” on page E-53.

J To start accompaniment with an intro pattern

In step 4, press INTRO/ENDING 1 or INTRO/ENDING 2

button after the SYNCHRO/FILL-IN NEXT button.

J To switch to a rhythm variation

In step 5, press VARIATION/FILL-IN 1 or VARIATION/

FILL-IN 2 button immediately before inputting the chord.

J To insert a fill in

In step 5, press VARIATION/FILL-IN 1 or VARIATION/

FILL-IN 2 button at the measure or beat immediately before

the chord or beat where you want to insert the fill in.

J To insert an ending

In step 5, press INTRO/ENDING 1 or INTRO/ENDING 2

button at the measure or beat immediately before the chord

where you want to insert the ending.

• The length of the ending depends on the rhythm you are

using. Check the length of the pattern you are using and set

the length of the chord accordingly in step 6. Making the

chord too short in step 6 can result in the ending pattern

being cut off.

J To step record chords without rhythm

Skip step 4. The specified chord of the length specified by the

number buttons is recorded. A rest can be specified here, so

an original chord pattern can be created.

J To add chord accompaniment part way through

rhythm play

In place of step 4 at the start of the recording, press

VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button

and input rests. Then in step 5, input the chords. Only rhythm

is played where you input the rests, and then chord play

starts after the rests.

Track 1 of the keyboard’s song memory records Auto

Accompaniment and keyboard play. In addition, there are

five other melody tracks that you can use to record melody

parts only. You can record different tones to the melody

tracks and build a full ensemble of instruments for your

recordings. The procedure you use for recording to Tracks 2

through 6 is identical to the one you use when recording to

Track 1.

You can record to Tracks 2 through 6 while playing back what

you originally recorded on Track 1 and any other tracks that

are already recorded.

1. Press the SONG MEMORY button twice to enter

record standby, and then use the number buttons

to select a song number (0 to 4).

• The song number you select should be the one where

you previously input Track 1.

2. Use the SONG MEMORY TRACK buttons to

select the track you want to record to (2 through 6).

• While the keyboard is in record standby, the display

shows the level meters for channels 11 through 16, so

you can check which tracks have already been

recorded. See “Level Meter Contents During Record/

Edit Standby” on page E-57 for details.

3. Make the following settings.

• Tone number

•Tempo

4. Press the START/STOP button to start recording.

• At this time, the contents of any tracks that are already

recorded start to play back.

• Optional pedal operation you perform is also

recorded.

5. Use the keyboard to play what you want to record

the track you selected.

6. Press the START/STOP button to end recording

when you are finished.

Track 1 Step Recording Variations

Recording Multiple Tracks

To record to Tracks 2 through 6 using real-

time recording

707A-E-057A

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Song Memory Function

E-56

In addition to keyboard notes, the following data is also

recorded to the selected track during real-time recording.

This data is applied whenever the track is played back.

• Tone number

• Optional pedal operations

The following data is recorded in the header whenever you

start a recording of a track.

• Mixer settings of other tracks

• Effect type

• Accompaniment volume

• Reverb Level

•Chorus Level

•DSP Hold On/Off

•Mixer Hold On/Off

This procedure describes how to input notes one-by-one,

specifying each note’s pitch and length.

1. Press the SONG MEMORY button three times to

enter real-time record standby, and then use the

number buttons to select a song number (0 to 4).

• The song number you select should be the one where

you previously input Track 1.

2. Use the SONG MEMORY TRACK buttons to

select the track you want to record to (2 through 6).

Example:

Select Track 2.

Flash

3. Specify a tone number.

• Pressing a TONE button or the DRAWBAR ORGAN

button displays the tone number and name on the

display. You can then use the number buttons, or the

[

] (increase) and [–] (decrease) buttons to change the

tone.

• After changing the tone number, press any keyboard

key to clear the tone number and name screen, and

return to the note input screen.

4. Use the keyboard keys to input notes, or the [0]

button to input rests.

• At this time, the display shows the keyboard pressure

(velocity). Use the [

] (increase) and [–] (decrease)

buttons to change the velocity.

• You can also input a chord.

5. Use the number buttons to input the length of the

note or rest (page E-54).

6. Repeat steps 4 and 5 to input more notes.

7. Press the START/STOP button to end recording

when you are finished.

• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-57 to correct input mistakes you make

during step recording.

• You can add on to a track that already contains recorded

data by selecting that track in step 2 of the above procedure.

Doing so automatically locates the step recording start point

at the first beat immediately following the previously

recorded data.

• Whenever you are recording to Tracks 2 through 6, the entire

keyboard functions as a melody keyboard, regardless of the

current MODE button setting.

• When playing back data recorded with Advanced Tones at

the beginning of multiple tracks, the keyboard uses the DSP

type of the Advanced Tone that is recorded in the track with

the largest track number.

• When playing back a track that was recorded with an

Advanced Tone selected, they may be a slight delay before

the first note of the track sounds. If this happens, try to insert

a very short rest at the beginning of the track.

In addition to notes and rests, the following data is also

recorded to the track during step recording. This data is

applied whenever the track is played back.

• Tone number

Track Contents After Real-time Recording

To record to Tracks 2 through 6 using step

recording

Recet

Track Contents After Step Recording

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E-57

Song Memory Function

Channels 11 through 16 correspond to Tracks 1 through 6.

Whenever the keyboard is in record or edit (page E-58)

standby, the level meter display shows which tracks already

contain recorded data and which are still empty. Tracks with

four lit segments already contained recorded data, while

tracks with one lit segment are not yet recorded.

Recording track

Not recording track

Memory data can be thought of as a musical score that

progresses from left to right, with the input point normally at

the far right of the recorded data.

The procedure described here lets you move the input point

to the left in order to make changes in data you have already

input. Note, however, that moving the input point to the left

and changing data automatically deletes all of the data

recorded to the right of the input point.

1. Without exiting step recording, use the [ ]

CURSOR button to move the input point to the left.

• The REC indicator disappears from the display, and

the STEP indicator flashes.

2. Monitoring the data on the display, use the [ ]

and [ ] CURSOR buttons to move the input point

to the data you want to change.

Example:

To re-record all note data following the note A3

located at Measure 120, Beat 1, Clock 0.

3. Press the [ ] CURSOR button.

4. Press the YES button.

• This deletes all data from the location you specified

and enters step record standby.

• Pressing the [ ] CURSOR button or the NO button

cancels deleting the data.

• When you reach the end of the recording by pressing the

[ ] CURSOR button, the REC indicator appears and the

STEP indicator flashes on the display, indicating that you can

add more data using step recording.

Level Meter Contents During Record/Edit

Standby

Correcting Mistakes While Step

Recording

To correct mistakes while step recording

1 2

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Song Memory Function

E-58

1. Perform steps 1 and 2 under “To correct mistakes

while step recording” above to display the note you

want to delete.

2. Press the [ ] CURSOR button twice.

3. In response to the “Delete?” message that

appears on the screen, press the YES button to

delete the displayed note.

After you record to keyboard memory, you can recall

individual notes and parameter settings (such as tone

number) and make any changes you want. This means you

can correct misplayed notes, make changes in tone selections,

etc.

The following types of data can be edited.

• Note intensity

•Notes

•Chords

• Tone numbers

• Rhythm number

• INTRO/ENDING 1 button, INTRO/ENDING 2 button,

VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2

button, SYNCHRO/FILL-IN NEXT button operations

1. Press the SONG MEMORY button three times to

enter step recording standby, and then use the [+]

and [–] buttons to select a song number (0 to 4).

1 Flash

2. Use the SONG MEMORY TRACK buttons to

select the recorded track that you want to edit.

3. Press the [ ] CURSOR button to enter the editing

mode.

• The REC indicator disappears from the display, and

the STEP indicator flashes.

4. Use the [ ] and [ ] CURSOR buttons to move

to the location in track where the note or parameter

you want to change is located.

Note editing example

Velocity

Pitch

5. Make any changes in the value that you want.

• The actual procedures you use to change a parameter

depend on the type of data it contains. See “Editing

Techniques and Display Contents” on page E-59 for

details.

• Repeat steps 4 and 5 to edit other parameters.

6. Press the START/STOP button to end editing

when you are finished.

• The only parameters that can be editted for Tracks 2 through

6 are notes and tone numbers.

• In the case of real-time recording, you later can change tone

numbers you specified while recording to Tracks 1 through 6

is in progress.

• You can only change tone numbers that were originally set

for Tracks 2 through 6 using step recording.

• In the case of real-time recording, you later can change

rhythm numbers you specified while recording to Track 1 is

in progress.

• You can only change rhythm numbers that were originally set

for Track 1 using step recording.

• You cannot use the edit procedure to add more data to a

recording.

• You cannot move portions of a recording to a different

location within the recording.

• Note lengths cannot be changed.

To delete specific note data

Editing Memory Contents

To edit memory contents

Recet

NeC4to

1 2

707A-E-060A

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E-59

Song Memory Function

The following describes the editing techniques you can use to

change the various parameters stored in memory.

J To change the key pressure (velocity) of a note

Use the number buttons or [

] and [–] to adjust the key

pressure.

J To change the pitch of a note

Input a new note on the keyboard to change the pitch of a

note. The pitch you specify here is reflected in the keyboard

and the notes shown in the staff on the display.

• Whenever editing memory contents, never change a note so

it is identical to the note before or after it. Doing so may alter

the length of the changed note and the note before or after it.

Should this happen, you will have to re-record the entire

track.

J To change a chord

Use the chord fingering method selected by the MODE button

(FINGERED, CASIO CHORD, etc.) to input a chord.

J To change a tone number

Use the number buttons or [

] and [–] buttons to change a

tone number.

• In the case of real-time recording, you later can change tone

numbers you specified while recording to Tracks 1 through 6

is in progress.

• You can only change tone numbers that were originally set

for Tracks 2 through 6 using step recording.

J To change a rhythm number

Use the number buttons or [

] and [–] buttons to change a

rhythm number.

• In the case of real-time recording, you later can change

rhythm numbers you specified while recording to Track 1 is

in progress.

• You can only change rhythm numbers that were originally set

for Track 1 using step recording.

J To change a rhythm controller operation *

* INTRO/ENDING 1 button, INTRO/ENDING 2 button,

VARIATION/FILL IN 1 button, VARIATION/FILL IN 2

button, SYNCHRO/FILL IN NEXT button operations

Press the rhythm controller button you want to change to.

You can perform the following operations in the song editing

mode.

• Delete a song

• Delete a track

• Song header data rewrite (Panel Record)

1. Press the SONG MEMORY button once to enter

playback standby.

2. Use the [

] and [–] buttons to select the number of

the song you want to delete.

3. Press the [ ] CURSOR button. If there is no song

number on the display, press the [ ] CURSOR

button twice.

• This displays the song delete screen.

4. Press the YES button.

• This causes the message “Sure?” to appear,

confirming whether you really want to delete the

song.

Editing Techniques and Display Contents

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SGPnor.t

Editing a Song

To delete a song

I/nd1Etn

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Song Memory Function

E-60

5. Press the YES button to delete the song and return

to playback standby.

1. Press the SONG MEMORY button once to enter

playback standby.

2. Use the [+] and [–] buttons to select the number of

the song that contains the track you want to delete.

3. Press the [ ] CURSOR button. If there is no song

number on the display, press the [ ] CURSOR

button three times.

• This displays the song delete screen.

Number of the song that contains the track (cannot

be changed)

Track delete standby

4. Use the SONG MEMORY TRACK buttons to

select the recorded track or tracks whose data you

want to delete.

Track delete standby

Recorded track

Track being deleted (Multiple tracks can be

specified.)

• You can specify more than one track for deletion by

pressing more than one track select button.

• To deselect a track, simply press its track select button

again.

5. Press the YES button.

• This causes the message “Sure?” to appear,

confirming whether you really want to delete the

track.

6. Press the YES button to delete the track.

• You cannot change the song number while in track delete

standby.

• Pressing the SONG MEMORY button while in track delete

standby returns to record standby.

You can use a procedure called “Panel Record” to change the

initial Mixer, tempo and other settings stored in the song

header.

1. Press the SONG MEMORY button once to enter

playback standby.

2. Use the [

] and [–] buttons to select the number of

the song that contains the header data you want to

rewrite.

3. Make the changes you want to the header data.

4. Press the [ ] CURSOR button three times.

• This displays the song delete screen.

• This causes the message “Pnel Rec?” to appear on the

display.

5. Press the YES button to rewrite the header data.

To delete a specific track

TDl.?e.r

1 2

To rewrite song header data (Panel Record)

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Keyboard Settings

E-61

Keyboard Set tings

Up to four parts (numbered 1 through 4) can be used

simultaneously during keyboard play. These parts can be

used by the layer and split functions explained below.

Layer lets you assign two different tones (a main tone and a

layered tone) to the keyboard, both of which play whenever

you press a key. For example, you could layer the GM

FRENCH HORN tone on the GM BRASS tone to produce a

rich and brassy sound.

J LAYER

1. First select the main tone.

Example:

To select “461 GM BRASS” as the main tone,

press the TONE button and then use the number

buttons to input 4, 6 and then 1.

2. Press the LAYER button.

Selected layer tone

Pointer

3. Select the layered tone.

Example:

To select “460 GM FRENCH HORN” as the

layered tone, use the number buttons to input 4,

6 and then 0.

4. Now try playing something on the keyboard.

• Both tones are played at the same time.

MODE

TRANSPOSE/FUNCTION

3 TONE

EXIT

DSP

6 SPLIT

LAYER

[ ]/[ ]/[ ]/[ ] CURSOR

9 Number buttons

[

]/[–], YES/NO

6 7 8

543

Parts

Part 1: Main tone part

Part 2: Layered tone part

Part 3: Split tone part

Part 4: Layered and split tone part

Using Layer

To layer tones

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Keyboard Settings

E-62

5. Press the LAYER button again to unlayer the tones

and return the keyboard to normal.

• Turning on layering switches the currently selected part from

Part 1 to Part 2, and displays the layered tone. At that time,

you can use the [ ] and [ ] CURSOR buttons to switch

between parts. Turning off layering returns to Part 1.

• The main tone sounds over Channel 1, while the layered

tone sounds over Channel 2. You can also use the Mixer to

change the tone and volume settings for these channels.

• Note that layering is not possible during record standby or

recording in the Song Memory Mode, or while you are using

the SMF Player Mode.

With split you can assign two different tones (a main tone and

a split tone) to either end of the keyboard, which lets you play

one tone with your left hand and another tone with your right

hand. For example, you could select GM STRINGS 1 as the

main (high range) tone and GM PIZZICATO as the split (low

range) tone, putting an entire string ensemble at your

fingertips.

Split also lets you specify the split point, which is the location

on the keyboard where the changeover between the two tones

occurs.

• Leave the MODE button in the NORMAL or FULL RANGE

CHORD position.

J SPLIT

1. First select the main tone.

Example:

To select “448 GM STRINGS 1” as the main tone,

press the TONE button and then use the number

buttons to input 4, 4 and then 8.

2. Press the SPLIT button.

Selected split tone

Pointer

3. Select the split tone.

Example:

To select “445 GM PIZZICATO” as the split tone,

use the number buttons to input 4, 4 and then 5.

4. Specify the split point. While holding down the

SPLIT button, press the keyboard key where you

want the leftmost key of the high end range to be.

Example:

To specify G3 as the split point, press the G3 key.

5. Now try playing something on the keyboard.

• Every key from F#3 and below is assigned the GM

PIZZICATO tone, while every key from G3 and above

is assigned the GM STRINGS 1 tone.

6. Press the SPLIT button again to unsplit the

keyboard and return it to normal.

Using Split

To split the keyboard

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E-63

Keyboard Settings

• Turning on split switches the currently selected part to Part

3, and displays the split tone. At that time, you can use the

[ ] and [ ] CURSOR buttons to switch between parts.

Turning off split returns to Part 1.

• The main tone sounds over Channel 1, while the split tone

sounds over Channel 3. You can also use the Mixer to

change the tone and volume settings for these channels.

• Note that split is not possible during record standby or

recording in the Song Memory Mode, or while you are using

the SMF Player Mode.

• When the accompaniment mode is set to CASIO CHORD or

FINGERED, the accompaniment keyboard range is in

accordance with the split point you specify with the above

procedure.

You can use layer and split together to create a layered split

keyboard. It makes no difference whether you layer tones first

and then split the keyboard, or split the keyboard and then

layer tones. When you use layer and split in combination, the

high range of the keyboard is assigned two tones (main tone

+ layered tone), and the low range two tones (split tone +

layered split tone).

J LAYER SPLIT

1. Press the TONE button and then input the tone

number of the main tone.

Example:

To set “461 GM BRASS” as the main tone.

2. Press the SPLIT button and then input the number

of the split tone.

Example:

To set “445 GM PIZZICATO” as the split tone.

• After specifying the split tone, press the SPLIT button

to unsplit the keyboard.

3. Press the LAYER button and then input the

number of the layered tone.

Example:

To set “460 GM FRENCH HORN” as the layered

tone.

4. Press the SPLIT button or the LAYER button so

both of the SPLIT and LAYER indicators are

displayed.

5. Input the number of the layered split tone.

Example:

To specify the “448 GM STRINGS 1” tone, enter

4, 4, 8.

6. While holding down the SPLIT button, press the

keyboard key where you want the lowest note (the

leftmost key) of the upper range (right side range)

to be.

7. Play something on the keyboard.

• Press the LAYER button to unlayer the keyboard, and

the SPLIT button to unsplit it.

• Turning on layer+split switches the currently selected part to

Part 4, and displays the layered tone. At that time, you can

use the [ ] and [ ] CURSOR buttons to switch between

parts. Turning off layer returns to Part 3, while turning off split

returns to Part 2. Turning off both layer and split returns to

Part 1.

• The main tone sounds over Channel 1, the layer tone over

Channel 2, the split tone over Channel 3, and the layer/split

tone over Channel 4. You can also use the Mixer to change

the tone and volume settings for these channels.

Using Layer and Split Together

To split the keyboard and then layer tones

Bs Gsar

PzatGczi

Fon GrHr

1Gnrt

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Keyboard Settings

E-64

Transpose lets you raise and lower the overall key of the

keyboard in semitone units. If you want to play an

accompaniment for a vocalist who sings in a key that’s

different from the keyboard, for example, simply use

transpose to change the key of the keyboard.

1. Press the TRANSPOSE/FUNCTION button.

• This causes a pointer to appear on the display next to

TRANSPOSE/FUNCTION, and displays the

transpose setting screen.

2. Use [+] and [–] to change the transpose setting of

the keyboard.

Example:

To transpose the keyboard five semitones

upwards.

• Pressing the TRANSPOSE/FUNCTION button exits

the transpose screen.

• The keyboard can be transposed within a range of –24 (two

octave downwards) to +24 (two octave upwards).

• The transpose setting also affects playback from song

memory and Auto Accompaniment.

• The allowable pitch range you can transpose within depends

on the tone you are using. If a transpose operation causes a

note to be outside of the pitch range for the tone being used,

the keyboard automatically plays the same note in the

nearest octave that falls within the pitch range of the tone you

are using.

When touch response is turned on, the relative volume of

sound output by the keyboard is varied in accordance with

the amount of pressure applied, just like an acoustic piano.

1. Press the TRANSPOSE/FUNCTION button.

• This causes a pointer to appear on the display next to

TRANSPOSE/FUNCTION.

2. Use the [ ] and [ ] CURSOR buttons to display

the touch response setting screen.

3. Use the [

] and [–] buttons to select the touch

response sensitivity level.

• “1” outputs powerful sound even with light key

pressure, while “3” requires very heavy key pressure

to output powerful sound.

• Pressing [

] and [–] at the same time returns

sensitivity to the “2” setting.

• When you select “oFF”, the tone does not change

regardless of how much pressure you apply to the

keyboard.

• Touch response not only affects the keyboard’s internal

sound source, it also is output as MIDI data.

• Song Memory playback, accompaniment, and external MIDI

note data do not affect the touch response setting.

Transposing the Keyboard

To transpose the keyboard

Tn.sar

Using Touch Response

To turn touch response on and off

Tchuo

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E-65

Keyboard Settings

The tuning feature lets you fine tune the keyboard to match

the tuning of another musical instrument.

1. Press the TRANSPOSE/FUNCTION button.

2. Use the [ ] and [ ] CURSOR buttons to display

the tuning screen.

3. Use [+] and [–] to change the tuning setting of the

keyboard.

Example:

To lower the tuning by 20.

• Pressing the TRANSPOSE/FUNCTION button exits

the transpose screen.

• The keyboard can be tuned within a range of –99 cents to

+99 cents.

* 100 cents is equivalent to one semitone.

• The tuning setting also affects playback from song memory

and Auto Accompaniment.

Tuning the Keyboard

To tune the keyboard

Tenu

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Keyboard Settings

E-66

The table below shows the parameters whose settings you can change.

• The above settings are all saved whenever you turn off the keyboard. For details, see “Memory Contents” on page E-14.

• MIDI settings and Delete/Initialize settings are disabled while you are using the SMF Player or Song Memory function.

Changing Other Settings

Setting Types

Setting menu Description Page

Transpose

(Trans.)

Adjusts overall keyboard tuning by semitone units. E-64

Auto Harmonize

(AutoHarm)

Selects the Auto Harmonize Type. E-69

Touch Response

(Touch)

Specifies how sound should change with keyboard pressure. E-64

Tune

(Tune)

Fine adjustment of overall keyboard tuning. E-65

Contrast

(Contrast)

Adjusts display brightness. E-69

Assignable Jack

(Jack)

Assigns effects to pedals. E-69

Mixer Hold

(MixHold)

Turns mixer hold on or off. E-69

DSP Hold

(DSP Hold)

Turns DSP hold on or off. E-69

MIDI

(MIDI)

MIDI settings E-70

Delete/Initialize

(Del/Init)

Initialization can be used to return keyboard parameters to their initial factory default settings,

or to delete all data currently in keyboard memory.

E-70

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E-67

Keyboard Settings

1. Press the TRANSPOSE/FUNCTION button.

• This causes a pointer to appear on the display next to TRANSPOSE/FUNCTION.

2. Use the [ ] and [ ] CURSOR buttons, and the [ ] and [ ] CURSOR buttons to recall the items whose

settings you want to change.

To use the keyboard settings menu

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Keyboard Settings

E-68

3. Use the [

] and [–] buttons or the number buttons to change the values.

• Settings you make are applied even if you do not press the EXIT button.

• See the following section titled “Setting Menu Items” for details on each setting.

• After making the settings you want, press the TRANSPOSE/FUNCTION button or EXIT button to return to the tone or

rhythm selection screen.

z In case of a delete or initialize procedure

4. Press the YES button.

• This displays the user area number and data name of the data to be deleted.

• The data size value represents kilobyte units.

5. Now use the number buttons, or the [

] (increase) and [–] (decrease) buttons to select the data you want.

6. Press the [ ] CURSOR button.

• This causes the message “Sure?” to appear, confirming whether you really want to perform the delete or initialize operation.

7. Press the YES button to complete the operation.

• This performs the delete or initialize operation and returns to the step 5 screen.

8. After making the settings you want, press the TRANSPOSE/FUNCTION button or EXIT button to return to the

tone or rhythm selection screen.

• It can take about 40 seconds to perform a delete or initialize procedure after you pressing the YES button in step 7 above. The message

“Pls Wait” will remain on the display to indicate that a procedure is being performed. Never try to perform any operation while “Pls Wait”

is displayed. Performing any operation can damage the keyboard’s memory and cause it to malfunction.

707A-E-070A

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E-69

Keyboard Settings

J Auto Harmonize Types

You can select from among the 10 different types of auto harmonize listed below.

J Other Settings

Setting Menu Items

No. Type Description

0 Duet1 Adds a 1-part harmony to keyboard play.

1 Duet2 Adds a 1-part harmony to keyboard play. Duet2 harmony is more open than Duet1.

2 Country Adds a country-flavor harmony to keyboard play.

3 Octave Adds notes one octave below notes played on the keyboard.

4 5th Adds fifth notes above notes played on the keyboard.

5 3-Way Open Adds two open harmony parts to notes played on the keyboard (creating three-part harmony).

6 3-Way Close Adds two close harmony parts to notes played on the keyboard (creating three-part harmony).

7 Strings Adds harmony suitable for strings.

8 Block Adds block chord notes.

9 Big Band Adds harmony suitable for big band play.

Setting menu Range Default Description

Contrast

(Contrast)

00 to 15 07 Adjusts display contrast.

Assignable Jack

(Jack)

SUS SUS Assigns the sustain pedal effect to a pedal.

SoS — Assigns the sostenuto pedal effect to a pedal.

SFt — Assigns the soft pedal effect to a pedal.

rhy — Assigns the START/STOP button function to a pedal.

Mixer Hold

(MixHold)

on/oFF oFF

When Mixer Hold is turned on, the parameters of accompaniment parts

(Part 6 through Part 10) cannot be modified by accompaniment data.

DSP Hold

(DSP Hold)

on/oFF oFF

on: Current DSP line setting is maintained, even when the tone is

changed.

oFF: Changing the tone switches to the DSP line setting of the new

tone.

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Keyboard Settings

E-70

J MIDI Settings

J Delete/Initialize Settings

Setting menu Range Default Description

Keyboard Channel

(Keybd Ch)

01 to 16 01 Specifies the send channel for main tone play.

MIDI In Chord Judge

(Chord)

on/oFF oFF

Specifies whether accompaniment range MIDI Note On messages

received from an external device should be interpreted as auto

accompaniment chords.

Accomp/Song MIDI Out

(Ac/sg Out)

on/oFF oFF

Specifies whether this keyboard’s auto accompaniment or song

memory is sent as MIDI messages.

Local Control Setting

(Local)

on/oFF on Specifies whether the keyboard should sound the parts played on it.

Setting menu Range Default Description

SMF Delete — — Deletes selected SMF data.

User Rhythm Delete — — Deletes selected user rhythm data.

User Tone Delete — — Deletes selected user tone data.

Mixer Reset

(InitMix?)

— —

Initializes parameters assigned by the Mixer or by input from an

external sequencer.

Parameter Reset

(InitPar?)

— — Initializes all parameters, except for the display contrast setting.

System Reset

(InitSys?)

— —

Initializes the keyboard’s parameters and registration data, and deletes

all data stored in the keyboard’s user area.

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Using the SMF Player

E-71

Using the SMF P layer

The letters “SMF” stand for Standard MIDI File, which is a file format that allows MIDI data to be shared between different software

and sequencers. There are actually three SMF formats, named SMF 0, SMF 1, and SMF 2. This keyboard supports the SMF 0 format,

which is the one that is most widely used today, and so all mentions of “SMF data” in this manual refer to SMF 0 format data.

The Flash Memory built into your keyboard lets you store SMF format music data for playback whenever you want. You can have

up to 200 music files* in Flash Memory at one time. You can use your computer to transfer SMFs from the bundled CD-ROM to

keyboard flash memory, or SMFs you have downloaded from the CASIO MUSIC SITE. See “Using the Music Data Management

Software (on the Bundled CD-ROM)” on page E-76 for more information.

* Note that the number of files you can store in memory also depends on the size of each file. If your files are very large, you may

be able to store fewer than 200.

* Initially, your keyboard comes with three sample SMF tunes in memory.

• Note that CASIO COMPUTER CO., LTD. shall not be held liable for any loss of data stored in this keyboard’s Flash Memory.

SMF PLAYER

MIXER

EXIT

ACCOMP VOLUME

START/STOP

[ ]/[ ]/[ ]/[ ] CURSOR

Number buttons

[

]/[–]

5 64

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Using the SMF Player

E-72

SMF Player Mode Operational Flow

[

⊳

]*, [

–

]

Select file.

Select play along part.

000

ABC1

File Name

File Number

001 ABC 2

File NameFile Number

Error (Other errors may also occur.)

During SMF playback

Data is not an SMF 0 format

Data is not correct SMF

Err Not SMF0

Err WrongDat

Key Ch

Part Number

Key Ch

001

ABC2

ABC3

[



]*, [+]

[

⊳

], [

–

][



], [+]

[



], [+] [

⊳

], [

–

]

[

⊳

], [

–

][



], [+]

[

⊳

], [

–

]

[

⊳

], [

–

]

[



], [+]

[



], [+]

Direct input using number buttons is also possible.

You can use the [

⊳

] and [



] CURSOR buttons or

[+] and [

–] buttons to change the SMF.

Direct input using number buttons is also possible.

Tone/Rhythm Selection Screen

SMF PLAYER button

EXIT button

START/STOP button

EXIT button

[



]*[



Select output mode.

int

Output

Output Mode

out

Output

[

⊳

], [

–

][



], [+]

[

⊳

], [

–

]

[



], [+]

[



][



]

Select play back mode.

PlayMode

Playback Mode

PlayMode

[

⊳

], [

–

][



], [+]

[

⊳

], [

–

]

[

⊳

], [

–

]

[



], [+]

PlayMode

[

⊳

], [

–

]

[



], [+]

[



], [+]

Direct input using number buttons is also possible.

[



][



]

START/STOP button

Playback stopped.

START/STOP button,

Playback complete.

[



] : [



] CURSOR button

[



] : [



] CURSOR button

[

⊳

] : [

⊳

] CURSOR button

[



] : [



] CURSOR button

008

Text Area

Number Area

Display Screen

707A-E-074A

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E-73

Using the SMF Player

1. Press the SMF PLAYER button to display the file

selection screen.

• This causes the SMF player pointer to appear on the

display.

• SMF are those whose file names end with the

extension “MID”. An error message appears at this

time if there are no SMF files currently in Flash

Memory.

2. Use the number buttons to input the three-digit file

number of the file you want to play.

• The name of the currently selected file will appear in

the text area of the display. The file number is shown

in the number area of the display. The Tempo/

Measure area of the display shows the size of the file

in kilobytes.

• You can also use the [ ] and [ ] CURSOR buttons

or [+] and [–] buttons to change the file.

3. Press the START/STOP button.

• This starts playback of the selected file.

• You can use the TEMPO buttons to adjust the tempo

within the range of 30 to 255.

• You can turn channels 1 through 16 on and off,

regardless of whether file playback is in progress or

stopped. For more information, see “Turning

Channels On and Off” on page E-36.

4. To stop file playback, press the START/STOP

button again.

The following procedure explains how to control the overall

volume of SMF data playback. You can adjust volume while

playback is stopped or ongoing.

1. Press the ACCOMP VOLUME button.

• This causes the “SMF Vol.” indicator to appear on the

display, along with a value that indicates the current

SMF volume setting.

2. Use the [

] and [–] buttons or the number buttons

to adjust the SMF volume.

• You can specify a setting in the range of 000

(minimum) to 127 (maximum).

• Pressing [

] and [–] at the same time returns the SMF

volume setting to 100.

• Note that this setting does not affect the volume of the

notes you play on the keyboard.

1. While playback is stopped, select the file you want

to play back.

• Perform steps 1 through 2 under “To play back an

SMF” to select a file.

2. Press the [ ] CURSOR button to display a

screen for selecting the part you want to play on

the keyboard (play along part).

• Use the [ ] and [ ] CURSOR buttons or the [

] and

[–] buttons to select the play along part.

• Press the MIXER button to enter the Mixer Mode.

• Turn off the channel that corresponds to the play

along part you selected above. See “Turning Channels

On and Off” on page E-36 for more information.

Performing this step turns off the applicable part so

you can play it on the keyboard along with the rest of

the SMF playback.

• Entering the SMF Player Mode initializes all parts by turning

on all Mixer Mode channels.

• After configuring Mixer Mode settings, press the MIXER

button or EXIT button to return to the SMF Player Mode.

3. Press the [ ] CURSOR button to display the

playback mode selection screen.

• Use the [ ] and [ ] CURSOR buttons or the [

] and

[–] buttons to select the playback mode.

• You can select from among the following four

playback modes.

Playing Back an SMF

To play back an SMF

Adjusting SMF Playback Volume

Configuring Other Settings

To configure other settings

S1: One file, one time

SL: One file, repeat

A1: All files, one time

AL: All files, repeat

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Using the SMF Player

E-74

4. Press the [ ] CURSOR button to display the

output mode selection screen.

• Use the [ ] and [ ] CURSOR buttons or the [

] and

[–] buttons to select the output mode.

• You can select from among the following two output

types.

• Layer, split, and Auto Harmonize are automatically turned off

in the SMF Player Mode.

The following explains what you should do when an error

message appears in the SMF Player Mode.

int: Keyboard’s built-in speakers

out: MIDI OUT

SMF Player Error Messages

Error

Message

Cause Action

Err

Not SMF0

You are attempting to play

SMF data that is not Format 0.

Use only Format

0 SMF data.

Err

WrongDat

There is a problem with the

SMF data you are trying to

play or the data is corrupted.

Use different

data.

707A-E-076A

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MIDI

E-75

MIDI

MIDI is a standard for digital signals and connectors that

allows musical instruments, computers, and other devices,

regardless of manufacturer, to exchange data with each other.

To use a computer or other MIDI device to record and

playback the MIDI data produced by this keyboard, you must

connect the MIDI IN and MIDI OUT terminals of both devices

in order to send and receive data.

Rear Panel

If a MIDI THRU function provided by the software is being

run on a connected computer or other MIDI device, be sure to

turn this keyboard’s “Local Control Setting” off (page E-70).

This keyboard supports General MIDI, so it can be used to

play commercially available pre-recorded General MIDI data

and General MIDI data send to it from a personal computer.

See the “Tone List” on page A-1 for details about the tones

that are available with GM tones numbered 000 to 127.

You can change the settings of a number of parameters that

control how MIDI messages are sent and received.

You can use the parameter setting procedure (page E-67) to

change the settings of the MIDI parameters described below.

See page E-70 for details about the setting menu and

procedure.

z MIDI In Chord Judge

This parameter determines whether note data received from

an external device should be interpreted as an auto

accompaniment chord fingering. Turn on this parameter

when you want to control auto accompaniment chords from

a computer or other external device.

z Accomp/Song MIDI Out (Accompaniment/Song MIDI

Out)

Turn on this parameter when you want sound auto

accompaniment or Song Memory on an external devices

sound source.

• For details about MIDI specifications, visit the CASIO

Website.

http://world.casio.com

What is MIDI?

MIDI Connections

General MIDI

MIDI cable: MK-5

MIDI Settings

MIDI Parameters

•on : Causes note data input through MIDI IN to be

interpreted as auto accompaniment chord

fingerings. The channel specified by the keyboard

channel is used for specifying chords.

•oFF : Turns off “MIDI In Chord Judge”.

•on : Outputs auto accompaniment or Song Memory as

MIDI messages through the keyboard’s MIDI OUT

terminal.

•oFF : Does not output auto accompaniment or Song

Memory.

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MIDI

E-76

The Music Data Management Software application on the

CD-ROM that comes bundled with the keyboard lets you

transfer data you downloaded from the CASIO MUSIC SITE

from your computer to keyboard memory. You can also use it

to save keyboard data to your computer’s hard disk. Music

Data Management Software supports transfer of the

following type of data.

•SMF

• Rhythm Patterns

•Registrations

• User songs created in the Song Memory Mode

• Drum sounds with waveform

• Drawbar organ tones

•Tone

• Tones with waveforms

•DSP

• Package file

• All user data

CASIO MUSIC SITE

http://music.casio.com/

Music Data Management Software

Music Data Management Software makes it possible for your

computer to transfer data you downloaded from the CASIO

Music Site to keyboard memory, and to transfer keyboard

memory data to your computer’s hard disk for storage. After

starting up the Music Data Management Software, you can

access the following three converter applications.

 Wave Converter

Wave Converter creates keyboard Tone With Wave data from

tone data files (.wav) stored on your computer's hard disk.





 Rhythm Converter

Rhythm Converter creates keyboard Rhythm data from SMF

format rhythm data stored on your computer's hard disk.





 Parameter Editor

Parameter Editor makes it possible to use your computer to

edit keyboard parameters.





 To install the Music Data Management Software

• Before installing the Music Data Management Software, be

sure to read the contents of the applicable readme.txt file.

You can find the readme.txt file inside the same language

folder where the Music Data Management Software you

are installing is located.

1. To install the Music Data Management Software, navigate

to the CD-ROM on your computer and double-click

“wk3-30.exe”. Next, follow the instructions that appear on

your computer screen.

* An English-language manual with detailed explanations

about Music Data Management Software operations is

located in the English folder on the CD-ROM. You can

access the manual by opening its HTML named

“index.html” using one of the following types of web

browser applications. Other language versions of this

manual are available for free download from the CASIO

MUSIC SITE.

Internet Explorer 4 or higher

Netscape Navigator 4.04 or higher





 Supported Computer Operating Systems

The Music Data Management Software will run under the

following operating systems.

Windows 98SE

Windows Me

Windows 2000

Windows XP

• Though Music Data Management Software is designed to

run under the standard configurations of the above operating

systems, note that it may not be able to run correctly under

certain software and hardware environments.

• Music Data Management Software does not support

operation on a Macintosh.

Downloading Data

Visit the CASIO MUSIC SITE for information about

downloading data.

When you arrive at the CASIO MUSIC SITE, select a

geographic area or country. Next, select an Internet Data

Expansion System data download service.

Note that the services that are available at the CASIO MUSIC

SITE depend on the area or country you select.

Bundled CD-ROM Data

The CD-ROM that comes bundled with the keyboard has a

folder named “Data”, which contains various data folders.

For details about the data contained in the data folders, see

the “list.txt” file inside of each folder.

Using the Music Data

Management Software (on the

Bundled CD-ROM)

707A-E-078A

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E-77

MIDI

Returning the keyboard to its initial factory defaults

The “Data” folder on the CD-ROM that comes bundled with

the keyboard includes a file named “alldata.ckf”, which

contains factory default setup data. Transferring the

“alldata.ckf” data to the keyboard’s flash memory will return

all settings to their initial factory defaults.

• For information about transferring data to the keyboard’s

flash memory, see the application software manual.

Be sure to turn off the keyboard and your computer before

connecting them. You should also set the volume controller of

the keyboard to a relatively low volume.

1. Connect the keyboard’s MIDI interface to your

computer’s MIDI interface.

2. Turn on the keyboard, and then turn on your

computer or other connected device.

3. Start up the software you want to use on your

computer.

• When using the application software, make sure that the

tone setting screen (the screen that appears after turning on

power) is on the keyboard’s display screen.

• Performing a keyboard operation while transferring data

between it and a computer may interrupt the data transfer.

Do not perform any keyboard operations while data transfer

is in progress.

• The DATA ACCESS lamp lights whenever the keyboard is

exchanging data with a connected computer over a MIDI

cable connection. Never disconnect the MIDI cable while

the DATA ACCESS lamp is lit.

To connect to a computer

CTK-900

DATA ACCESS Lamp

707A-E-079A

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Troubleshooting

E-78

Troubleshoo ting

Problem Possible Cause Action See page

No keyboard Sound 1. Power supply problem.

2. Power is not turned on.

3. Volume setting is too low.

4. Playing in the accompaniment

keyboard area while the MODE

button setting is CASIO CHORD or

FINGERED.

5. Local Control is off.

6. Mixer channel 1 is turned off.

7. Mixer channel 1 volume setting is too

low.

1. Correctly attach the AC

adaptor, make sure that

batteries poles (+/–) are facing

correctly, and check to make

sure that batteries are not dead.

2. Press the POWER button to

turn on power.

3. Use the MAIN VOLUME knob

to increase volume.

4. None of the accompaniment

mode indicators are lit, which

means Auto Accompaniment is

turned off.

5. Turn on Local Control.

6. Use the Mixer to turn channel 1

on.

7. Use the Mixer to raise the

volume setting for channel 1.

E-12, 13

E-16

E-28

E-70

E-36

E-37, 38

Any of the following symptoms

while using battery power.

Low battery power Replace the batteries with a set of

new ones or use the AC adaptor.

E-12, 13

Auto Accompaniment does not

sound.

1. Accompaniment volume is set to 000.

2. Auto Accompaniment part Channels

6 through 10 are turned off.

3. Auto Accompaniment part Channels

6 through 10 volume setting is too

low.

1. Use the ACCOMP VOLUME

button to increase the volume.

2. Use the Mixer to turn the

channels on.

3. Use the Mixer to raise the

volume setting for the

applicable channel.

E-35

E-36

E-37, 38

Sound output does not change

when key pressure is varied.

Touch response is turned off. Press the TRANSPOSE/

FUNCTION button to turn it on.

E-64

Playing the keyboard sounds two

tones.

Layer is turned on. Press the LAYER button to turn off

layering.

E-61

Different tones sound when keys

in different keyboard ranges are

pressed.

Split is turned on. Press the SPLIT button to turn off

split.

E-62

The key or tuning does not match

when playing along with another

MIDI machine.

1. The tuning or transpose parameter is

set to a value other than 00.

2. Mixer coarse tune, fine tune, and/or

octave shift settings are values other

than 00.

1. Change the transpose or tuning

parameter value to 00.

2. Use the Mixer to change the

coarse tune, fine tune, and/or

octave shift settings to 00.

E-64, 65

E-38

Parts suddenly drop out during

song memory playback.

The number of tones being played at the

same time exceeds the keyboard’s

limitation.

Use the Mixer to turn unneeded

channels off and decrease the

number of parts being played.

E-36

Some parts do not play at all

during song memory playback.

1. Channels are turned off.

2. Volume setting is too low.

1. Use the Mixer to turn channels

on.

2. Use the Mixer to check the

volume setting.

E-36

E-37, 38

• Dim power indicator

• Instrument does not turn on.

• Display that is flickering, dim, or

difficult to read

• Abnormally low speaker/headphone

volume

• Distortion of sound output

• Occasional interruption of sound

when playing at high volumes

• Sudden power failure when playing at

high volumes

• Flickering or dimming of the display

when playing at high volume

• Continued sound output even after

you release a key

• A tone that is totally different from the

one that is selected.

• Abnormal rhythm pattern and demo

tune play

• Loss of power, sound distortion, or

low volume when playing from a

connected computer or MIDI device

707A-E-080A

ページ２００５年３月９日　水曜日　午後５時２９分

E-79

Troubleshooting

Nothing happens when the

LAYER or SPLIT button is

pressed.

1. One or more of the melody channels

(2 through 4) is turned off.

2. The volume setting of one or more of

the melody channels (2 through 4) is

too low.

3. The keyboard is in record standby.

4. The SMF Player Mode is currently

being use.

1. Use the Mixer to turn on

Channels 2 through 4.

2. Use the Mixer to raise the

volume setting of Channels 2

through 4.

3. The LAYER and SPLIT buttons

are disabled during recording

and record standby.

4. Turn off the SMF Player Mode.

LAYER and SPLIT are not

available while the SMF Player

Mode is in use.

E-36

E-37, 38

E-61, 62

E-71

No sound is produced when

playing MIDI data from a

computer.

1. MIDI cables are not connected

properly.

2. Channel is turned off, or volume

setting is too low.

1. Connect MIDI cables properly.

2. Use the Mixer to turn the

channel on, or raise the volume

setting.

E-75

E-36, 38

Playing on the keyboard produces

an unnatural sound when

connected to a computer.

The computer’s MIDI Thru function is

turned on.

Turn off the MIDI Thru function on

the computer or turn off Local

Control on the keyboard.

E-70

Cannot record chord

accompaniment data on a

computer.

Accomp/Song MIDI Out is turned off. Turn on Accomp/Song MIDI Out. E-70

The keyboard starts up

abnormally when it is turned on.

1. Flash memory is corrupted.

2. The keyboard detected abnormal

flash memory data and is

automatically resetting the keyboard

system.

1. a. Remove the batteries from the

keyboard and disconnect the

AC adaptor and press the

POWER button.

b. Reload the batteries and/or

reconnect the AC adaptor, and

then press the POWER button

again to turn on power

c. Use the TRANSPOSE/

FUNCTION button to perform

the system reset operation

• If this does not solve the

problem, contact your

nearest authorized CASIO

Service Provider to request

repair.

2. Wait (about 40 seconds) until the

“Pls Wait” message disappears

from the display.

E-70

A downloaded tone with

waveform contains noise or

keyboard operations become

abnormal when user data is

selected.

Someone may have turned off the

keyboard while data was being stored in

Flash memory or something else has

caused Flash memory contents to become

corrupted for some reason.

Use the TRANSPOSE/FUNCTION

button to perform the system reset

operation.

If this does not correct the problem,

contact your nearest authorized

CASIO Service Provider to request

maintenance.

E-70

A tone’s quality and volume

sounds slightly different

depending where it is played on

the keyboard.

This is an unavoidable result of the digital sampling process,* and does not

indicate malfunction.

* Multiple digital samples are taken for the low range, middle range, and high

range of the original musical instrument. Because of this, there may be a very

slight difference in tonal quality and volume between sample ranges.

Problem Possible Cause Action See page

707A-E-081A

ページ２００５年３月９日　水曜日　午後５時２９分

Specifications

E-80

Specifications

Model: CTK-900

Keyboard: 61 standard-size keys, 5 octaves with touch response (Off / 1 / 2 / 3)

Tones: 332 Advanced Tones + 200 Preset Tones + 18 Drum Sets + 100 standard user tones +

20 user tones with waves* + 4 user drum sets with waves* + 50 drawbar organ tones

+ 100 user drawbar organ tones (824 tones total); layer/split

Polyphony: 32 notes maximum (10 for certain tones)

Effects: DSP (200 types: internal, 100 user areas) + Reverb (16 types) + Chorus (16 types) +

Equalizer (10 types, 4 bands)

Auto Accompaniment

• Rhythm Patterns:

•Tempo:

•Chords:

• Rhythm Controller:

•Accomp Volume:

• One-touch Presets:

• Auto Harmonize:

176 (internal, 16 user areas*)

Variable (226 steps, = 30 to 255)

3 fingering methods (CASIO CHORD, FINGERED, FULL RANGE CHORD)

START/STOP, INTRO/ENDING 1 and 2, VARIATION/FILL-IN 1 and 2,

SYNCHRO/FILL-IN NEXT

0 to 127 (128 steps)

Recalls settings for tone, tempo, layer on/off, and harmonize on/off in accordance

with rhythm.

10 types: Automatic addition of notes that harmonize with melody note in accordance

with specified Auto Accompaniment chords.

Memory Function

•Songs:

•Recording Tracks:

• Recording Methods:

•Memory Capacity:

• Edit Function:

6 (2 through 6 are melody tracks)

Real-time, step

Approximately 10,000 notes (total for 5 songs)

Equipped

Demo Tunes: 3

Synthesizer Function

• Parameters:

Attack time; release time; resonance; cutoff frequency; vibrato type; vibrato delay;

vibrato depth; vibrato rate; octave shift; level; touch sense; reverb send; chorus send;

DSP line; DSP type and DSP parameter, DSP level.

Registration Memory

•Number of Setups:

• Memory Contents:

32 (4 setups x 8 banks)

Tone, Rhythm, Tempo, Layer on/off, Split on/off, Split point, Harmonize on/off,

Mixer settings (Channels 1 to 10), Effect settings, Touch Response settings, Assignable

jack setting, Transpose, Tuning, Accompaniment volume setting, Auto Harmonize

type, MODE button setting, Synchro standby state, Mixer Hold, DSP Hold,

Synthesizer Mode parameters

Mixer Function

• Channels:

• Parameters:

Tone; part on/off; volume; pan pot; octave shift; coarse tune; fine tune; reverb send;

chorus send; DSP line; DSP level; DSP pan; DSP system reverb send; DSP system

chorus send

MIDI: 16 multi-timbre receive, GM Level 1 standard

Street Beatz

Wind from the South

Serendipity Waltz

2:10

2:30

1:52

Steve Turner

Hage Software

TECH-NOTE INTERNATIONAL LTD.

707A-E-082A

ページ２００５年３月９日　水曜日　午後５時２９分

E-81

Specifications

* The same memory area is used to store waveform data, accompaniment data, and SMF data.

Other Functions

• Transpose:

• Tuning:

• LCD:

49 steps (–24 semitones to +24 semitones)

Variable (A4 = approximately 440Hz ±100 cents)

Adjustable contrast

SMF Player Flash memory storage for up to 200 files*

• Supported Format: SMF0

Flash Memory Capacity: 4MB

Shared Area: Approximately 3.5MB (waveform data, accompaniment data, SMF data)

• Further storage of waveform, accompaniment, and SMF data becomes impossible

after the total of such data reaches approximately 3.5MB.

Terminals

• MIDI Terminals:

• Sustain/Assignable Terminal:

• Headphone/Output Terminal:

• Power Supply Terminal:

IN, OUT

Standard jack (sustain, sostenuto, soft, rhythm start/stop)

Stereo standard jack

Output Impedance: 140Ω

Output Voltage: 4.5V (RMS) MAX

9V DC

Power Supply

• Batteries:

• Battery Life:

• AC Adaptor:

• Auto Power Off:

Dual power supply system

6 D-size batteries

Approximately 4 hours continuous operation on manganese batteries

AD-5

Turns power off approximately six minutes after last key operation. Enabled under

battery power only, can be disabled manually.

Speaker Output: 3W + 3W

Power consumption: 9V 7.7W

Dimensions: 96.0 × 37.5 × 14.6 cm (37

× 14

× 5

inch)

Weight: Approximately 5.6 kg (12.3lbs) (without batteries)

707A-E-083A

ページ２００５年３月９日　水曜日　午後５時２９分

Care of your Instrument

E-82

Care of your Instrument

J Avoid heat, humidity or direct sunlight.

Do not overexpose the instrument to direct sunlight, or place it near an air conditioner, or in any extremely hot place.

J Do not use near a TV or radio.

This instrument can cause video or audio interference with TV and radio reception. If this happens, move the instrument away from

the TV or radio.

J Do not use lacquer, thinner or similar chemicals for cleaning.

Clean the instrument with a soft cloth dampened in a weak solution of water and a neutral detergent. Soak the cloth in the solution

and squeeze until it is almost dry.

J Avoid use in areas subjected to temperature extremes.

Extremely high or low temperature can cause figures on the LCD screen to become dim and difficult to read. This condition should

correct itself when the instrument is brought back to normal temperature.

• You may notice lines in the finish of the case of this instrument. These lines are a result of the molding process used to shape the plastic

of the case. They are not cracks or breaks in the plastic, and are no cause for concern.

707A-E-084A

ページ２００５年３月９日　水曜日　午後５時２９分

DSP Algorithm List

E-83

DSP Algorith m L is t

J 00 :Auto Pan

• Function

Continually performs left-right panning of the input signal in

accordance with an LFO.

• Parameters

J 01 :Tremolo

• Function

Adjusts volume of input signal in accordance with an LFO.

• Parameters

J 02 :2BandEQ

• Function

This is a two-band equalizer.

• Parameters

J 03 :3BandEQ

• Function

This is a three-band equalizer.

• Parameters

J 04 :LFO Wah

• Function

This is a “wah” effect that can automatically affect the frequency in

accordance with an LFO.

• Parameters

J 05 :Auto Wah

• Function

This is a “wah” effect that can automatically affect the frequency in

accordance with the level of the input signal.

• Parameters

J 06 :Compressor

• Function

Compresses the input signal, which can have the effect of

suppressing level variation and making it possible to sustain

dampened sounds longer.

• Parameters

J 07 :Limiter

• Function

This is an effector that you can use to set an upper limit value on the

level of the input signal.

• Parameters

J 08 :Distortion

• Function

This effect provides Distortion + AmpSimulator.

• Parameters

0 : Rate (Range: 0 to 127)

Adjusts the panning rate.

1 : Depth (Range: 0 to 127)

Adjusts the panning depth.

0 : Rate (Range: 0 to 127)

Adjusts the tremolo rate.

1 : Depth (Range: 0 to 127)

Adjusts the tremolo depth.

0 : Low Frequency (Range: 0 (200Hz), 1 (400Hz), 2 (800Hz))

Adjusts the cutoff frequency of the low-band equalizer.

1 : Low Gain (Range: –12, –11, –10 to 0 to +10, +11, +12)

Adjusts the gain of the low-band equalizer.

2 : High Frequency (Range: 0 (6.0KHz), 1 (8.0KHz), 2 (10KHz))

Adjusts the cutoff frequency of the high-band equalizer.

3 : High Gain (Range: –12, –11, –10 to 0 to +10, +11, +12)

Adjusts the gain of the high-band equalizer.

0 : Low Frequency (Range: 0 (200Hz), 1 (400Hz), 2 (800Hz))

Adjusts the cutoff frequency of the low-band equalizer.

1: Low Gain (Range: –12, –11, –10 to 0 to +10, +11, +12)

Adjusts the gain of the low-band equalizer.

2: Mid Frequency (Range: 0 (1.0KHz), 1 (1.3KHz), 2 (1.6KHz),

3 (2.0KHz), 4 (3.0KHz), 5 (4.0KHz), 6 (6.0KHz), 7 (8.0KHz))

Adjusts the center frequency of the mid-band equalizer.

3: Mid Gain (Range: –12, –11, –10 to 0 to +10, +11, +12)

Adjusts the gain of the mid-band equalizer.

4: High Frequency (Range: 0 (6.0KHz), 1 (8.0KHz), 2 (10KHz))

Adjusts the cutoff frequency of the high-band equalizer.

5: High Gain (Range: –12, –11, –10 to 0 to +10, +11, +12)

Adjusts the gain of the high-band equalizer.

0: Input Level (Range: 0 to 127)

Adjusts the input level. The input signal can become distorted

when the level of the sound being input, the number of chords,

or the Resonance value is large. Adjust this parameter to

eliminate such distortion.

1: Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

2: Manual (Range: 0 to 127)

Adjusts the frequency used as the basis for the wah filter.

3: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

4: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

0: Input Level (Range: 0 to 127)

Adjusts the input level. The input signal can become distorted

when the level of the sound being input, the number of chords,

or the Resonance value is large. Adjust this parameter to

eliminate such distortion.

1: Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

2: Manual (Range: 0 to 127)

Adjusts the frequency used as the basis for the wah filter.

3: Depth(Range: –64 to 0 to +63)

Adjusts the depth of the wah in accordance with the level of the

input signal.

Setting a positive value causes the wah filter to open in direct

proportion with the size of the input signal, producing a bright

sound.

Setting a negative value causes the Wah filter to close in

accordance with the size of the input signal, which produces a

dark tone quality. However, large input re-opens the Wah filter,

even if it is closed.

0: Depth (Range: 0 to 127)

Adjusts compression of the audio signal.

1: Attack (Range: 0 to 127)

Adjusts the attack amount of the input signal.

A smaller value causes prompt compressor operation, which

suppresses the attack of the input signal.

A larger values delays compressor operation, which causes

attack to be output as-is.

2: Release (Range: 0 to 127)

Adjusts the time from the point when the input signal drops

below a certain level until the compression operation is stopped.

When an attack feeling is desired (no compression at the onset of

the sound), set this parameter to as low a value as possible.

To have compression applied at all times, set a high value.

3: Level (Range: 0 to 127)

Adjusts the output level.

The output volume changes in accordance with the Depth

setting and the characteristics of the input tone. Use this

parameter to correct for such changes.

0: Limit (Range: 0 to 127)

Adjusts the volume level from which the limit is applied.

1: Attack (Range: 0 to 127)

Adjusts the attack amount of the input signal.

2: Release (Range: 0 to 127)

Adjusts the time from when the input signal drops below a

certain level until the limit operation stops.

3: Level (Range: 0 to 127)

Adjusts the level being output.

The output volume changes in accordance with the Limit setting

and the characteristics of the input tone. Use this parameter to

correct for such changes.

0 : Gain (Range: 0 to 127)

Adjusts the input gain.

707A-E-085A

ページ２００５年３月９日　水曜日　午後５時２９分

DSP Algorithm List

E-84

J 09 :Stereo Phaser

• Function

This is a stereo phaser that modulates the phase in accordance with

a sine wave LFO.

• Parameters

J 10 :Phaser

• Function

This is a monaural phaser that modulates the phase in accordance

with a sine wave LFO.

• Parameters

J 11 :Rotary

• Function

This is a rotary speaker simulator.

• Parameters

J 12 :Drive Rotary

• Function

This is an overdrive - rotary speaker simulator.

• Parameters

J 13 :Enhancer

• Function

Enhances the outlines of the low range and high range of the input

signal.

• Parameters

J 14 :Ring Modulator

• Function

This is a ring modulator (AM modulator) that makes it possible to

modulate the frequency of internal oscillator (OSC) in accordance

with an internal LFO.

• Parameters

J 15 :Lo-Fi

• Function

This is an effector that reproduces a retro-type Lo-Fi sound using

Noise Generator 1 (phonograph record player type scratch noise

generator) and Noise Generator 2 (FM radio type white noise and

pink noise continuous noise generator), and by noise modulation

(amplitude modulation = AM) and distortion of frequency

characteristics.

• Parameters

J 16 :1-Phase Chorus

• Function

This is monaural chorus in accordance with a sine wave LFO.

• Parameters

1: Low (Range: 0 to 127)

Adjusts the low-band gain.

The cutoff frequency differs according to the preset DSP.

2: High (Range: 0 to 127)

Adjusts the high-band gain.

The cutoff frequency differs according to the preset DSP.

3: Level (Range: 0 to 127)

Adjusts the output level.

0 : Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

1: Manual (Range: –64 to 0 to +63)

Adjusts the phaser shift volume, which is used for reference.

2: Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

3: Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

4: Wet Level (Range: 0 to 127)

Adjusts the volume level of the effect.

0: Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

1: Manual (Range: –64 to 0 to +63)

Adjusts the phaser shift volume, which is used for reference.

2: Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

3: Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

4: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: Speed (Range: Slow, Fast)

Switches the speed mode between fast and slow.

1: Break (Range: Rotate, Stop)

Stops speaker rotation.

2: Fall Accel (Range: 0 to 127)

Adjusts acceleration when the speed mode is switched from fast

to slow.

3: Rise Accel (Range: 0 to 127)

Adjusts acceleration when the speed mode is switched from

slow to fast.

4: Slow Rate (Range: 0 to 127)

Adjusts speaker rotation speed of the slow speed mode.

5: Fast Rate (Range: 0 to 127)

Adjusts speaker rotation speed of the fast speed mode.

0: Overdrive Gain (Range: 0 to 127)

Adjusts overdrive gain.

1: Overdrive Level (Range: 0 to 127)

Adjusts the output level of the overdrive.

2: Speed(Range: Slow, Fast)

Switches the speed mode between fast and slow.

3: Break (Range: Rotate, Stop)

Stops speaker rotation.

4: Fall Accel (Range: 0 to 127)

Adjusts acceleration when the speed mode is switched from fast

to slow.

5: Rise Accel (Range: 0 to 127)

Adjusts acceleration when the speed mode is switched from

slow to fast.

6: Slow Rate (Range: 0 to 127)

Adjusts speaker rotation speed of the slow speed mode.

7: Fast Rate (Range: 0 to 127)

Adjusts speaker rotation speed of the fast speed mode.

0: Low Frequency (Range: 0 to 127)

Adjusts the low range enhancer frequency.

1: Low Gain (Range: 0 to 127)

Adjusts the low range enhancer gain.

2: High Frequency (Range: 0 to 127)

Adjusts the high range enhancer frequency.

3: High Gain (Range: 0 to 127)

Adjusts the high range enhancer gain.

0: OSC Frequency (Range: 0 to 127)

Sets the reference frequency of the internal OSC.

1: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

2: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

3: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

4: Dry Level (Range: 0 to 127)

Adjusts the level of the original sound.

0: Noise Level 1 (Range: 0 to 127)

Adjusts the level of Noise Generator 1.

1: Noise Density 1 (Range: 0 to 127)

Adjusts the noise density of Noise Generator 1.

2: Noise Level 2 (Range: 0 to 127)

Adjusts the level of Noise Generator 2.

3: Noise Density 2 (Range: 0 to 127)

Adjusts the noise density of Noise Generator 2.

4: Tone (Range: 0 to 127)

Adjusts the tone.

5: Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

6: Bass(Range: –64 to 0 to +63)

Adjusts the volume of low sounds.

7: Level (Range: 0 to 127)

Adjusts the output level.

0: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

1: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

707A-E-086A

ページ２００５年３月９日　水曜日　午後５時２９分

E-85

DSP Algorithm List

J 17 :Sin 2-Phase Chorus

• Function

This is stereo chorus in accordance with a sine wave LFO.

• Parameters

J 18 :3-Phase Chorus

• Function

This is 3-phase chorus in accordance with two LFOs of with different

sine wave rates.

• Parameters

J 19 :Tri 2-Phase Chorus

• Function

This is stereo chorus in accordance with triangular wave LFO.

• Parameters

J 20 :Stereo Delay 1

• Function

This is delay of stereo input and output.

• Parameters

J 21 :Stereo Delay 2

• Function

This is cross feedback delay of stereo input and output.

• Parameters

J 22 :3-Tap Delay

• Function

This is left/center/right 3-tap delay.

• Parameters

J 23 :Gate Reverb

• Function

This is a fader that creates artificial reverb that sounds like it is being

cut with a gate.

• Parameters

J 24 :Reverse Gate Reverb

• Function

This is gate reverb with a reverse rotation effect.

• Parameters

2: Feedback (Range: –64 to 0 to +63)

Adjusts the feedback of the sound.

3: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

1: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

2: Feedback (Range: –64 to 0 to +63)

Adjusts the feedback of the sound.

3: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: Rate1 (Fast LFO Rate) (Range: 0 to 127)

Adjusts the rate of LFO1.

1: Depth1 (Fast LFO Depth) (Range: 0 to 127)

Adjusts the depth of LFO1.

2: Rate2 (Slow LFO Rate) (Range: 0 to 127)

Adjusts the rate of LFO2.

3: Depth2 (Slow LFO Depth) (Range: 0 to 127)

Adjusts the depth of LFO2.

4: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

1: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

2: Feedback(Range: –64 to 0 to +63)

Adjusts the feedback of the sound.

3: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: Delay Time (Range: 0 to 127)

Adjusts the delay time.

1: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the delay.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range delay sound.

The smaller the value, the greater the damping of high-range

delay sound.

4: Ratio L (Range: 0 to 127)

Adjusts the delay time of the left channel.

Proportional to the value set for Delay Time.

5: Ratio R (Range: 0 to 127)

Adjusts the delay time of the right channel.

Proportional to the value set for Delay Time.

0: Delay Time (Range: 0 to 127)

Adjusts the delay time.

1: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the delay.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range delay sound.

The smaller the value, the greater the damping of high-range

delay sound.

4: Ratio L (Range: 0 to 127)

Adjusts the delay time of the left channel.

Proportional to the value set for Delay Time.

5: Ratio R (Range: 0 to 127)

Adjusts the delay time of the right channel.

Proportional to the value set for Delay Time.

0: Delay Time (Range: 0 to 127)

Adjusts the delay time.

1: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the delay.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range delay sound.

The smaller the value, the greater the damping of high-range

delay sound.

4: Ratio L (Range: 0 to 127)

Adjusts the delay time of the left channel.

Proportional to the value set for Delay Time.

5: Ratio C (Range: 0 to 127)

Adjusts the delay time of the center channel.

Proportional to the value set for Delay Time.

6: Ratio R (Range: 0 to 127)

Adjusts the delay time of the right channel.

Proportional to the value set for Delay Time.

0: LPF (Range: 0 to 127)

Adjusts the cutoff frequency of the low-pass filter.

A smaller value cuts the high range.

1: HPF (Range: 0 to 127)

Adjusts the cutoff frequency of the high-pass filter.

A larger value cuts the low range.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the reverb.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range delay sound.

The smaller the value, the greater the damping of high-range

delay sound.

4: Diffusion (Range: 0 to 127)

Provides fine adjustment of the reverb.

5: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

6: Dry Level (Range: 0 to 127)

Adjusts the level of the original sound.

0: LPF (Range: 0 to 127)

Adjusts the cutoff frequency of the low-pass filter.

A smaller value cuts the high range.

1: HPF (Range: 0 to 127)

Adjusts the cutoff frequency of the high-pass filter.

A larger value cuts the low range.

707A-E-087A

ページ２００５年３月９日　水曜日　午後５時２９分

DSP Algorithm List

E-86

J 25 :Reflection

• Function

This is an effector that extracts the first reflected sound from a reverb

sound.

• Parameters

J 26 :Flanger

• Function

This is a flanger in accordance with a sine wave LFO.

• Parameters

J 27 :Reverb

• Function

This is an effector that preserves the breadth of a sound by adding a

reverb sound.

• Parameters

J 28 :2-Tap Delay

• Function

This is left/right 2-tap delay.

• Parameters

 The following “Multi” algorithms are used in combination with the

algorithms described above. Parameters are shared by both types of

algorithms.

J M00 :Multi00 (Sin 2-Phase Chorus – 2-Tap Delay)

• Function

This is a multi effector that is related to Sin 2-Phase Chorus – 2-Tap

Delay.

• Parameters

J M01 :Multi01 (3-Phase Chorus – 3-Tap Delay)

• Function

This is a multi effector that is related to 3-Phase Chorus – 3-Tap

Delay.

• Parameters

J M02 : Multi02 (Phaser – 3-Phase Chorus)

• Function

This is a multi effector that is related to Phaser – 3-Phase Chorus.

• Parameters

J M03 : Multi03 (Flanger – 2-Tap Delay)

• Function

This is a multi effector that is related to Flanger – 2-Tap Delay.

• Parameters

J M04 : Multi04 (Stereo Phaser – Stereo Delay 1)

• Function

This is a multi effector that is related to Stereo Phaser – Stereo Delay 1.

• Parameters

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the reverb.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range reverb sound.

The smaller the value, the greater the damping of high-range

reverb sound.

4: Diffusion (Range: 0 to 127)

Provides fine adjustment of the reverb.

5: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

6: Dry Level (Range: 0 to 127)

Adjusts the level of the original sound.

0: Type (Range: 0 to 7)

Selects from among the eight available reflection patterns.

1: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the reflected sound.

3: Tone (Range: 0 to 127)

Adjusts the tone of the reflected sound.

0: LFO Rate (Range: 0 to 127)

Adjusts the rate of the LFO.

1: LFO Depth (Range: 0 to 127)

Adjusts the depth of the LFO.

2: Feedback (Range: –64 to 0 to +63)

Adjusts the feedback of the sound.

3: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: Tone (Range: 0 to 127)

Adjusts the tone of the reverb sound.

1: Time (Range: 0 to 127)

Adjusts the reverb time.

2: High Damp (Range: 0 to 127)

Adjusts damping of the high-range reverb sound.

The smaller the value, the greater the damping of high-range

reverb sound.

3: ER Level (Range: 0 to 127)

Adjusts the level of the initial reflection.

4: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

0: Delay Time (Range: 0 to 127)

Adjusts the delay time.

1: Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

2: Feedback (Range: 0 to 127)

Adjusts the repeat of the delay.

3: High Damp (Range: 0 to 127)

Adjusts damping of the high-range delay sound.

The smaller the value, the greater the damping of high-range

delay sound.

4: Ratio L (Range: 0 to 127)

Adjusts the delay time of the left channel.

Proportional to the value set for Delay Time.

5: Ratio R (Range: 0 to 127)

Adjusts the delay time of the right channel.

Proportional to the value set for Delay Time.

0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Chorus Rate 1

1: Chorus Depth 1

2: Chorus Rate 2

3: Chorus Depth 2

4: Chorus Wet Level

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Chorus Rate 1

5: Chorus Depth 1

6: Chorus Rate 2

7: Chorus Depth 2

0: Flanger LFO Rate

1: Flanger LFO Depth

2: Flanger Feedback

3: Flanger Wet Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Phaser Wet Level

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

707A-E-088A

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E-87

DSP Algorithm List

J M05 :Multi05 (Enhancer – 1-Phase Chorus)

• Function

This is a multi effector related to Enhancer – 1-Phase Chorus.

• Parameters

J M06 : Multi06 (Enhancer – 2-Tap Delay)

• Function

This is a multi effector that is related to Enhancer – 2-Tap Delay.

• Parameters

J M07 : Multi07 (Enhancer – Flanger)

• Function

This is a multi effector related to Enhancer – Flanger.

• Parameters

J M08: Multi08 (Sin 2-Phase Chorus – Flanger)

• Function

This is a multi effector that is related to Sin 2-Phase Chorus –

Flanger.

• Parameters

J M09 :Multi09 (Sin 2-Phase Chorus – Tremolo)

• Function

This is a multi effector that is related to Sin 2-Phase Chorus –

Tremolo.

• Parameters

J M10 : Multi10 (Stereo Phaser – Auto Pan)

• Function

This is a multi effector that is related to Stereo Phaser – Auto Pan.

• Parameters

J M11 : Multi11 (Compressor – Lo-Fi)

• Function

This is a multi effector related to Compressor – Lo-Fi.

• Parameters

J M12 :Multi12 (Ring Modulator – Sin 2-Phase Chorus –

2-Tap Delay)

• Function

This is a multi effector that is related to Ring Modulator – Sin 2-

Phase Chorus.

• Parameters

J M13 : Multi13 (Ring Modulator – Distortion)

• Function

This is a multi effector related to Ring Modulator – Distortion.

• Parameters

J M14 :Multi14 (Lo-Fi – Reflection)

• Function

This is a multi effector related to Lo-Fi – Reflection.

• Parameters

J M15 : Multi15 (Distortion – Lo-Fi)

• Function

This is a multi effector related to Distortion – Lo-Fi.

• Parameters

J M16 : Multi16 (Drive Rotary – Reflection)

• Function

0: Enhancer Low Frequency

1: Enhancer Low Gain

2: Enhancer High Frequency

3: Enhancer High Gain

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Chorus Feedback

7: Chorus Wet Level

0: Enhancer Low Frequency

1: Enhancer Low Gain

2: Enhancer High Frequency

3: Enhancer High Gain

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Enhancer Low Frequency

1: Enhancer Low Gain

2: Enhancer High Frequency

3: Enhancer High Gain

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

0: Chorus LFO Rate

1: Chorus LFO Depth

2: Chorus Feedback

3: Chorus Wet Level

4: Tremolo Rate

5: Tremolo Depth

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Phaser Wet Level

5: Auto Pan Rate

6: Auto Pan Depth

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

3: Lo-Fi Noise 1

4: Lo-Fi Noise 2

5: Lo-Fi Tone

6: Lo-Fi Resonance

7: Lo-Fi Bass

0: Ring OSC Frequency

1: Ring LFO Rate

2: Ring LFO Depth

3: Ring Wet Level

4: Ring Dry Level

5: Chorus LFO Depth

6: Delay Time

7: Delay Wet Level

0: Ring OSC Frequency

1: Ring LFO Rate

2: Ring LFO Depth

3: Ring Wet Level

4: Ring Dry Level

5: Distortion Gain

6: Distortion Tone

7: Distortion Level

0: Lo-Fi Noise1

1: Lo-Fi Noise2

2: Lo-Fi Tone

3: Lo-Fi Resonance

4: Reflection Type

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Lo-Fi Noise1

5: Lo-Fi Noise2

6: Lo-Fi Tone

7: Lo-Fi Resonance

707A-E-089A

ページ２００５年３月９日　水曜日　午後５時２９分

DSP Algorithm List

E-88

This is a multi effector related to Drive Rotary – Reflection.

• Parameters

J M17 : Multi17 (Rotary – Reflection)

• Function

This is a multi effector related to Rotary – Reflection.

• Parameters

J M18 :Multi18 (Compressor – Enhancer – 2-Tap Delay)

• Function

This is a multi effector that is related to Compressor – Enhancer – 2-

Tap Delay.

• Parameters

J M19 : Multi19 (Compressor – Stereo Delay 1)

• Function

This is a multi effector related to Compressor – Stereo Delay 1.

• Parameters

J M20 :Multi20 (Phaser – 1-Phase Chorus – Auto Pan)

• Function

This is a multi effector that is related to Phaser – 1-Phase Chorus –

Auto Pan.

• Parameters

J M21 :Multi21 (Auto Wah – Tri 2-Phase Chorus – 2-Tap

Delay)

• Function

This is a multi effector that is related to Auto Wah – Tri 2-Phase

Chorus – 2-Tap Delay.

• Parameters

J M22 :Multi22 (LFO Wah – Tri 2-Phase Chorus – 2-Tap

Delay)

• Function

This is a multi effector that is related to LFO Wah – Tri 2-Phase

Chorus – 2-Tap Delay.

• Parameters

J M23 :Multi23 (Compressor – Sin 2-Phase Chorus –

Reflection)

• Function

This is a multi effector that is related to Compressor – Sin 2-Phase

Chorus – Reflection.

• Parameters

J M24 :Multi24 (Distortion – 1-Phase Chorus – 2-Tap

Delay)

• Function

This is a multi effector that is related to Distortion – 1-Phase Chorus

– 2-Tap Delay.

• Parameters

J M25 :Multi25 (Compressor – Distortion – 2-Tap Delay)

• Function

This is a multi effector that is related to Compressor – Distortion – 2-

Tap Delay.

• Parameters

J M26 :Multi26 (Auto Wah – Distortion – 2-Tap Delay)

• Function

This is a multi effector that is related to Auto Wah – Distortion – 2-

Tap Delay.

• Parameters

0: Drive Rotary Gain

1: Drive Rotary Level

2: Drive Rotary Speed

3: Drive Rotary Slow Rate

4: Drive Rotary Fast Rate

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

0: Rotary Speed

1: Rotary Break

2: Rotary Slow Rate

3: Rotary Fast Rate

4: Reflection Wet Level

5: Reflection Feedback

6: Reflection Tone

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

3: Enhancer Low Gain

4: Enhancer High Gain

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Compressor Attack

2: Compressor Release

3: Compressor Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Phaser Resonance

1: Phaser Manual

2: Phaser Rate

3: Phaser Depth

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Auto Pan Rate

7: Auto Pan Depth

0: Wah Resonance

1: Wah Manual

2: Wah Depth

3: Chorus LFO Rate

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Wah Resonance

1: Wah Manual

2: Wah LFO Rate

3: Wah LFO Depth

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Compressor Attack

2: Compressor Level

3: Chorus LFO Rate

4: Chorus LFO Depth

5: Reflection Wet Level

6: Reflection Feedback

7: Reflection Tone

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Chorus LFO Depth

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Compressor Depth

1: Distortion Gain

2: Distortion Low

3: Distortion High

4: Distortion Level

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Wah Manual

1: Wah Depth

2: Distortion Gain

707A-E-090A

ページ２００５年３月９日　水曜日　午後５時２９分

E-89

DSP Algorithm List

J M27 :Multi27 (LFO Wah – Distortion – 2-Tap Delay)

• Function

This is a multi effector that is related to LFO Wah – Distortion – 2-

Tap Delay.

• Parameters

J M28 : Multi28 (Distortion – 3-Tap Delay)

• Function

This is a multi effector that is related to Distortion – 3-Tap Delay.

• Parameters

J M29 : Multi29 (Distortion – Phaser)

• Function

This is a multi effector related to Distortion – Phaser.

• Parameters

J M30 :Multi30 (Distortion – Sin 2-Phase Chorus)

• Function

This is a multi effector that is related to Distortion – Sin 2-Phase

Chorus.

• Parameters

J M31 : Multi31 (Distortion – Flanger)

• Function

This is a multi effector related to Distortion – Flanger.

• Parameters

3: Distortion Tone

4: Distortion Level

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Wah Manual

1: Wah LFO Rate

2: Wah LFO Depth

3: Distortion Gain

4: Distortion Level

5: Delay Time

6: Delay Wet Level

7: Delay Feedback

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Delay Time

5: Delay Wet Level

6: Delay Feedback

7: Delay High Damp

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Phaser Resonance

5: Phaser Manual

6: Phaser Rate

7: Phaser Depth

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Chorus LFO Rate

5: Chorus LFO Depth

6: Chorus Feedback

7: Chorus Wet Level

0: Distortion Gain

1: Distortion Low

2: Distortion High

3: Distortion Level

4: Flanger LFO Rate

5: Flanger LFO Depth

6: Flanger Feedback

7: Flanger Wet Level

707A-E-091A

ページ２００５年３月９日　水曜日　午後５時２９分

Appendix/Apéndice

A-1

Appendix/A péndice

Tone List/Lista de sonidos

1 No./Nº

2 Tone Group/Grupo de Sonido 3 Tone Name/Nombre de sonido

4 Program Change/Cambio de programa 5

Bank Select MSB/MSB de selección de banco

6 Maximum Polyphony/Polifonía máxima

7 Range Type/Tipo de gama 8 DSP Type/Tipo DSP

Advanced Tones/Sonidos avanzados

1 2 3 4567 8

0 PIANO STEREO GRAND PIANO 0 51 16 N RvbHall1

1 PIANO STEREO MELLOW PIANO 0 52 16 N GateRvb2

2 PIANO STEREO BRIGHT PIANO 1 50 16 N Equalize

3 PIANO GRAND PIANO 0 48 32 N RvbHall1

4 PIANO ROCK PIANO 1 49 32 N Equalize

5 PIANO MODERN PIANO 1 51 16 N Equalize

6 PIANO DANCE PIANO 1 53 16 N Enha Dly

7 PIANO MELLOW PIANO 0 50 32 N Equalize

8 PIANO BRIGHT PIANO 1 48 32 N Enhancer

9 PIANO SYNTH-STR PIANO 0 54 16 N Cho Flan

10 PIANO STRINGS PIANO 1 52 16 N RvbHall1

11 PIANO VOICE PIANO 0 53 16 N Reflect

12 PIANO ELEC.GRAND PIANO 2 48 32 N Equalize

13 PIANO HARPSICHORD 6 51 32 N CmpChoRf

14 PIANO GRAND PIANO WIDE 0 49 32 N Reflect

15 PIANO AMBIENT PIANO 0 55 16 N St.Delay

16 PIANO 1 OCTAVE PIANO 3 51 16 N Equalize

17 PIANO 2 OCTAVE PIANO 3 50 16 N RvbRoom2

18 PIANO MODERN E.G.PIANO 2 50 16 N ChoDly 1

19 PIANO COMP.PIANO 0 56 32 N CmpEnDly

20 PIANO HONKY-TONK 1 3 48 16 N Enhancer

21 PIANO BRIGHT HARPSICHORD 6 52 32 N CmpChoRf

22 PIANO COUPLED HARPSICHORD 6 49 16 N CmpChoRf

23 E.PIANO ELEC.PIANO 1 4 48 32 N Chorus 3

24 E.PIANO ELEC.PIANO 2 5 49 16 N Chorus 3

25 E.PIANO FM ELEC.PIANO 5 48 16 N Chorus 3

26 E.PIANO DYNO ELEC.PIANO 4 49 32 N Chorus 3

27 E.PIANO 60'S ELEC.PIANO 4 52 32 N Auto Pan

28 E.PIANO MELLOW E.PIANO 4 53 16 N CmpChoRf

29 E.PIANO POP ELEC.PIANO 4 50 16 N Equalize

30 E.PIANO TREMOLO E.PIANO 4 56 32 N Cho Trem

31 E.PIANO SOFT E.PIANO 5 51 16 N Equalize

32 E.PIANO GLASS E.PIANO 4 51 16 N Equalize

33 E.PIANO SYNTH-STR E.PIANO 1 4 55 16 N Equalize

34 E.PIANO CLAVI 7 48 32 N Dist 1

35 E.PIANO AUTO WAH E.PIANO 4 57 32 N Auto Wah

36 E.PIANO PHASER E.PIANO 4 58 32 N PhaAPan1

37 E.PIANO MODERN E.PIANO 5 50 16 N Enha Dly

38 E.PIANO WARM ELEC.PIANO 4 59 32 N Cho Trem

39 E.PIANO ELEC.PIANO PAD 4 54 16 N StPhaser

40 E.PIANO SYNTH-STR E.PIANO 2 5 53 16 N Equalize

41 E.PIANO STRINGS E.PIANO 5 54 16 N ChoDly 1

42 E.PIANO RESONANCE CLAVI 7 50 32 N Auto Wah

43 E.PIANO PULSE CLAVI 7 49 32 N CmpEnDly

44 E.PIANO LA CLAVI 7 51 32 N Cho Dly4

CHROM.PERC

TREMOLO VIBRAPHONE 11 48 32 N Cho Trem

CHROM.PERC

MARIMBA 12 48 32 N Reflect

CHROM.PERC

GLOCKENSPIEL 9 48 32 +1 Reflect

CHROM.PERC

CELESTA 8 48 32 N Reflect

CHROM.PERC

VIBRAPHONE 11 50 32 N Reflect

CHROM.PERC

PHASER MARIMBA 12 50 32 N PhaDly 2

CHROM.PERC

DELAY GLOCKENSPIEL 9 49 32 +1 ChoDly 2

CHROM.PERC

ROTARY CELESTA 8 49 32 N RotRef 2

53 ORGAN ROTARY DRAWBAR 16 52 16 N Rotary 2

54 ORGAN ROTARY PERC.ORGAN 1 17 52 16 N Rotary 2

55 ORGAN ROTARY PERC.ORGAN 2 17 54 16 N RotRef 1

56 ORGAN 70'S ORGAN 17 49 32 N Rotary 1

57 ORGAN TREMOLO ORGAN 16 49 32 N Cho Trem

58 ORGAN JAZZ DRAWBAR 17 53 16 N RotRef 1

59 ORGAN ROCK ORGAN 18 48 16 N Rotary 2

60 ORGAN OVD ROTARY ORGAN 16 54 32 N Od Rot 2

61 ORGAN ROTARY ELEC.ORGAN 16 53 32 N Rotary 2

62 ORGAN CHURCH ORGAN 1 19 48 16 N RvbHall2

63 ORGAN CHAPEL ORGAN 19 51 32 N GateRvb2

64 ORGAN ACCORDION 21 48 16 N Reflect

65 ORGAN BANDONEON 23 48 16 N Reflect

66 ORGAN HARMONICA 22 48 32 N Reflect

67 ORGAN DRAWBAR ORGAN 1 16 48 32 N Reflect

68 ORGAN DRAWBAR ORGAN 2 16 50 32 N Rotary 1

69 ORGAN ELEC.ORGAN 16 51 32 N Reflect

70 ORGAN PERC.ORGAN 1 17 48 16 N Reflect

71 ORGAN PERC.ORGAN 2 17 51 16 N Rotary 2

72 ORGAN JAZZ ORGAN 17 50 16 N Reflect

73 ORGAN OVD ROCK ORGAN 18 49 16 N OdRtRef1

74 ORGAN TAPE ORGAN 20 50 16 N Cho Dly4

75 ORGAN CHURCH ORGAN 2 19 49 16 N GateRvb2

76 ORGAN OCTAVE ACCORDION 21 49 16 N CmpChoRf

77 ORGAN NEO BANDONEON 23 49 16 N ChoDly 4

78 ORGAN SLOW HARMONICA 22 49 32 N RvbRoom2

79 ORGAN WAH HARMONICA 22 50 32 N LWhDsDly

80 GUITAR PURE ACOUSTIC GUITAR 25 49 32 –1 Equalize

81 GUITAR NYLON STR.GUITAR 24 48 32 –1 Equalize

82 GUITAR STEEL STR.GUITAR 25 48 32 –1 Equalize

83 GUITAR JAZZ GUITAR 26 48 32 –1 CmpChoRf

84 GUITAR CHORUS CLEAN GUITAR 27 53 32 –1 CmpEnDly

85 GUITAR ROTARY GUITAR 27 54 32 –1 RotRef 1

86 GUITAR CRUNCH ELEC.GUITAR 27 52 32 –1 CrnDelay

87 GUITAR OVD FRONT GUITAR 29 49 32 –1 CmpOdDly

88 GUITAR FEEDBACK DIST.GT 30 52 16 –1 DistDly1

89 GUITAR MUTE DIST.GUITAR 28 49 32 –1 MetalDly

90 GUITAR MELLOW NYLON GUITAR 24 51 16 –1 ChoDly 3

91 GUITAR 12 STRING GUITAR 25 50 16 –1 Equalize

92 GUITAR

BRIGHT ACOUSTIC GUITAR

25 52 32 –1 Enha Dly

93 GUITAR CHORUS STEEL GUITAR 25 51 16 –1 ChoDly 4

94 GUITAR UKULELE 24 49 32 N CmpChoRf

95 GUITAR BANJO 105 48 32 N Equalize

96 GUITAR OCTAVE JAZZ GUITAR 26 50 16 –1 RvbRoom3

97 GUITAR CHORUS JAZZ GUITAR 26 51 32 –1 OdChorus

98 GUITAR CLEAN GUITAR 27 48 32 –1 Equalize

99 GUITAR ELEC.GUITAR FRONT 27 51 32 –1 Equalize

100 GUITAR ELEC.GUITAR REAR 27 50 32 –1 Equalize

101 GUITAR TREMOLO GUITAR 29 55 32 –1 Cho Trem

102 GUITAR MUTE GUITAR 28 48 32 –1 Equalize

103 GUITAR OVERDRIVE GUITAR 29 48 16 –1 CmpDelay

104 GUITAR OVD REAR GUITAR 29 50 32 –1 Ovrdrive

105 GUITAR DISTORTION FRONT GT 30 50 32 –1 DistDly2

106 GUITAR MORE DISTORTION GT 30 51 16 –1 DistDly2

107 GUITAR TOUCH WAH OVD GT 30 54 16 –1 AWhCrDly

108 GUITAR DISTORTION GUITAR 30 48 16 –1 CmpDelay

109 GUITAR FEEDBACK GUITAR 30 49 16 –1 CmpCrDly

110 GUITAR DISTORTION CLEAN GT 30 53 32 –1 CmpCrDly

111 BASS ACOUSTIC BASS 1 32 48 32 –1 Limiter

112 BASS ACOUSTIC BASS 2 32 49 32 –1 Reflect

113 BASS RIDE BASS 32 50 16 –1 RvbRoom1

114 BASS FINGERED BASS 1 33 48 32 –1 Limiter

115 BASS FINGERED BASS 2 33 49 32 –1 Limiter

116 BASS PICKED BASS 34 48 32 –1 CmpEnDly

117 BASS FRETLESS BASS 35 48 32 –1 ChoDly 1

118 BASS SLAP BASS 37 48 32 –1 Comp 2

119 BASS SAW SYNTH-BASS 1 38 48 16 –1 Chorus 1

120 BASS ANALOG SYNTH-BASS 38 52 32 –1 PhaCho 1

121 BASS CHORUS FINGERED BASS 33 50 16 –1 Crn Cho

122 BASS ROCK PICKED BASS 34 49 32 –1 OdChorus

123 BASS FLAN.FRETLESS BASS 35 49 16 –1 Cho Flan

124 BASS FUNKY SLAP BASS 37 49 32 –1 AWhCrDly

125 BASS SQR SYNTH-BASS 1 39 48 32 –1 Od Rot 1

1 2 3 4567 8

707A-E-182A

ページ２００５年３月１０日　木曜日　午後１１時１３分

A-2

Appendix/Apéndice

126 BASS RESO.SQR BASS 39 50 32 –1 Enha Cho

127 BASS RESO.SAW BASS 1 38 53 32 –1 AWhChDly

128 BASS RESO.SAW BASS 2 38 49 16 –1 PhaDly 2

129 BASS DISTORTION SQR BASS 39 51 16 –1 DistDly1

130 BASS DIGITAL BASS 1 39 52 32 –1 Comp 2

131 BASS DIGITAL BASS 2 39 55 16 –1 Chorus 2

132 BASS ACID BASS 38 50 32 –1 Enhancer

133 BASS SAW SYNTH-BASS 2 38 54 32 –1 Equalize

134 BASS TRI SYNTH-BASS 39 53 32 –1 Equalize

135 BASS SINE BASS 39 54 32 –1 Comp 1

136 BASS FAT SYNTH-BASS 39 56 16 N CmpEnDly

137 BASS ORGAN BASS 1 38 55 32 –1 Comp 1

138 ORCHESTRA VIOLIN 40 48 32 N GateRvb2

139 ORCHESTRA CELLO 42 48 32 –1 GateRvb2

140 ORCHESTRA VIOLA 41 48 32 N GateRvb2

141 ORCHESTRA PIZZICATO ENSEMBLE 45 49 16 N RvbHall1

142 ORCHESTRA HARP 46 48 32 N Reflect

143 ORCHESTRA SLOW VIOLIN 40 49 32 N RvbHall2

144 ORCHESTRA SLOW CELLO 42 49 32 –1 RvbHall2

145 ORCHESTRA PIZZICATO 45 48 32 N Reflect

146 ORCHESTRA HARPS 46 49 16 N Reflect

147 ENSEMBLE STEREO STRINGS 48 51 16 N RvbPlate

148 ENSEMBLE STRING ENSEMBLE 48 48 32 N RvbRoom3

149 ENSEMBLE SLOW STRINGS 49 48 32 N ChoDly 3

150 ENSEMBLE CHAMBER 49 49 16 N Reflect

151 ENSEMBLE PURE SYNTH-STRINGS 50 50 16 N ChoDly 3

152 ENSEMBLE SYNTH-STRINGS 1 50 48 32 N ChoDly 3

153 ENSEMBLE 70'S SYNTH-STR 50 51 16 N RevHall1

154 ENSEMBLE 80'S SYNTH-STR 50 52 16 N ChoDly 4

155 ENSEMBLE STEREO CHOIR 52 50 16 N RvbHall1

156 ENSEMBLE VOICE UUH 53 49 16 N RvbRoom1

157 ENSEMBLE VOICE DOO 53 48 32 N RvbRoom1

158 ENSEMBLE SYNTH-VOICE 1 54 48 32 N Chorus 4

159 ENSEMBLE SYNTH-VOICE 2 54 49 32 N ChoDly 3

160 ENSEMBLE SCAT VOICE 1 53 52 32 N ChoDly 4

161 ENSEMBLE SCAT VOICE 2 53 53 32 N ChoDly 2

162 ENSEMBLE SCAT VOICE 3 53 54 32 –1 ChoDly 4

163 ENSEMBLE BRIGHT STRINGS 48 49 32 N RvbHall1

164 ENSEMBLE WIDE STRINGS 48 52 16 N RvbHall1

165 ENSEMBLE MELLOW STRINGS 49 50 32 N RvbHall1

166 ENSEMBLE ORCHESTRA STRINGS 1 49 51 16 N RvbRoom3

167 ENSEMBLE ORCHESTRA STRINGS 2 49 52 16 N RvbHall1

168 ENSEMBLE RESO.SYNTH-STRINGS 51 48 32 N ChoDly 3

169 ENSEMBLE PHASER SYNTH-STRINGS 51 49 16 N PhaAPan2

170 ENSEMBLE OLD STRINGS ENSEMBLE 49 53 32 N OdChorus

171 ENSEMBLE CHOIR STRINGS 48 53 16 N RvbHall1

172 ENSEMBLE SYNTH-CHOIR 52 51 16 N StXDelay

173 ENSEMBLE SYNTH-DOO 53 50 16 N DistDly1

174 ENSEMBLE MAGIC VOICE DOO 53 51 32 N PhaDly 2

175 ENSEMBLE WAH SYNTH-VOICE 54 55 32 N AWhChDly

176 ENSEMBLE VOICE PAD 54 53 16 N FlanDly3

177 ENSEMBLE BLOW VOICE 54 51 16 N DistDly1

178 ENSEMBLE NOISY SYNTH-VOICE 54 54 16 N FlanDly2

179 ENSEMBLE POP HIT 1 55 52 16 N Equalize

180 ENSEMBLE POP HIT 2 55 53 16 N FlanDly1

181 ENSEMBLE BASS HIT 55 49 16 N DistDly1

182 ENSEMBLE PIANO HIT 55 54 16 N GateRvb2

183 ENSEMBLE ORGAN HIT 55 55 16 N Rotary 2

184 ENSEMBLE ORCHESTRA HIT 1 55 48 16 N RvbHall1

185 ENSEMBLE TECHNO HIT 55 56 16 N MetalDly

186 BRASS PURE TRUMPET 56 52 32 N GateRvb1

187 BRASS TROMBONE 57 50 16 –1 GateRvb2

188 BRASS MUTE TRUMPET 59 48 32 N Enhancer

189 BRASS STEREO BRASS 61 50 16 N RvbPlate

190 BRASS BRASS ENSEMBLE 61 51 16 N Enha Dly

191 BRASS DEEP SYNTH-BRASS 1 62 51 16 N Enha Dly

192 BRASS SOFT SYNTH-BRASS 63 51 16 N Enha Dly

193 BRASS VINTAGE SYNTH-BRASS 63 48 16 N RvbHall2

194 BRASS TRUMPET 1 56 51 16 N GateRvb2

195 BRASS MELLOW TRUMPET 56 50 16 N RvbHall1

196 BRASS MELLOW TROMBONE 57 48 16 –1 RvbHall1

197 BRASS BRIGHT TROMBONE 57 49 32 –1 RvbHall1

198 BRASS TUBA 58 48 32 –1 RvbHall1

199 BRASS FRENCH HORN 60 48 16 –1 RvbHall1

200 BRASS TRUMPET 2 56 53 32 N GateRvb1

1 2 3 4567 8

201 BRASS TROMBONE SECTION 57 51 16 –1 GateRvb2

202 BRASS OCTAVE FRENCH HORN 60 50 16 –1 RvbHall1

203 BRASS BRASS 61 48 32 N RvbHall2

204 BRASS BRASS SFZ 61 53 16 N Comp 2

205 BRASS BRASS+FRENCH HORN 61 55 16 N RvbHall2

206 BRASS OCTAVE BRASS 61 54 16 N RvbHall2

207 BRASS GATE BRASS 61 56 16 N GateRvb1

208 BRASS DEEP SYNTH-BRASS 2 62 53 16 N Enha Dly

209 BRASS ANALOG BRASS 1 62 48 32 N Comp 2

210 BRASS ANALOG BRASS 2 62 54 32 N Equalize

211 BRASS WARM SYNTH-BRASS 63 52 16 N Delay

212 BRASS SLOW SYNTH-BRASS 63 49 16 N ChoDly 4

213 BRASS SQR SYNTH-BRASS 62 52 16 N Delay

214 BRASS SAW SYNTH-BRASS 63 53 16 N Enha Cho

215 BRASS LA SYNTH-BRASS 63 50 16 N PhaDly 1

216 REED BREATHY ALTO SAX 65 50 16 –1 RvbHall1

217 REED BREATHY TENOR SAX 66 50 16 –1 RvbHall1

218 REED MELLOW SOPRANO SAX 64 49 16 N CmpEnDly

219 REED PURE ALTO SAX 65 51 32 –1 GateRvb2

220 REED PURE TENOR SAX 66 51 16 –1 GateRvb2

221 REED CLARINET 71 49 16 N Reflect

222 REED OBOE 68 48 32 N GateRvb2

223 REED SOPRANO SAX 64 48 32 N Equalize

224 REED ALTO SAX 65 48 32 –1 Equalize

225 REED BRIGHT ALTO SAX 65 54 32 –1 Equalize

226 REED TENOR SAX 66 48 32 –1 Equalize

227 REED BARITONE SAX 67 48 32 –1 Equalize

228 REED TREMOLO ALTO SAX 65 49 16 –1 Trem olo

229 REED TREMOLO TENOR SAX 66 49 16 –1 Trem olo

230 REED ALTO SAXYS 65 52 16 –1 Equalize

231 REED TENOR SAXYS 66 52 16 –1 Equalize

232 REED STACK BARITONE SAX 67 49 16 –1 Comp 2

233 REED WAH BARITONE SAX 67 50 16 –1 Auto Wah

234 REED MELLOW CLARINET 71 48 32 N GateRvb2

235 REED SYNTH-OBOE 68 49 16 N ChoDly 4

236 PIPE PURE FLUTE 73 49 16 N GateRvb2

237 PIPE FLUTE 73 48 32 N Reflect

238 PIPE MELLOW FLUTE 73 50 16 N Reflect

239 PIPE PICCOLO 72 48 32 +1 Equalize

240 PIPE PAN FLUT E 75 48 32 N GateRvb2

241 PIPE BOTTLE BLOW 76 48 32 N Equalize

242 PIPE RECORDER 74 48 32 N GateRvb2

243 PIPE WHISTLE 78 48 32 N Tremolo

244 PIPE PICCOLO ENSEMBLE 72 49 16 +1 Equalize

245 PIPE BREATHY FLUTE 73 53 16 N Tre mol o

246 PIPE OCTAVE FLUTE 73 51 16 N Equalize

247 PIPE FLUTE+REED 73 52 16 N StXDelay

248 PIPE SYNTH-PAN FLUTE 75 49 16 N AWhChDly

249 PIPE SYNTH-RECORDER 74 49 16 N ChoDly 4

250 PIPE WHISTLES 78 49 16 N ChoDly 4

251 SYNTH-LEAD SAWTOOTH LEAD 81 48 16 N Enha Dly

252 SYNTH-LEAD MELLOW SAW LEAD 81 53 16 N Enha Dly

253 SYNTH-LEAD GR LEAD 1 81 54 16 N PhaDly 2

254 SYNTH-LEAD SQUARE LEAD 1 80 48 16 N ChoDly 2

255 SYNTH-LEAD SQUARE LEAD 2 80 51 16 N ChoDly 2

256 SYNTH-LEAD VOX SQR LEAD 80 52 16 N ChoDly 4

257 SYNTH-LEAD CALLIOPE LEAD 82 48 16 N Equalize

258 SYNTH-LEAD CHIFF LEAD 1 83 48 16 N Comp 1

259 SYNTH-LEAD CHARANG LEAD 84 48 16 N Equalize

260 SYNTH-LEAD GT SYNTH-LEAD 1 84 49 16 N PhaAPan1

261 SYNTH-LEAD SOLO VOX 85 48 16 N PhaDly 1

262 SYNTH-LEAD FIFTH LEAD 86 48 16 N Auto Wah

263 SYNTH-LEAD HUSKY SAW 86 49 16 N PhaDly 1

264 SYNTH-LEAD BASS LEAD 1 87 48 16 N Chorus 2

265 SYNTH-LEAD BASS LEAD 2 87 50 16 N LFO Wah

266 SYNTH-LEAD VOX SAW LEAD 81 57 16 N RgChoDly

267 SYNTH-LEAD SQUARE LEAD 3 80 53 16 N FlanDly1

268 SYNTH-LEAD MELLOW SQR LEAD 80 54 16 N Tremol o

269 SYNTH-LEAD ADVANCED CALLIOPE 82 49 16 N RvbPlate

270 SYNTH-LEAD SEQ SAW 1 81 55 16 N Equalize

271 SYNTH-LEAD REED SAW 81 56 16 N Enha Cho

272 SYNTH-LEAD PIPE LEAD 82 50 16 N Reflect

273 SYNTH-LEAD ATTACK SQR 1 80 55 16 N Comp 2

274 SYNTH-LEAD ATTACK SQR 2 80 56 16 N 3Tap Dly

275 SYNTH-LEAD PLUCK LEAD 1 84 50 16 N FlanDly2

1 2 3 4567 8

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Appendix/Apéndice

A-3

276 SYNTH-LEAD PLUCK LEAD 2 84 51 16 N FlanDly2

277 SYNTH-LEAD FIFTH MELLOW 86 50 16 N StXDelay

278 SYNTH-LEAD FOURTH LEAD 86 51 16 N Auto Pan

279 SYNTH-LEAD DETUNE SAW 81 51 16 N Chorus 2

280 SYNTH-LEAD RESO.SAW LEAD 81 58 16 N Phaser

281 SYNTH-LEAD GR LEAD 2 81 59 32 N CmpCrDly

282 SYNTH-LEAD GR LEAD X 81 60 32 N ChoDly 2

283 SYNTH-LEAD VOX LEAD 1 85 50 16 N FlanDly2

284 SYNTH-LEAD REED LEAD 87 51 16 N Equalize

285 SYNTH-LEAD SQUARE WAVE 1 80 49 32 N Auto Pan

286 SYNTH-LEAD SQUARE WAVE 2 80 57 32 N AWhChDly

287 SYNTH-LEAD PERC.CHIFF 1 83 49 16 N Comp 1

288 SYNTH-LEAD CHIFF LEAD 2 83 50 16 N Comp 1

289 SYNTH-LEAD TECH POLYSYNTH 1 86 52 16 N Ring Mod

290 SYNTH-LEAD TECH POLYSYNTH 2 86 54 32 N LoFi Ref

291 SYNTH-LEAD RESONANCE LEAD 86 53 16 N Enha Dly

292 SYNTH-LEAD FRET LEAD 87 52 16 N Enha Dly

293 SYNTH-LEAD SEVENTH SEQ 86 55 16 N Phaser

294 SYNTH-LEAD WAH SEQ 86 56 16 N AWhChDly

295 SYNTH-PAD FANTASY PAD 88 48 16 N PhaDly 2

296 SYNTH-PAD WARM PA D 89 48 32 N Equalize

297 SYNTH-PAD POLYSYNTH PAD 90 48 16 N Cho Trem

298 SYNTH-PAD SPACE VOICE 1 91 48 16 N RotRef 1

299 SYNTH-PAD COSMIC VOICE 91 50 16 N Rotary 2

300 SYNTH-PAD BOWED PAD 92 48 16 N 3Tap Dly

301 SYNTH-PAD METAL PAD 1 93 48 16 N St Delay

302 SYNTH-PAD HALO PAD 94 48 16 N StPhaser

303 SYNTH-PAD SWEEP PAD 95 48 32 N Equalize

1 2 3 4567 8

304 SYNTH-PAD MOVIE SOUND 97 48 16 N FlanDly1

305 SYNTH-PAD NOISY SAW 90 49 16 N Lo-Fi

306 SYNTH-PAD SINE PAD 89 49 16 N Phaser

307 SYNTH-PAD VIBE PAD 96 49 16 N CmpDelay

308 SYNTH-PAD RAIN PAD 96 48 16 N Comp 1

309 SYNTH-PAD CRYSTAL 1 98 48 16 N PhaDly 2

310 SYNTH-PAD CRYSTAL 2 98 50 16 N St Delay

311 SYNTH-PAD ATMOSPHERE PAD 99 48 16 N GateRvb1

312 SYNTH-PAD BRIGHTER 100 49 16 N Delay

313 SYNTH-PAD STAR THEME 103 48 16 N PhaAPan2

314 SYNTH-PAD NEW FANTASY 88 49 16 N ChoDly 3

315 SYNTH-PAD WARM VOX 89 50 16 N Equalize

316 SYNTH-PAD FLUTE PAD 89 51 16 N Equalize

317 SYNTH-PAD ATTACK POLYSYNTH 90 50 16 N Equalize

318 SYNTH-PAD CHIFF CHOIR 91 51 16 N Cho Flan

319 SYNTH-PAD STAR VOICE 1 91 52 16 N DsChoDly

320 SYNTH-PAD STAR VOICE 2 91 53 32 N AWhChDly

321 SYNTH-PAD SPACE VOICE 2 91 49 16 N RgChoDly

322 SYNTH-PAD SPACE CHOIR 91 54 32 N ChoDly 4

323 SYNTH-PAD BOTTLE PAD 92 49 16 N LFO Wah

324 SYNTH-PAD DEEP BLUE 97 49 32 N RevHall2

325 SYNTH-PAD GOBLIN PAD 101 48 16 N Flanger

326 SYNTH-PAD POLY SAW 90 51 16 N ChoDly 3

327 SYNTH-PAD BOUNCE PAD 94 49 16 N Dist Cho

328 SYNTH-PAD SLOW SWEEP 95 49 16 N RgChoDly

329 SYNTH-PAD STEEL PAD 99 49 16 N ChoDly 3

330 SYNTH-PAD WONDER BELL 98 51 16 N GateRvb4

331 SYNTH-PAD SAVANNA 98 52 32 N RgChoDly

1 2 3 4 567 8

Preset Tones/Sonidos preajustados

1 2 3 45678

400 GM GM PIANO 1 0 64 32 N –

401 GM GM PIANO 2 1 64 32 N –

402 GM GM PIANO 3 2 64 32 N –

403 GM GM HONKY-TONK 3 64 16 N –

404 GM GM E.PIANO 1 4 64 32 N –

405 GM GM E.PIANO 2 5 64 16 N –

406 GM GM HARPSICHORD 6 64 32 N –

407 GM GM CLAVI 7 64 32 N –

408 GM GM CELESTA 8 64 32 N –

409 GM GM GLOCKENSPIEL 9 64 32 N –

410 GM GM MUSIC BOX 10 64 16 N –

411 GM GM VIBRAPHONE 11 64 32 N –

412 GM GM MARIMBA 12 64 32 N –

413 GM GM XYLOPHONE 13 64 32 N –

414 GM GM TUBULAR BELL 14 64 32 N –

415 GM GM DULCIMER 15 64 16 N –

416 GM GM ORGAN 1 16 64 32 N –

417 GM GM ORGAN 2 17 64 16 N –

418 GM GM ORGAN 3 18 64 16 N –

419 GM GM PIPE ORGAN 19 64 16 N –

420 GM GM REED ORGAN 20 64 32 N –

421 GM GM ACCORDION 21 64 16 N –

422 GM GM HARMONICA 22 64 32 N –

423 GM GM BANDONEON 23 64 16 N –

424 GM GM NYLON STR.GUITAR 24 64 32 N –

425 GM GM STEEL STR.GUITAR 25 64 32 N –

426 GM GM JAZZ GUITAR 26 64 32 N –

427 GM GM CLEAN GUITAR 27 64 32 N –

428 GM GM MUTE GUITAR 28 64 32 N –

429 GM GM OVERDRIVE GT 29 64 16 N –

430 GM GM DISTORTION GT 30 64 16 N –

431 GM GM GT HARMONICS 31 64 32 N –

432 GM GM ACOUSTIC BASS 32 64 32 N –

433 GM GM FINGERED BASS 33 64 32 N –

434 GM GM PICKED BASS 34 64 32 N –

435 GM GM FRETLESS BASS 35 64 32 N –

436 GM GM SLAP BASS 1 36 64 32 N –

437 GM GM SLAP BASS 2 37 64 32 N –

438 GM GM SYNTH-BASS 1 38 64 16 N –

439 GM GM SYNTH-BASS 2 39 64 32 N –

440 GM GM VIOLIN 40 64 32 N –

441 GM GM VIOLA 41 64 32 N –

442 GM GM CELLO 42 64 32 N –

443 GM GM CONTRABASS 43 64 32 N –

444 GM GM TREMOLO STRINGS 44 64 32 N –

445 GM GM PIZZICATO 45 64 32 N –

446 GM GM HARP 46 64 32 N –

447 GM GM TIMPANI 47 64 32 N –

448 GM GM STRINGS 1 48 64 32 N –

449 GM GM STRINGS 2 49 64 32 N –

450 GM GM SYNTH-STRINGS 1 50 64 32 N –

451 GM GM SYNTH-STRINGS 2 51 64 32 N –

452 GM GM CHOIR AAHS 52 64 32 N –

453 GM GM VOICE DOO 53 64 32 N –

454 GM GM SYNTH-VOICE 54 64 32 N –

455 GM GM ORCHESTRA HIT 55 64 16 N –

456 GM GM TRUMPET 56 64 32 N –

457 GM GM TROMBONE 57 64 32 N –

458 GM GM TUBA 58 64 32 N –

459 GM GM MUTE TRUMPET 59 64 32 N –

460 GM GM FRENCH HORN 60 64 16 N –

461 GM GM BRASS 61 64 32 N –

462 GM GM SYNTH-BRASS 1 62 64 32 N –

463 GM GM SYNTH-BRASS 2 63 64 16 N –

464 GM GM SOPRANO SAX 64 64 32 N –

465 GM GM ALTO SAX 65 64 32 N –

466 GM GM TENOR SAX 66 64 32 N –

467 GM GM BARITONE SAX 67 64 32 N –

468 GM GM OBOE 68 64 32 N –

469 GM GM ENGLISH HORN 69 64 32 N –

470 GM GM BASSOON 70 64 32 N –

471 GM GM CLARINET 71 64 32 N –

472 GM GM PICCOLO 72 64 32 N –

473 GM GM FLUTE 73 64 32 N –

474 GM GM RECORDER 74 64 32 N –

475 GM GM PAN FLUTE 75 64 32 N –

476 GM GM BOTTLE BLOW 76 64 32 N –

477 GM GM SHAKUHACHI 77 64 16 N –

478 GM GM WHISTLE 78 64 32 N –

479 GM GM OCARINA 79 64 32 N –

480 GM GM SQUARE LEAD 80 64 16 N –

481 GM GM SAWTOOTH LEAD 81 64 16 N –

482 GM GM CALLIOPE 82 64 16 N –

483 GM GM CHIFF LEAD 83 64 16 N –

1 2 3 45678

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A-4

Appendix/Apéndice

484 GM GM CHARANG 84 64 16 N –

485 GM GM VOICE LEAD 85 64 16 N –

486 GM GM FIFTH LEAD 86 64 16 N –

487 GM GM BASS+LEAD 87 64 16 N –

488 GM GM FANTASY 88 64 16 N –

489 GM GM WARM PAD 89 64 32 N –

490 GM GM POLYSYNTH 90 64 16 N –

491 GM GM SPACE CHOIR 91 64 16 N –

492 GM GM BOWED GLASS 92 64 16 N –

493 GM GM METAL PAD 93 64 16 N –

494 GM GM HALO PAD 94 64 16 N –

495 GM GM SWEEP PAD 95 64 32 N –

496 GM GM RAIN DROP 96 64 16 N –

497 GM GM SOUND TRACK 97 64 16 N –

498 GM GM CRYSTAL 98 64 16 N –

499 GM GM ATMOSPHERE 99 64 16 N –

500 GM GM BRIGHTNESS 100 64 16 N –

501 GM GM GOBLINS 101 64 16 N –

502 GM GM ECHOES 102 64 32 N –

503 GM GM SF 103 64 16 N –

504 GM GM SITAR 104 64 16 N –

505 GM GM BANJO 105 64 32 N –

506 GM GM SHAMISEN 106 64 32 N –

507 GM GM KOTO 107 64 32 N –

508 GM GM THUMB PIANO 108 64 32 N –

509 GM GM BAGPIPE 109 64 16 N –

510 GM GM FIDDLE 110 64 32 N –

511 GM GM SHANAI 111 64 32 N –

512 GM GM TINKLE BELL 112 64 32 N –

513 GM GM AGOGO 113 64 32 N –

514 GM GM STEEL DRUMS 114 64 16 N –

515 GM GM WOOD BLOCK 115 64 32 N –

516 GM GM TAIKO 116 64 32 N –

517 GM GM MELODIC TOM 117 64 32 N –

518 GM GM SYNTH-DRUM 118 64 32 N –

519 GM GM REVERSE CYMBAL 119 64 32 N –

520 GM GM GT FRET NOISE 120 64 32 N –

521 GM GM BREATH NOISE 121 64 32 N –

522 GM GM SEASHORE 122 64 16 N –

523 GM GM BIRD 123 64 16 N –

524 GM GM TELEPHONE 124 64 32 N –

525 GM GM HELICOPTER 125 64 32 N –

526 GM GM APPLAUSE 126 64 16 N –

527 GM GM GUNSHOT 127 64 32 N –

528 VARIOUS TECHNO PIANO 1 70 32 N –

529 VARIOUS MODERN E.G.PIANO WIDE 2 65 32 N –

530 VARIOUS HONKY-TONK 2 3 65 16 N –

531 VARIOUS DYNO ELEC.PIANO VAR. 4 65 32 N –

532 VARIOUS 60'S ELEC.PIANO VAR. 4 68 32 N –

533 VARIOUS ELEC.PIANO 3 4 66 16 N –

534 VARIOUS MODERN EP+E.G.PIANO 5 66 16 N –

535 VARIOUS MODERN EP VAR. 5 68 16 N –

536 VARIOUS HARPSICHORD VAR. 6 66 32 N –

537 VARIOUS PULSE CLAVI VAR. 7 65 32 N –

538 VARIOUS VIBRAPHONE VAR. 11 65 32 N –

539 VARIOUS MARIMBA VAR. 12 65 32 N –

540 VARIOUS TREMOLO ORGAN VAR. 16 65 32 N –

541 VARIOUS 70'S ORGAN VAR. 17 65 32 N –

1 2 3 45678

542 VAR IOU S CHURCH ORGAN 3 19 66 16 N –

543 VAR IOU S PUFF ORGAN 20 65 16 N –

544 VAR IOU S NYLON GUITAR RELEASE 24 66 16 N –

545 VAR IOU S ACOUSTIC GUITAR VAR. 25 69 32 N –

546 VAR IOU S PEDAL STEEL 26 65 16 N –

547 VAR IOU S DETUNE CLEAN GT 27 65 16 N –

548 VAR IOU S PLAIN ELEC.GUITAR REAR 27 66 32 N –

549 VAR IOU S

PLAIN ELEC.GUITAR FRONT

27 67 32 N –

550 VAR IOU S FEEDBACK GUITAR VAR. 30 65 16 N –

551 VAR IOU S GUITAR FEEDBACK 31 65 32 N –

552 VAR IOU S ACOUSTIC BASS 1 VAR. 32 67 32 N –

553 VAR IOU S FINGERED BASS 1 VAR. 33 67 32 N –

554 VAR IOU S SAW SYNTH-BASS 3 38 67 16 N –

555 VAR IOU S SAW SYNTH-BASS 4 38 73 16 N –

556 VAR IOU S RESO.SAW BASS 3 38 72 16 N –

557 VAR IOU S ORGAN BASS 2 38 74 16 N –

558 VAR IOU S SQR SYNTH-BASS 2 39 65 16 N –

559 VAR IOU S SQR SYNTH-BASS 3 39 73 16 N –

560 VAR IOU S ATTACK SQR BASS 39 74 16 N –

561 VAR IOU S OCTAVE STRINGS 48 66 16 N –

562 VAR IOU S SYNTH-STRINGS 2 50 65 16 N –

563 VAR IOU S CHOIR+UUH 52 65 16 N –

564 VAR IOU S SCAT VOICE 4 53 71 16 N –

565 VAR IOU S SCAT VOICE 5 53 72 16 N –

566 VAR IOU S SYNTH-VOICE 3 54 68 16 N –

567 VAR IOU S SEQ VOX 54 66 32 N –

568 VAR IOU S BASS HIT VAR. 55 65 16 N –

569 VAR IOU S POP HIT 3 55 66 16 N –

570 VAR IOU S ORCHESTRA HIT 2 55 67 16 N –

571 VAR IOU S TIMPANI HIT 55 73 16 N –

572 VAR IOU S TRUMPET 3 56 65 32 N –

573 VAR IOU S MUTE TRUMPET VAR. 59 65 32 N –

574 VAR IOU S MELLOW FRENCH HORN 60 65 16 N –

575 VAR IOU S BRASS+TRUMPET 61 68 16 N –

576 VAR IOU S BRASS+TROMBONE 61 65 16 N –

577 VAR IOU S SYNTH-BRASS VAR. 62 65 32 N –

578 VAR IOU S OCTAVE SYNTH-BRASS 62 66 16 N –

579 VAR IOU S SYNTH-BRASS SFZ 63 65 16 N –

580 VAR IOU S BREATHY ALTO SAX VAR. 65 69 16 N –

581 VAR IOU S BREATHY TENOR SAX VAR. 66 69 16 N –

582 VAR IOU S MELLOW ALTO SAX 65 65 16 N –

583 VAR IOU S MELLOW TENOR SAX 66 65 16 N –

584 VAR IOU S TRIANGLE WAVE 80 66 32 N –

585 VAR IOU S SQUARE WAVE 3 80 74 32 N –

586 VAR IOU S SAW WAVE 81 65 32 N –

587 VAR IOU S SAW+SQR 81 66 16 N –

588 VAR IOU S SEQ SAW 2 81 68 16 N –

589 VAR IOU S PERC.CHIFF 2 83 67 16 N –

590 VAR IOU S GT SYNTH-LEAD 2 84 68 16 N –

591 VAR IOU S VOX LEAD 2 85 65 16 N –

592 VAR IOU S BASS LEAD 3 87 65 16 N –

593 VAR IOU S SINE SYNTH 89 65 16 N –

594 VAR IOU S SOPRANO PAD 89 68 16 N –

595 VAR IOU S GLASS PAD 92 66 16 N –

596 VAR IOU S METAL PAD 2 93 65 16 N –

597 VAR IOU S FAST SWEEP 95 66 16 N –

598 VAR IOU S WOOD PAD 96 66 16 N –

599 VAR IOU S SYNTH-MALLET 98 65 16 N –

1 2 3 45678

Drum Sets/Ajustes de batería

12 3 45

600 DRUM SET STANDARD SET 1 0 120

601 DRUM SET STANDARD SET 2 1 120

602 DRUM SET STANDARD SET 3 2 120

603 DRUM SET STANDARD SET 4 3 120

604 DRUM SET ROOM SET 8 120

605 DRUM SET POWER SET 16 120

606 DRUM SET ELECTRONIC SET 24 120

607 DRUM SET SYNTH SET 1 25 120

608 DRUM SET SYNTH SET 2 30 120

609 DRUM SET JAZZ SET 32 120

610 DRUM SET BRUSH SET 40 120

611 DRUM SET ORCHESTRA SET 48 120

612 DRUM SET HIP-HOP SET 1 64 120

613 DRUM SET HIP-HOP SET 2 65 120

614 DRUM SET TECHNO SET 1 66 120

615 DRUM SET TECHNO SET 2 67 120

616 DRUM SET DANCE SET 1 68 120

617 DRUM SET DANCE SET 2 69 120

12 3 45

707A-E-185A

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Appendix/Apéndice

A-5

User Tones/Sonidos de usuario

12 3 45

700 USER TONE STEREO GRAND PIANO 0 94

701 USER TONE STEREO MELLOW PIANO 1 94

702 USER TONE STEREO BRIGHT PIANO 2 94

703 USER TONE GRAND PIANO 3 94

704 USER TONE ROCK PIANO 4 94

705 USER TONE MODERN PIANO 5 94

706 USER TONE DANCE PIANO 6 94

707 USER TONE MELLOW PIANO 7 94

708 USER TONE BRIGHT PIANO 8 94

709 USER TONE SYNTH-STR PIANO 9 94

710 USER TONE STRINGS PIANO 10 94

711 USER TONE VOICE PIANO 11 94

712 USER TONE ELEC.GRAND PIANO 12 94

713 USER TONE HARPSICHORD 13 94

714 USER TONE GRAND PIANO WIDE 14 94

715 USER TONE AMBIENT PIANO 15 94

716 USER TONE 1 OCTAVE PIANO 16 94

717 USER TONE 2 OCTAVE PIANO 17 94

718 USER TONE MODERN E.G.PIANO 18 94

719 USER TONE COMP.PIANO 19 94

720 USER TONE HONKY-TONK 1 20 94

721 USER TONE BRIGHT HARPSICHORD 21 94

722 USER TONE COUPLED HARPSICHORD 22 94

723 USER TONE ELEC.PIANO 1 23 94

724 USER TONE ELEC.PIANO 2 24 94

725 USER TONE FM ELEC.PIANO 25 94

726 USER TONE DYNO ELEC.PIANO 26 94

727 USER TONE 60'S ELEC.PIANO 27 94

728 USER TONE MELLOW E.PIANO 28 94

729 USER TONE POP ELEC.PIANO 29 94

730 USER TONE TREMOLO E.PIANO 30 94

731 USER TONE SOFT E.PIANO 31 94

732 USER TONE GLASS E.PIANO 32 94

733 USER TONE SYNTH-STR E.PIANO 1 33 94

734 USER TONE CLAVI 34 94

735 USER TONE AUTO WAH E.PIANO 35 94

736 USER TONE PHASER E.PIANO 36 94

737 USER TONE MODERN E.PIANO 37 94

738 USER TONE WARM ELEC.PIANO 38 94

739 USER TONE ELEC.PIANO PAD 39 94

740 USER TONE SYNTH-STR E.PIANO 2 40 94

741 USER TONE STRINGS E.PIANO 41 94

742 USER TONE RESONANCE CLAVI 42 94

743 USER TONE PULSE CLAVI 43 94

744 USER TONE LA CLAVI 44 94

745 USER TONE TREMOLO VIBRAPHONE 45 94

746 USER TONE MARIMBA 46 94

747 USER TONE GLOCKENSPIEL 47 94

748 USER TONE CELESTA 48 94

749 USER TONE VIBRAPHONE 49 94

750 USER TONE PHASER MARIMBA 50 94

751 USER TONE DELAY GLOCKENSPIEL 51 94

752 USER TONE ROTARY CELESTA 52 94

753 USER TONE ROTARY DRAWBAR 53 94

754 USER TONE ROTARY PERC.ORGAN 1 54 94

755 USER TONE ROTARY PERC.ORGAN 2 55 94

756 USER TONE 70'S ORGAN 56 94

757 USER TONE TREMOLO ORGAN 57 94

758 USER TONE JAZZ DRAWBAR 58 94

759 USER TONE ROCK ORGAN 59 94

760 USER TONE OVD ROTARY ORGAN 60 94

761 USER TONE ROTARY ELEC.ORGAN 61 94

762 USER TONE CHURCH ORGAN 1 62 94

763 USER TONE CHAPEL ORGAN 63 94

764 USER TONE ACCORDION 64 94

765 USER TONE BANDONEON 65 94

766 USER TONE HARMONICA 66 94

767 USER TONE DRAWBAR ORGAN 1 67 94

768 USER TONE DRAWBAR ORGAN 2 68 94

769 USER TONE ELEC.ORGAN 69 94

770 USER TONE PERC.ORGAN 1 70 94

771 USER TONE PERC.ORGAN 2 71 94

772 USER TONE JAZZ ORGAN 72 94

773 USER TONE OVD ROCK ORGAN 73 94

774 USER TONE TAPE ORGAN 74 94

775 USER TONE CHURCH ORGAN 2 75 94

776 USER TONE OCTAVE ACCORDION 76 94

777 USER TONE NEO BANDONEON 77 94

778 USER TONE SLOW HARMONICA 78 94

779 USER TONE WAH HARMONICA 79 94

780 USER TONE PURE ACOUSTIC GUITAR 80 94

781 USER TONE NYLON STR.GUITAR 81 94

782 USER TONE STEEL STR.GUITAR 82 94

783 USER TONE JAZZ GUITAR 83 94

784 USER TONE CHORUS CLEAN GUITAR 84 94

785 USER TONE ROTARY GUITAR 85 94

786 USER TONE CRUNCH ELEC.GUITAR 86 94

787 USER TONE OVD FRONT GUITAR 87 94

788 USER TONE FEEDBACK DIST.GT 88 94

789 USER TONE MUTE DIST.GUITAR 89 94

790 USER TONE MELLOW NYLON GUITAR 90 94

791 USER TONE 12 STRING GUITAR 91 94

792 USER TONE

BRIGHT ACOUSTIC GUITAR

92 94

793 USER TONE CHORUS STEEL GUITAR 93 94

794 USER TONE UKULELE 94 94

795 USER TONE BANJO 95 94

796 USER TONE OCTAVE JAZZ GUITAR 96 94

797 USER TONE CHORUS JAZZ GUITAR 97 94

798 USER TONE CLEAN GUITAR 98 94

799 USER TONE ELEC.GUITAR FRONT 99 94

12 3 45

User Tones with Waves/Sonidos de usuario con ondas

12 3 45

800 USER TONE with WAVE PIANO EX. 0 88

801 USER TONE with WAVE CZ SWEEP BASS 1 88

802 USER TONE with WAVE CZ LEAD 1 2 88

803 USER TONE with WAVE CZ SYNTH 1 3 88

804 USER TONE with WAVE VOICE BASS 4 88

805 USER TONE with WAVE NO DATA 5 88

806 USER TONE with WAVE NO DATA 6 88

807 USER TONE with WAVE NO DATA 7 88

808 USER TONE with WAVE NO DATA 8 88

809 USER TONE with WAVE NO DATA 9 88

810 USER TONE with WAVE NO DATA 10 88

811 USER TONE with WAVE NO DATA 11 88

812 USER TONE with WAVE NO DATA 12 88

813 USER TONE with WAVE NO DATA 13 88

814 USER TONE with WAVE NO DATA 14 88

815 USER TONE with WAVE NO DATA 15 88

816 USER TONE with WAVE NO DATA 16 88

817 USER TONE with WAVE NO DATA 17 88

818 USER TONE with WAVE NO DATA 18 88

819 USER TONE with WAVE NO DATA 19 88

12 3 45

User Drum Sets with Waves/Ajustes de batería de usuario con ondas

12 3 45

900 USER DRUM SET with WAVE POWER ROOM SET 0 125

901 USER DRUM SET with WAVE NO DATA 1 125

902 USER DRUM SET with WAVE NO DATA 2 125

903 USER DRUM SET with WAVE NO DATA 3 125

12 3 45

707A-E-186A

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A-6

Appendix/Apéndice

Drawbar Organ Preset Tones/Sonidos de órgano con Drawbar

1 2 3 4 567 8

0 DRAWBAR DRAWBAR ORGAN 1 0 96 10 N Rotary

1 DRAWBAR JAZZ ORGAN 1 1 96 10 N Rotary

2 DRAWBAR FULL DRAWBAR 2 96 16 N Rotary

3 DRAWBAR PERC. ORGAN 1 3 96 16 N Rotary

4 DRAWBAR 16'+1' ORGAN 4 96 16 N Rotary

5 DRAWBAR SOUL ORGAN 1 5 96 10 N Rotary

6 DRAWBAR OVERDRIVE ORGAN 1 6 96 16 N OvdRotry

7 DRAWBAR DRAWBAR ORGAN 2 7 96 16 N Rotary

8 DRAWBAR BLOCK ORGAN 1 8 96 16 N OvdRotry

9 DRAWBAR THEATER ORGAN 1 9 96 16 N Rotary

10 DRAWBAR JAZZ ORGAN 2 10 96 10 N Rotary

11 DRAWBAR SOUL ORGAN 2 11 96 16 N Rotary

12 DRAWBAR GOSPEL ORGAN 1 12 96 16 N Rotary

13 DRAWBAR CHORUS ORGAN 1 13 96 16 N Rotary

14 DRAWBAR OVERDRIVE ORGAN 2 14 96 10 N OvdRotry

15 DRAWBAR BLOCK ORGAN 2 15 96 16 N Rotary

16 DRAWBAR DRAWBAR ORGAN 3 16 96 16 N Rotary

17 DRAWBAR PERC. ORGAN 2 17 96 16 N Rotary

18 DRAWBAR THEATER ORGAN 2 18 96 16 N Rotary

19 DRAWBAR GOSPEL ORGAN 2 19 96 16 N Rotary

20 DRAWBAR EVEN ORGAN 20 96 16 N Rotary

21 DRAWBAR FLUTE ORGAN 1 21 96 16 N Rotary

22 DRAWBAR CHORUS ORGAN 2 22 96 16 N Rotary

23 DRAWBAR OVERDRIVE ORGAN 3 23 96 16 N Rotary

24 DRAWBAR 16' ORGAN 24 96 16 N Rotary

25 DRAWBAR SOUL ORGAN 3 25 96 16 N Rotary

26 DRAWBAR PERC. ORGAN 3 26 96 16 N Rotary

27 DRAWBAR DRAWBAR ORGAN 4 27 96 16 N Rotary

28 DRAWBAR PERC. ORGAN 4 28 96 10 N Rotary

29 DRAWBAR ODD ORGAN 29 96 16 N Rotary

30 DRAWBAR REED ORGAN 1 30 96 16 N Rotary

31 DRAWBAR BLOCK ORGAN 3 31 96 10 N Rotary

32 DRAWBAR OVERDRIVE ORGAN 4 32 96 10 N OvdRotry

33 DRAWBAR DRAWBAR ORGAN 5 33 96 10 N Rotary

34 DRAWBAR GOSPEL ORGAN 3 34 96 16 N Rotary

35 DRAWBAR 8' + 4' ORGAN 35 96 32 N Rotary

36 DRAWBAR BLOCK ORGAN 4 36 96 32 N Rotary

37 DRAWBAR REED ORGAN 2 37 96 16 N Rotary

38 DRAWBAR PURE ORGAN 1 38 96 32 N Rotary

39 DRAWBAR DRAWBAR ORGAN 6 39 96 10 N Rotary

40 DRAWBAR DELAY ORGAN 1 40 96 10 N StXDly 2

41 DRAWBAR DEEP CHORUS ORGAN 41 96 32 N Cho.Dly4

42 DRAWBAR TREMOLO ORGAN 42 96 16 N Cho.Trem

43 DRAWBAR DELAY ORGAN 2 43 96 16 N Cho.Dly6

44 DRAWBAR LFO WAH ORGAN 44 96 16 N LWhChDl2

45 DRAWBAR DIST. ORGAN LEAD 45 96 16 N MetalDly

46 DRAWBAR RING ORGAN 46 96 16 N RingMod2

47 DRAWBAR MAD ROTARY ORGAN 47 96 10 N RgChDly2

48 DRAWBAR OLD ORGAN 48 96 16 N LoFiRef2

49 DRAWBAR DIST. RING ORGAN 49 96 10 N DistRing

1 2 3 4 567 8

Drawbar Organ User Tones/Sonidos de usuario de órgano con Drawbar

12 3 45

100 USER DRAWBAR DRAWBAR ORGAN 1 0 104

101 USER DRAWBAR JAZZ ORGAN 1 1 104

102 USER DRAWBAR FULL DRAWBAR 2 104

103 USER DRAWBAR PERC. ORGAN 1 3 104

104 USER DRAWBAR 16'+1' ORGAN 4 104

105 USER DRAWBAR SOUL ORGAN 1 5 104

106 USER DRAWBAR OVERDRIVE ORGAN 1 6 104

107 USER DRAWBAR DRAWBAR ORGAN 2 7 104

108 USER DRAWBAR BLOCK ORGAN 1 8 104

109 USER DRAWBAR THEATER ORGAN 1 9 104

110 USER DRAWBAR JAZZ ORGAN 2 10 104

111 USER DRAWBAR SOUL ORGAN 2 11 104

112 USER DRAWBAR GOSPEL ORGAN 1 12 104

113 USER DRAWBAR CHORUS ORGAN 1 13 104

114 USER DRAWBAR OVERDRIVE ORGAN 2 14 104

115 USER DRAWBAR BLOCK ORGAN 2 15 104

116 USER DRAWBAR DRAWBAR ORGAN 3 16 104

117 USER DRAWBAR PERC. ORGAN 2 17 104

118 USER DRAWBAR THEATER ORGAN 2 18 104

119 USER DRAWBAR GOSPEL ORGAN 2 19 104

120 USER DRAWBAR EVEN ORGAN 20 104

121 USER DRAWBAR FLUTE ORGAN 1 21 104

122 USER DRAWBAR CHORUS ORGAN 2 22 104

123 USER DRAWBAR OVERDRIVE ORGAN 3 23 104

124 USER DRAWBAR 16' ORGAN 24 104

125 USER DRAWBAR SOUL ORGAN 3 25 104

126 USER DRAWBAR PERC. ORGAN 3 26 104

127 USER DRAWBAR DRAWBAR ORGAN 4 27 104

128 USER DRAWBAR PERC. ORGAN 4 28 104

129 USER DRAWBAR ODD ORGAN 29 104

130 USER DRAWBAR REED ORGAN 1 30 104

131 USER DRAWBAR BLOCK ORGAN 3 31 104

132 USER DRAWBAR OVERDRIVE ORGAN 4 32 104

133 USER DRAWBAR DRAWBAR ORGAN 5 33 104

134 USER DRAWBAR GOSPEL ORGAN 3 34 104

135 USER DRAWBAR 8' + 4' ORGAN 35 104

136 USER DRAWBAR BLOCK ORGAN 4 36 104

137 USER DRAWBAR REED ORGAN 2 37 104

138 USER DRAWBAR PURE ORGAN 1 38 104

139 USER DRAWBAR DRAWBAR ORGAN 6 39 104

140 USER DRAWBAR DELAY ORGAN 1 40 104

141 USER DRAWBAR DEEP CHORUS ORGAN 41 104

142 USER DRAWBAR TREMOLO ORGAN 42 104

143 USER DRAWBAR DELAY ORGAN 2 43 104

144 USER DRAWBAR LFO WAH ORGAN 44 104

145 USER DRAWBAR DIST. ORGAN LEAD 45 104

146 USER DRAWBAR RING ORGAN 46 104

147 USER DRAWBAR MAD ROTARY ORGAN 47 104

148 USER DRAWBAR OLD ORGAN 48 104

149 USER DRAWBAR DIST. RING ORGAN 49 104

150 USER DRAWBAR DRAWBAR ORGAN 1 50 104

151 USER DRAWBAR JAZZ ORGAN 1 51 104

152 USER DRAWBAR FULL DRAWBAR 52 104

153 USER DRAWBAR PERC. ORGAN 1 53 104

154 USER DRAWBAR 16'+1' ORGAN 54 104

155 USER DRAWBAR SOUL ORGAN 1 55 104

156 USER DRAWBAR OVERDRIVE ORGAN 1 56 104

157 USER DRAWBAR DRAWBAR ORGAN 2 57 104

158 USER DRAWBAR BLOCK ORGAN 1 58 104

159 USER DRAWBAR THEATER ORGAN 1 59 104

160 USER DRAWBAR JAZZ ORGAN 2 60 104

161 USER DRAWBAR SOUL ORGAN 2 61 104

162 USER DRAWBAR GOSPEL ORGAN 1 62 104

163 USER DRAWBAR CHORUS ORGAN 1 63 104

164 USER DRAWBAR OVERDRIVE ORGAN 2 64 104

165 USER DRAWBAR BLOCK ORGAN 2 65 104

166 USER DRAWBAR DRAWBAR ORGAN 3 66 104

167 USER DRAWBAR PERC. ORGAN 2 67 104

168 USER DRAWBAR THEATER ORGAN 2 68 104

169 USER DRAWBAR GOSPEL ORGAN 2 69 104

170 USER DRAWBAR EVEN ORGAN 70 104

171 USER DRAWBAR FLUTE ORGAN 1 71 104

172 USER DRAWBAR CHORUS ORGAN 2 72 104

173 USER DRAWBAR OVERDRIVE ORGAN 3 73 104

174 USER DRAWBAR 16' ORGAN 74 104

175 USER DRAWBAR SOUL ORGAN 3 75 104

176 USER DRAWBAR PERC. ORGAN 3 76 104

177 USER DRAWBAR DRAWBAR ORGAN 4 77 104

178 USER DRAWBAR PERC. ORGAN 4 78 104

179 USER DRAWBAR ODD ORGAN 79 104

180 USER DRAWBAR REED ORGAN 1 80 104

181 USER DRAWBAR BLOCK ORGAN 3 81 104

12 3 45

707A-E-187A

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Appendix/Apéndice

A-7

Range

• The above list shows the initial factory default configuration.

The tone group tone numbers indicated below will change from

those shown in this list if you save original tones to keyboard

memory (page E-42).

• User Tones (Tone Numbers 700 through 799)*1

• User Tones with Waves (Tone Numbers 800 through 819)*2

• User Drum Sets with Waves (Tone Numbers 900 through

903)*3

• Drawbar Organ User Tones (Tone Numbers 100 through

199)*4

*1 The initial factory default is Advanced Tones 000 through 099.

System reset (page E-70) returns to initial factory defaults.

*2 The initial factory default is preset Tone with Wave data for

tone numbers 800 through 804. System reset clears all stored

data.

*3 The initial factory default is preset Drum Set with Wave data for

tone number 900. System reset clears all stored data.

*4 The initial factory default is two sets of the same tones

assigned to drawbar organ tone numbers 000 through 049.

System reset returns to initial factory defaults.

• The CD-ROM that comes bundled with the keyboard can be

used to return all tones to the initial factory defaults shown in

this list. See “Returning the keyboard to its initial factory

defaults” on page E-77 for details.

Gama

• La lista de arriba muestra la configuración predeterminada de

fábrica. Los números de sonido del grupo de sonidos indicados

más abajo serán diferentes de los indicados en esta lista, si se

han almacenado sonidos originales en la memoria del teclado

(página S-42).

• Sonidos de usuario (números de sonidos 700 a 799)*1

• Sonidos de usuario con ondas (números de sonido 800 a

819)*2

• Ajustes de batería de usuario con ondas (números de sonido

900 a 903)*3

• Sonidos de usuario de órgano con Drawbar (números de

sonido 100 a 199)*4

*1 El ajuste predeterminado de fábrica es sonidos avanzados

000 a 099. La reinicialización del sistema (página S-70) hace

que se restablezcan los ajustes de fábrica.

*2 El ajuste predeterminado de fábrica es datos de sonido con

onda predeterminados para los números de sonido 800 a 804.

La reinicialización del sistema borra todos los datos

almacenados.

*3 El ajuste predeterminado de fábrica es datos de ajuste de

batería predeterminados para el número de sonido 900. La

reinicialización del sistema borra todos los datos

almacenados.

*4 El ajuste predeterminado de fábrica es dos ajustes de los

mismos sonidos que los asignados a los sonidos de órgano

con Drawbar números 000 a 049. La reinicialización del

sistema restablece los ajustes de fábrica.

• El CD-ROM que viene con el teclado puede usarse para

reposicionar todos los sonidos a los ajustes predeterminados

de fábrica indicados en esta lista. Para los detalles, vea

“Reposicionando el teclado a los valores predeterminados de

fábrica” en la página S-77.

182 USER DRAWBAR OVERDRIVE ORGAN 4 82 104

183 USER DRAWBAR DRAWBAR ORGAN 5 83 104

184 USER DRAWBAR GOSPEL ORGAN 3 84 104

185 USER DRAWBAR 8' + 4' ORGAN 85 104

186 USER DRAWBAR BLOCK ORGAN 4 86 104

187 USER DRAWBAR REED ORGAN 2 87 104

188 USER DRAWBAR PURE ORGAN 1 88 104

189 USER DRAWBAR DRAWBAR ORGAN 6 89 104

190 USER DRAWBAR DELAY ORGAN 1 90 104

191 USER DRAWBAR DEEP CHORUS ORGAN 91 104

192 USER DRAWBAR TREMOLO ORGAN 92 104

193 USER DRAWBAR DELAY ORGAN 2 93 104

194 USER DRAWBAR LFO WAH ORGAN 94 104

195 USER DRAWBAR DIST. ORGAN LEAD 95 104

196 USER DRAWBAR RING ORGAN 96 104

197 USER DRAWBAR MAD ROTARY ORGAN 97 104

198 USER DRAWBAR OLD ORGAN 98 104

199 USER DRAWBAR DIST. RING ORGAN 99 104

12 3 45

Symbol Meaning

N Normal

1 Octave Down

1 Octave Up

Símbolo Significado

N Normal

1 Octava abajo

1 Octava arriba

707A-E-188A

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A-8

Appendix/Apéndice

“ ” indicates the same sound as STANDARD SET 1./“ ” indica el mismo sonido que STANDARD SET 1.

Drum Assignment List/Lista de asignación de batería

707A-E-189A

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Appendix/Apéndice

A-9

707A-E-190A

ページ２００５年３月１０日　木曜日　午後１１時１３分

A-10

Appendix/Apéndice

Rhythm List/Lista de Ritmo

No./

Nº

Rhythm Name/

Nombre de Ritmo

8 BEAT

000 8 BEAT 1

001 8 BEAT 2

002 8 BEAT 3

003 8 BEAT 4

004 8 BEAT 5

005 8 BEAT POP 1

006 8 BEAT POP 2

007 8 BEAT POP 3

008 8 BEAT POP 4

009 60'S SOUL

010 8 BEAT DANCE

011 POP ROCK 1

012 POP ROCK 2

16 BEAT

013 16 BEAT 1

014 16 BEAT 2

015 16 BEAT 3

016 16 BEAT 4

017 SLOW 16 BEAT

018 16 BEAT SHUFFLE 1

019 16 BEAT SHUFFLE 2

020 16 BEAT SHUFFLE 3

021 16 BEAT SHUFFLE 4

022 FUNK 1

023 FUNK 2

024 FUSION

025 LATIN FUSION

POPS

026 POP 1

027 POP 2

028 CUITAR POP

029 SOUL

030 POP SHUFFLE 1

031 POP SHUFFLE 2

032 SOUL POP

033 WORLD POP

034 MELLOW R&B

035 60'S POP

036 80'S POP

037 OLDIES POP

038 POP WALTZ

BALLAD

039 8 BEAT BALLAD 1

040 8 BEAT BALLAD 2

041 8 BEAT BALLAD 3

042 16 BEAT BALLAD 1

043 16 BEAT BALLAD 2

044 16 BEAT BALLAD 3

045 6/8 BALLAD 1

046 6/8 BALLAD 2

047 ROCK BALLAD

048 POP BALLAD

049 OLDIES BALLAD

050 SERENADE

ROCK

051 ROCK 1

052 ROCK 2

053 ROCK 3

054 R&B

055 SHUFFLE ROCK

056 HEAVY METAL

057 60'S ROCK

058 SHUFFLE BOOGIE

059 BLUES

060 TWIST

DANCE

061 TRANCE 1

062 TRANCE 2

063 AMBIENT 1

064 AMBIENT 2

065 AMBIENT 3

066 RAVE

067 TECHNO

068 DIGITAL ROCK

069 HOUSE

070 LATIN HOUSE

071 DANCE 1

072 DANCE 2

073 MODERN R&B

074 HIP-HOP

075 TRIP-HOP

076 ELECTRIC POP

077 DANCE POP 1

078 DANCE POP 2

No./

Nº

Rhythm Name/

Nombre de Ritmo

079 DANCE POP 3

080 DISCO SOUL

JAZZ

081 FAST BIG BAND

082 MIDDLE BIG BAND

083 SLOW BIG BAND

084 JAZZ COMBO 1

085 JAZZ COMBO 2

086 SWING 1

087 SWING 2

088 SLOW SWING

089 MODERN JAZZ

090 FOX TROT

091 QUICKSTEP

092 JAZZ WALTZ

EUROPEAN

093 POLKA

094 POLKA FOX

095 POP POLKA

096 MARCH 1

097 MARCH 2

098 GERMAN MARCH

099 WALT Z 1

100 WALT Z 2

101 WALT Z 3

102 VIENNESE WALTZ

103 FRENCH WALTZ 1

104 FRENCH WALTZ 2

LATIN/VARIOUS

105 BOSSA NOVA 1

106 BOSSA NOVA 2

107 BOSSA NOVA 3

108 SAMBA 1

109 SAMBA 2

110 MERENGUE

111 CUMBIA

112 CHA-CHA-CHA

113 SALSA

114 BEGUINE 1

115 BEGUINE 2

116 BOLERO

117 MAMBO

118 RHUMBA

No./

Nº

Rhythm Name/

Nombre de Ritmo

119 TANGO 1

120 TANGO 2

121 REGGAE 1

122 REGGAE 2

123 SKA

124 LATIN DISCO

125 BLUEGRASS

126 COUNTRY

127 COUNTRY SHUFFLE

128 COUNTRY WALTZ

129 FAST GOSPEL

130 SLOW GOSPEL

131 BROADWAY

132 JIVE

133 DIXIE

134 PASODOBLE

135 SIRTAKI

136 HAWAIIAN

137 ADANI

138 BALADI

139 SYMPHONY

FOR PIANO

140 PIANO BALLAD 1

141 PIANO BALLAD 2

142 PIANO BALLAD 3

143 EP BALLAD 1

144 EP BALLAD 2

145 BLUES BALLAD

146 MELLOW JAZZ

147 JAZZ COMBO 3

148 RAGTIME

149 BOOGIE WOOGIE

150 ARPEGGIO 1

151 ARPEGGIO 2

152 ARPEGGIO 3

153 PIANO BALLAD 4

154 6/8 MARCH

155 MARCH 3

156 2 BEAT

157 WALTZ 4

158 WALTZ 5

159 WALTZ 6

No./

Nº

Rhythm Name/

Nombre de Ritmo

707A-E-191A

• This list shows the initial factory default configuration, in which

the user area (160 through 175) contains default rhythm data.

• System reset (page E-70) clears all data stored in the user

area.

• The CD-ROM that comes bundled with the keyboard can be

used to return all rhythms to the initial factory defaults shown in

this list. See “Returning the keyboard to its initial factory

defaults” on page E-77 for details.

•

Esta lista muestra la configuración predeterminada de fábrica,

según la cual el área de usuario (160 a 175) contiene datos de

ritmo por omisión

• La reinicialización del sistema de la página S-70 borra todos los

datos del área de usuario.

• El CD-ROM que viene con el teclado se puede usar para

reposicionar todos los ritmos a los ajustes predeterminados de

fábrica indicados en esta lista. Para los detalles, ve

“Reposicionando el teclado a los valores predeterminados de

fábrica” en la página S-77.

User Rhythms/Ritmos de usuario

No./

Nº

Rhythm Name/

Nombre de Ritmo

160 METRONOME 4 BEAT

161 METRONOME 3 BEAT

162 METRONOME 2 BEAT

163 POP BEAT

164 URBAN 16 BEAT

165 SHUFFLE BALLAD

166 U.K ROCK

167 UNPLUGGED

168 CYBER TRANCE

169 2 STEP

170 BALLROOM FOX

171 PUNTA

172 BACHATA

173 RAI

174 ZOUK

175 CONCERTO

No./

Nº

Rhythm Name/

Nombre de Ritmo

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Appendix/Apéndice

A-11

This table shows the fingerings for commonly used chords, including inverted fingerings.

Esta tabla muestra las digitaciones para los acordes usados comúnmente, incluyendo las digitaciones invertidas.

Fingered Chord Chart/Cuadro de acordes Fingered

707A-E-192A

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A-12

Appendix/Apéndice

* You can change the keyboard range of dim7 chords for roots A, B

, and B, and aug chords for roots B

and B by adjusting the

split point setting (page E-62).

* Puede cambiar la gama del teclado de los acordes dim7 para las notas fundamentales A, B

y acordes aumentados (augment)

para las notas fundamentales B

y B mediante el ajuste del punto de división (página S-62).

707A-E-193A

ページ２００５年３月１０日　木曜日　午後１１時１３分

Appendix/Apéndice

A-13

Settable parameters depend on the DSP type. Also, the

parameters for each DSP type depend on the algorithm*

associated with the DSP type. See the DSP Algorithm List on

page E-83 for more information.

* Effector structure and operation type

Los parámetros que pueden ajustarse dependen en el tipo

DSP. También, los parámetros para cada tipo DSP depende

en el algoritmo* asociado con el tipo DSP. Para mayor infor-

mación vea la “Lista de algoritmos DSP” en la página S-83.

* Estructura de generador de efectos y tipo de operación.

Effect List/Lista de efecto

REVERB Effect List/

Lista de efectos de reverberación

(REVERB)

No./

Nº

Display Name/

Nombre de display

Type Name/

Nombre de tipo

00 Room 1 Room 1

01 Room 2 Room 2

02 Room 3 Room 3

03 Hall 1 Hall 1

04 Hall 2 Hall 2

05 Plate 1 Plate 1

06 Delay Delay

07 PanDelay PanDelay

08 Plate 2 Plate 2

09 Plate 3 Plate 3

10 LrgRoom 1 LrgRoom 1

11 LrgRoom 2 LrgRoom 2

12 Stadium 1 Stadium 1

13 Stadium 2 Stadium 2

14 LongDly 1 LongDelay 1

15 LongDly 2 LongDelay 2

CHORUS Effect List/

Lista de efectos de chorus (CHORUS)

No./

Nº

Display Name/

Nombre de display

Type Name/

Nombre de tipo

00 Chorus 1 Chorus 1

01 Chorus 2 Chorus 2

02 Chorus 3 Chorus 3

03 Chorus 4 Chorus 4

04 FBChorus Feedback Chorus

05 Flanger1 Flanger 1

06 SDelay 1 Short Delay 1

07 SDelay 2 Short Delay 2

08 SFChorus Soft Chorus

09 BRChorus Bright Chorus

10 DPChorus Deep Chorus

11 Flanger 2 Flanger 2

12 Flanger 3 Flanger 3

13 Flanger 4 Flanger 4

14 SDelay 3 Short Delay 3

15 SDelay 4 Short Delay 4

Equalizer List/Lista de ecualizador

No./

Nº

Display Name/

Nombre de display

Type Name/

Nombre de tipo

0 Standard Standard

1 Bass + Bass +

2 Treble + Treble +

3 Loudness Loudness

4 Mellow Mellow

5 Bright Bright

6 Rock Rock

7 Dance Dance

8 Jazz Jazz

9 Classic Classic

DSP Effect List/Lista de efectos DSP

DSP

No./

Nº

DSP

Algorithm

ID/

Identificación

(ID) de

algoritmo

Display

Name/

Nombre de

display

DSP Name/Nombre DSP

Dynamics Fx

[00] 03 Equalize Equalizer

[01] 06 Comp 1 Compressor 1

[02] 06 Comp 2 Compressor 2

[03] 07 Limiter Limiter

[04] 13 Enhancer Enhancer

No./

Nº

Display Name/

Nombre de display

Type Name/

Nombre de tipo

707A-E-194A

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A-14

Appendix/Apéndice

Phaser

[05] 10 Phaser Phaser

[06] 09 StPhaser Stereo Phaser

Chorus

[07] 16 Chorus 1 Chorus 1

[08] 17 Chorus 2 Chorus 2

[09] 19 Chorus 3 Chorus 3

[10] 18 Chorus 4 Chorus 4

[11] M05 Enha Cho Enhancer - Chorus

Flanger

[12] 26 Flanger Flanger

[13] M07 EnhaFlan Enhancer - Flanger

Delay

[14] 28 Delay Delay

[15] 22 3Tap Delay 3-Tap Delay

[16] 20 St Delay Stereo Delay

[17] 21 StXDelay Stereo Cross Delay

[18] M06 EnhaDly Enhancer - Delay

[19] 25 Reflect Reflection

Cho/Flanger/Delay Combination

[20] M02 PhaCho 1 Phaser - Chorus 1

[21] M02 Pha Cho 2 Phaser - Chorus 2

[22] M04 PhaDly 1 Phaser - Delay 1

[23] M04 PhaDly 2 Phaser - Delay 2

[24] M00 ChoDly 1 Chorus - Delay 1

[25] M00 ChoDly 2 Chorus - Delay 2

[26] M01 ChoDly 3 Chorus - Delay 3

[27] M01 ChoDly 4 Chorus - Delay 4

[28] M19 CmpDelay Compressor - Delay

[29] M18 CmpEnDly

Compressor - Enhancer - Delay

[30] M23 CmpChoRf

Compressor - Chorus - Reflection

[31] M08 Cho Flan Chorus - Flanger

[32] M03 FlanDly 1 Flanger - Delay 1

[33] M03 FlanDly 2 Flanger - Delay 2

Reverb

[34] 27 RvbRoom 1 Reverb Room 1

[35] 27 RvbRoom 2 Reverb Room 2

[36] 27 RvbRoom 3 Reverb Room 3

[37] 27 RvbHall 1 Reverb Hall 1

[38] 27 RvbHall 2 Reverb Hall 2

[39] 27 RvbPlate Reverb Plate

[40] 23 GateRvb 1 Gate Reverb 1

[41] 23 GateRvb 2 Gate Reverb 2

[42] 24 GateRvb 3 Gate Reverb 3

[43] 24 GateRvb 4 Gate Reverb 4

Pan/Tremolo Fx

[44] 01 Tremolo Tremolo

[45] M09 Cho Trem Chorus - Tremolo

[46] 00 Auto Pan Auto Pan

[47] M10 PhaAPan 1 Phaser - Auto Pan 1

[48] M10 PhaAPan 2 Phaser - Auto Pan 2

[49] M20 PhaChoAP Phaser - Chorus - Auto Pan

DSP

No./

Nº

DSP

Algorithm

ID/

Identificación

(ID) de

algoritmo

Display

Name/

Nombre de

display

DSP Name/Nombre DSP

Rotary Fx

[50] 11 Rotary 1 Rotary 1

[51] 11 Rotary 2 Rotary 2

[52] 12 Od Rot 1 Overdrive - Rotary 1

[53] 12 Od Rot 2 Overdrive - Rotary 2

[54] M17 RotRef 1 Rotary - Reflection 1

[55] M17 RotRef 2 Rotary - Reflection 2

[56] M17 RotRef 3 Rotary - Reflection 3

[57] M16 OdRtRef 1

Overdrive - Rotary - Reflection 1

[58] M16 OdRtRef 2

Overdrive - Rotary - Reflection 2

[59] M16 OdRtRef 3

Overdrive - Rotary - Reflection 3

Wah Fx

[60] 04 LFO Wah LFO Wah

[61] 05 Auto Wah Auto Wah

[62] M21

AWhChDly

Auto Wah - Chorus - Delay

[63] M22 LWhChDly LFO Wah - Chorus - Delay

Guitar Fx

[64] 08 Crunch Crunch

[65] 08 Ovrdrive Overdrive

[66] 08 Dist 1 Distortion 1

[67] 08 Dist 2 Distortion 2

[68] 08 Metal Metal

[69] 08 Fuzz Fuzz

[70] M29 CrnPhase Crunch - Phaser

[71] M29 Od Phase Overdrive - Phaser

[72] M30 Crn Cho Crunch - Chorus

[73] M30 OdChorus Overdrive - Chorus

[74] M30 Dist Cho Distortion - Chorus

[75] M30 MetalCho Metal - Chorus

[76] M31 DistFlan Distortion - Flanger

[77] M31 Met Fan Metal - Flanger

[78] M28 CrnDelay Crunch - Delay

[79] M28 Od Delay Overdrive - Delay

[80] M28 DistDly 1 Distortion - Delay 1

[81] M28 DistDly 2 Distortion - Delay 2

[82] M28 MetelDly Metal - Delay

[83] M28 Fuzz Dly Fuzz - Delay

[84] M24 CrChoDly Crunch - Chorus - Delay

[85] M24 DsChoDly Distortion - Chorus - Delay

[86] M25 CmpCrDly

Compressor - Crunch - Delay

[87] M26 AWhCrDly Auto Wah - Crunch - Delay

[88] M26

AWhOdDly

Auto Wah - Overdrive - Delay

[89] M26

AWhDsDly

Auto Wah - Distortion - Delay

[90] M27

LWhOdDly

LFO Wah - Overdrive - Delay

[91] M27 LWhDsDly

LFO Wah - Distortion - Delay

SFX

[92] 14 Ring Mod Ring Modulator

[93] M12 RgChoDly

Ring Modulator - Chorus - Delay

[94] M13 RingDist

Ring Modulator - Distortion

[95] 15 Lo-Fi Lo-Fi

[96] M11 CompLoFi Compressor - Lo-Fi

[97] M14 LoFi Ref Lo-Fi - Reflection

[98] M15 Crn LoFi Crunch - Lo-Fi

[99] M15 DistLoFi Distortion - Lo-Fi

DSP

No./

Nº

DSP

Algorithm

ID/

Identificación

(ID) de

algoritmo

Display

Name/

Nombre de

display

DSP Name/Nombre DSP

707A-E-195A

ページ２００５年３月１０日　木曜日　午後１１時１３分

MIDI Implementation Chart

Model CTK-900

Version : 1.0

Function ...

Transmitted Recognized Remarks

0, 32

6, 38

X *2

O *3

Bank select

Modulation

Data entry

Volume

Pan

Expression

DSP Parameter0

DSP Parameter1

DSP Parameter2

DSP Parameter3

Hold1

Sostenuto

Soft pedal

Rsonance

Rele

se Time

Basic

Channel

Mode

Default

Changed

Default

Messages

Altered

Velocity

After

Touch

Pitch Bender

Note

Number:

Control

Change

True voice

Note ON

Note OFF

Key s

Ch s

1 - 16

Mode 3

0 - 127

O 9nH v = 1 - 127

X 9nH v = 0

X *2

1 - 16

Mode 3

0 - 127

0 - 127 *1

O 9nH v = 1 - 127

*1 : Depends on tone.

*1 : Depende del tono.

707A-E-202A

ページ２００５年３月９日　水曜日　午後５時２９分

98, 99

100, 101

120

121

Mode 1 : OMNI ON, POLY Mode Mode 2 : OMNI ON, MONO O : Yes

Mode 3 : OMNI OFF, POLY Mode Mode 4 : OMNI OFF, MONO X : No

*2ᴷ Cannot be sent by keyboard play or control panel operations on this instrument, but sent by

Auto Accompaniment or Song Memory Functions.

*2ᴷ Sobre este instrumento no se puede enviar mediante las poeraciones de panel de control o

ejecución de teclado, sino enbiar mediante las funciones de memoria de canciones o de

acompañamiento automático.

*3ᴷ Selected in accordance with sustain pedal setting.

*3ᴷ Seleccionado de acuerdo con el ajuste del pedal de sustain.

Attack Time

Brightness

Vibrato rate

Vibrato depth

Vibrato delay

DSP Parameter4

DSP Parameter5

DSP Parameter6

DSP Parameter7

Reverb send

Chorus send

NRPN LSB, MSB

RPN LSB, MSB

All sound off

Reset all controller

Program

Change

System Exclusive

Common

System

Real Time

Remarks

Aux

Messages

: True #

: Song Pos

: Song Sel

: Tune

: Clock

: Commands

: Local ON/OFF

: All Notes OFF

: Active Sense

: Reset

O 0 - 127

707A-E-203A

MA0503-A Printed in China

CTK900-ES-1

Casio CTK-900 Organ Musical Instrument

Product's Documents

User's Manual

Specifications

Casio CTK-900 Questions and Answers