Casio CTK-671 Computer Electronical Musical Instrument User Manual

CTK671-ES-1

USER’S GUIDE

GUÍA DEL USUARIO

01.8.1, 3:53 PMPage 1

703A-E-002A

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.

E-1

Welcome...

To the happy family of satisfied CASIO electronic musical instrument owners! To get the most

out of the many features and functions of the keyboard, be sure to carefully read this manual

and keep it on hand for future reference.

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 Adap-

tor 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 dam-

aged.

• 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.

CASIO ELECTRONICS CO., LTD.

Unit 6, 1000

North Circular Road

London NW2 7JD, U.K.

This mark is valid in the EU countries only.

Please keep all information for future reference.

703A-E-003A

E-2

Congratulations upon your selection of this CASIO musical instrument. This keyboard

provides you with the following features and functions.

❐ 348 tones, including 100 “Advanced Tones”

A total of 238 standard tones including piano, organ, brass, and other presets provide

you with the sounds you need, while memory for 10 user tones lets you store your

own original creations. 100 of the preset tones are “Advanced Tones,” which are vari-

ations of standard tones created by programming in effects (DSP) and other settings.

❐ 100 Preset Rhythms + 4 User Rhythms

A selection of 100 rhythms includes accompaniments for everything from rock to

pops and jazz.

You can also transfer accompaniment data from your computer and store up to four

of them as user rhythms in keyboard memory.

❐ Auto Accompaniment

Simply play a chord and the corresponding rhythm, bass and chord parts play auto-

matically. One-touch Presets instantly recalls the most suitable tone and tempo set-

tings to match the rhythm you are using.

❐ 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.

❐ 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 us-

ing the Auto Accompaniment function.

❐ Synthesizer Mode

Edit built in sounds to produce your own original creations. Up to 10 of your own

sounds can be stored in memory for recall just like the built-in tones.

Introduction

703A-E-004A

E-3

❐ 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.

❐ Powerful effects

A collection of powerful effects, such as 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.

❐ 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 chan-

nel during MIDI input.

❐ Registration Memory

Keyboard setups can be stored in memory for later recall and instant settings when-

ever you need them. Up to 16 setups (4 setups x 4 banks) can be stored in registration

memory.

❐ Data download from your computer

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

703A-E-005A

E-4

Safety Precautions

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 sym-

bols 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 mat-

ters for which there is the likelihood of

occurrence of physical damage only if the

product is operated incorrectly while ig-

noring 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 ac-

tion must not be performed. In-

dications within or nearby this

symbol are specifically prohib-

ited. (The example at left indi-

cates that disassembly is prohib-

ited.)

The black dot ( ) means that the

indicated action must be per-

formed. Indications within this

symbol are actions that are spe-

cifically instructed to be per-

formed. (The example at left indi-

cates that the power plug must be

unplugged from the electrical

socket.)

703A-E-006A

E-5

AC Adaptor

Misuse of the AC adaptor’s electric

cord can damage or break it, creat-

ing 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.

AC Adaptor

Never touch the AC adapter while

your hands are wet.

Doing so creates the risk of electric

shock.

Batteries

Misuse of batteries can cause them

to leak, resulting in damage to

nearby objects, or to explode, creat-

ing the risk of fire and personal in-

jury. 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.

703A-E-007A

DANGER

Alkaline Batteries

Perform the following steps imme-

diately if fluid leaking from alka-

line batteries ever gets into your

eyes.

1. Do not rub your eyes! Rinse them

with water.

2. Contact your physician immedi-

ately.

Leaving alkaline battery fluid in

your eyes can lead to loss of sight.

WARNING

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 Pro-

vider.

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 adap-

tor that is specified for this prod-

uct.

• Use only a power source whose

voltage is the within the rating

marked on the AC adaptor.

• Do not overload electrical outlets

and extension cords.

E-6

Plastic Bags

Never place the plastic bag the prod-

uct comes in over your head or in

your mouth. Doing so creates the

risk of suffocation.

Particular care concerning this pre-

caution is required where small chil-

dren 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 concern-

ing this precaution is required

where small children are present.

Location

Avoid locating the product on an

unstable stand, on an uneven sur-

face, or any other unstable location.

An unstable location can cause the

product to fall over, creating the risk

of personal injury.

703A-E-008A

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) get-

ting 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 Pro-

vider.

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 in-

jury. 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 cre-

ates the risk of fire and electric

shock. Take the following steps im-

mediately.

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 Pro-

vider.

E-7

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, creat-

ing the risk of fire and personal in-

jury. Always make sure you observe

the following precautions.

• Use only batteries that are speci-

fied for use with this product.

• Remove batteries from the prod-

uct if you do not plan to use it for

a long time.

Connectors

Connect only the specified devices

and equipment to the product’s con-

nectors. Connection of a non-speci-

fied 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 ex-

posed to direct sunlight, inside of

a vehicle parked in the sun, or

any other area that subjects the

product to high temperatures

703A-E-009A

CAUTION

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 un-

plugging from the electrical out-

let. Always grasp the AC adap-

tor when unplugging.

AC Adaptor

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, al-

ways 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.

E-8

IMPORTANT!

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 vol-

umes

• 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 play-

ing from a connected computer or MIDI device

703A-E-010A

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. Particu-

lar 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.

Correct Stand* Assembly

An incorrectly assembled stand can

tip over, causing the product to fall

and creating the risk of personal in-

jury.

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.

* Stand is available as an option.

E-9

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.

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.

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.

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.

❚

NOTE

• 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.

Care of your Instrument

703A-E-011A

E-10

Contents

703A-E-012A

Welcome.................................E-1

Introduction ...........................E-2

Safety Precautions ................E-4

Care of your keyboard ..........E-9

Contents...............................E-10

General Guide......................E-12

About the display ..................................... E-14

Playing a Demo Tune ..............................E-15

Power Supply.......................E-16

Using batteries .........................................E-16

Using the AC Adaptor ..............................E-17

Auto Power Off .........................................E-17

Memory Contents ....................................E-18

Connections......................... E-19

Basic Operations .................E-21

To play the keyboard ................................E-21

Selecting a Tone ......................................E-21

Using an Advanced Tone .........................E-22

Applying Effects to Tones ... E-23

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

Selecting REVERB and CHORUS ..........E-23

Selecting a DSP type ...............................E-25

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

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

Selecting a Rhythm ..................................E-28

Playing a Rhythm.....................................E-28

Adjusting the Tempo ................................E-28

Using Auto Accompaniment .....................E-29

Using an Intro Pattern ..............................E-31

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

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

Synchro Starting Accompaniment

with Rhythm Play .....................................E-32

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

Using One-touch Preset ..........................E-33

Using Auto Harmonize .............................E-33

Adjusting the Accompaniment Volume ....E-34

Mixer Function .....................E-35

What you can do with the Mixer ..............E-35

Turning Channels On and Off ..................E-35

Using the Parameter Edit Mode ..............E-36

How Parameters Work .............................E-37

Synthesizer Mode ................E-38

Synthesizer Mode Functions ...................E-38

Creating a User Tone ............................... E-40

Storing a User Tone In Memory ...............E-42

Registration Memory...........E-44

Registration Memory Features ................E-44

To Save a Setup in Registration Memory ...E-45

To Recall a Setup from Registration

Memory ....................................................E-45

E-11

703A-E-013A

Song Memory Function ......E-46

Tracks ...................................................... E-46

Basic Song Memory operations ...............E-46

Using Real-time Recording......................E-47

Mixer Mode Settings ................................ E-48

Playing Back from Song Memory ............E-49

Recording Melody and Chords

with Step Recording.................................E-49

Recording Multiple Tracks .......................E-52

Correcting Mistakes While Step

Recording................................................. E-54

Editing Memory Contents ........................ E-55

Editing a Song .........................................E-57

Keyboard Settings...............E-59

Using Layer .............................................. E-59

Using Split ................................................E-59

Using Layer and Split Together ...............E-60

Using Touch Response ............................E-61

Transposing the Keyboard....................... E-62

Tuning the Keyboard ............................... E-62

Changing Other Settings .........................E-63

MIDI.......................................E-66

What is MIDI? ..........................................E-66

General MIDI ...........................................E-66

Sending and Receiving MIDI Messages ....E-67

MIDI Settings ...........................................E-67

Using the Data Download Service ...........E-68

Troubleshooting ..................E-69

Specifications ......................E-71

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

Tone list ......................................................A-1

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

Fingered Chord Chart ................................ A-9

Effect List .................................................A-10

DSP Algorithm List ...................................A-12

MIDI Implementation Chart

E-12

General Guide

703A-E-014A

(

)

BANK STORE

8 9 A B

E F

E G

F H

6 8 0 B

7 9 A C

BANK STORE

(

)

a c

fedca b

b c d

E-13

Attaching of the Score Stand

Firmly press the music stand provided with the keyboard

all the way into the groove on the top of the keyboard.

OUT IN

SUSTAIN/

ASSIGNABLE JACK

MIDI

PHONES/

OUTPUT

DC 9V

I J K L M

a b

703A-E-015A

Rear Panel

• Key, button, and other names are indicated in the text of this manual using bold type.

1 Speaker

2 POWER button

3 Power indicator

4 MODE switch

5 VOLUME slider

6 Rhythm list

7 Equalizer list

8 a) SONG MEMORY button

b) ONE TOUCH PRESET button

9 a) EQUALIZER button

b) REVERB button

c) CHORUS button

d) DSP button

e) MIXER button

f) ACCOMP VOLUME button

0 Display

A a) DEMO button

b) SYNTH button

c) ADVANCED TONE button

d) TONE button

e) RHYTHM button

B a) [ ] / [ ] CURSOR buttons

b) [ ] EXIT button

c) [ ] ENTER button

C Tone list

D a) INTRO/ENDING 1/2 buttons

b) VARIATION/FILL-IN 1/2 buttons

c) SYNCHRO/FILL-IN NEXT

button

d) START/STOP button

e) TEMPO buttons

E a) BANK button

b) REGISTRATION buttons

c) STORE button

d) SONG MEMORY TRACK

buttons

F a) AUTO HARMONIZE button

b) SPLIT button

c) LAYER button

d) TOUCH/TRANSPOSE/SET-

TING button

G a) Number buttons

• For input of numbers to

change displayed settings.

b) [+]/[–] buttons (YES/NO)

• Negative values can be

changed only by using [+] and

[–] to increment and decre-

ment the displayed value.

H a) CHORD root names

b) Chord types name

c) Percussion instrument list

I MIDI OUT terminal

J MIDI IN terminal

K SUSTAIN/ASSIGNABLE JACK

terminal

L PHONES/OUTPUT terminal

M DC 9V jack

E-14

About the display

Indicators appear here to show when reverb, chorus, DSP, the Mixer Mode, Song Memory, or

Touch Response is being used.

The TONE indicator appears when you are selecting or viewing the TONE setting, while RHYTHM

appears for the RHYTHM setting. The AD and TONE indicators both appear when you are select-

ing or viewing an Advanced Tone.

• “AD TONE” stands for “ADVANCED TONE.”

Tone number/Tone name

• The tone number/tone name area is also used to indicate the rhythm number and rhythm name,

and to indicate various functions in the Synthesizer Mode, Mixer Mode, Registration Mode, and

Song Memory Mode.

Indicated keys are those that are operational for the function you are currently performing.

Octave Symbol

Appears when the note produced by the keyboard is one octave higher than the note indicated on

the staff.

Notes you play on the keyboard, notes being played back from Song Memory, chord forms, and

received MIDI data* are shown in the staff on the display.

Indicators appear here to show when the synthesizer, layer, split, or auto harmonize is being used.

This display shows the note played on the keyboard, notes being played back from Song Memory,

chord forms, and received MIDI data*.

The beat number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode is

being used.

The measure number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode

is being used.

703A-E-016A

E-15

Playing a Demo Tune

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

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

❚

NOTE

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

• MIDI, Layer, and Split are disabled while a demo tune is playing.

The number of beats per minute are indicated while a rhythm, Auto-accompaniment, or Song

Memory Mode is being used.

• The tempo area is also used to indicate the Song Memory function’s clock.

REC flashes on the display during Song Memory record standby. REC remains on the display

without flashing while recording is in progress. STEP is displayed during step recording.

You can turn on the metronome to provide a reference beat for your keyboard play.

Level Meter

The velocity of each channel is indicated as one of three levels. This display also shows the Mixer

channel’s on/off status.

The name of the chord being played is shown on the display while Auto Accompaniment is being

used.

* These items do not appear when a note outside the display range (C2 to C7) is received.

❚

NOTE

• 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.

703A-E-017A

E-16

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 when-

ever you are not using it.

Using batteries

Always make sure you turn off the keyboard before loading

or replacing batteries.

To load batteries

• Make sure that the positive (+) and negative (–) ends are

facing correctly.

The keyboard may not function correctly if you load or re-

place batteries with power turned on. If this happens, turn-

ing the keyboard off and then back on again should return

functions back to normal.

Important Battery Information

■

The following shows the approximate battery life.

• Manganese batteries ......... Approximately 4 hours

The above value is standard battery life at normal tem-

perature, with the keyboard volume at a medium setting.

Temperature extremes or playing at very loud volume

settings can shorten battery life.

■

Any of the following symptoms indicate low battery

power. Replace batteries as soon as possible whenever

any of the following occurs.

• 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 se-

lected.

• Abnormal rhythm pattern and demo tune play

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

playing from a connected computer or MIDI device

IMPORTANT!

Improper handling of batteries can cause them to burst and

leak, which creates the danger of personal injury or damage

due to contact with battery acid. Be sure to note the following

important precautions.

• Always make sure that the positive (+) and negative (–)

poles are facing correctly as indicated near the battery

compartment.

• To avoid damage caused by leaking batteries, be sure to

remove batteries from the keyboard whenever you leave it

unattended for long periods (such as when leaving on a

trip).

• Never mix batteries of different types.

• Never mix old batteries with new ones.

• Never discard batteries by incinerating them, do not allow

their poles to be shorted (connected to each other), never

take batteries apart, and do not expose batteries to direct

heat.

• Replace batteries as soon as possible after any sign they

are getting weak.

• Never attempt to recharge batteries.

Power Supply

703A-E-018A

E-17

Using the AC Adaptor

Make sure that you use only the AC adaptor specified for

this keyboard.

Specified AC Adaptor: AD-5

Also note the following important warnings and precautions

when using the AC adaptor.

WARNING!

• Take care to avoid any damage to or breakage of the power

cord. Never place any heavy objects on the power cord or ex-

pose it to direct heat. Doing so creates the danger of power

cord damage, fire, and electrical shock.

• Use only the specified AC adaptor. Use of another type of adap-

tor creates the danger of fire and electrical shock.

CAUTION!

• For safety sake, be sure to unplug the AC adaptor from the wall

outlet whenever leaving the keyboard unattended for a long

time (such as when leaving on a trip).

• Always turn off the keyboard and unplug the AC adaptor from

the wall outlet when you are not using the keyboard.

IMPORTANT!

• Make sure that the keyboard is turned off before connect-

ing or disconnecting the AC adaptor.

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

come warm to the touch. This is normal and does not indi-

cate malfunction.

Auto Power Off

When you are using battery power, keyboard power turns

off automatically whenever you leave it on without perform-

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

press the POWER button to turn power back on.

❚

NOTE

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

using the AC adaptor to power the keyboard.

To disable Auto Power Off

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.

Settings

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

when you turn off the keyboard manually by pressing POW-

ER or when Auto Power Off turns off power are still in effect

the next time you turn power back on.

Main Keyboard Settings

Tone number, layer, split, split point, touch response,

reverb, chorus, DSP, equalizer, rhythm number, tempo,

Mixer Mode settings (channel on/off, tone number, vol-

ume, pan pot), 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 area DSP

OUT IN

SUSTAIN/

ASSIGNABLE JACK

MIDI

PHONES/

OUTPUT

DC 9V

DC 9V jack

AC adaptor AD-5

AC outlet

703A-E-019A

E-18

Memory Contents

In addition to the above settings, data stored in the Registra-

tion Mode and Song Memory Mode is also retained when

keyboard power is turned off.

Electrical Power

The settings and memory data described above are retained

as long as the keyboard is being supplied with electrical pow-

er. Unplugging the AC adaptor when batteries are not load-

ed or when loaded batteries are dead cuts off the keyboard’s

electrical power supply. This causes all settings to be initial-

ized to their factory defaults and clears all data stored in

memory.

Power Requirements

Note the following precautions whenever you want to en-

sure that current keyboard settings and memory contents are

not lost.

• Make sure the keyboard is being supplied power through

the AC adaptor before replacing its batteries.

• Before unplugging the AC adaptor, make sure that fresh

batteries are loaded in the keyboard.

• Make sure that keyboard power is turned off before replac-

ing batteries or unplugging the AC adaptor.

Initializing the Keyboard

Use the procedure on page E-65 to initialize the keyboard,

which clears all memory data and returns settings to their

initial factory defaults.

703A-E-020A

E-19

Phones/Output Terminal

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

Connecting Phones 1

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

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

turbing anyone.

Audio Equipment 2

Connect the keyboard to a audio equipment using a com-

mercially 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.

Musical Instrument Amplifier 3

Use a commercially available connecting cord to connect the

keyboard to a musical instrument amplifier.

❚

NOTE

• 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.

❚

NOTE

• You can also connect the keyboard to a computer or sequenc-

er. See “MIDI” on page E-66 for details.

OUT IN

SUSTAIN/

ASSIGNABLE JACK

MIDI

PHONES/

OUTPUT

DC 9V

LEFT RIGHT

AUX IN or similar terminal

of audio amplifier

White Red

PIN plug

Stereo standard

plug

Audio connection

PHONES/OUTPUT Terminal

Keyboard amp,

guitar amp, etc.

Connections

INPUT 1

INPUT 2

PIN jack

PIN plug (red)

PIN plug (white)

Stereo standard plug

Keyboard or

guitar amp

To keyboard’s

PHONES/OUTPUT

terminal

Standard plug

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

703A-E-021A

E-20

703A-E-022A

Sustain Pedal

• With piano tones, depressing the pedal causes notes to lin-

ger, much like a piano’s damper pedal.

• With organ tones, depressing the pedal causes notes to con-

tinue to sound until the pedal is released.

Sostenuto Pedal

• As with the sustain pedal function described above, de-

pressing 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.

Soft Pedal

Depressing the pedal softens the sound of the notes being

played.

Rhythm Start/Stop Pedal

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

START/STOP button.

OUT IN

SUSTAIN/

ASSIGNABLE JACK

MIDI

PHONES/

OUTPUT

DC 9V

SP-10

SUSTAIN/ASSIGNABLE JACK Terminal

Sustain/Assignable jack Terminal

You can connect an optional sustain pedal (SP-2 or SP-10) to

the SUSTAIN/ASSIGNABLE JACK terminal to enable the ca-

pabilities described below.

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

“Changing Other Settings” on page E-63.

Accessories and Options

Use only the accessories and options specified for this key-

board. Use of non-authorized items creates the danger of fire,

electrical shock, and personal injury.

E-21

Example: To select “039 ACOUSTIC BASS”, input 0,

3 and then 9.

❚

NOTE

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

ing zeros (if any).

• You can also increment the displayed tone number by press-

ing [+] and decrement it by pressing [–].

• When one of the drum sets is selected (tone numbers 228

through 237), each keyboard key is assigned a different per-

cussion sound. See page A-8 for details.

• The names of tone number 100 through 227 are not marked

on the keyboard console. Refer to the “Tone List” at the back of

this User’s Guide when selecting a tone within this range.

This section provides information on performing basic key-

board operations.

To play the keyboard

Selecting a Tone

This keyboard comes with 348 built-in tones. Use the follow-

ing procedure to select the tone you want to use.

To select a tone

Basic Operations

703A-E-023A

E-22

Using an Advanced Tone

100 of the preset tones are “Advanced Tones,” which are vari-

ations of standard tones created by programming in effects

(DSP) and other settings. For example, PIANO is modified

into STEREO PIANO, ORGAN becomes ROTARY SPEAK-

ER ORGAN, and so on.

To select an Advanced Tone

• This causes “AD” to appear on the display, and caus-

es the currently selected tone to change to its Ad-

vanced Tone version.

• “AD TONE” stands for “ADVANCED TONE.”

• This causes “AD” to disappear from the display, and

returns to the tone to its standard preset.

❚

NOTE

• Preset tone numbers 000 to 099 have Advanced Tone versions.

• Anytime “AD” is on the display indicating that an Advanced Tone

is selected, you can use [+] and [–] to scroll the tone number

on the display.

• If any tone number outside the range of 000 to 099 is selected

when you press the ADVANCED TONE button, the tone auto-

matically changes to the Advanced Tone version of tone number

00.

• Only one of the channels (1 to 16) can have an Advanced Tone

assigned to it at one time. Assigning an Advanced Tone to an-

other channel causes the currently assigned channel to change

automatically to its standard (non-Advanced) version.

703A-E-024A

Polyphony

The term polyphony refers to the maximum number of notes

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

lyphony, 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 16-note

polyphony.

Digital Sampling

A number of the tones that are available with this keyboard

have been recorded and processed using a technique called

digital sampling. To ensure a high level of tonal quality, sam-

ples are taken in the low, mid, and high ranges and then com-

bined to provide you with sounds that are amazingly close to

the originals. You may notice very slight differences in vol-

ume or sound quality for some tones when you play them at

different positions on the keyboard. This is an unavoidable

result of multiple sampling, and it is not a sign of malfunction.

Lit

E-23

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.

Effect Blocks

The following shows how the effects of this keyboard are or-

ganized.

REVERB

Reverb simulates the acoustics of specific types of environ-

ments. You can choose from among 16 different reverb ef-

fects, including “Room” and “Hall.”

CHORUS

The chorus effect gives sound greater depth by causing it to

vibrate. You can choose from among 16 different chorus ef-

fects, including “Chorus” and “Flanger.”

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 for up to 10 DSP effect setups, which you can

store. See “Using the Data Download Service” on page E-68

and “Saving the Settings of DSP Parameters” on page E-26

for more information.

Selecting REVERB and CHORUS

Perform the following steps to select REVERB or CHORUS.

• An indicator is on the display next to REVERB or

CHORUS when the effect is turned on. The indicator

is not displayed when the corresponding effect is

turned off.

Example: Indicator after the REVERB button is pressed

• See the list on page A-10 for information about the

types of CHORUS and REVERB effects that are avail-

able.

• Here you could also change the parameters of the ef-

fect you selected, if you want. See “Changing the Set-

tings of REVERB and CHORUS Parameters” for more

information.

off

DSP Line

16ch

Sound Source

DSP

REVERB

CHORUS

EQUALIZER

Output

Applying Effects to Tones

703A-E-025A

Lit

E-24

703A-E-026A

Changing the Settings of REVERB and

CHORUS Parameters

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

applied. The parameters you can control depend on the ef-

fect. See the following section titled “REVERB and CHORUS

Parameters” for more information.

• This displays the parameter setting screen.

Example: To set the Reverb Time parameter

• This returns to the effect selection screen.

REVERB and CHORUS Parameters

The following describes the parameters for each effect.

REVERB

Reverb effects are associated with either a reverb type or de-

lay type. Parameter settings depend upon the associated type.

● Reverb Type (No. 0 to 5, 8 to 13)

■

Reverb Level (Range: 000 to 127)

Controls the reverb size. A larger number produces larg-

er reverb.

■

Reverb Time (Range: 000 to 127)

Controls how long reverb continues. A larger number

produces longer reverb.

■

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 key-

board. A larger value specifies a larger echo sound.

■

High Damp (Range: 000 to 127)

Adjusts the damping of high frequency reverberation

(high sound). A smaller value damps high sounds, creat-

ing a dark reverb. A larger value does not damp high

sounds, for a brighter reverb.

● Delay Type (No. 6, 7, 14, 15)

■

Delay Level (Range: 000 to 127)

Specifies the size of the delay sound. A higher value produc-

es a larger delay sound.

■

Delay Feedback (Range: 000 to 127)

Adjusts delay repeat. A higher value produces a greater num-

ber of repeats.

■

ER Level

Same as Reverb Type

■

High Damp

Same as Reverb Type

CHORUS

■

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.

❚

NOTE

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

ing also depends on Mixer Mode Reverb Send, Chorus Send,

and DSP on/off settings. See “Mixer Function” on page E-35

for more information.

E-25

703A-E-027A

Selecting a DSP Type

• See the “Effect List” on page A-10 for information

about the DSP types that can be selected.

• Here you could also change the parameters of the ef-

fect you selected, if you want. See “Changing the Set-

tings of DSP Parameters” for more information.

❚

NOTE

• 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-35 for more information.

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

109), Ad (Advance tone), or USr (user tone created using DSP).

Setting Basic DSP Parameters

The following are the basic DSP parameters whose settings

you can change.

■

DSP Volume (Range: 000 to 127)

Sets the post-DSP volume.

■

DSP Pan (Range: -64 to 00 to +63)

Sets the post-DSP stereo pan.

■

DSP Hold (Settings: on, oFF)

on: Current DSP line setting is maintained, even when

the tone is changed.

• In the case of an Advance tone, however, changing the

tone causes all DSP line settings except for those of the

selected channel to turn off. See the note on page E-26

for more information.

oFF: Changing the tone switches to the DSP line setting

of the new tone.

• This exits the tone or rhythm setting screen.

Changing the Settings of DSP Parameters

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

applied. See the following section titled “DSP Parameters”

for more information.

• This displays the parameter setting screen.

• This exits the DSP type setting screen.

DSP Parameters

The following describes the parameters for each DSP.

DSP

■

Parameter 0 to 7

This parameter differs in accordance with the algorithm*

of the selected DSP type. See the “Effect List” on page A-

10 and the “DSP Algorithm List” on page A-12 for more

information.

* Effector structure and operation type

■

DSP Reverb Send (Range: 000 to 127)

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

to reverb.

■

DSP Chorus Send (Range: 000 to 127)

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

to chorus.

E-26

❚

NOTE

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

ing also depends on Mixer Mode Reverb Send, Chorus Send,

and DSP on/off settings. See “Mixer Function” on page E-35

for more information.

• Playing a demo tune (page E-15) 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 more effective tones. If you assign an Ad-

vanced tone to a keyboard part (Channels 1 through 4), the

DSP line turns on automatically and the DSP selection chang-

es 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.

703A-E-028A

Saving the Settings of DSP Parameters

You can save up to 10 modified DSPs in the user area for

later recall when you need them.

• This causes the DSP number of the user area where

the DSP will be saved to flash on the display.

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

100 to 109 only.

• The message “Save OK” appears momentarily on the

display, followed by the tone or rhythm selection

screen.

E-27

Using the Equalizer

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 lev-

el of each frequency band alters the sound.

You can reproduce the optimal acoustics for the type of mu-

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

applicable equalizer setting.

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

ferent 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.

To select the equalizer type

• This causes the currently selected equalizer type to

appear on the display.

Example: To select Jazz

• Pressing the [ ] (EXIT) button or the EQUALIZER

button exits the equalizer setting screen.

To adjust the gain (volume) of a band

Example: To adjust the HIGH band

Example: To adjust the gain to 10

• Pressing the [ ] (EXIT) button displays the equalizer

type setting screen.

• Pressing the EQUALIZER button exits the gain (vol-

ume) setting screen.

❚

NOTE

• Changing to another equalizer type causes the band gain set-

tings to change to the initial settings for the newly selected

equalizer type automatically.

703A-E-029A

E-28

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 automati-

cally 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.

Selecting a Rhythm

This keyboard provides you with 100 exciting rhythms that

you can select using the following procedure.

You can also transfer accompaniment data from your com-

puter and store up to four of them as user rhythms in key-

board memory. See “Using the Data Download Service” on

page E-68 for more information.

To select a rhythm

Example: To select “031 ROCK”, input 0, 3 and then 1.

❚

NOTE

• You can also increment the displayed rhythm number by press-

ing [+] and decrement it by pressing [–].

Playing a Rhythm

To play a rhythm

• This starts the play of the selected rhythm.

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

❚

NOTE

• All of the keyboard keys are melody keys while the MODE switch

is set to NORMAL.

Adjusting the Tempo

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 Ac-

companiment chord play, and song memory operations.

To adjust the tempo

: Increments displayed value (increases tempo)

: Decrements displayed value (decreases tempo)

Auto Accompaniment

Appears when RHYTHM button is pressed

Number and name of selected rhythm

703A-E-030A

E-29

❚

NOTE

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

resets the tempo to the default value of the currently selected

rhythm.

Using Auto Accompaniment

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.

To use Auto Accompaniment

• The actual procedure you should use to play a chord

depends on the current MODE switch position. Refer

to the following pages for details on chord play.

CASIO CHORD .............................. This page

FINGERED ...................................... Page E-30

FULL RANGE CHORD ................ Page E-31

Melody keyboard

Accompaniment

keyboard

❚

NOTE

• The accompaniment keyboard can be used for playing chords

only. No sound will be produced if you try playing single melo-

dy notes on the accompaniment keyboard.

Chord Types

CASIO CHORD accompaniment lets you play four types of

chords with minimal fingering.

CASIO CHORD

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.

CASIO CHORD Accompaniment Keyboard and

Melody Keyboard

Chord name

Current measure number

and beat number

Basic fingering of current chord

(May be different from chord actually

being played on the keyboard.)

703A-E-031A

Major chords

Major chord names are marked

above the keys of the accompa-

niment keyboard. Note that the

chord produced when you

press an accompaniment key-

board does not change octave,

regardless of which key you use

to play it.

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.

Seventh chords (7)

To play a seventh chord, keep

the major chord key depressed

and press any other two accom-

paniment keyboard keys locat-

ed to the right of the major

chord key.

Minor seventh chords (m7)

To play a minor seventh chord,

keep the major chord key de-

pressed and press any other

three accompaniment key-

board keys located to the right

of the major chord key.

Example

Chord Types

C D E F GA B C D E F

C Major (C)

CD E F G A B C D E F

C minor (Cm)

C D E F GAB C DE F

C seventh (C7)

C D E F G A B C D E F

C minor seventh (Cm7)

E-30

703A-E-032A

❚

NOTE

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

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

enth chords.

FINGERED

FINGERED provides you with a total of 15 different chord

types. The following describes the FINGERED “accompani-

ment keyboard” and “melody keyboard”, and tells you how

to play a C-root chord using FINGERED.

FINGERED Accompaniment Keyboard and Mel-

ody Keyboard

❚

NOTE

• The accompaniment keyboard can be used for playing chords

only. No sound will be produced if you try playing single melo-

dy notes on the accompaniment keyboard.

Melody keyboard

Accompaniment

keyboard

See the “Fingered Chord Chart” on page A-9 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.

❚

NOTE

• Except for the chords specified in note

above, inverted finger-

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

duce 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.

( )

Cm7

( )

C Cm Cdim

Caug

Csus4

Cmaj7

( )

Cm7

5 *1

C7sus4

Cadd9

( )

Cmadd9

( )

CmM7

( )

Cdim7

E-31

Example: To play the chord C major.

Any of the fingerings shown in the illustration below will

produce C major.

G C

❚

NOTE

• As with the FINGERED mode (page E-30), you can play the

notes that form a chord in any combination (1).

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

boring note by six or more semitones, the lowest note becomes

the bass note (2).

1 ...... Chord C

222 ...... Chord

703A-E-033A

FULL RANGE 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. Be-

cause 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.

FULL RANGE CHORD Accompaniment Key-

board and Melody Keyboard

Accompaniment keyboard/Melody keyboard

Chords Recognized by This Keyboard

The following table identifies patterns that are recognized as

chords by FULL RANGE CHORD.

Pattern Type

FINGERED

Number of Variations

The 15 chord patterns shown

under FINGERED on page E-30.

See the “Fingered Chord Chart” on

page A-9 for details on playing

chords with other roots.

23 standard chord fingerings. The

following are examples of the 23

chords available with C as the bass

note.

Standard

Fingerings

B m

add9

•

C m

•

Using an Intro Pattern

This keyboard lets you insert a short intro into a rhythm pat-

tern to make startup smoother and more natural.

The following procedure describes how to use the Intro fea-

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

want to use, and set the tempo.

To insert an intro

• 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 key-

board.

❚

NOTE

• The standard rhythm pattern starts to play after the intro pat-

tern is complete.

E-32

703A-E-034A

Synchro Starting Accompaniment

with Rhythm Play

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 switch to select the

chord play method you want to use (NORMAL, CASIO

CHORD, FINGERED, FULL RANGE CHORD).

To use synchro start

❚

NOTE

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

(without a chord) when you play on the accompaniment key-

board.

• 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 accompani-

ment keyboard.

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

NEXT button one more time.

Using a Fill-in Pattern

Fill-in patterns let you momentarily change the rhythm pat-

tern to add some interesting variation to your performances.

The following procedure describes how to use the Fill-in fea-

ture.

To insert a fill-in

• To select the Variation 1 rhythm, press the VARIA-

TION/FILL-IN 1 button.

• To select the Variation 2 rhythm, press the VARIA-

TION/FILL-IN 2 button.

❚

NOTE

• The fill-in pattern does not play if you press the VARIATION/

FILL-IN button while an intro pattern is playing.

Using a Rhythm Variation

In addition to the standard rhythm pattern, you can also

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

variety .

To insert the variation rhythm pattern

• 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.

E-33

Using Auto Harmonize

When you are using Auto Accompaniment, Auto Harmonize

automatically adds three 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.

To use Auto Harmonize

• This causes an indicator to appear next to AUTO

HARMONIZE on the display.

• This causes the indicator next to AUTO HARMONIZE

to disappear.

❚

NOTE

• 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 Accompani-

ment mode is FINGERED or CASIO CHORD.

Finishing with an Ending Pattern

You can end your performances with an ending pattern that

brings the rhythm pattern you are using to a natural-sound-

ing 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.

To finish with an ending pattern

• 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 play-

ing immediately.

❚

NOTE

• Pressing the button at any point in the measure after the sec-

ond beat results in the ending pattern playing from the begin-

ning of the following measure.

Using One-touch Preset

One-touch preset automatically makes the main settings list-

ed below in accordance with the rhythm pattern you are us-

ing.

• Keyboard tone

• Layer on/off

• Tempo

• Effect type

• Harmonize on/off

To use one-touch preset

• This automatically makes the one-touch preset set-

tings in accordance with the rhythm you selected.

• The keyboard automatically enters synchro standby

at this time.

• Accompaniment is played using the one-touch pre-

set settings.

703A-E-035A

E-34

About Auto Harmonize notes and tones

The notes you play on the keyboard are called “melody

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

monize 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-35) 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 harmo-

nize 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-36 for details

on these procedures.

❚

NOTE

• 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.

Adjusting the Accompaniment Vol-

ume

You can adjust the volume of the accompaniment parts as a

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

Example: 110

703A-E-036A

Current accompaniment volume setting

❚

NOTE

• 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 main-

tained when you change the accompaniment volume setting.

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

an accompaniment volume of 100.

E-35

703A-E-037A

What you can do with the Mixer

This keyboard lets you play multiple different musical in-

strument 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 chan-

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

volume, and pan pot parameters of each channel.

Channel Assignments

The following shows the parts that are assigned to each of

the 16 channels.

See page E-59 and E-60 for information on layered, split, and

layered/split tones.

See page E-46 for information on the song memory.

Mixer Function

Channel

Part

Number

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 Memory track 1

Channel 12 Memory track 2

Channel 13 Memory track 3

Channel 14 Memory track 4

Channel 15 Memory track 5

Channel 16 Memory track 6

❚

NOTE

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

Accompaniment is being used, each part of the accompani-

ment 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 “Turn-

ing Channels On and Off” in the right column of this page are

shown on the displayed keyboard and staff.

Turning Channels On and Off

Turning a channel off mutes any instrument recorded in the

channel.

To turn channels on and off

• This causes the MIXER indicator to appear on the dis-

play screen.

• This displays the channel selection screen.

Example: To select Channel 2.

E-36

703A-E-038A

Example: To turn the channel off.

• Press [ ] (EXIT) to return to the channel selection

screen.

• Pressing the MIXER button returns to the Tone Screen.

❚

NOTE

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

selected with the Mixer.

How Channel On/Off Works

The following describes what happens and what appears on

the display when you turn a channel on or off.

■

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 chan-

nels when the keyboard is turned on.

■

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.

On Off

Indicates channel volume of 127

Using the Parameter Edit Mode

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.

To change parameters

Example: Select volume setting by displaying “Vol-

ume”.

• Each press of [ ] or [ ] (CURSOR) cycles through

the parameters.

Example: Change the setting to “060”.

• Pressing the MIXER button exits the parameter edit

mode.

• Pressing [ ] (EXIT) returns to the channel selection

screen.

E-37

Tuning Parameters

You can use these parameters to tune each of the parts indi-

vidually.

■

Coarse Tune (Range: –24 to 00 to +24)

This parameter controls the coarse tuning of the selected chan-

nel’s pitch in semitone units.

■

Fine Tune (Range: –99 to 00 to +99)

This parameter controls the fine tuning of the selected chan-

nel’s pitch in cent units.

Effect Parameters

The Mixer lets you control the effects applied to each indi-

vidual part, making it different from the Effect Mode, whose

settings are applied to all parts in general.

■

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 ap-

plies maximum reverb.

■

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.

■

DSP Line (Settings: on, oFF)

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

lar channel, or to turn it on.

❚

NOTE

• 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, reverb send, cho-

rus send, and DSP line* parameter settings.

* When DSP is off (See the note on page E-26.)

703A-E-039A

How Parameters Work

The following are the parameters whose settings can be

changed in the Parameter Edit Mode.

Tone Parameters

■

Tone (Range: 000 to 247)

This parameter controls the tones assigned to each part.

❚

NOTE

• The displayed tone number has only two digits when an Ad-

vanced tone is selected.

■

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.

■

Volume (Range: 000 to 127)

This is the parameter that controls the volume of the selected

channel.

■

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 val-

ue greater than “00” moves it right.

■

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 oc-

tave shift to shift the keyboard range one octave up.

–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.

E-38

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.

Synthesizer Mode Functions

The following describes how to use each of the functions

available in the Synthesizer Mode.

Synthesizer Mode Parameters

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

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

General MIDI tone (100 to 227) or a preset tone (000 to 099)

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

Note that drum set tones (228 through 237) cannot be used

as the basis of a user tone.

The illustration below shows the parameters that make up

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

seen in the illustration, these parameters can be divided into

four groups, each of which is described in detail below.

❚

NOTE

• Synthesizer Mode operations affect the tone selected for Chan-

nel 1.

Synthesizer Mode

703A-E-040A

Volume Characteristic

Parameters

Attack Time

Release Time

Resonance

Cutoff Frequency

Tone Pitch Parameters

Vibrato Type

Vibrato Delay

Vibrato Depth

Vibrato Rate

Octave Shift

Tone Characteristic

Setting Parameters

Level

Touch Sense

Reverb Send

Chorus Send

DSP Line

DSP Type

DSP Parameter

Output

Tone Characteristic

Waveform

Tone Setting

(1) Tone Characteristic Waveform

■

Tone Setting

Specifies which of the preset tones should be used as the orig-

inal tone.

(2) Volume Characteristic Parameters

These parameters control how the tone changes over time,

from when the keyboard key is pressed until the tone de-

cays. You can specify changes in volume and sound charac-

teristics.

■

Attack time

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

est 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.

■

Release time

This is the rate or time it takes for the tone volume to fall to

zero. You can specify a release that ranges from a sudden fall

to zero, to one that gradually falls to zero.

■

Cutoff Frequency

The cutoff frequency is a parameter for adjusting timbre by

cutting any frequency that is higher than a specific frequen-

cy. A larger cutoff frequency produces a brighter (harder) tim-

bre, while a smaller frequency produces a darker (softer) tim-

bre.

Time

Note ends

Key pressed

A R

Key released

Envelope

A: Attack time

R: Release time

Level

Cutoff frequency

Frequency

E-39

Saving User Tones

The group of tone numbers from 238 through 247 (User 01

through User 10) is called the “user area” because they are re-

served 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.

❚

NOTE

• The keyboard is shipped from the factory with tone number

000 (piano) assigned to the user area.

• Note that creating a user tone (000 to 227) does not change the

preset tone. It creates a new version of the preset tone for stor-

age in the user area.

• You cannot use a drum set tone (228 to 237) as the basis of a

user tone.

703A-E-041A

■

Resonance

Resonance enhances the harmonic components in the vicini-

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

A larger resonance value enhances the sound as shown in

the figure.

❚

NOTE

• With some tones, a large resonance value can cause distor-

tion or noise during the attack part of the tone.

(3) Tone Pitch Parameters

■

Vibrato Type, Vibrato Delay, Vibrato Depth, Vi-

brato Rate

These parameters adjust the vibrato effect, which causes pe-

riodic changes in the tone.

■

Octave Shift

This parameter controls the octave of all tones.

(4) Tone Characteristic Setting Parameters

■

Level

This parameter controls the overall volume of the tone.

■

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 spec-

ify the same volume regardless of how much pressure is ap-

plied to the keys.

■

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

DSP Parameter

These parameters control the effects applied to tones.

Level

Cut off frequency

Small Value

Resonance

Large Value

Frequency

Tone numbers

000 ~ 099

00 ~ 99

100 ~ 227

228 ~ 237

238 ~ 247

Tone

Panel Tone

Advanced

Tone

GM tone

Drum Set

User Area

Select the preset tone

Change parameters

Save as an original tone

E-40

Creating a User Tone

Use the following procedure to select a preset tone and change

its parameters to create a user tone.

• This enters the Synth Mode, which is indicated by the

indicator next to SYNTH on the display screen.

• Each press of [ ] or [ ] (CURSOR) changes to the

next parameter. See “Parameters and Their Settings”

on this page for information on setting range for each

parameter.

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

to change a parameter setting. See “Parameters and

Their Settings” on this page for information on set-

ting range for each parameter.

❚

NOTE

• See “Storing a User Tone In Memory” on page E-42 for details

on saving user tone data to memory so it is not deleted.

703A-E-042A

Currently selected parameter

Parameter setting value

Parameters and Their Settings

The following describes the function of each parameter and

provides it’s set range.

■

Attack Time (Range: –64 to 00 to +63)

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

■

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

Time the tone continues to sound after a key is released

■

Vibrato Type (Vibrato Waveform)

(Range: See below.)

Specifies the vibrato type (waveform).

■

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

Specifies the amount of time before vibrato starts.

Value Meaning Waveform

Sin Sine Wave

tri Triangle Wave

SAU Sawtooth Wave

Sqr Square Wave

E-41

703A-E-043A

■

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

Depth of the vibrato effect

■

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

Rate (speed) of the vibrato effect

■

Cut Off Freq. (Cutoff frequency)

(Range: –64 to 00 to +63)

High-band cutoff for the harmonic components of the tone

■

Resonance (Range: –64 to 00 to +63)

Resonance of the tone

■

Oct.Shift (Octave Shift) (Range: –2 to 0 to +2)

Up/down octave shift

■

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. This parame-

ter can be set in a range of 000 to 127.

■

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 vol-

ume with increased keyboard pressure. A setting of zero spec-

ifies no change in output volume in accordance with key-

board pressure. This parameter can be set in a range of –64 to

+63.

■

Reverb Send (Range: 000 to 127)

This parameter adjusts reverb.

■

Chorus Send (Range: 000 to 127)

This parameter adjusts chorus.

■

DSP Line (Settings: on, oFF)

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

■

DSP Type (Range: 000 to 109)

This parameter specifies a type when a DSP effect is being

used.

■

DSP Parameter

This setting specifies DSP parameters. See “DSP Parameters”

on page E-25, “Effect List” on page A-10, and “DSP Algo-

rithm List” on page A-12 for more information.

❚

NOTE

• 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 sim-

plifies 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.

E-42

Storing a User Tone In Memory

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.

To name a user tone and store it in memory

• You can select any tone number from 238 to 247.

• The message “Save OK” 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 Synthe-

sizer Mode with all of your parameter settings still in

place.

703A-E-044A

User Tone Creation Hints

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.

■

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.

E-43

703A-E-045A

E-44

Registration Memory

Registration Memory Features

Registration memory lets you store up to 16 keyboard setups

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

The following is a list of settings that are saved in registra-

tion memory.

Registration Memory Settings

• Tone

• Rhythm

• Tempo

• Split on/off

• Split point

• Layer on/off

• Mixer settings (Channels 1 to 10)

• Effect settings

• Equalizer settings

• Touch Response settings

• Assignable jack setting

• Transpose

• Tuning

• Accompaniment volume setting

• Harmonize on/off

❚

NOTE

• Registration memory functions are disabled while you are us-

ing the Synthesizer, Song Memory or demo tune function.

• In addition to preset tones, user tones created by altering syn-

thesizer parameters and stored in user memory are also saved

to registration memory.

Initial Settings

BANK 0

703A-E-046A

Area TONE RHYTHM

* OVD ROCK ORGAN +

DANCE 1

ALTO SAX

* VELO.ALTO SAX +

DISCO SOUL

ELEC.PIANO

* VELO.CLARINET +

MID BIG BAND

TENOR SAX

* VELO.ALTO SAX +

JAZZ COMBO

TRUMPET

BANK 2

Area TONE RHYTHM

* VELO.TRUMPET +

POLKA

ACCORDION

* VELO.FLUTE +

BOSSA NOVA 1

NYLON STR.GUITAR

* VELO.TENOR SAX +

REGGAE 1

STEEL DRUMS

* STEREO STRINGS +

BROADWAY

GLOCKENSPIEL

BANK 3

BANK 1

Area TONE RHYTHM

* VELO.ALTO SAX +

POP

ROCK ORGAN

E.PIANO PAD + WHISTLE POP BALLAD

MORE DISTORTION GT ROCK 2

4 ELEC.GUITAR BLUES

Area TONE RHYTHM

* OVD ROCK ORGAN +

8 BEAT DANCE

TENOR SAX

* VELO.ALTO SAX +

16 BEAT 2

GRAND PIANO

* TREMOLO E.PIANO +

16 BEAT BALLAD 3

MODERN E.PIANO

GRAND PIANO 8 BEAT 1

* : Advanced tone

E-45

703A-E-047A

Setup Names

You can assign setups into one of 16 areas, which you can

select using BANK buttons 1 through 4 and the four REGIS-

TRATION buttons. Area names range from 0-1 through 3-4

as shown below.

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

BANK cycle through the bank numbers from 0 to 3.

2 Pressing one of the REGISTRATION buttons (1 to 4) se-

lects the corresponding area in the currently selected bank.

❚

NOTE

• 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 set-

up data to a computer or other external storage device. See

“Using the Data Download Service” on page E-68 for details.

To Save a Setup in Registration

Memory

• See “Registration Memory Settings” on page E-44 for

details on what data is stored in the registration mem-

ory.

• 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.

BANK STORE

0-1 0-2 0-3 0-4

1-1 1-2 1-3 1-4

3-1 3-2 3-3 3-4

2-1 2-2 2-3 2-4

1 2 3 4

BANK 0

BANK 1

BANK 2

BANK 3

• The following display appears when you press the 2

button.

❚

NOTE

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

button in step 3, above.

To Recall a Setup from Registration

Memory

• 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.

• The setup name along with the message “Recall” ap-

pears on the display.

❚

NOTE

• If you press a REGISTRATION button without using the BANK

button to select a bank first, the last bank number selected is

used.

E-46

This keyboard lets you record up to two 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 record-

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

❚

NOTE

• 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 when-

ever the keyboard goes into record standby or starts record-

ing.

Tracks

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. Dur-

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

of playback.

Song Memory Function

703A-E-048A

Selecting a Track

Use the SONG MEMORY TRACK buttons marked CHORD/

TR1 through TR6 to select the track you want.

Song Memory Track Buttons

Track 1 Track 5

Track 3

Track 6

Track 4

Track 2

BANK STORE

Track 1

Start End

Track 2

Track 3

Track 4

Track 5

Track 6

Auto accompaniment (Rhythm,

Bass, Chord 1/2/3), Keyboard play

Keyboard play

Melody data recorded in track.

❚

NOTE

• 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-

35).

Basic Song Memory operations

The status of the Song Memory changes each time you press

the SONG MEMORY button.

Playback

Real-time Recording

Step Recording

Normal

Flash

E-47

703A-E-049A

Song number (0 or 1)

Using Real-time Recording

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

are recorded as you play them.

To record with real-time recording

• Perform step 2, below, within five seconds after en-

tering record standby.

• The above song number screen remains on the dis-

play for about five seconds. If it disappears before

you have a chance to select a song number, use the

SONG MEMORY button again to re-display it.

• The level meters for tracks 11 through 16 are shown

on the display while the keyboard is in record stand-

by, so you can easily check which tracks are already

recorded. See “Level Meter Contents During Record/

Edit Standby” on page E-53 for details.

• Tone number

• Rhythm number

• Tempo

• MODE switch

• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stops

flashing, and remains on the display.

• You can also record Auto Accompaniment chords by

selecting the applicable mode with the MODE switch.

• Optional pedal operation is also recorded. See “Track 1

Contents After Real-time Recording”.

• 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-55) to

make corrections.

❚

NOTE

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

tains recorded data replaces the previous recording with the

new one.

Track 1 Contents After Real-time Record-

ing

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, SYNCRHO/FILL-IN NEXT button operations

• Pedal operations (option)

• Effect type

• Accompaniment volume

❚

NOTE

• Starting a record operation also records the Mixer settings for

the other tracks to the song header.

E-48

703A-E-050A

Mixer Mode Settings

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

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

the parameters.

Memory Capacity

The keyboard has memory for approximately 3,500 notes. You

can use all 3,500 notes for a single song, or you can divide

memory between two different songs.

• The measure number and note number flash on the dis-

play whenever remaining memory is less than 100 notes.

• Recording automatically stops (and auto-accompaniment

and rhythm stops playing if they are being used) whenev-

er memory becomes full.

• The same memory area is used for song memory and user

rhythm memory. Because of this, the number of notes you

can store in song memory is lower when there is user

rhythm data stored in memory. You can clear memory con-

tents and free up more space for song memory space using

the Initialize / Delete setting menu (page E-65).

Memory Data Storage

• Whenever you make a new recording, anything previous-

ly stored in memory is replaced.

• Memory contents are retained as long as the keyboard is

being supplied with electrical power. Unplugging the AC

adaptor when batteries are not loaded or when loaded bat-

teries are dead cuts off the keyboard’s electrical power sup-

ply, clearing all data stored in memory. Plug the keyboard

into a wall outlet with the AC adaptor before replacing bat-

teries.

• 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 anoth-

er MIDI device using the procedure described under “Us-

ing the Data Download Service” on page E-68.

Track 1 Real-time Recording Variations

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-47.

●

To record without rhythm

Skip step 5. Real-time recording without a rhythm starts when

you press a keyboard key.

●

To start recording with synchro start

In place of step 5, press the SYNCHRO/FILL-IN NEXT but-

ton. Auto-accompaniment and recording will both start when

you play a chord on the accompaniment keyboard.

●

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 (pag-

es E-31 to 32) can all be used as they normally are.

●

To synchro start Auto Accompaniment with an

intro pattern

In place of step 5, press the SYNCHRO/FILL-IN NEXT but-

ton and then INTRO/ENDING 1 or INTRO/ENDING 2 but-

ton. Auto-accompaniment will start with the intro pattern

when you play a chord on the accompaniment keyboard.

●

To start Auto Accompaniment part way into a

recording

In place of step 5, press the SYNCHRO/FILL-IN NEXT but-

ton 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 Accom-

paniment.

E-49

Recording Melody and Chords with

Step Recording

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 key-

board with an Auto-Accompaniment can create Auto-Accom-

paniments based on their own original chord progressions.

The following shows the type of data that can be recorded in

Tracks 1 through 6.

Track 1: Chords and Auto-Accompaniment

Tracks 2 through 6: Keyboard play

With step recording, first record the chords and Auto-Accom-

paniment in Track 1. Next, record the melody in Tracks 2

through 6.

❚

NOTE

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

ing step recording” on page E-52 for details on how to record

to Tracks 2 through 6.

• You can use Track 1 for the melody if you do not plan to record

chords or Auto-Accompaniment. Select Track 1 and then per-

form the procedure under “To record to Tracks 2 through 6 us-

ing realtime recording” on page E-52 to record. In this case,

set the MODE switch to NORMAL before you start recording.

To record chords with step recording

• Rhythm number

• MODE switch

• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stops

flashing, and remains on the display.

703A-E-051A

Flash

Playing Back from Song Memory

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

back to see what they sound like.

To play back from song memory

• The above song number screen remains on the dis-

play for about five seconds. If it disappears before

you have a chance to select a song number, use the

SONG MEMORY button again to re-display it.

• You can use the TEMPO buttons to adjust the play-

back tempo.

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

❚

NOTE

• You can play along on the keyboard using layer (page E-57)

and split (page E-57) 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, regard-

less of the MODE switch setting.

To turn off a specific track

Press the SONG MEMORY TRACK button of the track you

want to turn off, or use the Mixer (Page E-35) to turn off the

channel of the track.

Playback standby

Song number

E-50

Track 1 Contents After Step Recording

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, SYNCRHO/FILL-IN NEXT button operations

Specifying Chords in the Normal Mode

When the MODE switch is set to NORMAL during step re-

cording, you can specify chords using a method that is dif-

ferent 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 key-

board that specifies the root, and press the key in the chord

type input keyboard to specify the chord type. When input-

ting 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.

1Major

2Minor

3Augmented

444Diminished

5Suspended four

6Seventh

7Minor seventh

8Major seventh

9Minor major seventh

703A-E-052A

0Seventh flat five

AMinor seventh flat five

BSeventh suspended four

CDiminished seventh

DMinor add ninth

EAdd ninth

FMinor sixth

GSixth

HSix ninth

Root input keyboard Chord type input

keyboard

• Use the chord play method that is specified by the

current MODE switch setting (FINGERED, CASIO

CHORD, etc.).

• When the MODE switch 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 this page for details.

* 96 clocks = 1 beat

• Use the number buttons to specify the length of the

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

E-51 for details.

• The specified chord and its length are stored in mem-

ory and the keyboard stands by for input of the next

chord.

• Repeat steps 5 and 6 to input more chords.

• This enters playback standby for the song you have

just recorded.

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

STOP button.

❚

NOTE

• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-54 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.

Chord name Measure, beat, and clock at

current location*

E-51

703A-E-053A

Track 1 Step Recording Variations

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-49.

●

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.

●

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.

●

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.

●

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.

IMPORTANT!

The length of the ending depends on the rhythm you are us-

ing. 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.

●

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.

●

To add chord accompaniment part way

through rhythm play

In Place of step 4 at the start of the recording, press VARIA-

TION/FILL-IN 1 or VARIATION/FILL-IN 2 button and in-

put 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.

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.

Specifying the Length of a Note

During step recording, the number buttons are used to spec-

ify the length of each note.

●

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].

●

Dots ( ) and triplicates ( )

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

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

Example: To input a dotted eighth notes ( ), hold down

[7] and press [4].

●

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).

●

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].

Hold down key to specify on bass

and chord root.

Press key to specify

chord type.

(G)(C) (m)

Hold down key to specify chord

root.

Press key to specify chord

type.

(G) (m7)

Example 1: To input Gm7, hold down G on the root input

keyboard and press the m7 key on the chord type

input keyboard.

E-52

703A-E-054A

Recording Multiple Tracks

Track 1 of the keyboard’s song memory records Auto Accom-

paniment and keyboard play. In addition, there are five oth-

er 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 iden-

tical to the one you use when recording to Track 1.

To record to Tracks 2 through 6 using real-

time recording

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.

• The song number you select should be the one where

you previously input Track 1.

• 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 record-

ed. See “Level Meter Contents During Record/Edit

Standby” on page E-53 for details.

• Tone number

• Tempo (to set playback of the recorded tracks to a tem-

po that is easy for you to follow)

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

ready recorded start to play back.

• Optional pedal operation you perform is also record-

ed.

Track Contents After Real-time Recording

In addition to keyboard notes, the following data is also re-

corded to the selected track during real-time recording. This

data is applied whenever the track is played back.

• Tone number

• Optional pedal operations

❚

NOTE

• Starting a record operation also records the Mixer settings for

the other tracks to the song header.

To record to Tracks 2 through 6 using step

recording

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

specifying each note’s pitch and length.

• The song number you select should be the one where

you previously input Track 1.

E-53

Recording track

Not recording track

703A-E-055A

Example: Select Track 2.

• After changing the tone number, press any keyboard

key to clear the tone number and name screen, and

return to the note input screen.

• When touch response is turned on, the amount of

pressure you use to press the keyboard keys is also

recorded. You can also use keyboard keys to input

chords.

❚

NOTE

• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-54 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 switch setting.

Track Contents After Step Recording

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

corded to the track during step recording. This data is ap-

plied whenever the track is played back.

• Tone number

Level Meter Contents During Record/Edit

Standby

Channels 11 through 16 correspond to Tracks 1 through 6.

Whenever the keyboard is in record or edit (page E-55) stand-

by, the level meter display shows which tracks already con-

tain 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.

Flash

E-54

Correcting Mistakes While Step Re-

cording

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 re-

corded to the right of the input point.

To correct mistakes while step recording

• The REC indicator disappears from the display, and

the STEP indicator flashes.

Example: To re-record all note data following the note

A3 located at Measure 120, Beat 1, Clock 0.

• • • • • • • • • • • • • •

C 4A3

Measure 120/Beat 1/Clock 0

(Input point moved to using [ ] and [ ] (CURSOR))

Data flow

• • • • • • •

Measure 120/Beat 1/Clock 0

(

Step re-recording begins from here.

)

Data flow

All data to

the right

is deleted.

703A-E-056A

• This deletes all data from the location you specified

and enters step record standby.

• Pressing the [ ] (EXIT) button or the NO button can-

cels deleting the data.

❚

NOTE

• If you move the input position to the end of the data with the

[ ] (CURSOR) button, the REC indicator appears on the dis-

play, and the STEP indicator stops flashing and remains on the

display.

• • • • • • • • • • • • • • • • • • • • • • • • • • • •

C 4 C 4

Measure 126/Beat 3/Clock 48

(Normal input point)

Measure 126/Beat 3/Clock 0

(Previous data)

Use [ ] and [ ] (CURSOR) to

move left and right.

Press [ ] (CURSOR).

Data flowData flow

E-55

703A-E-057A

To delete specific note data

Editing Memory Contents

After you record to keyboard memory, you can recall indi-

vidual notes and parameter settings (such as tone number)

and make any changes you want. This means you can cor-

rect 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, SYNCRHO/FILL-IN NEXT button operations

To edit memory contents

• The REC indicator disappears from the display, and

the STEP indicator flashes.

Flash

Note editing example

• 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-56 for

details.

❚

NOTE

• 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 re-

cording.

• You cannot move portions of a recording to a different location

within the recording.

• Note lengths cannot be changed.

PitchVelocity

Parameter being

edited

E-56

❚

NOTE

• 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.

●

To change a rhythm number

Use the number buttons or [+] and [–] buttons to change a

rhythm number.

❚

NOTE

• 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.

●

To change a rhythm controller operation

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

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

button, SYNCRHO/FILL IN NEXT button operations

Press the rhythm controller button you want to change to.

703A-E-058A

Editing Techniques and Display Contents

The following describes the editing techniques you can use

to change the various parameters stored in memory.

●

To change the key pressure (velocity) of a note

Use the number buttons or [+] and [–] to adjust the key pres-

sure.

●

To change the pitch of a note

Input a new note on the keyboard or use [+] and [–] buttons

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.

IMPORTANT!

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.

●

To change a chord

Use the chord fingering method selected by the MODE switch

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

●

To change a tone number

Use the number buttons or [+] and [–] buttons to change a

tone number.

E-57

Track delete standby

• 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 but-

ton again.

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

ing whether you really want to delete the track.

❚

NOTE

• You cannot change the song number while in track delete stand-

by.

• In the above procedure, you cannot select any track that does

not contain any recorded data.

• Pressing the SONG MEMORY button while in track delete

standby returns to record standby.

Editing a Song

You can perform the following operations in the song edit-

ing mode.

• Delete a song

• Delete a track

• Song header data rewrite (Panel Record)

To delete a song

• This displays the song delete screen.

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

ing whether you really want to delete the song.

To delete a specific track

• This displays the song delete screen.

Recorded track

Track being deleted (Multiple

tracks can be specified.)

Number of the song that contains the track

(cannot be changed)

Track delete standby

703A-E-059A

E-58

To rewrite song header data (Panel

Record)

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

initial Mixer, tempo and other settings stored in the song

header.

• This displays the song delete screen.

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

display.

703A-E-060A

E-59

Using Split

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 STRINGS as

the main (high range) tone and PIZZICATO STRINGS 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 loca-

tion on the keyboard where the changeover between the two

tones occurs.

❚

NOTE

• Leave the MODE switch in the NORMAL or FULL RANGE

CHORD position.

Example: To select “064 FRENCH HORN” as the lay-

ered tone, use the number buttons to input

0, 6 and then 4.

• Both tones are played at the same time.

❚

NOTE

• 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.

• Layer cannot be used while standing by for recording or while

recording is being performed in the Song Memory Mode.

This section describes how to use layer (to play two tones

with a single key) and split (to assign different tones to ei-

ther end of the keyboard), and how to make touch response,

transpose, and tuning settings.

Using Layer

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 FRENCH

HORN tone on the BRASS SECTION tone to produce a rich

and brassy sound.

LAYER

To layer tones

Example: To select “065 BRASS SECTION” as the main

tone, press the TONE button and then use

the number buttons to input 0, 6 and then 5.

Keyboard Settings

703A-E-061A

Main Tone (BRASS SECTION) + Layered Tone (FRENCH HORN)

Selected layer tone Lit

E-60

703A-E-062A

Main Tone (STRINGS)

Split point

Split Tone

(PIZZICATO

STRINGS)

SPLIT

To split the keyboard

Example: To select “050 STRINGS” as the main tone,

press the TONE button and then use the num-

ber buttons to input 0, 5 and then 0.

Example: To select “048 PIZZICATO STRINGS” as the

split tone, use the number buttons to input 0,

4 and then 8.

Split Tone

(PIZZICATO STRINGS)

Layered Split Tone

(STRINGS)

Main Tone

(BRASS SECTION)

Layered Tone (FRENCH HORN)

Split point

Example: To specify G3 as the split point, press the G3

key.

Selected split tone Lit

• Every key from F 3 and below is assigned the PIZZI-

CATO STRINGS tone, while every key from G3 and

above is assigned the STRINGS tone.

❚

NOTE

• 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.

• Split cannot be used while standing by for recording or while

recording is being performed in the Memory Mode.

• When the MODE switch is set to CASIO CHORD or FINGERED,

the accompaniment keyboard range is in accordance with the

split point you specify with the above procedure.

Using Layer and Split Together

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 combina-

tion, 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).

LAYER SPLIT

E-61

To split the keyboard and then layer tones

Example: To set “065 BRASS SECTION” as the main

tone.

Example: To set “048 PIZZICATO STRINGS” as the

split tone.

• After specifying the split tone, press the SPLIT but-

ton to unsplit the keyboard.

Example: To set “064 FRENCH HORN” as the layered

tone.

Example: To specify the “050 STRINGS” tone, enter 0,

5, 0.

• Press the LAYER button to unlayer the keyboard, and

the SPLIT button to unsplit it.

oFF Touch : 1 Light : 2 Normal : 3 Heavy

Off

❚

NOTE

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

nel 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 Touch Response

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.

To turn touch response on and off

• This displays the Touch Response setting screen.

• “1 Light” outputs powerful sound even with light key

pressure, while “3 Heavy” requires very heavy key

pressure to output powerful sound.

• Pressing [+] and [–] at the same time returns sensitiv-

ity to the “2 Normal” setting.

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

change regardless of how much pressure you apply

to the keyboard. This causes the TOUCH RESPONSE

indicator to disappear from the display.

❚

NOTE

• 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 does not affect the touch response setting.

703A-E-063A

E-62

703A-E-064A

Transposing the Keyboard

Transpose lets you raise and lower the overall key of the key-

board in semitone units. If you want to play an accompani-

ment 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.

To transpose the keyboard

Example: To transpose the keyboard five semitones up-

wards.

• Pressing the TOUCH/TRANSPOSE/SETTING but-

ton exits the transpose screen.

❚

NOTE

• 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 mem-

ory and Auto Accompaniment.

Tuning the Keyboard

The tuning feature lets you fine tune the keyboard to match

the tuning of another musical instrument.

To tune the keyboard

Example: To lower the tuning by 20.

• Pressing the TOUCH/TRANSPOSE/SETTING but-

ton exits the transpose screen.

❚

NOTE

• 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 mem-

ory and Auto Accompaniment.

E-63

Changing Other Settings

Setting Types

The table below shows the parameters whose settings you can change.

Setting menu

Touch Response

(Touch)

Transpose

(Trans.)

Tune

(Tune)

Display/Pedal

(LCD/Jack)

MIDI

(MIDI)

Initialize/Delete

(Init/Del)

Page

E-61

E-62

E-65

Description

Specifies of how sound should change with keyboard pressure.

Adjusts of overall keyboard tuning by semitone units.

Fine adjustment of overall keyboard tuning.

Adjusts display brightness and assigns of effects to pedals.

MIDI settings

Initializes all settings to initial factory defaults, resets specific settings or deletes user

rhythms.

703A-E-065A

E-64

703A-E-066B

To use the keyboard settings menu

MAIN MENU

SUB MENU

EXIT ENTEREXIT ENTER

EXIT

ENTER

• Settings you make are applied even if you do not press the [ ] (ENTER) button.

• See the following section titled “Setting Menu Items” for details on each setting.

■

In case of an initialize or delete procedure

• This causes the message “Sure?” to appear, confirming whether you really want to perform the initialize or delete opera-

tion.

• This performs the initialize or delete operation and returns to the tone or rhythm selection screen.

E-65

Setting Menu Items

Description

Adjusts display contrast.

Assigns the sustain pedal effect to a pedal.

Assigns the sostenuto pedal effect to a pedal.

Assigns the soft pedal effect to a pedal.

Assigns the START/STOP button function to a ped-

al.

Specifies the send channel for main tone play.

Specifies whether accompaniment range MIDI

Note On messages received from an external de-

vice should be interpreted as auto accompaniment

chords.

Specifies whether this keyboard’s accompaniment

is sent as MIDI messages.

Specifies whether the keyboard should sound the

parts played on it.

Initializes parameters assigned by the Mixer or by

input from an external sequencer.

Initializes all parameters, except for the display

contrast setting.

Deletes user rhythm No. 100 data.

Deletes user rhythm No. 101 data.

Deletes user rhythm No. 102 data.

Deletes user rhythm No. 103 data.

Initializes to initial factory defaults.

Deletes all data in the user area.

Sub menu

Contrast

(Contrast)

Assignable Jack

(Jack)

Keyboard Channel

(Keybd Ch)

MIDI In Chord Judge

(Chord)

Accomp MIDI Out

(AccompOut)

Local Control Setting

(Local)

Mixer Reset

(InitMix?)

Parameter Reset

(InitPar?)

User Rhythm No. 100 Delete

(rHy 100 Del?)

User Rhythm No. 101 Delete

(rHy 101 Del?)

User Rhythm No. 102 Delete

(rHy 102 Del?)

User Rhythm No. 103 Delete

(rHy 103 Del?)

System Delete

(InitSys?)

Range

00 to 12

SUS

SoS

SFt

rhy

01 to 16

on/oFF

—

Default

SUS

—

oFF

—

Main menu

Display/

Pedal

(LCD/Jack)

MIDI

(MIDI)

Initialize/

Delete

(Init/Del)

703A-E-067B

E-66

703A-E-068A

MIDI

What is MIDI?

The letters MIDI stand for Musical Instrument Digital Inter-

face, which is the name of a worldwide standard for digital

signals and connectors that make it possible to exchange

musical data between musical instruments and computers

(devices) produced by different manufacturers. MIDI com-

patible equipment can exchange keyboard key press, key re-

lease, tone change, and other data as messages.

Though you do not need any special knowledge about MIDI

to use this keyboard as a stand-alone unit, MIDI operations

require a bit of specialized knowledge. This section provides

you with an overview of MIDI that will help to get you go-

ing.

MIDI Connections

MIDI messages are send out through the MIDI OUT termi-

nal of one device to the MIDI IN terminal of another ma-

chine over a MIDI cable. To send a message from this key-

board to another device, for example, you must use a MIDI

cable to connect the MIDI OUT terminal of this keyboard to

the MIDI IN terminal of the other device. To send MIDI mes-

sages back to this keyboard, you need to use a MIDI cable to

connect the other device’s MIDI OUT terminal to the MIDI

IN terminal of this keyboard.

To use a computer or other MIDI device to record and play-

back the MIDI data produced by this keyboard, you must

connect the MIDI IN and MIDI OUT terminals of both devic-

es in order to send and receive data.

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-65).

MIDI IN MIDI OUT

(

)

BANK STORE

Computer etc.

MIDI Channels

MIDI allows you to send the data for multiple parts at the

same time, with each part being sent over a separate MIDI

channel. There are 16 MIDI channels, numbered 1 through

16, and MIDI channel data is always included whenever you

exchange data (key press, pitch bend operation, etc.).

Both the sending device and the receiving machine must be

set to the same channel for the receiving device to correctly

receive and play data. If the receiving device is set to Chan-

nel 2, for example, it receives only MIDI Channel 2 data, and

all other channels are ignored.

This keyboard is equipped with multi-timbre capabilities,

which means it can receive messages over all 16 MIDI chan-

nels and play up to 16 parts at the same time. Tone and vol-

ume settings for each channel can be made using the key-

board’s onboard Mixer, or by an external source that sends

required MIDI control messages.

Keyboard operations performed on this keyboard is sent out by

selecting a MIDI channel (1 to 16) and then sending the appro-

priate message.

General MIDI

General MIDI standardizes MIDI data for all sound source

types, regardless of manufacturer. General MIDI specifies

such factors as tone numbering, drum sounds, and available

MIDI channels for all sound sources. This standard makes it

possible for all MIDI equipment to reproduce the same nu-

ances when playing General MIDI data, regardless of the

manufacturer of the sound source.

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.

E-67

Sending and Receiving MIDI Mes-

sages

This keyboard can send notes you play on the keyboard, as

well as auto accompaniment patterns and Song Memory play-

back as MIDI messages to another device.

MIDI Send Data

■

Keyboard Play

Each keyboard part (Channels 1 through 4) is sent over its

own individual MIDI channel. When Auto Harmonize is

turned on, harmonize notes are also sent over each individu-

al MIDI channel.

■

Auto Accompaniment Play

Each accompaniment part is sent over its own individual

MIDI channel. The “Accomp MIDI Out” parameter (page E-

65) is used to specify whether a part is sent.

MIDI Message Receive

■

Multi Channel Receive

The 16 mixer parts can be used to receive data over 16 MIDI

message channels at the same time.

■

Chord Changes when Using Auto Accompani-

ment

MIDI messages received from an external device can be in-

terpreted as chord changes as specified by the fingerings sup-

ported by the auto accompaniment system of this keyboard.

Use the “MIDI In Chord Judge” parameter (page E-65) to turn

this capability on and off.

• See the MIDI Implementation Chart at the back of this Us-

er’s Guide for more information about each MIDI message.

MIDI Settings

You can change the settings of a number of parameters that

control how MIDI messages are sent and received.

MIDI Parameters

You can use the parameter setting procedure (page E-63) to

change the settings of the MIDI parameters described below.

See pages E-64 and E-65 for details about the setting menu

and procedure.

■

MIDI In Chord Judge

This parameter determines whether note data received from

an external device should be interpreted as an auto accom-

paniment chord fingering. Turn on this parameter when you

want to control auto accompaniment chords from a comput-

er or other external device.

• on ........... Causes note data input through MIDI IN to be

interpreted as auto accompaniment chord finger-

ings. The channel specified by the keyboard chan-

nel is used for specifying chords.

• oFF ......... Turns off “MIDI In Chord Judge”.

■

Accomp MIDI Out (Accompaniment MIDI Out)

Turn on this parameter when you want sound auto accom-

paniment on an external devices sound source.

• on ........... Outputs auto accompaniment as MIDI messages

through the keyboard’s MIDI OUT terminal.

• oFF ......... Does not output auto accompaniment.

❚

NOTE

• For details, go to the CASIO Website at the URL below.

http://world.casio.com

703A-E-069A

E-68

703A-E-070A

Using the Data Download Service

Accompaniment, song, tone, DSP, and registration data, as

well as application software for transferring data between

your computer and the keyboard are all available for down-

load at the CASIO MUSIC SITE*.

■

Data and Application Software

Data itself as well as application software for transferring data

between your computer and the keyboard are available for

download at the CASIO MUSIC SITE.

■

Application Software

You can run the application software on your computer and

transfer data you download from the CASIO MUSIC SITE to

the keyboard, and also use your computer’s hard disk for

long-term storage of data you transfer from the keyboard to

your computer.

• See the instructions provided at the CASIO MUSIC SITE

for full information about how to download the applica-

tion software and data.

• See the application software’s online help for information

about how to use the software.

* CASIO MUSIC SITE

http://music.casio.com/

• Note that the service you should use depends on the

area or country.

To connect to a computer

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.

❚

NOTE

• 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.

CASIO MUSIC SITE

MIDI IN

CTK-671

MIDI Interface

OUT

MIDI OUT

Internet

Service

Provider

(

)

BANK STORE

E-69

703A-E-071A

Troubleshooting

Problem Possible Cause

Action See page

No keyboard Sound

Any of the following symptoms

while using battery power.

• Dim power indicator

• Instrument does not turn on.

• Display that is flickering, dim, or

difficult to read

• Abnormally low speaker/head-

phone 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 dis-

play when playing at high vol-

ume

• 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

Auto Accompaniment does not

sound.

Sound output does not change

when key pressure is varied.

Playing the keyboard sounds two

tones.

Different tones sound when keys

in different keyboard ranges are

pressed.

1. Power supply problem.

2. Power is not turned on.

3. Volume setting is too low.

4. The MODE switch is in the CASIO

CHORD or FINGERED position.

5. Local Control is off.

6. Mixer channel 1 is turned off.

7. Mixer channel 1 volume setting is

too low.

Low battery power

1. Accompaniment volume is set to

000.

2. Auto Accompaniment part Chan-

nels 6 through 10 are turned off.

3. Auto Accompaniment part Chan-

nels 6 through 10 volume setting is

too low.

Touch response is turned off.

Layer is turned on.

Split is turned on.

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 VOLUME slider to increase

volume.

4. Normal play is not possible on the

accompaniment keyboard while the

MODE switch is set to CASIO

CHORD or FINGERED. Change the

MODE switch setting to NORMAL.

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.

Replace the batteries with a set of new

ones or use the AC adaptor.

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.

Press the TOUCH/TRANSPOSE/SET-

TING button to turn it on.

Press the LAYER button to turn off lay-

ering.

Press the SPLIT button to turn off split.

Page E-16

Page E-21

Page E-29

Page E-65

Page E-35

Page E-36

Pages

E-16, 17

Page E-34

Page E-35

Page E-36

Page E-61

Page E-59

E-70

703A-E-072A

Problem Possible Cause

Action See page

The key or tuning does not match

when playing along with another

MIDI machine.

Parts suddenly drop out during

song memory playback.

Some parts do not play at all dur-

ing song memory playback.

Cannot record Auto Accompani-

ment or rhythm.

Nothing happens when the LAY-

ER or SPLIT button is pressed.

No sound is produced when play-

ing MIDI data from a computer.

Playing on the keyboard produc-

es an unnatural sound when con-

nected to a computer.

Cannot record chord accompani-

ment data on a computer.

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.

The number of tones being played at

the same time exceeds the keyboard’s

limitation.

1. Channels are turned off.

2. Volume setting is too low.

A track other than Track 1 is selected

as the recording track.

Tracks 2 through 6 are melody tracks.

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.

1. MIDI cables are not connected prop-

erly.

2. Channel is turned off, or volume

setting is too low.

The computer’s MIDI Thru function is

turned on.

Accomp MIDI Out is turned off.

1. Change the transpose or tuning pa-

rameter value to 00.

2. Use the Mixer to change the coarse

tune, fine tune, and/or octave shift

settings to 00.

Use the Mixer to turn unneeded chan-

nels off and decrease the number of

parts being played.

1. Use the Mixer to turn channels on.

2. Use the Mixer to check the volume

setting.

Use the track select buttons to select

Track 1.

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.

1. Connect MIDI cables properly.

2. Use the Mixer to turn the channel

on, or raise the volume setting.

Turn off the MIDI Thru function on the

computer or turn off Local Control on

the keyboard.

Turn on Accomp MIDI Out.

Page E-62

Page E-37

Page E-35

Page E-36

Page E-47

Page E-35

Page E-36

Page E-46

Page E-66

Pages

E-35, 36

Page E-65

E-71

Model: CTK-671

Keyboard: 61 standard-size keys, 5 octaves with touch response (Off / Light / Normal / Heavy)

Tones: 348 total (100 panel tones + 128 GM tones + 10 drum sounds + 10 user tones + 100

Advanced Tones); layer/split

Rhythm Instrument Tones: 61

Polyphony: 32 notes maximum (16 for certain tones)

Effects: DSP (110 types: internal, 10 user areas) + Reverb (16 types) + Chorus (16 types)

Equalizer: 10 types, 4 bands

Auto Accompaniment

Rhythm Patterns: 104 (internal, 4 user areas)

Tempo: Variable (226 steps, = 30 to 255)

Chords: 3 fingering methods (CASIO CHORD, FINGERED, FULL RANGE CHORD)

Rhythm Controller: START/STOP, INTRO/ENDING 1 and 2, VARIATION/FILL-IN 1 and 2, SYNCHRO/

FILL-IN NEXT

Accomp Volume: 0 to 127 (128 steps)

One-touch Presets: Recalls settings for tone, tempo, layer on/off, and harmonize on/off in accordance

with rhythm.

Auto Harmonize: Automatic addition of notes that harmonize with melody note in accordance with

specified Auto Accompaniment chords.

Memory Function

Songs: 2

Recording Tracks: 6 (2 through 6 are melody tracks)

Recording Methods: Real-time, step

Memory Capacity: Approximately 3,500 notes (total for two songs)

* Same memory is shared for user rhythm storage.

Edit Function: Equipped

Demo Tunes: 2

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

Registration Memory

Number of Setups: 16 (4 setups x 4 banks)

Memory Contents: Tone select, Rhythm select, Tempo settings, Split on/off, Split point settings, Layer

on/off, Mixer settings (Channels 1~10), Effect settings, Equalizer settings, Touch Re-

sponse settings, Assignable jack setting, Transpose settings, Tuning settings, Accom-

paniment volume settings, Harmonize on/off

Specifications

Tune Number Name Composer Play Time

0 Crystal Fountain Edward Alstrom 1:54

1 Night Breeze Hage Software 1:52

703A-E-073A

E-72

703A-E-074A

Mixer Function

Channels: 16

Parameters: Channel on/off; tone; part on/off; volume; pan pot; octave shift; coarse tune; fine

tune; reverb send; chorus send; DSP line

MIDI: 16 multi-timbre receive, GM Level 1 standard

Other Functions

Transpose: 49 steps (–24 semitones to +24 semitones)

Tuning: Variable (A4 = approximately 440Hz ±100 cents)

LCD: Adjustable contrast

Terminals

MIDI Terminals: IN, OUT

Sustain/Assignable Terminal: Standard jack (sustain, sostenuto, soft, rhythm start/stop)

Headphone/Output Terminal: Stereo standard jack

Output Impedance: 140

Output Voltage: 4.5V (RMS) MAX

Power Supply Terminal: 9V DC

Power Supply: Dual power supply system

Batteries: 6 D-size batteries

Battery Life: Approximately 4 hours continuous operation on manganese batteries

AC Adaptor: AD-5

Auto Power Off: Turns power off approximately six minutes after last key operation. Enabled under

battery power only, can be disabled manually.

Speaker Output: 2.5W + 2.5W

Power consumption: 9V 7.7W

Dimensions: 96.0 x 37.5 x 14.7 cm (37

x 14

x 5

inch)

Weight: Approximately 5.8 kg (12.8lbs) (without batteries)

A-1

0 PIANO GRAND PIANO 0 65 32 N -

1 GRAND PIANO WIDE 0 67 16 N -

2 MELLOW PIANO 0 66 32 N -

3 BRIGHT PIANO 1 65 32 N -

4 MODERN PIANO 1 66 16 N -

5 HONKY-TONK 3 65 16 N -

6 ELEC.GRAND PIANO 2 65 32 N -

7 ELEC.PIANO 4 65 32 N -

8 MODERN E.PIANO 5 65 16 N -

9 GLASS E.PIANO 4 66 16 N -

10 SOFT E.PIANO 5 66 16 N -

11 HARPSICHORD 6 65 32 N -

12 CLAVI 7 65 32 N -

CHROMATIC PERC

CELESTA 8 65 32 N -

14 GLOCKENSPIEL 9 65 32 1 -

15 VIBRAPHONE 11 65 32 N -

16 MARIMBA 12 65 32 N -

17 ORGAN DRAWBAR ORGAN 1 16 65 16 N -

18 DRAWBAR ORGAN 2

16 66 32 N -

19 PERC.ORGAN 1 17 65 16 N -

20 PERC.ORGAN 2 17 66 16 N -

21 ELEC.ORGAN 16 67 32 N -

22 JAZZ ORGAN 17 67 16 N -

23 ROCK ORGAN 18 65 16 N -

24 CHURCH ORGAN 19 65 16 N -

25 ACCORDION 21 65 16 N -

26 BANDONEON 23 65 16 N -

27 HARMONICA 22 65 32 N -

Appendix/Apé ndice

Tone List

Panel Tones

Lista de sonidos

Sonidos de panel

28 GUITAR NYLON STR.GUIT

AR 24 65 32 -1 -

29 STEEL STR.GUITAR 25 65 32 -1 -

30 12 STR.GUITAR 25 66 16 -1 -

31 JAZZ GUITAR 26 65 32 -1 -

32 CLEAN GUITAR 27 65 32 -1 -

33 ELEC.GUITAR 27 66 32 -1 -

34 MUTE GUITAR 28 65 32 -1 -

35 OVERDRIVE GT 29 65 32 -1 -

36 DISTORTION GT 30 65 32 -1 -

37 FEEDBACK GT 30 66 16 -1 -

38 BANJO 105 65 32 N -

39 BASS ACOUSTIC BASS 32 65 32 -1 -

40 FINGERED BASS

33 65 32 -1 -

41 PICKED BASS 34 65 32 -1 -

42 FRETLESS BASS 35 65 32 -1 -

43 SLAP BASS 37 65 32 -1 -

44 SAW.SYNTH-BASS 38 65 16 -1 -

45 SQR SYNTH-BASS 39 65 32 -1 -

STR/ORCHESTRA

VIOLIN 40 65 32 N -

47 CELLO 42 65 32 -1 -

48 PIZZICATO STRINGS 45 65 32 N -

49 HARP 46 65 32 N -

50 ENSEMBLE STRINGS 48 65 32 N -

51 SLOW STRINGS 49 65 32 N -

52 BRIGHT STRINGS 48 66 32 N -

53 MELLOW STRINGS 49 66 32 N -

54 SYNTH-STRINGS 50 65 32 N -

RESO SYNTH-STRINGS

51 65 32 N -

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

703A-E-147A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

A-2

56 CHOIR AAHS 52 65 32 N -

57 VOICE DOO 53 65 32 N -

58 SYNTH-VOICE 54 65 32 N -

59 ORCHESTRA HIT 55 65 16 N -

60 BRASS TRUMPET 56 65 32 N -

61 TROMBONE 57 65 32 -1 -

62 TUBA 58 65 32 -1 -

63 MUTE TRUMPET 59 65 32 N -

64 FRENCH HORN 60 65 16 -1 -

65 BRASS SECTION 61 65 32 N -

66 OCTAVE BRASS 61 66 16 N -

67 BRASS+SYNTH 61 67 16 N -

ANALOG SYNTH-BRASS

62 65 32 N -

VINTAGE SYNTH-BRASS

63 65 16 N -

70 REED SOPRANO SAX 64 65 32 N -

71 ALTO SAX 65 65 32 -1 -

72 BREATHY A.SAX 65 66 16 -1 -

73 TENOR SAX 66 65 32 -1 -

74 BREATHY T.SAX 66 66 16 -1 -

75 BARITONE SAX 67 65 32 -1 -

76 OBOE 68 65 32 N -

77 CLARINET 71 65 32 N -

78 PIPE PICCOLO 72 65 32 1 -

79 FLUTE 73 65 32 N -

80 MELLOW FLUTE 73 66 16 N -

81 RECORDER 74 65 32 N -

82 PAN FLUTE 75 65 32 N -

83 WHISTLE 78 65 32 N -

84 SYNTH-LEAD SQUARE LEAD 80 65 16 N -

85 SAWTOOTH LEAD 81 65 16 N -

86 CALLIOPE 82 65 16 N -

87 VOICE LEAD 85 65 16 N -

88 FIFTH LEAD 86 65 16 N -

89 BASS+LEAD 87 65 16 N -

90 SYNTH-PAD FANTASY 88 65 16 N -

91 WARM PAD 89 65 32 N -

92 POLYSYNTH 90 65 16 N -

93 BOWED GLASS 92 65 16 N -

94 HALO PAD 94 65 16 N -

95 SWEEP PAD 95 65 32 N -

96 RAIN DROP 96 65 16 N -

97 CRYSTAL 98 65 16 N -

98 ATMOSPHERE 99 65 16 N -

99 BRIGHTNESS 100 65 16 N -

703A-E-148A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má

xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

A-3

Advanced Tones

Sonidos avanzados

0 PIANO STEREO PIANO 0 68 32 N Reflect

1 SYNTH-STR.PIANO

0 70 16 N Reflect

2 VOICE PIANO 0 69 16 N Reflect

3 STRINGS PIANO 1 68 16 N Reflect

4 DANCE PIANO 1 69 16 N EnhaDly

5 60'S OCTAVE PIANO 3 68 16 N Equalize

6 MODERN E.G.PIANO 2 68 16 N ChoDly1

7 TREMOLO E.PIANO 4 68 32 N ChoTrem

8 SYNTH-STR.E.PIANO

5 68 16 N Reflect

9 E.PIANO PAD 4 69 16 N StPhase

10 STRINGS E.PIANO 5 69 16 N ChoDly3

COUPLED HARPSICHORD

6 68 16 N CmpChoRf

12 RESONANCE CLAVI 7 68 32 N AutoWah

CHROMATIC PERC

DELAY CELESTA 8 68 32 N 3TapDly

DELAY GLOCKENSPIEL

9 68 32 1 Delay

TREMOLO VIBRAPHONE

11 68 32 N ChoTrem

16 PHASER MARIMBA 12 68 32 N PhaDly2

17 ORGAN ROTARY DRAWBAR 16 68 32 N RotRef1

OVD ROTARY ORGAN

16 69 32 N OdRot2

ROTARY PERC.ORGAN 1

17 68 16 N RotRef2

ROTARY PERC.ORGAN 2

17 69 16 N RotRef3

ROTARY ELEC.ORGAN

16 70 32 N Rotary2

22 JAZZ DRAWBAR 17 70 32 N Rotary1

23 OVD ROCK ORGAN 18 68 16 N OdRtRef1

PURE CHURCH ORGAN

19 68 16 N Reflect

OCTAVE ACCORDION

21 68 16 N CmpChoRf

26 NEO BANDONEON 23 68 16 N ChoDly4

27 SLOW HARMONICA 22 68 32 N Room2

28 GUITAR

MELLOW NYLON GUIT

24 68 16 -1 ChoDly3

ENHANCED STEEL GUITAR

25 68 16 -1 EnhaDly

CHORUS STEEL GUITAR

25 69 32 -1 ChoDly4

31 OCT JAZZ GUITAR 26 68 16 -1 Room3

CHORUS CLEAN GUITAR

27 68 32 -1 ChoDly4

CRUNCH ELEC.GUIT

27 69 32 -1 CrnDelay

34 MUTED DIST GUITAR 28 68 32 -1 MetalDly

AUTO WAH OVERDRIVE GT

29 68 32 -1 AWhOdDly

MORE DISTORTION GT

30 68 32 -1 DistDly2

37 FEEDBACK DIST

.GT 30 69 16 -1 DistDly1

38 OCT BANJO 105 68 16 N ChoDly2

39 BASS RIDE BASS 32 68 16 -1 Room1

40 CHORUS FING.BASS

33 68 16 -1 CrnCho

41 COMP.PICKED BASS 34 68 16 -1 CmpEnDly

FLAN.FRETLESS BASS

35 68 16 -1 ChoFlan

43 MORE SLAP BASS

37 68 16 -1 EnhaFlan

ADVANCED SYNTH-BASS 1

38 68 32 -1 AwCrDly

ADVANCED SYNTH-BASS 2

39 68 16 -1 CrnLofi

STR/ORCHESTRA

SLOW VIOLIN 40 68 32 N Room2

47 SLOW CELLO 42 68 32 -1 StXDelay

PIZZICATO ENSEMBLE

45 68 16 N ChoDly4

49 HARPS 46 68 16 N 3TapDly

50 ENSEMBLE STEREO STRINGS

48 68 16 N Reflect

51 CHAMBER 49 68 16 N Reflect

ORCHESTRA STRINGS 1

48 69 16 N Reflect

ORCHESTRA STRINGS 2

49 69 16 N ChoDly3

PURE SYNTH-STRINGS

50 68 16 N ChoDly3

PHASER SYNTH-STR

51 68 16 N PhaAPan2

56 CHOIRS 52 68 16 N Reflect

57 SYNTH-DOO 53 68 16 N DistDly1

58 SYNTH-VOICE PAD 54 68 16 N FlanDly1

59 TIMPANI HIT 55 68 16 N GateRvb2

60 BRASS VELO.TRUMPET 56 68 32 N EnhaDly

TROMBONE SECTION

57 68 16 -1 ChoDly1

703A-E-149A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

A-4

62 STACK TUBA 58 68 16 -1 CmpEnDly

WAH MUTE TRUMPET

59 68 32 N AwCrDly

64 OCT FRENCH HORN 60 68 16 -1 ChoDly3

65 STEREO BRASS 61 68 16 N EnhaDly

66 TRUMPET + BRASS 61 69 16 N Plate1

67 BRASS SFZ 61 70 16 N EnhaDly

68 DEEP SYNTH-BRASS

62 68 16 N EnhaDly

SLOW SYNTH-BRASS

63 68 16 N ChoDly4

70 REED MELLOW S.SAX 64 68 16 N Reflect

71 A.SAXYS 65 68 16 -1 EnhaDly

72 VELO.ALTO SAX 65 69 16 -1 Hall2

73 T.SAXYS 66 68 16 -1 Hall2

74 VELO.TENOR SAX

66 69 16 -1 Hall2

STACK BARITONE SAX

67 68 16 -1 OdDelay

76 SYNTH-OBOE 68 68 16 N ChoDly4

77 VELO.CLARINET 71 68 16 N Room3

78 PIPE

PICCOLO ENSEMBLE

72 68 16 1 Reflect

79 FLUTE + REED 73 68 16 N StXDelay

80 VELO.FLUTE 73 69 16 N EnhaDly

81 SYNTH-RECORDER

74 68 16 N ChoDly4

82 SYNTH-PAN FLUTE 75 68 16 N AWhChDly

83 WHISTLES 78 68 16 N ChoDly4

84 SYNTH-LEAD MELLOW SQR LEAD 80 68 16 N ChoDly1

85 MELLOW SAW.LEAD 81 68 16 N ChoDly2

ADVANCED CALLIOPE

82 68 16 N ChoDly2

87 VOX LEAD 85 68 16 N FlanDly2

88 4TH LEAD 86 68 16 N StDelay

89 FRET LEAD 87 68 16 N EnhaDly

90 SYNTH-PAD NEW FANTASY 88 68 16 N ChoDly3

91 WARM VOX 89 68 16 N AWhChDly

92 POLY SAW 90 68 16 N ChoDly3

93 BOWED PAD 92 68 16 N ChoDly4

94 SPACE VOX 94 68 16 N RotRef1

95 MOVIE SOUND 95 68 16 N FlanDly1

96 NEW GOBLIN 96 68 16 N RgChoDly

703A-E-150A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má

xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

97 NEW CRYSTAL 98 68 16 N ChoDly4

98 STAR THEME 99 68 16 N PhaAPan2

99 BRIGHTER 100 68 16 N ChoDly3

A-5

GM Tones

Sonidos GM

100 PIANO Piano 1 0 0 32 N -

101 Piano 2 1 0 32 N -

102 Piano 3 2 0 32 N -

103 HONKY-TONK GM 3 0 16 N -

104 E.PIANO 1 4 0 32 N -

105 E.PIANO 2 5 0 16 N -

106 HARPSICHORD GM 6 0 32 N -

107 CLAVI GM 7 0 32 N -

108

CHROMATIC PERC

CELESTA GM 8 0 32 N -

109 GLOCKENSPIEL OCT

9 0 32 N -

110 MUSIC BOX 10 0 16 N -

111 VIBRAPHONE GM 11 0 32 N -

112 MARIMBA GM 12 0 32 N -

113 XYLOPHONE 13 0 32 N -

114 TUBULAR BELL 14 0 32 N -

115 DULCIMER 15 0 16 N -

116 ORGAN ORGAN 1 16 0 16 N -

117 ORGAN 2 17 0 16 N -

118 ORGAN 3 18 0 16 N -

119 PIPE ORGAN 19 0 16 N -

120 REED ORGAN 20 0 32 N -

121

FRENCH ACCORDION

21 0 16 N -

122 HARMONICA GM 22 0 32 N -

123 BANDONEON GM 23 0 16 N -

124 GUITAR

NYLON STR.GUITAR OCT

24 0 32 N -

125

STEEL STR.GUITAR OCT

25 0 32 N -

126 JAZZ GUITAR OCT 26 0 32 N -

127 CLEAN GUITAR OCT 27 0 32 N -

128 MUTE GUITAR OCT 28 0 32 N -

129 OVERDRIVE GT OCT

29 0 32 N -

130 DISTORTION GT OCT 30 0 32 N -

131 GT HARMONICS 31 0 32 N -

132 BASS

ACOUSTIC BASS OCT

32 0 32 N -

133

FINGERED BASS OCT

33 0 32 N -

134 PICKED BASS OCT

34 0 32 N -

135

FRETLESS BASS OCT

35 0 32 N -

136 SLAP BASS 1 OCT 36 0 32 N -

137 SLAP BASS 2 OCT 37 0 32 N -

138 SYNTH-BASS 1 OCT 38 0 16 N -

139 SYNTH-BASS 2 OCT 39 0 32 N -

140

STR/ORCHESTRA

VIOLIN GM 40 0 32 N -

141 VIOLA 41 0 32 N -

142 CELLO GM 42 0 32 N -

143 CONTRABASS 43 0 32 N -

144 TREMOLO STRINGS

44 0 32 N -

145 PIZZICATO GM 45 0 32 N -

146 HARP GM 46 0 32 N -

147 TIMPANI 47 0 32 N -

148 ENSEMBLE

ORCHESTRA STRINGS 1

48 0 32 N -

149

ORCHESTRA STRINGS 2

49 0 32 N -

150

SAW.SYNTH-STRINGS 1

50 0 32 N -

151

SAW.SYNTH-STRINGS 2

51 0 32 N -

152 VOICE AHH 52 0 32 N -

153 VOCAL DOO 53 0 32 N -

154 SYNTH-VOX 54 0 32 N -

155 ORCHESTRA HIT GM

55 0 16 N -

156 BRASS TRUMPET GM 56 0 32 N -

157 TROMBONE OCT 57 0 32 N -

158 TUBA OCT 58 0 32 N -

159 MUTE TRUMPET GM 59 0 32 N -

160 FRENCH HORN OCT 60 0 16 N -

161 BRASS 61 0 32 N -

162 SYNTH-BRASS 1

62 0 32 N -

163 SYNTH-BRASS 2 63 0 16 N -

164 REED SOPRANO SAX GM 64 0 32 N -

165 ALTO SAX OCT 65 0 32 N -

166 TENOR SAX OCT

66 0 32 N -

167 BARITONE SAX OCT 67 0 32 N -

703A-E-151A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

A-6

N Normal

-1 1 Octave Down

-2 2 Octave Down

1 1 Octave Up

2 2 Octave Up

1/2 1/2 Octave

1/4 1/4 Octave

❚

NOTE

Range

Symbol Meaning

206 SHAMISEN 106 0 32 N -

207 KOTO 107 0 32 N -

208 THUMB PIANO 108 0 32 N -

209 BAG PIPE 109 0 16 N -

210 FIDDLE 110 0 32 N -

211 SHANAI 111 0 32 N -

212 TINKLE BELL 112 0 32 N -

213 PERCUSSIVE AGOGO 113 0 32 N -

214 STEEL DRUMS 114 0 16 N -

215 WOOD BLOCK 115 0 32 1/2 -

216 TAIKO 116 0 32 1/2 -

217 MELODIC TOM 117 0 32 1/2 -

218 SYNTH-DRUM 118 0 32 1/2 -

219 REVERSE CYMBAL

119 0 32 1/2 -

220

SOUND EFFECTS

GT FRET NOISE 120 0 32 N -

221 BREATH NOISE 121 0 32 N -

222 SEASHORE 122 0 16 1/4 -

223 BIRD 123 0 16 1/4 -

224 TELEPHONE 124 0 32 1/4 -

225 HELICOPTER 125 0 32 1/4 -

226 APPLAUSE 126 0 16 1/4 -

227 GUNSHOT 127 0 32 N -

168 OBOE GM 68 0 32 N -

169 ENGLISH HORN 69 0 32 N -

170 BASSOON 70 0 32 N -

171 CLARINET GM 71 0 32 N -

172 PIPE PICCOLO OCT 72 0 32 N -

173 FLUTE GM 73 0 32 N -

174 RECORDER GM 74 0 32 N -

175 PAN FLUTE GM 75 0 32 N -

176 BOTTLE BLOW 76 0 16 N -

177 SHAKUHACHI 77 0 16 N -

178 WHISTLE GM 78 0 32 N -

179 OCARINA 79 0 32 N -

180 SYNTH-LEAD SQUARE WAVE 80 0 16 N -

181 SAWTOOTH WAVE 81 0 16 N -

182 CALLIOPE LEAD 82 0 16 N -

183 CHIFF LEAD 83 0 16 N -

184 CHARANG 84 0 16 N -

185 SOLO VOX 85 0 16 N -

186 FIFTH SAW 86 0 16 N -

187 BASS LEAD 87 0 16 N -

188 SYNTH-PAD NEW AGE 88 0 16 N -

189 WARM SYNTH 89 0 32 N -

190 POLYSYNTH GM 90 0 16 N -

191 SPACE CHOIR 91 0 16 N -

192 BOWED PAD 92 0 16 N -

193 METAL PAD 93 0 16 N -

194 HALO SYNTH 94 0 16 N -

195 SWEEP SYNTH 95 0 32 N -

196 SYNTH-SFX RAIN PAD 96 0 16 N -

197 SOUND TRACK 97 0 16 N -

198 CRYSTAL PAD 98 0 16 N -

199 ATMOSPHERE PAD 99 0 16 N -

200 BRIGHT PAD 100 0 16 N -

201 GOBLINS 101 0 16 N -

202 ECHOES 102 0 32 N -

203 SF 103 0 16 N -

204 ETHNIC SITAR 104 0 16 N -

205 BANJO GM 105 0 32 N -

703A-E-152A

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

Maximum

Polyphony

Polifonía

má

xima

Range

Type

Tipo

gama

DSP

Type

Tipo

DSP

Símbolo Significado

❚

NOTA

Gama

N Normal

-1 1 Octava hacia abajo

-2 2 Octavas hacia abajo

1 1 Octava hacia arriba

2 2 Octavas hacia arriba

1/2 1/2 Octava

1/4 1/4 de Octava

A-7

228 STANDARD SET 1 0 120

229 STANDARD SET 2 1 120

230 ROOM SET 8 120

231 POWER SET 16 120

232 ELECTRONIC SET

24 120

233 SYNTH SET 1 25 120

234 SYNTH SET 2 30 120

235 JAZZ SET 32 120

236 BRUSH SET 40 120

237 ORCHESTRA SET 48 120

238 User 01 0 71

239 User 02 1 71

240 User 03 2 71

241 User 04 3 71

242 User 05 4 71

243 User 06 5 71

244 User 07 6 71

245 User 08 7 71

246 User 09 8 71

247 User 10 9 71

Drum Sounds

Sonidos de batería

User Tones

Sonidos del usuario

703A-E-153A

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

No.

Nº

No.

Nº

Tone Group

Grupo de

sonido

Tone Name

Nombre de sonido

Program

Change

Cambio

programa

Bank

Select

MSB

MSB de

selecció n

de banco

A-8

Key/Note number

Clave/

Nú mero de nota

0: STANDARD SET 1

HIGH Q

SLAP

SCRATCH PUSH

SCRATCH PULL

STICKS

SQUARE CLICK

METRONOME CLICK

METRONOME BELL

STANDARD 1 KICK 2

STANDARD 1 KICK 1

SIDE STICK

STANDARD 1 SNARE 1

HAND CLAP

STANDARD 1 SNARE 2

LOW TOM 2

CLOSED HI-HAT

LOW TOM 1

PEDAL HI-HAT

MID TOM 2

OPEN HI-HAT

MID TOM 1

HIGH TOM 2

CRASH CYMBAL 1

HIGH TOM 1

RIDE CYMBAL 1

CHINESE CYMBAL

RIDE BELL

TAMBOURINE

SPLASH CYMBAL

COWBELL

CRASH CYMBAL 2

VIBRA-SLAP

RIDE CYMBAL 2

HIGH BONGO

LOW BONGO

MUTE HIGH CONGA

OPEN HIGH CONGA

LOW CONGA

HIGH TIMBALE

LOW TIMBALE

HIGH AGOGO

LOW AGOGO

CABASA

MARACAS

SHORT HI WHISTLE

LONG LOW WHISTLE

SHORT GUIRO

LONG GUIRO

CLAVES

HIGH WOOD BLOCK

LOW WOOD BLOCK

MUTE CUICA

OPEN CUICA

MUTE TRIANGLE

OPEN TRIANGLE

SHAKER

JINGLE BELL

BELL TREE

CASTANETS

MUTE SURDO

OPEN SURDO

APPLAUSE

STANDARD 2 KICK 2

STANDARD 2 KICK 1

STANDARD 1 SNARE 1

SYNTH HAND CLAP

STANDARD 1 SNARE 2

ROOM KICK 2

ROOM KICK 1

ROOM SNARE 1

ROOM SNARE 2

ROOM LOW TOM 2

ROOM LOW TOM 1

ROOM MID TOM 2

ROOM MID TOM 1

ROOM HI TOM 2

ROOM HI TOM 1

1: STANDARD SET 2

8: ROOM SET

E 1

F#1

A 1

B 1

C#2

E 2

F#2

A 2

B 2

C#3

E 3

F#3

A 3

B 3

C#4

E 4

F#4

A 4

B 4

C#5

E 5

F#5

A 5

B 5

C#6

E 6

24: ELEC SET

25: SYNTH 1

30: SYNTH 2

32: JAZZ SET

16: POWER SET

POWER KICK 2

POWER KICK 1

POWER SNARE 1

POWER SNARE 2

ROOM LOW TOM 2

ROOM LOW TOM 1

ROOM MID TOM 2

ROOM MID TOM 1

ROOM HI TOM 2

ROOM HI TOM 1

SYNTH 1 KICK 1

SYNTH 1 KICK 2

SYNTH 1 RIM SHOT

SYNTH 1 SNARE 1

SYNTH HAND CLAP

SYNTH 1 SNARE 2

SYNTH 1 LOW TOM 2

SYNTH 1 CHH 1

SYNTH 1 LOW TOM 1

SYNTH 1 CHH 2

SYNTH 1 MID TOM 2

SYNTH 1 OHH

SYNTH 1 MID TOM 1

SYNTH 1 HI TOM 2

SYNTH 1 CYMBAL

SYNTH 1 HI TOM 1

SYNTH 1 COWBELL

SYNTH 1 HIGH CONGA

SYNTH 1 MID CONGA

SYNTH 1 LOW CONGA

SYNTH 1 MARACAS

SYNTH 1 CLAVES

SYNTH 2 KICK 1

SYNTH 2 KICK 2

SYNTH 2 SNARE 1

SYNTH 2 SNARE 2

SYNTH 1 COWBELL

SYNTH 1 HIGH CONGA

SYNTH 1 MID CONGA

SYNTH 1 LOW CONGA

SYNTH 1 MARACAS

SYNTH 1 CLAVES

ELEC KICK 2

ELEC KICK 1

ELEC SNARE 1

ELEC SNARE 2

ELEC LOW TOM 2

ELEC LOW TOM 1

ELEC MID TOM 2

ELEC MID TOM 1

ELEC HI TOM 2

ELEC HI TOM 1

REVERSE CYMBAL

JAZZ KICK 2

JAZZ KICK 1

JAZZ SNARE 1

JAZZ SNARE 2

JAZZ KICK 2

JAZZ KICK 1

BRUSH TAP

BRUSH SLAP

BRUSH SWIRL

CLOSED HI-HAT

PEDAL HI-HAT

OPEN HI-HAT

RIDE CYMBAL 1

JAZZ KICK 1

CONCERT BASS DRUM

CONCERT SNARE

CASTANETS

CONCERT SNARE

TIMPANI F

TIMPANI G

TIMPANI A

TIMPANI B

TIMPANI C

TIMPANI D

TIMPANI E

TIMPANI F

CONCERT CYMBAL 2

CONCERT CYMBAL 1

Program Change No. / Drum Set Name / Nú mero de cambio de programa / Nombre de ajuste de batería

48: ORCHESTRA SET

40: BRUSH SET

Drum Assignment List ( Indicates the same sound as STANDARD SET)

Lista de asignació n de batería ( Indica el mismo sonido que STANDARD SET)

703A-E-154A

A-9

Root

Nota

fundamental

M m 7 dim7 M7 m7

-5

dim

Chord

Type

Root

Chord

Type

Tipo de

acorde

C /(D )

(D )/E

F /(G )

(G )/A

(A )/B

C /(D )

(D )/E

F /(G )

(G )/A

(A )/B

aug sus4 7sus4

add9

mM7 7

-5

add9

Nota

fundamental

Tipo de

acorde

: 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-59).

: 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 divisió n (pá gina S-59).

703A-E-155A

Fingered Chord Chart

This table shows the fingerings for commonly used chords, including inverted fingerings.

Cuadro de acordes Fingered

Esta tabla muestra las digitaciones para los acordes usados com

ú nmente, incluyendo las digitaciones invertidas.

A-10

No. Display Name Type Name

Nº

Nombre de

display

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

CHORUS Effect List

Lista de efectos de chorus

(CHORUS)

REVERB Effect List

Lista de efectos de reverberació n

(REVERB)

703A-E-156A

Effect List

Lista de efectos

DSP Effect List

Settable parameters depend on the DSP type. Also, the param-

eters for each DSP type depend on the algorithm* associated

with the DSP type. See the DSP

Algorithm List on page A-12

for more information.

* Effector structure and operation type

Lista de efectos DSP

Los pará metros que pueden ajustarse dependen en el tipo DSP.

También, los pará metros para cada tipo DSP depende en el al-

goritmo* asociado con el tipo DSP. Para mayor informaci

ó n

vea la “Lista de algoritmos DSP” en la pá gina A-12.

* Estructura de generador de efectos y tipo de operació n.

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

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

DSP

Algorithm

Display DSP Name

No. ID Name

Nº

Identificació n

Nombre Nombre DSP

DSP (ID) de de

algoritmo presentació n

No. Display Name Type Name

Nº

Nombre de

display

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 Pan Delay

08 Plate 2 Plate 2

09 Plate 3 Plate 3

10 LrgRoom 1 Large Room 1

11 LrgRoom 2 Large Room 2

12 Stadium 1 Stadium 1

13 Stadium 2 Stadium 2

14 LongDly 1 Long Delay 1

15 LongDly 2 Long Delay 2

A-11

703A-E-157A

DSP

Algorithm

Display DSP Name

No. ID Name

Nº

Identificació n

Nombre Nombre DSP

DSP (ID) de de

algoritmo presentaci

ó n

DSP

Algorithm

Display DSP Name

No. ID Name

Nº

Identificació n

Nombre Nombre DSP

DSP (ID) de de

algoritmo presentació n

DSP

Algorithm

Display DSP Name

No. ID Name

Nº

Identificaci

ó n

Nombre Nombre DSP

DSP (ID) de de

algoritmo presentació n

Flanger

[12] 26 Flanger Flanger

[13] M07 EnhaFlan Enhancer - Flanger

Delay

[14] 28 Delay Delay

[15] 22 3Tap Dly 3-Tap Delay

[16] 20 St Delay Stereo Delay

[17] 21 StXDelay Stereo Cross Delay

[18] M06 Enha Dly Enhancer - Delay

[19] 25 Reflect Reflection

Cho/Flanger/Delay Combination

[20] M02 PhaCho 1 Phaser - Chorus 1

[21] M02 PhaCho 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 RvbRoom1 Reverb Room 1

[35] 27 RvbRoom2 Reverb Room 2

[36] 27 RvbRoom3 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

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 Flan 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 MetalDly 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

A-12

DSP Algorithm List

00 : Auto Pan

■

Function

Continually performs left-right panning of the

input signal in accordance with an LFO.

■

Parameters

0 : Rate (Range: 0 to 127)

Adjusts the panning rate.

1 : Depth (Range: 0 to 127)

Adjusts the panning depth.

01 : Tremolo

■

Function

Adjusts volume of input signal in accor

dance

with an LFO.

■

Parameters

0 : Rate (Range: 0 to 127)

Adjusts the tremolo rate.

1 : Depth (Range: 0 to 127)

Adjusts the tremolo depth.

02 : 2BandEQ

■

Function

This is a two-band equalizer.

■

Parameters

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.

03 :3BandEQ

■

Function

This is a three-band equalizer.

■

Parameters

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 fr

equency 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 Frequ ency (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

04 :LFO Wah

■

Function

This is a “wah” effect that can automatically

affect the frequency in accordance with an LFO.

■

Parameters

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 chor

ds, or the Reso-

nance 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.

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

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 Reso-

nance 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.

703A-E-158A

A-13

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, pr

oducing a bright sound.

Setting a negative value causes the W

ah filter

to close in accordance with the size of the in-

put signal, which produces a dark tone qual-

ity. However, large input re-opens the Wah fil-

ter, even if it is closed.

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

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 in-

put signal drops below a certain level until the

compression operation is stopped.

When an attack feeling is desired (no compres-

sion at the onset of the sound), set this param-

eter 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.

07 :Limiter

■

Function

This is an effector that you can use to set an

upper limit value on the level of the input sig-

nal.

■

Parameters

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 op-

eration stops.

3 : Level (Range: 0 to 127)

Adjusts the level being output.

The output volume changes in accor

dance with

the Limit setting and the characteristics of the

input tone. Use this parameter to correct for

such changes.

08 :Distortion

■

Function

T h i s e f f e c t p r o v i d e s D i s t o r t i o n +

AmpSimulator.

■

Parameters

0 : Gain (Range: 0 to 127)

Adjusts the input gain.

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.

09 :Stereo Phaser

■

Function

This is a stereo phaser that modulates the phase

in accordance with a sine wave LFO.

■

Parameters

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.

10 : Phaser

■

Function

This is a monaural phaser that modulates the

phase in accordance with a sine wave LFO.

■

Parameters

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.

703A-E-159A

A-14

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.

11 : Rotary

■

Function

This is a rotary speaker simulator.

■

Parameters

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.

12 : Drive Rotary

■

Function

This is an overdrive - rotary speaker simula-

tor.

■

Parameters

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.

13 :Enhancer

■

Function

Enhances the outlines of the low range and

high range of the input signal.

■

Parameters

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 fr

equency.

3 : High Gain (Range: 0 to 127)

Adjusts the high range enhancer gain.

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

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.

15 :Lo-Fi

■

Function

This is an effector that reproduces a retro-type

Lo-Fi sound using Noise Generator 1 (phono-

graph record player type scratch noise genera-

tor) and Noise Generator 2 (FM radio type

white noise and pink noise continuous noise

generator), and by noise modulation (ampli-

tude modulation =

AM) and distortion of fre-

quency characteristics.

■

Parameters

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

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

4 : Tone (Range: 0 to 127)

Adjusts the tone.

5 : Resonance (Range: 0 to 127)

Adjusts the resonance of the sound.

703A-E-160A

A-15

6 : Bass(Range: -64 to 0 to +63)

Adjusts the volume of low sounds.

7 : Level (Range: 0 to 127)

Adjusts the output level.

16 : 1-Phase Chorus

■

Function

This is monaural chorus in accordance with a

sine wave LFO.

■

Parameters

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.

17 : Sin 2-Phase Chorus

■

Function

This is stereo chorus in accordance with a sine

wave LFO.

■

Parameters

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.

18 : 3-Phase Chorus

■

Function

This is 3-phase chorus in accordance with two

LFOs of with different sine wave rates.

■

Parameters

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.

19 :Tri 2-Phase Chorus

■

Function

This is stereo chorus in accordance with trian-

gular wave LFO.

■

Parameters

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.

20 :Stereo Delay 1

■

Function

This is delay of ster

eo input and output.

■

Parameters

0 : Delay Time (Range: 0 to 127)

Adjusts the delay time.

1 : Wet Level (Range: 0 to 127)

Adjusts the level of the ef

fect 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 damp-

ing 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 T

ime.

21 :Stereo Delay 2

■

Function

This is cross feedback delay of stereo input and

output.

■

Parameters

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 damp-

ing 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 T

ime.

5 : Ratio R (Range: 0 to 127)

Adjusts the delay time of the right channel.

Proportional to the value set for Delay Time.

22 :3-Tap Delay

■

Function

This is left/center/right 3-tap delay.

703A-E-161A

A-16

■

Parameters

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 damp-

ing 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.

23 : Gate Reverb

■

Function

This is a fader that creates artificial reverb that

sounds like it is being cut with a gate.

■

Parameters

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 damp-

ing 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.

24 :Reverse Gate Reverb

■

Function

This is gate reverb with a reverse rotation ef-

fect.

■

Parameters

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 reverb

sound.

The smaller the value, the greater the damp-

ing of high-range reverb sound.

4 : Diffusion (Range: 0 to 127)

Provides fine adjustment of the r

everb.

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.

25 :Reflection

■

Function

This is an effector that extracts the first reflected

sound from a reverb sound.

■

Parameters

0 : Type (Range: 0 to 7)

Selects from among the eight available reflec-

tion patterns.

1 : Wet Level (Range: 0 to 127)

Adjusts the level of the ef

fect 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.

26 :Flanger

■

Function

This is a flanger in accordance with a sine wave

LFO.

■

Parameters

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.

27 :Reverb

■

Function

This is an effector that preserves the breadth

of a sound by adding a reverb sound.

■

Parameters

0 : Tone (Range: 0 to 127)

Adjusts the tone of the reverb sound.

703A-E-162A

A-17

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 damp-

ing of high-range reverb sound.

3 : ER Level (Range: 0 to 127)

Adjusts the level of the initial r

eflection.

4 : Wet Level (Range: 0 to 127)

Adjusts the level of the effect sound.

28 : 2-Tap Delay

■

Function

This is left/right 2-tap delay.

■

Parameters

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 damp-

ing 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.

★ The following “Multi” algorithms are used in

combination with the algorithms described above.

Parameters are shard by both types of algorithms.

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

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

M01 : Multi01 (3-Phase Chorus – 3-Tap De-

lay)

■

Function

This is a multi effector that is related to 3-Phase

Chorus - 3-Tap Delay.

■

Parameters

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

M02 : Multi02 (Phaser – 3-Phase Chorus)

■

Function

This is a multi effector that is related to Phaser

- 3-Phase Chorus.

■

Parameters

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

M03 : Multi03 (Flanger – 2-Tap Delay)

■

Function

This is a multi effector that is related to Flanger

- 2-Tap Delay.

■

Parameters

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

M04 : Multi04 (Stereo Phaser – Stereo Delay

■

Function

This is a multi effector that is related to Stereo

Phaser - Stereo Delay 1.

■

Parameters

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

703A-E-163A

A-18

M05 : Multi05 (Enhancer – 1-Phase Chorus)

■

Function

This is a multi effector related to Enhancer - 1-

Phase Chorus.

■

Parameters

0 : Enhancer Low Frequency

1 : Enhancer Low Gain

2 : Enhancer High Fr

equency

3 : Enhancer High Gain

4 : Chorus LFO Rate

5 : Chorus LFO Depth

6 : Chorus Feedback

7 : Chorus Wet Level

M06 : Multi06 (Enhancer – 2-Tap Delay)

■

Function

This is a multi effector that is related to En-

hancer - 2-Tap Delay.

■

Parameters

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

M07 : Multi07 (Enhancer

– Flanger)

■

Function

This is a multi effector related to Enhancer -

Flanger.

■

Parameters

0 : Enhancer Low Fr

equency

1 : Enhancer Low Gain

2 : Enhancer High Fr

equency

3 : Enhancer High Gain

4 : Flanger LFO Rate

5 : Flanger LFO Depth

6 : Flanger Feedback

7 : Flanger Wet Level

M08: Multi08 (Sin 2-Phase Chorus – Flanger)

■

Function

This is a multi effector that is related to Sin 2-

Phase Chorus - Flanger.

■

Parameters

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

M09 : Multi09 (Sin 2-Phase Chorus –

Tremolo)

■

Function

This is a multi effector that is related to Sin 2-

Phase Chorus - Tremolo.

■

Parameters

0 : Chorus LFO Rate

1 : Chorus LFO Depth

2 : Chorus Feedback

3 : Chorus Wet Level

4 : Tremolo Rate

5 : Tremolo Depth

M10 : Multi10 (Stereo Phaser – Auto Pan)

■

Function

This is a multi ef

fector that is related to Stereo

Phaser - Auto Pan.

■

Parameters

0 : Phaser Resonance

1 : Phaser Manual

2 : Phaser Rate

3 : Phaser Depth

4 : Phaser Wet Level

5 : Auto Pan Rate

6 : Auto Pan Depth

M11 : Multi11 (Compressor – Lo-Fi)

■

Function

This is a multi effector related to Compressor -

Lo-Fi.

■

Parameters

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

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 Chor

us.

■

Parameters

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

703A-E-164A

A-19

M13 : Multi13 (Ring Modulator – Distortion)

■

Function

This is a multi effector related to Ring Modu-

lator - Distortion.

■

Parameters

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

M14 : Multi14 (Lo-Fi – Reflection)

■

Function

This is a multi effector related to Lo-Fi - Re-

flection.

■

Parameters

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

M15 : Multi15 (Distortion

– Lo-Fi)

■

Function

This is a multi effector related to Distortion -

Lo-Fi.

■

Parameters

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

M16 : Multi16 (Drive Rotary – Reflection)

■

Function

This is a multi effector related to Drive Rotary

- Reflection.

■

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

M17 : Multi17 (Rotary – Reflection)

■

Function

This is a multi effector related to Rotary - Re-

flection.

■

Parameters

0 : Rotary Speed

1 : Rotary Break

2 : Rotary Slow Rate

3 : Rotary Fast Rate

4 : Reflection Wet Level

5 : Reflection Feedback

6 : Reflection Tone

M18 : Multi18 (Compressor – Enhancer - 2-

Tap Delay)

■

Function

This is a multi effector that is related to Com-

pressor - Enhancer - 2-Tap Delay.

■

Parameters

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

M19 : Multi19 (Compressor – Stereo Delay

■

Function

This is a multi effector related to Compressor -

Stereo Delay 1.

■

Parameters

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

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

0 : Phaser Resonance

703A-E-165A

A-20

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

M21 : Multi21 (Auto Wah – Tri 2-Phase Cho-

rus – 2-Tap Delay)

■

Function

This is a multi effector that is related to Auto

Wah - Tri 2-Phase Chorus - 2-Tap Delay.

■

Parameters

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

M22 : Multi22 (LFO Wah – Tri 2-Phase Cho-

rus – 2-Tap Delay)

■

Function

This is a multi effector that is related to LFO

Wah - Tri 2-Phase Chorus - 2-Tap Delay.

■

Parameters

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

M23 : Multi23 (Compressor – Sin 2-Phase

Chorus – Reflection)

■

Function

This is a multi effector that is related to Com-

pressor - Sin 2-Phase Chorus - Reflection.

■

Parameters

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

M24 : Multi24 (Distortion – 1-Phase Chorus

– 2-Tap Delay)

■

Function

This is a multi effector that is related to Distor-

tion - 1-Phase Chorus - 2-Tap Delay.

■

Parameters

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

M25 : Multi25 (Compressor – Distortion – 2-

Tap Delay)

■

Function

This is a multi effector that is related to Com-

pressor - Distortion - 2-Tap Delay.

■

Parameters

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

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 : Wah Manual

1 : Wah Depth

2 : Distortion Gain

3 : Distortion Tone

4 : Distortion Level

5 : Delay Time

6 : Delay Wet Level

7 : Delay Feedback

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

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

703A-E-166A

A-21

M28 : Multi28 (Distortion – 3-T

ap Delay)

■

Function

This is a multi effector that is related to Distor-

tion - 3-Tap Delay.

■

Parameters

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

M29 : Multi29 (Distortion – Phaser)

■

Function

This is a multi effector related to Distortion -

Phaser.

■

Parameters

0 : Distortion Gain

1 : Distortion Low

2 : Distortion High

3 : Distortion Level

4 : Phaser Resonance

5 : Phaser Manual

6 : Phaser Rate

7 : Phaser Depth

M30 : Multi30 (Distortion

– Sin 2-Phase Cho-

rus)

■

Function

This is a multi effector that is related to Distor-

tion - Sin 2-Phase Chorus.

■

Parameters

0 : Distortion Gain

1 : Distortion Low

703A-E-167A

2 : Distortion High

3 : Distortion Level

4 : Chorus LFO Rate

5 : Chorus LFO Depth

6 : Chorus Feedback

7 : Chorus Wet Level

M31 : Multi31 (Distortion – Flanger)

■

Function

This is a multi effector related to Distortion -

Flanger.

■

Parameters

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

703A-E-178A

Basic Default

Channel Changed

Default

Mode Messages

Altered

Note

Number: True voice

Velocity Note ON

Note OFF

After Key's

Touch Ch's

Pitch Bender

0, 32

6, 38

Control 72

Change 73

Function ... Transmitted Recognized Remarks

1-16

Mode 3

❊❊❊❊❊❊❊❊❊❊❊❊❊❊

0-127

❊❊❊❊❊❊❊❊❊❊❊❊❊❊

9nH v = 1-127

9nH v = 0

Bank select

Modulation

Data entry

Volume

Pan

Expression

DSP Parameter0

DSP Parameter1

DSP Parameter2

DSP Parameter3

Hold1

Sostenuto

Soft pedal

Resonance

Release Time

Attack Time

Brightness

Vibrato rate

Vibrato de

Depends on tone.

1-16

Mode 3

❊❊❊❊❊❊❊❊❊❊❊❊❊❊

0-127

9nH

v = 1-127

Model

CTK-671

MIDI Implementation Chart

Version: 1.0

703A-E-179A

Change 73

98, 99

100, 101

120

121

Program

Change : True #

System Exclusive

System : Song Pos

Common : Song Sel

: Tune

System : Clock

Real Time :

Commands

Aux

: Local ON/OFF

: All notes OFF

Messages : Active Sense

: Reset

Remarks

0-127

❊❊❊❊❊❊❊❊❊❊❊❊❊❊

Release

Time

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

0-127

❊❊❊❊❊❊❊❊❊❊❊❊❊❊

Mode 1 : OMNI ON, POLY

Mode 2 : OMNI ON, MONO

: Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO

: No

Selected in accordance with sustain pedal setting.

Seleccionado de acuerdo con el ajuste del pedal de sustain.

CTK671-ES-1

MA0105-B Printed in Malaysia

CASIO COMPUTER CO.,LTD.

This recycle mark indicates that the packaging conforms to

the environmental protection legislation in Germany.

Esta marca de reciclaje indica que el empaquetado se

ajusta a la legislación de protección ambiental en Alemania.

01.8.1, 3:53 PMPage 3

Casio CTK-671 Computer Electronical Musical Instrument Division

Product's Documents

USER’S GUIDE

Specifications

Casio CTK-671 Questions and Answers

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