Yamaha An200 Owners Manual

AN200 Owner's Manual AN200E

an200ownersmanual Synthesizer Manuals

AN200 to the manual 2507fa34-83ac-4e7e-b849-247fdd033456

Yamaha Corporation AN200 Owner's Manual an200e Yamaha Corporation - AN200 - Owner's Manual

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2

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter).

DO NOT connect this product to any power supply or adapter other

than one described in the manual, on the name plate, or specifically

recommended by Yamaha.

WARNING: Do not place this product in a position where anyone

could walk on, trip over ,or roll anything over power or connecting

cords of any kind. The use of an extension cord is not recom-

mended! IF you must use an extension cord, the minimum wire size

for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG

number ,the larger the current handling capacity. For longer exten-

sion cords, consult a local electrician.

This product should be used only with the components supplied or;

a cart, rack, or stand that is recommended by Yamaha. If a cart, etc.,

is used, please observe all safety markings and instructions that

accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at

the time of printing. However, Yamaha reserves the right to change

or modify any of the specifications without notice or obligation to

update existing units.

This product, either alone or in combination with an amplifier and

headphones or speaker/s, may be capable of producing sound lev-

els that could cause permanent hearing loss. DO NOT operate for

long periods of time at a high volume level or at a level that is

uncomfortable. If you experience any hearing loss or ringing in the

ears, you should consult an audiologist.

IMPORTANT: The louder the sound, the shorter the time period

before damage occurs.

Some Yamaha products may have benches and / or accessory

mounting fixtures that are either supplied with the product or as

optional accessories. Some of these items are designed to be

dealer assembled or installed. Please make sure that benches are

stable and any optional fixtures (where applicable) are well secured

BEFORE using.

Benches supplied by Yamaha are designed for seating only. No

other uses are recommended.

NOTICE:

Service charges incurred due to a lack of knowledge relating to how

a function or effect works (when the unit is operating as designed)

are not covered by the manufacturer’s warranty, and are therefore

the owners responsibility. Please study this manual carefully and

consult your dealer before requesting service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe and

environmentally friendly. We sincerely believe that our products and

the production methods used to produce them, meet these goals. In

keeping with both the letter and the spirit of the law, we want you to

be aware of the following:

Battery Notice:

This product MAY contain a small non-rechargeable battery which (if

applicable) is soldered in place. The average life span of this type of

battery is approximately five years. When replacement becomes

necessary, contact a qualified service representative to perform the

replacement.

This product may also use “household” type batteries. Some of

these may be rechargeable. Make sure that the battery being

charged is a rechargeable type and that the charger is intended for

the battery being charged.

When installing batteries, do not mix batteries with new, or with bat-

teries of a different type. Batteries MUST be installed correctly. Mis-

matches or incorrect installation may result in overheating and

battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all

batteries away from children. Dispose of used batteries promptly

and as regulated by the laws in your area. Note: Check with any

retailer of household type batteries in your area for battery disposal

information.

Disposal Notice:

Should this product become damaged beyond repair, or for some

reason its useful life is considered to be at an end, please observe

all local, state, and federal regulations that relate to the disposal of

products that contain lead, batteries, plastics, etc. If your dealer is

unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the bottom of the product. The model

number, serial number, power requirements, etc., are located on this

plate. You should record the model number, serial number, and the

date of purchase in the spaces provided below and retain this man-

ual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-BP (bottom)

PLEASE KEEP THIS MANUAL

3

1. IMPORTANT NOTICE: DO NOT

MODIFY THIS UNIT!

This product, when installed as indicated in

the instructions contained in this manual,

meets FCC requirements. Modifications

not expressly approved by Yamaha may

void your authority, granted by the FCC, to

use the product.

2. IMPORTANT: When connecting this

product to accessories and/or another

product use only high quality shielded

cables. Cable/s supplied with this product

MUST be used. Follow all installation

instructions. Failure to follow instructions

could void your FCC authorization to use

this product in the USA.

3. NOTE: This product has been tested and

found to comply with the requirements

listed in FCC Regulations, Part 15 for Class

“B” digital devices. Compliance with these

requirements provides a reasonable level

of assurance that your use of this product

in a residential environment will not result

in harmful interference with other electronic

devices. This equipment generates/uses

radio frequencies and, if not installed and

used according to the instructions found in

the users manual, may cause interference

harmful to the operation of other electronic

devices. Compliance with FCC regulations

does not guarantee that interference will

not occur in all installations. If this product

is found to be the source of interference,

which can be determined by turning the

unit “OFF” and “ON”, please try to eliminate

the problem by using one of the following

measures:

Relocate either this product or the device

that is being affected by the interference.

Utilize power outlets that are on different

branch (circuit breaker or fuse) circuits or

install AC line filter/s.

In the case of radio or TV interference, relo-

cate/reorient the antenna. If the antenna

lead-in is 300 ohm ribbon lead, change the

lead-in to co-axial type cable.

If these corrective measures do not pro-

duce satisfactory results, please contact

the local retailer authorized to distribute

this type of product. If you can not locate

the appropriate retailer, please contact

Yamaha Corporation of America, Electronic

Service Division, 6600 Orangethorpe Ave,

Buena Park, CA90620

The above statements apply ONLY to those

products distributed by Yamaha Corpora-

tion of America or its subsidiaries.

FCC INFORMATION (U.S.A.)

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med bat-

teri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som

rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruk-

tion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalm-

istajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het

apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdei-

ing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the end of the service life

please consult your retailer or Yamaha Service Center as follows:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical waste.

(lithium disposal)

(lithium caution)

4

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,

short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

• Do not open the instrument or attempt to disassemble the internal parts or

modify them in any way. The instrument contains no user-serviceable

parts. If it should appear to be malfunctioning, discontinue use immedi-

ately and have it inspected by qualified Yamaha service personnel.

• Do not expose the instrument to rain, use it near water or in damp or wet

conditions, or place containers on it containing liquids which might spill

into any openings.

• If the AC adaptor cord or plug becomes frayed or damaged, or if there is a

sudden loss of sound during use of the instrument, or if any unusual

smells or smoke should appear to be caused by it, immediately turn off the

power switch, disconnect the adaptor plug from the outlet, and have the

instrument inspected by qualified Yamaha service personnel.

• Use the specified adaptor (PA-3B or an equivalent recommended by

Yamaha) only. Using the wrong adaptor can result in damage to the instru-

ment or overheating.

• Before cleaning the instrument, always remove the electric plug from the

outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which may

have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the

instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the AC adaptor cord near heat sources such as heaters or

radiators, and do not excessively bend or otherwise damage the cord,

place heavy objects on it, or place it in a position where anyone could walk

on, trip over, or roll anything over it.

• When removing the electric plug from the instrument or an outlet, always

hold the plug itself and not the cord.

• Do not connect the instrument to an electrical outlet using a multiple-con-

nector. Doing so can result in lower sound quality, or possibly cause over-

heating in the outlet.

• Unplug the AC power adaptor when not using the instrument, or during

electrical storms.

• Before connecting the instrument to other electronic components, turn off

the power for all components. Before turning the power on or off for all

components, set all volume levels to minimum. Also, be sure to set the

volumes of all components at their minimum levels and gradually raise the

volume controls while playing the instrument to set the desired listening

level.

• Do not expose the instrument to excessive dust or vibrations, or extreme

cold or heat (such as in direct sunlight, near a heater, or in a car during the

day) to prevent the possibility of panel disfiguration or damage to the inter-

nal components.

• Do not use the instrument near other electrical products such as televi-

sions, radios, or speakers, since this might cause interference which can

affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might acci-

dentally fall over.

• Before moving the instrument, remove all connected adaptor and other

cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thin-

ners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.

Also, do not place vinyl, plastic or rubber objects on the instrument, since

this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and

do not use excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or uncom-

fortable volume level, since this can cause permanent hearing loss. If you

experience any hearing loss or ringing in the ears, consult a physician.

■ REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which

permits internal data to remain stored even when the power is off. When

the backup battery needs replacing, the message "Err1" appears in the dis-

play. When this happens, immediately back up your data (using an external

device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then

have qualified Yamaha service personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to prevent

the possible serious hazards. Always have qualified Yamaha service per-

sonnel replace the backup battery.

• Never place the backup battery in a location that a child can reach, since a

child might accidentally swallow the battery. If this should happen, consult

a physician immediately.

■ SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer

MDF3, in order to help prevent the loss of important data due to a malfunc-

tion or user operating error.

Always turn the power off when the instrument is not in use.

Yamaha cannot be held responsible for damage caused by improper use

or modifications to the instrument, or data that is lost or destroyed.

(3)-6

5

Congratulations and thank you for purchasing the Yamaha AN200 Desktop

Control Synthesizer!

The AN200 is a combination tone generator and sequencer that puts an enormous amount of

sonic power and real-time performance control in an exceptionally compact and easy-to-use “desktop”

package. As one of the Loopfactory group of instruments, it’s an amazingly high-quality and versatile

tool for loop-based music production. Use it on your gigs, as part of your DJ setup — or as your

secret weapon in your studio arsenal.

With eighteen knobs and umpteen switches, many of them “dedicated” — meaning that a con-

trol does specifically and ONLY what its name indicates — the AN200 is a synthesizer control freak’s

dream.

Powering the incredibly rich and huge analog-like Voices of the AN200 is the Analog Physical

Modeling synthesis system. It not only features the same familiar oscillator, filter and other sound-

shaping controls found on traditional analog synthesizers — it gives you the full spectrum of warm, fat,

and punchy sounds that made those legendary instruments famous.

Play the exceptionally high-quality analog-style Voices of the AN200 with full 5-note polyphony

— from the built-in keyboard or from a MIDI device. Use the built-in 16-step sequencer to create your

own synth and rhythm sequences. And power up the full-featured AN200 Editor on your computer —

to tap into ALL the amazing sonic power the AN200 has to offer.

There’s a lot of important, helpful information in these pages. So read through this manual

carefully — and get the most out of your sophisticated new AN200.

* The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of

their respective companies.

* The screens as illustrated in this owner’s manual are for instructional purposes only, and may appear somewhat

different from the ones of your instrument.

● Packing List

The following items have been included with your AN200. Check to see that you have every-

thing listed here.

• Owner's Manual

• CD-ROM

• AC Power Adaptor*

* Power supply recommendation may vary from country to country. Please check with

your nearest Yamaha dealer for further details.

6

Contents

Contents ............................................................ 6

How to Use This Manual .................................. 8

Panel Controls .................................................. 9

Quick Start Guide ........................................... 11

Parameter Structure ....................................... 12

Tone Generator Signal Flow &

Effect Block Diagram .............................. 13

Chapter 1

Pattern Basics ........................ 15

Tip 1 Playing a Pattern ............................................... 15

Tip 2 Exploring other Patterns.................................... 15

Tip 3 Switching Patterns on the fly ............................ 16

Tip 4 Playing it backwards ......................................... 17

Tip 5 Changing the bpm ............................................. 17

Tip 6 Messing with the Beat....................................... 18

Tip 7 Double time, half time....................................... 18

Chapter 2

Song Playback......................... 19

Tip 8 Playing a Song................................................... 19

Chapter 3

The Keyboard..........................20

Tip 9 Playing the keyboard......................................... 20

Tip 10 Changing octaves .............................................. 20

Tip 11 Playing the Rhythm track.................................. 21

Tip 12 Velocity............................................................. 21

Chapter 4

Scene Basics ...........................22

Tip 13 Switching Scenes .............................................. 22

Tip 14 Morphing........................................................... 22

Chapter 5

Effects.................................... 23

Tip 15 What is an Effect? ............................................. 23

Tip 16 Playing with the Effects .................................... 24

Tip 17 Distortion........................................................... 26

Chapter 6

Filter (VCF) .............................. 27

Tip 18 Cutoff and Resonance ....................................... 27

Tip 19 Wild, wild filter sweeps — VCF Types............ 28

Tip 20 FEG Depth ........................................................ 30

Chapter 7

Nuts and Bolts ........................ 31

Tip 21 Show Value ....................................................... 31

Tip 22 Original Value................................................... 32

Tip 23 Panic! (or “Uh-oh...What do I do now?”) ......... 33

Tip 24 Factory Reset..................................................... 34

Chapter 8

Pattern Playback ....................35

Tip 25 Adjusting the Gate Time....................................35

Tip 26 Transposing the key...........................................36

Tip 27 Swing .................................................................37

Tip 28 Muting tracks .....................................................37

Tip 29 Muting notes during playback ...........................38

Tip 30 Mixer controls — Pan and Volume ...................39

Tip 31 Assigning Patterns to the keyboard buttons.......40

Chapter 9

LFO Modulation........................ 41

Tip 32 Modulating the volume......................................41

Tip 33 Modulating the Filter .........................................42

Tip 34 Modulating the pitch..........................................42

Tip 35 Changing the LFO wave....................................43

Chapter 10

EG Basics ............................... 46

Tip 36 Shaping the sound with EG ...............................46

Tip 37 Using EG to control the Filter (FEG) ................49

Tip 38 More about FEG Depth......................................50

Tip 39 Going negative — with FEG Depth ..................51

Chapter 11

Advanced Sound Shaping

Controls ................................. 52

Tip 40 Portamento — the famous gliding pitch effect..52

Tip 41 Metallic sounds and more — with FM Depth ...53

Tip 42 Balancing the waves — VCO 1 and 2 ...............54

Tip 43 Noise Level........................................................55

Tip 44 Making waves — VCO 1 and VCO 2 ...............55

Tip 45 Fat, phatter and phattest!....................................57

Tip 46 Sync Mode and Sync Pitch ................................58

Tip 47 Creating your own original Scenes —

and saving them .................................................59

Chapter 12

Free EG .................................. 60

Tip 48 Free EG..............................................................60

Tip 49 Changing the Length of your Free EG tracks....62

Chapter 13

Pattern Power Tips................. 63

Tip 50 Hit the top of the Pattern! ..................................63

Tip 51 Shake, Retrigger, and Roll!................................64

Tip 52 Selecting a Voice (Copy Voice) ........................65

Tip 53 Starting a Pattern on a different note .................65

Tip 54 Transposing the pitch of a Pattern .....................66

Tip 55 Copying a Pattern (Sequence)............................67

Contents

Contents

7

Chapter 14

Pattern Recording ...................68

Tip 56 Erasing a Pattern — and starting from scratch.. 68

Tip 57 Setting the Metronome lead-in.......................... 69

Tip 58 Recording a Pattern in real time........................ 70

Tip 59 Step Recording.................................................. 72

Tip 60 Storing your new Pattern................................... 79

Chapter 15

Song Recording ....................... 81

Tip 61 Erasing a Song — and starting from scratch..... 81

Tip 62 Creating a Song................................................. 82

Tip 63 Setting the BPM (tempo) for your new Song.... 84

Tip 64 More Song editing features ............................... 85

Tip 65 Adding Patterns to your Song — Insert Pattern 87

Tip 66 Taking Patterns out of your Song —

Delete Pattern.................................................... 88

Tip 67 Storing your new Song...................................... 89

Chapter 16

Speed Tips for Power Users .... 90

Tip 68 Using [SHIFT] with the [DATA] knob —

for leaps and bounds! ........................................ 90

Tip 69 Using [SHIFT] to “hold” a setting .................... 91

Tip 70 Gang-editing a group of Steps........................... 91

Chapter 17

Real World Tips .......................92

Tip 71 Adjusting the Gate Time with the [DATA]

knob................................................................... 92

Tip 72 Adjusting the pitch with the [DATA] knob ...... 92

Tip 73 Changing the pitch with the keyboard .............. 93

Tip 74 Stutter fill-in 1................................................... 94

Tip 75 Stutter fill-in 2................................................... 94

Tip 76 Stutter fill-in 3................................................... 95

Tip 77 Assigning Patterns for your gig......................... 95

Tip 78 Chord progressions with Pattern Assign........... 95

Chapter 18

Master Class 1 — Onstage........96

Tip 79 Sync the AN200 to your sequencer................... 96

Tip 80 Changing the MIDI channels ............................ 97

Tip 81 Loopfactory setup — with the SU200 .............. 98

Tip 82 Loopfactory sync system — with the DX200... 99

Tip 83 Loopfactory sampling ..................................... 100

Tip 84 Full DJ system — turntable and all! ............... 101

Tip 85 Loopfactory megasetup — with MIDI Thru... 101

Chapter 19

Master Class 2 —

Advanced Music Production ... 103

Tip 86 Playing the AN200 as a synthesizer ................103

Tip 87 Recording to a sequencer.................................104

Tip 88 Recording AN200 knob moves to a sequencer105

Tip 89 Editing the AN200 from a computer ...............106

Tip 90 MIDI sequencer controls —

Start, Continue, Stop........................................107

Tip 91 Saving Patterns and Songs to a MIDI data

filer...................................................................108

Tip 92 Loading back your saved Patterns and Songs..109

Appendix

Function Index...............................................110

About the Included CD-ROM........................112

Specifications................................................114

Error Messages .............................................114

Troubleshooting............................................115

Analog Physical Modeling Synthesis

and the AN200 ........................................116

MIDI Data Format...........................................118

MIDI Implementation Chart...........................139

Rhythm Track Instrument List .....................140

Pattern List.....................................................141

How to Use This Manual

8

How to Use This Manual

How to USE a manual? Sounds a bit obvious, we admit. (“Open it and read it.”) But here goes:

This tells you simply and in no uncertain terms how to set up your new AN200 and get sound out of it.

These are practical, no-nonsense applications that get you actually USING the machine.

If this is your first tone generator or synthesizer, fire up the AN200, open up the manual to Tip 1, and go

from there. Think of it as a game — the more tips you complete, the better you know the machine, and

the sooner you can reach your goal of becoming a true synth wizard. Pay particularly close attention to

the Power Hints scattered throughout — they’re great for further exploration.

If you have years of experience with analog synthesizers, and know all about cutoff frequency, reso-

nance, pulse waves, amplitude modulation, LFOs, VCOs, EGs, and MIDI — and you even dream in hexa-

decimal — skim through the tips anyway. There’s bound to be some interesting and helpful stuff here,

no matter what your level of expertise. If you need some pertinent info quickly, check the Tech Talk

boxes.

Lots of helpful, convenient information in this section, too. If something doesn’t work as expected, go to

Troubleshooting (page 115). If you want a clear, concise explanation of how the synthesizer of the

AN200 works, see Analog Physical Modeling Synthesis and the AN200 (page 116). If you’re not sure

where to go for help but you’ve got a key word in mind, check the Contents (page 6) or look through the

Function Index (page 110).

Have fun!

1 Go straight to the Quick Start Guide.

2 Work through the 92 Tips.

3 Refer to the Appendix when necessary.

Panel Controls

9

Panel Controls

Here’s a quick way to get familiar with your AN200! The front (or top) panel of the AN200 can be roughly

divided into four sections: Main, Control, Voice, and Keyboard. Look through the controls here, and check

out the Tips related to each of them for more information.

The Tip references by each control are not meant to be comprehensive. They either give the

first (or main) Tip in which the control appears, or the group of Tips that are most closely

related.

Main Voice

Control Keyboard

Panel Controls

10

These are the fundamental controls of the AN200 — for

changing modes, adjusting values, exiting from func-

tions, and so on.

Display and indicators

[SONG] .................................. Tips 8, 62

[PATTERN] .....................................Tip 1

[DATA] knob ............................ Tips 2, 68

[SHOW VALUE] ....................... Tips 21, 22

[STORE]........................... Tips 47, 60, 67

[EXIT]......................................... Tip 23

For the most part, these buttons are related to the Pat-

terns — especially for controlling record and playback

operations.

Start/Stop ......................................Tip 1

[TAP] ...........................................Tip 5

Record ....................... Tips 48, 50, 58, 59

[SWING] ................................ Tips 6, 27

[REVERSE].............................. Tips 4, 25

[SHIFT]................................. Tips 68, 69

[OCT <<] ............................... Tips 10, 62

[OCT >>] ............................... Tips 10, 62

[KEYBOARD] ........................... Tips 9, 26

[PATTERN SELECT]........... Tips 3, 31, 77, 78

[SYNTH TRACK]............................. Tip 28

[RHYTHM TRACK] .......................... Tip 28

These controls are for editing and changing the sound of

the Voices.

[SCENE] ................................Tips 13, 14

[FREE EG] ..............................Tips 48, 49

[VOLUME]

[LFO]................................. Tips 32 — 35

[EG] .................................. Tips 36 — 39

[DIST].........................................Tip 17

[COMMON]...................................Tip 45

[VCO 1] .......................................Tip 44

[SYNC]........................................Tip 46

[VCO 2] .......................................Tip 44

[EFFECT/MIXER] ................. Tips 15, 16, 30

[PORTAMENTO] .............................Tip 40

[FM DEPTH] ................................. Tip 41

[NOISE LEVEL] ..............................Tip 43

[VCF]................................. Tips 18 — 20

The Keyboard section has several main uses:

• Playing the Voices................... Tips 9, 86

• Selecting Patterns ...... Tips 2, 3, 31, 77, 78

• Controlling the Sequence Steps

..................................... Tips 29, 58, 59

• Selecting functions and operations

. Tips 28, 51 – 57, 59, 61, 65, 66, 79, 80, 85, 90 – 92

Main

Control

Voice

Keyboard

Quick Start Guide

11

Quick Start Guide

Once that you’ve got the AN200 out of the box and checked that all included items were indeed included, it’s

time to set everything up and get playing.

1 Turn the VOLUME control all the way down to the minimum.

2 Connect the OUTPUT jacks (L/MONO and R) to the inputs of your

recorder/mixer/amplifier.

If you’re using a mono system, use only the L/MONO jack. If you’re using headphones, connect them to

the PHONES jack.

3 Plug in the included power adaptor — first, one end into the DC IN termi-

nal, then the other into an AC outlet.

4 Turn on the power with the rear panel power switch. Then, turn on the

power of your recorder/mixer/amplifier.

The AN200 takes a little time to “warm up” after being turned on – roughly 20 seconds. After

the startup routine is finished, your AN200 is ready to play.

5 Press the Start/Stop button on the AN200 to start a Pattern and slowly

turn up the VOLUME control until the level is appropriate.

To stop the Pattern, simply press the Start/Stop button again.

And that’s all there is to it. Now go on to the Tips and start playing!

Headphones

Amplifer

Mixer

Recorder

or

AC

Adaptor

AN200 DC IN OUTPUT

PHONES

or

AC outlet

Parameter Structure

12

Parameter Structure

This diagram shows the structure and hierarchy of the Songs, Patterns and Voices of the AN200. As you

work with the AN200 and explore its various functions and features, refer back to this diagram to see how all

the pieces of the puzzle fit together.

User Pattern 128 256 Preset Patterns

128 User Patterns

10 User Songs

Song 1

Song 10

Measure 1

Pattern No.

Pitch Offset

Beat

Swing

Gate Time

Reverse

Track Mute

Measure 256

Pattern No.

Pitch Offset

Beat

Swing

Gate Time

Reverse

Track Mute

Measure 2

Pattern No.

Pitch Offset

Beat

Swing

Gate Time

Reverse

Track Mute

Synth

Track

Synth

Voice

LFO

EG

etc.

Free EG

Pan

Wet

Vol

Preset Pattern 1

Sequence

Step

116

Rhythm

Track 1

Step

116

Rhythm

Track 2

Step

116

Rhythm

Track 3

Step

116

BPM

Beat

Swing

Rhythm

Voice 1

Cutoff

Resonance

Rhythm

Voice 2

Cutoff

Resonance

Rhythm

Voice 3

Cutoff

Resonance

Effect

Type

Param

System

Gate Time

Reverse

Pattern Select Setup

Tone Generator Signal Flow & Effect Block Diagram

13

Tone Generator Signal Flow & Effect Block Diagram

The EQ processing is accessible only with the AN200 Editor software.

Synth track Distortion EQ

Effect section

Out

Rhythm track 1

Rhythm track 2

Rhythm track 3

14

This is NOT an owner’s manual!

This is NOT an owner’s manual!

At least not an ordinary one. But, then again, the AN200 is no ordinary

instrument. It’s packed with exciting, powerful, yet easy-to-use features that

give you complete, hands-on sonic control — plus tons of dynamic real-time

functions that can bring an extra edge to your live performances!

With all the digital power under this small hood, the AN200 is a stunning

new instrument of the future. Yet it also brings you the very best of the old

analog world — just look at all those knobs for twisting and tweaking your

sound!

We know you don’t like reading manuals. But you owe it to yourself to look

through this collection of hot tips. They show you how to get the most out of

your new AN200 in the shortest time possible.

It’s like having an expert programmer take you by the hand and show you

the ropes, sharing all the tricks and techniques you need to be a master on

the instrument yourself. These tips take you from the bare-bones basics, to

advanced power tips that get you pumping out fat sounds and happening

tracks — in no time flat!

So jump in …

15

Chapter 1

Pattern Basics

Start your synthesizer apprenticeship right here. In this section, you’ll learn

about playing Patterns, and how to use some of the AN200’s powerful tools to

change the sound as it’s playing.

1Playing a Pattern

Here’s where all the fun starts — with the pre-programmed Patterns.

Just press the Start/Stop button, and listen to the Pattern play. The Pattern repeats (loops) until you press

the button again to stop it.

● What exactly are Patterns?

The Patterns are the basic musical building blocks of the AN200 — they pro-

vide an instrument sound (also called a “Voice”), plus a looping phrase using

that Voice.

These pre-recorded Patterns give you the rhythmic and melodic foundation you

need for laying down tracks — in your own recording or in performance. Keep

in mind that you can create your own Patterns as well. (See page 68.)

2Exploring other Patterns

The AN200 features a total of 256 specially pre-programmed Patterns. Try some of these out now.

Use the [DATA] knob to select a different Pattern. Notice how the Pattern number in the display changes.

Then press the Start/Stop button to play the Pattern.

You can also change Patterns during playback! Turn the [DATA] knob while the

Pattern is playing — the new Pattern starts playing immediately after the previ-

ous one is finished.

Pattern Mode

Select the Pattern mode by pressing the

[PATTERN] button. The letter “P” in the dis-

play indicates the Pattern mode.

Keep in mind that you cannot select Voices

separate from the Patterns. If you want to

hear a certain Voice, select the Pattern con-

taining that Voice. You can copy that Voice

to a different Pattern; see Tip 52.

Chapter 1 Pattern Basics

16

3Switching Patterns on the fly

Try mixing it up now. The AN200 lets you change Patterns as easily as pressing a button...

Thanks to the Pattern Select function, you can chain together Patterns in real time from the keyboard — as

you perform.

Select a Pattern, then press [PATTERN SELECT].

Start the Pattern. While the Pattern is playing, press one of the keyboard buttons (except 1, 4, and 8).

Notice how a new Pattern starts playing as soon as the previous one is finished. This is a great way to string

together various Patterns in a live performance — and create your own songs on the fly. If you want, you

can use the keys to select a Pattern before starting playback as well.

The button lights.

Avoid these keys — they won’t change the Pattern.

• Repeats

Unless you want the same Pattern to repeat several times, don’t press a

keyboard button more than once. On the other hand, you can quickly

program the Pattern sequence for an entire song if you want, without

having wait for each Pattern to play back. The AN200 remembers all the

buttons you press and how many times you press them, and automati-

cally plays back the Patterns as you programmed — repeats and all.

• Other octaves, more Patterns

Before starting the Pattern, use the [OCT <<]/[OCT >>] buttons to

change the octave range of the keys. That’ll let you select other Pat-

terns!

• Assign them yourself

The Pattern-to-key assignments have been made for you. However, you

can make your own assignments, and put the Patterns you want to use

close together for easy access. (See page 40.)

17

Chapter 1 Pattern Basics

4Playing it backwards

The Reverse function lets you completely turn the Pattern around, and play all the notes backwards.

Before you start the Pattern (or during playback, if you want), simply press the [REVERSE] button.

5Changing the bpm

Now, that you’ve got a Pattern playing, try changing its speed. (This is also called “bpm” — beats per

minute.) The AN200 gives you two ways to do this — tapping out the speed manually, or using the [DATA]

knob to adjust it.

1 Tap the [TAP] button three or four times at the desired speed.

The new bpm is shown in the display. The [TAP] button and BPM lamp flash in time.

2 If you want, adjust the bpm by turning the [DATA]

knob.

3 Press the Start/Stop button to start the Pattern at the

new bpm.

You can also change the bpm while the Pattern is playing. To do this, simply

start the Pattern before step #1 above.

12

3

BPM

Determines the speed or tempo of a Pattern.

Operation

Use [TAP] button to tap tempo; then adjust

with [DATA] knob. Or hold down [SHIFT]

and press [TAP/BPM]; then use [DATA]

knob.

Range

20.0 — 300.0 bpm

Chapter 1 Pattern Basics

18

6Messing with the Beat

There’s more than one way to mess with the rhythm. Actually, the AN200 gives you a truckload of ways you

can disturb and deconstruct your beats. One of these is the (appropriately named) Beat function.

You’ll be meeting up with this control again when you record your own Patterns. But let’s see how you can

use it now to change the feel of a Pattern while it’s actually playing...

1 Select a Pattern and start it by pressing the Start/Stop button.

2 While the Pattern is running, hold down [SHIFT] and press [SWING]

(BEAT).

Now, you’ve got Beat called up and ready, so turn the [DATA] knob to

change the setting.

You can tell from the lit number buttons how the Pattern is affected. When

set to “16,” all 16 step buttons are lit and all 16 steps play back normally.

Change the setting to “12,” and Steps 13 - 16 drop out. Notice how the

Pattern not only slows down but “feels” different, too. Change Beat to “8,”

and you’ve only got Steps 1 - 8 happening. That’s half of the original 16-

step Pattern, and naturally, it plays back at half the speed.

7Double time, half time

Here’s a dramatic way to instantly double the speed of a Pattern — or slow it down by one-half.

Simply hold down [SHIFT] and press the [OCT <<] button — just before the beginning of the Pattern — to

slow down the bpm by one-half. The first half of the Pattern plays at the new speed, before returning to the

original speed.

To double the bpm, hold down [SHIFT] and press the [OCT >>] button just before the top of the Pattern. The

Pattern plays back twice at the new speed, then returns to normal.

Beat

Determines the number of steps in the

selected Pattern for playback: 16, 12, or 8.

To set, hold [SHIFT] and press [SWING], then

use the [DATA] knob.

Range

16, 12, 8 steps

19

Chapter 2

Song Playback

As we said before, the Patterns are the basic building blocks of the AN200.

But what can you build with them?

Songs!

Our team of expert programmers has created a few Songs using the various

Patterns of the AN200. Check these out and hear just how powerful and versa-

tile the AN200 can be for recording your own material.

8Playing a Song

Let’s select a Song now and play it.

1 Press the [SONG] button.

2 Select the desired Song by turning the [DATA] knob.

3 Press the Start/Stop button to play the Song.

For more about Songs and how to create your own, see page 81.

Song Mode

Pressing the [SONG] button selects the Song

mode.

The letter “S” indicates

the Song mode.

20

Chapter 3

The Keyboard

Small and compact as it is, the AN200 also features a one-octave keyboard for

playing and recording the sounds of the instrument.

9Playing the keyboard

The built-in keyboard is small — just one octave — but it lets you use all the features of the AN200 without

having to connect a separate keyboard. Try it out now.

1 Press [KEYBOARD].

2 Play the keyboard.

The buttons give you a full octave, from C to C. Keep in

mind that buttons 1, 4, and 8 don’t make any sound here —

they’re not part of the scale.

10 Changing octaves

Naturally, one octave doesn’t cover a whole lot of ground. That’s why we’ve included convenient Octave but-

tons, so you can shift the octave range of the keyboard up or down as needed — quickly and easily.

1 While the [KEYBOARD] button is lit, press [OCT >>].

The display shows “C4,” indicating the octave. (“C3” is normal.) Play

the keyboard and listen to the sound. Try some other octave settings,

pressing [OCT <<] and [OCT >>] as desired to shift the octave.

The button lights.

C D E F G A B C

Db (C#) Eb (D#) Gb (F#) Ab (G#) Bb (A#)

Octave

Determines the octave range of the built-in

keyboard. Press [OCT <<] or [OCT >>] to

change. ([DATA] knob can also be used after

pressing one of these buttons.) Press both

buttons simultaneously to restore normal

range. Some notes may not sound for the

maximum values.

Range

C-2 — C3 (normal) — C8

21

Chapter 3 The Keyboard

11 Playing the Rhythm track

The AN200 also has a special Rhythm track (actually there are three.) that let you play and record drum, per-

cussion, bass and other sounds — giving you the power to easily create your own ultra-hip beats. Naturally,

you can play all these sounds straight from the built-in keyboard...

1 With the [KEYBOARD] button lit, press [RHYTHM TRACK].

Press the button repeatedly to switch among the three Rhythm tracks: 1, 2, and 3.

2 Play the keyboard.

Remember — you can use the [OCT <<]/[OCT >>] buttons to change the range, and call up a whole dif-

ferent set of sounds. For more details on how to use the Rhythm tracks, see page 140.

12 Velocity

All the keys of the built-in keyboard play at a fixed volume — no matter how hard or how soft you play them.

However, you can set this fixed volume yourself, and make the sound as soft or as loud as you need it.

This Velocity setting also controls how loud the sounds are, when you record your own Patterns in Real-

time recording (page 70).

1 Hold down [SHIFT] and press button [16], repeatedly

if necessary, until “<EL” appears in the display.

2 Use the [DATA] knob to change the value.

Make sure the [KEYBOARD] button is lit, and try out different settings.

The button lights.

Velocity

Determines the default Velocity setting for the

built-in keyboard of the AN200. This affects

the loudness of the Synth and Rhythm track

sounds, when played from the keyboard. It

also affects the loudness of Real-time

recorded tracks, when the built-in keyboard is

used to record notes.

Velocity is set in the Utility parameters. Hold

down [SHIFT] and press button [16], repeat-

edly if necessary, until “<EL” appears in the

display. Use the [DATA] knob to change the

value.

Range

1 — 127

22

Chapter 4

Scene Basics

Scene is one of the most powerful and exciting features of the AN200. It lets

you “morph” between two completely different sounds — in real time, as the

Pattern is playing.

13 Switching Scenes

Here we’ll switch between Scenes, for instant sound changes.

Select a Pattern and start it up. While it’s playing, press the SCENE [2] button. Hear how the sound

changes? Press SCENE [1] to go back to the first sound. Try to do this on the beat, alternating between the

two in rhythm.

14 Morphing

Let’s try something more subtle now! While playing back a Pattern, turn the [SCENE] knob slowly, back and

forth.

Notice how the sound gradually “morphs” between 1 and 2 — in real time as you work the knob! Do this in

sync with the rhythm and create your own shifting textures!

For more details on Scene, see page 59.

23

Chapter 5

Effects

The effects of the AN200 are more than just icing on the cake — they’re pow-

erful tools you can use to completely transform the sound, and put your tracks

over the top.

15 What is an Effect?

The Effects are the last element in the sound chain — they are the last bit of processing done to the sound

before you hear it.

These real-time Effects — Delay, Flanger, Phaser, Overdrive/Amp — let you mangle the sound in wild and

exciting ways. Although it’s not in the Effect section, there’s also a Distortion effect that lets you add any-

thing from a warm grunge to a full-on metallic assault.

The Effect controls are exceptionally simple and easy to use. Pressing the [TYPE] button changes the Effect

type, while the [PARAM] and [WET] knobs let you adjust the sound and depth of the Effect.

Changes the Effect

type (Delay, Flanger,

Phaser, Overdrive/

Amp).

Changes the sound of the Effect. (Each

effect lets you control a different key

parameter.)

Changes the depth or degree of the Effect.

When set to the minimum (all the way left),

the Effect sound cannot be heard.

[WET] knob

Range

0 — 127 (Same for all Effect types.)

Chapter 5 Effects

24

16 Playing with the Effects

Let’s take a look at each of the Effects, and try applying them to the sound.

Before you begin, set the [WET] knob up to about 2:00 or 3:00.

Generally, you should keep the knob at this position. This ensures that you can

properly hear the Effect. (Tweak it later as needed to adjust the Effect balance.)

Now, try out each Effect, and use the same procedure:

1 Select the Effect type.

Press the [TYPE] button, then use the [DATA] knob. Thirteen different types are available.

2 Adjust the Effect depth.

Use the [PARAM] knob.

● Delay

(Delay 1 — 3)

Delay is a popular effect that repeats the sound in rhythm. Play a Pattern and select Delay 1 (dLY1). Try

setting the [PARAM] knob to around 3:00. Hear how the Delay sound pulses with the original sound to cre-

ate a different, more complex yet “spacier” feel. Try the other Delay types, too.

The key to using Delay effectively (no pun intended) is to keep it in sync with the Pattern. This is a little

tricky and may take some practice. Slowly work the [PARAM] knob and listen carefully for changes in the

rhythm. Keep in mind, there are no “wrong” or “right” settings here — use your ears to come up with set-

tings that feel good.

● Reverb

Reverb (r<rb) is a “hidden” type in the Delay category and it lets you apply an ambient wash of reflections

to the sound. Used subtly, it can make your tracks warmer and more natural sounding — as if they were

being played in a concert hall. More extreme settings can drench the sound in reverb and produce spacy,

other-worldly effects.

Try this out on one of the Patterns. Select the Pattern and play it, then tweak the [PARAM] and [WET]

knobs, trying different settings, and hearing how they change the sound. Lower settings result in a shorter

reverb time as well as an overall brighter sound. Higher settings produce a longer reverb time and dampen

the high frequencies as well for a softer, more muffled sound.

Keep in mind that Reverb — like all the Effects — is applied to all tracks, Synth and Rhythm 1 - 3.

25

Chapter 5 Effects

● Flanger

(Flanger 1, 2)

This modulation-based Effect produces a “swishing” or “tunneling” sound. Play a Pattern and select Flanger

1 (FLG1).

Take the [PARAM] knob from minimum to maximum, and notice how the sound grows from a subtle sweep-

ing, metallic sound — like a jet airplane taking off — to a virtually pitch-less sonic meltdown.

● Chorus

Chorus is another modulation effect (“hidden” in the Flanger category) that adds a subtle warmth and depth

to the sound — although you can go for some extreme effects, too.

Try Chorus (CHor) out on a Pattern. Play around with the [PARAM] knob, trying different settings — and

listen for the changes.

Start out with [PARAM] set to 7:00 (minimum). This is no Chorus modulation at all. Now, bring it up slowly

to 8:00, then around 9:00. Hear the modulation working? Doesn’t the sound seem more animated? Even

fatter?

Try higher settings, as well — going to 12:00, then slowly up to 3:00 and beyond. Notice how the pitch

wavers in strange ways — and hear how the sound even brightens up for the highest values.

● Phaser

(Phaser 1 - 3)

Another modulation Effect, Phaser is similar to Flanger, but much more subtle.

It’s perfect for adding some warm animation and movement to the sound.

Play a Pattern and select (PHS1). Set the [PARAM] knob to the minimum (0)

and gradually turn it up — and listen to how the modulation enhances the

sound. Go on to the other Phaser types as well, for more sonic variations.

● Overdrive/Amp

(Amp 1 - 3)

This Effect simulates the overdriven sound of a guitar amp, and lets you apply

varying degrees of distortion to the sound. Start a Pattern and try Amp 1

(AmP1), and tweak the [PARAM] knob. Notice how minimum values produce

a warm, edgy “bite,” while maximum values deliver a full, heavy metal

onslaught.

Try all three Overdrive/Amp types — the differences may not be dramatic, but

they give you a variety of warm and crunch-laden distortion effects to work

with. Some of the Patterns sound especially good with a little grunge...

Effect

Effect Type

Allows you to select one of thirteen Effect

types for processing the sound of the tracks

(Synth and Rhythm 1 - 3). Press the [TYPE]

button, then use the [DATA] knob.

Settings

Delay 1 - 3, Reverb, Flanger 1 and 2, Cho-

rus, Phaser 1 - 3, Overdrive/Amp 1 - 3

Parameter (PARAM)

In general, this allows you to control the

depth of the Effect. (The actual parameter

differs depending on the selected Effect

type.) Use the [PARAM] knob to adjust.

Range

0 — 127

Wet

Allows you to control the volume of the Effect

— in other words, the wet/dry balance. Use

the [WET] knob to adjust.

Range

0 — 127

Chapter 5 Effects

26

17 Distortion

The last tip introduced you to a distortion effect, the Overdrive/Amp types. Here’s yet another way to dirty

up the sound — Distortion.

Although not strictly part of the Effect section, Distortion is a strong effect in its own right. Compared to the

warm Overdrive/Amp Effect types, it has more edge and bite. When applied to many of the AN200’s Voices,

it is capable of creating very convincing guitar-like distortion effects.

1 Press the DIST [SWITCH] button. (The lamp turns on.)

2 Adjust the balance with the [DATA] knob.

This lets you mix the “dry” no-Distortion sound with the “wet” Distortion-

only sound. Try different settings and hear how they change the sound.

Notice how a fully wet “U63” results in a very brittle, edgy sound.

Distortion

Allows you to apply a distortion effect to the

Synth track. (Note that this does not affect

any of the Rhythm tracks.) Press the DIST

[SWITCH] button to turn Distortion on, then

use the [DATA] knob to adjust the dry/wet

balance. A value of “d63” has only the orig-

inal, unprocessed sound, while a value of

“U63” has only the Distortion-processed

sound.

Range

d63 (dry) — d=U (dry = wet) — U63

(wet)

27

Chapter 6

Filter (VCF)

The VCF or Filter section is one of the most powerful and dynamic on the

entire instrument. Used in the right way, the VCF controls are capable of

transforming sterile, boring sounds into something really dynamic and excit-

ing. Try out the following Tips and see what we mean...

18 Cutoff and Resonance

For your Filter explorations, here’s the best place to start.

These two Filter controls work interdependently — changing one of them affects the sound of the other.

Turn [CUTOFF] to the left and the sound becomes darker or “muffled.” Turn it to the right and the sound

becomes brighter. Turn [RESONANCE] to the right and the Filter peak becomes sharper and more pro-

nounced. Turn it to the left and hear how the Filter flattens out.

Also keep in mind that the overall effect of Cutoff and Resonance is controlled by FEG Depth (Tip 20 below).

If FEG Depth is set too high or too low, you may hear little or no change in the sound — no matter how furi-

ously you twist the [CUTOFF] and [RESONANCE] knobs.

Darker Brighter Flatter More pronounced

Cutoff

Determines the frequency at which the Filter effect starts. The higher

the value, the higher the frequency.

Range

0 — 127

Volume

Frequency (pitch)

Cutoff frequency

Resonance

Determines the emphasis of the resonant peak of the Filter (at the Cutoff

frequency).

Range

Synth track : -12 — 102

Rhythm track 1-3 : -64 — 63

Frequency (pitch)

Volume

Resonance

Chapter 6 Filter (VCF)

28

19 Wild, wild filter sweeps — VCF Types

The enormous power and versatility of the Filter section continues with the VCF Types. These hidden varia-

tions put some really heavy-duty sonic fireworks at your fingertips — just what you need to blow the crowd

away.

Try these settings out for size...

1 Call up a Pattern and press the Start/Stop button. Start out by setting

both [RESONANCE] and [FEG DEPTH] to around 1:00.

2 Simultaneously hold down [SHIFT] and turn the [CUTOFF] knob.

Keep your eyes on the display as you do this — the setting will change! For starters, select “12db” —

which should be around 11:00.

In this shifted condition, the [CUTOFF] knob becomes the VCF Type selector. (That’s why “TYPE” is

printed in black below the knob.)

3 Now, take your finger from the [SHIFT] button, and the knob reverts to its

original identity as the Cutoff control.

Turn it very slowly — especially between 8:00 and 1:00 — as you listen to the gradual changes in the

sound.

4 Not wild enough for you? Let’s move onto another type then...

Hold down [SHIFT] again and turn the [CUTOFF] knob to around 12:00, so that “bPF” is called up in the

display.

Is that any wilder? Still too tame? Let go of [SHIFT] and try tweaking the [CUTOFF] knob between 8:00

and 2:00.

5 Let’s try one more. Hold [SHIFT] and set the [CUTOFF] knob to around

2:00, so that the “HPF” type is selected.

Things can get kind of crazy here, too. Tweak the [CUTOFF] knob some more — especially between

12:00 and 3:00 — and hear what kind of madness you can generate.

Don’t forget the [RESONANCE] and [FEG DEPTH] knobs! Work with them too as you tweak the

[CUTOFF] knob. There’s a lot of sonic variation to be had in just these three controls.

29

Chapter 6 Filter (VCF)

VCF Type

Determines the filter type used for the VCF section. The filter passes only

a specified range of frequencies while cutting off the rest. There are sev-

eral completely different types, as well as a variety of filter slopes (see

below).

Settings

24db (Low Pass Filter 24dB/octave), 18db (LPF 18dB/octave),

12db (LPF 12dB/octave), bPF (Band Pass Filter), HPF (High Pass

Filter), bEF (Band Eliminate Filter)

24db, 18db, 12db

The Low Pass Filter passes only those frequencies below the specified

cutoff point. Cutoff curves of 24dB/octave, 18dB/octave and 12dB/

octave can be selected.

BPF

The Band Pass Filter passes only those frequencies in the specified

range, with a cutoff curve of 12dB/octave.

HPF

The High Pass Filter passes only those frequencies above the specified

cutoff point, with a cutoff curve of 12dB/octave.

BEF

The Band Eliminate Filter passes only those frequencies outside the

specified frequency range. The Resonance setting (see page 27) deter-

mines the eliminate range.

Cutoff frequency Frequency

Level Cutoff range

12dB/oct

18dB/oct

24dB/oct

Range passed

Frequency

Level

Cutoff range Cutoff range

Center frequency

Range passed

Frequency

Level

Cutoff range

Cutoff frequency

Cutoff range

Level

Range passed Range passed

Chapter 6 Filter (VCF)

30

20 FEG Depth

Technically, the FEG Depth controls how the Filter works over time. This is even shown on the panel for you:

With the the [CUTOFF] and [RESONANCE] knobs set respectively to 9:00 and

3:00 (see above), slowly turn the [FEG DEPTH] knob.

Depending on the Pattern selected, negative settings (setting the knob left of

12:00) may result in little or no sound. But once you turn the knob past the

halfway point (12:00), you’ll start to hear the filter “opening up.” Turn the knob

slowly for gradual filter sweep effects. Also try working the knob in time with

the rhythm for dynamic “wah” effects.

Indicates a “dip” in the filter,

just at the start of each note.

Indicates a filter “peak,” just at

the start of the note.

FEG Depth

Determines the degree or depth of the filter

effect over time. Positive values result in a

normal EG; negative values use a “reverse”

EG — producing a filter sweep effect that

dips and comes back up, rather than one that

peaks and goes down.

Range

-128 — 127

31

Chapter 7

Nuts and Bolts

Let’s take a break from the fun and games for a moment. Check out the fol-

lowing functions and familiarize yourself with them — they’re very useful,

convenient tools you’ll need as you work with the AN200.

21 Show Value

Sometimes you’ll want to see what value a knob or button has been set to. Remember that when you call up

different Patterns, the knobs won’t correspond to the settings, so just looking at the knobs won’t help. And

if you turn the knob or press the button, you’re likely to change the setting. What’s a poor knob twister to

do?

Use the Show Value function. This convenient tool lets you see virtually any of the Voice-related settings —

without disturbing or changing them.

1 While you’re editing the Voice of a Pattern, press the [SHOW VALUE] but-

ton.

2 Simply turn the knob of the parameter whose value you’d like to see.

For example, to see the Portamento Time value that’s been set for the Voice, turn the [PORTAMENTO]

knob.

Naturally, Show Value can be used with all Voice-related buttons as well. For example, to see the current

setting of the VCO 1 Wave, press the VCO 1 [WAVE] button.

For buttons that have multiple parameters (such as LFO [DETAIL] or FREE EG [MODE]), press the button

repeatedly to call up the desired parameter.

Display flashes and indi-

cates the currently set

value for the parameter

(in this case, Porta-

mento).

LED next to button flashes to indi-

cate current setting.

Chapter 7 Nuts and Bolts

32

3 Press the [EXIT] button to return to normal operation.

22 Original Value

If you tweak and turn the knobs on a Voice for any length of time, you’re going to come up with a Voice

that’s VERY different from the one you started out with. And at some point in the editing process, you might

wish you could take a peek at the original settings — without erasing your new ones, of course — just to

see how far you’ve strayed.

This is where the Original Value function can help. Similar to Show Value (in Tip 21 above), Original Value

lets you view any of the originally programmed Voice-related settings — simply by turning a knob or press-

ing a button.

1 While you’re editing the Voice of a Pattern, hold down [SHIFT] and press

the [ORIGINAL VALUE] button.

2 Turn the knob or press the button of the parameter whose value or set-

ting you’d like to see.

For example, to see the original Cutoff value that’s been set for the Voice, turn the [CUTOFF] knob.

Original Value can be used with all the same knobs and buttons as Show Value. For details, see Tip 21

above.

3 Press the [EXIT] button to return to normal operation.

• Trade Secrets

Use Show Value to pick the brains of our programmers. Do you have a favorite Voice and

would like to find out its settings? Just call up Show Value and take a peek behind the curtain.

Show Value

Allows you to check the current value or set-

ting of a Voice-related parameter, without

changing the value or setting. Press the

[SHOW VALUE] button, then turn the appro-

priate knob or press the appropriate button.

The current value/setting is displayed. While

Show Value is active, the Voice cannot be

played and the Pattern controls cannot be

used. Press the [EXIT] button to return to

normal operation.

All of the indicated controls

can be used with the Show

Value function. (Original Value,

too. — See Tip 22 below.)

Display flashes and indicates the

originally set value for the param-

eter (in this case, Cutoff).

33

Chapter 7 Nuts and Bolts

● What’s the difference between Original Value and Show Value?

• Show Value — Lets you view the CURRENT settings of the Voice.

• Original Value — Lets you view the ORIGINAL PRESET PROGRAMMED settings of the Voice.

If you haven’t done any editing to a Voice, both of these will display the same values — those of the cur-

rently selected Pattern.

23 Panic! (or “Uh-oh...What do I do now?”)

As you’ve undoubtedly discovered by now, the AN200 is a wonderfully deep and extraordinarily versatile

synthesizer. Sonically, it can take you places you’ve never dreamed of.

Unfortunately, that can be part of the problem. While you’re tweaking a Voice, you may end up drifting in a

synthesized never-never land, or come across nothing but silence or muffled noises, or — maybe worst of

all — meet up face to face with a monster sound that can’t be tamed.

Until you know exactly how the controls work and how they affect the sound, you’ll ocassionally find the

AN200 to be an unpredictable, sometimes uncontrollable beast. Before you unplug it and try to stuff it back

in its box, try these common-sense workarounds and solutions.

● Select a different Pattern.

Or select the same Pattern again. Yes, this will automatically erase any edits you’ve made. But at least

you can come back to square one and start over.

● Press the [EXIT] button.

This won’t always work as you expect. Keep in mind, [EXIT] is mainly used to leave a function or opera-

tion. Use it when you find yourself inadvertently doing something you don’t really want to do — such as

deleting a Pattern from a Song (page 88) or clearing a sequence (page 68). Also use it to get out of situ-

ations where there is no sound or many buttons just don’t seem to work — such as in Show Value (page

31) or Original Value (page 32).

● Turn off the power.

When all else fails... Actually, we don’t recommend doing this, especially if you’ve got speakers con-

nected. But it IS a quick and sure way to reset everything.

• Closer to home

While you’re editing a Voice, you may find yourself way off course — somewhere in outer

space! You can use Original Value to retrace some of your steps and come back closer to

Earth. For example, call up Original Value and check one of the settings — say, FEG DEPTH —

then press [EXIT] and adjust the [FEG DEPTH] knob to bring the value closer to the original.

Keep doing this with other parameters as well, until you get the sound you want.

• Current and original values

Want to easily see how far your edited values are from the original? Just switch between

Show Value and Original Value. To alternate between the two functions, simply press the

appropriate button(s): [SHOW VALUE] for Show, [SHIFT] and [ORIGINAL VALUE] for Original.

No need to exit beforehand — just toggle between the two, turning the knob each time you

switch to check the settings.

Original Value

Allows you to check the originally pro-

grammed value or setting of a Voice-related

parameter, without changing the value or set-

ting. Hold [SHIFT] and press the [ORIGINAL

VALUE] button, then turn the appropriate

knob or press the appropriate button. The

original value/setting is displayed. While

Original Value is active, the Voice cannot be

played and the Pattern controls cannot be

used. Press the [EXIT] button to return to

normal operation.

Chapter 7 Nuts and Bolts

34

● Do a Factory Reset operation. (See Tip 24.)

Use this only if you suspect something is actually wrong with the AN200. (For the most part, many of

the confusing things about the instrument may just be things that you don’t quite understand yet.)

Remember, this will COMPLETELY ERASE any original work you’ve done or saved — so be careful!

● Check the Troubleshooting section (page 115).

We mean it. The next time you find yourself scratching your head (or tearing your hair out), save your-

self a whole lot of grief and read through this section. It’ll make you feel better.

24 Factory Reset

If the AN200 freezes in an operation, crashes, or otherwise behaves erratically, the Factory Reset operation

can usually be counted on to bring things back to normal.

Factory Reset is also used to restore all the factory-programmed Pattern and Song data. For example, if

you’ve created your own Pattern and Song data (and saved it, of course) but want to use the original Pat-

terns and Songs of the AN200, just perform a Factory Reset.

1 Turn the power off.

2 Simultaneously hold down the [SHOW VALUE], [PATTERN] and [EXIT] but-

tons, and turn on the power again.

This operation automatically erases any and all of your original Patterns and Songs. If possible,

make sure to save any important data (page 108) before using Factory Reset.

35

Chapter 8

Pattern Playback

We’re going to pick up where we left off in Chapter 1, and give you some more

Pattern Tips. These are simple things you can do to change the sound, pitch,

rhythmic feel, and other aspects of the Patterns — even the Patterns them-

selves — in real time.

25 Adjusting the Gate Time

Try this simple, fast and cool tool — and change the feel of your tracks.

Select and start a Pattern. Any Pattern will do.

While the Pattern is playing, simultaneously hold down [SHIFT] and press [GATE TIME] ([REVERSE]).

Turn the [DATA] knob to change the Gate Time. Notice how the length of the

notes changes as you work the knob.

When you’re done, don’t forget to press [EXIT] (or [SHIFT] + [GATE TIME]) to

leave the function.

The lamp flashes to indicate Gate Time is active.

Gate Time

Determines the length of each note. The

higher the value, the longer the gate time.

Shorter values produce a clipped sound,

longer ones produce a sustained sound.

Range

1 — 100 (normal) — 200

Chapter 8 Pattern Playback

36

26 Transposing the key

The Transpose function lets you change the pitch or key of the Pattern as it plays back. With this, you can

change chords on the fly, and create your own chord progressions — instantly, as you perform.

Let’s try it out. Select a Pattern and start it up. Now, hold down [SHIFT] and press [KEYBOARD].

As the Pattern plays, try pressing various keys. For example, press [12] — and hear how the key changes.

Press [9], and you’re back to the original pitch. (Remember that buttons 1, 4, and 8 don’t have any effect

here.)

The trick to using this effectively is hitting the pitch changes right on the beat. To get the hang of it, try this

simple example — counting “one, two, three, four” with the Pattern — and stay in time with the rhythm.

Try changing pitch on other beats in the Pattern as well — for example, not just on the “one,” but hitting the

“one” and “three” both. Or on all four beats, for some unusual, “busy” changes. And did you know that you

can use the [OCT <<]/[OCT >>] buttons, too? This next example may take a little practice...

Notice that the octave doesn’t actually change until you hit the number button

on the keyboard.

Experiment with other Patterns as well. And when you’re done, don’t forget to

press the [EXIT] button to leave the function.

The button flashes.

one two three four ONE two three four ONE two three four ONE two three four

two THREE fourone two three fourONE two THREE fourONE two three fourONE

Transpose

Determines the key of Pattern playback. To

enable, hold down [SHIFT] and press [KEY-

BOARD], then press appropriate buttons on

keyboard. Use [OCT <<]/[OCT >>] to change

octave. The number of semitones that the

pitch has been transposed is indicated in the

display.

Range

-24 — 24

37

Chapter 8 Pattern Playback

27 Swing

Here’s an instant way to change the rhythmic feel of a Pattern. Play it straight,

or give it some swing.

Call up a Pattern and start it up. While it’s playing, press the [SWING] button

and turn the [DATA] knob.

Try a setting of about 65 - 70 and notice how the Pattern takes on a “bouncy”

feel. Experiment with different settings and different Patterns. Judicious use

of Swing can make the Patterns sound less mechanical — and give your tracks

a more “human,” natural feel.

28 Muting tracks

The Patterns of the AN200 contain and play back up to four separate tracks — the Synth track and three

Rhythm tracks. The convenient Track Mute feature lets you selectively mute these tracks — even during

playback.

Track Mute actually has two main applications: one in recording, the other in live performance. When

recording several tracks to a Pattern (page 70), it’s often useful to hear only one or two of your previously

recorded tracks — and Track Mute is ideal for this.

However, where Track Mute REALLY shines is in live performance. Pro DJs and dance music artists can

whip the crowd into a frenzy by dropping parts out and bringing parts in. For example, bringing everything

down to the drums is a great dynamic trick that keeps the dancers grooving. From there, you can gradually

build things up, adding track by track until you have the whole mix cooking. Or bring everything in all at

once, and watch the crowd explode.

1 Call up and start one of the Patterns.

2 Let’s start by muting the Synth track. While holding down [SHIFT], press

[1] on the keyboard.

• The Swing effect differs depending on the selected Pattern. For certain Patterns with few

notes (such as only quarter notes), Swing may have little to no effect.

• When the Beat parameter (page 18) is set to “12,” Swing has no effect on the Pattern.

Swing

Determines the amount of swing or triplet

feel in Pattern playback. (Does not change

the actual recorded data.) While a Pattern is

playing, press the [SWING] button and turn

the [DATA] knob to change the value.

Range

50 (straight) — 83 (maximum swing)

Chapter 8 Pattern Playback

38

Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT]

— this means all four tracks are on. Button [1] corresponds to the Synth

track; when you press this, the Synth track cuts out. To bring the Synth

track back in, simply hold down [SHIFT] and press [1] again.

3 Now, do the same with Rhythm tracks 1, 2, and 3 —

which are assigned to buttons [2], [3], and [4], respec-

tively.

While the Pattern is playing, try muting and unmuting the tracks in time

with the rhythm. The lighted buttons let you see at a glance which tracks

are active — a great help when doing this live.

29 Muting notes during playback

Here’s a Tip that’s useful both in live performance AND in creating Patterns. It’s called Step Mute and it lets

you modify an existing Pattern by taking out specific notes — while the Pattern is playing.

Step Mute is another great way to change the rhythmic feel and melodic content of a Pattern — without per-

manently changing the original data. Let’s try it out...

1 Select a Pattern and start it up.

2 Make sure the Synth track is on (press [SYNTH TRACK] if necessary), then

press one of the keyboard buttons.

Hear how the selected note drops out? You can press the same button again to put the note back in. Try

pressing some other buttons and listen to how their presence or absence affects the feel of the Pattern.

3 Do the same with the Rhythm Tracks as well.

Press [RHYTHM TRACK] repeatedly to select the desired Rhythm Track: 1, 2, or 3. Then, press the key-

board buttons — just as you did in Step 2 above.

Track Mute

Allows selective muting of the four tracks:

Synth and Rhythm 1 - 3. Two methods are

available:

Method 1

Holding down [SHIFT] and pressing num-

ber buttons [1], [2], [3], and [4].

Method 2

Holding down [SHIFT] and pressing

[SYNTH TRACK] or [RHYTHM TRACK].

In Method 2, [RHYTHM TRACK] is an eight-

way toggle switch. Each button press (as

you hold down [SHIFT]) steps through all

Track Mute settings.

For both methods, the LED next to the track

number lights to indicate that the track is on.

The button lamp turns off, indicating the note is

muted.

39

Chapter 8 Pattern Playback

30 Mixer controls — Pan and Volume

Try these bread-and-butter controls out, and change the mix of the Patterns. Pan and Volume only affect the

Synth track — the Rhythm tracks remain unchanged.

1 Select a Pattern and start it.

2 Let’s try changing the Pan position first.

Hold down the [SHIFT] button, and turn the [PARAM] (PAN) knob.

Notice how the Synth track sound moves from left to right and back again

as you turn the knob? (We assume you’re listening to this with stereo

headphones or on a stereo speaker system...)

3 Now, work with the Volume.

Hold down the [SHIFT] button, and turn the [WET] (VOL) knob.

Hear how the Synth sound fades in and out as you tweak the knob?

Remember, this only affects the Synth track — unlike the master [VOLUME]

knob, which controls the overall sound of the AN200.

• Adding and subtracting beats

Did you notice that you can add sounds, too? This is especially effective in the Rhythm tracks.

If the selected Rhythm track has some unlit buttons — meaning there are spaces in the track

— try pressing some of those buttons to add more drum/percussion hits to the track. Or try

taking some of the lit buttons’ sounds out, and hear what kind of rhythm you come up with.

• Save your edits

If you like the new Pattern you’ve created, store it. (See page 79.) All Step Mute settings are

saved along with the stored Pattern; yet the original data is not changed.

Step Mute

Allows you to mute and unmute specific

steps in a Pattern during playback. Select

and start a Pattern, then select the track you

wish to control: Synth or Rhythm 1, 2, or 3.

Then, press the desired buttons to mute/

unmute the steps.

Pan

Determines the position of the Synth track

sound in the stereo image. Hold down

[SHIFT], and turn the [PARAM] (PAN) knob

to adjust.

Range

L63 (full left) — Cntr (center) —

r63 (full right)

Volume

Determines the volume of the Synth track.

Hold down [SHIFT], and turn the [WET]

(VOL) knob to adjust.

Range

0 — 127

Chapter 8 Pattern Playback

40

31 Assigning Patterns to the keyboard buttons

Remember in Tip 3 how you selected Patterns on the fly, as they were playing? Here’s where you can set

which Patterns are triggered by which keyboard buttons. Any Pattern — even the User Patterns — can go

to any button. Plus, you can use a key range of three octaves, from C2 to B4 — that’s 36 different Pattern

Select locations.

1 Hold down [SHIFT] and press [PATTERN SELECT].

2 Use the [OCT <<]/[OCT >>] buttons to select the

desired octave range.

3 Press the desired keyboard button. (Remember, [1],

[4], and [8] can’t be used.)

4 Select the Pattern with the [DATA] knob. Your original User Patterns are

fair game as well.

5 Repeat Steps 2 - 4 as often as you want, until you’ve made all the desired

Pattern-to-key assignments.

Once you’re finished, press [EXIT] (or [SHIFT] and [PATTERN SELECT] again) to leave the function.

Now, try using Pattern Select to play the newly assigned Patterns. (Need a

refresher course? See Tip 3 again.)

● Storing Pattern Select assignments

There’s no need to store! All your Pattern Select Assign settings are stored

automatically as you make them.

The button flashes. All key-

board buttons turn off.

Pattern Select Assign

Determines the Pattern-to-key assignment

for Pattern Select. Hold down [SHIFT] and

press [PATTERN SELECT]. Select octave

range, then press desired keyboard button

and use [DATA] knob to select Pattern. Pat-

tern assignments are stored automatically.

41

Chapter 9

LFO Modulation

Here’s another crucial cornerstone in synthesizer sound — the LFO.

Although LFO modulation can be used to make the sound warmer and more

natural, its strong forte is in creating wild and extreme special effects.

Explore the following Tips and you’ll soon build up a huge arsenal of power-

ful tools for mangling the sound in awesome ways.

32 Modulating the volume

Get to know your LFO.

This Tip takes you through the basics in setting up and using the LFO. It also introduces you to one of the

more popular LFO applications — modulating volume. Used with some of the other sound shaping controls

on the AN200, this is responsible for the machine gun effects, helicopter-like sounds and a slew of other

industrial noises you hear in a lot of techno, electronica and dance music today.

1 Call up a Pattern.

2 Press [DETAIL], several times if necessary, until “Amd”

(Amplitude Modulation Depth) appears briefly in the

display.

3 Use the [DATA] knob to set the value to “63.”

This is the Amplitude Modulation Depth setting — “amplitude” meaning

“volume.” Setting Amplitude Modulation Depth to 63 puts the LFO in maxi-

mum control over the volume of the sound.

4 Press [KEYBOARD] to use the keyboard, and hold

down one of the keys.

Hear how the the sound wavers in and out, in a tremolo effect?

5 As the note sounds, tweak the LFO [SPEED] knob —

and hear how the modulation alternately speeds up

and slows down.

Amplitude Modulation Depth

Determines the amplitude (volume) depth for

the LFO. A value of “63” results in no vol-

ume change. To set, press [DETAIL] repeat-

edly (until “Amd” appears), and use [DATA]

knob to set value. (Pressing [DETAIL]

repeatedly steps through the other LFO Detail

parameters; see page 42.)

Range

-64 (maximum negative) — 0 (no change)

— 63 (maximum positive)

Speed

Determines the speed of the LFO modulation.

Range

Stop (no modulation), 1 — 255

Chapter 9 LFO Modulation

42

33 Modulating the Filter

Now, let’s apply the LFO to the Filter — and create some interesting wah-wah effects.

1 Press [DETAIL] until “Fmd” (Filter Modulation Depth) appears briefly in

the display.

2 Use the [DATA] knob to set the value to around “-34.”

This is the Filter Modulation Depth setting. Setting Filter Depth to -34 gives the LFO some control over

the timbre or tonal quality of the sound.

3 Press [KEYBOARD] to use the keyboard, and hold down one of the keys.

Can you hear the wah-wah sound? Try tweaking the [DATA] knob in the range of -64 to -24 and listen to

the changes in Filter modulation. Also try tweaking the sound at the positive end of the spectrum (16 to

46) as well, and listen for the difference.

For more fun:

Try tweaking the VCF controls. Naturally, if the LFO is being applied to the Fil-

ter, any changes you make to the Filter section will affect the LFO-modulated

sound as well.

34 Modulating the pitch

Try using the LFO to warp the pitch — and discover some more awesome modulation effects.

1 Press [DETAIL] until “Pmd1” (Pitch Modulation Depth 1) appears briefly in

the display.

2 Use the [DATA] knob to set the value to around “0.”

This is Pitch Modulation Depth 1 (for VCO 1). Start out with this minimum value.

3 Press [KEYBOARD] to use the keyboard, and hold down one of the keys.

As the sound sustains, slowly turn the knob counter-clockwise, and bring the value down toward

“-127.” Notice how the pitch becomes less and less distinct the further you get from “0.” (This is true

for positive values as well.) For some Voices, the pitch may stay distinct but change radically — over an

octave or more!

Try experimenting with different LFO Speed settings, and also try holding down more than one note.

If you’ve come to this Tip directly from Tip 32 above, you’re hearing the LFO applied to both

Amplitude and Filter. To hear the Filter effect all alone by itself, set Amplitude back to normal

(0).

Filter Modulation Depth

Determines the Filter modulation depth for

the LFO. A value of “0” results in no Filter

change. Values toward -64 produce a nega-

tive Filter depth; values toward 63 produce a

positive depth. To set, press [DETAIL]

repeatedly (until “Fmd” appears), and use

[DATA] knob.

Range

-64 (maximum negative) — 0 (no change)

— 63 (maximum positive)

43

Chapter 9 LFO Modulation

35 Changing the LFO wave

The LFO uses one of 21 different waveforms to modulate the sound. The particular wave you select has a

huge effect on the final sound. Try out some of these and see what kind of chaos you can create.

1 Press [DETAIL] until “UA<E” (Wave) appears briefly in

the display.

2 Use the [DATA] knob to set the Wave to “trGL” (Trian-

gle).

This selects the Triangle wave. Try some of the other Wave settings and

hear how they change the sound.

If you’ve come to this Tip directly from the other LFO Tips above, you may want to hear the Pitch

modulation by itself. To do this, set both Amplitude and Filter back to normal (0).

• Double up

Once you start working with VCO 2 (in Tip 57), experiment with the two independent Pitch

Modulation Depth settings (PMD1 and PMD2) for even more interesting textures and pitch

changes.

• Sample and hold

Use the Sample-and-hold waves (“S-H” 1 - 4) mainly for Pitch modulation effects. Unlike the

other Wave settings, these generate random fluctuations. They’re less suited to modulating

the Amplitude or Filter, since the random differences may be less apparent. Especially with

Amplitude, they may result in unwanted dropouts in the sound. However, they can be very

effective with Pitch, particularly in creating “electronic” sounds and sci-fi effects.

Pitch Modulation Depth 1, 2

Determines the two Pitch Modulation Depth

settings for the LFO. Setting 1 (“Pmd1”)

affects VCO 1, while setting 2 (“Pmd2”)

affects VCO 2. A value of “0” results in no

Pitch change. To set, press [DETAIL] (until

“Pmd1” or “Pmd2” appears), and use

[DATA] knob.

Range

-127 (maximum negative) —

0 (no change) — 127 (maximum positive)

Chapter 9 LFO Modulation

44

Wave

Determines the LFO waveform.

Settings

● Sine (SinE), 2, 3, 4, 5

● Triangle (trGL), 2, 3, 4, 5

Sine

Sine 2

Sine 3

Sine 4

Sine 5

Triangle

Triangle 2

Triangle 3

Triangle 4

Triangle 5

45

Chapter 9 LFO Modulation

● Square (Squr), 2, 3

● Saw 1 (SAU1), 2, 3, 4

● Sample-and-hold 1 (S-H1), 2, 3, 4

Square

Square 2

Square 3

Saw 1

Saw 2

Saw 3

Saw 4

S-H 1

S-H 2

S-H 3

S-H 4

46

Chapter 10

EG Basics

Shape the volume, shape the tone. Use the EG (Envelope Generator) section

to control how your sound moves, grows and evolves.

36 Shaping the sound with EG

One of the most important aspects in analog synthesizer sound is how that sound is controlled over time.

The AN200 gives you some very powerful and flexible ways to do this. One of them is the EG section.

EG stands for Envelope Generator — “envelope” here being the control that shapes the sound as it evolves

over time. The EG effectively tells the synthesizer when to bring the volume up or down.

Like most analog synthesizers, the AN200 has four EG controls: Attack, Decay, Sustain, and Release. The

AN200 also lets you use the EG to control the filter — to shape the tone in time.

Let’s take a look at how these work — and hear them in action.

1 Call up a Pattern, and press [KEYBOARD] to enable

the keyboard buttons.

2 Press the [SELECT] button in the EG section so that

the AEG lamp lights.

Doing this lets you control only the AEG (Amplitude EG), which affects the volume.

3 As you play the buttons, turn the [ATTACK] knob. Try setting it to around

12:00 and tap the buttons repeatedly.

Notice how the attack of the sound is a little slow? Now, set the knob to its minimum (7:00), and hear

how the attack is instantaneous. Next, try setting the knob to around 2:00 and hear how the sound very

slowly grows louder as you hold the key.

4 Let’s try the [SUSTAIN] knob now.

Keep in mind that Sustain is the ONLY level control in the bunch — the rest of the knobs control time or

rate.

Start with [SUSTAIN] set to around 9:00 (a value of 15 - 20). Then play and hold down a note. Do the

same with successively higher settings as well — 12:00 (64), 2:00 (95), and 5:00 (127).

Hear how the sustain or “held” sound of the Voice gets louder with each setting above? For the 5:00 set-

ting, the volume reaches maximum and stays there as long as you hold the note.

Indicates AEG

is selected.

47

Chapter 10 EG Basics

5 Next, play with the [DECAY] knob and hear how that affects the sound.

Make sure to reset [SUSTAIN] to around 10:00 or 11:00 — if Sustain is too high, Decay won’t work!

Experiment with the [DECAY] knob. Depending on the Voice and the other EG settings, a short Decay

value (knob around 9:00) may result in a weak, percussive sound. Try adjusting the knob around 11:00

or 12:00 and then slowly move upwards from that as you repeatedly play the key.

6 Now, on to the [RELEASE] knob.

Start by resetting [ATTACK] to 7:00, [DECAY] to 11:00, and [SUSTAIN] to 1:00. Then experiment with

different [RELEASE] knob settings, such as 1:00, 3:00 and 5:00.

Notice that the sound sustains — longer and longer for each setting — after you release the note.

Before you go on to Step 7 below, bring [RELEASE] back to around 1:00, and leave the other knobs

unchanged.

7 To make things more interesting, press [SELECT] to turn on the FEG con-

trols, and use the EG knobs to play around with the filter. (We’ll do more

exploring with the filter in the next tip, too.)

Play around with the four EG knobs and hear what kinds of sonic mayhem you can create.

Work with the VCF section controls (page 27), too — they have a huge effect on the overall sound and

behavior of the EG. We’ll warn you, though — the results can be complex and unpredicatable. But we

guarantee you’ll discover a whole truckload of sounds you never thought possible.

● What is an EG? What does it do?

To explain by example, let’s take a look at an acoustic instrument — the piano.

The piano doesn’t actually have any EGs inside, but the basic principle is the

same.

When you hit a key on the piano, the sound starts sharply (Attack), but goes

down soon (Decay) to a softer level (Sustain) as the note is held, and quickly

dies out to complete silence (Release) when you lift your finger from the key.

Indicates FEG

is selected.

AT TA C K

RELEASE

SUSTAIN

DECAY

Chapter 10 EG Basics

48

• Tweak them together

When you start out tweaking the EG, you may want to set [SELECT] to both FEG and AEG.

This eliminates a lot of confusion about which EG is doing what. For example, if you have sep-

arate settings and the FEG opens up long after the AEG has already shut down, you’ll probably

not hear much of the sound. Similarly, if the AEG takes its sweet time to unfold — by which

time the FEG has already come and gone — the sound may never come through.

• Tweak them separately

Adjusting both FEG and AEG together (see hint above) is convenient and easy — but it also

results in relatively boring, static Voices. To make really interesting, organic sounds with shift-

ing textures, the trick is to adjust the Filter and Amplitude EGs separately, yet make sure that

they coincide with each other often enough to keep the sound from dropping out entirely.

There are no diagrams to help you with this — you’ll have to use your ears!

EG Select — FEG and AEG

Determines the EG settings for the filter

(FEG) and amplitude or volume (AEG).

Press [SELECT] to enable FEG, AEG or both

(ALL), then use the EG controls (see below)

to change the EG settings.

Settings

FEG

AEG

ALL (both FEG and AEG)

EG Controls

Attack

Determines the time it takes for the sound to

reach full volume when a note is played.

Decay

Determines the time it takes for the sound

volume to reach the Sustain level. This is

similar to the natural decay heard in acoustic

instruments.

Sustain

Determines the level of the sound for when a

note is held. If this is at or near minimum,

the sound will die out as the note is held. If

this is at or near maximum, Decay will have

no effect and the sound will remain at maxi-

mum level as long as the note is held.

Release

Determines the time it takes for the sound to

reach minimum volume (or silence) after a

note is released. If Sustain is set too low, this

may have little to no effect on the sound.

Range

0 — 127 (for each knob)

49

Chapter 10 EG Basics

37 Using EG to control the Filter (FEG)

In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now,

let’s take a look at what the EG can do with the Filter.

These specific FEG setting examples will get you started, and give you a definite feel for how to use EG to

change the tonal quality of the sound. In the process, you’ll learn more about how the Filter works, too —

and how you can get it to work for you.

Try out these settings, experiment with them, go wild, go mad! There’s so much you can do with these con-

trols, so many sonic possibilities — this barely scratches the surface.

1 Select a Pattern, then select FEG.

Press the [SELECT] button repeatedly until FEG is lit.

2 Start by setting a slow Attack on the Filter.

Set [ATTACK] to around 12:00 (value of 65).

3 Play around with the [CUTOFF] knob as you play the keys.

Tweak the knob slowly in the range of 10:00 - 5:00 (30 - 127) as you play single notes in succession.

Listen to how the sound changes. Finally, set the knob to around 8:00 or 9:00 (1 - 15).

4 Now, experiment with the [SUSTAIN] knob.

Try tweaking this to different settings as you play the keys. Make sure you hold the key or keys down —

the sound will change as you hold. Before you go on to the next steps, set this to around 11:00 (50).

5 Before we try out the [RELEASE] knob with the Filter, we’ll need to stretch

out the volume a bit.

Press [SELECT] to call up AEG, then set the AEG’s [RELEASE] to about 2:00 (90 - 95).

6 Now, go back to the FEG (press [SELECT]), and work with the FEG’s

[RELEASE] knob.

Play a series of single notes, and tweak the knob between 11:00 and 4:00 (45 and 120).

Notice how the FEG Release setting determines how much of the sound is heard after key is released. If

the Filter Release is too short, little or none of the sound will come through.

Finally, set this to around 12:00 or 1:00 (65 - 80).

Indicates FEG

is selected.

Chapter 10 EG Basics

50

7 Just for good measure, play around with the [DECAY] knob a bit.

As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around

1:00 or 2:00 (80 - 90).

8 You’re on your own now!

With the above settings as a starting point, go back to each of the EG knobs and play around with them

some more. Take a crack at using other controls as well — and hear how they change the sound. And

while you’re at it, go on to Tip 38 below — for further FEG explorations.

38 More about FEG Depth

In Tip 37, you learned about the FEG Depth control. Let’s take a closer look (and listen) to it in this Tip —

and the next.

1 If possible, continue with the sound you’ve created in Tip 37 above.

Select a Pattern, and tweak the controls to the basic settings shown below.

2 Now, play around with the [FEG DEPTH] knob.

First, set it to around 12:00 and slowly turn it clockwise while you play the keys. Listen for the sound

changes — some of them will probably be quite subtle.

Tweak the knob the other way, and hear how the sound drops out for the negative values (7:00 - 12:00).

Don’t worry about this — we’ll see in Tip 39 below how to effectively use the negative settings.

Finally, set the knob to about 2:00 (50). Experiment with the [RESONANCE] knob, too. Try out a variety

of settings — especially around 1:00 - 4:00 — and hear how they alter the tone.

FEG

AEG

51

Chapter 10 EG Basics

39 Going negative — with FEG Depth

As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of

FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound.

1 First, get everything set up with the following settings:

EG [SELECT]........... to “ALL” (both FEG and AEG)

[ATTACK] ................ to around 2:00 (90 - 100)

[DECAY].................. to around 1:00 (80)

[SUSTAIN] .............. to around 3:00 - 4:00 (100 - 120)

[RELEASE].............. to around 1:00 - 2:00 (80 - 90)

[CUTOFF] ................ to around 2:00 (100)

[RESONANCE] ........ to around 2:00 (70)

2 Finally, set the [FEG DEPTH] knob to 7:00 (-128) — the maximum negative

value.

3 Now, play several single notes, slightly apart, and listen for the very slow

attack and the long sustain. Hear how the filter slowly sweeps and grows

with the sound?

A negative FEG Depth setting reverses the FEG operation — producing a filter sweep effect that dips down

instead of peaks. This means the sound gets softer and more muffled, until the end — when the filter

sweeps back up again.

Try these, too

• Experiment with higher Cutoff and Resonance settings than the ones shown above.

• Adjust the FM Depth, Sync Pitch, and Noise Level settings — to give the Filter some richer

harmonics to work with, and make the sound more interesting.

• For even greater degrees of weirdness, try some long Portamento settings, too (for example,

around 90 - 110).

52

Chapter 11

Advanced Sound

Shaping Controls

By this point, you’re well on your way to becoming a master synthesizer pro-

grammer. You’ve learned about the Patterns, the Scenes, Effects, the Filter,

LFO, EG, and so on — but your education’s not over yet. The AN200 has

actually got quite few more sonic tricks up its sleeve. Let’s try some of them

out now...

40 Portamento — the famous gliding pitch effect.

You’ve heard the sound before. Although singers and instrumentalists use it to bend up or down to a central

pitch, Portamento is one of the defining features of analog synthesizers and electronic music.

Portamento packs enormous power. On the one hand, it lets you add subtle sliding “grace notes.” On the

other, it can completely subvert the pitch and give you atonal glides. Ultimately, the effect is dependent on

what notes you play and how far apart you space them. Try it out and see what madness you can come up

with.

1 Call up a Pattern, and set the [PORTAMENTO] knob to about 10:00

(around 25 in the display).

2 Enable the keyboard with [KEYBOARD], then play notes [9] and [16] alter-

nately.

3 Try other settings, too, and hear how the Portamento

effect changes.

Bring Portamento up to about 12:00 (64), then 2:00 (95), and finally the

maximum of 5:00 (127).

Experiment. Try the effect out on some of your other favorite Voices. Also

try tweaking Portamento while the Pattern is playing — and listen to the

resulting sonic mayhem.

Portamento

Determines the Portamento time, or how

long it takes to glide the pitch from one note

to the next. Higher values result in a longer

pitch glide time.

Range

0 — 127

53

Chapter 11 Advanced Sound Shaping Controls

41 Metallic sounds and more — with FM Depth

Like the vintage synthesizers of the past, the AN200 is absolutely loaded with modulation options — giving

you the power to mangle the sound in wild and unique ways. Yet it also gives you some intriguing digital

twists — like FM Depth.

Depending on the other Voice settings, FM Depth can be very subtle, adding harmonics or changing the

pitch — almost imperceptibly at times. It can also create harsh, metallic, non-pitched sounds — perfect

when you want to add some industrial edge or noise percussion to your tracks.

1 To start out, select a Pattern.

Try to select a Pattern with a soft, warm Voice that lets you hear some of the more subtle qualities of FM

Depth.

2 Turn the [VCO 1/2] knob all the way left.

This lets you hear only VCO 1 — important because FM Depth only modulates VCO 1.

3 Set the [FM DEPTH] knob to 12:00 (around 0).

This is center or zero for FM Depth — turn the knob in either direction from this point to change the

sound.

Turn it very slowly as you play the keyboard and hear how the Voice changes.

Try this out with a variety of Voices. Depending on the other Voice settings, FM Depth changes can be

very subtle — or extreme and harsh.

• Fine tuning

Since the sound and pitch can radically shift with even the slightest knob tweak, you may want

to use the [DATA] knob instead. This lets you control FM Depth much more slowly. Make sure

you turn [FM DEPTH] first, so that FM Depth is called up for the [DATA] knob.

• In sync — and out

Experiment with various Sync Mode (page 58) and Sync Pitch settings, too. These work

together with FM Depth in modulating VCO 1, and can dramatically alter the character of the

sound.

FM Depth

Determines the amount of modulation cre-

ated by the FM function. The further the

value is from midpoint (64), the greater the

modulation depth. Some settings can result

in a metallic sound with no discernable pitch;

some settings completely change the pitch.

Range

-64 — 63

Chapter 11 Advanced Sound Shaping Controls

54

42 Balancing the waves — VCO 1 and 2

One of the easiest knobs on the AN200 to understand, VCO 1/2 is a simple balance control. It lets you adjust

the relative volume of the two oscillators, VCO 1 and VCO 2. However, the simplicity is deceiving — there’s

a whole lot of power here, too.

Along with the VCO 1 and VCO 2 Wave controls (see Tip 56), this is where you lay the very foundation of the

sound — upon which everything else on the AN200 is built.

1 Select and play a Pattern.

2 Turn the [VCO 1/2] knob all the way left and play the

keyboard.

Now, you’re hearing only VCO 1.

3 Next, turn [VCO 1/2] all the way in the other direction — so that only VCO

2 sounds this time.

Play around with this knob as you hold down a note, and listen to how the two waves blend together.

Notice that the knob features a convenient center detent, letting you easily feel your way back to zero —

which is a 50-50 mix of the two VCOs.

• Soloing VCO 1

Crafting an original Voice from scratch? Soloing VCO 1 (7:00 position) is one of the best ways

to start. Listening only to VCO 1 makes it easier to set the VCO 1 Wave (page 56). It’s essen-

tial for FM Depth (page 53) as well, since that function affects only VCO 1. Plus, if you’ve set

the Sync Mode (page 58) to “VCO1 M>S” or “VCO2 > 1,” soloing VCO 1 lets you clearly hear

the modulation that’s happening.

VCO 1/2 Balance

This determines the volume balance of the

two oscillators, VCO 1 and VCO 2.

Range

-64 (VCO 1 only) — 0 (equal balance) —

63 (VCO 2 only)

55

Chapter 11 Advanced Sound Shaping Controls

43 Noise Level

Here’s another nifty little knob. This one’s great for throwing some grunge and

bite into the basic wave — letting you dirty up the Voice with some noise.

Why add noise? Why not use the Distortion effect? And what good is “dirt” in

the sound, anyway? (We could hear those questions coming...)

Well, besides the obvious Lo-fi and Industrial music applications — such as

making noise percussion — noise is great for adding harmonic content all

along the frequency spectrum. And that harmonic content added at the begin-

ning of the signal flow makes the sound more interesting when you work with

the filter (VCF) section later on. Much more interesting, in fact.

Use it judiciously, however — too much noise can mask the basic pitch and

character of the sound.

Try selecting a Pattern with a relatively “pure” and soft Voice. Then, work the

[NOISE LEVEL] knob to hear how different degrees of noise affect the sound.

44 Making waves — VCO 1 and VCO 2

Here’s where the sound begins. All of the awesome, amazing sonic stuff on the AN200 starts with the waves

— generated by VCOs 1 and 2.

The AN200 gives you a wide variety of waveforms — not to mention enormous flexibility in combining,

modulating, and processing them.

The subject of waves can be fairly complicated, and you undoubtedly don’t want to read about it. As always,

use your ears! Give a listen to the various waves here and experiment with them. Try them out with the pro-

cessing sections — especially VCF — and hear how they sound. That’s the best and only way to start creat-

ing your own Voices.

■ VCO 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

1 Select a Pattern.

2 Solo VCO 1 by turning the [VCO 1/2] knob all the way

left.

3 Set Sync Mode to OFF by pressing [MODE].

4 Press the VCO 1 [WAVE] button repeatedly to select different waves.

Better yet, press [WAVE] and turn the [DATA] knob. That lets you access ALL of the waveforms —

including the “hidden” waves.

The actual waves that are available differ depending on the Sync Mode setting. After trying the waves

that are available when Sync Mode is set to “OFF,” select one of the other two modes, then try out the

new group of waves. (See Tech Talk below and the Wave List on page 56 for details.)

Noise Level

Determines the level of the noise signal

added to the VCOs.

Range

0 — 127

Chapter 11 Advanced Sound Shaping Controls

56

■ VCO 2 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

1 Make sure the same Pattern you selected above is still called up.

2 Solo VCO 2 by turning the [VCO 1/2] knob all the way

right.

3 Press the VCO 2 [WAVE] button and use the [DATA]

knob to select the waves.

Unlike with VCO 1, there is only one “hidden” wave in the VCO 2 section (Saw 2), and the

available waves are the same, no matter what the Sync Mode setting is.

In vintage analog synthesizers, the basic waves were generated by “oscillators.” The AN200

does it a bit differently — yet the sound is exactly the same. That’s why we’ve kept the name

“VCO”: Voltage Controlled Oscillator.

VCO 1, VCO 2 Wave

Determines the waveform for the VCO 1 or VCO 2 oscillator. Press the

[WAVE] button (in VCO 1 or VCO 2) repeatedly; use [DATA] knob to select

“hidden” waves (indicated by asterisks below).

VCO 1 Wave

Settings

(Available waves depend on Sync Mode setting; page 58. Asterisks (*)

indicate “hidden” waves, selectable by [DATA] knob.)

When Sync Mode is off:

Saw ( SAU)

* Saw 2 ( SAU2)

Pulse ( PuLS)

Mix ( mi$)

Multi Saw ( m.SAU)

When SYNC is on (“VCO 1 M>S” or “VCO 2 > 1”):

Saw ( SAU)

Pulse ( PuLS)

Inner1 (inr1)

* Inner2 (inr2)

* Inner3 (inr3)

Square ( Squ)

* Noise ( niSE)

VCO 2 Wave

Settings

(Asterisks (*) indicate “hidden” waves, selectable by [DATA] knob.)

Saw ( SAU)

* Saw 2 ( SAU2)

Pulse ( PuLS)

Mix ( mi$)

Triangle ( tri)

Sine ( SinE)

57

Chapter 11 Advanced Sound Shaping Controls

45 Fat, phatter and phattest!

How phat do you want to get?

The Key Assign settings let you switch the AN200 between Poly and Mono operation. And, with Unison,

they bring back the humongously phat sounds of vintage synthesizers — letting you beef up the Voices the

old analog way.

1 Call up a Pattern and press [KEYBOARD].

Try to select a Pattern that has a fairly big and fat Voice. Let’s see where we can take it.

2 Right now, POLY should be lit. If not, press [KEY

ASGN] until it is lit, and “PoLY“ is shown in the dis-

play.

With the Poly setting, you can play and hold full chords — up to five notes

at the same time.

3 Press [KEY ASGN] again to call up Legato (LGto).

Legato is one of the Mono settings, meaning you can’t play chords here — just one-note lines. But that’s

just fine, because Legato is ideal for leads and solos as well as bass lines.

Play some notes and listen for the effect. Try holding down one note with your left hand while you

quickly play and release others with your right.

Notice how the notes trade off with each other? This is great for rapid trills — yet it keeps the EG consis-

tent throughout, as long as you hold the first note down. Try playing melodies in a smooth, legato style,

too — not releasing one note until you’ve pressed the next.

4 Use the [DATA] knob to call up the “hidden” Mono

(mono) setting.

Play some notes. Try playing them smoothly in legato like you did above.

Notice how each note has a sharp attack, no matter how smoothly you try

to play?

Mono is similar to Legato in that you can play only one note at a time. How-

ever, the EG is retriggered, or started from the top, for each new note you

play — whether you play in legato or not.

5 Let’s give the sound some serious attitude now! Call

up the Unison (unSn) setting, with [KEY ASGN] or the

[DATA] knob.

Unison is the same as Legato, except for one very important difference —

it’s incredibly phat. Unison takes maximum advantage of the AN200’s

polyphony by ganging four of the “notes” together in one huge, fat mono-

phonic layer.

Key Assign

Determines how the Voices respond to the

keyboard (or MIDI), and how they use the

available five-note polyphony. To set, press

[KEY ASGN] and use the [DATA] knob.

Settings

Poly (PoLY)

Plays Voices with full five-note polyph-

ony.

Legato (LGto)

Plays Voices monophonically, maximum

one note at a time. Successively played

notes do not retrigger the PEG, FEG, or

AEG — resulting in a smoother note-to-

note sound.

Mono (mono)

Plays Voices monophonically, maximum

one note at a time. PEG, FEG, and AEG

are retriggered for each new note played.

Unison (unSn)

Plays four polyphonic notes in unison, or

a one-note layer. In other words, the

response to the keyboard is monopho-

nic, but the number of notes actually

sounding is polyphonic.

Chapter 11 Advanced Sound Shaping Controls

58

46 Sync Mode and Sync Pitch

Here are two more important additions to your arsenal of sound-shaping power tools. Try them out and

hear how they change the pitch and brighten the sound.

1 Call up a Pattern and start it up.

2 Set the [VCO 1/2] knob all the way left, so that you hear only VCO 1.

3 Press the [SYNC MODE] button to select VCO M>S (<.m-5).

4 Work the [SYNC PITCH] knob, especially between 11:00 and 4:00.

Notice how the basic pitch and the harmonics shift radically as you tweak the knob.

5 Change the SYNC MODE setting to VCO 2>1 and play with SYNC PITCH

again.

• Other waves

Try selecting different waveform for VCO 1, then with Sync Mode set to one of the “on” set-

tings, tweak Sync Pitch. The Noise wave in particular is a good candidate for creating unique

non-pitched effects in which the harmonics are shifted.

• Bring in the highs

When using Sync Mode and Sync Pitch to craft a Voice, make sure to adjust the VCF controls

to appropriate settings, so that you can hear all of the high harmonics being generated.

Remember, you can always back off on the knobs later if the sound is too “edgy.”

Sync Pitch

Determines the pitch of the “slave” oscillator

in semitones, available only when Sync Mode

(above) is set to on. This lets you create a

difference in pitch between master and slave

oscillators and control the resulting harmonic

interval. At the “0” setting, the pitch is the

same as the master oscillator. Higher values

increase the interval for a more clangorous

sound. To properly hear the effect, make

sure the VCO 1 level is set high enough (see

page 54).

Range

-64 — 63

Sync Mode

The AN200 tone generator has two oscillator sections: VCO 1 (which actually contains two oscilla-

tors), and VCO 2 (which has one). Sync Mode determines how the oscillators are synchronized —

one being a controlling “master,” the other a “slave.” The master oscillator determines the overall

pitch of the sound, and the slave oscillator controls the tone by adding harmonics.

When set to “OFF,” there is no synchronization. When set to “VCO 1 M>S,” the two VCO 1 oscilla-

tors are separated inside of the VCO1 and synchronized, with one designated as the controlling

“master” and the other the “slave.” When this is set to “VCO 2>1,” the VCO 1 oscillators are syn-

chronized to VCO 2, with the VCO 2 designated as the “master.”

To set, press [SYNC MODE].

Settings

OFF

Results in no synchronization.

VCO 1 M>S (VCO 1 master into slave)

The two VCO 1 oscillators are separated inside of the VCO1 and synchronized, one controlling

the other. This allows you to use Sync Pitch (below) to control the master/slave sound, yet

still have another oscillator (VCO 2) remaining.

VCO 2 > 1 (VCO 2 into VCO 1)

The two VCO 1 oscillators are synchronized to VCO 2, with the VCO 2 designated as the “mas-

ter.”

59

Chapter 11 Advanced Sound Shaping Controls

47 Creating your own original Scenes — and saving

them

The exciting and powerful Scene feature lets you create and use two different Voices within a single Pattern.

Most importantly, it lets you instantly switch between them or gradually “morph” from one to the other — all

in real time.

You tried out some preset Scenes in Tip 23, and heard just how effective, dynamic, and ultimately hip the

function can be. Now, it’s time for you to create a Scene or two of your own.

1 Press SCENE button [1]. This is the Scene you’ll be

working on first.

2 Work the controls and get the sound you want for

Scene 1. Any and all of the Synth knobs can be used.

3 While holding down [STORE], press SCENE button [1].

Scene 1 has just been stored. Now let’s go on to Scene 2.

4 Do the same operation for Scene 2 — repeating Steps

1 - 3 above with SCENE button [2] this time.

• Only the Voice-related panel knobs can be used for recording to the Scenes; button switch

settings (such as LFO Detail and Key Assign) are ignored.

• Octave cannot be changed for the Scenes. In other words, both Scenes will always be

kept at the same octave setting.

• Remember that you’ll need to store your first Scene before you can create the second

Scene. Switching or morphing to a new scene automatically and irrevocably erases any

changes you’ve made.

Make sure keep holding [STORE] until you’ve pressed SCENE button [1] or [2]. Otherwise,

the AN200 will switch to the Store Pattern operation (page 79).

Only button [1] is lit.

Indicates new settings have

been stored to Scene 1.

Scene Recording

Allows you to program two different synth

sounds as Scenes, and use the SCENE con-

trols to switch or crossfade between them.

Press SCENE [1] to select Scene 1, and

change the sound as desired. Store Scene 1

by holding down [STORE] and pressing

SCENE [1]. Repeat the operation for Scene 2,

using SCENE [2]. When finished, store the

Pattern (page 79).

60

Chapter 12

Free EG

Here’s another ultra-cool power tool for the control freak in you. The AN200

is packed with an endless supply of sonic mayhem and wild, shifting synthe-

sizer textures, but you can keep it all under control — with Free EG.

48 Free EG

The AN200 has so many real-time control features, it’s hard to get a grip on them all. Feel you need an extra

pair of hands? Or maybe an extra two? No problem. Just use the amazing Free EG feature. The AN200 is

packed with a lot of powerful recording functions — but none are quite as impressive as this.

Free EG gives you up to four tracks for recording your knob moves — letting you incorporate real-time

sound changes and knob moves as a part of the Pattern. So every time you play the Pattern, your knob

changes play right along with it — just as you recorded them.

We call this “Free EG” because it allows you to create unique, complex, continuous parameter changes that

would be impossible to achieve with conventional EGs.

1 Call up the desired Pattern, and press the red Record

button.

2 Select the Free EG track you want to record.

Press the appropriate FREE EG button, [1] - [4]. The button lights to indicate the track is ready for

recording.

Normally, [1] will be lit — so if you want to record to Track 1, you don’t have to do anything here. If any

track buttons you DON’T want to record to are lit, press them to turn them off.

Remember, you can record to more than one track simultaneously by pressing the appropriate buttons.

(See Power Hints below.)

You may want to set the Length (Tip 63 below) in this step. Do it BEFORE pressing the

Record button, however; Length cannot be set during Free EG recording.

Indicates recording is in standby.

61

Chapter 12 Free EG

3 Start the Pattern, and make your moves.

Press the Start/Stop button.

The metronome clicks to lead you into the recording, so you can start your

knob moves right with the start of the Pattern.

Remember the rule: One knob, one track. Once you record a certain knob,

no other knob can be recorded to the track (unless you start the whole Free

EG recording again). Any tweaking of other knobs is ignored.

4 To stop recording, press the Start/Stop button.

If you want to re-record the track or record moves to other tracks, go back

to Step 2 above and start all over again.

5 To hear your Free EG recording, make sure that the

appropriate track buttons are on, then press the

Start/Stop button to play the Pattern.

Remember to save your newly edited Pattern! (See Tip 60.) All your Free

EG track recordings will be saved right along with it.

The display number indicates the current measure number. If you’ve set Length (see Tip 63

below) to “2,” the Pattern loops two times for recording, and the display changes accord-

ingly.

• Recording to more than one track at a time

Press the appropriate Free EG Track buttons. During recording, the AN200 automatically

assigns each knob you move to the next available track. For example, let’s say you’re record-

ing to Tracks 1 and 2. You move the CUTOFF knob first, and that’s recorded to Track 1. Then,

while tweaking Cutoff, you move [FEG DEPTH] — which records to Track 2.

• Take your time and let the Pattern loop!

In a variation of the above hint, you can set all the tracks to record, then tweak each one sepa-

rately as the Pattern loops. Each of your moves is properly recorded to a separate track, and

you can hear the effect of your last knob tweak as you record the next.

• Use the four tracks to your advantage

Record your tweaking of one certain knob to all four tracks, then choose the best “take” from

the four. Just make sure to turn off each button after you record to it — so it doesn’t play back

and disturb your recording of the next button. Listen to each track in turn by turning the

appropriate button on.

• Change the way your Free EG tracks play back

The Type parameter (see Tech Talk below) gives you four different ways to loop the Free EG

tracks. Try these out when playing your Pattern and hear the interesting things they do to your

tracks.

Free EG — Type and Trigger

Type

Determines the type of loop for Free EG play-

back. Press the [MODE] button repeatedly

until “tYPE” appears, then use the [DATA]

knob to change the setting.

Settings

oFF

No loop.

FUd (Forward)

Free EG sequence loops from start to

end.

FUdH (Forward Half)

Free EG sequence loops from the middle

to the end.

ALt (Alternate)

Free EG sequence loops from start to

end, then end to start.

ALtH (Alternate Half)

Free EG sequence loops from middle to

end, then end to middle.

Trigger (“triG”)

Determines how playback of the Free EG

tracks is triggered. Normally, this should be

set to Free (“FrEE”), so that the tracks play

back when the Pattern is started. Setting this

to MIDI (“midi”) lets you start Free EG

playback from a connected MIDI keyboard or

sequencer.

Press the [MODE] button repeatedly until

“triG” appears, then use the DATA knob to

change the setting.

Settings

FrEE (Free)

Triggers playback of the Free EG tracks

from a random start point, when a Note

On message is received from a con-

nected MIDI device, or when a key on the

AN200 is played, or when the Pattern is

started.

midi (MIDI in Notes)

Triggers playback of the Free EG tracks

from the start, when a Note On message

is received from a connected MIDI

device, or when a key on the AN200 is

played.

ALL (All Notes)

Triggers playback of the Free EG tracks

from the start, when a Note On message

is received from a connected MIDI

device, or when a key on the AN200 is

played, or at the first recorded note of

the Pattern (which may or may not be

the start of the Pattern).

Strt (Sequencer Start)

Triggers playback of the Free EG tracks

from the start, only when the Pattern is

started.

Chapter 12 Free EG

62

49 Changing the Length of your Free EG tracks

The flexible little Length feature works both ways — both in recording and playback. It lets you set how long

(in measures) your Free EG moves are recorded for, and it lets you separately set how long it takes for them

to play back.

Set Length before recording any Free EG tracks. Specifically, set it BEFORE you press the red Record button

(but after you’ve selected the Pattern) in Step 1 of Tip 48 above.

Press the [LENGTH] button repeatedly to step through the settings. (Or press [LENGTH] and use the [DATA]

knob.) The number in the display indicates the Length in measures.

If you want to record your knob moves over two measures (two repeats of the Pattern), set this to “2.” If

you want your tweaking to stretch over eight measures, set it to “8.”

Once your tracks have been recorded, you can set Length again just before playback. This controls how

long all four tracks take to play.

• Take your time

Want to make some really slow changes? How about a gradual filter sweep that builds to a cli-

max over several measures? Set a low Length for recording (for example, “0.5”), then before

you play back the Pattern, set a high Length, such as “8.”

• Make it snappy

For really fast changes, just do the opposite of the above. Set a high Length for recording and

a low Length for playback. Keep in mind that each track can be recorded with a separate

Length.

Free EG Length

Determines the time of the Free EG — for

both recording and playback. Each track can

be set independently for recording; however,

the playback setting affects all tracks

together. Since Free EG is based in mea-

sures, changing the playback bpm (tempo)

automatically changes the actual time of the

Free EG as well. To set, press [LENGTH]

repeatedly.

Settings

0.5, 1, 1.5, 2, 3, 4, 6, 8 (measures)

63

Chapter 13

Pattern Power

Tips

It’s time to put your AN200 know-how and experience to work — and delve

into these Pattern Power Tips.

The first couple of Tips introduce you to some important tools for working

with the Patterns, such as copying and erasing data. They’re basic nuts-and-

bolts stuff, but don’t ignore them. You’ll need them for the fun things to follow

— like creating your own original Patterns!

50 Hit the top of the Pattern!

Here’s an effect that’s long been a staple in dance and techno music. The Top function lets you instantly

retrigger the entire Pattern from the top — so you can produce all those cool stutter effects and create awe-

some dynamic hits and accents.

Select and start a Pattern. Then, while the Pattern is playing, hold down [SHIFT] and hit the red Record

([TOP]) button.

Play the button in time with the rhythm, on every beat — like this:

Watch your timing and keep the beat! Of course, you can get different effects

by playing the button way ahead or way behind the beat, if you want. (We’ll

show you some fancy rhythmic tricks with this in later Tips, too!)

Still, it’s best to hit the button right on the downbeats (“one,” “two,” “three,”

and “four”), and stay in the groove. When you’ve got it right, you’ll feel it.

Keep holding [SHIFT]

while you hit (press

and release) the

Record button.

ONE two three four

Top

Instantly returns to beginning (top) of Pattern

during playback. Ideal for creating “stutter”

effects, partial measures, hits, and accents.

While Pattern is playing, hold down [SHIFT]

and press red Record (TOP) button. Release

button and repeat for each time you want Pat-

tern to start from the top.

Chapter 13 Pattern Power Tips

64

51 Shake, Retrigger, and Roll!

In Tip 50, you saw how to use the Top function to play your own stutter hits. Here’s a nifty variation on that

function — it’s called Retrigger & Roll.

Retrigger & Roll does just as its name suggests. It retriggers notes of the Synth track, and repeats them —

like a drum roll.

Select a Pattern and start it up. As the Pattern’s running, hold down [SHIFT] and simultaneously press and

hold the Start/Stop button.

Hear the “roll”? And did you notice how the Rhythm tracks keep chugging along, while the Synth track

spins its wheels?

Try this function at various points in the Pattern — the top, the end, the middle — and listen to what hap-

pens. Just keep holding down [SHIFT], and press/hold the Start/Stop button at different points in playback.

Keep in mind, Retrigger & Roll differs from Top in three important ways:

1) It only affects the Synth track.

2) It grabs and hits only a few notes — depending where in the Pattern you

press the button.

3) It automatically repeats the hits for you while you hold the button down.

You’ll find that Retrigger & Roll is a slick way to break the rhythm up a bit,

without losing the flow. It’s also great for throwing hip, “what-was-THAT?”

glitches and stutters into your tracks.

Retrigger & Roll has three different settings. To change the setting:

1) Keep the Roll going (simultaneously hold down [SHIFT] and Start/Stop

button).

2) Grab the DATA knob. Make sure you keep holding [SHIFT] and Start/

Stop — and turn the knob to change the setting.

While the Pattern is cycling, hear how the different settings affect the sound.

And try changing the settings in time with the Pattern as well. There are a lot of

cool rhythmic tricks you can create — just by hitting different settings on the

beat.

Retrigger & Roll

During Pattern playback, this stops the Synth

track at the point of execution and loops one,

two, or four notes (depending on the Roll

type below). The Rhythm tracks are not

affected. While a Pattern is playing, simulta-

neously hold [SHIFT] and press/hold the

Start/Stop button.

Roll Types

Determines how many notes are used for

Retrigger & Roll — one, two, or four. The

more notes used, the slower the roll effect.

While the Pattern is playing and while holding

down both [SHIFT] and the Start/Stop button,

use the DATA knob to change the setting.

Settings

Lo (Lo)

One note or step (corresponds to 16th

notes).

mid (Mid)

Two notes (corresponds to two 16th

notes, or half of a beat). However, when

Beat (page 18) is set to “12,” this

becomes three notes.

Hi (Hi)

Four notes (corresponds to a full beat in

a measure).

Roll Types (in Utility)

The default Roll setting can also be changed

from the Utility parameters. Hold down

[SHIFT] and press button [16], repeatedly if

necessary, until “roLL” appears in the dis-

play. Use the [DATA] knob to change the set-

ting. (Settings are same as above.)

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Chapter 13 Pattern Power Tips

52 Selecting a Voice (Copy Voice)

One important step you can take in creating a Pattern is to select the Voice you’ll be using for it.

Keep in mind that each Pattern includes a Voice, and that strictly speaking, Voices CANNOT be selected sep-

arate from their Patterns. However, this function lets you select a Voice that you like from one Pattern, and

copy it to another Pattern.

1 First, select the source Pattern — the one that has the Voice you like.

2 Simultaneously hold down [SHIFT] and press [12]

(COPY SEQ/VOICE).

You may have to press the button more than once to call up the “CPY.<”

display.

3 Next, select the destination Pattern.

This is the Pattern you’ll be copying the Voice to. Use the DATA knob.

4 Copy the Voice.

The [12] button should be flashing. Press it once again (the button stops

flashing and stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third

time to actually copy the Voice to the selected Pattern number, or press

[EXIT] to cancel.

53 Starting a Pattern on a different note

Here’s an interesting way to change the character of a Pattern — without actually changing any of the notes!

The Move Note function simply lets you start playback from any individual step in the Pattern.

For example, in a 16-step Pattern, selecting a value of “-4” moves the Pattern “back” four steps — making

Step 5 the starting point of the Pattern.

1 While the Pattern is stopped, simultaneously hold

down [SHIFT] and press [13] (MOVE/PITCH).

You may have to press the button more than once to call up the “mo<E”

(Move Note) display.

2 If you want, select the particular track (Synth or

Rhythm) you want to move.

Each track can be set independently — just hold down [SHIFT] and press

the appropriate number button [1], [2], [3], or [4].

3 Release [SHIFT] and press [13] once again (the button

stops flashing and stays lit).

At the “Y£n” (“Yes or no?”) prompt, press it a third time to actually change

the value, or press [EXIT] to cancel.

4 Start the Pattern to hear the changes you’ve made.

• Keep in mind that any changes you make to the Pattern with this function are cumulative.

For example, if you change the setting by -4, then make a second setting of -3, the actual

value (compared to the original Pattern) will be -7.

• This CANNOT be used while the Pattern is playing back.

Copy Voice

Allows you to copy a Voice from one Pattern

to another. Select the source Pattern, then

use [SHIFT] and [12] to call up “CPY.<”

(Copy Voice). Select the destination Pattern,

and press [12] twice to execute.

Move Step

Determines the starting step of the Pattern,

shifting the Pattern back or forward by the

specified number of steps. All steps of the

Pattern play as normal; only the starting point

changes. Use [SHIFT] and [13] to call up

“mo<E” (Move Step). If desired, select the

track to be moved; hold down [SHIFT] and

press the appropriate number button [1], [2],

[3], or [4]. (Skipping this step automatically

selects all tracks.) Use the DATA knob to

change the value and press [13] twice to exe-

cute.

Range

-15 — 0 — 15 (steps)

Chapter 13 Pattern Power Tips

66

54 Transposing the pitch of a Pattern

Try this cool editing tool on your tracks. The Transpose Pattern function lets you change the overall key

(pitch) of a Pattern — including the Rhythm tracks. Shift the pitch way up, or bring it way down — there’s

a lot of range here to work with.

1 While the Pattern is stopped, simultaneously hold down [SHIFT] and

press [13] (MOVE/PITCH).

You may have to press the button more than once to call up the “PtCH” (Transpose Pattern) display.

2 If you want, select the particular track (Synth or Rhythm) you want to

transpose.

Each track can be set independently — just hold down [SHIFT] and press the appropriate number button

[1], [2], [3], or [4].

3 Set the pitch change of the tracks by using the [DATA] knob.

The pitch change value is in semitones. (There are 12 semitones in an octave.) For example, if the orig-

inal Pattern is in the key of C, a setting of “5” would change the key to F.

Keep in mind that this changes the pitch of the Rhythm tracks as well as the Synth track.

4 Transpose the Pattern.

Press [13] (the button stops flashing and stays lit). At the “Y£n” (“Yes or

no?”) prompt, press it again to actually change the value, or press [EXIT] to

cancel.

5 Start the Pattern to hear the changes you’ve made.

• Keep in mind that any changes you make to the Pattern with this function are cumulative.

For example, if you change the setting by -4, then make a second setting of -3, the actual

value (compared to the original Pattern) will be -7.

• This CANNOT be used while the Pattern is playing back.

Transpose Pattern

Determines the overall key of the Pattern,

shifting all notes in all tracks of the Pattern up

or down in pitch by the specified number of

semitones. Use [SHIFT] and [13] to call up

“PtCH” (Transpose Pattern). If desired,

select the track to be transposed; hold down

[SHIFT] and press the appropriate number

button [1], [2], [3], or [4]. (Skipping this

step automatically selects all tracks.) Use the

DATA knob to change the value and press

[13] twice to execute.

Range

-24 — 0 — 24 (semitones)

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Chapter 13 Pattern Power Tips

55 Copying a Pattern (Sequence)

Earlier in this section, in Tip 52, you learned how to copy a Voice from one Pattern to another. Here you’ll

learn how to copy a Sequence (the Pattern’s notes) from one Pattern to another.

1 First, select the source Pattern — the one that has the Sequence you like.

2 Simultaneously hold down [SHIFT] and press [12] (COPY SEQ/VOICE).

You may have to press the button more than once to call up the “CPY.S” (Copy Sequence) display.

3 Next, select the destination Pattern.

This is the Pattern you’ll be copying the Sequence to. Use the DATA knob.

4 Copy the Sequence.

The [12] button should be flashing. Press it once again (the button stops

flashing and stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third

time to actually copy the Sequence to the selected Pattern number, or press

[EXIT] to cancel.

The word “Sequence” is used here to describe the recorded notes or steps of a Pattern.

(“Pattern” actually is a blanket term that refers not only to the recorded notes, but the Voice,

the Scenes, and the Free EG settings as well.)

Copy Sequence

Allows you to copy a Sequence from one Pat-

tern to another. Select the source Pattern,

then use [SHIFT] and [12] to call up “CPY.S”

(Copy Sequence). Select the destination Pat-

tern, and press [12] twice to execute.

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Chapter 14

Pattern Recording

By this point, you’ve built up a lot of experience twisting and tweaking the

Voices, and playing around with the Patterns. Now it’s time to strike out on

your own — and create some Patterns yourself. Let’s get started...

56 Erasing a Pattern — and starting from scratch

The first thing you’ll need to do when you make your own Pattern is to make room for it on the AN200. To

do that, you’ll have to erase or clear one of the factory preset Patterns.

Don’t worry, you won’t be permanently erasing this Pattern. All this operation does is give you a blank slate

on which to create your own Pattern. You can restore the original Pattern by simply re-selecting it (with the

[DATA] knob), or by turning the AN200 off and back on again.

1 Select the Pattern to be cleared.

2 Simultaneously hold down [SHIFT] and press [11] (CLEAR SEQ).

The button flashes, and “CLr” (Clear) briefly appears in the display.

3 Release [SHIFT] and press [11] once again.

The button stops flashing and stays lit; the display prompts you by asking “Yes or no?” (“Y£n”). Press

it a third time to actually clear the Pattern, or press [EXIT] to cancel.

We’ve labeled this function “CLEAR SEQ” (Clear Sequence) on the panel to distinguish it

from the DEL PTN (Delete Pattern) function, at button [10].

Clear Sequence — Deletes the note data from a Pattern.

Delete Pattern — Deletes the Pattern number from a Song (see Tip 89).

• Tweak an existing Pattern

Naturally, if there’s a preset Pattern you like and simply needs a bit of tweaking to fit your

specifications, you don’t need to completely clear the Pattern — just edit it, using the tools

described in Tip 59, Step Recording.

Clear Sequence (Pattern)

Allows you to clear the note data of a Pattern.

Select the Pattern, then use [SHIFT] and [11]

to call up “CLr” (Clear). Press [12] twice to

execute.

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Chapter 14 Pattern Recording

57 Setting the Metronome lead-in

When you record your parts in real time, you’ll need a rhythmic guide — a metronome click — to lead you

into the recording, and keep you in time. Here, you can set the length of the Metronome lead-in — in other

words, how long the Metronome clicks before Real-time recording actually starts.

1 Simultaneously hold down [SHIFT] and press [16] (UTILITY SETUP).

You may have to press the button more than once to call up the “mtro” display.

2 Use the DATA knob to change the setting.

For a one-measure lead-in before recording starts, set this to “on1.” For a

two-measure lead-in, set this to “on2.”

You can also turn the Metronome off here, by setting this to “oFF” — in

which case, recording starts immediately (without a lead-in), as soon as

you press the Start/Stop button.

When done, press [EXIT] to return to normal operation.

Metronome

Determines the length of the Metronome

lead-in for Real-time recording. To turn the

Metronome (and the lead-in) off, set this to

“oFF.” Set this to “on1” for a one-measure

lead-in, and “on2” for two measures.

Metronome is set in the Utility parameters.

Hold down [SHIFT] and press button [16],

repeatedly if necessary, until “mtro”

appears in the display. Use the [DATA] knob

to change the setting.

Settings

oFF

No lead-in metronome click.

on1

A one-measure lead-in before recording.

on2

A two-measure lead-in before recording.

Chapter 14 Pattern Recording

70

58 Recording a Pattern in real time

Up until this point, you’ve been working with the preset Patterns of the AN200. Now, here’s your chance to

create some Pattern magic yourself — by recording your own original Patterns.

We’ll give you the basic procedure to get you started. You supply the creative ideas and talent. And the

AN200 will provide the sonic horsepower you need to produce some truly hip and happening tracks.

1 Select a blank Pattern — a clean slate for recording your own notes.

(Have you cleared a Pattern for this yet? If not, go back to Tip 56 and do

it now.)

2 Make the Beat setting for the new Pattern: 16, 12, or

8.

Hold down [SHIFT] and press [SWING] (BEAT). Then, turn the DATA knob

to change the setting.

You should make this setting BEFORE recording, since it determines the number of steps you’ll have

available in the Pattern.

A setting of “16” gives you sixteen steps or spaces you can record notes to; a setting of “8” is obviously

half that — eight steps. The “12” setting gives you twelve steps, of course, but also lets you create a

triplet feel — count: “ONE, two, three, TWO, two, three,” etc.

3 Select the track for recording — Synth or one of the

three Rhythm tracks. Press [SYNTH TRACK] for Synth,

or [RHYTHM TRACK] (repeatedly) for Rhythm tracks 1,

2, or 3.

4 Set a comfortable bpm for recording.

Hold [SHIFT] and press the [TAP] button, then use the [DATA] knob.

Keep in mind, you can always change the bpm later. Right now, it’s impor-

tant to set the bpm so that it’s fast enough to capture the feel you’re after,

yet slow enough to let you easily enter the notes. (Make sure to press [EXIT] when you’re done.)

5 Press [KEYBOARD] to enable the AN200’s keyboard.

Did you know you can use a MIDI keyboard to record the notes? If you’ve

got one, see Tip 86 for info on setting it up.

6 Enable recording — press the red Record button.

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Chapter 14 Pattern Recording

7 Start recording.

Now, let’s get down to business. Press the Start/Stop button. While listening to the metronome, play the

keys on the keyboard.

The AN200 has a nifty “Loop Recording” feature that immediately and automatically plays each note you

record as the Pattern repeats (loops). This lets you hear the Pattern as you’re recording — making it

much easier to “feel” your way to a great recording.

What’s more, the AN200 automatically corrects the timing of the notes you play. This may not always

give you the results you expect — but it will ensure that ALL your notes play back in perfect sync with

the rhythm.

8 Delete your mistakes or unwanted notes.

We know, you probably didn’t make any any mistakes. But just in case you want to know, here’s how you

can patch up your tracks.

While the Pattern is still recording, simultaneously hold down [SHIFT] and press one of the Step buttons.

(Again, avoid Step buttons [1], [4], and [8] — they won’t have any effect.) Listen closely to the playback

and press the appropriate Step button at the right time — right as the note plays. You can erase more

than one note by continuing to hold down [SHIFT] and the Step button — for as long as you want to

erase. Since it may be difficult to precisely erase the offending notes, try slowing down the bpm (page

17) during recording.

9 Stop recording.

Press the Start/Stop button.

10 Finally, save your precious work to the AN200’s internal memory — with

the Store function.

(Actually, you’ll have to see page 79 for info on storing Patterns — we’re

running out of space here... Besides, the Store function deserves it’s own

Tip.)

• Lay down the drums

Generally, it’s a good idea to record your Rhythm track first. In fact, you may want to record

just a very simple drum pattern to start with, and build up from there. You can later embellish

that basic track, or even erase it and come up with an entirely new drum part — once your

other tracks start to take shape.

• Loop Recording

Take advantage of the Loop Recording feature and play just one note or sound at a time. For

example, when building a Rhythm track, start out with just a kick drum sound (select octave

C2 with [OCT <<], and press [9]) — and play it on the “one” and “three” beats. With the kick

looping, play button [3] for a snare drum. Then, go back to octave C3 and use buttons [14]

and [7] to add a rapid-fire hi-hat pattern.

Get the idea? Keep building your tracks part by part in this way until you’ve got just what you

want.

• MIDI keys

Have you bought yourself a MIDI keyboard yet? One that’s at least five octaves long, has

touch sensitive keys, and features Pitch Bend and Modulation wheels? If you haven’t, you’re

missing out on a very easy and powerful way to record! Just hook one up (see Tip 86) — and

lay down your best keyboard licks.

Real-time Recording

Allows you to record the notes to a Pattern in

real time, as opposed to entering them one-

by-one (in Step recording; see page 72).

Select a blank Pattern and set the Beat

(below). Select a track with [SYNTH TRACK]

and [RHYTHM TRACK], and press [KEY-

BOARD]. Press red Record button to enable

recording, then press Start/Stop button to

start, and play the keyboard.

Beat

Determines the number of steps for the Pat-

tern. Hold down [SHIFT] and press [SWING],

and use the DATA knob to change.

Settings

16, 12, 8 steps

Chapter 14 Pattern Recording

72

59 Step Recording

In Tip 58, you learned how to record a Pattern in real time, by playing the notes on the keyboard as the Pat-

tern was looping. Now, you’ll learn a completely different method — Step recording.

Real-time recording is like using a tape recorder — whatever you play is recorded as you play it. Step

recording, on the other hand, allows you to enter each note individually — like writing down the notes on a

sheet of music paper.

With Step recording, you not only enter the note itself (Pitch), but its length (Gate Time) and its loudness

(Velocity) as well.

Step recording is ideal for precision — making the placement, rhythmic value, and velocity of each note

exact and consistent. This is great for recording individual drum parts in a rhythm pattern, or single notes in

a syncopated synth bass part. Step also gives you precise control in recording fast or complex passages

that would be difficult or impossible to record in real time.

Last but not least, use Step Recording to edit Patterns. This is a great way to customize existing Patterns

and tweak them to fit your needs — or twist them into completely new tracks.

There’s a lot to be learned here, so take a deep breath — and dive in!

■ Setting Up• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

The first three steps below show you how to set up a Pattern for Step Recording.

1 Select a Pattern and clear it.

Call up a Pattern that has the Voice you want to use for your new, original

Pattern. Clear the Pattern by holding down [SHIFT] and pressing [11], then

pressing only [11] twice again.

Remember that the Pattern isn’t really erased — you can get it back by sim-

ply turning the AN200 off and back on again.

2 Make the Beat setting for the new Pattern: 16, 12, or

8.

Hold down [SHIFT] and press [SWING] (BEAT). Then, turn the DATA knob

to change the setting.

You should make this setting BEFORE recording, since it determines the

number of steps you’ll have available in the Pattern.

3 Here, you’ll be recording the Synth part, so select the

Synth track.

Press [SYNTH TRACK] (the button lights).

By the way, you can also step-record the Rhythm tracks — but we’ll show you

how to do that a little later on.

1

2

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Chapter 14 Pattern Recording

■ Entering the Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

In this section, you’ll be entering the notes (pitches) for each of the sixteen steps. We’re going to show you

a quick way to do this. The results here may not be very musical — but they’ll get you started fast and point

you in the right direction.

4 Turn all the Steps on.

In this condition, all the buttons are probably off. (Remember? You cleared the Pattern...) Go down the

line, and press each button so that they are all lit.

Why do this? Generally, when you’re recording the Synth track, it’ll be easier to create a Pattern if all

Steps 1 - 16 are on. This will create a busy Pattern, but you can always take out notes later.

5 While holding down [SHIFT], press [STEP 1-8].

Do this repeatedly, if necessary, to select Pitch entry.

This operation actually accomplishes two things:

1) It selects Steps 1 - 8 for recording.

2) It selects the event type (in this case, Pitch).

Also, notice the flashing [1] button. This indicates that Step 1 is ready for recording.

6 Now, with the PITCH indicator selected, use the knobs above the buttons

to set the Pitch for each Step, 1 - 8.

Each knob corresponds to the Step directly below it. For example, the PORTAMENTO knob controls

entry for Step 1, the VCO 1/2 knob for Step 2, and so on.

Set the knobs (roughly) to the positions indicated above. No, you don’t have to be exact. In fact, you can

set these any way you want. We just figured that twiddling them around 11:00 to 1:00 is easy to do. You

won’t wind up with an earthshakingly memorable melody, but it should at least give you a listenable set

of pitches to work with.

Notice that when you tweak a knob, the corresponding Step button flashes.

7 Now, let’s work with Steps 9 - 16.

Press button [9].

We just showed you the fast way to select Steps 9 - 16 for editing:

1) Edit Steps 1 - 8 first, then

2) Press button [9] to edit the same parameter for Steps 9 -16.

An alternate way is to hold [SHIFT] and press [STEP 9-16], repeatedly if

necessary (like you did in instruction Step 5 above).

Chapter 14 Pattern Recording

74

Enter the notes for these Steps in the same way as you did with Steps 1 - 8 above, but use the setting

guide below:

Again, this is ONLY a guide — make your own settings, if you want.

8 Finally, press the Start/Stop button — and hear your new masterpiece.

■ Gate Time • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

In the next few steps, let’s work with Gate Time and lengthen some of the notes.

9 Hold down [SHIFT] and press [STEP 1-8], until the GATE TIME indicator is

lit.

10 Set the knobs as shown.

Set knobs [1] and [5] to around 12:00. (The display value should be around 200.)

Set knobs [2], [3], [4], [6], [7], and [8] to around 9:00. (The display value should be around 70 - 75.)

11 Do the same again for Steps 9 - 16.

Press any one of the bottom row buttons (this automatically selects Steps 9 - 16 for editing the same

parameter, Gate Time), then set the knobs to roughly the same positions as shown above.

12 Press the Start/Stop button to hear your stunning new arrangement.

■ Velocity• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

No matter what unnatural, machine-like melody you’ve programmed above, you can make it sound much

better by putting in a few choice accents — with Velocity.

13 Hold down [SHIFT] and press [STEP 1-8], until VELOCITY is selected.

14 Maybe you’ve noticed that you can change any and all of the events

while the Pattern is running. If you HAVEN’T noticed this, press the Start/

Stop button to play the Pattern, and make the changes below.

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Chapter 14 Pattern Recording

15 Set the knobs as shown.

Set knobs [1] and [5] to around 2:00. (The display value should be around 90 - 100.)

Set knobs [2], [3], [4], [6], [7], and [8] to around 11:00. (The display value should be around 40 - 50.)

Or, make your own settings. After all, you’ve mastered the process now. Plus, since you can hear what

you’re doing — AS you’re doing it — you can come up with some amazing ideas of your own.

■ Step Mute • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

We’ve covered this function before (in Tip 29), but let’s check it out again. It’s a handy editing tool that helps

you create great sounding tracks.

16 Is the Pattern still going? If not press the Start/Stop button again.

17 Press some of the Step buttons to mute certain Steps. Try out the exam-

ples below, then experiment with your own settings.

Press buttons [5], [7], [11], and [13]. Listen to the sound of the Pattern as these Steps drop out.

Now, turn them all back on and mute these: [6], [7], [12], [14], and [16].

You’ve got your basic Synth track — now, continue crafting and adding to the Pattern by working on the

Rhythm tracks below.

• Fine tuning

Here’s a smart and easy way to work! Use the “Step” knobs (above

each Step button) to select the Step and make a rough, ‘round about’

setting, then use the DATA knob to tweak and fine-tune the setting.

• Swing

Don’t forget to use Swing. It might not be right for all of your Patterns,

but it doesn’t hurt to try it out. A little Swing may be just what the doc-

tor ordered... Remember, the Swing setting affects all tracks equally.

(See page 37.)

• Other tools

Feel like hearing a different Voice? Call up the Copy Voice function

(page 65), and dial in a new Voice for your Pattern. Pattern Move (page

65) and Pattern Pitch (page 66) are also useful tools you can apply to

your tracks.

• Copy Pattern

If you’ve crafted a really hip Pattern, and you’d like to make a few more

variations — use the Copy Sequence operation (page 67). Once you

have some copies of the Pattern, you can tweak them and change them

around, until you’ve got a whole palette of similar beats and riffs to

work with — for live performance (page 95), or for Song recording

(page 82).

• Mix your methods

Real-time and Step recording are two separate methods — but they can

also be used together. Not at the same time, of course, but in tandem.

For example, you could record a basic beat to Rhythm Track 1 with

Step, then use Real-time to improvise a bass line on the Synth Track.

Or you could combine both methods on a single track — recording a

basic part with Real-time, then using Step to edit it. Which method you

use and how you use it depends partly on the type of music you wish to

create and partly on your own personal preference.

Chapter 14 Pattern Recording

76

The AN200 is filled to the brim with an enormous variety of drum, percussion, and special effects sounds.

Put these to good use with the Step Recording features — and create your own awesome beats and smokin’

rhythms.

■ The Basics — Rhythm Track 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

In the next few steps, we’ll walk you through the basics — and give you a quick way to edit. Get these steps

down, and you’ll be whizzing through the tracks in no time.

18 Turn on the Steps you want to record.

Press the buttons shown to turn them on.

19 Select the Instrument Select parameter.

While holding down [SHIFT], press [STEP 1-8]. Do this repeatedly, if necessary, to call up Instrument

Select. (The “INST SEL” indicator lights.)

Instrument Select is only available for the Rhythm tracks. As you may recall from Tip 11, the Rhythm

tracks contain a huge variety of bass, drum, percussion and other sounds — each assigned to a different

key. Instrument Select is the place you go to choose these sounds for Step recording.

Notice that a cryptic name appears in the display. This indicates the

selected sound. For example, the display below indicates that Snare Drum

#14 is called up.

For a complete list of the sounds and their display abbreviations, see page 140.

20 Enter a bass drum sound for all the steps.

Press button [1], then hold down [SHIFT] and turn the [PORTAMENTO] knob to select “bd05.” All

steps 1 - 16 are instantly and automatically set to the same value.

Remember, you can use the [DATA] knob instead for finer control. Just press the appropriate number

button, then tweak the [DATA] knob to dial up the desired sound.

Press the Start/Stop button to hear the new track — a bass drum pulse that will be the foundation of this

new rhythm.

In the Fast Lane — Working Smart

Rhythm Tracks

Once you get to know your way around the controls, you can Step Record

your tracks fairly quickly. The trick is in getting the system down to a rou-

tine. So, here’s the routine!

1) Select the desired track.

Press [SYNTH TRACK] or [RHYTHM TRACK].

2) Turn on the desired Steps.

Press the appropriate Step buttons, so that they light.

3) Call up the desired parameter.

Hold [SHIFT] and press [STEP 1-8] to call up Instrument Select, Pitch,

Gate Time, or Velocity.

4) Press the desired number button and change the value.

Use the knob directly above it, or use the [DATA] knob.

While editing you may want to turn other Steps on or off. To do this

quickly and return to editing:

1) Press [EXIT] (to leave the current parameter).

2) Turn the desired Steps on or off.

3) Press [STEP 1-8] or [STEP 9-16] (to return to current parameter).

And remember — at any point in the operation, you can:

• Select a different track.

Press [SYNTH TRACK] or [RHYTHM TRACK].

• Play the Pattern to hear your edits.

Press the Start/Stop button.

• Mute or un-mute individual tracks.

Hold [SHIFT] and press [1], [2], [3], or [4].

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Chapter 14 Pattern Recording

■ Overdubbing the Hi-hat — Rhythm Track 2 • • • • • • • • • • • • • • • • • • • • • • • • •

Now, let’s flesh out the rhythm a bit with some hi-hat parts — and add a turntable scratch at the end.

21 Using the “In the Fast Lane” box above as a guide, go on to Rhythm

Track 2, and make the settings as described here.

Turn the indicated buttons on and set them to the instruments shown.

While you’re programming the instruments, let the Pattern play. Hearing the sounds as you

enter them is a great help in constructing hip tracks.

■ Snare and Ethnic Spice — Rhythm Track 3 • • • • • • • • • • • • • • • • • • • • • • • • •

For the final mix, we’ll record a snare backbeat — and throw in some Indian tabla and other percussion for

good measure.

22 Have you got the hang of the things by now? Use “In the Fast Lane” above as a

cheat sheet if necessary, and program Rhythm Track 3 as shown.

Chapter 14 Pattern Recording

78

■ Fine Tuning Your Tracks — Pitch, Gate Time, and Velocity • • • • • • • • • • • • • •

Before you run off, remember that the Rhythm Tracks can be edited some more with the Pitch, Gate Time,

and Velocity parameters.

23 We won’t tell you exactly what to do — you can explore these on your

own. However, here are some guidelines and paths to follow:

● Pitch

Yes, the drum and percussion sounds can be pitch-changed. So can all the scratches and sound

effects. Everything’s fair game and nothing’s safe. This is your chance to go wild with the rhythm!

● Gate Time

Experiment with the length of each note — clipping some here, extending some there. Typical uses

include stretching out the sound of a cymbal, so you hear the full decay, or cutting off the sustain of a

tom sound, for a short, sharp chop.

● Velocity

Accentuate the positive. Bring out certain important instruments in the mix by boosting their veloci-

ties. Similarly, turn the velocity down for instruments that seem too loud.

24 Last and certainly not least — save your work.

Now that you have the slamming basic track for your new Grammy-winning, Platinum-selling Techno/

Dance hit — you’d better save it. (For information on saving, see Tip 60.)

And that’s it! Unless of course you want to go back and re-edit everything to your own exacting specifi-

cations. After all, you’re the boss.

Rhythm Tracks

• Start with the beat

When you record a Pattern, it’s best to start out with the Rhythm tracks. In fact, you might

want to record just a temporary rhythm “scratch track” (for example, bass drum and snare) to

Rhythm Track 1, and build the rest of the Pattern on top of that — erasing or modifying the

scratch track later.

Of course, it’s all up to you! Depending on what style of music you record and your own per-

sonal preferences, you may want to start with the Synth track instead.

• Play with Gate Time

Remember Gate Time can also be a “global” effect. Playing back the rhythm you’ve just pro-

grammed, mute the Synth track and experiment with different Gate Time settings. (Hold

[SHIFT] and press [REVERSE]; use [DATA] knob to change.) Try settings of 30, 50, and 200

on all three Rhythm tracks — and hear what happens!

• Swing

For an instant hip-hop approach, try changing the Swing! While the Pattern is playing, press

[SWING] and use the [DATA] knob to set the value to 65 or 70.

Step Recording

Allows you to enter the notes to a Pattern in

one-by-one, as opposed to recording them in

real time (in Real-time Recording; see page

70).

1. Clear a Pattern and set the Beat (hold

[SHIFT] and press [SWING]).

2. Select a track with [SYNTH TRACK] and

[RHYTHM TRACK].

3. Turn all desired Steps on by pressing each

Step button.

4. Simultaneously hold [SHIFT] and press

[STEP 1-8] to select Steps 1 - 8 for editing;

press repeatedly to toggle through event

types. (Use [STEP 9-16] in the same way

to select and edit Steps 9 - 16. Or simply

press button [9] after editing Steps 1 - 8.)

5. With event type selected, use knobs above

the Step buttons (and the DATA knob) to

adjust value.

6. Turn steps on/off by pressing [EXIT] (to

leave editing), then pressing appropriate

Step button.

7. Press Start/Stop button to play back. (Can

be done at any point in procedure.)

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Chapter 14 Pattern Recording

60 Storing your new Pattern

Now that you’ve created a new Pattern, you’ll want to save it for future recall. The Store function lets you do

this quickly and easily. And remember, any and all changes you’ve made to the accompanying Voice —

including your knob and button settings, Free EG moves, and Effect edits — are stored with the Pattern, too.

The AN200 gives you 128 User memory spaces for saving your original Patterns.

■ Turn Memory Protect Off • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Before you store, make sure the Memory Protect function is off. If it is on, you won’t be able to store your

Pattern.

1 Simultaneously hold down [SHIFT] and press [16]

(UTILITY SETUP).

You may have to press the button more than once to call up the “Prot”

(Memory Protect) display below.

2 If Memory Protect is set to on, use the DATA knob to change it to off

(“oFF”).

Unless you’ve changed the setting yourself, Memory Protect will probably be off.

Event Parameters — Synth and Rhythm Tracks

Pitch

Determines the pitch of the selected note. For the Synth track, this is

expressed as note names; for the Rhythm tracks, it is expressed as num-

ber of semitone steps. (The small “o” in the note name display designates

accidentals. For example, “ ” corresponds to G#.)

Range

C-2 — G8 (-64 — 24 for Rhythm tracks)

Gate Time

Determines the length of the selected note. The higher the value, the

longer the note length. For sounds that have a short decay, higher values

may have little to no effect.

Range

1 — 1600

Velocity

Determines the volume of the selected note. Use this parameter especially

to create accents in the Pattern.

Range

0 — 127

Instrument Select

Determines the instrument sound for the selected note. This parameter is

available only for the Rhythm tracks.

Range

(Refer to list on page 140.)

Once you’ve created a Pattern (or Voice) you want to save, DO NOT select another Pattern until

you’ve stored it. Selecting another Pattern (or Song) automatically wipes clean any changes or

edits you’ve made!

Chapter 14 Pattern Recording

80

■ Store the Pattern • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Storing your original Pattern is as easy as 1-2-3.

1 First, make sure your new Pattern is selected and that

Memory Protect is off. Then, press [STORE]. (“P.Str”

briefly appears to indicate the Store operation.)

2 Select the desired User Pattern number (1 - 128) with

the DATA knob.

3 Press [STORE] again to actually store the Pattern, or press [EXIT] to can-

cel.

■ Selecting User Patterns• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Now that your Pattern is properly saved to memory, you can call it up any time you want. Select it the same

way you select the preset Patterns — pressing [PATTERN] and using the DATA knob. The User Patterns

come after preset Pattern 256.

For a quick way to select User Patterns, hold down [SHIFT] and press the [PAT-

TERN] button. This toggles between the Preset Patterns and the User Patterns.

• Save your Patterns in bulk

If you have a sequencer or MIDI data filer, you can use the AN200’s Bulk Send function (page

108) to save your valuable Pattern and Voice data in multiple “banks” of 128 Patterns. Load

each bank of 128 back to the AN200 when you need it — or share your banks with your

AN200-equipped friends and bandmates. Keep in mind too that you can use Bulk Send with

the computer-based AN200 Editor (page 106) to further edit your Voices.

• Make it a habit

Did we mention that you should save? Save, save, and keep saving! Even if you’re still work-

ing on a Pattern or Voice and don’t consider it finished, save it anyway.

Why? Doing this gives you an archive of the changes you’ve made along the way — in case

you want to call one of them up again. You can always delete those archive Patterns later

(page 68) if you need extra memory space. Or, if you’re a “pack rat,” you can use Bulk Send

(see hint above) to save every single thing you’ve ever created.

Memory Protect

Determines whether you can store Patterns

to memory or not. Set this to ON when you

want to avoid inadvertently erasing or replac-

ing any previously stored User Patterns.

Hold down [SHIFT] and press [16] until

“Prot” (Protect) appears briefly in the dis-

play. Use the DATA knob to change the set-

ting.

Settings

Off (“oFF”), On (“on”)

Store Pattern

Allows you to save Pattern and Voice data to

one of 128 User memory locations.

With the new Pattern still active and Memory

Protect off, press [STORE]. Select the

desired User number with the DATA knob,

and press [STORE] again to execute, or press

[EXIT] to cancel.

81

Chapter 15

Song Recording

You’ve got a humongous selection of Patterns at your disposal. It’s time now

to put them together and make some Songs.

61 Erasing a Song — and starting from scratch

The first thing you’ll need to do when you create your own Song is to make room for it on the AN200. To do

that, you’ll have to erase or clear one of the existing Songs.

1 Make sure the Song mode is selected.

Press the [SONG] button.

2 Select the Song to be cleared.

Make sure that it’s a Song you don’t mind getting rid of. Actually, this

doesn’t really erase the Song right away. The Song data still stays in mem-

ory — until you save your new Song to that number.

3 Simultaneously hold down [SHIFT] and press [9]

(CLEAR SONG).

4 Clear the Song.

Release [SHIFT] and press [9] once again (the button stops flashing and

stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third time to actu-

ally clear the Song, or press [EXIT] to cancel.

• Don’t erase... Edit a Song!

Remember, you don’t need to put a Song together from scratch. If there’s a preset Song you

like and simply needs a little customizing to make it your own, just call it up and edit it instead.

Take Patterns out, put new Patterns in, and perform a variety of transformations on the Pattern

data — the info starts on page 84.

Indicates Song

mode is active.

Clear Song

Allows you to clear Pattern assignments and

other edits of a Song. (Remember, this does

NOT affect the actual data of any Patterns.)

Select the Song, then use [SHIFT] and [9] to

call up “CLr” (Clear). Press [9] twice to

execute.

Chapter 15 Song Recording

82

62 Creating a Song

Finally, we come to the culminating feature of the AN200. This is the place where you bring together all the

Voices, Scenes, Free EG moves and Patterns you’ve made — and use them to create your own original

Songs.

1 Call up the Song mode and clear a Song.

Give yourself a blank slate for putting together your own Song. (Have you tried clearing a Song yet? If

not, go back to Tip 61 and do it now.)

2 Call up the Song Edit mode.

You’ll need to enter the Song Edit mode to do any Song recording or edit-

ing. To do this, simultaneously hold down [SHIFT] and press the [SONG]

button.

The PATTERN indicator should flash. If PATTERN is NOT flashing, press

[PATTERN SELECT] to get it flashing and enable Pattern number entry.

3 Select the measure to which you want to record.

Simultaneously hold down [SHIFT] and use the [OCT <<]/[OCT >>] ([BWD]/[FWD]) buttons to move for-

ward or backward in the Song, measure-by-measure.

Also, try this alternate method below — and move more quickly and easily through the measures.

1) Hold down [SHIFT] and press either of the [BWD]/[FWD] buttons.

2) Then, release the buttons, and use the [DATA] knob.

In this condition, turning the [DATA] knob steps through the measures. For even speedier selection, hold

down [SHIFT] while turning the [DATA] knob — and jump through the Song ten measures at a click.

4 Press the Start/Stop button.

Doing this loops the currently selected Pattern at the currently selected measure. This allows you to hear

your Song edits in the steps below — in real time.

If you want, you can stop playback by pressing the Start/Stop button before going on to Step 5 below.

Or keep it going and continue editing while the Pattern loops.

5 Select the Pattern number to be assigned (to the measure selected

above).

Use the DATA knob. Any of the Patterns can be selected — Preset or User. Remember that you can eas-

ily switch between the Preset Patterns and the User Patterns by holding down [SHIFT] and pressing the

[PATTERN] button. (See page 80.)

You may also want to record an initial BPM setting at the first measure of your Song. This

determines the basic tempo for the entire Song. For more information, see Tip 63.)

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Chapter 15 Song Recording

6 Keep assigning Patterns in this way, repeating Steps 3 - 5 above, until

you’ve created a new Song.

In most cases, you’ll want to repeat a Pattern over several measures, rather than having a different Pat-

tern every measure. To do this, first set the Pattern you want to repeat. Then, in the following measures,

turn the DATA knob counter-clockwise until “----” appears in the display.

This setting selects no new Pattern, and keeps the previous Pattern playing through the measures

assigned this way.

By the way, if you’re creating a Song from scratch, you may not need to enter “----” at all. Just skip

over the measures that you want to stay the same — the AN200 automatically repeats the last Pattern,

until the next new entry.

7 To end the Song, record the “End” mark.

Select the measure FOLLOWING the final measure in the Song, then turn the DATA knob counter-clock-

wise until “End” appears in the display.

For example, if you recorded the “End” mark to measure 33, the Song plays up through measure 32, then

stops.

8 Press [EXIT] (or the [SONG] button) to leave Song editing.

9 Play back your new Song by pressing the Start/Stop button.

However, you’ll have to use the [BWD]/[FWD] buttons ([SHIFT] + [OCT <<]/[OCT >>] buttons) to select

the starting measure. Make sure to return to the beginning measure — if you want to hear the Song all

the way through.

10 Last and most important — don’t forget to store your new Song.

Go on to Tip 67 right now and save your latest masterwork.

• Recording other data

In addition to Pattern numbers, a variety of other data types can be recorded to the measures

of a Song — such as BPM, Gate Time, Swing, and Reverse. (See page 85.) These let you

change various playback characteristics of the Patterns to suit your Song — without actually

having to change the Pattern data itself!

Song Edit Mode

Call up this mode for recording and editing

Songs. Hold down [SHIFT] and press

[SONG]. (The “S” in the display indicates the

Song mode.)

Measure Select

Determines the measure for recording, edit-

ing, and playback. Hold down [SHIFT] and

use the [OCT <<]/[OCT >>] buttons.

Chapter 15 Song Recording

84

63 Setting the BPM (tempo) for your new Song

In addition to the Patterns, a variety of other settings can be programmed into your Song. One of these is

BPM. It lets you set the playback speed or tempo — for each and every measure, if you want.

Normally, you’ll use this at the start of the Song (see Tip 62, Steps 3 - 5) to make sure the entire Song plays

back at the proper tempo. However, it can also be used to change tempo in middle of the a Song as well.

Work through these steps, and master the procedure. You’ll be using the same method in Tip 64 to program

other settings, too.

1 Enter the Song Edit mode.

Hold down [SHIFT] and press the [SONG] button.

2 Select the desired measure.

Hold down [SHIFT] and use the [OCT <<]/[OCT >>] buttons.

3 Play back the Pattern.

Press the Start/Stop button to loop the Pattern at the selected measure.

4 Call up the BPM setting.

Hold down [SHIFT] and press [BPM] ([TAP]).

5 Set the desired BPM value with the DATA knob.

6 Repeat Steps 2 - 5 above as often as you want, for as

many measures as needed.

In most cases, you’ll want to keep the same BPM setting over several measures, or even over the entire

Song. To do this, enter the “----” setting for as many measures as needed. Or, if you’re programming

the Song from scratch, just skip over the measures that you want to stay the same — the AN200 automati-

cally maintains the last setting, until the next new entry.

• Fine tempo changes

The BPM value has an extremely fine resolution of 1/10 beats per minute — for precise control

over the tempo. Use this to set up very gradual speed changes.

• Speed up, slow down

If your Song fits the conventional verse/chorus structure, you might want to play around with

changing the BPM at the beginning of each section. For example, some artists make their cho-

ruses slightly faster than the verses, to generate more excitement each time the chorus

comes. Other songs might benefit from the completely opposite approach — slowing down

the chorus to make it sound more dramatic.

Whichever approach you take, make sure to keep the changes consistent from section to sec-

tion, and keep them small — you want your listeners to FEEL the changes, not consciously

HEAR them.

Song Edit — BPM (Tempo)

Determines the speed of Pattern playback (in

beats per minute, or bpm), for the selected

measure. First, select the measure by hold-

ing down [SHIFT] and using the [OCT <<]/

[OCT >>] buttons. Then, hold down [SHIFT]

and press [BPM] ([TAP]), and use the DATA

knob to set the value.

Range

20.0 — 300.0 bpm

A setting of “----” maintains the pre-

vious measure’s value (no change).

85

Chapter 15 Song Recording

64 More Song editing features

In Tips 62 and 63 above, you learned how to enter Pattern numbers and BPM values to the measures of your

Song. But that’s not all you can do. In this Tip, we’ll show you how to use the rest of the powerful Song

editing features in your tunes.

By the way, we’ll keep these instructions to the bare-bones minimum. Read about these cool tools, then try

using them in your own Songs and see what you come up with.

Remember, the basic method is the same for all:

1) Enter the Song Edit mode.

(In the Song mode, hold down [SHIFT] and press the [SONG] button.)

2) Select the desired measure.

(Hold down [SHIFT] and use the [OCT <<]/[OCT >>] buttons.)

3) Play back the Pattern.

(Press the Start/Stop button.)

4) Select the event type you want to edit.

(See instructions for each event below.)

5) Set the value.

(Use the DATA knob. In the case of Track Mute below, follow the relevant instructions.)

Naturally, repeat Steps 2 - 5 as often as needed. Press [EXIT] when you’re done editing. And don’t forget to

store your new creation. (See page 89.)

Pattern

(Described in Tip 62 above.)

To select:

Press the [PATTERN SELECT] button.

Pitch Offset

Just as with the similar Pattern control (Transpose; on page 36), this lets you change the playback pitch.

By making different settings throughout various measures in the Song, you can program your own chord

progressions, and have the Patterns change key.

To select:

Hold down [SHIFT] and press the [KEYBOARD] button.

Both the [KEYBOARD] button and the PITCH lamp flash, indicating Pitch Offset is selected.

BPM

(Described in Tip 63 above.)

To select:

Hold down [SHIFT] and press the [TAP] button.

Beat

This lets you change the total number of steps in the Pattern at the selected measure. (For details, see

Tip 6.) One use of this would be to create a half-bar Pattern. For example, if you’ve entered a 16-step

Pattern at the measure, setting this to “8” would effectively cut the Pattern in half. If you’re only aiming

for a brief change, remember to reset the Beat in the next measure or so!

To select:

Hold down [SHIFT] and press the [BEAT] ([SWING]) button.

Both the [SWING] button and the BEAT lamp flash, indicating Beat is selected.

Chapter 15 Song Recording

86

Swing

This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more infor-

mation.)

To select:

Press the [SWING] button.

The [SWING] button lights, indicating Swing is selected.

Gate Time

This lets you control the length of the notes for the Pattern at the selected

measure. (See Tip 25 for more information.) You could use this to create

tracks in which the notes grow progressively longer as the Pattern cycles

— by programming successively higher Gate Time values in the measures.

Or have the notes become more and more clipped (staccato) — by making

Gate Time lower and lower in successive measures.

To select:

Hold down [SHIFT] and press the [GATE TIME] ([REVERSE]) button.

Both the [REVERSE] button and the GATE TIME lamp flash, indicating Gate Time

is selected.

Reverse

By setting this to Reverse (“bAC)”), you can have the Pattern at the

selected measure play backwards. (See Tip 25 for more information.)

Alternate between forward and reverse Patterns for special effects. Or pro-

gram three forward, one reverse — for an interesting four-bar phrase.

To select:

Press the [REVERSE] button.

The [REVERSE] button lights, indicating Reverse is selected.

Track Mute

Add some texture to your Song with this function. By recording Track Mute

events you can have tracks drop in and out of your arrangements, for excit-

ing dynamic changes.

To select and edit:

Hold down [SHIFT] and press either the [SYNTH TRACK] or [RHYTHM TRACK]

button. Then, press the appropriate Step button: [1] for the Synth track, and

[2], [3], and [4] for the Rhythm tracks. The status for each track is shown in the

display.

• Easier way

Keep in mind — there is an alternate way to select the various event types. You may find it

easier to remember — AND easier to use! Simply hold down [SHIFT] and press [SONG]

repeatedly. This toggles through all of the event settings in order: Pattern Select, Pitch Offset,

BPM (Tempo), Beat, Swing, Gate Time, Reverse, and Track Mute.

Song Edit — Event Select

This lets you select the particular event to be

recorded or edited in a Song. Eight event

types are available: Pattern Select, Pitch Off-

set, BPM (page 84), Beat, Swing, Gate Time,

Reverse, and Track Mute. To select, make

sure Song Edit mode is active ([SHIFT] +

[SONG]), then press the appropriate button

(using [SHIFT] if necessary). Alternately,

hold down [SHIFT] and press [SONG] repeat-

edly to toggle through all eight event types.

Pattern Select

Press [PATTERN SELECT].

Range

P.001 — P.256 (Preset Patterns)

U.001 — U.128 (User Patterns)

Pitch Offset

Hold [SHIFT] and press [KEYBOARD].

Range

-24 — 0 (no change) — 24 semitones

BPM

Hold [SHIFT] and press [TAP].

Range

20.0 — 300.0 bpm

Beat

Hold [SHIFT] and press [SWING].

Range

16, 12, 8 steps

Swing

Press [SWING].

Range

50 — 83

Gate Time

Hold [SHIFT] and press [REVERSE].

Range

1 — 200

Reverse

Press [REVERSE].

Settings

Forward (For)

Reverse (bAC))

Track Mute

Hold [SHIFT] and press the [SYNTH TRACK]

button or the [RHYTHM TRACK] button.

Then, press [1], [2], [3], or [4] (for Synth

track and Rhythm tracks 1 - 3). The mute on/

off status for each track is shown in the dis-

play.

Indicates Synth track

is on.

Indicates Rhythm track 1

is muted.

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Chapter 15 Song Recording

65 Adding Patterns to your Song — Insert Pattern

Naturally, you can add Patterns to your existing Songs — by using the Insert Pattern function. This puts a

new Pattern in the Song at the measure you specify.

It doesn’t matter whether you’re in the Song mode or the Song Edit mode — you can insert a Pattern from

either.

1 First, select the measure you want to insert the Pattern to, by holding

[SHIFT] and using the [OCT <<]/[OCT >>] buttons.

2 Call up the Insert Pattern function.

Hold down [SHIFT] and press [10] (INS/DEL PTN). You may have to press

the button more than once to call up the “inS” (Insert Pattern) display.

3 Next, select the Pattern you want to add to your Song.

Use the DATA knob.

4 Insert the selected Pattern.

The [10] button should be flashing. Press it once again (the button stops flashing and stays lit). At the

“Y£n” (“Yes or no?”) prompt, press it a third time to actually insert the Pattern to the selected measure,

or press [EXIT] to cancel.

Take a look at the illustration below and see what happens when you insert a Pattern.

Don’t forget to store your newly edited Song, or you’ll lose any edits you’ve made once you turn the power

off or select another Song or Pattern.

• Replacing a Pattern

If you want to replace a Pattern — in other words, erasing one and putting a new one in its

place — you’ll need to use Delete Pattern (page 88) to delete the Pattern first. Then, use Insert

Pattern to put the new one in.

Pattern 012

Measure 1

Pattern 012

Measure 2

Pattern 013

Measure 3

Pattern 014

Measure 4

Pattern 012

Measure 1

Pattern 012

Measure 2

Pattern 144

Measure 3

Pattern 144

Pattern 013

Measure 4

Pattern 014

Measure 5

Here, Pattern 144 is inserted to

Measure 3, and all following Pat-

terns are moved over to make

space for the new Pattern.

Insert Pattern

Allows you insert a Pattern to any measure

within an existing Song. All subsequent Pat-

terns/measures are displaced.

With Song (or Song Edit) mode active, hold

[SHIFT] and use [OCT <<]/[OCT >>] buttons

to select desired measure. Hold [SHIFT] and

press [10] to call up “inS” (Insert), select

the desired Pattern number with the DATA

knob, and press [10] twice to execute.

Chapter 15 Song Recording

88

66

Taking Patterns out of your Song — Delete Pattern

If you’ve made a mistake in creating your Song, you can always clear it (page 81) and start over. Or you can

use Delete Pattern to erase the offending entry, and keep the other Patterns intact.

Delete Pattern lets you take Patterns out of specific measures in your existing Songs. Keep in mind, how-

ever, it makes your Song shorter by one measure AND it doesn’t leave an empty space — any Patterns that

follow the deleted one move back to fill the vacated measure.

Delete Pattern can be used in either the Song mode or the Song Edit mode.

1 First, select the measure that contains the Pattern you want to delete.

Hold [SHIFT] and use the [OCT <<]/[OCT >>] buttons.

2 Call up the Delete Pattern function.

Hold down [SHIFT] and press [10] (INS/DEL PTN). You may have to press

the button more than once to call up the “dEL” (Delete Pattern) display.

3 Delete the Pattern.

The [10] button should be flashing. Press it once again (the button stops flashing and stays lit). At the

“Y£n” (“Yes or no?”) prompt, press it a third time to actually delete the Pattern from the selected mea-

sure, or press [EXIT] to cancel.

Here’s an example of what happens when you use Pattern Delete. In the illustration below, we’ll delete

Pattern 013 at Measure 3.

Don’t forget to store your newly edited Song, or you’ll lose any edits you’ve

made once you turn the power off or select another Song or Pattern.

Pattern 012

Measure 1

Pattern 012

Measure 2

Pattern 014

Measure 3

Pattern 012

Measure 1

Pattern 012

Measure 2 Measure 3

Pattern 013

Measure 4

Pattern 014

Here, Pattern 013 is deleted from

Measure 3, and Pattern 014 moves

over to take its place.

Delete Pattern

Allows you delete a Pattern from any mea-

sure within an existing Song. All subsequent

Patterns/measures move back to fill the

vacant measure.

With Song (or Song Edit) mode active, hold

[SHIFT] and use [OCT <<]/[OCT >>] buttons

to select desired measure. Hold [SHIFT] and

press [10] to call up “dEL” (Delete), and

press [10] twice to execute.

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Chapter 15 Song Recording

67 Storing your new Song

Now that you’ve created and arranged a new Song, you’ll want to save it for future recall. The AN200 gives

you a total of 10 memory spaces for saving your original Songs.

Delete Pattern can be used in either the Song mode or the Song Edit mode.

1 Make sure Memory Protect is turned off.

Hold down [SHIFT] and press [16] until the “Prot” (Protect) display is shown. Then, set Memory Pro-

tect to OFF with the DATA knob.

Press the [EXIT] button to leave Memory Protect.

2 With your new Song still up and waiting, press

[STORE].

“S.Str” briefly appears to indicate Store operation.

3 Select the desired Song number (01 - 10) with the

DATA knob.

4 Press [STORE] again to actually store the Pattern, or press [EXIT] to can-

cel.

• Keep on saving

Save ALL of your Songs — memory is cheap! If you have a sequencer or MIDI data filer, you

can use the AN200’s Bulk Send function (page 108) to save your valuable Song data in multi-

ple “banks” of 10 Songs to disk — and build up a whole library of tunes.

However, make sure to save any relevant Pattern data with the Songs and load them together.

If you don’t do this, your Songs and Patterns may not match each other!

• Song backup

You may want to use Store to save different versions of your Song — even as you’re working

on it. This gives you an archive of the changes you’ve made along the way — in case you want

to call one of them up again. You can erase the unneeded versions later if you want.

Once you’ve created a Song you want to save, DO NOT select another Song and DO NOT leave

the Song mode until you’ve stored it. Selecting another Song (or Pattern) automatically wipes

clean any changes or edits you’ve made!

Store Song

Allows you to save Song data to one of 10

Song memory locations.

With the new Song still active and Memory

Protect off, press [STORE]. Select the

desired Song number with the DATA knob,

and press [STORE] again to execute, or press

[EXIT] to cancel.

90

Chapter 16

Speed Tips for

Power Users

Work smarter, not harder!

In this section, we’ll show you some nifty ways to put your editing in high gear

— so you can get MORE out of your AN200 in LESS time.

68 Using [SHIFT] with the [DATA] knob — for leaps

and bounds!

The [DATA] knob is really useful for narrowing in on a value and fine-tuning the parameter settings. How-

ever, if you’re in a hurry and want to quickly jump through the available values, it can be cumbersome.

Not when you use the [SHIFT] button, however. To speed up the [DATA] knob, hold down [SHIFT] while you

turn it.

Use this operation especially:

• For selecting Patterns

This speed operation lets you jump 10 Patterns for every click of the [DATA] knob.

• For setting the BPM

Holding [SHIFT] lets you go 10 times faster through the BPM values (1 bpm/click).

• For Instrument Select (in Step Recording, Rhythm Track)

Jump among the instrument selections, then take your finger off [SHIFT] and narrow your selection

down.

Actually, this [SHIFT]-[DATA] knob shortcut is useful for just about ANY value-changing operation. Use it

for the synth-related knobs, and use it to jump around on playback controls, such as Gate Time and Trans-

pose.

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Chapter 16 Speed Tips for Power Users

69 Using [SHIFT] to “hold” a setting

Editing on the AN200 is quick and easy — you press a button or turn a knob, and the setting/value changes.

However, convenient as it is, there are times when you want to select a parameter without changing it.

Here’s an example. Let’s say you’ve selected the “hidden” Reverb Effect in your editing session, and you go

on to edit something else. Wanting to come back to edit Reverb again, you press the EFFECT [TYPE] button.

Whoops... You’ve just changed the Effect Type to Flanger!

To get around this, use [SHIFT]. Hold down [SHIFT], then press EFFECT [TYPE]. Doing this calls up the cur-

rent Effect Type — without changing it.

Use this operation with ALL of the Voice “button” settings — such as LFO Detail, EG Select, Key Assign, and

so on.

70 Gang-editing a group of Steps

No, we’re not advocating the use of violence here... This convenient Step Recording shortcut lets you

change the setting for up to 16 Steps — instantly and all at the same time.

1 In Step Recording, select the desired parameter for editing: Pitch, Gate

Time, or Velocity. (Or Instrument Select, if you’re working on a Rhythm

track.)

2 Select the Step row you want to start the group from.

For example, if you want to group Steps 5 -16 for editing, select row 1 - 8 (by pressing any button in this

row). If you want to group-edit Steps 11 - 16, select row 9 - 16.

3 Hold down [SHIFT] and turn the knob corresponding

to the first step in the group.

If you’ve selected the top row (1 - 8) in Step #2 above, this will instantly

and automatically set all Steps 5 - 16 to the same value. If you’ve

selected the bottom row (9 - 16), turning the NOISE LEVEL knob will set

Steps 13 - 16 to the same value.

Typical uses of this include:

• Setting all Steps to the same instrument (in the Rhythm tracks).

• Setting all Steps to the same Velocity or Gate Time, then slightly tweaking individual Steps for varia-

tion.

• For when several Steps have the same value — you can set all Steps at once, then go back and change

only the Steps you want to have different values.

92

Chapter 17

Real World Tips

This chapter is a grab bag full of various practical tips that solidify your pro-

gramming chops and put you on the way to truly mastering the instrument.

You’ve seen all these features before. Now, try them out in these real-world

examples — and explore some new, uncharted sound-shaping paths on your

own.

71 Adjusting the Gate Time with the [DATA] knob

Gate Time is a simple, yet effective way to change both the sound and feel of a Pattern. Try this tip in real

time, as the Pattern is playing — for dramatic, dynamic shifts.

1 Select and play a Pattern.

2 Call up Gate Time.

Hold [SHIFT] and press [GATE TIME] ([REVERSE]).

3 Tweak the [DATA] knob slowly to the left.

Very gradually, start turning Gate Time down — from 100, down to 40, 20, then even 10 or 1.

Hear what this does to all the tracks? Hear how everything — including the drums — is clipped, creat-

ing a tight, muted sound and producing a drop in dynamics.

4 Now, as quickly as you can, bring Gate Time back up to 60, 80 or 100 — or

more.

Hold [SHIFT] while you turn the [DATA] knob — that lets you jump through the values, and instanta-

neously bring the dynamics back up. Try to do it right before the first beat of a measure — and kick

everything back in on the “one.”

72 Adjusting the pitch with the [DATA] knob

Let’s do some more work with the [DATA] knob. This time we’ll play around with the pitch — using the

Transpose function.

1 Select and play a Pattern.

2 Call up Transpose.

Hold [SHIFT] and press [TRANSPOSE] ([KEYBOARD]).

3 While the Pattern is playing, use the [DATA] knob to

bring the pitch up and down.

For wild pitch changes, hold down [SHIFT] while you work the knob. Try alternating on beat between two

widely different values (for example, “-20” and “30”). Try also whipping the pitch way up in 60s

range, then bringing down to the 40s. Try random pitch changes, too, as the Pattern cycles. Lots of fun

stuff here!

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Chapter 17 Real World Tips

73 Changing the pitch with the keyboard

As you saw in Tip 26, you can use the keyboard of the AN200 to change pitch and even create chord pro-

gressions on the fly. But you can get really wild and crazy with this feature, too — and come up with some

truly mad techno mayhem.

1 Select and play a Pattern.

2 Call up Transpose.

Hold [SHIFT] and press [TRANSPOSE] ([KEYBOARD]).

3 Now, “play” the pitch changes from the keyboard.

Try out these specific exercises and see where they take you!

• Starting with button [9] (low C on the keyboard), go up chromatically — pressing each successive key

in turn. Try it in rhythm, pressing a different key every other beat, like this:

Count “ONE-two-THREE-four,” hitting the buttons on “ONE” and “THREE.”

• Use the [OCT <<]/[OCT >>] buttons, too! Try selecting different octaves on the fly, and pressing vari-

ous keys.

• Can you play a two-finger trill? (A trill is two notes played alternately — very quickly.) If you can’t do

it with one hand, try two. For example, alternate between buttons [10] and [12] (D and F), like this:

Here, you play two keys on every beat — count “ONE-AND-TWO-AND-THREE-AND-FOUR-AND,” and hit

each count!

ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four

ONE AND TWO AND THREE AND FOUR AND

Chapter 17 Real World Tips

94

74 Stutter fill-in 1

Remember in Tip 50 how you hit the top of a Pattern? In this Tip, and the two that follow, let’s try some spe-

cific “stutter” rhythm examples.

Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following

rhythm.

75 Stutter fill-in 2

Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following

rhythm. Use both hands. This one’s a bit tricky...

ONE TWO THREE FOUR ONE

Use your left hand to hold down [SHIFT], while your right hand

hits [TOP]. This gives you greater control over the rhythm!

Start ! Hit it here... ... and here !

TWOONE THREE FOUR

ONE AND TWO AND THREE AND FOUR AND

ONE

Count as shown, and hit each

count indicated by the arrows.

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Chapter 17 Real World Tips

76 Stutter fill-in 3

Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following

rhythm. Use both hands on this one too. This could take a little practice before you nail it...

77 Assigning Patterns for your gig

When you perform live, you need to think quick and move fast. So keep things simple — and use this tip to

help you streamline your onstage work.

You saw in Tips 3 and 31 how you can use the Pattern Select feature to instantly switch Patterns as you per-

form. If you’ve got a lot of Patterns to trigger during a performance, it makes sense to lay them out in the

order you’ll use them. That’s what Pattern Assign is for.

First, make a list of the Patterns you’ll need, in the order you’ll use them. Then, go down the list and assign

the appropriate Pattern to each number button. (Remember how? Hold down [SHIFT] and press [PATTERN

ASSIGN], then press a number button and use the [DATA] knob to select the Pattern.)

78 Chord progressions with Pattern Assign

If you work with chord progressions, you can create copies of a Pattern select setup to different pitches, and

play those Patterns from the keys.

Use the Copy Sequence function (page 67) to copy a Pattern several times. Then, edit each Pattern copy as

needed with the Pitch function (page 66). Finally, use Pattern Assign (page 40) to assign the Patterns to the

appropriate keys.

Keep things simple and logical. Assign a Pattern to the matching key. In other words, if your Pattern is in

the key of C, assign it to button [9]. If the Pattern’s in F, assign it to [12]. A Pattern in G would go to button

[13], and so on.

ONE TWO THREE FOUR ONE

Start ! Hit it here... ... and here !... and here !

... and

here !

... and

here !

... and

here !

96

Chapter 18

Master Class 1 —

Onstage

Now that you’ve got the hang of the instrument, it’s time to start strutting your

AN200 chops onstage. There are a lot of truly amazing things you can do with

the AN200 — especially once you put it together with some other MIDI gear.

Here are some ideas to get you started...

79 Sync the AN200 to your sequencer

The sophisticated sync features of the AN200 let you lock it in step with the rhythm of just about any other

MIDI device, such as a computer, rhythm machine or external sequencer. No drift, no glitching, no slipping

out of sync — the two machines stay perfectly in the same groove.

This is great for live situations. For example, you could use a computer or sequencer for your main tracks

and fly in some AN200 Patterns as you perform — while everything stays in perfect sync.

In this application, the sequencer is the “master,” or controlling device, and the AN200 is the “slave.”

1 Set up the AN200 and the sequencer.

Connect the two as shown with a standard MIDI cable.

2 Call up the Clock setting on the AN200.

Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until “CLo)” appears

in the display.

3 Set Clock to “External.”

Turn the [DATA] knob until “E$t” is shown.

MIDI IN MIDI OUT

OUTPUT OUTPUT INPUT

MIDI clock

External sequencer

(RM1x, etc.)

AN200

Mixer

Amplifier

Speaker Speaker

97

Chapter 18 Master Class 1 — Onstage

4 Start song or sequence playback on the other device.

When you start and stop playback on the connected MIDI device, the Pat-

tern or Song on the AN200 starts and stops at the same time. Naturally,

you can change the bpm on the other device, and the AN200 will instantly

and automatically follow right along.

If you want, you can use the AN200 as the master device. Just make sure

the Clock on the AN200 is set to “Internal” — otherwise, you won’t be able

to start the Patterns or Songs from the AN200, nor control the other device.

For settings on the other device, refer to the relevant owner’s manual. (For

an example showing the AN200 as the master, see Tip 82.)

80 Changing the MIDI channels

In general, you won’t need to fool with these settings. But they’re here if you ever DO need them.

The four tracks of the AN200 — Synth and Rhythm 1 - 3 — are fixed to receive

data over MIDI Channels 1 through 4, respectively. To match the tracks to a

controlling MIDI keyboard or sequencer, you may have to change these set-

tings. Each track also features an “off” setting, so you can disable a track’s

MIDI reception if you want.

Here, we’ll show you how to change the MIDI Receive Channel for the Synth

track. The Rhythm tracks can be changed in the same way.

1 Hold down [SHIFT] and press button [14] (MIDI

SETUP), repeatedly if necessary, until “SY.u1 ” appears

in the display.

2 Change the channel with the [DATA] knob.

Clock

Sets the AN200 to either send or receive MIDI

clock messages. This determines whether

the AN200 functions as the master or slave in

MIDI sync applications. When using the

AN200 alone or to control a connected

device, set this to Internal (“int”). When

controlling the AN200 from a connected

device, set this to External (“E$t”). Keep in

mind, the Patterns or Songs cannot be

started from the AN200 if this is set to Exter-

nal.

Hold down [SHIFT] and press button [14]

(MIDI SETUP), repeatedly if necessary, until

“CLo)” appears in the display, then use the

[DATA] knob to make the desired setting.

Settings

int (Internal)

Sends MIDI clock messages, for control-

ling the sync of another device.

E$t (External)

Receives MIDI clock messages, for sync-

ing to another device.

MIDI Receive Channel — Synth

Track, Rhythm Tracks 1 - 3

Determines the MIDI channel over which the

appropriate track receives MIDI data. Make

sure the Receive Channel of the desired track

matches the Transmit Channel setting on the

controlling keyboard or sequencer.

Hold down [SHIFT] and press button [14],

repeatedly if necessary, until the desired set-

ting is shown:

“SY.u1 ” — Synth Track (set to default of

Channel 1)

“r1.u2 ” — Rhythm Track 1 (set to default

of Channel 2)

“r1.u3 ” — Rhythm Track 1 (set to default

of Channel 3)

“r1.u4 ” — Rhythm Track 1 (set to default

of Channel 4)

Use the [DATA] knob to change the value.

The “----” setting corresponds to “off.”

Settings

1 — 16, “----” (off)

Chapter 18 Master Class 1 — Onstage

98

81 Loopfactory setup — with the SU200

As part of Yamaha’s new Loopfactory series, the AN200 is not just a great analog-style synthesizer — it also

excels in loop-based music production systems. In this Tip and the ones that follow, we’ll take a look at

some of ways you can use the powerful and versatile Loopfactory line to shake up the dance floor.

In this simple setup, the AN200 is paired with the SU200 Sampling Unit — a small phrase sampler with a

special Loop Track feature that time-stretches your samples and keeps them all in sync.

Here, the AN200 is the controlling “master” and the SU200 is the “slave.” (For more about masters and

slaves, see Tips 79 and 82.) Make sure you set the SU200 to External Sync for this one (MIDI Clock in the

Job mode). Naturally, the AN200 must be set to Internal Sync (page 96).

With this playback sync system, you can have the samples on the SU200 sync up perfectly to the Patterns of

the AN200 — thanks to Loop Track Play. Use the the AN200 as a master “switch” for the whole system —

starting the Patterns and the SU200 tracks simultaneously with the Start/Stop button. And as an added

bonus, the SU200 serves double duty as an audio mixer — outputting the sound of both the AN200 and

SU200.

MIDI OUT MIDI INOUTPUT

LINE

INPUT

AUDIO IN

MIDI clock

AN200

Amplifier

Speaker

SU200

Speaker

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Chapter 18 Master Class 1 — Onstage

82 Loopfactory sync system — with the DX200

In case you didn’t know, the AN200 has a sister synthesizer — almost a twin sister, actually. The DX200 has

many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the AN200.

Yet, as similar as these siblings are, their actual sound is VERY different. The DX200 is a recreation of the

enormously popular DX7 synthesizer, and features a full implementation of the FM Synthesis system that

powered the DX7 — not to mention a stunning array of incredibly dynamic digital FM Voices.

Side by side in a MIDI sequencing environment, these two give you the best of the analog and digital worlds,

and provide an enormous amount of sonic versatility.

But even without a computer or sequencer, you can still get a lot out of these two units, especially in live per-

formance situations — just hook them together and sync them up. With one as the “master” and the other

the “slave,” you can have them play their respective Patterns in perfect sync with each other. Add a DJ

mixer, and you’ve got a compact yet powerful DJ setup for laying down some slammin’ beats.

1 Connect the AN200 and the DX200 as shown.

Here, we’ll use the AN200 as the “master,” to control the DX200.

2 Set the Clock on the AN200 to Internal.

Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until “CLo)” appears

in the display. Use the [DATA] knob to select “int.”

3 Set the Clock on the DX200 to External.

Move over to the DX200 now. Hold down [SHIFT] on the DX200’s panel and press button [14] (MIDI

SETUP), repeatedly if necessary, until “CLo)” appears in the display. Use the [DATA] knob to select

“E$t.”

4 Select the desired Patterns on both the AN200 and the DX200.

5 Finally, press the Start/Stop button on the AN200.

If you’ve hooked everything up correctly and made the proper settings, both machines should go through

their motions the instant you press Start/Stop on the AN200. Press it again, and they’ll stop together on a

dime.

Work the fader on your DJ mixer to switch between the two units as they play, to mix up your rhythms and

create some truly happening tracks.

INPUT OUTPUTOUTPUTMIDI OUT MIDI IN

MIDI clock

DJ

Mixer

MIDI clock master

AN200

Amplifier

Speaker Speaker

Slave

DX200

Chapter 18 Master Class 1 — Onstage

100

83 Loopfactory sampling

Here’s a nifty little variation on Tip 81 above. First, hook up the outputs of the AN200 and the SU200 to an

external mixer — to pump the sounds out to the crowd. Then, use the Aux Send on the mixer to feed the

AN200 sound to the sampling input on the SU200 — and sample the Patterns of the AN200.

Things can get a little wild and wooly here. Naturally, this system lets you sync the SU200 to the AN200.

However, the sampling function really makes this setup special. Sample some different AN200 Patterns to

the SU200 and have the AN200 play one Pattern while you fly in samples of other Patterns — in perfect

sync, of course. And use the real-time control features on BOTH machines to mess up your beats on the fly

and create some chaos.

Be smart and do your sampling before you take the stage, so you have everything all set up. Or live danger-

ously, and sample your AN200 beats while you perform.

• Syncing Songs

Naturally, you can also play Songs on both machines in perfect sync

with each other. For best results, you should make sure that:

* The Songs on both the AN200 and the DX200 are of the same length.

* The Patterns on both machines work well with each other.

* Both Songs have the same Beat settings throughout.

* Both Songs don’t deviate too much from each other in the Swing set-

tings, either — unless you’re aiming for some special, weird effects.

• Bulk Send your music

To help out in the Power Hint above, try using the Bulk Send function

(page 108) to transfer Songs between the AN200 and DX200. For

example, program a Song on the AN200, then transfer just the Song

data to the DX200. Keep in mind, this will keep your Songs in sync —

however, the Patterns on the respective machines could be wildly differ-

ent. If you want to keep everything consistent on both devices, Bulk

Send ALL the data from one machine to the other.

LINE

INPUT

AUX

SEND

MIDI OUT

MIDI

INOUTPUT OUTPUT INPUT

MIDI clock

Mixer

AN200

Amplifier

Speaker

SU200

Speaker

To sample the AN200, route the mixer’s Aux Send

to the SU200’s LINE INPUT.

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Chapter 18 Master Class 1 — Onstage

84 Full DJ system — turntable and all!

Bring the Loopfactory into your DJ setup — for the best of the analog and digital worlds. This builds on the

setup in Tip 83 above by adding a turntable and/or CD player. (Make sure your turntable has line-level out-

puts, or that your mixer can boost phono signals.)

Use the Tap feature on the AN200 to sync both the AN200 and SU200 to your turntable beats. This is tricky

to pull off — but if you get it in the groove, it can be pretty powerful stuff.

Do some sampling here, too. Sample your vinyl or CD beats to the SU200, and mix them in as you play.

And sample the AN200, like you did in Tip 83. Have the AN200 play its Patterns while you fly in your new

samples — without missing a beat.

85 Loopfactory megasetup — with MIDI Thru

Here’s where you can take the Loopfactory to the max. Start the system with the RM1x Sequence Remixer,

a mixer (you’ll need at least eight input channels), and your AN200. Then bring the DX200 and SU200 into

the fracas, and get things really smoking.

Use your sequencer data on the RM1x to play the Voices of the AN200 and DX200 (NOT the Patterns). This

way you can take advantage of the special characteristics of each of these synthesizers — playing the analog

sound of the AN200 in 5-note polyphony, and the FM synthesis sounds of the DX200 in 16-note polyphony.

Plus, with the SU200 locked in sync, you can play the samples on that unit using the Loop Track feature —

and keep everything right in the pocket.

LINE

INPUT

AUX

SEND

MIDI OUT

MIDI

INOUTPUT OUTPUT INPUT

LINE OUT

TAP

MIDI clock

Mixer

AN200

Amplifier

Speaker

SU200

Speaker

Turntable with line out or

CD player

To sample, route the Aux Send to the SU200’s LINE

INPUT, and use the appropriate channel(s) on the

mixer.

Chapter 18 Master Class 1 — Onstage

102

In this system, all the MIDI devices are connected in “daisy-chain” fashion.

This setup trick can help when you find yourself with too many synthesizers —

and not enough ways to connect them.

The key to making this work is the AN200’s MIDI Thru function (see Tech Talk

box below). MIDI Thru lets you change how the MIDI OUT terminal behaves,

allowing you to chain together an additional tone generator or two to the

AN200 — and have a connected computer or sequencer control the whole lot.

Make sure that you set MIDI Thru to “on” for BOTH the AN200 and the DX200.

In this condition, any data sent to and received via the AN200’s MIDI IN termi-

nal, is immediately and directly relayed to the MIDI OUT terminal — allowing

the DX200 and SU200 to be controlled by the RM1x.

• Sampling madness

For additional sonic mayhem, route the Aux Send on the mixer back to the SU200 input (as in

Tips 83 and 84), and sample the Patterns of the AN200 and DX200.

• The more, the merrier

Naturally, if you have other synthesizers with MIDI THRU terminals, you can extend the chain

and have them join in on the fun. However, be careful not to “daisy-chain” too many devices in

this way — otherwise a MIDI delay may result.

• More instruments, more parts

If you’re careful in setting the MIDI channels on all the connected devices, you can play several

different, independent sounds on each device. For example, if you’ve connected a DX200 to

the MIDI Thru (OUT) terminal, you should set the MIDI Receive Channels (page 97) on the

DX200 to values different than the AN200. If the AN200 is set to receive over Channels 1, 2, 3,

and 4, set the DX200 to receive over 5, 6, 7, and 8.

INPUTINPUT

MIDI OUT MIDI IN MIDI OUT MIDI IN

OUTPUT

OUTPUTOUTPUT

OUTPUT

MIDI OUT MIDI IN

MIDI clockMIDI clockMIDI clock

Mixer

AN200

MIDI Thru set to “on.” SU200

DX200

MIDI Thru set to “on.”

MIDI center

RM1x

Amplifier

Speaker Speaker

MIDI Thru

Determines whether the MIDI OUT terminal

on the rear panel of the AN200 functions as a

true MIDI Out, or is switched to function as

MIDI Thru. When this is set to “on,” any

MIDI data received at MIDI IN is passed on

without change to the MIDI OUT terminal.

This allows you to connect other MIDI

devices in“daisy-chain” fashion, and have the

first device in the chain feed data to the oth-

ers.

Hold down [SHIFT] and press button [14]

(MIDI SETUP), repeatedly if necessary, until

“tHru” appears in the display. Use the

[DATA] knob to change the setting.

Settings

On (on)

Enables MIDI Thru operation (for the

MIDI OUT terminal).

Off (oFF)

Enables MIDI Out operation (for the MIDI

OUT terminal).

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Chapter 19

Master Class 2 —

Advanced Music

Production

Take your skills up to the next level. Explore these advanced operations and appli-

cations — and get the absolute most out of your AN200 in your home studio.

86 Playing the AN200 as a synthesizer

The AN200 is an extremely powerful and versatile synthesizer, with truly vintage analog-like sound. And one

of the best ways to harness that power is to hook up a MIDI keyboard. Do this, and explore the wealth of

Voices and the full 5-note polyphony of the AN200.

Setting up the keyboard couldn’t be easier — just plug it in, and connect the MIDI OUT on the keyboard to

the MIDI IN on the AN200.

To check that everything’s set up properly, play the keyboard — you should hear the synth sound of the

AN200. (If you don’t, see “X-tra Details” below.)

MIDI OUTMIDI IN

MIDI keyboard

AN200

• MIDI Channels

More than likely, your MIDI keyboard is probably set to send data over

channel 1 — which will let you play and record the Synth track.

However, if you want to play or record any of the Rhythm tracks, you’ll

have to change the channel on the keyboard to match the appropriate

track:

Rhythm Track 1 — MIDI channel 2

Rhythm Track 2 — MIDI channel 3

Rhythm Track 3 — MIDI channel 4

You can also change these assignments on the AN200 — see Tip 80.

For instructions on changing the MIDI channel of the keyboard, refer to

the owner’s manual of that instrument.

• What keyboard should I get?

Naturally, any MIDI keyboard will do the job for you. As long as it’s got

keys (preferably both black and white) and a MIDI OUT terminal, you’re

in business.

However, to get the most out of your extraordinarily versatile AN200,

you’ll need an equally versatile MIDI keyboard. Here’s what you should

look for:

*Five-octave (61-key) keyboard — There are some very good desk-

top keyboards (such as the Yamaha CBX-K1) that have fewer keys,

but you’ll probably want at least five octaves to play with... so you

can use both hands.

*Velocity sensitivity — This feature lets you control the dynamics of

the sound by how softly or strongly you play the keyboard. Plus, it

also affects the FEG, so you can add some filter bite just by playing

harder. If you want expressive sounding tracks, there’s really no sub-

stitute for this.

*After Touch — Another expression control, After Touch lets you

change the sound (most commonly LFO modulation; Tips 32 — 35)

by pressing down hard on the keys after you play them. A really

good keyboard will let you change the MIDI Control Change assign-

ment on this, so you can control anything you want — such as Cutoff

or Effect Depth (Wet). (For details on MIDI Control Change mes-

sages, refer to the MIDI Data Format section in the Appendix.)

*Pitch Bend and Modulation wheels — Most keyboards have these.

Pitch Bend lets you bend the pitch (obviously). The Modulation

wheel usually affects the LFO, but on a good keyboard this too can be

changed.

*Extra (assignable) MIDI controllers — This is a luxury item. If you

can afford it, go for it. Some keyboards (such as the Yamaha CS2x)

give you an extra set of knobs or faders that you can assign to many

of the AN200’s controls. (For more about MIDI controllers, refer to

the MIDI Data Format section in the Appendix.)

Chapter 19 Master Class 2 — Advanced Music Production

104

87 Recording to a sequencer

As a “desktop” synthesizer, the AN200 is absolutely perfect for computer recording applications. In fact, if

you DON’T have a computer or a hardware sequencer, you’re leaving a good portion of the AN200’s incredi-

ble potential untapped.

You’ve already worked with the step sequencer on the AN200 itself for recording Patterns and Songs. How-

ever, with a separate sequencer or a computer, you can take advantage of even greater recording power and

editing flexibility. Use one of the example setups below to record songs to a sequencer and play them back

with the sounds of the AN200.

In the top example, the computer has a MIDI interface and is running sequencing software, such as

XGworks lite — which you can find in the included CD-ROM. In the bottom example, the RM1x Sequence

Remixer is used for recording.

A few important points:

• Make sure all MIDI connections are correct — the INs go to the OUTs, and the OUTs to the INs.

• Set the MIDI keyboard to match the receive channel of the AN200. (This may be controllable from the

computer. You can also change the receive setting on the AN200; see page 97.)

• Make sure that MIDI Thru (or MIDI Echo) on the computer or sequencer is set to “on.” This lets you

hear the sound of the AN200 as you play the keyboard.

• Since the Synth Voices of the AN200 play on Channel 1, make sure that any recorded tracks on the

sequencer are set to play via MIDI Channel 1.

• Remember that the AN200 has Rhythm tracks, and that you can use these in recording, too. Just be

careful to make the correct channel settings. (The Rhythm tracks normally receive on Channels 2, 3,

and 4. If you want to change these, see Tip 80.)

Other settings may be necessary as well; refer to the relevant owner’s manuals.

MIDI

IN

MIDI

OUT

MIDI

IN

MIDI

OUT

MIDI

IN

MIDI

OUT

MIDI

IN

MIDI

OUT

MIDI keyboard

Computer

with MIDI interface

AN200

MIDI keyboard

RM1x AN200

105

Chapter 19 Master Class 2 — Advanced Music Production

88 Recording AN200 knob moves to a sequencer

Have you got an external sequencer or computer? And are you using the AN200 as a synthesizer (as we

covered in Tip 86) to play back your sequencer tracks? If so, here’s a power-user Tip for you that will give

you undreamed-of control over the sound.

Here, you’ll learn how to record all your knob moves and button presses to your sequencer. Which means

when you play back your song, all the changes you make to the Voice automatically play back, too. It’s like

having an second Free EG function (page 60) — but with an unlimited amount of tracks to work with.

The following procedure is a bit complicated — in that many of the instructions depend on the settings and

capabilities of your particular sequencer, and how familiar you are with them. If you find yourself in deep

water, refer to the relevant owner’s manual.

1 Connect the AN200 and the external sequencer as shown.

2 Set up the sequencer appropriately for receiving the control data and for

playing the AN200.

Specifically, make sure that:

• All MIDI channel settings are correct. The tracks for playing the AN200 should be set to the same

MIDI channel as the Synth track. By default, the Synth track is set to receive over Channel 1, though

this can be changed on the AN200 (see page 97).

• The track or tracks having note data are properly set to play, and that a new track (for the knob moves)

is set to record.

3 While listening to the playback, tweak the knobs of

the AN200.

If everything’s been set up properly, every move you make will be recorded

as Control Change data. (For information on the parameters and their cor-

responding Control Change numbers, refer to the MIDI Data Format.)

The AN200 also lets you choose between having a full parameter set for

control, or a limited one. (See Tech Talk below.)

4 Stop the song and play it back to hear your recorded

changes.

Go on to record more knob moves to additional tracks on the sequencer, if

you want.

• Any function called “MIDI Thru” or “MIDI Echo” on the sequencer is set to “off.” If the

sequencer’s MIDI Thru is on, you could get unwanted double data.

• If you’re recording the same knob to different tracks, you may want to mute previous

tracks as you go along. Also, be aware that too many knob moves and button presses

could clog the data flow and result in glitches or undesirable changes in the sound.

MIDI

OUT

MIDI

IN

MIDI

IN

MIDI

OUT

AN200 Computer

Sequence

software

Control Change In/Out

Determines whether the AN200 uses a limited

set of parameters for sending and receiving

Control Change data, or a full set. (For details

on available parameters and their assign-

ments, refer to the MIDI Data Format.)

Hold down [SHIFT] and press button [14]

(MIDI SETUP), repeatedly if necessary, until

“CCio” appears in the display. Use the

[DATA] knob to change the setting.

Settings

norm (Normal)

Enables Control Change in/out for the

limited parameter set.

ALL (All)

Enables Control Change in/out for the full

parameter set.

Chapter 19 Master Class 2 — Advanced Music Production

106

89 Editing the AN200 from a computer

If you’ve worked through most or all of the Tips in this book, you can rightfully consider yourself a master

programmer and expert user of the AN200.

Well, almost.

Actually, we hate to break it to you — but you’ve only scratched the surface of the enormous sound-shaping

potential of the AN200...

This instrument is deep — much, much deeper than just what’s available on the front panel. However, you

can have all that editing power and depth right at your fingertips — with the AN200 Editor.

The AN200 Editor is special software that works on your Macintosh or PC-compatible computer. It allows

you to directly edit all of the AN200 Voice settings and parameters — right from your computer. It’s also

extraordinarily intuitive, with a virtual front panel that gives you at-a-glance, full control over your AN200.

All the necessary software is contained in the included CD-ROM. For more information on installing the

software to your particular computer, refer to page 112.

MIDI

OUT

MIDI

IN

MIDI

IN

MIDI

OUT

AN200

AN200 Editor

Computer

MIDI

interface

107

Chapter 19 Master Class 2 — Advanced Music Production

90 MIDI sequencer controls — Start, Continue, Stop

This function gives you detailed control over how the AN200 handles MIDI

sequencer control messages — Start, Continue, and Stop.

The major use for this minor function is to keep the AN200 from starting its

own Patterns (or from starting a connected sequencer). This comes in handy

when using the AN200 strictly as a tone generator in a larger MIDI system.

For example, if you are using the song data on a sequencer to play the AN200’s

Voices, you wouldn’t want the Patterns to play when you clicked PLAY. Simi-

larly, there may be times when you want to play a Pattern on the AN200, yet

want to avoid starting the sequencer at the same time.

1 With the AN200 properly connected in a MIDI system,

call up the MIDI Control setting on the AN200.

Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if nec-

essary, until “m.CtL” appears in the display.

2 Use the [DATA] knob to make the desired setting: On,

Out, In, or Off.

See “Tech Talk” below for details on the settings.

MIDI Control

Determines whether or not the AN200

receives and/or sends sequencer control

(System Real Time) messages. The Start

message (FA hexadecimal) tells a MIDI device

to go to the beginning of its song and start

playing. Continue (FB hexadecimal) is similar

to Start, except that the device will play from

the current location — not necessarily the

beginning. The Stop message (FC hexadeci-

mal) tells the device to stop playing the song.

Hold down [SHIFT] and press button [14]

(MIDI SETUP), repeatedly if necessary, until

“m.CtL” appears in the display, then use the

[DATA] knob to make the desired setting.

Settings

on

Messages both sent and received; full

control both directions.

out

Messages sent, but not received; AN200

starts and stops connected device, but

cannot be remotely controlled .

in

Messages received, but not sent; AN200

can be remotely controlled, but will not

affect connected device.

oFF

Messages neither sent nor received; no

control either direction.

Chapter 19 Master Class 2 — Advanced Music Production

108

91 Saving Patterns and Songs to a MIDI data filer

Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data

filer (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can

save all your valuable Song and User Pattern data for future recall — any time you need it. Plus, you can

amass a whole library’s worth of Songs and Patterns on just a few floppy disks.

The technological magic that makes this possible goes by the mundane name of “Bulk Send.” In this Tip,

you’ll learn how to use Bulk Send to save your precious data. Then in Tip 92 below, you’ll learn how to load

it all back to the AN200.

1 Set up the AN200 and the recording device.

Connect the two as shown with a standard MIDI cable.

Setting up the other device for recording data may involve some additional steps; refer to the relevant

owner’s manual for details.

2 Call up the Bulk Send setting on the AN200.

Hold down [SHIFT] and press button [15] (MIDI BULK).

3 Select the type of data to be saved — Pattern, Song, or

All.

Continue to hold [SHIFT] and press button [15] repeatedly to select the

desired type. To save all three data types, select “ALL.”

4 Go back to the connected device and start recording.

This operation too may differ depending on your particular device. On most

sequencing software (such as XGworks lite), this can be as simple as click-

ing the Record button.

5 Execute the Bulk Send operation.

Press the flashing [15] button once to enable Bulk Send, then once more to

actually start the operation. (To cancel, press [EXIT].)

MIDI INMIDI OUT

AN200

Yamaha MDF3, or computer

with MIDI interface

Send and save your

Song/Pattern data to

the connected device.

Bulk Send

Allows you to save Pattern, Song, and/or

System data of the AN200 to a MIDI data filer

or sequencer.

Set up the AN200 and the recording device.

Hold [SHIFT] and press button [15] (MIDI

BULK), repeatedly if necessary, to select the

desired data type. Start recording on the

other device, then press [15] twice to send

the data.

Settings

Pttn (Pattern)

Sends only User Pattern data (up to 128

Patterns) via MIDI OUT.

SonG (Song)

Sends only Song data (up to 10 Songs)

via MIDI OUT.

ALL (All)

Sends all three types of data above (Pat-

tern, Song, System) via MIDI OUT.

109

Chapter 19 Master Class 2 — Advanced Music Production

92 Loading back your saved Patterns and Songs

Once you’ve saved your valuable data, you can bring it all back to your AN200 — with this simple operation.

1 Set up the AN200 and the recording device.

Connect the two as shown with a standard MIDI cable.

Make the proper connections and make sure the connected device has the appropriate data on disk.

(Setup for Bulk Send on the other device may involve some additional steps; refer to the relevant owner’s

manual for details.)

2 Make sure the AN200 is set to Pattern mode.

Press the [PATTERN] button if necessary.

3 Start the Bulk Send (or other appropriate) operation on the connected

device.

This operation too may differ depending on your particular device. On most sequencing software (such

as XGworks lite), this can be as simple as clicking the Play button.

That’s all there is to it! The AN200 automatically receives the data and loads it to the proper memory loca-

tion.

MIDI OUTMIDI IN

AN200

Yamaha MDF3, or computer

with MIDI interface

Load your Song/Pattern

data from the connected

device.

BEFORE you load anything to the AN200, make sure you have no important unsaved data

remaining on the instrument — it will all be erased in the operation! Best thing to do is use Bulk

Send to first save the existing data (as a temporary file), then go ahead and load the data.

• Lifesaver for live applications

Bulk Send is real handy for performers. If you’re gigging and the

AN200 is your main workhorse, you may need more than the 10 User

Songs to get by. Fortunately, you can save your data in 10-Song banks

(might as well save your Pattern data, too) — then load each bank as

you need it, between sets.

• Be a pack rat

You really ought to save everything you’ve ever created on the AN200.

Floppy disks are small and cheap, and you’ll be glad you archived all

your precious masterworks.

110

Function Index

Function Index

This index lets you quickly find information on the various functions and parameters of

the AN200. All the references here are to Tip numbers, except for a few page references

(for Tips that stretch over several pages).

Appendix

A

AEG.......................................................................................Tip 36

Amplitude Modulation Depth ................................................Tip 32

AN200 Editor ........................................................................Tip 89

Attack....................................................................................Tip 36

B

Beat.................................................................................Tips 6, 58

Beat (Song Edit)....................................................................Tip 64

bpm ........................................................................................Tip 5

bpm (Song Edit) ...................................................................Tip 63

Bulk Send......................................................................Tips 91, 92

C

Chorus ..................................................................................Tip 16

Clear Sequence .....................................................................Tip 56

Clear Song ............................................................................Tip 61

Clock.............................................................................Tips 79, 83

Control Change In/Out ..........................................................Tip 88

Copy Sequence .....................................................................Tip 55

Copy Voice............................................................................Tip 52

Cutoff....................................................................................Tip 18

D

Decay....................................................................................Tip 36

Delay.....................................................................................Tip 16

Delete Pattern .......................................................................Tip 66

Distortion..............................................................................Tip 17

E

Effect Parameter ...................................................................Tip 16

Effect Type ............................................................................Tip 16

Effect Wet .....................................................................Tips 15, 16

Effects..........................................................................Tips 15 - 17

EG.........................................................................................Tip 36

[EXIT] button ........................................................................Tip 23

F

Factory Reset........................................................................Tip 24

FEG .......................................................................................Tip 36

FEG Depth...............................................................Tips 20, 38, 39

Filter.............................................................................Tips 18 - 20

Filter Modulation Depth.........................................................Tip 33

Flanger..................................................................................Tip 16

FM Depth ..............................................................................Tip 41

Free EG .........................................................................Tips 48, 49

Free EG Length .....................................................................Tip 49

Free EG recording .................................................................Tip 48

Free EG Trigger .....................................................................Tip 48

Free EG Type.........................................................................Tip 48

G

Gate Time......................................................................Tips 25, 71

Gate Time (Song Edit)...........................................................Tip 64

Gate Time (Step Recording)................................ Tip 59 (p. 74, 79)

I

Insert Pattern........................................................................Tip 65

Instrument Select (Step Recording) ................... Tip 59 (p. 76, 79)

K

Key Assign............................................................................Tip 45

keyboard........................................................................... Tips 3, 9

L

Length (Free EG )..................................................................Tip 48

LFO ..............................................................................Tips 32 - 35

LFO Wave..............................................................................Tip 35

loading data (from MIDI data filer, etc.) ................................Tip 91

M

Measure Select .....................................................................Tip 62

Memory Protect....................................................................Tip 60

Metronome ...........................................................................Tip 57

MIDI channels............................................................... Tips 80, 81

MIDI Control (Sequencer).....................................................Tip 90

MIDI Receive Channel...........................................................Tip 81

MIDI Thru .............................................................................Tip 86

Move Step.............................................................................Tip 53

N

Noise Level ...........................................................................Tip 43

notes, entering for Step Recording (Pitch) ......... Tip 59 (p. 73, 79)

O

octaves, changing.................................................................Tip 10

Original Value........................................................................Tip 22

Overdrive/Amp......................................................................Tip 16

P

Pan .......................................................................................Tip 30

Pattern mode ..........................................................................Tip 1

Pattern Select ...........................................................Tips 3, 77, 78

111

Function Index

Pattern Select (Song Edit)............................................. Tips 62, 64

Pattern Select Assign............................................................Tip 31

Pattern speed, doubling/halving..............................................Tip 7

Patterns ..................................................................................Tip 1

Patterns, copying..................................................................Tip 55

Patterns, erasing (clearing)...................................................Tip 56

Patterns, recording .......................................................Tips 58, 59

Patterns, selecting ....................................................Tips 2, 77, 78

Patterns, storing ...................................................................Tip 60

Phaser...................................................................................Tip 16

Pitch Modulation Depth ........................................................Tip 34

Pitch offset (Song Edit).........................................................Tip 64

Portamento...........................................................................Tip 40

R

Real-time Recording .............................................................Tip 58

recording (Free EG tracks)....................................................Tip 48

recording (Patterns)......................................................Tips 58, 59

recording (Scenes) ...............................................................Tip 47

recording (Songs).................................................................Tip 62

recording to a sequencer ..............................................Tips 87, 88

Release .................................................................................Tip 36

Resonance ............................................................................Tip 18

Retrigger and Roll.................................................................Tip 51

Reverb ..................................................................................Tip 16

Reverse...................................................................................Tip 4

Reverse (Song Edit)..............................................................Tip 64

Rhythm tracks ......................................................................Tip 11

Rhythm tracks (Step Recording) .............................. Tip 59 (p. 76)

S

saving data (to MIDI data filer, etc.)......................................Tip 91

Scene......................................................................Tips 13, 14, 47

Scenes, morphing between...................................................Tip 14

Show Value...........................................................................Tip 21

Song Edit mode ....................................................................Tip 62

Song mode .....................................................................Tips 8, 62

Songs, erasing (clearing)......................................................Tip 61

Songs, recording ..................................................................Tip 62

Songs, selecting .....................................................................Tip 8

Songs, storing ......................................................................Tip 67

Start/Stop button ....................................................................Tip 1

Step Mute .............................................................................Tip 29

Step Mute (Step Recording) .....................................Tip 59 (p. 75)

Step Recording .....................................................................Tip 59

Storing Patterns....................................................................Tip 60

Storing Songs.......................................................................Tip 67

Sustain..................................................................................Tip 36

Swing....................................................................................Tip 27

Swing (Song Edit).................................................................Tip 64

sync .........................................................................Tips 79, 82,83

Sync Mode............................................................................Tip 46

Sync Pitch.............................................................................Tip 46

T

[TAP] button ...........................................................................Tip 5

tempo .....................................................................................Tip 5

Top....................................................................Tips 50, 74, 75, 76

Track Mute............................................................................Tip 28

Track Mute (Song Edit) .........................................................Tip 64

Transpose ............................................................... Tips 26, 72, 73

Transpose Pattern.................................................................Tip 54

Trigger (Free EG )..................................................................Tip 48

Type (Free EG ) .....................................................................Tip 48

U

User Patterns........................................................................Tip 60

V

VCF ..............................................................................Tips 18 - 20

VCF Types .............................................................................Tip 19

VCO 1 Wave..........................................................................Tip 44

VCO 1/2 Balance ...................................................................Tip 42

VCO 2 Wave..........................................................................Tip 44

Velocity.................................................................................Tip 12

Velocity (Step Recording)................................... Tip 59 (p. 74, 79)

Voices, copying.....................................................................Tip 52

Voices, selecting...................................................................Tip 52

Volume .................................................................................Tip 30

W

Wave (LFO)...........................................................................Tip 35

Wave (VCO 1, 2) ...................................................................Tip 44

Appendix

112

About the Included CD-ROM

Appendix

About the Included CD-ROM

• Acrobat Reader 4.0

• XGworks lite

• AN200 Editor

XGworks lite Plug-in software

• PLG150-AN Preset Voice Files

These are Preset Voice Files for the PLG150-AN. These are

compatible with the AN200, so can be edited with the AN200

Editor.

File names are “PlgAnP1.AN2” and “PlgAnP2.AN2.”

Some voices of the PLG150-AN may sound different when

played on the AN200.

XGworks lite V3.0A

OS: Windows Me/98/95

CPU: Pentium/75MHz or faster (Pentium/

166MHz or faster is recommended)

Available Memory: 16MB or more

(32MB or more is recommended)

Free space in Hard Disk: 30MB or more

Display: 800 x 600, 256 colors or more

■ Acrobat Reader 4.0 • • • • • • • • • • • • • • • • •

You need to install Acrobat Reader to view the PDF manuals

accompanied with each application in advance.

If you have installed an older version of Acrobat Reader on

your PC, first you need to execute “Uninstall” before proceed-

ing.

1 Double-click on the “Acroread” folder.

Four different language folders will be displayed.

2 Select the language you want to use and double-click on its

folder.

“ar40***.exe” file will be displayed. (“***” indicates the

selected language.)

3 Double-click on the “ar40***.exe.”

Acrobat Reader Setup Dialog box will be displayed.

4 Execute the installation by following the directions appear-

ing on the screen.

After completing the installation procedure, you will find the

Acrobat folder on your PC (Program Files as the default).

Refer to the [Reader Guide] in the [Help] menu how to use the

Acrobat Reader.

■ XGworks lite • • • • • • • • • • • • • • • • • • • • • • •

In addition to sequencer function, XGworks lite can be used as

convenient voice editors once the Plug-in applications men-

tioned below are installed.

PDF manual of the XGworks lite (entry version) is the same

as the one for the XGworks. Please be aware that some of the

windows/functions described in the manual are not available

with the XGworks lite. Unavailable Windows/Functions Staff

Window, Drum Window, Control section of Piano Roll Window,

Printing of Staff Window, Plug-in software (Voice To score R,

Auto Arranger, Guitar Arranger, SW1000XG Mixer, Auto Play,

Importer) Jobs (Voice To score, XF Information Editor)

Although the PDF manual of the XGworks lite includes the

explanations on the package contents and software installa-

tion procedure, those are obsolete. Please refer to those of

this Installation Guide.

1 Double-click on the “XGworks” folder.

“Japanese” and “International” folders will be displayed.

2 Double-click on the “International” folder.

Various files like “Setup.exe” will be displayed.

3 Double-click on the “Setup.exe.”

XGworks lite Ver.3.0 Setup Dialog box will be displayed.

4 Execute the installation by following the directions appear-

ing on the screen.

After the installation, select <Restart>.

After restarting the Windows, you will find the YAMAHA folder

on your PC (Program Files as the default) and XGworksLite

folder in the YAMAHA folder.

Refer to the “XGworks Manual” (XGworks.pdf) and online man-

uals how to use the application.

■ AN200 Editor • • • • • • • • • • • • • • • • • • • • • •

You can use the AN200 Editor Plug-in applications of XGworks

lite to edit the Patterns of the AN200.

1 Double-click on the “Plug” folder.

Various files like “Setup.exe” will be displayed.

2 Double-click on the “Setup.exe.”

YAMAHA AN200 Editor Setup Dialog box will be displayed.

3 Execute the installation by following the directions appear-

ing on the screen.

After completing the installation procedure, you will find the

AN200 Editor Plug-in software in the “XGworksLite” folder and

find that AN200 Editor Plug-in application is added to the

[Plug-in] menu on the XGworks lite.

Refer to the online help/PDFmanuals how to use the applica-

tion.

This CD-ROM contains the following;

Minimum System Requirement

Installing Softwares

For Windows Me/98/95 Users

113

About the Included CD-ROM

Appendix

The CD-ROM includes two folders: “Internatiotal” and “Japa-

nese.”

Double-click on the “International” folder to open it. You will

find a variety of applications and data files packed in the follow-

ing four folders.

• Acrobat Reader 4.0

• Open Music System (OMS) 2.3.8

• AN200 Editor

• PLG150-AN Preset Voice Files

These are Preset Voice Files for the PLG150-AN. These are

compatible with the AN200, so can be edited with the AN200

Editor.

File names are “PlgAnP1.AN2” and “PlgAnP2.AN2.”

Some voices of the PLG150-AN may sound different when

played on the AN200.

AN200 Editor

OS: Mac OS8.0 to 9.04

CPU: PowerPC604, 100MHz or faster (G3,

300MHz or faster is recommended)

Available memory: 15MB or more

Free space in Hard Disk: 8MB or more (excluding the OMS)

Display: 800 x 600, 256 colors or more

■ Acrobat Reader 4.0 • • • • • • • • • • • • • • • • •

You need to install Acrobat Reader to view the PDF manuals

accompanied with each application in advance.

1 Double-click on the “Acrobat” folder.

Three different language folders will be displayed: English,

German and French.

2 Select the language you want to use and double-click on its

folder.

“Reader Installer” will be displayed.

The Installer name may differ depending on the language you

select.

3 Double-click on the “Reader Installer.”

Acrobat Reader Setup Dialog will be displayed.

4 Execute the installation by following the directions appear-

ing on the screen.

After the installation, you will find the “Adobe Acrobat” folder

on your computer (Hard Disk as the default).

Refer to the [Reader Guide] in the [Help] menu how to use the

Acrobat Reader.

■ Open Music System (OMS) 2.3.8 • • • • • • • •

OMS allows you to use several MIDI applications on the Mac

OS at the same time.

1 Double-click on the “OMS” folder (English version only).

“Install OMS 2.3.8” will be displayed.

2 Double-click on the “Install OMS 2.3.8.” OMS Setup Dia-

log will be displayed.

3 Execute the installation by following the directions appear-

ing on the screen.

After the installation, select <Restart>.

After restarting the Macintosh, you will find the “Opcode”/

“OMS Applications” folder on your computer (Hard Disk as

the default).

4 Copy the “OMS_2.3_Mac.pdf” in the “OMS” folder in the

CD-ROM to the “OMS Applications” folder by drag & drop

operation.

Refer to the “OMS_2.3_Mac.pdf” (English version only) how

to use the application.

5 Copy the “OMS Setup for YAMAHA” folder in the “OMS”

folder in the CD-ROM to the hard disk on your computer by

drag & drop operation. In the “OMS Setup for YAMAHA”

folder you will find the OMS Setup files for the AN200 Desk-

top Control Synthesizer, which you can use them as the

template.

■ AN200 Editor • • • • • • • • • • • • • • • • • • • • • •

AN200 Editor allows you to edit the AN200 Patterns on your

computer.

1 Double-click on the “AN200 Editor” folder.

“Install AN200 Editor” will be displayed.

2 Double-click on the “Install AN200 Editor.”

AN200 Installation Dialog will be displayed.

3 Execute the installation by following the directions appear-

ing on the screen.

After the installation, you will find the “AN200 Editor for Macin-

tosh” folder on your computer (Hard Disk as the default).If you

use French or German MacOS, French or German manual are

automatically installed.

Refer to the “AN200Editor.pdf” in the same folder how to use

the application.

This CD-ROM contains the following;

Minimum System Requirement

Installing Softwares

For Macintosh Users

114

Specifications

Appendix

Appendix

Error Messages

Specifications

1.FUNCTIONS

Tone Generator Analog Physical Modeling

(2VCO(Osc.Sync, FM), Noise, RingMod., Filter(FEG), Amp(AEG),

2LFO, PEG) + AWM2

Timber 1 (AN) + 3 (AWM2) parts

Polyphony 5 (AN) + 32 (AWM2) Notes

Effector Distortion, 3-Band EQ (only AN)

+ 1 Effector (Tempo Delay/Reverb, Flanger/Cho-

rus, Phaser, Amp.Simulator)

Pattern Preset Pattern x 256, User Pattern x 128

Scene 2 Scene/Pattern

Step Sequencer MIDI Sync, MIDI Transmit

Others Free EG (4 tracks)

2.CONTROLLERS

Sound Control Knob x 16

(Cutoff/Filter Type, Resonance, FEG Depth, VCO1/2 Balance, FM

Depth, Sync Pitch, Noise Level, EG Attack, EG Decay, EG Sustain,

EG Release, Portamento Time, Effect Param/Pan, Effect Wet/Vol,

LFO Speed, Scene Control)

Master Volume Knob x 1

Rotary Encorder x 1

3.PANEL SWITCHES

Sound Control Sw. x 8

(LFO Detail, Key Assign, VCO1 Wave, Sync Mode, VCO2 Wave,

Effect Type, EG Select, Dist Sw )

Scene x 2, Sequencer. Sw x 2, Mode x 2, Pattern Select x 1,

Keyboard Mode x 1, Step Select x 16, Step Group Select x 2,

Track Select x 2, Play Effect x 2, Octave x 2, Tap Tempo x 1,

Free EG Sw. x 4, Free EG Mode x 1, Free EG Length x 1, Store x 1,

Show Value x 1, Shift x 1, Exit x 1

4.DISPLAY

7SEG LED x 4

5.CONNECTORS

OUTPUT L(MONO)/R Phone x 2

MIDI IN/OUT Din x 2

DC IN

PHONES Stereo phone

6.MAXIMUM OUTPUT LEVEL

Phones +0.5dBm (33ohm)

Stereo Output +9.0dBm (10kohm)

7.DIMENSIONS,WEIGHT

338.0(W) x 208.9(D) x 51.7(H) mm, 1600 g

8.ACCESSORIES

CD ROM (for Windows and Macintosh) x 1

Owner's Manual x 1

AC Adaptor x 1

(Power supply recommendation may vary from country to country.

Please check with your nearest Yamaha dealer for further details.)

• Specifications and descriptions in this owner’s manual are for information pur-

poses only. Yamaha Corp. reserves the right to change or modify products or

specifications at any time without prior notice. Since specifications, equipment or

options may not be the same in every locale, please check with your Yamaha

dealer.

• Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung

dienen nur der Information. Yamaha Corp. behält sich das Recht vor, Produkte

oder deren technische Daten jederzeit ohne vorherige Ankündigung zu

verändern oder zu modifizieren. Da die technischen Daten, das Gerät selbst oder

Sonderzubehör nicht in jedem Land gleich sind, setzen Sie sich im Zweifel bitte

mit Ihrem Yamaha-Händler in Verbindung.

• Les caractéristiques techniques et les descriptions du mode d’emploi ne sont

données que pour information. Yamaha Corp. se réserve le droit de changer ou

modifier les produits et leurs caractéristiques techniques à tout moment sans

aucun avis. Du fait que les caractéristiques techniques, les équipements et les

options peuvent différer d’un pays à l’autre, adressez-vous au distributeur

Yamaha le plus proche.

Display indication Message Comment

Err1 (flashes) Battery Low

This appears when the voltage of the internal backup battery

becomes low. Have the battery replaced by your local Yamaha

dealer or any Yamaha-authorized service personnel.

Err2 (flashes) MIDI Buffer Full This appears when too much MIDI data has been received at one

time, causing the unit to stop processing data.

Err3 (flashes) MIDI Data Error This appears when the received MIDI data is incorrect or contains

errors.

Err4 (flashes) MIDI Checksum Error This appears when checksum of the received System Exclusive data

is incorrect.

Error Messages

Troubleshooting

115

Appendix

Troubleshooting

Problem Possible cause/Solution

No power. Is the adaptor properly plugged into both the AN200 and the AC outlet?

(Page 11)

No sound. • Is the panel volume control set to an appropriate level?

• Are other volume-related parameters set to appropriate levels? (Page

39)

• Is the EG Attack Time appropriately short, for short percus-sive

sounds? (Page 46)

• Is the Velocity of keyboard is appropriate? (Page 21)

No sound from a particular track. • Is the track set to a proper Volume? (Page 39)

• Is the Track Mute setting appropriate? In other words, is the track

unmuted? (Page 37)

• Are all recorded steps on? (Step Mute, page 38)

• Is Cutoff set to a proper level? (Page 27)

No sound when playing the keyboard. Is the [KEYBOARD] button lit? If not press it to enable the keyboard.

(Page 20)

No sound when playing a connected MIDI keyboard or

other device.

• Have you connected the MIDI cables properly?

• Are all MIDI channel settings appropriate? (Page 97)

The knobs and other Voice controls have no effect on

the sound.

• Is the Synth track selected? (If one of the Rhythm tracks is selected,

some knobs may affect the Rhythm sound instead.)

• Is the Step Edit mode active? In other words, are either of the buttons

[STEP 1-8] or [STEP 9-16] on? (If so, turning some of the knobs may

unexpectedly change some of the recorded steps.) (Page 73)

The Sequence doesn’t play back. • Is Show Value active? (Page 31) Is Original Value active? (Page 32)

Make sure these are off.

• Have you selected any of these modes — Pattern Job, MIDI Setup, or

Utility?

• When syncing to another MIDI device, have you made sure that the

MIDI connections and relevant settings are correct? (Page 96)

• Is the MIDI clock set to “Internal”? (Page 97)

Recording (either Sequence or Free EG) doesn’t work. Is the Pattern mode active? Press [PATTERN] to make sure you’re in

Pattern mode.

Free EG tracks can’t be recorded. Are any of the Free EG tracks selected (on)? (Page 60)

Turning Free EG tracks on or off has no effect. Is the Synth track selected?

The length of the notes of the Sequence sounds wrong. Has the playback Gate Time been set to a value other than “100”? (Page

35)

The pitch of the Sequence sounds wrong. Has the Transpose Pattern setting been changed? Call up this function

to check the value, and change it if necessary. (Page 66)

When playing by the external sequencer, the Step

Sequencer of the AN200 starts.

Is the MIDI control set to “Out” or “Off”? (Page 107)

When playing the AN200 by the AN200 Editor, the Step

Sequencer of the AN200 does not play correctly even if

pressing the [PLAY] button.

• Is the MIDI control set to “On” or “In”? (Page 107)

• Is the MIDI clock set to “Internal”? (Page 97)

The bulk data cannot be received by the AN200 Editor. Are the MIDI IN/OUT jacks of the AN200 and the MIDI OUT/IN jacks of

the computer (or MIDI interface) are properly connected? (Page 106)

116

Analog Physical Modeling Synthesis and the AN200

Appendix

Analog Physical Modeling Synthesis and the AN200

At the heart of the AN200’s stunning, dynamic analog-like sound is a highly sophisticated

and versatile tone generating method — the Analog Physical Modeling Synthesis system.

We won’t try to explain how Analog Physical Modeling works — that would take several

pages. Besides, you can hear for yourself the enormous power and punch this system

delivers. In this section, we’ll just briefly outline the structure of the AN200, and show you

what happens to the sound within the AN200 system as it’s generated, processed and

enhanced.

■ Oscillators, Filters and Amplifiers • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Very simply, there are three basic elements of sound: pitch, tone (or timbre) and volume (or “amplitude” in

synth-speak). Within the AN200, these three elements are created or controlled by the VCO (oscillator), VCF

(filter), and VCA (amplifier).

And that’s basically how the AN200 creates sound. Of course, there are a few other elements in the system

— as you can see here:

Control blocks in italics are functions that can only be changed or adjusted by using the

included AN200 Editor software. They cannot be controlled from the panel of the AN200

itself.

VCO VCF VCA OUT

The oscillator creates the source pitch

(and also the basic timbre, depending on the waveform)

The amplifier determines the volume

The filter controls the timbre

FEG AEG

Distortion

Effects

3-Band EQ

VCF

VCO1

Oscillator Sync

FM Oscillator

Sync

MIXER

LFO1,

LFO2

Ring

Modulator

Noise

Feedback

Slave

VCO2

Master

PEG

VCA

117

Analog Physical Modeling Synthesis and the AN200

Appendix

■ VCO 1 and VCO 2• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Here is where the sound begins. The VCO generates a waveform — usually relatively simple ones, such as

sine, saw, and square waves. The AN200 features two independent VCOs, each with an extensive wave set,

providing sound-creating capabilities that are exceptionally complex and flexible — for a dynamic, rich

sound that would be impossible with just one VCO. (Also see Tips 42, 44, and 46.)

What’s more, VCO 1 is actually made up of two oscillators, which can be configured as “master” and “slave.”

Plus, VCO 2 can be used to modulate VCO 1, for even greater sonic complexity.

The PEG block (Tip 36) is used to control how the pitches of the VCOs change over time. LFOs 1 and 2

(Tips 32 - 35) are modulation waves that can be routed not only to the VCO but the VCF and VCA blocks as

well — for creating a variety of special tremolo, wah, and vibrato effects.

■ VCF • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Here’s where the sound is processed. The VCF takes the sound of the VCOs and filters out certain frequency

ranges. The more complex the sound generated by the VCOs, the greater the sound-shaping potential of

this section.

VCF includes a comprehensive set of different filter types (such as Low Pass, High Pass, Band Pass, and

Band Eliminate), and provides controls for adjusting the Cutoff frequency of the filter, and the Resonance (or

emphasis) of the frequency cutoff point. (Also see Tips 18 - 20.)

The FEG block (Tip 37) is used to control how the filter of the VCF changes over time. A special FEG Depth

control (Tips 20, 38, and 39) also affects VCF operation.

■ VCA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Finally, here’s where the sound level is controlled. The VCA (controlled over time by the AEG block; see Tip

36) outputs the sound, before it is sent to the Effect block for more processing. (Also see Tips 15 - 17.)

118

MIDI Data Format

Appendix

MIDI Data Format

1. Channel messages

1.1 Note on/note off

These messages convey keyboard performance data.

Range of note numbers transmitted and received = C-2...G8

Velocity range = 1...127 (Velocity is received only for note-on)

1.2 Control changes

These messages convey control operation information for volume or pan etc.

Their functions are differentiated by the control number (Ctrl#).

1.2.1 Bank Select

This message selects the voice bank.

Control# Parameter Data Range

0 Bank Select MSB 0...127

32 Bank Select LSB 0...127

The Bank Select data will be processed only after a Program Change is received, and then voice bank

will change at that time. If you wish to change the voice bank as well as the voice, you must transmit

Bank Select and Program Change messages as a set, in the following order: Bank Select MSB, LSB,

and Program Change.

1.2.2 Modulation

This message controls the depth of modulation.

Control# Parameter Data Range

1 Modulation 0...127

1.2.3 Portamento Time

This message controls the degree of Portamento (see 1.2.9).

Control# Parameter Data Range

5 Portamento Time 0...127

A value of 0 is no effect, and 127 is the longest Portamento time. No effect in Rhythm tracks.

1.2.4 Data Entry

This message sets the value of the parameter which was specified by RPN (see 1.2.17) and NRPN

(see 1.2.16) (Rhythm Track only).

Control# Parameter Data Range

6 Data Entry MSB 0...127

38 Data Entry LSB 0...127

1.2.5 Main Volume

This message controls the volume of each part. (It is used to adjust the volume balance between

parts.)

Control# Parameter Data Range

7 Main Volume 0...127

With a value of 0 there will be no sound, and a value of 127 will produce the maximum volume.

1.2.6 Panpot

This message controls the panning (stereo location) of each part.

Control# Parameter Data Range

10 Pan 0...64...127

0 is left, 64 is center, and 127 is right.

1.2.7 Expression

This message controls expression for each part. (It is used to create volume changes during a song.)

Control# Parameter Data Range

1l Expression 0...127

1.2.8 Holdl

This message controls sustain pedal on/off.

Control# Parameter Data Range

64 Hold1 0...63, 64...127

(OFF, ON)

When this is ON, currently-sounding notes will continue to sound even if note-off messages are

received.

1.2.9 Portamento

This message controls Portamento pedal on/off.

Control# Parameter Data Range

65 Portamento 0...63, 64...127

(OFF, ON)

When ON, Portamento produces a smooth glide connecting two notes of different pitch. The time

over which the pitch changes is adjusted by Portamento Time (see 1.2.3). No effect in Rhythm tracks.

1.2.10 Harmonic Content

This message adjusts the resonance of the filter that is specified for the sound.

Control# Parameter Data Range

71 Harmonic Content 0...127 Synth Track only

0...64...127 Rhythm Track only

(-64...0...+63)

Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative

to 64. Higher values will produce a more distinctive sound.

For some sounds, the effective range may be less than the possible range of settings.

1.2.11 Release Time

This message adjusts the EG release time that was specified by the sound data.

Control# Parameter Data Range

72 Release Time 0...127 Synth Track only

0...64...127 Rhythm Track only

(-64...0...+63)

Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative

to 64. Increasing this value will lengthen the release time that follows a note-off.

1.2.12 Attack Time

This message adjusts the EG attack time that was specified by the sound data.

Control# Parameter Data Range

73 Attack Time 0...127 Synth Track only

0...64...127 Rhythm Track only

(-64...0...+63)

Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative

to 64. Increasing this value will make the attack more gradual, and decreasing this value will make

the attack sharper.

1.2.13 Brightness

This message adjusts the cutoff frequency of the low pass filter specified by the sound data.

Control# Parameter Data Range

74 Brightness 0...127 Synth Track only

0...64...127 Rhythm Track only

(-64...0...+63)

Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative

to 64. Lower values will produce a more mellow sound.

For some sounds, the effective range may be less than the possible range of settings.

1.2.14 Decay Time

This message adjusts the EG decay time that was specified by sound data.

Control# Parameter Data Range

75 Decay Time 0...127 Synth Track only

It determines how long it takes for the sound changes from maximum level to sustain level.

1.2.15 Effect4 Depth

This message adjusts the Send level to Effect.

Control# Parameter Data Range

94 Effect4 Depth 0...127

Increasing this value will more effective.

1.2.16 NRPN (Non-registered parameter number)

Use NRPN MSB and NRPN LSB to specify the parameter that you wish to modify, and then use Data

Entry (see 1.2.4) to set the value for the specified parameter. (Rhythm Track only).

*1 See 1.2.4

1.2.17 RPN (Registered parameter number)

Use RPN MSB and RPN LSB to specify the parameter that you wish to modify.

*1 See 1.2.4

1.2.18 Others

If the Control Change IN/OUT = ALL, all following Control Change Number are transmitted and

received.

If the Control Change IN/OUT = NORM, the following Control Change Number in are trans-

mitted and received.

NRPN

MSB LSB

Data Entry*1

MSB LSB Parameter Name and Data Range

18H rrH mm --

Drum Instrument Pitch Coarse

rr : drum instrument note number

mm : 00H - 40H - 7FH (-64...0...+63)

RPN

MSB LSB

Data Entry *1

MSB LSB Parameter Name and Value Range

7FH 7FH -- --

RPN Null

This empties settings from RPN and NRPN

numbers.

Internal data is not affected.

category param CC#

SYNTH RHYTHM

SCENE scene 3 -

LFO wave 15 -

pmd 18 - *

pmd2 57 -

fmd 19 - *

amd 80 -

speed 16 - *

AEG attack 73* -

decay 75* -

sustain 31 -

release 72* -

FEG attack 82 -

decay 83 -

sustain 28 -

release 29 -

Common key assign 8 -

9-

portamento 5* -

VCO1 wave 50 - *

SYNC mode 34 -

VCO2 wave 51 - *

119

MIDI Data Format

Appendix

1.3 Channel mode messages

These messages specify the basic operation of a part.

1.3.1 All Sound Off

This message silences all notes being played on the corresponding channel.

However, channel messages such as Note-on and Hold-on will be maintained in their present state.

Control# Parameter Data Range

120 All Sound Off 0

1.3.2 Reset All Controllers

This message changes the settings of the following controllers.

The following data is not changed

Parameter values specified for program change, bank select MSB/LSB, volume, pan, effect send level

4.

Control# Parameter Data Range

121 Reset All Controllers 0

1.3.3 All Note Off

This message turns off all notes which are currently on for the corresponding part.

However, if Hold 1 or Sostenuto are on, notes will continue to sound until these are turned off.

Control# Parameter Data Range

123 All Note Off 0

1.3.4 Omni Off

Works the same as when All Note Off is received.

Control# Parameter Data Range

124 Omni Off 0

1.3.5 Omni On

Works the same as when All Note Off is received.

Control# Parameter Data Range

125 Omni On 0

1.3.6 Mono

Works the same as when All Sound Off is received, and if the value (mono number) is in the range of

0... 16, sets the corresponding channel to Mode4* (m = 1).

Control# Parameter Data Range

126 Mono 0 ... 16

* Mode4 is a state in which only channel messages on the specified channel will be received, and

notes will be played individually (monophonically).

1.3.7 Poly

Works the same as when All Sound Off is received, and sets the corresponding channel to Mode3*.

Control# Parameter Data Range

127 Poly 0

* Mode3 is when channel messages will be received only on the specified channel, and notes will be

sounded polyphonically.

1.4 Program change

This message is used to switch voices.

It changes the program number on the receiving channel. When the change is to include the voice

bank, transmit the program change after sending the Bank Select message (see 1.2.1).

1.5 Pitch bend

This message conveys information on pitch bend operations.

1.6 Channel aftertouch

This message conveys the pressure after the key is played on the keyboard (for an entire MIDI chan-

nel). The pressure can be controlled for each part. This message will affect the notes currently play-

ing.

2. System exclusive messages

2.1 Parameter changes

This device uses the following parameter changes.

[ UNIVERSAL REALTIME MESSAGE ]

1) Master Volume

[ UNIVERSAL NON REALTIME MESSAGE ]

1) Identity Request (INQUIRY MESSAGE)

2) Identity Reply (INQUIRY MESSAGE)

[ AN200 NATIVE PARAMETER CHANGE ]

1) AN200 System parameter change

2) Current Voice Common parameter change

3) Current Voice Additional parameter change

4) Current Voice Element parameter change

5) Currnet Voice Step Seq. parameter change

6) Currnet Rhythm Step Seq. parameter change

7) Current Effect parameter change

8) Current Mulit Part parameter change

2.1.1 Universal realtime messages

2.1.1.1 Master Volume

11110000 F0H = Exclusive status

01111111 7FH = Universal Real Time

01111111 7FH = ID of target device

00000100 04H = Sub-ID #1=Device Control Message

00000001 01H = Sub-ID #2=Master Volume

*0sssssss SSH = Volume LSB

0ttttttt TTH = Volume MSB

11110111 F7H = End of Exclusive

or

11110000 F0H = Exclusive status

01111111 7FH = Universal Real Time

0xxxnnnn XNH = Device Number, xxx = don't care

00000100 04H = Sub-ID #1=Device Control Message

00000001 01H = Sub-ID #2=Master Volume

0sssssss SSH = Volume LSB

0ttttttt TTH = Volume MSB

11110111 F7H = End of Exclusive

When received, the Volume MSB is reflected in the System Parameter MASTER VOLUME.

* The binary expression 0sssssss is expressed in hexadecimal as SSH.

The same applies elsewhere.

2.1.2 Universal non-realtime messages

2.1.2.1 Identity Request

11110000 F0H = Exclusive status

01111110 7EH = Universal Non-Real Time

0xxxnnnn XNH = ID of target device

00000110 06H = Sub-ID #1=General Information

00000001 01H = Sub-ID #2=Identity Request

11110111 F7H = End of Exclusive

When this message is received, the Identity Reply Message (2.1.2.2, below) is transmitted.

2.1.2.2 Identity Reply

11110000 F0H = Exclusive status

01111110 7EH = Universal Non-Real Time

0xxxnnnn XNH = ID of target device

00000110 06H = Sub-ID #1=General Information

00000010 02H = Sub-ID #2=Identity Reply

01000011 43H = YAMAHA ID

00000000 00H = Device Family Code LSB AN200 ID #1

01000001 41H = Device Family Code MSB AN200 ID #2

00000010 02H = Device Number Code LSB AN200 ID #3

00000101 05H = Device Number Code MSB AN200 ID #4

00000000 00H

00000000 00H

00000000 00H

00000001 01H

11110111 F7H = End of Exclusive

When the Identity Request message (2.1.2.1, above) is received, this message is transmitted.

2.1.3 AN200 Native parameter change

This message sets parameters unique to the AN200.

Each message can set a single parameter. The message format is as follows.

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0001nnnn 1NH N:Device Number

01011100 5CH Model ID

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: :

11110111 F7H End of Exclusive

or

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0001nnnn 1NH N:Device Number

01101101 6DH Model ID

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

misc vco 1/2 68 -

fm depth 35 -

sync pitch 22 -

noise level 39 -

EFFECT type 88 -

89 -

param 48 - *

wet ( send ) 94 94

DISTORTION switch 49 - *

VCF cutoff 74*

74*

filter type 59 -

resonance 71*

71*

FEG depth 81 -

MIXER pan 10* 10*

volume 7* 7*

Controller Value

Pitch bend change

Channel pressure

Modulation

Expression

Hold

Portamento

±0 (Center)

0 (OFF)

0 (OFF)

127 (Max.)

0 (OFF)

0 (OFF)

category param CC#

SYNTH RHYTHM

MIDI Data Format

120

Appendix

0vvvvvvv VVH Data

: :

11110111 F7H End of Exclusive

For parameters whose Data Size is 2 or 4, the appropriate amount of data will be transmitted as

indicated by Size.

2.1.3.1 System parameter change

This message sets the System block (see Tables <2-1> and <2-2>).

2.1.3.2 Current Voice Common parameter change

This message sets the Common block of the voice is sounding currently (see Tables <1-1> and

<1-2>).

2.1.3.3 Current Voice Additional parameter change

This message sets the Additional block of the voice is sounding currently (see Tables <1-1> and

<1-4>).

2.1.3.4 Current Voice Element parameter change

This message sets the Element block of the voice is sounding currently (see Tables <1-1> and <1-

3>).

2.1.3.5 Current Voice Scene1 parameter change

This message sets the Scene1 block of the voice is sounding currently (see Tables <1-1> and <1-

5>).

2.1.3.6 Current Voice Scene2 parameter change

This message sets the Scene2 block of the voice is sounding currently (see Tables <1-1> and <1-

6>).

2.1.3.7 Current Voice Step Seq parameter change

This message sets the Step Seq block of the voice(SYNTH Track) is sounding currently (see

Tables <1-1> and <1-7>).

2.1.3.8 Currnet Rhythm Step Seq parameter change

This message sets the Step Seq block of the Rhythm Track (see Tables <2-1> and <2-8>).

2.1.3.9 Current Effect parameter change

This message sets the Effect block (see Tables <2-1> and <2-3>).

2.1.3.10 Current Mulit Part parameter change

This message sets the Multi Part block (see Tables <2-1> and <2-6>).

2.2 Bulk dump

This device uses only the following bulk dump receiving messages.

[ AN200 NATIVE BULK DUMP ]

1) System bulk dump

2) Current Voice Common bulk dump

3) Current Voice Additional bulk dump

4) Current Voice Element bulk dump

5) Current Voice Scene1 bulk dump

6) Current Voice Scene2 bulk dump

7) Currnet Voice Step Seq. bulk dump

8) Currnet Rhythm Step Seq. bulk dump

9) Current Effect bulk dump

10) Current Mulit Part bulk dump

11) User Pattern Voice 1...128

12) User Pattern Voice Additional 1...128

13) User Pattern Voice Scene1 1...128

14) User Pattern Voice Scene2 1...128

15) User Pattern Multi Part 1 ... 128

16) User Pattern Rhythm Step Seq 1 ... 128

17) User Song 1 ... 10

And the following bulk dump messages are received and changed as data of the AN200.

[ AN1x BULK DUMP ]

1) AN1x Current Common bulk dump

2) AN1x Current Scene bulk dump

3) AN1x Current Step Seq Pattern bulk dump

4) AN1x User Voice 1 ... 128

2.2.1 AN200 Native Bulk Dump

This message sets the special parameters for AN200.

Unlike Parameter change, one message can modify multiple parameters.

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0000nnnn 0NH N:Device Number

01011100 5CH Model ID

0sssssss SSH ByteCountMSB

0ttttttt TTH ByteCountLSB

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: :

0kkkkkkk KKH Check-sum

11110111 F7H End of Exclusive

Address and Byte Count are given in tables <1-n>.

Byte Count is indicated by the total size of the Data in tables <1-n>.

Bulk dump is received when the beginning of the block is specified in "Address."

"Block" indicates the unit of the data string that is indicated in tables <1-n> as "Total Size."

Check sum is the value that produces a lower 7 bits of 0 when ths Start Address, Byte Count,

Data, and the Check sum itself are added.

2.2.1.1 System bulk dump

This message sets the System block (see Tables <2-1> and <2-2>).

2.2.1.2 Current Voice Common bulk dump

This message sets the Common block of the voice is sounding currently (see Tables <1-1> and

<1-2>).

2.2.1.3 Current Voice Additional bulk dump

This message sets the Additional block of the voice is sounding currently (see Tables <1-1> and

<1-4>).

2.2.1.4 Current Voice Element bulk dump

This message sets the Element block of the voice is sounding currently (see Tables <1-1> and <1-

3>).

2.2.1.5 Current Scene1 bulk dump

This message sets the Scene1 block of the voice is sounding currently (see Tables <1-1> and <1-

5>).

2.2.1.6 Current Scene2 bulk dump

This message sets the Scene2 block of the voice is sounding currently (see Tables <1-1> and <1-

6>).

2.2.1.7 Current Voice Step Seq bulk dump

This message sets the Step Seq block of the voice(SYNTH Track) is sounding currently (see

Tables <1-1> and <1-7>).

2.2.1.8 Current Rhythm Step Seq bulk dump

This message sets the Step Seq block of the Rhythm Track is sounding currently (see Tables <2-

1> and <2-8>).

2.2.1.9 Current Effect bulk dump

This message sets the Effect block (see Tables <2-1> and <2-3>).

2.2.1.10 Current Multi Part bulk dump

This message sets the Multi Part block (see Tables <2-1> and <2-6>).

2.2.1.11 User Pattern Voice bulk dump

This message sets the User Pattern Voice block (see Tables <1-1> and <1-8>).

2.2.1.12 User Pattern Voice Additional bulk dump

This message sets the User Pattern Voice Additional block (see Tables <1-1> and <1-9>).

2.2.1.13 User Pattern Voice Scene1 bulk dump

This message sets the User Pattern Voice Scene1 block (see Tables <1-1> and <1-10>).

2.2.1.14 User Pattern Voice Scene2 bulk dump

This message sets the User Pattern Voice Scene2 block (see Tables <1-1> and <1-11>).

2.2.1.15 User Pattern Effect bulk dump

This message sets the User Pattern Voice Effect block (see Tables <2-1> and <2-9>).

2.2.1.16 User Pattern Multi Part bulk dump

This message sets the User Pattern Voice Multi Part block (see Tables <2-1> and <2-8>).

2.2.1.17 User Pattern Rhythm Step Seq bulk dump

This message sets the User Pattern Rhythm Step Seq block (see Tables <2-1> and <2-8>).

2.2.1.18 User Song bulk dump

This message sets the User Song block (see Tables <2-1> and <2-8>).

2.2.2 AN1x bulk dump

The AN1x bulk dump messages are received and changed as data of the AN200.

11110000 F0H Exclusive status

01000011 43H YAMAHA ID

0000nnnn 0NH N:Device Number

01011100 5CH Model ID

0sssssss SSH ByteCountMSB

0ttttttt TTH ByteCountLSB

0ggggggg GGH Address High

0mmmmmmm MMH Address Mid

0lllllll LLH Address Low

0vvvvvvv VVH Data

: :

0kkkkkkk KKH Check-sum

11110111 F7H End of Exclusive

The details are the same as for 2.2.1 (AN200 Native Bulk Dump). However, see Table <3-1> for

the Base address.

More details (Address, Byte Count, etc.), see the AN1x parameter list included with the AN1x.

121

MIDI Data Format

Appendix

2.2.2.1 AN1x Current Common bulk dump

When the Common block bulk data of the voice sounds currenly is received from the AN1x, the

AN200 responds to it (see the Table <3-1>).

The following parameters are invalid on the AN200, or affect differently compared with the ones

applied to the AN1x.

Scene Select (Always "Scene1" is fixed.)

Layer Mode ("Single" or "Unison")

Layer Pan, Layer Separation

Common Vtrl Matrix 1—2 Data (Source, Parameter, Depth)

Vari-Ef Type (Always "Gutar Amp.Simulator" is fixed.)

Dly-Ef, Rev-Ef Data (Type, Return, Parameter 1—7)

Arpeggio/StepSEQ Scene Sw. ("Off" or "On (only Scene1-side)")

FreeEG Track Scene Switch ("Off or "On (only Scene1-side)")

Parameters in connection with Arpeggio.

2.2.2.2 AN1x Current Scene1 bulk dump

When the Scene1 block bulk data of the voice sounds currenly is received from the AN1x, the

AN200 responds to it (see the Table <3-1>).

The following parameters are reacted by the AN200.

Ctrl Matrix 16 Data (Source, Parameter, Depth)

2.2.2.3 AN1x Current Step Seq Pattern bulk dump

When the Step SEQ block of the voice sounds currenly is received from the AN1x, the AN200

responds to it (see the Table <3-1>).

The Following parameters are invalid on the AN200, or affect differently compared with the ones

applied to the AN1x.

Step Seq Base Unit

Step Seq Length

Step Seq CtrlChange Value1...16

2.2.2.4 AN1x User Voice bulk dump

When the User Voice block bulk data is received from the AN1x, the AN200 responds to it (see

the Table <3-1>).

The following parameters are invalid on the AN200, or affect differently compared with the ones

applied to the AN1x.

Data of Scene 2

Common Data (See 2.2.2.1)

Scene1 Data (See 2.2.2.2)

3. Realtime Messages

3.1 Active Sensing

11111110 FEH

This is transmitted by 200msec.

After FE is received one time, if the MIDI signal does not come within 400 msec, AN200 will act

the same as when ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS are

received, and return to the condition where has not been received once.

3.2 Timing Clock

11111000 F8H

ON/OFF of the transmitting and receiving can be set.

3.3 Start

11111010 FAH

ON/OFF of the transmitting and receiving can be set.

3.4 Continue

11111011 FBH

ON/OFF of the transmitting and receiving can be set.

3.5 Stop

11111100 FCH

ON/OFF of the transmitting and receiving can be set.

4. System Common Messages

4.1 Song Position Pointer

11110010 F2H

0vvvvvvv SONG POSITION LSB

0vvvvvvv SONG POSITION MSB

ON/OFF of the transmitting and receiving can be set.

<1-1>

Parameter Base Address

MODEL ID = 5C (AN1x)

<1-2>

MIDI Parameter Change table ( Current Voice Common Buffer)

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 00 00 1 20...7F Voice Name 1 Ascii Code I

01 1 20...7F Voice Name 2 Ascii Code n

02 1 20...7F Voice Name 3 Ascii Code I

03 1 20...7F Voice Name 4 Ascii Code t

04 1 20...7F Voice Name 5 Ascii Code

05 1 20...7F Voice Name 6 Ascii Code P

06 1 20...7F Voice Name 7 Ascii Code t

07 1 20...7F Voice Name 8 Ascii Code n

08 1 20...7F Voice Name 9 Ascii Code

09 1 20...7F Voice Name 10 Ascii Code

0a 1 00...16 Voice Category --,Pf...Wv --

0b 1 NOT USED (AN1x : Scene Select) Scene1(1):fixed 1(scene1)

0c 1 00...01 Unison Sw. (AN1x : Layer Mode) off(0),on(1) 00(off)

0d 1 NOT USED --

0e 1 NOT USED --

0f 1 01...20 Unison Detune 1...32 6

Parameter Address Description

(H) (M) (L)

Curret Voice 10 00 00 Current Voice Common

10 0D 00 AN200 Current Voice Add

10 0E 00 Current Voice Step Seq

10 10 00 Current Voice Element

10 30 00 AN200 Current Voice Scene1

10 31 00 AN200 Current Voice Scene2

AN200 User Pattern Voice 20 00 00

: : :

20 7F 00

AN200 User Pattern Voice 1

:

AN200 User Pattern Voice 128

AN200 User Pattern Voice Add 22 00 00

: : :

22 7F 00

AN200 User Pattern Voice Add 1

:

AN200 User Pattern Voice Add 128

AN200 User Pattern Voice Scene-1 40 00 00

: : :

40 7F 00

AN200 User Pattern Voice Scene-1 1

:

AN200 User Pattern Voice Scene-1 128

AN200 User Pattern Voice Scene-2 41 00 00

: : :

41 7F 00

AN200 User Pattern Voice Scene-2 1

:

AN200 User Pattern Voice Scene-2 128

MIDI Data Format

122

Appendix

10 2 27...F0 Common BPM 20(14h) ... 40(28h) ... 240(F0h) ... 300(12Ch) *3 8C(140)

12 1 NOT USED --

13 1 NOT USED --

14 1 NOT USED --

15 1 NOT USED --

16 1 NOT USED --

17 1 NOT USED --

18 1 NOT USED --

19 1 NOT USED --

1a 1 NOT USED (AN1x : Var-Ef Type) Gutar Amp.Simulator:fixed 0d (Amp.Sim.)

1b 1 00...02 Output Gain (AN1x : reserve) +0dB(0), +6dB(1), +12dB(2) 00(+0dB)

1c 2 00...64 Gutar Amp.Simulator : Dist Drive 0...100 64(100)

1e 2 00...03 Gutar Amp.Simulator : Amp.Type off(0) ,stack(1) ,combo(2) ,tube(3) 01(stack)

20 2 22...3C Gutar Amp.Simulator : LPF 1.0k~Thru 30(5.0kHz)

22 2 00...64 Gutar Amp.Simulator : Dist Out Level 0~100 3c(60)

24 2 NOT USED --

26 2 NOT USED --

28 1 04...28 3-Band EQ Low Freq 32Hz(04)...2.0kHz(28) 11(140Hz)

29 1 34...4C 3-Band EQ Low Gain -12dB(34)...0(40)...+12dB(76) 40(+0dB)

2a 1 0E...36 3-Band EQ Mid Freq 100Hz(0E)...10.0kHz(36) 28(2.0kHz)

2b 1 34...4C 3-Band EQ Mid Gain -12dB(34)...0(40)...+12dB(4C) 40(+0dB)

2c 1 0A...78 3-Band EQ Mid Resonance(Q) 1.0(10)...12.0(78) 0A(1.0)

2d 1 1C...3A 3-Band EQ High Freq 500Hz(1C)...16.0kHz(3A) 34(8.0kHz)

2e 1 34...4C 3-Band EQ High Gain -12dB(34)...0(40)...+12dB(4C) 40(+0dB)

2f 1 NOT USED --

30 1 NOT USED --

31 1 NOT USED --

32 2 NOT USED --

34 2 NOT USED --

36 2 NOT USED --

38 2 NOT USED --

3a 2 NOT USED --

3c 2 NOT USED --

3e 2 NOT USED --

40 1 NOT USED --

41 1 NOT USED --

42 2 NOT USED --

44 2 NOT USED --

46 2 NOT USED --

48 2 NOT USED --

4a 2 NOT USED --

4c 2 NOT USED --

4e 2 NOT USED --

50 1 NOT USED --

51 1 NOT USED --

52 1 NOT USED --

53 1 NOT USED --

54 1 NOT USED --

55 1 NOT USED --

56 1 NOT USED --

57 1 NOT USED --

58 2 NOT USED --

5a 2 NOT USED --

5c 1 00...03 Free EG Trigger free(0),midi in notes(1),all notes(2),seq start(3) 03(seq start)

5d 1 00...04 Free EG Loop Type off(0),forwardd(1),forwardd-half(2), 01(forward)

alternate(3),alternate-half(4)

5e 1 02...60 Free EG Length 1/2bar(2),1bar(3),3/2bars(4), 05(2bars)

2bars(5),3bars(6),4bars(7),6bars(8),

8bars(9),1.0sec(0A)...8.0sec(50)

...16.0sec(60)

5f 1 NOT USED --

60 1 00...40 Free EG Trk Param 1 off(0)...Track Level(40) *1 00(off)

61 1 00...01 Free EG Trk Scene Switch 1 off(0),on(1) 00(off)

62 1 00...40 Free EG Trk Param 2 off(0)...Track Level(40) *1 00(off)

63 1 00...01 Free EG Trk Scene Switch 2 off(0),on(1) 00(off)

64 1 00...40 Free EG Trk Param 3 off(0)...Track Level(40) *1 00(off)

65 1 00...01 Free EG Trk Scene Switch 3 off(0),on(1) 00(off)

66 1 00...40 Free EG Trk Param 4 off(0)...Track Level(40) *1 00(off)

67 1 00...01 Free EG Trk Scene Switch 4 off(0),on(1) 00(off)

68 2 00...01 Free EG Trk1 Data1 MSB 0...1 *2 1

00...7F Free EG Trk1 Data1 LSB 0...127 *2 0

6a 2 00...01 Free EG Trk1 Data2 MSB 0...1 *2 1

00...7F Free EG Trk1 Data2 LSB 0...127 *2 0

: : :

03 66 2 00...01 Free EG Trk1 Data192 MSB 0...1 *2 1

00...7F Free EG Trk1 Data192 LSB 0...127 *2 0

03 68 2 00...01 Free EG Trk2 Data1 MSB 0...1 *2 1

00...7F Free EG Trk2 Data1 LSB 0...127 *2 0

03 6a 2 00...01 Free EG Trk2 Data2 MSB 0...1 *2 1

00...7F Free EG Trk2 Data2 LSB 0...127 *2 0

: : :

06 66 2 00...01 Free EG Trk2 Data192 MSB 0...1 *2 1

00...7F Free EG Trk2 Data192 LSB 0...127 *2 0

06 68 2 00...01 Free EG Trk3 Data1 MSB 0...1 *2 1

00...7F Free EG Trk3 Data1 LSB 0...127 *2 0

06 6a 2 00...01 Free EG Trk3 Data2 MSB 0...1 *2 1

00...7F Free EG Trk3 Data2 LSB 0...127 *2 0

: : :

09 66 2 00...01 Free EG Trk3 Data192 MSB 0...1 *2 1

00...7F Free EG Trk3 Data192 LSB 0...127 *2 0

09 68 2 00...01 Free EG Trk4 Data1 MSB 0...1 *2 1

00...7F Free EG Trk4 Data1 LSB 0...127 *2 0

09 6a 2 00...01 Free EG Trk4 Data2 MSB 0...1

123

MIDI Data Format

Appendix

00...7F Free EG Trk4 Data2 LSB 0...127 *2 0

: : :

0C 66 2 00...01 Free EG Trk4 Data192 MSB 0...1 *2 1

00...7F Free EG Trk4 Data192 LSB 0...127 *2 0

TOTAL SIZE 668

*1 : see other table (Free EG Track Paramter List)

*2 : only Bulk Dump (not received as parameter change)

*3 : BPM = ((1st & 03h) * 128 + 2nd) + ((1st & 78h)/8)/10

<1-3>

MIDI Parameter Change table ( Current Voice Element Buffer )

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 10 00 1 00...02 Key Assign Mode poly(0),mono(1),legato(2) 00(poly)

01 1 28...58 Pich Up (PB Range +) -24(28)...+24(58) 42(+2)

02 1 28...58 Pich Down (PB Range -) -24(28)...+24(58) 3E(-2)

03 1 00...7F PEG Decay 0...127 0

04 1 00...7F PEG Depth -64...+63 semitones 40(+0)

05 1 01...03 PEG Switch VCO1(1),VCO2(2),both(3) 03(both)

06 1 00...01 Portamento Mode normal(0),sustain-key(1) *1 00(normal)

full-time(0),fingered(1) *2

07 1 00...7F Portamento Time 0...127 2C(44)

08 1 00...01 LFO Reset Mode off(0),key-on(1) 00(off)

09 1 00...14 LFO1 Wave sine(0)...offset-s/h2(14) 00(sine)

0a 2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

0c 1 00...7F LFO1 Delay 0...127 0

0d 2 00...FF LFO2 Speed 1(0)...256(FF) 1F(32)

0f 1 00...02 Sync Mode off(0),vco1 mastter to slave(1), vco2 to vco1(2) 0(off)

10 1 00...7F Sync Pitch -64...+63 40(+0)

11 1 00...7F Sync Pitch Depth -64...+63 40(+0)

12 1 00...04 Sync Pitch Source fixed(0),PEG(1),FEG(2),LFO1(3), 00(fixed)

LFO2(4)

13 1 01...03 Sync Pitch Mod Switch master(1),slave(2),both(3) *5 03(both)

14 1 00...7F FM Depth -64...+63 40(+0)

15 1 00...04 FM Source 1 fixed(0),PEG(1),FEG(2),LFO1(3), 00(fixed)

LFO2(4)

16 1 00...07 FM Source 2 VCO2 freq(0),VCO1(1),VCO1-sub(2), 00(VCO2 freq)

PEG(3),FEG(4),LFO1(5),LFO2(6),VCO2 output(7)

17 1 00...04 VCO1 Wave saw(0),pulse(1),saw2(2),mix(3) *3 00(saw)

multi-saw(4)

00...06 VCO1 Wave saw(0),pulse(1),inner1(2), *4

inner2(3),inner3(4),square(5),noise(6)

18 1 00...7F VCO1 Pitch Coarse -64...+63 semitone 40(+0)

19 1 0E...72 VCO1 Pitch Fine -50...+50 cent 40(+0)

1a 1 00...7F VCO1 Edge 0...127 64(100)

1b 1 00...7F VCO1 Pulse Width 0%(0)...50%(40)...99%(7F) *7 40(50%)

00...7F VCO1 Mix 0...127 *8

1c 1 00...7F VCO1 PWM Depth -64...+63 *7 40(+0)

00...7F Detune 0...127 *8

1d 1 00...07 VCO1 PWM Source fixed(0),PEG(1),FEG(2), *7 04(LFO2)

LFO1(3),LFO2(4),LFO2-phase(5),

LFO2-fast(6),VCO2(7)

1e 2 01...FF VCO1 Pitch Mod Depth -127...+127 80(+0)

20 1 00...05 VCO2 Wave saw(0),pulse(1),saw2(2),mix(3) 00(saw)

triangle(4),sine(5)

21 1 00...7F VCO2 Pitch Coarse -64...+63 semitone 40(+0)

22 1 0E...72 VCO2 Pitch Fine -50(0E)...+50 cent(72) 40(+0)

23 1 00...7F VCO2 Edge 0...127 *9 7F(127)

24 1 00...7F VCO2 Pulse Width 0%(0)...50%(40)...99%(7F) *9 40(50%)

25 1 00...7F VCO2 PWM Depth -64...+63 *9 40(+0)

00...7F VCO2 X-MOD Depth -64...+63 *10

26 1 00...07 VCO2 PWM Source fixed(0),PEG(1),FEG(2), *9 04(LFO2)

LFO1(3),LFO2(4),LFO2-phase(5),

LFO2-fast(6),VCO1(7)

00...04 VCO2 X-MOD Source fixed(0),PEG(1),FEG(2), *10

LFO1(3),LFO2(4)

27 2 01...FF VCO2 Pitch Mod Depth -127...+127 80(+0)

29 1 00...7F Mixer VCO1 Level 0...127 7F(127)

2a 1 00...7F Mixer VCO2 Level 0...127 0

2b 1 00...7F Mixer Ring Mod Level 0...127 0

2c 1 00...7F Mixer Noise Level 0...127 0

2d 1 00...7F FilterEG Attack Time 0...127 0

2e 1 00...7F FilterEG Decay Time 0...127 40(64)

2f 1 00...7F FilterEG Sustain Level 0...127 7F(127)

30 1 00...7F FilterEG Release Time 0...127 55(85)

31 1 00...7F HPF Cutoff Freq 0(thru)...127 00(thru)

32 1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

33 1 00...7F VCF Filter Cutoff 0...127 64(100)

34 1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

35 2 00...FF FilterEG Depth -128...+127 A0(+32)

37 1 00...7F FillrEG Velocity Sens -64...+63 40(+0)

38 1 20...7F VCF Keyboard Track -32...+63 40(+0)

39 1 00...7F VCF Filter Mod Depth -64...+63 40(+0)

3a 1 00...7F AmpEG Attack Time 0...127 0

3b 1 00...7F AmpEG Decay Time 0...127 40(64)

3c 1 00...7F AmpEG Sustain Level 0...127 7F(127)

3d 1 00...7F AmpEG Release Time 0...127 24(36)

3e 1 00...7F VCA Feedback Level 0...127 0

3f 1 00...7F VCA Volume 0...127 69(105)

40 1 00...7F AmpEG Velocity Sens -64...+63 40(+0)

41 1 00...7F VCA Amp Mod Depth -64...+63 40(+0)

42 1 00...8F Gutitar Amp.Simulator Dry/Wet D63>W(1)...D=W(40)...D<W63(7F) 01(D63>W)

MIDI Data Format

124

Appendix

43 1 00... 00 Distortion Switch 0(off),1(on) 1(on)

44 1 00...72 Ctrl Matrix Source1 off(0)...Assign Knob8(72) *6,11 0(off)

45 1 00...2E Ctrl Matrix Param 1 off...PEG Attack(2E) *6 0(off)

46 1 00...7F Ctrl Matrix Depth 1 Depends on Ctrl Matrix Param *6 40(+0)

47 1 00...72 Ctrl Matrix Source2 off(0)...Assign Knob8(72) *6,11 0(off)

48 1 00...2E Ctrl Matrix Param 2 off...PEG Attack(2E) *6 0(off)

49 1 00...7F Ctrl Matrix Depth 2 Depends on Ctrl Matrix Param *6 40(+0)

4a 1 00...72 Ctrl Matrix Source3 off(0)...Assign Knob8(72) *6,11 0(off)

4b 1 00...2E Ctrl Matrix Param 3 off...PEG Attack(2E) *6 0(off)

4c 1 00...7F Ctrl Matrix Depth 3 Depends on Ctrl Matrix Param *6 40(+0)

4d 1 00...72 Ctrl Matrix Source4 off(0)...Assign Knob8(72) *6,11 0(off)

4e 1 00...2E Ctrl Matrix Param 4 off...PEG Attack(2E) *6 0(off)

4f 1 00...7F Ctrl Matrix Depth 4 Depends on Ctrl Matrix Param *6 40(+0)

50 1 00...72 Ctrl Matrix Source5 off(0)...Assign Knob8(72) *6,11 0(off)

51 1 00...2E Ctrl Matrix Param 5 off...PEG Attack(2E) *6 0(off)

52 1 00...7F Ctrl Matrix Depth 5 Depends on Ctrl Matrix Param *6 40(+0)

53 1 00...72 Ctrl Matrix Source6 off(0)...Assign Knob8(72) *6,11 0(off)

54 1 00...2E Ctrl Matrix Param 6 off...PEG Attack(2E) *6 0(off)

55 1 00...7F Ctrl Matrix Depth 6 Depends on Ctrl Matrix Param *6 40(+0)

56 1 00...72 Ctrl Matrix Source7 off(0)...Assign Knob8(72) *6,11 0(off)

57 1 00...2E Ctrl Matrix Param 7 off...PEG Attack(2E) *6 0(off)

58 1 00...7F Ctrl Matrix Depth 7 Depends on Ctrl Matrix Param *6 40(+0)

59 1 00...72 Ctrl Matrix Source8 off(0)...Assign Knob8(72) *6,11 0(off)

5a 1 00...2E Ctrl Matrix Param 8 off...PEG Attack(2E) *6 0(off)

5b 1 00...7F Ctrl Matrix Depth 8 Depends on Ctrl Matrix Param *6 40(+0)

5c 1 00...72 Ctrl Matrix Source9 off(0)...Assign Knob8(72) *6,11 0(off)

5d 1 00...2E Ctrl Matrix Param 9 off...PEG Attack(2E) *6 0(off)

5e 1 00...7F Ctrl Matrix Depth 9 Depends on Ctrl Matrix Param *6 40(+0)

5f 1 00...72 Ctrl Matrix Source10 off(0)...Assign Knob8(72) *6,11 0(off)

60 1 00...2E Ctrl Matrix Param 10 off...PEG Attack(2E) *6 0(off)

61 1 00...7F Ctrl Matrix Depth 10 Depends on Ctrl Matrix Param *6 40(+0)

62 1 00...72 Ctrl Matrix Source11 off(0)...Assign Knob8(72) *6,11 0(off)

63 1 00...2E Ctrl Matrix Param 11 off...PEG Attack(2E) *6 0(off)

64 1 00...7F Ctrl Matrix Depth 11 Depends on Ctrl Matrix Param *6 40(+0)

65 1 00...72 Ctrl Matrix Source12 off(0)...Assign Knob8(72) *6,11 0(off)

66 1 00...2E Ctrl Matrix Param 12 off...PEG Attack(2E) *6 0(off)

67 1 00...7F Ctrl Matrix Depth 12 Depends on Ctrl Matrix Param *6 40(+0)

68 1 00...72 Ctrl Matrix Source13 off(0)...Assign Knob8(72) *6,11 0(off)

69 1 00...2E Ctrl Matrix Param 13 off...PEG Attack(2E) *6 0(off)

6a 1 00...7F Ctrl Matrix Depth 13 Depends on Ctrl Matrix Param *6 40(+0)

6b 1 00...72 Ctrl Matrix Source14 off(0)...Assign Knob8(72) *6,11 0(off)

6c 1 00...2E Ctrl Matrix Param 14 off...PEG Attack(2E) *6 0(off)

6d 1 00...7F Ctrl Matrix Depth 14 Depends on Ctrl Matrix Param *6 40(+0)

6e 1 00...72 Ctrl Matrix Source15 off(0)...Assign Knob8(72) *6,11 0(off)

6f 1 00...2E Ctrl Matrix Param 15 off...PEG Attack(2E) *6 0(off)

70 1 00...7F Ctrl Matrix Depth 15 Depends on Ctrl Matrix Param *6 40(+0)

71 1 NOT USED --

72 1 NOT USED --

73 1 NOT USED --

74 1 NOT USED --

75 1 3E...42 Oct Shift -2(3E), 0(40),+2(42) 40(+0)

76 1 00...7F PEG Attack 0...127 0

77 1 00...14 LFO2 Wave sine(0)...offset-s/h2(14) 05(triangle)

78 1 00...0F LFO Assign Group VCO1(bit3),VCO2(bit2),VCA(bit1), 00(LFO1 to All)

VCF(bit0)

79 1 01..03 FM Algorithm both(1),master(2),slave(3) *5 03(slave)

TOTAL SIZE 7A

*1 : Key Assign Mode = poly

*2 : Key Assign Mode = mono,legato

*3 : Oscillator Sync Mode = off

*4 : Oscillator Sync Mode = on ('VCO1 master to slave' or 'VCO2 to VC1')

*5 : Oscillator Sync Mode = 'VCO1 master to slave'

*6 : see other table (Ctrl Matrix Paramter List)

*7 : VCO1 Wave is not MultiSaw.

*8 : VCO1 Wave is MultiSaw.

*9 : VCO2 Wave is not Triangle or Sine.

*10 : VCO1 Wave is Triangle or Sine.

*11 : CC# 3,5,7,8,9,10,15,16,18,19,22,28,29,31,34,35,39,48,49,50,51,57,59,68,71,72,73,74,75,80,81,82,83,88,89,MW~AC8 cannot be set.

<1-4>

MIDI Parameter Change table ( AN200 Current Voice Additional Buffer)

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 0d 00 1 0...7F Scene Control Param 0...127 0

01 1 00...7F VCO1/2 Balance -64...0...+63 40(+0)

<1-5>

MIDI Bulk Dump Parameter table ( AN200 Current Scene-1 )

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 30 00 2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

02 1 00...7F AmpEG Attack Time 0...127 0

03 1 00...7F AmpEG Decay Time 0...127 40(64)

04 1 00...7F AmpEG Sustain Level 0...127 7F(127)

05 1 00...7F AmpEG Release Time 0...127 24(36)

06 1 00...7F FilterEG Attack Time 0...127 0

07 1 00...7F FilterEG Decay Time 0...127 40(64)

08 1 00...7F FilterEG Sustain Level 0...127 7F(127)

09 1 00...7F FilterEG Release Time 0...127 55(85)

0A 1 00...7F Portamento Time 0...127 2C(44)

125

MIDI Data Format

Appendix

0B 1 00...7F Sync Pitch -64...+63 40(+0)

0C 1 00...7F FM Depth -64...+63 40(+0)

0D 1 00...7F Mixer Noise Level 0...127 0

0E 1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

0F 1 00...7F VCF Filter Cutoff 0...127 64(100)

10 1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

11 2 00...FF FilterEG Depth -128...+127 A0(+32)

13 1 00...7F VCO1/2 Balance -64...0...+63 40(+0)

14 1 00...7F Volume 0...127 64(100)

15 1 00...7F Pan CENTER(0),L63...C...R63(1...64...127) 40(64)

16 1 00...7F Effect Send 0...127 0

17 1 00...7F Effect parameter refer to Effect Type List <Table 2-4> 0

TOTAL SIZE 18

mm = 00 ~ 7F : User Voice Scene-1 No.1 ~ User Voice Scene-1 No.128

<1-6>

MIDI Bulk Dump Parameter table ( AN200 Current Scene-2 )

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 31 00 2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

02 1 00...7F AmpEG Attack Time 0...127 0

03 1 00...7F AmpEG Decay Time 0...127 40(64)

04 1 00...7F AmpEG Sustain Level 0...127 7F(127)

05 1 00...7F AmpEG Release Time 0...127 24(36)

06 1 00...7F FilterEG Attack Time 0...127 0

07 1 00...7F FilterEG Decay Time 0...127 40(64)

08 1 00...7F FilterEG Sustain Level 0...127 7F(127)

09 1 00...7F FilterEG Release Time 0...127 55(85)

0A 1 00...7F Portamento Time 0...127 2C(44)

0B 1 00...7F Sync Pitch -64...+63 40(+0)

0C 1 00...7F FM Depth -64...+63 40(+0)

0D 1 00...7F Mixer Noise Level 0...127 0

0E 1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

0F 1 00...7F VCF Filter Cutoff 0...127 64(100)

10 1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

11 2 00...FF FilterEG Depth -128...+127 A0(+32)

13 1 00...7F VCO1/2 Balance -64...0...+63 40(+0)

14 1 00...7F Volume 0...127 64(100)

15 1 00...7F Pan CENTER(0),L63...C...R63(1...64...127) 40(64)

16 1 00...7F Effect Send 0...127 0

17 1 00...7F Effect parameter refer to Effect Type List <Table 2-4> 0

TOTAL SIZE 18

mm = 00 ~ 7F : User Voice Scene-2 No.1 ~ User Voice Scene-2 No.128

<1-7>

MIDI Bulk Dump Parameter table ( Current Step Seq )

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 0e 00 1 04,06,07 Step Seq Base Unit 1/8(4)...1/12(6)...1/16(7) 07(1/16)

01 1 08,0C,10 Step Seq Length 8step(8),12step(C),16steps(10) 10

02 1 NOT USED --

03 1 NOT USED --

04 1 NOT USED --

05 1 NOT USED --

06 1 00...7F Step Seq Note No 1 C-2(0)...G8(7F) C3(3C)

07 1 00...7F Step Seq Note No 2 C-2(0)...G8(7F) C3(3C)

08 1 00...7F Step Seq Note No 3 C-2(0)...G8(7F) C3(3C)

09 1 00...7F Step Seq Note No 4 C-2(0)...G8(7F) C3(3C)

0A 1 00...7F Step Seq Note No 5 C-2(0)...G8(7F) C3(3C)

0B 1 00...7F Step Seq Note No 6 C-2(0)...G8(7F) C3(3C)

0C 1 00...7F Step Seq Note No 7 C-2(0)...G8(7F) C3(3C)

0D 1 00...7F Step Seq Note No 8 C-2(0)...G8(7F) C3(3C)

0E 1 00...7F Step Seq Note No 9 C-2(0)...G8(7F) C3(3C)

0F 1 00...7F Step Seq Note No 10 C-2(0)...G8(7F) C3(3C)

10 1 00...7F Step Seq Note No 11 C-2(0)...G8(7F) C3(3C)

11 1 00...7F Step Seq Note No 12 C-2(0)...G8(7F) C3(3C)

12 1 00...7F Step Seq Note No 13 C-2(0)...G8(7F) C3(3C)

13 1 00...7F Step Seq Note No 14 C-2(0)...G8(7F) C3(3C)

14 1 00...7F Step Seq Note No 15 C-2(0)...G8(7F) C3(3C)

15 1 00...7F Step Seq Note No 16 C-2(0)...G8(7F) C3(3C)

16 1 00...7F Step Seq Velocity 1 rest(0),1...127 100(64)

17 1 00...7F Step Seq Velocity 2 rest(0),1...127 100(64)

18 1 00...7F Step Seq Velocity 3 rest(0),1...127 100(64)

19 1 00...7F Step Seq Velocity 4 rest(0),1...127 100(64)

1A 1 00...7F Step Seq Velocity 5 rest(0),1...127 100(64)

1B 1 00...7F Step Seq Velocity 6 rest(0),1...127 100(64)

1C 1 00...7F Step Seq Velocity 7 rest(0),1...127 100(64)

1D 1 00...7F Step Seq Velocity 8 rest(0),1...127 100(64)

1E 1 00...7F Step Seq Velocity 9 rest(0),1...127 100(64)

1F 1 00...7F Step Seq Velocity 10 rest(0),1...127 100(64)

20 1 00...7F Step Seq Velocity 11 rest(0),1...127 100(64)

21 1 00...7F Step Seq Velocity 12 rest(0),1...127 100(64)

22 1 00...7F Step Seq Velocity 13 rest(0),1...127 100(64)

23 1 00...7F Step Seq Velocity 14 rest(0),1...127 100(64)

24 1 00...7F Step Seq Velocity 15 rest(0),1...127 100(64)

25 1 00...7F Step Seq Velocity 16 rest(0),1...127 100(64)

26 1 00...7F Step Seq Gate Time LSB 1 *1 94%(3C)

27 1 00...7F Step Seq Gate Time LSB 2 *1 94%(3C)

MIDI Data Format

126

Appendix

28 1 00...7F Step Seq Gate Time LSB 3 *1 94%(3C)

29 1 00...7F Step Seq Gate Time LSB 4 *1 94%(3C)

2A 1 00...7F Step Seq Gate Time LSB 5 *1 94%(3C)

2B 1 00...7F Step Seq Gate Time LSB 6 *1 94%(3C)

2C 1 00...7F Step Seq Gate Time LSB 7 *1 94%(3C)

2D 1 00...7F Step Seq Gate Time LSB 8 *1 94%(3C)

2E 1 00...7F Step Seq Gate Time LSB 9 *1 94%(3C)

2F 1 00...7F Step Seq Gate Time LSB 10 *1 94%(3C)

30 1 00...7F Step Seq Gate Time LSB 11 *1 94%(3C)

31 1 00...7F Step Seq Gate Time LSB 12 *1 94%(3C)

32 1 00...7F Step Seq Gate Time LSB 13 *1 94%(3C)

33 1 00...7F Step Seq Gate Time LSB 14 *1 94%(3C)

34 1 00...7F Step Seq Gate Time LSB 15 *1 94%(3C)

35 1 00...7F Step Seq Gate Time LSB 16 *1 94%(3C)

36 1 NOT USED --

37 1 NOT USED --

38 1 NOT USED --

39 1 NOT USED --

3A 1 NOT USED --

3B 1 NOT USED --

3C 1 NOT USED --

3D 1 NOT USED --

3E 1 NOT USED --

3F 1 NOT USED --

40 1 NOT USED --

41 1 NOT USED --

42 1 NOT USED --

43 1 NOT USED --

44 1 NOT USED --

45 1 NOT USED --

46 1 00...07 Step Seq Gate Time MSB 1 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

47 1 00...07 Step Seq Gate Time MSB 2 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

48 1 00...07 Step Seq Gate Time MSB 3 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

49 1 00...07 Step Seq Gate Time MSB 4 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4A 1 00...07 Step Seq Gate Time MSB 5 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4B 1 00...07 Step Seq Gate Time MSB 6 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4C 1 00...07 Step Seq Gate Time MSB 7 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4D 1 00...07 Step Seq Gate Time MSB 8 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4E 1 00...07 Step Seq Gate Time MSB 9 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4F 1 00...07 Step Seq Gate Time MSB 10 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

50 1 00...07 Step Seq Gate Time MSB 11 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

51 1 00...07 Step Seq Gate Time MSB 12 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

52 1 00...07 Step Seq Gate Time MSB 13 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

53 1 00...07 Step Seq Gate Time MSB 14 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

54 1 00...07 Step Seq Gate Time MSB 15 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

55 1 00...07 Step Seq Gate Time MSB 16 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

56 1 00...01 Step Seq Mute 1 MuteOFF(0),MuteON(1) MuteOFF(0)

57 1 00...01 Step Seq Mute 2 MuteOFF(0),MuteON(1) MuteOFF(0)

58 1 00...01 Step Seq Mute 3 MuteOFF(0),MuteON(1) MuteOFF(0)

59 1 00...01 Step Seq Mute 4 MuteOFF(0),MuteON(1) MuteOFF(0)

5A 1 00...01 Step Seq Mute 5 MuteOFF(0),MuteON(1) MuteOFF(0)

5B 1 00...01 Step Seq Mute 6 MuteOFF(0),MuteON(1) MuteOFF(0)

5C 1 00...01 Step Seq Mute 7 MuteOFF(0),MuteON(1) MuteOFF(0)

5D 1 00...01 Step Seq Mute 8 MuteOFF(0),MuteON(1) MuteOFF(0)

5E 1 00...01 Step Seq Mute 9 MuteOFF(0),MuteON(1) MuteOFF(0)

5F 1 00...01 Step Seq Mute 10 MuteOFF(0),MuteON(1) MuteOFF(0)

60 1 00...01 Step Seq Mute 11 MuteOFF(0),MuteON(1) MuteOFF(0)

61 1 00...01 Step Seq Mute 12 MuteOFF(0),MuteON(1) MuteOFF(0)

62 1 00...01 Step Seq Mute 13 MuteOFF(0),MuteON(1) MuteOFF(0)

63 1 00...01 Step Seq Mute 14 MuteOFF(0),MuteON(1) MuteOFF(0)

64 1 00...01 Step Seq Mute 15 MuteOFF(0),MuteON(1) MuteOFF(0)

65 1 00...01 Step Seq Mute 16 MuteOFF(0),MuteON(1) MuteOFF(0)

TOTAL SIZE 66

*1 : MSB bit 2-0 -> bit 9-7

LSB bit 6 -0 -> bit 6-0

*2 : This should be transmitted after sending Step Seq Gate Time LSB n.

<1-8>

MIDI Bulk Dump Parameter table ( User Pattern Voice )

Address Size Data Prameter Name Description Default

(H) (H) (H)

20 mm 00 1 20...7F Voice Name 1 Ascii Code I

01 1 20...7F Voice Name 2 Ascii Code n

02 1 20...7F Voice Name 3 Ascii Code I

03 1 20...7F Voice Name 4 Ascii Code t

04 1 20...7F Voice Name 5 Ascii Code

05 1 20...7F Voice Name 6 Ascii Code P

06 1 20...7F Voice Name 7 Ascii Code t

07 1 20...7F Voice Name 8 Ascii Code n

08 1 20...7F Voice Name 9 Ascii Code

09 1 20...7F Voice Name 10 Ascii Code

0a 1 00...16 Voice Category --,Pf...Wv --

0b 1 NOT USED (AN1x : Scene Select) Scene1(1):fixed 1(scene1)

0c 1 00...01 Unison Sw. (AN1x : Layer Mode) off(0),on(1) 00(off)

0d 1 NOT USED --

0e 1 NOT USED --

0f 1 01...20 Unison Detune 1...32 6

10 2 27...F0 Common Tempo 20(14h) ... 40(28h) ... 240(F0h) ... 300(12Ch) 8C(140)

12 1 NOT USED --

13 1 NOT USED --

14 1 NOT USED --

15 1 NOT USED --

16 1 NOT USED --

127

MIDI Data Format

Appendix

17 1 NOT USED --

18 1 NOT USED --

19 1 NOT USED --

1a 1 NOT USED (AN1x : Var-Ef Type) Gutar Amp.Simulator:fixed 0d (Amp.Sim.)

1b 1 00...02 Output Gain (AN1x : reserve) +0dB(0), +6dB(1), +12dB(2) 00(+0dB)

1c 2 00...64 Gutar Amp.Simulator : Dist Drive 0...100 64(100)

1e 2 00...03 Gutar Amp.Simulator : Amp.Type off(0) ,stack(1) ,combo(2) ,tube(3) 01(stack)

20 2 22...3C Gutar Amp.Simulator : LPF 1.0k~Thru 30(5.0kHz)

22 2 00...64 Gutar Amp.Simulator : Dist Out Level 0~100 3c(60)

24 2 NOT USED --

26 2 NOT USED --

28 1 04...28 3-Band EQ Low Freq 32Hz(04)...2.0kHz(28) 11(140Hz)

29 1 34...4C 3-Band EQ Low Gain -12dB(34)...0(40)...+12dB(76) 40(+0dB)

2a 1 0E...36 3-Band EQ Mid Freq 100Hz(0E)...10.0kHz(36) 28(2.0kHz)

2b 1 34...4C 3-Band EQ Mid Gain -12dB(34)...0(40)...+12dB(4C) 40(+0dB)

2c 1 0A...78 3-Band EQ Mid Resonance(Q) 1.0(10)...12.0(78) 0A(1.0)

2d 1 1C...3A 3-Band EQ High Freq 500Hz(1C)...16.0kHz(3A) 34(8.0kHz)

2e 1 34...4C 3-Band EQ High Gain -12dB(34)...0(40)...+12dB(4C) 40(+0dB)

2f 1 NOT USED --

30 1 NOT USED --

31 1 NOT USED --

32 2 NOT USED --

34 2 NOT USED --

36 2 NOT USED --

38 2 NOT USED --

3a 2 NOT USED --

3c 2 NOT USED --

3e 2 NOT USED --

40 1 NOT USED --

41 1 NOT USED --

42 2 NOT USED --

44 2 NOT USED --

46 2 NOT USED --

48 2 NOT USED --

4a 2 NOT USED --

4c 2 NOT USED --

4e 2 NOT USED --

50 1 NOT USED --

51 1 NOT USED --

52 1 NOT USED --

53 1 NOT USED --

54 1 NOT USED --

55 1 NOT USED --

56 1 NOT USED --

57 1 NOT USED --

58 2 NOT USED --

5a 2 NOT USED --

5c 1 00...03 Free EG Trigger free(0),midi in notes(1),all notes(2),seq start(3) 03(seq start)

5d 1 00...04 Free EG Loop Type off(0),forwardd(1),forwardd-half(2), 01(forward)

alternate(3),alternate-half(4)

5e 1 02...60 Free EG Length 1/2bar(2),1bar(3),3/2bars(4), 05(2bars)

2bars(5),3bars(6),4bars(7),6bars(8),

8bars(9),1.0sec(0A)...8.0sec(50)

...16.0sec(60)

5f 1 NOT USED --

60 1 00...40 Free EG Trk Param 1 off(0)...Track Level(40) *7 00(off)

61 1 00...01 Free EG Trk Scene Switch 1 off(0),on(1) 00(off)

62 1 00...40 Free EG Trk Param 2 off(0)...Track Level(40) *7 00(off)

63 1 00...01 Free EG Trk Scene Switch 2 off(0),on(1) 00(off)

64 1 00...40 Free EG Trk Param 3 off(0)...Track Level(40) *7 00(off)

65 1 00...01 Free EG Trk Scene Switch 3 off(0),on(1) 00(off)

66 1 00...40 Free EG Trk Param 4 off(0)...Track Level(40) *7 00(off)

67 1 00...01 Free EG Trk Scene Switch 4 off(0),on(1) 00(off)

68 2 00...01 Free EG Trk1 Data1 MSB 0...1 *8 1

00...7F Free EG Trk1 Data1 LSB 0...127 *8 0

6a 2 00...01 Free EG Trk1 Data2 MSB 0...1 *8 1

00...7F Free EG Trk1 Data2 LSB 0...127 *8 0

: : :

03 66 2 00...01 Free EG Trk1 Data192 MSB 0...1 *8 1

00...7F Free EG Trk1 Data192 LSB 0...127 *8 0

03 68 2 00...01 Free EG Trk2 Data1 MSB 0...1 *8 1

00...7F Free EG Trk2 Data1 LSB 0...127 *8 0

03 6a 2 00...01 Free EG Trk2 Data2 MSB 0...1 *8 1

00...7F Free EG Trk2 Data2 LSB 0...127 *8 0

: : :

06 66 2 00...01 Free EG Trk2 Data192 MSB 0...1 *8 1

00...7F Free EG Trk2 Data192 LSB 0...127 *8 0

06 68 2 00...01 Free EG Trk3 Data1 MSB 0...1 *8 1

00...7F Free EG Trk3 Data1 LSB 0...127 *8 0

06 6a 2 00...01 Free EG Trk3 Data2 MSB 0...1 *8 1

00...7F Free EG Trk3 Data2 LSB 0...127 *8 0

: : :

09 66 2 00...01 Free EG Trk3 Data192 MSB 0...1 *8 1

00...7F Free EG Trk3 Data192 LSB 0...127 *8 0

09 68 2 00...01 Free EG Trk4 Data1 MSB 0...1 *8 1

00...7F Free EG Trk4 Data1 LSB 0...127 *8 0

09 6a 2 00...01 Free EG Trk4 Data2 MSB 0...1

00...7F Free EG Trk4 Data2 LSB 0...127 *8 0

: : :

0C 66 2 00...01 Free EG Trk4 Data192 MSB 0...1 *8 1

00...7F Free EG Trk4 Data192 LSB 0...127 *8 0

( from Here : User Voice Scene's Data )

1 00...02 Key Assign Mode poly(0),mono(1),legato(2) 00(poly)

1 28...58 Pich Up (PB Range +) -24(28)...+24(58) 42(+2)

MIDI Data Format

128

Appendix

1 28...58 Pich Down (PB Range -) -24(28)...+24(58) 3E(-2)

1 00...7F PEG Decay 0...127 0

1 00...7F PEG Depth -64...+63 semitones 40(+0)

1 01...03 PEG Switch VCO1(1),VCO2(2),both(3) 03(both)

1 00...01 Portamento Mode normal(0),sustain-key(1) *9 00(normal)

full-time(0),fingered(1) *10

1 00...7F Portamento Time 0...127 2C(44)

1 00...01 LFO Reset Mode off(0),key-on(1) 00(off)

1 00...14 LFO1 Wave sine(0)...offset-s/h2(14) 00(sine)

2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

1 00...7F LFO1 Delay 0...127 0

2 00...FF LFO2 Speed 1(0)...256(FF) 1F(32)

1 00...02 Sync Mode off(0),vco1 mastter to slave(1), vco2 to vco1(2) 0(off)

1 00...7F Sync Pitch -64...+63 40(+0)

1 00...7F Sync Pitch Depth -64...+63 40(+0)

1 00...04 Sync Pitch Source fixed(0),PEG(1),FEG(2),LFO1(3), 00(fixed)

LFO2(4)

1 01...03 Sync Pitch Mod Switch master(1),slave(2),both(3) 03(both)

1 00...7F FM Depth -64...+63 40(+0)

1 00...04 FM Source 1 fixed(0),PEG(1),FEG(2),LFO1(3), 00(fixed)

LFO2(4)

1 00...07 FM Source 2 VCO2 freq(0),VCO1(1),VCO1-sub(2), 00(VCO2 freq)

PEG(3),FEG(4),LFO1(5),LFO2(6),VCO2 output(7)

1 00...04 VCO1 Wave saw(0),pulse(1),saw2(2),mix(3) *11 00(saw)

multi-saw(4)

00...06 VCO1 Wave saw(0),pulse(1),inner1(2), *12

inner2(3),inner3(4),square(5),noise(6)

1 00...7F VCO1 Pitch Coarse -64...+63 semitone 40(+0)

1 0E...72 VCO1 Pitch Fine -50...+50 cent 40(+0)

1 00...7F VCO1 Edge 0...127 64(100)

1 00...7F VCO1 Pulse Width 0%(0)...50%(40)...99%(7F) *15 40(50%)

00...7F VCO1 Mix 0...127 *16

1 00...7F VCO1 PWM Depth -64...+63 *15 40(+0)

00...7F Detune 0...127 *16

1 00...07 VCO1 PWM Source fixed(0),PEG(1),FEG(2), *15 04(LFO2)

LFO1(3),LFO2(4),LFO2-phase(5),

LFO2-fast(6),VCO2(7)

2 01...FF VCO1 Pitch Mod Depth -127...+127 80(+0)

1 00...05 VCO2 Wave saw(0),pulse(1),saw2(2),mix(3) 00(saw)

triangle(4),sine(5)

1 00...7F VCO2 Pitch Coarse -64...+63 semitone 40(+0)

1 0E...72 VCO2 Pitch Fine -50(0E)...+50 cent(72) 40(+0)

1 00...7F VCO2 Edge 0...127 *17 7F(127)

1 00...7F VCO2 Pulse Width 0%(0)...50%(40)...99%(7F) *17 40(50%)

1 00...7F VCO2 PWM Depth -64...+63 *17 40(+0)

00...7F VCO2 X-MOD Depth -64...+63 *18

1 00...07 VCO2 PWM Source fixed(0),PEG(1),FEG(2), *17 04(LFO2)

LFO1(3),LFO2(4),LFO2-phase(5),

LFO2-fast(6),VCO1(7)

00...04 VCO2 X-MOD Source fixed(0),PEG(1),FEG(2), *18

LFO1(3),LFO2(4)

2 01...FF VCO2 Pitch Mod Depth -127...+127 80(+0)

1 00...7F Mixer VCO1 Level 0...127 7F(127)

1 00...7F Mixer VCO2 Level 0...127 0

1 00...7F Mixer Ring Mod Level 0...127 0

1 00...7F Mixer Noise Level 0...127 0

1 00...7F FilterEG Attack Time 0...127 0

1 00...7F FilterEG Decay Time 0...127 40(64)

1 00...7F FilterEG Sustain Level 0...127 7F(127)

1 00...7F FilterEG Release Time 0...127 55(85)

1 00...7F HPF Cutoff Freq 0(thru)...127 00(thru)

1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

1 00...7F VCF Filter Cutoff 0...127 64(100)

1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

2 00...FF FilterEG Depth -128...+127 A0(+32)

1 00...7F FillrEG Velocity Sens -64...+63 40(+0)

1 20...7F VCF Keyboard Track -32...+63 40(+0)

1 00...7F VCF Filter Mod Depth -64...+63 40(+0)

1 00...7F AmpEG Attack Time 0...127 0

1 00...7F AmpEG Decay Time 0...127 40(64)

1 00...7F AmpEG Sustain Level 0...127 7F(127)

1 00...7F AmpEG Release Time 0...127 24(36)

1 00...7F VCA Feedback Level 0...127 0

1 00...7F VCA Volume 0...127 69(105)

1 00...7F AmpEG Velocity Sens -64...+63 40(+0)

1 00...7F VCA Amp Mod Depth -64...+63 40(+0)

1 01...7F Gutitar Amp.Simulator Dry/Wet D63>W(1)...D=W(40)...D<W63(7F) 01(D63>W)

1 00... 00 Distortion Switch 0(off),1(on) 1(on)

1 00...72 Ctrl Matrix Source1 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 1 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 1 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source2 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 2 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 2 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source3 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 3 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 3 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source4 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 4 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 4 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source5 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 5 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 5 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source6 off(0)...Assign Knob8(72) *14,19 0(off)

129

MIDI Data Format

Appendix

1 00...2E Ctrl Matrix Param 6 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 6 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source7 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 7 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 7 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source8 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 8 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 8 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source9 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 9 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 9 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source10 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 10 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 10 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source11 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 11 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 11 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source12 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 12 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 12 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source13 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 13 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 13 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source14 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 14 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 14 Depends on Ctrl Matrix Param *14 40(+0)

1 00...72 Ctrl Matrix Source15 off(0)...Assign Knob8(72) *14,19 0(off)

1 00...2E Ctrl Matrix Param 15 off...PEG Attack(2E) *14 0(off)

1 00...7F Ctrl Matrix Depth 15 Depends on Ctrl Matrix Param *14 40(+0)

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 3E...42 Oct Shift -2(3E), 0(40),+2(42) 40(+0)

1 00...7F PEG Attack 0...127 0

1 00...14 LFO2 Wave sine(0)...offset-s/h2(14) 05(triangle)

1 00...0F LFO Assign Group VCO1(bit3),VCO2(bit2),VCA(bit1), 00(LFO1 to All)

VCF(bit0)

1 01..03 FM Algorithm both(1),master(2),slave(3) *13 03(slave)

( from Here : User Voice StepSEQ's Data )

1 04,06,07 Step Seq Base Unit 1/8(4)...1/12(6)...1/16(7) 07(1/16)

1 08,0C,10 Step Seq Length 8step(8),12step(C),16steps(10) 10

1 00...03 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 00...7F Step Seq Note No 1 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 2 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 3 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 4 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 5 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 6 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 7 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 8 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 9 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 10 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 11 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 12 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 13 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 14 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 15 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Note No 16 C-2(0)...G8(7F) C3(3C)

1 00...7F Step Seq Velocity 1 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 2 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 3 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 4 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 5 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 6 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 7 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 8 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 9 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 10 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 11 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 12 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 13 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 14 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 15 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 16 rest(0),1...127 100(64)

1 00...7F Step Seq Gate Time LSB 1 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 2 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 3 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 4 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 5 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 6 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 7 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 8 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 9 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 10 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 11 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 12 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 13 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 14 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 15 *20 94%(3C)

1 00...7F Step Seq Gate Time LSB 16 *20 94%(3C)

1 NOT USED --

1 NOT USED --

MIDI Data Format

130

Appendix

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 00...07 Step Seq Gate Time MSB 1 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 2 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 3 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 4 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 5 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 6 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 7 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 8 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 9 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 10 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 11 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 12 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 13 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 14 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 15 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...07 Step Seq Gate Time MSB 16 1%(0)...100%(40)...200%(7F)...1600%(3FF) *20 0

1 00...01 Step Seq Mute 1 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 2 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 3 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 4 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 5 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 6 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 7 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 8 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 9 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 10 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 11 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 12 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 13 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 14 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 15 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 16 MuteOFF(0),MuteON(1) MuteOFF(0)

TOTAL SIZE 748

mm = 00 ~ 7F : User Voice No.1 ~ User Voice No.128

*1 : see other table(Arpeggio Type List)

*2 : see other table(Ctrl Matrix Parameter List)

*3 : become available only when Step Seq is selected and Kbd Mode='ptn-sel&norm' or 'ptn-sel&note-shift'

*4 : only when Arpeggio is selected

*5 : only when Step Seq is selected

*6 : except *3

*7 : see other table (Free EG Track Paramter List)

*8 : only Bulk Dump (not received as parameter change)

*9 : Key Assign Mode = poly

*10 : Key Assign Mode = mono,legato

*11 : Oscillator Sync Mode = off

*12 : Oscillator Sync Mode = on ('VCO1 master to slave' or 'VCO2 to VC1')

*13 : Oscillator Sync Mode = 'VCO1 master to slave'

*14 : see other table (Ctrl Matrix Paramter List)

*15 : VCO1 Wave is not MultiSaw.

*16 : VCO1 Wave is MultiSaw.

*17 : VCO2 Wave is not Triangle or Sine.

*18 : VCO1 Wave is Triangle or Sine.

*19 : CC# 3,5,7,8,9,10,15,16,18,19,22,28,29,31,34,35,39,48,49,50,51,57,59,68,71,72,73,74,75,80,81,82,83,88,89,MW~AC8 cannot be set.

*20 : MSB bit 2-0 -> bit 9-7

LSB bit 6 -0 -> bit 6-0

<1-9>

MIDI Bulk Dump Parameter table ( User Pattern Voice additional )

Address Size Data Prameter Name Description Default

(H) (H) (H)

22 mm 00 1 0...7F Scene Control Param 0...127 0

01 1 0...7F VCO1/2 Balance -64...0...+63 40(+0)

TOTAL SIZE 2

mm = 00 ~ 7F : User Voice Add No.1 ~ User Voice Add No.128

* This Bulk Dump should be transmitted after sending User Voice Bulk (20 mm 00).

131

MIDI Data Format

Appendix

<1-10>

MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-1 )

Address Size Data Prameter Name Description Default

(H) (H) (H)

40 mm 00 2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

02 1 00...7F AmpEG Attack Time 0...127 0

03 1 00...7F AmpEG Decay Time 0...127 40(64)

04 1 00...7F AmpEG Sustain Level 0...127 7F(127)

05 1 00...7F AmpEG Release Time 0...127 24(36)

06 1 00...7F FilterEG Attack Time 0...127 0

07 1 00...7F FilterEG Decay Time 0...127 40(64)

08 1 00...7F FilterEG Sustain Level 0...127 7F(127)

09 1 00...7F FilterEG Release Time 0...127 55(85)

0A 1 00...7F Portamento Time 0...127 2C(44)

0B 1 00...7F Sync Pitch -64...+63 40(+0)

0C 1 00...7F FM Depth -64...+63 40(+0)

0D 1 00...7F Mixer Noise Level 0...127 0

0E 1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

0F 1 00...7F VCF Filter Cutoff 0...127 64(100)

10 1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

11 2 00...FF FilterEG Depth -128...+127 A0(+32)

13 1 00...7F VCO1/2 Balance -64...0...+63 40(+0)

14 1 00...7F Volume 0...127 64(100)

15 1 00...7F Pan CENTER(0),L63...C...R63(1...64...127) 40(64)

16 1 00...7F Effect Send 0...127 0

17 1 00...7F Effect parameter refer to Effect Type List <Table 2-4> 0

TOTAL SIZE 18

mm = 00 ~ 7F : User Voice Scene-1 No.1 ~ User Voice Scene-1 No.128

<1-11>

MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-2 )

Address Size Data Prameter Name Description Default

(H) (H) (H)

41 mm 00 2 00...FF LFO1 Speed 1(0)...256(FF) 53(84)

02 1 00...7F AmpEG Attack Time 0...127 0

03 1 00...7F AmpEG Decay Time 0...127 40(64)

04 1 00...7F AmpEG Sustain Level 0...127 7F(127)

05 1 00...7F AmpEG Release Time 0...127 24(36)

06 1 00...7F FilterEG Attack Time 0...127 0

07 1 00...7F FilterEG Decay Time 0...127 40(64)

08 1 00...7F FilterEG Sustain Level 0...127 7F(127)

09 1 00...7F FilterEG Release Time 0...127 55(85)

0A 1 00...7F Portamento Time 0...127 2C(44)

0B 1 00...7F Sync Pitch -64...+63 40(+0)

0C 1 00...7F FM Depth -64...+63 40(+0)

0D 1 00...7F Mixer Noise Level 0...127 0

0E 1 00...05 VCF Filter Type LPF-24dB(0),LFP-18dB(1), 00(LPF-24dB)

LPF-12dB(2),BPF(3),HPF-12dB(4),

BEF(5)

0F 1 00...7F VCF Filter Cutoff 0...127 64(100)

10 1 0D...7F VCF Filter Resonance -12(0D)...0(19)...+102(7F) 19(+0)

11 2 00...FF FilterEG Depth -128...+127 A0(+32)

13 1 00...7F VCO1/2 Balance -64...0...+63 40(+0)

14 1 00...7F Volume 0...127 64(100)

15 1 00...7F Pan CENTER(0),L63...C...R63(1...64...127) 40(64)

16 1 00...7F Effect Send 0...127 0

17 1 00...7F Effect parameter refer to Effect Type List <Table 2-4> 0

TOTAL SIZE 18

mm = 00 ~ 7F : User Voice Scene-2 No.1 ~ User Voice Scene-2 No.128

* This Bulk Dump should be transmitted after sending User Voice Bulk (20 mm 00).

MIDI Data Format

132

Appendix

<1-12>

AN200 Control Matrix & Free EG Track Parameter List

*1. The effect of the controller on the parameter value is either added or multiplied as indicated. Also, when two or more different controllers are simultaneously assigned

and applied to the same parameter, the combined effect of the controllers on the parameter value follows the same rule (is either added or multiplied).

*2. For these parameters, positive values decrease the time, making the EG rate faster.

Parameter Name Ctrl Matrix :

Parameter

Ctrl Matrix :

Calc. Method Ctrl Matrix : Source Free EG :

Trk Param

Group Param Name Data Value Multiply

or Add *1

CC

AT Data Range Vel

KeyRnd Data Range KeyTrk Data Range Data Value

--- off 0 --- --- --- --- 0

--- Total Tune

Pitch Up

Pitch Down

1

2

3

add

add

add

x

O

O

(-24) - (+24)

(-24) - (+24)

O

x

x

(-64) - (+63) x

x

x

PEG PEG Decay

PEG Depth

PEG Switch

Portmnt Time

4

5

6

add *2

mul

add

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

1

2

3

4

LFO LFO1 Wave

LFO1 Speed

LFO1 Delay

LFO2 Speed

7

8

9

add

add

add

x

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

x

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

x

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

5

6

7

8

SYNC Sync Mode

Sync Pitch

SyncPit Dp

Sync Pitch Src

Sync Pmod Sw

10

11

add

mul

x

O

O

x

x

(-64) - (+63)

(-64) - (+63)

x

O

O

x

x

(-64) - (+63)

(-64) - (+63)

x

O

O

x

x

(-32) - (+32)

(-64) - (+63)

9

10

11

12

13

FM FM Depth

FM Source1

FM Source2

12 mul O

x

x

(-64) - (+63) O

x

x

(-64) - (+63) O

x

x

(-64) - (+63) 14

15

16

VCO1

(LFO)

VCO1 Wave

VCO1 Pitch

VCO1 Fine

VCO1 Edge

PW1/Mix

PWM1/Detune

PWM1 Src

VCO1 Pmod Dp

13

14

15

16

17

18

add

add

add

add

mul

add

x

x

x

O

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-63) - (+63)

x

x

x

O

x

O

x

x

(-64) - (+63)

(-64) - (+63)

x

O

O

O

x

O

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

17

18

19

20

21

22

23

24

VCO2

(LFO)

VCO2 Wave

VCO2 Pitch

VCO2 Fine

VCO2 Edge

PW2

PWM2/Xmod Dp

PWM2/Xmod Src

VCO2 Pmod Dp

19

20

21

22

23

24

add

add

add

add

mul

add

x

x

x

O

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-63) - (+63)

x

x

x

O

x

O

x

x

(-64) - (+63)

(-64) - (+63)

x

O

O

O

x

O

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

25

26

27

28

29

30

31

32

MIXER VCO1 Lvl

VCO2 Lvl

Ring Mod Lvl

Noise Lvl

25

26

27

28

mul

mul

mul

mul

O

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

O

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

33

34

35

36

VCF

(LFO)

FEG Attack

FEG Decay

FEG Sustain

FEG Release

HPF Cutoff

VCF Type

VCF Cutoff

Resonance

FEG Depth

FEG Vel Sens

VCF Key Trk

VCF FMod Dp

29

30

31

32

33

34

35

36

37

add *2

add *2

add

add *2

add

add

add

mul

add

O

O

O

O

O

x

O

O

O

x

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

x

O

O

x

O

O

(Vel x)

KeyRnd

x

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

FEG VelSns

(-64) - (+63)

O

O

x

O

O

x

(x)

O

O

x

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

VCF KeyTrk

(-64) - (+63)

(-64) - (+63)

37

38

39

40

41

42

43

44

45

46

47

48

VCA

(MIXER)

(LFO)

AEG Attack

AEG Decay

AEG Sustain

AEG Release

VCA F.B.

VCA Volume

AEG Vel Sns

VCA Mod Dp

38

39

40

41

42

43

44

add *2

add *2

add

add *2

mul

mul

add

O

O

O

O

O

O

x

O

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

O

O

x

O

x

(Vel x)

KeyRnd

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

AEG VelSns

(-64) - (+63)

O

O

x

O

x

O

x

x

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

(-64) - (+63)

49

50

51

52

53

54

55

56

Dist. Dry/Wet 45 O (-64) - (+63) x x ---

PLG-AN PEG Attack

LFO2 Wave

FM Algorithm

46 add *2 O

x

x

(-64) - (+63) O

x

x

(-64) - (+63) O

x

x

(-64) - (+63) 57

58

59

AN200 VCO 1/2 Balance

Effect Param

Effect Wet Level

Track Pan

Track Level

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

60

61

62

63

64

133

MIDI Data Format

Appendix

<2-1>

Rhythm Track Parameter Base Address

MODEL ID = 6D

<2-2>

MIDI Parameter Change table ( SYSTEM )

Address Size Data Prameter Name Description Default

(H) (H) (H) (H)

00 00 00 4 (RESERVED) --

04 1 (RESERVED) --

05 (NOT USED) --

06 1 (RESERVED) --

07 2 01...C8 Play Effect Gate Time 1%(1)...200%(C8) 64(100%)

09 1 00...03 Step Seq Loop Type forward(0),backward(1),alternateA(2), 00(forward)

alternateB(3)

TOTAL SIZE 09

<2-3>

MIDI Parameter Change table (CURRENT EFFECT)

Address Size Data Prameter Name Description Default

(H) (H) (H) (H)

02 01 00 1 00 - 03 EFFECT TYPE MSB refer to Effect Type List <Table 2-4> 00

01 1 00 - 02 EFFECT TYPE LSB refer to Effect Type List <Table 2-4> 00

02 1 00 - 7F EFFECT PARAMETER refer to Effect Type List <Table 2-4> 00

TOTAL SIZE 3

Parameter Address Description

(H) (M) (L)

System 00 00 00 System

Current Effects 02 01 00 Cuttnet Effect

Current Multi Part 08

:

00

:

02

08

00

:

00

00

Rhythm Track 1 Part Parameter

:

Rhythm Track 3 Part Parameter

Synth Track Part Parameter

Current Rhythm StepSeq 10

:

00

:

02

00

:

00

Current Rhythm Trk1 Step Seq

:

Current Rhythm Trk3 Step Seq

User Pattern Rhythm Step Seq 20

:

00

:

7f

00

:

00

User Pattern Rhythm Trk1 Step Seq 1

:

User Pattern Rhythm Trk1 Step Seq 128

21

:

00

:

7f

00

:

00

User Pattern Rhythm Trk2 Step Seq 1

:

User Pattern Rhythm Trk2 Step Seq 128

22

:

00

:

7f

00

:

00

User Pattern Rhythm Trk3 Step Seq 1

:

User Pattern Rhythm Trk3 Step Seq 128

User Pattern Effect 30

:

00

:

7f

00

:

00

User Pattern Effect 1

:

User Pattern Effect 128

User Pattern Multi Part 40

:

00

:

7f

00

:

00

Rhythm Trk 1 User Pattern Part 1

:

Rhythm Trk 1 User Pattern Part 128

41

:

00

:

7f

00

:

00

Rhythm Trk 2 User Pattern Part 1

:

Rhythm Trk 2 User Pattern Part 128

42

:

00

:

7f

00

:

00

Rhythm Trk 3 User Pattern Part 1

:

Rhythm Trk 3 User Pattern Part 128

48

:

00

:

7f

00

:

00

Synth Track User Pattern Part 1

:

Synth Track User Pattern Part 128

User Song 60

:

00

:

7f

00

:

00

Song1 measure1

:

Song1 measure128

::: :

69

:

00

:

7f

00

:

00

Song10 measure1

:

Song10 measure128

70

:

00

:

7f

00

:

00

Song1 measure129

:

Song1 measure256

::: :

79

:

00

:

7f

00

:

00

Song10 measure129

:

Song10 measure256

MIDI Data Format

134

Appendix

<2-4>

Effect Type List

<2-4-1>

Type MSB Type LSB

00 01 02 03

00 Delay1(mono) Delay2(stereo) Delay3(cross) Reverb

01 Flanger1 Flanger2 Chorus --

02 Phaser1 Phaser2 Phaser3 --

03 AmpSim1 AmpSim2 AmpSim3 --

Effect type Control Paramater Value

Delay 1 (mono) Tempo Sync Resolution 0 - 127 table#3

Delay 2 (stereo) Tempo Sync Resolution 0 - 127 table#3

Delay 3 (cross) Tempo Sync Resolution 0 - 127 table#3

Reverb Reverb Time 0 - 127 0.3 s - 16.0 s table#2

Flanger 1 LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

Flanger 2 LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

Chorus LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

Phaser 1 LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

Phaser 2 LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

Phaser 3 LFO Speed 0 - 127 0.00Hz - 39.7Hz table#1

AmpSim 1 Drive 0 - 127

AmpSim 2 Drive 0 - 127

AmpSim 3 Drive 0 - 127

table#1

LFO Frequency

Data Value Data Value Data Value Data Value

0 0.00 32 1.34 64 0.69 96 8.41

1 0.04 33 1.38 65 2.77 97 8.74

2 0.08 34 1.43 66 2.86 98 9.08

3 0.12 35 1.47 67 2.94 99 9.42

4 0.16 36 1.51 68 3.02 100 9.75

5 0.21 37 1.55 69 3.11 101 10.0

6 0.25 38 1.59 70 3.19 102 10.7

7 0.29 39 1.64 71 3.28 103 11.4

8 0.33 40 1.68 72 3.36 104 12.1

9 0.37 41 1.72 73 3.44 105 12.7

10 0.42 42 1.76 74 3.53 106 13.4

11 0.46 43 1.80 75 3.61 107 14.1

12 0.50 44 1.85 76 3.70 108 14.8

13 0.54 45 1.89 77 3.86 109 15.4

14 0.58 46 1.93 78 4.03 110 16.1

15 0.63 47 1.97 79 4.20 111 16.8

16 0.67 48 2.01 80 4.37 112 17.5

17 0.71 49 2.06 81 4.54 113 18.1

18 0.75 50 2.10 82 4.71 114 19.5

19 0.79 51 2.14 83 4.87 115 20.8

20 0.84 52 2.18 84 5.04 116 22.2

21 0.88 53 2.22 85 5.21 117 23.5

22 0.92 54 2.27 86 5.38 118 24.8

23 0.96 55 2.31 87 5.55 119 26.2

24 1.00 56 2.35 88 5.72 120 27.5

25 1.05 57 2.39 89 6.05 121 28.9

26 1.09 58 2.43 90 6.39 122 30.2

27 1.13 59 2.48 91 6.72 123 31.6

28 1.17 60 2.52 92 7.06 124 32.9

29 1.22 61 2.56 93 7.40 125 34.3

30 1.26 62 2.60 94 7.73 126 37.0

31 1.30 63 2.65 95 8.07 127 39.7

table#2

Reverb time

Data Value Data Value

0,1 0.3 64,65 3.5

2,3 0.4 66,67 3.6

4,5 0.5 68,69 3.7

6,7 0.6 70,71 3.8

8,9 0.7 72,73 3.9

10,11 0.8 74,75 4.0

12,13 0.9 76,77 4.1

14,15 1.0 78,79 4.2

16,17 1.1 80,81 4.3

18,19 1.2 82,83 4.4

20,21 1.3 84,85 4.5

22,23 1.4 86,87 4.6

24,25 1.5 88,89 4.7

26,27 1.6 90,91 4.8

28,29 1.7 92,93 4.9

30,31 1.8 94,95 5.0

32,33 1.9 96,97 5.5

34,35 2.0 98,99 6.0

36,37 2.1 100,101 6.5

38,39 2.2 102,103 7.0

40,41 2.3 104,105 7.5

42,43 2.4 106,107 8.0

44,45 2.5 108,109 8.5

46,47 2.6 110,111 9.0

48,49 2.7 112,113 9.5

50,51 2.8 114,115 10.0

52,53 2.9 116,117 11.0

54,55 3.0 118,119 12.0

56,57 3.1 120,121 13.0

58,59 3.2 122,123 14.0

60,61 3.3 124,125 15.0

62,63 3.4 126,127 16.0

table#3

Tempo resolution

Data Value

0~7 1/32

8~15 1/24

16~23 1/16

24~31 1/12

32~39 3/32

40~47 1/8

48~55 1/6

56~63 3/16

64~71 1/4

72~79 1/3

80~95 3/8

96~127 1/2

135

MIDI Data Format

Appendix

<2-5>

MIDI Parameter Change table (User Voice EFFECT)

Address Size Data Prameter Name Description Default

(H) (H) (H) (H)

30 nn 00 1 00 - 03 EFFECT TYPE MSB refer to Effect Type List <Table 2-4> 00

01 1 00 - 02 EFFECT TYPE LSB refer to Effect Type List <Table 2-4> 00

02 1 00 - 7F EFFECT PARAMETER refer to Effect Type List <Table 2-4> 00

TOTAL SIZE 3

nn = Pattern Number

<2-6>

MIDI Parameter Change table ( MULTI PART )

Address Size Data Prameter Name Description Default

(H) (H) (H) (H)

08 pp 00 1 (RESERVED) --

01 1 (RESERVED) --

02 1 (RESERVED) --

03 1 (RESERVED) --

04 1 (RESERVED) --

05 1 00 - 7F VOLUME 0 - 127 64

06 1 00 - 7F PAN CENTER/RANDOM (*1) (0),L63...C...R63(1...64...127) 40

07 1 00 - 7F EFFECT1 SEND 0 - 127 00

08 1 (RESERVED) --

09 1 (RESERVED) --

0A 1 00 - 7F FILTER CUTOFF FREQUENCY (*2) -64 - +63 40

0B 1 00 - 7F FILTER RESONANCE (*2) -64 - +63 40

0C 1 (RESERVED) --

0D 1 (RESERVED) --

0E 1 (RESERVED) --

TOTAL SIZE 0F

pp = Part Number ( 00 - 02 : Rhythm Track 1 - 3, 08 : Synth Track )

*1 CENTER when pp = 08(Synth Track), RANDOM when pp = 0,1,2(Rhythm Track)

*2 reserved when pp = 08(Synth Track)

<2-7>

MIDI Parameter Change table (User Voice MULTI PART )

Address Size Data Prameter Name Description Default

(H) (H) (H) (H)

4p nn 00 1 (RESERVED) --

01 1 (RESERVED) --

02 1 (RESERVED) --

03 1 (RESERVED) --

04 1 (RESERVED) --

05 1 00 - 7F VOLUME 0 - 127 64

06 1 00 - 7F PAN CENTER/RANDOM (*1) (0),L63...C...R63(1...64...127) 40

07 1 00 - 7F EFFECT1 SEND 0 - 127 00

08 1 (RESERVED) 28

09 1 (RESERVED) 00

0A 1 00 - 7F FILTER CUTOFF FREQUENCY (*2) -64 - +63 40

0B 1 00 - 7F FILTER RESONANCE (*2) -64 - +63 40

0C 1 (RESERVED) --

0D 1 (RESERVED) --

0E 1 (RESERVED) --

TOTAL SIZE 0F

nn = Pattern Number

p = Part Number ( 0 - 2 : Rhythm Track 1 - 3, 8 : Synth Track )

*1 CENTER when pp = 08(Synth Track), RANDOM when pp = 0,1,2(Rhythm Track)

*2 reserved when pp = 08(Synth Track)

<2-8>

MIDI Parameter Change table ( Rhythm Track Current Step Seq Pattern )

Address Size Data Prameter Name Description Default

(H) (H) (H)

10 0p 00 1 NOT USED --

01 1 NOT USED --

02 1 NOT USED --

03 1 NOT USED --

04 1 NOT USED --

05 1 NOT USED --

06 1 00...78 Step Seq Inst 1 Ba1C(0)...DgW7(78) SD10

07 1 00...78 Step Seq Inst 2 Ba1C(0)...DgW7(78) SD10

08 1 00...78 Step Seq Inst 3 Ba1C(0)...DgW7(78) SD10

09 1 00...78 Step Seq Inst 4 Ba1C(0)...DgW7(78) SD10

0A 1 00...78 Step Seq Inst 5 Ba1C(0)...DgW7(78) SD10

0B 1 00...78 Step Seq Inst 6 Ba1C(0)...DgW7(78) SD10

0C 1 00...78 Step Seq Inst 7 Ba1C(0)...DgW7(78) SD10

0D 1 00...78 Step Seq Inst 8 Ba1C(0)...DgW7(78) SD10

0E 1 00...78 Step Seq Inst 9 Ba1C(0)...DgW7(78) SD10

0F 1 00...78 Step Seq Inst 10 Ba1C(0)...DgW7(78) SD10

10 1 00...78 Step Seq Inst 11 Ba1C(0)...DgW7(78) SD10

11 1 00...78 Step Seq Inst 12 Ba1C(0)...DgW7(78) SD10

12 1 00...78 Step Seq Inst 13 Ba1C(0)...DgW7(78) SD10

13 1 00...78 Step Seq Inst 14 Ba1C(0)...DgW7(78) SD10

14 1 00...78 Step Seq Inst 15 Ba1C(0)...DgW7(78) SD10

15 1 00...78 Step Seq Inst 16 Ba1C(0)...DgW7(78) SD10

16 1 00...7F Step Seq Velocity 1 rest(0),1...127 100(64)

17 1 00...7F Step Seq Velocity 2 rest(0),1...127 100(64)

18 1 00...7F Step Seq Velocity 3 rest(0),1...127 100(64)

MIDI Data Format

136

Appendix

19 1 00...7F Step Seq Velocity 4 rest(0),1...127 100(64)

1A 1 00...7F Step Seq Velocity 5 rest(0),1...127 100(64)

1B 1 00...7F Step Seq Velocity 6 rest(0),1...127 100(64)

1C 1 00...7F Step Seq Velocity 7 rest(0),1...127 100(64)

1D 1 00...7F Step Seq Velocity 8 rest(0),1...127 100(64)

1E 1 00...7F Step Seq Velocity 9 rest(0),1...127 100(64)

1F 1 00...7F Step Seq Velocity 10 rest(0),1...127 100(64)

20 1 00...7F Step Seq Velocity 11 rest(0),1...127 100(64)

21 1 00...7F Step Seq Velocity 12 rest(0),1...127 100(64)

22 1 00...7F Step Seq Velocity 13 rest(0),1...127 100(64)

23 1 00...7F Step Seq Velocity 14 rest(0),1...127 100(64)

24 1 00...7F Step Seq Velocity 15 rest(0),1...127 100(64)

25 1 00...7F Step Seq Velocity 16 rest(0),1...127 100(64)

26 1 00...7F Step Seq Gate Time LSB 1 *1 94%(3C)

27 1 00...7F Step Seq Gate Time LSB 2 *1 94%(3C)

28 1 00...7F Step Seq Gate Time LSB 3 *1 94%(3C)

29 1 00...7F Step Seq Gate Time LSB 4 *1 94%(3C)

2A 1 00...7F Step Seq Gate Time LSB 5 *1 94%(3C)

2B 1 00...7F Step Seq Gate Time LSB 6 *1 94%(3C)

2C 1 00...7F Step Seq Gate Time LSB 7 *1 94%(3C)

2D 1 00...7F Step Seq Gate Time LSB 8 *1 94%(3C)

2E 1 00...7F Step Seq Gate Time LSB 9 *1 94%(3C)

2F 1 00...7F Step Seq Gate Time LSB 10 *1 94%(3C)

30 1 00...7F Step Seq Gate Time LSB 11 *1 94%(3C)

31 1 00...7F Step Seq Gate Time LSB 12 *1 94%(3C)

32 1 00...7F Step Seq Gate Time LSB 13 *1 94%(3C)

33 1 00...7F Step Seq Gate Time LSB 14 *1 94%(3C)

34 1 00...7F Step Seq Gate Time LSB 15 *1 94%(3C)

35 1 00...7F Step Seq Gate Time LSB 16 *1 94%(3C)

36 1 00...7F Step Seq Pitch 1 0...127 0(00)

37 1 00...7F Step Seq Pitch 2 0...127 0(00)

38 1 00...7F Step Seq Pitch 3 0...127 0(00)

39 1 00...7F Step Seq Pitch 4 0...127 0(00)

3A 1 00...7F Step Seq Pitch 5 0...127 0(00)

3B 1 00...7F Step Seq Pitch 6 0...127 0(00)

3C 1 00...7F Step Seq Pitch 7 0...127 0(00)

3D 1 00...7F Step Seq Pitch 8 0...127 0(00)

3E 1 00...7F Step Seq Pitch 9 0...127 0(00)

3F 1 00...7F Step Seq Pitch10 0...127 0(00)

40 1 00...7F Step Seq Pitch11 0...127 0(00)

41 1 00...7F Step Seq Pitch12 0...127 0(00)

42 1 00...7F Step Seq Pitch13 0...127 0(00)

43 1 00...7F Step Seq Pitch14 0...127 0(00)

44 1 00...7F Step Seq Pitch15 0...127 0(00)

45 1 00...7F Step Seq Pitch16 0...127 0(00)

46 1 00...07 Step Seq Gate Time MSB 1 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

47 1 00...07 Step Seq Gate Time MSB 2 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

48 1 00...07 Step Seq Gate Time MSB 3 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

49 1 00...07 Step Seq Gate Time MSB 4 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4A 1 00...07 Step Seq Gate Time MSB 5 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4B 1 00...07 Step Seq Gate Time MSB 6 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4C 1 00...07 Step Seq Gate Time MSB 7 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4D 1 00...07 Step Seq Gate Time MSB 8 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4E 1 00...07 Step Seq Gate Time MSB 9 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

4F 1 00...07 Step Seq Gate Time MSB 10 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

50 1 00...07 Step Seq Gate Time MSB 11 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

51 1 00...07 Step Seq Gate Time MSB 12 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

52 1 00...07 Step Seq Gate Time MSB 13 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

53 1 00...07 Step Seq Gate Time MSB 14 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

54 1 00...07 Step Seq Gate Time MSB 15 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

55 1 00...07 Step Seq Gate Time MSB 16 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

56 1 00...01 Step Seq Mute 1 MuteOFF(0),MuteON(1) MuteOFF(0)

57 1 00...01 Step Seq Mute 2 MuteOFF(0),MuteON(1) MuteOFF(0)

58 1 00...01 Step Seq Mute 3 MuteOFF(0),MuteON(1) MuteOFF(0)

59 1 00...01 Step Seq Mute 4 MuteOFF(0),MuteON(1) MuteOFF(0)

5A 1 00...01 Step Seq Mute 5 MuteOFF(0),MuteON(1) MuteOFF(0)

5B 1 00...01 Step Seq Mute 6 MuteOFF(0),MuteON(1) MuteOFF(0)

5C 1 00...01 Step Seq Mute 7 MuteOFF(0),MuteON(1) MuteOFF(0)

5D 1 00...01 Step Seq Mute 8 MuteOFF(0),MuteON(1) MuteOFF(0)

5E 1 00...01 Step Seq Mute 9 MuteOFF(0),MuteON(1) MuteOFF(0)

5F 1 00...01 Step Seq Mute 10 MuteOFF(0),MuteON(1) MuteOFF(0)

60 1 00...01 Step Seq Mute 11 MuteOFF(0),MuteON(1) MuteOFF(0)

61 1 00...01 Step Seq Mute 12 MuteOFF(0),MuteON(1) MuteOFF(0)

62 1 00...01 Step Seq Mute 13 MuteOFF(0),MuteON(1) MuteOFF(0)

63 1 00...01 Step Seq Mute 14 MuteOFF(0),MuteON(1) MuteOFF(0)

64 1 00...01 Step Seq Mute 15 MuteOFF(0),MuteON(1) MuteOFF(0)

65 1 00...01 Step Seq Mute 16 MuteOFF(0),MuteON(1) MuteOFF(0)

TOTAL SIZE 66

p = Part Number ( 0 - 2 : Rhythm Track 1 - 3 )

*1 : MSB bit 2-0 -> bit 9-7

LSB bit 6 -0 -> bit 6-0

*2 : This should be transmitted after sending Step Seq Gate Time LSB n.

<2-9>

MIDI Bulk Dump Parameter table ( Rhythm Track User Step Seq Pattern )

Address Size Data Prameter Name Description Default

(H) (H) (H)

2p nn 00 1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 NOT USED --

1 00...78 Step Seq Inst 1 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 2 Ba1C(0)...DgW7(78) SD10

137

MIDI Data Format

Appendix

1 00...78 Step Seq Inst 3 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 4 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 5 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 6 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 7 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 8 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 9 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 10 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 11 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 12 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 13 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 14 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 15 Ba1C(0)...DgW7(78) SD10

1 00...78 Step Seq Inst 16 Ba1C(0)...DgW7(78) SD10

1 00...7F Step Seq Velocity 1 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 2 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 3 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 4 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 5 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 6 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 7 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 8 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 9 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 10 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 11 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 12 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 13 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 14 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 15 rest(0),1...127 100(64)

1 00...7F Step Seq Velocity 16 rest(0),1...127 100(64)

1 00...7F Step Seq Gate Time LSB 1 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 2 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 3 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 4 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 5 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 6 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 7 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 8 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 9 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 10 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 11 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 12 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 13 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 14 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 15 *1 94%(3C)

1 00...7F Step Seq Gate Time LSB 16 *1 94%(3C)

1 00...7F Step Seq Pitch 1 0...127 0(00)

1 00...7F Step Seq Pitch 2 0...127 0(00)

1 00...7F Step Seq Pitch 3 0...127 0(00)

1 00...7F Step Seq Pitch 4 0...127 0(00)

1 00...7F Step Seq Pitch 5 0...127 0(00)

1 00...7F Step Seq Pitch 6 0...127 0(00)

1 00...7F Step Seq Pitch 7 0...127 0(00)

1 00...7F Step Seq Pitch 8 0...127 0(00)

1 00...7F Step Seq Pitch 9 0...127 0(00)

1 00...7F Step Seq Pitch10 0...127 0(00)

1 00...7F Step Seq Pitch11 0...127 0(00)

1 00...7F Step Seq Pitch12 0...127 0(00)

1 00...7F Step Seq Pitch13 0...127 0(00)

1 00...7F Step Seq Pitch14 0...127 0(00)

1 00...7F Step Seq Pitch15 0...127 0(00)

1 00...7F Step Seq Pitch16 0...127 0(00)

1 00...07 Step Seq Gate Time MSB 1 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 2 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 3 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 4 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 5 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 6 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 7 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 8 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 9 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 10 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 11 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 12 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 13 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 14 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 15 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...07 Step Seq Gate Time MSB 16 1%(0)...100%(40)...200%(7F)...1600%(3FF) *1,2 0

1 00...01 Step Seq Mute 1 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 2 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 3 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 4 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 5 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 6 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 7 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 8 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 9 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 10 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 11 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 12 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 13 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 14 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 15 MuteOFF(0),MuteON(1) MuteOFF(0)

1 00...01 Step Seq Mute 16 MuteOFF(0),MuteON(1) MuteOFF(0)

TOTAL SIZE 66

p = Part Number ( 0 - 2 : Rhythm Track 1 - 3 )

nn = User Pattern Number ( 0 - 7F )

MIDI Data Format

138

Appendix

*1 : MSB bit 2-0 -> bit 9-7

LSB bit 6 -0 -> bit 6-0

*2 : This should be transmitted after sending Step Seq Gate Time LSB n.

<2-10>

MIDI Parameter Change table (User Song)

Address Size Data Prameter Description Default

(H) (H) (H)

6s mm 00 2 00 - FF, 100-17F, PATTERN NUM P.001-P.256, U.001-U128, End, ---- P.001

3FFE, 3FFF

02 2 14 - 12C, 3FFF BPM 20.0 - 300.0, ---- 140.0

04 2 01-C8, FF PLAY FX GATETIME 01-200, ---- 100

06 1 00 - 03, 7F BEAT 16, 12, 8, ---- 16

07 1 32 - 53, 7F SWING 50

08 1 28 - 58, 7F PITCH -24 - 24, ---- 0

09 1 00 - 01, 7F LOOP TYPE For, bACk, ---- For

0A 1 00-0F, 7F (*1) TRACK MUTE oooo-____, ---- oooo

TOTAL SIZE 0B

s = song number

mm = measure (0:1st, 1:2nd... 7f:128th)

Address Size Data Prameter Description Default

(H) (H) (H)

7s mm 00 2 00 - FF, 100-17F, PATTERN NUM P.001-P.256, U.001-U128, End, ---- P.001

3FFE, 3FFF

02 2 14 - 12C, 3FFF BPM 20.0 - 300.0, ---- *2 140.0

04 2 01-C8, FF PLAY FX GATETIME 01-200, ---- 100

06 1 00 - 03, 7F BEAT 16, 12, 8, ---- 16

07 1 32 - 53, 7F SWING 50

08 1 28 - 58, 7F PITCH -24 - 24, ---- 0

09 1 00 - 01, 7F LOOP TYPE For, bACk, ---- For

0A 1 00-0F, 7F (*1) TRACK MUTE oooo-____, ---- oooo

TOTAL SIZE 0B

s = song number

mm = measure (0:129th, 1:130th... 7f:256th)

*1 bit 0: Synth Track, bit1: Rhythm Track 1, bit2:Rhythm Track 2, bit3:Rhythm Track 3, Track(n) is muted when bit(n) = 1.

*2 BPM = ((1st & 03h) * 128 + 2nd) + ((1st & 78h)/8)/10

<3-1>

AN1x Parameter Base Address

MODEL ID = 5C (AN1x)

Parameter Address Description

(H) (M) (L)

Current Voice 10 00 00 AN1x Current Voice Common

10 0E 00 AN1x Current Voice Step Seq Pattern

10 10 00 AN1x Current Voice Scene1

User Voice 11

:

11

00

:

7F

00

:

00

AN1x User Voice 1

:

AN1x User Voice 128

139

MIDI Implementation Chart

YAMAHA [ DESKTOP CONTROL SYNTHESIZER ] Date:20-DEC-2000

Model AN200 MIDI Implementation Chart Version : 1.0

Transmitted Recognized Remarks

Function...

Basic Default 1 - 4 1 - 4

Channel Changed 1 - 16 1 - 16

Default 3 3

Mode Messages x 3,4 (m=1) *1

Altered ************** x

Note 1 - 127 0 - 127

Number : True voice ************** 0 - 127

Velocity Note ON o 9nH,v=1-127 o 9nH,v=1-127

Note OFF o 9nH,v=0 x

After Key's x x

Touch Ch's x o

Pitch Bend x o 0-24 semi

0,32 x o Bank Select

1,5,7,10 o o

11 x o

6,38 o o Data Entry

Control 64,65 x o

71-75 o o Sound Controller

Change 94 o o Effect Depth

98-99 o o NRPN LSB,MSB

16,18,19,80-83 o o Knob Control

Prog o o 0 - 127

Change : True # ************** 0 - 127

System Exclusive o o

: Song Pos. o *3 o *2

Common : Song Sel. x x

: Tune x x

System : Clock o *3 o *4

Real Time: Commands o *3 o *2

Aux :All Sound off x o(120,126,127)

:Reset All Cntrls x o(121)

:Local ON/OFF x x

:All Notes OFF x o(123-125)

Mes- :Active Sense o o

sages:Reset x x

Notes: *1 m is always treated as "1" regardless of its value.

*2 if MIDI control is in or in/out

*3 if MIDI control is out or in/out

*4 if MIDI sync is external

Mode 1 : OMNI ON , POLY Mode 2 : OMNI ON ,MONO o : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF,MONO x : No

140

Rhythm Track Instrument List

Appendix

Rhythm Track Instrument List

Note No. Note Voice Name Display Description

0 C -2 PulseBass C bA1C

Filtered square wave synth bass

1C#-2 PulseBass C#b1C

2 D -2 PulseBass D bA1d

3D#-2 PulseBass D#b1d

4 E -2 PulseBass E bA1E

5 F -2 PulseBass F bA1F

6F#-2 PulseBass F#b1F

7 G -2 PulseBass G bA1G

8G#-2 PulseBass G#b1G

9 A -2 PulseBass A bA1A

10 A#-2 PulseBass A#b1A

11 B -2 PulseBass B bA1b

12 C -1 SineBass C bA2C

Super low sine wave bass

13 C#-1 SineBass C#b2C

14 D -1 SineBass D bA2d

15 D#-1 SineBass D#b2d

16 E -1 SineBass E bA2E

17 F -1 SineBass F bA2F

18 F#-1 SineBass F#b2F

19 G -1 SineBass G bA2G

20 G#-1 SineBass G#b2G

21 A -1 SineBass A bA2A

22 A#-1 SineBass A#b2A

23 B -1 SineBass B bA2b

24 C 0 PickBass C bA3C

Pick bass

25 C#0 PickBass C#b3C

26 D 0 PickBass D bA3d

27 D#0 PickBass D#b3d

28 E 0 PickBass E bA3E

29 F 0 PickBass F bA3F

30 F#0 PickBass F#b3F

31 G 0 PickBass G bA3G

32 G#0 PickBass G#b3G

33 A 0 PickBass A bA3A

34 A#0 PickBass A#b3A

35 B 0 PickBass B bA3b

36 C 1 BD Analog bd01 080 boom kick

37 C#1 BD R&B 1 bd02 Dry kick drum

38 D 1 BD R&B 2 bd03 Sliced kick

39 D#1 BD Lo-Fi bd04 Loose gated kick

40 E 1 BD Jungle bd05 Tight gated kick

41 F 1 BD Hip 1 bd06 Thumping kick drum with boosted low end

42 F#1 BD Hip 2 bd07 Gated kick with harmonic overtones

43 G 1 BD Tech bd08 Hard electric kick

44 G#1 BD Dist 1 bd09 Heavily distorted kick

45 A 1 BD Dist 2 bd10 Punchy kick with overdrive

46 A#1 BD Human 1 bd11 Voice drum “Tuh”

47 B 1 BD Human 2 bd12 Voice drum “Buh”

48 C 2 BD Elec 1 bd13 Trans kick

49 C#2 BD Elec 2 bd14 090 distorted kick

50 D 2 BD Elec 3 bd15 090 house kick

51 D#2 SD Live Sd01 Tight snare with slight room reverb

52 E 2 SD R&B 1 Sd02 Snare with sharp attack

53 F 2 SD R&B 2 Sd03 Snappy hip-hop snare

54 F#2 SD Analog Sd04 080 analog snare

55 G 2 SD Hip 1 Sd05 Loose snare with a gated effect

56 G#2 SD Hip 2 Sd06 Slightly muffled lo-fi snare

57 A 2 SD Hip 3 Sd07 Hard smashing gated snare

58 A#2 SD Cut Sd08 Jungle snare

59 B 2 SD Dodge Sd09 Fast sample hit

60 C 3 SD Timbre Sd10 Industrial hammer-like sound

61 C#3 SD D&B Sd11 Bright smash snare

62 D 3 SD Dist Sd12 090 distorted snare

63 D#3 SD Elec 1 Sd13 090 house snare

64 E 3 SD Elec 2 Sd14 090 tight snare

65 F 3 SD Rim 1 rim1 Heavily struck rim shot

66 F#3 SD Rim 2 rim2 Lightly struck rim shot

67 G 3 HH D&B Cls HHC1 Pedal hi-hat

68 G#3 HH D&B Opn HHo1 Hi-hat open and closed

69 A 3 HH Ana Cls 1 HHC2 090 tight closed hi-hat

70 A#3 HH Ana Opn 1 HHo2 080 analog open hi-hat

71 B 3 HH Syn Cls HHC3 Electric beat box hi-hat (closed)

72 C 4 HH Syn Opn HHo3 Electric beat box hi-hat (open)

73 C#4 HH Ana Cls 2 HHC4 090 house hi-hat (closed)

74 D 4 HH Ana Cls 2 HHo4 090 house hi-hat (open)

75 D#4 Tom Dist tom1 090 overdriven tom

76 E 4 Tom Ana 1 tom2 80’s electro tom

77 F 4 Tom Ana 2 tom3 090 house tom

78 F#4 Tom Synth tom4 Resonant synthesizer zap

79 G 4 Tom Sine tom5 High-pitched synthesized tom

80 G#4 Crush Cym CCYm Loud crash cymbal

81 A 4 Ride Cym rdC1 Ride cymbal struck on edge

82 A#4 Ride Bell rdC2 Ride cymbal struck on bell

83 B 4 Tambourine tmbr Palm-struck tambourine

84 C 5 Tabla Open tbL1 Open tabla

85 C#5 Tabla Mute tbL2 Muted tabla

86 D 5 Tabla Nah tbL3 Nah tabla

87 D#5 Udu Low udu1 African Udu drum low

88 E 5 Udu High udu2 African Udu drum high

89 F 5 Udu Finger udu3 African Udu finger

90 F#5 Clave CLA< 080 claves

91 G 5 Maracas mrCs Latin maracas

92 G#5 Shaker SH)r Samba shaker

93 A 5 Clap CLAp 090 house clap

94 A#5 Scratch 1 SCr1 Forward record scratch

95 B 5 Scratch 2 SCr2 Backward record scratch

96 C 6 Scratch 3 SCr3 Record scratch back and forth 1

97 C#6 Scratch 4 SCr4 Record scratch back and forth 2

98 D 6 Ripper rppr Over-blown mic distortion

99 D#6 Zap 1 2Ap1 Scratchy synth zap

100 E 6 Zap 2 2Ap2 Hi-res laser zap

101 F 6 Rev Low r<LU Eerie reverse reverb effect

102 F#6 Synth Vibra SY<b Fluttering whistle-like noise

103 G 6 Metal mEtL Percussive metallic sound

104 G#6 Click CLC) Squishy percussive noise

105 A 6 Gt Attack GtAt Electric guitar with wah effect

106 A#6 Gt Power GtPU Sustaining distorted guitar chord

107 B 7 Stab Organ Stor Synth chord stab

108 C 7 SlowBass bA4 Drone bass slow attack

109 C#7 FingerBass bA5 Drone bass fast attack

110 D 7 SynthBass 1 Sbs1 030 saw wave (closed filter)

111 D#7 SynthBass 2 Sbs2 030 saw wave (half-open filter)

112 E 7 SynthBass 3 Sbs3 030 saw wave (open filter)

113 F 7 SynthBass 4 Sbs4 030 saw wave (high resonance)

114 F#7 Digi Wave 1 dGU1 Falling synth note modulated with LFO

115 G 7 Digi Wave 2 dGU2 Sitar-like sound with long filter decay

116 G#7 Digi Wave 3 dGU3 Sitar-like sound with vibrato

117 A 7 Digi Wave 4 dGU4 High-pitched UFO (looped)

118 A#7 Digi Wave 5 dGU5 Synth note with a quick rise in pitch

119 B 7 Digi Wave 6 dGU6 Bell sound with a slight drop in pitch

120 C 8 Digi Wave 7 dGU7 Metal can struck with mallet

Note No. Note Voice Name Display Description

Pattern List

141

Appendix

Pattern List

Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#1-64)

No. Pgm# Pattern Name Group BPM

P001 1 Phatty

techno

138

P002 2 Fat 5th 135

P003 3 Acid EG-O 125

P004 4 Noize On 140

P005 5 Joshin 134

P006 6 Flabber 170

P007 7 Bad Sign 136

P008 8 3rd Love 142

P009 9 5th Morf 134

P010 10 Short Saw 134

P011 11 Noizz 135

P012 12 Nu Basic 135

P013 13 The Race 135

P014 14 DarkTemple 145

P015 15 Maneki 150

P016 16 Gabbler 170

P017 17 No. 1 140

P018 18 Electra 126

P019 19 Come Back 118

P020 20 Power X 128

P021 21 Crossfire 132

P022 22 Happy Joe 129

P023 23 Elitdance 135

P024 24 90s Line 127

P025 25 Mappet 130

P026 26 Last Dance 122

P027 27 HiPassLead 138

P028 28 Hook Time 139

P029 29 Voco Cry 140

P030 30 Fifth 130

P031 31 Tech Fade 132

P032 32 Comicstrip 136

P033 33 Finger 132

P034 34 Drip Drop 142

P035 35 Drib Hop 130

P036 36 Pulse Step

house

135

P037 37 Hybridz 132

P038 38 Gyroscope 128

P039 39 Cuneiform 140

P040 40 MinimalOrg 140

P041 41 Silver BO 135

P042 42 Crazy Acid 142

P043 43 Willis 135

P044 44 Inter 125

P045 45 Up There 145

P046 46 3rd Wave 116

P047 47 Millennia 121

P048 48 Snarly 125

P049 49 Afterhours 125

P050 50 Velocity 140

P051 51 Orbitron 120

P052 52 B-Tech 130

P053 53 Hard House 140

P054 54 HypnoHouse 120

P055 55 Hello 2001

breaks 1

110

P056 56 Ideo-Gram 130

P057 57 OWN-Q-Beat 128

P058 58 Overabound 125

P059 59 ExtensionD 135

P060 60 Dawn OFF 135

P061 61 Bug Filter 128

P062 62 Digi-FANG 105

P063 63 DarkWalker 115

P064 64 Sam-u-Rai 95

Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#65-128)

No Pgm# Pattern Name Group BPM

P065 65 Induction

breaks 1

100

P066 66 Moon GAZA 120

P067 67 Pick-Sweep 105

P068 68 SwillJoker 130

P069 69 HONNOU 115

P070 70 NippingSIN 128

P071 71 Break-Qoo 140

P072 72 Inter Step 147

P073 73 Guri Guri 143

P074 74 Cyber Punk 130

P075 75 Xmod Fuzz 127

P076 76 Hood Lead 132

P077 77 Whirlwind 157

P078 78 One Stomp 165

P079 79 Rhino 130

P080 80 Vegas 135

P081 81 Dane 109

P082 82 Carina 118

P083 83 Hard Hop 120

P084 84 Science 130

P085 85 Blackbooty 130

P086 86 Mechanoid 130

P087 87 Springy 114

P088 88 Arnee 125

P089 89 Punch Bass 132

P090 90 HPF Move 130

P091 91 Raw Saw 132

P092 92 HiPassFire 137

P093 93 Uni Pluck 132

P094 94 MiniAttack 132

P095 95 Wiggin 102

P096 96 TribeGathr 107

P097 97 Basix 120

P098 98 Satori

trance

138

P099 99 Not Cheap! 140

P100 100 Boolee 141

P101 101 ElecHopper 135

P102 102 Israel 142

P103 103 Neko 150

P104 104 Xmod Line 142

P105 105 Trance Saw 132

P106 106 Drifter 140

P107 107 2 Grey 135

P108 108 Sharp Cut 139

P109 109 Runner 134

P110 110 Rising 138

P111 111 Long Rezz 135

P112 112 Solid 134

P113 113 Diedsloppy 150

P114 114 Big Mix 140

P115 115 Mai 140

P116 116 Tech Tron 128

P117 117 DesertRave 134

P118 118 Denter 139

P119 119 Syncer 130

P120 120 T-World 141

P121 121 GOA 145

P122 122 Karate 145

P123 123 Polarity-X 127

P124 124 Dendo-Girl 140

P125 125 Junop 130

P126 126 Kami 135

P127 127 Playerz 134

P128 128 Toddy 140

Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#1-64)

No. Pgm# Pattern Name Group BPM

P129 1 New Boyz

hiphop

104

P130 2 Naja 90

P131 3 Homies 92

P132 4 Waz Up 102

P133 5 G Money 99

P134 6 New York 105

P135 7 Old Fool 96

P136 8 Booty 102

P137 9 Free Hip 96

P138 10 Hold Up 74

P139 11 Duh Funk 100

P140 12 Sealant 95

P141 13 Layin 110

P142 14 OooNo 102

P143 15 Ghost 80

P144 16 Trippin 70

P145 17 Creepers 76

P146 18 Magnetizer

triphop

89

P147 19 Elec Hop 90

P148 20 Generation 96

P149 21 Equuleus 86

P150 22 Musca 84

P151 23 Cetus 67

P152 24 Uproar 78

P153 25 Flippin 86

P154 26 Oranges 100

P155 27 Old Skool 65

P156 28 Trigger-D 69

P157 29 Trick 76

P158 30 Code Break 90

P159 31 CircuitBrk 114

P160 32 BttlString 110

P161 33 No Way Out 95

P162 34 Kick Rocks 102

P163 35 AJ 100

P164 36 Future Hop 96

P165 37 Cyber 95

P166 38 Krank 96

P167 39 Irie

drum'n bass

165

P168 40 Orion 170

P169 41 Pass Out 170

P170 42 Feynmenn 170

P171 43 Inca 150

P172 44 DumbNbayc 160

P173 45 MowLowCow 180

P174 46 Kristel 165

P175 47 Ghosting 164

P176 48 Tech Step 170

P177 49 Optician 170

P178 50 BurtonsFin 180

P179 51 All Dark 175

P180 52 Rider 160

P181 53 Devilfish 160

P182 54 Beestee 135

P183 55 Monoceros 88

P184 56 Lynx 88

P185 57 Hydrus 88

P186 58 Centaurus 129

P187 59 Cygnus 122

P188 60 Mars 82

P189 61 Mushroom 135

P190 62 Jazzwonka 125

P191 63 Dark Trip breaks 2 100

P192 64 Stranger 132

Pattern List

142

Appendix

Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#65-128)

Song 1 : Demo 1 ( trance/breaks )

Song 2 : Demo 2 ( triphop )

Song 3 : Demo 3 ( ambient )

No. Pgm# Pattern Name Group BPM

P193 65 Crazy Hip

breaks 2

98

P194 66 Dark Hip 98

P195 67 Tripnotic 110

P196 68 BeatAnthem 120

P197 69 Beat O 130

P198 70 Cheekz 122

P199 71 Scene Bass 123

P200 72 Hood Bass 115

P201 73 Ruffy 118

P202 74 Drug Dist 125

P203 75 Sync Pulse 136

P204 76 Step Rezz 130

P205 77 Wild Scene 125

P206 78 Hyper Saw 116

P207 79 Dark Line 123

P208 80 Pulse Gruv 132

P209 81 Phanki 128

P210 82 E-Blub 126

P211 83 Bleach 126

P212 84 Hard Step 132

P213 85 Big Three 122

P214 86 Hardy 122

P215 87 Livin 12 94

P216 88 Lionbar 135

P217 89 Claw 96

P218 90 Dirty Dog 96

P219 91 Full Reso 96

P220 92 Funky 114

P221 93 Tinkly 125

P222 94 Porkyscrat 122

P223 95 Rowntree 124

P224 96 Granulator 150

P225 97 Mute Rezz 138

P226 98 Bungraa5va 170

P227 99 StormStack 136

P228 100 Norma 132

P229 101 AWA-dance 126

P230 102 Shandy 165

P231 103 ElectroBrk 120

P232 104 Rutger 135

P233 105 Fat Ohm 150

P234 106 Facevalue 160

P235 107 Seepy 155

P236 108 Draco 104

P237 109 Smoked 80

P238 110 Stealthy 108

P239 111 Strain 112

P240 112 Tribal 105

P241 113 Dorado 64

P242 114 Velpecula

ambient

49

P243 115 Pyxis 35

P244 116 Carm Down 105

P245 117 Subliminal 106

P246 118 Okyou 40

P247 119 Chacra 115

P248 120 Paranoia 120

P249 121 Burning 105

P250 122 Back Door 102

P251 123 Ambi Fade 98

P252 124 Bootes 92

P253 125 Sagitarius 75

P254 126 Aquarius 68

P255 127 Lacerta 44

P256 128 Fornax 55

User Bank (Bank MSB=63, LSB=2, Pgm#1-64)

AN200:U123,U124 & SU200:BANK A (Trip Hop Demo)

AN200:U125,U126 & SU200:BANK B (Trance Demo)

AN200:U127,U128 & SU200:BANK C (Break Beats Demo)

No. Pre.# Pattern Name Group BPM

U001 P099 Not Cheap! trance 140

U002 P064 Digi-FANG breaks 1 105

U003 P132 Waz Up hiphop 102

U004 P006 Flabber techno 170

U005 P192 Stranger breaks 2 132

U006 P038 Gyroscope house 128

U007 P071 Break-Qoo breaks 1 140

U008 P147 Elec Hop triphop 90

U009 P014 DarkTemple techno 145

U010 P185 Hydrus drum'n bass 88

U011 P105 Trance Saw trance 132

U012 P060 Dawn OFF breaks 1 135

U013 P191 Dark Trip breaks 2 100

U014 P002 Fat 5th techno 135

U015 P190 Jazzwonka drum'n bass 125

U016 P098 Satori trance 138

U017 P092 HiPassFire breaks 1 137

U018 P129 New Boyz hiphop 104

U019 P041 Silver BO house 135

U020 P214 Hardy breaks 2 122

U021 P126 Kami trance 135

U022 P067 Pick-Sweep breaks 1 105

U023 P164 Future Hop triphop 96

U024 P003 Acid EG-O techno 125

U025 P171 Inca drum'n bass 150

U026 P113 Diedsloppy trance 150

U027 P069 HONNOU breaks 1 115

U028 P194 Dark Hop breaks 2 98

U029 P004 Noize On techno 140

U030 P177 Optician drum'n bass 170

U031 P242 Velpecula ambient 49

U032 P205 Wild Scene breaks 2 125

U033 P101 ElecHopper trance 135

U034 P078 One Stomp breaks 1 165

U035 P130 Naja hiphop 90

U036 P025 Mappet techno 130

U037 P230 Shandy breaks 2 165

U038 P043 Willis house 135

U039 P081 Dane breaks 1 109

U040 P149 Equuleus triphop 86

U041 P035 Drib Hop techno 130

U042 P178 BurtonsFin drum'n bass 180

U043 P119 Syncer trance 130

U044 P055 Hello 2001 breaks 1 110

U045 P224 Granulator breaks 2 150

U046 P023 Elitdance techno 135

U047 P189 Mushroom drum'n bass 135

U048 P046 3rd Wave house 116

U049 P057 OWN-Q-Beat breaks 1 128

U050 P138 Hold Up hiphop 74

U051 P032 Comicstrip techno 136

U052 P215 Livin 12 breaks 2 94

U053 P128 Toddy trance 140

U054 P075 Xmod Fuzz breaks 1 127

U055 P159 CircuitBrk triphop 114

U056 P010 Short Saw techno 134

U057 P175 Ghosting drum'n bass 164

U058 P102 Israel trance 142

U059 P063 DarkWalker breaks 1 115

U060 P221 Tinkly breaks 2 125

U061 P036 Pulse Step house 135

U062 P183 Monoceros drum'n bass 88

U063 P244 Carm Down ambient 105

U064 P226 Bungraa5va breaks 2 170

User Bank (Bank MSB=63, LSB=2, Pgm#65-128)

AN200:U123,U124 & DX200:U123,U124 (Trip Hop Demo)

AN200:U125,U126 & DX200:U125,U126 (Trance Demo)

AN200:U127,U128 & DX200:U127,U128 (Break Beats Demo)

No. Pre.# Pattern Name Group BPM

U065 P125 Junop trance 130

U066 P088 Arnee breaks 1 125

U067 P134 New York hiphop 105

U068 P018 Electra techno 126

U069 P187 Cygnus drum'n bass 122

U070 P037 Hybridz house 132

U071 P066 Moon GAZA breaks 1 120

U072 P131 Homies hiphop 92

U073 P005 Joshin techno 134

U074 P176 Tech Step drum'n bass 170

U075 P104 Xmod Line trance 142

U076 P094 MiniAttack breaks 1 132

U077 P213 Big Three breaks 2 122

U078 P007 Bad Sign techno 136

U079 P169 Pass Out drum'n bass 170

U080 P123 Polarity-X trance 127

U081 P073 Guri Guri breaks 1 143

U082 P135 Old Fool hiphop 96

U083 P040 MinimalOrg house 140

U084 P231 ElectroBrk breaks 2 120

U085 P110 Rising trance 138

U086 P083 Hard Hop breaks 1 120

U087 P160 BttlString triphop 110

U088 P034 Drip Drop techno 142

U089 P188 Mars drum'n bass 82

U090 P121 GOA trance 145

U091 P064 Sam-u-Rai breaks 1 95

U092 P211 Blech breaks 2 126

U093 P049 Afterhours house 125

U094 P152 Uproar triphop 78

U095 P251 Ambi Fade ambient 98

U096 P234 Facevalue breaks 2 160

U097 P111 Long Rezz trance 135

U098 P089 Punch Bass breaks 1 132

U099 P137 Free Hip hiphop 96

U100 P021 Crossfire techno 132

U101 P209 Phanki breaks 2 128

U102 P054 HypnoHouse house 120

U103 P090 HPF Move breaks 1 130

U104 P154 Oranges triphop 100

U105 P001 Phatty techno 138

U106 P167 Irie drum'n bass 165

U107 P114 Big Mix trance 140

U108 P244 Pyxis ambient 105

U109 P241 Dorado breaks 2 64

U110 P026 Last Dance techno 122

U111 P182 Beestee drum'n bass 135

U112 P112 Solid trance 134

U113 P193 Crazy Hip breaks 2 98

U114 P140 Sealant hiphop 95

U115 P039 Cuneiform house 140

U116 P204 Step Rezz breaks 2 130

U117 P117 DesertRave trance 134

U118 P093 Uni Pluck breaks 1 132

U119 P161 No Way Out triphop 95

U120 P017 No. 1 techno 140

U121 P186 Centaurus drum'n bass 129

U122 P240 Tribal breaks 2 105

U123 P146 Magnitizer triphop 89

U124 P163 AJ triphop 100

U125 P100 Boolee trance 141

U126 P120 T-World trance 141

U127 P059 ExtensionD breaks 1 135

U128 P072 Inter Step breaks 1 147

143

SOFTWARE LICENSING AGREEMENT

The following is a legal agreement between you, the end user, and Yamaha Corporation (“Yamaha”). The enclosed Yamaha software program is

licensed by Yamaha to the original purchaser for use only on the terms set forth herein. Please read this licensing agreement with care. Opening this

package indicates that you accept all terms outlined herein. If you do not agree to the terms, return this package unopened to Yamaha for a full

refund.

1. GRANT OF LICENSE AND COPYRIGHT

Yamaha grants you, the original purchaser, the right to use one copy of the enclosed software program and data (“SOFTWARE”) on a single-user

computer system. You may not use it on more than one computer or computer terminal. The SOFTWARE is owned by Yamaha and is protected by

Japanese copyright laws and all applicable international treaty provisions. You are entitled to claim ownership of the media in which the SOFTWARE

is included. Therefore, you must treat the SOFTWARE like any other copyrighted materials.

2. RESTRICTIONS

The SOFTWARE program is copyrighted. You may not engage in reverse engineering or reproduction of the SOFTWARE by other conceivable

methods. You may not reproduce, modify, change, rent, lease, resell, or distribute the SOFTWARE in whole or in part, or create derivative works

from the SOFTWARE. You may not transmit or network the SOFTWARE with other computers.

You may transfer ownership of the SOFTWARE and the accompanying written materials on a permanent basis provided that you retain no copies and

the recipient agrees to the terms of the licensing agreement.

3. TERMINATION

The licensing condition of the software program becomes effective on the day that you receive the SOFTWARE. If any one of the copyright laws or

clauses of the licensing conditions is violated, the licensing agreement shall be terminated automatically without notice from Yamaha. In this case,

you must destroy the licensed SOFTWARE and its copies immediately.

4. PRODUCT WARRANTY

Yamaha warrants to the original purchaser that if the SOFTWARE, when used in normal conditions, will not perform the functions described in the

manual provided by Yamaha, the sole remedy will be that Yamaha will replace any media which proves defective in materials or workmanship on an

exchange basis without charge. Except as expressly set forth above, the SOFTWARE is provided “as is,” and no other warranties, either expressed or

implied, are made with respect to this software, including, without limitation the implied warranties of merchantability and fitness for a particular

purpose.

5. LIMITED LIABILITY

Your sole remedies and Yamaha’s entire liability are as set forth above. In no event will Yamaha be liable to you or any other person for any damages,

including without limitation any incidental or consequential damages, expenses, lost profits, lost savings or other damages arising out of the use or

inability to use such SOFTWARE even if Yamaha or an authorized dealer has been advised of the possibility of such damages, or for any claim by any

other party.

6. GENERAL

This license agreement shall be interpreted according to and governed by Japanese laws.

144

SOFTWARE-LIZENZVEREINBARUNG

Die folgende Vereinbarung ist eine rechtsgültige Vereinbarung zwischen Ihnen, dem Endanwender, und der Yamaha Corporation („Yamaha”).

Yamaha erteilt dem ursprünglichen Käufer für das beiliegende Yamaha-Softwareprogramm ausschließlich zu den hier ausgeführten Bedingungen

eine Lizenz zur Verwendung. Bitte lesen Sie diese Lizenzvereinbarung sorgfältig. Durch das Öffnen dieser Packung bringen Sie zum Ausdruck, daß

Sie alle darin enthaltenen Bedingungen akzeptieren. Wenn Sie nicht mit den Bedingungen einverstanden sind, können Sie die Packung ungeöffnet an

Yamaha zurückgeben; der Kaufpreis wird in voller Höhe zurückerstattet.

1. ERETILUNG VON LIZENZ UND COPYRIGHT

Yamaha erteilt Ihnen, dem ursprünglichen Käufer, das Recht, ein Exemplar des beiliegenden Softwareprogramms und der darin enthaltenen Daten

(„SOFTWARE”) als Einzelperson auf jeweils einem Computer zu verwenden. Sie dürfen sie nicht auf mehr als einem Computer bzw. einer

Computerstation verwenden. Die SOFTWARE bleibt im Besitz von Yamaha und ist durch japanische Copyrightgesetze sowie alle anwendbaren

internationalen Vertragsbestimmungen geschützt. Sie haben ein Anspruchsrecht auf das Eigentum an den Medien, denen die SOFTWARE beiliegt.

Daher müssen Sie die SOFTWARE wie alle anderen durch Copyright geschützten Materialien behandeln.

2. EINSCHRÄNKUNGEN

Die SOFTWARE ist durch Copyright geschützt. Sie dürfen Sie weder analysieren noch durch anderweitige Methoden reproduzieren. Sie dürfen die

SOFTWARE weder ganz noch teilweise reproduzieren, modifizieren, verändern, gegen Entgelt oder unentgeltlich verleihen, verkaufen oder

vertreiben, und Sie dürfen auf der Grundlage der SOFTWARE keine Ableitungen erstellen. Sie dürfen die SOFTWARE nicht an andere Computer

senden oder in Netzwerke einspeisen. Sie dürfen das Eigentum an der SOFTWARE und den schriftlichen Begleitmaterialien auf unbefristeter Basis

unter den Voraussetzungen übertragen, daß Sie keine Kopien zurückbehalten und sich der Empfänger mit den Bedingungen der Lizenzvereinbarung

einverstanden erklärt.

3. BEENDIGUNG

Die Lizenzbedingung des Softwareprogramms wird am Tag, an dem Sie die SOFTWARE erhalten, wirksam. Falls ein Copyrightgesetz oder eine

Bestimmung der Lizenzbedingungen verletzt wird, wird automatisch und ohne Benachrichtigung durch Yamaha die Lizenzvereinbarung beendet. In

diesem Fall müssen Sie die lizensierte SOFTWARE und ihre Kopien unverzüglich vernichten.

4. PRODUKTGARANTIE

Yamaha garantiert dem ursprünglichen Käufer, daß, falls die SOFTWARE bei Verwendung unter normalen Bedingungen nicht die in der von Yamaha

bereitgestellten Anleitung beschriebenen Funktionen erfüllt, die einzige Abhilfe darin bestehen wird, daß Yamaha auf Austauschbasis kostenlos jedes

Medium ersetzen wird, das Material- oder Verarbeitungsfehler aufweist. Abgesehen von dem oben Ausgeführten wird die SOFTWARE „wie die Ware

liegt und steht” geliefert, und es werden keine anderen ausdrücklichen oder stillschweigenden Garantien hinsichtlich dieser Software übernommen,

einschließlich, aber nicht beschränkt auf, die stillschweigenden Garantien für handelsübliche Qualität und Eignung für einen bestimmten

Einsatzzweck.

5. BESCHRÄNKTE HAFTUNG

Ihre einzige Abhilfe und die gesamte Haftung Yamahas bestehen in dem oben Ausgeführten. Keinesfalls haftet Yamaha Ihnen oder einer anderen

Person gegenüber für etwaige Schäden, einschließlich, aber nicht beschränkt auf, zufällige Schäden oder Folgeschäden, Kosten, Verdienstausfall,

verlorene Ersparnisse oder andere Schadenersatzansprüche, die aus der Verwendung der SOFTWARE oder aus der Tatsach hervorgehen, daß diese

SOFTWARE nicht verwendet werden konnte, selbst wenn Yamaha oder ein autorisierter Händler über die Möglichkeit derartiger

Schadenersatzansprüche informiert wurde, oder für etwaige andere Ansprüche einer anderen Partei.

6. ALLGEMEINES

Diese Lizenzvereinbarung soll gemäß und in Übereinstimmung mit den japanischen Gesetzen ausgelegt werden.

145

CONTRAT DE LICENCE DE LOGICIEL

Ceci est un contrat entre vous-même, l’utilisateur final, et Yamaha Corporation (“Yamaha”). Le logiciel Yamaha ci-inclus est concédé sous licence par

Yamaha à l’acheteur original et ne peut être utilisé que dans les conditions prévues aux présentes. Veuillez lire attentivement ce contrat de licence. Le

fait d’ouvrir ce coffret indique que vous acceptez l’ensemble des termes du contrat. Si vous n’acceptez pas lesdits termes, renvoyez le coffret non

ouvert à Yamaha pour en obtenir le remboursement intégral.

1. CONCESSION DE LICENCE ET DROITS D’AUTEUR

Yamaha vous concède le droit d’utiliser, en tant qu’acheteur original, un exemplaire du logiciel et des données afférentes à celui-ci (“LOGICIEL”)

sur un ordinateur pour utilisateur unique. Vous n’êtes pas autorisé à utiliser ces éléments sur plus d’un ordinateur ou terminal d’ordinateur. Le

LOGICIEL est la propriété de Yamaha. Il est protégé par les dispositions relatives au droit d’auteur contenues dans la législation japonaise et les

traités internationaux. Vous êtes en droit de revendiquer l’appartenance du support du LOGICIEL. A ce titre, vous devez traiter le LOGICIEL comme

tout autre élément protégé par le droit d’auteur.

2. RESTRICTIONS

Le LOGICIEL est protégé par le droit d’auteur. Vous n’êtes pas autorisé à reconstituer la logique du LOGICIEL ou à reproduire ce dernier par

quelque autre moyen que ce soit. Vous n’êtes pas en droit de reproduire, modifier, prêter, louer, revendre ou distribuer le LOGICIEL en tout ou partie,

ou d’utiliser le LOGICIEL à des fins de création dérivée. Vous n’êtes pas autorisé à transmettre le LOGICIEL à d’autres ordinateurs ou à l’utiliser en

réseau.

Vous êtes en droit de céder, à titre permanent, le LOGICIEL et la documentation imprimée qui l’accompagne, sous réserve que vous n’en conserviez

aucun exemplaire et que le bénéficiaire accepte les termes du présent contrat.

3. RESILIATION

Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est remis. Si l’une quelconque des

dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées, le contrat de licence sera résilié de plein droit par Yamaha, ce

sans préavis. Dans ce cas, vous devrez immédiatement détruire le LOGICIEL concédé sous licence ainsi que les copies réalisées.

4. GARANTIE PRODUIT

Si, dans des conditions normales d’utilisation, le LOGICIEL ne remplit pas les fonctions décrites dans le manuel fourni, Yamaha s’engage vis-à-vis

de l’acheteur original à remplacer gratuitement, sur la base d’un échange, tout support reconnu défectueux par suite d’un défaut de matière première

ou d’un vice de fabrication. Ceci constitue le seul recours opposable à Yamaha. Hormis dans les cas expressément énoncés plus haut, le LOGICIEL

est livré “en l’état” et toute autre garantie expresse ou implicite le concernant, y compris, de manière non limitative, toute garantie implicite de qualité

marchande et d’adéquation à un usage particulier, est exclue.

5. RESPONSABILITE LIMITEE

Votre unique recours et la seule responsabilité de Yamaha sont tels qu’énoncés précédemment. En aucun cas Yamaha ne pourra être tenu responsable,

par vous-même ou une autre personne, de quelques dommages que ce soit, notamment et de manière non limitative, de dommages indirects, frais,

pertes de bénéfices, pertes de fonds ou d’autres dommages résultant de l’utilisation ou de l’impossibilité d’utiliser le LOGICIEL, même si Yamaha ou

un distributeur agréé ont été prévenus de l’éventualité de tels dommages, ou de quelque autre revendication formulée par une tierce partie.

6. REMARQUE GENERALE

Le présent contrat de licence est régi par le droit japonais, à la lumière duquel il doit être interprété.

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou

au distributeur le plus proche de vous figurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-4371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: 507-269-5311

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Electronica Musical, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid) Spain

Tel: 91-201-0700

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

NORWAY

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

Yamaha Corporation,

Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: 971-4-881-5868

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

1461-9, Seocho Dong, Seocho Gu, Seoul, Korea

Tel: 02-3486-0011

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

11 Ubi Road #06-00, Meiban Industrial Building,

Singapore

Tel: 65-747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

Level 1, 99 Queensbridge Street, Southbank, Victoria

3006, Australia

Tel: 3-9693-5111

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

Asia-Pacific Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2445

SY22