Yamaha Synthesizer Parameter Manual Montage En Pm A0

User Manual: Yamaha Synthesizer Parameter Manual

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Synthesizer Parameter Manual

EN
Introduction
This manual explains the parameters and technical terms that are used for synthesizers
incorporating the Yamaha AWM2 tone generators and the FM-X tone generators.
You should use this manual together with the documentation unique to the product. Read the
documentation first and use this parameter manual to learn more about parameters and terms
that relate to Yamaha synthesizers. We hope that this manual gives you a detailed and
comprehensive understanding of Yamaha synthesizers.
Information
The contents of this manual and the copyrights thereof are under exclusive ownership by
Yamaha Corporation.
The company names and product names in this manual are the trademarks or registered
trademarks of their respective companies.
Some functions and parameters in this manual may not be provided in your product.
The information in this manual is current as of March 2016.

Table Of Contents
1

Part Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1-1
1-2

1-3

Basic Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1-1-1 Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Synthesis Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1-2-1 Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1-2-2 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1-2-3 Pitch EG (Pitch Envelope Generator) . . . . . . . . . . . . . . . . . . 12
1-2-4 Filter Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1-2-5 Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
1-2-6 Filter EG (Filter Envelope Generator) . . . . . . . . . . . . . . . . . . 25
1-2-7 Filter Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
1-2-8 Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
1-2-9 Amplitude EG (Amplitude Envelope Generator) . . . . . . . . . . 33
1-2-10 Amplitude Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
1-2-11 LFO (Low-Frequency Oscillator) . . . . . . . . . . . . . . . . . . . . . . 39
Operational Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1-3-1 General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1-3-2 Part Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1-3-3 Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
1-3-4 Micro Tuning List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
1-3-5 Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
1-3-6 Motion Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
1-3-7 Controller Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
1-3-8 Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
1-3-9 EQ (Equalizer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
1-3-10 Envelope Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
2-1
2-2

2-3

Basic Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-1-1 Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effect Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-1 Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-2 Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-3 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-4 Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-5 Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-6 Tremolo & Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-7 Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-8 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-9 Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-10 Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-11 Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-12 Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-2-13 Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-3-1 A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2-3-2 B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2

60
60
60
60
61
61
61
62
62
62
63
63
63
63
64
64
65
65
65

2-3-3
2-3-4
2-3-5
2-3-6
2-3-7
2-3-8
2-3-9
2-3-10
2-3-11
2-3-12
2-3-13
2-3-14
2-3-15
2-3-16
2-3-17
2-3-18
2-3-19
2-3-20

C ..............................................
D ..............................................
E ..............................................
F ..............................................
G ..............................................
H ..............................................
I ...............................................
L ..............................................
M ..............................................
N ..............................................
O ..............................................
P ..............................................
R ..............................................
S ..............................................
T ..............................................
U ..............................................
V ..............................................
W .............................................

66
67
68
69
70
70
71
71
72
74
74
74
75
76
77
77
77
78

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3-1

3-2

3-3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-1-1 About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-1-2 MIDI channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-1-3 MIDI ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-1-4 MIDI messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Channel Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-1 Note On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-2 Pitch Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-3 Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-4 Control Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-5 Channel Mode message . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-6 Channel After Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-2-7 Polyphonic After Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3-3-1 System Exclusive Messages . . . . . . . . . . . . . . . . . . . . . . . .
3-3-2 System Realtime Messages . . . . . . . . . . . . . . . . . . . . . . . . .

79
79
79
80
80
81
81
81
81
81
84
85
85
86
86
86

Part Parameters

1-1

Basic Terms

1-1-1

Definitions
Part

A Part is a musical instrument sound that is built into an Electronic Musical
Instrument.
There are three Part Types:
 Normal Parts (AWM2)
 Normal Parts (FM-X)
 Drum Parts

Normal Part (AWM2)

Normal Parts (AWM2) are mainly pitched musical instrument-type sounds
such as Piano, Organ, Guitar, and Synthesizer. You can play over the
range of the keyboard at the standard pitch for each key.
Normal Parts (AWM2) consist of multiple Elements (see “Element”).

Normal Part (FM-X)

Normal Parts (FM-X) are mainly pitched musical instrument-type sounds
created by an FM-X tone generator. You can play over the range of the
keyboard at the standard pitch for each key.
Normal Parts (FM-X) consist of multiple Operators by which fundamental
waveforms are produced (see “Operator”).

Drum Part

Drum Parts are mainly percussion/drum sounds.
A Drum Part consists of mainly percussion/drum sounds that are assigned
to individual notes on the keyboard, or a collection of assigned percussion/
drum waves. The Drum Part is also known as a Drum Kit.

Figure 1: Individual drum sounds, different for each key.
Element

An Element is the smallest unit that makes up a Normal Part (AWM2).
An Element is created by applying Part Parameters to sound material. A
single Normal Part (AWM2) can be created by combining several
Elements.

Operator

An Operator is a device for creating sound fundamental waveforms for
Normal Part (FM-X).
A sound for a Normal Part (FM-X) is created by modulating a frequency of
a fundamental waveform with another waveform.
An operator that generates a fundamental waveform is a “carrier,” and an
operator that modulates these waveforms is a “modulator.” Each of the
multiple operators will be used as a carrier or a modulator depending on
the algorithm.

Part Parameters

Algorithm

The combination of a number of Operators is called an “Algorithm.”
When the waveform output from the Operator is a simple sine wave, no
harmonics are included other than the fundamental tone. However, you
can create harmonics by modulating the waveform with other Operators.
How harmonics can be created depends on the Modulators’ output levels
and the frequency rates of Carriers and Modulators. On the other hand, the
basic pitch is determined by Carrier’s frequency, and the output level is
determined by the Carrier’s output level. The figure described below shows
a basic way to create FM sound by using an analog synthesizer.

C
D

F
G

Figure 2: A basic way to create FM sound by using two operators.
A:

B:
C:
D:
E:
F:
G:

Modulator OP: Frequency ratio of the Modulator and the Carrier
determines the base waveform including specific harmonics by the
Oscillator.
Modulator output level determines the Cutoff Frequency of the Filter.
Modulator envelope determines the Filter envelope.
Modulation
Carrier OP: Carrier Frequency determines the pitch of the Oscillator.
Carrier output level determines the volume by using the amplifier.
Carrier envelope determines the amplifier envelope.

Feedback

Waveforms can be changed by feeding some of the signal generated by
an operator back through that operator. This is called “Feedback.”

Drum Key

A Drum Key is the smallest unit that makes up a Drum Part.
A Drum Key is assigned to individual notes on the Keyboard. The
percussion or drum wave is assigned to a Drum Key.

Part Parameters

Part Edit

A function that lets you create your own Parts.
Use Part Edit to adjust or apply Part Parameters to a Part.
For Normal Parts (AWM2):
 Use Element Common Edit to edit the settings that are common to all
Elements;
 Use Element Edit to edit the settings for each Element separately.
For Normal Parts (FM-X):
 Use Operator Common Edit to edit the settings that are common to
all Operators;
 Operator Edit to edit the settings for each Operator separately.
For Drum Parts:
 Use Key Common Edit to edit the settings that are common to all
keys;
 Use Key Edit to edit the settings for each key separately.

General MIDI (GM) is a worldwide standard for voice organization and
MIDI functions of synthesizers and tone generators.
This standard ensures that any song sounds virtually the same on any GM
device of any manufacturer. The GM Bank on this synthesizer is designed
to appropriately play back GM song data. However, the sound may not be
exactly the same as played by the original tone generator.

Part Parameters

1-2

Synthesis Parameters

1-2-1

Oscillator
An Oscillator is one unit of the tone generator block of the Electronic Musical Instrument to
control the waveform and Operators.
Key On Delay Tempo
Sync

Determines if the Key On Delay (the time delay between when a key is
pressed and the corresponding sound is actually played) is synchronized
to the tempo of the Arpeggio or phrase.

Key On Delay Note
Length

Determines the timing of the Key On Delay when the Delay Tempo Sync
is set to On.
On the other hand, there is another parameter called “Key On Delay
Length.” The parameter determines the timing of the Key On Delay when
the Delay Tempo Sync is set to Off.

Velocity Limit

Determines the minimum and maximum Velocity values within which an
Element responds.
Each Element will only sound for notes played between its specified
Velocity Limits.
For example, this lets you have one Element sound when you play softly
and have a different one sound when you play strongly.
If you first specify the maximum value and then the minimum value, for
example “93 to 34,” then the Velocity range covers both “1 to 34” and
“93 to 127,” with a Velocity “hole” between 34 and 93.

Velocity Cross Fade

Determines how gradually the volume of an Element decreases in
proportion to the distance of Velocity changes outside the Velocity Limit
setting.
 The higher the value, the more gradually the volume decreases.
 0: No sound outside the Velocity Limit (see “Velocity Limit”) is
produced.

Note Limit

Determines the lowest and highest notes of the keyboard range for an
Element.
The selected Element will sound only when you play notes within this
range.
If you first specify the highest note and then the lowest note, for example
“C5 to C4,” then the note range covers both “C-2 to C4” and “C5 to G8,”
with no sound for the Element between C4 and C5.

Element Switch

Switches a selected Element On or Off.
Elements for which the Element Switch is switched off will not sound.

Bank

Indicates the Waveform Bank of an Element or Drum Key (Drum Part).

Waveform Category and
Number

Indicates a waveform category and a waveform number of an Element or
Drum Key. The waveform is specified by selecting with the Category
search function or by directly entering the number.

Part Parameters

XA Control

Determines the functioning of the Expanded Articulation (XA) feature of an
Element.
The XA feature is sophisticated tone generator system that allows you to
more effectively recreate realistic sound and natural performance
techniques. It also provides other unique modes for random and alternate
sound changes as you play.
For each Element, you can set to:
Normal: The Element sounds normally each time you play the note.
Legato: When the Mono/Poly parameter is set to Mono, this Element
will be played in place of the one which is set to “Normal” of the XA
Control parameter when you play the keyboard in legato fashion
(playing the next note of a single-note line or melody before releasing
the previous note).
 Key off: The Element will sound each time you release the note.
 Cycle (for multiple Elements): Each Element sounds alternately
according to its numerical order. In other words, playing the first note
will sound Element 1, the second note Element 2, and so on.
 Random (for multiple Elements): Each Element will sound randomly
each time you play the note.
 A.SW1 On (Assignable Switch 1 On): When the [ASSIGN 1] button is
turned On, the Element will sound.
 A.SW2 On (Assignable Switch 2 On): When the [ASSIGN 2] button is
turned On, the Element will sound.
 A.SW Off (Assignable Switch Off): When both the [ASSIGN 1] and
[ASSIGN 2] buttons are turned Off, the Element will sound.




To create the desired sound, assign the same Element Group to all
Elements that have the same XA features. See “Element Group Number”.
Element Group Number

Determines the group for XA Control.
The Elements of a group can be called up in sequential order or in random
order. All Elements that have the same type of XA features must have the
same group number.
This setting does not apply when the XA Control parameters of all
Elements are set to “Normal”.

Element Connection
Switch

Determines which Insertion Effect (A or B) is used to process each
individual Element. Set this to “Thru” to bypass the Insertion Effects for the
specified element.

Key Assign Mode

Enables or disables double playback of the same note.
 Single: Double or repeated playback of the same note is not possible.
The first note will be stopped, then the next note will be sounded.
 Multi: All notes are sounded simultaneously. This allows playback of
the same note when it is played multiple times in succession
(especially for tambourine and cymbal sounds that you would want to
ring out to their full decay).
In general, you can use the setting Multi. Keep in mind that the Multi
setting consumes overall polyphony and that sounds may be cut off.

Part Parameters

Receive Note Off (for
Drum Parts)

Determines whether a Drum Key responds to the MIDI Note Off message
or not.
 On: Stops the sound when you release the key (Drum Key). For
sustained, non-fading drum sounds.
 Off: Continues the (fading) sound when you release the key (Drum
Key).

Alternate Group (for
Drum Parts)

Prevents playback of unnatural combinations of Drum Keys.
You should assign Drum Keys that cannot be played simultaneously on a
real Drum Kit (like open and closed hi-hats) to the same Alternate Group.
Select Off for Drum Keys that can be played simultaneously.

Oscillator Key On Reset

Determines whether or not the Oscillator is reset each time a note is
played.
 Off: The Oscillator cycles freely with no key synchronization.
Pressing a key starts the Oscillator wave at whatever phase the
Oscillator happens to be at that moment.

Spectral Form

Determines a basic waveform of the Operator.
 Sine: Simple Sine waves without harmonics
 All 1: Waves containing a wide range of harmonics
 All 2: Waves containing a narrow range of harmonics
 Odd 1: Waves containing a wide range of odd-order harmonics
 Odd 2: Waves containing a narrow range of odd-order harmonics
 Res 1: Waves containing a wide range of harmonic peaks
 Res 2: Waves containing a narrow range of harmonic peaks

Spectral Skirt

This parameter is effective for waveforms selected as “Spectral Form,”
with the exception of the Sine waveform.
It sets the spread of the “skirt” at the bottom of the harmonics curve. Higher
values produce a wider skirt and smaller values produce a narrower skirt.

Spectral Resonance

This parameter is effective when “Res 1” or “Res 2” is selected as
“Spectral Form.”
The center frequency moves to higher frequencies and complex sounds
with resonance can be created.

Oscillator Frequency
Mode

Determines the Oscillator pitch.
 Ratio: Sets the Oscillator pitch to correspond to the standard
keyboard pitch.
 Fixed: Determines a fixed Oscillator pitch by using Coarse and Fine.

Part Parameters

1-2-2

Pitch
The processing unit controls the pitch of the wave output from the Oscillator on the tone
generator block of the Electronic Musical Instrument.
You can detune separate Elements/Operators, apply Pitch Scaling and so on. Also, by setting
the Pitch Envelope Generator (Pitch EG), you can control how the pitch changes over time.
Coarse Tune

Determines the pitch of each Element/Operator/Drum Key.

Fine Tune

Fine-tunes the pitch of each Element/Operator/Drum Key.

Pitch Velocity Sensitivity Determines how the pitch of the Element/Operator/Drum Key responds to
Velocity.
 Positive values: The harder you play the keyboard, the more the pitch
rises.
 Negative values: The harder you play the keyboard, the more the
pitch falls.
 0: No change in pitch.
This parameter for the Normal Part (FM-X) is available only when
“Oscillator Freq Mode” is set to “Fixed.”
Pitch Fine Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the pitch in Fine Tuning.
 Positive values: The pitch of lower notes drops and that of higher
notes rises.
 Negative values: The pitch of lower notes rises and that of higher
notes drops.

Random Pitch Depth

This lets you randomly vary the pitch of the Element/Operator for each
note you play.
 The higher the value, the greater the pitch variation.
 0: No pitch change.

Pitch Key Follow
Sensitivity

Determines the sensitivity of the Key Follow effect (the pitch interval of
adjacent notes), assuming the pitch of the Center Key as standard.
 +100% (the normal setting): Adjacent notes are pitched one semitone
apart.
 0%: All notes have the same pitch as the Center Key.
 Negative values: The settings are reversed.
This parameter is useful for creating alternate tunings, or for use with
sounds that do not need to be spaced in semitones, such as pitched drum
sounds in a Normal Part.
In case of the Normal Part (FM-X), available setting value range for the
parameter is between 0 and 99. If set to 0, the pitch of the note is same as
the pitch of the next note on the keyboard. If set to 99, this results the
normal pitch setting (+100%).
This parameter is available only when “Oscillator Freq Mode” is set to
“Fixed.”

Part Parameters

Pitch Key Follow
Sensitivity Center Key

Determines the central note or pitch for Pitch Key Follow Sensitivity.
The note number set here is the same pitch as normal regardless of the
Pitch Key Follow Sensitivity setting.

F
G

–
A

Figure 3: Pitch Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:

Lower range
Center Key
Higher range
Amount of pitch change
When Pitch Key Follow Sensitivity = +100%
Large
Small

This parameter for the Normal Part (FM-X) is fixed to C3. You can not
change the value. This parameter is available only when “Oscillator Freq
Mode” is set to “Fixed.”
Detune (for Normal Parts Sets the Output Pitch of the Operator slightly higher or lower.
(FM-X))
Even if the same parameter value is set for both “Coarse Tune” and “Fine
Tune,” the Detune lets you slightly raise or lower the pitch of each
Operator, allowing you to add an extra dimension to the sound and
enhance the spatial characteristics.

Part Parameters

1-2-3

Pitch EG (Pitch Envelope Generator)
This lets you control the transition in pitch from the moment the sound starts to the moment the
sound stops. You can create the Pitch EG by setting parameters as illustrated below. When
you press a key on the keyboard, the pitch of the Part will change according to these Pitch EG
settings.
This is useful for creating automatic changes in pitch, which is effective for Synth Brass
sounds.

D
J
0

I
B

Figure 4: Pitch Envelope Generator (For the Normal Part (AWM2))

A:
B:
C:
D:
E:
F:
G:
H:
I:
J:
K:
L:
M:
N:

Key On: Pressing the key
Key Off: Releasing the key
Time
Pitch
Hold Time
Attack Time
Decay 1 Time
Decay 2 Time
Release Time
Hold Level
Attack Level
Decay 1 Level
Decay 2 Level = Sustain Level
Release Level

D
+50

E
I

0
-50

C
L
J
B

Figure 5: Pitch Envelope Generator (For the Normal Part (FM-X))

A: Key On: Pressing the key
B: Key Off: Releasing the key
C: Time
12

Part Parameters

D:
E:
F:
G:
H:
I:
J:
K:
L:
M:

Pitch
Attack Time
Decay 1 Time
Decay 2 Time
Release Time
Initial Level
Attack Level
Decay 1 Level
Decay 2 Level
Release Level

PEG Hold Time

Determines the time between the moment you press a key on the
keyboard and the moment the envelope starts to rise.

PEG Attack Time

Determines the speed of attack from the initial pitch (Hold Level) to the
normal pitch of the Part after the Hold Time has elapsed.

PEG Decay 1 Time

Determines how fast the envelope falls from the normal pitch (Attack
Level) of the Part to the pitch specified as the Decay 1 Level.

PEG Decay 2 Time

Determines how fast the envelope falls from the pitch specified as the
Decay 1 Level to the pitch specified as the Decay 2 Level.

PEG Release Time

Determines how fast the envelope falls from the pitch specified as the
Decay 2 Level to the pitch specified as the Release Level when the note is
released.

PEG Hold Level

Determines the initial pitch at the moment the key is pressed.

PEG Attack Level

Determines the normal pitch of the pressed key.

PEG Decay 1 Level

Determines the level which the pitch of sound reaches from the Attack
Level after the Decay 1 time elapses.

PEG Decay 2 Level

Determines the sustain-level pitch which will be maintained while a note is
held.

PEG Release Level

Determines the final pitch reached after the note is released.

PEG Initial Level

Determines the initial pitch at the moment the key is pressed.

PEG Depth

Determines the range over which the pitch envelope changes.
For Normal Parts (AWM2)
 0: The pitch does not change.
 The farther from 0 the value is, the larger the pitch range.
 Negative values: The pitch change is reversed.
For Normal Parts (FM-X)
The parameter settings are 8oct, 2oct, 1oct, or 1/2oct. If 8oct is selected
and the PEG is set to the minimum value, the input sound pitch (0) moves
-4 octaves. If the PEG is set to the maximum value, the input sound pitch
moves +4 octaves.

Part Parameters

PEG Depth Velocity
Sensitivity

Determines how the pitch range of the Element responds to Velocity.
Positive values: High Velocities cause the pitch range to expand
(Figure 6) and low Velocities cause it to contract (Figure 7).
 Negative values (only for Normal Parts (AWM2)): High Velocities
cause the pitch range to contract and low Velocities cause it to
expand.
 0: The pitch envelope does not change, regardless of the Velocity.



Figure 6: High Velocity, large range

Figure 7: Low Velocity, narrow range
PEG Depth Velocity
Sensitivity Curve
(only for Normal Parts
(AWM2))

Determines how the pitch range will be generated according to the Velocity
(strength) with which you play notes on the keyboard. The selected curve
is displayed on the screen.

D
Y
C

Figure 8: Pitch EG Depth Velocity Sensitivity Curve
A:
B:
C:
D:
X:
Y:

Low
High
Narrow
Wide
Velocity
Pitch Change

Part Parameters

PEG Time Velocity
Sensitivity (only for
Normal Parts (AWM2))

Determines how the PEG transition time (speed) responds to Velocity, or
to the strength with which the key is pressed.
 Positive values: High Velocities result in a fast PEG transition speed
(Figure 9) while low Velocities result in a slow speed (Figure 10).
 Negative values: High Velocities result in a slow PEG transition speed
while low Velocities result in a fast speed.
 0: The PEG transition speed does not change, regardless of the
Velocity.

Figure 9: High Velocity, fast speed

Figure 10: Low Velocity, slow speed
PEG Time Velocity
Sensitivity Segment
(only for Normal Parts
(AWM2))

Determines the part of the PEG that is affected by the PEG Time Velocity
Sensitivity.

PEG Time Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the PEG.
 Positive values: High notes result in a high PEG transition speed
while low notes result in a slow speed.
 Negative values (only for Normal Parts (AWM2)): High notes result in
a slow PEG transition speed while low notes result in a high speed.
 0: The PEG transition speed does not change, regardless of the
played note.

Part Parameters

PEG Time Key Follow
Sensitivity Center Key
(only for Normal Parts
(AWM2))

Determines the central note or pitch for the PEG Time Key Follow
Sensitivity.
When the Center Key note is played, the PEG behaves according to its
actual settings.

F
C

G
+63
+30

E
-40
B

A
Figure 11: PEG Time Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:

Center Key
Slower Speed
Faster Speed
Lower range
Higher range
Positive value
Negative value

Part Parameters

1-2-4

Filter Type
LPF (Low-Pass Filter)

This is a Filter Type that only passes signals below the Cutoff Frequency.
The sound can be brightened by raising the Cutoff Frequency of the filter.
On the other hand, the sound can be darkened (muffled) by lowering the
Cutoff Frequency of the filter. You can produce a distinctive “peaky” sound
by raising the Resonance to boost the signal level in the area of the Cutoff
Frequency.
This Filter Type is very popular and useful for producing classic
synthesizer sounds.

X
B

Figure 12: Low-Pass Filter
A:
B:
C:
X:
Y:
LPF24D

Cutoff Frequency
Resonance
Frequencies that are “passed” by the filter
Frequency (Pitch)
Level

A dynamic -24 dB/oct Low-Pass Filter with a characteristic digital sound.
Compared to the LPF24A type, this filter can produce a more pronounced
Resonance effect.

Figure 13: LPF24D
A:
B:

Resonance
Frequencies that are “passed” by the filter

Part Parameters

LPF24A

A digital dynamic Low-Pass Filter with characteristics similar to a 4-pole
analog synthesizer filter.

LPF18

3-pole -18 dB/oct Low-Pass Filter.

LPF18s

3-pole -18 dB/oct Low-Pass Filter.
This filter has a smoother cutoff slope than the LPF18 type.

HPF (High-Pass Filter)

A Filter Type that only passes signals above the Cutoff Frequency.
You can use the Resonance parameter to add further character to the
sound.

C
B

A
Figure 14: High-Pass Filter
A:
B:
C:
X:
Y:
HPF24D

Cutoff Frequency
Resonance
Frequencies that are “passed” by the filter
Frequency (Pitch)
Level

A dynamic -24 dB/oct High-Pass Filter with a characteristic digital sound.
This filter can produce a pronounced Resonance effect.

Figure 15: HPF24D
A:
HPF12

Resonance

-12 dB/oct dynamic High-Pass Filter.

Part Parameters

BPF (Band-Pass Filter)

A Filter Type that only passes a band of signals around the Cutoff
Frequency.

Figure 16: Band-Pass Filter
A:
B:
C:
X:
Y:
BPF12D

Center Frequency
Cutoff Range
Frequencies that are “passed” by the filter
Frequency
Level

The combination of a -12 dB/oct HPF and LPF with a characteristic digital
sound.

D
X
C
Figure 17: BPF12D
A:
B:
C:
D:
X:
Y:

Resonance
Cutoff Range
Frequencies that are “passed” by the filter
-12 dB/oct
Frequency
Level

Part Parameters

BPF6

The combination of a -6 dB/oct HPF and LPF.

B
D
X

C
Figure 18: BPF6
A:
B:
C:
D:
X:
Y:
BPFw

Resonance
Cutoff Range
Frequencies that are “passed” by the filter
-6 dB/oct
Frequency
Level

A -12 dB/oct BPF that combines HPF and LPF filters to allow wider
bandwidth settings.

B
A
C
Figure 19: BPFw

A:
B:
C:
X:
Y:

Width can be increased
Cutoff Range
Frequencies that are “passed” by the filter
Frequency
Level

Part Parameters

BEF (Band-Eliminate
Filter)

The Band-Eliminate Filter has an opposite effect on the sound compared
to the Band-Pass Filter.
When this Filter Type is selected, you can set the Cutoff Frequency around
which the audio signal is muted or eliminated.

Figure 20: Band-Eliminate Filter
A:
B:
C:
X:
Y:

Center Frequency
Cutoff Range
Frequencies that are “passed” by the filter
Frequency
Level

BEF12

-12 dB/oct Band-Eliminate Filter.

BEF6

-6 dB/oct Band-Eliminate Filter.

Dual LPF

Two -12 dB/oct Low-Pass Filters connected in parallel.
You can edit the distance between the two Cutoff Frequencies. The result
of the filter is displayed on the screen.

Figure 21: Dual Low-Pass Filters
A:
B:
X:
Y:

Distance
Lower Cutoff Frequency (Once you set the Lower Cutoff Frequency,
the Higher Cutoff Frequency will be automatically set.)
Frequency
Level

Dual HPF

Two -12 dB/oct High-Pass Filters connected in parallel.

Dual BPF

Two -6 dB/oct Band-Pass Filters connected in parallel.

Part Parameters

Dual BEF

Two -6 dB/oct Band-Eliminate Filters connected in serial.

Figure 22: Dual Band-Eliminate Filters
A:
B:
X:
Y:

Distance
Lower Cutoff Frequency (Once you set the Lower Cutoff Frequency,
the Higher Cutoff Frequency will be automatically set.)
Frequency
Level

LPF12+HPF12

A combination of a -12 dB/oct Low-Pass Filter and a -12 dB/oct High-Pass
Filter connected in serial.
When this Filter Type is selected, HPF Cutoff and HPF Key Follow
Sensitivity can be set.

LPF6+HPF6

A combination of a -6 dB/oct Low-Pass Filter and a -6 dB/oct High-Pass
Filter connected in serial.
When this Filter Type is selected, HPF Cutoff and HPF Key Follow
Sensitivity can be set.

LPF12+BPF6

A combination of a -12 dB/oct Low-Pass Filter and a -6 dB/oct Band-Pass
Filter connected in parallel.
You can edit the distance between the two Cutoff Frequencies. The result
of the filter is displayed on the screen.

B
Figure 23: LPF12+BPF6
A:
B:
X:
Y:

Distance
Lower Cutoff Frequency (Once you set the Lower Cutoff Frequency,
the Higher Cutoff Frequency will be automatically set.)
Frequency
Level

Part Parameters

1-2-5

Filter
A filter is a circuit or processor that modifies tone by blocking or passing a specific frequency
range of the sound.
Filters work by allowing portions of the signal lower or higher than a specified frequency to
pass, and cutting the remainder of the signal. This specified frequency is referred to as the
Cutoff Frequency. You can produce a relatively brighter or darker sound depending on how you
set the Cutoff Frequency.
By adjusting the Resonance (which boosts the level of the signal in the area of the Cutoff
Frequency), you can produce a distinctive “peaky” tone, making the sound brighter and harder.
On the tone generator block of the Electronic Musical Instrument, the sound signal output from
the Pitch unit is processed by the Filter unit.
Cutoff Frequency

Determines the Cutoff Frequency for the Filter, or the central frequency
around which the Filter is applied.
The tonal characteristics of the Sound and function of the Cutoff
Frequency differ depending on which Filter Type is selected.

Cutoff Velocity
Sensitivity

Determines how the Cutoff Frequency responds to Velocity, or the strength
with which you play notes.
 Positive values: The more strongly you play the keyboard, the more
the Cutoff Frequency rises.
 Negative values: The more softly you play the keyboard, the more the
Cutoff Frequency rises.
 0: The Cutoff Frequency does not change, regardless of the Velocity.

Distance

Determines the Distance between the two Cutoff Frequencies of the Dual
Filter Types (which consist of two identical filters in parallel), and of the
LPF12+BPF6 type.
When any other Filter Type is selected, this parameter is not available.

Resonance

Resonance is used to set the amount of Resonance (harmonic emphasis)
applied to the signal at the Cutoff Frequency.
This parameter can boost the level of the signal in the area of the Cutoff
Frequency. By emphasizing the overtones in this area, this can produce a
distinctive “peaky” tone, making the sound brighter and harder. This can
be used in combination with the Cutoff Frequency parameter to add further
character to the sound.
This parameter is available when an LPF, HPF, BPF (excluding the
BPFw), or BEF is selected as a Filter Type.

Width

The Width parameter is used to adjust the width of the band of signal
frequencies passed by the filter with the BPFw.
This parameter is available when a BPFw is selected as a Filter Type.

Resonance Velocity
Sensitivity

Determines the degree to which Resonance responds to Velocity, or the
strength with which you play notes.
 Positive values: The higher the Velocity, the greater the Resonance.
 Negative values: The lower the Velocity, the greater the Resonance.
 0: No change of the Resonance value.
This parameter is available when an LPF, HPF, BPF, or BEF is selected
as a Filter Type.

Gain

Determines the Gain of the signal sent to the filter.
The lower the value, the lower the Gain of the Element.

Part Parameters

Cutoff Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Cutoff Frequency of the Filter.
 Positive values: The Cutoff Frequency drops for lower notes and rises
for higher notes.
 Negative values: The Cutoff Frequency rises for lower notes and
drops for higher notes.

Cutoff Key Follow
Sensitivity Center Key

This indicates that the central note for Cutoff Key Follow Sensitivity is C3.
The setting value is fixed. You can not change it.

F
G

–
A

Figure 24: Cutoff Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:

Lower range
Center Key = C3
Higher range
Amount of Cutoff Frequency change
When Cutoff Key Follow Sensitivity = 100
Large
Small

HPF Cutoff Frequency

Determines the Cutoff Frequency of the High-Pass Filter.
This parameter is only available for Filter Types LPF12+HPF12 and
LPF6+HPF6.

HPF Cutoff Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Cutoff Frequency of the HPF.
 Positive values: The Cutoff Frequency drops for lower notes and rises
for higher notes.
 Negative values: The Cutoff Frequency rises for lower notes and
drops for higher notes.
This parameter is only available for Filter Types LPF12+HPF12 and
LPF6+HPF6.

HPF Cutoff Key Follow
Sensitivity Center Key

This indicates that the central note for HPF Cutoff Key Follow Sensitivity is
C3.
The setting value is fixed. You can not change it.

Part Parameters

1-2-6

Filter EG (Filter Envelope Generator)
This lets you control the transition in tone from the moment the sound starts to the moment the
sound stops. You can create a custom Filter EG by setting parameters as illustrated below.
When you press a key on the keyboard, the Cutoff Frequency will change according to these
EG settings.

D
J
0

Figure 25: Filter Envelope Generator

A:
B:
C:
D:
E:
F:
G:
H:
I:
J:
K:
L:
M:
N:

Key On: Pressing the key
Key Off: Releasing the key
Time
Cutoff Frequency
Hold Time
Attack Time
Decay 1 Time
Decay 2 Time
Release Time
Hold Level
Attack Level
Decay 1 Level
Decay 2 Level = Sustain Level
Release Level

FEG Hold Time

Determines the time between the moment you press a key on the
keyboard and the moment the envelope starts to rise.

FEG Attack Time

Determines the speed of attack from the initial Cutoff Frequency (at Hold
Level) to the maximum level of the Part after the Hold Time has elapsed.

FEG Decay 1 Time

Determines how fast the envelope falls from the maximum Cutoff
Frequency (at Attack Level) to the Cutoff Frequency specified as the
Decay 1 Level.

FEG Decay 2 Time

Determines how fast the envelope falls from the Cutoff Frequency
specified as the Decay 1 Level to the Cutoff Frequency specified as the
Decay 2 Level.

FEG Release Time

Determines how fast the envelope falls from the Cutoff Frequency
specified as the Decay 2 Level to the Cutoff Frequency specified as the
Release Level when the note is released.

FEG Hold Level

Determines the initial Cutoff Frequency at the moment the key is pressed.

FEG Attack Level

Determines the maximum Cutoff Frequency which the envelope reaches
after a key is pressed.

Part Parameters

FEG Decay 1 Level

Determines the level which the Cutoff Frequency reaches from the Attack
Level after the Decay 1 Time elapses.

FEG Decay 2 Level

Determines the Cutoff Frequency which will be maintained while a note is
held.

FEG Release Level

Determines the final Cutoff Frequency reached after the note is released.

FEG Time Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Cutoff Frequency of the FEG.
 Positive values: High notes result in a fast FEG transition speed while
low notes result in a slow speed.
 Negative values: High notes result in a slow FEG transition speed
while low notes result in a fast speed.
 0: The FEG transition speed does not change, regardless of which
note is played.

FEG Time Key Follow
Sensitivity Center Key

Determines the central note or pitch for FEG Time Key Follow Sensitivity.
When the Center Key note is played, the FEG behaves according to its
actual settings.

F
C

G
+63
+30

E
-40
B

A
Figure 26: Filter EG Time Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:

Center Key
Slower Speed
Faster Speed
Lower range
Higher range
Positive value
Negative value

Part Parameters

FEG Time Velocity
Sensitivity

Determines how the FEG transition time (speed) responds to Velocity, or
the strength with which the key is pressed.
 Positive values: High Velocities result in a fast FEG transition speed
(Figure 27) while low Velocities result in a slow speed (Figure 28).
 Negative values: High Velocities result in a slow FEG transition speed
while low Velocities result in a fast speed.
 0: The pitch transition speed does not change, regardless of the
Velocity.

Figure 27: High Velocity, fast speed

Figure 28: Low Velocity, slow speed
FEG Time Velocity
Sensitivity Segment

Determines the part of the FEG that is affected by the FEG Time Velocity
Sensitivity.

FEG Depth

Determines the range over which the Cutoff Frequency envelope changes.
 0: The Cutoff Frequency does not change.
 The farther from 0 the value is, the larger the range of the Cutoff
Frequency.
 Negative values: The change of the Cutoff Frequency is reversed.

Part Parameters

FEG Depth Velocity
Sensitivity

Determines how the range of the Cutoff Frequency responds to Velocity.
Positive values: High Velocities cause the FEG range to expand
(Figure 29) and low Velocities cause it to contract (Figure 30).
 Negative values: High Velocities cause the FEG range to contract
and low Velocities cause it to expand.
 0: The FEG range does not change, regardless of the Velocity.



Figure 29: High Velocity, large range

Figure 30: Low Velocity, narrow range
FEG Depth Velocity
Sensitivity Curve

This curve determines how the FEG transition range changes according to
the Velocity (strength) with which you play notes on the keyboard.
Figure 31 shows an example in which the middle range of Velocities
causes the FEG transition range not to change and the higher/lower range
of Velocities causes it to change more rapidly.

D
Y
C

Figure 31: Filter EG Depth Velocity Sensitivity Curve
A:
B:
C:
D:
X:
Y:

Low
High
Narrow
Wide
Velocity
Filter EG Transition Range (Cutoff Frequency range)

Part Parameters

1-2-7

Filter Scale
This controls the Filter Cutoff Frequency according to the positions of the notes on the
keyboard. You can divide the entire keyboard into different areas by setting four Break Points,
and assign different Cutoff Frequency Offset values to these Break Points. The Cutoff
Frequency changes in a linear fashion between successive Break Points.
Table 1 and Figure 32 show an example in which the basic Cutoff Frequency value is 64 and
the various Offset values of the Break Points change that basic value accordingly.
/i

Table 1:
Offsets at Break Points
Break Point
1

Note

C#1

D#2

Offset

-4

+10

+17

81
74
68
60
A

Figure 32: Filter Scale

A:
B:
C:
D:
X:
Y:

Break Point 1
Break Point 2
Break Point 3
Break Point 4
Note
Cutoff Frequency

Break Point 1 - 4

Determines the four Filter Scale Break Points by specifying their respective
note numbers.

Offset 1 - 4

Determines the offset value of the Cutoff Frequency of each Filter Scale
Break Point.

Part Parameters

1-2-8

Amplitude
The Amplitude unit controls the output level (amplitude or volume) of the Element/Operator/
Drum Key. The signals are sent at this output level to the Effect block (see Chapter 2 Effects).
By setting the Amplitude Envelope Generator (AEG), you can control how the Amplitude
changes over time.
Level

Determines the output level of the Element/Operator/Drum Key.

Level Velocity Sensitivity Determines how the output level of the Element/Operator/Drum Key
responds to Velocity.
 Positive values: The more strongly you play the keyboard, the more
the output rises.
 Negative values: The more softly you play the keyboard, the more the
output rises
 0: The output level does not change.
Level Velocity Sensitivity Raises or lowers the level specified by the Level Velocity Sensitivity.
Offset
If the result is higher than 127, the velocity is set to 127.

127

Figure 33: Level Velocity Sensitivity Offset = 0

127

A
B
C

127

Figure 34: Level Velocity Sensitivity Offset = 64

Part Parameters

127

A
B
C

127

Figure 35: Level Velocity Sensitivity Offset = 96
A:
B:
C:
X:
Y:

Level Velocity Sensitivity = 0
Level Velocity Sensitivity = 32
Level Velocity Sensitivity = 64
Velocity with which you play a note
Actual resulting velocity (affecting the tone generator)

Level Velocity Sensitivity Determines how the actual Velocity will be generated according to the
Curve
Velocity (strength) with which you play notes on the keyboard. The
selected curve is displayed on the screen.

D
Y
C

Figure 36: Level Velocity Sensitivity Curve
A:
B:
C:
D:
X:
Y:

Soft
Strong
Low
High
Velocity (Playing strength)
Volume

Element Pan

Adjusts the stereo pan position of the sound.
This Element Pan parameter may have little or no audible effect if Pan for
a specific element is set to the left position and Pan for another element is
set to the right position.

Alternate Pan

Determines the amount by which the sound is panned alternately left and
right for each key you press.
The Pan setting is used as the Center Pan position.
Higher values increase the width of the Pan range.

Random Pan

Determines the amount by which the sound of the selected Element is
panned randomly left and right for each key you press.
The Pan setting is used as the Center Pan position.

Part Parameters

Scaling Pan

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Pan position, left and right.
At note C3, the main Pan setting is used for the basic Pan position.
 Positive values: Moves the pan position to the left for lower notes and
to the right for higher notes.
 Negative values: Moves the pan position to the right for lower notes
and to the left for higher notes.

Level Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Amplitude level of the selected Element.
 Positive values: Lowers the output level for lower notes and raises it
for higher notes.
 Negative values: Raises the output level for lower notes and lowers it
for higher notes.

Level Key Follow
Sensitivity Center Key

This indicates that the central note for Level Key Follow Sensitivity is C3.
The setting value is fixed. You can not change it.

E F
D

–
A

Figure 37: Level Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:

Lower range
Center Key = C3
Higher range
Amount of Amplitude EG level change
Level Key Follow Sensitivity = +32
Large
Small

Part Parameters

1-2-9

Amplitude EG (Amplitude Envelope Generator)
This lets you control the transition in Amplitude from the moment the sound starts until the
moment the sound stops. You can create a custom Amplitude EG by setting parameters as
illustrated below. When you press a key on the keyboard, the volume will change according to
these EG settings.


For Normal Parts (AWM2) and Drum Parts

J
K

I
0

Figure 38: Amplitude Envelope Generator

A:
B:
C:
D:
E:
F:
G:
H:
I:
J:
K:
L:
M:

Key On: Pressing the key
Key Off: Releasing the key
Time
Level (volume)
Attack Time
Decay 1 Time
Decay 2 Time
Release Time
Initial Level
Attack Level
Decay 1 Level
Decay 2 Level = Sustain Level
Release Level



For Normal Parts (FM-X)

L
M
0

K
F

Figure 39: Amplitude Envelope Generator

A: Key On: Pressing the key
B: Key Off: Releasing the key
33

Part Parameters

C:
D:
E:
F:
G:
H:
I:
J:
K:
L:
M:

Time
Level (volume)
Hold Time
Attack Time
Decay 1 Time
Decay 2 Time
Release Time
Attack Level
Decay 1 Level
Decay 2 Level
Release (Hold) Level

AEG Attack Time

Determines how quickly the sound reaches its maximum level after the key
is pressed.

AEG Decay 1 Time

Determines how fast the envelope falls from the Attack Level to the
Decay 1 Level.

AEG Decay 2 Time

Determines how fast the envelope falls from the Decay 1 Level to the
Decay 2 Level (sustain level).

AEG Release Time

Determines how quickly the sound decays to silence after the key is
released.

AEG Initial Level

Determines the initial level at the moment the key is pressed.

AEG Attack Level

Determines the maximum level which the envelope reaches after a key is
pressed.

AEG Decay 1 Level

Determines the level which the envelope reaches from the Attack Level
after the Decay 1 Time elapses.

AEG Decay 2 Level

Determines the level which will be maintained while a note is held.

AEG Release (Hold)
Level (For Normal Parts
(FM-X))

Determines the final level reached after the note is released.

AEG Hold Time

Determines the time between the moment you press a key on the
keyboard and the moment the level reaches the specified hold level.

AEG Time Key Follow
Sensitivity

Determines the degree to which the notes (specifically, their position or
Octave Range) affect the Amplitude EG times.
 Positive values: High notes result in a fast Amplitude EG transition
speed while low notes result in a slow speed.
 Negative values (for Normal Part (AWM2)): High notes result in a
slow Amplitude EG transition speed while low notes result in a fast
speed.
 0: The Amplitude EG transition speed does not change, regardless of
the played note.

Part Parameters

AEG Time Key Follow
Sensitivity Center Key

Determines the central note for AEG Time Key Follow Sensitivity.
When the Center Key note is played, the AEG behaves according to its
actual settings.

F
C

G
+63
+30

E
-40
B

A
Figure 40: Amplitude EG Time Key Follow Sensitivity and Center Key
A:
B:
C:
D:
E:
F:
G:
AEG Time Key Follow
Sensitivity Release
Adjustment

Center Key
Slower Speed
Faster Speed
Lower range
Higher range
Positive value
Negative value

Determines the sensitivity of AEG Time Key Follow Sensitivity to AEG
Release.
The lower the value, the lower the sensitivity.
 127: Sets the AEG Time Key Follow Sensitivity to the value of
Decay 1 or Decay 2.
 0: Produces no effect in the AEG Time Key Follow Sensitivity.

Part Parameters

AEG Time Velocity
Sensitivity

Determines how the AEG transition time (speed) responds to Velocity, or
the strength with which the key is pressed.
 Positive values: High Velocities result in a fast AEG transition speed
(Figure 41) while low Velocities result in a slow speed (Figure 42).
 Negative values: High Velocities result in a slow AEG transition speed
while low Velocities result in a fast speed.
 0: The amplitude transition speed does not change, regardless of the
Velocity.

Figure 41: High Velocity, fast speed

Figure 42: Low Velocity, slow speed
AEG Time Velocity
Sensitivity Segment

Determines the part of the Amplitude EG that is affected by AEG Time
Velocity Sensitivity.

Half Damper Switch

Determines if the Half Damper is switched on.
When the Half Damper Switch is set to On, holding down the FC3 Foot
Controller produces a “half-pedal” effect just as on a real acoustic piano.

Half Damper Time

Determines how quickly the sound decays to silence after the key is
released while holding down the Foot Controller FC3 with the Half Damper
Switch set to On.
After releasing the key, you can control the decay time of the sound via the
Foot Controller position, with the Half Damper Time of the AEG being the
maximum decay value and the Release Time of the AEG being the
minimum decay value.
When you release the pedal, the decay time after the key is released is
equivalent to the AEG Release Time. You can create a piano-like effect by
setting the Release Time to a small value and setting the Half Damper
Time to a large value.

Part Parameters

1-2-10 Amplitude Scale
This controls the Amplitude output level according to the positions of the notes on the
keyboard.


For Normal Parts (AWM2) and Drum Parts

You can divide the entire keyboard into different areas by setting four Break Points, and assign
different Amplitude Offset values to these Break Points.
The Amplitude changes in a linear fashion between successive Break Points.
Table 2 and Figure 43 show an example in which the basic Amplitude (volume) value for the
selected Element is 80 and the various Offset values of the Break Points change that basic
value accordingly.
/i

Table 2:
Offsets at Break Points
Break Point
1

Note

Offset

-4

+10

+17

Y
90

84
76
A

Figure 43: Amplitude Scale

A:
B:
C:
D:
X:
Y:

Break Point 1
Break Point 2
Break Point 3
Break Point 4
Note
Amplitude

Break Point 1 - 4

Determines the four Amplitude Scale Break Points by specifying their
respective note numbers.

Offset 1 - 4

Determines the offset value of the level of each Amplitude Scale Break
Point.

Part Parameters



For Normal Parts (FM-X)

The keyboard is divided into two sections at the break point.
The high-pitch side at the right is set by using the R Depth and the R Curve; the low-pitch side
at the left is set by using the L Depth and the L Curve as described below.

Y
+exp

+lin

+exp

B
A

C
-exp

-lin

-exp

Figure 44: Amplitude Scale

A:
B:
C:
D:
E:
X:
Y:

Low Depth
Low Curve
BP Output Level
High Curve
High Depth
Key
Level

The Output Level of the Key set as the Level Scaling Break Point depends on the Operator
Level setting. For the Keys in the left side of the Level Scaling Break Point, the Output Level is
adjusted based on the curve determined by the Low Curve and Low Depth. For the Keys in the
right side of the Level Scaling Break Point, the Output Level is adjusted based on the curve
determined by the High Curve and High Depth. The Output Level changes in an exponential
fashion from the Break Point on the Exp type curve and the Output Level changes in a linear
fashion from the Break Point in the Linear type curve. In either case, the farther away from the
Break Point the key is, the greater the Output Level changes for the key.
Break Point

Determines the Break Point by specifying the respective note number.

Low/High Curve

Determines the curve for level change.

Low/High Depth

Determines the curve degree.

Part Parameters

1-2-11 LFO (Low-Frequency Oscillator)
The Low-Frequency Oscillator (LFO) unit of the tone generator block generates a lowfrequency signal.
The signal from the LFO can be used to modulate the pitch, filter, and amplitude. Modulating
the pitch produces a vibrato effect, modulating the filter produces a wah effect, and modulating
the amplitude produces a tremolo effect.
You can set the Common LFO, which determines the basic LFO parameters that are common
to all Elements/Operators of the Part. Also, you can set the Element LFO, which determines
the LFO parameters for each individual Element/Operator.
LFO Wave

Selects the Wave and determines how the LFO waveform modulates the
sound.

Speed

Determines the speed of the LFO Wave.
The higher the value, the faster the speed.

Key On Reset

Determines whether or not the LFO is reset each time a note is played.
Off: The LFO cycles freely with no key synchronization. Pressing a
key starts the LFO wave at whatever phase the LFO happens to be
at that moment.



A
Figure 45: Key On Reset Off
A:
X:



Key On
Time

Each-on: The LFO resets with each note you play and starts a
waveform at the phase specified by the Phase parameter.

B
Figure 46: Key On Reset Each-on

A:
B:
X:

Key On (first note)
Key On (second note)
Time

Part Parameters



1st-on: The LFO resets with each note you play and starts a
waveform at the phase specified by the Phase parameter. If you play
a second note while the first is being held, the LFO continues cycling
according to the same phase as triggered by the first note--in other
words, the LFO only resets if the first note is released before the
second is played.

B
Figure 47: Key On Reset 1st-on

A:
B:
X:
Delay

Key On (first note)
Key On (second note)
Time

Determines the delay time between the moment you press a key on the
keyboard and the moment the LFO comes into effect.
A higher value results in a longer delay time.

Part Parameters

Fade-In Time

Determines the amount of time for the LFO effect to fade in after the Delay
time has elapsed.
 A higher value results in a slower fade-in.
 0: The LFO effect will not fade in but reach the maximum level
immediately after the Delay time has elapsed.

C
A

Figure 48: Lower value: faster fade-in

C
A

Figure 49: Higher value: slower fade-in
A:
B:
C:
D:
X:

Key On
Maximum
Delay
Fade-In
Time

Pitch Modulation Depth

Determines the amount (depth) by which the LFO Wave varies
(modulates) the pitch of the sound.
The higher the setting, the greater the depth of control.

Filter Modulation Depth

Determines the amount (depth) by which the LFO Wave varies
(modulates) the Filter Cutoff Frequency.
The higher the setting, the greater the depth of control.

Amplitude Modulation
Depth

Determines the amount (depth) by which the LFO Wave varies
(modulates) the Amplitude of the sound.
The higher the setting, the greater the depth of control.

Tempo Sync

Determines whether or not the LFO speed is synchronized to the tempo of
the phrase.

Random Speed

Determines the degree to which the LFO speed changes at random.
 Higher values result in a larger degree of speed change.
 0: Results in the original speed.
This parameter cannot be set when Tempo Sync is set to On.

Part Parameters

Tempo Speed

Hold (Hold/Hold Time)

This parameter allows you to make detailed note value settings that
determine how the LFO pulses in sync with the phrase.
This parameter is only available when the Tempo Sync parameter has
been set to On.
Determines the time during which the LFO is held at its maximum level.
A higher value results in a longer Hold Time.
Hold: No fade-out.




X
A
Figure 50: Hold Time
A:
B:
C:
X:

Key On
Maximum
Hold
Time

Part Parameters

Fade-Out Time

Determines the amount of time for the LFO effect to fade out (after the Hold
Time has elapsed).
A higher value results in a slower fade-out.

B
X

A
Figure 51: Lower value: faster fade-out

A
Figure 52: Higher value: slower fade-out
A:
B:
C:
D:
X:
Loop

Key On
Maximum
Hold
Fade-Out
Time

Determines whether the LFO cycles repeatedly (loop) or only once (one
shot).

Part Parameters

Phase

Determines the starting phase point for the LFO Wave when it is reset.

0
A

180 270
240
120

Figure 53: Phases of a wave
A:
X:
Y:
LFO Phase Offset

Phase
Time
Level

Determines the offset values of the Phase parameter for the respective
Elements.

0
A

180 270
240
120

Figure 54: Phases of a wave
A:
X:
Y:

Phase
Time
Level

Control Destination

Determines the parameters which are to be controlled (modulated) by the
LFO Wave.
The LFO Wave can control various parameters such as Amplitude
modulation depth, Pitch modulation depth, Filter modulation depth and
Resonance.

Control Depth

Determines the LFO Wave Depth.

Depth Offset

Determines the offset values of the Control Depth parameter for the
respective Elements.
If the resultant Control Depth value is negative, it will be set to 0.
If the resultant Control Depth value is greater than 127, it will be set to 127.

Part Parameters

1-3

Operational Parameters

1-3-1

General
Audition Phrase Number Selects the Audition Phrase.
The Preset programs provide several types of Audition Phrases.
Audition Phrase Note
Shift

Determines the transpose setting for the amount (in semitones) by which
the pitch of the Audition Phrase is raised or lowered.

Audition Phrase Velocity Adjusts the Velocity of the Audition Phrase between -63 and +63.
Shift

1-3-2

Assignable Switch 1
Mode / Assignable
Switch 2 Mode

Determines whether the [ASSIGN 1] button and the [ASSIGN 2] button
function as latch type or as momentary type.
 Latch: Pressing the button alternates the lamp status between on
and off.
 Momentary: Pressing/holding the button turns the lamp on and
releasing the button turns the lamp off.

Ribbon Controller Mode

Determines how the Ribbon Controller responds when released.
 Reset: Releasing your finger from the Ribbon Controller
automatically returns the value to the center.
 Hold: Releasing your finger from the Ribbon Controller maintains the
value at the last point of contact.

Motion Seq Hold Mode

Determines how the Motion Sequencer Hold button responds when
pressed.
 Latch: Pressing the button alternates the lamp status between on
and off.
 Momentary: Pressing/holding the button turns the lamp on and
releasing the button turns the lamp off.

Part Setting
Mono/Poly

Selects monophonic or polyphonic.
 Mono: The selected Part is played back monophonically; only a
single note is played back simultaneously.
 Poly: The selected Part is played back polyphonically; multiple notes
or chords can be played back simultaneously.
For many instrument sounds (such as bass and synth lead), Mono allows
a more natural and smooth sounding legato performance than Poly.

Key Assign Mode

Determines the playing method when the same notes are received
continuously, and without a corresponding note off message.
 Single: If double playback of the same note is transmitted to the
internal tone generator, the first note will be stopped and then the next
note will be sounded.
 Multi: When double playback of the same note is transmitted to the
internal tone generator, all the notes are sounded simultaneously.
Single is useful when two or more instances of the same note are received
nearly simultaneously, or without a corresponding note off message. To
allow playback of each instance of the same note, set this to Multi.

Part Parameters

Arp Play Only

Determines whether or not the Part whose Arpeggio is set to On is played.
If this parameter is set to On, the Part is played with Arpeggio. If set to Off,
the Part makes no sound.

Element Pan Switch

Switches an Element Pan selected by Element Edit ([EDIT] → Part
Selection → Element Selection → [Amplitude]→ [Level/Pan]) On or Off.
When set to “off,” the Pan setting by Element Edit is set as the center
position for the Pan.

Pitch Bend Range Upper Determines the maximum Pitch Bend Range in semitones.
Examples:
/ Pitch Bend Range
Setting the Upper parameter to +12 results in a maximum pitch rise of one
Lower
octave when the Pitch Bend wheel is moved upwards.
Setting the Lower parameter to -12 results in the pitch being lowered up to
a maximum of one octave (12 semitones) when the Pitch Bend wheel is
moved downwards.

1-3-3

Micro Tuning Number

Selects the Micro Tuning Number.
The Preset Bank provides several types including the most common:
Equal Temperament. See Section 1-3-4 Micro Tuning List.

Micro Tuning Root

Sets the base note for each scale.
For some scales this setting may not be necessary.

Portamento
Portamento is used to create a smooth transition in pitch from one note played on the keyboard
to the next one.
Portamento Master
Switch

Determines whether Portamento is applied to all Parts or not.

Portamento Part Switch

Determines whether Portamento is applied to each Part or not, when the
Portamento Master Switch is set to On.

Portamento Time

Determines the pitch transition time or rate when Portamento is applied.
Higher values result in a longer pitch change time.
The effect of the parameter depends on the settings of the Portamento
Time Mode.

Portamento Mode

Determines how Portamento is applied to your keyboard performance.
Fingered: Portamento is only applied when you play legato (playing
the next note before releasing the previous one).
 Fulltime: Portamento is applied to all notes.



Portamento Time Mode

Determines how the pitch changes in time.
Rate1: Pitch changes at the specified rate.
Time1: Pitch changes in the specified time.
Rate2: Pitch changes at the specified rate within an octave.
Time2: Pitch changes in the specified time within an octave.

Legato Slope

Adjusts the attack of the Part for Mono legato playing.
When the parameter Mono/Poly is set to Mono, legato playing may
produce an unnatural attack depending on the waveform assigned to the
selected Part. To solve such a problem, you can use this parameter to
adjust the attack of the Part.
Normally, this should be set to a low value for waveforms with short attack
times, and to a high value for waveforms with long attack times.

Part Parameters

1-3-4

Micro Tuning List
Equal Temperament

The pitch range of each octave is divided equally into twelve parts, with
each halfstep evenly spaced in pitch. This is the most commonly used
tuning in music today.

Pure Major,
Pure Minor

These tunings preserve the pure mathematical intervals of each scale,
especially for triad chords (root, third, fifth). You can hear this best in actual
vocal harmonies — such as choirs and a cappella singing.

Werckmeister,
Kirnberger,
Vallotti & Young

Each of the scales combines the mean-tone and Pythagorean scales. The
main feature of these scales is that each key has its own unique character.
These scales were used extensively during the time of Bach and
Beethoven, and even now they are often used when performing period
music on the harpsichord.

1/4 shift

The normal equal-tempered scale, shifted up 50 cents.

1/4 tone

Twenty-four equally-spaced notes per octave.
Play twenty-four notes within one octave.

1/8 tone

Forty-eight equally-spaced notes per octave.
Play forty-eight notes within one octave.

Indian

Usually observed in Indian music.
Play white keys only.

Arabic

Usually observed in Arabic music.

Part Parameters

1-3-5

Arpeggio
This function lets you automatically trigger musical and rhythmic phrases and backing patterns
using the current Performance by simply pressing a key or keys on the keyboard.
The Arpeggio sequence changes in response to the actual notes or chords you play, giving you
a wide variety of inspiring musical phrases and ideas, both in composing and performing.
Arpeggio Master Switch

Determines whether Arpeggio for the entire Performance is On or Off.

Arpeggio Part Switch

Determines whether Arpeggio for the Part is On or Off.

Synchro Quantize Value

Determines the timing at which the next Arpeggio Type is switched during
Arpeggio playback. If this is set to “off”, the next Arpeggio playback starts
as soon as each Part is played. The displayed value indicates clocks.

Arpeggio Hold

Determines whether the Arpeggio continues cycling after the keys are
released.
 Off: The Arpeggio plays only while you hold the keys.
 On: The Arpeggio cycles automatically, even if you release your
fingers from the keys.
 Sync-off: Arpeggio playback continues to run silently, even when you
release the keys. Pressing any key turns Arpeggio playback on again,
and the Arpeggio is heard from the point in the cycle where playback
is resumed.

Key Mode

Determines how the Arpeggio plays back when playing the keyboard.
 Sort: When you play specific notes (for example, the notes of a
chord), the same sequence plays, no matter what order you play the
notes.
 Thru: When you play specific notes (for example, the notes of a
chord), the resulting sequence differs depending on the order of the
notes.
 Direct: Note events of the Arpeggio sequence do not play; only the
notes you play on the keyboard are heard. When the Arpeggio plays
back, events such as Pan and Brightness are applied to the sound of
your keyboard performance. Use this setting when the Arpeggio
types include Control Change data.
 Sort+Drct: The Arpeggio is played back according to the Sort setting,
and the notes played are also sounded.
 Thru+Drct: The Arpeggio is played back according to the Thru
setting, and the notes played are also sounded.

Change Timing

Determines the actual timing at which the Arpeggio type is switched when
you select another type during Arpeggio playback.
 Real-time: The Arpeggio type is switched immediately.
 Measure: The Arpeggio type is switched at the top of the next
measure.

Loop

Determines whether the Arpeggio plays a single time or continuously,
while notes are held.
 On: The Arpeggio cycles while notes are held.
 Off: The Arpeggio plays only once even if notes are held.

Arpeggio Note Limit

Determines the lowest and highest notes in the Arpeggio’s note range.
Notes played in this range trigger the Arpeggio.
For example, setting a Note Limit of C5 - C4 lets you trigger the Arpeggio
by playing notes in the two ranges of C-2 to C4 and C5 to G8; notes played
between C4 and C5 have no effect on the Arpeggio.

Part Parameters

Arpeggio Velocity Limit

Determines the lowest and highest Velocity that can trigger Arpeggio
playback.
This lets you set the Velocity range with which you press the key to trigger
Arpeggio playback. You can also create separate low and high trigger
ranges for the Arpeggio playback, with a Velocity “hole” in the middle, by
specifying the maximum value first.
For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio
from two separate Velocity ranges: soft (1 to 34) and hard (93 to 127).
Notes played at middle Velocities (35 to 92) do not play the Arpeggio.

Velocity Rate

Determines how much the Velocity of Arpeggio playback is offset from the
original value.
 100%: The original Velocities are used.
 Below 100%: Reduces the Velocities of the Arpeggio notes.
 Above 100%: Increases the Velocities.
If the resulting Velocity value is 0, it will be set to 1; if the resulting Velocity
value is greater than 127, it will be set to 127.

Velocity Rate Offset

Determines the Velocity Offset value of Arpeggio playback.
If the resulting Velocity value is 0, it will be set to 1. If the resulting Velocity
value is greater than 127 it will be set to 127.

Gate Time Rate

Determines how much the Gate Time (length) of the Arpeggio notes is
offset from the original value.
 100%: Indicates that the original Gate Times are used.
 Below 100%: Shortens the Gate Times of the Arpeggio notes.
 Above 100%: Lengthens the Gate Times of the Arpeggio notes.
The Gate Time cannot be decreased beyond its normal minimum of 1; any
values outside that range will automatically be limited to the minimum.

Gate Time Rate Offset

Determines the Gate Time Rate Offset value of the Arpeggio notes.
The Gate Time cannot be decreased beyond its normal minimum of 1; any
values outside that range will automatically be limited to the minimum.

Arp / Motion Seq Grid

Determines to which beats the note data in the Arpeggio/Motion
Sequencer will be aligned, or determines to which beats in the Arpeggio/
Motion Sequencer the swing is applied.
For Motion Sequencer, this value is set as one step length.

Quantize Strength

Sets the “strength” by which note events are pulled toward the nearest
quantize beats.
 0%: No quantization.
 50%: The note events are pulled halfway between 0% and 100%.
 100%: Exact timing as set by Quantize Value.

Unit Multiply

Adjusts the Arpeggio playback time based on tempo.
By using this parameter, you can create a different Arpeggio type from the
original one.
 200%: The playback time will be doubled and the tempo is halved.
 100%: The normal playback time.
 50%: The playback time will be halved and the tempo doubled.

Part Parameters

Swing

Delays notes on even-numbered beats (backbeats) to produce a swing
feel.
 +1 and higher: Delay the Arpeggio notes.
 -1 and lower: Advance the Arpeggio notes.
 0: Exact timing as set by Quantize Value, resulting in no swing.
Judicious use of this setting lets you create swing rhythms and triplet feels,
such as shuffle and bounce.

Output Octave Shift

Shifts the pitch of the Arpeggio up or down in octaves.

Octave Range

Specifies the maximum Arpeggio range in octaves.
 Positive values: Increase the Octave Range of the Arpeggio
playback.
 Negative values: Decrease the Octave Range of the Arpeggio
playback.

Velocity Mode

Adjusts the Velocity of the Arpeggio notes.
 Original: The Arpeggio plays back at the preset Velocities included
in the Arpeggio sequence data.
 Thru: The Arpeggio plays back according to the Velocity of your
playing.
For example, if you press the keys strongly, the playback volume of the
Arpeggio is high.

Trigger Mode

Determines how Arpeggio playback is started and stopped.
 Gate: Pressing the key starts Arpeggio playback and releasing the
note stops it.
 Toggle: Pressing the key starts/stops Arpeggio playback and
releasing the note does not affect Arpeggio playback. This Mode
overrules the Arpeggio Hold setting. In other words, even when
the Arpeggio Hold parameter is set to On, pressing the key
start/stops Arpeggio playback.
Normally, this parameter should be set to Gate.

Random SFX

Determines whether Random SFX is active or not.
Some Arpeggio types feature the Random SFX (Sound Effect) function,
which will trigger a special sound when the note is released—for example,
the fret noise of a guitar.

Random SFX Velocity
Offset

Determines the offset value by which the Random SFX notes will be
shifted from their original Velocities.
If the resulting Velocity is 0, it will be set to 1.
If the resulting Velocity is greater than 127, it will be set to 127.

Random SFX Key On
Control

Defines the way in which the Velocity of the Random SFX special sound
is determined.
 On: The Random SFX special sound is played with the Velocity
generated when the key is pressed.
 Off: The Random SFX special sound is played with a preprogrammed Velocity.

Accent Velocity
Threshold

Determines the minimum Velocity that will trigger the Accent Phrase.
Some Arpeggio types include special sequence data called Accent
Phrases, which will be played back only when Velocities higher than the
specified threshold are received.

Part Parameters

1-3-6

Accent Start Quantize

Determines the start timing of the Accent Phrase when the Velocity higher
than the specified threshold in Accent Velocity Threshold is received.
 Off: The Accent Phrase starts as soon as the Velocity is received.
 On: The Accent Phrase starts on the beat specified for each Arpeggio
type after the Velocity is received.

Fixed SD/BD (for Drum
Parts)

Determines whether or not C1 and D1 are fixed as notes for Bass Drum
(BD) and Snare Drum (SD) in Arpeggio playback.
When this parameter is set to On, C1 will be used as the note of the Bass
Drum and D1 will be used as the note of the Snare Drum in Arpeggio
playback.
Although most Drum Kits assign the Bass Drum sound to C1 and the Snare
Drum to D1, certain Drum Kits additionally assign these sounds to other
notes and certain Arpeggio Types are created by using those different
notes. Accordingly, you may hear improper sounds depending on the
selected Arpeggio Type and Drum Kit. Setting this parameter to On may
solve such problems.

Motion Sequencer
The Motion Sequencer feature lets you dynamically change sounds by operating parameters
depending on sequences created in advance.
It provides real time control for changing sounds depending on various sequences such as
Tempo, Arpeggio, or the rhythm of external connected devices.
You can assign desired sequence types for one Lane.
Motion Seq Master
Switch

Determines whether the Motion Sequencer for the entire Performance is
active or not.

Motion Seq Part Switch

Determines whether the Motion Sequencer for the selected Part is active
or not.

Lane Switch

Determines whether each Lane is active or not.

Amplitude

Determines the Amplitude change of the entire sequence. There are three
parameters available for different ranges (below).
 Common Motion Seq Amplitude: Offsets the Amplitude of the Lane
in the Performance when “MS FX” for the Lane is set on On.
 Part Motion Seq Amplitude: Offsets the Amplitude of the Lane in the
Part when “MS FX” for the Lane is set on On.
 Motion Seq Amplitude: Determines the Amplitude of each
Sequence.

Pulse Shape

Determines the Pulse shape of the Sequence. There are two parameters
available for different ranges (below).
 Common Motion Seq Pulse Shape: Offsets the Pulse Shape of the
Lane parameter in the Performance when “MS FX” for the Lane is set
to on and “Control” for the parameter is set on On.
 Part Motion Seq Pulse Shape: Offsets the Pulse Shape of the Lane
parameter in the Part when “Control” for the parameter is set on On.

Part Parameters

Smoothness

Determines the smoothness of the time change of the Sequence. There
are three parameters available for different ranges (below).
 Common Motion Seq Smoothness: Offsets the Smoothness of the
Lane in the Performance when “MS FX” for the Lane is set on On.
 Part Motion Seq Smoothness: Offsets the Smoothness of the Lane
in the Part when “MS FX” for the Lane is set on On.
 Motion Seq Smoothness: Determines the Smoothness of each
Sequence.

Random

Determines how randomly change the Step Value is. There are two
parameters available for different ranges (below).
 Common Motion Seq Random: Offsets the Random of the Lane in
the Performance when “MS FX” for the Lane is set on On.
 Motion Seq Random: Determines the Random setting of each Part.

Lane FX Receive

Determines whether or not the Lane is affected by the knob operation of
ARP/MS FX.
 On: The Lane is affected by parameter values of ARP/MS FX (Swing,
Unit Multiply, Gate Time Rate, Velocity Rate, Amplitude, Pulse
Shape, Smooth, and Random) and the operation of the [MOTION
SEQ HOLD] button.

Lane Trigger Receive

Determines whether the Lane responds to the MS Trigger or not.
 On: The Lane is affected by the operation of the [MOTION SEQ
TRIGGER] button.

Lane Sync

Determines if the playback of the Motion Sequence is synchronized to the
tempo of the Performance, Beat, Part Arpeggio, or Lane 1 (only when any
Lane other than Lane 1 is selected.)

Lane Speed

Determines the speed of the playback of the Motion Sequence.
This parameter is active when the Lane Sync is set to “Off.”

Lane Key On Reset

Determines whether or not the playback of the Motion Sequence is
stopped when you play the keyboard.
 Off: The playback of the Motion Sequence continues even after you
play the keyboard.
 Each-on: Each time you play the keyboard, the playback of the
Motion Sequence is reset. Playback restarts from the first step.
 1st-on: When you play the first note on the keyboard, the playback of
the Motion Sequence is reset and the playback starts from the first
step. If you play a second note while the first is being held, the
playback position of the Motion Sequence is not reset.

Lane Loop

Determines the Motion Sequence is played only once or repeatedly.
 On: While you hold down the keys, the Motion Sequence is played
repeatedly.
 Off: Even if you hold down the keys, the Motion Sequence is played
only once.

Part Parameters

1-3-7

Lane Velocity Limit

Determines the minimum and maximum Velocity values in which the
Motion Sequence responds.
The Motion Sequence will only be available for notes played between its
specified Velocity Limits. In addition to this, if you first specify the maximum
value then the minimum value which is actually higher than the maximum
value, you can create two Velocity Limits to playback the Motion
Sequence. For example, if you set 93 as the minimum and 34 as the
maximum, then the Velocity range covers both “1 to 34” and “93 to 127,”
with a Velocity “hole” in the middle. For that “hole” between the two Velocity
Limits, the Motion Sequence will not be available.

Lane Unit Multiply

Adjusts the Motion Sequencer playback time based on tempo.
By using this parameter, you can create a different Motion Sequencer type
from the original one.
 200%: The playback time will be doubled and the tempo is halved.
 100%: The normal playback time.
 50%: The playback time will be halved and the tempo doubled.
 Common: The value set in the Unit Multiply common to the all Parts
will be applied.
 Arp: The value set in the Arpeggio Unit Multiply for the selected Part
will be applied.

Controller Set
The controllers such as knobs on the front panel can be used to change and adjust a variety
of parameters for each Part—both in real time and simultaneously. For example, keyboard
aftertouch can be used to control vibrato and the Modulation Wheel can be used to control
tonal brightness.
The function settings for all controllers are referred to as a Controller Set, and several
Controller Sets can be created for each Part. The controller is referred to as Source, and the
controlled function is referred to as Destination.
Source

Determines which panel controller is to be assigned and used for the
selected Controller Set.
You can assign multiple functions to a controller.

Destination

Determines the parameter that is controlled by the Source.
You can select any of the available parameters for each controller, such as
volume, pitch and LFO depth.

Element Switch

Determines whether or not the selected controller affects each individual
Element of the current Part.
This parameter is disabled when the Destination is set to a parameter that
is not related to the Part Elements.
For the Normal Part (FM-X), this parameter is changed to “Operator
Switch.”

Part Parameters

Curve Type

Determines the Curve type of the parameter which is set as the
Destination.
 Standard:



Sigmoid:



Threshold:



Bell:



Dogleg:



FM:



AM:



Discrete Saw:

Part Parameters



Smooth Saw:



Triangle:



Square:



Trapezoid:



Tilt Sine:



Bounce:



Resonance:



Sequence:



Hold:

Part Parameters

Curve Polarity

Determines the Curve Polarity of the selected Curve type.
uni (unipolar): Unipolar changes only in a positive direction or in a
negative direction from a base parameter value according to the
Curve shape.
 bi (bipolar): Bipolar changes in both of positive and negative
directions from a base parameter value.



1-3-8

Curve Ratio

Determines the Curve ratio.

Curve Parameter

Adjusts the Curve shape.
The number of Curve Parameters will change according to the Curve type.

Effect
The Effect unit applies Effects to the output of the tone generator block and audio input block,
processing and enhancing the sound. Effects are applied in the final stages of editing, letting
you change the sound of the created Part as desired.
The unprocessed sound is called “dry” sound, and the processed sound is referred to as “wet.”
Master Effect

Master effects are applied to the final output signal of the entire sound.

System Effect

System Effects are applied to the overall sound—for example, that of an
entire Part, an entire Performance, etc.
With System Effects, the sound of each Part is sent to the effect according
to the Effect Send Level for each Part. The processed sound (referred to
as “wet”) is sent back to the mixer, according to the Return Level, and
output—after being mixed with the unprocessed “dry” sound. This
arrangement lets you prepare an optimum balance of the effect sound and
the original sound of the Parts.

Insertion Effect

Insertion Effects can be applied individually to each of specified Parts
before merging the signals of all parts.
This should be used for sounds for which you want to drastically change
the character. The Insertion Effect has A and B units and those units can
be separately set to different effects.

Side Chain/Modulator

The Side Chain/Modulator uses the output from one track to control an
effect in a different track. You can specify the Effect type for activating the
feature so that input signals for Parts other than the selected Part or the
audio input signal can control the specified Effect.
This trigger is called either “Side Chain” or “Modulator,” depending on the
Effect Type.

Element Connection
Switch

Determines which Insertion Effect (A or B) is used to process each
individual Element of the current Normal Part (AWM2.)
Set this to Thru to bypass the Insertion Effects for the specified element.

Drum Key Connection
Switch

Determines which Insertion Effect (A or B) is used to process each
individual Key of the current Drum Part or determines that no Insertion
Effect is used.
Parameters can be set for each Drum Key.

Insertion FX Switch

Determines whether or not each Insertion Effect (A or B) is applied.

Part Parameters

Insertion Connection
Type

Lets you set the effect routing for Insertion Effects A and B.
Parallel (for Normal Parts (AWM2) and Drum Parts): Signals
processed with the Insertion Effect A and B blocks are sent to the
Master Effect, Master EQ, Reverb, Variation, and Envelope Follower
blocks.



A
B


Figure 55: Insertion Effect Connection Parallel
Ins A>B: Signals processed with the Insertion Effect A are sent to the
Insertion Effect B and signals processed with the Insertion Effect B
are sent to the Master Effect, Master EQ, Reverb, Variation, and
Envelope Follower blocks.

A
B


Figure 56: Insertion Effect Connection Ins A>B
Ins B>A: Signals processed with the Insertion Effect B are sent to the
Insertion Effect A and signals processed with the Insertion Effect A
are sent to the Master Effect, Master EQ, Reverb, Variation, and
Envelope Follower blocks.

A
B
Figure 57: Insertion Effect Connection Ins B>A
Reverb

The Reverb System Effect block adds a warm ambience to the sound,
simulating the complex reflections of actual performance spaces, such as
a concert hall or a small club.

Reverb Send

Adjusts the reverb send level.The higher the value the deeper the Reverb.

Variation

The Variation System Effect block uses various type of modulation
processing in addition to Chorus, Reverb, and Delay.

Variation Send

Adjusts the Variation Send level. The higher the value the deeper the
Variation Effect.

Variation to Reverb

Determines the Send level of the signal sent from the Variation Effect to
the Reverb Effect.
The higher the value, the deeper the Reverb that is applied to the Variation
processed signal.

Reverb Return

Determines the Return level of the Reverb Effect.

Variation Return

Determines the Return level of the Variation Effect.

Reverb Pan

Determines the pan position of the Reverb effect sound.

Variation Pan

Determines the pan position of the Variation effect sound.

Part Parameters

1-3-9

EQ (Equalizer)
In general, an equalizer (EQ) is used to correct the sound output from amplifiers or speakers
to match the special character of the room, or to change the tonal character of the sound.
The sound is divided into several frequency bands, and adjustments are made to the sound by
raising or lowering the level of each band. By adjusting the sound according to the genre
(classical music being more refined, pop music more crisp, and rock music more dynamic) you
can draw out the special characteristics of the music and make your performance more
enjoyable.
2-band EQ

This Effect type is an equalizer that allows equalization of the Low and
High bands. This is applied after the Insertion Effects.

3-band EQ

This Effect type is an equalizer that allows equalization of the Low, Mid,
and High bands. This is applied before the Insertion Effects.

Boost 6,
Boost 12,
Boost 18

Boosts the entire band of the selected Element by +6dB, +12dB, and
+18dB respectively.

Parametric EQ (PEQ)

Use this to attenuate or boost signal levels (gain) around the Frequency.
An equalizer in which all of the parameters of equalization can be adjusted.
The adjustable parameters include:
 Center Frequency
 Gain (boost/cut) of the Center Frequency
 Bandwidth (see “Q”)

+
X

–
Figure 58: PEQ
Frequency

Determines the center frequency.
Frequencies around this point are attenuated/boosted by the Gain setting.

Gain

Determines the level gain for the Frequency, or the amount the selected
frequency band is attenuated or boosted.

A parameter that determines the EQ bandwidth, or range of frequencies,
to be attenuated/boosted.
Consequently, this parameter determines the frequency characteristic
curve.
In case of the 3-band EQ, the Q setting is only available for the Mid band,
which is a Peaking type EQ. The EQ Shape of the High and Low band is
of the Shelving type. In case of the 2-band EQ, the Q setting is only
available when Peak/Dip is selected as the EQ type.

Part Parameters

1-3-10 Envelope Follower
Envelope Follower is a function for detecting the envelope of the input signal waveform and
modifying sounds dynamically.
Envelope Follower Gain

Determines the output gain of the Envelope Follower.

Envelope Follower
Attack

Determines the attack time of the Envelope Follower.

Envelope Follower
Release

Determines the release time of the Envelope Follower.

Effects

2-1

Basic Terms

2-1-1

Definitions
VCM (Virtual Circuitry
Modelling)

VCM is a technology that authentically models the elements in analog
circuitry (such as resistors and capacitors). Effect types using the VCM
technology produce the uniquely warm characteristics of vintage
processing gear.

REV-X

REV-X is a Reverb algorithm developed by Yamaha. It provides a highdensity, richly reverberant sound quality, with smooth attenuation, spread
and depth that work together to enhance the original sound.

2-2

Effect Types

2-2-1

Reverb
Also called “reverberation,” this refers to the sound energy remaining in a room or closed space
after the original sound stops. Similar to, yet different from echo, Reverb is the indirect, diffuse
sound of reflections from the walls and ceiling that accompany the direct sound. The
characteristics of this indirect sound depends on the size of the room or space and the
materials and furnishings in the room.
HD HALL

Reverb emulating the acoustics of a concert hall.

REV-X HALL

Reverb emulating the acoustics of a concert hall using the REV-X
technology.

R3 HALL

Reverb emulating the acoustics of a concert hall using the algorithm
derived from the Yamaha ProR3.

SPX HALL

Reverb emulating the acoustics of a concert hall derived from the Yamaha
SPX1000.

HD ROOM

Reverb emulating the acoustics of a room.

REV-X ROOM

Reverb emulating the acoustics of a room using REV-X technology.

R3 ROOM

Reverb emulating the acoustics of a room using the algorithm derived from
the Yamaha ProR3.

SPX ROOM

Reverb emulating the acoustics of a room derived from the Yamaha
SPX1000.

HD PLATE

Reverb emulating a metal plate.

R3 PLATE

Reverb emulating a metal plate using the algorithm derived from the
Yamaha ProR3.

SPX STAGE

Reverb appropriate for a solo instrument derived from the Yamaha
SPX1000.

SPACE SIMULATOR

Reverb that lets you set the space size by specifying the width, height, and
depth.

GATED REVERB

Simulation of gated reverb.

REVERSE REVERB

Simulation of reverse playback of gated reverb.

Effects

2-2-2

Delay
An effect (or device) that delays an audio signal for ambient or rhythmic effects.
CROSS DELAY

The feedback of the two delayed sounds is crossed.

TEMPO CROSS DELAY

Tempo-synchronized Cross delay.

TEMPO DELAY MONO

Tempo-synchronized Mono delay.

TEMPO DELAY STEREO

Tempo-synchronized Stereo delay.

CONTROL DELAY

Delay with delay time that is controllable in real time.

DELAY LCR

Produces three delayed sounds: L, R and C (center).

DELAY LR

Produces two delayed sounds in stereo: L and R.

ANALOG DELAY RETRO Analog delay driven by bucket-brigade device (BBD) chips with short delay
setting.
ANALOG DELAY
MODERN

2-2-3

Analog delay driven by bucket-brigade device (BBD) chips with long delay
setting.

Chorus
Depending on the particular Chorus type and parameters, this can make a Voice sound
“larger,” as if several identical instruments were playing in unison, or it can give a Voice greater
warmth and depth.

2-2-4

G CHORUS

A Chorus Effect that produces a richer and more complex modulation than
normal chorus.

2 MODULATOR

A Chorus Effect consisting of pitch modulation and amplitude modulation.

SPX CHORUS

An effect which uses a 3-phase LFO to add modulation and spaciousness
to the sound.

SYMPHONIC

A 3-phase Chorus which uses a complex LFO wave.

ENSEMBLE DETUNE

Chorus effect without modulation, created by adding a slightly pitch-shifted
sound.

Flanger
This effect creates a swirling, metallic sound.
VCM FLANGER

These effects emulate the characteristics of an analog flanger used in the
1970s, recreating a warm, high-quality flanger effect.

CLASSIC FLANGER

Conventional type of flanger.

TEMPO FLANGER

Tempo-synchronized flanger.

DYNAMIC FLANGER

Dynamically controlled flanger.

CONTROL FLANGER

Manually controlled flanger.

Effects

2-2-5

Phaser
Cyclically modulates the phase to add modulation to the sound.

2-2-6

VCM PHASER MONO

This effect emulates the characteristics of analog phasers used in the
1970s, recreating a warm, high-quality phaser effect. This is a mono
phaser with VCM technology for producing a vintage sound.

VCM PHASER STEREO

This effect emulates the characteristics of analog phasers used in the
1970s, recreating a warm, high-quality phaser effect. This is a stereo
phaser with VCM technology for producing a vintage sound.

TEMPO PHASER

Tempo-synchronized phaser.

DYNAMIC PHASER

Dynamically controlled phase shifter.

CONTROL PHASER

Manually controlled phaser.

Tremolo & Rotary
The Tremolo effect cyclically modulates the volume. The Rotary Speaker effect simulates the
characteristic vibrato effect of a rotary speaker.

2-2-7

AUTO PAN

An effect which cyclically moves the sound left/right and front/back.

TREMOLO

An effect which cyclically modulates the volume.

ROTARY SPEAKER

Simulation of a rotary speaker.

Distortion
This type can be used mainly for guitar, adding distortion with an edge to the sound.
AMP SIMULATOR 1

Simulation of a guitar amplifier.

AMP SIMULATOR 2

Simulation of a guitar amplifier.

COMP DISTORTION

Since a Compressor is included in the first stage, steady distortion can be
produced regardless of changes in input level.

COMP DISTORTION
DELAY

Compressor, Distortion and Delay are connected in series.

US COMBO

Simulation of an American combo amplifier.

JAZZ COMBO

Simulation of a jazz combo amplifier.

US HIGH GAIN

Simulation of an American high gain amplifier.

BRITISH LEAD

Simulation of a British stack amplifier.

MULTI FX

Multi effects processing for guitar sounds.

SMALL STEREO

Stereo distortion of guitar sounds.

BRITISH COMBO

Simulation of a British combo amplifier.

BRITISH LEGEND

Simulation of a British stack amplifier.

Effects

2-2-8

Compressor
Compressor is an effect commonly used to limit and compress the dynamics (softness/
loudness) of an audio signal. When used with Gain to boost the overall level, this creates a
more powerful, more consistently high-level sound. Compression can be used to increase
sustain for electric guitar, smooth out the volume of a vocal, or bring a Drum Kit or rhythm
pattern further up-front in the mix.
VCM COMPRESSOR 376 This effect emulates the characteristics of analog compressors—
commonly used in recording studios. By squashing the dynamics, it
thickens the sound, making it easier to boost in the mix, and is useful for
drum and bass sounds.
CLASSIC COMPRESSOR Conventional compressor.
MULTI BAND COMP

2-2-9

3-band compressor.

Wah
This Effect cyclically modulates the tone brightness (Cutoff Frequency of a filter). Auto Wah
modulates the tone via LFO, Touch Wah modulates the tone via volume and Pedal Wah
modulates the tone by pedal control. These effects emulate the characteristics of analog wah
effects used in the 1970s, recreating a warm, high-quality wah-wah effect.
VCM AUTO WAH

Modulates the tone via LFO.

VCM TOUCH WAH

Modulates the tone via Amplitude.

VCM PEDAL WAH

Modulates the tone via pedal control.
To use this properly, assign the Pedal Control parameter of this Effect
Type to the Foot Controller in the Controller Set display, then use the Foot
Controller to control this effect in real time.

2-2-10 Lo-Fi
This Effect intentionally degrades the audio quality of the input signal via several methods such
as lowering the sampling frequency.
LO-FI

Degrades the audio quality of the input signal to get a lo-fi sound.

NOISY

Adds noise to the current sound.

DIGITAL TURNTABLE

Simulates the noise of an analog record.

BIT CRUSHER

Produces distortion by reducing the resolution or bandwidth of the digital
sound.

2-2-11 Tech
This Effect changes the tonal characteristics radically by using filtering and modulation.
RING MODULATOR

An effect that modifies the pitch by applying Amplitude Modulation to the
frequency of the input.

DYNAMIC RING
MODULATOR

Dynamically controlled Ring Modulator.

DYNAMIC FILTER

Dynamically controlled filter.

AUTO SYNTH

Processes the input signal into a synthesizer-type sound.

ISOLATOR

Controls the level of a specified frequency band of the input signal.

Effects

SLICE

Slices the Amplitude EG of the Voice sound.

TECH MODULATION

Adds a unique feeling of modulation similar to ring modulation.

CONTROL FILTER

Manually controlled filter.

VINYL BREAK

Simulates how a turntable slows down gradually (this causes the pitch to
drop) before stopping.

BEAT REPEAT (EVEN)

Adds a mechanical beat by repeatedly playing sampled sounds.
The beat is divided into even notes: 4ths, 8ths, or 16ths.

BEAT REPEAT
(TRIPLET)

Adds a mechanical beat by repeatedly playing sampled sounds.
The beat is divided into triple notes.

BEAT REPEAT
(EVEN+TRIPLET)

Adds a mechanical beat by repeatedly playing sampled sounds.
The beat has both even notes and triple notes.

BEAT REPEAT (FREE)

Adds a mechanical beat by repeatedly playing sampled sounds.
The beat is more complex, allowing more unusual divisions, such as
sextuplets or octuplets.

2-2-12 Vocoder
This effect extracts characteristics from the microphone sound and applies it to the Part played
from the keyboard.
VOCODER

This creates a distinctive, “robot voice” effect which is generated when you
play the keyboard and sing or speak into the microphone at the same time.

2-2-13 Misc
This category includes the other effect types.
VCM EQ 501

This effect emulates the characteristics of analog equalizers used in the
1970s, recreating warm, high-quality equalization.

PITCH CHANGE

Changes the pitch of the input signal.

EARLY REFLECTION

This effect isolates only the early reflection components of the Reverb.

HARMONIC ENHANCER

Layers additional harmonics to the input signal to make the sound stand
out.

STEREOPHONIC
OPTIMIZER

Adjusts the spacing of the sound and reproduces natural sound distance.

TALKING MODULATOR

Adds a vowel sound to the input signal.

DAMPER RESONANCE

Simulates the Resonance produced when the damper pedal of a piano is
pressed.

NOISE GATE+COMP+EQ This effect combines Noise Gate, Compressor and 3-Band EQ, to provide
optimum processing of the microphone input, especially vocals.

Effects

2-3

Effect Parameters

2-3-1

2-3-2

AEG Phase

Offsets the phase of the Amplitude EG.

AM Depth

Determines the depth of Amplitude Modulation.

AM Inverse R

Determines the phase of the Amplitude Modulation for the R channel.

AM Speed

Determines the Amplitude Modulation speed.

AM Wave

Selects the wave for modulating the Amplitude.

AMP Type

Selects the amplifier type to be simulated.

Analog Feel

Adds the characteristics of an analog flanger to the sound.

Attack

Determines the amount of time that elapses between the playing of a key
and the start of the compressor effect.

Attack Offset

Determines the amount of time that elapses between the playing of a key
and the start of the wah effect.

Attack Time

[Dynamic Flanger, Dynamic Phaser, Dynamic Ring Modulator, Dynamic
Filter] Determines the attack time of the envelope follower.
[Beat Repeat] Determines the attack time of the gate effect for the entire
sound.

B
Balance

Determines the balance of the low frequencies and the high frequencies.

Bass

Determines the sound quality at the low frequencies.

Bit

Lowers the resolution (bit accuracy) of the sound.

Bit Assign

Determines how Word Length is applied to the sound.

Bit Link

Determines the offset Bit value for the Side against the Mid when M/S (Mid/
Side) is ON.

BPF1-10 Gain

Determines each output gain of BPFs 1 - 10 of the Vocoder effect.

Break

Sets Break point to On.

Brilliant

Determines the volume of the sound for which low frequencies are cut.

Effects

2-3-3

C
Chorus

Selects the Chorus type.

Click Density

Determines the frequency at which the click sounds.

Click Level

Determines the click level.

Color

Determines the fixed phase modulation.
The Color parameter may not be effective depending on the values of the
Mode and Stage parameters.

Common Release

Determines the amount of time that elapses between the releasing of a
note and the end of the effect.
This is a parameter of Multi Band Comp.

Compress

Determines the minimum input level at which the compressor effect is
applied.

Comp Attack

Determines the amount of time that elapses between the playing of a key
and the start of the compressor effect.

Comp Level

Determines the output level of the compressor effect.

Comp Output Level

Determines the level of the signal output from the compressor effect.

Comp Ratio

Determines the ratio of the compressor.

Comp Release

Determines the amount of time that elapses between the release of a note
and the end of the compressor effect.

Comp Sustain

Determines the amount of time of the compressor sustain.

Comp SW

Turns the compressor on or off.

Comp Threshold

Determines the minimum input level at which the compressor effect is
applied.

Control Type

This is a parameter of Control Delay.
Normal: The delay effect is always applied to the sound.
Scratch: The delay effect is not applied if both the Delay Time and
Delay Time Offset are set to 0.



Crush Type

Determines the Bit accuracy.

Curve

Determines the velocity curve toward the end of the sound.

Cut

Cuts the high frequencies.

Cutoff Frequency

Determines the Cutoff Frequency of the Filter for the effect sound.

Cutoff Frequency
Control

Determines the Cutoff Frequency of the Filter.

Effects

2-3-4

D
Damper Control

When the half-damper compatible FC3 footswitch is connected to the
instrument, the Damper Control parameter is controlled by the FC3,
allowing for partial damper effects.

Decay

Controls how the Reverb sound decays.

Delay Control

Determines the depth/amount of the effect type selected by Delay SW.

Delay Input Level

Determines the delay input level.

Delay Level

Determines the level of the delayed sound.

Delay Level C

Determines the level of the delayed sound for the center channel.

Delay Mix

Determines the level of the delayed mixed sound when multiple effects are
applied.

Delay Offset

Determines the offset value of the delay modulation.

Delay SW

Determines the delay type or modulation type.

Delay Time

Determines the delay of the sound in note value or absolute time.

Delay Time C, L, R

Determines the delay time for each channel: center, left and right.

Delay Time L>R

Determines the amount of time between the moment the sound is input
from the L channel and the moment the sound is output to the R channel.

Delay Time Offset R

Determines the delay time for the R channel as offset.

Delay Time R>L

Determines the amount of time between the moment the sound is input
from the R channel and the moment the sound is output to the L channel.

Delay Transition Rate

Determines the speed (rate) at which the delay time is changed from the
current value to the specified new value.

Density

Determines the density of the reverberations or reflections.

Depth

Determines a specific value—usually the degree or intensity of the effect—
depending on the selected Effect type.
For Space Simulator, this parameter determines the depth of the simulated
room.
For VCM Flanger, this parameter determines the Amplitude of the LFO
wave that controls the cyclic change of the delay modulation.
For Phaser Type, this parameter determines the Amplitude of the LFO
wave that controls the cyclic change of the phase modulation.
For Jazz Combo, this parameter determines the depth of chorus/vibrato.

Detune

Determines the amount by which pitch is detuned.

Device

Selects the device for changing how to distort the sound.

Diffusion

For Reverb type, this parameter determines the spread of the reverb.
For Tempo Phaser and Early Reflection, this parameter determines the
spread of the selected effect.

Direction

Determines the direction of the modulation controlled by the envelope
follower.

Distortion

Determines the extent to which the sound is distorted.

Dist EQ

Switches the EQ type for adjusting the quality of the distorted sound.

Dist Drive

Controls the amount of the distortion.

Dist Presence

Determines each distortion type setting.

Effects

2-3-5

Dist SW

Switches the distortion types.

Dist Tone

Adjusts the distortion tone level.

Dist Type

Determines the distortion type.

Divide Freq High

Determines the high frequency for dividing the entire sound into three
bands.

Divide Freq Low

Determines the low frequency for dividing the entire sound into three
bands.

Divide Min Level

Determines the minimum level of the portions extracted via the Slice effect.

Divide Type

Determines how the sound (wave) is sliced by the note length.

Drive

Determines the extent of a series of specific effects.
For distortion, noisy or slice effects, this parameter determines the extent
to which the sound is distorted.
For one of the Miscellaneous effects, this parameter determines the extent
to which the enhancer or talking modulator is applied.

Drive Horn

Determines the depth of the modulation generated via the rotation of the
horn.

Drive Rotor

Determines the depth of the modulation generated via the rotation of the
rotor.

Dry Level

Determines the level of the dry (unprocessed) sound.

Dry LPF Cutoff
Frequency

Determines the Cutoff Frequency of the Low-Pass Filter applied to the dry
sound.

Dry Mix Level

Determines the level of the dry sound.

Dry Send to Noise

Determines the level of the dry signal sent to the noise effect.

Dry/Wet Balance

Determines the balance of the dry sound and the effect sound.

Dyna Level Offset

Determines the offset value added to the output of the envelope follower.

Dyna Threshold Level

Determines the minimum level at which the envelope follower starts.

E
Edge

Sets the curve that determines how the sound is distorted.

Emphasis

Determines the change of the characteristics at high frequencies.

EQ Frequency

Determines the center frequency for each band of the EQ.

EQ Gain

Determines the level gain of the EQ center frequency for each band.

EQ High Frequency

Determines the center frequency of the high EQ band that is attenuated/
boosted.

EQ High Gain

Determines the amount of boost or attenuation applied to the high EQ
band.

EQ Low Frequency

Determines the center frequency of the low EQ band that is attenuated/
boosted.

EQ Low Gain

Determines the amount of boost or attenuation applied to the low EQ band.

EQ Mid Frequency

Determines the center frequency of the middle EQ band that is attenuated/
boosted.

EQ Mid Gain

Determines the amount of boost or attenuation applied to the middle EQ
band.

Effects

2-3-6

EQ Mid Width

Determines the width of the middle EQ band.

EQ Width

Determines the width of the EQ band.

EQ1(LSH) Frequency

Determines the center frequency of the EQ1 (Low Shelving).

EQ1(LSH) Gain

Determines the level gain of the EQ1 (Low Shelving) center frequency.

EQ2 Frequency

Determines the center frequency of the EQ2.

EQ2 Gain

Determines the level gain of the EQ2 center frequency.

EQ2 Q

Determines the EQ2 bandwidth, or range of EQ2 frequencies.

EQ3 Frequency

Determines the center frequency of the EQ3.

EQ3 Gain

Determines the level gain of the EQ3 center frequency.

EQ3 Q

Determines the EQ3 bandwidth, or range of EQ3 frequencies.

EQ4 Frequency

Determines the center frequency of the EQ4.

EQ4 Gain

Determines the level gain of the EQ4 center frequency.

EQ4 Q

Determines the EQ4 bandwidth, or range of EQ4 frequencies.

EQ5(HSH) Frequency

Determines the center frequency of the EQ5 (High Shelving).

EQ5(HSH) Gain

Determines the level gain of the EQ5 (High Shelving) center frequency.

ER/Rev Balance

Determines the level balance of the early reflection and Reverb sounds.

F
F/R Depth

Determines the depth of the F/R (front/rear) pan.
This parameter of Auto Pan is available when Pan Direction is set to L turn
or R turn.

FB Hi Damp Offset R

Determines the amount of decay in high frequencies for the R channel as
offset.

FB Level Offset R

Determines the feedback level for the R channel as offset.

Feedback

Determines the level of the sound signal output from the effect block and
returned to its own input.

Feedback (Level)

Determines a specific value, depending on the selected Effect type.
For the Reverb and Early Reflection effects, this parameter determines the
feedback level of the initial delay.
For the delay, chorus, flanger, comp distortion delay, and Tech effects, this
parameter determines the feedback level output from the delay and
returned to the input.
For Analog Delay (Short) and Analog Delay (Long), this parameter
determines the feedback level of the delayed sound.
For Tempo Phaser and Dynamic Phaser, this parameter determines the
feedback level output from the phaser and returned to the input.

Feedback High Damp

Determines the amount of decay of the high frequencies in the feedback
sound.

Feedback Level 1, 2

Determines the feedback level of the delayed sound in each of the first
series and second series.

Feedback Time

Determines the delay time of the feedback.

Feedback Time L, R

Determines the time of the feedback delay L and R.

Filter Output Level

Determines the output level of the Filter.

Effects

2-3-7

2-3-8

Filter Type

Determines a specific value, depending on the selected setting.
For Lo-Fi, this parameter selects the tonal characteristic type.
For Dynamic Filter and Control Filter, this parameter determines the Filter
Type.
For Beat Repeat, this parameter determines the filter type for the effected
sound.

Fine 1, 2

Fine-tunes the pitch for each of the first series and second series.

Flanger Control

Determines the delay value (the value of the Comb Filter) of the delay
modulation.

Formant Offset

This Vocoder parameter adds the offset value to the Cutoff Frequency of
BPF for the Inst input.

Formant Shift

This Vocoder parameter shifts the Cutoff Frequency of the BPF for Inst
input.

Freeze

When this parameter is set to On, the effect repeats until the parameter is
set to Off.

G
Gain

Determines the level gain of the pre-amplifier.

Gain Boost

Switches the level gain of the power amplifier.

Gate Time

For Slice, this parameter determines the gate time of the sliced portion.
For Beat Repeat, this parameter determines the gate time of the entire
sound.

H
Height

Determines the height of the simulated room.

High Attack

Determines the amount of time from the moment a key is pressed to the
moment the compressor is applied to the high frequencies.

High Cut

Cuts the level of the high frequencies.

High Damp Frequency

Determines the characteristic of the high frequencies.

High Gain

Determines the output gain for the high frequencies.

High Level

Determines the level of the high frequencies.

High Mute

Switches the mute status of the high frequencies.

High Ratio

Determines a specific value, depending on the selected Effect type.
For REV-X Hall, REV-X Room, HD Hall, HD Room, and HD Plate, this
parameter determines the ratio of the high frequencies.
For Multi-band Comp, this parameter determines the ratio of the
compressor for the high frequencies.

High Subband Gain Lch,
Rch

Determines the gain level of the high frequencies for the stereo sound (R
and L channels.)

High Threshold

Determines the minimum input level at which the effect is applied to the
high frequencies.

High Treble

Determines the gain of the high frequencies which is higher than the treble
setting.

Horn Speed Fast

Determines the speed of the horn when the slow/fast switch is set to Fast.

Effects

2-3-9

Horn Speed Slow

Determines the speed of the horn when the slow/fast switch is set to Slow.

HPF Cutoff Frequency

Determines a specific value, depending on the selected Effect type.
For Reverb type, tech type, or misc type, this parameter determines the
Cutoff Frequency of the High-Pass Filter.
For Vocoder, this parameter determines the Cutoff Frequency for the HighPass Filter applied to the microphone sound.

HPF Output Level

Determines how much the output from High-Pass Filter is mixed with the
output from the Vocoder.

I
Initial Delay

Determines the amount of time that elapses between the direct, original
sound and the initial reflections.

Initial Delay 1, 2

Determines the delay time until the initial reflection for each of the first
series and second series.

Initial Delay Lch, Rch

Determines the amount of time that elapses between the direct, original
sound and the initial reflections (echoes) that follow it for each of R and L
channels.

Input Level

Determines the input level of the signal.

Input Mode

Selects mono or stereo configuration for the input sound.

Input Select

Selects an input channel.

Inst Level

Determines the level of the keyboard performance sound which is to be
input to the Vocoder.

2-3-10 L
L/R Depth

Determines the depth of the L/R pan effect.

L/R Diffusion

Determines the spread of the sound.

Lag

Determines the lag time that is additionally applied to the delayed sound
specified via a note length.

Length

Determines the amount of time for repeating.

Length Change Quantize Quantizes the timing for changing the length parameter.
LFO Depth

Determines a specific value, depending on the selected Effect type.
For SPX Chorus, Symphonic, Classic Flanger, and Ring Modulator, this
parameter determines the depth of the modulation.
For Tempo Phase, this parameter determines the frequency of the phase
modulation.

LFO Phase Difference

Determines the L/R phase difference of the modulated wave.

LFO Phase Reset

Determines how the initial phase of the LFO is reset.

LFO Speed

Determines a specific value, depending on the selected Effect type.
For Chorus effects, Flanger effects, Tremolo and Ring Modulator, this
parameter determines the frequency of the modulation.
For Tempo Phaser and Tempo Flanger, this parameter determines the
modulation speed via a note type.
For Auto Pan, this parameter determines the frequency of the Auto Pan.

Effects

LFO Wave

Determines a specific value, depending on the selected Effect type.
For Flanger effects and Ring Modulator, this parameter selects the wave
for modulation.
For Auto Pan, this parameter determines the panning curve.
For VCM Auto Wah, this parameter selects the wave: sine or square.

Liveness

Determines the decay characteristic of Early Reflection.

Low Attack

Determines the amount of time from the moment a key is pressed to the
moment the compressor is applied to the low frequencies.

Low Cut

Cuts the level of the low frequencies.

Low Gain

Determines the output gain for the low frequencies.

Low Level

Determines the output level for the low frequencies.

Low Mute

Switches the mute status of the low frequencies.

Low Ratio

Determines the ratio of low frequencies.
When “REV-X Hall” or “REV-X Room” is selected, this parameter
determines the ratio of the low frequencies.
When “Multi-band Comp” is selected, this parameter determines the ratio
of the compressor for the low frequencies.

Low Subband Gain Lch,
Rch

Determines the gain level of the low frequencies for the stereo sound (R
and L channels).

Low Threshold

Determines the minimum input level at which the effect is applied to the low
frequencies.

Lower Range

[VCM Auto Wah, VCM Touch Wah, VCM Pedal Wah] Determines the
minimum value of the wah filter. The Bottom parameter is available only
when the value is less than that of the Top parameter.
[Control Flanger] Determines the minimum value of Flange Control.
[Control Phaser] Determines the minimum value of Phase Control.
[Control Filter] Determines the minimum value of Cutoff Frequency
Control.

LPF Cutoff Frequency

Determines the Cutoff Frequency of the Low-Pass Filter.

LPF Resonance

Determines the resonance of the low pass filter for the input sound.

2-3-11 M
Manual

Determines a specific value, depending on the selected Effect type.
For VCM Flanger, this parameter determines the offset value of the delay
modulation.
For VCM Phaser mono and VCM Phaser stereo, this parameter
determines the offset value of the phase modulation.

Master Volume

Determines the gain level of the power amplifier.

Mic Output Gate Switch




Mic Input Level

Determines the input level of the microphone sound.

Mic L-R Angle

Determines the L/R angle of the microphone.

Mic Position

Determines the relative position of the microphone to the speaker.

Mid

Determines the characteristic of the mid frequencies.

Off: Always passes HPF output and “Noise Generator” output.
On: Passes HPF output and Noise Generator output when there is
audio input data in “Inst.”

Effects

Mid Attack

Determines the amount of time from the moment a key is pressed to the
moment the compressor is applied to the mid frequencies.

Mid Cut

Cuts the level of the mid frequencies.

Mid Gain

Determines the output gain for the mid frequencies.

Mid Level

Determines the output level for the mid frequencies.

Mid Mute

Switches the mute status of the mid frequencies.

Mid Ratio

Determines the ratio of the compressor for the mid frequencies.

Mid Sweep

Determines the frequency range over which the mid frequencies are cut.

Mid Threshold

Determines the minimum input level at which the effect is applied for the
mid frequencies.

Mid Width

Determines the bandwidth to cut the mid frequencies.

Mix

Determines the volume of the effect sound.

Mix Level

Determines the level of the effect sound mixed with the dry sound.

Mid1 Subband Gain Lch, Determines the gain level of the Mid1 frequencies for the stereo sound (R
Rch
and L channels.)
Mid2 Subband Gain Lch, Determines the gain level of the Mid2 frequencies for the stereo sound (R
Rch
and L channels.)
Mid3 Subband Gain Lch, Determines the gain level of the Mid3 frequencies for the stereo sound (R
Rch
and L channels.)
Mod Depth

Determines the depth of the modulation.

Mod Depth Offset R

Determines the depth of the modulation for R channel as offset.

Mod Feedback

Determines the feedback level to the modulation.

Mod Gain

Determines the gain of the modulation.

Mod LPF Cutoff
Frequency

Determines the Cutoff Frequency of the Low-Pass Filter applied to the
modulated sound.

Mod LPF Resonance

Determines the Resonance of the Low-Pass Filter for the modulated
sound.

Mod Mix Balance

Determines the mix balance of the modulated element.

Mod Speed

Determines the modulation speed.

Mod Wave Type

Selects the wave type for modulation.

Mode

For VCM Phaser Mono and VCM Phaser Stereo, this parameter
determines the phaser type, or more specifically, the factor for forming the
phaser effect.
For British Combo, this parameter switches the pre-amplifier.

Modulation Phase

Determines the L/R phase difference of the modulated wave.

Modulator Input Level

Determines the input level of the modulator.

Move Speed

Determines how long it takes to move the sound from the current status to
the sound specified via the Vowel parameter.

M/S

When this parameter is set to On, each sound (center, left and right) is
modulated, respectively.

Effects

2-3-12 N
Noise Gate Attack

Determines the amount of time that elapses between the playing of a key
and the start of the Noise Gate effect.

Noise Gate Release

Determines the amount of time that elapses between the releasing of a
note and the end of the Noise Gate effect.

Noise Gate Threshold

Determines the minimum input level at which the Noise Gate effect is
applied.

Noise Level

Determines the noise level.

Noise LPF Cutoff
Frequency

Determines the Cutoff Frequency of the Low-Pass Filter applied to the
noise.

Noise LPF Q

Determines the Resonance of the Low-Pass Filter applied to the noise.

Noise Mod Depth

Determines the depth of the noise modulation.

Noise Mod Speed

Determines the speed of the noise modulation.

Noise Tone

Determines the tonal characteristics of the noise.

Normal

Determines the volume of the standard sound.

2-3-13 O
On/Off Switch

For the Isolator, turns the isolator on or off.
For the Stereophonic Optimizer, turns the effect on or off.

OSC Frequency Coarse

Determines the frequency at which the sine wave modulates the amplitude
of the input wave.

OSC Frequency Fine

Fine-tunes the frequency at which the sine wave modulates the amplitude
of the input wave.

Output

Determines the level of the signal output from the effect block.

Output Level

Determines the level of the signal output from the effect block.

Output Level 1, 2

Determines the level of the signal output from the first block and second
block, respectively.

Overdrive

Determines the degree and character of the distortion effect.

2-3-14 P
Pan 1, 2

Determines the pan setting for each of the first series and second series.

Pan AEG Min Level

This parameter of the Slice effect determines the minimum level of the
Amplitude EG applied to the panned sound.

Pan AEG Type

This parameter of the Slice effect determines the type of the Amplitude EG
applied to the panned sound.

Pan Depth

Determines the depth of the pan effect.

Pan Direction

Determines the direction toward which the stereo pan position of the sound
moves.

Pan Type

Determines the pan type.

Panning

Determines the spread of the chorus/vibrato.

Effects

Pedal Control

Determines the Cutoff Frequency of the wah filter.
For best results, assign this parameter to the Foot Controller in the
Controller Set display, then use the Foot Controller to control this
parameter.

Phase Control

Determines the depth of phase modulation.

Phase Shift Offset

Determines the offset value of the phase modulation.

Phaser SW

Determines the Phaser type

Pitch 1, 2

Determines the pitch in semitones for each of the first series and second
series.

Pitch Sweep

Sets the pitch to change gradually in each repetition.

Plate Type

Determines the sound echo type.

Play Speed

Determines the playback speed.

PM Depth

Determines the depth of the pitch modulation.

Preamp

Determines the gain level of the pre-amplifier.

Pre Mod HPF Cutoff
Frequency

Determines the Cutoff Frequency of the High-Pass Filter before
modulation is applied.

Pre-LPF Cutoff
Frequency

Determines the Cutoff Frequency of the Low-Pass Filter before modulation
is applied.

Pre-LPF Resonance

Determines the Resonance of the Low-Pass Filter for the input sound.

Presence

This parameter of the Guitar Amp effect controls high frequencies.

2-3-15 R
Random

Creates random repetition.

Ratio

Determines the ratio of the compressor.

Release

Determines the amount of time that elapses between the releasing of a key
and the end of the compressor effect.

Release Curve

Determines the release curve of the envelope follower.

Release Time

For Dynamic Flanger, Dynamic Phaser, Dynamic Ring Modulator, and
Dynamic Filter, this parameter determines the release time of the envelope
follower.
For Beat Repeat, this parameter determines the release time of the gate
for the entire sound.

Repeat

Determines whether Repeat is active or not.

Resonance

For Dynamic Filter and Control Filter, this parameter determines the
Resonance of the filter.
For Beat Repeat, the parameter determines the Resonance of the filter for
the effected sound.

Resonance Offset

Determines the Resonance as offset.

Retrigger Attack Time

Determines the attack time of the gate for the entire sound.

Retrigger Cycle

Determines the cycle for repeating.

Retrigger Gate Time

Determines the gate time for the entire sound.

Retrigger Release Time

Determines the release time of the gate for the entire sound.

Effects

Retrigger Quantize

When this parameter is set to On, the sequencer is repeated at the top of
the measure.

Reverb Delay

Determines the delay time from the early reflections until the
reverberations.

Reverb Time

Determines the Reverb time.

Reverse

Repeats reverse playback.

Room Size

Determines the size of the room in which the instrument sounds.

Rotor Speed Fast

Determines the speed of the rotor when the slow/fast switch is set to Fast.

Rotor Speed Slow

Determines the speed of the rotor when the slow/fast switch is set to Slow.

Rotor/Horn Balance

Determines the volume balance of the horn and rotor.

2-3-16 S
Sample Rate

Lowers the Sample Rate.

Sample Rate Link

Determines the offset value of the Sample Rate for the Side against the
Mid when M/S (Mid/Side) is ON.

Sampling Frequency
Control

Controls the sampling frequency.

Sensitivity

Determines a specific value, depending on the selected Effect type.
For Dynamic Flanger, Dynamic Phaser, and the Tech effects, this
parameter determines the sensitivity of the modulation applied to the input
change.
For VCM Touch Wah effects, this parameter determines the sensitivity of
the wah filter's change applied to the input change.
For British Combo effect, this parameter switches the gain level of the preamplifier.

Side Bit

Lowers the resolution (bit accuracy) for the Side chain.

Side Chain Input Level

Determines the Side chain input level.

Side Sample Rate

Lowers the Sample rate for the Side chain.

Slow-Fast Time of Horn

Determines how long it takes for the rotation speed of the horn to change
from the current speed (slow or fast) to the other one (fast or slow) when
the rotation speed is switched.

Slow-Fast Time of Rotor

Determines how long it takes for the rotation speed of the rotor to change
from the current speed (slow or fast) to another one (fast or slow) when the
rotation speed is switched.

Space Type

Selects the type of space simulation.

Speaker Air

Determines the characteristic of the speaker cabinet.

Speaker Type

For Amp Simulator 1 and Comp Distortion Delay, this parameter selects
the type of speaker simulation.
For US Combo, Jazz Combo, US High Gain, British Lead, Small Stereo,
British Combo, British Legend, and Multi FX, this parameter selects the
speaker type.

Effects

Speed

Determines a specific value, depending on the selected Effect type.
For VCM Flanger, this parameter determines the frequency of the LFO
wave which controls the cyclic change of the delay modulation.
For Phaser, this parameter determines the frequency of the LFO wave
which controls the cyclic change of the phase modulation.
For VCM Auto Wah, this parameter determines the speed of the LFO.
For Vinyl Break, this parameter determines the amount of time between
the moment the sound starts and the moment the sound is stopped.

Speed Adjust

For fine adjustment of the speed.

Speed Control

Switches the rotary speed.

Spread

Determines the spread of the sound.

Stage

Determines the step number of the phase shifter.

2-3-17 T
Treble

Determines the gain of the high frequencies.

Threshold

Determines the minimum input level at which the effect is applied.

Time Sweep

Determines the gradual change of the time length in each repetition.

Tone Shift

Switches the characteristic of the Tone control.

Type

Determines a specific value, depending on the selected Effect type.
For VCM Flanger, this parameter determines the flanger type.
For Wah effects, this parameter determines the type of the Auto Wah.
For Early Reflection, Gated Reverb, and Reverse Reverb, this parameter
determines the type of the reflection sound.
For US High Gain and British Lead, this parameter switches the type of the
amplifier.
For Analog Delay (Short) and Analog Delay (Long), this parameter
determines the characteristic of the delay effect.

2-3-18 U
Upper Range

For VCM Auto Wah, VCM Touch Wah, and VCM Pedal Wah, this
parameter determines the maximum value of the wah filter.
For Control Flanger, this parameter determines the maximum value of the
Flange Control.
For Control Phaser, this parameter determines the maximum value of the
Phase Control.

2-3-19 V
Vib Speed

Determines the speed of the vibrato. This parameter is active when Chorus
is set to “Vib.”

Vocoder Attack

Determines the Attack Time of the Vocoder sound.
The higher the value, the slower the attack.

Vocoder Release

Determines the Release Time of the Vocoder sound.
The higher the value, the slower the decay.

Volume

Determines the volume of the re-amp.

Vowel

Selects a vowel type.

Effects

2-3-20 W
Wah Pedal

Determines the position of the wah pedal.

Wah SW

Determines the type of the wah effect.

Wall Vary

Determines the wall status of the simulated room.
Higher values produce more diffuse reflections.

Width

Determines the width of the simulated room.

Width Low

Determines the stereo balance of the low frequencies.

Width Mid1, 2, 3

Determines the stereo balance of the Mid1, Mid2, and Mid3 frequencies.

Width High

Determines the stereo balance of the high frequencies.

Word Length

Determines the degree of sound roughness.

MIDI

3-1

Overview

3-1-1

About MIDI
MIDI (Musical Instrument Digital Interface) is a standard that allows electronic musical
instruments to communicate with each other, by sending and receiving compatible types of
MIDI data or messages. The types of MIDI data include Note, Control Change, Program
Change and various other types.
This synthesizer can control other MIDI devices by transmitting note-related data and various
types of controller data. It can also be controlled by incoming MIDI messages which
automatically determine the tone generator mode, select MIDI channels, Parts and Effects,
change parameter values, and of course play the Parts.

3-1-2

MIDI channels
MIDI performance data is assigned to one of sixteen MIDI channels. Using these channels,
1 through 16, the performance data for sixteen different instrument parts can be
simultaneously sent over one MIDI cable.
Think of the MIDI channels as TV channels. Each TV station transmits its broadcasts over a
specific channel. Your home TV set receives many different programs simultaneously from
several TV stations and you select the appropriate channel to watch the desired program. MIDI
operates on the same basic principle.

A
B

1
2

Figure 59: MIDI Channels

A: Weather Report
B: News
The transmitting instrument sends MIDI data on a specific MIDI channel (MIDI Transmit
Channel) via a single MIDI cable to the receiving instrument. If the receiving instrument's MIDI
channel (MIDI Receive Channel) matches the Transmit Channel, the receiving instrument will
sound according to the data sent by the transmitting instrument.

MIDI

C
Figure 60: MIDI Cable

A: MIDI Transmit channel 2
B: MIDI cable
C: MIDI Receive channel 2

3-1-3

MIDI ports
The above-mentioned sixteen-channel limit can be overcome by using separate MIDI “ports,”
each supporting sixteen channels. While a single MIDI cable is equipped to handle data over
up to sixteen channels simultaneously, a USB connection is capable of handling far more,
thanks to the use of MIDI ports. Each MIDI port can handle sixteen channels, and the USB
connection allows up to eight ports, enabling you to use up to 128 channels on your computer.

3-1-4

MIDI messages
MIDI messages can be divided into two groups:
 Channel messages (see section 3-2 Channel Messages) and
 System messages (see section 3-3 System Messages).
The following explanations show examples of MIDI messages. For more details about MIDI
messages (for example, for editing recorded MIDI data) please refer to any of the fine MIDI
guidebooks that are commercially available.

MIDI

3-2

Channel Messages

3-2-1

Note On/Off
Messages which are generated when the keyboard is played:
 Note On: Generated when a key is pressed.
 Note Off: Generated when a key is released.
Each message includes a specific note number, which corresponds to the key that is pressed,
plus a Velocity value based on how hard the key is struck.
Reception note range = C -2 (0) - G8 (127); C3 = 60
Velocity range = 1 - 127 (only Note On Velocity is received)

3-2-2

Pitch Bend
Pitch Bend messages are continuous controller messages that allow the pitch of designated
notes to be raised or lowered by a specified amount over a specified duration.
This message is a numerical representation of pitch bend wheel position.

3-2-3

Program Change
Messages that determine which Performance to select for each part. In combination with Bank
Select, you can select not only basic Performance numbers, but also variation Performance
bank numbers.
When you specify Program Change as a number in the range of 0 - 127, make sure
to specify a number that is one less than the program number listed in the
Performance List. (The program numbers for this instrument begin with 1.) For
example, to specify program number 128, you would actually enter Program Change
127.

3-2-4

Control Change
Control Change messages let you select a Performance bank, control volume, panning,
modulation, portamento time, brightness, and various other controller parameters, through
specific Control Change numbers.
Each Control Change number corresponds to a specific parameter.
Bank Select MSB
(Control #0) and
Bank Select LSB
(Control #32)

Messages that select variation Performance bank numbers by combining
and sending the MSB and LSB from an external device.
The functions of MSB and LSB messages differ depending on the tone
generator mode:
 MSB numbers select Performance Type.
 LSB numbers select Performance banks.
A new bank selection will not become effective until the next Program
Change message is received.
To change the Performances (including the Performance banks), transmit
Bank Select MSB, LSB, then Program Change in this order as a set.

Modulation (Control #1)

Messages that control parameters using the Modulation Wheel.
 127: Maximum vibrato.
 0: No change.

MIDI

Portamento Time
(Control #5)

Messages that control the duration of portamento, or a continuous pitch
glide between successively played notes.
 127: Maximum portamento time.
 0: Minimum portamento time.
When the parameter Portamento Switch (Control #65) is set to On, the
value set here can adjust the speed of the pitch change.

Data Entry MSB
(Control #6) and
Data Entry LSB
(Control #38)

These parameters specify the value of RPN MSB and RPN LSB events.
The parameter value is determined by combining the MSB and LSB.

Main Volume (Control #7) Messages that control the volume of each part.
 127: Maximum volume.
 0: Volume off.
This provides detailed control over the level balance among the parts.
Pan (Control #10)

Messages that control the stereo panning position of each part (for stereo
output).
 127: Positions the sound to the far right.
 0: Positions the sound to the far left.

Expression (Control #11) Messages that control intonation expression of each part during
performance.
This parameter produces volume variations during playback:
 127: Maximum volume.
 0: Volume off.
Hold1 (Control #64)

Messages that control sustain on/off.
Notes playing when the pedal is pressed will be sustained.
 64 - 127: Sustain on.
 0 - 63: Sustain off.
When the pedal supports half-damper playing, the control of sustain is
continuous, and not a simple switch. In other words, higher values results
in longer sustain time and lower values result in shorter sustain.

Portamento (Control #65) Messages that control portamento On/Off.
 64 - 127: Portamento On.
 0 - 63: Portamento Off.
When Mono/Poly is set to Mono and this parameter is On, you can
effectively perform legato passages by playing successive notes smoothly
with no breaks between notes (in other words, holding down one key and
not releasing it until the next is played).
The length (degree) of the portamento effect is controlled by Portamento
Time (Control #5).
Sostenuto (Control #66)

Messages that control sostenuto On/Off.
 64 - 127: Sostenuto On.
 0 - 63: Sostenuto Off.
Holding specific notes and then pressing and holding the sostenuto pedal
will sustain those notes as you play subsequent notes, until the pedal is
released.

MIDI

Harmonic Content
(Control #71)

Messages that adjust the filter Resonance set for each part.
The value set here is an offset value which will be added to or subtracted
from the Part data.

Release Time
(Control #72)

Messages that adjust the Amplitude EG Release Time set for each part.
This is an offset that is added to or subtracted from the Part data.

Attack Time
(Control #73)

Messages that adjust the Amplitude EG Attack Time set for each part.
This is an offset that is added to or subtracted from the Part data.

Brightness (Control #74) Messages that adjust the filter Cutoff Frequency set for each part.
This is an offset that is added to or subtracted from the Part data.
Decay Time (Control #75) Messages that adjust the Amplitude EG decay time set for each part.
This is an offset that is added to or subtracted from the Part data.
Effect1 Depth
(Reverb Send Level)
(Control #91)

Messages that adjust the send level for the Reverb effect.

Effect3 Depth
(Chorus Send Level)
(Control #93)

Messages that adjust the send level for the Chorus effect.

Effect4 Depth
(Variation Send Level)
(Control #94)

Messages that adjust the send level for the Variation effect.

Data Increment
(Control #96) and
Data Decrement
(Control #97)

Messages that increase or decrease the MSB value of pitch bend
sensitivity, fine tune, or coarse tune in steps of 1.
You will need to assign one of those parameters using the RPN in the
external device in advance.

NRPN MSB (Control #99) Used primarily as offset values for vibrato, filter, EG and other settings.
Data Entry is used to set the parameter value after specifying the
and NRPN LSB
parameter using the NRPN (Non-Registered Parameter Number) MSB
(Control #98)
and LSB. Once an NRPN is specified, the following data entry message
received on the same channel is processed as the value of that NRPN.
You can prevent operational errors by transmitting an RPN Null message
(7FH, 7FH) after using these messages to perform a control operation.
RPN MSB (Control #101)
and RPN LSB
(Control #100)

Used primarily as offset values for pitch bend sensitivity, tuning, and other
part settings.
First send the RPN (Registered Parameter Number) MSB and RPN LSB
to specify the parameter which is to be controlled. Then use Data
Increment/Decrement to set the value of the specified parameter.
Once the RPN has been set for a channel, subsequent data entry will be
recognized as the same RPN’s value change. Therefore, after you use the
RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results.
The RPN numbers that can be received are listed in Table 3: RPN
Parameter List.

The NRPN MSB and NRPN LSB cannot be handled by the tone generator block in
some synthesizers, although they can be recorded to a Song/Pattern track.
/i

MIDI

Table 3:

RPN Parameter List

RPN

3-2-5

MSB

LSB

000

Parameter
Name

Data Entry (Range)

Function

MSB

LSB

Pitch Bend
Sensitivity

0 - 24

Specifies the amount of pitch bend
produced in response to pitch bend data
in semitone increments.

001

Fine Tune

0 - 127

Adjusts the tuning in 100/8192 cent
increments.
The setting values are between -8192
and +8191 based on the formula “MSB x
128 + LSB.”

000

002

Coarse Tune

-24 - +24

Adjusts the tuning in semitone
increments.

127

Null

Voids the RPN and NRPN settings so no
tone generator settings are changed
when subsequent Data Entry messages
are received.

Channel Mode message
All Sounds Off
(Control #120)

Clears all sounds currently sounding on the specified channel.
However, the status of channel messages such as Hold1 or Sostenuto is
maintained.

Reset All Controllers
(Control #121)

Resets all controllers to their initial values.
However, some controllers are not affected.

All Notes Off
(Control #123)

Clears all notes currently on for the specified channel.
However, if Hold1 or Sostenuto is on, notes will continue sounding until
these are turned off.

Omni Mode Off
(Control #124)

Performs the same operation as when an All Notes Off message is
received.
The receive channel is set to 1.

Omni Mode On
(Control #125)

Performs the same operation as when an All Notes Off message is
received.
Only the receive channel is set to Omni On.

Mono (Control #126)

Performs the same operation as when an All Sound Off message is
received.
If the 3rd byte parameter (the parameter that determines the mono number)
is 0 - 16, the parts corresponding to those channels are set to Mono.

Poly (Control #127)

Performs the same function as when an All Sounds Off message is
received.
Sets the corresponding channel to Poly Mode.

MIDI

3-2-6

Channel After Touch
Messages that let you control the sounds by the pressure you apply to the keys after the initial
striking of the keys, over the entire channel.

3-2-7

Polyphonic After Touch
Messages that let you control the sounds by the pressure you apply to the keys after the initial
striking of the keys, for each individual key.

MIDI

3-3

System Messages

3-3-1

System Exclusive Messages
Changes internal tone generator settings such as Part and effect settings, remote switch
control, tone generator mode switching, and others via MIDI.
The Device Number of the synthesizer must match the Device Number of the external MIDI
device when transmitting/receiving bulk data, parameter changes or other System Exclusive
Messages. System Exclusive Messages control various functions of this synthesizer, including
master volume and master tuning, tone generator mode, effect type and various other
parameters. Some System Exclusive Messages are called Universal Messages (for example,
GM System On) and do not require a Device Number.

3-3-2

General MIDI (GM)
System On

When this message is received, the synthesizer will receive MIDI
messages that are compatible with GM System Level 1, and consequently
will not receive Bank Select messages. When the instrument receives the
GM System On message, each receive channel of parts 1 - 16 (in a Multi)
will be assigned to 1 - 16.
For best results, make sure that the interval between this message and the
first note data of the song is a quarter note or longer.
Data Format: F0 7E 7F 09 01 F7 (Hexadecimal).

MIDI Master Volume

When this message is received, the Volume MSB will be effective for the
System Parameter.
Data Format: F0 7F 7F 04 01 ll mm F7 (Hexadecimal), in which:
 ll (LSB) = ignored;
 mm (MSB) = appropriate volume value.

System Realtime Messages
System Common messages control the sequencer.
Start (FAH)

This message lets the MIDI sequence data start playing back from the
beginning.
This message will be transmitted when pressing the [] (Play) button at
the top of the Song or Pattern.

Continue (FBH)

This message lets the MIDI sequence data start playing back from the
current song position.
This message will be transmitted when pressing the [] (Play) button at
the middle of the Song or Pattern.

Stop (FCH)

This message causes MIDI sequence data (song) to stop playing back.
This message will be transmitted when pressing the [] (Stop) button
during playback.

Active Sensing (FEH)

This is a type of MIDI message used to prevent unexpected results when
a MIDI cable is disconnected or damaged while the instrument is being
played.
Once this message has been received, if no MIDI data is subsequently
received within an interval period, the same function is performed as when
All Sounds Off, All Notes Off, and Reset All Controllers messages are
received, and the device returns to a status in which FEH is not monitored.
The interval period is approximately 300 msec.

Timing Clock (F8H)

This message is transmitted with a fixed interval (24 times per 1/4 note) to
synchronize connected MIDI instruments.

Yamaha Website (English only)
http://www.yamahasynth.com
Yamaha Downloads
http://download.yamaha.com/

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Author                          : Manual Development Department, Yamaha Corporation
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