Benutzeranleitung / Produktwartung EX5 des Produzenten Yamaha
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Menü TONE GENERA TOR/REAL TIME CONTROL/EXTENDED SYNTHESIS TONE GENERA TOR/REAL TIME CONTROL/EXTENDED SYNTHESIS OW NER ’ S M A N U A L OW NER ’ S M A N U A L MUSIC SYNTHESIZER/REAL TIME CONTROL/EX.
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92-469- 3 IMPOR T ANT SAFETY INSTR UCTIONS INFORMA TION RELA TING TO PERSONAL INJUR Y , ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST . W ARNING- When using any electrical or electronic product, basic precautions should always be followed.
1. IMPORT ANT NOTICE: DO NO T MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Y amaha may void your authority , granted by the FCC, to use the product.
PRECAUTIONS PLEASE READ CAREFULL Y BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. W ARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock , short-circuiting, damages, fire or other hazards.
6 The Y amaha EX5 and EX7 Music Synthesizers, and the EX5R T one Generator , offer more music performance and production po wer than ev er before a vailable in a single k eyboard or tone generator unit.
7 Introductor y Section The Controls & Connectors ................................8 Setting Up ........................................................16 The Supplied Disks, Demos, & F actory Set Data ....25 EX System Ov ervie w ..............
SCENE 2 1 OCTAV E DOWN UP PITCH MODULA TION 1 MODULA TION 2 A D GAIN VOLUME MODE EX5/7 1 OCTAVE [DOWN] and [UP] Keys (EX5 and EX7 only) Shift the pitch of the keyboard up or down up to five octaves in one-octave steps. The pitch is shifted one octave in the corresponding direction, up to the maximum, each time one of these keys is pressed.
9 Introductor y Section 123456 POWER EXIT SHIFT TONE GENERATOR REAL TIME CONTROL EXTENDED S YNTHESIS 123456 VOICE PE RF OR M SONG P ATT ER N SAMPLE JOB LM O N O R BRE ATH PHONES VOLUME AD INPUT A D GA.
10 Introductor y Section MODE VOICE PERFORMANCE SONG PA T TERN SAMPLE EDIT JOB STORE UTILITY DISK FWD REW TOP KNOB MODE ARPEGGIO COMPARE KEYMAP EF BY PASS REC STOP PLAY F1 F2 F3 F4 F5 F6 F7 F8 1 2 3 4 5 6 CANCEL CURSOR DATA DEC NO INC YES EXIT SHIFT EX5/7 % MODE K e ys The MODE ke ys select the corresponding EX modes, or appropriate sub-modes.
11 Introductor y Section TONE GENERATOR REAL TIME CONTROL EXTENDED S YNTHESIS 123456 VOICE PE RF OR M SONG P ATT ER N SAMPLE JOB LM O N O R BRE ATH PHONES VOLUME AD INPUT A D GAIN STORE UTILITY DISK S.
12 Introductor y Section CURSOR DATA DEC NO INC YES BANK PROGRAM PA RT TRACK ELEMEN T SELECT ELEME NT ON OFF COMMON OSC PITCH FILTER AMPLIT UDE LFO CONTROL EFFE CT ABCDEFGH 12345678 12341234 91 0 1 1 .
13 Introductor y Section TONE GENERATOR REAL TIME CONTROL EXTENDED S YNTHESIS 123456 VOICE PE RF OR M SONG P ATT ER N SAMPLE JOB LM O N O R BRE ATH PHONES VOLUME AD INPUT A D GAIN STORE UTILITY DISK S.
14 Introductor y Section CAU TION A TTENTION WARNING :RISQUE D E CHOC ELE CTRIQ UE NE P AS OUV RIR. TO REDUCE THE RISK OF FIR E OR ELECTRIC SHOC K,DO NOT EX POSE TH IS PRO DUCT TO RAIN OR MOISTU RE.
15 Introductor y Section AC INLET CA UTION A TTENTI ON WARNING RISQU E DE CHOC ELE CTRIQ UE NE PA S OUVRIR. TO RE DUC E THE RIS K OF FIR E OR ELE CTRIC SH OCK, DO NOT EXPO SE THIS PRO DUCT TO RAIN OR MOISTUR E.
16 Introductor y Section Setting Up The EX5 or EX7 can be used virtually on its o wn — with a pair of headphones or a simple instrument amplifier — or it can be the core of comple x and po werful music pr oduction system. Naturally , the EX5R T one Generator will r equire an e xternal MIDI ke yboard or other controller .
External Controllers In addition to the many r ealtime controllers pr ovided on the EX5 and EX7 panel (the PITCH wheel, MODULA TION 1 wheel, MODULA TION 2 wheel and Ribbon Controller), plus the six Co.
18 Introductor y Section Audio Connections ■ Headphones F or private listening and pr actice headphones are ideal. Y ou don't have to hook up and complete sound system, and you w on't disturb the neighbors no matter how loud or late y ou play .
■ Mixing Console In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially ha ve tw o individual outputs: the INDIVIDU AL OUTPUT 1 and 2 jacks. An additional four individual outputs (3 through 6) can be added b y installing the optional EXIDO1 Individual Output Board.
20 Introductor y Section ■ Digital Audio (Option) The optional EXDGO1 Digital Output Board pr ovides an AES/EBU-format digital output which can be directly connected to an e xternal digital recor der , mixing console , or other digital processing equipment.
■ External Sampling Sources The Sampling mode can be used to sample external audio sour ces as well as internal v oice data. The external sour ce can be either a line-lev el source such as a CD pla yer or other audio playback device , or a microphone for direct sampling of liv e sound.
22 When connected to a personal computer (MacOS® or Windows®), either dir ectly or “ chained” via an external har d disk (see “NOTES” regar ding SCSI ID numbers, below), w ave data can be tr.
23 The EX5R T one Generator will additionally r equire an e xternal MIDI master ke yboard or other MIDI controller . T o ensure r eliable error-fr ee transmission of MIDI data alw ays use high-quality MIDI cables obtained from y our Y amaha dealer or music equipment stor e .
24 Power -on Procedure Alwa ys follow pr oper procedur e when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!). 1 Make sur e y our sound system's main le vel/v olume control(s) and the EX v olume control are turned all the w a y down prior to turning po wer on.
25 Introductor y Section The Supplied Disks, Demos & Factor y Set Data The EX5, EX5R, and EX7 are supplied with f our Demonstration Disks containing v arious types of pre-pr ogrammed demo data whi.
26 3 Select File Load Press the [F2] function k ey to go to the File Load menu. 4 Select All Data Press the [F1] function k ey to select All Data. Please note that all-data files ha ve the suffix “ .
27 Introductor y Section Restoring the Factor y Set Data In addition to the preset v oices (which cannot be erased or o verwritten), the EX5, EX5R, and EX7 come with a range of pr e-progr ammed voices, performance setups, and other data in memory .
28 EX System Over view The EX system can be broadly categorized into f our main blocks, as sho wn in the diagram belo w: 1 The ke yboard, contr ollers, and MIDI control. The EX5 and EX7 feature k eyboar ds (76 and 6 1 keys, r espectively) and a r ange of realtime controllers not a vailable on the EX5R T one Generator .
29 Introductor y Section Extended Synthesis Ov er the y ears Y amaha has dev eloped a range of industry-leading music synthesis technologies, each with its individual strengths and adv antages.
30 Introductor y Section ■ Layered A WM V oices In A WM voices up to four A WM elements can be layer ed to create extr aordinarily rich v oice textur es.
■ Controllers & Modifiers The input to an acoustic wind instrument comes from the pla yer's lungs, tr achea, oral ca vity , and lips. In a string instrument it comes from the pla yer's arm mo vement, tr ansmitted to the string via a bow .
32 Introductor y Section ■ VL System Over view ■ VL + A WM V oices A single VL element can be combined with up to three A WM elements. Effects Elements 1 2 3 4 VL AWM AWM AWM Element Driver Pipe/S.
33 Introductor y Section AN Synthesis (Analog Physical Modeling) Although synthesizers hav e come a long wa y since the days of VCOs (V oltage Controlled Oscillators), VCFs (V oltage Controlled Filter.
34 Introductor y Section ■ AN (Poly)+A WM V oices ■ AN (Layer)+A WM V oices As shown in the diagr ams below , a single AN element can be combined with up to three A WM elements in AN(P oly)+A WM voices. In the EX5 and EX5R, two AN elements can be combined with up to two A WM elements in AN(Lay er)+A WM V oices.
35 Introductor y Section ■ FDSP V oice Element Str ucture In an FDSP voice up to four A WM elements can be fed to the FDSP stage or routed dir ectly to the normal effect stage as requir ed. ■ AN+FDSP V oices AN+FDSP voices allo w a single AN element to be lay ered with up to thr ee A WM elements feeding the FDSP stage .
36 Introductor y Section V oice & Per formance Selection One of the first things y ou'll w ant to do with your EX5, EX5R, or EX7 is select and pla y some of its v oices or performance combinations … this section will sho w y ou ho w to do just that.
37 Introductor y Section 2 Select a V oice or P erformance In the V oice mode the P1, P2, I1, and I2 memory areas can be dir ectly selected by pr essing the corresponding function k ey , [F1] through [F4], and successiv ely pressing [ENTER] k ey . Each memory area contains 8 banks of 16 v oices each (8 x 16 = 128).
38 Introductor y Section ■ Alternate Selection Methods The [INC] and [DEC] K eys The [INC] and [DEC] K eys ar e best used for small, step-wise changes — e .g. selecting adjacent voice or performance numbers, or numbers that ar e only a few steps a wa y .
39 Introductor y Section Normal V oices & Drum V oices A WM voices can be divided into two gr oups : normal voices and drum v oices. • A normal voice is simply a pitched voice which can be pla yed on a musical scale fr om low to high, such as a piano or trumpet.
40 Introductor y Section V oice Str ucture & Editing Hints Although the EX Extended Synthesis tone generator system is quite complicated, the o ver all system and interface hav e been designed to make v oice editing as easy and efficient as possible .
41 Introductor y Section PITCH The PITCH stage determines the pitch of the sound. In addition to allowing the pitch of the v oice to be controlled fr om the ke yboard or via MIDI note data, it allo ws pitch control from the pitch bend wheel, ke yboard aftertouch, or an y other assignable controller .
42 Introductor y Section ■ Overall System Structure If we no w put all four elements together , and add in the all-important control and effect blocks, the system looks something like this: In this .
43 Introductor y Section ■ Element Configuration ■ Element Combinations Although the various element combinations possible with each v oice type wer e introduced in the “Extended Synthesis” section (page 29), we’ll co ver them again her e because they are so pertinent to the current topic .
44 AN(P oly) V oices (EX5, EX5R, and EX7) A standard (P oly) AN voice can hav e 1 AN element and from 1 to 3 A WM elements. If you’r e striving to create a classic analog synth or FM synthesizer type sound, it is pr obably better to start with the single AN element alone .
45 AN+FDSP V oices (EX5 and EX5R only) AN+FDSP voices can ha ve 1 AN element and fr om 1 to 3 FDSP elements. The FDSP stage can be applied to any or all of the A WM elements used, as requir ed. Polyphony The maximum polyphony of the EX5 and EX5R is 126 notes, and the maximum polyphon y of the EX7 is 64 notes.
46 ■ Element Muting Another necessity when editing a multi-element voice is the ability to turn individual elements off or on. Y ou might need to concentr ate on the sound of a single element, for ex ample , and need to “mute” any other elements so y ou can hear only the target element while making subtle changes.
47 Introductor y Section ■ Relative & Absolute Controller Knob Data Entr y Normally when you r otate a Controller Knob being used for data entry , the corresponding v alue changes in relativ e fashion — i.e . the knob increases or decr eases the value of the par ameter in relation to the v alue that was initially on the displa y .
48 V oice Store Procedure T o store an edited v oice: 1 Pr ess the [STORE] k e y After editing the voice as r equired, press the [STORE] k ey either while still in the V oice Edit mode , or immediatel.
49 The Power of the Per formance Mode The EX P erformance mode allows up to 16 differ ent voices to be assigned to differ ent “parts” and combined in a number of wa ys. The results can be ideal for r eal-time performance — as the name of the mode suggests — or for sequencing via the EX Song or P attern mode , or via external MIDI control.
50 Introductor y Section ■ Split Keyboard Instead of lay ering voice parts o ver the same k eyboard r ange , different parts can be assigned to different ar eas of the ke yboard for split k eyboard setups. A simple e xample w ould be to assign a bass voice to the left-hand section of the k eyboar d and a piano voice to the right-hand section.
51 Introductor y Section ■ Arpeggiator Accompaniment The EX Arpeggiator (page 6 1) is capable of producing an essentially unlimited r ange of patterns which can be tailored to mak e ideal accompaniment for a wide spectrum of musical styles.
52 ■ V oice Editing From the Per formance Mode There ma y be times when you’ll w ant to actually edit a voice being used in the P erformance mode rather than just the P erformance parameters.
53 Introductor y Section Per formance Store Procedure T o store an edited performance setup: 1 Press the [STORE] k e y After editing the performance setup as requir ed, press the [STORE] k ey either w.
54 Per formance Mode DSP Limitations The DSP (Digital Signal Processing) system used to cr eate the EX effects is also used by the AN, FDSP , and VL (EX5/5R only) tone generators to cr eate voices. This means that less DSP capacity is av ailable to produce effects when the afor ementioned voice types ar e used.
55 The Controllers In addition to the standard pitch bend and modulation wheels, the EX5 and EX7 offer a r ange of assignable controllers that can be used f or unprecedented sound contr ol. The EX5R T one Generator also offers e xtended controller v ersatility for enhanced pr ogramming and performance contr ol.
56 Ribbon Controller (EX5/EX7) The Ribbon Controller is a touch sensor that y ou control b y running a finger lightly across its surface to the left or right.
57 Scene Switching & Morphing The SCENE [1] and [2] ke ys can be used to memorize and recall differ ent settings of the Controller Knobs for the voices, so a complete set of knob settings can be r ecalled instantaneously . Y ou can also “morph” smoothly between memorized scenes for ne w expr essive effects.
Introductor y Section 58 ■ Scene Control (Scene Morphing) The term “morph” comes from the w ord “metamorphosis,” meaning to change fr om one form or shape to another . In the case of the EX scenes it means to change gradually and smoothly fr om one scene to another , instead of switching abruptly as described in the preceding section.
59 The source contr ollers are: The destination parameters ar e organized into 8 r elated groups, listed belo w . The actual parameters av ailable in each group for a giv en voice will depend to some e xtent on the type of voice and how it is set up, the type of effects selected, etc .
60 Sequencer Functions The EX5, EX5R, and EX7 hav e three separ ate sequencing functions suited to different purposes: ● The Song Mode The EX Song Sequencer is a full-featured 16-tr ack sequencer complete with real-time pla y effects — including “groo ve” quantization — and a compr ehensive r ange of editing functions.
61 ● The Arpeggiator 4-track arpeggio patterns — fr om simple to sophisticated — can be stored as performance parameters for automatic r ecall and use with individual performance setups, or used with voices in the V oice mode .
62 Introductor y Section Sequence Record Modes & Editing The number and type of recor ding modes av ailable is different for each EX sequencer function: ● Replace In the “R eplace” real-time.
63 Introductor y Section ● Step The Step recor d mode lets you enter each tr ack note-by-note , with precise control o ver the timing, length, and loudness of each note . Y ou can recor d entire tracks using the Step mode , or use it to brush-up and add data to an existing tr ack.
64 Play Ef fects & Groove Quantization An important feature of all EX sequencer functions is “Pla y Effects,” … including “Groo ve Quantization.” Play Effects affect song, pattern, or arpeggio pla yback in real time , and are not actually recor ded with the sequence data.
65 The EX Ef fect System The EX effect system is not an “ extr a.” It is a top-quality digital signal processing system which is capable of producing effects riv alling and e v en ex ceeding those of man y separate component effect units in quality .
66 Inser tion Ef fects Two insertion effect units ar e pro vided in addition to the R ev erb and Chorus system effect units described abov e . The Effect 1 unit includes 24 effects including chorus, distortion and ov erdriv e , amp simulation, auto wah, equalization and mor e .
67 Ef fects In the Per formance Mode In the P erformance mode the insertion effects apply to the voices e xactly as the y wer e set up in the V oice mode . The V oice mode R ev erb and Chorus unit settings, how ev er , are not used in the P erformance mode .
68 DSP Limitations The DSP (Digital Signal Processing) system used to cr eate the EX effects is also used by the AN, FDSP , and VL (EX5/5R only) tone generators to create v oices. This means that less DSP capacity is av ailable to produce effects when the afor ementioned voice types ar e used.
69 Sampling The EX Sample mode lets y ou “sample” sounds via a microphone or line sour ce which can be used in A WM voice elements (samples ar e assigned to v oice elements via the V oice Edit OSC displa y — page 80), or mapped to individual ke ys of the ke yboard in the K ey Map mode (page 72).
70 Introductor y Section ■ Record Mode & Input Settings Once your sour ces are connected as r equired (if y ou will be sampling from an external sour ce), press the [S AMPLE] ke y to engage the Sample mode , and then the [F8] function ke y (“[REC]”) to go to the SAMPLE REC displa y .
71 ■ Recording the Sample After making sure that y our source is pr operly connected and the input parameters and le vels are set, set the Trigger Lev el if necessary (page 177), set the desired maximum length of the sameple via the Length parameter (page 177), and pr ess the [F8] function ke y (“[ST ANDB Y]”).
72 The Key Map Mode The EX K e y Map mode allows y ou to assign individual samples, patterns, or pattern tracks to different k e ys of the ke yboard (or MIDI note numbers in the case of the EX5R). The assigned samples and/or patterns can then be pla y ed via the EX5/EX7, or via an external sequencer or other MIDI controller on all models.
73 4 Specify a pattern or sample If you chose to map a pattern to the selected note , use the cursor keys in conjunction with the Data Dial, [DEC]/[INC] ke ys, or appropriate Contr oller Knobs to spec.
74 About The Tune Screen Pressing the [F2] k ey selects the Tune scr een, which is only av ailable for samples and includes two tune-related par ameters: Coarse and Fine . Coarse: R aises or low ers the pitch of each sample in semitone steps. Settings: -64~+63 Fine: Allows fine adjustment of the pitch of each element.
75 V oice Mode Reference Section V oice Number V oice Number Bank Bank Program Number Program Number 001 A 1 065 E 1 002 A 2 066 E 2 003 A 3 067 E 3 004 A 4 068 E 4 005 A 5 069 E 5 006 A 6 070 E 6 007.
76 V oice Mode 4 V oice Category/Name V oice Category The respectiv e voices ar e organized into the two-letter-code V oice Categories. Each Category code implies the voice’s property . V oice Name Shows the curr ent voice name in up to 12 letters. 5 V oice Type Indicates the voice type of the curr ent voice .
Press [EDIT] k ey on the panel while in V oice mode to enter V oice Edit mode . When you enter V oice Edit mode , the following menu appears. Belo w are the eight menus in V oice Edit mode . Before entering V oice Edit mode , select the voice to be edited.
DSP Limitations The DSP (Digital Signal Processing) system used to create the EX effects is also used b y the AN, FDSP , and VL (EX5/5R only) tone generators to cr eate voices. This means that less DSP capacity is av ailable to produce effects when the aforementioned v oice types are used.
79 V oice Mode ■ Mono/P oly Selects whether the voice is pla yed monophonically (only one note at a time) or polyphonically (multiple notes sounding simultaneously). ❏ Settings: mono, poly ■ K e y Assign Selects sngl (single) or mlti (multi) K ey Assign.
80 V oice Mode Setting the V oice Name 1 Press [F8] to enter the Name scr een. 2 Mov e the [ ↓ ] cursor to the far left with the Cursor key . 3 Use [INC]/[DEC] or Data Dial to select the Category . The category names help you to sort the v oices you hav e created.
81 V oice Mode ■ Wa v e P l a y Switches how the w av e is played back. Ther e are fiv e choices: “FwdLp,” “Fw dLpEx,” “FwdNoLp,” “R evNoLp” or “default.
82 V oice Mode [F8]: ZONE Sets the zone of each element (the ke yboard and velocity r anges within which the sounds are pla yed). A different zone can be set for each element. ■ Note Limit Lo w Sets the low est note of the zone on the ke yboard, for each element.
83 V oice Mode [F3]: PITCH The Pitch parameters adjust the pitch of the w av e and configures the tuning system. Ther e are thr ee menus with various par ameters that can be applied to each element. [F6]: P ARAM (P arameters) [F7]: SC ALE [F8]: EG (Env elope Generator) [F6]: P ARAM (Parameters) A djusts each wa ve’s tuning and the PEG settings.
84 V oice Mode ■ Micro Tuning Sets the Micro Tuning (tuning system, or temperament) each element will use . Beginning with the standard tuning “ equal temperament,” there ar e 32 tuning systems av ailable . ❏ Settings: Each system is listed below .
85 V oice Mode ■ Time Scale The Time Scale function determines the speed of change in the PEG according to the pitch pla yed on the ke yboard. When the Time Scale is set to a positive v alue , the low er the note play ed on the ke yboard, the slo wer the change that occurs o ver time .
86 V oice Mode [F4]: FIL T (Filter) The Filter parameters configur e the filter setting which can be applied to each element to change the timbre of the sound.
87 V oice Mode ■ High/Lo w Gain V el (High/Lo w Gain V elocity) Sets the velocity sensitivity for signal le vels designated by the High Gain and Lo w Gain. When the High/Low Gain V el is set to a positiv e value , the harder a note is pla yed on the k eyboar d, the more the amount of gain is applied.
88 V oice Mode ■ High1/2 Gain Sets the signal lev els for the frequencies passing abov e the High1/2 Freq points. ❏ Settings: –16~0~+16 ■ High1/2 Gain V el (High1/2 Gain V elocity) Sets the velocity sensitivity for signal le vels designated by the High1/2 Gain par ameter .
89 V oice Mode HPF (High P ass Filter) The HPF passes the signals abov e the specified cutoff frequenc y set in the Freq par ameter (below), and cuts the signals below it. ■ Freq (Fr equenc y) Sets the cutoff frequenc y . This determines the cutoff frequenc y of the filter , or the frequenc y below which all other frequencies ar e filtered out.
90 V oice Mode PEQ (P arametric Equalizer) The PEQ increases or decr eases the signal lev els around the fr equency designated in Fr eq (see below) using the Gain parameter . ■ Freq (Fr equenc y) Sets the center frequenc y . The signal levels of the band of frequencies designated her e can be increased or decreased b y the Q setting.
91 V oice Mode [F5]: DCF (Dynamic Control Filter) Configures the par ameters for the Dynamic Control Filter . There ar e various kinds of filters that change the timbre of the sound b y passing only specific frequencies thr ough from the harmonic contents (other frequencies ar e filtered out).
92 V oice Mode ■ Thru Gain Determines the amount of the signals that does not pass through the filter , or the original dry sound. ❏ Settings: 0~255 The Thru Gain is display ed and effective only when a filter type other than LPF24A, LPF24D, LPF18 and Thru is selected, and the Connect setting (see below) is set to seri (serial).
93 V oice Mode LPF6(Lo w P ass Filter 6): -6dB/oct low pass filter-type digital dynamic filter with no resonance . HPF (High P ass Filter) The HPF filter passes the signals abov e the specified cutoff frequenc y , and cuts the signals below it.
94 V oice Mode ■ F1/2 V el Freq (Filter 1/2 V elocity Frequenc y) Sets the velocity sensitivity for the cutoff fr equency parameter . When F1/2 V el Freq is set to a positiv e value , the harder a note is play ed on the ke yboard, the higher the cutoff frequenc y becomes, and a greater change occurs in the timbr e of the sound.
95 V oice Mode [F8]: EG (Filter Envelope Generator) Sets the FEG, which determines how the timbr e of the sound will change ov er time , from when the k ey is pressed, held, then r eleased. The FEG is effective for both DCF1/2, and different settings can be made for each element.
96 V oice Mode ■ L (Loop) Sets the loop point for the FEG. As seen in the FOLLO WING diagram, this function sets the position to be returned to after r eaching the Decay 2 (loop point).
97 V oice Mode ■ Le v el Ke yF ollow Sets the Lev el K eyF ollo w for each element. The Lev el K eyF ollow function determines the output le vel in accordance with the notes pla yed on the k eyboar d. When Lev el K eyF ollo w is applied, the output lev el is increased or decr eased relativ e to the basic pitch, which is designated here as C3.
98 V oice Mode Setting the Amplitude Scaling Y ou can set the note (pitch) and the offset lev el for each break point (BP1-4), as sho wn in the following ex ample . In this ex ample , E1 has a lev el of –4. This means that the present output le vel is 76, because 80-4 equals 76.
99 V oice Mode ■ Deca y Le vel V el (Deca y Lev el V elocity) Increase or decr ease the Decay Le vel with the velocity . ❏ Settings: –7~0~+7 ■ Attack Mode Selects the Attack Mode (1 or 2) or switches back and forth between modes. ❏ Settings: 1 (Attack Mode 1), 2 (A ttack Mode 2) More information about each mode is pr ovided belo w .
100 V oice Mode [F6]: LFO (Low Frequency Oscillator) The LFO parameters set the LFO . The LFO oscillator generates lo w frequenc y signals that allow for modulation to be applied to specific aspects of the voice . Applying an LFO wav e (shape of modulation) to the pitch, filter , or amplitude creates effects such as vibrato, w aw , and tremolo.
101 V oice Mode ■ F ade Sets the fade-in effect of the LFO after the designated delay time has passed. As sho wn in the diagram belo w , the larger the value , the longer it takes for the LFO effect to r each the peak in modulation. ❏ Settings: 0~255 This setting can be applied to pitch only .
102 V oice Mode ■ AMD (Amplitude Modulation Depth) Determines how gr eatly the LFO will affect the output lev el. Larger v alues widen the range of the volume change . ❏ Settings: 0~127 ■ PMD (Pitch Modulation Depth) Determines how gr eatly the LFO will affect the pitch.
103 V oice Mode ■ Sync The parameters for LFO2 Sync ar e the same as for LFO1 Sync . F or an explanation, see page 1 00. ■ Dela y The parameters for LFO2 Dela y are the same as for LFO1 Delay . F or an explanation, see page 1 00. ■ F ade The parameters for LFO2 F ade are the same as for LFO1 F ade .
104 V oice Mode ■ P ort Mode (P ortamento Mode) Selects the portamento mode . The wa y in which the portamento mov es will differ depending on whether the Mono or P oly parameter is selected in the Common menu.
105 V oice Mode ■ Dest Depth (Destination Depth) Sets the depth for the control function selected in Dst P aram. ❏ Settings: –64~0~63 Assigning Controllers to the Contr oller Set Due to the 16 voice contr oller sets, there ar e many possible combinations.
106 V oice Mode ■ 3 InsEF1 (Insertion Effect 1) Selects the type of effect for Insertion Effect 1. ❏ Settings: 00 (thru)~24 F or more information about each type of effect, see the Effect Type List in the separate Data List book. ■ 4 InsEF2 (Insertion Effect 2) Selects the type of effect for Insertion Effect 2.
107 V oice Mode [F7]: REV (Reverb) Sets various par ameters for the currently selected R ev erb effect. ❏ Settings: (The number of parameters and v alues av ailable differs depending on the currently selected R everb type . F or more information, see the Effect Type List in the separate Data List book.
108 V oice Mode ■ K e yOn Delay When the VL Element is selected, K eyOn Dela y is inactive and h yphens (---) will display . [F3]: W A VE-EDIT When the VL Element is selected, W av e-Edit is inactive . F or more information about W av e-Edit, see page 150.
109 V oice Mode [F8]: EG (Pitch Envelope Generator) The following scr een appears when the VL Element is selected in the PEG screen. ■ Initial Le v el Sets the initial pitch of the VL Element when a note is play ed. When the Initial Lev el is set to a positive value , the pitch generated will be higher than the correct pitch.
110 V oice Mode [F8]: DCF (Dynamic Control Filter) ■ R esonance P arameters which let y ou boost specific frequencies around the cutoff fr equency . ❏ Settings: –64~0~+63 ■ Cutoff Freq (Cutoff Fr equenc y) Sets the cutoff frequenc y for the filter .
111 V oice Mode ■ Attack Time Sets the amount of time it takes to r each the peak in volume fr om when a note is play ed. When Attack Time is set to a positive v alue , the peak is reached more slo wly . Negative values cause the peak to be reached mor e quickly .
112 V oice Mode Normal V oice (AN Element) Explanations below co ver only the differ ences between the AN Element and the A WM Elements. The remaining functions and par ameters are the same as for the A WM Elements. F or explanations, see the rele vant sections in this Owner’s Manual.
113 V oice Mode ■ AN Priority Determines the priority for notes play ed as an AN Element. When chords or se ver al notes are pla yed at the same time , you can select which note will sound, as follows: last (the note that w as play ed last), top (the highest note), bottom (the low est note).
114 V oice Mode Sync Synchronizing the master and sla ve oscillator in VCO1 will increase the w av e harmonics and create a more comple x sound. The Sync is automatically set to “on” when an algorithm other than FM is selected. The FM algorithm does not contain the master and slav e oscillators but functions just as one VCO .
115 V oice Mode ■ VCO1/2 PitchScale Sets the Pitch Scale for each VCO1/2 oscillator . The Pitch Scale function corrects the pitch change of VCO1/2 in accordance with the notes pla yed on the ke yboard.
116 V oice Mode ■ VCO1/2 PulseWidth A djusts the width of each VCO1/2 pulse wa ve . When the pulse is set to a value of 64, the pulse wa ve is equally balanced, gener ating only odd- numbered harmonics.
117 V oice Mode ■ Bank In the COM P ARAM screen (e xplained abov e), when the V oice Type , AN (P oly)+A WM or AN+FDSP is selected, the first Element wa ve is alwa ys set as an AN Element. When the Analog Lay er is selected, the first and second Elements are alwa ys set as an AN Element.
118 V oice Mode ■ PEG Deca y Time Sets the PEG Decay Time . When set to a positive value , this setting determines the amount of time for the sound to reach its basic pitch fr om the PEG Depth lev el. When a negative v alue is set, this setting determines the amount of time starting from the basic pitch to the set PEG Depth lev el.
119 V oice Mode [F8]: EG (Filter Envelope Generator) Sets the FEG for the AN Element. Y ou can contr ol the change in the timbre of the sound o ver time , from when the ke y is play ed until it is released. This is effective for VCF 1/2 filters. ■ Time K.
120 V oice Mode ■ VCO2 Le v el Sets the signal lev el of the wa ve sent fr om VCO2 to the mixer . When you do not want to apply the VCO2 signal, set the lev el to “0.” ❏ Settings: 0~127 ■ Noise Le v el Sets the lev el of the signal sent from the Noise unit to the mixer .
121 V oice Mode ■ R elease Time This sets the amount of time it takes for the signal to reach “0,” after r eleasing the ke y . ❏ Settings: 0~127 [F6]: LFO (Low Frequency Oscillator) When an AN Element is selected, there is one type of menu related to LFO settings a vailable .
122 V oice Mode Square Square Square180 Squ (Square) Wave Triangle Triangle Triangle Triangle180 Triangle180 Tri (Triangle) Wave s/h s/h s/h (Sample & Hold) W a v e s/h2 s/h2 Saw down Saw down Saw up Saw up Sa w (Sa wtooth) W av e Voice/E.
123 V oice Mode ■ LFO1 Dela y Sets the delay of the time fr om when the ke yboard is play ed to when the LFO modulation begins. The larger the v alue , the longer the delay time . F or more information, see the Delay concept gr aph, page 1 00. ❏ Settings: 0~127 ■ LFO1 Speed Sets the speed of the LFO1 wa ve .
124 V oice Mode ■ ElmSw (Element Switch) This switch sets the FDSP unit for each A WM element as active , “on” or inactive , “off.” ❏ Settings: on or off for each element, 1~4 (for AN+FDSP voice type , element 2~4) ■ Type Selects the FDSP type that will be used.
125 V oice Mode ■ BP High (Break P oint High) Sets the Break P oints, which affect the parameters P osition and Out Lev el in accordance with the pitch change , in the note range abo ve C3. V alues can be set in semitones from C3, which is r egarded as the v alue of 0.
126 V oice Mode ■ HPF K.Flw (High P ass Filter K e yF ollo w) Sets the K eyF ollow for the High P ass Filter cutoff frequenc y . The High P ass Filter K eyF ollow function controls the change in the cutoff fr equency b y the notes play ed on the ke yboard.
127 V oice Mode ■ Pickup Type Sets the type of pickup. There ar e two types, single (single coil), and humback. ❏ Settings: single: Produces the pr ojective sounds in the high r egister , one of the characteristics of a single coil pickup. humback: Produces the mello w and warm sounds unique to a hum backing pickup.
128 V oice Mode ■ Output Sets the pickup output lev el. ❏ Settings: –48~0~+48 ■ Output KFlw (Output K e yF ollo w) Sets the K eyF ollow for the Output. The Output K eyF ollow function contr ols the pickup output level in accordance with the notes pla yed on the k eyboar d.
129 V oice Mode ■ Freq (Fr equenc y) Sets the central fr equency for the Sample & Hold LFO filter modulation. ❏ Settings: 0~127 ■ Freq K.Flw(Fr equenc y Ke yF ollow) Sets the K eyF ollow for the filter modulation centr al frequenc y .
130 V oice Mode ■ Dry Le v el Sets the output lev el for the original input signal. A setting of “0” produces no output. Settings with the negative v alues re verse the phase of the w aveform. ❏ Settings: –64~0~+63 ■ Pa n The same as the one in the EP Pickup.
131 V oice Mode ■ LFO Depth (Lo w Frequenc y Oscillator Depth) Sets the depth of the LFO wa ve for the pulse width modulation. When set to “0,” only the EG functions. When set to “32,” the LFO wa ve r anges from “0” to the extent of the EG amplitude .
132 V oice Mode ■ Pitch Coarse A djusts the length of the delay in semitones. A setting of “0” produces the dela y length corresponding to the pitch of C3 = 26 1.
133 V oice Mode ■ W et Le v el Sets the output lev el for the signal that is affected by the flanger . Y ou can adjust the FDSP (Flange) balance by combining this par ameter and the Dry Lev el below . ❏ Settings: –64~0~+63 ■ Dry Le v el Sets the output lev el for the original input signal.
134 V oice Mode ■ K e yF ollo w Sets the K eyF ollow for the peak fr equency change . This K eyF ollow function contr ols the first peak frequenc y in accordance with the notes pla yed on the ke yboard. When set to “+32,” the K eyF ollow functions at 1 00% and the peak frequenc y mov es in proportion to the pitch pla yed on the k eyboar d.
135 V oice Mode 0 7: Self FM Self FM lets you add e xtra richer harmonics to the sounds. The mechanism how the Self FM type is formed is as follows: first, input signals ar e sent to the delay unit.
136 V oice Mode ■ LPF K.Flw (Lo w P ass Filter K e yF ollo w) Sets the K eyF ollow for the Lo w P ass Filter cutoff frequenc y . The Low P ass Filter K eyF ollow function controls the cutoff fr equency in accor dance with the notes play ed on the ke yboard.
137 V oice Mode ■ Driv e Sets the depth of the modulation. ❏ Settings: 0~127 ■ Driv e K.Flw (Driv e Ke yF ollow) Sets the K eyF ollow for the Driv e . The Drive K eyF ollow function contr ols the depth of the modulation in accordance with the notes pla yed on the ke yboard.
138 V oice Mode ■ W et Gain Sets the maximum output lev el for the modulated signal. ❏ Settings: 0~127 ■ W et V el (W et Le v el V elocity) Sets the velocity sensitivity for the W et Le vel. This lets you contr ol the output lev el of the modulated signal by the str ength at which you pla y the ke yboard.
139 V oice Mode ■ PEG Depth (Pitch Env elope Generator Depth) Sets the PEG depth that affects the modulation wa ve’s pitch. ❏ Settings: –64~0~+63 ■ PEG DepthV el (Pitch Env elope Generator Depth V elocity) Sets the velocity sensitivity for the PEG depth.
140 V oice Mode ■ Pa n The same as the one in the EP Pickup. See page 126 for information. 1 0: Seismic The Seismic , as its name implies, makes the sounds roar . The input signal is sent to the time-variant low- boost filter , then passed through the o ver drive .
141 V oice Mode ■ Ov erdriv e Sets the amount of the ov er drive . ❏ Settings: 0~127 ■ HPF (High P ass Filter) Sets the cutoff frequenc y which cuts the low er range of the output signals. ❏ Settings: 0~127 ■ HPF K.Flw (High P ass Filter K e yF ollo w) Sets the K eyF ollow for the High P ass Filter cutoff frequenc y .
142 V oice Mode [F1]: COM (Common) [F6]: P ARAM (Parameters) When Drum is selected for V oice Type in the P ARAM menu, a maximum of 128 A WM Elements can be used to create drum v oices (i.e ., drum kits). When Drum is selected for V oice Type , the panel ELEMENT SELECT ke ys 1-4 (EX5/7) for normal voices become inactive .
143 V oice Mode 3 (When setting the la y ers more than one f or a ke y) Select a la y er . When many la yers ha ve been assigned to the currently selected k ey , move the cursor to La yer , select the lay er to which you w ant to assign an element. These steps are not necessary when y ou want to assign an element to the currently selected k ey .
144 V oice Mode ■ Sample Bank Selects the desired sample bank. A differ ent bank can be selected for each element. ❏ Settings: PRE (Preset), RAM (DRAM), FLS (Flash Memory) FLS is effective only when an optional EXFLM1 is mounted onto the EX5/5R/7.
145 V oice Mode ■ Sample Pla y Sets the wa y in which the sample will be play ed. ❏ Settings: FwdLp, Fw dLpEx, FwdNoLp, R evNoLp, default F or more information about each setting, see page 8 1. ■ R ecv Note Off (R eceive Note Off) Sets whether or not MIDI Note Off messages for each element will be receiv ed or ignored.
146 V oice Mode ■ Out (Output Select) Selects the output for each element. These settings let you send each element to a differ ent output. ❏ Settings: L&R (OUTPUT L&R), ind1 (INDIVIDU AL .
147 V oice Mode [F4]: FIL T (Filter) There ar e four types of menus related to filters when editing a Drum V oice . The parameters and settings are the same as those for A WM Element.
148 V oice Mode [F8]: EFCT (Effects) Sets the effects for the drum elements. The signals from the maximum of 128 drum elements can be connected either to Insertion Effect 1 or 2, then sent to the R ev erb/Chorus unit. “InsR ev” and “InsCho” parameters added to the Type scr een allow y ou to emphasize the effect for specific drum elements.
149 V oice Mode 5 Press [ENTER]. The follo wing pop-up menu will appear , prompting confirmation of the oper ation. 6 Press [YES] to e xecute the job . “Completed!” will momentarily appear in the screen indicating that the job was e xecuted and the pr evious scr een will be display ed.
150 V oice Mode W ave Edit Mode When you select a DRAM (RAM) bank and A WM wa ve number (000 1~1 024) from the Bank and Number in the W A VE displa y of the OSC menu in the V oice Edit mode , [F3] (W A VE-EDIT) sub menu is added to the screen. Press [F3] to enter the W a ve Edit mode .
Basic Steps for W ave Edit (Creating a new wave scratch) 1 In the W A VE displa y , select the wa ve number to edit. Select the DRAM (RAM) bank and a wa ve number (Int-W av e) from the bank. [F3] (W A VE-EDIT) will be added. 2 Press [F3] (W A VE-EDIT) to enter the W av e Edit mode .
152 V oice Mode [F5]: NAME Lets you giv e a name to the wa ve with up to eight characters. Y ou can also put a category name to which the current w av e belongs by mo ving the cursor to the left of the wa ve name and using the [INC]/[DEC] or the Data Dial to select a two-letter category name .
[F7]: MIX Sets the mix (output), pan, and other settings related to pitch for each sample which make up a w av e . Settings can be made for each lay er . The Lay er and Sample Bank/Number parameters her e are the same as those in the SMPL display . F or more information on these parameters, see page 152.
154 V oice Mode Zone Graphical Displa y On the left side of this screen, the zone (k eyboar d and velocity r ange at which sound will be produced) is display ed. The note range is indicated b y the horizontal axis, while the velocity note r ange is indicated by the v ertical axis.
5 Press [YES] to e xecute the job . “Completed!” will momentarily appear in the screen indicating that the job was e xecuted and the pr evious scr een will be display ed. Press [NO] to cancel the job . “Executing...” will appear when the W ave Job tak es some time to ex ecute .
Perfor mance Mode 156 Per formance Mode 2 Edit/Compare When the currently selected P erformance is being edited (see page 159), an “ ” (Edit) mark is display ed.
Perfor mance Mode 157 4 P erformance Category/name ■ P erformance Category A two letter abbr eviation for the sound Category is located to the left of the P erformance name . This abbre viation lets you see at-a-glance the type of v oice selected. F or more information about categories, see page 76.
158 Perfor mance Mode Per for mance Edit Mode F ollowing ar e explanations of the par ameters related to P erformance Edit mode . There are par ameters whose settings affect all the parts and parameters which affect each individual part. These settings can be stored in each P erformance .
Perfor mance Mode 159 About the E (Edit) mark Whenev er any setting is being made or an operational change is taking place , the “ ”(Edit) mark appears in the upper left corner of the screen, next to the part number . This lets y ou confirm that the currently selected P erformance is being edited and has not yet been stor ed.
Perfor mance Mode 160 ■ T otal V olume Sets the ov erall v olume for the performance . The volume for each part will be e xplained later (see page 164). ❏ Settings: 0~127 ■ Kbd/TG Mode (K e yboard/T one Generator Mode) Configures ho w the tone generator is connected (the signal flow) when in P erformance mode .
Perfor mance Mode 161 ■ Arp Sw (Arpeggio Switch) Turns the Arpeggiator on and off. ❏ Settings: off, on The ARPEGGIO ke y on the front panel also serv es the same function. How ev er , to actually activate the function, in the L YR (Lay er) screen of each part, set the Lay er Sw (Lay er Switch) and the Arpeggio Switch to “on” (see page 166).
Perfor mance Mode 162 ■ 2 Cho Type (Chorus Type) Selects the type of chorus for the Chorus unit. ❏ Settings: 00 (off)~17 F or information about each type of chorus, see the Effect Type List in the separate Data List book.
Perfor mance Mode 163 [F7]: CTRL (Controller) These settings are r elated to the Controllers. Beginning with the [PITCH] wheel, the settings that are common to all parts are arr anged in a chart-type screen and can be set within the chart. When the CTRL menu is selected with the [F7] ke y , the following menus are display ed.
Perfor mance Mode 164 [F2]: P AR T Lets you edit an y one of the 16 parts that make up a performance . The parameters that can be set ar e the same as those explained for the ML T (multi) scr een.
Perfor mance Mode 165 ■ MIDI P an/V ol (MIDI P an/V olume) Sets the MIDI P an/V olume to “on” or “off” when changing to another performance . P an and V olume are sent to MIDI [OUT] when set to “on,” and ar e not sent when set to “off.
Perfor mance Mode 166 ■ 4 ArpeggioSw (Arpeggio Switch) Determines whether the currently selected part will be arpeggiated, or not. ❏ Settings: on, off ■ 5 La y er Sw (Lay er Switch) Sets the Lay er SW to “on” or “off.” When set to “on” you can pla y two parts in a la yer .
Perfor mance Mode 167 wide: This curve decr eases the volume le vel with a light touch playing and incr eases the volume le vel with a heavy touch playing.
Perfor mance Mode 168 ■ Deca y Time Sets the amount of time it takes to r each the lev el set in the Decay Time , from the peak lev el. When Decay Time is set to a positive v alue , change occurs more slowly . Negative v alues cause the change to occur more quickly .
Perfor mance Mode 169 P ort (P ortamento) Settings related to the P ortamento effect of each part. The following thr ee parameters ar e av ailable . ■ P ort Sw (P ortamento Switch) Turns the portamento”on” and “off.” P ortamento creates a smooth glide in pitch fr om one note to the next.
Perfor mance Mode 170 [F8]: PRE (Preset) Settings related to the pr eset values and MIDI matters applied to the tone generator for each part. ■ P art ■ Bank (V oice Bank) ■ Number These parameters ar e the same as those explained in the MIX screen.
171 Perfor mance Mode Knob ■ Knob T o TG (Knob T o T one Generator) When making bank/progr am changes, this sets whether or not the preset v alues for Knobs 1-6 are sent to the tone generator . When set to “on” the messages are sent, and when set to “off” the y are not sent.
Perfor mance Mode 172 Lyr 1:Pf 2:Pf 3:Pf 14:Pf 15:Pf 16:Pf Bank P1 P1 P1 P1 P1 P1 Num ber 001 001 001 001 001 001 Volume 1 00 1 00 1 00 1 00 10 0 10 0 10 0 P a n cnt cnt cnt cnt cnt cnt cnt Rev Send 4.
Perfor mance Mode 173 5 Press [ENTER]. The follo wing pop-up menu will appear , prompting confirmation of the oper ation. 6 Press [YES] to e xecute the job . “Completed!” will momentarily appear in the screen indicating that the job was e xecuted and the pr evious scr een will be display ed.
174 ■ 3 Types of Source Data Selects the type of data that will be copied. It is possible to designate common data that affects all of the parts, and specific data for specified parts.
175 Sample Mode Sample Mode ■ Sample Bank Sets the bank that contains the sample you w ant to play . When “stereo” is selected, y ou can set a different sample bank for the L (left channel) and the R (right channel).
176 Sample Mode ■ Source Selects the recor ding source . When sampling, for ex ample , with a microphone connected to the A/D INPUT jack(s), select “ A/D” (Analog/Digital). When “ A/D” is selected, the input lev el bars for each channel will be display ed according to the selected recor d mode .
177 Sample Mode 7 Check the input lev el of the microphone or audio device with the input le vel bar(s). F or setting the destination sample bank/number , (ev en when FLS is selected for the sample bank in the Sample Play mode) an empty DRAM sample number is automatically selected.
178 Sample Mode Steps for Sampling 2 (Re-sampling from the internal tone generator/memor y) Y ou can r e-sample a pre viously recor ded sample or a preset w av e , as well as a song/pattern phr ase .
179 Sample Mode Sample Edit Mode In the Sample Edit mode , you can edit samples recor ded in the Sample R ecord mode to put them into the final form as you lik e . Press [EDIT] k ey on the panel while in Sample mode to enter Sample Edit mode . Y ou cannot enter Sample Edit mode , if the targeted sample number (in RAM bank) contains no data.
Sample Mode 180 Fw dNoLp: Each time a ke y is play ed, the sample will play back one time from the Start point to the End point. R evNoLp: Each time a ke y is play ed, the sample will play back in re verse one time , from the End point to the Start point.
Sample Mode 181 ■ Fraction Finely adjusts the length of the loop. F or ex ample , when the loop is set to 1 00, and Loop Fraction is set to 1, the loop becomes 1 00 points and 1/64 point in length. ❏ Settings: 0~63 ■ Loop End Sets the End point of the loop playback within the range of the entir e sample .
Sample Mode 182 [F8]: NAME Lets you giv e a name to the sample with up to eight characters. The method for naming an sample and its category is the same as that for a V oice . F or more information, see page 79. When edited as a stereo data, only the first fiv e letters will be effective (e .
Sample Mode 183 4 Press [ENTER]. The follo wing pop-up menu will appear , prompting confirmation of the oper ation. 5 Press [YES] to e xecute the job . “Completed!” will momentarily appear in the screen indicating that the job was e xecuted and the pr evious scr een will be display ed.
Sample Mode 184 ■ Src1 Sample (Sour ce 1 Sample Number) Sets the source number of sample 1. ❏ Settings: 000 1~1024 ■ Src2 Sample (Sour ce 2 Sample Number) Sets the source number of sample 2 that will be appended.
185 Song Mode Song Mode ■ R emaining Memory This bar graph indicates the amount of memory av ailable for recor ding, or the remaining memory of the internal sequencer . This is common for all the internal sequencer functions, Song, P attern and Arpeggio.
186 Song Mode When the cursor is on the Mute or the FxThru line , you can directly select a tr ack by pr essing corresponding TRA CK [1~16] key on the panel (EX5/7 only).
187 Song Mode Song Control Song playback is contr olled with the sequencer ke ys. [TOP]: R eturns the song to the first measure . [REW] (R ewind): R ewinds thr ough the song measure numbers. [FWD] (F orwar d): F ast F orwar ds through song measur e numbers.
188 Song Mode ■ Tr (Track Number) Indicates the currently selected tr ack number (1~16). Select the track that will be affected b y the Play Effects. ❏ Settings: Tr1~16 TRA CK [1~16] keys on the panel can also be used to select a track number (EX5/7 only).
189 Song Mode ■ Clk (Clock Shift) The Clock Shift function mov es (shifts) the playback timing forwar ds or backwar ds in clock units. One clock unit length is equal to 1/480th of a quarter note . When set to a positive v alue , the playback timing mov es backwar ds.
190 Song Mode ■ Gat (Gate Time) Sets the Gate Time R ate value . Multiplying the gate time of the original data by the gate time v alue set here r esults in the actual gate time value for playback. When set to 1 00%, there is no change from the original gate time v alue .
191 Song Mode ■ Tr (Track Number) Indicates the currently selected tr ack number (1~16). Select the track y ou want to edit the gr oov e template . ❏ Settings: Tr1~16 TRA CK [1~16] keys on the panel can also be used to select a track number (EX5/7 only).
192 Song Mode [F6]: COPY Lets you cop y the currently selected Pr eset groo ve template to a User groo ve template . A specific Preset gr oov e template can be used as the basis for creating a User gr oov e template . 1 Mov e the cursor to the Type parameter , and select the Preset gr oov e template that will be copied.
193 Song Mode Song Record Mode In Song R ecord mode ther e are tw o methods av ailable for recor ding songs, real time r ecording and step recor ding. There ar e also various functions r elated to recor ding songs.
194 Song Mode [F1]: SONG These are v arious settings related to song r ecording, such as selecting a track for r ecording, and setting the time signature and tempo. In addition to those settings, there ar e Mute on/off, Play Effect on/off and Loop playback for each of the pla yback tracks (tr acks 1~16, Pt track, Fx tr ack).
195 Song Mode F or P attern Pla y Effects (PFX) Track ■ Ptn Tr(P attern Track) Selects one of the tracks 1-8 (in a P attern) to which the P attern Play Effects will be applied and r ecorded. ❏ Settings: Tr1~8, All F or information on recording pattern Pla y Effects track, see page 197.
196 Song Mode Real Time Recording: T r1~T r16 R eal Time recor ding is just like a multi-tr ack recor der where y ou recor d the performance as it is. There ar e three types of r ecording methods, Ov .
197 Song Mode 8 Change the pattern numbers you w ant to use and recor d them. While recor ding, without moving the cursor from the Ptn No par ameter , use Data Dial, [INC]/[DEC], and the numeric ke ypad to set the pattern numbers. The patterns are r ecorded in measur e units.
198 Song Mode Real Time Recording: T empo The T empo real time r ecording function r ecords changes in the tempo onto the song T empo Track. Y ou can change the tempo in the middle of the song. There are the follo wing two types of r ecording modes av ailable: R eplace , and Punch In.
199 Song Mode ■ Time Signature Displays the time signatur e of the currently selected song that is being recor ded. The display ed time signature cannot be changed. It is necessary to select the time signature for r ecording befor e entering the Step recor ding.
200 Song Mode K e yboard Illustr ation Shows the curr ently input note(s) at the present ↓ cursor position. If you mo ve the ↓ cursor to the location where the note has been input (the location where the “ ● ” mark is on the beat gr aph), the input note(s) will be indicated on the ke y(s) on the ke yboard illustr ation.
201 Song Mode Inputting Staccato and Slurs Mov e the cursor to the Gate Time parameter , after selecting Stac (Staccato) or Slur , play a note on the ke yboard to input that note . The note is input with the selected gate time . Usually this will be set to Norm (Normal).
202 Song Mode Insert T o insert an event, first designate the insert location and select the ev ent then press [ENTER]. Change T o change the location of an event, designate the location and press [ENTER]. Delete T o delete an event, mo ve the cursor to an e vent and pr ess [F8] (Delete).
203 Song Mode ■ C A T (Channel After T ouch) A djusts the Channel After T ouch value . After T ouch is applied to one channel (track). ❏ Settings: 1 V alue: 0~127 ■ P A T (P olyphonic After T ouch) Edits the P olyphonic After T ouch data (note and its value).
204 Song Mode Inserting Ev ents Y ou can also insert ne w ev ent data that is not included in the performance data. 1 When in the Song Play mode , press [EDIT] to enter the Song Edit mode . 2 Press [F1] (SEQ) to displa y the Sequence Track Event List.
205 Song Mode [F2]: PFX (Pattern Play Ef fects T rack) When editing the P attern Play Effects Tr ack, you can insert new Pla y Effects control data for each pattern track (1~8), as w ell as change the location and value of the existing e vent data. Pr ess [F2] (PFX) to display the P attern Play Effects Tr ack Event List.
206 Song Mode [F4]: TEMPO (T empo T rack) When editing the T empo Track, y ou can insert tempo data (tempo changes) as well as change the location and value of the curr ent tempo data. Press [F4] (TEMPO) to display the T empo Track Event List. [F5] INS (Insert) and [F6] CHNG (Change) functions are added to the menu.
207 Song Mode Press [JOB] k ey on the panel while in Song mode to enter Song Job mode . When you enter the Song Job mode , the following menu will be displa yed. Ther e are 22 types of jobs in Song Job mode . The jobs are divided into three gr oups JOB1~3.
208 Song Mode 2. Copy T rack This job copies all data from a specified tr ack onto another . The song’s Play Effects data and other settings are copied at the same time . This operation ov erwrites any data alr eady existing on the destination tr ack.
209 Song Mode [F3]: JOB2 Press [F3] (JOB2) and JOB2 menu will be displa yed. There ar e eight jobs that are e xecuted in measur e units. 1. Copy Measure (Copies data in the designated r ange .) 2. Erase Measure (Er ases data in the designated range .) 3.
210 Song Mode ■ Measure Sets the location (the beginning measure for insertion) where empty measur es will be inserted. ❏ Settings: 00 1~999 ■ Size Sets the number of empty measures that will be inserted. ❏ Settings: 0 1~99 ■ TIME Sets the time signature for the empty measur es.
211 Song Mode ■ Track Select the track that will be e xtracted fr om (Extract source) and the tr ack that will be copied to (Extract destination). ❏ Settings: Extract Sour ce: 1~16 Extract Destination: 1~16, off (e xtracted data is deleted) ■ Measure Sets the measure r ange (beginning measure to the end measure) wher e Extract is e xecuted.
212 Song Mode [F4]: JOB3 Press [F4] (JOB3) and JOB3 menu will be displa yed. There ar e eight jobs that are effectiv e for note ev ent data on a specified track. 1. Quantize (Corrects the timing of the notes in a designated range .) 2. Move Clock (Mo ves all of the ev ents in a designated range .
213 Song Mode ■ Streng (Quantize Str ength) When quantizing, the Strength v alue sets the degree how much the timing of the note e vents is mo ved tow ard the quantizing line , or the original quantize value . A setting of 1 00% mov es each note ev ent all the way to the quantizing line .
214 Song Mode When the quantize v alue is , , : In this case , 1 00% repr esents three times the length of the quantize value . Therefore the original position of the third beat in the triplet which will be affected by the R ate setting is 66%.
215 Song Mode ■ Track Sets the track wher e Mov e Clock will be ex ecuted. ❏ Settings: 1~16 (Sequence tracks 1~16), pfx, tempo ■ Measure Sets the measure r ange (beginning measure to the end measure) wher e Mov e Clock is ex ecuted.
216 Song Mode 4. Modify V elocity This job alters the velocity of the notes in the specified range . The velocity refers to the str ength at which a ke y is pressed.
217 Song Mode 5. T ranspose This job lets you tr anspose in semitones the notes in the designated range of a specified sequence tr ack. ■ Track Sets the track wher e Transpose will be e xecuted. ❏ Settings: 1~16 (Sequence tracks 1~16) ■ Measure Sets the measure r ange (beginning measure to the end measure) wher e Transpose is e xecuted.
218 Song Mode ❏ Settings: –99~+0~+99 8. Shift Event This job replaces all occurr ences of a specific ev ent type (within the designated range of the specified sequence track) with some other designated e vent type . F or ex ample , you can use this function to change breath contr oller data into channel aftertouch ev ents.
Pattern Mode 219 Pattern Mode ■ R emaining Memory This bar graph indicates the amount of memory av ailable for recor ding, or the remaining memory of the internal sequencer . This is common for all the internal sequencer functions, Song, P attern and Arpeggio.
220 Pattern Mode ■ 3 Pla y Effects Thru Sets FxThru (Play Effects Thru) for a tr ack, by moving the cursor to FX Thru line , and using Data Dial or [INC]/[DEC] to select “on” or “off.” As shown in the scr een, the box color ed black indicates that FxThru is turned “on.
221 Pattern Mode Steps for Setting the Pla y Effects 1 Start pattern pla yback. Press [PLA Y] ke y for pattern playback to begin. Play Effects can be set when the pattern is stopped, and also can be set in real time when the pattern is playing back. This lets y ou check the effect that results fr om the Play Effects.
222 Pattern Mode ■ Clock Number Displays and sets the curr ently selected track clock number . A vailable settings will differ depending on the current time signatur e . ❏ Settings: 000~479 ■ Unit Y ou can e xtend or shorten each track pla yback time .
223 Pattern Mode Pattern Record Mode In P attern R ecord mode there ar e two methods av ailable for recor ding patterns, real time r ecording and step recor ding. There ar e also various functions r elated to recor ding patterns and a maximum of 50 patterns can be stored in the internal memory .
224 Pattern Mode ■ No (P attern Number) Selects the pattern number of the pattern that will be recor ded. The pattern name will be display ed to the right of the pattern number . ❏ Settings: 0 1~50 ■ Meas (Measure) The Measure/Beat numbers will be displa yed but cannot be changed.
225 Pattern Mode 5 Select the track (Tr1-8) for r ecording with the Tr ack parameter . 6 Select one of the following r ecording modes: [F6] (Over Dubbing) or [F7] (R eplace). T o recor d on all the tracks simultaneously , press [F3] (MUL TI), Multi mode is turned on and highlighted.
Pattern Mode 226 Pattern Edit Mode Press [EDIT] k ey on the panel while in P attern mode to enter P attern Edit mode . In P attern Edit mode , you can edit ev ents of patterns for each sequence track 1~8, that wer e recor ded in real time or in step recor ding.
Pattern Mode 227 3 Mov e the cursor to the location of the ev ent that you want to change , and edit the parameters. Y ou can scroll through the Ev ent List and search for ev ent locations and select parameters with the v ertical ¹ / cursor ke ys. Also you can mo ve to a parameter with the horizontal à / ¨ cursor ke ys.
Pattern Mode 228 Press [JOB] k ey on the panel while in P attern mode to enter P attern Job mode . When you enter the P attern Job mode , the following menu will be displa yed. Ther e are 24 types of jobs in P attern Job mode . The jobs are divided into three gr oups JOB1~3.
Pattern Mode 229 1. Copy Pattern This job copies all data from a sour ce pattern to a designated destination pattern. The pattern’s Play Effects data and other settings are also copied simultaneously . ■ Src Ptn (Sour ce P attern) Sets the source pattern number that will be copied.
Pattern Mode 230 ■ Src Tr ack (source tr ack) Sets the Mix source tr ack. ❏ Settings: 1~8 ■ Dst Track (Destination tr ack) Sets the Mix destination track. ❏ Settings: 1~8 6. Append Pattern This job lets you connect the data of tw o specific tracks to complete a pattern.
Pattern Mode 231 8. Time Stretch This job expands or compr esses the timing ov er the designated range on the specified tr ack. The operation affects all note step times, gate times, and ev ent timing, expanding or compr essing the entire designated r ange .
Pattern Mode 232 ■ Measure Sets the measure r ange (beginning measure to the end measure) wher e Erase Measur e is ex ecuted. ❏ Settings: 0 1~16 (for the beginning measure and the end measure) 3. Get Phrase This job borro ws sequence data from a song tr ack onto the currently selected pattern tr ack.
Pattern Mode 233 ■ Ev ents Sets the type of ev ent that will be reduced. When “Control Change” is selected, a setting par ameter will be added, and the control number can be designated there .
Pattern Mode 234 8. Chord Separate This job arranges chor d notes in order with a specified interval (within the designated r ange of the specified sequence track).
Pattern Mode 235 ■ Streng (Quantize Str ength) ❏ Settings: 0%~1 00% ■ Sens (Quantize Sensitivity) ❏ Settings: –1 00%~+000%~+1 00% ■ R ate (Swing R ate) ❏ Settings: When the quantize v al.
Pattern Mode 236 ■ Measure ❏ Settings: 01~16 (for the beginning measure and the end measure) ■ R ate ❏ Settings: 000%~100%~200% ■ Offset ❏ Settings: –99~+0~+99 5. T ranspose This job lets you tr anspose in semitones the notes in the designated range of a specified pattern tr ack.
237 8. Shift Event This job replaces all occurr ences of a specific ev ent type (within the designated range of the specified pattern track) with some other designated e vent type . F or more information on functions and each parameter , see page 2 18, Shift Event in Song Job mode .
Arpeggio Mode 238 Arpeggio Mode [F1]: ARP (Settings r elated to playing arpeggios) [F2]: PFX (Settings r elated to Play Effects) [F3]: MODE (Settings r elated to the sounding mode for each arpeggio tr.
239 Arpeggio Mode Track Section These settings are used to set the Mute and Pla y Effects Thru to “on” or “off” for each track e ven during arpeggio playback. ■ 1 Track Number An arpeggio consists of 1~4 sequence tracks. The Track Number is highlighted (bo x colored black) for tracks that ha ve been r ecorded on and contain data.
Arpeggio Mode 240 ■ ) Key Sets the ke yboard mode ho w the arpeggio responds when ke ys are pr essed. The following thr ee modes are a vailable: ❏ Settings: sort: Plays the arpeggio in ascending or der (from the lo west pitch to the highest). thru: Plays the arpeggio in the or der ke ys are pressed.
Arpeggio Mode 241 [F2]: PFX (Play Effects) These settings are r elated to Play Effects. The Pla y Effects function lets you tempor arily adjust the velocity and the sound timing of MIDI notes. Y ou can change the playback gr oov e without altering the original data.
Arpeggio Mode 242 ■ Unit Y ou can e xtend or shorten each track pla yback time . F or ex ample , a setting of 200% will make the playback time twice as long and r esult in a tempo that is half as fast. Conversely , a setting of 50% will make the pla yback time half as long and the tempo will become twice as fast.
Arpeggio Mode 243 In the following modes, the arpeggio r eproduction is independent of the pitch data of the arpeggio sequence . Typical arpeggiated chords will be formed according to the notes pla yed on the k eyboar d and the timing of the sequence data.
Arpeggio Mode 244 1 1: alternate2 1oct: The chor d (phrase) ascends up to one octav e , then descends down to the lo west note . Slightly different fr om 08 abov e . C3, E3, G3 and B3 are pla yed in or der . C3, E3 and G3 are pla yed in or der . C3 and E3 are pla yed in or der .
Arpeggio Mode 245 Arpeggio Record Mode In Arpeggio R ecord mode ther e are tw o methods av ailable for recor ding arpeggio sequence data, real time recor ding and step recor ding.
Arpeggio Mode 246 ■ Meas (Measure) Sets the measure number wher e recor ding will begin, using the Sequencer ke ys (the Cursors cannnot be used). ❏ Settings: 00 1~016 ■ Time Signature Sets the time signature for an arpeggio. ❏ Settings: 1/4~8/4, 1/8~16/8, 1/16~16/16 Y ou can change the time signature after recor ding.
Arpeggio Mode 247 The Procedur e for Step R ecording 1 In the Arpeggio Mode screen, pr ess [REC] to enter Arpeggio R ecord mode (stand-b y recor d status). Before displa ying the Arpeggio Mode screen, y ou are r equired to select a user arpeggio number for recor ding.
Arpeggio Mode 248 Inserting Ev ents Y ou can insert ne w ev ent data that is not included in the arpeggio sequence data. 1 When in the Arpeggio Mode screen (or Arpeggio Job mode), press [EDIT] to enter the P attern Edit mode . The Event List will be displa yed.
Arpeggio Mode 249 Arpeggio Job Mode Here ar e various jobs for user arpeggios that w ere created in Arpeggio Edit mode (or ar e being edited). These jobs which allow y ou to copy or er ase , as well as many other oper ations, are e xecuted b y the measure or the track.
Arpeggio Mode 250 6 Press [ENTER]. The follo wing pop-up menu will appear , prompting confirmation of the oper ation. 7 Press [YES] to e xecute the job . “Completed!” will momentarily appear in the screen indicating that the job has been ex ecuted and the pre vious screen will be display ed.
Arpeggio Mode 251 3. Copy T rack This job copies all data from a specified tr ack onto another . The arpeggio’s Play Effects data and other settings are also copied simultaneously . This operation ov erwrites any data alr eady existing on the destination track.
Arpeggio Mode 252 ■ Dst Track (Destination Tr ack) Sets the Append destination arpeggio track. ❏ Settings: 1~4 7. Split Arpeggio This job splits track data of a arpeggio (Split sour ce arpeggio) a.
Arpeggio Mode 253 ■ Track Sets the track wher e Erase Measur e will be ex ecuted. ❏ Settings: 1~4, all ■ Measure Sets the measure r ange (beginning measure to the end measure) wher e Erase Measur e is ex ecuted. ❏ Settings: 0 1~16 (for the beginning measure and the end measure) 3.
Arpeggio Mode 254 4. Thin Out This job remo ves e very other occurrence of a designated non-note ev ent from the specified tr ack range . The purpose is to reduce the amount of data and free up additional memory . When the interval of each e vent is lar ger than 60 clocks, data is not remo ved.
Arpeggio Mode 255 6. Chord Sor t This job “sorts” chordal note e vents (simultaneous note ev ents) by or der of pitch. The notes can be either sorted from the highest pitch to the lo west or fr om the low est pitch to the highest. The chords within the designated range of the specified sequence tr ack can be sorted.
Arpeggio Mode 256 1. Quantize This job quantizes note ev ents ov er a specified range of a designated track. Y ou can use this feature , for ex ample , to correct the imperfect timing of a performance you ha ve r ecorded in r eal time . F or more information on functions and each parameter , see page 2 12, Quantize in Song Job mode .
Arpeggio Mode 257 ■ Measure ❏ Settings: 01~16 (for the beginning measure and the end measure) ■ R ate ❏ Settings: 000%~100%~200% ■ Offset ❏ Settings: –9999~+0~+9999 4. Modify V elocity This job alters the velocity of the notes in the specified range .
258 ■ T o K e y: Oct ❏ Settings: K e y Number: 1~16 Octa v e: -4~0~+3 F or information on the K ey Number and Octa ve , see page 240. 7. Crescendo This job gradually incr eases or decreases the v olume of the arpeggio.
259 Disk Mode In Disk mode you can tr ansfer data between a flopp y disk and the EX5/5R/7; you can sa ve data to flopp y disk and load data back from flopp y disk. Also with installation of the optional SCSI board, data can be transferr ed between an e xternal SCSI data storage device such as a har d disk and your EX5/5R/7.
260 Disk Mode • Do not open the sliding shutter and touch the exposed surface of the flopp y disk inside . • Do not expose the disk to magnetic fields, such as those produced b y televisions, speak ers, motors, etc ., since magnetic fields can partially or completely erase data on the disk, r endering it unreadable .
261 Disk Mode ■ 6. SONG A “SONG” file handles all of the song data (1 song) created in Song mode as a single file . Play Effects, Track Tr ansmit Channel, and Controller data ar e included in a “Song” file . ❏ Data Song ❏ File Extension .
262 Disk Mode 2 Mov e the cursor to one of the sev en types in the basic menu, and press [ENTER] to select an operation. Also y ou can directly select an oper ation from the basic menu b y pressing [F1]~[F7] under the screen. 3 (When 1: SA VE, 2: LO AD, 3: RENAME or 4: DELETE is first selected) select a file type .
Disk Mode 263 6 Press [ENTER]. The following pop-up menu will appear , prompting confirmation of the operation. 7 Press [YES] (INC) to e xecute the oper ation. Press [NO] to cancel the job . When the operation is being e xecuted, “Ex ecuting...” will be display ed .
Disk Mode 264 [F2]: SYN (Synth All) Sav es all of the internal voice and performance data (265 voices and 128 performances) and the system data as a single file .
Disk Mode 265 [F8]: ARP (Arpeggio) Sav es all of the User arpeggio data as a single file . ❏ Settings: File number (destination) Device name/dir ectory (destination) [F2]: LOAD (File Load) This operation loads a file fr om disk to the internal memory .
Disk Mode 266 ■ Synth All source data (Fr om) (If necessary select the source data de vice ,) mov e the cursor to a file number , and select a source file for the load operation. A performance/v oice file (128 P erformances and 256 V oices) can be loaded.
Disk Mode 267 ■ Sample destination data (T o) The destination that can be selected will differ depending on the setting designated in “From.” ❏ Settings: The samples of WAV, AIFF and AKAI file types can be loaded. As to the W A V and AIFF files, y ou can select “1 file” or “ all files” as the source .
Disk Mode 268 ■ P attern destination data (T o) The destination that can be selected will differ depending on the setting designated in “From.” ❏ Settings: [F8]: ARP (Arpeggio) Loads an arpeggio file from the disk into the internal memory .
Disk Mode 269 [F5]: MKDIR (Make Director y) This operation cr eates a directory . It is possible to make directory within a dir ectory which is called a sub- directory . This allows y ou to do systematic file management. Only a maximum of two la yers of a sub-dir ectory can be made .
270 Utility Mode Utility Mode [F1]: SYN (Synthesizer Setup) The Synthesizer Setup allows y ou to make settings for the entire k eyboar d such as the volume and pitch. ■ Master V olume Sets the master volume for the entir e ke yboard. ❏ Settings: 0~127 ■ Master Tune A djusts the tuning for the entire k eyboar d.
■ 3 Arp MIDI A/B (Arpeggio MIDI A/B) Sets whether or not the arpeggio data is output from MIDI OUT A/B to an external de vice . ❏ Settings: (output), (not output) MIDI B for the abov e two par ameters is av ailable only with the EX5.
272 Utility Mode ■ Curv e Sets and changes the controller curv e (display ed to the right of the values). ❏ Settings: -6~0~+7 The Control Curv e Display ed to the far right of the screen is the curr ent control curv e image for each device . Y ou can r efer to this image when selecting the curve .
[F7]: FIL T (Filter) Sets whether or not a filter is applied (the signal is not input/output) for each MIDI ev ent. The filter can be applied either when recor ding or when playing back data. The filter ed MIDI ev ents will not be recor ded or play ed back.
Utility Mode 274 MTC (MIDI Time Code) is a Time Code that controls the timing of multiple audio devices thr ough MIDI cables. The code is made up of “ hour , minute , second, and frame .
275 Utility Mode ■ De vice No (De vice Number) Sets the MIDI device number . When sending or receiving system e xclusiv e messages such as bulk dump or parameter change messages with an external de vice , you must match the de vice numbers for both the EX and the external de vice .
276 Utility Mode T ouch EG Y ou can express the portion “ A ” with the velocity and “B” with the aftertouch. ■ Scene Controller Assign Sets the controller for Scene Contr ol.
■ W ord Clock Sets whether the EX is used as the W ord Clock master or as a slav e . “W ord Clock” means synchronization of the audio signal that passes through digital de vices. It is necessary to use W ord Clock when one or more digital audio de vices are connected for playback or r ecording.
Appendix 278 Appendix Precautions When Installing the Optional Boards R emember the follo wing precautions and install the boards pr operly . • T o av oid using the wrong parts and making mistak es during installation, follow the steps as written. • Before starting installation, be sure that y ou hav e a Phillips scre wdriv er at hand.
279 Appendix Precautions When Purchasing DRAM SIMMs Some of the commercially a v ailable DRAM SIMMs ma y not w ork on the EX5/5R/7. Y amaha cannot be held responsible f or malfunction of DRAM SIMMs.
280 Appendix 3 Mov e to a position facing the rear panel of the EX5/7, and remo ve the scr ews fr om the optional board co ver on the left side with a Phillips scre wdriv er (eight scre ws). Do not remov e the large scre w shown in the illustr ation. R emov e the optional board co ver and y ou will see the installation connectors.
3 Support the EXIDO1 with your hand and use the two scr ews r emov ed in step 1 to attach the board to the rear panel of the EX5/7. 4 Use the two scr ews that ar e attached to the EXIDO1 to attach the board to the EX5/7 metal fitting. 5 Connect the EXIDO1/EXDGO1 pow er cable that was set aside in step 2 to the EXIDO1 connector .
282 Appendix How to Install the EXDGO1 in the EX5/7 Necessar y Items • EXDGO1 (Digital Output Board) x 1 • Flat cable x 1 (included in the EXDGO1 package) Installation Y ou can install the EXDGO1 after r emoving the optional board co ver .
3 Unplug the 2-pin pow er cable from the ASIB1 and remo ve it fr om the ASIB1. T o remo ve the 2-pin pow er cable , cut the cable and then pull it out from the hoop as shown in the illustr ation. 4 R emov e the ASIB1 pow er cable (1 red and 1 white , 2 pin cable) from the hook-shaped bundle tie in the EX5/7.
284 Appendix How to Install the EXFLM1/ DRAM SIMM in the EX5 /7 Necessar y Items • EXFLM1 x 2 (use only in pairs) or • DRAM SIMM x 2 (use only in pairs) Make sur e alwa ys use the EXFLMs in pairs, also always use the DRAM SIMMs with the same memory capacity in pairs.
How to Install the Optional Boa rd/ Memor y ( E X 5 R ) Preparation On the EX5R, remo ve the main unit top co ver for all optional board/memory installations. F or information on how to handle the EX5/7, go to page 279. How to Remove the EX5R T op Cover 1 Turn the EX pow er off, and disconnect the pow er cord.
286 Appendix How to Install the EXIDO1 in the EX5R Necessar y Items • EXIDO1 (Individual Output Board) x 1 • Flat cable x 1 (included in the EXIDO1 package) Installation Y ou can install the EXIDO1 after r emoving the main unit top cov er . F or more information on r emoving the main unit top cov er , see abov e .
7 Turn ov er the EXIDO1 and place face down into the support arms. The EXIDO1 and the EXDGO is installed in the EX5R upside do wn (with the board f acing down). If installed underside do wn, the output jack numbers will not match the Individual Out settings.
288 Appendix How to Install the ASIB1 (SCSI Inter face Board) in the EX5R Necessar y Items • ASIB1 (SCSI Interface Board) x 1 • SCSI cable (Flat cable 50P; length: 280mm) x 1 (included in the ASIB.
289 6 Connect the ASIB1 pow er cable that was set aside in step 4 to the CN2 connector (next to the TERM switch) on the ASIB1. Be careful not to connect the connector in the wrong dir ection. 7 Check the location of the SCSI connector in the EX5R (shown in the illustr ation), and connect the ASIB1 and the EX5R with the SCSI cable .
290 How to Install the EXFLM1/ DRAM SIMM in the EX5R Necessar y Items • EXFLM1 x 2 (use only in pairs) or • DRAM SIMM x 2 (use only in pairs) Make sur e alwa ys use the EXFLMs in pairs, also always use the DRAM SIMMs with the same memory capacity in pairs.
Appendix 291 T roubleshooting The follo wing table pro vides troubleshooting hints and page refer ences for some common problems. Most pr oblems ma y be simply the result of incorr ect settings. Before calling f or professional service , refer to the troubleshooting advice belo w to see if you can find and correct the cause of the pr oblem.
292 No arpeggiator sound. ● Is each part of the arpeggiator muted? (P . 239) ● Are the settings, V elocity Sensitivity and V elocity Limit appropriate? (P . 166) ● Is the note range for the arpeggiator set appr opriately? (P . 16 1) ● (User arpeggio) Are the sequence data pr operly recor ded? (P .
293 Only one note sounds at a time. ● Is the “mono” selected from Mono/P oly parameter in P ARAM, COM menu (V oice Edit)? (P . 79) ● (P erformance) Is the "mono" selected from Mono/P oly parameter of each part? (P . 165) No effect applied.
LCD Messages 294 Appendix Failed to process the MIDI data because too much data is received at one time. Information Remaining memory of the internal sequencer has been consumed. An error occurred when receiving MIDI data. An error occurred when receiving bulk data.
295 Specifications Appendix KEYBOARD Number of Keys T ouch TONE GENERA TION SYSTEM T one Generators Polyphony VOICE V oice T ypes Number of V oices Modes WA VE Preset User Modes PERFORMANCE Multi-Timb.
296 0~9 123... (Chronological order) ...................................... 262 2H Shelf (2-High Shelving Filter) ................................ 87 2L Shelf (2-Low Shelving Filter) .................................. 87 u Mark .......................
297 Dcy 1/2 Level (Decay 1/2 Level) ............................ 85 , 96 Dcy 1/2 Time (Decay 1/2 T ime) ............................ 85 , 96 Dcy 1~3 Level .............................................................. 99 Dcy 1~3 Time (Decay 1-3 T ime) .
298 H Handling the Floppy Disk Drive(FDD) and Floppy Disk ........................................................ 259 Harmonic .................................................................. 168 Headphones .........................................
299 MIDI T rns Ch ............................................................ 274 MIDI-A/MIDI-B (MIDI OUT A/B) ........................ 192 , 222 Mix T rack .................................................. 208 , 229, 251 Mixing Console ............
300 Record Mode & Input Settings .................................... 70 Recording Mode ........................................ 195 , 224, 246 Recording the Sample ................................................ 71 Recv Note Off (Receive Note Off) .
301 Thru ...................................................................... 90 , 93 Thru Gain .................................................................... 92 Time .................................................. 208 , 210, 231, 252 Tim (Timing) .
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante.
Intro/E/qx 5/15/98 10:58 PM Page 16.
M.D.G., EMI Division, ©Yamaha Corporation 1998 V006720 903MWIP6.2-04C0 Printed in Japan OW NER ’ S M A NU A L.
Ein wichtiger Punkt beim Kauf des Geräts Yamaha EX5 (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Yamaha EX5 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Yamaha EX5 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Yamaha EX5 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Yamaha EX5 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Yamaha EX5 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Yamaha EX5 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Yamaha EX5. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Yamaha EX5 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
