CTK671-ES-1
P
USER’S GUIDEGUÍA DEL USUARIO
CTK671_es_cover.p65 01.8.1, 3:53 PMPage 1 Adobe PageMaker 6.5J/PPC
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GUIDELINES LAID DOWN BY FCC RULES FOR USE OF THE UNIT IN THE U.S.A. (not applicable to other areas).
NOTICEThis equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in aresidential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installedand used in accordance with the instructions, may cause harmful interference to radio communications. However,there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmfulinterference to radio or television reception, which can be determined by turning the equipment off and on, the useris encouraged to try to correct the interference by one or more of the following measures:• Reorient or relocate the receiving antenna.• Increase the separation between the equipment and receiver.• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.• Consult the dealer or an experienced radio/TV technician for help.
FCC WARNINGChanges or modifications not expressly approved by the party responsible for compliance could void the user’sauthority to operate the equipment.
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Welcome...To the happy family of satisfied CASIO electronic musical instrument owners! To get the mostout of the many features and functions of the keyboard, be sure to carefully read this manualand keep it on hand for future reference.
Important!Please note the following important information before using this product.
• Before using the optional AD-5 Adaptor to power the unit, be sure to check the AC Adap-tor for any damage first. Carefully check the power cord for breakage, cuts, exposed wireand other serious damage. Never let children use an AC adaptor that is seriously dam-aged.
• Never attempt to recharge batteries.• Do not use rechargeable batteries.• Never mix old batteries with new ones.• Use recommended batteries or equivalent types.• Always make sure that positive (+) and negative (–) poles are facing correctly as indicated
near the battery compartment.• Replace batteries as soon as possible after any sign they are getting weak.• Do not short-circuit the battery terminals.• The product is not intended for children under 3 years.• Use only CASIO AD-5 adaptor.• The AC adaptor is not a toy.• Be sure to disconnect the AC adaptor before cleaning the product.
CASIO ELECTRONICS CO., LTD.Unit 6, 1000North Circular RoadLondon NW2 7JD, U.K.
This mark is valid in the EU countries only.Please keep all information for future reference.
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Congratulations upon your selection of this CASIO musical instrument. This keyboardprovides you with the following features and functions.
❐ 348 tones, including 100 “Advanced Tones”A total of 238 standard tones including piano, organ, brass, and other presets provideyou with the sounds you need, while memory for 10 user tones lets you store yourown original creations. 100 of the preset tones are “Advanced Tones,” which are vari-ations of standard tones created by programming in effects (DSP) and other settings.
❐ 100 Preset Rhythms + 4 User RhythmsA selection of 100 rhythms includes accompaniments for everything from rock topops and jazz.You can also transfer accompaniment data from your computer and store up to fourof them as user rhythms in keyboard memory.
❐ Auto AccompanimentSimply play a chord and the corresponding rhythm, bass and chord parts play auto-matically. One-touch Presets instantly recalls the most suitable tone and tempo set-tings to match the rhythm you are using.
❐ Big, Information-packed DisplayA big built-in display shows chord names, tempo setting, keyboard information, staffnotation of notes played, and more for full support of all your keyboard play. A built-in backlight keeps the display easy to read, even in total darkness.
❐ Song MemoryRecord up to six parts in memory, along with their tone, volume, pan position, andother parameters for later playback. Realistic ensemble play can also be created us-ing the Auto Accompaniment function.
❐ Synthesizer ModeEdit built in sounds to produce your own original creations. Up to 10 of your ownsounds can be stored in memory for recall just like the built-in tones.
Introduction
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❐ General MIDI compatibilityThe General MIDI tones of this keyboard let you connect to a personal computer toenjoy “desktop music” capabilities. This keyboard can be used as a desktop musicinput device or sound source, and it's just the thing for playback of commerciallyavailable pre-recorded General MIDI music software.
❐ Powerful effectsA collection of powerful effects, such as reverb, chorus, and more, give you totalcontrol over the type of sound you want. You can even change the parameters of aneffect to create your own, original effects. A 4-band equalizer is also included.
❐ MixerYou can specify tone, volume, pan position, and other parameters for each built-inAuto Accompaniment part. You can also control the same parameters for each chan-nel during MIDI input.
❐ Registration MemoryKeyboard setups can be stored in memory for later recall and instant settings when-ever you need them. Up to 16 setups (4 setups x 4 banks) can be stored in registrationmemory.
❐ Data download from your computerYou can use your computer to download data from the CASIO MUSIC SITE.
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Safety Precautions
SymbolsVarious symbols are used in this user’s guideand on the product itself to ensure that theproduct is used safely and correctly, and toprevent injury to the user and other personsas well as damage to property. Those sym-bols along with their meanings are shownbelow.
DANGER
This symbol indicates information that, ifignored or applied incorrectly, creates thedanger of death or serious personal injury.
WARNING
This indication stipulates matters that havethe risk of causing death or serious injuryif the product is operated incorrectly whileignoring this indication.
CAUTION
This indication stipulates matters that havethe risk of causing injury as well as mat-ters for which there is the likelihood ofoccurrence of physical damage only if theproduct is operated incorrectly while ig-noring this indication.
Symbol Examples
This triangle symbol ( ) meansthat the user should be careful.(The example at left indicateselectrical shock caution.)
This circle with a line through it( ) means that the indicated ac-tion must not be performed. In-dications within or nearby thissymbol are specifically prohib-ited. (The example at left indi-cates that disassembly is prohib-ited.)
The black dot ( ) means that theindicated action must be per-formed. Indications within thissymbol are actions that are spe-cifically instructed to be per-formed. (The example at left indi-cates that the power plug must beunplugged from the electricalsocket.)
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AC AdaptorMisuse of the AC adaptor’s electriccord can damage or break it, creat-ing the risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Never place heavy objects on the
cord or subject it to heat.• Never try to modify the cord or
subject it to excessive bending.• Never twist or stretch the cord.• Should the electric cord or plug
become damaged, contact youroriginal retailer or authorizedCASIO Service Provider.
AC AdaptorNever touch the AC adapter whileyour hands are wet.Doing so creates the risk of electricshock.
BatteriesMisuse of batteries can cause themto leak, resulting in damage tonearby objects, or to explode, creat-ing the risk of fire and personal in-jury. Always make sure you observethe following precautions.• Never try to take batteries apart
or allow them to become shorted.• Never expose batteries to heat or
dispose of them by incineration.• Never mix old batteries with new
ones.• Never mix batteries of different
types.• Do not charge the batteries.• Make sure the positive (+) and
negative (–) ends of the batteriesare facing correctly.
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DANGER
Alkaline BatteriesPerform the following steps imme-diately if fluid leaking from alka-line batteries ever gets into youreyes.1. Do not rub your eyes! Rinse them
with water.2. Contact your physician immedi-
ately.Leaving alkaline battery fluid inyour eyes can lead to loss of sight.
WARNING
Smoke, Strange Odor, OverheatingContinued use of the product whileit is emitting smoke, a strange odor,or heat creates the risk of fire andelectric shock. Take the followingsteps immediately.1. Turn off power.2. If you are using the AC adaptor
for power, unplug it from the walloutlet.
3. Contact your original retailer oran authorized CASIO Service Pro-vider.
AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Be sure to use only the AC adap-
tor that is specified for this prod-uct.
• Use only a power source whosevoltage is the within the ratingmarked on the AC adaptor.
• Do not overload electrical outletsand extension cords.
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Plastic BagsNever place the plastic bag the prod-uct comes in over your head or inyour mouth. Doing so creates therisk of suffocation.Particular care concerning this pre-caution is required where small chil-dren are present.
Keep off of the product and stand.*Climbing onto the product or standcan cause it to tip over or becomedamaged. Particular care concern-ing this precaution is requiredwhere small children are present.
LocationAvoid locating the product on anunstable stand, on an uneven sur-face, or any other unstable location.An unstable location can cause theproduct to fall over, creating the riskof personal injury.
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Do not incinerate the product.Never throw the product into fire.Doing so can cause it to explode,creating the risk of fire and personalinjury.
Water and Foreign MatterWater, other liquids, and foreignmatter (such as pieces of metal) get-ting into the product create the riskof fire and electric shock. Take thefollowing steps immediately.1. Turn off power.2. If you are using the AC adaptor
for power, unplug it from the walloutlet.
3. Contact your original retailer oran authorized CASIO Service Pro-vider.
Disassembly and ModificationNever try to take this product apartor modify it in any way. Doing socreates the risk of electric shock,burn injury, or other personal in-jury. Leave all internal inspection,adjustment, and maintenance up toyour original retailer or authorizedCASIO Service Provider.
Dropping and ImpactContinued use of this product afterit has been damaged by droppingor subjecting it to strong impact cre-ates the risk of fire and electricshock. Take the following steps im-mediately.1. Turn off power.2. If you are using the AC adaptor
for power, unplug it from the walloutlet.
3. Contact your original retailer oran authorized CASIO Service Pro-vider.
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CleaningBefore cleaning the product, alwaysunplug the AC adaptor from thewall outlet first. Leaving the ACadaptor plugged in creates the riskof damage to the AC adaptor, fire,and electric shock.
BatteriesMisuse of batteries can cause themto leak resulting in damage tonearby objects, or to explode, creat-ing the risk of fire and personal in-jury. Always make sure you observethe following precautions.• Use only batteries that are speci-
fied for use with this product.• Remove batteries from the prod-
uct if you do not plan to use it fora long time.
ConnectorsConnect only the specified devicesand equipment to the product’s con-nectors. Connection of a non-speci-fied device or equipment creates therisk of fire and electric shock.
LocationAvoid the following locations forthis product. Such locations createthe risk of fire and electric shock.• Areas subject to high humidity
or large amounts of dust• In food preparation areas or other
areas subject to oil smoke• Near air conditioning equipment,
on a heated carpet, in areas ex-posed to direct sunlight, inside ofa vehicle parked in the sun, orany other area that subjects theproduct to high temperatures
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CAUTION
AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Do not locate the electric cord
near a stove or other sources ofheat.
• Never pull on the cord when un-plugging from the electrical out-let. Always grasp the AC adap-tor when unplugging.
AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Insert the AC adaptor into the
wall outlet as far as it will go.• Unplug the AC adaptor from the
wall outlet during lighteningstorms or before leaving on a tripor other long-term absence.
• At least once a year, unplug theAC Adaptor from the wall outletand wipe away any dust that isbuilt up in the area around theprongs of the plug.
Relocating the ProductBefore relocating the product, al-ways unplug the AC adaptor fromthe wall outlet and disconnect allother cables and connecting cords.Leaving cords connected creates therisk of damage to the cords, fire,and electric shock.
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IMPORTANT!When using batteries, be sure to replace them or shift to oneof the alternate power sources whenever you notice any ofthe following symptoms.
• Dim power indicator• Instrument does not turn on• Display that is flickering, dim, or difficult to read• Abnormally low speaker/headphone volume• Distortion of sound output• Occasional interruption of sound when playing at high vol-
umes• Sudden power failure when playing at high volumes• Flickering or dimming of the display when playing at high
volume• Continued sound output even after you release a key• A tone that is totally different from the one that is selected• Abnormal rhythm pattern and demo tune play• Loss of power, sound distortion, or low volume when play-
ing from a connected computer or MIDI device
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Display Screen• Never push on the display
screen’s LCD panel or subject itto strong impact. Doing so cancause the LCD panel’s glass tocrack, creating the risk of personalinjury.
• Should the LCD panel ever crackor break, never touch the liquidinside of the panel. LCD panelliquid can cause skin irritation.
• Should LCD panel liquid ever getinside your mouth, immediatelywash out your mouth with waterand contact your physician.
• Should LCD panel liquid ever getinto your eyes or onto your skin,rinse with clear water for at least15 minutes, and then contact aphysician.
Sound VolumeDo not listen to music at very loudvolumes for long periods. Particu-lar care concerning this precautionis required when using headphones.High volume settings can damageyour hearing.
Heavy ObjectsNever place heavy object on top ofthe product.Doing so can make the product topheavy, causing the product to tipover or the object to fall from it,creating the risk of personal injury.
Correct Stand* AssemblyAn incorrectly assembled stand cantip over, causing the product to falland creating the risk of personal in-jury.Make sure you assemble the standcorrectly, following the assemblyinstructions that come with it. Makesure you mount the product on thestand correctly.
* Stand is available as an option.
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Avoid heat, humidity or direct sunlight.Do not overexpose the instrument to direct sunlight, or place it near an air conditioner, or in any extremely hot place.
Do not use near a TV or radio.This instrument can cause video or audio interference with TV and radio reception. If this happens, move the instrument awayfrom the TV or radio.
Do not use lacquer, thinner or similar chemicals for cleaning.Clean the instrument with a soft cloth dampened in a weak solution of water and a neutral detergent. Soak the cloth in thesolution and squeeze until it is almost dry.
Avoid use in areas subjected to temperature extremes.Extremely high or low temperature can cause figures on the LCD screen to become dim and difficult to read. This conditionshould correct itself when the instrument is brought back to normal temperature.
❚ NOTE• You may notice lines in the finish of the case of this instrument. These lines are a result of the molding process used to shape the plastic
of the case. They are not cracks or breaks in the plastic, and are no cause for concern.
Care of your Instrument
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Contents
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Welcome... ..............................E-1
Introduction ...........................E-2
Safety Precautions ................E-4
Care of your keyboard ..........E-9
Contents ...............................E-10
General Guide ......................E-12About the display .....................................E-14
Playing a Demo Tune ..............................E-15
Power Supply.......................E-16Using batteries .........................................E-16
Using the AC Adaptor ..............................E-17
Auto Power Off .........................................E-17
Memory Contents ....................................E-18
Connections.........................E-19
Basic Operations .................E-21To play the keyboard ................................E-21
Selecting a Tone ......................................E-21
Using an Advanced Tone .........................E-22
Applying Effects to Tones ...E-23Effect Blocks ............................................E-23
Selecting REVERB and CHORUS ..........E-23
Selecting a DSP type ...............................E-25
Using the Equalizer .............E-27
Auto Accompaniment .........E-28Selecting a Rhythm..................................E-28
Playing a Rhythm.....................................E-28
Adjusting the Tempo ................................E-28
Using Auto Accompaniment .....................E-29
Using an Intro Pattern ..............................E-31
Using a Fill-in Pattern ..............................E-32
Using a Rhythm Variation ........................E-32
Synchro Starting Accompanimentwith Rhythm Play .....................................E-32
Finishing with an Ending Pattern .............E-33
Using One-touch Preset ..........................E-33
Using Auto Harmonize .............................E-33
Adjusting the Accompaniment Volume ....E-34
Mixer Function .....................E-35What you can do with the Mixer ..............E-35
Turning Channels On and Off ..................E-35
Using the Parameter Edit Mode ..............E-36
How Parameters Work .............................E-37
Synthesizer Mode ................E-38Synthesizer Mode Functions ...................E-38
Creating a User Tone ...............................E-40
Storing a User Tone In Memory ...............E-42
Registration Memory...........E-44Registration Memory Features ................E-44
To Save a Setup in Registration Memory ...E-45
To Recall a Setup from RegistrationMemory ....................................................E-45
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Song Memory Function ......E-46Tracks ......................................................E-46
Basic Song Memory operations ...............E-46
Using Real-time Recording ......................E-47
Mixer Mode Settings ................................E-48
Playing Back from Song Memory ............E-49
Recording Melody and Chordswith Step Recording.................................E-49
Recording Multiple Tracks .......................E-52
Correcting Mistakes While StepRecording.................................................E-54
Editing Memory Contents ........................E-55
Editing a Song .........................................E-57
Keyboard Settings...............E-59Using Layer ..............................................E-59
Using Split ................................................E-59
Using Layer and Split Together ...............E-60
Using Touch Response ............................E-61
Transposing the Keyboard .......................E-62
Tuning the Keyboard ...............................E-62
Changing Other Settings .........................E-63
MIDI .......................................E-66What is MIDI? ..........................................E-66
General MIDI ...........................................E-66
Sending and Receiving MIDI Messages ....E-67
MIDI Settings ...........................................E-67
Using the Data Download Service ...........E-68
Troubleshooting ..................E-69
Specifications ......................E-71
Appendix ............................... A-1Tone list ......................................................A-1
Drum Assignment List ................................A-8
Fingered Chord Chart ................................A-9
Effect List .................................................A-10
DSP Algorithm List ...................................A-12
MIDI Implementation Chart
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General Guide
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REST/YES/NO
(TIE) 3
FULL RANGE
MAX
MIN
PLAYRECORDSTEP RECORD
CHORDFINGERED
CASIO CHORD
NORMAL
BANK STORE
8 9 A B
D
E F
G
HD
E GF H
123
456 8 0 B7 9 A C * 1
BANK STORE
PLAYRECORDSTEP RECORD
REST/YES/NO
(TIE) 3
ab
a
b
c
d
e
f
a
b
c
d
e
b
c
a
ba c
d
a
b
a
fedca b
b c d
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* Attaching of the Score StandFirmly press the music stand provided with the keyboardall the way into the groove on the top of the keyboard.
OUT IN SUSTAIN/ASSIGNABLE JACK
MIDI PHONES/OUTPUT
DC 9V
H
I J K L M
a b
c
b
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Rear Panel
• Key, button, and other names are indicated in the text of this manual using bold type.
1 Speaker
2 POWER button
3 Power indicator
4 MODE switch
5 VOLUME slider
6 Rhythm list
7 Equalizer list
8 a) SONG MEMORY button
b) ONE TOUCH PRESET button
9 a) EQUALIZER button
b) REVERB button
c) CHORUS button
d) DSP button
e) MIXER button
f) ACCOMP VOLUME button
0 Display
A a) DEMO button
b) SYNTH button
c) ADVANCED TONE button
d) TONE button
e) RHYTHM button
B a) [�] / [�] CURSOR buttons
b) [�] EXIT button
c) [�] ENTER button
C Tone list
D a) INTRO/ENDING 1/2 buttons
b) VARIATION/FILL-IN 1/2 buttons
c) SYNCHRO/FILL-IN NEXTbutton
d) START/STOP button
e) TEMPO buttons
E a) BANK button
b) REGISTRATION buttons
c) STORE button
d) SONG MEMORY TRACKbuttons
F a) AUTO HARMONIZE button
b) SPLIT button
c) LAYER button
d) TOUCH/TRANSPOSE/SET-TING button
G a) Number buttons
• For input of numbers tochange displayed settings.
b) [+]/[–] buttons (YES/NO)
• Negative values can bechanged only by using [+] and[–] to increment and decre-ment the displayed value.
H a) CHORD root names
b) Chord types name
c) Percussion instrument list
I MIDI OUT terminal
J MIDI IN terminal
K SUSTAIN/ASSIGNABLE JACKterminal
L PHONES/OUTPUT terminal
M DC 9V jack
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G r a n d P n o1 2 4
89101415
3 65 7
111213
About the display
1. Indicators appear here to show when reverb, chorus, DSP, the Mixer Mode, Song Memory, orTouch Response is being used.
2. The TONE indicator appears when you are selecting or viewing the TONE setting, while RHYTHMappears for the RHYTHM setting. The AD and TONE indicators both appear when you are select-ing or viewing an Advanced Tone.• “AD TONE” stands for “ADVANCED TONE.”
3. Tone number/Tone name• The tone number/tone name area is also used to indicate the rhythm number and rhythm name,
and to indicate various functions in the Synthesizer Mode, Mixer Mode, Registration Mode, andSong Memory Mode.
4. Indicated keys are those that are operational for the function you are currently performing.
5. Octave SymbolAppears when the note produced by the keyboard is one octave higher than the note indicated onthe staff.
6. Notes you play on the keyboard, notes being played back from Song Memory, chord forms, andreceived MIDI data* are shown in the staff on the display.
7. Indicators appear here to show when the synthesizer, layer, split, or auto harmonize is being used.
8. This display shows the note played on the keyboard, notes being played back from Song Memory,chord forms, and received MIDI data*.
9. The beat number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode isbeing used.
10. The measure number is indicated while a rhythm, Auto-accompaniment, or Song Memory Modeis being used.
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Playing a Demo TunePressing the DEMO button starts demo tune play. There are two demo tunes, which continuously play in sequence. Tostop demo tune play, press either the DEMO button or the START/STOP button.
❚ NOTE• Pressing the [+]/[–] buttons skips to the next demo tune.• MIDI, Layer, and Split are disabled while a demo tune is playing.
11. The number of beats per minute are indicated while a rhythm, Auto-accompaniment, or SongMemory Mode is being used.• The tempo area is also used to indicate the Song Memory function’s clock.
12. REC flashes on the display during Song Memory record standby. REC remains on the displaywithout flashing while recording is in progress. STEP is displayed during step recording.
13. You can turn on the metronome to provide a reference beat for your keyboard play.
14. Level MeterThe velocity of each channel is indicated as one of three levels. This display also shows the Mixerchannel’s on/off status.
15. The name of the chord being played is shown on the display while Auto Accompaniment is beingused.
* These items do not appear when a note outside the display range (C2 to C7) is received.
❚ NOTE• Display examples shown in this User’s Guide are intended for illustrative purposes only. The actual text and values that appear on the
display may differ from the examples shown in this User’s Guide.
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This keyboard can be powered by current from a standardhousehold wall outlet (using the specified AC adaptor) or bybatteries. Always make sure you turn the keyboard off when-ever you are not using it.
Using batteriesAlways make sure you turn off the keyboard before loadingor replacing batteries.
To load batteries
1. Remove the battery compartment cover.
2. Load six D-size batteries into the battery com-partment.• Make sure that the positive (+) and negative (–) ends are
facing correctly.
3. Insert the tabs on the battery compartment cov-er into the holes provided and close the cover.
The keyboard may not function correctly if you load or re-place batteries with power turned on. If this happens, turn-ing the keyboard off and then back on again should returnfunctions back to normal.
Important Battery Information� The following shows the approximate battery life.
• Manganese batteries ......... Approximately 4 hoursThe above value is standard battery life at normal tem-perature, with the keyboard volume at a medium setting.Temperature extremes or playing at very loud volumesettings can shorten battery life.
� Any of the following symptoms indicate low batterypower. Replace batteries as soon as possible wheneverany of the following occurs.• Dim power indicator• Instrument does not turn on• Display that is flickering, dim, or difficult to read• Abnormally low speaker/headphone volume• Distortion of sound output• Occasional interruption of sound when playing at high
volumes• Sudden power failure when playing at high volumes• Flickering or dimming of the display when playing at
high volume• Continued sound output even after you release a key• A tone that is totally different from the one that is se-
lected.• Abnormal rhythm pattern and demo tune play• Loss of power, sound distortion, or low volume when
playing from a connected computer or MIDI device
IMPORTANT!Improper handling of batteries can cause them to burst andleak, which creates the danger of personal injury or damagedue to contact with battery acid. Be sure to note the followingimportant precautions.• Always make sure that the positive (+) and negative (–)
poles are facing correctly as indicated near the batterycompartment.
• To avoid damage caused by leaking batteries, be sure toremove batteries from the keyboard whenever you leave itunattended for long periods (such as when leaving on atrip).
• Never mix batteries of different types.• Never mix old batteries with new ones.• Never discard batteries by incinerating them, do not allow
their poles to be shorted (connected to each other), nevertake batteries apart, and do not expose batteries to directheat.
• Replace batteries as soon as possible after any sign theyare getting weak.
• Never attempt to recharge batteries.
Power Supply
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Using the AC AdaptorMake sure that you use only the AC adaptor specified forthis keyboard.
Specified AC Adaptor: AD-5
Also note the following important warnings and precautionswhen using the AC adaptor.
WARNING!• Take care to avoid any damage to or breakage of the power
cord. Never place any heavy objects on the power cord or ex-pose it to direct heat. Doing so creates the danger of powercord damage, fire, and electrical shock.
• Use only the specified AC adaptor. Use of another type of adap-tor creates the danger of fire and electrical shock.
CAUTION!• For safety sake, be sure to unplug the AC adaptor from the wall
outlet whenever leaving the keyboard unattended for a longtime (such as when leaving on a trip).
• Always turn off the keyboard and unplug the AC adaptor fromthe wall outlet when you are not using the keyboard.
IMPORTANT!• Make sure that the keyboard is turned off before connect-
ing or disconnecting the AC adaptor.• Using the AC adaptor for a long time can cause it to be-
come warm to the touch. This is normal and does not indi-cate malfunction.
Auto Power OffWhen you are using battery power, keyboard power turnsoff automatically whenever you leave it on without perform-ing any operation for about 6 minutes. When this happens,press the POWER button to turn power back on.
❚ NOTE• Auto Power Off is disabled (it does not function) when you are
using the AC adaptor to power the keyboard.
To disable Auto Power OffHold down the TONE button while turning on the keyboardto disable Auto Power Off.
• When Auto Power Off is disabled, the keyboard does notturn off automatically no matter how long it is left with nooperation being performed.
• Auto Power Off is automatically enabled whenever youturn on keyboard power.
SettingsTone, rhythm, and other “main keyboard settings” in effectwhen you turn off the keyboard manually by pressing POW-ER or when Auto Power Off turns off power are still in effectthe next time you turn power back on.
Main Keyboard Settings
Tone number, layer, split, split point, touch response,reverb, chorus, DSP, equalizer, rhythm number, tempo,Mixer Mode settings (channel on/off, tone number, vol-ume, pan pot), keyboard channel, MIDI In Chord Judgeon/off, accomp MIDI out on/off, assignable jack setting,accompaniment volume, user area tones (SynthesizerMode), user area accompaniments, user area DSP
OUT IN SUSTAIN/ASSIGNABLE JACK
MIDI PHONES/OUTPUT
DC 9V
DC 9V jack
AC adaptor AD-5
AC outlet
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Memory ContentsIn addition to the above settings, data stored in the Registra-tion Mode and Song Memory Mode is also retained whenkeyboard power is turned off.
Electrical PowerThe settings and memory data described above are retainedas long as the keyboard is being supplied with electrical pow-er. Unplugging the AC adaptor when batteries are not load-ed or when loaded batteries are dead cuts off the keyboard’selectrical power supply. This causes all settings to be initial-ized to their factory defaults and clears all data stored inmemory.
Power RequirementsNote the following precautions whenever you want to en-sure that current keyboard settings and memory contents arenot lost.• Make sure the keyboard is being supplied power through
the AC adaptor before replacing its batteries.• Before unplugging the AC adaptor, make sure that fresh
batteries are loaded in the keyboard.• Make sure that keyboard power is turned off before replac-
ing batteries or unplugging the AC adaptor.
Initializing the KeyboardUse the procedure on page E-65 to initialize the keyboard,which clears all memory data and returns settings to theirinitial factory defaults.
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E-19
Phones/Output TerminalBefore connecting phones or other external equipment, besure to first turn down the volume settings of the keyboardand the connected equipment. You can then adjust volumeto the desired level after connections are complete.
Rear Panel
Connecting Phones 1
Connecting phones cuts off output from the keyboard’s built-in speakers, so you can play even late at night without dis-turbing anyone.
Audio Equipment 2
Connect the keyboard to a audio equipment using a com-mercially available connecting cord with a standard plug onone end and two PIN plugs on the other end. Note that thestandard plug you connect to the keyboard must be a stereoplug, otherwise you will be able to output only one of stereochannels. In this configuration, you normally set the inputselector of the audio equipment to the terminal (usuallymarked AUX IN or something similar) where the cord fromthe keyboard is connected. See the user documentation thatcomes with your audio equipment for full details.
Musical Instrument Amplifier 3
Use a commercially available connecting cord to connect thekeyboard to a musical instrument amplifier.
❚ NOTE• Be sure to use a connecting cord that has a stereo standard
plug on the end you connect to the keyboard, and a connectorthat provides dual channel (left and right) input to the amplifierto which you are connecting. The wrong type of connector ateither end can cause one of the stereo channels to be lost.
❚ NOTE• You can also connect the keyboard to a computer or sequenc-
er. See “MIDI” on page E-66 for details.
OUT IN SUSTAIN/ASSIGNABLE JACK
MIDI PHONES/OUTPUT
DC 9V
LEFT RIGHT
AUX IN or similar terminal of audio amplifier
White Red PIN plug
Stereo standard plug
Audio connection
PHONES/OUTPUT Terminal
Keyboard amp, guitar amp, etc.
1
2
3
Connections
INPUT 1
INPUT 2
PIN jackPIN plug (red)
PIN plug (white)Stereo standard plugKeyboard or guitar amp
To keyboard’s PHONES/OUTPUT terminal
Standard plug
When connected to a musical instrument amplifier, set thevolume of the keyboard to a relatively low level and makeoutput volume adjustments using the amplifier’s controls.
Connection Example
703A-E-021A
E-20 703A-E-022A
Sustain Pedal
• With piano tones, depressing the pedal causes notes to lin-ger, much like a piano’s damper pedal.
• With organ tones, depressing the pedal causes notes to con-tinue to sound until the pedal is released.
Sostenuto Pedal
• As with the sustain pedal function described above, de-pressing the sostenuto pedal causes notes to be sustained.
• This difference between a sostenuto pedal and sustain pedalis the timing. With a sostenuto pedal, you press the keysand then depress the pedal before you release the keys. Onlythe notes that are sounding when the pedal is depressedare sustained.
Soft Pedal
Depressing the pedal softens the sound of the notes beingplayed.
Rhythm Start/Stop Pedal
In this case, the pedal performs the same functions as theSTART/STOP button.
OUT IN SUSTAIN/ASSIGNABLE JACK
MIDI PHONES/OUTPUT
DC 9V
SP-10
SUSTAIN/ASSIGNABLE JACK Terminal
Sustain/Assignable jack TerminalYou can connect an optional sustain pedal (SP-2 or SP-10) tothe SUSTAIN/ASSIGNABLE JACK terminal to enable the ca-pabilities described below.
For details on how to select the pedal function you want, see“Changing Other Settings” on page E-63.
Accessories and OptionsUse only the accessories and options specified for this key-board. Use of non-authorized items creates the danger of fire,electrical shock, and personal injury.
E-21
3. Use the number buttons to input the three digittone number for the tone you want to select.Example: To select “039 ACOUSTIC BASS”, input 0,
3 and then 9.
❚ NOTE• Always input all three digits for the tone number, including lead-
ing zeros (if any).• You can also increment the displayed tone number by press-
ing [+] and decrement it by pressing [–].• When one of the drum sets is selected (tone numbers 228
through 237), each keyboard key is assigned a different per-cussion sound. See page A-8 for details.
• The names of tone number 100 through 227 are not markedon the keyboard console. Refer to the “Tone List” at the back ofthis User’s Guide when selecting a tone within this range.
This section provides information on performing basic key-board operations.
To play the keyboard
1. Press the POWER button to turn the keyboardon.
2. Set the MODE switch to NORMAL.
3. Use the VOLUME slider to set the volume to arelatively low level.
4. Play something on the keyboard.
Selecting a ToneThis keyboard comes with 348 built-in tones. Use the follow-ing procedure to select the tone you want to use.
To select a tone
1. Find the tone you want to use in the keyboard’stone list and note its tone number.
2. Press the TONE button.
Basic Operations
G r a n d P n o
A c o . B a s s
703A-E-023A
VOLUME
MODE
TONE
POWER
Number buttons
E-22
Using an Advanced Tone100 of the preset tones are “Advanced Tones,” which are vari-ations of standard tones created by programming in effects(DSP) and other settings. For example, PIANO is modifiedinto STEREO PIANO, ORGAN becomes ROTARY SPEAK-ER ORGAN, and so on.
To select an Advanced Tone
1. Press the ADVANCED TONE button.• This causes “AD” to appear on the display, and caus-
es the currently selected tone to change to its Ad-vanced Tone version.
• “AD TONE” stands for “ADVANCED TONE.”
2. Press the TONE button.• This causes “AD” to disappear from the display, and
returns to the tone to its standard preset.
❚ NOTE• Preset tone numbers 000 to 099 have Advanced Tone versions.• Anytime “AD” is on the display indicating that an Advanced Tone
is selected, you can use [+] and [–] to scroll the tone numberon the display.
• If any tone number outside the range of 000 to 099 is selectedwhen you press the ADVANCED TONE button, the tone auto-matically changes to the Advanced Tone version of tone number00.
• Only one of the channels (1 to 16) can have an Advanced Toneassigned to it at one time. Assigning an Advanced Tone to an-other channel causes the currently assigned channel to changeautomatically to its standard (non-Advanced) version.
703A-E-024A
PolyphonyThe term polyphony refers to the maximum number of notesyou can play at the same time. The keyboard has 32-note po-lyphony, which includes the notes you play as well as therhythms and auto-accompaniment patterns that are playedby the keyboard. This means that when a rhythm or auto-accompaniment pattern is being played by the keyboard, thenumber of notes (polyphony) available for keyboard play isreduced. Also note that some of the tones offer only 16-notepolyphony.
Digital SamplingA number of the tones that are available with this keyboardhave been recorded and processed using a technique calleddigital sampling. To ensure a high level of tonal quality, sam-ples are taken in the low, mid, and high ranges and then com-bined to provide you with sounds that are amazingly close tothe originals. You may notice very slight differences in vol-ume or sound quality for some tones when you play them atdifferent positions on the keyboard. This is an unavoidableresult of multiple sampling, and it is not a sign of malfunction.
Lit
TONE
ADVANCED TONE
E-23
This keyboard provides you with a selection of effects thatyou can apply to tones.The built-in effects include a wide variety of variations thatgive you access to a selection of general digital effects.
Effect BlocksThe following shows how the effects of this keyboard are or-ganized.
REVERBReverb simulates the acoustics of specific types of environ-ments. You can choose from among 16 different reverb ef-fects, including “Room” and “Hall.”
CHORUSThe chorus effect gives sound greater depth by causing it tovibrate. You can choose from among 16 different chorus ef-fects, including “Chorus” and “Flanger.”
DSPDSP effects are applied to the connection between the soundsource and output. You can select distortion and modulationeffects. You can create DSP effect setups and also transferdownloaded DSP data from your computer. The keyboardhas memory for up to 10 DSP effect setups, which you canstore. See “Using the Data Download Service” on page E-68and “Saving the Settings of DSP Parameters” on page E-26for more information.
Selecting REVERB and CHORUSPerform the following steps to select REVERB or CHORUS.
1. Press the button (REVERB or CHORUS) for theeffect you want to select, so the button’s indica-tor is shown on the display screen.• An indicator is on the display next to REVERB or
CHORUS when the effect is turned on. The indicatoris not displayed when the corresponding effect isturned off.
Example: Indicator after the REVERB button is pressed
2. Use the [+] and [–] buttons or the number but-tons to scroll through the effects until the oneyou want is displayed, or use the number but-tons to input the effect number you want to se-lect.• See the list on page A-10 for information about the
types of CHORUS and REVERB effects that are avail-able.
• Here you could also change the parameters of the ef-fect you selected, if you want. See “Changing the Set-tings of REVERB and CHORUS Parameters” for moreinformation.
onoff
DSP Line16ch
Sound Source
DSP
REVERB
CHORUS
EQUALIZER
Output
Applying Effects to Tones
703A-E-025A
Lit
[+]/[–]
REVERB
CHORUS
DSP
Number buttons
E-24 703A-E-026A
Changing the Settings of REVERB and
CHORUS ParametersYou can control the relative strength of an effect and how it isapplied. The parameters you can control depend on the ef-fect. See the following section titled “REVERB and CHORUSParameters” for more information.
1. After selecting the effect you want, press the [�](ENTER) button.• This displays the parameter setting screen.
2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.Example: To set the Reverb Time parameter
3. Use the [+] and [–] buttons or the number but-tons to input the parameter setting you want.
4. Press the [�] (EXIT) button.• This returns to the effect selection screen.
REVERB and CHORUS ParametersThe following describes the parameters for each effect.
REVERBReverb effects are associated with either a reverb type or de-lay type. Parameter settings depend upon the associated type.
� Reverb Type (No. 0 to 5, 8 to 13)
� Reverb Level (Range: 000 to 127)Controls the reverb size. A larger number produces larg-er reverb.
� Reverb Time (Range: 000 to 127)Controls how long reverb continues. A larger numberproduces longer reverb.
� ER Level (Initial Echo Sound) (Range: 000 to 127)This parameter controls the initial reverb volume. Theinitial echo sound is the first sound reflected from thewalls and ceiling when a sound is output by this key-board. A larger value specifies a larger echo sound.
� High Damp (Range: 000 to 127)Adjusts the damping of high frequency reverberation(high sound). A smaller value damps high sounds, creat-ing a dark reverb. A larger value does not damp highsounds, for a brighter reverb.
� Delay Type (No. 6, 7, 14, 15)
� Delay Level (Range: 000 to 127)Specifies the size of the delay sound. A higher value produc-es a larger delay sound.
� Delay Feedback (Range: 000 to 127)Adjusts delay repeat. A higher value produces a greater num-ber of repeats.
� ER LevelSame as Reverb Type
� High DampSame as Reverb Type
CHORUS
� Chorus Level (Range: 000 to 127)Specifies the size of the chorus sound.
� Chorus Rate (Range: 000 to 127)Specifies the undulation speed of the chorus sound. Ahigher value produces faster undulation.
� Chorus Depth (Range: 000 to 127)Specifies the undulation depth of the chorus sound. Ahigher value produces deeper undulation.
❚ NOTE• Whether or not an effect is applied to the parts that are sound-
ing also depends on Mixer Mode Reverb Send, Chorus Send,and DSP on/off settings. See “Mixer Function” on page E-35for more information.
REVERB
CHORUS
DSP [�] ENTER[+]/[–]
[�] / [�] CURSOR
[�] EXIT
Number buttons
R v b T i me
E-25703A-E-027A
Selecting a DSP TypePerform the following steps to select a DSP type.
1. Press the DSP button so the indicator appearsnext to DSP on the display.
2. Use the [+] and [–] buttons or number buttonsto select the type of DSP you want.• See the “Effect List” on page A-10 for information
about the DSP types that can be selected.• Here you could also change the parameters of the ef-
fect you selected, if you want. See “Changing the Set-tings of DSP Parameters” for more information.
❚ NOTE • When using a DSP effect, you should use the Mixer to confirm
that the DSP lines of the required parts are turned on. See“Mixer Function” on page E-35 for more information.
• The DSP type display area shows the DSP number (000 to109), Ad (Advance tone), or USr (user tone created using DSP).
Setting Basic DSP ParametersThe following are the basic DSP parameters whose settingsyou can change.
� DSP Volume (Range: 000 to 127)Sets the post-DSP volume.
� DSP Pan (Range: -64 to 00 to +63)Sets the post-DSP stereo pan.
� DSP Hold (Settings: on, oFF)on: Current DSP line setting is maintained, even when
the tone is changed.• In the case of an Advance tone, however, changing the
tone causes all DSP line settings except for those of theselected channel to turn off. See the note on page E-26for more information.
oFF: Changing the tone switches to the DSP line settingof the new tone.
1. Press the DSP button so the on-screen DSP indi-cator appears.
2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.
3. Use the [+] and [–] buttons or the number but-tons to make the parameter setting you want.
4. Press the [�] (EXIT) button.• This exits the tone or rhythm setting screen.
Changing the Settings of DSP ParametersYou can control the relative strength of a DSP and how it isapplied. See the following section titled “DSP Parameters”for more information.
1. After selecting the DSP type you want, press the[�] (ENTER) button.• This displays the parameter setting screen.
2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.
3. Use the [+] and [–] buttons or the number but-tons to make the parameter setting you want.
4. Press the [�] (EXIT) button.• This exits the DSP type setting screen.
DSP ParametersThe following describes the parameters for each DSP.
DSP
� Parameter 0 to 7This parameter differs in accordance with the algorithm*of the selected DSP type. See the “Effect List” on page A-10 and the “DSP Algorithm List” on page A-12 for moreinformation.
* Effector structure and operation type
� DSP Reverb Send (Range: 000 to 127)Specifies how much of the post-DSP sound should be sentto reverb.
� DSP Chorus Send (Range: 000 to 127)Specifies how much of the post-DSP sound should be sentto chorus.
E-26
❚ NOTE• Whether or not an effect is applied to the parts that are sound-
ing also depends on Mixer Mode Reverb Send, Chorus Send,and DSP on/off settings. See “Mixer Function” on page E-35for more information.
• Playing a demo tune (page E-15) automatically changes theeffect to the one that is assigned to the tune. You cannot changeor cancel a demo tune effect.
• Changing the effect setting while sound is being output by thekeyboard causes a slight break in the sound when the effectchanges.
• A number of tones, called “Advanced tones,” automatically turnon the DSP line for more effective tones. If you assign an Ad-vanced tone to a keyboard part (Channels 1 through 4), theDSP line turns on automatically and the DSP selection chang-es in accordance with the settings of the Advanced tone. Also,the Mixer Mode DSP line on/off setting for the keyboard part towhich the Advanced tone is assigned is turned on.** The Mixer DSP line setting is automatically turned off for each
part that does not have an Advanced Tone assigned.Because of this, DSP effects previously applied to these partsare cancelled, which can make their tone sound different. Inthis case, display the Mixer screen and turn DSP back on.
703A-E-028A
[�] ENTER[+]/[–]
Saving the Settings of DSP ParametersYou can save up to 10 modified DSPs in the user area forlater recall when you need them.
1. After making the DSP parameter settings youwant, press the [�] (ENTER) button.• This causes the DSP number of the user area where
the DSP will be saved to flash on the display.
2. Use the [+] and [–] buttons to select the userarea DSP number where you want to save thenew DSP.• You can select a user area DSP number in the range of
100 to 109 only.
3. After everything is the way you want, press the[�] (ENTER) button to store the effect.• The message “Save OK” appears momentarily on the
display, followed by the tone or rhythm selectionscreen.
E-27
Using the Equalizer
The equalizer is another type of effect that you can use tomake adjustments in tone quality. Frequencies are dividedamong a number of bands, and raising and lowering the lev-el of each frequency band alters the sound.You can reproduce the optimal acoustics for the type of mu-sic you are playing (classics, for example) by selecting theapplicable equalizer setting.This keyboard has a built-in four-band equalizer and 10 dif-ferent settings from which you can choose. You can adjustthe gain (volume) of all four equalizer bands within the rangeof -12 to 0 to +12.
To select the equalizer type
1. Press the EQUALIZER button.• This causes the currently selected equalizer type to
appear on the display.
2. Use the [+] and [–] buttons or the number but-tons to select the equalizer type you want.Example: To select Jazz
• Pressing the [�] (EXIT) button or the EQUALIZERbutton exits the equalizer setting screen.
To adjust the gain (volume) of a band
1. After selecting the equalizer type you want, pressthe [�] (ENTER) button.
2. Use the [�] and [�] (CURSOR) buttons to se-lect the band whose gain you want to adjust.Example: To adjust the HIGH band
3. Use the [+] and [–] buttons or the number but-tons to adjust the band gain.Example: To adjust the gain to 10
• Pressing the [�] (EXIT) button displays the equalizertype setting screen.
• Pressing the EQUALIZER button exits the gain (vol-ume) setting screen.
❚ NOTE• Changing to another equalizer type causes the band gain set-
tings to change to the initial settings for the newly selectedequalizer type automatically.
S t a n d a r d
J a z z
L o w
H i g h
H i g h
[�] / [�] CURSOREQUALIZER
[�] ENTER[+]/[–]
Number buttons
703A-E-029A
E-28
This keyboard automatically plays bass and chord parts inaccordance with the chords you finger. The bass and chordparts are played using sounds and tones that are automati-cally selected to select the rhythm you are using. All of thismeans that you get full, realistic accompaniments for themelody notes you play with your right hand, creating themood of a one-person ensemble.
Selecting a RhythmThis keyboard provides you with 100 exciting rhythms thatyou can select using the following procedure.You can also transfer accompaniment data from your com-puter and store up to four of them as user rhythms in key-board memory. See “Using the Data Download Service” onpage E-68 for more information.
To select a rhythm
1. Find the rhythm you want to use in the keyboard’srhythm list and note its rhythm number.
2. Press the RHYTHM button.
3. Use the number buttons to input the three digitrhythm number for the rhythm you want to se-lect.Example: To select “031 ROCK”, input 0, 3 and then 1.
❚ NOTE• You can also increment the displayed rhythm number by press-
ing [+] and decrement it by pressing [–].
Playing a Rhythm
To play a rhythm
1. Set the MODE switch to NORMAL.
2. Press VARIATION/FILL-IN button 1 or 2.• This starts the play of the selected rhythm.• To stop rhythm play, press the START/STOP button.
❚ NOTE• All of the keyboard keys are melody keys while the MODE switch
is set to NORMAL.
Adjusting the TempoYou can adjust the tempo of rhythm play within a range of 30 to255 beats per minute. The tempo setting is used for Auto Ac-companiment chord play, and song memory operations.
To adjust the tempo
Press one of the TEMPO buttons (� or �).
� : Increments displayed value (increases tempo)� : Decrements displayed value (decreases tempo)
Auto Accompaniment
Appears when RHYTHM button is pressed
Number and name of selected rhythm
8 B e a t 1
R o c k 2
703A-E-030A
START/STOP
MODE
VARIATION/FILL-IN 1/2 TEMPO
RHYTHM
Number buttons
E-29
❚ NOTE• Pressing both TEMPO buttons (� and �) at the same time
resets the tempo to the default value of the currently selectedrhythm.
Using Auto AccompanimentThe following procedure describes how to use the keyboard’sAuto Accompaniment feature. Before starting, you shouldfirst select the rhythm you want to use and set the tempo ofthe rhythm to the value you want.
To use Auto Accompaniment
1. Set the MODE switch to CASIO CHORD, FIN-GERED, or FULL RANGE CHORD.
2. Press the START/STOP button to start play of thecurrently selected rhythm.
3. Play a chord.• The actual procedure you should use to play a chord
depends on the current MODE switch position. Referto the following pages for details on chord play.
CASIO CHORD .............................. This page
FINGERED ...................................... Page E-30
FULL RANGE CHORD ................ Page E-31
4. To stop Auto Accompaniment play, press theSTART/STOP button again.
Melody keyboardAccompaniment
keyboard
❚ NOTE• The accompaniment keyboard can be used for playing chords
only. No sound will be produced if you try playing single melo-dy notes on the accompaniment keyboard.
Chord TypesCASIO CHORD accompaniment lets you play four types ofchords with minimal fingering.
CASIO CHORDThis method of chord play makes it possible for anyone toeasily play chords, regardless of previous musical knowledgeand experience. The following describes the CASIO CHORD“accompaniment keyboard” and “melody keyboard,” andtells you how to play CASIO CHORDs.
CASIO CHORD Accompaniment Keyboard andMelody Keyboard
R o c k
Chord name
Current measure numberand beat number
Basic fingering of current chord(May be different from chord actuallybeing played on the keyboard.)
703A-E-031A
Major chordsMajor chord names are markedabove the keys of the accompa-niment keyboard. Note that thechord produced when youpress an accompaniment key-board does not change octave,regardless of which key you useto play it.
Minor chords (m)To play a minor chord, keep themajor chord key depressed andpress any other accompanimentkeyboard key located to theright of the major chord key.
Seventh chords (7)To play a seventh chord, keepthe major chord key depressedand press any other two accom-paniment keyboard keys locat-ed to the right of the majorchord key.
Minor seventh chords (m7)To play a minor seventh chord,keep the major chord key de-pressed and press any otherthree accompaniment key-board keys located to the rightof the major chord key.
ExampleChord Types
CD E F GAB C DE F
C Major (C)
CD E F GAB C DE F
C minor (Cm)
CD E F GAB C DE F
C seventh (C7)
CD E F GAB C DE F
C minor seventh (Cm7)
E-30 703A-E-032A
❚ NOTE• It makes no difference whether you press black or white keys
to the right of a major chord key when playing minor and sev-enth chords.
FINGEREDFINGERED provides you with a total of 15 different chordtypes. The following describes the FINGERED “accompani-ment keyboard” and “melody keyboard”, and tells you howto play a C-root chord using FINGERED.
FINGERED Accompaniment Keyboard and Mel-ody Keyboard
❚ NOTE• The accompaniment keyboard can be used for playing chords
only. No sound will be produced if you try playing single melo-dy notes on the accompaniment keyboard.
Melody keyboardAccompaniment
keyboard
See the “Fingered Chord Chart” on page A-9 for details onplaying chords with other roots.
*1: Inverted fingerings cannot be used. The lowest note isthe root.
*2: The same chord can be played without pressing the 5th G.
❚ NOTE• Except for the chords specified in note*1above, inverted finger-
ings (i.e. playing E-G-C or G-C-E instead of C-E-G) will pro-duce the same chords as the standard fingering.
• Except for the exception specified in note*2above, all of thekeys that make up a chord must be pressed. Failure to presseven a single key will not play the desired FINGERED chord.
C7 *2
( )
Cm7 *2
( )
C Cm Cdim
Caug *1 Csus4
Cmaj7 *2
( )
Cm7�5
C7�5 *1 C7sus4 Cadd9 *2
( )
Cmadd9 *2
( )
CmM7 *2
( )
Cdim7 *1
INTRO/ENDING 1/2
E-31
Example: To play the chord C major.
Any of the fingerings shown in the illustration below willproduce C major.
E G C
E CG
❚ NOTE• As with the FINGERED mode (page E-30), you can play the
notes that form a chord in any combination (1).• When the lowest note of a chord is separated from its neigh-
boring note by six or more semitones, the lowest note becomesthe bass note (2).
11111 ...... Chord C
22222 ...... Chord CE
703A-E-033A
FULL RANGE CHORDThis accompaniment method provides a total of 38 differentchord types: the 15 chord types available with FINGEREDplus 23 additional types. The keyboard interprets any inputof three or more keys that matches a FULL RANGE CHORDpattern to be a chord. Any other input (that is not a FULLRANGE CHORD pattern) is interpreted as melody play. Be-cause of this, there is no need for a separate accompanimentkeyboard, so the entire keyboard, from end to end, functionsas a melody keyboard that can be used for both melody andchords.
FULL RANGE CHORD Accompaniment Key-board and Melody Keyboard
Accompaniment keyboard/Melody keyboard
Chords Recognized by This KeyboardThe following table identifies patterns that are recognized aschords by FULL RANGE CHORD.
Pattern Type
FINGERED
Number of Variations
The 15 chord patterns shownunder FINGERED on page E-30.See the “Fingered Chord Chart” onpage A-9 for details on playingchords with other roots.
23 standard chord fingerings. Thefollowing are examples of the 23chords available with C as the bassnote.
StandardFingerings
C6 Cm6 C69
FC
GC
A�C
B�C
FmC
GmC
AmC
B�mC
Dm7�5C
A�7C
F7
CFm7
CGm7
C A�add9
C • • • • •
• • • •
• • • •
DC
C�C
EC
BC
C�mC
DmC
• •
• •
• •
Using an Intro PatternThis keyboard lets you insert a short intro into a rhythm pat-tern to make startup smoother and more natural.
The following procedure describes how to use the Intro fea-ture. Before starting, you should first select the rhythm youwant to use, and set the tempo.
To insert an intro
Press INTRO/ENDING button 1 or 2.
• With the above setup, the intro pattern is played andthe auto accompaniment with intro pattern starts assoon as you play chords on the accompaniment key-board.
❚ NOTE• The standard rhythm pattern starts to play after the intro pat-
tern is complete.
E-32 703A-E-034A
Synchro Starting Accompanimentwith Rhythm PlayYou can set up the keyboard to start rhythm play at the sametime you play the accompaniment on the keyboard.
The following procedure describes how to use synchro start.Before starting, you should first select the rhythm you wantto use, set the tempo, and use the MODE switch to select thechord play method you want to use (NORMAL, CASIOCHORD, FINGERED, FULL RANGE CHORD).
To use synchro start
1. Press the SYNCHRO/FILL-IN NEXT button to putthe keyboard into synchro start standby.
2. Play a chord and the rhythm pattern starts to playautomatically.
❚ NOTE• If the MODE switch is set to NORMAL, only the rhythm plays
(without a chord) when you play on the accompaniment key-board.
• If you press the INTRO/ENDING button 1 or 2 before playinganything on the keyboard, the rhythm starts automatically withan intro pattern when you play something on the accompani-ment keyboard.
• To cancel synchro start standby, press the SYNCHRO/FILL-INNEXT button one more time.
Using a Fill-in PatternFill-in patterns let you momentarily change the rhythm pat-tern to add some interesting variation to your performances.
The following procedure describes how to use the Fill-in fea-ture.
To insert a fill-in
1. Press the START/STOP button to start rhythmplay.
2. Select the fill-in variation you want.• To select the Variation 1 rhythm, press the VARIA-
TION/FILL-IN 1 button.• To select the Variation 2 rhythm, press the VARIA-
TION/FILL-IN 2 button.
❚ NOTE• The fill-in pattern does not play if you press the VARIATION/
FILL-IN button while an intro pattern is playing.
Using a Rhythm VariationIn addition to the standard rhythm pattern, you can alsoswitch to a secondary “variation” rhythm pattern for a bit ofvariety .
To insert the variation rhythm pattern
1. Press the START/STOP button to start rhythmplay.
2. Press the SYNCHRO/FILL-IN NEXT button.• If a Variation 1 rhythm is currently playing, this plays
Fill-in 1, followed by Fill-in 2, and then switches tothe Variation 2 rhythm.
• If a Variation 2 rhythm is currently playing, this playsFill-in 2, followed by Fill-in 1, and then switches tothe Variation 1 rhythm.
START/STOP
ONE TOUCH PRESET
MODE
INTRO/ENDING 1/2SYNCHRO/FILL-IN NEXT
AUTO HARMONIZE[+]/[–]
Number buttons
E-33
Using Auto HarmonizeWhen you are using Auto Accompaniment, Auto Harmonizeautomatically adds three additional notes to your melody inaccordance with the chord that is being played. The result is aharmony effect that makes your melody line richer and fuller.
To use Auto Harmonize
1. Use the MODE switch to select FINGERED orCASIO CHORD as the accompaniment mode.
2. Press AUTO HARMONIZE to turn on Auto Har-monize.• This causes an indicator to appear next to AUTO
HARMONIZE on the display.
3. Start Auto Accompaniment play, and play some-thing on the keyboard.
4. To turn off Auto Harmonize, press AUTO HAR-MONIZE once.• This causes the indicator next to AUTO HARMONIZE
to disappear.
❚ NOTE• Auto Harmonize turns off temporarily whenever you start demo
tune play. It turns back on as soon as the operation or functionthat caused it to turn off is finished.
• Auto Harmonize is enabled only when the Auto Accompani-ment mode is FINGERED or CASIO CHORD.
Finishing with an Ending PatternYou can end your performances with an ending pattern thatbrings the rhythm pattern you are using to a natural-sound-ing conclusion.The following procedure describes how to insert an endingpattern. Note that the actual ending pattern played dependson the rhythm pattern you are using.
To finish with an ending pattern
While the rhythm is playing, press INTRO/ENDINGbutton 1 or 2.
• The timing when the ending pattern starts dependson when you press the INTRO/ENDING button 1 or2. If you press the button before the second beat ofthe current measure, the ending pattern starts play-ing immediately.
❚ NOTE• Pressing the button at any point in the measure after the sec-
ond beat results in the ending pattern playing from the begin-ning of the following measure.
Using One-touch PresetOne-touch preset automatically makes the main settings list-ed below in accordance with the rhythm pattern you are us-ing.
• Keyboard tone• Layer on/off• Tempo• Effect type• Harmonize on/off
To use one-touch preset
1. Select the rhythm you want to use.
2. Use the MODE switch to select the accompani-ment mode you want to use.
3. Press the ONE TOUCH PRESET button.• This automatically makes the one-touch preset set-
tings in accordance with the rhythm you selected.• The keyboard automatically enters synchro standby
at this time.
4. Start rhythm and Auto Accompaniment, and playsomething on the keyboard.• Accompaniment is played using the one-touch pre-
set settings.
703A-E-035A
E-34
About Auto Harmonize notes and tonesThe notes you play on the keyboard are called “melodynotes,” while the notes added to the melody by Auto Har-monize is called the “harmonize notes.” Auto Harmonizenormally uses the tone you selected for the melody notes asthe tone for the harmonize notes, but you can use the Mixer(page E-35) to specify a different tone for the harmonize notes.The harmonize note tone is assigned to Mixer Channel 5, sochange Channel 5 to the tone you want to use for the harmo-nize notes.In addition to the tone, you can also use the Mixer to changea number of other parameters, such as volume balance. See“Using the Parameter Edit Mode” on page E-36 for detailson these procedures.
❚ NOTE• The default harmonize note tone when you first turn on Auto
Harmonize is the same tone as the melody note tone.• Changing the melody tone setting automatically changes the
harmonize note tone to the same setting.
Adjusting the Accompaniment Vol-umeYou can adjust the volume of the accompaniment parts as avalue in the range of 000 (minimum) to 127 (maximum).
1. Press the ACCOMP VOLUME button.
2. Use the number buttons or the [+]/[–] buttons tochange the current volume setting value.Example: 110
703A-E-036A
A c omp V o l
Current accompaniment volume setting
A c omp V o l
❚ NOTE• Pressing the ACCOMP VOLUME button or [�] (EXIT) button
returns to the tone or rhythm setting screen.• Any channel balance settings you make with the Mixer are main-
tained when you change the accompaniment volume setting.• Pressing [+] and [–] buttons at the same time automatically sets
an accompaniment volume of 100.
[+]/[–]
ACCOMP VOLUME
Number buttons
E-35703A-E-037A
What you can do with the MixerThis keyboard lets you play multiple different musical in-strument parts at the same time during auto-accompanimentplay, song memory playback, receipt of data through the MIDIterminal, etc. The Mixer assigns each part to a separate chan-nel (1 through 16) and lets you control the channel on/off,volume, and pan pot parameters of each channel.
Channel AssignmentsThe following shows the parts that are assigned to each ofthe 16 channels.
See page E-59 and E-60 for information on layered, split, andlayered/split tones.See page E-46 for information on the song memory.
Mixer Function
ChannelPartNumber
Channel 1 Main toneChannel 2 Layered toneChannel 3 Split toneChannel 4 Layered/split toneChannel 5 Harmonize ToneChannel 6 Auto Accompaniment chord part 1Channel 7 Auto Accompaniment chord part 2Channel 8 Auto Accompaniment chord part 3Channel 9 Auto Accompaniment bass part
Channel 10 Auto Accompaniment rhythm partChannel 11 Memory track 1Channel 12 Memory track 2Channel 13 Memory track 3Channel 14 Memory track 4Channel 15 Memory track 5Channel 16 Memory track 6
C h . .S e l
❚ NOTE• Normally, keyboard play is assigned to Channel 1. When Auto
Accompaniment is being used, each part of the accompani-ment is assigned to Channels 6 through 10.
• When this keyboard is being used as the sound source for anexternally connected computer or other MIDI device, all 16channels are assigned musical instrument parts. The notesplayed over the channel selected by steps 1 and 2 under “Turn-ing Channels On and Off” in the right column of this page areshown on the displayed keyboard and staff.
Turning Channels On and OffTurning a channel off mutes any instrument recorded in thechannel.
To turn channels on and off
1. Press the MIXER button.• This causes the MIXER indicator to appear on the dis-
play screen.• This displays the channel selection screen.
2. Use the [+]/[–] buttons to select a channel.Example: To select Channel 2.
3. Press [�] (ENTER) and then [�] (CURSOR) todisplay the on/off selection screen.
MIXER
[+]/[–][�] ENTER
[�]/[�] CURSOR
Number buttons
C h . .S e l
C h a n n e l
E-36 703A-E-038A
4. Use the [+]/[–] buttons to select on or off.Example: To turn the channel off.
• Press [�] (EXIT) to return to the channel selectionscreen.
• Pressing the MIXER button returns to the Tone Screen.
❚ NOTE• The MIDI data display shows only the data for the channels
selected with the Mixer.
How Channel On/Off WorksThe following describes what happens and what appears onthe display when you turn a channel on or off.
� On (on)This setting turns on the currently selected channel, which isindicated by a bar appearing at the bottom of the level meterfor that channel. This is also the default setting for all chan-nels when the keyboard is turned on.
� Off (oFF)This setting turns off the currently selected channel, which isindicated by the absence of the bar at the bottom of the levelmeter for that channel.
C h a nn e l
On Off
V o l umeIndicates channel volume of 127
V o l ume
Using the Parameter Edit ModeIn the Parameter Edit Mode, you can change the settings often different parameters (including tone, volume, and panpot) for the channel you selected on the Mixer screen.
To change parameters
1. Use the channel selection screen to select a chan-nel.
2. Use [�] (ENTER) to enter the Parameter EditMode.
3. Use [�] and [ �] (CURSOR) to select the pa-rameter whose setting you want to change.Example: Select volume setting by displaying “Vol-
ume”.• Each press of [�] or [�] (CURSOR) cycles through
the parameters.
4. Use the number buttons or [+] and [–] to changethe parameter setting.Example: Change the setting to “060”.
• Pressing the MIXER button exits the parameter editmode.
• Pressing [�] (EXIT) returns to the channel selectionscreen.
[�] ENTER
MIXER
[�]/[�] CURSOR
SYNTH
[+]/[–]
E-37
Tuning ParametersYou can use these parameters to tune each of the parts indi-vidually.
� Coarse Tune (Range: –24 to 00 to +24)This parameter controls the coarse tuning of the selected chan-nel’s pitch in semitone units.
� Fine Tune (Range: –99 to 00 to +99)This parameter controls the fine tuning of the selected chan-nel’s pitch in cent units.
Effect ParametersThe Mixer lets you control the effects applied to each indi-vidual part, making it different from the Effect Mode, whosesettings are applied to all parts in general.
� Reverb Send (Range: 000 to 127)This parameter controls how much reverb is applied to a part.A setting of “000” turns reverb off, while a setting of 127 ap-plies maximum reverb.
� Chorus Send (Range: 000 to 127)This parameter controls how much chorus send is applied toa part. A setting “000” turns chorus send off, while a settingof 127 applies maximum chorus send.• “Chorus Send” does not work with drum sounds.
� DSP Line (Settings: on, oFF)You can use this parameter to turn DSP line off for a particu-lar channel, or to turn it on.
❚ NOTE• Changing the tone, volume, pan pot, coarse tune, fine tune,
reverb send, or chorus send setting causes the correspondingMIDI message to be output from the MIDI terminal.
• Changing the tone settings changes the tone, reverb send, cho-rus send, and DSP line* parameter settings.
* When DSP is off (See the note on page E-26.)
703A-E-039A
V o l ume
O c t S h i f t
F i n e T u n e
C . T u n e
How Parameters WorkThe following are the parameters whose settings can bechanged in the Parameter Edit Mode.
Tone Parameters� Tone (Range: 000 to 247)This parameter controls the tones assigned to each part.
❚ NOTE• The displayed tone number has only two digits when an Ad-
vanced tone is selected.
� Part On/Off (Settings: on, oFF)This parameter can be used to turn each part on (sounds)and off (does not sound). The current on/off status of eachpart is indicated on the display as described below.
� Volume (Range: 000 to 127)This is the parameter that controls the volume of the selectedchannel.
� Pan Pot (Range: –64 to 00 to +63)This parameter controls the pan pot, which is the center pointof the left and right stereo channels. Setting “00” specifiescenter, a value less than “00” moves the point left, and a val-ue greater than “00” moves it right.
� Octave Shift (Range: –2 to 0 to +2)You can use octave shift to shift the range of the tone up ordown. When using the piccolo tone, there may be cases whenvery high notes you want to play are not included within therange of the keyboard. When this happens, you can use oc-tave shift to shift the keyboard range one octave up.
–2 : Range shifted two octaves down.–1 : Range shifted one octave down.
0 : No shift+1 : Range shifted one octave up.+2 : Range shifted two octaves up.
R v b S e n d
C h o S e n d
DS P L i n e
T o n e N o .
P a n
E-38
The Synthesizer Mode of this keyboard provides the toolsfor creating your own original tones. Simply select one of thebuilt-in tones and change its parameters to create your ownoriginal sound. You can even store your sounds in memoryand select it using the same procedure as that used to select apreset tone.
Synthesizer Mode FunctionsThe following describes how to use each of the functionsavailable in the Synthesizer Mode.
Synthesizer Mode ParametersThe preset tones that are built into this keyboard consist of anumber of parameters. To create a user tone, you first recall aGeneral MIDI tone (100 to 227) or a preset tone (000 to 099)and then change its parameters to change it to your own tone.Note that drum set tones (228 through 237) cannot be usedas the basis of a user tone.The illustration below shows the parameters that make upthe preset tones and what each parameter does. As can beseen in the illustration, these parameters can be divided intofour groups, each of which is described in detail below.
❚ NOTE• Synthesizer Mode operations affect the tone selected for Chan-
nel 1.
Synthesizer Mode
703A-E-040A
Volume Characteristic Parameters
�Attack Time�Release Time�Resonance�Cutoff Frequency
Tone Pitch Parameters
�Vibrato Type�Vibrato Delay�Vibrato Depth�Vibrato Rate�Octave Shift
Tone CharacteristicSetting Parameters
�Level�Touch Sense�Reverb Send�Chorus Send�DSP Line�DSP Type�DSP Parameter
Output
Tone CharacteristicWaveform
Tone Setting
(1) Tone Characteristic Waveform� Tone SettingSpecifies which of the preset tones should be used as the orig-inal tone.
(2) Volume Characteristic ParametersThese parameters control how the tone changes over time,from when the keyboard key is pressed until the tone de-cays. You can specify changes in volume and sound charac-teristics.
� Attack timeThis is the rate or time it takes for the tone to reach its high-est volume level. You can specify a fast rate, where the tonereaches its highest volume level immediately, a slow ratewhere it gradually rises, or something in between.
� Release timeThis is the rate or time it takes for the tone volume to fall tozero. You can specify a release that ranges from a sudden fallto zero, to one that gradually falls to zero.
� Cutoff FrequencyThe cutoff frequency is a parameter for adjusting timbre bycutting any frequency that is higher than a specific frequen-cy. A larger cutoff frequency produces a brighter (harder) tim-bre, while a smaller frequency produces a darker (softer) tim-bre.
Time
Note ends
Key pressed
A RKey released
Envelope
A: Attack timeR: Release time
Level
Cutoff frequency
Frequency
E-39
Saving User TonesThe group of tone numbers from 238 through 247 (User 01through User 10) is called the “user area” because they are re-served for storage of user tones. After you recall a preset toneand change its parameters to create your own user tone, youcan store it in the user area for later recall. You can recall yourtones using the same procedure that you use when selecting apreset tone.
❚ NOTE• The keyboard is shipped from the factory with tone number
000 (piano) assigned to the user area.• Note that creating a user tone (000 to 227) does not change the
preset tone. It creates a new version of the preset tone for stor-age in the user area.
• You cannot use a drum set tone (228 to 237) as the basis of auser tone.
703A-E-041A
� ResonanceResonance enhances the harmonic components in the vicini-ty of the cutoff frequency, which creates a distinctive sound.A larger resonance value enhances the sound as shown inthe figure.
❚ NOTE• With some tones, a large resonance value can cause distor-
tion or noise during the attack part of the tone.
(3) Tone Pitch Parameters� Vibrato Type, Vibrato Delay, Vibrato Depth, Vi-
brato RateThese parameters adjust the vibrato effect, which causes pe-riodic changes in the tone.
� Octave ShiftThis parameter controls the octave of all tones.
(4) Tone Characteristic Setting Parameters� LevelThis parameter controls the overall volume of the tone.
� Touch SenseThis parameter controls changes in volume and timbre inaccordance with the relative amount of pressure applied tothe keyboard keys. You can specify more volume for strongerpressure and less volume or a lighter pressure, or you can spec-ify the same volume regardless of how much pressure is ap-plied to the keys.
� Reverb Send, Chorus Send, DSP Line , DSP Type,DSP Parameter
These parameters control the effects applied to tones.
Level
Cut off frequency
Small ValueResonance
Large Value
FrequencyTone numbers
000 ~ 099
00 ~ 99
100 ~ 227
228 ~ 237
238 ~ 247
Tone
Panel Tone
Advanced Tone
GM tone
Drum Set
User Area
Select the preset tone
Change parameters
Save as an original tone
E-40
Creating a User ToneUse the following procedure to select a preset tone and changeits parameters to create a user tone.
1. First, select the preset tone you want to use as abasis for your user tone.
2. Press the SYNTH button.• This enters the Synth Mode, which is indicated by the
indicator next to SYNTH on the display screen.
3. Use [�] and [�] (CURSOR) to display the pa-rameter whose setting you want to change.
• Each press of [�] or [�] (CURSOR) changes to thenext parameter. See “Parameters and Their Settings”on this page for information on setting range for eachparameter.
4. Use [+] and [–] to change the setting of the cur-rently selected parameter.• You can also use the number buttons to input a value
to change a parameter setting. See “Parameters andTheir Settings” on this page for information on set-ting range for each parameter.
5. After you are finished editing the sound, pressthe SYNTH button to exit the Synthesizer Mode.
❚ NOTE• See “Storing a User Tone In Memory” on page E-42 for details
on saving user tone data to memory so it is not deleted.
703A-E-042A
Currently selected parameter
Parameter setting value
A t k T i me
V i b D e l a y
A t k T i me
R e l . T i me
V i b . T y p e
Parameters and Their SettingsThe following describes the function of each parameter andprovides it’s set range.
� Attack Time (Range: –64 to 00 to +63)Time it takes before the tone sounds after a key is pressed
� Release Time (Range: –64 to 00 to +63)Time the tone continues to sound after a key is released
� Vibrato Type (Vibrato Waveform)(Range: See below.)
Specifies the vibrato type (waveform).
� Vibrato Delay (Range: –64 to 00 to +63)Specifies the amount of time before vibrato starts.
Value Meaning Waveform
Sin Sine Wave
tri Triangle Wave
SAU Sawtooth Wave
Sqr Square Wave
V i b D e l a y
[�]/[�] CURSOR
SYNTH
[+]/[–]
E-41703A-E-043A
� Vib.Depth (Vibrato Depth) (Range: –64 to 00 to +63)Depth of the vibrato effect
� Vib.Rate (Vibrato Rate) (Range: –64 to 00 to +63)Rate (speed) of the vibrato effect
� Cut Off Freq. (Cutoff frequency)(Range: –64 to 00 to +63)
High-band cutoff for the harmonic components of the tone
� Resonance (Range: –64 to 00 to +63)Resonance of the tone
� Oct.Shift (Octave Shift) (Range: –2 to 0 to +2)Up/down octave shift
� Level (Range: 000 to 127)This parameter controls the overall volume of the tone. Thegreater the value, the greater the volume. Setting a level ofzero means that the tone does not sound at all. This parame-ter can be set in a range of 000 to 127.
V i b D e p t h
V i b . R a t e
C - o f f F r q
R e s o n a n
O c t S h i f t
L e v e l
T c h S e n s e
� Touch Sensitivity (Range: –64 to 00 to +63)This parameter controls changes in the volume of the tone inaccordance with the pressure applied to the keyboard keys.A greater positive value increases the volume of the outputas pressure increases, while a negative value decreases vol-ume with increased keyboard pressure. A setting of zero spec-ifies no change in output volume in accordance with key-board pressure. This parameter can be set in a range of –64 to+63.
� Reverb Send (Range: 000 to 127)This parameter adjusts reverb.
� Chorus Send (Range: 000 to 127)This parameter adjusts chorus.
� DSP Line (Settings: on, oFF)This parameter controls whether or not the DSP effect is used.
� DSP Type (Range: 000 to 109)This parameter specifies a type when a DSP effect is beingused.
� DSP ParameterThis setting specifies DSP parameters. See “DSP Parameters”on page E-25, “Effect List” on page A-10, and “DSP Algo-rithm List” on page A-12 for more information.
❚ NOTE• If you store an original tone with the DSP line turned on (see
next page), simply recalling the tone automatically changesthe DSP line, DSP type, and DSP parameter settings. This sim-plifies the recall of original tones that include a DSP effect.
• An indicator appears next to DSP on the display while you aremaking DSP type or DSP parameter settings.
R v b S e n d
C h o S e n d
DS P L i n e
O v r d r i v e
E-42
Storing a User Tone In MemoryThe following procedure shows how to store a user tone inmemory. Once a tone is stored, you can call it up just as youdo with a preset tone.
To name a user tone and store it in memory
1. Select a preset tone to use as the basis for theuser tone, press the SYNTH button to enter theSynthesizer Mode, and make the parameter set-tings you want.
2. After making parameter settings to create the usertone, press [�] (ENTER).
3. Use [+] and [–] to change the user area tone num-ber on the display until the one where you wantto store the tone is shown.• You can select any tone number from 238 to 247.
4. Press [�] (ENTER) to save the user tone.• The message “Save OK” appears momentarily on the
display, followed by the tone or rhythm selectionscreen.
• To abort the save operation at any time, press theSYNTH button or the [�] (EXIT) button to exit theSynthesizer Mode. Pressing the SYNTH button again(before selecting another tone) returns to the Synthe-sizer Mode with all of your parameter settings still inplace.
S a v e N o .
703A-E-044A
User Tone Creation HintsThe following hints provide helpful advice on making usertone creation a bit quicker and easier.Use a preset tone that is similar to the one you are trying tocreate.Whenever you already have a rough idea of the tone you aretrying to create, it is always a good idea to start with a presettone that is similar.
� Experiment with various different settings.There are no real rules about what a tone should sound like.Let your imagination run free and experiment with differentcombinations. You may be surprised at what you can achieve.
[+]/[–][�] ENTER
SYNTH
E-43703A-E-045A
����
E-44
Registration Memory
Registration Memory FeaturesRegistration memory lets you store up to 16 keyboard setups(4 sets x 4 banks) for instant recall whenever you need them.The following is a list of settings that are saved in registra-tion memory.
Registration Memory Settings• Tone• Rhythm• Tempo• Split on/off• Split point• Layer on/off• Mixer settings (Channels 1 to 10)• Effect settings• Equalizer settings• Touch Response settings• Assignable jack setting• Transpose• Tuning• Accompaniment volume setting• Harmonize on/off
❚ NOTE• Registration memory functions are disabled while you are us-
ing the Synthesizer, Song Memory or demo tune function.• In addition to preset tones, user tones created by altering syn-
thesizer parameters and stored in user memory are also savedto registration memory.
Initial SettingsBANK 0
703A-E-046A
REGISTRATION
STOREBANK
Area TONE RHYTHM
1* OVD ROCK ORGAN +
DANCE 1 ALTO SAX
2* VELO.ALTO SAX +
DISCO SOUL ELEC.PIANO
3* VELO.CLARINET +
MID BIG BAND TENOR SAX
4 * VELO.ALTO SAX + JAZZ COMBO TRUMPET
BANK 2
Area TONE RHYTHM
1* VELO.TRUMPET +
POLKA ACCORDION
2* VELO.FLUTE +
BOSSA NOVA 1 NYLON STR.GUITAR
3* VELO.TENOR SAX +
REGGAE 1 STEEL DRUMS
4 * STEREO STRINGS + BROADWAY GLOCKENSPIEL
BANK 3
BANK 1
Area TONE RHYTHM
1* VELO.ALTO SAX +
POP ROCK ORGAN
2 * E.PIANO PAD + WHISTLE POP BALLAD
3 * MORE DISTORTION GT ROCK 2
4 ELEC.GUITAR BLUES
Area TONE RHYTHM
1* OVD ROCK ORGAN +
8 BEAT DANCE TENOR SAX
2* VELO.ALTO SAX +
16 BEAT 2 GRAND PIANO
3* TREMOLO E.PIANO +
16 BEAT BALLAD 3 MODERN E.PIANO
4 GRAND PIANO 8 BEAT 1
* : Advanced tone
E-45703A-E-047A
Setup NamesYou can assign setups into one of 16 areas, which you canselect using BANK buttons 1 through 4 and the four REGIS-TRATION buttons. Area names range from 0-1 through 3-4as shown below.
1 Use the BANK button to select the bank. Each press ofBANK cycle through the bank numbers from 0 to 3.
2 Pressing one of the REGISTRATION buttons (1 to 4) se-lects the corresponding area in the currently selected bank.
❚ NOTE• Whenever you save a setup and assign it a setup name, any
setup data previously assigned to that name is replaced withthe new data.
• You can use the keyboard’s MIDI capabilities to save your set-up data to a computer or other external storage device. See“Using the Data Download Service” on page E-68 for details.
To Save a Setup in RegistrationMemory
1. Select a tone and rhythm, and otherwise set upthe keyboard the way you want it.• See “Registration Memory Settings” on page E-44 for
details on what data is stored in the registration mem-ory.
2. Use the BANK button to select the bank youwant.• If you do not perform any operation for about five
seconds after pressing the BANK button, the displayreturns to the contents in step 1, above.
• Bank 1 selected.
BANK STORE
21
0-1 0-2 0-3 0-4
1-1 1-2 1-3 1-4
3-1 3-2 3-3 3-4
2-1 2-2 2-3 2-4
1 2 3 4
BANK 0
BANK 1
BANK 2
BANK 3
B a n k
S t o r e
3. While holding down the STORE button, press aREGISTRATION button (1 to 4).• The following display appears when you press the 2
button.
4. Release the STORE and REGISTRATION buttons.
❚ NOTE• The setup is saved as soon as you press a REGISTRATION
button in step 3, above.
To Recall a Setup from RegistrationMemory
1. Use the BANK button to select the bank.• If you do not perform any operation for about five
seconds after pressing the BANK button, the keyboardautomatically clears the registration memory recallscreen.
2. Press the REGISTRATION button (1 to 4) for thearea whose setup you want to recall.
• The setup name along with the message “Recall” ap-pears on the display.
❚ NOTE• If you press a REGISTRATION button without using the BANK
button to select a bank first, the last bank number selected isused.
B a n k
R e c a l l
E-46
This keyboard lets you record up to two separate songs insong memory for later playback. There are two methods youcan use to record a song: real-time recording where you recordthe notes as you play them on the keyboard, and step record-ing where you input chords and notes one-by-one.
❚ NOTE• Layer and split cannot be used while standing by for recording
or while recording is being performed in the Song MemoryMode. Also, layer and split are automatically turned off when-ever the keyboard goes into record standby or starts record-ing.
TracksKeyboard song memory records and plays back much like astandard tape recorder. There are a total of six tracks, each ofwhich can be recorded separately. Besides notes, each trackcan have its own tone number. Then when you play back thetracks together, it sounds like an entire six-piece band. Dur-ing playback, you can adjust the tempo to change the speedof playback.
Song Memory Function
703A-E-048A
Selecting a TrackUse the SONG MEMORY TRACK buttons marked CHORD/TR1 through TR6 to select the track you want.
Song Memory Track Buttons
Track 1 Track 5Track 3
Track 6
Track 4
Track 2
BANK STORE
Track 1
Start End
Track 2
Track 3
Track 4
Track 5
Track 6
Auto accompaniment (Rhythm, Bass, Chord 1/2/3), Keyboard play
Keyboard play
Keyboard play
Keyboard play
Keyboard play
Keyboard play
Melody data recorded in track.
❚ NOTE• With this keyboard, Track 1 is the basic track, which can be
used to record keyboard play, along with Auto Accompaniment.Tracks 2 through 6 can be used for keyboard play, so they arecalled melody tracks. Tracks 2 through 6 are used to add otherparts to what is recorded in Track 1.
• Note that each track is independent of the others. This meansthat even if you make a mistake while recording, you only needto re-record the track where the mistake was made.
• You can use different Mixer settings for each track (page E-35).
Basic Song Memory operationsThe status of the Song Memory changes each time you pressthe SONG MEMORY button.
Playback
Real-time Recording
Step Recording
Normal
P l a y
S t e p R e c
R e c o r dFlash
Flash
SONG MEMORY TRACK[+]/[–]
SONG MEMORY
START/STOP
E-47703A-E-049A
Song number (0 or 1)
R e c o r d
Using Real-time RecordingWith real-time recording, the notes you play on the keyboardare recorded as you play them.
To record with real-time recording
1. Press the SONG MEMORY button twice to enterreal-time record standby.• Perform step 2, below, within five seconds after en-
tering record standby.
2. Use the [+] and [–] buttons to select a song num-ber.
• The above song number screen remains on the dis-play for about five seconds. If it disappears beforeyou have a chance to select a song number, use theSONG MEMORY button again to re-display it.
3. Press the CHORD/TR1 button, which is one ofthe SONG MEMORY TRACK buttons, to selectTrack1.
• The level meters for tracks 11 through 16 are shownon the display while the keyboard is in record stand-by, so you can easily check which tracks are alreadyrecorded. See “Level Meter Contents During Record/Edit Standby” on page E-53 for details.
4. Make the following settings.• Tone number• Rhythm number• Tempo• MODE switch
5. Press the START/STOP button to start recording.• When recording starts, the REC indicator flashes on
the display. After a few moments the indicator stopsflashing, and remains on the display.
6. Play something on the keyboard.• You can also record Auto Accompaniment chords by
selecting the applicable mode with the MODE switch.• Optional pedal operation is also recorded. See “Track 1
Contents After Real-time Recording”.
7. Press the START/STOP button to end recordingwhen you are finish playing.
• If you make a mistake while recording, you can stopthe record operation and begin over again from step1, or you can use the editing function (page E-55) tomake corrections.
❚ NOTE• Using real-time recording to record to a track that already con-
tains recorded data replaces the previous recording with thenew one.
Track 1 Contents After Real-time Record-
ingIn addition to keyboard notes and accompaniment chords,the following data is also recorded to Track 1 during real-time recording. This data is applied whenever Track 1 isplayed back.
• Tone number• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2button, SYNCRHO/FILL-IN NEXT button operations
• Pedal operations (option)• Effect type• Accompaniment volume
❚ NOTE• Starting a record operation also records the Mixer settings for
the other tracks to the song header.
E-48
SONG MEMORY TRACK[+]/[–]
SONG MEMORY
START/STOPSYNCHRO/FILL-IN NEXT
703A-E-050A
Mixer Mode SettingsChannel 1 Mixer parameters (page E-36) are automaticallyrecorded to Track 1. You can use the Mixer to change each ofthe parameters.
Memory CapacityThe keyboard has memory for approximately 3,500 notes. Youcan use all 3,500 notes for a single song, or you can dividememory between two different songs.• The measure number and note number flash on the dis-
play whenever remaining memory is less than 100 notes.• Recording automatically stops (and auto-accompaniment
and rhythm stops playing if they are being used) whenev-er memory becomes full.
• The same memory area is used for song memory and userrhythm memory. Because of this, the number of notes youcan store in song memory is lower when there is userrhythm data stored in memory. You can clear memory con-tents and free up more space for song memory space usingthe Initialize / Delete setting menu (page E-65).
Memory Data Storage• Whenever you make a new recording, anything previous-
ly stored in memory is replaced.• Memory contents are retained as long as the keyboard is
being supplied with electrical power. Unplugging the ACadaptor when batteries are not loaded or when loaded bat-teries are dead cuts off the keyboard’s electrical power sup-ply, clearing all data stored in memory. Plug the keyboardinto a wall outlet with the AC adaptor before replacing bat-teries.
• Turning off the keyboard while a record operation is inprogress causes the contents of the track your are currentlyrecording to be lost.
• Remember that you can dump memory contents to anoth-er MIDI device using the procedure described under “Us-ing the Data Download Service” on page E-68.
Track 1 Real-time Recording VariationsThe following describes a number of different variations youcan use when recording to Track 1 using real-time recording.All of these variations are based upon the procedure describedunder “To record with real-time recording” on page E-47.
� To record without rhythmSkip step 5. Real-time recording without a rhythm starts whenyou press a keyboard key.
� To start recording with synchro startIn place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton. Auto-accompaniment and recording will both start whenyou play a chord on the accompaniment keyboard.
� To record using an intro, ending, or fill-inDuring recording, the INTRO/ENDING 1/2, SYNCHRO/FILL-IN NEXT, and VARIATION/FILL-IN 1/2 buttons (pag-es E-31 to 32) can all be used as they normally are.
� To synchro start Auto Accompaniment with anintro pattern
In place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton and then INTRO/ENDING 1 or INTRO/ENDING 2 but-ton. Auto-accompaniment will start with the intro patternwhen you play a chord on the accompaniment keyboard.
� To start Auto Accompaniment part way into arecording
In place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton and then play something on the melody keyboard to startrecording without Auto Accompaniment. When you reachthe point where you want accompaniment to start, play achord on the accompaniment keyboard to start Auto Accom-paniment.
E-49
Recording Melody and Chords withStep RecordingWith step recording, you can record Auto-Accompanimentchords and notes, and even specify note lengths one by one.Even those who find it difficult to play along on the key-board with an Auto-Accompaniment can create Auto-Accom-paniments based on their own original chord progressions.The following shows the type of data that can be recorded inTracks 1 through 6.
Track 1: Chords and Auto-AccompanimentTracks 2 through 6: Keyboard play
With step recording, first record the chords and Auto-Accom-paniment in Track 1. Next, record the melody in Tracks 2through 6.
❚ NOTE• Use the procedure under “To record to Tracks 2 through 6 us-
ing step recording” on page E-52 for details on how to recordto Tracks 2 through 6.
• You can use Track 1 for the melody if you do not plan to recordchords or Auto-Accompaniment. Select Track 1 and then per-form the procedure under “To record to Tracks 2 through 6 us-ing realtime recording” on page E-52 to record. In this case,set the MODE switch to NORMAL before you start recording.
To record chords with step recording
1. Press the SONG MEMORY button three times toenter step recording standby, and then use the[+] and [–] buttons to select either 0 or 1 as thesong number.
2. Make the following settings.• Rhythm number• MODE switch
3. Press the CHORD/TR1 button, which is one ofthe SONG MEMORY TRACK buttons, to selectTrack1.• When recording starts, the REC indicator flashes on
the display. After a few moments the indicator stopsflashing, and remains on the display.
4. Press the SYNCHRO/FILL-IN NEXT button.
703A-E-051A
Flash
S t e p R e c
Playing Back from Song MemoryOnce you record tracks to song memory, you can play themback to see what they sound like.
To play back from song memory
1. Use the SONG MEMORY button to enter play-back standby, and then use the [+] and [–] but-tons to select a song number (0/1).
• The above song number screen remains on the dis-play for about five seconds. If it disappears beforeyou have a chance to select a song number, use theSONG MEMORY button again to re-display it.
2. Press the START/STOP button to playback thesong you selected.• You can use the TEMPO buttons to adjust the play-
back tempo.• Press the START/STOP button again to stop playback.
❚ NOTE• You can play along on the keyboard using layer (page E-57)
and split (page E-57) during playback.• Pressing the START/STOP button to start playback from song
memory always starts from the beginning of the song.• The entire keyboard functions as a melody keyboard, regard-
less of the MODE switch setting.
To turn off a specific trackPress the SONG MEMORY TRACK button of the track youwant to turn off, or use the Mixer (Page E-35) to turn off thechannel of the track.
P l a y
Playback standbySong number
E-50
Track 1 Contents After Step RecordingIn addition to chords, the following data is also recorded toTrack 1 during step recording. This data is applied wheneverTrack 1 is played back.
• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2button, SYNCRHO/FILL-IN NEXT button operations
Specifying Chords in the Normal ModeWhen the MODE switch is set to NORMAL during step re-cording, you can specify chords using a method that is dif-ferent from CASIO CHORD and FINGERED fingerings. Thischord specification method can be used to input 18 differentchord types using only two keyboard keys, so chords can bespecified even if you don’t know how to actually play them.
To specify a chord, hold down the key on the root input key-board that specifies the root, and press the key in the chordtype input keyboard to specify the chord type. When input-ting a chord with a specified bass note, pressing two keys ofthe root input keyboard causes the lower note to be specifiedas a bass note.
11111Major22222Minor33333Augmented44444Diminished55555Suspended four66666Seventh77777Minor seventh88888Major seventh99999Minor major seventh
703A-E-052A
00000Seventh flat fiveAAAAAMinor seventh flat fiveBBBBBSeventh suspended fourCCCCCDiminished seventhDDDDDMinor add ninthEEEEEAdd ninthFFFFFMinor sixthGGGGGSixthHHHHHSix ninth
Root input keyboard Chord type input keyboard
START/STOP
5. Play a chord.• Use the chord play method that is specified by the
current MODE switch setting (FINGERED, CASIOCHORD, etc.).
• When the MODE switch is set to NORMAL, specifythe chord using the root input keyboard and chordtype input keyboard. See “Specifying Chords in theNormal Mode” on this page for details.
* 96 clocks = 1 beat
6. Input the length of the chord (how long it shouldbe played until the next chord is played).• Use the number buttons to specify the length of the
chord. See “Specifying the Length of a Note” on pageE-51 for details.
• The specified chord and its length are stored in mem-ory and the keyboard stands by for input of the nextchord.
• Repeat steps 5 and 6 to input more chords.
7. After you are finished recording, press theSTART/STOP button.• This enters playback standby for the song you have
just recorded.• To play back the song at this time, press the START/
STOP button.
❚ NOTE• Use the procedure under “Correcting Mistakes While Step
Recording” on page E-54 to correct input mistakes you makeduring step recording.
• You can add on to a track that already contains recorded databy selecting that track in step 3 of the above procedure. Doingso automatically locates the step recording start point at thefirst beat immediately following the previously recorded data.
• Inputting “0” as the chord length in steps 5 and 6 of the aboveprocedure specifies a rest, but the rest is not reflected in theaccompaniment contents when the accompaniment is played.
Chord name Measure, beat, and clock atcurrent location*
C h o r d
E-51703A-E-053A
Track 1 Step Recording VariationsThe following describes a number of different variations youcan use when recording to Track 1 using step recording. Allof these variations are based upon the procedure describedunder “To record chords with step recording” on page E-49.
� To start accompaniment with an intro patternIn step 4, press INTRO/ENDING 1 or INTRO/ENDING 2button after the SYNCHRO/FILL-IN NEXT button.
� To switch to a rhythm variationIn step 5, press VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button immediately before inputting the chord.
� To insert a fill inIn step 5, press VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button at the measure or beat immediately beforethe chord or beat where you want to insert the fill in.
� To insert an endingIn step 5, press INTRO/ENDING 1 or INTRO/ENDING 2button at the measure or beat immediately before the chordwhere you want to insert the ending.
IMPORTANT!The length of the ending depends on the rhythm you are us-ing. Check the length of the pattern you are using and set thelength of the chord accordingly in step 6. Making the chordtoo short in step 6 can result in the ending pattern being cutoff.
� To step record chords without rhythmSkip step 4. The specified chord of the length specified bythe number buttons is recorded. A rest can be specified here,so an original chord pattern can be created.
� To add chord accompaniment part waythrough rhythm play
In Place of step 4 at the start of the recording, press VARIA-TION/FILL-IN 1 or VARIATION/FILL-IN 2 button and in-put rests. Then in step 5, input the chords. Only rhythm isplayed where you input the rests, and then chord play startsafter the rests.
Example 2: To input Gm/C, hold down C and G on the rootinput keyboard and press the m key on the chordtype input keyboard.
Specifying the Length of a NoteDuring step recording, the number buttons are used to spec-ify the length of each note.
� Note lengthsUse number buttons [1] through [6] to specify whole notes( ), half notes ( ), quarter notes ( ), eighth notes ( ), 16thnotes ( ), and 32nd notes ( ).Example: To specify a quarter note ( ), press [3].
� Dots ( ) and triplicates ( )While holding down the [7] (dot) or [9] (triplicate), use but-tons [1] through [6] to input the lengths of the notes.Example: To input a dotted eighth notes ( ), hold down
[7] and press [4].
� TiesInput the first and then the second note.
Example: To input , press [4] and then [8]. Next, press[5]. This note will be tied to the next note youinput (16th note in this example).
� RestHold down [0] and then use number buttons [1] through [9]to specify the length of the rest.Example: To input an eighth note rest, hold down [0] and
press [4].
Hold down key to specify on bass and chord root.
Press key to specify chord type.
(G)(C) (m)
Hold down key to specify chord root.
Press key to specify chord type.
(G) (m7)
Example 1: To input Gm7, hold down G on the root inputkeyboard and press the m7 key on the chord typeinput keyboard.
E-52 703A-E-054A
Recording Multiple TracksTrack 1 of the keyboard’s song memory records Auto Accom-paniment and keyboard play. In addition, there are five oth-er melody tracks that you can use to record melody partsonly. You can record different tones to the melody tracks andbuild a full ensemble of instruments for your recordings. Theprocedure you use for recording to Tracks 2 through 6 is iden-tical to the one you use when recording to Track 1.
To record to Tracks 2 through 6 using real-
time recording
You can record to Tracks 2 through 6 while playing back whatyou originally recorded on Track 1 and any other tracks thatare already recorded.
1. Press the SONG MEMORY button twice to enterrecord standby, and then use the [+] and [–] but-tons to select a song number (0/1).• The song number you select should be the one where
you previously input Track 1.
2. Use the SONG MEMORY TRACK buttons to se-lect the track you want to record to (2 through6).• While the keyboard is in record standby, the display
shows the level meters for channels 11 through 16, soyou can check which tracks have already been record-ed. See “Level Meter Contents During Record/EditStandby” on page E-53 for details.
3. Make the following settings.• Tone number• Tempo (to set playback of the recorded tracks to a tem-
po that is easy for you to follow)
4. Press the START/STOP button to start recording.• At this time, the contents of any tracks that are al-
ready recorded start to play back.• Optional pedal operation you perform is also record-
ed.
5. Use the keyboard to play what you want torecord the track you selected.
6. Press the START/STOP button to end recordingwhen you are finished.
Track Contents After Real-time RecordingIn addition to keyboard notes, the following data is also re-corded to the selected track during real-time recording. Thisdata is applied whenever the track is played back.
• Tone number• Optional pedal operations
❚ NOTE• Starting a record operation also records the Mixer settings for
the other tracks to the song header.
To record to Tracks 2 through 6 using step
recordingThis procedure describes how to input notes one-by-one,specifying each note’s pitch and length.
1. Press the SONG MEMORY button three times toenter real-time record standby, and then use the[+] and [–] buttons to select a song number (0/1).• The song number you select should be the one where
you previously input Track 1.
Number buttons
[+]/[–]START/STOP
SONG MEMORY TRACK
SONG MEMORY
S t e p R e c
E-53
Recording trackNot recording track
703A-E-055A
2. Use the SONG MEMORY TRACK buttons to se-lect the track you want to record to (2 through6).Example: Select Track 2.
3. Specify a tone number.• After changing the tone number, press any keyboard
key to clear the tone number and name screen, andreturn to the note input screen.
4. Use the keyboard keys to input notes, or the [0]button to input rests.• When touch response is turned on, the amount of
pressure you use to press the keyboard keys is alsorecorded. You can also use keyboard keys to inputchords.
5. Use the number buttons to input the length ofthe note or rest (page E-51).
6. Repeat steps 4 and 5 to input more notes.
7. Press the START/STOP button to end recordingwhen you are finished.
❚ NOTE• Use the procedure under “Correcting Mistakes While Step
Recording” on page E-54 to correct input mistakes you makeduring step recording.
• You can add on to a track that already contains recorded databy selecting that track in step 2 of the above procedure. Doingso automatically locates the step recording start point at thefirst beat immediately following the previously recorded data.
• Whenever you are recording to Tracks 2 through 6, the entirekeyboard functions as a melody keyboard, regardless of thecurrent MODE switch setting.
Track Contents After Step RecordingIn addition to notes and rests, the following data is also re-corded to the track during step recording. This data is ap-plied whenever the track is played back.
• Tone number
Level Meter Contents During Record/Edit
StandbyChannels 11 through 16 correspond to Tracks 1 through 6.Whenever the keyboard is in record or edit (page E-55) stand-by, the level meter display shows which tracks already con-tain recorded data and which are still empty. Tracks withfour lit segments already contained recorded data, whiletracks with one lit segment are not yet recorded.
Flash
E-54
Correcting Mistakes While Step Re-cordingMemory data can be thought of as a musical score thatprogresses from left to right, with the input point normallyat the far right of the recorded data.The procedure described here lets you move the input pointto the left in order to make changes in data you have alreadyinput. Note, however, that moving the input point to the leftand changing data automatically deletes all of the data re-corded to the right of the input point.
To correct mistakes while step recording
1. Without exiting step recording, use the [�] (CUR-SOR) button to move the input point to the left.• The REC indicator disappears from the display, and
the STEP indicator flashes.
2. Monitoring the data on the display, use [�] and[�] (CURSOR) to move the input point to thedata you want to change.Example: To re-record all note data following the note
A3 located at Measure 120, Beat 1, Clock 0.
[+]/[–]
YES
[�]/[�] CURSOR
[�] ENTERSONG MEMORY TRACK
SONG MEMORY
���• • • • • • • • • • • • • •
C 4A3 �
Measure 120/Beat 1/Clock 0 (Input point moved to using [�] and [�] (CURSOR))
Data flow
�• • • • • • •
Measure 120/Beat 1/Clock 0(Step re-recording begins from here.)
Data flow
All data tothe right
is deleted.
703A-E-056A
3. Press the [�] (ENTER) button, and then press the[�] (CURSOR) button.
4. Press the YES button.• This deletes all data from the location you specified
and enters step record standby.• Pressing the [�] (EXIT) button or the NO button can-
cels deleting the data.
❚ NOTE• If you move the input position to the end of the data with the
[�] (CURSOR) button, the REC indicator appears on the dis-play, and the STEP indicator stops flashing and remains on thedisplay.
N o t e A 3
N o t e C # 4R e w r i t e ?
���• • • • • • • • • • • • • • ���• • • • • • • • • • • • • •
C 4� C 4�
Measure 126/Beat 3/Clock 48(Normal input point)
Measure 126/Beat 3/Clock 0(Previous data)
Use [�] and [�] (CURSOR) to move left and right.
Press [�] (CURSOR).
Data flowData flow
E-55703A-E-057A
To delete specific note data
1. Perform steps 1 and 2 under “To correct mis-takes while step recording” above to display thenote you want to delete.
2. Press the [�] (ENTER) button.
3. In response to the “Delete?” message that ap-pears on the screen, press the YES button to de-lete the displayed note.
Editing Memory ContentsAfter you record to keyboard memory, you can recall indi-vidual notes and parameter settings (such as tone number)and make any changes you want. This means you can cor-rect misplayed notes, make changes in tone selections, etc.
The following types of data can be edited.• Note intensity• Notes• Chords• Tone numbers• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,
VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2button, SYNCRHO/FILL-IN NEXT button operations
To edit memory contents
1. Press the SONG MEMORY button three times toenter step recording standby, and then use the[+] and [–] buttons to select either 0 or 1 as thesong number.
2. Use the SONG MEMORY TRACK buttons to se-lect the recorded track that you want to edit.
3. Press the [�] (CURSOR) button to enter the ed-iting mode.• The REC indicator disappears from the display, and
the STEP indicator flashes.
Flash
S t e p R e c
4. Use the [�] and [�] (CURSOR) buttons to moveto the location in track where the note or pa-rameter you want to change is located.
Note editing example
5. Make any changes in the value that you want.• The actual procedures you use to change a parameter
depend on the type of data it contains. See “EditingTechniques and Display Contents” on page E-56 fordetails.
6. Repeat steps 4 and 5 to edit other parameters.
7. Press the START/STOP button to end editingwhen you are finished.
❚ NOTE• The only parameters that can be editted for Tracks 2 through 6
are notes and tone numbers.• In the case of real-time recording, you later can change tone
numbers you specified while recording to Tracks 1 through 6 isin progress.
• You can only change tone numbers that were originally set forTracks 2 through 6 using step recording.
• In the case of real-time recording, you later can change rhythmnumbers you specified while recording to Track 1 is in progress.
• You can only change rhythm numbers that were originally setfor Track 1 using step recording.
• You cannot use the edit procedure to add more data to a re-cording.
• You cannot move portions of a recording to a different locationwithin the recording.
• Note lengths cannot be changed.
N o t e C 4
PitchVelocityParameter beingedited
E-56
❚ NOTE• In the case of real-time recording, you later can change tone
numbers you specified while recording to Tracks 1 through 6 isin progress.
• You can only change tone numbers that were originally set forTracks 2 through 6 using step recording.
� To change a rhythm numberUse the number buttons or [+] and [–] buttons to change arhythm number.
❚ NOTE• In the case of real-time recording, you later can change rhythm
numbers you specified while recording to Track 1 is in progress.• You can only change rhythm numbers that were originally set
for Track 1 using step recording.
� To change a rhythm controller operation *
* INTRO/ENDING 1 button, INTRO/ENDING 2 button,VARIATION/FILL IN 1 button, VARIATION/FILL IN 2button, SYNCRHO/FILL IN NEXT button operations
Press the rhythm controller button you want to change to.
703A-E-058A
[+]/[–]
YES
[�]/[�] CURSOR
[�] ENTERSONG MEMORY TRACK
SONG MEMORY
N o t e G 4
N o t e G 4
C h o r d
G r a n d P n o
P o p
I n t / E n d 1
Editing Techniques and Display ContentsThe following describes the editing techniques you can useto change the various parameters stored in memory.
� To change the key pressure (velocity) of a noteUse the number buttons or [+] and [–] to adjust the key pres-sure.
� To change the pitch of a noteInput a new note on the keyboard or use [+] and [–] buttonsto change the pitch of a note. The pitch you specify here isreflected in the keyboard and the notes shown in the staff onthe display.
IMPORTANT!Whenever editing memory contents, never change a note soit is identical to the note before or after it. Doing so may alterthe length of the changed note and the note before or after it.Should this happen, you will have to re-record the entiretrack.
� To change a chordUse the chord fingering method selected by the MODE switch(FINGERED, CASIO CHORD, etc.) to input a chord.
� To change a tone numberUse the number buttons or [+] and [–] buttons to change atone number.
E-57
4. Press the [�] or [�] (CURSOR) button to dis-play the track delete screen.
5. Use the SONG MEMORY TRACK buttons to se-lect the recorded track or tracks whose data youwant to delete.
Track delete standby
• You can specify more than one track for deletion bypressing more than one track select button.
• To deselect a track, simply press its track select but-ton again.
6. Press the YES button.• This causes the message “Sure?” to appear, confirm-
ing whether you really want to delete the track.
7. Press the YES button to delete the track.
❚ NOTE• You cannot change the song number while in track delete stand-
by.• In the above procedure, you cannot select any track that does
not contain any recorded data.• Pressing the SONG MEMORY button while in track delete
standby returns to record standby.
Editing a SongYou can perform the following operations in the song edit-ing mode.
• Delete a song• Delete a track• Song header data rewrite (Panel Record)
To delete a song
1. Press the SONG MEMORY button once to enterplayback standby.
2. Use the [+] and [–] buttons to select the numberof the song you want to delete.
3. Press the [�] (ENTER) button.• This displays the song delete screen.
4. Press the YES button.• This causes the message “Sure?” to appear, confirm-
ing whether you really want to delete the song.
5. Press the YES button to delete the song and re-turn to playback standby.
To delete a specific track
1. Press the SONG MEMORY button once to enterplayback standby.
2. Use the [+] and [–] buttons to select the numberof the song that contains the track you want todelete.
3. Press the [�] (ENTER) button.• This displays the song delete screen.
Recorded track
Track being deleted (Multipletracks can be specified.)
T r . D e l . ?
Number of the song that contains the track(cannot be changed)
Track delete standby
703A-E-059A
E-58
To rewrite song header data (Panel
Record)You can use a procedure called “Panel Record” to change theinitial Mixer, tempo and other settings stored in the songheader.
1. Press the SONG MEMORY button once to enterplayback standby.
2. Use the [+] and [–] buttons to select the numberof the song that contains the header data youwant to rewrite.
3. Make the changes you want to the header data.
4. Press the [�] (ENTER) button.• This displays the song delete screen.
5. Press the [�] or [�] (CURSOR) button to dis-play the panel record screen.• This causes the message “Pnel Rec?” to appear on the
display.
6. Press the YES button to rewrite the header data.
SONG MEMORY
[+]/[–]
YES
[�]/[�] CURSOR
[�] ENTER
703A-E-060A
E-59
Using SplitWith split you can assign two different tones (a main toneand a split tone) to either end of the keyboard, which letsyou play one tone with your left hand and another tone withyour right hand. For example, you could select STRINGS asthe main (high range) tone and PIZZICATO STRINGS as thesplit (low range) tone, putting an entire string ensemble atyour fingertips.Split also lets you specify the split point, which is the loca-tion on the keyboard where the changeover between the twotones occurs.
❚ NOTE• Leave the MODE switch in the NORMAL or FULL RANGE
CHORD position.
3. Select the layered tone.Example: To select “064 FRENCH HORN” as the lay-
ered tone, use the number buttons to input0, 6 and then 4.
4. Now try playing something on the keyboard.• Both tones are played at the same time.
5. Press the LAYER button again to unlayer the tonesand return the keyboard to normal.
❚ NOTE• The main tone sounds over Channel 1, while the layered tone
sounds over Channel 2. You can also use the Mixer to changethe tone and volume settings for these channels.
• Layer cannot be used while standing by for recording or whilerecording is being performed in the Song Memory Mode.
This section describes how to use layer (to play two toneswith a single key) and split (to assign different tones to ei-ther end of the keyboard), and how to make touch response,transpose, and tuning settings.
Using LayerLayer lets you assign two different tones (a main tone and alayered tone) to the keyboard, both of which play wheneveryou press a key. For example, you could layer the FRENCHHORN tone on the BRASS SECTION tone to produce a richand brassy sound.
LAYER
To layer tones
1. First select the main tone.Example: To select “065 BRASS SECTION” as the main
tone, press the TONE button and then usethe number buttons to input 0, 6 and then 5.
2. Press the LAYER button.
Keyboard Settings
703A-E-061A
Main Tone (BRASS SECTION) + Layered Tone (FRENCH HORN)
B r s S e c t
S t r i n g s
Selected layer tone Lit
F r . H o r n
LAYER
E-60 703A-E-062A
LAYERTOUCH/TRANSPOSE/SETTING
[+]/[–]
SPLIT
TONE
Main Tone (STRINGS)
Split point
Split Tone(PIZZICATOSTRINGS)
S t r i n g s
P i z z . S t r
SPLIT
To split the keyboard
1. First select the main tone.Example: To select “050 STRINGS” as the main tone,
press the TONE button and then use the num-ber buttons to input 0, 5 and then 0.
2. Press the SPLIT button.
3. Select the split tone.Example: To select “048 PIZZICATO STRINGS” as the
split tone, use the number buttons to input 0,4 and then 8.
G 3
Split Tone (PIZZICATO STRINGS)+
Layered Split Tone(STRINGS)
Main Tone (BRASS SECTION)+
Layered Tone (FRENCH HORN)
Split point
4. Specify the split point. While holding down theSPLIT button, press the keyboard key where youwant the leftmost key of the high end range to be.Example: To specify G3 as the split point, press the G3
key.
A c o . B a s s
Selected split tone Lit
5. Now try playing something on the keyboard.• Every key from F�3 and below is assigned the PIZZI-
CATO STRINGS tone, while every key from G3 andabove is assigned the STRINGS tone.
6. Press the SPLIT button again to unsplit the key-board and return it to normal.
❚ NOTE• The main tone sounds over Channel 1, while the split tone
sounds over Channel 3. You can also use the Mixer to changethe tone and volume settings for these channels.
• Split cannot be used while standing by for recording or whilerecording is being performed in the Memory Mode.
• When the MODE switch is set to CASIO CHORD or FINGERED,the accompaniment keyboard range is in accordance with thesplit point you specify with the above procedure.
Using Layer and Split TogetherYou can use layer and split together to create a layered splitkeyboard. It makes no difference whether you layer tonesfirst and then split the keyboard, or split the keyboard andthen layer tones. When you use layer and split in combina-tion, the high range of the keyboard is assigned two tones(main tone + layered tone), and the low range two tones (splittone + layered split tone).
LAYER SPLIT
E-61
To split the keyboard and then layer tones
1. Press the TONE button and then input the tonenumber of the main tone.Example: To set “065 BRASS SECTION” as the main
tone.
2. Press the SPLIT button and then input the num-ber of the split tone.Example: To set “048 PIZZICATO STRINGS” as the
split tone.
• After specifying the split tone, press the SPLIT but-ton to unsplit the keyboard.
3. Press the LAYER button and then input the num-ber of the layered tone.Example: To set “064 FRENCH HORN” as the layered
tone.
4. Press the SPLIT button or the LAYER button soboth of the SPLIT and LAYER indicators are dis-played.
5. Input the number of the layered split tone.Example: To specify the “050 STRINGS” tone, enter 0,
5, 0.
6. While holding down the SPLIT button, press thekeyboard key where you want the lowest note(the leftmost key) of the upper range (right siderange) to be.
7. Play something on the keyboard.• Press the LAYER button to unlayer the keyboard, and
the SPLIT button to unsplit it.
oFF Touch : 1 Light : 2 Normal : 3 Heavy
Off
❚ NOTE• The main tone sounds over Channel 1, the layer tone over Chan-
nel 2, the split tone over Channel 3, and the layer/split toneover Channel 4. You can also use the Mixer to change the toneand volume settings for these channels.
Using Touch ResponseWhen touch response is turned on, the relative volume ofsound output by the keyboard is varied in accordance withthe amount of pressure applied, just like an acoustic piano.
To turn touch response on and off
1. Press the TOUCH/TRANSPOSE/SETTING but-ton.• This displays the Touch Response setting screen.
2. Use the [+] and [–] buttons to select the touchresponse sensitivity level.
• “1 Light” outputs powerful sound even with light keypressure, while “3 Heavy” requires very heavy keypressure to output powerful sound.
• Pressing [+] and [–] at the same time returns sensitiv-ity to the “2 Normal” setting.
• When you select “oFF Touch”, the tone does notchange regardless of how much pressure you applyto the keyboard. This causes the TOUCH RESPONSEindicator to disappear from the display.
❚ NOTE• Touch response not only affects the keyboard’s internal sound
source, it also is output as MIDI data.• Song Memory playback, accompaniment, and external MIDI
note data does not affect the touch response setting.
F r . H o r n
S t r i n g s
T o u c h
703A-E-063A
B r s S e c t
P i z z . S t r
E-62 703A-E-064A
Transposing the KeyboardTranspose lets you raise and lower the overall key of the key-board in semitone units. If you want to play an accompani-ment for a vocalist who sings in a key that’s different fromthe keyboard, for example, simply use transpose to changethe key of the keyboard.
To transpose the keyboard
1. Press the TOUCH/TRANSPOSE/SETTING but-ton.
2. Press the [�] and [�] (CURSOR) buttons untilthe transpose screen appears on the display.
3. Use [+] and [–] to change the transpose settingof the keyboard.Example: To transpose the keyboard five semitones up-
wards.
• Pressing the TOUCH/TRANSPOSE/SETTING but-ton exits the transpose screen.
❚ NOTE• The keyboard can be transposed within a range of –24 (two
octave downwards) to +24 (two octave upwards).• The transpose setting also affects playback from song mem-
ory and Auto Accompaniment.
T r a n s .
T r a n s .
Tuning the KeyboardThe tuning feature lets you fine tune the keyboard to matchthe tuning of another musical instrument.
To tune the keyboard
1. Press the TOUCH/TRANSPOSE/SETTING but-ton.
2. Use the [�] and [�] (CURSOR) buttons to dis-play the tuning screen.
3. Use [+] and [–] to change the tuning setting ofthe keyboard.Example: To lower the tuning by 20.
• Pressing the TOUCH/TRANSPOSE/SETTING but-ton exits the transpose screen.
❚ NOTE• The keyboard can be tuned within a range of –99 cents to +99
cents.*100 cents is equivalent to one semitone.
• The tuning setting also affects playback from song mem-ory and Auto Accompaniment.
T u n e
T u n e
TOUCH/TRANSPOSE/SETTING
[+]/[–]
[�]/[�] CURSOR
E-63
Changing Other SettingsSetting TypesThe table below shows the parameters whose settings you can change.
Setting menu
Touch Response(Touch)
Transpose(Trans.)
Tune(Tune)
Display/Pedal(LCD/Jack)
MIDI(MIDI)
Initialize/Delete(Init/Del)
Page
E-61
E-62
E-62
E-65
E-65
E-65
Description
Specifies of how sound should change with keyboard pressure.
Adjusts of overall keyboard tuning by semitone units.
Fine adjustment of overall keyboard tuning.
Adjusts display brightness and assigns of effects to pedals.
MIDI settings
Initializes all settings to initial factory defaults, resets specific settings or deletes userrhythms.
703A-E-065A
E-64 703A-E-066B
To use the keyboard settings menu
1. Press the TOUCH/TRANSPOSE/SETTING button.
2. Use the [�] and [�] (CURSOR) buttons, and the [�] (EXIT) and [�] (ENTER) buttons to recall the itemswhose settings you want to change.
K e y b d C hC o n t r a s t
J a c k C h o r d
A c omp O u t
L o c a l
I n i t M i x ?
I n i t P a r ?
1 0 0 D e l ?
1 0 1 D e l ?
1 0 2 D e l ?
1 0 3 D e l ?
I n i t S y s ?
T o u c h T r a n s . T u n e L CD / J a c k M I D I I n i t / D e l
MAIN MENU
SUB MENU EXIT ENTEREXIT ENTEREXIT ENTER
3-1. Use the [+] and [–] buttons or the number buttons to change the values.• Settings you make are applied even if you do not press the [�] (ENTER) button.• See the following section titled “Setting Menu Items” for details on each setting.
� In case of an initialize or delete procedure
3-2. Press the YES button.• This causes the message “Sure?” to appear, confirming whether you really want to perform the initialize or delete opera-
tion.
3-3. Press the YES button to complete the operation.• This performs the initialize or delete operation and returns to the tone or rhythm selection screen.
4. After making the settings you want, press the TOUCH/TRANSPOSE/SETTING button or [�] (EXIT) button toreturn to the tone or rhythm selection screen.
TOUCH/TRANSPOSE/SETTING
[+]/[–]
YES
[�]/[�] CURSOR
[�] EXIT
[�] ENTER
Number buttons
E-65
Setting Menu Items
Description
Adjusts display contrast.
Assigns the sustain pedal effect to a pedal.Assigns the sostenuto pedal effect to a pedal.Assigns the soft pedal effect to a pedal.Assigns the START/STOP button function to a ped-al.
Specifies the send channel for main tone play.
Specifies whether accompaniment range MIDINote On messages received from an external de-vice should be interpreted as auto accompanimentchords.Specifies whether this keyboard’s accompanimentis sent as MIDI messages.Specifies whether the keyboard should sound theparts played on it.Initializes parameters assigned by the Mixer or byinput from an external sequencer.Initializes all parameters, except for the displaycontrast setting.
Deletes user rhythm No. 100 data.
Deletes user rhythm No. 101 data.
Deletes user rhythm No. 102 data.
Deletes user rhythm No. 103 data.
Initializes to initial factory defaults.Deletes all data in the user area.
Sub menu
Contrast(Contrast)
Assignable Jack(Jack)
Keyboard Channel(Keybd Ch)
MIDI In Chord Judge(Chord)
Accomp MIDI Out(AccompOut)Local Control Setting(Local)Mixer Reset(InitMix?)Parameter Reset(InitPar?)User Rhythm No. 100 Delete(rHy 100 Del?)User Rhythm No. 101 Delete(rHy 101 Del?)User Rhythm No. 102 Delete(rHy 102 Del?)User Rhythm No. 103 Delete(rHy 103 Del?)System Delete(InitSys?)
Range
00 to 12
SUSSoSSFt
rhy
01 to 16
on/oFF
on/oFF
on/oFF
—
—
—
—
—
—
—
Default
06
SUS——
—
01
oFF
oFF
on
—
—
—
—
—
—
—
Main menu
Display/Pedal(LCD/Jack)
MIDI(MIDI)
Initialize/Delete(Init/Del)
703A-E-067B
E-66 703A-E-068A
MIDI
What is MIDI?The letters MIDI stand for Musical Instrument Digital Inter-face, which is the name of a worldwide standard for digitalsignals and connectors that make it possible to exchangemusical data between musical instruments and computers(devices) produced by different manufacturers. MIDI com-patible equipment can exchange keyboard key press, key re-lease, tone change, and other data as messages.Though you do not need any special knowledge about MIDIto use this keyboard as a stand-alone unit, MIDI operationsrequire a bit of specialized knowledge. This section providesyou with an overview of MIDI that will help to get you go-ing.
MIDI ConnectionsMIDI messages are send out through the MIDI OUT termi-nal of one device to the MIDI IN terminal of another ma-chine over a MIDI cable. To send a message from this key-board to another device, for example, you must use a MIDIcable to connect the MIDI OUT terminal of this keyboard tothe MIDI IN terminal of the other device. To send MIDI mes-sages back to this keyboard, you need to use a MIDI cable toconnect the other device’s MIDI OUT terminal to the MIDIIN terminal of this keyboard.To use a computer or other MIDI device to record and play-back the MIDI data produced by this keyboard, you mustconnect the MIDI IN and MIDI OUT terminals of both devic-es in order to send and receive data.
If a MIDI THRU function provided by the software is being run ona connected computer or other MIDI device, be sure to turn thiskeyboard’s “Local Control Setting” off (page E-65).
MIDI IN MIDI OUT
MIDI IN MIDI OUTREST
/YES/NO
(TIE) 3
FULL RANGE
MAX
MIN
PLAYRECORDSTEP RECORD
CHORDFINGERED
CASIO CHORD
NORMAL
BANK STORE
Computer etc.
MIDI ChannelsMIDI allows you to send the data for multiple parts at thesame time, with each part being sent over a separate MIDIchannel. There are 16 MIDI channels, numbered 1 through16, and MIDI channel data is always included whenever youexchange data (key press, pitch bend operation, etc.).Both the sending device and the receiving machine must beset to the same channel for the receiving device to correctlyreceive and play data. If the receiving device is set to Chan-nel 2, for example, it receives only MIDI Channel 2 data, andall other channels are ignored.This keyboard is equipped with multi-timbre capabilities,which means it can receive messages over all 16 MIDI chan-nels and play up to 16 parts at the same time. Tone and vol-ume settings for each channel can be made using the key-board’s onboard Mixer, or by an external source that sendsrequired MIDI control messages.Keyboard operations performed on this keyboard is sent out byselecting a MIDI channel (1 to 16) and then sending the appro-priate message.
General MIDIGeneral MIDI standardizes MIDI data for all sound sourcetypes, regardless of manufacturer. General MIDI specifiessuch factors as tone numbering, drum sounds, and availableMIDI channels for all sound sources. This standard makes itpossible for all MIDI equipment to reproduce the same nu-ances when playing General MIDI data, regardless of themanufacturer of the sound source.This keyboard supports General MIDI, so it can be used toplay commercially available pre-recorded General MIDI dataand General MIDI data send to it from a personal computer.
E-67
Sending and Receiving MIDI Mes-sagesThis keyboard can send notes you play on the keyboard, aswell as auto accompaniment patterns and Song Memory play-back as MIDI messages to another device.
MIDI Send Data� Keyboard PlayEach keyboard part (Channels 1 through 4) is sent over itsown individual MIDI channel. When Auto Harmonize isturned on, harmonize notes are also sent over each individu-al MIDI channel.
� Auto Accompaniment PlayEach accompaniment part is sent over its own individualMIDI channel. The “Accomp MIDI Out” parameter (page E-65) is used to specify whether a part is sent.
MIDI Message Receive� Multi Channel ReceiveThe 16 mixer parts can be used to receive data over 16 MIDImessage channels at the same time.
� Chord Changes when Using Auto Accompani-ment
MIDI messages received from an external device can be in-terpreted as chord changes as specified by the fingerings sup-ported by the auto accompaniment system of this keyboard.Use the “MIDI In Chord Judge” parameter (page E-65) to turnthis capability on and off.
• See the MIDI Implementation Chart at the back of this Us-er’s Guide for more information about each MIDI message.
MIDI SettingsYou can change the settings of a number of parameters thatcontrol how MIDI messages are sent and received.
MIDI ParametersYou can use the parameter setting procedure (page E-63) tochange the settings of the MIDI parameters described below.See pages E-64 and E-65 for details about the setting menuand procedure.
� MIDI In Chord JudgeThis parameter determines whether note data received froman external device should be interpreted as an auto accom-paniment chord fingering. Turn on this parameter when youwant to control auto accompaniment chords from a comput-er or other external device.
• on ........... Causes note data input through MIDI IN to beinterpreted as auto accompaniment chord finger-ings. The channel specified by the keyboard chan-nel is used for specifying chords.
• oFF ......... Turns off “MIDI In Chord Judge”.
� Accomp MIDI Out (Accompaniment MIDI Out)Turn on this parameter when you want sound auto accom-paniment on an external devices sound source.
• on ........... Outputs auto accompaniment as MIDI messagesthrough the keyboard’s MIDI OUT terminal.
• oFF ......... Does not output auto accompaniment.
❚ NOTE• For details, go to the CASIO Website at the URL below.
http://world.casio.com
703A-E-069A
E-68 703A-E-070A
Using the Data Download ServiceAccompaniment, song, tone, DSP, and registration data, aswell as application software for transferring data betweenyour computer and the keyboard are all available for down-load at the CASIO MUSIC SITE*.
� Data and Application SoftwareData itself as well as application software for transferring databetween your computer and the keyboard are available fordownload at the CASIO MUSIC SITE.
� Application SoftwareYou can run the application software on your computer andtransfer data you download from the CASIO MUSIC SITE tothe keyboard, and also use your computer ’s hard disk forlong-term storage of data you transfer from the keyboard toyour computer.• See the instructions provided at the CASIO MUSIC SITE
for full information about how to download the applica-tion software and data.
• See the application software’s online help for informationabout how to use the software.
* CASIO MUSIC SITE
http://music.casio.com/
1. Go to the above URL.
2. Select a region or country.
3. Select a download service for the INTERNETDATA EXPANSION SYSTEM data.• Note that the service you should use depends on the
area or country.
To connect to a computerBe sure to turn off the keyboard and your computer beforeconnecting them. You should also set the volume controllerof the keyboard to a relatively low volume.
1. Connect the keyboard’s MIDI interface to yourcomputer’s MIDI interface.
2. Turn on the keyboard, and then turn on yourcomputer or other connected device.
3. Start up the software you want to use on yourcomputer.
❚ NOTE• When using the application software, make sure that the tone
setting screen (the screen that appears after turning on power)is on the keyboard’s display screen.
CASIO MUSIC SITE
MIDI IN
CTK-671
MIDI Interface
INOUT
MIDI OUT
Internet Service Provider
REST/YES/NO
(TIE) 3
FULL RANGE
MAX
MIN
PLAYRECORDSTEP RECORD
CHORDFINGERED
CASIO CHORD
NORMAL
BANK STORE
E-69703A-E-071A
Troubleshooting
Problem Possible Cause Action See page
No keyboard Sound
Any of the following symptomswhile using battery power.• Dim power indicator• Instrument does not turn on.• Display that is flickering, dim, or
difficult to read• Abnormally low speaker/head-
phone volume• Distortion of sound output• Occasional interruption of sound
when playing at high volumes• Sudden power failure when
playing at high volumes• Flickering or dimming of the dis-
play when playing at high vol-ume
• Continued sound output evenafter you release a key
• A tone that is totally differentfrom the one that is selected.
• Abnormal rhythm pattern anddemo tune play
• Loss of power, sound distortion,or low volume when playingfrom a connected computer orMIDI device
Auto Accompaniment does notsound.
Sound output does not changewhen key pressure is varied.
Playing the keyboard sounds twotones.
Different tones sound when keysin different keyboard ranges arepressed.
1. Power supply problem.
2. Power is not turned on.
3. Volume setting is too low.
4. The MODE switch is in the CASIOCHORD or FINGERED position.
5. Local Control is off.6. Mixer channel 1 is turned off.7. Mixer channel 1 volume setting is
too low.
Low battery power
1. Accompaniment volume is set to000.
2. Auto Accompaniment part Chan-nels 6 through 10 are turned off.
3. Auto Accompaniment part Chan-nels 6 through 10 volume setting istoo low.
Touch response is turned off.
Layer is turned on.
Split is turned on.
1. Correctly attach the AC adaptor,make sure that batteries poles (+/–)are facing correctly, and check tomake sure that batteries are notdead.
2. Press the POWER button to turn onpower.
3. Use the VOLUME slider to increasevolume.
4. Normal play is not possible on theaccompaniment keyboard while theMODE switch is set to CASIOCHORD or FINGERED. Change theMODE switch setting to NORMAL.
5. Turn on Local Control.6. Use the Mixer to turn channel 1 on.7. Use the Mixer to raise the volume
setting for channel 1.
Replace the batteries with a set of newones or use the AC adaptor.
1. Use the ACCOMP VOLUME buttonto increase the volume.
2. Use the Mixer to turn the channelson.
3. Use the Mixer to raise the volumesetting for the applicable channel.
Press the TOUCH/TRANSPOSE/SET-TING button to turn it on.
Press the LAYER button to turn off lay-ering.
Press the SPLIT button to turn off split.
Page E-16
Page E-21
Page E-21
Page E-29
Page E-65Page E-35Page E-36
PagesE-16, 17
Page E-34
Page E-35
Page E-36
Page E-61
Page E-59
Page E-59
E-70 703A-E-072A
Problem Possible Cause Action See page
The key or tuning does not matchwhen playing along with anotherMIDI machine.
Parts suddenly drop out duringsong memory playback.
Some parts do not play at all dur-ing song memory playback.
Cannot record Auto Accompani-ment or rhythm.
Nothing happens when the LAY-ER or SPLIT button is pressed.
No sound is produced when play-ing MIDI data from a computer.
Playing on the keyboard produc-es an unnatural sound when con-nected to a computer.
Cannot record chord accompani-ment data on a computer.
1. The tuning or transpose parameteris set to a value other than 00.
2. Mixer coarse tune, fine tune, and/or octave shift settings are valuesother than 00.
The number of tones being played atthe same time exceeds the keyboard’slimitation.
1. Channels are turned off.2. Volume setting is too low.
A track other than Track 1 is selectedas the recording track.Tracks 2 through 6 are melody tracks.
1. One or more of the melody channels(2 through 4) is turned off.
2. The volume setting of one or moreof the melody channels (2 through4) is too low.
3. The keyboard is in record standby.
1. MIDI cables are not connected prop-erly.
2. Channel is turned off, or volumesetting is too low.
The computer’s MIDI Thru function isturned on.
Accomp MIDI Out is turned off.
1. Change the transpose or tuning pa-rameter value to 00.
2. Use the Mixer to change the coarsetune, fine tune, and/or octave shiftsettings to 00.
Use the Mixer to turn unneeded chan-nels off and decrease the number ofparts being played.
1. Use the Mixer to turn channels on.2. Use the Mixer to check the volume
setting.
Use the track select buttons to selectTrack 1.
1. Use the Mixer to turn on Channels2 through 4.
2. Use the Mixer to raise the volumesetting of Channels 2 through 4.
3. The LAYER and SPLIT buttons aredisabled during recording andrecord standby.
1. Connect MIDI cables properly.
2. Use the Mixer to turn the channelon, or raise the volume setting.
Turn off the MIDI Thru function on thecomputer or turn off Local Control onthe keyboard.
Turn on Accomp MIDI Out.
Page E-62
Page E-37
Page E-35
Page E-35
Page E-36
Page E-47
Page E-35
Page E-36
Page E-46
Page E-66
PagesE-35, 36
Page E-65
Page E-65
E-71
Model: CTK-671
Keyboard: 61 standard-size keys, 5 octaves with touch response (Off / Light / Normal / Heavy)
Tones: 348 total (100 panel tones + 128 GM tones + 10 drum sounds + 10 user tones + 100Advanced Tones); layer/split
Rhythm Instrument Tones: 61
Polyphony: 32 notes maximum (16 for certain tones)
Effects: DSP (110 types: internal, 10 user areas) + Reverb (16 types) + Chorus (16 types)
Equalizer: 10 types, 4 bands
Auto Accompaniment
Rhythm Patterns: 104 (internal, 4 user areas)
Tempo: Variable (226 steps, = 30 to 255)
Chords: 3 fingering methods (CASIO CHORD, FINGERED, FULL RANGE CHORD)
Rhythm Controller: START/STOP, INTRO/ENDING 1 and 2, VARIATION/FILL-IN 1 and 2, SYNCHRO/FILL-IN NEXT
Accomp Volume: 0 to 127 (128 steps)
One-touch Presets: Recalls settings for tone, tempo, layer on/off, and harmonize on/off in accordancewith rhythm.
Auto Harmonize: Automatic addition of notes that harmonize with melody note in accordance withspecified Auto Accompaniment chords.
Memory Function
Songs: 2
Recording Tracks: 6 (2 through 6 are melody tracks)
Recording Methods: Real-time, step
Memory Capacity: Approximately 3,500 notes (total for two songs)
* Same memory is shared for user rhythm storage.
Edit Function: Equipped
Demo Tunes: 2
Synthesizer Function
Parameters: Attack time; release time; resonance; cutoff frequency; vibrato type; vibrato delay;vibrato depth; vibrato rate; octave shift; level; touch sense; reverb send; chorus send;DSP line; DSP type and DSP parameter
Registration Memory
Number of Setups: 16 (4 setups x 4 banks)
Memory Contents: Tone select, Rhythm select, Tempo settings, Split on/off, Split point settings, Layeron/off, Mixer settings (Channels 1~10), Effect settings, Equalizer settings, Touch Re-sponse settings, Assignable jack setting, Transpose settings, Tuning settings, Accom-paniment volume settings, Harmonize on/off
Specifications
Tune Number Name Composer Play Time
0 Crystal Fountain Edward Alstrom 1:54
1 Night Breeze Hage Software 1:52
703A-E-073A
E-72 703A-E-074A
Mixer Function
Channels: 16
Parameters: Channel on/off; tone; part on/off; volume; pan pot; octave shift; coarse tune; finetune; reverb send; chorus send; DSP line
MIDI: 16 multi-timbre receive, GM Level 1 standard
Other Functions
Transpose: 49 steps (–24 semitones to +24 semitones)
Tuning: Variable (A4 = approximately 440Hz ±100 cents)
LCD: Adjustable contrast
Terminals
MIDI Terminals: IN, OUT
Sustain/Assignable Terminal: Standard jack (sustain, sostenuto, soft, rhythm start/stop)
Headphone/Output Terminal: Stereo standard jack
Output Impedance: 140�
Output Voltage: 4.5V (RMS) MAX
Power Supply Terminal: 9V DC
Power Supply: Dual power supply system
Batteries: 6 D-size batteries
Battery Life: Approximately 4 hours continuous operation on manganese batteries
AC Adaptor: AD-5
Auto Power Off: Turns power off approximately six minutes after last key operation. Enabled underbattery power only, can be disabled manually.
Speaker Output: 2.5W + 2.5W
Power consumption: 9V 7.7W
Dimensions: 96.0 x 37.5 x 14.7 cm (37 13/16 x 14 3/4 x 5 13/16 inch)
Weight: Approximately 5.8 kg (12.8lbs) (without batteries)
A-1
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2565
32-1
-
3012
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.GU
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R25
6616
-1-
31JA
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AR
2665
32-1
-
32C
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2765
32-1
-
33E
LEC
.GU
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R27
6632
-1-
34M
UTE
GU
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R28
6532
-1-
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6532
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36D
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3065
32-1
-
37FE
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3066
16-1
-
38B
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565
32N
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3265
32-1
-
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3365
32-1
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3465
32-1
-
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S35
6532
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43S
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3765
32-1
-
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3865
16-1
-
45S
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3965
32-1
-
46S
TR/O
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6532
N-
47C
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O42
6532
-1-
48P
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4565
32N
-
49H
AR
P46
6532
N-
50E
NS
EM
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ING
S48
6532
N-
51S
LOW
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ING
S49
6532
N-
52B
RIG
HT
STR
ING
S48
6632
N-
53M
ELL
OW
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ING
S49
6632
N-
54S
YN
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5065
32N
-
55R
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TH-S
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5165
32N
-
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
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o
Pro
gram
Cha
nge
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bio
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ese
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Maxim
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ny
Polif
onía
máx
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Ran
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pe
Tipo
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a
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PTy
pe
Tipo
DS
P
703A-E-147A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
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SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
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Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
A-2
56C
HO
IR A
AH
S52
6532
N-
57V
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OO
5365
32N
-
58S
YN
TH-V
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E54
6532
N-
59O
RC
HE
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IT55
6516
N-
60B
RA
SS
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5665
32N
-
61TR
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5765
32-1
-
62TU
BA
5865
32-1
-
63M
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TR
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PE
T59
6532
N-
64FR
EN
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6065
16-1
-
65B
RA
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SE
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6165
32N
-
66O
CTA
VE
BR
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S61
6616
N-
67B
RA
SS
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6167
16N
-
68AN
ALO
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6532
N-
69VI
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S63
6516
N-
70R
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X64
6532
N-
71A
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X65
6532
-1-
72B
RE
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X65
6616
-1-
73TE
NO
R S
AX
6665
32-1
-
74B
RE
ATH
Y T
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X66
6616
-1-
75B
AR
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NE
SA
X67
6532
-1-
76O
BO
E68
6532
N-
77C
LAR
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T71
6532
N-
78P
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PIC
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LO72
6532
1-
79FL
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7365
32N
-
80M
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OW
FLU
TE73
6616
N-
81R
EC
OR
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R74
6532
N-
82PA
N F
LUTE
7565
32N
-
83W
HIS
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7865
32N
-
84S
YN
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DS
QU
AR
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D80
6516
N-
85S
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D81
6516
N-
86C
ALL
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E82
6516
N-
87V
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D85
6516
N-
88FI
FTH
LE
AD
8665
16N
-
89B
AS
S+L
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D87
6516
N-
90S
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6516
N-
91W
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8965
32N
-
92P
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9065
16N
-
93B
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ED
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9265
16N
-
94H
ALO
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D94
6516
N-
95S
WE
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D95
6532
N-
96R
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9665
16N
-
97C
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L98
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MO
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9965
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-
99B
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S10
065
16N
-
703A-E-148A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
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Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
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Maxim
umPo
lypho
ny
Polif
onía
máx
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Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
A-3
Ad
van
ced
To
nes
So
nid
os
avan
zad
os
0P
IAN
OS
TER
EO
PIA
NO
068
32N
Ref
lect
1S
YN
TH-S
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IAN
O0
7016
NR
efle
ct
2V
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IAN
O0
6916
NR
efle
ct
3S
TRIN
GS
PIA
NO
168
16N
Ref
lect
4D
AN
CE
PIA
NO
169
16N
Enh
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560
'S O
CTA
VE
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NO
368
16N
Equ
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6M
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O2
6816
NC
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O4
6832
NC
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8S
YN
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TR.E
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NO
568
16N
Ref
lect
9E
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NO
PA
D4
6916
NS
tPha
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10S
TRIN
GS
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IAN
O5
6916
NC
hoD
ly3
11CO
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D HA
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D6
6816
NC
mpC
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ON
AN
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CLA
VI
768
32N
Aut
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13C
HR
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868
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14DE
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L9
6832
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6832
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6832
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1668
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1
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1669
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19RO
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117
6816
NR
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20RO
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217
6916
NR
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21R
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1670
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Rot
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6816
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16N
Ref
lect
25O
CTA
VE
AC
CO
RD
ION
2168
16N
Cm
pCho
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26N
EO
BA
ND
ON
EO
N23
6816
NC
hoD
ly4
27S
LOW
HA
RM
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ICA
2268
32N
Roo
m2
28G
UIT
AR
MEL
LOW
NYL
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GUI
TAR
2468
16-1
Cho
Dly
3
29EN
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GUI
TAR
2568
16-1
Enh
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30CH
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GUI
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2569
32-1
Cho
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4
31O
CT
JAZZ
GU
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R26
6816
-1R
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3
32CH
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S CL
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2768
32-1
Cho
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4
33C
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NC
H E
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2769
32-1
Crn
Del
ay
34M
UTE
D D
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GU
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R28
6832
-1M
etal
Dly
35AU
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VERD
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GT
2968
32-1
AWhO
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36M
OR
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N G
T30
6832
-1D
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37FE
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BA
CK
DIS
T.G
T30
6916
-1D
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ly1
38O
CT
BA
NJO
105
6816
NC
hoD
ly2
39B
AS
SR
IDE
BA
SS
3268
16-1
Roo
m1
40C
HO
RU
S F
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.BA
SS
3368
16-1
Crn
Cho
41C
OM
P.P
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ED
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3468
16-1
Cm
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S35
6816
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43M
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3768
16-1
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S 1
3868
32-1
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ly
45AD
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S 2
3968
16-1
Crn
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46S
TR/O
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HE
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AS
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LIN
4068
32N
Roo
m2
47S
LOW
CE
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4268
32-1
StX
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48PI
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EN
SEM
BLE
4568
16N
Cho
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4
49H
AR
PS
4668
16N
3Tap
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50E
NS
EM
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STE
RE
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TRIN
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4868
16N
Ref
lect
51C
HA
MB
ER
4968
16N
Ref
lect
52O
RCHE
STRA
STR
ING
S 1
4869
16N
Ref
lect
53O
RCHE
STRA
STR
ING
S 2
4969
16N
Cho
Dly
3
54PU
RE S
YNTH
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ING
S50
6816
NC
hoD
ly3
55P
HA
SE
R S
YN
TH-S
TR51
6816
NP
haA
Pan
2
56C
HO
IRS
5268
16N
Ref
lect
57S
YN
TH-D
OO
5368
16N
Dis
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1
58S
YN
TH-V
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5468
16N
Flan
Dly
1
59TI
MPA
NI H
IT55
6816
NG
ateR
vb2
60B
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SS
VE
LO.T
RU
MP
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5668
32N
Enh
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61TR
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BO
NE
SE
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ON
5768
16-1
Cho
Dly
1
703A-E-149A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
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Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
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Maxim
umPo
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ny
Polif
onía
máx
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Ran
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pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
A-4
62S
TAC
K T
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A58
6816
-1C
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63W
AH
MU
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RU
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5968
32N
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64O
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NC
H H
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N60
6816
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65S
TER
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6816
NE
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ly
66TR
UM
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BR
AS
S61
6916
NP
late
1
67B
RA
SS
SFZ
6170
16N
Enh
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68D
EE
P S
YN
TH-B
RA
SS
6268
16N
Enh
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69S
LOW
SY
NTH
-BR
AS
S63
6816
NC
hoD
ly4
70R
EE
DM
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OW
S.S
AX
6468
16N
Ref
lect
71A
.SA
XY
S65
6816
-1E
nhaD
ly
72V
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.ALT
O S
AX
6569
16-1
Hal
l2
73T.
SA
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S66
6816
-1H
all2
74V
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AX
6669
16-1
Hal
l2
75ST
ACK
BAR
ITO
NE
SAX
6768
16-1
OdD
elay
76S
YN
TH-O
BO
E68
6816
NC
hoD
ly4
77V
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.CLA
RIN
ET
7168
16N
Roo
m3
78P
IPE
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NS
EM
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7268
161
Ref
lect
79FL
UTE
+ R
EE
D73
6816
NS
tXD
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80V
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6916
NE
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81S
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R74
6816
NC
hoD
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82S
YN
TH-P
AN
FLU
TE75
6816
NAW
hChD
ly
83W
HIS
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S78
6816
NC
hoD
ly4
84S
YN
TH-L
EA
DM
ELL
OW
SQ
R L
EA
D80
6816
NC
hoD
ly1
85M
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OW
SAW
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AD
8168
16N
Cho
Dly
2
86A
DVA
NC
ED
CA
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PE
8268
16N
Cho
Dly
2
87V
OX
LE
AD
8568
16N
Flan
Dly
2
884T
H L
EA
D86
6816
NS
tDel
ay
89FR
ET
LEA
D87
6816
NE
nhaD
ly
90S
YN
TH-P
AD
NE
W F
AN
TAS
Y88
6816
NC
hoD
ly3
91W
AR
M V
OX
8968
16N
AWhC
hDly
92P
OLY
SA
W90
6816
NC
hoD
ly3
93B
OW
ED
PA
D92
6816
NC
hoD
ly4
94S
PAC
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OX
9468
16N
Rot
Ref
1
95M
OV
IE S
OU
ND
9568
16N
Flan
Dly
1
96N
EW
GO
BLI
N96
6816
NR
gCho
Dly
703A-E-150A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
ima
Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
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Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
97N
EW
CR
YS
TAL
9868
16N
Cho
Dly
4
98S
TAR
TH
EM
E99
6816
NP
haA
Pan
2
99B
RIG
HTE
R10
068
16N
Cho
Dly
3
A-5
GM
To
nes
So
nid
os
GM
100
PIA
NO
Pia
no 1
00
32N
-
101
Pia
no 2
10
32N
-
102
Pia
no 3
20
32N
-
103
HO
NK
Y-TO
NK
GM
30
16N
-
104
E.P
IAN
O 1
40
32N
-
105
E.P
IAN
O 2
50
16N
-
106
HA
RP
SIC
HO
RD
GM
60
32N
-
107
CLA
VI G
M7
032
N-
108
CH
RO
MAT
IC P
ERC
CE
LES
TA G
M8
032
N-
109
GLO
CK
EN
SP
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OC
T9
032
N-
110
MU
SIC
BO
X10
016
N-
111
VIB
RA
PH
ON
E G
M11
032
N-
112
MA
RIM
BA
GM
120
32N
-
113
XY
LOP
HO
NE
130
32N
-
114
TUB
ULA
R B
ELL
140
32N
-
115
DU
LCIM
ER
150
16N
-
116
OR
GA
NO
RG
AN
116
016
N-
117
OR
GA
N 2
170
16N
-
118
OR
GA
N 3
180
16N
-
119
PIP
E O
RG
AN
190
16N
-
120
RE
ED
OR
GA
N20
032
N-
121
FRE
NC
H A
CC
OR
DIO
N21
016
N-
122
HA
RM
ON
ICA
GM
220
32N
-
123
BA
ND
ON
EO
N G
M23
016
N-
124
GU
ITA
RNY
LON
STR.
GUI
TAR
OCT
240
32N
-
125
STEE
L ST
R.G
UITA
R O
CT25
032
N-
126
JAZZ
GU
ITA
R O
CT
260
32N
-
127
CLE
AN
GU
ITA
R O
CT
270
32N
-
128
MU
TE G
UIT
AR
OC
T28
032
N-
129
OV
ER
DR
IVE
GT
OC
T29
032
N-
130
DIS
TOR
TIO
N G
T O
CT
300
32N
-
131
GT
HA
RM
ON
ICS
310
32N
-
132
BA
SS
AC
OU
STI
C B
AS
S O
CT
320
32N
-
133
FIN
GE
RE
D B
AS
S O
CT
330
32N
-
134
PIC
KE
D B
AS
S O
CT
340
32N
-
135
FRET
LESS
BAS
S O
CT
350
32N
-
136
SLA
P B
AS
S 1
OC
T36
032
N-
137
SLA
P B
AS
S 2
OC
T37
032
N-
138
SY
NTH
-BA
SS
1 O
CT
380
16N
-
139
SY
NTH
-BA
SS
2 O
CT
390
32N
-
140
STR
/OR
CH
ES
TRA
VIO
LIN
GM
400
32N
-
141
VIO
LA41
032
N-
142
CE
LLO
GM
420
32N
-
143
CO
NTR
AB
AS
S43
032
N-
144
TRE
MO
LO S
TRIN
GS
440
32N
-
145
PIZ
ZIC
ATO
GM
450
32N
-
146
HA
RP
GM
460
32N
-
147
TIM
PAN
I47
032
N-
148
EN
SE
MB
LEO
RCHE
STRA
STR
ING
S 1
480
32N
-
149
ORC
HEST
RA S
TRIN
GS
249
032
N-
150
SAW
.SYN
TH-S
TRIN
GS
150
032
N-
151
SAW
.SYN
TH-S
TRIN
GS
251
032
N-
152
VO
ICE
AH
H52
032
N-
153
VO
CA
L D
OO
530
32N
-
154
SY
NTH
-VO
X54
032
N-
155
OR
CH
ES
TRA
HIT
GM
550
16N
-
156
BR
AS
STR
UM
PE
T G
M56
032
N-
157
TRO
MB
ON
E O
CT
570
32N
-
158
TUB
A O
CT
580
32N
-
159
MU
TE T
RU
MP
ET
GM
590
32N
-
160
FRE
NC
H H
OR
N O
CT
600
16N
-
161
BR
AS
S61
032
N-
162
SY
NTH
-BR
AS
S 1
620
32N
-
163
SY
NTH
-BR
AS
S 2
630
16N
-
164
RE
ED
SO
PR
AN
O S
AX
GM
640
32N
-
165
ALT
O S
AX
OC
T65
032
N-
166
TEN
OR
SA
X O
CT
660
32N
-
167
BA
RIT
ON
E S
AX
OC
T67
032
N-
703A-E-151A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
ima
Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
ima
Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
A-6
NN
orm
al
-11
Oct
ave
Dow
n
-22
Oct
ave
Dow
n
11
Oct
ave
Up
22
Oct
ave
Up
1/2
1/2
Oct
ave
1/4
1/4
Oct
ave
❚ N
OT
ER
ange
Sym
bol
Mea
ning
206
SH
AM
ISE
N10
60
32N
-
207
KO
TO10
70
32N
-
208
THU
MB
PIA
NO
108
032
N-
209
BA
G P
IPE
109
016
N-
210
FID
DLE
110
032
N-
211
SH
AN
AI
111
032
N-
212
TIN
KLE
BE
LL11
20
32N
-
213
PE
RC
US
SIV
EA
GO
GO
113
032
N-
214
STE
EL
DR
UM
S11
40
16N
-
215
WO
OD
BLO
CK
115
032
1/2
-
216
TAIK
O11
60
321/
2-
217
ME
LOD
IC T
OM
117
032
1/2
-
218
SY
NTH
-DR
UM
118
032
1/2
-
219
RE
VE
RS
E C
YM
BA
L11
90
321/
2-
220
SO
UN
D E
FFE
CTS
GT
FRE
T N
OIS
E12
00
32N
-
221
BR
EAT
H N
OIS
E12
10
32N
-
222
SE
AS
HO
RE
122
016
1/4
-
223
BIR
D12
30
161/
4-
224
TELE
PH
ON
E12
40
321/
4-
225
HE
LIC
OP
TER
125
032
1/4
-
226
AP
PLA
US
E12
60
161/
4-
227
GU
NS
HO
T12
70
32N
-
168
OB
OE
GM
680
32N
-
169
EN
GLI
SH
HO
RN
690
32N
-
170
BA
SS
OO
N70
032
N-
171
CLA
RIN
ET
GM
710
32N
-
172
PIP
EP
ICC
OLO
OC
T72
032
N-
173
FLU
TE G
M73
032
N-
174
RE
CO
RD
ER
GM
740
32N
-
175
PAN
FLU
TE G
M75
032
N-
176
BO
TTLE
BLO
W76
016
N-
177
SH
AK
UH
AC
HI
770
16N
-
178
WH
ISTL
E G
M78
032
N-
179
OC
AR
INA
790
32N
-
180
SY
NTH
-LE
AD
SQ
UA
RE
WAV
E80
016
N-
181
SA
WTO
OTH
WAV
E81
016
N-
182
CA
LLIO
PE
LE
AD
820
16N
-
183
CH
IFF
LEA
D83
016
N-
184
CH
AR
AN
G84
016
N-
185
SO
LO V
OX
850
16N
-
186
FIFT
H S
AW86
016
N-
187
BA
SS
LE
AD
870
16N
-
188
SY
NTH
-PA
DN
EW
AG
E88
016
N-
189
WA
RM
SY
NTH
890
32N
-
190
PO
LYS
YN
TH G
M90
016
N-
191
SPA
CE
CH
OIR
910
16N
-
192
BO
WE
D P
AD
920
16N
-
193
ME
TAL
PAD
930
16N
-
194
HA
LO S
YN
TH94
016
N-
195
SW
EE
P S
YN
TH95
032
N-
196
SY
NTH
-SFX
RA
IN P
AD
960
16N
-
197
SO
UN
D T
RA
CK
970
16N
-
198
CR
YS
TAL
PAD
980
16N
-
199
ATM
OS
PH
ER
E P
AD
990
16N
-
200
BR
IGH
T PA
D10
00
16N
-
201
GO
BLI
NS
101
016
N-
202
EC
HO
ES
102
032
N-
203
SF
103
016
N-
204
ETH
NIC
SIT
AR
104
016
N-
205
BA
NJO
GM
105
032
N-
703A-E-152A
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
ima
Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
ese
lecc
ión
de b
anco
Maxim
umPo
lypho
ny
Polif
onía
máx
ima
Ran
geTy
pe
Tipo
de gam
a
DS
PTy
pe
Tipo
DS
P
Sím
bolo
Sig
nific
ado
❚ N
OTA
Gam
a
NN
orm
al
-11
Oct
ava
haci
a ab
ajo
-22
Oct
avas
hac
ia a
bajo
11
Oct
ava
haci
a ar
riba
22
Oct
avas
hac
ia a
rrib
a
1/2
1/2
Oct
ava
1/4
1/4
de O
ctav
a
A-7
228
STA
ND
AR
D S
ET
10
120
229
STA
ND
AR
D S
ET
21
120
230
RO
OM
SE
T8
120
231
PO
WE
R S
ET
1612
0
232
ELE
CTR
ON
IC S
ET
2412
0
233
SY
NTH
SE
T 1
2512
0
234
SY
NTH
SE
T 2
3012
0
235
JAZZ
SE
T32
120
236
BR
US
H S
ET
4012
0
237
OR
CH
ES
TRA
SE
T48
120
238
Use
r 01
071
239
Use
r 02
171
240
Use
r 03
271
241
Use
r 04
371
242
Use
r 05
471
243
Use
r 06
571
244
Use
r 07
671
245
Use
r 08
771
246
Use
r 09
871
247
Use
r 10
971
Dru
m S
ou
nd
s
So
nid
os
de
bat
ería
Use
r To
nes
So
nid
os
del
usu
ario
703A-E-153A
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
ram
a
Ban
kS
elec
tM
SB
MS
B d
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lecc
ión
de b
anco
No.
Nº
No.
Nº
Tone
Gro
up
Gru
po d
eso
nido
Tone
Nam
e
Nom
bre
de s
onid
o
Pro
gram
Cha
nge
Cam
bio
de prog
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a
Ban
kS
elec
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SB
MS
B d
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lecc
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de b
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A-8
Key
/Not
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mbe
r
Cla
ve/
Núm
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de n
ota
0: S
TAN
DA
RD
SE
T 1
HIG
H Q
SLA
PS
CR
ATC
H P
US
HS
CR
ATC
H P
ULL
STI
CK
SS
QU
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E C
LIC
KM
ETR
ON
OM
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LIC
KM
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ON
OM
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STA
ND
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D 1
KIC
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STA
ND
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D 1
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SID
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TIC
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TAN
DA
RD
1 S
NA
RE
1H
AN
D C
LAP
STA
ND
AR
D 1
SN
AR
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LOW
TO
M 2
CLO
SE
D H
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LOW
TO
M 1
P
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AL
HI-H
ATM
ID T
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2
OP
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HI-H
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1
HIG
H T
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2
CR
AS
H C
YM
BA
L 1
HIG
H T
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1R
IDE
CY
MB
AL
1C
HIN
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YM
BA
L R
IDE
BE
LL
TAM
BO
UR
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SP
LAS
H C
YM
BA
LC
OW
BE
LLC
RA
SH
CY
MB
AL
2
VIB
RA
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P
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YM
BA
L 2
HIG
H B
ON
GO
LOW
BO
NG
O
MU
TE H
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CO
NG
A
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HIG
H C
ON
GA
LOW
CO
NG
AH
IGH
TIM
BA
LELO
W T
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ALE
HIG
H A
GO
GO
LO
W A
GO
GO
C
AB
AS
A
MA
RA
CA
S
S
HO
RT
HI W
HIS
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G L
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WH
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HO
RT
GU
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LO
NG
GU
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CLA
VE
S
H
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WO
OD
BLO
CK
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D B
LOC
K
MU
TE C
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A
OP
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CU
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MU
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LE
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TR
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GLE
S
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BE
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TS
M
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ND
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D 2
KIC
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STA
ND
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� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
� � � � � � � � RO
OM
KIC
K 2
RO
OM
KIC
K 1
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OM
SN
AR
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SN
AR
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R
OO
M L
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TO
M 2
� RO
OM
LO
W T
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1� R
OO
M M
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2� R
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M M
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1R
OO
M H
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M 2
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OM
HI T
OM
1� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
1: S
TAN
DA
RD
SE
T 2
8: R
OO
M S
ET
E1
F1 G1
A1
B1
C2
D2
E2
F2 G2
A2
B2
C3
D3
E3
F3 G3
A3
B3
C4
D4
E4
F4 G4
A4
B4
C5
D5
E5
F5 G5
A5
B5
C6
D6
E6
28 29 31 33 35 36 38 40 41 43 45 47 48 50 52 53 55 57 59 60 62 64 65 67 69 71 72 74 76 77 79 81 83 84 86 88
E 1
F#1
A 1
B 1
C#2
E 2
F#2
A 2
B 2
C#3
E 3
F#3
A 3
B 3
C#4
E 4
F#4
A 4
B 4
C#5
E 5
F#5
A 5
B 5
C#6
E 6
27 30 32 34 37 39 42 44 46 49 51 54 56 58 61 63 66 68 70 73 75 78 80 82 85 87
� � � � � � � � � � � � � � � �
24: E
LE
C S
ET
25: S
YN
TH
130
: SY
NT
H 2
32: J
AZ
Z S
ET
16: P
OW
ER
SE
T
� � � � � � � � PO
WE
R K
ICK
2P
OW
ER
KIC
K 1
� PO
WE
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NA
RE
1
� PO
WE
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NA
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2R
OO
M L
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TO
M 2
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OM
LO
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SY
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AR
E 2
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
� � � � � � � � JAZZ
KIC
K 2
JAZZ
KIC
K 1
� BR
US
H T
AP
BR
US
H S
LAP
BR
US
H S
WIR
L
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
CLO
SE
D H
I-HAT
PE
DA
L H
I-HAT
OP
EN
HI-H
ATR
IDE
CY
MB
AL
1� � � � JA
ZZ K
ICK
1C
ON
CE
RT
BA
SS
DR
UM
� CO
NC
ER
T S
NA
RE
CA
STA
NE
TSC
ON
CE
RT
SN
AR
ETI
MPA
NI F
TIM
PAN
I F�
TIM
PAN
I GTI
MPA
NI A
�TI
MPA
NI A
TIM
PAN
I B�
TIM
PAN
I BTI
MPA
NI C
TIM
PAN
I C�
TIM
PAN
I DTI
MPA
NI E
�TI
MPA
NI E
TIM
PAN
I F� � � C
ON
CE
RT
CY
MB
AL
2� C
ON
CE
RT
CY
MB
AL
1� � � � � � � � � � � � � � � � � � � � � � � � � � � � �
Pro
gra
m C
han
ge
No
. / D
rum
Set
Nam
e / N
úm
ero
de
cam
bio
de
pro
gra
ma
/ No
mb
re d
e aj
ust
e d
e b
ater
ía
48: O
RCHE
STRA
SET
40: B
RU
SH
SE
T
Dru
m A
ssig
nm
ent L
ist (
� In
dic
ates
the
sam
e so
un
d a
s S
TAN
DA
RD
SE
T)
Lis
ta d
e as
ign
ació
n d
e b
ater
ía (
� In
dic
a el
mis
mo
so
nid
o q
ue
STA
ND
AR
D S
ET
)
703A-E-154A
A-9
Ro
ot
Nota
fu
ndam
enta
l
Mm
7d
im7
M7
m7
-5d
imm
7
Ch
ord
Typ
e
Ro
ot
Ch
ord
Typ
eTi
po d
e a
cord
e
C D E F G A B
C /(
D )�
�
(D )/
E ��
F /(
G )�
� (G )/
A �
�
(A )/
B ��
C D E F G A B
C /(
D )�
�
(D )/
E ��
F /(
G )�
� (G )/
A �
�
(A )/
B ��
au
gsu
s4
7su
s4
m a
dd9
mM
77
-5a
dd
9No
ta
fund
amen
tal
Tipo
de
aco
rde
:Yo
u c
an c
hang
e th
e ke
yboa
rd r
ange
of d
im7
chor
ds
for
root
s A
, B� , a
nd B
, and
au
g ch
ord
s fo
r ro
ots
B� a
nd B
by
adju
stin
g th
e sp
lit p
oint
set
ting
(pag
e E
-59)
.
:P
ued
e ca
mbi
ar la
gam
a d
el te
clad
o d
e lo
s ac
ord
es d
im7
par
a la
s no
tas
fund
amen
tale
s A
, B� y
aco
rdes
au
men
tad
os (a
ugm
ent)
par
a la
s no
tas
fund
amen
tale
s B
�y
B m
edia
nte
el a
just
e d
el p
unt
o d
e d
ivis
ión
(pág
ina
S-59
).
703A-E-155A
Fin
ger
ed C
ho
rd C
har
tT
his
tabl
e sh
ows
the
fing
erin
gs fo
r co
mm
only
use
d c
hor d
s, in
clu
din
g in
vert
ed fi
nger
ings
.
Cu
adro
de
aco
rdes
Fin
ger
edE
sta
tabl
a m
ues
tra
las
dig
itac
ione
s p
ara
los
acor
des
usa
dos
com
únm
ente
, inc
luye
ndo
las
dig
itac
ione
s in
vert
idas
.
A-10
No.
Dis
play
Nam
eTy
pe N
ame
Nº
Nom
bre
de d
ispl
ayN
ombr
e de
tipo
00C
horu
s 1
Cho
rus
101
Cho
rus
2C
horu
s 2
02C
horu
s 3
Cho
rus
303
Cho
rus
4C
horu
s 4
04F
BC
horu
sF
eedb
ack
Cho
rus
05F
lang
er1
Fla
nger
106
SD
elay
1S
hort
Del
ay 1
07S
Del
ay 2
Sho
rt D
elay
208
SF
Cho
rus
Sof
t Cho
rus
09B
RC
horu
sB
right
Cho
rus
10D
PC
horu
sD
eep
Cho
rus
11F
lang
er 2
Fla
nger
212
Fla
nger
3F
lang
er 3
13F
lang
er 4
Fla
nger
414
SD
elay
3S
hort
Del
ay 3
15S
Del
ay 4
Sho
rt D
elay
4
CH
OR
US
Eff
ect
Lis
t
Lis
ta d
e ef
ecto
s d
e ch
oru
s
(C
HO
RU
S)
RE
VE
RB
Eff
ect
Lis
t
Lis
ta d
e ef
ecto
s d
e re
verb
erac
ión
(RE
VE
RB
)
703A-E-156A
Eff
ect L
ist
Lis
ta d
e ef
ecto
s
DS
P E
ffec
t L
ist
Sett
able
par
amet
ers
dep
end
on
the
DSP
typ
e. A
lso,
the
par
am-
eter
s fo
r ea
ch D
SP t
ype
dep
end
on
the
algo
rith
m*
asso
ciat
edw
ith
the
DSP
typ
e. S
ee t
he D
SP A
lgor
ithm
Lis
t on
pag
e A
-12
for
mor
e in
form
atio
n.*
Eff
ecto
r st
ruct
ure
and
op
erat
ion
typ
e
Lis
ta d
e ef
ecto
s D
SP
Los
par
ámet
ros
que
pu
eden
aju
star
se d
epen
den
en
el ti
po
DSP
.Ta
mbi
én, l
os p
arám
etr o
s p
ara
cad
a ti
po
DSP
dep
end
e en
el a
l-go
ritm
o* a
soci
ado
con
el
tip
o D
SP.
Par
a m
ayor
in
form
ació
nve
a la
“L
ista
de
algo
ritm
os D
SP”
en la
pág
ina
A-1
2.*
Est
ruct
ura
de
gene
rad
or d
e ef
ecto
s y
tip
o d
e op
erac
ión.
Dyn
amic
s F
x
[00]
03E
qual
ize
Equ
aliz
er[0
1]06
Com
p 1
Com
pres
sor
1[0
2]06
Com
p 2
Com
pres
sor
2[0
3]07
Lim
iter
Lim
iter
[04]
13E
nhan
cer
Enh
ance
r
Pha
ser
[05]
10P
hase
rP
hase
r[0
6]09
StP
hase
rS
tere
o P
hase
r
Cho
rus
[07]
16C
horu
s 1
Cho
rus
1[0
8]17
Cho
rus
2C
horu
s 2
[09]
19C
horu
s 3
Cho
rus
3[1
0]18
Cho
rus
4C
horu
s 4
[11]
M05
Enh
a C
hoE
nhan
cer
- C
horu
s
DS
PAl
gorit
hmD
ispl
ayD
SP
Nam
eN
o.ID
Nam
e
Nº
Identi
ficac
iónN
ombr
eN
ombr
e D
SP
DS
P(ID
) de
deal
gorit
mo
pres
enta
ción
No.
Dis
play
Nam
eTy
pe N
ame
Nº
Nom
bre
de d
ispl
ayN
ombr
e de
tipo
00R
oom
1R
oom
101
Roo
m 2
Roo
m 2
02R
oom
3R
oom
303
Hal
l 1H
all 1
04H
all 2
Hal
l 205
Pla
te 1
Pla
te 1
06D
elay
Del
ay07
Pan
Del
ayP
an D
elay
08P
late
2P
late
209
Pla
te 3
Pla
te 3
10Lr
gRoo
m 1
Larg
e R
oom
111
LrgR
oom
2La
rge
Roo
m 2
12S
tadi
um 1
Sta
dium
113
Sta
dium
2S
tadi
um 2
14Lo
ngD
ly 1
Long
Del
ay 1
15Lo
ngD
ly 2
Long
Del
ay 2
A-11703A-E-157A
DS
PAl
gorit
hmD
ispl
ayD
SP
Nam
eN
o.ID
Nam
e
Nº
Identi
ficac
iónN
ombr
eN
ombr
e D
SP
DS
P(ID
) de
deal
gorit
mo
pres
enta
ción
DS
PAl
gorit
hmD
ispl
ayD
SP
Nam
eN
o.ID
Nam
e
Nº
Identi
ficac
iónN
ombr
eN
ombr
e D
SP
DS
P(ID
) de
deal
gorit
mo
pres
enta
ción
DS
PAl
gorit
hmD
ispl
ayD
SP
Nam
eN
o.ID
Nam
e
Nº
Identi
ficac
iónN
ombr
eN
ombr
e D
SP
DS
P(ID
) de
deal
gorit
mo
pres
enta
ción
Fla
nger
[12]
26F
lang
erF
lang
er[1
3]M
07E
nhaF
lan
Enh
ance
r -
Fla
nger
Del
ay
[14]
28D
elay
Del
ay[1
5]22
3Tap
Dly
3-Ta
p D
elay
[16]
20S
t Del
ayS
tere
o D
elay
[17]
21S
tXD
elay
Ste
reo
Cro
ss D
elay
[18]
M06
Enh
a D
lyE
nhan
cer
- D
elay
[19]
25R
efle
ctR
efle
ctio
n
Cho
/Fla
nger
/Del
ay C
ombi
natio
n
[20]
M02
Pha
Cho
1P
hase
r -
Cho
rus
1[2
1]M
02P
haC
ho 2
Pha
ser
- C
horu
s 2
[22]
M04
Pha
Dly
1P
hase
r -
Del
ay 1
[23]
M04
Pha
Dly
2P
hase
r -
Del
ay 2
[24]
M00
Cho
Dly
1C
horu
s -
Del
ay 1
[25]
M00
Cho
Dly
2C
horu
s -
Del
ay 2
[26]
M01
Cho
Dly
3C
horu
s -
Del
ay 3
[27]
M01
Cho
Dly
4C
horu
s -
Del
ay 4
[28]
M19
Cm
pDel
ayC
ompr
esso
r -
Del
ay[2
9]M
18C
mpE
nDly
Com
pres
sor -
Enh
ance
r -De
lay[3
0]M
23C
mpC
hoR
fCo
mpre
ssor
- Ch
orus
-Refl
ectio
n[3
1]M
08C
ho F
lan
Cho
rus
- F
lang
er[3
2]M
03F
lanD
ly 1
Fla
nger
- D
elay
1[3
3]M
03F
lanD
ly 2
Fla
nger
- D
elay
2
Rev
erb
[34]
27R
vbR
oom
1R
ever
b R
oom
1[3
5]27
Rvb
Roo
m2
Rev
erb
Roo
m 2
[36]
27R
vbR
oom
3R
ever
b R
oom
3[3
7]27
Rvb
Hal
l 1R
ever
b H
all 1
[38]
27R
vbH
all 2
Rev
erb
Hal
l 2[3
9]27
Rvb
Pla
teR
ever
b P
late
[40]
23G
ateR
vb 1
Gat
e R
ever
b 1
[41]
23G
ateR
vb 2
Gat
e R
ever
b 2
[42]
24G
ateR
vb 3
Gat
e R
ever
b 3
[43]
24G
ateR
vb 4
Gat
e R
ever
b 4
Pan
/Tre
mol
o F
x
[44]
01Tr
emol
oTr
emol
o[4
5]M
09C
ho T
rem
Cho
rus
- Tr
emol
o[4
6]00
Aut
o P
anA
uto
Pan
[47]
M10
Pha
AP
an 1
Pha
ser
- Aut
o P
an 1
[48]
M10
Pha
AP
an 2
Pha
ser
- Aut
o P
an 2
[49]
M20
Pha
Cho
AP
Phas
er -
Chor
us -
Auto
Pan
Rot
ary
Fx
[50]
11R
otar
y 1
Rot
ary
1[5
1]11
Rot
ary
2R
otar
y 2
[52]
12O
d R
ot 1
Ove
rdriv
e -
Rot
ary
1[5
3]12
Od
Rot
2O
verd
rive
- R
otar
y 2
[54]
M17
Rot
Ref
1R
otar
y -
Ref
lect
ion
1[5
5]M
17R
otR
ef 2
Rot
ary
- R
efle
ctio
n 2
[56]
M17
Rot
Ref
3R
otar
y -
Ref
lect
ion
3[5
7]M
16O
dRtR
ef 1
Over
drive
- Ro
tary -
Refl
ectio
n 1[5
8]M
16O
dRtR
ef 2
Over
drive
- Ro
tary -
Refl
ectio
n 2[5
9]M
16O
dRtR
ef 3
Over
drive
- Ro
tary -
Refl
ectio
n 3
Wah
Fx
[60]
04LF
O W
ahLF
O W
ah[6
1]05
Aut
o W
ahA
uto
Wah
[62]
M21
AW
hChD
lyAu
to W
ah -
Cho
rus
- Del
ay[6
3]M
22LW
hChD
lyLF
O W
ah -
Cho
rus
- Del
ay
Gui
tar
Fx
[64]
08C
runc
hC
runc
h[6
5]08
Ovr
driv
eO
verd
rive
[66]
08D
ist 1
Dis
tort
ion
1
[67]
08D
ist 2
Dis
tort
ion
2[6
8]08
Met
alM
etal
[69]
08F
uzz
Fuz
z[7
0]M
29C
rnP
hase
Cru
nch
- P
hase
r[7
1]M
29O
d P
hase
Ove
rdriv
e -
Pha
ser
[72]
M30
Crn
Cho
Cru
nch
- C
horu
s[7
3]M
30O
dCho
rus
Ove
rdriv
e -
Cho
rus
[74]
M30
Dis
t Cho
Dis
tort
ion
- C
horu
s[7
5]M
30M
etal
Cho
Met
al -
Cho
rus
[76]
M31
Dis
tFla
nD
isto
rtio
n -
Fla
nger
[77]
M31
Met
Fla
nM
etal
- F
lang
er[7
8]M
28C
rnD
elay
Cru
nch
- D
elay
[79]
M28
Od
Del
ayO
verd
rive
- D
elay
[80]
M28
Dis
tDly
1D
isto
rtio
n -
Del
ay 1
[81]
M28
Dis
tDly
2D
isto
rtio
n -
Del
ay 2
[82]
M28
Met
alD
lyM
etal
- D
elay
[83]
M28
Fuz
z D
lyF
uzz
- D
elay
[84]
M24
CrC
hoD
lyC
runc
h - C
horu
s - D
elay
[85]
M24
DsC
hoD
lyD
isto
rtion
- C
horu
s - D
elay
[86]
M25
Cm
pCrD
lyCo
mpr
esso
r - C
runc
h - D
elay
[87]
M26
AW
hCrD
lyAu
to W
ah -
Cru
nch
- Del
ay[8
8]M
26A
WhO
dDly
Auto
Wah
- O
verd
rive
- Del
ay[8
9]M
26A
WhD
sDly
Auto
Wah
- Di
stor
tion
- Del
ay[9
0]M
27LW
hOdD
lyLF
O W
ah -
Ove
rdriv
e - D
elay
[91]
M27
LWhD
sDly
LFO
Wah
- Di
stor
tion
- Del
ay
SF
X
[92]
14R
ing
Mod
Rin
g M
odul
ator
[93]
M12
RgC
hoD
lyRi
ng M
odula
tor -
Cho
rus -
Dela
y[9
4]M
13R
ingD
ist
Rin
g M
odul
ator
- D
isto
rtion
[95]
15Lo
-Fi
Lo-F
i[9
6]M
11C
ompL
oFi
Com
pres
sor
- Lo
-Fi
[97]
M14
LoF
i Ref
Lo-F
i - R
efle
ctio
n[9
8]M
15C
rn L
oFi
Cru
nch
- Lo
-Fi
[99]
M15
Dis
tLoF
iD
isto
rtio
n -
Lo-F
i
A-12
DS
P A
lgo
rith
m L
ist
00 :
Au
to P
an
�Fu
ncti
onC
onti
nual
ly p
erfo
rms
left
-rig
ht p
anni
ng o
f the
inp
ut s
igna
l in
acco
rdan
ce w
ith
an L
FO.
�P
aram
eter
s
0 :
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
pan
ning
rat
e.
1 :
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
pan
ning
dep
th.
01 :
Trem
olo
�Fu
ncti
onA
dju
sts
volu
me
of in
pu
t sig
nal i
n ac
cord
ance
wit
h an
LFO
.
�P
aram
eter
s
0 :
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
trem
olo
rate
.
1 :
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
trem
olo
dep
th.
02 :
2Ban
dE
Q
�Fu
ncti
onT
his
is a
two-
band
equ
aliz
er.
�P
aram
eter
s
0 :
Low
Fre
quen
cy (
Ran
ge: 0
(20
0Hz)
, 1 (
400H
z),
2 (8
00H
z))
Ad
just
s th
e c u
toff
fre
quen
cy o
f th
e lo
w-b
and
equ
aliz
er.
1 :
Low
Gai
n (R
ange
: -12
, -11
, -10
to 0
to +
10, +
11, +
12)
Ad
just
s th
e ga
in o
f the
low
-ban
d e
qual
izer
.
2 :
Hig
h F
req
uen
cy (
Ran
ge:
0 (
6.0K
Hz)
, 1
(8.0
KH
z), 2
(10K
Hz)
)A
dju
sts
the
cuto
ff fr
equ
ency
of t
he h
igh-
band
equ
aliz
er.
3 :
Hig
h G
ain
(Ran
ge: -
12, -
11, -
10 to
0 to
+10
, +11
, +12
)A
dju
sts
the
gain
of t
he h
igh-
band
equ
aliz
er.
03 :
3Ban
dE
Q
�Fu
ncti
onT
his
is a
thre
e-ba
nd e
qual
izer
.
�P
aram
eter
s
0 :
Low
Fre
quen
cy (
Ran
ge: 0
(20
0Hz)
, 1 (
400H
z),
2 (8
00H
z))
Ad
just
s th
e cu
toff
fre
quen
cy o
f th
e lo
w-b
and
equ
aliz
er.
1 :
Low
Gai
n (R
ange
: -12
, -11
, -10
to 0
to +
10, +
11,
+12
)A
dju
sts
the
gain
of t
he lo
w-b
and
equ
aliz
er.
2 :
Mid
Fre
quen
cy (R
ange
: 0 (1
.0K
Hz)
, 1 (1
.3K
Hz)
,2
(1.6
KH
z), 3
(2.0
KH
z), 4
(3.0
KH
z), 5
(4.0
KH
z),
6 (6
.0K
Hz)
, 7 (8
.0K
Hz)
)A
dju
sts
the
cent
er f
requ
ency
of
the
mid
-ban
deq
ual
izer
.
3 :
Mid
Gai
n (R
ange
: -12
, -11
, -10
to 0
to +
10, +
11,
+12
)A
dju
sts
the
gain
of t
he m
id-b
and
equ
aliz
er.
4 :
Hig
h F
req
uen
cy (
Ran
ge:
0 (
6.0K
Hz)
, 1
(8.0
KH
z), 2
(10K
Hz)
)A
dju
sts
the
cuto
ff fr
equ
ency
of t
he h
igh-
band
equ
aliz
er.
5 :
Hig
h G
ain
(Ran
ge: -
12, -
11, -
10 to
0 to
+10
, +11
,+
12)
Ad
just
s th
e ga
in o
f the
hig
h-ba
nd e
qual
izer
.
04 :
LF
O W
ah
�Fu
ncti
onT
his
is a
“w
ah”
effe
c t t
hat
c an
auto
mat
ical
lyaf
fect
the
freq
uenc
y in
acc
ord
ance
wit
h an
LFO
.
�P
aram
eter
s
0 :
Inp
ut L
evel
(Ran
ge: 0
to 1
27)
Ad
just
s th
e in
pu
t le
vel.
The
inp
ut
sign
al c
anbe
com
e d
isto
rted
whe
n th
e le
vel o
f the
sou
ndbe
ing
inpu
t, th
e nu
mbe
r of
cho
rds,
or
the
Res
o-na
nce
valu
e is
larg
e. A
dju
st t
his
par
amet
er t
oel
imin
ate
such
dis
tort
ion.
1 :
Res
onan
ce (R
ange
: 0 to
127
)A
dju
sts
the
reso
nanc
e of
the
sou
nd.
2 :
Man
ual
(Ran
ge: 0
to 1
27)
Ad
just
s th
e fr
equ
ency
use
d a
s th
e ba
sis
for
the
wah
filt
er.
3 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
4 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
05 :
Au
to W
ah
�Fu
ncti
onT
his
is a
“w
ah”
effe
c t t
hat
c an
auto
mat
ical
lyaf
fec t
th
e fr
equ
ency
in
ac c
ord
ance
wit
h t
he
leve
l of t
he in
pu
t sig
nal.
�P
aram
eter
s
0 :
Inp
ut L
evel
(Ran
ge: 0
to 1
27)
Ad
just
s th
e in
pu
t le
vel.
The
inp
ut
sign
al c
anbe
com
e d
isto
rted
whe
n th
e le
vel o
f the
sou
ndbe
ing
inpu
t, th
e nu
mbe
r of
cho
rds,
or
the
Res
o-na
nce
valu
e is
larg
e. A
dju
st t
his
par
amet
er t
oel
imin
ate
such
dis
tort
ion.
1 :
Res
onan
ce (R
ange
: 0 to
127
)A
dju
sts
the
reso
nanc
e of
the
sou
nd.
2 :
Man
ual
(Ran
ge: 0
to 1
27)
Ad
just
s th
e fr
equ
ency
use
d a
s th
e ba
sis
for
the
wah
filt
er.
703A-E-158A
A-13
3 :
Dep
th(R
ange
: -64
to 0
to +
63)
Ad
just
s th
e d
epth
of
the
wah
in
acc
ord
ance
wit
h th
e le
vel o
f the
inp
ut s
igna
l.Se
ttin
g a
pos
itiv
e va
lue
cau
ses
the
wah
fil
ter
to o
pen
in
dir
ect
pro
por
tion
wit
h t
he
size
of
the
inp
ut s
igna
l, p
rod
uci
ng a
bri
ght s
ound
.Se
ttin
g a
nega
tive
val
ue
cau
ses
the
Wah
fil
ter
to c
lose
in a
ccor
dan
ce w
ith
the
size
of
the
in-
pu
t si
gnal
, whi
ch p
rod
uce
s a
dar
k to
ne q
ual
-it
y. H
owev
er, l
arge
inp
ut r
e-op
ens
the
Wah
fil-
ter,
even
if it
is c
lose
d.
06 :
Co
mp
ress
or
�Fu
ncti
onC
omp
ress
es t
he in
pu
t si
gnal
, whi
ch c
an h
ave
the
effe
ct o
f su
pp
ress
ing
leve
l va
riat
ion
an
dm
akin
g i
t p
os s
ible
to
su
s tai
n d
amp
ened
sou
nds
long
er.
�P
aram
eter
s
0 :
Dep
th (R
ange
: 0 to
127
)A
dju
sts
com
pre
ssio
n of
the
aud
io s
igna
l.
1 :
Att
ack
(Ran
ge: 0
to 1
27)
Ad
just
s th
e at
tack
am
ount
of t
he in
pu
t sig
nal.
A s
mal
ler
valu
e c a
use
s p
rom
pt
c om
pre
s sor
oper
atio
n, w
hic h
su
pp
ress
es t
he a
ttac
k of
the
inp
ut s
igna
l.A
larg
er v
alu
es d
elay
s co
mp
ress
or o
per
atio
n,w
hich
cau
ses
atta
ck to
be
outp
ut a
s-is
.
2 :
Rel
ease
(Ran
ge: 0
to 1
27)
Ad
just
s th
e ti
me
from
the
poi
nt w
hen
the
in-
put s
igna
l dro
ps b
elow
a c
erta
in le
vel u
ntil
the
com
pre
ssio
n op
erat
ion
is s
top
ped
.W
hen
an a
ttac
k fe
elin
g is
des
ired
(no
com
pres
-si
on a
t the
ons
et o
f the
sou
nd),
set t
his
par
am-
eter
to a
s lo
w a
val
ue
as p
ossi
ble.
To h
ave
com
pre
ssio
n ap
plie
d a
t all
tim
es, s
et a
high
val
ue.
3 :
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
outp
ut l
evel
.T
he o
utpu
t vol
ume
chan
ges
in a
ccor
dan
ce w
ith
the
Dep
th s
etti
ng a
nd th
e ch
arac
teri
stic
s of
the
inp
ut
ton
e. U
se t
his
par
amet
er t
o co
rrec
t fo
rsu
ch c
hang
es.
07 :
Lim
iter
�Fu
ncti
onT
his
is
an e
ffec
tor
that
you
can
use
to
set
anu
pp
er li
mit
val
ue
on th
e le
vel o
f the
inp
ut s
ig-
nal.
�P
aram
eter
s
0 :
Lim
it (R
ange
: 0 to
127
)A
dju
sts
the
volu
me
leve
l fro
m w
hich
the
limit
is a
pp
lied
.
1 :
Att
ack
(Ran
ge: 0
to 1
27)
Ad
just
s th
e at
tack
am
ount
of t
he in
pu
t sig
nal.
2 :
Rel
ease
(Ran
ge: 0
to 1
27)
Ad
just
s th
e ti
me
from
whe
n th
e in
pu
t si
gnal
dro
ps
belo
w a
cer
tain
leve
l unt
il t
he li
mit
op
-er
atio
n st
ops.
3 :
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l bei
ng o
utp
ut.
The
out
put v
olum
e ch
ange
s in
acc
ord
ance
wit
hth
e L
imit
set
ting
and
the
char
acte
rist
ics
of th
ein
pu
t to
ne.
Use
th
is p
aram
eter
to
c orr
ect
for
such
cha
nges
.
08 :
Dis
tort
ion
�Fu
ncti
onT
his
e
f fe
ct
pr o
vid
es
Dis
t or t
ion
+
Am
pSi
mu
lato
r.
�P
aram
eter
s
0 :
Gai
n (R
ange
: 0 to
127
)A
dju
sts
the
inp
ut g
ain.
1 :
Low
(Ran
ge: 0
to 1
27)
Ad
just
s th
e lo
w-b
and
gai
n.T
he c
uto
ff f
requ
ency
dif
fers
acc
ord
ing
to t
hep
rese
t DSP
.
2 :
Hig
h (R
ange
: 0 to
127
)A
dju
sts
the
high
-ban
d g
ain.
The
cu
toff
fre
quen
cy d
iffe
rs a
ccor
din
g to
the
pre
set D
SP.
3 :
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
outp
ut l
evel
.
09 :
Ste
reo
Ph
aser
�Fu
ncti
onT
his
is a
ste
reo
phas
er th
at m
odul
ates
the
phas
ein
acc
ord
ance
wit
h a
sine
wav
e L
FO.
�P
aram
eter
s
0 :
Res
onan
ce (R
ange
: 0 to
127
)A
dju
sts
the
reso
nanc
e of
the
sou
nd.
1 :
Man
ual
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
phas
er s
hift
vol
ume,
whi
ch is
use
dfo
r re
fere
nce.
2 :
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
3 :
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
4 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
volu
me
leve
l of t
he e
ffec
t.
10 :
Ph
aser
�Fu
ncti
onT
his
is a
mon
aura
l pha
ser
that
mod
ula
tes
the
pha
se in
acc
ord
ance
wit
h a
sine
wav
e L
FO.
�P
aram
eter
s
0 :
Res
onan
ce (R
ange
: 0 to
127
)A
dju
sts
the
reso
nanc
e of
the
sou
nd.
1 :
Man
ual
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
phas
er s
hift
vol
ume,
whi
ch is
use
dfo
r re
fere
nce.
703A-E-159A
A-14
2 :
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
3 :
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
4 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
11 :
Ro
tary
�Fu
ncti
onT
his
is a
rot
ary
spea
ker
sim
ula
tor.
�P
aram
eter
s
0 :
Spee
d (R
ange
: Slo
w, F
ast)
Swit
ches
th
e sp
eed
mod
e be
twee
n f
ast
and
slow
.
1 :
Bre
ak (R
ange
: Rot
ate,
Sto
p)
Stop
s sp
eake
r ro
tati
on.
2 :
Fall
Acc
el (R
ange
: 0 to
127
)A
dju
sts
acc e
lera
tion
whe
n th
e sp
eed
mod
e is
swit
ched
from
fast
to s
low
.
3 :
Ris
e A
ccel
(Ran
ge: 0
to 1
27)
Ad
just
s ac
c ele
rati
on w
hen
the
spee
d m
ode
issw
itch
ed fr
om s
low
to fa
st.
4 :
Slow
Rat
e (R
ange
: 0 to
127
)A
dju
s ts
s pea
ker
rota
tion
sp
eed
of
the
s low
spee
d m
ode.
5 :
Fast
Rat
e (R
ange
: 0 to
127
)A
dju
sts
spea
ker r
otat
ion
spee
d o
f the
fast
spe
edm
ode.
12 :
Dri
ve R
ota
ry
�Fu
ncti
onT
his
is a
n ov
erd
rive
- r
otar
y sp
eake
r si
mu
la-
tor.
�P
aram
eter
s
0 :
Ove
rdri
ve G
ain
(Ran
ge: 0
to 1
27)
Ad
just
s ov
erd
rive
gai
n.
1 :
Ove
rdri
ve L
evel
(Ran
ge: 0
to 1
27)
Ad
just
s th
e ou
tpu
t lev
el o
f the
ove
rdri
ve.
2 :
Spee
d(R
ange
: Slo
w, F
ast)
Swit
ches
th
e sp
eed
mod
e be
twee
n f
ast
and
slow
.
3 :
Bre
ak (R
ange
: Rot
ate,
Sto
p)
Stop
s sp
eake
r ro
tati
on.
4 :
Fall
Acc
el (R
ange
: 0 to
127
)A
dju
sts
acce
lera
tion
whe
n th
e sp
eed
mod
e is
swit
ched
from
fast
to s
low
.
5 :
Ris
e A
ccel
(Ran
ge: 0
to 1
27)
Ad
just
s ac
cele
rati
on w
hen
the
spee
d m
ode
issw
itch
ed fr
om s
low
to fa
st.
6 :
Slow
Rat
e (R
ange
: 0 to
127
)A
dju
sts
spea
ker
rota
tion
sp
eed
of
the
slow
spee
d m
ode.
7 :
Fast
Rat
e (R
ange
: 0 to
127
)A
dju
sts
spea
ker r
otat
ion
spee
d o
f the
fast
spe
edm
ode.
13 :
En
han
cer
�Fu
ncti
onE
nh
ance
s th
e ou
tlin
es o
f th
e lo
w r
ange
an
dhi
gh r
ange
of t
he in
pu
t sig
nal.
�P
aram
eter
s
0 :
Low
Fre
quen
cy (R
ange
: 0 to
127
)A
dju
sts
the
low
ran
ge e
nhan
cer
freq
uen
cy.
1 :
Low
Gai
n (R
ange
: 0 to
127
)A
dju
sts
the
low
ran
ge e
nhan
cer
gain
.
2 :
Hig
h Fr
equ
ency
(Ran
ge: 0
to 1
27)
Ad
just
s th
e hi
gh r
ange
enh
ance
r fr
equ
ency
.
3 :
Hig
h G
ain
(Ran
ge: 0
to 1
27)
Ad
just
s th
e hi
gh r
ange
enh
ance
r ga
in.
14 :
Rin
g M
od
ula
tor
�Fu
ncti
onT
his
is a
rin
g m
odu
lato
r (A
M m
odu
lato
r) th
atm
akes
it
pos
sibl
e to
mod
ula
te t
he f
requ
ency
of in
tern
al o
scill
ator
(OSC
) in
acco
rdan
ce w
ith
an in
tern
al L
FO.
�P
aram
eter
s
0 :
OSC
Fre
quen
cy (R
ange
: 0 to
127
)Se
ts t
he
refe
ren
ce f
requ
ency
of
the
inte
rnal
OSC
.
1 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
2 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
3 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
4 :
Dry
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he o
rigi
nal s
ound
.
15 :
Lo
-Fi
�Fu
ncti
onT
his
is a
n ef
fect
or th
at r
epro
du
ces
a re
tro-
typ
eL
o-Fi
sou
nd u
sing
Noi
se G
ener
ator
1 (p
hono
-gr
aph
reco
rd p
laye
r ty
pe s
crat
ch n
oise
gen
era-
tor)
an
d N
ois e
Gen
erat
or 2
(FM
rad
io t
ype
whi
te n
oise
and
pin
k no
ise
cont
inu
ous
nois
ege
nera
tor)
, and
by
nois
e m
odu
lati
on (
amp
li-
tud
e m
odu
lati
on =
AM
) an
d d
isto
rtio
n of
fre
-qu
ency
cha
ract
eris
tics
.
�P
aram
eter
s
0 :
Noi
se L
evel
1 (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of N
oise
Gen
erat
or 1
.
1 :
Noi
se D
ensi
ty 1
(Ran
ge: 0
to 1
27)
Ad
just
s th
e no
ise
den
sity
of
Noi
se G
ener
ator
1.
2 :
Noi
se L
evel
2 (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of N
oise
Gen
erat
or 2
.
3 :
Noi
se D
ensi
ty 2
(Ran
ge: 0
to 1
27)
Ad
just
s th
e no
ise
den
sity
of
Noi
se G
ener
ator
2.
4 :
Tone
(Ran
ge: 0
to 1
27)
Ad
just
s th
e to
ne.
5 :
Res
onan
ce (R
ange
: 0 to
127
)A
dju
sts
the
reso
nanc
e of
the
sou
nd.
703A-E-160A
A-15
6 :
Bas
s(R
ange
: -64
to 0
to +
63)
Ad
just
s th
e vo
lum
e of
low
sou
nds.
7 :
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
outp
ut l
evel
.
16 :
1-P
has
e C
ho
rus
�Fu
ncti
onT
his
is m
onau
ral c
horu
s in
acc
ord
ance
wit
h a
sine
wav
e L
FO.
�P
aram
eter
s
0 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
1 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
2 :
Feed
back
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
feed
back
of t
he s
ound
.
3 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
17 :
Sin
2-P
has
e C
ho
rus
�Fu
ncti
onT
his
is s
tere
o ch
oru
s in
acc
ord
ance
wit
h a
sine
wav
e L
FO.
�P
aram
eter
s
0 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
1 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
2 :
Feed
back
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
feed
back
of t
he s
ound
.
3 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
18 :
3-P
has
e C
ho
rus
�Fu
ncti
onT
his
is 3
-pha
se c
horu
s in
acc
ord
ance
wit
h tw
oL
FOs
of w
ith
dif
fere
nt s
ine
wav
e ra
tes.
�P
aram
eter
s
0 :
Rat
e1 (F
ast L
FO R
ate)
(Ran
ge: 0
to 1
27)
Ad
just
s th
e ra
te o
f LFO
1.
1 :
Dep
th1
(Fas
t LFO
Dep
th) (
Ran
ge: 0
to 1
27)
Ad
just
s th
e d
epth
of L
FO1.
2 :
Rat
e2 (S
low
LFO
Rat
e) (R
ange
: 0 to
127
)A
dju
sts
the
rate
of L
FO2.
3 :
Dep
th2
(Slo
w L
FO D
epth
) (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f LFO
2.
4 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
19 :
Tri 2
-Ph
ase
Ch
oru
s
�Fu
ncti
onT
his
is s
tere
o ch
oru
s in
acc
ord
ance
wit
h tr
ian-
gula
r w
ave
LFO
.
�P
aram
eter
s
0 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
1 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
2 :
Feed
back
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
feed
back
of t
he s
ound
.
3 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
20 :
Ste
reo
Del
ay 1
�Fu
ncti
onT
his
is d
elay
of s
tere
o in
pu
t and
ou
tpu
t.
�P
aram
eter
s
0 :
Del
ay T
ime
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e.
1 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he d
elay
.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
just
s d
amp
ing
of
the
hig
h-r
ang
e d
elay
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e d
elay
sou
nd.
4 :
Rat
io L
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
left
cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
5 :
Rat
io R
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
righ
t cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
21 :
Ste
reo
Del
ay 2
�Fu
ncti
onT
his
is c
ross
feed
back
del
ay o
f ste
reo
inpu
t and
outp
ut.
�P
aram
eter
s
0 :
Del
ay T
ime
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e.
1 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he d
elay
.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
jus t
s d
amp
ing
of
the
hig
h-r
ang
e d
elay
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e d
elay
sou
nd.
4 :
Rat
io L
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
left
cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
5 :
Rat
io R
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
righ
t cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
22 :
3-Ta
p D
elay
�Fu
ncti
onT
his
is le
ft/
cent
er/
righ
t 3-t
ap d
elay
.
703A-E-161A
A-16
�P
aram
eter
s
0 :
Del
ay T
ime
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e.
1 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
f fec
t sou
nd.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he d
elay
.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
just
s d
amp
ing
of
the
hig
h-r
ang
e d
elay
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e d
elay
sou
nd.
4 :
Rat
io L
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
left
cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
5 :
Rat
io C
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
cent
er c
hann
el.
Pro
por
tion
al to
the
valu
e se
t for
Del
ay T
ime.
6 :
Rat
io R
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
righ
t cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
23 :
Gat
e R
ever
b
�Fu
ncti
onT
his
is a
fad
er th
at c
reat
es a
rtif
icia
l rev
erb
that
sou
nds
like
it is
bei
ng c
ut w
ith
a ga
te.
�P
aram
eter
s
0 :
LP
F (R
ange
: 0 to
127
)A
dju
sts
the
c uto
ff f
requ
ency
of
the
low
-pas
sfi
lter
.A
sm
alle
r va
lue
cuts
the
high
ran
ge.
1 :
HP
F (R
ange
: 0 to
127
)A
dju
sts
the
c uto
ff f
requ
ency
of
the
high
-pas
sfi
lter
.A
larg
er v
alu
e cu
ts th
e lo
w r
ange
.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he r
ever
b.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
just
s d
amp
ing
of
the
hig
h-r
ang
e d
elay
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e d
elay
sou
nd.
4 :
Dif
fusi
on (
Ran
ge: 0
to 1
27)
Pro
vid
es fi
ne a
dju
stm
ent o
f the
rev
erb.
5 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
6 :
Dry
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he o
rigi
nal s
ound
.
24 :
Rev
erse
Gat
e R
ever
b
�Fu
ncti
onT
his
is g
ate
reve
rb w
ith
a re
vers
e ro
tati
on e
f-fe
ct.
�P
aram
eter
s
0 :
LP
F (R
ange
: 0 to
127
)A
dju
sts
the
c uto
ff f
requ
ency
of
the
low
-pas
sfi
lter
.A
sm
alle
r va
lue
cuts
the
high
ran
ge.
1 :
HP
F (R
ange
: 0 to
127
)A
dju
sts
the
c uto
ff f
requ
ency
of
the
high
-pas
sfi
lter
.A
larg
er v
alu
e cu
ts th
e lo
w r
ange
.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he r
ever
b.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
jus t
s d
amp
ing
of t
he
hig
h-r
ange
rev
erb
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e re
verb
sou
nd.
4 :
Dif
fusi
on (R
ange
: 0 to
127
)P
rovi
des
fine
ad
just
men
t of t
he r
ever
b.
5 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
6 :
Dry
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he o
rigi
nal s
ound
.
25 :
Ref
lect
ion
�Fu
ncti
onT
his
is a
n ef
fect
or th
at e
xtra
cts
the
firs
t ref
lect
edso
und
from
a r
ever
b so
und
.
�P
aram
eter
s
0 :
Typ
e (R
ange
: 0 to
7)
Sele
cts
from
am
ong
the
eigh
t ava
ilab
le r
efle
c-ti
on p
atte
rns.
1 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he r
efle
cted
sou
nd.
3 :
Tone
(Ran
ge: 0
to 1
27)
Ad
just
s th
e to
ne o
f the
ref
lect
ed s
ound
.
26 :
Fla
ng
er
�Fu
ncti
onT
his
is a
flan
ger i
n ac
cord
ance
wit
h a
sine
wav
eL
FO.
�P
aram
eter
s
0 :
LFO
Rat
e (R
ange
: 0 to
127
)A
dju
sts
the
rate
of t
he L
FO.
1 :
LFO
Dep
th (R
ange
: 0 to
127
)A
dju
sts
the
dep
th o
f the
LFO
.
2 :
Feed
back
(Ran
ge: -
64 to
0 to
+63
)A
dju
sts
the
feed
back
of t
he s
ound
.
3 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
27 :
Rev
erb
�Fu
ncti
onT
his
is a
n ef
fec t
or t
hat
pre
serv
es t
he b
read
thof
a s
ound
by
add
ing
a re
verb
sou
nd.
�P
aram
eter
s
0 :
Tone
(Ran
ge: 0
to 1
27)
Ad
just
s th
e to
ne o
f the
rev
erb
sou
nd.
703A-E-162A
A-17
1 :
Tim
e (R
ange
: 0 to
127
)A
dju
sts
the
reve
rb ti
me.
2 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
just
s d
amp
ing
of t
he
hig
h-r
ange
rev
erb
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e re
verb
sou
nd.
3 :
ER
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he in
itia
l ref
lect
ion.
4 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
28 :
2-Ta
p D
elay
�Fu
ncti
onT
his
is le
ft/
righ
t 2-t
ap d
elay
.
�P
aram
eter
s
0 :
Del
ay T
ime
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e.
1 :
Wet
Lev
el (R
ange
: 0 to
127
)A
dju
sts
the
leve
l of t
he e
ffec
t sou
nd.
2 :
Feed
back
(Ran
ge: 0
to 1
27)
Ad
just
s th
e re
pea
t of t
he d
elay
.
3 :
Hig
h D
amp
(Ran
ge: 0
to 1
27)
Ad
jus t
s d
amp
ing
of
the
hig
h-r
ang
e d
elay
sou
nd.
The
sm
alle
r th
e va
lue,
the
gre
ater
the
dam
p-
ing
of h
igh-
rang
e d
elay
sou
nd.
4 :
Rat
io L
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
left
cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
5 :
Rat
io R
(Ran
ge: 0
to 1
27)
Ad
just
s th
e d
elay
tim
e of
the
righ
t cha
nnel
.P
rop
orti
onal
to th
e va
lue
set f
or D
elay
Tim
e.
�T
he
foll
owin
g “M
ult
i” a
lgor
ith
ms
are
us e
d i
nco
mbi
nati
on w
ith
the
algo
rith
ms
des
crib
ed a
bove
.P
aram
eter
s ar
e sh
ard
by
both
typ
es o
f alg
orit
hms.
M00
:M
ult
i00
(Sin
2-P
has
e C
ho
rus
– 2-
T ap
Del
ay)
�Fu
ncti
onT
his
is a
mu
lti e
f fec
tor
that
is r
elat
ed to
Sin
2-
Pha
se C
horu
s - 2
-Tap
Del
ay.
�P
aram
eter
s
0 :
Cho
rus
LFO
Rat
e
1 :
Cho
rus
LFO
Dep
th
2 :
Cho
rus
Feed
back
3 :
Cho
rus
Wet
Lev
el
4 :
Del
ay T
ime
5 :
Del
ay W
et L
evel
6 :
Del
ay F
eed
back
7 :
Del
ay H
igh
Dam
p
M01
:M
ult
i01
(3-P
has
e C
ho
rus
– 3-
T ap
De-
lay)
�Fu
ncti
onT
his
is a
mul
ti e
ffec
tor
that
is re
late
d to
3-P
hase
Cho
rus
- 3-T
ap D
elay
.
�P
aram
eter
s
0 :
Cho
rus
Rat
e 1
1 :
Cho
rus
Dep
th 1
2 :
Cho
rus
Rat
e 2
3 :
Cho
rus
Dep
th 2
4 :
Cho
rus
Wet
Lev
el
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M02
: M
ult
i02
(Ph
aser
– 3
-Ph
ase
Ch
oru
s)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Pha
ser
- 3-P
hase
Cho
rus.
�P
aram
eter
s
0 :
Pha
ser
Res
onan
ce
1 :
Pha
ser
Man
ual
2 :
Pha
ser
Rat
e
3 :
Pha
ser
Dep
th
4 :
Cho
rus
Rat
e 1
5 :
Cho
rus
Dep
th 1
6 :
Cho
rus
Rat
e 2
7 :
Cho
rus
Dep
th 2
M03
: M
ult
i03
(Fla
ng
er –
2-T
ap D
elay
)
�Fu
ncti
onT
his
is a
mul
ti e
ffec
tor
that
is re
late
d to
Fla
nger
- 2-T
ap D
elay
.
�P
aram
eter
s
0 :
Flan
ger
LFO
Rat
e
1 :
Flan
ger
LFO
Dep
th
2 :
Flan
ger
Feed
back
3 :
Flan
ger
Wet
Lev
el
4 :
Del
ay T
ime
5 :
Del
ay W
et L
evel
6 :
Del
ay F
eed
back
7 :
Del
ay H
igh
Dam
p
M04
: M
ult
i04
(Ste
reo
Ph
aser
– S
tere
o D
elay
1)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Ste
reo
Pha
ser
- Ste
reo
Del
ay 1
.
�P
aram
eter
s
0 :
Pha
ser
Res
onan
ce
1 :
Pha
ser
Man
ual
2 :
Pha
ser
Rat
e
3 :
Pha
ser
Dep
th
4 :
Pha
ser
Wet
Lev
el
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
703A-E-163A
A-18
M05
:M
ult
i05
(En
han
cer
– 1-
Ph
ase
Ch
oru
s)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to E
nhan
cer
- 1-
Pha
se C
horu
s.
�P
aram
eter
s
0 :
Enh
ance
r L
ow F
requ
ency
1 :
Enh
ance
r L
ow G
ain
2 :
Enh
ance
r H
igh
Freq
uen
cy
3 :
Enh
ance
r H
igh
Gai
n
4 :
Cho
rus
LFO
Rat
e
5 :
Cho
rus
LFO
Dep
th
6 :
Cho
rus
Feed
back
7 :
Cho
rus
Wet
Lev
el
M06
: M
ult
i06
(En
han
cer
– 2-
T ap
Del
ay)
�Fu
ncti
onT
his
is
a m
ult
i ef
fec t
or t
hat
is
rela
ted
to
En
-ha
ncer
- 2-
Tap
Del
ay.
�P
aram
eter
s
0 :
Enh
ance
r L
ow F
requ
ency
1 :
Enh
ance
r L
ow G
ain
2 :
Enh
ance
r H
igh
Freq
uen
cy
3 :
Enh
ance
r H
igh
Gai
n
4 :
Del
ay T
ime
5 :
Del
ay W
et L
evel
6 :
Del
ay F
eed
back
7 :
Del
ay H
igh
Dam
p
M07
: M
ult
i07
(En
han
cer
– F
lan
ger
)
�Fu
ncti
onT
his
is
a m
ult
i ef
fec t
or r
elat
ed t
o E
nh
ance
r -
Flan
ger.
�P
aram
eter
s
0 :
Enh
ance
r L
ow F
requ
ency
1 :
Enh
ance
r L
ow G
ain
2 :
Enh
ance
r H
igh
Freq
uen
cy
3 :
Enh
ance
r H
igh
Gai
n
4 :
Flan
ger
LFO
Rat
e
5 :
Flan
ger
LFO
Dep
th
6 :
Flan
ger
Feed
back
7 :
Flan
ger
Wet
Lev
el
M08
: Mul
ti08
(Sin
2-P
hase
Cho
rus
– Fl
ange
r)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Sin
2-
Pha
se C
horu
s - F
lang
er.
�P
aram
eter
s
0 :
Cho
rus
LFO
Rat
e
1 :
Cho
rus
LFO
Dep
th
2 :
Cho
rus
Feed
back
3 :
Cho
rus
Wet
Lev
el
4 :
Flan
ger
LFO
Rat
e
5 :
Flan
ger
LFO
Dep
th
6 :
Flan
ger
Feed
back
7 :
Flan
ger
Wet
Lev
el
M09
:M
ult
i09
(S
in 2
-Ph
as
e C
ho
rus
–Tr
emo
lo)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Sin
2-
Pha
se C
horu
s - T
rem
olo.
�P
aram
eter
s
0 :
Cho
rus
LFO
Rat
e
1 :
Cho
rus
LFO
Dep
th
2 :
Cho
rus
Feed
back
3 :
Cho
rus
Wet
Lev
el
4 :
Trem
olo
Rat
e
5 :
Trem
olo
Dep
th
M10
: M
ult
i10
(Ste
reo
Ph
aser
– A
uto
Pan
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Ste
reo
Pha
ser
- Au
to P
an.
�P
aram
eter
s
0 :
Pha
ser
Res
onan
ce
1 :
Pha
ser
Man
ual
2 :
Pha
ser
Rat
e
3 :
Pha
ser
Dep
th
4 :
Pha
ser
Wet
Lev
el
5 :
Au
to P
an R
ate
6 :
Au
to P
an D
epth
M11
: M
ult
i11
(Co
mp
ress
or
– L
o-F
i)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to C
omp
ress
or -
Lo-
Fi.
�P
aram
eter
s
0 :
Com
pre
ssor
Dep
th
1 :
Com
pre
ssor
Att
ack
2 :
Com
pre
ssor
Lev
el
3 :
Lo-
Fi N
oise
1
4 :
Lo-
Fi N
oise
2
5 :
Lo-
Fi T
one
6 :
Lo-
Fi R
eson
ance
7 :
Lo-
Fi B
ass
M12
:M
ult
i12
(Rin
g M
od
ula
tor
– S
in 2
-Ph
ase
Ch
oru
s -
2-Ta
p D
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed t
o R
ing
Mod
ula
tor
- Sin
2-P
hase
Cho
rus.
�P
aram
eter
s
0 :
Rin
g O
SC F
requ
ency
1 :
Rin
g L
FO R
ate
2 :
Rin
g L
FO D
epth
3 :
Rin
g W
et L
evel
4 :
Rin
g D
ry L
evel
5 :
Cho
rus
LFO
Dep
th
6 :
Del
ay T
ime
7 :
Del
ay W
et L
evel
703A-E-164A
A-19
M13
: M
ult
i13
(Rin
g M
od
ula
tor
– D
isto
rtio
n)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to
Rin
g M
odu
-la
tor
- Dis
tort
ion.
�P
aram
eter
s
0 :
Rin
g O
SC F
requ
ency
1 :
Rin
g L
FO R
ate
2 :
Rin
g L
FO D
epth
3 :
Rin
g W
et L
evel
4 :
Rin
g D
ry L
evel
5 :
Dis
tort
ion
Gai
n
6 :
Dis
tort
ion
Tone
7 :
Dis
tort
ion
Lev
el
M14
:M
ult
i14
(Lo
-Fi –
Ref
lect
ion
)
�Fu
ncti
onT
his
is
a m
ult
i ef
fec t
or r
elat
ed t
o L
o-Fi
- R
e-fl
ecti
on.
�P
aram
eter
s
0 :
Lo-
Fi N
oise
1
1 :
Lo-
Fi N
oise
2
2 :
Lo-
Fi T
one
3 :
Lo-
Fi R
eson
ance
4 :
Ref
lect
ion
Typ
e
5 :
Ref
lect
ion
Wet
Lev
el
6 :
Ref
lect
ion
Feed
back
7 :
Ref
lect
ion
Tone
M15
: M
ult
i15
(Dis
tort
ion
– L
o-F
i)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to
Dis
tort
ion
-L
o-Fi
.
�P
aram
eter
s
0 :
Dis
tort
ion
Gai
n
1 :
Dis
tort
ion
Low
2 :
Dis
tort
ion
Hig
h
3 :
Dis
tort
ion
Lev
el
4 :
Lo-
Fi N
oise
1
5 :
Lo-
Fi N
oise
2
6 :
Lo-
Fi T
one
7 :
Lo-
Fi R
eson
ance
M16
: M
ult
i16
(Dri
ve R
ota
ry –
Ref
lect
ion
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to D
rive
Rot
ary
- Ref
lect
ion.
�P
aram
eter
s
0 :
Dri
ve R
otar
y G
ain
1 :
Dri
ve R
otar
y L
evel
2 :
Dri
ve R
otar
y Sp
eed
3 :
Dri
ve R
otar
y Sl
ow R
ate
4 :
Dri
ve R
otar
y Fa
st R
ate
5 :
Ref
lect
ion
Wet
Lev
el
6 :
Ref
lect
ion
Feed
back
7 :
Ref
lect
ion
Tone
M17
: M
ult
i17
(Ro
tary
– R
efle
ctio
n)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to
Rot
ary
- R
e-fl
ecti
on.
�P
aram
eter
s
0 :
Rot
ary
Spee
d
1 :
Rot
ary
Bre
ak
2 :
Rot
ary
Slow
Rat
e
3 :
Rot
ary
Fast
Rat
e
4 :
Ref
lect
ion
Wet
Lev
el
5 :
Ref
lect
ion
Feed
back
6 :
Ref
lect
ion
Tone
M18
:M
ult
i18
(Co
mp
ress
or
– E
nh
ance
r -
2-Ta
p D
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
f fec
tor
that
is r
elat
ed to
Com
-p
ress
or -
Enh
ance
r - 2
-Tap
Del
ay.
�P
aram
eter
s
0 :
Com
pre
ssor
Dep
th
1 :
Com
pre
ssor
Att
ack
2 :
Com
pre
ssor
Lev
el
3 :
Enh
ance
r L
ow G
ain
4 :
Enh
ance
r H
igh
Gai
n
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M19
: M
ult
i19
(Co
mp
ress
or
– S
tere
o D
elay
1)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to C
omp
ress
or -
Ster
eo D
elay
1.
�P
aram
eter
s
0 :
Com
pre
ssor
Dep
th
1 :
Com
pre
ssor
Att
ack
2 :
Com
pre
ssor
Rel
ease
3 :
Com
pre
ssor
Lev
el
4 :
Del
ay T
ime
5 :
Del
ay W
et L
evel
6 :
Del
ay F
eed
back
7 :
Del
ay H
igh
Dam
p
M20
:M
ult
i20
(Ph
aser
– 1
-Ph
ase
Ch
oru
s –
Au
to P
an)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Pha
ser
- 1-P
hase
Cho
rus
- Au
to P
an.
�P
aram
eter
s
0 :
Pha
ser
Res
onan
ce
703A-E-165A
A-20
1 :
Pha
ser
Man
ual
2 :
Pha
ser
Rat
e
3 :
Pha
ser
Dep
th
4 :
Cho
rus
LFO
Rat
e
5 :
Cho
rus
LFO
Dep
th
6 :
Au
to P
an R
ate
7 :
Au
to P
an D
epth
M21
:M
ult
i21
(Au
to W
ah –
Tri
2-P
has
e C
ho
-ru
s –
2-Ta
p D
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed t
o A
uto
Wah
- Tr
i 2-P
hase
Cho
rus
- 2-T
ap D
elay
.
�P
aram
eter
s
0 :
Wah
Res
onan
ce
1 :
Wah
Man
ual
2 :
Wah
Dep
th
3 :
Cho
rus
LFO
Rat
e
4 :
Cho
rus
LFO
Dep
th
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M22
:M
ult
i22
(LF
O W
ah –
Tri
2-P
has
e C
ho
-ru
s –
2-Ta
p D
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed t
o L
FOW
ah -
Tri 2
-Pha
se C
horu
s - 2
-Tap
Del
ay.
�P
aram
eter
s
0 :
Wah
Res
onan
ce
1 :
Wah
Man
ual
2 :
Wah
LFO
Rat
e
3 :
Wah
LFO
Dep
th
4 :
Cho
rus
LFO
Dep
th
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M23
:M
ult
i23
(Co
mp
ress
or
– S
in 2
-Ph
ase
Ch
oru
s –
Ref
lect
ion
)
�Fu
ncti
onT
his
is a
mu
lti e
f fec
tor
that
is r
elat
ed to
Com
-p
ress
or -
Sin
2-P
hase
Cho
rus
- Ref
lect
ion.
�P
aram
eter
s
0 :
Com
pre
ssor
Dep
th
1 :
Com
pre
ssor
Att
ack
2 :
Com
pre
ssor
Lev
el
3 :
Cho
rus
LFO
Rat
e
4 :
Cho
rus
LFO
Dep
th
5 :
Ref
lect
ion
Wet
Lev
el
6 :
Ref
lect
ion
Feed
back
7 :
Ref
lect
ion
Tone
M24
:M
ult
i24
(Dis
tort
ion
– 1
-Ph
ase
Ch
oru
s–
2-Ta
p D
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Dis
tor-
tion
- 1-
Pha
se C
horu
s - 2
-Tap
Del
ay.
�P
aram
eter
s
0 :
Dis
tort
ion
Gai
n
1 :
Dis
tort
ion
Low
2 :
Dis
tort
ion
Hig
h
3 :
Dis
tort
ion
Lev
el
4 :
Cho
rus
LFO
Dep
th
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M25
:M
ult
i25
(Co
mp
ress
or
– D
isto
rtio
n –
2-
Tap
Del
ay)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Com
-p
ress
or -
Dis
tort
ion
- 2-T
ap D
elay
.
�P
aram
eter
s
0 :
Com
pre
ssor
Dep
th
1 :
Dis
tort
ion
Gai
n
2 :
Dis
tort
ion
Low
3 :
Dis
tort
ion
Hig
h
4 :
Dis
tort
ion
Lev
el
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M26
:M
ulti2
6 (A
uto
Wah
– D
isto
rtio
n –
2-T a
pD
elay
)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed t
o A
uto
Wah
- D
isto
rtio
n - 2
-Tap
Del
ay.
�P
aram
eter
s
0 :
Wah
Man
ual
1 :
Wah
Dep
th
2 :
Dis
tort
ion
Gai
n
3 :
Dis
tort
ion
Tone
4 :
Dis
tort
ion
Lev
el
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
M27
:M
ult
i27
(LF
O W
ah –
Dis
tort
ion
– 2
-Tap
Del
ay)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed t
o L
FOW
ah -
Dis
tort
ion
- 2-T
ap D
elay
.
�P
aram
eter
s
0 :
Wah
Man
ual
1 :
Wah
LFO
Rat
e
2 :
Wah
LFO
Dep
th
3 :
Dis
tort
ion
Gai
n
4 :
Dis
tort
ion
Lev
el
5 :
Del
ay T
ime
6 :
Del
ay W
et L
evel
7 :
Del
ay F
eed
back
703A-E-166A
A-21
M28
: M
ult
i28
(Dis
tort
ion
– 3
-Tap
Del
ay)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
that
is r
elat
ed to
Dis
tor-
tion
- 3-
Tap
Del
ay.
�P
aram
eter
s
0 :
Dis
tort
ion
Gai
n
1 :
Dis
tort
ion
Low
2 :
Dis
tort
ion
Hig
h
3 :
Dis
tort
ion
Lev
el
4 :
Del
ay T
ime
5 :
Del
ay W
et L
evel
6 :
Del
ay F
eed
back
7 :
Del
ay H
igh
Dam
p
M29
: M
ult
i29
(Dis
tort
ion
– P
has
er)
�Fu
ncti
onT
his
is a
mu
lti e
ffec
tor
rela
ted
to
Dis
tort
ion
-P
hase
r.
�P
aram
eter
s
0 :
Dis
tort
ion
Gai
n
1 :
Dis
tort
ion
Low
2 :
Dis
tort
ion
Hig
h
3 :
Dis
tort
ion
Lev
el
4 :
Pha
ser
Res
onan
ce
5 :
Pha
ser
Man
ual
6 :
Pha
ser
Rat
e
7 :
Pha
ser
Dep
th
M30
:M
ult
i30
(Dis
tort
ion
– S
in 2
-Ph
ase
Ch
o-
rus)
�Fu
ncti
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CTK671-ES-1
MA0105-B Printed in Malaysia
PCASIO COMPUTER CO.,LTD.6-2, Hon-machi 1-chome
Shibuya-ku, Tokyo 151-8543, Japan
This recycle mark indicates that the packaging conforms to the environmental protection legislation in Germany.
Esta marca de reciclaje indica que el empaquetado se ajusta a la legislación de protección ambiental en Alemania.
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