Yamaha CS1X Инструкция по применению

Бренд: Yamaha

Модель: CS1X

Категория: Синтезаторы

Тип: Инструкция по применению

PRECAUTIONS

IMPORTANT! PLEASE READ

BEFORE PROCEEDING.

Following the important precautions below will help ensure you

many years of trouble free use from your CS1x.

LOCATION

• In order to avoid causing serious damage to

the CS1x, do not expose it to direct sunlight,

high temperatures, excessive humidity,

excessive dust or strong vibration.

• Always place the CS1x on a solid surface such

as a keyboard stand or a sturdy table or desk.

POWER SUPPLY

• Turn the power switch off when the CS1x is

not in use.

• Use only the supplied PA-3B or an equivalent

AC power adaptor. Use of an incompatible

adaptor may result in irreparable damage to

the CS1x, and could even pose a serious

shock hazard.

• The power adaptor should be unplugged

from the AC outlet if the CS1x is not to be

used for an extended period of time.

• Unplug the CS1x during electrical storms.

• Avoid plugging the CS1x into the same AC

outlet as appliances with high power

consumption such as electric heaters or

ovens. Also avoid using multiple-plug

adapters since these can result in reduced

sound quality and possibly even damage to

the instrument.

UNPLUG ALL INSTRUMENTS

WHEN MAKING CONNECTIONS

• To avoid causing damage to the CS1x and

other devices to which it is connected, such

as a sound system or MIDI instruments, turn

off the power and unplug all related devices

prior to connecting or disconnecting audio

and MIDI cables.

ELECTRICAL INTERFERENCE

• Avoid using the CS1x near televisions, radios

or other devices which generate

electromagnetic fields, since this may cause

the CS1x to malfunction, and possibly

generate interference noise in the other

devices.

BACK-UP BATTERY

• The CS1x contains a special long-life battery

that retains the contents of its User memory

when the power is turned off. The back-up

battery should last for several years. When it

needs to be replaced, the message "Battery

Low" will appear in the display when the

power is turned on. When this happens, have

the backup battery replaced by qualified

Yamaha service personnel.

Do not attempt

to replace the backup battery yourself.

HANDLING AND TRANSPORT

• Always handle the CS1x with care. Physical

shocks caused by dropping, bumping, or

placing heavy objects on it can result in

serious damage to the CS1x.

• Never apply excessive force to the controls,

connectors or other parts.

• Disconnect all cables before moving the

CS1x. Always unplug cables by gripping the

plug firmly, and not by pulling on the cable.

CLEANING

• Never use chemical solvents or thinners to

clean the CS1x, since these will damage the

finish or dull the keys. Wipe the instrument

clean with a soft, dry cloth. If necessary, use

a soft, clean cloth slightly moistened with a

diluted, mild detergent. Then wipe the

instrument thoroughly with a dry cloth.

• Avoid placing vinyl objects on top of the

instrument, since vinyl can stick to and

discolor the surface.

DATA BACKUP

• Yamaha recommends that you regularly save

your music data using an external MIDI data

storage device such as the Yamaha MDF2

MIDI Data Filer. Yamaha cannot be held

responsible for the accidental loss of CS1x

data.

SERVICE AND MODIFICATION

• The CS1x contains no user serviceable parts,

so never open the case or tamper with the

internal circuitry in any way. Doing so may

result in electrical shock or damage to the

instrument. Refer all servicing to qualified

Yamaha service personnel.

IMPORTANT NOTE

Yamaha cannot be held responsible for damage

to the CS1x resulting from improper handling

or operation, or for the accidental loss of CS1x

data.

NOTICES

• The company names and product names in

this owner's manual are the trademarks or

registered trademarks of their respective

companies.

• The LCD screens as illustrated in this owner's

manual are for instructional purposes, and may

appear somewhat different from the screens

which appear on your instrument.

In the beginning, there was the knob…

And the knob was good. Great, in fact.

You could just reach out and grab it. Turn it left. And turn it right.

Interact with it in realtime.

And there were knobs of all kinds. Knobs for changing the attack

and release times of a sound. Knobs for setting the cutoff filter and

resonance. And knobs for controlling many other aspects of analog

synthesizer sounds.

By twisting a knob one way and another, a vast, practically endless

variety of electronic sounds could be called forth. Fat sounds. Strange

sounds. Beautiful sounds. Magical sounds.

It was the 1960s, and such was the power of the knob that music

was changed forever.

And the term synthesizer became a household word.

But the knob was not perfect…

From the start the knob was brilliant and easy to grasp. It put the

musician in complete control of the sound. And opened up a whole

new world of sonic exploration.

It was the 1970s, and some of the greatest recordings in music history

were being made. Analog "synths" were finding their way into the stages,

studios and professional composing suites of the world.

But as simple, straightforward and powerful as analog synths were,

they were also for the most part priced out of reach of the struggling

musician. Plus they tended to be sensitive to slight fluctuations in electric

current which frequently wreaked havoc with pitch, thus making tuning

inherently unstable.

And there was no reliable way to save panel settings and original

sounds except for tediously scrawling lists and notes with pencil and

paper.

Surely there must be a better way.

Engineers the world over went to work searching for a better way,

and great strides were made in the development of more stable, lower

cost, and more convenient technologies.

A breakthrough in electronic sound synthesis was imminent.

Then came the miracle of digital…

The beginning of the 1980s saw breakthroughs in digital synthesizer

technology which was to once again revolutionize modern music.

Musicians everywhere embraced affordable new technologies like

FM, which could accurately reproduce the sound characteristics of

acoustic and other instruments, and AWM (PCM), which relied on

"samples" of actual instrument sounds to produce an amazing wealth

of musical textures and sonic options.

The new spate of digital synthesizers were—on the outside—much

more streamlined than analog synths, sporting a minimal array of buttons

and a display screen which provided information about each feature.

Overnight the knob was rendered virtually obsolete.

Unstable tunings were a thing of the past. Memory was the future.

Digital synths were—on the inside—more loaded than ever, as

hundreds of amazing acoustic and electronic sounds, or voices, could

be stored and recalled at the touch of a button. Scores of new and exciting

features were available. Entire panel settings and configurations could

also be stored for instant recall.

It was the digital revolution that made MIDI, GM, XG, sequencing,

sampling, looping, multitimbral play, DSP effects and many other

breakthroughs in electronic music technology possible.

Developments that have changed forever the way we teach, compose,

Introduction

on the panel.

A collection of six rotary Sound Control Knobs are irresistible to the

touch—and provide instant sonic results when turned.

Between the Sound Control Knobs, the clearly labeled panel switches,

and the back lit LCD, the current status of the CS1x is always crystal

clear.

The numeric keypad and other buttons—including Scenes, or

"snapshots" of knob positions—give you quick and easy access to any

parameter or setup you need, the moment you need it.

As such, the CS1x is an unprecedented realtime performance

instrument.

The hundreds of great sounding AWM2 (Advanced Wave Memory

2) instrument voices (created from high quality recordings of actual

instrument and other sounds), three digital effects units (with 11 Reverb,

11 Chorus and 43 Variation type effects) and scores of other parameters

can be configured in an almost unlimited variety of ways and stored in

memory for instant recall.

Performances, or complete configurations of up to four Layers

(voices) playing simultaneously, plus effect and other parameters, and

Multis, or a configuration of up to 16 Parts and other parameters for

multitimbral play (using an external sequencer or computer), provide a

unique array of options which make the CS1x a handy synth for literally

any type of music situation.

Thirty-two notes of polyphony ensure that you always have enough

available notes to play even the most demanding arrangement.

The on-board arpeggiator which can generate various types of

automatic arpeggios or be controlled by an external MIDI clock provides

an extremely useful tool for spicing up your masterpieces—or setting

the dance floor on fire.

Go forth and multiply…

As simple—yet powerful—as the CS1x is on its own, it has also

been specially engineered to easily fit right into any type of expanded

music system you wish to create.

General MIDI (GM) compatibility makes the CS1x an ideal

multitimbral tone generator for accurately playing any of the many

Standard MIDI File or other commercially available GM music data using

an external sequencer.

XG compatibility makes the CS1x completely state of the art—

conveniently able to take advantage of the expanded sound and

expressive capabilities that this exciting new format will offer in the

coming months and years.

A TO HOST terminal and HOST SELECT switch provides for direct

interface with either PC and Macintosh computers, thus enabling you

to easily jump right into the "desktop music" revolution without the

need for any additional peripheral interfacing equipment.

If you're a first-time synthesizer owner, the CS1x lets you expand

your music system at your own pace.

First you might want to add an affordable Yamaha QY series

sequencer and take advantage of the CS1x's powerful multitimbral

capabilities. With a QY sequencer you can record and play back up to

16 music "parts", each on an independent MIDI channel—just like a

multitrack recorder, but with virtually unlimited editing capabilities.

Next you might want to add the compact, low-cost Yamaha SU10

sampler which lets you capture music phrases and other sounds to add

an entirely unique dimension to your music.

Finally you might want to add a computer which will let you take

advantage of the many different types of music software products now

available plus those yet to come.

With the CS1x at the heart of your system, you're ready to grow

your own unique music system and take your musical capabilities as far

as you want—naturally.

perform and listen to music.

Global design standards ensured that music hardware and software

products made by different manufacturers could work together

seamlessly.

But alas, digital did not create a perfect world.

Chaos reigned over the land…

As convenient, dynamic and accessible as digital synthesis was, still

it was not perfect. It had certain limitations, though different ones than

analog synthesis.

Streamlined panel layouts and the demise of the knob meant that

all those hundreds of great new features had to be organized and stacked

in pages and subpages of hidden menus—which might mean several

presses of one or more buttons just to find a feature, and several more

to actually manipulate it.

And the steep learning curve of many digital synthesizers became a

legend unto itself. Alarmingly, the synth was on its way to becoming a

thing of science, rather than an intuitive musical instrument.

It was, therefore, inevitable that many would come to mourn

nostalgically for the days of simplicity—for the knob. For those warm,

fat, wonderful analog sounds. For fewer hidden features.

And for a simpler, easier to use electronic instrument.

There was a definite need for an analog-style digital synthesizer

that would have intuitive knobs plus all the benefits of digital memories

and other convenient—especially interactive—features.

One that could satisfy even the most die-hard advocate of analog or

digital synthesis.

A perfectly versatile synthesizer as attractive to first-time synth

owners as to desktop music hobbyists, serious amateurs, and even

seasoned professionals.

A powerful stand-alone performance instrument with hot dance

music and other versatile voices, as suited for the cutting edge as for the

classics.

An ideal multitimbral MIDI component which could fit right into

even the most sophisticated expanded system.

One with extremely modest pricing for such powerful utility.

It was only a matter of time before the thunder of analog would

unite with the lightning of digital to once again challenge convention

and ultimately change the landscape of music possibilities yet once more.

And Yamaha heard their cries…

Fortunately Yamaha recognized that something new and significant

must be created to bring together the best of both analog and digital

worlds.

The result was the Yamaha Control Synthesizer CS1x.

The CS1x takes the best of analog—simplicity of use, natural

interactivity, thick sound, and, of course, the knob—and unites it with

the best of digital—reliable pitch, plenty of memory, one-touch setting

reconfigurations, hundreds of voices, MIDI, and much, much more—

to begat a truly unique "control" synthesizer.

One with all the familiar concepts loved by both analog and digital

afficianados. One destined to satisfy even the most meticulous purist in

each camp.

Nothing to hide…

Perhaps the most striking—certainly refreshing—aspect of the CS1x

Control Synthesizer is the way it wears its heart on its sleeve.

What you see is what you get: all features are self-evidently displayed

CS1x MAIN

FEATURES

The CS1x is specially designed with an intuitive, interactive user interface

through lots of dedicated panel controls and sound editing features which

can easily be manipulated in realtime during performance. Main features

include:

• 6 Sound Control Knobs for direct access to key parameters of the currently

selected voice as you play, and 2 Scene memories for instant recall of

specified Sound Control Knob positions. You can use the Modulation

Wheel or a connected Foot Controller for continuous changes between

Scene 1 and Scene 2 parameter values.

• 480 GM- and XG-compatible AWM2 instrument voices and 11 drum

voices, or kits, in Multi Play mode. Additional voices are available in

Performance mode which can be assigned to the Performances.

• Performance mode with complete configurations of Layers (4 voices either

stacked or in sophisticated keyboard and velocity splits), digital effects

and other parameters. There are a total of 128 Preset Performances and

128 User Performances.

• Multi Play mode for multitimbral play of up to 16 different Parts (across

16 MIDI channels; when using an external sequencer), with 32-note

polyphony. TO HOST terminal and HOST SELECT switch allow direct

interface with IBM PC/AT or Apple Macintosh computers.

• 3 independent DSP digital effect units which can be used simultaneously—

Reverb (11 types), Chorus (11 types) and Variation (43 types).

• Arpeggiator with 30 types of arpeggiated chords and 10 timing subdivisions.

The Arpeggiator's tempo can also be controlled by an external MIDI

clock.

CONTENTS

The CS1x At A Glance .....................................6

Getting Started ............................................9

How The CS1x Generates Sound ................... 12

CS1x Main Operating Modes ........................ 14

Feature Reference ............ 20

Performance Mode .....................................20

Common Edit 1........................................ 22

Common Edit 2 ....................................... 25

Layer Edit 1 ............................................. 27

Layer Edit 2 .............................................30

Layer Edit 3 ............................................. 31

Layer Edit 4............................................. 33

Multi Play Mode.......................................... 36

Utility Mode ...............................................40

Store Mode .................................................44

Factory Settings .........................................46

Appendix ............................. 47

Digital Effects ............................................ 47

About MIDI ................................................. 53

Specifications ............................................. 57

Troubleshooting ......................................... 58

Error Messages ........................................... 59

Index..........................................................60

THE CS1x AT A

GLANCE

ATTACK

PHONES L/MONO

OUTPUT

R DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

TO HOSTINPUT HOST SELECT IN OUT

MIDI

THRU

AMP EG

RELEASE ASSIGN 1/DATAVOLUME

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

VWX

PROGRAM

PERFORMANCE STORE

MULTI

PRESET USER ARPEGGIATOR

UTILITY

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

PITCH MODULATION

Front

Panel

! VOLUME

Turn this knob to set the proper

listening level whether using

headphones or amplified speakers.

" SOUND CONTROL

KNOBS

The six Sound Control Knobs give

you direct access to key parameters

of the currently selected

Performance/voice. Turning any

Sound Control Knob to the left or

right will offset the parameter values

accordingly (left for negative values,

right for positive values) and

produce an immediate result; a letter

"E" will appear next to the

Performance number in the LCD to

indicate the original voice has been

edited. Each knob has a center

detent which represents the original

value of the parameter.

• ATTACK (Knob 1) - This knob

controls the initial attack time of the

voice. Turn it left for a faster attack

time; turn it right for a slower attack

time. (See page 30)

• RELEASE (Knob 2) - This knob

controls the release time of the voice.

Turn it left for a shorter release time;

turn it right for a longer release time.

(See page 32.)

• ASSIGN 1/DATA (Knob 3) - This

knob has two functions. As an

ASSIGN 1 knob, you can assign one

of 28 parameters—including

Performance Volume, Arpeggiator

Tempo or Type, Portamento Time,

and others—to control by turning it

(see page 26). As a DATA entry knob,

you can use it to quickly change the

edit value of the currently selected

edit parameter.

• CUTOFF (Knob 4) - This knob

determines the cutoff frequency of

the filter, or the frequency point

above which other frequencies are

filtered out. Turn it left for a deeper,

more rounded tone; turn it right for

a thinner, brighter tone. (See page

25.)

• RESONANCE (Knob 5) - This knob

determines the amount of filter

resonance or emphasis of the cutoff

frequency. Turn it left to produce a

relatively flat response; turn it right

to add overtones and make the

sound more resonant. (See page 34.)

• ASSIGN 2 (Knob 6) - This knob can

be used to control any one of 28

parameters which you can assign to

it—including Volume, Note Shift,

Pan, Chorus Send, and others. (See

page 29.)

# SCENE 1 & 2

Each Performance has two Scene

memories which remember specific

positions of the six Sound Control

Knobs. (See page 16.)

• Simply press SCENE 1 or SCENE 2

to instantly recall the specified

settings. An LED beside each SCENE

button will light to indicate which

Scene is currently active. You can

store your own Scenes in advance

using Store mode. (See page 44.)

• By holding one SCENE button and

then pressing the other SCENE

button, both LED's will light,

indicating that you can use the

Modulation Wheel or a connected

Foot Controller for realtime

continuous parameter changes

between one Scene and the other.

(See page 45.)

$ ARPEGGIATOR

Press this button to activate the on-

board Arpeggiator, which lets you

create automatic arpeggios simply

by playing a chord. An indicator will

appear in the lower right area of the

LCD when the Arpeggiator is on.

(See page 22.)

• There are various Arpeggiator Types

and Arpeggiator Timing

Subdivisions. These, plus the

Arpeggiator Tempo, can be specified

with the Common Edit 1 menu

parameters. (See page 23.)

• Pressing this button while holding

SHIFT will "hold" the arpeggiated

chord, or make it continue playing

even when you release the keys.

Pressing this button again stops the

Arpeggiator. (See page 23.)

• An Arpeggiator Split function lets you

split the keyboard at C3; the chords

you play to the left of the split point

will create arpeggiated chords, and

the notes and chords you play to the

right of the split point will play as

normal. (See page 23.)

% SHIFT

This button lets you transpose the

octave up or down as well as

activate the Arpeggiator Hold and

Split functions. (See page 23.)

• To transpose the octave, hold the

SHIFT button and press [–] (octave

down) or [+] (octave up)—located

directly beneath the SHIFT button.

(See page 15.)

& PART/LAYER [–]/[+]

These buttons let you select one of

the four Layers in Performance

mode (see page 14), or one of the

16 Parts in Multi Play mode (see

page 17). Which Layer or Part is

currently selected will be indicated

in the lower right area of the LCD.

' PRESET

In Performance mode, press this

button to activate the bank of 128

Preset Performances. (See page 20.)

( USER

In Performance mode, press this

button to activate the bank of 128

User Performances. (See page 20.)

) PROGRAM [–]/[+]

Press one of these to step up ([+]) or

down ([–]) through each

Performance (in Performance mode)

or voice (in Multi Play mode), one

at a time. (See page 20.)

* BACK LIT LCD

The LCD provides various types of

information which clearly indicates

the current operating status of the

CS1x, depending on which mode

or other button on the front panel

that you press.

+ NUMERIC KEYPAD

The numeric keypad has several

functions, depending on the

currently selected mode.

• In Performance mode or Multi Play

mode, you can use it to select a

specific Performance number or

voice number—by punching in the

desired number (1~128), then

pressing the ENTER button. (See page

20.)

• In Quick Program Change mode,

you can use it to select a specific

Performance (Performance mode)

or voice (Multi Play mode) within

the currently designated group of

10—by simply punching in the last

digit (0~9) of the desired

Performance or voice number. (See

page 21.)

• When editing parameters, you can

use it to quickly select a specific

value—by punching in the desired

number, then pressing ENTER. (See

page 20.)

• When naming a User Performance,

you can use it to select the letters of

the name, as indicated above each

button. (See page 24.)

, [–]/NO/QUICK PC

This button has three functions.

• As a [–] button, you can use it to

enter negative values when editing

parameters using the numeric

keypad. Press it before entering the

number, followed by ENTER.

• In Performance mode or Multi Play

mode, press it once to engage the

Quick Program Change function.

The hundredth and tenth digits of

the Performance or voice number

will be shown as bold characters

to indicate they are fixed when

Quick Program Change is active.

Press the button again to turn off

Quick Program Change. (See page

21.)

• In Store mode, this button lets you

decline (NO) the store operation if

you change your mind.

- ENTER/YES

This button has three functions.

• When selecting a Performance

number (Performance mode) or

voice number (Multi Play mode)

using the numeric keypad, you

must press ENTER to activate the

change. (See page 20.)

• When designating edit parameter

values using the numeric keypad,

you must press ENTER to activate

the change. (See page 22.)

• In Store mode, this button lets you

confirm (YES) the store operation.

(See page 44.)

. MODE SELECT

SWITCHES

Press one of these to select the

current operating mode.

• PERFORMANCE - In Performance

mode you can choose any of the

Preset or User Performances, plus

perform editing operations using the

Edit Parameter Rotary Switch and

Parameter Value UP/DOWN

buttons. Press PERFORMANCE to

enter Performance mode from

another mode, or to reselect the

Performance select screen in the

LCD after performing an edit

operation in Performance mode.

(See page 20.)

• MULTI - Press this button to enter

Multi Play mode, which lets you

designate up to 16 Parts for

multitimbral play when using an

external sequencer. Parameters

which can be edited in Multi Play

mode are printed in a row directly

above the Parameter Value UP/

DOWN buttons. (See page 36.)

• STORE - This button lets you store

User Performances. as well as

Scenes. (See page 44.)

• UTILITY - Press this button to access

those "system" parameters which

affect the CS1x as a whole—such as

Master Tune, MIDI Transmit and

Receive Channel numbers, Local

On/Off, etc.—as printed directly

below each Parameter Value UP/

DOWN button. (See page 40.)

/ EDIT PARAMETER

ROTARY SWITCH

Turn this knob to select one of the

six menus of edit parameters in

Performance mode.

• COMMON - The Common

parameters (Common Edit 1, 2

menus) are those parameters which

apply to the entire currently selected

Performance; i.e., it doesn't matter

which Layer is currently selected,

since common parameters (except

for Portamento) apply to all layers

equally. (See page 14.)

• LAYER - The Layer parameters (Layer

Edit 1, 2, 3, 4 menus) are those

parameters which affect only the

currently selected Layer (1~4, as

designated by the PART/LAYER

buttons) in a Performance. (See page

14.)

0 PARAMETER VALUE

UP/DOWN BUTTONS

These ten buttons are used to access

specific parameters in Performance,

Multi and Utility modes, as well as

change the values of the currently

selected edit parameter.

• PERFORMANCE MODE - After

selecting an Edit menu row with the

Edit Parameter Rotary Switch, press

the Parameter Value UP/DOWN

button located beneath the desired

parameter once to access the

parameter. The parameter name and

current value will appear in the LCD.

Then press [UP] or [DOWN] to

increase or decrease the current

parameter value as desired. (See

page 14.)

• MULTI PLAY MODE - Simply press

the Parameter Value UP/DOWN

button located beneath the desired

parameter as printed on the panel,

directly above each button. The

parameter name and current value

will appear in the LCD. Then press

[UP] or [DOWN] to increase or

decrease the current parameter value

as desired. (See page 17.)

• UTILITY MODE - Simply press the

Parameter Value UP/DOWN button

located above the desired parameter

as printed on the panel, directly

below each button. The parameter

name and current value will appear

in the LCD. Then press [UP] or

[DOWN] to increase or decrease the

current parameter value as desired.

(See page 40.)

1 PITCH

The Pitch Wheel lets you bend the

pitch up or down as you play. It is

spring-loaded to automatically

return to center position when you

let go of it. In Performance mode

you can designate the Pitch Bend

Range in the Common Edit 2 menu.

(See page 25.)

2 MODULATION

The Modulation Wheel lets you

apply or set a designated amount of

vibrato or tremolo. You can set it to

affect filter cutoff, filter modulation,

pitch modulation (Common Edit 2

menu, see page 25), as well as other

controllable parameters. (see page

43.)

# TO HOST

The TO HOST terminal lets you

connect the CS1x directly to a host

computer which does not have a

MIDI interface. (See page 10.)

$ INPUT

Connect an external audio source

(such as a keyboard, or CD player)

here using either a stereo or mono

mini plug, in order to mix its audio

signals with the CS1x's voices, for

output from the CS1x without the

need for an external mixer.

% FOOTSWITCH

An optional Yamaha FC4 or FC5

footswitch connected to this jack

can be used to control hold on/off,

portamento on/off and others,

determined by the Assign Control

Change Number setting in Utility

mode. (see page 43.)

& FOOT CONTROLLER

An optional Yamaha FC7 or FC9

foot controller connected to this jack

can be used for control of filter

modulation, filter cutoff, and the

Rear

Panel

! MIDI

MIDI IN, OUT and THRU terminals

let you connect other MIDI devices

such as a MIDI keyboard, tone

generator, sequencer, or computer

with a MIDI cable. (Set the HOST

SELECT switch to MIDI when using

the MIDI terminals.) MIDI IN is for

input of MIDI data. MIDI OUT is

for output of MIDI data and for data

dumps to another CS1x or MIDI data

storage device. MIDI THRU is for

"daisy-chain" connection of

additional MIDI instruments, as the

MIDI data received at the CS1x's

MIDI IN terminal is passed along

unchanged to the CS1x's MIDI

THRU terminal. (See page 9.)

" HOST SELECT

The HOST SELECT switch lets you

designate the type of host computer.

(See page 10.) Set it to MIDI for

normal MIDI transmission and

reception when a host computer is

not connected.

Variation effect (Common Edit 2

menu, see page 26), as well as the

Control Change Number. (see page

43.)

' FOOT VOLUME

An optional Yamaha FC7 or FC9

foot controller connected to this jack

can be used to regulate overall

volume.

( POWER

Press this switch to turn the CS1x

on and off.

) DC IN

Connect the supplied Yamaha PA-

3B Power Adaptor here.

(CAUTION: Do not attempt to use

an AC adaptor other than the

Yamaha PA-3B or equivalent, since

the use of an incompatible adaptor

may cause irreparable damage to

the CS1x, and may even pose a

serious shock hazard.)

MIDI

OUTTHRU IN MIDI Mac TO HOST INPUT SWITCH CONTROLLER

ASSIGNABLE

FOOT FOOT

VOLUME

FOOT

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

PC-2 PC-1

HOST SELECT

THE CS1x AT A GLANCE

* OUTPUT

The stereo OUTPUT jacks let you

connect the CS1x to an external

stereo amplifier/speaker system.

When using a mono system,

connect it to the L/MONO jack.

+ PHONES

The PHONES jack lets you connect

a set of stereo headphones for

private listening.

GETTING STARTED

Setting Up Your CS1x

The CS1x With An External

Sequencer

The illustration below shows how to use the CS1x with a Yamaha QY

series sequencer, which lets you take full advantage of the CS1x's

multitimbral capability to play up to 16 different musical instrument Parts

at once.

You will need MIDI cables to make the proper connections.

1. Connect a MIDI cable from the CS1x's MIDI OUT terminal to the

sequencer's MIDI In terminal, and connect another MIDI cable from

the CS1x's MIDI IN terminal to the sequencer's MIDI Out terminal.

2. Set the HOST SELECT switch to MIDI.

QY300 etc...

QY300

MUSIC SEQUENCER

MIDI IN

MIDI

OUT

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CS1x

In this case, the notes you play on the keyboard will be sent as MIDI note

event data to a specified MIDI channel of the sequencer. By selecting

different channels, you can record each Part independently, while listening

to those Parts you've already recorded.

When recording Parts to an external sequencer, you need to turn the

keyboard Local setting to OFF (see page 42). When keyboard Local is

turned off, the notes you play on the keyboard will not sound the CS1x's

internal tone generator, but note and other performance event data will

still be sent from the MIDI OUT terminal.

Since the CS1x's internal tone generator will respond to note and other

data it receives at the MIDI IN terminal, the notes you play on the keyboard

will be sent to the sequencer, then "echoed back" to the CS1x to play one

of the 16 Parts (depending on the current MIDI channel assignment).

For details about assigning CS1x MIDI channels, see page 41. For details

about assigning MIDI channels and other settings for the external devices

such as a sequencer, consult the owner's manual of each.

The Control Synthesizer CS1x literally comes ready to play right out of

the box.

Connect the supplied PA-3B DC power adaptor to the CS1x's DC IN

connector on the rear panel. Then connect the adaptor to the nearest

electrical outlet.

Before

switching on the power, connect any peripheral devices such as

amplified speakers or MIDI instruments.

There are many ways to incorporate the CS1x into a simple or expanded

music system. Below are a few examples to get you started.

CAUTION

• Do not attempt to use an AC adaptor other than the PA-3B. Use of an

incompatible adaptor may result in irreparable damage to the CS1x, and

could even pose a serious shock hazard.

• Be sure to disconnect the power adaptor from the electrical outlet when

the CS1x is not in use.

The CS1x By Itself

At the simplest level, all you need to do is connect stereo headphones to

the PHONES jack located on the rear panel.

As a stand-alone performance instrument, simply connect the CS1x to

amplified speakers, as follows:

For stereo use, connect one end of a pair of audio cables to the CS1x's

OUTPUT (L/MONO, R) jacks, and the other end to each amplified

speaker's input, as shown in the illustration below. (For mono use, connect

one end of a single audio cable to the CS1x's L/MONO jack, and the

other end to the amplified speaker's input.)

AMPLIFIED

SPEAKERS

R INPUTL

R OUTPUTPHONES

CS1x

CAUTION

In order to avoid possible damage to the speakers or other connected

electronic equipment, before switching on the power of any component,

make sure the CS1x's volume level and the volume levels of the connected

equipment are set to minimum.

Connecting The CS1x To A

MIDI Data Storage Device

You can also connect the CS1x with a MIDI data storage device, such as

the Yamaha MDF2 MIDI Data Filer in order to "bulk dump", or save a

User Performance ("1 Perf" setting) or all the User Performances and Utility

parameters ("All" setting) to floppy disks.

This lets you build up complete libraries of Performance and other data,

which you can easily load back into the CS1x. (The MDF2 also lets you

play compatible song data on the CS1x directly from the MDF2 itself,

without the need for a sequencer.)

For information about how to perform Bulk Dump operations with the

CS1x, see page 42. Refer to the owner's manual of the MIDI data storage

device for operating instructions about sending and receiving data.

MDR SEO JOB UTIL

MIDI

MDF2

MIDI DATA FILTER

CURSOR

- FILE DATA +

REC PAUSE START/STOP

TEMPO

MDF2 etc...

MIDI IN

MIDI

OUT

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CS1x

The CS1x In A Desktop Music

System

With its built-in host computer interface the CS1x is designed for direct

connection to an Apple Macintosh, IBM PC/AT or NEC PC-9800 Series

computer—without the need for a special MIDI interface between the

computer and the CS1x.

Using the CS1x in a computer music system lets you receive the full

benefits of the instrument's true capabilities, as well as take advantage of

the ever-expanding world of available music sequencer and other software

products which provide you with unlimited potential to achieve your

personal music goals.

If your computer already has a MIDI interface installed, you may want to

use it rather than using the host computer interface on the CS1x. Otherwise,

depending on the computer or interface used, set the HOST SELECT

switch to the appropriate setting: MIDI, PC-1 (NEC PC-9800 Series), PC-

2 (IBM and clones), or Mac (Macintosh). For information on the types of

cables that can be used for connection, see the section

MIDI/Computer

Connecting Cables

, at right.

TO HOST

Connecting Cables

HOST SELECT

PC-2 PC-1

MIDI Mac

Computer

CS1x

Macintosh

If you have an Apple Macintosh not equipped with an external MIDI

interface, perform the following operation:

1. Set the HOST SELECT switch to Mac.

2. Connect the TO HOST terminal on the CS1x to the Modem or

Printer port on the Macintosh.

3. Turn on the host computer, then turn on the CS1x.

4. Start up your music software, and set up the appropriate options

in the software for operation with the CS1x.

The options you may have to set for the Apple MIDI Driver settings:

MIDI Interface Type (Clock) ➛ 1 MHz

Other options and settings may have to be made as well. Refer to the

owner's manual of your particular music software for more information.

IBM PC and Clones

If you have an IBM PC/AT or compatible computer not equipped

with an external MIDI interface, perform the following operation:

1. Set the HOST SELECT switch to PC-2.

2. Connect the TO HOST terminal on the CS1x to one of the

computer's serial ports, COM 1 or COM 2.

3. Turn on the host computer, then turn on the CS1x.

4. Start up your music software, and set up the appropriate options

in the software for operation with the CS1x.

Refer to the owner's manual of your particular music software for

more information.

MIDI/Computer Connecting

Cables

MIDI

Standard MIDI cable, maximum length 15 meters.

Mac

Apple Macintosh Peripheral cable (M0197), maximum length 2 meters.

PC-1

8-pin MINI DIN to D-SUB 25-pin cable, maximum length 1.8 meters.

(If your PC-1 type computer has a 9-pin serial port, use the PC-2 type

cable.)

PC-2

8-pin MINI DIN to D-SUB 9-pin cable, maximum length 1.8 meters.

Playing

Arpeggiated

Chords

Take a moment and try out the Arpeggiator function, which creates

automatic arpeggios based on the chords you play. First select a

Performance with a fast attack, such as a percussive type sound. (Note:

The Arpeggiator function only works in Performance mode.)

1. Press ARPEGGIATOR. An indicator will appear in the lower right

area of the LCD.

2. Play a chord. The arpeggiated chord will begin playing, based on the

Arpeggiator Type, Tempo and Subdivide parameter settings.

3. Change the Arpeggiator Type, Tempo and Subdivide parameters using

the Common Edit 1 menu. (See page 22.)

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

Arpeggiator Hold

The handy Arpeggiator Hold function lets you play a chord to start the

automatic arpeggio, then take your hand off the keyboard—the arpeggiated

chord will play continuously in a loop. Play another chord and the

automatic arpeggios will change accordingly.

1. Hold SHIFT and press ARPEGGIATOR. The Arpeggiator indicator in

the LCD will start blinking.

2. Play a series of chords.

3. To stop the arpeggiated chords, press ARPEGGIATOR again.

Arpeggiator Split

The Arpeggiator Split function greatly increases the performance capability

of the CS1x. When Arpeggiator Split is engaged, any chord you play to

the left of the split point (B2 and below) will produce an arpeggiated

chord, while chords you play to the right of the split point will play

normally.

1. Press ARPEGGIATOR to activate the Arpeggiator function.

2. Set the Edit Parameter Rotary Switch to the Common Edit 1 menu.

3. Hold SHIFT and press the left-most Parameter Value UP/DOWN

button (Arpeggiator Type parameter).

4. Pressing [UP] will turn on the Arpeggiator Split feature (the letter "S"

will display in the LCD); pressing [DOWN] will turn it off.

Switching On

The Power And

Producing

Sound

Once all connections have been properly made, you're ready to switch

on the power and start having fun with the CS1x.

1. Turn the volume of the CS1x to its minimum position.

2. Press the POWER switch, located on the rear panel.

3. After a brief greeting message, the CS1x will power up.

4. Gradually turn the VOLUME knob to the right while playing the

keyboard until you achieve a comfortable listening level.

Playing The

Demo Songs

Before you dive in and start exploring the many Performances and other

versatile features of the CS1x, you may want to listen to the preprogrammed

demonstration song.

The Demo provides a dynamic example of just how powerful the CS1x

really is. To play the Demo, perform the following operation:

1. In Performance mode, hold the PERFORMANCE button and press

the MULTI button.

2. The word "DEMO" will appear in the LCD, and after a brief moment

the Demo song will begin, and continue playing.

3. To stop the Demo, simply press a mode button, such as

PERFORMANCE.

PERFORMANCE MULTI

DEMO

STORE UTILITY

When the Demo mode is engaged, you can select a Demo song from the

various Demo songs using the numeric keypad.

How The CS1x

Generates Sound

Oscillators, Filters And

Amplifiers

Synthesizers rely on three key electronic components to imitate the

soundwaves of musical instrument voices, as well as create entirely new

sounds.

In traditional analog synthesis the source sound pitch is generated by an

oscillator

, its tone is created by a

filter

, and its volume is determined by

amplifier

AMPLIFIERSFILTERSOSCILLATORS

DETERMINES

VOLUME

CREATES

TONE

GENERATES

PITCH

! The oscillator generates sound wave vibrations at controllable speeds,

or frequencies, to create pitch. Synthesizer oscillators usually offer a

range of frequencies between 20 Hz and 20kHz, which is the range

of the audio spectrum that most human beings can hear. They also

usually offer various types of sound waveforms, such as sine, sawtooth,

and others.

" Musical instrument sounds are made up of the basic tone that we

clearly distinguish, plus additional harmonics, or overtones which

exist at each octave above the basic tone, but that we cannot distinctly

hear. The filter provides control over these harmonics. By manipulating

the filter's cutoff frequency, which decides where to delete—or cut

off—the overtones, and resonance settings, you can thus determine

the tone.

# An amplifier controls the volume of the tone. An envelope generator

(EG) determines the tone's volume over time, through attack, decay,

sustain and release settings.

AWM2 Waveforms

The CS1x takes the familiar concepts and functions of analog synthesis

and combines them with the state of the art in digital synthesis technology.

As such, it has hundreds of AWM2 waveforms, or digital recordings

("samples"), of all types of musical instrument and other sounds

programmed right inside—including everything from a violin bow

scraping a string, to a mallet striking a marimba, to a breath blowing

across a flute mouthpiece.

An AWM2 waveform forms the fundamental tone source of a CS1x voice;

the rest of the sound is contoured by the oscillator, filter and amplifier

settings. CS1x synthesis gives you enormous realtime and other control

over detailed aspects of all parameter settings.

In order to better understand what's actually happening to the sound as

you turn the Sound Control Knobs or modify other parameters, it is helpful

to first take a look at the key components which make up the physical

nature of sound.

The Nature

Of Sound

What is sound? If we could see sounds they would look like waves rippling

through the air at a constant speed with high frequencies bunched close

together and lower frequencies spread far apart.

Our ears are naturally designed to take these physical vibrations—or

sound waves—moving through the air around us at high, mid and low

frequencies, and interpret them as a dog barking across the street, someone

practicing a violin next door, a jet airplane screaming overhead, or rock

music on the stereo in front of you.

Generating

Electronic

Sounds

There are three basic elements which make up a sound:

•

pitch

, or how low or high it is

•

tone

, or what its overall quality is like

•

amplitude

, or how loud its volume level is

Before we take a look at how the CS1x generates and manipulates pitch,

tone and amplitude, lets first take a look at how these elements apply

naturally to acoustic musical instruments.

Acoustic musical instruments are specifically designed and carefully built

to produce precise sound characteristics when played—which is why a

violin always sounds like a violin, a piano always sounds like a piano,

and a flute always sounds like a flute.

A musician playing a finely crafted violin will scrape the bow across the

string at a certain intensity to generate violin sound waves at a certain

volume level (

amplitude

), and produce low or high notes based on

fingering positions (

pitch

). The vibrating strings and resonating wood, as

well as the playing style and technique of the musician, will determine

the overall quality of the violin's sound (

tone

CS1x Synthesis

The secret behind the CS1x's exceptional quality sound is its ability to create rich and complex sonic textures in Performances, which are made up of

Layers of up to four AWM2 voices—either sounding simultaneously or mapped to various note and velocity zones across the keyboard.

AMPLIFIERS EFFECTSFILTERS

AWM2 WAVEFORM

BANK

PROGRAM NUMBER

CONTROLLER

OSCILLATORS

AWM2 VOICE

LEVEL

ATTACK LEVEL

( ATK LEVEL )

RELEASE LEVEL

( REL LEVEL )

TIME

RELEASE TIME

( REL TIME )

BASIC KEY

PLAYED

INITIAL LEVEL

( INIT LEVEL )

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

RELEASE TIME

( REL TIME )

CUT OFF

FREQUENCY

PITCH VOLUME

TIME

LEVEL LEVEL

KEY ON

KEY OFF

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

TIME

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

SUSTAIN LEVEL

( SUS LEVEL )

RELEASE TIME

( REl TIME )

KEY ON

KEY OFF

KEY ON

KEY OFF

LFO

SUSTAIN LEVEL

(SUS LEVEL)

! AWM2 WAVEFORM - The fundamental source

of the CS1x's sound is the sampled AWM2

waveform. There are hundreds preprogrammed in

ROM which are used by the Performances.

Available waveforms are organized in Banks. Each

AWM2 waveform has its own Program Number.

" AWM2 VOICE - The AWM2 waveform combines

with the oscillator, filter and amplifier to make up

a CS1x voice.

• PEG - The Pitch Envelope Generator controls how

the pitch changes over time.

INIT LEVEL (Initial Level) sets the initial pitch level

when a key is played.

ATK TIME (Attack Time) determines the time

required for a sound to reach its Attack Level after

a note is played.

ATK LEVEL (Attack Level) sets the initially targeted

level after a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its basic pitch from

the Attack Level while the key is held.

REL TIME (Release Time) determines the time it

takes for the basic pitch to reach the Release Level

after the key has been released.

REL LEVEL (Release Level) sets the final targeted

level after the key is released.

• FEG - The Filter Envelope Generator controls how

the timbre changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum cutoff

frequency level when a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its Sustain Level from

the maximum level while the key is held.

SUS LEVEL (Sustain Level) sets the Sustain Level;

the cutoff frequency will be maintained at this level

for as long as the key is held.

REL TIME (Release Time) determines the time it

takes for the cutoff frequency to reach the level

preset for each voice after the key has been released.

• AEG - The Amplitude Envelope Generator controls

how the volume changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum volume

level when a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its Sustain Level from

the maximum volume level while the key is held.

SUS LEVEL (Sustain Level) sets the Sustain Level;

the volume will be maintained at this level for as

long as the key is held.

REL TIME (Release Time) determines the time it

takes for a sound to sustain after the key has been

released.

# LFO - The Low Frequency Oscillator generates low

frequency signals which can be used to modulate

the PEG, FEG and AEG.

• PMOD - The LFO can apply Pitch Modulation to

the PEG to create vibrato effects.

• FMOD - The LFO can apply Filter Modulation to

the FEG to create wah-wah types of effects.

• AMOD - The LFO can apply Amplitude

Modulation to the AEG to create tremolo effects.

$ CONTROLLER - You can use several types of

controllers to manipulate various parameters in

realtime.

• MW - Use the Modulation Wheel to control

PMOD, FMOD, and Filter Cutoff.

• FC - Use the Foot Controller to control FMOD,

Filter Cutoff, and Variation Effect.

• Use the Sound Control Knobs to control AEG Attack

Time, Release Time, Filter Cutoff, and Resonance.

The ASSIGN 1/2 knobs can be specified to control

one of any number of parameters. (See the lists on

pages 27 and 29.)

CS1x MAIN

OPERATING

MODES

The CS1x has two main operating modes: Performance mode and Multi

Play mode. The chief distinction between each mode is as follows:

• Performance mode is primarily for realtime performance of

Layers

. It

has six menus of Edit parameters.

• Multi Play mode is primarily for multitimbral playback of up to 16

Parts

when external MIDI devices are connected. It has one menu of

Edit parameters. You can also use the CS1x as a MIDI data input

device for an external sequencer.

Utility mode lets you modify System and MIDI parameters which affect

both Performance and Multi Play mode. (For more information about

Utility mode, see page 40.)

Store mode lets you store your own User Performances and Scenes. (For

more information about Store mode, see page 44.)

Performance

Mode

If you're in a different mode, press the PERFORMANCE button to enter

Performance mode.

In Performance Play mode you can select a Performance from 128 Preset

Performances and 128 User Performances and begin playing.

Performance

is comprised of up to four "Layers", or AWM2 voices

sounding at once—either playing simultaneously across the length of the

keyboard, or playing independently according to specified key and

velocity ranges.

There are many Performance parameters which you can edit by

offsetting

parameter values—i.e., adding to or subtracting from the values which

are preset for each voice. There are basically two ways to go about offsetting

the parameters—by turning the Sound Control Knobs, or using the Edit

Parameter Rotary Switch and Parameter Value UP/DOWN buttons.

Changing any parameter will automatically engage Performance Edit

mode. (You can easily switch back Performance Play mode by pressing

the PERFORMANCE button or PROGRAM [–]/[+] button.)

ATTACK

AMP EG

RELEASE ASSIGN 1/DATAVOLUME

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

Turning the Sound Control Knobs will give you direct access to the AMP

EG and FILTER parameters, thus providing analog-style realtime control

over key characteristics of the sound. You can also save up to two

"snapshots" of knob positions in Scenes, which can be instantly recalled

at the touch of a SCENE button.

Another way to edit a Performance is with the Edit Parameter Rotary

Switch and Parameter Value UP/DOWN buttons. These give you control

over both "Common" parameters which affect all Layer voices equally,

and "Layer" parameters which affect individual Layers, or AWM2 voices.

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

Edit Parameter Rotary Switch

Parameter Value UP/DOWN Buttons

In Performance mode there are six Edit menus of Common and Layer

parameters which can be accessed via the Edit Parameter Rotary Switch

and modified with the Parameter Value UP/DOWN buttons.

Try changing the voice assignments to each Layer. This is a quick and

effective way to create an entirely new Performance, which you can

easily store as a User Performance.

Assigning voices to the Layers is simple. Choose the Layer (1~4) with the

PART/LAYER [–]/[+] buttons, and select from a variety of AWM2

instrument voices and drum voices using the Bank and Program

Parameters (Layer Edit 4, sixth row from the top).

next to the Performance number, to indicate

that the edited sound has not been stored.

• Offset AMP EG and FILTER parameters to

change the shape and tone of the sound as

you play by turning the Sound Control Knobs.

• Replace the Layer voice assignment, or edit

other Performance Common and Layer

parameters, with the Edit Parameter Rotary

Switch and Parameter Value UP/DOWN

buttons.

• Press ARPEGGIATOR to turn it ON, and play

a chord to start the arpeggiated chords. Select

Arpeggiator Type, Tempo and other

parameters from the Common Edit 1 menu.

STORE

Store mode lets you store Scenes as well as

User Performances for later recall.

• Store your favorite Scenes, or "snapshots" of

Sound Control Knob positions, in the currently

selected Performance. (See page 44.)

• Store your own Performances in the 128 User

Performance memories. (See page 44.)

PERFORMANCE

PLAY

Performance Play mode lets you select a

Preset or User Performance for realtime play.

• Press the PERFORMANCE button to enter

Performance mode (if you're in a different

mode).

• Press either the PRESET or USER button to

select the Preset or User Performance bank.

• Choose a Performance with the PROGRAM

[–]/[+] buttons.

• Use realtime control features as you play,

including the Pitch Bend and Modulation

Wheels.

• Transpose the octave up or down by holding

SHIFT and pressing PART/LAYER [–]/[+]. You

can transpose the pitch up ([+]) or down ([–])

by as many as three octaves, depending on

the Performance. (The transpose value will

also be reflected in the Utility mode's

Keyboard Transpose function. NOTE:

Maximum is ±3 octaves; however, when you

raise or lower the pitch in semitones, for

example, three octaves cannot be achieved

using the SHIFT button.)

PERFORMANCE EDIT

Making any adjustment—either intentionally

or inadvertently—to any parameter will

engage Performance Edit mode. When

exiting from the Performance Edit mode (by

pressing PERFORMANCE or PROGRAM

[–]/[+]), an "E" will be displayed in the LCD

Basic

Operations In

Performance

Mode

Basic

Operations In

Performance

Mode

Performance Structure

007

006

005

004

003

002

001

VOICE

Layer 3

VOICE

001

Performance

Layer 4

Layer 2

VOICE

Preset Bank User Bank

128 Performance

007

006

005

004

003

002

001

128 Performance

Layer 1

VOICE

PERFORMANCE MULTI

DEMO

STORE UTILITY

TYPE

BANK

P BEND

RANGE

NOTE

SFT

ATK

TIME

ATK

TIME

MASTER

TUNE

TEMPO

ARPEGGIATOR PERFORM

LEVEL

EFECT

PROGRAM

SYSTEM MIDI ASSIGN

PMOD

DETUNE

DCY

TIME

DCY

TIME

KBD

TRANS

SUB

DIVIDE

VOLUME

FMOD

REV

TYPE

CUTOFF

FC PORTA

VEL ASSIGN2

LFO

PEG

CHO

TYPE

VARI

TYPE

SWITCH

VARI

PARAM

TIME

VARI

DATA

FMOD

LIMIT

LOW

TUNE

AEG

FEG

NOTE

SUS

LEVEL

SUS

LEVEL

VEL

CURVE

PAN

CUTOFF

LIMIT

HIGH

REL

TIME

REL

TIME

VEL

FIX

REV

SEND

LIMIT

LOW

AMOD

INIT

LEVEL

TRANS

CHO

SEND

LIMIT

HIGH

PMOD

ATK

TIME

EFFECT

RCV

VARI

SEND

OFFSET

FMOD

ATK

LEVEL

DEVICE

CUTOFF

FILTER

DEPTH

WAVE

DCY

TIME

LOCAL

REZ

PARAM

SPEED

REL

TIME

BULK

DUMP

PERFORM

NAME

POLY/

MONO

ASSIGN1

PARAM

DATA

PHASE

INIT

REL

LEVEL

CTRL

COMMON

LAYER

UTILITY

LAYER EDIT

COMMON EDIT

REAL TIME EDIT with

THE SOUND CONTROL KNOBS

STORE IN USER BANK

SAVE AS SCENE 1 or 2

ATTACK

AMP EG

RELEASE ASSIGN 1/DATA

CUTOFF

FILTER

RESONANCE ASSIGN 2

MW/FC

SCENE

! PERFORMANCE BANKS - The CS1x comes preprogrammed with

128 Preset Performances and 128 User Performances. You can edit

the Layers of the currently selected Performance and store it in a User

Performance.

" LAYERS - A Performance consists of up to four Layers—each Layer

can be assigned its own AWM2 voice. There are many Layer and

Common Performance parameters which can be edited.

# AMP EG/FILTER - Turning the Sound Control Knobs will affect all

Layers equally by offsetting AMP EG parameters to control the shape

of the volume of the sound over time, and FILTER parameters to control

the quality of the tone. In Edit mode you can assign which parameters

the ASSIGN 1 and ASSIGN 2 knobs will control.

$ COMMON EDIT 1~2 - These are "Common" parameters which affect

all Layers in the Performance equally.

% LAYER EDIT 1~4 - These are "Layer" parameters which let you modify

the characteristics of each individual Layer. Select the Layer you want

to edit using the PART/LAYER [–]/[+] buttons.

Storing User Performances

Storing your own User Performance is a quick and simple operation.

1. To store the current Performance, press the STORE button once.

2. Choose a User Performance number (1~128) using the numeric

keypad.

3. Press ENTER.

A "Sure?" prompt will appear in the LCD. Press YES to store the

Performance. Press NO to abort the operation.

Scenes

There are two "Scene" memories dedicated to each Performance. Scenes

are simply "snapshots" of specific positions of the Sound Control Knobs—

instantly accessible via the SCENE buttons.

You can select one of the Scenes by pressing the SCENE 1 or SCENE

2 button. Or you can hold one SCENE button and press the other,

then use the Modulation Wheel or Foot Controller for realtime

continuous parameter changes between one Scene and the other.

The default controller is Modulation Wheel. The minimum position

of the controller is Scene1, and the maximum position is Scene 2.

Storing Scenes

You can easily store your own Scenes in a Performance—either

temporarily or permanently.

To store a Scene temporarily in the currently selected Performance, hold

a SCENE button and press STORE.

This will store the Scene in the edit buffer as long as the current Performance

is selected, so that the original Scenes are protected. If you select another

Performance, any new Scenes will be lost.

To store a Scene permanently in a Performance, simply perform the Store

operation for User Performances. (See

Storing User Performances

, above.)

Multi Play

Mode

In Multi Play mode you can select a voice from the GM bank of 128

AWM2 voices (accessible via the PROGRAM [–]/[+] buttons) and start

playing in realtime.

Multi Play mode lets you use the CS1x as a master keyboard controller or

MIDI note data input device, as well as a multitimbral tone generator.

Multi

is a configuration of up to 16 instrument "Parts" (each Part is

assigned to a MIDI channel) which can be played simultaneously when

an external sequencer or computer is connected to the CS1x.

Choose the Part with the PART/LAYER [–]/[+] buttons, and assign a voice

to it by selecting from the 480 GM- and XG-compatible AWM2 normal

(instrument) voices and 11 drum voices (kits), using the Edit menu Bank

and Program Parameter Value UP/DOWN button.

In Multi Play mode there is one menu of Edit parameters which can be

accessed via the Parameter Value UP/DOWN button.

Turning the Sound Control Knobs will affect only a single AWM2 voice,

i.e., the currently selected Part.

Multi Structure

Part 1~16

BANK

PROGRAM

VOLUME

PAN

EFFECT

FILTER

POLY/MONO

PART SELECT

PART SELECT - In Multi Play mode each "Part" is made up of an AWM2

voice. You can select and play any of the 16 Parts by pressing the PART/

LAYER [–]/[+] buttons. Since the notes you play on the keyboard and the

buttons you press on the panel are sending MIDI messages, the CS1x is

ideal as a MIDI input device.

EDITING PARTS - Select the Part you want to edit using the PART/LAYER

[–]/[+] buttons. Each of the Multi parameters are printed above the

Parameter Value UP/DOWN button. To set up your own 16 Parts, assign

a voice to the Part using the Bank and Program parameters accessible by

the first two Parameter Value UP/DOWN buttons. (Note that these settings

will not be retained when the power is turned off, since the XG default

parameters are always reinstated when the power is turned on. If you

insert voice Program Change messages at the head of your sequences,

however, the right Part voices will always be selected automatically when

you start your sequencer from the beginning of the song.)

MULTITIMBRAL PLAY - As a GM- and XG-compatible multitimbral

MIDI tone generator, the CS1x can receive note and other data on each

of the 16 MIDI channels, sent from an external sequencer or computer,

thus playing the corresponding 16 Parts.

XG Operation

The CS1x is a fully equipped, stand-alone XG-MIDI tone generator,

featuring a total of 480 normal voices and 11 drum voices.

The XG format maintains the universality and compatibility of the MIDI

and General MIDI System Level 1 standards, while significantly increasing

the range of expressiveness through much greater control over voice

modifications and effects.

In addition to supporting the 128 GM voices, the XG format provides for

Bank Select messages that significantly expand the number of voices

available for use.

Many of the new XG voices are variations of basic GM voices which are

stored in additional banks. Each bank is associated with a specific type of

variation, so that voices are easy to locate. When using an external

sequencer to control the CS1x, additional banks are selected by the

appropriate Bank-Select LSB values.

The XG format also supports a full SFX bank of extension effects, which

are selected by a Bank-Select MSB value of 40H. Bank-Select MSB 7H,

in contrast, can be used to set any channel to rhythm-part play.

The XG format allows creation of extremely expressive control data which

can change a voice's Harmonic Contents, Brightness, and many more

critical Control Change and other parameters.

The XG format also offers high level effects support, enabling control of

effects types, circuit operation, plus internal parameter settings for both

basic and elaborate effects. This means you can freely control the

parameters of the CS1x's 11 Reverb, 11 Chorus and 43 Variation types of

effects independently.

(For more information about MIDI related parameters, see the

Appendix

page 53.)

The CS1x also features another play mode —TG300B mode— which

lets you play back commercially available MIDI files in this format.

Страница загружается ...

Yamaha CS1X Инструкция по применению

Бренд: Yamaha

Модель: CS1X

Категория: Синтезаторы

Тип: Инструкция по применению

Скачать PDF

сообщить о нарушении

на других языках

English: Yamaha CS1X Owner's manual
français: Yamaha CS1X Le manuel du propriétaire
italiano: Yamaha CS1X Manuale del proprietario
español: Yamaha CS1X El manual del propietario
Deutsch: Yamaha CS1X Bedienungsanleitung
Nederlands: Yamaha CS1X de handleiding
português: Yamaha CS1X Manual do proprietário
dansk: Yamaha CS1X Brugervejledning
polski: Yamaha CS1X Instrukcja obsługi
čeština: Yamaha CS1X Návod k obsluze
svenska: Yamaha CS1X Bruksanvisning
Türkçe: Yamaha CS1X El kitabı
suomi: Yamaha CS1X Omistajan opas
română: Yamaha CS1X Manualul proprietarului

Модели других брендов

Behringer UMX610 Инструкция по применению

Yamaha CS1X Инструкция по применению

Yamaha CS1X Инструкция по применению

на других языках

Похожие модели бренда

Модели других брендов