Yamaha CVP-601 Инструкция по применению

CVP

-

601

Reference Manual

This Reference Manual explains advanced features of this instrument that are not explained in the Owner’s Manual.

Please read the Owner’s Manual ﬁrst, before reading this Reference Manual.

EN

2 CVP-601 Reference Manual

Contents

1 Performing Piano Songs on the Clavinova 3

2 Voices

– Playing the Keyboard – 3

Voice Characteristics .........................................................3

Selecting GM&XG, MegaVoices and Other Voices

from the Panel....................................................................5

Selecting the Harmony/Echo type......................................6

Pitch-Related Settings .......................................................8

Editing Voices (Voice Set) ...............................................10

Editing Organ Flutes Parameters.....................................16

3Styles

– Playing Rhythm and Accompaniment – 17

Selecting the Chord Fingering Type ................................17

Style Playback Related Settings ......................................19

Split Point Settings...........................................................21

Calling up the Panel Settings to Match the Style

(Repertoire)......................................................................22

Memorizing an Original One Touch Setting .....................23

Confirming the One Touch Setting contents ....................23

Creating/Editing Styles (Style Creator) ............................24

4 Song Playback

– Playing and Practice Songs – 38

Editing Music Notation Settings .......................................38

Using the Auto Accompaniment Features with

Song Playback .................................................................40

Song Playback Related Parameters

(Repeat settings, Channel settings, Guide Function) ......41

5 Song Recording via MIDI

– Recording Your Performance via MIDI – 45

Creating/Editing Songs (Song Creator) ...........................45

6 USB Audio

– Playback and Recording Audio Files – 60

7 Music Finder

– Calling Up Ideal Setups (Voice, Style, etc.)

for Each Song – 60

Registering a Song, Audio or Style File

(SONG/AUDIO/STYLE) ...................................................60

Creating a Set of Favorite Records..................................62

Editing Records................................................................63

Saving the Record as a Single File..................................64

8 Registration Memory

– Saving and Recalling Custom Panel Setups –65

Deleting or renaming the Registration .............................65

Confirming the Registration Memory Information ............66

Disabling Recall of Specific Items (Freeze) .....................67

Calling Up Registration Memory Numbers in Order

(Registration Sequence) ..................................................68

9 Mixing Console

– Editing the Volume and Tonal Balance – 71

Editing VOL/VOICE Parameters ......................................71

Editing FILTER Parameters .............................................73

Editing TUNE Parameters................................................73

Editing EFFECT Parameters ...........................................74

Editing EQ Parameters ....................................................76

10 Connections

– Using Your Instrument with Other Devices – 78

Footswitch/Foot Controller Settings .................................78

MIDI Settings ...................................................................82

11 Utility

– Making Global Settings – 88

CONFIG1 .........................................................................88

CONFIG2 .........................................................................90

MEDIA..............................................................................92

OWNER ...........................................................................93

SYSTEM RESET .............................................................94

12 Index 96

* Each chapter in this Reference Manual corresponds to the relevant chapters in the Owner’s Manual

• The illustrations and LCD screens as shown in this manual are for instructional purposes only, and may appear somewhat dif-

ferent from those on your instrument.

• The company names and product names in this manual are the trademarks or registered trademarks of their respective companies.

Using the PDF manual

• To quickly jump to items and topics of interest, click on the desired items in the “Bookmarks” index to the left

of the main display window. (Click the “Bookmarks” tab to open the index if it is not displayed.)

• Click the page numbers that appear in this manual to go directly to the corresponding page.

• Select “Find” or “Search” from the Adobe Reader “Edit” menu and enter a keyword to locate related informa-

tion anywhere in the document.

NOTE The names and positions of menu items may vary according to the version of Adobe Reader being used.

2

CVP-601 Reference Manual 3

1

Performing Piano Songs on

the Clavinova

These operations are fully explained in the Owner’s Manual. Refer to the corresponding chapter in

the Owner’s Manual.

Voices

– Playing the Keyboard –

Contents

Voice Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Selecting GM&XG, MegaVoices and Other Voices from the Panel . . . . . . . . . . . . . . . . . . . . . . . 5

Selecting the Harmony/Echo type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Pitch-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

• Fine-tuning the Pitch of the Entire Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

• Scale Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

• Changing the Part Assignment of the TRANSPOSE Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Editing Voices (Voice Set) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

• Editable Parameters in the VOICE SET Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

• Disabling Automatic Selection of Voice Sets (Effects, etc.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Editing Organ Flutes Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The Voice type and its defining characteristics are indicated above the Voice name in the Voice Selection display.

Voice Characteristics

S.Articulation! See the Owner’s Manual, chapter 2.

Natural! These rich and luscious Voices are comprised mostly of keyboard instrument sounds

and are especially intended for playing piano and other keyboard parts. They also take

full advantage of Yamaha’s advanced sampling technology such as Stereo Sampling,

Sustain Sampling, and Key-off Sampling.

Live! These acoustic instrument sounds were sampled in stereo, to produce a truly authentic,

rich sound — full of atmosphere and ambience.

Cool! These Voices capture the dynamic textures and subtle nuances of electric instruments

— thanks to a huge amount of memory and some very sophisticated programming.

Sweet! These acoustic instrument sounds also benefit from Yamaha’s sophisticated technology

— and feature a finely detailed and natural sound.

Voices – Playing the Keyboard –

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Voices – Playing the Keyboard –

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NOTE MegaVoices are not compatible with other models even though the model may have those types of Voices installed. Any Song or Style data you’ve created

on the instrument using these Voices will not sound properly when played back on other instruments.

NOTE MegaVoices sound differently depending on the keyboard range, velocity, touch, etc. Hence, if you apply a HARMONY/ ECHO effect, change the trans-

pose setting or change the Voice Set parameters, unexpected or undesired sounds may result.

Drums Various drum and percussion sounds are assigned to individual keys, letting you play

the sounds from the keyboard.

SFX Various special effect sounds are assigned to individual keys, letting you play the

sounds from the keyboard.

Organ Flutes! This authentic organ Voice lets you use the Voice Set to adjust the various footages and

craft your own original organ sounds. See page 16 for details.

MegaVoice These Voices make special use of velocity switching. Normal voices use velocity

switching, too — to change the sound quality and/or level of a voice according to how

strongly or softly you play it. This makes the voice sound authentic and natural. With

MegaVoices, however, each velocity range (the measure of your playing strength) has a

completely different sound. For example, a guitar MegaVoice includes the sounds of

various performance techniques. In conventional instruments, different Voices having

those sounds would be called up via MIDI and played in combination to achieve the

desired effect. However, now with MegaVoices, a convincing guitar part can be played

with just a single Voice, using specific velocity values to play the desired sounds.

Because of the complex nature of these Voices and the precise velocities need to play

the sounds, they’re not intended for playing from the keyboard. They are, however, very

useful and convenient when creating MIDI data — especially when you want to avoid

using several different Voices just for a single instrument part.

Actual sound maps for the MegaVoices are given in the separate Data List booklet that

comes with your instrument.

MEGAEnhancer

– Converting MIDI Songs to Songs for MegaVoice playing –

MEGAEnhancer allows conversion of conventional XG/GM song data to song data optimized for use

with the MegaVoice feature on a compatible instrument or tone generator. MEGAEnhancer makes MIDI

guitar and bass tracks come to life, with enhanced realism and expression. MEGAEnhancer can be

downloaded from the Internet.

Yamaha Downloads

http://download.yamaha.com/

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Voices – Playing the Keyboard –

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The GM&XG Voices and MegaVoice cannot be directly called up from the VOICE category selection buttons.

However, they can be called up via panel operation by following the procedure below.

1 In the Main display, select the keyboard part to which the desired Voice is to be

assigned.

2 Press one of the VOICE category selection buttons to call up the Voice Selection

display.

3 Press the [8] (UP) button to call up the Voice categories.

4 Press the [2] (P2) button to display Page 2.

5 Press the desired [A] – [J] button to call up the Voice Selection display of GM&XG

Voices, GM2 Voices, etc.

MegaVoices are in the “Guitar” folder in the “StyleVoices” category.

6 Select the desired Voice.

Selecting GM&XG, MegaVoices and Other Voices from the Panel

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Voices – Playing the Keyboard –

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This function lets you apply harmonies to your right hand performance according to the chords you play with

your left hand, and trigger automatic echo or tremolo even by pressing a single note or two notes.

1 Press the [VOICE EFFECT] button.

2 Turn the Harmony/Echo on by pressing the [I] (HARMONY/ECHO) button.

3 Call up the operation display by pressing the [J] (TYPE SELECT) button.

4 Use the [1] – [3] buttons to select the Harmony/Echo type.

The Harmony/Echo types are divided into the following groups, depending on the particular effect applied.

 Harmony Types

When one of the Harmony Types is selected, the Harmony effect is applied to the note played in the right-

hand section of the keyboard according to the type selected above and the chord specified in the chord

section of the keyboard shown below.

Selecting the Harmony/Echo type

Harmony Types

These types apply the harmony effect to notes played in the right-hand section of

the keyboard according to the chord specified in the left-hand section of the key-

board. (Note that the “1+5” and “Octave” settings are not affected by the chord.)

Multi Assign Type

This type applies a special effect to chords played in the right-hand section of the

keyboard.

Echo Types

These types apply echo effects to notes played in the right-hand section of the

keyboard in time with the currently set tempo.

Split Point

(for the Voice)

LEFT Voice and chord section

for Harmony effect

RIGHT 1 and 2 Voices

Chord section for Style playback

and Harmony effect

Chord section for

Style playback and

Harmony effect

Split Point

(for Style playback)

Split Point

LEFT Voice

RIGHT 1 and 2

Voices

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Voices – Playing the Keyboard –

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 Multi Assign Type

The Multi Assign effect automatically assigns notes played simultaneously on the right-hand section of

the keyboard to separate parts (Voices). Both keyboard parts [RIGHT 1] and [RIGHT 2] should be turned

on when using the Multi Assign effect. The Right 1 and Right 2 Voices are alternately assigned to the

notes in the order you play.

 Echo Types

When one of the Echo Types is selected, the corresponding effect (echo, tremolo, trill) is applied to the

note played in the right-hand section of the keyboard in time with the currently set tempo, regardless of the

[ACMP ON/OFF] and the LEFT part on/off status. Keep in mind that Trill works when you hold down two

notes on the keyboard simultaneously (last two notes if more than two notes are held), and it plays those

notes alternately.

5 Use the [4] – [8] buttons to select various Harmony/Echo settings.

The available settings differ depending on the Harmony/Echo type.

[4] VOLUME This parameter is available for all types with the exception of “Multi

Assign.” It determines the level of the harmony/echo notes generated by

the Harmony/Echo effect.

[5] SPEED This parameter is only available when Echo, Tremolo, or Trill is selected

in Type above. It determines the speed of the Echo, Tremolo, and Trill

effects.

[6] ASSIGN This parameter is available for all types with the exception of “Multi

Assign.” This lets you determine the keyboard part via which the har-

mony/echo notes will be sounded.

[7] CHORD NOTE

ONLY

This parameter is available when one of the Harmony Types is selected.

When this is set to “ON,” the Harmony effect is applied only to the note

(played in the right-hand section of the keyboard) that belongs to a chord

played in the chord section of the keyboard.

[8] TOUCH LIMIT This parameter is available for all types with the exception of “Multi

Assign.” It determines the lowest velocity value at which the harmony

note will sound. This allows you to selectively apply the harmony by your

playing strength, letting you create harmony accents in the melody. The

harmony effect is applied when you play the key strongly (above the set

value).

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Voices – Playing the Keyboard –

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Fine-tuning the Pitch of the Entire Instrument

You can fine-tune the pitch of the entire instrument — a useful feature when playing the Clavinova along with

other instruments or CD music. Please note that the Tuning function does not affect the Drum Kit or SFX Kit

Voices with name “*** kit” and audio files.

1 Call up the operation display.

[FUNCTION]  [A] MASTER TUNE/SCALE TUNE  TAB [ ][ ] MASTER TUNE

2 Use the [4]/[5] buttons to set the tuning in 0.2 Hz steps, from 414.8–466.8 Hz.

Press the both 4 or 5’s [



] and [



] buttons simultaneously to reset the value to the factory setting of 440.0 Hz.

Scale Tuning

You can select various scales for playing in custom tunings for specific historical periods or music genres.

1 Call up the operation display.

[FUNCTION]  [A] MASTER TUNE/SCALE TUNE  TAB [ ][ ] SCALE TUNE

2 Use the [A]/[B] buttons to select the desired scale.

 Preset Scale types

Pitch-Related Settings

EQUAL The pitch range of each octave is divided equally into twelve parts, with each

half-step evenly spaced in pitch. This is the most commonly used tuning in

music today.

PURE MAJOR, PURE

MINOR

These tunings preserve the pure mathematical intervals of each scale, especially

for triad chords (root, third, fifth). You can hear this best in actual vocal harmo-

nies — such as choirs and a cappella singing.

PYTHAGOREAN This scale was devised by the famous Greek philosopher and is created from a

series of perfect fifths, which are collapsed into a single octave. The 3rd in this

tuning are slightly unstable, but the 4th and 5th are beautiful and suitable for

some leads.

MEAN-TONE This scale was created as an improvement on the Pythagorean scale, by making

the major third interval more “in tune.” It was especially popular from the 16th

century to the 18th century. Handel, among others, used this scale.

The tuning of each note for the cur-

rently selected scale is shown.

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Voices – Playing the Keyboard –

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3 Change the following settings as necessary.

NOTE

To register the Scale Tune settings to the Registration Memory, be sure to checkmark the SCALE item in the REGISTRATION MEMORY CONTENTS display.

Changing the Part Assignment of the TRANSPOSE Buttons

You can determine to which part (keyboard, Song or both) the TRANSPOSE [-]/[+] buttons are applied. This

lets you transpose the pitch of the keyboard but not that of the Song (or vice versa) — allowing you to play

along with a Song in a more comfortable key, for example.

1 Call up the operation display.

[FUNCTION]  [D] CONTROLLER  TAB [ ][ ] KEYBOARD/PANEL

2 Use the [A]/[B] buttons to select “2. TRANSPOSE ASSIGN.”

3 Press the [4]/[5] buttons to select the desired transpose type.

You can confirm the setting here by viewing the pop-up window called up via the TRANSPOSE [-]/[+] buttons.

WERCKMEISTER,

KIRNBERGER

This composite scale combines the Werckmeister and Kirnberger systems,

which were themselves improvements on the mean-tone and Pythagorean

scales. The main feature of this scale is that each key has its own unique charac-

ter. The scale was used extensively during the time of Bach and Beethoven, and

even now it is often used when performing period music on the harpsichord.

ARABIC1, ARABIC2 Use these tunings when playing Arabic music.

[2] BASE NOTE Determines the base note for each scale. When the base note is changed,

the pitch of the keyboard is transposed, yet maintains the original pitch

relationship between the notes.

[3] –

[5]

TUNE Select the desired note to be tuned by using the [3] buttons and tune

it in cents by using the [4]/[5] buttons.

NOTE In musical terms a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)

[6]/

[7]

PART SELECT Select the part to which the Scale Tune setting is applied by using the

[6]/[7] buttons. Then press the [8] button to add a check-

mark or press the [8] button to remove the checkmark.

[8] MARK ON/OFF

KEYBOARD When this is selected, the TRANSPOSE [-]/[+] buttons affect the pitch of key-

board played Voices and Style playback (controlled by the performance in the

chord section of the keyboard) — but they do not affect Song playback.

SONG When this is selected, the TRANSPOSE [-]/[+] buttons affect only the pitch of

Song playback.

MASTER When this is selected, the TRANSPOSE [-]/[+] buttons affect the overall pitch

of the instrument, except audio playback.

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Voices – Playing the Keyboard –

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The instrument has a Voice Set feature that allows you to create your own Voices by editing some parameters

of the existing Voices. Once you’ve created a Voice, you can save it as a User Voice to the USER drive or

external devices for future recall.

1 Select the desired Voice (other than an Organ Flutes Voice).

Organ Flutes Voices have a different editing method than described here. For instructions on editing the

Organ Flutes Voices, see page 16.

2 Press the [6] (VOICE SET) button to call up the VOICE SET display.

3 Use the TAB [ ][ ] buttons to call up the relevant setting display.

For information on the available parameters in each display, see the “Editable Parameters in the VOICE

SET Displays” on page 11.

4 As necessary, use the [A]/[B] buttons to select the item (parameter) to be edited and

edit the Voice by using the [1] – [8] buttons.

By pressing the [D] (COMPARE) button, you can compare the sound of the edited Voice with the original

(unedited) Voice.

5 Press the [I] (SAVE) button to save your edited Voice as a User Voice.

NOTICE

The settings will be lost if you select another Voice or turn the power to the instrument off without executing the Save operation.

Editing Voices (Voice Set)

5

3

4

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Voices – Playing the Keyboard –

2

Editable Parameters in the VOICE SET Displays

The Voice Set parameters are organized into six different displays. The parameters in each display are

described separately, below.

NOTE The available parameters differ depending on the Voice.

 PIANO Page

This display is available only when the Natural! piano Voice (page 3) is selected.

 COMMON Page

[1]/

[2]

TUNING

CURVE

Determines the tuning curve. Select “FLAT” if you feel the tuning curve

of the piano Voice does not quite match that of other instruments Voices.

STRETCH: Tuning curve commonly used for solo piano performance.

FLAT: Tuning curve in which the frequency is octave doubled over the

entire keyboard range.

[3]/

[4]

KEY OFF

SAMPLE

Adjusts the volume of the key-off sound (the subtle sound that occurs

when you release a key).

[5]/

[6]

SUSTAIN

SAMPLE

Adjusts the depth of sustain sampling for the damper pedal.

[7]/

[8]

STRING

RESONANCE

Adjusts the depth of string resonance.

[1] VOLUME Adjusts the volume of the current edited Voice.

[2]/

[3]

TOUCH SENSE Adjusts the touch sensitivity (velocity sensitivity), or how greatly the

volume responds to your playing strength.

DEPTH

Determines the velocity sensitivity, or how much the level of the Voice

changes in response to your playing strength (velocity).

OFFSET

Determines the amount by which received velocities are adjusted for the

actual velocity effect.

0

64 127

64

127

0

64 127

64

127

Actual Velocity for

tone generator

Depth = 127 (twice)

Depth = 64 (normal)

Depth = 32 (half)

Depth = 0

TOUCH SENSE DEPTH

Changes to velocity curve according to

VelDepth (with Offset set to 64)

Received Velocity

(Actual KeyOn speed)

TOUCH SENSE OFFSET

Changes to velocity curve according to

VelOffset (with Depth set to 64)

Actual Velocity for tone

generator

Received Velocity

(Actual KeyOn speed)

Offset = 96 (+64)

Offset = 127 (+127)

Offset = 64 (normal)

Offset = 32 (-64)

Offset = 0 (-127)

Depends

on offset

Depends

on offset

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Voices – Playing the Keyboard –

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 CONTROLLER Page

1 CENTER PEDAL

2 LEFT PEDAL

These allow you to select the function to be assigned to the center or left pedal.

3 MODULATION

When a pedal function is assigned to MODULATION, the pedal can be used to modulate the parameters

below as well as the pitch (vibrato). Here, you can set the degree to which the pedal modulates each of the

following parameters.

[4]/

[5]

PART OCTAVE Shifts the octave range of the edited Voice up or down in octaves. When

the edited Voice is used as any of the RIGHT 1–2 parts, the R1/R2

parameter is available; when the edited Voice is used as the LEFT part,

the LEFT parameter is available.

[6] MONO/POLY Determines whether the edited Voice is played monophonically or poly-

phonically.

[7] PORTAMENTO

TIME

Sets the portamento time (pitch transition time) when the edited Voice is

set to “MONO” above.

NOTE The Portamento Time determines the pitch transition time. Portamento is a function that creates a

smooth transition in pitch from the first note played on the keyboard to the next.

[1] FUNCTION Selects the function to be assigned to the center or left pedal. For details

on the pedal functions, see page 78.

[2] –

[8]

RIGHT 1,

RIGHT 2, LEFT,

etc.

Determines whether the assigned function is effective or not for the

respective keyboard part. This also determines the depth for the

function. For details, see page 78.

[2] FILTER Determines the degree to which the pedal modulates the Filter Cutoff

Frequency. For details about the filter, see page 13.

[3] AMPLITUDE Determines the degree to which the pedal modulates the amplitude (vol-

ume).

[5] LFO PMOD Determines the degree to which the pedal modulates the pitch, or the

vibrato effect.

[6] LFO FMOD Determines the degree to which the pedal modulates the Filter modula-

tion, or the wah effect.

[7] LFO AMOD Determines the degree to which the pedal modulates the amplitude, or

the tremolo effect.

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Voices – Playing the Keyboard –

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 SOUND Page

FILTER

Filter is a processor that changes the timbre or tone of a sound by either blocking or passing a specific

frequency range. The parameters below determine the overall timbre of the sound by boosting or cutting a

certain frequency range. In addition to making the sound either brighter or mellower, Filter can be used to

produce electronic, synthesizer-like effects.

EG

The EG (Envelope Generator) settings determine how the level of the

sound changes in time. This lets you reproduce many sound

characteristics of natural acoustic instruments — such as the quick

attack and decay of percussion sounds, or the long release of a

sustained piano tone.

VIBRATO

Vibrato is a quavering, vibrating sound effect that is produced by

regularly modulating the pitch of the Voice.

[1] BRIGHT

(Brightness)

Determines the cutoff frequency or

effective frequency range of the fil-

ter (see diagram). Higher values

result in a brighter sound.

[2]HARMO.

(Harmonic

content)

Determines the emphasis given to

the cutoff frequency (resonance),

set in BRIGHT. above (see dia-

gram). Higher values result in a

more pronounced effect.

[3] ATTACK Determines how quickly the sound reaches its maximum level after the

key is played. The lower the value, the quicker the attack.

[4] DECAY Determines how quickly the sound reaches its sustain level (a slightly

lower level than maximum). The lower the value, the quicker the decay.

[5] RELES.

(Release)

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

released. The lower the value, the quicker the decay.

[6] DEPTH Determines the intensity of the Vibrato effect. Higher settings result in a

more pronounced Vibrato.

[7] SPEED Determines the speed of the Vibrato effect.

[8] DELAY Determines the amount of time that elapses between the playing of a key

and the start of the Vibrato effect. Higher settings increase the delay of

the Vibrato onset.

Volume

These frequencies are

“passed” by the filter.

Cutoff

range

Frequency

(pitch)

Cutoff Frequency

Volume

Frequency (pitch)

Resonance

Time

Level

Key on Key off

Sustain

Level

ATTACK DECAY RELEASE

Pitch

DELAY

SPEED

DEPTH

Time

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 EFFECT/EQ Page

1 REVERB DEPTH/CHORUS DEPTH/DSP DEPTH/VIB ROTOR

2 DSP

3 EQ

Determines the Frequency and Gain of the Low and High EQ bands. For information about EQ, refer to

page 76.

 HARMONY Page

Harmony sets the Right 1 and 2 parts together. Select the Right 1 part in the Main display, before you set it.

This has the same settings as the display of “Selecting the Harmony/Echo type” page 6 in step 3.

[1]/

[2]

REVERB

DEPTH

Adjusts the reverb depth.

[3]/

[4]

CHORUS

DEPTH

Adjusts the chorus depth.

[5] DSP ON/OFF Determines whether the DSP is on or off.

[6] DSP DEPTH Adjusts the DSP depth.

If you want to re-select the DSP type, you can do so in the “2 DSP”

menu explained below.

[7] VIBE ROTOR This will be displayed only if VIBE VIBRATE is selected for the

DSP Type parameter explained below. Determines whether VIBE

VIBRATE should be set to on or off when selecting the Voice.

[1] –

[4]

DSP TYPE Selects the DSP effect category and type. Select a type after selecting

a category.

[5] –

[8]

VARIATION A Variation parameter is provided for each DSP type. Turning this on

or off (in ON/OFF below), lets you instantly and significantly change

the sound of the DSP effect. Here, you can edit the VARIATION on/

off status and variation’s parameter value setting.

[5] ON/OFF Determines whether the VARIATION is on or off. If you select

VARIATION ON here, a variation of the DSP effect is assigned to the

Voice. The variation parameter value can be adjusted in the VALUE

menu explained below. If you select VARIATION OFF, standard vari-

ation of DSP is assigned.

PARAMETER Displays the variation parameter. (This differs depending on the

effect type and cannot be changed.)

[6] –

[8]

VALUE Adjusts the value of the DSP variation parameter.

CVP-601 Reference Manual 15

Voices – Playing the Keyboard –

2

Disabling Automatic Selection of Voice Sets (Effects, etc.)

Each Voice is linked to its default VOICE SET parameter settings. Usually these settings are automatically

called up when a Voice is selected. However, you can also disable this feature by the operation in the relevant

display as explained below.

For example, if you want to change the Voice yet keep the same Harmony effect, set the HARMONY/ECHO

parameter to OFF (in the display explained below).

1 Call up the operation display.

[FUNCTION]  [E] REGIST SEQUENCE/FREEZE/VOICE SET  TAB [ ][ ] VOICE SET

2 Use the [A]/[B] buttons to select a keyboard part.

3 Use the [4] – [8] buttons to enable/disable automatic calling up of the settings

(ON or OFF) independently for each parameter group.

2

3

16 CVP-601 Reference Manual

Voices – Playing the Keyboard –

2

The Organ Flute Voices selected from the [ORGAN FLUTES] button can be edited by adjusting the footage

levers, adding the attack sound, applying effects and equalizer, etc.

NOTICE

After editing, go to the Voice Selection display by pressing the [I] (PRESETS) button and save the setting. The settings will be lost if you

select another Voice or turn the power to the instrument off without executing the Save operation.

 FOOTAGE Page

Refer to the Owner’s Manual, chapter 2.

 VOLUME/ATTACK Page

 EFFECT/EQ Page

Same parameters as in the VOICE SET “EFFECT/EQ” Page explained on page 14.

Editing Organ Flutes Parameters

[1] VOL (Volume) Adjusts the overall volume of the Organ Flutes. The longer the graphic

bar, the greater the volume.

[2] RESP

(Response)

Affects both the attack and release (page 13) portion of the sound,

increasing or decreasing the response time of the initial swell and

release, based on the FOOTAGE controls. The higher the value, the

slower the swell and release.

[3] VIB. SPEED Determines the speed of the vibrato effect controlled by the VIBRATO

ON/OFF ([F]/[G] buttons) and VIBRATO DEPTH ([H] button).

[4] MODE The MODE control selects one of two modes: FIRST and EACH. In the

FIRST mode, attack (percussive sound) is applied only to the first notes

played and held simultaneously; while the first notes are held, any sub-

sequently played notes have no attack applied. In the EACH mode,

attack is applied equally to all notes.

[5] –

[7]

4', 2 2/3', 2' These determine the attack sound volume of the ORGAN FLUTE

Voice. The 4', 2-2/3' and 2' controls increase or reduce the volume of

attack sound at the corresponding footages. The longer the graphic bar,

the greater the attack sound volume.

[8] LENG (Length) Affects the attack portion of the sound producing a longer or shorter

decay immediately after the initial attack. The longer the graphic bar,

the longer the decay.

Same as the

FOOTAGE Page.

3

Styles – Playing Rhythm and Accompaniment –

CVP-601 Reference Manual 17

Styles

– Playing Rhythm and Accompaniment –

Contents

Selecting the Chord Fingering Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Style Playback Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Split Point Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Calling up the Panel Settings to Match the Style (Repertoire) . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Memorizing an Original One Touch Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Confirming the One Touch Setting contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Creating/Editing Styles (Style Creator). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

• Realtime Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

• Step Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

• Style Assembly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

• Editing the Rhythmic Feel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

• Editing Data for Each Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

• Making Style File Format Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

There are seven different Fingering Types which let you specify the chord root and type for Style playback.

1 Call up the operation display.

[FUNCTION]  [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING  TAB [ ][ ] CHORD

FINGERING

2 Press the [1] – [3] buttons to select a fingering.

For information on each fingering type, see page 18.

Selecting the Chord Fingering Type

Chord Tutor

If you know the name of a chord but don’t know how to play it, the Chord Tutor function conveniently

shows you which notes to play.

On the CHORD FINGERING display, specify the Chord Root and Chord Type by using the [6] –

[8] button. The notes you need to play are shown in the display.

NOTE Depending on the chord, some notes may be omitted.

18 CVP-601 Reference Manual

Styles – Playing Rhythm and Accompaniment –

3

Chord Fingering Types

NOTE “AI” stands for “Artificial Intelligence.”

SINGLE FINGER Makes it simple to produce orchestrated accompaniment using major, seventh,

minor and minor-seventh chords by pressing a minimum number of keys on the

Chord section of the keyboard. This type is available only for Style playback.

The abbreviated chord fingerings described below are used:

MULTI FINGER Automatically detects Single Finger or Fingered chord fingerings, so you can

use either type of fingering without having to switch fingering types.

FINGERED Lets you finger your own chords on the chord section of the keyboard, while

the instrument supplies appropriately orchestrated rhythm, bass, and chord

accompaniment in the selected Style. The Fingered type recognizes the various

chord types which are listed on the separate Data List booklet and can be

looked up using the Chord Tutor function on page 17.

FINGERED ON BASS Accepts the same fingerings as Fingered, but the lowest note played in the

Chord section of the keyboard is used as the bass note, allowing you to play

“on bass” chords. (In the Fingered mode, the root of the chord is always used

as the bass note.)

FULL KEYBOARD Detects chords in the entire key range. Chords are detected in a way similar to

Fingered, even if you split the notes between your left and right hands — for

example, playing a bass note with your left hand and a chord with your right, or

by playing a chord with your left hand and a melody note with your right.

AI FINGERED Basically the same as Fingered, with the exception that less than three notes

can be played to indicate the chords (based on the previously played chord,

etc.).

AI FULL KEYBOARD When this advanced fingering type is engaged, the instrument will automati-

cally create appropriate accompaniment while you play just about anything,

anywhere on the keyboard using both hands. You don’t have to worry about

specifying the Style chords. Although the AI Full Keyboard type is designed to

work with many songs, some arrangements may not be suitable for use with

this feature. This type is similar to Full Keyboard, with the exception that less

than three notes can be played to indicate the chords (based on the previously

played chord, etc.). 9th, 11th and 13th chords cannot be played. This type is

available only for Style playback.

Cm

C

Cm

7

C

7

For a major chord, press

the root key only.

For a minor chord, simulta-

neously press the root key

and a black key to its left.

For a seventh chord, simulta-

neously press the root key and

a white key to its left.

For a minor-seventh chord,

simultaneously press the root

key and both a white and

black key to its left.

CVP-601 Reference Manual 19

Styles – Playing Rhythm and Accompaniment –

3

The instrument has a variety of Style playback functions which can be accessed in the display below.

1 Call up the operation display.

[FUNCTION]  [C] STYLE SETTING/SPLIT POINT/CHORD FINGERING  TAB [ ][ ] STYLE

SETTING

2 Use the [1] – [8] buttons for each setting.

Style Playback Related Settings

[1] STOP ACMP When [ACMP ON/OFF] is turned on and [SYNC START] is off, you can

play chords in the chord section of the keyboard with the Style stopped,

and still hear the accompaniment chord. In this condition — called “Stop

Accompaniment” — any valid chord fingerings are recognized and the

chord root/type are shown in the display. Here, you can determine

whether the chord played in the chord section will sound or not in the

Stop Accompaniment status.

OFF

The chord played in the chord section will not sound.

STYLE

The chord played in the chord section will sound via the Voices for the

Pad part and the Bass channel of the selected Style.

FIXED

The chord played in the chord section will sound via the specified Voice,

regardless of the selected Style.

NOTE When the selected Style contains MegaVoices, unexpected sounds may result when this is set to

“STYLE.”

NOTE When you record a song, the chord detected by playing the Stop Accompaniment can be recorded

regardless of the setting here. Please note that both the Voice that is sounded and the chord data

will be recorded when set to “STYLE,” and only the chord data will be recorded when set to “OFF”

or “FIXED.”

[2] OTS LINK

TIMING

This applies to the OTS Link function. This parameter determines the

timing in which the One Touch Settings change with the MAIN VARIA-

TION [A] – [D] change. (The [OTS LINK] button must be on.)

REAL TIME

One Touch Setting is immediately called up when you press a MAIN

VA R I AT I O N b u t t o n .

NEXT BAR

One Touch Setting is called up at the next measure, after you press a

MAIN VARIATION button.

20 CVP-601 Reference Manual

Styles – Playing Rhythm and Accompaniment –

3

[3] SYNCHRO

STOP

WINDOW

This determines how long you can hold a chord before the Synchro Stop

function is automatically cancelled. When the [SYNC STOP] button is

turned on and this is set to a value other than “OFF,” this is automatically

cancels the Synchro Stop function if you hold a chord for longer than the

time set here. This conveniently resets Style playback control to normal,

letting you release the keys and still have the Style play. In other words, if

you release the keys sooner than the time set here, the Synchro Stop func-

tion works.

[4] STYLE TOUCH Turns touch response for the Style playback on/off. When this is set to

“ON,” the Style volume changes in response to your playing strength in

the chord section of the keyboard.

[5]/

[6]

SECTION SET Determines the default section that is automatically called up when

selecting different Styles (when Style playback is stopped). When set to

“OFF” and Style playback is stopped, the active section is maintained

even if the different Style is selected. When any of the MAIN A – D sec-

tions is not included in the Style data, the nearest section is automatically

selected. For example, when MAIN D is not contained in the selected

Style, MAIN C will be called up.

[7] TEMPO This determines whether the tempo changes or not when you change

Styles. If you want to avoid changing the tempo when selecting another

Style, select LOCK or HOLD.

LOCK

The tempo setting of the previous Style is maintained.

HOLD

The tempo setting of the previous Style is maintained while Style is

played back and another Style is selected. While Style playback is

stopped and another Style is selected, the tempo changes to that of the ini-

tial default tempo for the selected Style.

RESET

The tempo changes to that of the initial default tempo for the selected

Style.

[8] PART ON/OFF This determines whether the on/off status of the Style Channels (Parts)

changes or not when you change Styles. If you want to avoid changing

the Style Channel On/Off status when selecting another Style, select

LOCK or HOLD.

LOCK

The Style Channel On/Off status of the previous Style is maintained.

HOLD

The Style Channel On/Off status of the previous Style is maintained

while Style is played back and another Style is selected. While Style

playback is stopped and another Style is selected, all Style Channels are

set to On.

RESET

All Style Channels are set to On.

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Yamaha CVP-601 Инструкция по применению

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