Yamaha ex5 manual pdf

The following three parameters are available. Settings: off, on Port Time Portamento Time Sets the time of the pitch glide between successively played notes. A different value can be set for each part. The available parameters are listed below. Press [YES] to execute the job. It is possible to designate common data that affects all of the parts, and specific data for specified parts.

For more information on loading files, see page In addition, the sampled sound can be re-sampled after processing the sound with applying various effects re-sampling function. Steps for Sampling RevNoLp: Each time a key is played, the sample will play back in reverse one time, from the End point to the Start point. Fwd Lp Keyon Top point Page Fraction Finely adjusts the length of the loop.

The method for naming an sample and its category is the same as that for a Voice. For more information, see page When edited as a stereo data, only the first five letters will be effective e. You can enter the Record mode from the Song Play mode and record a song. The songs you have recorded can be stored to floppy disk so that you can make use of them whenever you like.

Page Song Control Song playback is controlled with the sequencer keys. Page Play Effects. When ALL is selected with [F5], whichever track you select here, the Play Effects settings will be the same for all tracks.

When set to a positive value, the playback timing moves backwards. When set to a negative value, the playback timing moves forwards.

Multiplying the gate time of the original data by the gate time value set here results in the actual gate time value for playback. Type The current template type for each track is displayed here. The contents for each will be displayed in the Groove View. There are also various functions related to recording songs. For organizing your songs after they have been recorded, they can be stored to floppy disk so that you can make use of them whenever you like.

Track Selects the track for recording. After you have finished recording, there are various edit Page Real Time Recording: Pfx When the end measure is reached, Punch In record function is cancelled and playback continues if there is recorded data past that point. After you have finished recording, there are edit Page Real Time Recording: Tempo When the end measure is reached the Punch In record function is cancelled and playback continues if there is recorded data past that point.

After you have finished recording, there are edit functions that let you edit the Tempo track data in the Song Edit mode page and the Song Job mode page Page Time Signature Displays the time signature of the currently selected song that is being recorded. The displayed time signature cannot be changed. It is necessary to select the time signature for recording before entering the Step recording.

Note Length Sets the length of the note that will be input. After selecting Note Length parameter by using the horizontal cursor keys, designate the note length for each note with the numeric keypad which has Page fixed at C3 as a reference, you can display the upper or lower regions of the keyboard that are not currently displayed.

The note is input with the selected gate time. Usually this will be set to Norm Normal. Delete To delete an event, move the cursor to an event and press [F8] Delete. After Touch is applied to one channel track.

After Touch is applied to each note individually. Page Deleting Events Inserting Events You can also insert new event data that is not included in the performance data. When you enter the Song Job mode, the following menu will be displayed. There are 22 types of jobs in Song Job mode. Page Copy Track 2. Copy Track This job copies all data from a specified track onto another.

This operation overwrites any data already existing on the destination track. Src Track Source Track Sets the source track that will be copied.

There are eight jobs that are executed in measure units. Copy Measure Copies data in the designated range. Erase Measure Erases data in the designated range. Create Measure Inserts empty measures in all tracks.

Page Delete Measure Measure Sets the location the beginning measure for insertion where empty measures will be inserted. Page Chord Sort Track Select the track that will be extracted from Extract source and the track that will be copied to Extract destination.

There are eight jobs that are effective for note event data on a specified track. Quantize Corrects the timing of the notes in a designated range. Move Clock Moves all of the events in a designated range. Page Streng Quantize Strength When quantizing, the Strength value sets the degree how much the timing of the note events is moved toward the quantizing line, or the original quantize value.

Page [Modify Velocity] 4. Modify Velocity This job alters the velocity of the notes in the specified range. The velocity refers to the strength at which a key is pressed. You can change the velocity using two types of parameters: the Rate and Offset.

The volume may differ depending on the selected voice that has a different velocity settings in the Voice Edit mode. Page Transpose 5. Transpose This job lets you transpose in semitones the notes in the designated range of a specified sequence track. Track Sets the track where Transpose will be executed. Shift Event This job replaces all occurrences of a specific event type within the designated range of the specified sequence track with some other designated event type. For example, you can use this function to change breath controller data into channel aftertouch events.

Page Pattern Mode Pattern Mode Pattern Play Mode This mode uses the internal sequencer to play patterns and has various functions related to playing patterns. You can enter Pattern Record mode from Pattern Play mode and record patterns, a maximum of These patterns can be used to create a song.

Press [PLAY] key for pattern playback to begin. Play Effects can be set when the pattern is stopped, and also can be set in real time when the pattern is playing back. This lets you check the effect that results from the Play Effects. Page Pattern Record Mode Pattern Record Mode In Pattern Record mode there are two methods available for recording patterns, real time recording and step recording.

There are also various functions related to recording patterns and a maximum of 50 patterns can be stored in the internal memory. For organizing your patterns, they can be stored to floppy disk so that you can make use of them whenever you like. Page You can change the time signature after recording. The Event List of the selected track will be displayed. When you follow the steps above, CHNG is highlighted and is automatically selected.

When you enter the Pattern Job mode, the following menu will be displayed. There are 24 types of jobs in Pattern Job mode. Page Copy Pattern 1. Copy Pattern This job copies all data from a source pattern to a designated destination pattern.

Src Ptn Source Pattern Sets the source pattern number that will be copied. Append Pattern This job lets you connect the data of two specific tracks to complete a pattern. A source pattern Append source pattern is connected to the end of a destination pattern Append destination pattern.

Page Time Stretch 8. Time Stretch This job expands or compresses the timing over the designated range on the specified track. The operation affects all note step times, gate times, and event timing, expanding or compressing the entire designated range.

Track Sets the track where Time Stretch is executed. Page [Get Phrase] Measure Sets the measure range beginning measure to the end measure where Erase Measure is executed. Get Phrase This job borrows sequence data from a song track onto the currently selected pattern track. The job overwrites any data already existing in the destination track. Page Extract Events Sets the type of event that will be reduced.

Page Chord Separate 8. Chord Separate This job arranges chord notes in order with a specified interval within the designated range of the specified sequence track. For example, if the Clock value is set to 30, a block chord consisting of C3, E3, G3 will be played as a C3 at the chords original timing followed 30 clocks later by the E3, and then another 30 clocks later by the G3.

Transpose This job lets you transpose in semitones the notes in the designated range of a specified pattern track. For more information on functions and each parameter, see page , Transpose in Song Job mode. Page Shift Event 8. Shift Event This job replaces all occurrences of a specific event type within the designated range of the specified pattern track with some other designated event type.

For more information on functions and each parameter, see page , Shift Event in Song Job mode. Page Sets the keyboard mode how the arpeggio responds when keys are pressed. The following three modes are available: Settings: sort: Plays the arpeggio in ascending order from the lowest pitch to the highest. Page Unit You can extend or shorten each track playback time. Page In the following modes, the arpeggio reproduction is independent of the pitch data of the arpeggio sequence.

Typical arpeggiated chords will be formed according to the notes played on the keyboard and the timing of the sequence data. Page alternate2 1oct: The chord phrase ascends up to one octave, then descends down to the lowest note. Slightly different from 08 above. C3, E3, G3 and B3 are played in order. C3, E3 and G3 are played in order. C3 and E3 are played in order. Page Arpeggio Record Mode Arpeggio Record Mode In Arpeggio Record mode there are two methods available for recording arpeggio sequence data, real time recording and step recording.

There are also various functions related to recording arpeggios and a maximum of 50 arpeggios, each of which are accompanied with the settings in Arpeggio Mode screen, can be stored in the internal memory. Page Step Recording You can change the time signature after recording.

Before displaying the Arpeggio Mode screen, you are required to select a user arpeggio number for recording. The Event List will be displayed. These jobs which allow you to copy or erase, as well as many other operations, are executed by the measure or the track. Page [Copy Track] 3. Src Arp Source Arpeggio Sets the source arpeggio number. Split Arpeggio This job splits track data of a arpeggio Split source arpeggio at a specified measure and moves the latter half of the split track data to the beginning of the track of another arpeggio Split destination arpeggio.

Page Copy Measure 1. Copy Measure This job copies all data from a specified range on an arpeggio sequence track onto another. It is also possible to copy data within the same track. Page Thin Out 4. Thin Out This job removes every other occurrence of a designated non-note event from the specified track range. The purpose is to reduce the amount of data and free up additional memory.

When the interval of each event is larger than 60 clocks, data is not removed. Page Chord Sort 6. The notes can be either sorted from the highest pitch to the lowest or from the lowest pitch to the highest. The chords within the designated range of the specified sequence track can be sorted. Page Quantize 1.

Quantize This job quantizes note events over a specified range of a designated track. You can use this feature, for example, to correct the imperfect timing of a performance you have recorded in real time. For more information on functions and each parameter, see page , Quantize in Song Job mode. Crescendo This job gradually increases or decreases the volume of the arpeggio.

This job produces the crescendo increasing or diminuendo decreasing effect by applying a gradual change to the velocity of a designated range of a specified track.

Page Types Of Data tab open. Data backup For maximum data security Yamaha recommends that you keep two copies of important data on separate floppy disks. This gives you a backup if one disk is lost or damaged.

Page Ptn Pattern Note 3: playback immediately without loading the data from a disk. It comes in handy for you to check the contents of the disk. Page [F2]: SYN Synth All Saves all of the internal voice and performance data voices and performances and the system data as a single file.

Page Voice Source Data From Synth All source data From If necessary select the source data device, move the cursor to a file number, and select a source file for the load operation. You can select Modulation Wheel 2 or Foot Controller. It is necessary to use Word Clock when one or more digital audio devices are connected for playback or recording.

Make sure not to catch the cable on any other cables or the circuit board while removing it from the hook-shaped bundle tie and set it aside. Fix the board with the two screws. The two screws will be used again when securing the ASIB1. Be careful not to lose them. Page 1Check the location of the memory slots.

For more information on removing the main unit top cover, see above. Turn over the board. If installed underside down, the output jack numbers will not match the Individual Out settings.

Be careful not to connect the connector in the wrong direction. Page Troubleshooting No sound. Is the volume set appropriately? Page No arpeggiator sound. Is each part of the arpeggiator muted? Page Only one note sounds at a time. Failed to process the MIDI data because too much data is received at one time.

Memory full! Remaining memory of the internal sequencer has been consumed. MIDI data error! An error occurred when receiving MIDI data. MIDI checksum err! An error occurred when receiving bulk data. Yamaha Corp. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

Page Index Index Chronological order File Name Page FM Modulator Page Normal Normal: Note name, Velocity Page VibRate Vibrato Rate Page For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Be sure to save any internal voices or performances setups you want to keep to disk before initializing the system. The EX system can be broadly categorized into four main blocks, as shown in the diagram below:.

The EX5, EX5R and EX7 feature and range of sequencing functions that give them many of the capabilities of a sophisticated music production system without the need for any extra equipment.

See pages , and for more information. Extended Synthesis is simply the most powerful array of tone generation technologies ever provided in a single keyboard or tone generator unit. Whether you need the outstanding sound and programmability of AWM synthesis, the unmatched playability and musical response of VL synthesis EX5 and EX5R only , beefy analog synthesizer voices, or the most responsive effects and simulated resonant systems available, you need look no further.

The EX5, EX5R, and EX7 also feature a built-in sampling system which is capable of sampling sounds from external sources line or microphone as well as internal voices. See pages 77, , and for more information. The EX effect system is a top-quality digital signal processing system which is capable of producing effects rivalling and even exceeding those of many separate component effect units in quality. In the EX5, EX5R, and EX7, effect programming is an integral and important part of voice programming, and the ability to control specific effect parameters in real time makes them indispensable for expressive control as well.

See page 65 for more information. Over the years Yamaha has developed a range of industry-leading music synthesis technologies, each with its individual strengths and advantages. The EX5, EX5R, and EX7 take an innovative step forward by combining multiple state-of-the-art Yamaha tone generation technologies in one extraordinarily versatile instrument. When you need the outstanding sound and programmability of AWM synthesis, it is there.

And when you want the most responsive effects and simulated resonant systems available, you need look no further. This is Extended Synthesis: simply the most powerful array of tone generation technologies ever provided in a single keyboard or tone generator unit.

About the polyphony of each tone generator, see page The strength of AWM synthesis lies not only in its outstanding sound quality it uses bit, The EX5, EX5R, and EX7 feature a built-in sampling system which is capable of sampling sounds from external sources line or microphone as well as internal voices. Waveforms sampled using this feature can be used in AWM voices, so your capacity to create totally new AWM voices is truly unlimited. VL synthesis offers many advantages in terms of musical performance.

One of the remarkable features of the Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string. The input to an acoustic wind instrument comes from the player's lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player's arm movement, transmitted to the string via a bow. The pressure parameter, for example, could be assigned to a breath controller so the player can control the dynamics of the instrument by varying the breath pressure applied to the controller — a natural, instinctive way to play wind-instrument voices.

At the same time the growl and throat parameters might also be assigned to the breath controller in order to achieve life-like response and effects. Although these may appear to be simple effects, they are actually intimately related to the VL sound-producing model and have a significant effect on the sound. Some of the controller and modifier parameters provided by the EX5 and EX5R are listed in the chart below.

The amount of breath pressure applied to the reed or mouthpiece, or bow velocity applied to the string. A periodic pressure bow velocity modulation which produces the "growl" effect often heard in wind instruments.

The tightness of the lips against the reed or against each other, or the force of the bow against the string. Simulates the half-tonguing technique used by saxophone players by changing the "slit" of the reed. Changes the length of the air column or string, and thereby the pitch of the sound. Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modelling.

Adds breath noise to produce exceptionally realistic effects with many wind instruments. Simulates the effects of air friction in the pipe or on the string, and of high-frequency losses at the end of the pipe or.

The Harmonic Enhancer determines the harmonic structure of the sound to the extent that it can produce radical. This modifier is similar to the dynamic filters found in many conventional synthesizers, with high-pass, bandpass, band. Yamaha AN Synthesis Analog Physical Modeling , however, offers all the benefits of traditional analog synthesis with the stability, reproduceability, and precise control of digital technology.

It is capable of accurately reproducing the sound of classic analog synthesizer without patch cables, setting charts, or the frustrating instability that was the bane of the analog age. AN Synthesis also offers many features that were simply not possible in pure analog systems. It is, for example, also capable of FM synthesis similar to the type that made the legendary Yamaha DX7 one of the most popular synthesizers of all time. It adds a sophisticated note-dependent effect processor to the basic AWM synthesis system.

In contrast to a standard effect stage, the FDSP synthesis stage uses individual note and velocity data to control effect parameters, thus making it possible to simulate the characterics of a number of real-world musical components, as well as produce totally new effects. For example, FDSP can effectively model the frequency and velocity dependent characteristics of electromagnetic guitar or piano pickups, thus adding more realistic response to these types of voices, or adding a whole new dimension to other sounds.

This block diagram is only one example of an FDSP configuration. In this case the FDSP system is used to model the response of an electric guitar pickup. One of the first things you'll want to do with your EX5, EX5R, or EX7 is select and play some of its voices or performance combinations … this section will show you how to do just that.

The EX voice memory can thus hold up to voices at once for instant selection and performance. If at any time you want to restore the original factory voices, they can be reloaded from the supplied Factory Set file as described on page The voice-mode display provides a few items of information in addition to the name of the currently selected voice. The performance-mode display is somewhat simpler than the voice mode display. The Performance mode has just one location memory area.

The bank [D] key indicator will flash until the program number [7] key is pressed and the D7 voice or performance is actually engaged. The number of the selected voice or performance will appear in the upper left corner of the display. Note that each voice or performance in the active memory area can be referred to in two ways: as a decimal number from 1 to , or as a bank and number A1…A16, B1…B16, etc, through H1…H To select a different bank, however, you'll always have to press both a bank key followed by [ENTER] and a program number key.

Press the [DEC] or [INC] key briefly to decrement or increment the number by one, or hold either key for continuous decrementing or incrementing in the corresponding direction. Simply rotate the data dial clockwise for higher numbers or counter-clockwise for lower numbers while watching the screen. The number keys are an excellent choice when you know the decimal number of the voice or performance you want.

Voices and performances are selected using the same methods described above, as well as by using the cursor keys to highlight the number and name of the desired voice or performance.

When the voice directory is initially selected the voice names are preceded by the corresponding voice number. A complete list of the voice categories is provided on page When initially shipped from the factory, EX instruments have 9 drum voices, numbered through in the Preset 2 bank and through in the Internal 2 bank see the separate Data List for details. You can also create your own drum voices page This means that less DSP capacity is available to produce effects when the aforementioned voice types are used.

The Reverb and Chorus effect units function normally regardless of the type of voice used. In the Performance mode, however, insertion effects can be used on a maximum of 4 parts voices if the performance setup consists entirely of AWM voices.

In the Performance mode, if the performance setup consists of only AWM voices, then an insertion effect may be used on one voice. Although the EX Extended Synthesis tone generator system is quite complicated, the overall system and interface have been designed to make voice editing as easy and efficient as possible. For details on the individual parameters connected with each tone generator type, see the following pages:.

Although the individual parameters available in each stage will vary to some degree depending on the type of tone generator being edited, the basic function of each stage is the same. In addition to allowing the pitch of the voice to be controlled from the keyboard or via MIDI note data, it allows pitch control from the pitch bend wheel, keyboard aftertouch, or any other assignable controller.

The PITCH stage also includes programmable pitch envelope generators which can be programmed to produce time-based pitch variation, as well as key scaling parameters which can be used to produce different tuning curves.

This stage controls the filters provided for the selected tone generator type, and thus allows both static and dynamic timbral control. Dynamic filters can be set to respond to keyboard touch response or other controllers, while filter envelope generators can produce time-based timbral variation.

The type and number of filter parameters available varies considerably according to the selected tone generator type. This stage includes all parameters which affect the amplitude or volume level of the sound, including basic level control, touch dynamics, keyboard level scaling, and amplitude envelope generation.

If we now put all four elements together, and add in the all-important control and effect blocks, the system looks something like this:.

The EX5 and EX7 keyboards include both initial and aftertouch response which can be used for realtime control of an extremely wide range of parameters.

The EX5R does not have a keyboard, but it accepts corresponding MIDI data from an external device which can be used to the same effect. The extremely versatile realtime control assignment system allows just about any controller to be assigned to any parameter — or multiple parameters, as required — for extraordinary expressive control. The EX internal effect system provides an extensive range of programmable effects including natural reverberation, modulation effects such as chorus and flanging, compression, distortion, auto-wah, rotary speaker, and much, much more.

Controllers can also be assigned to specific effect parameters for unlimited realtime effect variation. FDSP parameter details begin on page Remember that you can create a voice with only one element, or combine as many as four. The allowable element combinations, listed below, will greatly affect the way you approach voice editing.

The type of element s you use will always be your first decision when creating a new voice. Please note that you also want to start with an AWM element when you intend to use a wave you have sampled yourself using the Sampling feature, or sampled waveforms imported from another source.

More on AWM voices on page But the ability to add AWM elements provides an unprecedented measure of flexibility for thickening and adding depth to the VL sound. More on VL voices on page More on AN voices on page When you need a really thick, powerful pad or a punchy analog type voice, try combining the two AN elements in this voice type.

Once again, the AWM elements are there when you need them to add realistic samples or other textures. More on FDSP voices on page Full polyphony, however, is not available for all voice types. The chart below lists the maximum polyphony for each voice type. Some of the more important methods are discussed below.

When editing a multi-element voice, you will obviously need to select the specific element you want to edit. Any element can be selected and enabled as required in the OSC page, but only elements which are on can be selected when any other editing page is showing. Only one element can be selected at a time.

Another necessity when editing a multi-element voice is the ability to turn individual elements off or on. The key indicators corresponding to elements which are on will be lit, and will go out when the corresponding element is muted.

Muted elements are also indicated by a small element number on the left side of the edit display. On all models, individual elements can also be turned on or off while editing by pressing the correspondingly-numbered key on the numeric keypad while holding the [SHIFT] key. The Controller Knobs are conveniently set up to act as data entry controls for voice editing.

A small inverse number beside a parameter in the display indicates that the correspondinglynumbered Controller Knob will adjust that parameter. Normally when you rotate a Controller Knob being used for data entry, the corresponding value changes in relative fashion — i. To put it another way, the central detented position of the Controller Knob will correspond approximately to the parameter value that was on the display before the knob was rotated.

If you rotate a Controller Knob while holding the [KNOB MODE] key, however, the relationship between the controller position and the data value becomes absolute, and the central detented position of the knob will correspond to the exact center of the parameter range. If you do select a different voice number or mode prior to storing the edited voice, the edited data will be lost!

So be sure to store edited voice data you want to keep, as described on page After editing the voice as required, press the [STORE] key either while still in the Voice Edit mode, or immediately after returning to the Voice Play mode do not select a different voice or mode before storing the edited data, or the edited data will be lost!

The results can be ideal for real-time performance — as the name of the mode suggests — or for sequencing via the EX Song or Pattern mode, or via external MIDI control. Either way, the Performance mode offers versatility and control not available in the Voice mode. Plays layered voices. Independent volume, panning, effects, and control parameters are provided for each part, so you have total control over how the parts are mixed to create the final sound.

Straightforward layering lets you combine similar voices to create exceptionally thick, rich textures. You can also detune layers in relation to each other for even greater depth. Completely different voices can also be layered for unique effects: a fairly common example would be layered piano and strings.

But layering is only the beginning …. See the Performance Edit mode parameters, page , for part assignment, volume, panning, effects, and related parameters. You can layer the voices, though, the sounds being produced may be delayed depending on the voice combination. Instead of layering voice parts over the same keyboard range, different parts can be assigned to different areas of the keyboard for split keyboard setups. A simple example would be to assign a bass voice to the left-hand section of the keyboard and a piano voice to the right-hand section.

The Note Limit parameters in the Performance Edit mode are used to assign the various parts to the required note ranges page Velocity switching takes layering a step further by assigning the layered voices to different velocity ranges. If we assign the first layer — the fingered bass — to the velocity range from, say, 1 through 64, and the slapped layer to velocities from 65 through the total keyboard velocity range is from 1 to , then when we play the keyboard gently we have the fingered sound, and when we play harder we get the slapped sound.

Velocity switching can be accomplished by using the Velocity Limit parameters in the Performance Edit mode page Welcome to ManualMachine. We have sent a verification link to to complete your registration. Log In Sign Up. Forgot password? Enter your email address and check your inbox. Please check your email for further instructions. Enter a new password. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small nonrechargable battery which if applicable is soldered in place.

Purchase Date. These precautions include, but are not limited to, the following: 1. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c.

The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards.

CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. Always turn the power off when the instrument is not in use.

This product is not compatible with the XG format or XG song data. Reference Section Voice Mode Introductory Section. See page 55 for more information. See page 56 for more information. See page for more information. Section Introductory. See page 72 for more information. See page 22 for more information. See page 17 for See page 17 for more more information. Setting Up The EX5 or EX7 can be used virtually on its own — with a pair of headphones or a simple instrument amplifier — or it can be the core of complex and powerful music production system.

Hard Disk, etc. Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment and your ears! Restoring the Factory Set Data In addition to the preset voices which cannot be erased or overwritten , the EX5, EX5R, and EX7 come with a range of pre-programmed voices, performance setups, and other data in memory. System Initialization To completely erase all data in the EX internal memory and initialize the entire system, turn on the power while holding the [EXIT] key.

Extended Synthesis Over the years Yamaha has developed a range of industry-leading music synthesis technologies, each with its individual strengths and advantages. Pressure The amount of breath pressure applied to the reed or mouthpiece, or bow velocity applied to the string. Growl A periodic pressure bow velocity modulation which produces the "growl" effect often heard in wind instruments.

Embouchure The tightness of the lips against the reed or against each other, or the force of the bow against the string. Tonguing Simulates the half-tonguing technique used by saxophone players by changing the "slit" of the reed. Pitch Changes the length of the air column or string, and thereby the pitch of the sound. Scream Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modelling technology.

Breath Noise Adds breath noise to produce exceptionally realistic effects with many wind instruments. Harmonic Enhancer The Harmonic Enhancer determines the harmonic structure of the sound to the extent that it can produce radical timbral variations within an instrument "family" e. Filter This modifier is similar to the dynamic filters found in many conventional synthesizers, with high-pass, bandpass, band elimination, and low-pass modes.

The Numeric Keypad The number keys are an excellent choice when you know the decimal number of the voice or performance you want. To return to the normal voice or performance display press the [EXIT] button. For details on the individual parameters connected with each tone generator type, see the following pages: AWM Parameters Page 75 VL Parameters Page AN Parameters FILTER This stage controls the filters provided for the selected tone generator type, and thus allows both static and dynamic timbral control.

AMPLITUDE This stage includes all parameters which affect the amplitude or volume level of the sound, including basic level control, touch dynamics, keyboard level scaling, and amplitude envelope generation. EFFECTS The EX internal effect system provides an extensive range of programmable effects including natural reverberation, modulation effects such as chorus and flanging, compression, distortion, auto-wah, rotary speaker, and much, much more.

Up to elements can be stored onto your EX. But layering is only the beginning … See the Performance Edit mode parameters, page , for part assignment, volume, panning, effects, and related parameters. Example: a simple 2-layer performance. Example: simple 2-way split keyboard. Example: velocity switched layers. PART 2 Velocity You can only view or download manuals with.

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Get 1 for every download of your manual. Buy as much as you need. Setting Up EX System Overview Extended Synthesis AWM Synthesis System Overview Editing Control Voice Store Procedure Performance Store Procedure The Controllers The EX Controllers Controller Sets Sequencer Functions The EX Effect System The Key Map Mode Voice Mode Voice Play Mode Voice Edit Mode Voice Job Mode Wave Edit Mode Wave Job Mode Performance Mode Performance Play Mode Performance Edit Mode Performance Job Mode