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SPECIAL MESSAGE SECTION
This product utilizes batteries or an external power supply (adapter).
Battery Notice:
DO NOT connect this product to any power supply or adapter other
than one described in the manual, on the name plate, or specifically
recommended by Yamaha.
This product MAY contain a small non-rechargeable battery which (if
applicable) is soldered in place. The average life span of this type of
battery is approximately five years. When replacement becomes
necessary, contact a qualified service representative to perform the
replacement.
WARNING: Do not place this product in a position where anyone
could walk on, trip over ,or roll anything over power or connecting
cords of any kind. The use of an extension cord is not recom-
mended! IF you must use an extension cord, the minimum wire size
for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG
number ,the larger the current handling capacity. For longer exten-
sion cords, consult a local electrician.
This product may also use “household” type batteries. Some of
these may be rechargeable. Make sure that the battery being
charged is a rechargeable type and that the charger is intended for
the battery being charged.
When installing batteries, do not mix batteries with new, or with bat-
teries of a different type. Batteries MUST be installed correctly. Mis-
matches or incorrect installation may result in overheating and
battery case rupture.
This product should be used only with the components supplied or;
a cart, rack, or stand that is recommended byYamaha. If a cart, etc.,
is used, please observe all safety markings and instructions that
accompany the accessory product.
Warning:
Do not attempt to disassemble, or incinerate any battery. Keep all
batteries away from children. Dispose of used batteries promptly
and as regulated by the laws in your area. Note: Check with any
retailer of household type batteries in your area for battery disposal
information.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to be correct at
the time of printing. However, Yamaha reserves the right to change
or modify any of the specifications without notice or obligation to
update existing units.
Disposal Notice:
This product, either alone or in combination with an amplifier and
headphones or speaker/s, may be capable of producing sound lev-
els that could cause permanent hearing loss. DO NOT operate for
long periods of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
Should this product become damaged beyond repair, or for some
reason its useful life is considered to be at an end, please observe
all local, state, and federal regulations that relate to the disposal of
products that contain lead, batteries, plastics, etc. If your dealer is
unable to assist you, please contact Yamaha directly.
IMPORTANT: The louder the sound, the shorter the time period
before damage occurs.
NAME PLATE LOCATION:
The name plate is located on the bottom of the product. The model
number, serial number, power requirements, etc., are located on this
plate.You should record the model number, serial number, and the
date of purchase in the spaces provided below and retain this man-
ual as a permanent record of your purchase.
Some Yamaha products may have benches and / or accessory
mounting fixtures that are either supplied with the product or as
optional accessories. Some of these items are designed to be
dealer assembled or installed. Please make sure that benches are
stable and any optional fixtures (where applicable) are well secured
BEFORE using.
Benches supplied by Yamaha are designed for seating only. No
other uses are recommended.
NOTICE:
Model
Service charges incurred due to a lack of knowledge relating to how
a function or effect works (when the unit is operating as designed)
are not covered by the manufacturer’s warranty, and are therefore
the owners responsibility. Please study this manual carefully and
consult your dealer before requesting service.
Serial No.
Purchase Date
ENVIRONMENTAL ISSUES:
Yamaha strives to produce products that are both user safe and
environmentally friendly. We sincerely believe that our products and
the production methods used to produce them, meet these goals. In
keeping with both the letter and the spirit of the law, we want you to
be aware of the following:
PLEASE KEEP THIS MANUAL
92-BP (bottom)
2
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FCC INFORMATION (U.S.A.)
devices. Compliance with FCC regulations
1. IMPORTANT NOTICE: DO NOT
MODIFY THIS UNIT!
does not guarantee that interference will
not occur in all installations. If this product
is found to be the source of interference,
which can be determined by turning the
unit “OFF” and “ON”, please try to eliminate
the problem by using one of the following
measures:
This product, when installed as indicated in
the instructions contained in this manual,
meets FCC requirements. Modifications
not expressly approved by Yamaha may
void your authority, granted by the FCC, to
use the product.
Relocate either this product or the device
that is being affected by the interference.
2. IMPORTANT:When connecting this
product to accessories and/or another
product use only high quality shielded
cables. Cable/s supplied with this product
MUST be used. Follow all installation
instructions. Failure to follow instructions
could void your FCC authorization to use
this product in the USA.
Utilize power outlets that are on different
branch (circuit breaker or fuse) circuits or
install AC line filter/s.
In the case of radio or TV interference, relo-
cate/reorient the antenna. If the antenna
lead-in is 300 ohm ribbon lead, change the
lead-in to co-axial type cable.
3. NOTE:This product has been tested and
found to comply with the requirements
listed in FCC Regulations, Part 15 for Class
“B” digital devices. Compliance with these
requirements provides a reasonable level
of assurance that your use of this product
in a residential environment will not result
in harmful interference with other electronic
devices. This equipment generates/uses
radio frequencies and, if not installed and
used according to the instructions found in
the users manual, may cause interference
harmful to the operation of other electronic
If these corrective measures do not pro-
duce satisfactory results, please contact
the local retailer authorized to distribute
this type of product. If you can not locate
the appropriate retailer, please contact
Yamaha Corporation of America, Electronic
Service Division, 6600 Orangethorpe Ave,
Buena Park, CA90620
The above statements apply ONLY to those
products distributed by Yamaha Corpora-
tion of America or its subsidiaries.
(class B)
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
ADVARSEL!
Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med bat-
teri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som
rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruk-
tion.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalm-
istajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.
(lithium caution)
NEDERLAND / THE NETHERLANDS
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
• Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het
apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdei-
ing:
Yamaha Music Nederland Service Afdeiing
Kanaalweg 18-G, 3526 KL UTRECHT
Tel. 030-2828425
• For the removal of the battery at the moment of the disposal at the end of the service life
please consult your retailer or Yamaha Service Center as follows:
Yamaha Music Nederland Service Center
Address : Kanaalweg 18-G, 3526 KL UTRECHT
Tel
: 030-2828425
• Gooi de batterij niet weg, maar lever hem in als KCA.
• Do not throw away the battery. Instead, hand it in as small chemical waste.
(lithium disposal)
3
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PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
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. These precautions include, but are not limited to, the following:
• Do not open the instrument or attempt to disassemble the internal parts or
modify them in any way. The instrument contains no user-serviceable
parts. If it should appear to be malfunctioning, discontinue use immedi-
ately and have it inspected by qualified Yamaha service personnel.
power switch, disconnect the adaptor plug from the outlet, and have the
instrument inspected by qualified Yamaha service personnel.
• Use the specified adaptor (PA-3B or an equivalent recommended by
Yamaha) only. Using the wrong adaptor can result in damage to the instru-
ment or overheating.
• Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill
into any openings.
• Before cleaning the instrument, always remove the electric plug from the
outlet. Never insert or remove an electric plug with wet hands.
• If the AC adaptor cord or plug becomes frayed or damaged, or if there is a
sudden loss of sound during use of the instrument, or if any unusual
smells or smoke should appear to be caused by it, immediately turn off the
• Check the electric plug periodically and remove any dirt or dust which may
have accumulated on it.
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. These precautions include, but are not limited to, the following:
• Do not place the AC adaptor cord near heat sources such as heaters or
radiators, and do not excessively bend or otherwise damage the cord,
place heavy objects on it, or place it in a position where anyone could walk
on, trip over, or roll anything over it.
• Do not rest your weight on, or place heavy objects on the instrument, and
do not use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or uncom-
fortable volume level, since this can cause permanent hearing loss. If you
experience any hearing loss or ringing in the ears, consult a physician.
• When removing the electric plug from the instrument or an outlet, always
hold the plug itself and not the cord.
I REPLACING THE BACKUP BATTERY
• Do not connect the instrument to an electrical outlet using a multiple-con-
nector. Doing so can result in lower sound quality, or possibly cause over-
heating in the outlet.
• This instrument contains a non rechargeable internal backup battery which
permits internal data to remain stored even when the power is off. When
the backup battery needs replacing, the message "Err1" appears in the dis-
play. When this happens, immediately back up your data (using an external
device such as the floppy disk-based Yamaha MIDI Data Filer MDF3), then
have qualified Yamaha service personnel replace the backup battery.
• Unplug the AC power adaptor when not using the instrument, or during
electrical storms.
• Before connecting the instrument to other electronic components, turn off
the power for all components. Before turning the power on or off for all
components, set all volume levels to minimum. Also, be sure to set the
volumes of all components at their minimum levels and gradually raise the
volume controls while playing the instrument to set the desired listening
level.
• Do not attempt to replace the backup battery yourself, in order to prevent
the possible serious hazards. Always have qualified Yamaha service per-
sonnel replace the backup battery.
• Never place the backup battery in a location that a child can reach, since a
child might accidentally swallow the battery. If this should happen, consult
a physician immediately.
• Do not expose the instrument to excessive dust or vibrations, or extreme
cold or heat (such as in direct sunlight, near a heater, or in a car during the
day) to prevent the possibility of panel disfiguration or damage to the inter-
nal components.
I SAVING USER DATA
• Save all data to an external device such as the Yamaha MIDI Data Filer
MDF3, in order to help prevent the loss of important data due to a malfunc-
tion or user operating error.
• Do not use the instrument near other electrical products such as televi-
sions, radios, or speakers, since this might cause interference which can
affect proper operation of the other products.
• Do not place the instrument in an unstable position where it might acci-
dentally fall over.
Yamaha cannot be held responsible for damage caused by improper use
or modifications to the instrument, or data that is lost or destroyed.
• Before moving the instrument, remove all connected adaptor and other
cables.
Always turn the power off when the instrument is not in use.
• When cleaning the instrument, use a soft, dry cloth. Do not use paint thin-
ners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
Also, do not place vinyl, plastic or rubber objects on the instrument, since
this might discolor the panel or keyboard.
(3)-6
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Congratulations and thank you for purchasing the Yamaha AN200 Desktop
Control Synthesizer!
The AN200 is a combination tone generator and sequencer that puts an enormous amount of
sonic power and real-time performance control in an exceptionally compact and easy-to-use “desktop”
package. As one of the Loopfactory group of instruments, it’s an amazingly high-quality and versatile
tool for loop-based music production. Use it on your gigs, as part of your DJ setup — or as your
secret weapon in your studio arsenal.
With eighteen knobs and umpteen switches, many of them “dedicated” — meaning that a con-
trol does specifically and ONLY what its name indicates — the AN200 is a synthesizer control freak’s
dream.
Powering the incredibly rich and huge analog-like Voices of the AN200 is the Analog Physical
Modeling synthesis system. It not only features the same familiar oscillator, filter and other sound-
shaping controls found on traditional analog synthesizers — it gives you the full spectrum of warm, fat,
and punchy sounds that made those legendary instruments famous.
Play the exceptionally high-quality analog-style Voices of the AN200 with full 5-note polyphony
— from the built-in keyboard or from a MIDI device. Use the built-in 16-step sequencer to create your
own synth and rhythm sequences. And power up the full-featured AN200 Editor on your computer —
to tap into ALL the amazing sonic power the AN200 has to offer.
There’s a lot of important, helpful information in these pages. So read through this manual
carefully — and get the most out of your sophisticated new AN200.
G Packing List
The following items have been included with your AN200. Check to see that you have every-
thing listed here.
• Owner's Manual
• CD-ROM
• AC Power Adaptor*
*Power supply recommendation may vary from country to country. Please check with
your nearest Yamaha dealer for further details.
* The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of
their respective companies.
* The screens as illustrated in this owner’s manual are for instructional purposes only, and may appear somewhat
different from the ones of your instrument.
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Contents
Panel Controls .................................................. 9
Tone Generator Signal Flow &
Chapter 1
Tip 1
Tip 2
Tip 3
Tip 4
Tip 5
Tip 6
Tip 7
Chapter 10
Chapter 2
Tip 8
Chapter 3
Tip 9
Tip 47 Creating your own original Scenes —
Chapter 4
Chapter 5
Chapter 6
Chapter 13
Chapter 7
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Contents
Chapter 14
Chapter 19
Advanced Music Production ... 103
Tip 90 MIDI sequencer controls —
Chapter 15
Tip 66 Taking Patterns out of your Song —
Error Messages .............................................114
Analog Physical Modeling Synthesis
MIDI Implementation Chart...........................139
Chapter 16
Tip 68 Using [SHIFT] with the [DATA] knob —
Chapter 17
Tip 71 Adjusting the Gate Time with the [DATA]
Chapter 18
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How to Use This Manual
How to USE a manual? Sounds a bit obvious, we admit. (“Open it and read it.”) But here goes:
1 Go straight to the Quick Start Guide.
This tells you simply and in no uncertain terms how to set up your new AN200 and get sound out of it.
2 Work through the 92 Tips.
These are practical, no-nonsense applications that get you actually USING the machine.
If this is your first tone generator or synthesizer, fire up the AN200, open up the manual to Tip 1, and go
from there. Think of it as a game — the more tips you complete, the better you know the machine, and
the sooner you can reach your goal of becoming a true synth wizard. Pay particularly close attention to
the Power Hints scattered throughout — they’re great for further exploration.
If you have years of experience with analog synthesizers, and know all about cutoff frequency, reso-
nance, pulse waves, amplitude modulation, LFOs, VCOs, EGs, and MIDI — and you even dream in hexa-
decimal — skim through the tips anyway. There’s bound to be some interesting and helpful stuff here,
no matter what your level of expertise. If you need some pertinent info quickly, check the Tech Talk
boxes.
3 Refer to the Appendix when necessary.
Lots of helpful, convenient information in this section, too. If something doesn’t work as expected, go to
where to go for help but you’ve got a key word in mind, check the Contents (page 6) or look through the
Function Index (page 110).
Have fun!
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Panel Controls
Main
Voice
Control
Keyboard
Here’s a quick way to get familiar with your AN200! The front (or top) panel of the AN200 can be roughly
divided into four sections: Main, Control, Voice, and Keyboard. Look through the controls here, and check
out the Tips related to each of them for more information.
The Tip references by each control are not meant to be comprehensive. They either give the
first (or main) Tip in which the control appears, or the group of Tips that are most closely
related.
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Panel Controls
Main
Voice
These are the fundamental controls of the AN200 — for
changing modes, adjusting values, exiting from func-
tions, and so on.
These controls are for editing and changing the sound of
the Voices.
[SCENE] ................................Tips 13, 14
[FREE EG]..............................Tips 48, 49
Display and indicators
[SONG].................................. Tips 8, 62
[PATTERN].....................................Tip 1
[DATA] knob ............................ Tips 2, 68
[SHOW VALUE] ....................... Tips 21, 22
[STORE]........................... Tips 47, 60, 67
[EXIT]......................................... Tip 23
[EG] .................................. Tips 36 — 39
[SYNC]........................................Tip 46
[VCO 2].......................................Tip 44
[EFFECT/MIXER] ................. Tips 15, 16, 30
[PORTAMENTO] .............................Tip 40
[FM DEPTH] .................................Tip 41
[NOISE LEVEL] ..............................Tip 43
[VCF]................................. Tips 18 — 20
Control
Keyboard
For the most part, these buttons are related to the Pat-
terns — especially for controlling record and playback
operations.
The Keyboard section has several main uses:
• Playing the Voices................... Tips 9, 86
• Selecting Patterns...... Tips 2, 3, 31, 77, 78
..................................... Tips 29, 58, 59
Start/Stop......................................Tip 1
[TAP] ...........................................Tip 5
Record ....................... Tips 48, 50, 58, 59
[SWING] ................................ Tips 6, 27
[REVERSE].............................. Tips 4, 25
[SHIFT]................................. Tips 68, 69
[OCT <<] ............................... Tips 10, 62
[OCT >>] ............................... Tips 10, 62
[KEYBOARD] ........................... Tips 9, 26
[PATTERN SELECT]........... Tips 3, 31, 77, 78
[SYNTH TRACK]............................. Tip 28
[RHYTHM TRACK] .......................... Tip 28
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Quick Start Guide
Once that you’ve got the AN200 out of the box and checked that all included items were indeed included, it’s
time to set everything up and get playing.
1 Turn the VOLUME control all the way down to the minimum.
2 Connect the OUTPUT jacks (L/MONO and R) to the inputs of your
recorder/mixer/amplifier.
If you’re using a mono system, use only the L/MONO jack. If you’re using headphones, connect them to
the PHONES jack.
AN200
DC IN
OUTPUT
PHONES
AC outlet
AC
Adaptor
Headphones
Mixer
Recorder
Amplifer
or
or
3 Plug in the included power adaptor — first, one end into the DC IN termi-
nal, then the other into an AC outlet.
4 Turn on the power with the rear panel power switch. Then, turn on the
power of your recorder/mixer/amplifier.
The AN200 takes a little time to “warm up” after being turned on – roughly 20 seconds. After
the startup routine is finished, your AN200 is ready to play.
5 Press the Start/Stop button on the AN200 to start a Pattern and slowly
turn up the VOLUME control until the level is appropriate.
To stop the Pattern, simply press the Start/Stop button again.
And that’s all there is to it. Now go on to the Tips and start playing!
11
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Parameter Structure
This diagram shows the structure and hierarchy of the Songs, Patterns and Voices of the AN200. As you
work with the AN200 and explore its various functions and features, refer back to this diagram to see how all
the pieces of the puzzle fit together.
Pattern Select Setup
256 Preset Patterns
128 User Patterns
User Pattern 128
Preset Pattern 1
Sequence
System
Synth
Track
Rhythm
Track 1
Rhythm
Track 2
Rhythm
Track 3
BPM
Beat
Swing
Gate Time
Reverse
Step
Step
Step
Step
1
16
1
16
1
16
1
16
Synth
Voice
Rhythm
Voice 1
Rhythm
Voice 2
Rhythm
Voice 3
LFO
EG
Cutoff
Resonance
Cutoff
Resonance
Cutoff
Resonance
etc.
Free EG
Effect
Pan
Wet
Vol
Type
Param
Song 10
10 User Songs
Song 1
Measure 1
Measure 2
Measure 256
Pattern No.
Pattern No.
Pattern No.
Pitch Offset
Beat
Pitch Offset
Beat
Pitch Offset
Beat
Swing
Swing
Swing
Gate Time
Reverse
Track Mute
Gate Time
Reverse
Track Mute
Gate Time
Reverse
Track Mute
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This is NOT an owner’s manual!
At least not an ordinary one. But, then again, the AN200 is no ordinary
instrument. It’s packed with exciting, powerful, yet easy-to-use features that
give you complete, hands-on sonic control — plus tons of dynamic real-time
functions that can bring an extra edge to your live performances!
With all the digital power under this small hood, the AN200 is a stunning
new instrument of the future. Yet it also brings you the very best of the old
analog world — just look at all those knobs for twisting and tweaking your
sound!
We know you don’t like reading manuals. But you owe it to yourself to look
through this collection of hot tips. They show you how to get the most out of
your new AN200 in the shortest time possible.
It’s like having an expert programmer take you by the hand and show you
the ropes, sharing all the tricks and techniques you need to be a master on
the instrument yourself. These tips take you from the bare-bones basics, to
advanced power tips that get you pumping out fat sounds and happening
tracks — in no time flat!
So jump in …
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Chapter 1
Pattern Basics
Start your synthesizer apprenticeship right here. In this section, you’ll learn
about playing Patterns, and how to use some of the AN200’s powerful tools to
change the sound as it’s playing.
1 Playing a Pattern
Here’s where all the fun starts — with the pre-programmed Patterns.
Just press the Start/Stop button, and listen to the Pattern play. The Pattern repeats (loops) until you press
the button again to stop it.
G What exactly are Patterns?
The Patterns are the basic musical building blocks of the AN200 — they pro-
vide an instrument sound (also called a “Voice”), plus a looping phrase using
that Voice.
Pattern Mode
Select the Pattern mode by pressing the
[PATTERN] button. The letter “P” in the dis-
play indicates the Pattern mode.
These pre-recorded Patterns give you the rhythmic and melodic foundation you
need for laying down tracks — in your own recording or in performance. Keep
in mind that you can create your own Patterns as well. (See page 68.)
2 Exploring other Patterns
The AN200 features a total of 256 specially pre-programmed Patterns. Try some of these out now.
Use the [DATA] knob to select a different Pattern. Notice how the Pattern number in the display changes.
Then press the Start/Stop button to play the Pattern.
Keep in mind that you cannot select Voices
separate from the Patterns. If you want to
hear a certain Voice, select the Pattern con-
taining that Voice. You can copy that Voice
to a different Pattern; see Tip 52.
You can also change Patterns during playback! Turn the [DATA] knob while the
Pattern is playing — the new Pattern starts playing immediately after the previ-
ous one is finished.
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Chapter 1 Pattern Basics
3 Switching Patterns on the fly
Try mixing it up now. The AN200 lets you change Patterns as easily as pressing a button...
Thanks to the Pattern Select function, you can chain together Patterns in real time from the keyboard — as
you perform.
Select a Pattern, then press [PATTERN SELECT].
The button lights.
Start the Pattern. While the Pattern is playing, press one of the keyboard buttons (except 1, 4, and 8).
Avoid these keys — they won’t change the Pattern.
Notice how a new Pattern starts playing as soon as the previous one is finished. This is a great way to string
together various Patterns in a live performance — and create your own songs on the fly. If you want, you
can use the keys to select a Pattern before starting playback as well.
• Repeats
• Other octaves, more Patterns
Unless you want the same Pattern to repeat several times, don’t press a
keyboard button more than once. On the other hand, you can quickly
program the Pattern sequence for an entire song if you want, without
having wait for each Pattern to play back. The AN200 remembers all the
buttons you press and how many times you press them, and automati-
cally plays back the Patterns as you programmed — repeats and all.
Before starting the Pattern, use the [OCT <<]/[OCT >>] buttons to
change the octave range of the keys. That’ll let you select other Pat-
terns!
• Assign them yourself
The Pattern-to-key assignments have been made for you. However, you
can make your own assignments, and put the Patterns you want to use
close together for easy access. (See page 40.)
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Chapter 1 Pattern Basics
4 Playing it backwards
The Reverse function lets you completely turn the Pattern around, and play all the notes backwards.
Before you start the Pattern (or during playback, if you want), simply press the [REVERSE] button.
5 Changing the bpm
Now, that you’ve got a Pattern playing, try changing its speed. (This is also called “bpm” — beats per
minute.) The AN200 gives you two ways to do this — tapping out the speed manually, or using the [DATA]
knob to adjust it.
1 Tap the [TAP] button three or four times at the desired speed.
1
2
3
The new bpm is shown in the display. The [TAP] button and BPM lamp flash in time.
2 If you want, adjust the bpm by turning the [DATA]
knob.
BPM
3 Press the Start/Stop button to start the Pattern at the
Determines the speed or tempo of a Pattern.
new bpm.
Operation
Use [TAP] button to tap tempo; then adjust
with [DATA] knob. Or hold down [SHIFT]
and press [TAP/BPM]; then use [DATA]
knob.
You can also change the bpm while the Pattern is playing. To do this, simply
start the Pattern before step #1 above.
Range
20.0 — 300.0 bpm
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Chapter 1 Pattern Basics
6 Messing with the Beat
There’s more than one way to mess with the rhythm. Actually, the AN200 gives you a truckload of ways you
can disturb and deconstruct your beats. One of these is the (appropriately named) Beat function.
You’ll be meeting up with this control again when you record your own Patterns. But let’s see how you can
use it now to change the feel of a Pattern while it’s actually playing...
1 Select a Pattern and start it by pressing the Start/Stop button.
2 While the Pattern is running, hold down [SHIFT] and press [SWING]
(BEAT).
Now, you’ve got Beat called up and ready, so turn the [DATA] knob to
change the setting.
Beat
You can tell from the lit number buttons how the Pattern is affected. When
Determines the number of steps in the
selected Pattern for playback: 16, 12, or 8.
To set, hold [SHIFT] and press [SWING], then
set to “16,” all 16 step buttons are lit and all 16 steps play back normally.
Change the setting to “12,” and Steps 13 - 16 drop out. Notice how the
Pattern not only slows down but “feels” different, too. Change Beat to “8,”
and you’ve only got Steps 1 - 8 happening. That’s half of the original 16-
step Pattern, and naturally, it plays back at half the speed.
use the [DATA] knob.
Range
16, 12, 8 steps
7 Double time, half time
Here’s a dramatic way to instantly double the speed of a Pattern — or slow it down by one-half.
Simply hold down [SHIFT] and press the [OCT <<] button — just before the beginning of the Pattern — to
slow down the bpm by one-half. The first half of the Pattern plays at the new speed, before returning to the
original speed.
To double the bpm, hold down [SHIFT] and press the [OCT >>] button just before the top of the Pattern. The
Pattern plays back twice at the new speed, then returns to normal.
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Chapter 2
Song Playback
As we said before, the Patterns are the basic building blocks of the AN200.
But what can you build with them?
Songs!
Our team of expert programmers has created a few Songs using the various
Patterns of the AN200. Check these out and hear just how powerful and versa-
tile the AN200 can be for recording your own material.
8 Playing a Song
Let’s select a Song now and play it.
1 Press the [SONG] button.
2 Select the desired Song by turning the [DATA] knob.
3 Press the Start/Stop button to play the Song.
For more about Songs and how to create your own, see page 81.
Pressing the [SONG] button selects the Song
mode.
The letter “S” indicates
the Song mode.
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Chapter 3
The Keyboard
Small and compact as it is, the AN200 also features a one-octave keyboard for
playing and recording the sounds of the instrument.
9 Playing the keyboard
The built-in keyboard is small — just one octave — but it lets you use all the features of the AN200 without
having to connect a separate keyboard. Try it out now.
1 Press [KEYBOARD].
2 Play the keyboard.
The button lights.
The buttons give you a full octave, from C to C. Keep in
mind that buttons 1, 4, and 8 don’t make any sound here —
they’re not part of the scale.
Db (C#)
Eb (D#)
Gb (F#)
Ab (G#)
Bb (A#)
C
D
E
F
G
A
B
C
10 Changing octaves
Naturally, one octave doesn’t cover a whole lot of ground. That’s why we’ve included convenient Octave but-
tons, so you can shift the octave range of the keyboard up or down as needed — quickly and easily.
1 While the [KEYBOARD] button is lit, press [OCT >>].
Octave
Determines the octave range of the built-in
keyboard. Press [OCT <<] or [OCT >>] to
change. ([DATA] knob can also be used after
pressing one of these buttons.) Press both
buttons simultaneously to restore normal
range. Some notes may not sound for the
maximum values.
Range
C-2 — C3 (normal) — C8
The display shows “C 4,” indicating the octave. (“C 3” is normal.) Play
the keyboard and listen to the sound. Try some other octave settings,
pressing [OCT <<] and [OCT >>] as desired to shift the octave.
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Chapter 3 The Keyboard
11 Playing the Rhythm track
The AN200 also has a special Rhythm track (actually there are three.) that let you play and record drum, per-
cussion, bass and other sounds — giving you the power to easily create your own ultra-hip beats. Naturally,
you can play all these sounds straight from the built-in keyboard...
1 With the [KEYBOARD] button lit, press [RHYTHM TRACK].
The button lights.
Press the button repeatedly to switch among the three Rhythm tracks: 1, 2, and 3.
2 Play the keyboard.
Remember — you can use the [OCT <<]/[OCT >>] buttons to change the range, and call up a whole dif-
ferent set of sounds. For more details on how to use the Rhythm tracks, see page 140.
12 Velocity
All the keys of the built-in keyboard play at a fixed volume — no matter how hard or how soft you play them.
However, you can set this fixed volume yourself, and make the sound as soft or as loud as you need it.
This Velocity setting also controls how loud the sounds are, when you record your own Patterns in Real-
time recording (page 70).
1 Hold down [SHIFT] and press button [16], repeatedly
if necessary, until “<EL” appears in the display.
Velocity
Determines the default Velocity setting for the
built-in keyboard of the AN200. This affects
the loudness of the Synth and Rhythm track
sounds, when played from the keyboard. It
also affects the loudness of Real-time
recorded tracks, when the built-in keyboard is
used to record notes.
Velocity is set in the Utility parameters. Hold
down [SHIFT] and press button [16], repeat-
edly if necessary, until “<EL” appears in the
display. Use the [DATA] knob to change the
value.
Range
1 — 127
2 Use the [DATA] knob to change the value.
Make sure the [KEYBOARD] button is lit, and try out different settings.
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Chapter 4
Scene Basics
Scene is one of the most powerful and exciting features of the AN200. It lets
you “morph” between two completely different sounds — in real time, as the
Pattern is playing.
13 Switching Scenes
Here we’ll switch between Scenes, for instant sound changes.
Select a Pattern and start it up. While it’s playing, press the SCENE [2] button. Hear how the sound
changes? Press SCENE [1] to go back to the first sound. Try to do this on the beat, alternating between the
two in rhythm.
14 Morphing
Let’s try something more subtle now! While playing back a Pattern, turn the [SCENE] knob slowly, back and
forth.
Notice how the sound gradually “morphs” between 1 and 2 — in real time as you work the knob! Do this in
sync with the rhythm and create your own shifting textures!
For more details on Scene, see page 59.
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Chapter 5
Effects
The effects of the AN200 are more than just icing on the cake — they’re pow-
erful tools you can use to completely transform the sound, and put your tracks
over the top.
15 What is an Effect?
The Effects are the last element in the sound chain — they are the last bit of processing done to the sound
before you hear it.
These real-time Effects — Delay, Flanger, Phaser, Overdrive/Amp — let you mangle the sound in wild and
exciting ways. Although it’s not in the Effect section, there’s also a Distortion effect that lets you add any-
thing from a warm grunge to a full-on metallic assault.
The Effect controls are exceptionally simple and easy to use. Pressing the [TYPE] button changes the Effect
type, while the [PARAM] and [WET] knobs let you adjust the sound and depth of the Effect.
Changes the Effect
type (Delay, Flanger,
Phaser, Overdrive/
Amp).
Changes the depth or degree of the Effect.
When set to the minimum (all the way left),
the Effect sound cannot be heard.
Changes the sound of the Effect. (Each
effect lets you control a different key
parameter.)
[WET] knob
Range
0 — 127 (Same for all Effect types.)
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Chapter 5 Effects
16 Playing with the Effects
Let’s take a look at each of the Effects, and try applying them to the sound.
Before you begin, set the [WET] knob up to about 2:00 or 3:00.
Generally, you should keep the knob at this position. This ensures that you can
properly hear the Effect. (Tweak it later as needed to adjust the Effect balance.)
Now, try out each Effect, and use the same procedure:
1 Select the Effect type.
Press the [TYPE] button, then use the [DATA] knob. Thirteen different types are available.
2 Adjust the Effect depth.
Use the [PARAM] knob.
G Delay
(Delay 1 — 3)
Delay is a popular effect that repeats the sound in rhythm. Play a Pattern and select Delay 1 (dLY1). Try
setting the [PARAM] knob to around 3:00. Hear how the Delay sound pulses with the original sound to cre-
ate a different, more complex yet “spacier” feel. Try the other Delay types, too.
The key to using Delay effectively (no pun intended) is to keep it in sync with the Pattern. This is a little
tricky and may take some practice. Slowly work the [PARAM] knob and listen carefully for changes in the
rhythm. Keep in mind, there are no “wrong” or “right” settings here — use your ears to come up with set-
tings that feel good.
G Reverb
Reverb (r<rb) is a “hidden” type in the Delay category and it lets you apply an ambient wash of reflections
to the sound. Used subtly, it can make your tracks warmer and more natural sounding — as if they were
being played in a concert hall. More extreme settings can drench the sound in reverb and produce spacy,
other-worldly effects.
Try this out on one of the Patterns. Select the Pattern and play it, then tweak the [PARAM] and [WET]
knobs, trying different settings, and hearing how they change the sound. Lower settings result in a shorter
reverb time as well as an overall brighter sound. Higher settings produce a longer reverb time and dampen
the high frequencies as well for a softer, more muffled sound.
Keep in mind that Reverb — like all the Effects — is applied to all tracks, Synth and Rhythm 1 - 3.
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Chapter 5 Effects
G Flanger
(Flanger 1, 2)
This modulation-based Effect produces a “swishing” or “tunneling” sound. Play a Pattern and select Flanger
1 (FLG1).
Take the [PARAM] knob from minimum to maximum, and notice how the sound grows from a subtle sweep-
ing, metallic sound — like a jet airplane taking off — to a virtually pitch-less sonic meltdown.
G Chorus
Chorus is another modulation effect (“hidden” in the Flanger category) that adds a subtle warmth and depth
to the sound — although you can go for some extreme effects, too.
Try Chorus (CHor) out on a Pattern. Play around with the [PARAM] knob, trying different settings — and
listen for the changes.
Start out with [PARAM] set to 7:00 (minimum). This is no Chorus modulation at all. Now, bring it up slowly
to 8:00, then around 9:00. Hear the modulation working? Doesn’t the sound seem more animated? Even
fatter?
Try higher settings, as well — going to 12:00, then slowly up to 3:00 and beyond. Notice how the pitch
wavers in strange ways — and hear how the sound even brightens up for the highest values.
G Phaser
(Phaser 1 - 3)
Another modulation Effect, Phaser is similar to Flanger, but much more subtle.
It’s perfect for adding some warm animation and movement to the sound.
Effect
Effect Type
Allows you to select one of thirteen Effect
types for processing the sound of the tracks
(Synth and Rhythm 1 - 3). Press the [TYPE]
button, then use the [DATA] knob.
Play a Pattern and select (PHS1). Set the [PARAM] knob to the minimum (0)
and gradually turn it up — and listen to how the modulation enhances the
sound. Go on to the other Phaser types as well, for more sonic variations.
Settings
Delay 1 - 3, Reverb, Flanger 1 and 2, Cho-
rus, Phaser 1 - 3, Overdrive/Amp 1 - 3
G Overdrive/Amp
(Amp 1 - 3)
Parameter (PARAM)
In general, this allows you to control the
depth of the Effect. (The actual parameter
differs depending on the selected Effect
type.) Use the [PARAM] knob to adjust.
This Effect simulates the overdriven sound of a guitar amp, and lets you apply
varying degrees of distortion to the sound. Start a Pattern and try Amp 1
(AmP1), and tweak the [PARAM] knob. Notice how minimum values produce
a warm, edgy “bite,” while maximum values deliver a full, heavy metal
onslaught.
Range
0 — 127
Wet
Try all three Overdrive/Amp types — the differences may not be dramatic, but
they give you a variety of warm and crunch-laden distortion effects to work
with. Some of the Patterns sound especially good with a little grunge...
Allows you to control the volume of the Effect
— in other words, the wet/dry balance. Use
the [WET] knob to adjust.
Range
0 — 127
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Chapter 5 Effects
17 Distortion
The last tip introduced you to a distortion effect, the Overdrive/Amp types. Here’s yet another way to dirty
up the sound — Distortion.
Although not strictly part of the Effect section, Distortion is a strong effect in its own right. Compared to the
warm Overdrive/Amp Effect types, it has more edge and bite. When applied to many of the AN200’s Voices,
it is capable of creating very convincing guitar-like distortion effects.
1 Press the DIST [SWITCH] button. (The lamp turns on.)
2 Adjust the balance with the [DATA] knob.
This lets you mix the “dry” no-Distortion sound with the “wet” Distortion-
only sound. Try different settings and hear how they change the sound.
Distortion
Notice how a fully wet “U63” results in a very brittle, edgy sound.
Allows you to apply a distortion effect to the
Synth track. (Note that this does not affect
any of the Rhythm tracks.) Press the DIST
[SWITCH] button to turn Distortion on, then
use the [DATA] knob to adjust the dry/wet
balance. A value of “d63” has only the orig-
inal, unprocessed sound, while a value of
“U63” has only the Distortion-processed
sound.
Range
d63 (dry) — d=U (dry = wet) — U63
(wet)
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Chapter 6
Filter (VCF)
The VCF or Filter section is one of the most powerful and dynamic on the
entire instrument. Used in the right way, the VCF controls are capable of
transforming sterile, boring sounds into something really dynamic and excit-
ing. Try out the following Tips and see what we mean...
18 Cutoff and Resonance
For your Filter explorations, here’s the best place to start.
These two Filter controls work interdependently — changing one of them affects the sound of the other.
Turn [CUTOFF] to the left and the sound becomes darker or “muffled.” Turn it to the right and the sound
becomes brighter. Turn [RESONANCE] to the right and the Filter peak becomes sharper and more pro-
nounced. Turn it to the left and hear how the Filter flattens out.
Darker
Brighter
Flatter
More pronounced
Also keep in mind that the overall effect of Cutoff and Resonance is controlled by FEG Depth (Tip 20 below).
If FEG Depth is set too high or too low, you may hear little or no change in the sound — no matter how furi-
ously you twist the [CUTOFF] and [RESONANCE] knobs.
Cutoff
Resonance
Determines the frequency at which the Filter effect starts. The higher
the value, the higher the frequency.
Determines the emphasis of the resonant peak of the Filter (at the Cutoff
frequency).
Volume
Volume
Cutoff frequency
Resonance
Frequency (pitch)
Frequency (pitch)
Range
0 — 127
Range
Synth track : -12 — 102
Rhythm track 1-3 : -64 — 63
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Chapter 6 Filter (VCF)
19 Wild, wild filter sweeps — VCF Types
The enormous power and versatility of the Filter section continues with the VCF Types. These hidden varia-
tions put some really heavy-duty sonic fireworks at your fingertips — just what you need to blow the crowd
away.
Try these settings out for size...
1 Call up a Pattern and press the Start/Stop button. Start out by setting
both [RESONANCE] and [FEG DEPTH] to around 1:00.
2 Simultaneously hold down [SHIFT] and turn the [CUTOFF] knob.
Keep your eyes on the display as you do this — the setting will change! For starters, select “12db” —
which should be around 11:00.
In this shifted condition, the [CUTOFF] knob becomes the VCF Type selector. (That’s why “TYPE” is
printed in black below the knob.)
3 Now, take your finger from the [SHIFT] button, and the knob reverts to its
original identity as the Cutoff control.
Turn it very slowly — especially between 8:00 and 1:00 — as you listen to the gradual changes in the
sound.
4 Not wild enough for you? Let’s move onto another type then...
Hold down [SHIFT] again and turn the [CUTOFF] knob to around 12:00, so that “bPF” is called up in the
display.
Is that any wilder? Still too tame? Let go of [SHIFT] and try tweaking the [CUTOFF] knob between 8:00
and 2:00.
5 Let’s try one more. Hold [SHIFT] and set the [CUTOFF] knob to around
2:00, so that the “HPF” type is selected.
Things can get kind of crazy here, too. Tweak the [CUTOFF] knob some more — especially between
12:00 and 3:00 — and hear what kind of madness you can generate.
Don’t forget the [RESONANCE] and [FEG DEPTH] knobs! Work with them too as you tweak the
[CUTOFF] knob. There’s a lot of sonic variation to be had in just these three controls.
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Chapter 6 Filter (VCF)
VCF Type
Determines the filter type used for the VCF section. The filter passes only
a specified range of frequencies while cutting off the rest. There are sev-
eral completely different types, as well as a variety of filter slopes (see
below).
range, with a cutoff curve of 12dB/octave.
Level
Cutoff range Range passed Cutoff range
Settings
24db (Low Pass Filter 24dB/octave), 18db (LPF 18dB/octave),
12db (LPF 12dB/octave), bPF (Band Pass Filter), HPF (High Pass
Filter), bEF (Band Eliminate Filter)
Center frequency
Frequency
24db, 18db, 12db
The Low Pass Filter passes only those frequencies below the specified
cutoff point. Cutoff curves of 24dB/octave, 18dB/octave and 12dB/
octave can be selected.
HPF
The High Pass Filter passes only those frequencies above the specified
cutoff point, with a cutoff curve of 12dB/octave.
Level
Cutoff range
12dB/oct
Level
Range passed
Cutoff range
18dB/oct
24dB/oct
Cutoff frequency
Frequency
Cutoff frequency
Frequency
BPF
The Band Pass Filter passes only those frequencies in the specified
BEF
The Band Eliminate Filter passes only those frequencies outside the
specified frequency range. The Resonance setting (see page 27) deter-
mines the eliminate range.
Level
Range passed
Cutoff range
Range passed
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Chapter 6 Filter (VCF)
20 FEG Depth
Technically, the FEG Depth controls how the Filter works over time. This is even shown on the panel for you:
Indicates a “dip” in the filter,
just at the start of each note.
Indicates a filter “peak,” just at
the start of the note.
With the the [CUTOFF] and [RESONANCE] knobs set respectively to 9:00 and
3:00 (see above), slowly turn the [FEG DEPTH] knob.
FEG Depth
Depending on the Pattern selected, negative settings (setting the knob left of
12:00) may result in little or no sound. But once you turn the knob past the
halfway point (12:00), you’ll start to hear the filter “opening up.” Turn the knob
slowly for gradual filter sweep effects. Also try working the knob in time with
the rhythm for dynamic “wah” effects.
Determines the degree or depth of the filter
effect over time. Positive values result in a
normal EG; negative values use a “reverse”
EG — producing a filter sweep effect that
dips and comes back up, rather than one that
peaks and goes down.
Range
-128 — 127
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Chapter 7
Nuts and Bolts
Let’s take a break from the fun and games for a moment. Check out the fol-
lowing functions and familiarize yourself with them — they’re very useful,
convenient tools you’ll need as you work with the AN200.
21 Show Value
Sometimes you’ll want to see what value a knob or button has been set to. Remember that when you call up
different Patterns, the knobs won’t correspond to the settings, so just looking at the knobs won’t help. And
if you turn the knob or press the button, you’re likely to change the setting. What’s a poor knob twister to
do?
Use the Show Value function. This convenient tool lets you see virtually any of the Voice-related settings —
without disturbing or changing them.
1 While you’re editing the Voice of a Pattern, press the [SHOW VALUE] but-
ton.
2 Simply turn the knob of the parameter whose value you’d like to see.
For example, to see the Portamento Time value that’s been set for the Voice, turn the [PORTAMENTO]
knob.
Display flashes and indi-
cates the currently set
value for the parameter
(in this case, Porta-
mento).
Naturally, Show Value can be used with all Voice-related buttons as well. For example, to see the current
setting of the VCO 1 Wave, press the VCO 1 [WAVE] button.
LED next to button flashes to indi-
cate current setting.
For buttons that have multiple parameters (such as LFO [DETAIL] or FREE EG [MODE]), press the button
repeatedly to call up the desired parameter.
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Chapter 7 Nuts and Bolts
3 Press the [EXIT] button to return to normal operation.
All of the indicated controls
can be used with the Show
Value function. (Original Value,
too. — See Tip 22 below.)
Show Value
ting of a Voice-related parameter, without
changing the value or setting. Press the
[SHOW VALUE] button, then turn the appro-
priate knob or press the appropriate button.
The current value/setting is displayed. While
Show Value is active, the Voice cannot be
played and the Pattern controls cannot be
used. Press the [EXIT] button to return to
normal operation.
• Trade Secrets
Use Show Value to pick the brains of our programmers. Do you have a favorite Voice and
would like to find out its settings? Just call up Show Value and take a peek behind the curtain.
22 Original Value
If you tweak and turn the knobs on a Voice for any length of time, you’re going to come up with a Voice
that’s VERY different from the one you started out with. And at some point in the editing process, you might
wish you could take a peek at the original settings — without erasing your new ones, of course — just to
see how far you’ve strayed.
This is where the Original Value function can help. Similar to Show Value (in Tip 21 above), Original Value
lets you view any of the originally programmed Voice-related settings — simply by turning a knob or press-
ing a button.
1 While you’re editing the Voice of a Pattern, hold down [SHIFT] and press
the [ORIGINAL VALUE] button.
2 Turn the knob or press the button of the parameter whose value or set-
ting you’d like to see.
For example, to see the original Cutoff value that’s been set for the Voice, turn the [CUTOFF] knob.
Display flashes and indicates the
originally set value for the param-
eter (in this case, Cutoff).
Original Value can be used with all the same knobs and buttons as Show Value. For details, see Tip 21
above.
3 Press the [EXIT] button to return to normal operation.
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Chapter 7 Nuts and Bolts
G What’s the difference between Original Value and Show Value?
• Show Value — Lets you view the CURRENT settings of the Voice.
• Original Value — Lets you view the ORIGINAL PRESET PROGRAMMED settings of the Voice.
If you haven’t done any editing to a Voice, both of these will display the same values — those of the cur-
rently selected Pattern.
Original Value
• Closer to home
While you’re editing a Voice, you may find yourself way off course — somewhere in outer
space! You can use Original Value to retrace some of your steps and come back closer to
Earth. For example, call up Original Value and check one of the settings — say, FEG DEPTH —
then press [EXIT] and adjust the [FEG DEPTH] knob to bring the value closer to the original.
Keep doing this with other parameters as well, until you get the sound you want.
Allows you to check the originally pro-
grammed value or setting of a Voice-related
parameter, without changing the value or set-
ting. Hold [SHIFT] and press the [ORIGINAL
VALUE] button, then turn the appropriate
knob or press the appropriate button. The
original value/setting is displayed. While
Original Value is active, the Voice cannot be
played and the Pattern controls cannot be
used. Press the [EXIT] button to return to
normal operation.
• Current and original values
Want to easily see how far your edited values are from the original? Just switch between
Show Value and Original Value. To alternate between the two functions, simply press the
appropriate button(s): [SHOW VALUE] for Show, [SHIFT] and [ORIGINAL VALUE] for Original.
No need to exit beforehand — just toggle between the two, turning the knob each time you
switch to check the settings.
23 Panic! (or “Uh-oh...What do I do now?”)
As you’ve undoubtedly discovered by now, the AN200 is a wonderfully deep and extraordinarily versatile
synthesizer. Sonically, it can take you places you’ve never dreamed of.
Unfortunately, that can be part of the problem. While you’re tweaking a Voice, you may end up drifting in a
synthesized never-never land, or come across nothing but silence or muffled noises, or — maybe worst of
all — meet up face to face with a monster sound that can’t be tamed.
Until you know exactly how the controls work and how they affect the sound, you’ll ocassionally find the
AN200 to be an unpredictable, sometimes uncontrollable beast. Before you unplug it and try to stuff it back
in its box, try these common-sense workarounds and solutions.
G Select a different Pattern.
Or select the same Pattern again. Yes, this will automatically erase any edits you’ve made. But at least
you can come back to square one and start over.
G Press the [EXIT] button.
This won’t always work as you expect. Keep in mind, [EXIT] is mainly used to leave a function or opera-
tion. Use it when you find yourself inadvertently doing something you don’t really want to do — such as
deleting a Pattern from a Song (page 88) or clearing a sequence (page 68). Also use it to get out of situ-
ations where there is no sound or many buttons just don’t seem to work — such as in Show Value (page
G Turn off the power.
When all else fails... Actually, we don’t recommend doing this, especially if you’ve got speakers con-
nected. But it IS a quick and sure way to reset everything.
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Chapter 7 Nuts and Bolts
G Do a Factory Reset operation. (See Tip 24.)
Use this only if you suspect something is actually wrong with the AN200. (For the most part, many of
the confusing things about the instrument may just be things that you don’t quite understand yet.)
Remember, this will COMPLETELY ERASE any original work you’ve done or saved — so be careful!
G Check the Troubleshooting section (page 115).
We mean it. The next time you find yourself scratching your head (or tearing your hair out), save your-
self a whole lot of grief and read through this section. It’ll make you feel better.
24 Factory Reset
If the AN200 freezes in an operation, crashes, or otherwise behaves erratically, the Factory Reset operation
can usually be counted on to bring things back to normal.
Factory Reset is also used to restore all the factory-programmed Pattern and Song data. For example, if
you’ve created your own Pattern and Song data (and saved it, of course) but want to use the original Pat-
terns and Songs of the AN200, just perform a Factory Reset.
This operation automatically erases any and all of your original Patterns and Songs. If possible,
make sure to save any important data (page 108) before using Factory Reset.
1 Turn the power off.
2 Simultaneously hold down the [SHOW VALUE], [PATTERN] and [EXIT] but-
tons, and turn on the power again.
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Chapter 8
Pattern Playback
We’re going to pick up where we left off in Chapter 1, and give you some more
Pattern Tips. These are simple things you can do to change the sound, pitch,
rhythmic feel, and other aspects of the Patterns — even the Patterns them-
selves — in real time.
25 Adjusting the Gate Time
Try this simple, fast and cool tool — and change the feel of your tracks.
Select and start a Pattern. Any Pattern will do.
While the Pattern is playing, simultaneously hold down [SHIFT] and press [GATE TIME] ([REVERSE]).
The lamp flashes to indicate Gate Time is active.
Turn the [DATA] knob to change the Gate Time. Notice how the length of the
notes changes as you work the knob.
Gate Time
When you’re done, don’t forget to press [EXIT] (or [SHIFT] + [GATE TIME]) to
Determines the length of each note. The
leave the function.
higher the value, the longer the gate time.
Shorter values produce a clipped sound,
longer ones produce a sustained sound.
Range
1 — 100 (normal) — 200
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Chapter 8 Pattern Playback
26 Transposing the key
The Transpose function lets you change the pitch or key of the Pattern as it plays back. With this, you can
change chords on the fly, and create your own chord progressions — instantly, as you perform.
Let’s try it out. Select a Pattern and start it up. Now, hold down [SHIFT] and press [KEYBOARD].
The button flashes.
As the Pattern plays, try pressing various keys. For example, press [12] — and hear how the key changes.
Press [9], and you’re back to the original pitch. (Remember that buttons 1, 4, and 8 don’t have any effect
here.)
The trick to using this effectively is hitting the pitch changes right on the beat. To get the hang of it, try this
simple example — counting “one, two, three, four” with the Pattern — and stay in time with the rhythm.
one
two
three
four
ONE
two
three
four
ONE
two
three
four
ONE
two
three
four
Try changing pitch on other beats in the Pattern as well — for example, not just on the “one,” but hitting the
“one” and “three” both. Or on all four beats, for some unusual, “busy” changes. And did you know that you
can use the [OCT <<]/[OCT >>] buttons, too? This next example may take a little practice...
one
two THREE four
ONE
two
three
four
ONE
two THREE four
ONE
two
three
four
Notice that the octave doesn’t actually change until you hit the number button
on the keyboard.
Transpose
Experiment with other Patterns as well. And when you’re done, don’t forget to
press the [EXIT] button to leave the function.
Determines the key of Pattern playback. To
enable, hold down [SHIFT] and press [KEY-
BOARD], then press appropriate buttons on
keyboard. Use [OCT <<]/[OCT >>] to change
octave. The number of semitones that the
pitch has been transposed is indicated in the
display.
Range
-24 — 24
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Chapter 8 Pattern Playback
27 Swing
Here’s an instant way to change the rhythmic feel of a Pattern. Play it straight,
or give it some swing.
Call up a Pattern and start it up. While it’s playing, press the [SWING] button
and turn the [DATA] knob.
Try a setting of about 65 - 70 and notice how the Pattern takes on a “bouncy”
feel. Experiment with different settings and different Patterns. Judicious use
of Swing can make the Patterns sound less mechanical — and give your tracks
a more “human,” natural feel.
Swing
Determines the amount of swing or triplet
feel in Pattern playback. (Does not change
the actual recorded data.) While a Pattern is
playing, press the [SWING] button and turn
the [DATA] knob to change the value.
•
•
The Swing effect differs depending on the selected Pattern. For certain Patterns with few
notes (such as only quarter notes), Swing may have little to no effect.
Range
50 (straight) — 83 (maximum swing)
28 Muting tracks
The Patterns of the AN200 contain and play back up to four separate tracks — the Synth track and three
Rhythm tracks. The convenient Track Mute feature lets you selectively mute these tracks — even during
playback.
Track Mute actually has two main applications: one in recording, the other in live performance. When
recording several tracks to a Pattern (page 70), it’s often useful to hear only one or two of your previously
recorded tracks — and Track Mute is ideal for this.
However, where Track Mute REALLY shines is in live performance. Pro DJs and dance music artists can
whip the crowd into a frenzy by dropping parts out and bringing parts in. For example, bringing everything
down to the drums is a great dynamic trick that keeps the dancers grooving. From there, you can gradually
build things up, adding track by track until you have the whole mix cooking. Or bring everything in all at
once, and watch the crowd explode.
1 Call up and start one of the Patterns.
2 Let’s start by muting the Synth track. While holding down [SHIFT], press
[1] on the keyboard.
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Chapter 8 Pattern Playback
Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT]
— this means all four tracks are on. Button [1] corresponds to the Synth
track; when you press this, the Synth track cuts out. To bring the Synth
track back in, simply hold down [SHIFT] and press [1] again.
Track Mute
Allows selective muting of the four tracks:
Synth and Rhythm 1 - 3. Two methods are
available:
3 Now, do the same with Rhythm tracks 1, 2, and 3 —
which are assigned to buttons [2], [3], and [4], respec-
tively.
Method 1
Holding down [SHIFT] and pressing num-
ber buttons [1], [2], [3], and [4].
While the Pattern is playing, try muting and unmuting the tracks in time
with the rhythm. The lighted buttons let you see at a glance which tracks
are active — a great help when doing this live.
Method 2
Holding down [SHIFT] and pressing
[SYNTH TRACK] or [RHYTHM TRACK].
In Method 2, [RHYTHM TRACK] is an eight-
way toggle switch. Each button press (as
you hold down [SHIFT]) steps through all
Track Mute settings.
For both methods, the LED next to the track
number lights to indicate that the track is on.
29 Muting notes during playback
Here’s a Tip that’s useful both in live performance AND in creating Patterns. It’s called Step Mute and it lets
you modify an existing Pattern by taking out specific notes — while the Pattern is playing.
Step Mute is another great way to change the rhythmic feel and melodic content of a Pattern — without per-
manently changing the original data. Let’s try it out...
1 Select a Pattern and start it up.
2 Make sure the Synth track is on (press [SYNTH TRACK] if necessary), then
press one of the keyboard buttons.
The button lamp turns off, indicating the note is
muted.
Hear how the selected note drops out? You can press the same button again to put the note back in. Try
pressing some other buttons and listen to how their presence or absence affects the feel of the Pattern.
3 Do the same with the Rhythm Tracks as well.
Press [RHYTHM TRACK] repeatedly to select the desired Rhythm Track: 1, 2, or 3. Then, press the key-
board buttons — just as you did in Step 2 above.
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Chapter 8 Pattern Playback
Step Mute
• Adding and subtracting beats
Did you notice that you can add sounds, too? This is especially effective in the Rhythm tracks.
If the selected Rhythm track has some unlit buttons — meaning there are spaces in the track
— try pressing some of those buttons to add more drum/percussion hits to the track. Or try
taking some of the lit buttons’ sounds out, and hear what kind of rhythm you come up with.
Allows you to mute and unmute specific
steps in a Pattern during playback. Select
and start a Pattern, then select the track you
wish to control: Synth or Rhythm 1, 2, or 3.
Then, press the desired buttons to mute/
unmute the steps.
• Save your edits
saved along with the stored Pattern; yet the original data is not changed.
30 Mixer controls — Pan and Volume
Try these bread-and-butter controls out, and change the mix of the Patterns. Pan and Volume only affect the
Synth track — the Rhythm tracks remain unchanged.
1 Select a Pattern and start it.
2 Let’s try changing the Pan position first.
Hold down the [SHIFT] button, and turn the [PARAM] (PAN) knob.
Pan
Determines the position of the Synth track
sound in the stereo image. Hold down
[SHIFT], and turn the [PARAM] (PAN) knob
to adjust.
Range
L63 (full left) — Cntr (center) —
r63 (full right)
Notice how the Synth track sound moves from left to right and back again
as you turn the knob? (We assume you’re listening to this with stereo
headphones or on a stereo speaker system...)
3 Now, work with the Volume.
Hold down the [SHIFT] button, and turn the [WET] (VOL) knob.
Volume
Determines the volume of the Synth track.
Hold down [SHIFT], and turn the [WET]
(VOL) knob to adjust.
Range
0 — 127
Hear how the Synth sound fades in and out as you tweak the knob?
Remember, this only affects the Synth track — unlike the master [VOLUME]
knob, which controls the overall sound of the AN200.
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Chapter 8 Pattern Playback
31 Assigning Patterns to the keyboard buttons
Remember in Tip 3 how you selected Patterns on the fly, as they were playing? Here’s where you can set
which Patterns are triggered by which keyboard buttons. Any Pattern — even the User Patterns — can go
to any button. Plus, you can use a key range of three octaves, from C2 to B4 — that’s 36 different Pattern
Select locations.
1 Hold down [SHIFT] and press [PATTERN SELECT].
2 Use the [OCT <<]/[OCT >>] buttons to select the
The button flashes. All key-
board buttons turn off.
desired octave range.
3 Press the desired keyboard button. (Remember, [1],
[4], and [8] can’t be used.)
4 Select the Pattern with the [DATA] knob. Your original User Patterns are
fair game as well.
5 Repeat Steps 2 - 4 as often as you want, until you’ve made all the desired
Pattern-to-key assignments.
Once you’re finished, press [EXIT] (or [SHIFT] and [PATTERN SELECT] again) to leave the function.
Now, try using Pattern Select to play the newly assigned Patterns. (Need a
refresher course? See Tip 3 again.)
Pattern Select Assign
G Storing Pattern Select assignments
Determines the Pattern-to-key assignment
There’s no need to store! All your Pattern Select Assign settings are stored
automatically as you make them.
for Pattern Select. Hold down [SHIFT] and
press [PATTERN SELECT]. Select octave
range, then press desired keyboard button
and use [DATA] knob to select Pattern. Pat-
tern assignments are stored automatically.
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Chapter 9
LFO Modulation
Here’s another crucial cornerstone in synthesizer sound — the LFO.
Although LFO modulation can be used to make the sound warmer and more
natural, its strong forte is in creating wild and extreme special effects.
Explore the following Tips and you’ll soon build up a huge arsenal of power-
ful tools for mangling the sound in awesome ways.
32 Modulating the volume
Get to know your LFO.
This Tip takes you through the basics in setting up and using the LFO. It also introduces you to one of the
more popular LFO applications — modulating volume. Used with some of the other sound shaping controls
on the AN200, this is responsible for the machine gun effects, helicopter-like sounds and a slew of other
industrial noises you hear in a lot of techno, electronica and dance music today.
1 Call up a Pattern.
2 Press [DETAIL], several times if necessary, until “Amd”
(Amplitude Modulation Depth) appears briefly in the
display.
3 Use the [DATA] knob to set the value to “63.”
This is the Amplitude Modulation Depth setting — “amplitude” meaning
“volume.” Setting Amplitude Modulation Depth to 63 puts the LFO in maxi-
mum control over the volume of the sound.
Amplitude Modulation Depth
Determines the amplitude (volume) depth for
the LFO. A value of “63” results in no vol-
ume change. To set, press [DETAIL] repeat-
edly (until “Amd” appears), and use [DATA]
knob to set value. (Pressing [DETAIL]
repeatedly steps through the other LFO Detail
parameters; see page 42.)
4 Press [KEYBOARD] to use the keyboard, and hold
down one of the keys.
Hear how the the sound wavers in and out, in a tremolo effect?
5 As the note sounds, tweak the LFO [SPEED] knob —
and hear how the modulation alternately speeds up
and slows down.
Range
-64 (maximum negative) — 0 (no change)
— 63 (maximum positive)
Speed
Determines the speed of the LFO modulation.
Range
Stop (no modulation), 1 — 255
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Chapter 9 LFO Modulation
33 Modulating the Filter
Now, let’s apply the LFO to the Filter — and create some interesting wah-wah effects.
1 Press [DETAIL] until “Fmd” (Filter Modulation Depth) appears briefly in
the display.
2 Use the [DATA] knob to set the value to around “-34.”
This is the Filter Modulation Depth setting. Setting Filter Depth to -34 gives the LFO some control over
the timbre or tonal quality of the sound.
3 Press [KEYBOARD] to use the keyboard, and hold down one of the keys.
Can you hear the wah-wah sound? Try tweaking the [DATA] knob in the range of -64 to -24 and listen to
the changes in Filter modulation. Also try tweaking the sound at the positive end of the spectrum (16 to
46) as well, and listen for the difference.
Filter Modulation Depth
If you’ve come to this Tip directly from Tip 32 above, you’re hearing the LFO applied to both
Determines the Filter modulation depth for
the LFO. A value of “0” results in no Filter
change. Values toward -64 produce a nega-
tive Filter depth; values toward 63 produce a
positive depth. To set, press [DETAIL]
repeatedly (until “Fmd” appears), and use
[DATA] knob.
Amplitude and Filter. To hear the Filter effect all alone by itself, set Amplitude back to normal
(0).
For more fun:
Try tweaking the VCF controls. Naturally, if the LFO is being applied to the Fil-
ter, any changes you make to the Filter section will affect the LFO-modulated
sound as well.
Range
-64 (maximum negative) — 0 (no change)
— 63 (maximum positive)
34 Modulating the pitch
Try using the LFO to warp the pitch — and discover some more awesome modulation effects.
1 Press [DETAIL] until “Pmd1” (Pitch Modulation Depth 1) appears briefly in
the display.
2 Use the [DATA] knob to set the value to around “0.”
This is Pitch Modulation Depth 1 (for VCO 1). Start out with this minimum value.
3 Press [KEYBOARD] to use the keyboard, and hold down one of the keys.
As the sound sustains, slowly turn the knob counter-clockwise, and bring the value down toward
“-127.” Notice how the pitch becomes less and less distinct the further you get from “0.” (This is true
for positive values as well.) For some Voices, the pitch may stay distinct but change radically — over an
octave or more!
Try experimenting with different LFO Speed settings, and also try holding down more than one note.
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Chapter 9 LFO Modulation
Pitch Modulation Depth 1, 2
If you’ve come to this Tip directly from the other LFO Tips above, you may want to hear the Pitch
Determines the two Pitch Modulation Depth
settings for the LFO. Setting 1 (“Pmd1”)
affects VCO 1, while setting 2 (“Pmd2”)
affects VCO 2. A value of “0” results in no
Pitch change. To set, press [DETAIL] (until
“Pmd1” or “Pmd2” appears), and use
[DATA] knob.
modulation by itself. To do this, set both Amplitude and Filter back to normal (0).
• Double up
Range
Once you start working with VCO 2 (in Tip 57), experiment with the two independent Pitch
Modulation Depth settings (PMD1 and PMD2) for even more interesting textures and pitch
changes.
-127 (maximum negative) —
0 (no change) — 127 (maximum positive)
35 Changing the LFO wave
The LFO uses one of 21 different waveforms to modulate the sound. The particular wave you select has a
huge effect on the final sound. Try out some of these and see what kind of chaos you can create.
1 Press [DETAIL] until “UA<E” (Wave) appears briefly in
the display.
2 Use the [DATA] knob to set the Wave to “trGL” (Trian-
gle).
This selects the Triangle wave. Try some of the other Wave settings and
hear how they change the sound.
• Sample and hold
Use the Sample-and-hold waves (“S-H” 1 - 4) mainly for Pitch modulation effects. Unlike the
other Wave settings, these generate random fluctuations. They’re less suited to modulating
the Amplitude or Filter, since the random differences may be less apparent. Especially with
Amplitude, they may result in unwanted dropouts in the sound. However, they can be very
effective with Pitch, particularly in creating “electronic” sounds and sci-fi effects.
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Chapter 9 LFO Modulation
Wave
Determines the LFO waveform.
Settings
G Triangle (trGL), 2, 3, 4, 5
G Sine (SinE), 2, 3, 4, 5
Triangle
Sine
Triangle 2
Sine 2
Sine 3
Sine 4
Sine 5
Triangle 3
Triangle 4
Triangle 5
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Chapter 9 LFO Modulation
G Square (Squr), 2, 3
G Sample-and-hold 1 (S-H1), 2, 3, 4
Square
S-H 1
Square 2
S-H 2
Square 3
S-H 3
G Saw 1 (SAU1), 2, 3, 4
Saw 1
S-H 4
Saw 2
Saw 3
Saw 4
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Chapter 10
EG Basics
Shape the volume, shape the tone. Use the EG (Envelope Generator) section
to control how your sound moves, grows and evolves.
36 Shaping the sound with EG
One of the most important aspects in analog synthesizer sound is how that sound is controlled over time.
The AN200 gives you some very powerful and flexible ways to do this. One of them is the EG section.
EG stands for Envelope Generator — “envelope” here being the control that shapes the sound as it evolves
over time. The EG effectively tells the synthesizer when to bring the volume up or down.
Like most analog synthesizers, the AN200 has four EG controls: Attack, Decay, Sustain, and Release. The
AN200 also lets you use the EG to control the filter — to shape the tone in time.
Let’s take a look at how these work — and hear them in action.
1 Call up a Pattern, and press [KEYBOARD] to enable
the keyboard buttons.
2 Press the [SELECT] button in the EG section so that
the AEG lamp lights.
Indicates AEG
is selected.
Doing this lets you control only the AEG (Amplitude EG), which affects the volume.
3 As you play the buttons, turn the [ATTACK] knob. Try setting it to around
12:00 and tap the buttons repeatedly.
Notice how the attack of the sound is a little slow? Now, set the knob to its minimum (7:00), and hear
how the attack is instantaneous. Next, try setting the knob to around 2:00 and hear how the sound very
slowly grows louder as you hold the key.
4 Let’s try the [SUSTAIN] knob now.
Keep in mind that Sustain is the ONLY level control in the bunch — the rest of the knobs control time or
rate.
Start with [SUSTAIN] set to around 9:00 (a value of 15 - 20). Then play and hold down a note. Do the
same with successively higher settings as well — 12:00 (64), 2:00 (95), and 5:00 (127).
Hear how the sustain or “held” sound of the Voice gets louder with each setting above? For the 5:00 set-
ting, the volume reaches maximum and stays there as long as you hold the note.
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Chapter 10 EG Basics
5 Next, play with the [DECAY] knob and hear how that affects the sound.
Make sure to reset [SUSTAIN] to around 10:00 or 11:00 — if Sustain is too high, Decay won’t work!
Experiment with the [DECAY] knob. Depending on the Voice and the other EG settings, a short Decay
value (knob around 9:00) may result in a weak, percussive sound. Try adjusting the knob around 11:00
or 12:00 and then slowly move upwards from that as you repeatedly play the key.
6 Now, on to the [RELEASE] knob.
Start by resetting [ATTACK] to 7:00, [DECAY] to 11:00, and [SUSTAIN] to 1:00. Then experiment with
different [RELEASE] knob settings, such as 1:00, 3:00 and 5:00.
Notice that the sound sustains — longer and longer for each setting — after you release the note.
Before you go on to Step 7 below, bring [RELEASE] back to around 1:00, and leave the other knobs
unchanged.
7 To make things more interesting, press [SELECT] to turn on the FEG con-
trols, and use the EG knobs to play around with the filter. (We’ll do more
exploring with the filter in the next tip, too.)
Indicates FEG
is selected.
Play around with the four EG knobs and hear what kinds of sonic mayhem you can create.
Work with the VCF section controls (page 27), too — they have a huge effect on the overall sound and
behavior of the EG. We’ll warn you, though — the results can be complex and unpredicatable. But we
guarantee you’ll discover a whole truckload of sounds you never thought possible.
G What is an EG? What does it do?
To explain by example, let’s take a look at an acoustic instrument — the piano.
The piano doesn’t actually have any EGs inside, but the basic principle is the
same.
DECAY
SUSTAIN
RELEASE
ATTACK
When you hit a key on the piano, the sound starts sharply (Attack), but goes
down soon (Decay) to a softer level (Sustain) as the note is held, and quickly
dies out to complete silence (Release) when you lift your finger from the key.
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Chapter 10 EG Basics
EG Select — FEG and AEG
• Tweak them together
When you start out tweaking the EG, you may want to set [SELECT] to both FEG and AEG.
This eliminates a lot of confusion about which EG is doing what. For example, if you have sep-
arate settings and the FEG opens up long after the AEG has already shut down, you’ll probably
not hear much of the sound. Similarly, if the AEG takes its sweet time to unfold — by which
time the FEG has already come and gone — the sound may never come through.
Determines the EG settings for the filter
(FEG) and amplitude or volume (AEG).
Press [SELECT] to enable FEG, AEG or both
(ALL), then use the EG controls (see below)
to change the EG settings.
• Tweak them separately
Settings
FEG
Adjusting both FEG and AEG together (see hint above) is convenient and easy — but it also
results in relatively boring, static Voices. To make really interesting, organic sounds with shift-
ing textures, the trick is to adjust the Filter and Amplitude EGs separately, yet make sure that
they coincide with each other often enough to keep the sound from dropping out entirely.
There are no diagrams to help you with this — you’ll have to use your ears!
AEG
ALL (both FEG and AEG)
EG Controls
Attack
Determines the time it takes for the sound to
reach full volume when a note is played.
Decay
Determines the time it takes for the sound
volume to reach the Sustain level. This is
similar to the natural decay heard in acoustic
instruments.
Sustain
Determines the level of the sound for when a
note is held. If this is at or near minimum,
the sound will die out as the note is held. If
this is at or near maximum, Decay will have
no effect and the sound will remain at maxi-
mum level as long as the note is held.
Release
Determines the time it takes for the sound to
reach minimum volume (or silence) after a
note is released. If Sustain is set too low, this
may have little to no effect on the sound.
Range
0 — 127 (for each knob)
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Chapter 10 EG Basics
37 Using EG to control the Filter (FEG)
In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now,
let’s take a look at what the EG can do with the Filter.
These specific FEG setting examples will get you started, and give you a definite feel for how to use EG to
change the tonal quality of the sound. In the process, you’ll learn more about how the Filter works, too —
and how you can get it to work for you.
Try out these settings, experiment with them, go wild, go mad! There’s so much you can do with these con-
trols, so many sonic possibilities — this barely scratches the surface.
1 Select a Pattern, then select FEG.
Press the [SELECT] button repeatedly until FEG is lit.
Indicates FEG
is selected.
2 Start by setting a slow Attack on the Filter.
Set [ATTACK] to around 12:00 (value of 65).
3 Play around with the [CUTOFF] knob as you play the keys.
Tweak the knob slowly in the range of 10:00 - 5:00 (30 - 127) as you play single notes in succession.
Listen to how the sound changes. Finally, set the knob to around 8:00 or 9:00 (1 - 15).
4 Now, experiment with the [SUSTAIN] knob.
Try tweaking this to different settings as you play the keys. Make sure you hold the key or keys down —
the sound will change as you hold. Before you go on to the next steps, set this to around 11:00 (50).
5 Before we try out the [RELEASE] knob with the Filter, we’ll need to stretch
out the volume a bit.
Press [SELECT] to call up AEG, then set the AEG’s [RELEASE] to about 2:00 (90 - 95).
6 Now, go back to the FEG (press [SELECT]), and work with the FEG’s
[RELEASE] knob.
Play a series of single notes, and tweak the knob between 11:00 and 4:00 (45 and 120).
Notice how the FEG Release setting determines how much of the sound is heard after key is released. If
the Filter Release is too short, little or none of the sound will come through.
Finally, set this to around 12:00 or 1:00 (65 - 80).
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Chapter 10 EG Basics
7 Just for good measure, play around with the [DECAY] knob a bit.
As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around
1:00 or 2:00 (80 - 90).
8 You’re on your own now!
With the above settings as a starting point, go back to each of the EG knobs and play around with them
some more. Take a crack at using other controls as well — and hear how they change the sound. And
while you’re at it, go on to Tip 38 below — for further FEG explorations.
38 More about FEG Depth
In Tip 37, you learned about the FEG Depth control. Let’s take a closer look (and listen) to it in this Tip —
and the next.
1 If possible, continue with the sound you’ve created in Tip 37 above.
Select a Pattern, and tweak the controls to the basic settings shown below.
FEG
AEG
2 Now, play around with the [FEG DEPTH] knob.
First, set it to around 12:00 and slowly turn it clockwise while you play the keys. Listen for the sound
changes — some of them will probably be quite subtle.
Tweak the knob the other way, and hear how the sound drops out for the negative values (7:00 - 12:00).
Finally, set the knob to about 2:00 (50). Experiment with the [RESONANCE] knob, too. Try out a variety
of settings — especially around 1:00 - 4:00 — and hear how they alter the tone.
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Chapter 10 EG Basics
39 Going negative — with FEG Depth
As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of
FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound.
1 First, get everything set up with the following settings:
EG [SELECT]...........to “ALL” (both FEG and AEG)
[ATTACK] ................to around 2:00 (90 - 100)
[DECAY]..................to around 1:00 (80)
[SUSTAIN] ..............to around 3:00 - 4:00 (100 - 120)
[RELEASE]..............to around 1:00 - 2:00 (80 - 90)
[CUTOFF]................to around 2:00 (100)
[RESONANCE] ........to around 2:00 (70)
2 Finally, set the [FEG DEPTH] knob to 7:00 (-128) — the maximum negative
value.
3 Now, play several single notes, slightly apart, and listen for the very slow
attack and the long sustain. Hear how the filter slowly sweeps and grows
with the sound?
A negative FEG Depth setting reverses the FEG operation — producing a filter sweep effect that dips down
instead of peaks. This means the sound gets softer and more muffled, until the end — when the filter
sweeps back up again.
Try these, too
•
•
Experiment with higher Cutoff and Resonance settings than the ones shown above.
Adjust the FM Depth, Sync Pitch, and Noise Level settings — to give the Filter some richer
harmonics to work with, and make the sound more interesting.
•
For even greater degrees of weirdness, try some long Portamento settings, too (for example,
around 90 - 110).
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Chapter 11
AdvancedSound
Shaping Controls
By this point, you’re well on your way to becoming a master synthesizer pro-
grammer. You’ve learned about the Patterns, the Scenes, Effects, the Filter,
LFO, EG, and so on — but your education’s not over yet. The AN200 has
actually got quite few more sonic tricks up its sleeve. Let’s try some of them
out now...
40 Portamento — the famous gliding pitch effect.
You’ve heard the sound before. Although singers and instrumentalists use it to bend up or down to a central
pitch, Portamento is one of the defining features of analog synthesizers and electronic music.
Portamento packs enormous power. On the one hand, it lets you add subtle sliding “grace notes.” On the
other, it can completely subvert the pitch and give you atonal glides. Ultimately, the effect is dependent on
what notes you play and how far apart you space them. Try it out and see what madness you can come up
with.
1 Call up a Pattern, and set the [PORTAMENTO] knob to about 10:00
(around 25 in the display).
2 Enable the keyboard with [KEYBOARD], then play notes [9] and [16] alter-
nately.
3 Try other settings, too, and hear how the Portamento
effect changes.
Bring Portamento up to about 12:00 (64), then 2:00 (95), and finally the
maximum of 5:00 (127).
Portamento
Determines the Portamento time, or how
long it takes to glide the pitch from one note
to the next. Higher values result in a longer
pitch glide time.
Experiment. Try the effect out on some of your other favorite Voices. Also
try tweaking Portamento while the Pattern is playing — and listen to the
resulting sonic mayhem.
Range
0 — 127
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Chapter 11 Advanced Sound Shaping Controls
41 Metallic sounds and more — with FM Depth
Like the vintage synthesizers of the past, the AN200 is absolutely loaded with modulation options — giving
you the power to mangle the sound in wild and unique ways. Yet it also gives you some intriguing digital
twists — like FM Depth.
Depending on the other Voice settings, FM Depth can be very subtle, adding harmonics or changing the
pitch — almost imperceptibly at times. It can also create harsh, metallic, non-pitched sounds — perfect
when you want to add some industrial edge or noise percussion to your tracks.
1 To start out, select a Pattern.
Try to select a Pattern with a soft, warm Voice that lets you hear some of the more subtle qualities of FM
Depth.
2 Turn the [VCO 1/2] knob all the way left.
This lets you hear only VCO 1 — important because FM Depth only modulates VCO 1.
3 Set the [FM DEPTH] knob to 12:00 (around 0).
This is center or zero for FM Depth — turn the knob in either direction from this point to change the
sound.
Turn it very slowly as you play the keyboard and hear how the Voice changes.
Try this out with a variety of Voices. Depending on the other Voice settings, FM Depth changes can be
very subtle — or extreme and harsh.
FM Depth
• Fine tuning
Since the sound and pitch can radically shift with even the slightest knob tweak, you may want
to use the [DATA] knob instead. This lets you control FM Depth much more slowly. Make sure
you turn [FM DEPTH] first, so that FM Depth is called up for the [DATA] knob.
Determines the amount of modulation cre-
ated by the FM function. The further the
value is from midpoint (64), the greater the
modulation depth. Some settings can result
in a metallic sound with no discernable pitch;
some settings completely change the pitch.
• In sync — and out
together with FM Depth in modulating VCO 1, and can dramatically alter the character of the
sound.
Range
-64 — 63
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Chapter 11 Advanced Sound Shaping Controls
42 Balancing the waves — VCO 1 and 2
One of the easiest knobs on the AN200 to understand, VCO 1/2 is a simple balance control. It lets you adjust
the relative volume of the two oscillators, VCO 1 and VCO 2. However, the simplicity is deceiving — there’s
a whole lot of power here, too.
Along with the VCO 1 and VCO 2 Wave controls (see Tip 56), this is where you lay the very foundation of the
sound — upon which everything else on the AN200 is built.
1 Select and play a Pattern.
2 Turn the [VCO 1/2] knob all the way left and play the
keyboard.
Now, you’re hearing only VCO 1.
3 Next, turn [VCO 1/2] all the way in the other direction — so that only VCO
2 sounds this time.
Play around with this knob as you hold down a note, and listen to how the two waves blend together.
Notice that the knob features a convenient center detent, letting you easily feel your way back to zero —
which is a 50-50 mix of the two VCOs.
VCO 1/2 Balance
• Soloing VCO 1
Crafting an original Voice from scratch? Soloing VCO 1 (7:00 position) is one of the best ways
to start. Listening only to VCO 1 makes it easier to set the VCO 1 Wave (page 56). It’s essen-
the modulation that’s happening.
This determines the volume balance of the
Range
-64 (VCO 1 only) — 0 (equal balance) —
63 (VCO 2 only)
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Chapter 11 Advanced Sound Shaping Controls
43 Noise Level
Here’s another nifty little knob. This one’s great for throwing some grunge and
bite into the basic wave — letting you dirty up the Voice with some noise.
Why add noise? Why not use the Distortion effect? And what good is “dirt” in
the sound, anyway? (We could hear those questions coming...)
Well, besides the obvious Lo-fi and Industrial music applications — such as
making noise percussion — noise is great for adding harmonic content all
along the frequency spectrum. And that harmonic content added at the begin-
ning of the signal flow makes the sound more interesting when you work with
the filter (VCF) section later on. Much more interesting, in fact.
Use it judiciously, however — too much noise can mask the basic pitch and
character of the sound.
Noise Level
Try selecting a Pattern with a relatively “pure” and soft Voice. Then, work the
[NOISE LEVEL] knob to hear how different degrees of noise affect the sound.
Determines the level of the noise signal
added to the VCOs.
Range
0 — 127
44 Making waves — VCO 1 and VCO 2
Here’s where the sound begins. All of the awesome, amazing sonic stuff on the AN200 starts with the waves
— generated by VCOs 1 and 2.
The AN200 gives you a wide variety of waveforms — not to mention enormous flexibility in combining,
modulating, and processing them.
The subject of waves can be fairly complicated, and you undoubtedly don’t want to read about it. As always,
use your ears! Give a listen to the various waves here and experiment with them. Try them out with the pro-
cessing sections — especially VCF — and hear how they sound. That’s the best and only way to start creat-
ing your own Voices.
I VCO 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
1 Select a Pattern.
2 Solo VCO 1 by turning the [VCO 1/2] knob all the way
left.
3 Set Sync Mode to OFF by pressing [MODE].
4 Press the VCO 1 [WAVE] button repeatedly to select different waves.
Better yet, press [WAVE] and turn the [DATA] knob. That lets you access ALL of the waveforms —
including the “hidden” waves.
The actual waves that are available differ depending on the Sync Mode setting. After trying the waves
that are available when Sync Mode is set to “OFF,” select one of the other two modes, then try out the
new group of waves. (See Tech Talk below and the Wave List on page 56 for details.)
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Chapter 11 Advanced Sound Shaping Controls
I VCO 2 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
1 Make sure the same Pattern you selected above is still called up.
2 Solo VCO 2 by turning the [VCO 1/2] knob all the way
right.
3 Press the VCO 2 [WAVE] button and use the [DATA]
knob to select the waves.
Unlike with VCO 1, there is only one “hidden” wave in the VCO 2 section (Saw 2), and the
available waves are the same, no matter what the Sync Mode setting is.
In vintage analog synthesizers, the basic waves were generated by “oscillators.” The AN200
does it a bit differently — yet the sound is exactly the same. That’s why we’ve kept the name
“VCO”: Voltage Controlled Oscillator.
VCO 1, VCO 2 Wave
Determines the waveform for the VCO 1 or VCO 2 oscillator. Press the
[WAVE] button (in VCO 1 or VCO 2) repeatedly; use [DATA] knob to select
“hidden” waves (indicated by asterisks below).
VCO 2 Wave
Settings
(Asterisks (*) indicate “hidden” waves, selectable by [DATA] knob.)
Saw ( SAU)
* Saw 2 ( SAU2)
Pulse ( PuLS)
Triangle ( tri)
Sine ( SinE)
VCO 1 Wave
Settings
(Available waves depend on Sync Mode setting; page 58. Asterisks (*)
indicate “hidden” waves, selectable by [DATA] knob.)
When Sync Mode is off:
Saw ( SAU)
* Saw 2 ( SAU2)
Pulse ( PuLS)
Mix ( mi$)
Multi Saw ( mSAU)
When SYNC is on (“VCO 1 M>S” or “VCO 2 > 1”):
Saw ( SAU)
Pulse ( PuLS)
Inner1 (inr1)
* Inner2 (inr2)
* Inner3 (inr3)
Square ( Squ)
* Noise ( niSE)
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Chapter 11 Advanced Sound Shaping Controls
45 Fat, phatter and phattest!
How phat do you want to get?
The Key Assign settings let you switch the AN200 between Poly and Mono operation. And, with Unison,
they bring back the humongously phat sounds of vintage synthesizers — letting you beef up the Voices the
old analog way.
1 Call up a Pattern and press [KEYBOARD].
Try to select a Pattern that has a fairly big and fat Voice. Let’s see where we can take it.
2 Right now, POLY should be lit. If not, press [KEY
ASGN] until it is lit, and “PoLY“ is shown in the dis-
play.
With the Poly setting, you can play and hold full chords — up to five notes
at the same time.
3 Press [KEY ASGN] again to call up Legato (LGto).
Legato is one of the Mono settings, meaning you can’t play chords here — just one-note lines. But that’s
just fine, because Legato is ideal for leads and solos as well as bass lines.
Play some notes and listen for the effect. Try holding down one note with your left hand while you
quickly play and release others with your right.
Notice how the notes trade off with each other? This is great for rapid trills — yet it keeps the EG consis-
tent throughout, as long as you hold the first note down. Try playing melodies in a smooth, legato style,
too — not releasing one note until you’ve pressed the next.
4 Use the [DATA] knob to call up the “hidden” Mono
(mono) setting.
Key Assign
Play some notes. Try playing them smoothly in legato like you did above.
Notice how each note has a sharp attack, no matter how smoothly you try
to play?
Determines how the Voices respond to the
keyboard (or MIDI), and how they use the
available five-note polyphony. To set, press
[KEY ASGN] and use the [DATA] knob.
Settings
Poly (PoLY)
Plays Voices with full five-note polyph-
ony.
Mono is similar to Legato in that you can play only one note at a time. How-
ever, the EG is retriggered, or started from the top, for each new note you
play — whether you play in legato or not.
Legato (LGto)
Plays Voices monophonically, maximum
one note at a time. Successively played
notes do not retrigger the PEG, FEG, or
AEG — resulting in a smoother note-to-
note sound.
5 Let’s give the sound some serious attitude now! Call
up the Unison (unSn) setting, with [KEY ASGN] or the
[DATA] knob.
Unison is the same as Legato, except for one very important difference —
it’s incredibly phat. Unison takes maximum advantage of the AN200’s
polyphony by ganging four of the “notes” together in one huge, fat mono-
phonic layer.
Mono (mono)
Plays Voices monophonically, maximum
one note at a time. PEG, FEG, and AEG
are retriggered for each new note played.
Unison (unSn)
Plays four polyphonic notes in unison, or
a one-note layer. In other words, the
response to the keyboard is monopho-
nic, but the number of notes actually
sounding is polyphonic.
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Chapter 11 Advanced Sound Shaping Controls
46 Sync Mode and Sync Pitch
Here are two more important additions to your arsenal of sound-shaping power tools. Try them out and
hear how they change the pitch and brighten the sound.
1 Call up a Pattern and start it up.
2 Set the [VCO 1/2] knob all the way left, so that you hear only VCO 1.
3 Press the [SYNC MODE] button to select VCO M>S (<m-5).
4 Work the [SYNC PITCH] knob, especially between 11:00 and 4:00.
Notice how the basic pitch and the harmonics shift radically as you tweak the knob.
5 Change the SYNC MODE setting to VCO 2>1 and play with SYNC PITCH
again.
• Other waves
Try selecting different waveform for VCO 1, then with Sync Mode set to one of the “on” set-
tings, tweak Sync Pitch. The Noise wave in particular is a good candidate for creating unique
non-pitched effects in which the harmonics are shifted.
• Bring in the highs
When using Sync Mode and Sync Pitch to craft a Voice, make sure to adjust the VCF controls
to appropriate settings, so that you can hear all of the high harmonics being generated.
Remember, you can always back off on the knobs later if the sound is too “edgy.”
Sync Mode
Sync Pitch
The AN200 tone generator has two oscillator sections: VCO 1 (which actually contains two oscilla-
tors), and VCO 2 (which has one). Sync Mode determines how the oscillators are synchronized —
one being a controlling “master,” the other a “slave.” The master oscillator determines the overall
pitch of the sound, and the slave oscillator controls the tone by adding harmonics.
Determines the pitch of the “slave” oscillator
in semitones, available only when Sync Mode
(above) is set to on. This lets you create a
difference in pitch between master and slave
oscillators and control the resulting harmonic
interval. At the “0” setting, the pitch is the
same as the master oscillator. Higher values
increase the interval for a more clangorous
sound. To properly hear the effect, make
sure the VCO 1 level is set high enough (see
page 54).
When set to “OFF,” there is no synchronization. When set to “VCO 1 M>S,” the two VCO 1 oscilla-
tors are separated inside of the VCO1 and synchronized, with one designated as the controlling
“master” and the other the “slave.” When this is set to “VCO 2>1,” the VCO 1 oscillators are syn-
chronized to VCO 2, with the VCO 2 designated as the “master.”
To set, press [SYNC MODE].
Settings
OFF
Results in no synchronization.
Range
-64 — 63
VCO 1 M>S (VCO 1 master into slave)
The two VCO 1 oscillators are separated inside of the VCO1 and synchronized, one controlling
the other. This allows you to use Sync Pitch (below) to control the master/slave sound, yet
still have another oscillator (VCO 2) remaining.
VCO 2 > 1 (VCO 2 into VCO 1)
The two VCO 1 oscillators are synchronized to VCO 2, with the VCO 2 designated as the “mas-
ter.”
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Chapter 11 Advanced Sound Shaping Controls
47 Creating your own original Scenes — and saving
them
The exciting and powerful Scene feature lets you create and use two different Voices within a single Pattern.
Most importantly, it lets you instantly switch between them or gradually “morph” from one to the other — all
in real time.
You tried out some preset Scenes in Tip 23, and heard just how effective, dynamic, and ultimately hip the
function can be. Now, it’s time for you to create a Scene or two of your own.
1 Press SCENE button [1]. This is the Scene you’ll be
working on first.
2 Work the controls and get the sound you want for
Scene 1. Any and all of the Synth knobs can be used.
Only button [1] is lit.
•
•
•
Only the Voice-related panel knobs can be used for recording to the Scenes; button switch
settings (such as LFO Detail and Key Assign) are ignored.
Octave cannot be changed for the Scenes. In other words, both Scenes will always be
kept at the same octave setting.
Remember that you’ll need to store your first Scene before you can create the second
Scene. Switching or morphing to a new scene automatically and irrevocably erases any
changes you’ve made.
3 While holding down [STORE], press SCENE button [1].
Scene 1 has just been stored. Now let’s go on to Scene 2.
Make sure keep holding [STORE] until you’ve pressed SCENE button [1] or [2]. Otherwise,
the AN200 will switch to the Store Pattern operation (page 79).
Indicates new settings have
been stored to Scene 1.
4 Do the same operation for Scene 2 — repeating Steps
1 - 3 above with SCENE button [2] this time.
Scene Recording
Allows you to program two different synth
sounds as Scenes, and use the SCENE con-
trols to switch or crossfade between them.
Press SCENE [1] to select Scene 1, and
change the sound as desired. Store Scene 1
by holding down [STORE] and pressing
SCENE [1]. Repeat the operation for Scene 2,
using SCENE [2]. When finished, store the
Pattern (page 79).
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Chapter 12
Free EG
Here’s another ultra-cool power tool for the control freak in you. The AN200
is packed with an endless supply of sonic mayhem and wild, shifting synthe-
sizer textures, but you can keep it all under control — with Free EG.
48 Free EG
The AN200 has so many real-time control features, it’s hard to get a grip on them all. Feel you need an extra
pair of hands? Or maybe an extra two? No problem. Just use the amazing Free EG feature. The AN200 is
packed with a lot of powerful recording functions — but none are quite as impressive as this.
Free EG gives you up to four tracks for recording your knob moves — letting you incorporate real-time
sound changes and knob moves as a part of the Pattern. So every time you play the Pattern, your knob
changes play right along with it — just as you recorded them.
We call this “Free EG” because it allows you to create unique, complex, continuous parameter changes that
would be impossible to achieve with conventional EGs.
1 Call up the desired Pattern, and press the red Record
button.
Record button, however; Length cannot be set during Free EG recording.
Indicates recording is in standby.
2 Select the Free EG track you want to record.
Press the appropriate FREE EG button, [1] - [4]. The button lights to indicate the track is ready for
recording.
Normally, [1] will be lit — so if you want to record to Track 1, you don’t have to do anything here. If any
track buttons you DON’T want to record to are lit, press them to turn them off.
Remember, you can record to more than one track simultaneously by pressing the appropriate buttons.
(See Power Hints below.)
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Chapter 12 Free EG
3 Start the Pattern, and make your moves.
Press the Start/Stop button.
Free EG — Type and Trigger
The metronome clicks to lead you into the recording, so you can start your
knob moves right with the start of the Pattern.
Type
Determines the type of loop for Free EG play-
back. Press the [MODE] button repeatedly
until “tYPE” appears, then use the [DATA]
knob to change the setting.
Remember the rule: One knob, one track. Once you record a certain knob,
no other knob can be recorded to the track (unless you start the whole Free
EG recording again). Any tweaking of other knobs is ignored.
Settings
oFF
No loop.
FUd (Forward)
Free EG sequence loops from start to
end.
The display number indicates the current measure number. If you’ve set Length (see Tip 63
below) to “2,” the Pattern loops two times for recording, and the display changes accord-
ingly.
FUdH (Forward Half)
Free EG sequence loops from the middle
to the end.
ALt (Alternate)
Free EG sequence loops from start to
end, then end to start.
4 To stop recording, press the Start/Stop button.
If you want to re-record the track or record moves to other tracks, go back
to Step 2 above and start all over again.
ALtH (Alternate Half)
Free EG sequence loops from middle to
end, then end to middle.
5 To hear your Free EG recording, make sure that the
appropriate track buttons are on, then press the
Start/Stop button to play the Pattern.
Trigger (“triG”)
Determines how playback of the Free EG
tracks is triggered. Normally, this should be
back when the Pattern is started. Setting this
to MIDI (“midi”) lets you start Free EG
playback from a connected MIDI keyboard or
sequencer.
Remember to save your newly edited Pattern! (See Tip 60.) All your Free
EG track recordings will be saved right along with it.
Press the [MODE] button repeatedly until
“triG” appears, then use the DATA knob to
change the setting.
• Recording to more than one track at a time
Press the appropriate Free EG Track buttons. During recording, the AN200 automatically
assigns each knob you move to the next available track. For example, let’s say you’re record-
ing to Tracks 1 and 2. You move the CUTOFF knob first, and that’s recorded to Track 1. Then,
while tweaking Cutoff, you move [FEG DEPTH] — which records to Track 2.
Settings
FrEE (Free)
Triggers playback of the Free EG tracks
from a random start point, when a Note
On message is received from a con-
nected MIDI device, or when a key on the
AN200 is played, or when the Pattern is
started.
• Take your time and let the Pattern loop!
In a variation of the above hint, you can set all the tracks to record, then tweak each one sepa-
rately as the Pattern loops. Each of your moves is properly recorded to a separate track, and
you can hear the effect of your last knob tweak as you record the next.
midi (MIDI in Notes)
• Use the four tracks to your advantage
Triggers playback of the Free EG tracks
from the start, when a Note On message
is received from a connected MIDI
device, or when a key on the AN200 is
played.
Record your tweaking of one certain knob to all four tracks, then choose the best “take” from
the four. Just make sure to turn off each button after you record to it — so it doesn’t play back
and disturb your recording of the next button. Listen to each track in turn by turning the
appropriate button on.
• Change the way your Free EG tracks play back
ALL (All Notes)
The Type parameter (see Tech Talk below) gives you four different ways to loop the Free EG
tracks. Try these out when playing your Pattern and hear the interesting things they do to your
tracks.
Triggers playback of the Free EG tracks
from the start, when a Note On message
is received from a connected MIDI
device, or when a key on the AN200 is
played, or at the first recorded note of
the Pattern (which may or may not be
the start of the Pattern).
Strt (Sequencer Start)
Triggers playback of the Free EG tracks
from the start, only when the Pattern is
started.
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Chapter 12 Free EG
49 Changing the Length of your Free EG tracks
The flexible little Length feature works both ways — both in recording and playback. It lets you set how long
(in measures) your Free EG moves are recorded for, and it lets you separately set how long it takes for them
to play back.
Set Length before recording any Free EG tracks. Specifically, set it BEFORE you press the red Record button
(but after you’ve selected the Pattern) in Step 1 of Tip 48 above.
Press the [LENGTH] button repeatedly to step through the settings. (Or press [LENGTH] and use the [DATA]
knob.) The number in the display indicates the Length in measures.
If you want to record your knob moves over two measures (two repeats of the Pattern), set this to “2.” If
you want your tweaking to stretch over eight measures, set it to “8.”
Once your tracks have been recorded, you can set Length again just before playback. This controls how
long all four tracks take to play.
Free EG Length
• Take your time
Want to make some really slow changes? How about a gradual filter sweep that builds to a cli-
max over several measures? Set a low Length for recording (for example, “05”), then before
you play back the Pattern, set a high Length, such as “8.”
Determines the time of the Free EG — for
both recording and playback. Each track can
be set independently for recording; however,
the playback setting affects all tracks
together. Since Free EG is based in mea-
sures, changing the playback bpm (tempo)
automatically changes the actual time of the
Free EG as well. To set, press [LENGTH]
repeatedly.
• Make it snappy
For really fast changes, just do the opposite of the above. Set a high Length for recording and
a low Length for playback. Keep in mind that each track can be recorded with a separate
Length.
Settings
0.5, 1, 1.5, 2, 3, 4, 6, 8 (measures)
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Chapter 13
PatternPower
Tips
It’s time to put your AN200 know-how and experience to work — and delve
into these Pattern Power Tips.
The first couple of Tips introduce you to some important tools for working
with the Patterns, such as copying and erasing data. They’re basic nuts-and-
bolts stuff, but don’t ignore them. You’ll need them for the fun things to follow
— like creating your own original Patterns!
50 Hit the top of the Pattern!
Here’s an effect that’s long been a staple in dance and techno music. The Top function lets you instantly
retrigger the entire Pattern from the top — so you can produce all those cool stutter effects and create awe-
some dynamic hits and accents.
Select and start a Pattern. Then, while the Pattern is playing, hold down [SHIFT] and hit the red Record
([TOP]) button.
Keep holding [SHIFT]
while you hit (press
and release) the
Record button.
Play the button in time with the rhythm, on every beat — like this:
ONE
two
three
four
Watch your timing and keep the beat! Of course, you can get different effects
by playing the button way ahead or way behind the beat, if you want. (We’ll
show you some fancy rhythmic tricks with this in later Tips, too!)
Top
Instantly returns to beginning (top) of Pattern
during playback. Ideal for creating “stutter”
effects, partial measures, hits, and accents.
Still, it’s best to hit the button right on the downbeats (“one,” “two,” “three,”
and “four”), and stay in the groove. When you’ve got it right, you’ll feel it.
While Pattern is playing, hold down [SHIFT]
and press red Record (TOP) button. Release
button and repeat for each time you want Pat-
tern to start from the top.
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Chapter 13 Pattern Power Tips
51 Shake, Retrigger, and Roll!
In Tip 50, you saw how to use the Top function to play your own stutter hits. Here’s a nifty variation on that
function — it’s called Retrigger & Roll.
Retrigger & Roll does just as its name suggests. It retriggers notes of the Synth track, and repeats them —
like a drum roll.
Select a Pattern and start it up. As the Pattern’s running, hold down [SHIFT] and simultaneously press and
hold the Start/Stop button.
Hear the “roll”? And did you notice how the Rhythm tracks keep chugging along, while the Synth track
spins its wheels?
Try this function at various points in the Pattern — the top, the end, the middle — and listen to what hap-
pens. Just keep holding down [SHIFT], and press/hold the Start/Stop button at different points in playback.
Keep in mind, Retrigger & Roll differs from Top in three important ways:
1) It only affects the Synth track.
2) It grabs and hits only a few notes — depending where in the Pattern you
press the button.
3) It automatically repeats the hits for you while you hold the button down.
Retrigger & Roll
During Pattern playback, this stops the Synth
track at the point of execution and loops one,
two, or four notes (depending on the Roll
type below). The Rhythm tracks are not
affected. While a Pattern is playing, simulta-
neously hold [SHIFT] and press/hold the
Start/Stop button.
You’ll find that Retrigger & Roll is a slick way to break the rhythm up a bit,
without losing the flow. It’s also great for throwing hip, “what-was-THAT?”
glitches and stutters into your tracks.
Roll Types
Retrigger & Roll has three different settings. To change the setting:
1) Keep the Roll going (simultaneously hold down [SHIFT] and Start/Stop
button).
Determines how many notes are used for
Retrigger & Roll — one, two, or four. The
more notes used, the slower the roll effect.
While the Pattern is playing and while holding
down both [SHIFT] and the Start/Stop button,
use the DATA knob to change the setting.
2) Grab the DATA knob. Make sure you keep holding [SHIFT] and Start/
Stop — and turn the knob to change the setting.
Settings
Lo (Lo)
One note or step (corresponds to 16th
notes).
mid (Mid)
Two notes (corresponds to two 16th
notes, or half of a beat). However, when
Beat (page 18) is set to “12,” this
becomes three notes.
Hi (Hi)
Four notes (corresponds to a full beat in
a measure).
Roll Types (in Utility)
The default Roll setting can also be changed
from the Utility parameters. Hold down
[SHIFT] and press button [16], repeatedly if
necessary, until “roLL” appears in the dis-
play. Use the [DATA] knob to change the set-
ting. (Settings are same as above.)
While the Pattern is cycling, hear how the different settings affect the sound.
And try changing the settings in time with the Pattern as well. There are a lot of
cool rhythmic tricks you can create — just by hitting different settings on the
beat.
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Chapter 13 Pattern Power Tips
52 Selecting a Voice (Copy Voice)
One important step you can take in creating a Pattern is to select the Voice you’ll be using for it.
Keep in mind that each Pattern includes a Voice, and that strictly speaking, Voices CANNOT be selected sep-
arate from their Patterns. However, this function lets you select a Voice that you like from one Pattern, and
copy it to another Pattern.
1 First, select the source Pattern — the one that has the Voice you like.
2 Simultaneously hold down [SHIFT] and press [12]
(COPY SEQ/VOICE).
You may have to press the button more than once to call up the “CPY<”
display.
3 Next, select the destination Pattern.
This is the Pattern you’ll be copying the Voice to. Use the DATA knob.
Copy Voice
4 Copy the Voice.
Allows you to copy a Voice from one Pattern
to another. Select the source Pattern, then
use [SHIFT] and [12] to call up “CPY<”
The [12] button should be flashing. Press it once again (the button stops
flashing and stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third
time to actually copy the Voice to the selected Pattern number, or press
[EXIT] to cancel.
(Copy Voice). Select the destination Pattern,
and press [12] twice to execute.
53 Starting a Pattern on a different note
Here’s an interesting way to change the character of a Pattern — without actually changing any of the notes!
The Move Note function simply lets you start playback from any individual step in the Pattern.
For example, in a 16-step Pattern, selecting a value of “-4” moves the Pattern “back” four steps — making
Step 5 the starting point of the Pattern.
1 While the Pattern is stopped, simultaneously hold
down [SHIFT] and press [13] (MOVE/PITCH).
You may have to press the button more than once to call up the “mo<E”
(Move Note) display.
2 If you want, select the particular track (Synth or
Rhythm) you want to move.
Each track can be set independently — just hold down [SHIFT] and press
the appropriate number button [1], [2], [3], or [4].
Move Step
Determines the starting step of the Pattern,
shifting the Pattern back or forward by the
specified number of steps. All steps of the
Pattern play as normal; only the starting point
changes. Use [SHIFT] and [13] to call up
“mo<E” (Move Step). If desired, select the
track to be moved; hold down [SHIFT] and
press the appropriate number button [1], [2],
[3], or [4]. (Skipping this step automatically
selects all tracks.) Use the DATA knob to
change the value and press [13] twice to exe-
cute.
3 Release [SHIFT] and press [13] once again (the button
stops flashing and stays lit).
At the “Y£n” (“Yes or no?”) prompt, press it a third time to actually change
the value, or press [EXIT] to cancel.
4 Start the Pattern to hear the changes you’ve made.
Range
-15 — 0 — 15 (steps)
•
•
Keep in mind that any changes you make to the Pattern with this function are cumulative.
For example, if you change the setting by -4, then make a second setting of -3, the actual
value (compared to the original Pattern) will be -7.
This CANNOT be used while the Pattern is playing back.
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Chapter 13 Pattern Power Tips
54 Transposing the pitch of a Pattern
Try this cool editing tool on your tracks. The Transpose Pattern function lets you change the overall key
(pitch) of a Pattern — including the Rhythm tracks. Shift the pitch way up, or bring it way down — there’s
a lot of range here to work with.
1 While the Pattern is stopped, simultaneously hold down [SHIFT] and
press [13] (MOVE/PITCH).
You may have to press the button more than once to call up the “PtCH” (Transpose Pattern) display.
2 If you want, select the particular track (Synth or Rhythm) you want to
transpose.
Each track can be set independently — just hold down [SHIFT] and press the appropriate number button
[1], [2], [3], or [4].
3 Set the pitch change of the tracks by using the [DATA] knob.
The pitch change value is in semitones. (There are 12 semitones in an octave.) For example, if the orig-
inal Pattern is in the key of C, a setting of “5” would change the key to F.
Keep in mind that this changes the pitch of the Rhythm tracks as well as the Synth track.
4 Transpose the Pattern.
Press [13] (the button stops flashing and stays lit). At the “Y£n” (“Yes or
no?”) prompt, press it again to actually change the value, or press [EXIT] to
cancel.
Transpose Pattern
Determines the overall key of the Pattern,
shifting all notes in all tracks of the Pattern up
or down in pitch by the specified number of
semitones. Use [SHIFT] and [13] to call up
“PtCH” (Transpose Pattern). If desired,
select the track to be transposed; hold down
[SHIFT] and press the appropriate number
button [1], [2], [3], or [4]. (Skipping this
step automatically selects all tracks.) Use the
DATA knob to change the value and press
[13] twice to execute.
5 Start the Pattern to hear the changes you’ve made.
•
•
Keep in mind that any changes you make to the Pattern with this function are cumulative.
For example, if you change the setting by -4, then make a second setting of -3, the actual
value (compared to the original Pattern) will be -7.
This CANNOT be used while the Pattern is playing back.
Range
-24 — 0 — 24 (semitones)
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Chapter 13 Pattern Power Tips
55 Copying a Pattern (Sequence)
Earlier in this section, in Tip 52, you learned how to copy a Voice from one Pattern to another. Here you’ll
learn how to copy a Sequence (the Pattern’s notes) from one Pattern to another.
1 First, select the source Pattern — the one that has the Sequence you like.
The word “Sequence” is used here to describe the recorded notes or steps of a Pattern.
(“Pattern” actually is a blanket term that refers not only to the recorded notes, but the Voice,
the Scenes, and the Free EG settings as well.)
2 Simultaneously hold down [SHIFT] and press [12] (COPY SEQ/VOICE).
You may have to press the button more than once to call up the “CPYS” (Copy Sequence) display.
3 Next, select the destination Pattern.
This is the Pattern you’ll be copying the Sequence to. Use the DATA knob.
Copy Sequence
4 Copy the Sequence.
Allows you to copy a Sequence from one Pat-
The [12] button should be flashing. Press it once again (the button stops
flashing and stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third
time to actually copy the Sequence to the selected Pattern number, or press
[EXIT] to cancel.
tern to another. Select the source Pattern,
then use [SHIFT] and [12] to call up “CPYS”
(Copy Sequence). Select the destination Pat-
tern, and press [12] twice to execute.
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Chapter 14
Pattern Recording
By this point, you’ve built up a lot of experience twisting and tweaking the
Voices, and playing around with the Patterns. Now it’s time to strike out on
your own — and create some Patterns yourself. Let’s get started...
56 Erasing a Pattern — and starting from scratch
The first thing you’ll need to do when you make your own Pattern is to make room for it on the AN200. To
do that, you’ll have to erase or clear one of the factory preset Patterns.
Don’t worry, you won’t be permanently erasing this Pattern. All this operation does is give you a blank slate
on which to create your own Pattern. You can restore the original Pattern by simply re-selecting it (with the
[DATA] knob), or by turning the AN200 off and back on again.
1 Select the Pattern to be cleared.
2 Simultaneously hold down [SHIFT] and press [11] (CLEAR SEQ).
The button flashes, and “CLr” (Clear) briefly appears in the display.
We’ve labeled this function “CLEAR SEQ” (Clear Sequence) on the panel to distinguish it
from the DEL PTN (Delete Pattern) function, at button [10].
Clear Sequence — Deletes the note data from a Pattern.
Delete Pattern — Deletes the Pattern number from a Song (see Tip 89).
3 Release [SHIFT] and press [11] once again.
The button stops flashing and stays lit; the display prompts you by asking “Yes or no?” (“Y£n”). Press
it a third time to actually clear the Pattern, or press [EXIT] to cancel.
Clear Sequence (Pattern)
• Tweak an existing Pattern
Naturally, if there’s a preset Pattern you like and simply needs a bit of tweaking to fit your
specifications, you don’t need to completely clear the Pattern — just edit it, using the tools
described in Tip 59, Step Recording.
Allows you to clear the note data of a Pattern.
Select the Pattern, then use [SHIFT] and [11]
to call up “CLr” (Clear). Press [12] twice to
execute.
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Chapter 14 Pattern Recording
57 Setting the Metronome lead-in
When you record your parts in real time, you’ll need a rhythmic guide — a metronome click — to lead you
into the recording, and keep you in time. Here, you can set the length of the Metronome lead-in — in other
words, how long the Metronome clicks before Real-time recording actually starts.
1 Simultaneously hold down [SHIFT] and press [16] (UTILITY SETUP).
You may have to press the button more than once to call up the “mtro” display.
2 Use the DATA knob to change the setting.
For a one-measure lead-in before recording starts, set this to “on1.” For a
two-measure lead-in, set this to “on2.”
Metronome
Determines the length of the Metronome
lead-in for Real-time recording. To turn the
Metronome (and the lead-in) off, set this to
“oFF.” Set this to “on1” for a one-measure
lead-in, and “on2” for two measures.
You can also turn the Metronome off here, by setting this to “oFF” — in
which case, recording starts immediately (without a lead-in), as soon as
you press the Start/Stop button.
When done, press [EXIT] to return to normal operation.
Metronome is set in the Utility parameters.
Hold down [SHIFT] and press button [16],
repeatedly if necessary, until “mtro”
appears in the display. Use the [DATA] knob
to change the setting.
Settings
oFF
No lead-in metronome click.
on1
A one-measure lead-in before recording.
on2
A two-measure lead-in before recording.
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Chapter 14 Pattern Recording
58 Recording a Pattern in real time
Up until this point, you’ve been working with the preset Patterns of the AN200. Now, here’s your chance to
create some Pattern magic yourself — by recording your own original Patterns.
We’ll give you the basic procedure to get you started. You supply the creative ideas and talent. And the
AN200 will provide the sonic horsepower you need to produce some truly hip and happening tracks.
1 Select a blank Pattern — a clean slate for recording your own notes.
(Have you cleared a Pattern for this yet? If not, go back to Tip 56 and do
it now.)
2 Make the Beat setting for the new Pattern: 16, 12, or
8.
Hold down [SHIFT] and press [SWING] (BEAT). Then, turn the DATA knob
to change the setting.
You should make this setting BEFORE recording, since it determines the number of steps you’ll have
available in the Pattern.
A setting of “16” gives you sixteen steps or spaces you can record notes to; a setting of “8” is obviously
half that — eight steps. The “12” setting gives you twelve steps, of course, but also lets you create a
triplet feel — count: “ONE, two, three, TWO, two, three,” etc.
3 Select the track for recording — Synth or one of the
three Rhythm tracks. Press [SYNTH TRACK] for Synth,
or [RHYTHM TRACK] (repeatedly) for Rhythm tracks 1,
2, or 3.
4 Set a comfortable bpm for recording.
Hold [SHIFT] and press the [TAP] button, then use the [DATA] knob.
Keep in mind, you can always change the bpm later. Right now, it’s impor-
tant to set the bpm so that it’s fast enough to capture the feel you’re after,
yet slow enough to let you easily enter the notes. (Make sure to press [EXIT] when you’re done.)
5 Press [KEYBOARD] to enable the AN200’s keyboard.
Did you know you can use a MIDI keyboard to record the notes? If you’ve
got one, see Tip 86 for info on setting it up.
6 Enable recording — press the red Record button.
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Chapter 14 Pattern Recording
7 Start recording.
Now, let’s get down to business. Press the Start/Stop button. While listening to the metronome, play the
keys on the keyboard.
The AN200 has a nifty “Loop Recording” feature that immediately and automatically plays each note you
record as the Pattern repeats (loops). This lets you hear the Pattern as you’re recording — making it
much easier to “feel” your way to a great recording.
What’s more, the AN200 automatically corrects the timing of the notes you play. This may not always
give you the results you expect — but it will ensure that ALL your notes play back in perfect sync with
the rhythm.
8 Delete your mistakes or unwanted notes.
We know, you probably didn’t make any any mistakes. But just in case you want to know, here’s how you
can patch up your tracks.
While the Pattern is still recording, simultaneously hold down [SHIFT] and press one of the Step buttons.
(Again, avoid Step buttons [1], [4], and [8] — they won’t have any effect.) Listen closely to the playback
and press the appropriate Step button at the right time — right as the note plays. You can erase more
than one note by continuing to hold down [SHIFT] and the Step button — for as long as you want to
erase. Since it may be difficult to precisely erase the offending notes, try slowing down the bpm (page
9 Stop recording.
Press the Start/Stop button.
10 Finally, save your precious work to the AN200’s internal memory — with
the Store function.
running out of space here... Besides, the Store function deserves it’s own
Tip.)
Real-time Recording
Allows you to record the notes to a Pattern in
real time, as opposed to entering them one-
by-one (in Step recording; see page 72).
• Lay down the drums
Select a blank Pattern and set the Beat
(below). Select a track with [SYNTH TRACK]
and [RHYTHM TRACK], and press [KEY-
BOARD]. Press red Record button to enable
recording, then press Start/Stop button to
start, and play the keyboard.
Generally, it’s a good idea to record your Rhythm track first. In fact, you may want to record
just a very simple drum pattern to start with, and build up from there. You can later embellish
that basic track, or even erase it and come up with an entirely new drum part — once your
other tracks start to take shape.
• Loop Recording
Take advantage of the Loop Recording feature and play just one note or sound at a time. For
example, when building a Rhythm track, start out with just a kick drum sound (select octave
C2 with [OCT <<], and press [9]) — and play it on the “one” and “three” beats. With the kick
looping, play button [3] for a snare drum. Then, go back to octave C3 and use buttons [14]
and [7] to add a rapid-fire hi-hat pattern.
Beat
Determines the number of steps for the Pat-
tern. Hold down [SHIFT] and press [SWING],
and use the DATA knob to change.
Get the idea? Keep building your tracks part by part in this way until you’ve got just what you
want.
• MIDI keys
Settings
16, 12, 8 steps
Have you bought yourself a MIDI keyboard yet? One that’s at least five octaves long, has
touch sensitive keys, and features Pitch Bend and Modulation wheels? If you haven’t, you’re
missing out on a very easy and powerful way to record! Just hook one up (see Tip 86) — and
lay down your best keyboard licks.
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Chapter 14 Pattern Recording
59 Step Recording
tern was looping. Now, you’ll learn a completely different method — Step recording.
Real-time recording is like using a tape recorder — whatever you play is recorded as you play it. Step
recording, on the other hand, allows you to enter each note individually — like writing down the notes on a
sheet of music paper.
With Step recording, you not only enter the note itself (Pitch), but its length (Gate Time) and its loudness
(Velocity) as well.
Step recording is ideal for precision — making the placement, rhythmic value, and velocity of each note
exact and consistent. This is great for recording individual drum parts in a rhythm pattern, or single notes in
a syncopated synth bass part. Step also gives you precise control in recording fast or complex passages
that would be difficult or impossible to record in real time.
Last but not least, use Step Recording to edit Patterns. This is a great way to customize existing Patterns
and tweak them to fit your needs — or twist them into completely new tracks.
There’s a lot to be learned here, so take a deep breath — and dive in!
I Setting Up• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
The first three steps below show you how to set up a Pattern for Step Recording.
1 Select a Pattern and clear it.
Call up a Pattern that has the Voice you want to use for your new, original
Pattern. Clear the Pattern by holding down [SHIFT] and pressing [11], then
pressing only [11] twice again.
1
Remember that the Pattern isn’t really erased — you can get it back by sim-
2
ply turning the AN200 off and back on again.
2 Make the Beat setting for the new Pattern: 16, 12, or
8.
Hold down [SHIFT] and press [SWING] (BEAT). Then, turn the DATA knob
to change the setting.
You should make this setting BEFORE recording, since it determines the
number of steps you’ll have available in the Pattern.
3 Here, you’ll be recording the Synth part, so select the
Synth track.
Press [SYNTH TRACK] (the button lights).
By the way, you can also step-record the Rhythm tracks — but we’ll show you
how to do that a little later on.
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Chapter 14 Pattern Recording
I Entering the Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this section, you’ll be entering the notes (pitches) for each of the sixteen steps. We’re going to show you
a quick way to do this. The results here may not be very musical — but they’ll get you started fast and point
you in the right direction.
4 Turn all the Steps on.
In this condition, all the buttons are probably off. (Remember? You cleared the Pattern...) Go down the
line, and press each button so that they are all lit.
Why do this? Generally, when you’re recording the Synth track, it’ll be easier to create a Pattern if all
Steps 1 - 16 are on. This will create a busy Pattern, but you can always take out notes later.
5 While holding down [SHIFT], press [STEP 1-8].
Do this repeatedly, if necessary, to select Pitch entry.
This operation actually accomplishes two things:
1) It selects Steps 1 - 8 for recording.
2) It selects the event type (in this case, Pitch).
Also, notice the flashing [1] button. This indicates that Step 1 is ready for recording.
6 Now, with the PITCH indicator selected, use the knobs above the buttons
to set the Pitch for each Step, 1 - 8.
Each knob corresponds to the Step directly below it. For example, the PORTAMENTO knob controls
entry for Step 1, the VCO 1/2 knob for Step 2, and so on.
Set the knobs (roughly) to the positions indicated above. No, you don’t have to be exact. In fact, you can
set these any way you want. We just figured that twiddling them around 11:00 to 1:00 is easy to do. You
won’t wind up with an earthshakingly memorable melody, but it should at least give you a listenable set
of pitches to work with.
Notice that when you tweak a knob, the corresponding Step button flashes.
7 Now, let’s work with Steps 9 - 16.
Press button [9].
We just showed you the fast way to select Steps 9 - 16 for editing:
1) Edit Steps 1 - 8 first, then
2) Press button [9] to edit the same parameter for Steps 9 -16.
An alternate way is to hold [SHIFT] and press [STEP 9-16], repeatedly if
necessary (like you did in instruction Step 5 above).
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Chapter 14 Pattern Recording
Enter the notes for these Steps in the same way as you did with Steps 1 - 8 above, but use the setting
guide below:
Again, this is ONLY a guide — make your own settings, if you want.
8 Finally, press the Start/Stop button — and hear your new masterpiece.
I Gate Time • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In the next few steps, let’s work with Gate Time and lengthen some of the notes.
9 Hold down [SHIFT] and press [STEP 1-8], until the GATE TIME indicator is
lit.
10 Set the knobs as shown.
Set knobs [1] and [5] to around 12:00. (The display value should be around 200.)
Set knobs [2], [3], [4], [6], [7], and [8] to around 9:00. (The display value should be around 70 - 75.)
11 Do the same again for Steps 9 - 16.
Press any one of the bottom row buttons (this automatically selects Steps 9 - 16 for editing the same
parameter, Gate Time), then set the knobs to roughly the same positions as shown above.
12 Press the Start/Stop button to hear your stunning new arrangement.
I Velocity• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
No matter what unnatural, machine-like melody you’ve programmed above, you can make it sound much
better by putting in a few choice accents — with Velocity.
13 Hold down [SHIFT] and press [STEP 1-8], until VELOCITY is selected.
14 Maybe you’ve noticed that you can change any and all of the events
while the Pattern is running. If you HAVEN’T noticed this, press the Start/
Stop button to play the Pattern, and make the changes below.
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Chapter 14 Pattern Recording
15 Set the knobs as shown.
Set knobs [1] and [5] to around 2:00. (The display value should be around 90 - 100.)
Set knobs [2], [3], [4], [6], [7], and [8] to around 11:00. (The display value should be around 40 - 50.)
Or, make your own settings. After all, you’ve mastered the process now. Plus, since you can hear what
you’re doing — AS you’re doing it — you can come up with some amazing ideas of your own.
I Step Mute • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
We’ve covered this function before (in Tip 29), but let’s check it out again. It’s a handy editing tool that helps
you create great sounding tracks.
16 Is the Pattern still going? If not press the Start/Stop button again.
17 Press some of the Step buttons to mute certain Steps. Try out the exam-
ples below, then experiment with your own settings.
Press buttons [5], [7], [11], and [13]. Listen to the sound of the Pattern as these Steps drop out.
Now, turn them all back on and mute these: [6], [7], [12], [14], and [16].
You’ve got your basic Synth track — now, continue crafting and adding to the Pattern by working on the
Rhythm tracks below.
• Fine tuning
• Copy Pattern
Here’s a smart and easy way to work! Use the “Step” knobs (above
each Step button) to select the Step and make a rough, ‘round about’
setting, then use the DATA knob to tweak and fine-tune the setting.
If you’ve crafted a really hip Pattern, and you’d like to make a few more
variations — use the Copy Sequence operation (page 67). Once you
have some copies of the Pattern, you can tweak them and change them
around, until you’ve got a whole palette of similar beats and riffs to
work with — for live performance (page 95), or for Song recording
(page 82).
• Swing
Don’t forget to use Swing. It might not be right for all of your Patterns,
but it doesn’t hurt to try it out. A little Swing may be just what the doc-
tor ordered... Remember, the Swing setting affects all tracks equally.
(See page 37.)
• Mix your methods
Real-time and Step recording are two separate methods — but they can
also be used together. Not at the same time, of course, but in tandem.
For example, you could record a basic beat to Rhythm Track 1 with
Step, then use Real-time to improvise a bass line on the Synth Track.
Or you could combine both methods on a single track — recording a
basic part with Real-time, then using Step to edit it. Which method you
use and how you use it depends partly on the type of music you wish to
create and partly on your own personal preference.
• Other tools
Feel like hearing a different Voice? Call up the Copy Voice function
your tracks.
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Chapter 14 Pattern Recording
Rhythm Tracks
The AN200 is filled to the brim with an enormous variety of drum, percussion, and special effects sounds.
Put these to good use with the Step Recording features — and create your own awesome beats and smokin’
rhythms.
I The Basics — Rhythm Track 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In the next few steps, we’ll walk you through the basics — and give you a quick way to edit. Get these steps
down, and you’ll be whizzing through the tracks in no time.
18 Turn on the Steps you want to record.
Press the buttons shown to turn them on.
19 Select the Instrument Select parameter.
While holding down [SHIFT], press [STEP 1-8]. Do this repeatedly, if necessary, to call up Instrument
Select. (The “INST SEL” indicator lights.)
Instrument Select is only available for the Rhythm tracks. As you may recall from Tip 11, the Rhythm
tracks contain a huge variety of bass, drum, percussion and other sounds — each assigned to a different
key. Instrument Select is the place you go to choose these sounds for Step recording.
Notice that a cryptic name appears in the display. This indicates the
selected sound. For example, the display below indicates that Snare Drum
#14 is called up.
For a complete list of the sounds and their display abbreviations, see page 140.
20 Enter a bass drum sound for all the steps.
Press button [1], then hold down [SHIFT] and turn the [PORTAMENTO] knob to select “bd05.” All
steps 1 - 16 are instantly and automatically set to the same value.
Remember, you can use the [DATA] knob instead for finer control. Just press the appropriate number
button, then tweak the [DATA] knob to dial up the desired sound.
Press the Start/Stop button to hear the new track — a bass drum pulse that will be the foundation of this
new rhythm.
In the Fast Lane — Working Smart
Once you get to know your way around the controls, you can Step Record While editing you may want to turn other Steps on or off. To do this
your tracks fairly quickly. The trick is in getting the system down to a rou- quickly and return to editing:
tine. So, here’s the routine!
1) Press [EXIT] (to leave the current parameter).
2) Turn the desired Steps on or off.
3) Press [STEP 1-8] or [STEP 9-16] (to return to current parameter).
1) Select the desired track.
Press [SYNTH TRACK] or [RHYTHM TRACK].
2) Turn on the desired Steps.
Press the appropriate Step buttons, so that they light.
3) Call up the desired parameter.
Hold [SHIFT] and press [STEP 1-8] to call up Instrument Select, Pitch,
Gate Time, or Velocity.
And remember — at any point in the operation, you can:
• Select a different track.
Press [SYNTH TRACK] or [RHYTHM TRACK].
• Play the Pattern to hear your edits.
Press the Start/Stop button.
4) Press the desired number button and change the value.
Use the knob directly above it, or use the [DATA] knob.
• Mute or un-mute individual tracks.
Hold [SHIFT] and press [1], [2], [3], or [4].
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Chapter 14 Pattern Recording
I Overdubbing the Hi-hat — Rhythm Track 2 • • • • • • • • • • • • • • • • • • • • • • • • •
Now, let’s flesh out the rhythm a bit with some hi-hat parts — and add a turntable scratch at the end.
21 Using the “In the Fast Lane” box above as a guide, go on to Rhythm
Track 2, and make the settings as described here.
Turn the indicated buttons on and set them to the instruments shown.
While you’re programming the instruments, let the Pattern play. Hearing the sounds as you
enter them is a great help in constructing hip tracks.
I Snare and Ethnic Spice — Rhythm Track 3 • • • • • • • • • • • • • • • • • • • • • • • • •
For the final mix, we’ll record a snare backbeat — and throw in some Indian tabla and other percussion for
good measure.
22 Have you got the hang of the things by now? Use “In the Fast Lane” above as a
cheat sheet if necessary, and program Rhythm Track 3 as shown.
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Chapter 14 Pattern Recording
I Fine TuningYour Tracks — Pitch, Gate Time, and Velocity • • • • • • • • • • • • • •
Before you run off, remember that the Rhythm Tracks can be edited some more with the Pitch, Gate Time,
and Velocity parameters.
23 We won’t tell you exactly what to do — you can explore these on your
own. However, here are some guidelines and paths to follow:
G Pitch
Yes, the drum and percussion sounds can be pitch-changed. So can all the scratches and sound
effects. Everything’s fair game and nothing’s safe. This is your chance to go wild with the rhythm!
G Gate Time
Experiment with the length of each note — clipping some here, extending some there. Typical uses
include stretching out the sound of a cymbal, so you hear the full decay, or cutting off the sustain of a
tom sound, for a short, sharp chop.
G Velocity
Accentuate the positive. Bring out certain important instruments in the mix by boosting their veloci-
ties. Similarly, turn the velocity down for instruments that seem too loud.
24 Last and certainly not least — save your work.
Now that you have the slamming basic track for your new Grammy-winning, Platinum-selling Techno/
Dance hit — you’d better save it. (For information on saving, see Tip 60.)
And that’s it! Unless of course you want to go back and re-edit everything to your own exacting specifi-
cations. After all, you’re the boss.
Rhythm Tracks
Step Recording
• Start with the beat
When you record a Pattern, it’s best to start out with the Rhythm tracks. In fact, you might
want to record just a temporary rhythm “scratch track” (for example, bass drum and snare) to
Rhythm Track 1, and build the rest of the Pattern on top of that — erasing or modifying the
scratch track later.
Allows you to enter the notes to a Pattern in
one-by-one, as opposed to recording them in
real time (in Real-time Recording; see page
70).
Of course, it’s all up to you! Depending on what style of music you record and your own per-
sonal preferences, you may want to start with the Synth track instead.
1. Clear a Pattern and set the Beat (hold
[SHIFT] and press [SWING]).
2. Select a track with [SYNTH TRACK] and
[RHYTHM TRACK].
3. Turn all desired Steps on by pressing each
Step button.
4. Simultaneously hold [SHIFT] and press
[STEP 1-8] to select Steps 1 - 8 for editing;
press repeatedly to toggle through event
types. (Use [STEP 9-16] in the same way
to select and edit Steps 9 - 16. Or simply
press button [9] after editing Steps 1 - 8.)
5. With event type selected, use knobs above
the Step buttons (and the DATA knob) to
adjust value.
• Play with Gate Time
Remember Gate Time can also be a “global” effect. Playing back the rhythm you’ve just pro-
grammed, mute the Synth track and experiment with different Gate Time settings. (Hold
[SHIFT] and press [REVERSE]; use [DATA] knob to change.) Try settings of 30, 50, and 200
on all three Rhythm tracks — and hear what happens!
• Swing
For an instant hip-hop approach, try changing the Swing! While the Pattern is playing, press
[SWING] and use the [DATA] knob to set the value to 65 or 70.
6. Turn steps on/off by pressing [EXIT] (to
leave editing), then pressing appropriate
Step button.
7. Press Start/Stop button to play back. (Can
be done at any point in procedure.)
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Chapter 14 Pattern Recording
Event Parameters — Synth and Rhythm Tracks
Pitch
Velocity
Determines the pitch of the selected note. For the Synth track, this is
expressed as note names; for the Rhythm tracks, it is expressed as num-
ber of semitone steps. (The small “o” in the note name display designates
Determines the volume of the selected note. Use this parameter especially
to create accents in the Pattern.
Range
0 — 127
accidentals. For example, “
” corresponds to G#.)
Range
Instrument Select
C-2 — G8 (-64 — 24 for Rhythm tracks)
Determines the instrument sound for the selected note. This parameter is
available only for the Rhythm tracks.
Gate Time
Determines the length of the selected note. The higher the value, the
longer the note length. For sounds that have a short decay, higher values
may have little to no effect.
Range
(Refer to list on page 140.)
Range
1 — 1600
60 Storing your new Pattern
Now that you’ve created a new Pattern, you’ll want to save it for future recall. The Store function lets you do
this quickly and easily. And remember, any and all changes you’ve made to the accompanying Voice —
including your knob and button settings, Free EG moves, and Effect edits — are stored with the Pattern, too.
The AN200 gives you 128 User memory spaces for saving your original Patterns.
Once you’ve created a Pattern (or Voice) you want to save, DO NOT select another Pattern until
you’ve stored it. Selecting another Pattern (or Song) automatically wipes clean any changes or
edits you’ve made!
I Turn Memory Protect Off • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Before you store, make sure the Memory Protect function is off. If it is on, you won’t be able to store your
Pattern.
1 Simultaneously hold down [SHIFT] and press [16]
(UTILITY SETUP).
You may have to press the button more than once to call up the “Prot”
(Memory Protect) display below.
2 If Memory Protect is set to on, use the DATA knob to change it to off
(“oFF”).
Unless you’ve changed the setting yourself, Memory Protect will probably be off.
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Chapter 14 Pattern Recording
I Store the Pattern • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Storing your original Pattern is as easy as 1-2-3.
1 First, make sure your new Pattern is selected and that
Memory Protect is off. Then, press [STORE]. (“PStr”
briefly appears to indicate the Store operation.)
2 Select the desired User Pattern number (1 - 128) with
the DATA knob.
3 Press [STORE] again to actually store the Pattern, or press [EXIT] to can-
cel.
I Selecting User Patterns• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Now that your Pattern is properly saved to memory, you can call it up any time you want. Select it the same
way you select the preset Patterns — pressing [PATTERN] and using the DATA knob. The User Patterns
come after preset Pattern 256.
For a quick way to select User Patterns, hold down [SHIFT] and press the [PAT-
TERN] button. This toggles between the Preset Patterns and the User Patterns.
Memory Protect
• Save your Patterns in bulk
If you have a sequencer or MIDI data filer, you can use the AN200’s Bulk Send function (page
each bank of 128 back to the AN200 when you need it — or share your banks with your
AN200-equipped friends and bandmates. Keep in mind too that you can use Bulk Send with
the computer-based AN200 Editor (page 106) to further edit your Voices.
Determines whether you can store Patterns
to memory or not. Set this to ON when you
want to avoid inadvertently erasing or replac-
ing any previously stored User Patterns.
Hold down [SHIFT] and press [16] until
“Prot” (Protect) appears briefly in the dis-
play. Use the DATA knob to change the set-
ting.
• Make it a habit
Did we mention that you should save? Save, save, and keep saving! Even if you’re still work-
ing on a Pattern or Voice and don’t consider it finished, save it anyway.
Why? Doing this gives you an archive of the changes you’ve made along the way — in case
you want to call one of them up again. You can always delete those archive Patterns later
(see hint above) to save every single thing you’ve ever created.
Settings
Off (“oFF”), On (“on”)
Store Pattern
Allows you to save Pattern and Voice data to
one of 128 User memory locations.
With the new Pattern still active and Memory
Protect off, press [STORE]. Select the
desired User number with the DATA knob,
and press [STORE] again to execute, or press
[EXIT] to cancel.
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Chapter 15
Song Recording
You’ve got a humongous selection of Patterns at your disposal. It’s time now
to put them together and make some Songs.
61 Erasing a Song — and starting from scratch
The first thing you’ll need to do when you create your own Song is to make room for it on the AN200. To do
that, you’ll have to erase or clear one of the existing Songs.
1 Make sure the Song mode is selected.
Press the [SONG] button.
Indicates Song
mode is active.
2 Select the Song to be cleared.
Make sure that it’s a Song you don’t mind getting rid of. Actually, this
doesn’t really erase the Song right away. The Song data still stays in mem-
ory — until you save your new Song to that number.
3 Simultaneously hold down [SHIFT] and press [9]
(CLEAR SONG).
4 Clear the Song.
Release [SHIFT] and press [9] once again (the button stops flashing and
stays lit). At the “Y£n” (“Yes or no?”) prompt, press it a third time to actu-
ally clear the Song, or press [EXIT] to cancel.
Clear Song
• Don’t erase... Edit a Song!
Remember, you don’t need to put a Song together from scratch. If there’s a preset Song you
like and simply needs a little customizing to make it your own, just call it up and edit it instead.
Take Patterns out, put new Patterns in, and perform a variety of transformations on the Pattern
data — the info starts on page 84.
Allows you to clear Pattern assignments and
other edits of a Song. (Remember, this does
NOT affect the actual data of any Patterns.)
Select the Song, then use [SHIFT] and [9] to
call up “CLr” (Clear). Press [9] twice to
execute.
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Chapter 15 Song Recording
62 Creating a Song
Finally, we come to the culminating feature of the AN200. This is the place where you bring together all the
Voices, Scenes, Free EG moves and Patterns you’ve made — and use them to create your own original
Songs.
1 Call up the Song mode and clear a Song.
Give yourself a blank slate for putting together your own Song. (Have you tried clearing a Song yet? If
not, go back to Tip 61 and do it now.)
2 Call up the Song Edit mode.
You’ll need to enter the Song Edit mode to do any Song recording or edit-
ing. To do this, simultaneously hold down [SHIFT] and press the [SONG]
button.
The PATTERN indicator should flash. If PATTERN is NOT flashing, press
[PATTERN SELECT] to get it flashing and enable Pattern number entry.
3 Select the measure to which you want to record.
Simultaneously hold down [SHIFT] and use the [OCT <<]/[OCT >>] ([BWD]/[FWD]) buttons to move for-
ward or backward in the Song, measure-by-measure.
Also, try this alternate method below — and move more quickly and easily through the measures.
1) Hold down [SHIFT] and press either of the [BWD]/[FWD] buttons.
2) Then, release the buttons, and use the [DATA] knob.
In this condition, turning the [DATA] knob steps through the measures. For even speedier selection, hold
down [SHIFT] while turning the [DATA] knob — and jump through the Song ten measures at a click.
4 Press the Start/Stop button.
Doing this loops the currently selected Pattern at the currently selected measure. This allows you to hear
your Song edits in the steps below — in real time.
If you want, you can stop playback by pressing the Start/Stop button before going on to Step 5 below.
Or keep it going and continue editing while the Pattern loops.
5 Select the Pattern number to be assigned (to the measure selected
above).
Use the DATA knob. Any of the Patterns can be selected — Preset or User. Remember that you can eas-
ily switch between the Preset Patterns and the User Patterns by holding down [SHIFT] and pressing the
[PATTERN] button. (See page 80.)
You may also want to record an initial BPM setting at the first measure of your Song. This
determines the basic tempo for the entire Song. For more information, see Tip 63.)
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Chapter 15 Song Recording
6 Keep assigning Patterns in this way, repeating Steps 3 - 5 above, until
you’ve created a new Song.
In most cases, you’ll want to repeat a Pattern over several measures, rather than having a different Pat-
tern every measure. To do this, first set the Pattern you want to repeat. Then, in the following measures,
turn the DATA knob counter-clockwise until “----” appears in the display.
This setting selects no new Pattern, and keeps the previous Pattern playing through the measures
assigned this way.
By the way, if you’re creating a Song from scratch, you may not need to enter “----” at all. Just skip
over the measures that you want to stay the same — the AN200 automatically repeats the last Pattern,
until the next new entry.
7 To end the Song, record the “End” mark.
Select the measure FOLLOWING the final measure in the Song, then turn the DATA knob counter-clock-
wise until “End” appears in the display.
For example, if you recorded the “End” mark to measure 33, the Song plays up through measure 32, then
stops.
8 Press [EXIT] (or the [SONG] button) to leave Song editing.
9 Play back your new Song by pressing the Start/Stop button.
However, you’ll have to use the [BWD]/[FWD] buttons ([SHIFT] + [OCT <<]/[OCT >>] buttons) to select
the starting measure. Make sure to return to the beginning measure — if you want to hear the Song all
the way through.
10 Last and most important — don’t forget to store your new Song.
Song Edit Mode
• Recording other data
In addition to Pattern numbers, a variety of other data types can be recorded to the measures
of a Song — such as BPM, Gate Time, Swing, and Reverse. (See page 85.) These let you
change various playback characteristics of the Patterns to suit your Song — without actually
having to change the Pattern data itself!
Call up this mode for recording and editing
[SONG]. (The “S” in the display indicates the
Song mode.)
Measure Select
Determines the measure for recording, edit-
ing, and playback. Hold down [SHIFT] and
use the [OCT <<]/[OCT >>] buttons.
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Chapter 15 Song Recording
63 Setting the BPM (tempo) for your new Song
In addition to the Patterns, a variety of other settings can be programmed into your Song. One of these is
BPM. It lets you set the playback speed or tempo — for each and every measure, if you want.
Normally, you’ll use this at the start of the Song (see Tip 62, Steps 3 - 5) to make sure the entire Song plays
back at the proper tempo. However, it can also be used to change tempo in middle of the a Song as well.
Work through these steps, and master the procedure. You’ll be using the same method in Tip 64 to program
other settings, too.
1 Enter the Song Edit mode.
Hold down [SHIFT] and press the [SONG] button.
2 Select the desired measure.
Hold down [SHIFT] and use the [OCT <<]/[OCT >>] buttons.
3 Play back the Pattern.
Press the Start/Stop button to loop the Pattern at the selected measure.
4 Call up the BPM setting.
Hold down [SHIFT] and press [BPM] ([TAP]).
5 Set the desired BPM value with the DATA knob.
6 Repeat Steps 2 - 5 above as often as you want, for as
many measures as needed.
In most cases, you’ll want to keep the same BPM setting over several measures, or even over the entire
Song. To do this, enter the “----” setting for as many measures as needed. Or, if you’re programming
the Song from scratch, just skip over the measures that you want to stay the same — the AN200 automati-
cally maintains the last setting, until the next new entry.
Song Edit — BPM (Tempo)
• Fine tempo changes
The BPM value has an extremely fine resolution of 1/10 beats per minute — for precise control
over the tempo. Use this to set up very gradual speed changes.
Determines the speed of Pattern playback (in
beats per minute, or bpm), for the selected
measure. First, select the measure by hold-
ing down [SHIFT] and using the [OCT <<]/
[OCT >>] buttons. Then, hold down [SHIFT]
and press [BPM] ([TAP]), and use the DATA
knob to set the value.
• Speed up, slow down
If your Song fits the conventional verse/chorus structure, you might want to play around with
changing the BPM at the beginning of each section. For example, some artists make their cho-
ruses slightly faster than the verses, to generate more excitement each time the chorus
comes. Other songs might benefit from the completely opposite approach — slowing down
the chorus to make it sound more dramatic.
Range
Whichever approach you take, make sure to keep the changes consistent from section to sec-
tion, and keep them small — you want your listeners to FEEL the changes, not consciously
HEAR them.
20.0 — 300.0 bpm
A setting of “----” maintains the pre-
vious measure’s value (no change).
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Chapter 15 Song Recording
64 More Song editing features
In Tips 62 and 63 above, you learned how to enter Pattern numbers and BPM values to the measures of your
Song. But that’s not all you can do. In this Tip, we’ll show you how to use the rest of the powerful Song
editing features in your tunes.
By the way, we’ll keep these instructions to the bare-bones minimum. Read about these cool tools, then try
using them in your own Songs and see what you come up with.
Remember, the basic method is the same for all:
1) Enter the Song Edit mode.
(In the Song mode, hold down [SHIFT] and press the [SONG] button.)
2) Select the desired measure.
(Hold down [SHIFT] and use the [OCT <<]/[OCT >>] buttons.)
3) Play back the Pattern.
(Press the Start/Stop button.)
4) Select the event type you want to edit.
(See instructions for each event below.)
5) Set the value.
(Use the DATA knob. In the case of Track Mute below, follow the relevant instructions.)
Naturally, repeat Steps 2 - 5 as often as needed. Press [EXIT] when you’re done editing. And don’t forget to
store your new creation. (See page 89.)
Pattern
(Described in Tip 62 above.)
To select:
Press the [PATTERN SELECT] button.
Pitch Offset
Just as with the similar Pattern control (Transpose; on page 36), this lets you change the playback pitch.
By making different settings throughout various measures in the Song, you can program your own chord
progressions, and have the Patterns change key.
To select:
Hold down [SHIFT] and press the [KEYBOARD] button.
Both the [KEYBOARD] button and the PITCH lamp flash, indicating Pitch Offset is selected.
BPM
(Described in Tip 63 above.)
To select:
Hold down [SHIFT] and press the [TAP] button.
Beat
This lets you change the total number of steps in the Pattern at the selected measure. (For details, see
Tip 6.) One use of this would be to create a half-bar Pattern. For example, if you’ve entered a 16-step
Pattern at the measure, setting this to “8” would effectively cut the Pattern in half. If you’re only aiming
for a brief change, remember to reset the Beat in the next measure or so!
To select:
Hold down [SHIFT] and press the [BEAT] ([SWING]) button.
Both the [SWING] button and the BEAT lamp flash, indicating Beat is selected.
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Chapter 15 Song Recording
Swing
This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more infor-
mation.)
To select:
Press the [SWING] button.
The [SWING] button lights, indicating Swing is selected.
Gate Time
This lets you control the length of the notes for the Pattern at the selected
tracks in which the notes grow progressively longer as the Pattern cycles
— by programming successively higher Gate Time values in the measures.
Or have the notes become more and more clipped (staccato) — by making
Gate Time lower and lower in successive measures.
Song Edit — Event Select
This lets you select the particular event to be
recorded or edited in a Song. Eight event
types are available: Pattern Select, Pitch Off-
set, BPM (page 84), Beat, Swing, Gate Time,
Reverse, and Track Mute. To select, make
sure Song Edit mode is active ([SHIFT] +
[SONG]), then press the appropriate button
(using [SHIFT] if necessary). Alternately,
hold down [SHIFT] and press [SONG] repeat-
edly to toggle through all eight event types.
To select:
Hold down [SHIFT] and press the [GATE TIME] ([REVERSE]) button.
Both the [REVERSE] button and the GATE TIME lamp flash, indicating Gate Time
is selected.
Pattern Select
Press [PATTERN SELECT].
Reverse
By setting this to Reverse (“bAC)”), you can have the Pattern at the
Alternate between forward and reverse Patterns for special effects. Or pro-
gram three forward, one reverse — for an interesting four-bar phrase.
Range
P.001 — P.256 (Preset Patterns)
U.001 — U.128 (User Patterns)
Pitch Offset
Hold [SHIFT] and press [KEYBOARD].
To select:
Range
-24 — 0 (no change) — 24 semitones
Press the [REVERSE] button.
The [REVERSE] button lights, indicating Reverse is selected.
BPM
Hold [SHIFT] and press [TAP].
Track Mute
Range
20.0 — 300.0 bpm
Add some texture to your Song with this function. By recording Track Mute
events you can have tracks drop in and out of your arrangements, for excit-
ing dynamic changes.
Beat
Hold [SHIFT] and press [SWING].
Range
16, 12, 8 steps
To select and edit:
Hold down [SHIFT] and press either the [SYNTH TRACK] or [RHYTHM TRACK]
button. Then, press the appropriate Step button: [1] for the Synth track, and
[2], [3], and [4] for the Rhythm tracks. The status for each track is shown in the
display.
Swing
Press [SWING].
Range
50 — 83
Gate Time
Hold [SHIFT] and press [REVERSE].
Range
1 — 200
Indicates Synth track
is on.
Indicates Rhythm track 1
is muted.
Reverse
Press [REVERSE].
Settings
Forward (For)
Reverse (bAC))
• Easier way
Track Mute
Keep in mind — there is an alternate way to select the various event types. You may find it
easier to remember — AND easier to use! Simply hold down [SHIFT] and press [SONG]
repeatedly. This toggles through all of the event settings in order: Pattern Select, Pitch Offset,
BPM (Tempo), Beat, Swing, Gate Time, Reverse, and Track Mute.
Hold [SHIFT] and press the [SYNTH TRACK]
button or the [RHYTHM TRACK] button.
Then, press [1], [2], [3], or [4] (for Synth
track and Rhythm tracks 1 - 3). The mute on/
off status for each track is shown in the dis-
play.
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Chapter 15 Song Recording
65 Adding Patterns to your Song — Insert Pattern
Naturally, you can add Patterns to your existing Songs — by using the Insert Pattern function. This puts a
new Pattern in the Song at the measure you specify.
It doesn’t matter whether you’re in the Song mode or the Song Edit mode — you can insert a Pattern from
either.
1 First, select the measure you want to insert the Pattern to, by holding
[SHIFT] and using the [OCT <<]/[OCT >>] buttons.
2 Call up the Insert Pattern function.
Hold down [SHIFT] and press [10] (INS/DEL PTN). You may have to press
the button more than once to call up the “inS” (Insert Pattern) display.
3 Next, select the Pattern you want to add to your Song.
Use the DATA knob.
4 Insert the selected Pattern.
The [10] button should be flashing. Press it once again (the button stops flashing and stays lit). At the
“Y£n” (“Yes or no?”) prompt, press it a third time to actually insert the Pattern to the selected measure,
or press [EXIT] to cancel.
Take a look at the illustration below and see what happens when you insert a Pattern.
Measure 1
Measure 2
Measure 3
Measure 4
Pattern 012
Pattern 012
Pattern 013
Pattern 014
Here, Pattern 144 is inserted to
Measure 3, and all following Pat-
terns are moved over to make
space for the new Pattern.
Pattern 144
Measure 1
Measure 2
Measure 3
Pattern 144
Measure 4
Measure 5
Pattern 014
Pattern 012
Pattern 012
Pattern 013
Don’t forget to store your newly edited Song, or you’ll lose any edits you’ve made once you turn the power
off or select another Song or Pattern.
Insert Pattern
• Replacing a Pattern
If you want to replace a Pattern — in other words, erasing one and putting a new one in its
Pattern to put the new one in.
Allows you insert a Pattern to any measure
within an existing Song. All subsequent Pat-
terns/measures are displaced.
With Song (or Song Edit) mode active, hold
[SHIFT] and use [OCT <<]/[OCT >>] buttons
to select desired measure. Hold [SHIFT] and
press [10] to call up “inS” (Insert), select
the desired Pattern number with the DATA
knob, and press [10] twice to execute.
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Chapter 15 Song Recording
66 Taking Patterns out of your Song — Delete Pattern
If you’ve made a mistake in creating your Song, you can always clear it (page 81) and start over. Or you can
use Delete Pattern to erase the offending entry, and keep the other Patterns intact.
Delete Pattern lets you take Patterns out of specific measures in your existing Songs. Keep in mind, how-
ever, it makes your Song shorter by one measure AND it doesn’t leave an empty space — any Patterns that
follow the deleted one move back to fill the vacated measure.
Delete Pattern can be used in either the Song mode or the Song Edit mode.
1 First, select the measure that contains the Pattern you want to delete.
Hold [SHIFT] and use the [OCT <<]/[OCT >>] buttons.
2 Call up the Delete Pattern function.
Hold down [SHIFT] and press [10] (INS/DEL PTN). You may have to press
the button more than once to call up the “dEL” (Delete Pattern) display.
3 Delete the Pattern.
The [10] button should be flashing. Press it once again (the button stops flashing and stays lit). At the
“Y£n” (“Yes or no?”) prompt, press it a third time to actually delete the Pattern from the selected mea-
sure, or press [EXIT] to cancel.
Here’s an example of what happens when you use Pattern Delete. In the illustration below, we’ll delete
Pattern 013 at Measure 3.
Measure 1
Measure 2
Measure 3
Measure 4
Pattern 012
Pattern 012
Pattern 013
Pattern 014
Here, Pattern 013 is deleted from
Measure 3, and Pattern 014 moves
over to take its place.
Measure 1
Measure 2
Measure 3
Pattern 012
Pattern 012
Pattern 014
Don’t forget to store your newly edited Song, or you’ll lose any edits you’ve
made once you turn the power off or select another Song or Pattern.
Delete Pattern
Allows you delete a Pattern from any mea-
sure within an existing Song. All subsequent
Patterns/measures move back to fill the
vacant measure.
With Song (or Song Edit) mode active, hold
[SHIFT] and use [OCT <<]/[OCT >>] buttons
to select desired measure. Hold [SHIFT] and
press [10] to call up “dEL” (Delete), and
press [10] twice to execute.
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Chapter 15 Song Recording
67 Storing your new Song
Now that you’ve created and arranged a new Song, you’ll want to save it for future recall. The AN200 gives
you a total of 10 memory spaces for saving your original Songs.
Once you’ve created a Song you want to save, DO NOT select another Song and DO NOT leave
the Song mode until you’ve stored it. Selecting another Song (or Pattern) automatically wipes
clean any changes or edits you’ve made!
Delete Pattern can be used in either the Song mode or the Song Edit mode.
1 Make sure Memory Protect is turned off.
Hold down [SHIFT] and press [16] until the “Prot” (Protect) display is shown. Then, set Memory Pro-
tect to OFF with the DATA knob.
Press the [EXIT] button to leave Memory Protect.
2 With your new Song still up and waiting, press
[STORE].
“SStr” briefly appears to indicate Store operation.
3 Select the desired Song number (01 - 10) with the
DATA knob.
4 Press [STORE] again to actually store the Pattern, or press [EXIT] to can-
cel.
Store Song
• Keep on saving
Save ALL of your Songs — memory is cheap! If you have a sequencer or MIDI data filer, you
ple “banks” of 10 Songs to disk — and build up a whole library of tunes.
Allows you to save Song data to one of 10
Song memory locations.
With the new Song still active and Memory
Protect off, press [STORE]. Select the
desired Song number with the DATA knob,
and press [STORE] again to execute, or press
[EXIT] to cancel.
However, make sure to save any relevant Pattern data with the Songs and load them together.
If you don’t do this, your Songs and Patterns may not match each other!
• Song backup
You may want to use Store to save different versions of your Song — even as you’re working
on it. This gives you an archive of the changes you’ve made along the way — in case you want
to call one of them up again. You can erase the unneeded versions later if you want.
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Chapter 16
Speed Tips for
Power Users
Work smarter, not harder!
In this section, we’ll show you some nifty ways to put your editing in high gear
— so you can get MORE out of your AN200 in LESS time.
68 Using [SHIFT] with the [DATA] knob — for leaps
and bounds!
The [DATA] knob is really useful for narrowing in on a value and fine-tuning the parameter settings. How-
ever, if you’re in a hurry and want to quickly jump through the available values, it can be cumbersome.
Not when you use the [SHIFT] button, however. To speed up the [DATA] knob, hold down [SHIFT] while you
turn it.
Use this operation especially:
• For selecting Patterns
This speed operation lets you jump 10 Patterns for every click of the [DATA] knob.
• For setting the BPM
Holding [SHIFT] lets you go 10 times faster through the BPM values (1 bpm/click).
• For Instrument Select (in Step Recording, Rhythm Track)
Jump among the instrument selections, then take your finger off [SHIFT] and narrow your selection
down.
Actually, this [SHIFT]-[DATA] knob shortcut is useful for just about ANY value-changing operation. Use it
for the synth-related knobs, and use it to jump around on playback controls, such as Gate Time and Trans-
pose.
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Chapter 16 Speed Tips for Power Users
69 Using [SHIFT] to “hold” a setting
Editing on the AN200 is quick and easy — you press a button or turn a knob, and the setting/value changes.
However, convenient as it is, there are times when you want to select a parameter without changing it.
Here’s an example. Let’s say you’ve selected the “hidden” Reverb Effect in your editing session, and you go
on to edit something else. Wanting to come back to edit Reverb again, you press the EFFECT [TYPE] button.
Whoops... You’ve just changed the Effect Type to Flanger!
To get around this, use [SHIFT]. Hold down [SHIFT], then press EFFECT [TYPE]. Doing this calls up the cur-
rent Effect Type — without changing it.
Use this operation with ALL of the Voice “button” settings — such as LFO Detail, EG Select, Key Assign, and
so on.
70 Gang-editing a group of Steps
No, we’re not advocating the use of violence here... This convenient Step Recording shortcut lets you
change the setting for up to 16 Steps — instantly and all at the same time.
1 In Step Recording, select the desired parameter for editing: Pitch, Gate
Time, or Velocity. (Or Instrument Select, if you’re working on a Rhythm
track.)
2 Select the Step row you want to start the group from.
For example, if you want to group Steps 5 -16 for editing, select row 1 - 8 (by pressing any button in this
row). If you want to group-edit Steps 11 - 16, select row 9 - 16.
3 Hold down [SHIFT] and turn the knob corresponding
to the first step in the group.
If you’ve selected the top row (1 - 8) in Step #2 above, this will instantly
and automatically set all Steps 5 - 16 to the same value. If you’ve
selected the bottom row (9 - 16), turning the NOISE LEVEL knob will set
Steps 13 - 16 to the same value.
Typical uses of this include:
• Setting all Steps to the same instrument (in the Rhythm tracks).
• Setting all Steps to the same Velocity or Gate Time, then slightly tweaking individual Steps for varia-
tion.
• For when several Steps have the same value — you can set all Steps at once, then go back and change
only the Steps you want to have different values.
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Chapter 17
Real World Tips
This chapter is a grab bag full of various practical tips that solidify your pro-
gramming chops and put you on the way to truly mastering the instrument.
You’ve seen all these features before. Now, try them out in these real-world
examples — and explore some new, uncharted sound-shaping paths on your
own.
71 Adjusting the Gate Time with the [DATA] knob
Gate Time is a simple, yet effective way to change both the sound and feel of a Pattern. Try this tip in real
time, as the Pattern is playing — for dramatic, dynamic shifts.
1 Select and play a Pattern.
2 Call up Gate Time.
Hold [SHIFT] and press [GATE TIME] ([REVERSE]).
3 Tweak the [DATA] knob slowly to the left.
Very gradually, start turning Gate Time down — from 100, down to 40, 20, then even 10 or 1.
Hear what this does to all the tracks? Hear how everything — including the drums — is clipped, creat-
ing a tight, muted sound and producing a drop in dynamics.
4 Now, as quickly as you can, bring Gate Time back up to 60, 80 or 100 — or
more.
Hold [SHIFT] while you turn the [DATA] knob — that lets you jump through the values, and instanta-
neously bring the dynamics back up. Try to do it right before the first beat of a measure — and kick
everything back in on the “one.”
72 Adjusting the pitch with the [DATA] knob
Let’s do some more work with the [DATA] knob. This time we’ll play around with the pitch — using the
Transpose function.
1 Select and play a Pattern.
2 Call up Transpose.
Hold [SHIFT] and press [TRANSPOSE] ([KEYBOARD]).
3 While the Pattern is playing, use the [DATA] knob to
bring the pitch up and down.
For wild pitch changes, hold down [SHIFT] while you work the knob. Try alternating on beat between two
widely different values (for example, “-20” and “30”). Try also whipping the pitch way up in 60s
range, then bringing down to the 40s. Try random pitch changes, too, as the Pattern cycles. Lots of fun
stuff here!
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Chapter 17 Real World Tips
73 Changing the pitch with the keyboard
As you saw in Tip 26, you can use the keyboard of the AN200 to change pitch and even create chord pro-
gressions on the fly. But you can get really wild and crazy with this feature, too — and come up with some
truly mad techno mayhem.
1 Select and play a Pattern.
2 Call up Transpose.
Hold [SHIFT] and press [TRANSPOSE] ([KEYBOARD]).
3 Now, “play” the pitch changes from the keyboard.
Try out these specific exercises and see where they take you!
• Starting with button [9] (low C on the keyboard), go up chromatically — pressing each successive key
in turn. Try it in rhythm, pressing a different key every other beat, like this:
ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four ONE two THREE four
Count “ONE-two-THREE-four,” hitting the buttons on “ONE” and “THREE.”
• Use the [OCT <<]/[OCT >>] buttons, too! Try selecting different octaves on the fly, and pressing vari-
ous keys.
• Can you play a two-finger trill? (A trill is two notes played alternately — very quickly.) If you can’t do
it with one hand, try two. For example, alternate between buttons [10] and [12] (D and F), like this:
ONE
AND
TWO
AND
THREE
AND
FOUR
AND
Here, you play two keys on every beat — count “ONE-AND-TWO-AND-THREE-AND-FOUR-AND,” and hit
each count!
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Chapter 17 Real World Tips
74 Stutter fill-in 1
Remember in Tip 50 how you hit the top of a Pattern? In this Tip, and the two that follow, let’s try some spe-
cific “stutter” rhythm examples.
Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following
rhythm.
ONE
TWO
THREE
FOUR
ONE
Start !
Hit it here...
... and here !
Use your left hand to hold down [SHIFT], while your right hand
hits [TOP]. This gives you greater control over the rhythm!
75 Stutter fill-in 2
Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following
rhythm. Use both hands. This one’s a bit tricky...
Count as shown, and hit each
count indicated by the arrows.
ONE
ONE
ONE
TWO
THREE
FOUR
AND
TWO
AND
THREE
AND
FOUR
AND
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Chapter 17 Real World Tips
76 Stutter fill-in 3
Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following
rhythm. Use both hands on this one too. This could take a little practice before you nail it...
ONE
TWO
THREE
FOUR
ONE
... and
here !
... and
here !
... and
here !
Start !
Hit it here...
... and here !
... and here !
77 Assigning Patterns for your gig
When you perform live, you need to think quick and move fast. So keep things simple — and use this tip to
help you streamline your onstage work.
You saw in Tips 3 and 31 how you can use the Pattern Select feature to instantly switch Patterns as you per-
form. If you’ve got a lot of Patterns to trigger during a performance, it makes sense to lay them out in the
order you’ll use them. That’s what Pattern Assign is for.
First, make a list of the Patterns you’ll need, in the order you’ll use them. Then, go down the list and assign
the appropriate Pattern to each number button. (Remember how? Hold down [SHIFT] and press [PATTERN
ASSIGN], then press a number button and use the [DATA] knob to select the Pattern.)
78 Chord progressions with Pattern Assign
If you work with chord progressions, you can create copies of a Pattern select setup to different pitches, and
play those Patterns from the keys.
Use the Copy Sequence function (page 67) to copy a Pattern several times. Then, edit each Pattern copy as
needed with the Pitch function (page 66). Finally, use Pattern Assign (page 40) to assign the Patterns to the
appropriate keys.
Keep things simple and logical. Assign a Pattern to the matching key. In other words, if your Pattern is in
the key of C, assign it to button [9]. If the Pattern’s in F, assign it to [12]. A Pattern in G would go to button
[13], and so on.
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Chapter 18
Master Class 1 —
Onstage
Now that you’ve got the hang of the instrument, it’s time to start strutting your
AN200 chops onstage. There are a lot of truly amazing things you can do with
the AN200 — especially once you put it together with some other MIDI gear.
Here are some ideas to get you started...
79 Sync the AN200 to your sequencer
The sophisticated sync features of the AN200 let you lock it in step with the rhythm of just about any other
MIDI device, such as a computer, rhythm machine or external sequencer. No drift, no glitching, no slipping
out of sync — the two machines stay perfectly in the same groove.
This is great for live situations. For example, you could use a computer or sequencer for your main tracks
and fly in some AN200 Patterns as you perform — while everything stays in perfect sync.
In this application, the sequencer is the “master,” or controlling device, and the AN200 is the “slave.”
1 Set up the AN200 and the sequencer.
Connect the two as shown with a standard MIDI cable.
Speaker
Speaker
MIDI clock
Amplifier
OUTPUT
MIDI IN
MIDI OUT
OUTPUT
INPUT
External sequencer
(RM1x, etc.)
AN200
Mixer
2 Call up the Clock setting on the AN200.
Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until “CLo)” appears
in the display.
3 Set Clock to “External.”
Turn the [DATA] knob until “E$t” is shown.
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Chapter 18 Master Class 1 — Onstage
4 Start song or sequence playback on the other device.
When you start and stop playback on the connected MIDI device, the Pat-
tern or Song on the AN200 starts and stops at the same time. Naturally,
you can change the bpm on the other device, and the AN200 will instantly
and automatically follow right along.
Clock
Sets the AN200 to either send or receive MIDI
clock messages. This determines whether
the AN200 functions as the master or slave in
MIDI sync applications. When using the
AN200 alone or to control a connected
device, set this to Internal (“int”). When
controlling the AN200 from a connected
device, set this to External (“E$t”). Keep in
mind, the Patterns or Songs cannot be
nal.
If you want, you can use the AN200 as the master device. Just make sure
the Clock on the AN200 is set to “Internal” — otherwise, you won’t be able
to start the Patterns or Songs from the AN200, nor control the other device.
For settings on the other device, refer to the relevant owner’s manual. (For
an example showing the AN200 as the master, see Tip 82.)
Hold down [SHIFT] and press button [14]
(MIDI SETUP), repeatedly if necessary, until
“CLo)” appears in the display, then use the
[DATA] knob to make the desired setting.
Settings
int (Internal)
Sends MIDI clock messages, for control-
ling the sync of another device.
E$t (External)
Receives MIDI clock messages, for sync-
ing to another device.
80 Changing the MIDI channels
In general, you won’t need to fool with these settings. But they’re here if you ever DO need them.
The four tracks of the AN200 — Synth and Rhythm 1 - 3 — are fixed to receive
data over MIDI Channels 1 through 4, respectively. To match the tracks to a
controlling MIDI keyboard or sequencer, you may have to change these set-
tings. Each track also features an “off” setting, so you can disable a track’s
MIDI reception if you want.
MIDI Receive Channel — Synth
Track, Rhythm Tracks 1 - 3
Determines the MIDI channel over which the
appropriate track receives MIDI data. Make
sure the Receive Channel of the desired track
matches the Transmit Channel setting on the
controlling keyboard or sequencer.
Here, we’ll show you how to change the MIDI Receive Channel for the Synth
track. The Rhythm tracks can be changed in the same way.
Hold down [SHIFT] and press button [14],
repeatedly if necessary, until the desired set-
ting is shown:
1 Hold down [SHIFT] and press button [14] (MIDI
SETUP), repeatedly if necessary, until “SYu1 ” appears
in the display.
“SYu1 ” — Synth Track (set to default of
Channel 1)
“r1u2 ” — Rhythm Track 1 (set to default
of Channel 2)
“r1u3 ” — Rhythm Track 1 (set to default
of Channel 3)
“r1u4 ” — Rhythm Track 1 (set to default
of Channel 4)
Use the [DATA] knob to change the value.
The “----” setting corresponds to “off.”
Settings
1 — 16, “----” (off)
2 Change the channel with the [DATA] knob.
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Chapter 18 Master Class 1 — Onstage
81 Loopfactory setup — with the SU200
As part of Yamaha’s new Loopfactory series, the AN200 is not just a great analog-style synthesizer — it also
excels in loop-based music production systems. In this Tip and the ones that follow, we’ll take a look at
some of ways you can use the powerful and versatile Loopfactory line to shake up the dance floor.
In this simple setup, the AN200 is paired with the SU200 Sampling Unit — a small phrase sampler with a
special Loop Track feature that time-stretches your samples and keeps them all in sync.
Here, the AN200 is the controlling “master” and the SU200 is the “slave.” (For more about masters and
slaves, see Tips 79 and 82.) Make sure you set the SU200 to External Sync for this one (MIDI Clock in the
Job mode). Naturally, the AN200 must be set to Internal Sync (page 96).
Speaker
Speaker
Amplifier
MIDI clock
LINE
OUTPUT
MIDI OUT
MIDI IN
INPUT
AN200
SU200
AUDIO IN
With this playback sync system, you can have the samples on the SU200 sync up perfectly to the Patterns of
the AN200 — thanks to Loop Track Play. Use the the AN200 as a master “switch” for the whole system —
starting the Patterns and the SU200 tracks simultaneously with the Start/Stop button. And as an added
bonus, the SU200 serves double duty as an audio mixer — outputting the sound of both the AN200 and
SU200.
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Chapter 18 Master Class 1 — Onstage
82 Loopfactory sync system — with the DX200
In case you didn’t know, the AN200 has a sister synthesizer — almost a twin sister, actually. The DX200 has
many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the AN200.
Yet, as similar as these siblings are, their actual sound is VERY different. The DX200 is a recreation of the
enormously popular DX7 synthesizer, and features a full implementation of the FM Synthesis system that
powered the DX7 — not to mention a stunning array of incredibly dynamic digital FM Voices.
Side by side in a MIDI sequencing environment, these two give you the best of the analog and digital worlds,
and provide an enormous amount of sonic versatility.
But even without a computer or sequencer, you can still get a lot out of these two units, especially in live per-
formance situations — just hook them together and sync them up. With one as the “master” and the other
the “slave,” you can have them play their respective Patterns in perfect sync with each other. Add a DJ
mixer, and you’ve got a compact yet powerful DJ setup for laying down some slammin’ beats.
1 Connect the AN200 and the DX200 as shown.
Here, we’ll use the AN200 as the “master,” to control the DX200.
MIDI clock
MIDI OUT
OUTPUT
INPUT
OUTPUT
MIDI IN
DJ
Mixer
MIDI clock master
AN200
Slave
DX200
Amplifier
Speaker
Speaker
2 Set the Clock on the AN200 to Internal.
Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until “CLo)” appears
in the display. Use the [DATA] knob to select “int.”
3 Set the Clock on the DX200 to External.
Move over to the DX200 now. Hold down [SHIFT] on the DX200’s panel and press button [14] (MIDI
SETUP), repeatedly if necessary, until “CLo)” appears in the display. Use the [DATA] knob to select
“E$t.”
4 Select the desired Patterns on both the AN200 and the DX200.
5 Finally, press the Start/Stop button on the AN200.
If you’ve hooked everything up correctly and made the proper settings, both machines should go through
their motions the instant you press Start/Stop on the AN200. Press it again, and they’ll stop together on a
dime.
Work the fader on your DJ mixer to switch between the two units as they play, to mix up your rhythms and
create some truly happening tracks.
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Chapter 18 Master Class 1 — Onstage
• Syncing Songs
• Bulk Send your music
Naturally, you can also play Songs on both machines in perfect sync
with each other. For best results, you should make sure that:
To help out in the Power Hint above, try using the Bulk Send function
example, program a Song on the AN200, then transfer just the Song
data to the DX200. Keep in mind, this will keep your Songs in sync —
however, the Patterns on the respective machines could be wildly differ-
ent. If you want to keep everything consistent on both devices, Bulk
Send ALL the data from one machine to the other.
* The Songs on both the AN200 and the DX200 are of the same length.
* The Patterns on both machines work well with each other.
* Both Songs have the same Beat settings throughout.
* Both Songs don’t deviate too much from each other in the Swing set-
tings, either — unless you’re aiming for some special, weird effects.
83 Loopfactory sampling
Here’s a nifty little variation on Tip 81 above. First, hook up the outputs of the AN200 and the SU200 to an
external mixer — to pump the sounds out to the crowd. Then, use the Aux Send on the mixer to feed the
AN200 sound to the sampling input on the SU200 — and sample the Patterns of the AN200.
Speaker
Speaker
To sample the AN200, route the mixer’s Aux Send
to the SU200’s LINE INPUT.
Amplifier
MIDI clock
MIDI
IN
LINE
INPUT
AUX
SEND
OUTPUT
MIDI OUT
OUTPUT
INPUT
AN200
SU200
Mixer
Things can get a little wild and wooly here. Naturally, this system lets you sync the SU200 to the AN200.
However, the sampling function really makes this setup special. Sample some different AN200 Patterns to
the SU200 and have the AN200 play one Pattern while you fly in samples of other Patterns — in perfect
sync, of course. And use the real-time control features on BOTH machines to mess up your beats on the fly
and create some chaos.
Be smart and do your sampling before you take the stage, so you have everything all set up. Or live danger-
ously, and sample your AN200 beats while you perform.
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Chapter 18 Master Class 1 — Onstage
84 Full DJ system — turntable and all!
Bring the Loopfactory into your DJ setup — for the best of the analog and digital worlds. This builds on the
setup in Tip 83 above by adding a turntable and/or CD player. (Make sure your turntable has line-level out-
puts, or that your mixer can boost phono signals.)
Speaker
Speaker
To sample, route the Aux Send to the SU200’s LINE
INPUT, and use the appropriate channel(s) on the
mixer.
Amplifier
MIDI clock
MIDI
IN
LINE
INPUT
AUX
SEND
OUTPUT
MIDI OUT
OUTPUT
INPUT
AN200
Mixer
TAP
SU200
LINE OUT
Turntable with line out or
CD player
Use the Tap feature on the AN200 to sync both the AN200 and SU200 to your turntable beats. This is tricky
to pull off — but if you get it in the groove, it can be pretty powerful stuff.
Do some sampling here, too. Sample your vinyl or CD beats to the SU200, and mix them in as you play.
And sample the AN200, like you did in Tip 83. Have the AN200 play its Patterns while you fly in your new
samples — without missing a beat.
85 Loopfactory megasetup — with MIDI Thru
Here’s where you can take the Loopfactory to the max. Start the system with the RM1x Sequence Remixer,
a mixer (you’ll need at least eight input channels), and your AN200. Then bring the DX200 and SU200 into
the fracas, and get things really smoking.
Use your sequencer data on the RM1x to play the Voices of the AN200 and DX200 (NOT the Patterns). This
way you can take advantage of the special characteristics of each of these synthesizers — playing the analog
sound of the AN200 in 5-note polyphony, and the FM synthesis sounds of the DX200 in 16-note polyphony.
Plus, with the SU200 locked in sync, you can play the samples on that unit using the Loop Track feature —
and keep everything right in the pocket.
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Chapter 18 Master Class 1 — Onstage
MIDI clock
MIDI clock
MIDI clock
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
OUTPUT
OUTPUT
OUTPUT
MIDI center
RM1x
AN200
DX200
MIDI Thru set to “on.”
MIDI Thru set to “on.”
OUTPUT
SU200
INPUT
INPUT
Amplifier
Speaker
Speaker
Mixer
In this system, all the MIDI devices are connected in “daisy-chain” fashion.
This setup trick can help when you find yourself with too many synthesizers —
and not enough ways to connect them.
MIDI Thru
Determines whether the MIDI OUT terminal
on the rear panel of the AN200 functions as a
true MIDI Out, or is switched to function as
MIDI Thru. When this is set to “on,” any
MIDI data received at MIDI IN is passed on
without change to the MIDI OUT terminal.
This allows you to connect other MIDI
devices in“daisy-chain” fashion, and have the
first device in the chain feed data to the oth-
ers.
The key to making this work is the AN200’s MIDI Thru function (see Tech Talk
box below). MIDI Thru lets you change how the MIDI OUT terminal behaves,
allowing you to chain together an additional tone generator or two to the
AN200 — and have a connected computer or sequencer control the whole lot.
Make sure that you set MIDI Thru to “on” for BOTH the AN200 and the DX200.
In this condition, any data sent to and received via the AN200’s MIDI IN termi-
nal, is immediately and directly relayed to the MIDI OUT terminal — allowing
the DX200 and SU200 to be controlled by the RM1x.
Hold down [SHIFT] and press button [14]
(MIDI SETUP), repeatedly if necessary, until
“tHru” appears in the display. Use the
[DATA] knob to change the setting.
Settings
On (on)
• Sampling madness
Enables MIDI Thru operation (for the
MIDI OUT terminal).
For additional sonic mayhem, route the Aux Send on the mixer back to the SU200 input (as in
Off (oFF)
• The more, the merrier
Enables MIDI Out operation (for the MIDI
OUT terminal).
Naturally, if you have other synthesizers with MIDI THRU terminals, you can extend the chain
and have them join in on the fun. However, be careful not to “daisy-chain” too many devices in
this way — otherwise a MIDI delay may result.
• More instruments, more parts
If you’re careful in setting the MIDI channels on all the connected devices, you can play several
different, independent sounds on each device. For example, if you’ve connected a DX200 to
the MIDI Thru (OUT) terminal, you should set the MIDI Receive Channels (page 97) on the
DX200 to values different than the AN200. If the AN200 is set to receive over Channels 1, 2, 3,
and 4, set the DX200 to receive over 5, 6, 7, and 8.
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Chapter 19
Master Class 2 —
Advanced Music
Production
Take your skills up to the next level. Explore these advanced operations and appli-
cations — and get the absolute most out of your AN200 in your home studio.
86 Playing the AN200 as a synthesizer
The AN200 is an extremely powerful and versatile synthesizer, with truly vintage analog-like sound. And one
of the best ways to harness that power is to hook up a MIDI keyboard. Do this, and explore the wealth of
Voices and the full 5-note polyphony of the AN200.
Setting up the keyboard couldn’t be easier — just plug it in, and connect the MIDI OUT on the keyboard to
the MIDI IN on the AN200.
AN200
MIDI keyboard
MIDI IN
MIDI OUT
To check that everything’s set up properly, play the keyboard — you should hear the synth sound of the
AN200. (If you don’t, see “X-tra Details” below.)
• MIDI Channels
More than likely, your MIDI keyboard is probably set to send data over
channel 1 — which will let you play and record the Synth track.
Rhythm Track 1 — MIDI channel 2
Rhythm Track 2 — MIDI channel 3
Rhythm Track 3 — MIDI channel 4
However, if you want to play or record any of the Rhythm tracks, you’ll
You can also change these assignments on the AN200 — see Tip 80.
have to change the channel on the keyboard to match the appropriate
For instructions on changing the MIDI channel of the keyboard, refer to
track:
the owner’s manual of that instrument.
• What keyboard should I get?
* After Touch — Another expression control, After Touch lets you
Naturally, any MIDI keyboard will do the job for you. As long as it’s got
change the sound (most commonly LFO modulation; Tips 32 — 35)
keys (preferably both black and white) and a MIDI OUT terminal, you’re
by pressing down hard on the keys after you play them. A really
in business.
good keyboard will let you change the MIDI Control Change assign-
However, to get the most out of your extraordinarily versatile AN200,
you’ll need an equally versatile MIDI keyboard. Here’s what you should
look for:
ment on this, so you can control anything you want — such as Cutoff
or Effect Depth (Wet). (For details on MIDI Control Change mes-
sages, refer to the MIDI Data Format section in the Appendix.)
* Five-octave (61-key) keyboard — There are some very good desk-
top keyboards (such as the Yamaha CBX-K1) that have fewer keys,
but you’ll probably want at least five octaves to play with... so you
can use both hands.
* Pitch Bend and Modulation wheels — Most keyboards have these.
Pitch Bend lets you bend the pitch (obviously). The Modulation
wheel usually affects the LFO, but on a good keyboard this too can be
changed.
* Velocity sensitivity — This feature lets you control the dynamics of
the sound by how softly or strongly you play the keyboard. Plus, it
also affects the FEG, so you can add some filter bite just by playing
harder. If you want expressive sounding tracks, there’s really no sub-
stitute for this.
* Extra (assignable) MIDI controllers — This is a luxury item. If you
can afford it, go for it. Some keyboards (such as the Yamaha CS2x)
give you an extra set of knobs or faders that you can assign to many
of the AN200’s controls. (For more about MIDI controllers, refer to
the MIDI Data Format section in the Appendix.)
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Chapter 19 Master Class 2 — Advanced Music Production
87 Recording to a sequencer
As a “desktop” synthesizer, the AN200 is absolutely perfect for computer recording applications. In fact, if
you DON’T have a computer or a hardware sequencer, you’re leaving a good portion of the AN200’s incredi-
ble potential untapped.
You’ve already worked with the step sequencer on the AN200 itself for recording Patterns and Songs. How-
ever, with a separate sequencer or a computer, you can take advantage of even greater recording power and
editing flexibility. Use one of the example setups below to record songs to a sequencer and play them back
with the sounds of the AN200.
MIDI
OUT
MIDI
IN
MIDI
OUT
MIDI
IN
MIDI keyboard
Computer
with MIDI interface
AN200
MIDI
OUT
MIDI
IN
MIDI
OUT
MIDI
IN
MIDI keyboard
RM1x
AN200
In the top example, the computer has a MIDI interface and is running sequencing software, such as
XGworks lite — which you can find in the included CD-ROM. In the bottom example, the RM1x Sequence
Remixer is used for recording.
A few important points:
• Make sure all MIDI connections are correct — the INs go to the OUTs, and the OUTs to the INs.
• Set the MIDI keyboard to match the receive channel of the AN200. (This may be controllable from the
computer. You can also change the receive setting on the AN200; see page 97.)
• Make sure that MIDI Thru (or MIDI Echo) on the computer or sequencer is set to “on.” This lets you
hear the sound of the AN200 as you play the keyboard.
• Since the Synth Voices of the AN200 play on Channel 1, make sure that any recorded tracks on the
sequencer are set to play via MIDI Channel 1.
• Remember that the AN200 has Rhythm tracks, and that you can use these in recording, too. Just be
careful to make the correct channel settings. (The Rhythm tracks normally receive on Channels 2, 3,
and 4. If you want to change these, see Tip 80.)
Other settings may be necessary as well; refer to the relevant owner’s manuals.
104
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Chapter 19 Master Class 2 — Advanced Music Production
88 Recording AN200 knob moves to a sequencer
Have you got an external sequencer or computer? And are you using the AN200 as a synthesizer (as we
covered in Tip 86) to play back your sequencer tracks? If so, here’s a power-user Tip for you that will give
you undreamed-of control over the sound.
Here, you’ll learn how to record all your knob moves and button presses to your sequencer. Which means
when you play back your song, all the changes you make to the Voice automatically play back, too. It’s like
The following procedure is a bit complicated — in that many of the instructions depend on the settings and
capabilities of your particular sequencer, and how familiar you are with them. If you find yourself in deep
water, refer to the relevant owner’s manual.
1 Connect the AN200 and the external sequencer as shown.
AN200
Computer
Sequence
software
MIDI
IN
MIDI
OUT
MIDI
OUT
MIDI
IN
2 Set up the sequencer appropriately for receiving the control data and for
playing the AN200.
Specifically, make sure that:
• All MIDI channel settings are correct. The tracks for playing the AN200 should be set to the same
MIDI channel as the Synth track. By default, the Synth track is set to receive over Channel 1, though
this can be changed on the AN200 (see page 97).
• The track or tracks having note data are properly set to play, and that a new track (for the knob moves)
is set to record.
3 While listening to the playback, tweak the knobs of
the AN200.
If everything’s been set up properly, every move you make will be recorded
as Control Change data. (For information on the parameters and their cor-
responding Control Change numbers, refer to the MIDI Data Format.)
Control Change In/Out
Determines whether the AN200 uses a limited
set of parameters for sending and receiving
Control Change data, or a full set. (For details
on available parameters and their assign-
ments, refer to the MIDI Data Format.)
The AN200 also lets you choose between having a full parameter set for
control, or a limited one. (See Tech Talk below.)
Hold down [SHIFT] and press button [14]
(MIDI SETUP), repeatedly if necessary, until
“CCio” appears in the display. Use the
[DATA] knob to change the setting.
4 Stop the song and play it back to hear your recorded
changes.
Go on to record more knob moves to additional tracks on the sequencer, if
you want.
Settings
norm (Normal)
Enables Control Change in/out for the
limited parameter set.
ALL (All)
Enables Control Change in/out for the full
parameter set.
•
•
Any function called “MIDI Thru” or “MIDI Echo” on the sequencer is set to “off.” If the
sequencer’s MIDI Thru is on, you could get unwanted double data.
If you’re recording the same knob to different tracks, you may want to mute previous
tracks as you go along. Also, be aware that too many knob moves and button presses
could clog the data flow and result in glitches or undesirable changes in the sound.
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Chapter 19 Master Class 2 — Advanced Music Production
89 Editing the AN200 from a computer
If you’ve worked through most or all of the Tips in this book, you can rightfully consider yourself a master
programmer and expert user of the AN200.
Well, almost.
Actually, we hate to break it to you — but you’ve only scratched the surface of the enormous sound-shaping
potential of the AN200...
This instrument is deep — much, much deeper than just what’s available on the front panel. However, you
can have all that editing power and depth right at your fingertips — with the AN200 Editor.
The AN200 Editor is special software that works on your Macintosh or PC-compatible computer. It allows
you to directly edit all of the AN200 Voice settings and parameters — right from your computer. It’s also
extraordinarily intuitive, with a virtual front panel that gives you at-a-glance, full control over your AN200.
AN200
Computer
MIDI
IN
MIDI
OUT
MIDI
interface
MIDI
OUT
MIDI
IN
AN200 Editor
All the necessary software is contained in the included CD-ROM. For more information on installing the
software to your particular computer, refer to page 112.
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Chapter 19 Master Class 2 — Advanced Music Production
90 MIDI sequencer controls — Start, Continue, Stop
This function gives you detailed control over how the AN200 handles MIDI
sequencer control messages — Start, Continue, and Stop.
MIDI Control
The major use for this minor function is to keep the AN200 from starting its
Determines whether or not the AN200
receives and/or sends sequencer control
(System Real Time) messages. The Start
own Patterns (or from starting a connected sequencer). This comes in handy
when using the AN200 strictly as a tone generator in a larger MIDI system.
message (FA hexadecimal) tells a MIDI device
to go to the beginning of its song and start
For example, if you are using the song data on a sequencer to play the AN200’s
Voices, you wouldn’t want the Patterns to play when you clicked PLAY. Simi-
larly, there may be times when you want to play a Pattern on the AN200, yet
want to avoid starting the sequencer at the same time.
playing. Continue (FB hexadecimal) is similar
to Start, except that the device will play from
the current location — not necessarily the
beginning. The Stop message (FC hexadeci-
mal) tells the device to stop playing the song.
Hold down [SHIFT] and press button [14]
(MIDI SETUP), repeatedly if necessary, until
“mCtL” appears in the display, then use the
[DATA] knob to make the desired setting.
1 With the AN200 properly connected in a MIDI system,
call up the MIDI Control setting on the AN200.
Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if nec-
essary, until “mCtL” appears in the display.
Settings
on
Messages both sent and received; full
control both directions.
2 Use the [DATA] knob to make the desired setting: On,
Out, In, or Off.
out
Messages sent, but not received; AN200
starts and stops connected device, but
cannot be remotely controlled .
See “Tech Talk” below for details on the settings.
in
Messages received, but not sent; AN200
can be remotely controlled, but will not
affect connected device.
oFF
Messages neither sent nor received; no
control either direction.
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Chapter 19 Master Class 2 — Advanced Music Production
91 Saving Patterns and Songs to a MIDI data filer
Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data
filer (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can
save all your valuable Song and User Pattern data for future recall — any time you need it. Plus, you can
amass a whole library’s worth of Songs and Patterns on just a few floppy disks.
The technological magic that makes this possible goes by the mundane name of “Bulk Send.” In this Tip,
you’ll learn how to use Bulk Send to save your precious data. Then in Tip 92 below, you’ll learn how to load
it all back to the AN200.
1 Set up the AN200 and the recording device.
Connect the two as shown with a standard MIDI cable.
Send and save your
Song/Pattern data to
the connected device.
AN200
Yamaha MDF3, or computer
with MIDI interface
MIDI OUT
MIDI IN
Setting up the other device for recording data may involve some additional steps; refer to the relevant
owner’s manual for details.
2 Call up the Bulk Send setting on the AN200.
Hold down [SHIFT] and press button [15] (MIDI BULK).
Bulk Send
3 Select the type of data to be saved — Pattern, Song, or
Allows you to save Pattern, Song, and/or
System data of the AN200 to a MIDI data filer
or sequencer.
All.
Continue to hold [SHIFT] and press button [15] repeatedly to select the
desired type. To save all three data types, select “ALL.”
Set up the AN200 and the recording device.
Hold [SHIFT] and press button [15] (MIDI
BULK), repeatedly if necessary, to select the
desired data type. Start recording on the
other device, then press [15] twice to send
the data.
4 Go back to the connected device and start recording.
This operation too may differ depending on your particular device. On most
sequencing software (such as XGworks lite), this can be as simple as click-
ing the Record button.
Settings
Pttn (Pattern)
Sends only User Pattern data (up to 128
Patterns) via MIDI OUT.
5 Execute the Bulk Send operation.
SonG (Song)
Sends only Song data (up to 10 Songs)
via MIDI OUT.
Press the flashing [15] button once to enable Bulk Send, then once more to
actually start the operation. (To cancel, press [EXIT].)
ALL (All)
Sends all three types of data above (Pat-
tern, Song, System) via MIDI OUT.
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Chapter 19 Master Class 2 — Advanced Music Production
92 Loading back your saved Patterns and Songs
Once you’ve saved your valuable data, you can bring it all back to your AN200 — with this simple operation.
1 Set up the AN200 and the recording device.
Connect the two as shown with a standard MIDI cable.
Load your Song/Pattern
data from the connected
device.
AN200
Yamaha MDF3, or computer
with MIDI interface
MIDI IN
MIDI OUT
Make the proper connections and make sure the connected device has the appropriate data on disk.
(Setup for Bulk Send on the other device may involve some additional steps; refer to the relevant owner’s
manual for details.)
2 Make sure the AN200 is set to Pattern mode.
Press the [PATTERN] button if necessary.
BEFORE you load anything to the AN200, make sure you have no important unsaved data
remaining on the instrument — it will all be erased in the operation! Best thing to do is use Bulk
Send to first save the existing data (as a temporary file), then go ahead and load the data.
3 Start the Bulk Send (or other appropriate) operation on the connected
device.
This operation too may differ depending on your particular device. On most sequencing software (such
as XGworks lite), this can be as simple as clicking the Play button.
That’s all there is to it! The AN200 automatically receives the data and loads it to the proper memory loca-
tion.
• Lifesaver for live applications
• Be a pack rat
Bulk Send is real handy for performers. If you’re gigging and the
AN200 is your main workhorse, you may need more than the 10 User
Songs to get by. Fortunately, you can save your data in 10-Song banks
(might as well save your Pattern data, too) — then load each bank as
you need it, between sets.
You really ought to save everything you’ve ever created on the AN200.
Floppy disks are small and cheap, and you’ll be glad you archived all
your precious masterworks.
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Appendix
Function Index
This index lets you quickly find information on the various functions and parameters of
the AN200. All the references here are to Tip numbers, except for a few page references
(for Tips that stretch over several pages).
Free EG recording.................................................................Tip 48
A
AEG.......................................................................................Tip 36
Amplitude Modulation Depth ................................................Tip 32
AN200 Editor ........................................................................Tip 89
Attack....................................................................................Tip 36
G
Gate Time......................................................................Tips 25, 71
Gate Time (Song Edit)...........................................................Tip 64
B
Beat.................................................................................Tips 6, 58
Beat (Song Edit)....................................................................Tip 64
bpm ........................................................................................Tip 5
bpm (Song Edit) ...................................................................Tip 63
Bulk Send......................................................................Tips 91, 92
I
Instrument Select (Step Recording) ................... Tip 59 (p. 76, 79)
C
K
Chorus..................................................................................Tip 16
Clear Sequence.....................................................................Tip 56
Clear Song ............................................................................Tip 61
Clock.............................................................................Tips 79, 83
Control Change In/Out ..........................................................Tip 88
Copy Sequence.....................................................................Tip 55
Copy Voice............................................................................Tip 52
Cutoff....................................................................................Tip 18
L
D
M
Decay....................................................................................Tip 36
Delay.....................................................................................Tip 16
Delete Pattern .......................................................................Tip 66
Distortion..............................................................................Tip 17
MIDI Control (Sequencer).....................................................Tip 90
MIDI Receive Channel...........................................................Tip 81
E
Effect Parameter ...................................................................Tip 16
Effect Type ............................................................................Tip 16
Effect Wet .....................................................................Tips 15, 16
Effects..........................................................................Tips 15 - 17
EG.........................................................................................Tip 36
[EXIT] button ........................................................................Tip 23
N
notes, entering for Step Recording (Pitch) ......... Tip 59 (p. 73, 79)
F
O
Factory Reset........................................................................Tip 24
FEG .......................................................................................Tip 36
FEG Depth...............................................................Tips 20, 38, 39
Filter.............................................................................Tips 18 - 20
Filter Modulation Depth.........................................................Tip 33
Flanger..................................................................................Tip 16
FM Depth ..............................................................................Tip 41
Free EG .........................................................................Tips 48, 49
Free EG Length .....................................................................Tip 49
octaves, changing.................................................................Tip 10
P
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FunAcptiponenInddixex
Pattern Select (Song Edit).............................................Tips 62, 64
Pattern Select Assign............................................................Tip 31
Pattern speed, doubling/halving..............................................Tip 7
Patterns ..................................................................................Tip 1
Patterns, copying..................................................................Tip 55
Patterns, erasing (clearing)...................................................Tip 56
Patterns, recording .......................................................Tips 58, 59
Patterns, selecting ....................................................Tips 2, 77, 78
Patterns, storing ...................................................................Tip 60
Phaser...................................................................................Tip 16
Pitch Modulation Depth ........................................................Tip 34
Pitch offset (Song Edit).........................................................Tip 64
Portamento...........................................................................Tip 40
T
U
User Patterns........................................................................Tip 60
R
V
Real-time Recording.............................................................Tip 58
recording (Free EG tracks)....................................................Tip 48
recording (Patterns)......................................................Tips 58, 59
recording (Scenes) ...............................................................Tip 47
recording (Songs).................................................................Tip 62
recording to a sequencer ..............................................Tips 87, 88
Release .................................................................................Tip 36
Resonance............................................................................Tip 18
Retrigger and Roll.................................................................Tip 51
Reverb ..................................................................................Tip 16
Reverse...................................................................................Tip 4
Reverse (Song Edit)..............................................................Tip 64
Rhythm tracks ......................................................................Tip 11
Rhythm tracks (Step Recording) ..............................Tip 59 (p. 76)
W
Wave (VCO 1, 2) ...................................................................Tip 44
S
saving data (to MIDI data filer, etc.)......................................Tip 91
Scene......................................................................Tips 13, 14, 47
Scenes, morphing between...................................................Tip 14
Show Value...........................................................................Tip 21
Song Edit mode ....................................................................Tip 62
Song mode .....................................................................Tips 8, 62
Songs, erasing (clearing)......................................................Tip 61
Songs, recording ..................................................................Tip 62
Songs, selecting .....................................................................Tip 8
Songs, storing ......................................................................Tip 67
Start/Stop button ....................................................................Tip 1
Step Mute .............................................................................Tip 29
Step Mute (Step Recording) .....................................Tip 59 (p. 75)
Step Recording.....................................................................Tip 59
Storing Patterns....................................................................Tip 60
Storing Songs.......................................................................Tip 67
Sustain..................................................................................Tip 36
Swing....................................................................................Tip 27
Swing (Song Edit).................................................................Tip 64
sync.........................................................................Tips 79, 82,83
Sync Mode............................................................................Tip 46
Sync Pitch.............................................................................Tip 46
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Appendix
About the Included CD-ROM
For Windows Me/98/95 Users
I XGworks lite • • • • • • • • • • • • • • • • • • • • • • •
In addition to sequencer function, XGworks lite can be used as
convenient voice editors once the Plug-in applications men-
tioned below are installed.
This CD-ROM contains the following;
• Acrobat Reader 4.0
• XGworks lite
• AN200 Editor
XGworks lite Plug-in software
• PLG150-AN Preset Voice Files
These are Preset Voice Files for the PLG150-AN. These are
compatible with the AN200, so can be edited with the AN200
Editor.
PDF manual of the XGworks lite (entry version) is the same
as the one for the XGworks. Please be aware that some of the
windows/functions described in the manual are not available
with the XGworks lite. Unavailable Windows/Functions Staff
Window, Drum Window, Control section of Piano Roll Window,
Printing of Staff Window, Plug-in software (Voice To score R,
Auto Arranger, Guitar Arranger, SW1000XG Mixer, Auto Play,
Importer) Jobs (Voice To score, XF Information Editor)
File names are “PlgAnP1.AN2” and “PlgAnP2.AN2.”
Although the PDF manual of the XGworks lite includes the
explanations on the package contents and software installa-
tion procedure, those are obsolete. Please refer to those of
this Installation Guide.
Some voices of the PLG150-AN may sound different when
played on the AN200.
Minimum System Requirement
1 Double-click on the “XGworks” folder.
“Japanese” and “International” folders will be displayed.
XGworks lite V3.0A
OS:
CPU:
Windows Me/98/95
2 Double-click on the “International” folder.
Various files like “Setup.exe” will be displayed.
Pentium/75MHz or faster (Pentium/
166MHz or faster is recommended)
16MB or more
3 Double-click on the “Setup.exe.”
XGworks lite Ver.3.0 Setup Dialog box will be displayed.
Available Memory:
(32MB or more is recommended)
Free space in Hard Disk: 30MB or more
Display: 800 x 600, 256 colors or more
4 Execute the installation by following the directions appear-
ing on the screen.
After the installation, select <Restart>.
Installing Softwares
After restarting the Windows, you will find the YAMAHA folder
on your PC (Program Files as the default) and XGworksLite
folder in the YAMAHA folder.
Refer to the “XGworks Manual” (XGworks.pdf) and online man-
uals how to use the application.
I Acrobat Reader 4.0 • • • • • • • • • • • • • • • • •
You need to install Acrobat Reader to view the PDF manuals
accompanied with each application in advance.
If you have installed an older version of Acrobat Reader on
your PC, first you need to execute “Uninstall” before proceed-
ing.
I AN200 Editor • • • • • • • • • • • • • • • • • • • • • •
You can use the AN200 Editor Plug-in applications of XGworks
lite to edit the Patterns of the AN200.
1 Double-click on the “Acroread” folder.
Four different language folders will be displayed.
2 Select the language you want to use and double-click on its
folder.
“ar40***.exe” file will be displayed. (“***” indicates the
selected language.)
1 Double-click on the “Plug” folder.
Various files like “Setup.exe” will be displayed.
2 Double-click on the “Setup.exe.”
YAMAHA AN200 Editor Setup Dialog box will be displayed.
3 Double-click on the “ar40***.exe.”
Acrobat Reader Setup Dialog box will be displayed.
3 Execute the installation by following the directions appear-
ing on the screen.
4 Execute the installation by following the directions appear-
ing on the screen.
After completing the installation procedure, you will find the
AN200 Editor Plug-in software in the “XGworksLite” folder and
find that AN200 Editor Plug-in application is added to the
[Plug-in] menu on the XGworks lite.
Refer to the online help/PDFmanuals how to use the applica-
tion.
After completing the installation procedure, you will find the
Acrobat folder on your PC (Program Files as the default).
Refer to the [Reader Guide] in the [Help] menu how to use the
Acrobat Reader.
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Appendix
About the Included CD-ROM
For Macintosh Users
on your computer (Hard Disk as the default).
Refer to the [Reader Guide] in the [Help] menu how to use the
Acrobat Reader.
This CD-ROM contains the following;
The CD-ROM includes two folders: “Internatiotal” and “Japa-
nese.”
Double-click on the “International” folder to open it. You will
find a variety of applications and data files packed in the follow-
ing four folders.
I Open Music System (OMS) 2.3.8 • • • • • • • •
OMS allows you to use several MIDI applications on the Mac
OS at the same time.
• Acrobat Reader 4.0
• Open Music System (OMS) 2.3.8
• AN200 Editor
• PLG150-AN Preset Voice Files
These are Preset Voice Files for the PLG150-AN. These are
compatible with the AN200, so can be edited with the AN200
Editor.
1 Double-click on the “OMS” folder (English version only).
“Install OMS 2.3.8” will be displayed.
2 Double-click on the “Install OMS 2.3.8.” OMS Setup Dia-
log will be displayed.
3 Execute the installation by following the directions appear-
ing on the screen.
After the installation, select <Restart>.
After restarting the Macintosh, you will find the “Opcode”/
“OMS Applications” folder on your computer (Hard Disk as
the default).
File names are “PlgAnP1.AN2” and “PlgAnP2.AN2.”
Some voices of the PLG150-AN may sound different when
played on the AN200.
4 Copy the “OMS_2.3_Mac.pdf” in the “OMS” folder in the
CD-ROM to the “OMS Applications” folder by drag & drop
operation.
Refer to the “OMS_2.3_Mac.pdf” (English version only) how
to use the application.
Minimum System Requirement
AN200 Editor
OS:
CPU:
Mac OS8.0 to 9.04
PowerPC604, 100MHz or faster (G3,
300MHz or faster is recommended)
15MB or more
5 Copy the “OMS Setup for YAMAHA” folder in the “OMS”
folder in the CD-ROM to the hard disk on your computer by
drag & drop operation. In the “OMS Setup for YAMAHA”
folder you will find the OMS Setup files for the AN200 Desk-
top Control Synthesizer, which you can use them as the
template.
Available memory:
Free space in Hard Disk: 8MB or more (excluding the OMS)
Display: 800 x 600, 256 colors or more
Installing Softwares
I Acrobat Reader 4.0 • • • • • • • • • • • • • • • • •
You need to install Acrobat Reader to view the PDF manuals
accompanied with each application in advance.
I AN200 Editor • • • • • • • • • • • • • • • • • • • • • •
AN200 Editor allows you to edit the AN200 Patterns on your
computer.
1 Double-click on the “Acrobat” folder.
Three different language folders will be displayed: English,
German and French.
1 Double-click on the “AN200 Editor” folder.
“Install AN200 Editor” will be displayed.
2 Double-click on the “Install AN200 Editor.”
AN200 Installation Dialog will be displayed.
2 Select the language you want to use and double-click on its
folder.
3 Execute the installation by following the directions appear-
ing on the screen.
“Reader Installer” will be displayed.
The Installer name may differ depending on the language you
select.
After the installation, you will find the “AN200 Editor for Macin-
tosh” folder on your computer (Hard Disk as the default).If you
use French or German MacOS, French or German manual are
automatically installed.
Refer to the “AN200Editor.pdf” in the same folder how to use
the application.
3 Double-click on the “Reader Installer.”
Acrobat Reader Setup Dialog will be displayed.
4 Execute the installation by following the directions appear-
ing on the screen.
After the installation, you will find the “Adobe Acrobat” folder
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Appendix
Specifications
1.FUNCTIONS
4.DISPLAY
7SEG LED
Tone Generator Analog Physical Modeling
(2VCO(Osc.Sync, FM), Noise, RingMod., Filter(FEG), Amp(AEG),
2LFO, PEG) + AWM2
x 4
5.CONNECTORS
OUTPUT L(MONO)/R
MIDI IN/OUT
DC IN
Phone x 2
Din x 2
Timber
1 (AN) + 3 (AWM2) parts
5 (AN) + 32 (AWM2) Notes
Polyphony
Effector
PHONES
Stereo phone
Distortion, 3-Band EQ (only AN)
+ 1 Effector (Tempo Delay/Reverb, Flanger/Cho-
rus, Phaser, Amp.Simulator)
6.MAXIMUM OUTPUT LEVEL
Phones
+0.5dBm (33ohm)
+9.0dBm (10kohm)
Stereo Output
Pattern
Preset Pattern x 256, User Pattern x 128
2 Scene/Pattern
7.DIMENSIONS,WEIGHT
338.0(W) x 208.9(D) x 51.7(H) mm, 1600 g
Scene
8.ACCESSORIES
Step Sequencer
Others
MIDI Sync, MIDI Transmit
Free EG (4 tracks)
CD ROM (for Windows and Macintosh) x 1
Owner's Manual
AC Adaptor
(Power supply recommendation may vary from country to country.
Please check with your nearest Yamaha dealer for further details.)
x 1
x 1
2.CONTROLLERS
Sound Control Knob
x 16
(Cutoff/Filter Type, Resonance, FEG Depth, VCO1/2 Balance, FM
Depth, Sync Pitch, Noise Level, EG Attack, EG Decay, EG Sustain,
EG Release, Portamento Time, Effect Param/Pan, Effect Wet/Vol,
LFO Speed, Scene Control)
• Specifications and descriptions in this owner’s manual are for information pur-
poses only.Yamaha Corp. reserves the right to change or modify products or
specifications at any time without prior notice. Since specifications, equipment or
options may not be the same in every locale, please check with your Yamaha
dealer.
Master Volume Knob
Rotary Encorder
x 1
x 1
• Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung
dienen nur der Information.Yamaha Corp. behält sich das Recht vor, Produkte
oder deren technische Daten jederzeit ohne vorherige Ankündigung zu
verändern oder zu modifizieren. Da die technischen Daten, das Gerät selbst oder
Sonderzubehör nicht in jedem Land gleich sind, setzen Sie sich im Zweifel bitte
mit Ihrem Yamaha-Händler in Verbindung.
3.PANEL SWITCHES
Sound Control Sw.
x 8
(LFO Detail, Key Assign, VCO1 Wave, Sync Mode, VCO2 Wave,
Effect Type, EG Select, Dist Sw )
Scene x 2, Sequencer. Sw x 2, Mode x 2, Pattern Select x 1,
Keyboard Mode x 1, Step Select x 16, Step Group Select x 2,
Track Select x 2, Play Effect x 2, Octave x 2, Tap Tempo x 1,
Free EG Sw. x 4, Free EG Mode x 1, Free EG Length x 1, Store x 1,
Show Value x 1, Shift x 1, Exit x 1
• Les caractéristiques techniques et les descriptions du mode d’emploi ne sont
données que pour information.Yamaha Corp. se réserve le droit de changer ou
modifier les produits et leurs caractéristiques techniques à tout moment sans
aucun avis. Du fait que les caractéristiques techniques, les équipements et les
options peuvent différer d’un pays à l’autre, adressez-vous au distributeur
Yamaha le plus proche.
Appendix
Error Messages
Display indication
Message
Comment
This appears when the voltage of the internal backup battery
becomes low. Have the battery replaced by your local Yamaha
dealer or any Yamaha-authorized service personnel.
Err1 (flashes)
Battery Low
This appears when too much MIDI data has been received at one
time, causing the unit to stop processing data.
Err2 (flashes)
Err3 (flashes)
Err4 (flashes)
MIDI Buffer Full
This appears when the received MIDI data is incorrect or contains
errors.
MIDI Data Error
This appears when checksum of the received System Exclusive data
is incorrect.
MIDI Checksum Error
114
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Appendix
Troubleshooting
Problem
Possible cause/Solution
No power.
Is the adaptor properly plugged into both the AN200 and the AC outlet?
(Page 11)
No sound.
• Is the panel volume control set to an appropriate level?
• Are other volume-related parameters set to appropriate levels? (Page
39)
• Is the EG Attack Time appropriately short, for short percus-sive
sounds? (Page 46)
• Is the Velocity of keyboard is appropriate? (Page 21)
No sound from a particular track.
• Is the track set to a proper Volume? (Page 39)
• Is the Track Mute setting appropriate? In other words, is the track
unmuted? (Page 37)
• Are all recorded steps on? (Step Mute, page 38)
• Is Cutoff set to a proper level? (Page 27)
No sound when playing the keyboard.
Is the [KEYBOARD] button lit? If not press it to enable the keyboard.
(Page 20)
No sound when playing a connected MIDI keyboard or
other device.
• Have you connected the MIDI cables properly?
• Are all MIDI channel settings appropriate? (Page 97)
The knobs and other Voice controls have no effect on
the sound.
• Is the Synth track selected? (If one of the Rhythm tracks is selected,
some knobs may affect the Rhythm sound instead.)
• Is the Step Edit mode active? In other words, are either of the buttons
[STEP 1-8] or [STEP 9-16] on? (If so, turning some of the knobs may
unexpectedly change some of the recorded steps.) (Page 73)
The Sequence doesn’t play back.
Make sure these are off.
• Have you selected any of these modes — Pattern Job, MIDI Setup, or
Utility?
• When syncing to another MIDI device, have you made sure that the
MIDI connections and relevant settings are correct? (Page 96)
• Is the MIDI clock set to “Internal”? (Page 97)
Recording (either Sequence or Free EG) doesn’t work.
Is the Pattern mode active? Press [PATTERN] to make sure you’re in
Pattern mode.
Free EG tracks can’t be recorded.
Are any of the Free EG tracks selected (on)? (Page 60)
Is the Synth track selected?
Turning Free EG tracks on or off has no effect.
The length of the notes of the Sequence sounds wrong.
Has the playback Gate Time been set to a value other than “100”? (Page
35)
The pitch of the Sequence sounds wrong.
Has the Transpose Pattern setting been changed? Call up this function
to check the value, and change it if necessary. (Page 66)
When playing by the external sequencer, the Step
Sequencer of the AN200 starts.
Is the MIDI control set to “Out” or “Off”? (Page 107)
When playing the AN200 by the AN200 Editor, the Step
Sequencer of the AN200 does not play correctly even if
pressing the [PLAY] button.
• Is the MIDI control set to “On” or “In”? (Page 107)
• Is the MIDI clock set to “Internal”? (Page 97)
The bulk data cannot be received by the AN200 Editor.
Are the MIDI IN/OUT jacks of the AN200 and the MIDI OUT/IN jacks of
the computer (or MIDI interface) are properly connected? (Page 106)
115
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Appendix
Analog Physical Modeling Synthesis and the AN200
At the heart of the AN200’s stunning, dynamic analog-like sound is a highly sophisticated
and versatile tone generating method — the Analog Physical Modeling Synthesis system.
We won’t try to explain how Analog Physical Modeling works — that would take several
pages. Besides, you can hear for yourself the enormous power and punch this system
delivers. In this section, we’ll just briefly outline the structure of the AN200, and show you
what happens to the sound within the AN200 system as it’s generated, processed and
enhanced.
I Oscillators, Filters and Amplifiers • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Very simply, there are three basic elements of sound: pitch, tone (or timbre) and volume (or “amplitude” in
synth-speak). Within the AN200, these three elements are created or controlled by the VCO (oscillator), VCF
(filter), and VCA (amplifier).
VCO
VCF
VCA
OUT
The amplifier determines the volume
The filter controls the timbre
The oscillator creates the source pitch
(and also the basic timbre, depending on the waveform)
And that’s basically how the AN200 creates sound. Of course, there are a few other elements in the system
— as you can see here:
PEG
LFO1, LFO2
FEG
VCF
AEG
VCA
Effects
VCO1
Oscillator Sync
Distortion
3-Band EQ
Master
Slave
Ring
Modulator
Oscillator
Sync
FM
MIXER
VCO2
Noise
Feedback
Control blocks in italics are functions that can only be changed or adjusted by using the
included AN200 Editor software. They cannot be controlled from the panel of the AN200
itself.
116
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Analog Physical Modeling Synthesis andAtphpeeAnNd2i0x0
I VCO 1 and VCO 2• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Here is where the sound begins. The VCO generates a waveform — usually relatively simple ones, such as
sine, saw, and square waves. The AN200 features two independent VCOs, each with an extensive wave set,
providing sound-creating capabilities that are exceptionally complex and flexible — for a dynamic, rich
sound that would be impossible with just one VCO. (Also see Tips 42, 44, and 46.)
What’s more, VCO 1 is actually made up of two oscillators, which can be configured as “master” and “slave.”
Plus, VCO 2 can be used to modulate VCO 1, for even greater sonic complexity.
The PEG block (Tip 36) is used to control how the pitches of the VCOs change over time. LFOs 1 and 2
well — for creating a variety of special tremolo, wah, and vibrato effects.
I VCF • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Here’s where the sound is processed. The VCF takes the sound of the VCOs and filters out certain frequency
ranges. The more complex the sound generated by the VCOs, the greater the sound-shaping potential of
this section.
VCF includes a comprehensive set of different filter types (such as Low Pass, High Pass, Band Pass, and
Band Eliminate), and provides controls for adjusting the Cutoff frequency of the filter, and the Resonance (or
emphasis) of the frequency cutoff point. (Also see Tips 18 - 20.)
The FEG block (Tip 37) is used to control how the filter of the VCF changes over time. A special FEG Depth
I VCA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Finally, here’s where the sound level is controlled. The VCA (controlled over time by the AEG block; see Tip
36) outputs the sound, before it is sent to the Effect block for more processing. (Also see Tips 15 - 17.)
117
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Appendix
MIDI Data Format
Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative
to 64. Increasing this value will lengthen the release time that follows a note-off.
1. Channel messages
1.1 Note on/note off
These messages convey keyboard performance data.
1.2.12 Attack Time
This message adjusts the EG attack time that was specified by the sound data.
Range of note numbers transmitted and received = C-2...G8
Velocity range = 1...127 (Velocity is received only for note-on)
Control#
73
Parameter
Attack Time
Data Range
0...127
Synth Track only
1.2 Control changes
0...64...127
(-64...0...+63)
Rhythm Track only
These messages convey control operation information for volume or pan etc.
Their functions are differentiated by the control number (Ctrl#).
Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative
to 64. Increasing this value will make the attack more gradual, and decreasing this value will make
the attack sharper.
1.2.1 Bank Select
This message selects the voice bank.
Control#
0
32
Parameter
Bank Select MSB
Bank Select LSB
Data Range
0...127
0...127
1.2.13 Brightness
This message adjusts the cutoff frequency of the low pass filter specified by the sound data.
The Bank Select data will be processed only after a Program Change is received, and then voice bank
will change at that time. If you wish to change the voice bank as well as the voice, you must transmit
Bank Select and Program Change messages as a set, in the following order: Bank Select MSB, LSB,
and Program Change.
Control#
74
Parameter
Brightness
Data Range
0...127
0...64...127
(-64...0...+63)
Synth Track only
Rhythm Track only
1.2.2 Modulation
This message controls the depth of modulation.
Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative
to 64. Lower values will produce a more mellow sound.
For some sounds, the effective range may be less than the possible range of settings.
Control#
1
Parameter
Modulation
Data Range
0...127
1.2.14 Decay Time
This message adjusts the EG decay time that was specified by sound data.
1.2.3 Portamento Time
This message controls the degree of Portamento (see 1.2.9).
Control#
75
Parameter
Decay Time
Data Range
0...127
Synth Track only
Control#
5
Parameter
Portamento Time
Data Range
0...127
It determines how long it takes for the sound changes from maximum level to sustain level.
1.2.15 Effect4 Depth
This message adjusts the Send level to Effect.
A value of 0 is no effect, and 127 is the longest Portamento time. No effect in Rhythm tracks.
1.2.4 Data Entry
This message sets the value of the parameter which was specified by RPN (see 1.2.17) and NRPN
(see 1.2.16) (Rhythm Track only).
Control#
94
Parameter
Effect4 Depth
Data Range
0...127
Control#
6
38
Parameter
Data Entry MSB
Data Entry LSB
Data Range
0...127
0...127
Increasing this value will more effective.
1.2.16 NRPN (Non-registered parameter number)
Use NRPN MSB and NRPN LSB to specify the parameter that you wish to modify, and then use Data
Entry (see 1.2.4) to set the value for the specified parameter. (Rhythm Track only).
1.2.5 Main Volume
This message controls the volume of each part. (It is used to adjust the volume balance between
parts.)
NRPN
Data Entry*1
MSB LSB
Parameter Name and Data Range
Drum Instrument Pitch Coarse
MSB LSB
Control#
7
Parameter
Main Volume
Data Range
0...127
18H rrH
mm
--
rr : drum instrument note number
mm : 00H - 40H - 7FH (-64...0...+63)
With a value of 0 there will be no sound, and a value of 127 will produce the maximum volume.
*1 See 1.2.4
1.2.6 Panpot
This message controls the panning (stereo location) of each part.
1.2.17 RPN (Registered parameter number)
Use RPN MSB and RPN LSB to specify the parameter that you wish to modify.
Control#
10
Parameter
Pan
Data Range
0...64...127
RPN
MSB LSB
Data Entry *1
MSB LSB
0 is left, 64 is center, and 127 is right.
Parameter Name and Value Range
RPN Null
1.2.7 Expression
This message controls expression for each part. (It is used to create volume changes during a song.)
This empties settings from RPN and NRPN
numbers.
Internal data is not affected.
7FH 7FH
--
--
Control#
1l
Parameter
Expression
Data Range
0...127
*1 See 1.2.4
1.2.8 Holdl
This message controls sustain pedal on/off.
1.2.18 Others
If the Control Change IN/OUT = ALL, all following Control Change Number are transmitted and
received.
Control#
64
Parameter
Hold1
Data Range
0...63, 64...127
(OFF, ON)
If the Control Change IN/OUT = NORM, the following Control Change Number in
mitted and received.
are trans-
When this is ON, currently-sounding notes will continue to sound even if note-off messages are
received.
CC#
category
SCENE
param
SYNTH
3
RHYTHM
1.2.9 Portamento
scene
wave
pmd
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
This message controls Portamento pedal on/off.
LFO
15
Control#
65
Parameter
Portamento
Data Range
0...63, 64...127
(OFF, ON)
18
*
*
*
pmd2
fmd
57
19
When ON, Portamento produces a smooth glide connecting two notes of different pitch. The time
over which the pitch changes is adjusted by Portamento Time (see 1.2.3). No effect in Rhythm tracks.
amd
80
speed
attack
decay
16
AEG
73*
75*
31
1.2.10 Harmonic Content
This message adjusts the resonance of the filter that is specified for the sound.
sustain
release
attack
Control#
71
Parameter
Harmonic Content
Data Range
0...127
72*
82
Synth Track only
FEG
0...64...127
(-64...0...+63)
Rhythm Track only
decay
83
sustain
release
key assign
28
Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative
to 64. Higher values will produce a more distinctive sound.
For some sounds, the effective range may be less than the possible range of settings.
29
Common
8
9
1.2.11 Release Time
This message adjusts the EG release time that was specified by the sound data.
portamento
wave
5*
VCO1
SYNC
VCO2
50
*
*
Control#
72
Parameter
Release Time
Data Range
0...127
mode
34
Synth Track only
wave
51
0...64...127
(-64...0...+63)
Rhythm Track only
118
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MIDI DAatpapFeonrdmixat
2. System exclusive messages
2.1 Parameter changes
CC#
category
param
vco 1/2
SYNTH
68
RHYTHM
This device uses the following parameter changes.
[ UNIVERSAL REALTIME MESSAGE ]
1) Master Volume
misc
-
-
fm depth
sync pitch
noise level
type
35
22
-
[ UNIVERSAL NON REALTIME MESSAGE ]
1) Identity Request (INQUIRY MESSAGE)
2) Identity Reply (INQUIRY MESSAGE)
39
-
EFFECT
88
-
89
-
[ AN200 NATIVE PARAMETER CHANGE ]
1) AN200 System parameter change
param
48
-
*
*
wet ( send )
switch
94
94
-
2) Current Voice Common parameter change
3) Current Voice Additional parameter change
4) Current Voice Element parameter change
5) Currnet Voice Step Seq. parameter change
6) Currnet Rhythm Step Seq. parameter change
7) Current Effect parameter change
DISTORTION
VCF
49
cutoff
74*
74*
-
filter type
resonance
59
71*
8) Current Mulit Part parameter change
71*
-
2.1.1 Universal realtime messages
2.1.1.1 Master Volume
FEG depth
pan
81
10*
7*
MIXER
10*
7*
volume
11110000
01111111
01111111
00000100
00000001
* 0sssssss
0ttttttt
11110111
or
F0H
7FH
7FH
04H
01H
SSH
TTH
F7H
= Exclusive status
= Universal Real Time
= ID of target device
= Sub-ID #1=Device Control Message
= Sub-ID #2=Master Volume
= Volume LSB
1.3 Channel mode messages
These messages specify the basic operation of a part.
1.3.1 All Sound Off
= Volume MSB
= End of Exclusive
This message silences all notes being played on the corresponding channel.
However, channel messages such as Note-on and Hold-on will be maintained in their present state.
11110000
01111111
0xxxnnnn
00000100
00000001
0sssssss
0ttttttt
11110111
F0H
7FH
XNH
04H
01H
SSH
TTH
F7H
= Exclusive status
Control#
120
Parameter
All Sound Off
Data Range
0
= Universal Real Time
= Device Number, xxx = don't care
= Sub-ID #1=Device Control Message
= Sub-ID #2=Master Volume
= Volume LSB
1.3.2 Reset All Controllers
This message changes the settings of the following controllers.
= Volume MSB
= End of Exclusive
Controller
Value
Pitch bend change
Channel pressure
Modulation
Expression
0 (Center)
0 (OFF)
When received, the Volume MSB is reflected in the System Parameter MASTER VOLUME.
0 (OFF)
* The binary expression 0sssssss is expressed in hexadecimal as SSH.
The same applies elsewhere.
127 (Max.)
0 (OFF)
Hold
Portamento
0 (OFF)
2.1.2 Universal non-realtime messages
2.1.2.1 Identity Request
The following data is not changed
Parameter values specified for program change, bank select MSB/LSB, volume, pan, effect send level
4.
11110000
01111110
0xxxnnnn
00000110
00000001
11110111
F0H
7EH
XNH
06H
01H
F7H
= Exclusive status
= Universal Non-Real Time
= ID of target device
= Sub-ID #1=General Information
= Sub-ID #2=Identity Request
= End of Exclusive
Control#
121
Parameter
Reset All Controllers
Data Range
0
1.3.3 All Note Off
This message turns off all notes which are currently on for the corresponding part.
However, if Hold 1 or Sostenuto are on, notes will continue to sound until these are turned off.
When this message is received, the Identity Reply Message (2.1.2.2, below) is transmitted.
2.1.2.2 Identity Reply
Control#
123
Parameter
All Note Off
Data Range
0
11110000
01111110
0xxxnnnn
00000110
00000010
01000011
00000000
01000001
00000010
00000101
00000000
00000000
00000000
00000001
11110111
F0H
7EH
XNH
06H
02H
43H
00H
41H
02H
05H
00H
00H
00H
01H
F7H
= Exclusive status
= Universal Non-Real Time
= ID of target device
= Sub-ID #1=General Information
= Sub-ID #2=Identity Reply
1.3.4 Omni Off
Works the same as when All Note Off is received.
Control#
124
Parameter
Omni Off
Data Range
0
= YAMAHA ID
1.3.5 Omni On
Works the same as when All Note Off is received.
= Device Family Code LSB AN200 ID #1
= Device Family Code MSB AN200 ID #2
= Device Number Code LSB AN200 ID #3
= Device Number Code MSB AN200 ID #4
Control#
125
Parameter
Omni On
Data Range
0
1.3.6 Mono
Works the same as when All Sound Off is received, and if the value (mono number) is in the range of
0... 16, sets the corresponding channel to Mode4* (m = 1).
= End of Exclusive
Control#
126
Parameter
Mono
Data Range
0 ... 16
When the Identity Request message (2.1.2.1, above) is received, this message is transmitted.
* Mode4 is a state in which only channel messages on the specified channel will be received, and
notes will be played individually (monophonically).
2.1.3 AN200 Native parameter change
This message sets parameters unique to the AN200.
1.3.7 Poly
Each message can set a single parameter. The message format is as follows.
Works the same as when All Sound Off is received, and sets the corresponding channel to Mode3*.
11110000
01000011
0001nnnn
01011100
0ggggggg
0mmmmmmm
0lllllll
0vvvvvvv
:
F0H
43H
1NH
5CH
GGH
MMH
LLH
VVH
:
Exclusive status
YAMAHA ID
N:Device Number
Model ID
Address High
Address Mid
Address Low
Data
Control#
127
Parameter
Poly
Data Range
0
* Mode3 is when channel messages will be received only on the specified channel, and notes will be
sounded polyphonically.
1.4 Program change
This message is used to switch voices.
It changes the program number on the receiving channel. When the change is to include the voice
bank, transmit the program change after sending the Bank Select message (see 1.2.1).
11110111
or
F7H
End of Exclusive
11110000
01000011
0001nnnn
01101101
0ggggggg
0mmmmmmm
0lllllll
F0H
43H
Exclusive status
YAMAHA ID
N:Device Number
Model ID
Address High
Address Mid
Address Low
1.5 Pitch bend
This message conveys information on pitch bend operations.
1NH
6DH
GGH
MMH
LLH
1.6 Channel aftertouch
This message conveys the pressure after the key is played on the keyboard (for an entire MIDI chan-
nel). The pressure can be controlled for each part. This message will affect the notes currently play-
ing.
119
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Appendix
MIDI Data Format
0vvvvvvv
:
11110111
VVH
:
F7H
Data
Address and Byte Count are given in tables <1-n>.
Byte Count is indicated by the total size of the Data in tables <1-n>.
Bulk dump is received when the beginning of the block is specified in "Address."
"Block" indicates the unit of the data string that is indicated in tables <1-n> as "Total Size."
Check sum is the value that produces a lower 7 bits of 0 when ths Start Address, Byte Count,
Data, and the Check sum itself are added.
End of Exclusive
For parameters whose Data Size is 2 or 4, the appropriate amount of data will be transmitted as
indicated by Size.
2.1.3.1 System parameter change
2.2.1.1 System bulk dump
This message sets the System block (see Tables <2-1> and <2-2>).
This message sets the System block (see Tables <2-1> and <2-2>).
2.1.3.2 Current Voice Common parameter change
2.2.1.2 Current Voice Common bulk dump
This message sets the Common block of the voice is sounding currently (see Tables <1-1> and
<1-2>).
This message sets the Common block of the voice is sounding currently (see Tables <1-1> and
<1-2>).
2.1.3.3 Current Voice Additional parameter change
2.2.1.3 Current Voice Additional bulk dump
This message sets the Additional block of the voice is sounding currently (see Tables <1-1> and
<1-4>).
This message sets the Additional block of the voice is sounding currently (see Tables <1-1> and
<1-4>).
2.1.3.4 Current Voice Element parameter change
2.2.1.4 Current Voice Element bulk dump
This message sets the Element block of the voice is sounding currently (see Tables <1-1> and <1-
3>).
This message sets the Element block of the voice is sounding currently (see Tables <1-1> and <1-
3>).
2.1.3.5 Current Voice Scene1 parameter change
2.2.1.5 Current Scene1 bulk dump
This message sets the Scene1 block of the voice is sounding currently (see Tables <1-1> and <1-
5>).
This message sets the Scene1 block of the voice is sounding currently (see Tables <1-1> and <1-
5>).
2.1.3.6 Current Voice Scene2 parameter change
2.2.1.6 Current Scene2 bulk dump
This message sets the Scene2 block of the voice is sounding currently (see Tables <1-1> and <1-
6>).
This message sets the Scene2 block of the voice is sounding currently (see Tables <1-1> and <1-
6>).
2.1.3.7 Current Voice Step Seq parameter change
2.2.1.7 Current Voice Step Seq bulk dump
This message sets the Step Seq block of the voice(SYNTH Track) is sounding currently (see
Tables <1-1> and <1-7>).
This message sets the Step Seq block of the voice(SYNTH Track) is sounding currently (see
Tables <1-1> and <1-7>).
2.1.3.8 Currnet Rhythm Step Seq parameter change
2.2.1.8 Current Rhythm Step Seq bulk dump
This message sets the Step Seq block of the Rhythm Track (see Tables <2-1> and <2-8>).
This message sets the Step Seq block of the Rhythm Track is sounding currently (see Tables <2-
1> and <2-8>).
2.1.3.9 Current Effect parameter change
This message sets the Effect block (see Tables <2-1> and <2-3>).
2.2.1.9 Current Effect bulk dump
This message sets the Effect block (see Tables <2-1> and <2-3>).
2.1.3.10 Current Mulit Part parameter change
This message sets the Multi Part block (see Tables <2-1> and <2-6>).
2.2.1.10 Current Multi Part bulk dump
This message sets the Multi Part block (see Tables <2-1> and <2-6>).
2.2 Bulk dump
2.2.1.11 User Pattern Voice bulk dump
This device uses only the following bulk dump receiving messages.
This message sets the User Pattern Voice block (see Tables <1-1> and <1-8>).
[ AN200 NATIVE BULK DUMP ]
1) System bulk dump
2.2.1.12 User Pattern Voice Additional bulk dump
This message sets the User Pattern Voice Additional block (see Tables <1-1> and <1-9>).
2) Current Voice Common bulk dump
3) Current Voice Additional bulk dump
4) Current Voice Element bulk dump
5) Current Voice Scene1 bulk dump
6) Current Voice Scene2 bulk dump
7) Currnet Voice Step Seq. bulk dump
8) Currnet Rhythm Step Seq. bulk dump
9) Current Effect bulk dump
2.2.1.13 User Pattern Voice Scene1 bulk dump
This message sets the User Pattern Voice Scene1 block (see Tables <1-1> and <1-10>).
2.2.1.14 User Pattern Voice Scene2 bulk dump
This message sets the User Pattern Voice Scene2 block (see Tables <1-1> and <1-11>).
10) Current Mulit Part bulk dump
11) User Pattern Voice 1...128
2.2.1.15 User Pattern Effect bulk dump
12) User Pattern Voice Additional 1...128
13) User Pattern Voice Scene1 1...128
14) User Pattern Voice Scene2 1...128
15) User Pattern Multi Part 1 ... 128
16) User Pattern Rhythm Step Seq 1 ... 128
17) User Song 1 ... 10
This message sets the User Pattern Voice Effect block (see Tables <2-1> and <2-9>).
2.2.1.16 User Pattern Multi Part bulk dump
This message sets the User Pattern Voice Multi Part block (see Tables <2-1> and <2-8>).
2.2.1.17 User Pattern Rhythm Step Seq bulk dump
This message sets the User Pattern Rhythm Step Seq block (see Tables <2-1> and <2-8>).
And the following bulk dump messages are received and changed as data of the AN200.
2.2.1.18 User Song bulk dump
[ AN1x BULK DUMP ]
1) AN1x Current Common bulk dump
2) AN1x Current Scene bulk dump
3) AN1x Current Step Seq Pattern bulk dump
4) AN1x User Voice 1 ... 128
This message sets the User Song block (see Tables <2-1> and <2-8>).
2.2.2 AN1x bulk dump
The AN1x bulk dump messages are received and changed as data of the AN200.
2.2.1 AN200 Native Bulk Dump
11110000
01000011
0000nnnn
01011100
0sssssss
0ttttttt
0ggggggg
0mmmmmmm
0lllllll
0vvvvvvv
:
F0H
43H
0NH
5CH
SSH
TTH
GGH
MMH
LLH
VVH
:
Exclusive status
YAMAHA ID
N:Device Number
Model ID
ByteCountMSB
ByteCountLSB
Address High
Address Mid
Address Low
Data
This message sets the special parameters for AN200.
Unlike Parameter change, one message can modify multiple parameters.
11110000
01000011
0000nnnn
01011100
0sssssss
0ttttttt
0ggggggg
0mmmmmmm
0lllllll
0vvvvvvv
:
F0H
43H
0NH
5CH
SSH
TTH
GGH
MMH
LLH
VVH
:
Exclusive status
YAMAHA ID
N:Device Number
Model ID
ByteCountMSB
ByteCountLSB
Address High
Address Mid
Address Low
Data
0kkkkkkk
11110111
KKH
F7H
Check-sum
End of Exclusive
The details are the same as for 2.2.1 (AN200 Native Bulk Dump). However, see Table <3-1> for
the Base address.
More details (Address, Byte Count, etc.), see the AN1x parameter list included with the AN1x.
0kkkkkkk
11110111
KKH
F7H
Check-sum
End of Exclusive
120
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MIDI DAatpapFeonrdmixat
2.2.2.1 AN1x Current Common bulk dump
3. Realtime Messages
When the Common block bulk data of the voice sounds currenly is received from the AN1x, the
AN200 responds to it (see the Table <3-1>).
3.1 Active Sensing
11111110
FEH
The following parameters are invalid on the AN200, or affect differently compared with the ones
applied to the AN1x.
Scene Select (Always "Scene1" is fixed.)
This is transmitted by 200msec.
After FE is received one time, if the MIDI signal does not come within 400 msec, AN200 will act
the same as when ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS are
received, and return to the condition where has not been received once.
Layer Mode ("Single" or "Unison")
Layer Pan, Layer Separation
Common Vtrl Matrix 1—2 Data (Source, Parameter, Depth)
Vari-Ef Type (Always "Gutar Amp.Simulator" is fixed.)
Dly-Ef, Rev-Ef Data (Type, Return, Parameter 1—7)
Arpeggio/StepSEQ Scene Sw. ("Off" or "On (only Scene1-side)")
FreeEG Track Scene Switch ("Off or "On (only Scene1-side)")
Parameters in connection with Arpeggio.
3.2 Timing Clock
11111000
ON/OFF of the transmitting and receiving can be set.
F8H
3.3 Start
11111010
ON/OFF of the transmitting and receiving can be set.
FAH
2.2.2.2 AN1x Current Scene1 bulk dump
When the Scene1 block bulk data of the voice sounds currenly is received from the AN1x, the
AN200 responds to it (see the Table <3-1>).
3.4 Continue
11111011
ON/OFF of the transmitting and receiving can be set.
The following parameters are reacted by the AN200.
Ctrl Matrix 16 Data (Source, Parameter, Depth)
FBH
2.2.2.3 AN1x Current Step Seq Pattern bulk dump
When the Step SEQ block of the voice sounds currenly is received from the AN1x, the AN200
responds to it (see the Table <3-1>).
3.5 Stop
11111100
ON/OFF of the transmitting and receiving can be set.
FCH
The Following parameters are invalid on the AN200, or affect differently compared with the ones
applied to the AN1x.
Step Seq Base Unit
Step Seq Length
Step Seq CtrlChange Value1...16
4. System Common Messages
4.1 Song Position Pointer
2.2.2.4 AN1x User Voice bulk dump
11110010
0vvvvvvv
0vvvvvvv
F2H
When the User Voice block bulk data is received from the AN1x, the AN200 responds to it (see
the Table <3-1>).
SONG POSITION LSB
SONG POSITION MSB
The following parameters are invalid on the AN200, or affect differently compared with the ones
applied to the AN1x.
Data of Scene 2
ON/OFF of the transmitting and receiving can be set.
Common Data (See 2.2.2.1)
Scene1 Data (See 2.2.2.2)
<1-1>
Parameter Base Address
MODEL ID = 5C (AN1x)
Parameter
Address
(H)
10
Description
(M)
00
(L)
00
00
00
00
00
00
Curret Voice
Current Voice Common
AN200 Current Voice Add
Current Voice Step Seq
10
0D
0E
10
10
10
Current Voice Element
10
30
AN200 Current Voice Scene1
AN200 Current Voice Scene2
10
31
AN200 User Pattern Voice
20
:
00
:
00
:
AN200 User Pattern Voice 1
:
20
7F
00
AN200 User Pattern Voice 128
AN200 User Pattern Voice Add
AN200 User Pattern Voice Scene-1
AN200 User Pattern Voice Scene-2
22
:
22
00
:
7F
00
:
00
AN200 User Pattern Voice Add 1
:
AN200 User Pattern Voice Add 128
40
:
40
00
:
7F
00
:
00
AN200 User Pattern Voice Scene-1 1
:
AN200 User Pattern Voice Scene-1 128
41
:
00
:
00
:
AN200 User Pattern Voice Scene-2 1
:
41
7F
00
AN200 User Pattern Voice Scene-2 128
<1-2>
MIDI Parameter Change table ( Current Voice Common Buffer)
Address
(H)
10 00 00
Size
(H)
1
1
1
1
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
00...16
Voice Name 1
Voice Name 2
Voice Name 3
Voice Name 4
Voice Name 5
Voice Name 6
Voice Name 7
Voice Name 8
Voice Name 9
Voice Name 10
Voice Category
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
--,Pf...Wv
I
n
I
t
01
02
03
04
05
06
07
08
09
0a
P
t
n
--
0b
0c
0d
0e
0f
1
1
1
1
1
NOT USED (AN1x : Scene Select)
Unison Sw. (AN1x : Layer Mode)
NOT USED
NOT USED
Unison Detune
Scene1(1):fixed
off(0),on(1)
1(scene1)
00(off)
--
--
6
00...01
01...20
1...32
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Appendix
MIDI Data Format
10
12
13
14
15
16
17
18
19
2
1
1
1
1
1
1
1
1
27...F0
Common BPM
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
20(14h) ... 40(28h) ... 240(F0h) ... 300(12Ch)
*3
8C(140)
--
--
--
--
--
--
--
--
1a
1b
1c
1e
20
22
24
26
1
1
2
2
2
2
2
2
NOT USED (AN1x : Var-Ef Type)
Output Gain (AN1x : reserve)
Gutar Amp.Simulator : Dist Drive
Gutar Amp.Simulator : Amp.Type
Gutar Amp.Simulator : LPF
Gutar Amp.Simulator : Dist Out Level
NOT USED
Gutar Amp.Simulator:fixed
+0dB(0), +6dB(1), +12dB(2)
0...100
off(0) ,stack(1) ,combo(2) ,tube(3)
1.0k~Thru
0d (Amp.Sim.)
00(+0dB)
64(100)
01(stack)
30(5.0kHz)
3c(60)
00...02
00...64
00...03
22...3C
00...64
0~100
--
--
NOT USED
28
29
2a
2b
2c
2d
2e
1
1
1
1
1
1
1
04...28
34...4C
0E...36
34...4C
0A...78
1C...3A
34...4C
3-Band EQ Low Freq
3-Band EQ Low Gain
3-Band EQ Mid Freq
3-Band EQ Mid Gain
3-Band EQ Mid Resonance(Q)
3-Band EQ High Freq
3-Band EQ High Gain
32Hz(04)...2.0kHz(28)
11(140Hz)
40(+0dB)
28(2.0kHz)
40(+0dB)
0A(1.0)
-12dB(34)...0(40)...+12dB(76)
100Hz(0E)...10.0kHz(36)
-12dB(34)...0(40)...+12dB(4C)
1.0(10)...12.0(78)
500Hz(1C)...16.0kHz(3A)
-12dB(34)...0(40)...+12dB(4C)
34(8.0kHz)
40(+0dB)
2f
1
1
1
2
2
2
2
2
2
2
1
1
2
2
2
2
2
2
2
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
30
31
32
34
36
38
3a
3c
3e
40
41
42
44
46
48
4a
4c
4e
50
51
52
53
54
55
56
1
1
1
1
1
1
1
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
--
--
--
--
--
--
--
57
58
5a
1
2
2
NOT USED
NOT USED
NOT USED
--
--
--
5c
5d
1
1
00...03
00...04
Free EG Trigger
Free EG Loop Type
free(0),midi in notes(1),all notes(2),seq start(3)
off(0),forwardd(1),forwardd-half(2),
alternate(3),alternate-half(4)
03(seq start)
01(forward)
5e
1
02...60
Free EG Length
1/2bar(2),1bar(3),3/2bars(4),
05(2bars)
2bars(5),3bars(6),4bars(7),6bars(8),
8bars(9),1.0sec(0A)...8.0sec(50)
...16.0sec(60)
5f
1
1
1
1
1
1
1
1
1
2
NOT USED
Free EG Trk Param 1
Free EG Trk Scene Switch 1
Free EG Trk Param 2
Free EG Trk Scene Switch 2
Free EG Trk Param 3
--
60
61
62
63
64
65
66
67
68
00...40
00...01
00...40
00...01
00...40
00...01
00...40
00...01
00...01
00...7F
00...01
00...7F
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
0...1
0...127
0...1
0...127
*1
*1
*1
*1
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
1
Free EG Trk Scene Switch 3
Free EG Trk Param 4
Free EG Trk Scene Switch 4
Free EG Trk1 Data1 MSB
Free EG Trk1 Data1 LSB
Free EG Trk1 Data2 MSB
Free EG Trk1 Data2 LSB
*2
*2
*2
*2
0
1
0
6a
:
2
:
:
03 66
03 68
03 6a
2
00...01
00...7F
00...01
00...7F
00...01
00...7F
Free EG Trk1 Data192 MSB
Free EG Trk1 Data192 LSB
Free EG Trk2 Data1 MSB
Free EG Trk2 Data1 LSB
Free EG Trk2 Data2 MSB
Free EG Trk2 Data2 LSB
0...1
0...127
0...1
0...127
0...1
0...127
*2
*2
*2
*2
*2
*2
1
0
1
0
1
0
2
2
:
:
:
06 66
06 68
06 6a
2
00...01
00...7F
00...01
00...7F
00...01
00...7F
Free EG Trk2 Data192 MSB
Free EG Trk2 Data192 LSB
Free EG Trk3 Data1 MSB
Free EG Trk3 Data1 LSB
Free EG Trk3 Data2 MSB
Free EG Trk3 Data2 LSB
0...1
0...127
0...1
0...127
0...1
0...127
*2
*2
*2
*2
*2
*2
1
0
1
0
1
0
2
2
:
:
:
09 66
09 68
09 6a
2
00...01
00...7F
00...01
00...7F
00...01
Free EG Trk3 Data192 MSB
Free EG Trk3 Data192 LSB
Free EG Trk4 Data1 MSB
Free EG Trk4 Data1 LSB
Free EG Trk4 Data2 MSB
0...1
0...127
0...1
0...127
0...1
*2
*2
*2
*2
1
0
1
0
2
2
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MIDI DAatpapFeonrdmixat
00...7F
Free EG Trk4 Data2 LSB
0...127
*2
0
:
:
:
0C 66
2
00...01
00...7F
Free EG Trk4 Data192 MSB
Free EG Trk4 Data192 LSB
0...1
0...127
*2
*2
1
0
TOTAL SIZE 668
*1 : see other table (Free EG Track Paramter List)
*2 : only Bulk Dump (not received as parameter change)
*3 : BPM = ((1st & 03h) * 128 + 2nd) + ((1st & 78h)/8)/10
<1-3>
MIDI Parameter Change table ( Current Voice Element Buffer )
Address
(H)
10 10 00
Size
(H)
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
00...02
28...58
28...58
00...7F
00...7F
01...03
00...01
Key Assign Mode
Pich Up (PB Range +)
Pich Down (PB Range -)
PEG Decay
PEG Depth
PEG Switch
poly(0),mono(1),legato(2)
-24(28)...+24(58)
-24(28)...+24(58)
00(poly)
42(+2)
3E(-2)
0
40(+0)
03(both)
00(normal)
01
02
03
04
05
06
0...127
-64...+63 semitones
VCO1(1),VCO2(2),both(3)
normal(0),sustain-key(1)
full-time(0),fingered(1)
0...127
off(0),key-on(1)
sine(0)...offset-s/h2(14)
1(0)...256(FF)
0...127
1(0)...256(FF)
off(0),vco1 mastter to slave(1), vco2 to vco1(2)
-64...+63
-64...+63
Portamento Mode
*1
*2
07
08
09
0a
0c
0d
0f
10
11
12
1
1
1
2
1
2
1
1
1
1
00...7F
00...01
00...14
00...FF
00...7F
00...FF
00...02
00...7F
00...7F
00...04
Portamento Time
LFO Reset Mode
LFO1 Wave
LFO1 Speed
LFO1 Delay
LFO2 Speed
Sync Mode
Sync Pitch
Sync Pitch Depth
Sync Pitch Source
2C(44)
00(off)
00(sine)
53(84)
0
1F(32)
0(off)
40(+0)
40(+0)
00(fixed)
fixed(0),PEG(1),FEG(2),LFO1(3),
LFO2(4)
13
14
15
1
1
1
01...03
00...7F
00...04
Sync Pitch Mod Switch
FM Depth
FM Source 1
master(1),slave(2),both(3)
-64...+63
fixed(0),PEG(1),FEG(2),LFO1(3),
LFO2(4)
*5
03(both)
40(+0)
00(fixed)
16
17
1
1
00...07
00...04
00...06
FM Source 2
VCO1 Wave
VCO1 Wave
VCO2 freq(0),VCO1(1),VCO1-sub(2),
PEG(3),FEG(4),LFO1(5),LFO2(6),VCO2 output(7)
saw(0),pulse(1),saw2(2),mix(3)
multi-saw(4)
saw(0),pulse(1),inner1(2),
inner2(3),inner3(4),square(5),noise(6)
-64...+63 semitone
00(VCO2 freq)
00(saw)
*3
*4
18
19
1
1
00...7F
0E...72
VCO1 Pitch Coarse
VCO1 Pitch Fine
40(+0)
40(+0)
-50...+50 cent
1a
1b
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...07
VCO1 Edge
VCO1 Pulse Width
VCO1 Mix
VCO1 PWM Depth
Detune
VCO1 PWM Source
0...127
64(100)
40(50%)
0%(0)...50%(40)...99%(7F)
0...127
-64...+63
*7
*8
*7
*8
*7
1c
1d
1
1
40(+0)
0...127
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4),LFO2-phase(5),
LFO2-fast(6),VCO2(7)
-127...+127
saw(0),pulse(1),saw2(2),mix(3)
triangle(4),sine(5)
-64...+63 semitone
-50(0E)...+50 cent(72)
0...127
0%(0)...50%(40)...99%(7F)
-64...+63
-64...+63
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4),LFO2-phase(5),
LFO2-fast(6),VCO1(7)
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4)
-127...+127
04(LFO2)
1e
20
2
1
01...FF
00...05
VCO1 Pitch Mod Depth
VCO2 Wave
80(+0)
00(saw)
21
22
23
24
25
1
1
1
1
1
00...7F
0E...72
00...7F
00...7F
00...7F
00...7F
00...07
VCO2 Pitch Coarse
VCO2 Pitch Fine
VCO2 Edge
VCO2 Pulse Width
VCO2 PWM Depth
VCO2 X-MOD Depth
VCO2 PWM Source
40(+0)
40(+0)
7F(127)
40(50%)
40(+0)
*9
*9
*9
*10
*9
26
1
04(LFO2)
00...04
VCO2 X-MOD Source
*10
27
29
2a
2b
2c
2
1
1
1
1
01...FF
00...7F
00...7F
00...7F
00...7F
VCO2 Pitch Mod Depth
Mixer VCO1 Level
Mixer VCO2 Level
Mixer Ring Mod Level
Mixer Noise Level
80(+0)
7F(127)
0
0
0
0...127
0...127
0...127
0...127
2d
2e
2f
30
31
32
1
1
1
1
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...05
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
HPF Cutoff Freq
0...127
0...127
0...127
0...127
0
40(64)
7F(127)
55(85)
00(thru)
00(LPF-24dB)
0(thru)...127
LPF-24dB(0),LFP-18dB(1),
VCF Filter Type
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
33
34
35
37
38
39
3a
3b
3c
3d
3e
3f
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
20...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...8F
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...+63
-32...+63
-64...+63
0...127
0...127
0...127
0...127
0...127
0...127
-64...+63
-64...+63
64(100)
19(+0)
A0(+32)
40(+0)
40(+0)
40(+0)
0
40(64)
7F(127)
24(36)
0
FillrEG Velocity Sens
VCF Keyboard Track
VCF Filter Mod Depth
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
VCA Feedback Level
VCA Volume
69(105)
40(+0)
40(+0)
01(D63>W)
40
41
42
AmpEG Velocity Sens
VCA Amp Mod Depth
Gutitar Amp.Simulator Dry/Wet
D63>W(1)...D=W(40)...D<W63(7F)
123
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Appendix
MIDI Data Format
43
1
00... 00
Distortion Switch
0(off),1(on)
1(on)
44
45
46
47
48
49
4a
4b
4c
4d
4e
4f
50
51
52
53
54
55
56
57
58
59
5a
5b
5c
5d
5e
5f
60
61
62
63
64
65
66
67
68
69
6a
6b
6c
6d
6e
6f
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
Ctrl Matrix Source1
Ctrl Matrix Param 1
Ctrl Matrix Depth 1
Ctrl Matrix Source2
Ctrl Matrix Param 2
Ctrl Matrix Depth 2
Ctrl Matrix Source3
Ctrl Matrix Param 3
Ctrl Matrix Depth 3
Ctrl Matrix Source4
Ctrl Matrix Param 4
Ctrl Matrix Depth 4
Ctrl Matrix Source5
Ctrl Matrix Param 5
Ctrl Matrix Depth 5
Ctrl Matrix Source6
Ctrl Matrix Param 6
Ctrl Matrix Depth 6
Ctrl Matrix Source7
Ctrl Matrix Param 7
Ctrl Matrix Depth 7
Ctrl Matrix Source8
Ctrl Matrix Param 8
Ctrl Matrix Depth 8
Ctrl Matrix Source9
Ctrl Matrix Param 9
Ctrl Matrix Depth 9
Ctrl Matrix Source10
Ctrl Matrix Param 10
Ctrl Matrix Depth 10
Ctrl Matrix Source11
Ctrl Matrix Param 11
Ctrl Matrix Depth 11
Ctrl Matrix Source12
Ctrl Matrix Param 12
Ctrl Matrix Depth 12
Ctrl Matrix Source13
Ctrl Matrix Param 13
Ctrl Matrix Depth 13
Ctrl Matrix Source14
Ctrl Matrix Param 14
Ctrl Matrix Depth 14
Ctrl Matrix Source15
Ctrl Matrix Param 15
Ctrl Matrix Depth 15
NOT USED
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
*6,11
*6
*6
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
--
70
71
72
73
Depends on Ctrl Matrix Param
NOT USED
NOT USED
--
--
74
75
76
1
1
1
NOT USED
Oct Shift
PEG Attack
--
3E...42
00...7F
-2(3E), 0(40),+2(42)
0...127
40(+0)
0
77
78
1
1
00...14
00...0F
LFO2 Wave
LFO Assign Group
sine(0)...offset-s/h2(14)
VCO1(bit3),VCO2(bit2),VCA(bit1),
VCF(bit0)
05(triangle)
00(LFO1 to All)
79
1
01..03
FM Algorithm
both(1),master(2),slave(3)
*5
03(slave)
TOTAL SIZE 7A
*1 : Key Assign Mode = poly
*2 : Key Assign Mode = mono,legato
*3 : Oscillator Sync Mode = off
*4 : Oscillator Sync Mode = on ('VCO1 master to slave' or 'VCO2 to VC1')
*5 : Oscillator Sync Mode = 'VCO1 master to slave'
*6 : see other table (Ctrl Matrix Paramter List)
*7 : VCO1 Wave is not MultiSaw.
*8 : VCO1 Wave is MultiSaw.
*9 : VCO2 Wave is not Triangle or Sine.
*10 : VCO1 Wave is Triangle or Sine.
*11 : CC# 3,5,7,8,9,10,15,16,18,19,22,28,29,31,34,35,39,48,49,50,51,57,59,68,71,72,73,74,75,80,81,82,83,88,89,MW~AC8 cannot be set.
<1-4>
MIDI Parameter Change table ( AN200 Current Voice Additional Buffer)
Address
(H)
10 0d 00
01
Size
(H)
1
Data
(H)
0...7F
00...7F
Prameter Name
Description
Default
Scene Control Param
VCO1/2 Balance
0...127
-64...0...+63
0
1
40(+0)
<1-5>
MIDI Bulk Dump Parameter table ( AN200 Current Scene-1 )
Address
(H)
10 30 00
Size
(H)
2
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
LFO1 Speed
1(0)...256(FF)
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
53(84)
0
40(64)
7F(127)
24(36)
0
40(64)
7F(127)
55(85)
2C(44)
02
03
04
05
06
07
08
09
0A
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
Portamento Time
1
1
1
0...127
124
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MIDI DAatpapFeonrdmixat
0B
0C
0D
0E
1
1
1
1
00...7F
00...7F
00...7F
00...05
Sync Pitch
FM Depth
Mixer Noise Level
VCF Filter Type
-64...+63
-64...+63
0...127
40(+0)
40(+0)
0
LPF-24dB(0),LFP-18dB(1),
00(LPF-24dB)
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
0F
10
11
13
14
15
16
17
1
1
2
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
VCO1/2 Balance
Volume
Pan
Effect Send
Effect parameter
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...0...+63
0...127
CENTER(0),L63...C...R63(1...64...127)
0...127
refer to Effect Type List <Table 2-4>
64(100)
19(+0)
A0(+32)
40(+0)
64(100)
40(64)
0
0
TOTAL SIZE 18
mm = 00 ~ 7F : User Voice Scene-1 No.1 ~ User Voice Scene-1 No.128
<1-6>
MIDI Bulk Dump Parameter table ( AN200 Current Scene-2 )
Address
(H)
10 31 00
Size
(H)
2
1
1
1
1
1
1
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...05
LFO1 Speed
1(0)...256(FF)
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
-64...+63
-64...+63
53(84)
0
40(64)
7F(127)
24(36)
0
40(64)
7F(127)
55(85)
2C(44)
40(+0)
40(+0)
0
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
Portamento Time
Sync Pitch
FM Depth
Mixer Noise Level
VCF Filter Type
0...127
LPF-24dB(0),LFP-18dB(1),
00(LPF-24dB)
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
0F
10
11
13
14
15
16
17
1
1
2
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
VCO1/2 Balance
Volume
Pan
Effect Send
Effect parameter
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...0...+63
0...127
CENTER(0),L63...C...R63(1...64...127)
0...127
refer to Effect Type List <Table 2-4>
64(100)
19(+0)
A0(+32)
40(+0)
64(100)
40(64)
0
0
TOTAL SIZE 18
mm = 00 ~ 7F : User Voice Scene-2 No.1 ~ User Voice Scene-2 No.128
<1-7>
MIDI Bulk Dump Parameter table ( Current Step Seq )
Address
(H)
10 0e 00
01
Size
(H)
1
Data
(H)
04,06,07
08,0C,10
Prameter Name
Description
Default
Step Seq Base Unit
Step Seq Length
1/8(4)...1/12(6)...1/16(7)
8step(8),12step(C),16steps(10)
07(1/16)
10
1
02
1
NOT USED
--
03
1
NOT USED
--
04
1
NOT USED
--
05
1
NOT USED
--
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
Step Seq Note No 1
Step Seq Note No 2
Step Seq Note No 3
Step Seq Note No 4
Step Seq Note No 5
Step Seq Note No 6
Step Seq Note No 7
Step Seq Note No 8
Step Seq Note No 9
Step Seq Note No 10
Step Seq Note No 11
Step Seq Note No 12
Step Seq Note No 13
Step Seq Note No 14
Step Seq Note No 15
Step Seq Note No 16
Step Seq Velocity 1
Step Seq Velocity 2
Step Seq Velocity 3
Step Seq Velocity 4
Step Seq Velocity 5
Step Seq Velocity 6
Step Seq Velocity 7
Step Seq Velocity 8
Step Seq Velocity 9
Step Seq Velocity 10
Step Seq Velocity 11
Step Seq Velocity 12
Step Seq Velocity 13
Step Seq Velocity 14
Step Seq Velocity 15
Step Seq Velocity 16
Step Seq Gate Time LSB 1
Step Seq Gate Time LSB 2
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
94%(3C)
94%(3C)
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
1
1
*1
*1
125
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Appendix
MIDI Data Format
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
Step Seq Gate Time LSB 3
Step Seq Gate Time LSB 4
Step Seq Gate Time LSB 5
Step Seq Gate Time LSB 6
Step Seq Gate Time LSB 7
Step Seq Gate Time LSB 8
Step Seq Gate Time LSB 9
Step Seq Gate Time LSB 10
Step Seq Gate Time LSB 11
Step Seq Gate Time LSB 12
Step Seq Gate Time LSB 13
Step Seq Gate Time LSB 14
Step Seq Gate Time LSB 15
Step Seq Gate Time LSB 16
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
Step Seq Gate Time MSB 1
Step Seq Gate Time MSB 2
Step Seq Gate Time MSB 3
Step Seq Gate Time MSB 4
Step Seq Gate Time MSB 5
Step Seq Gate Time MSB 6
Step Seq Gate Time MSB 7
Step Seq Gate Time MSB 8
Step Seq Gate Time MSB 9
Step Seq Gate Time MSB 10
Step Seq Gate Time MSB 11
Step Seq Gate Time MSB 12
Step Seq Gate Time MSB 13
Step Seq Gate Time MSB 14
Step Seq Gate Time MSB 15
Step Seq Gate Time MSB 16
Step Seq Mute 1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
Step Seq Mute 2
Step Seq Mute 3
Step Seq Mute 4
Step Seq Mute 5
Step Seq Mute 6
Step Seq Mute 7
Step Seq Mute 8
Step Seq Mute 9
Step Seq Mute 10
Step Seq Mute 11
Step Seq Mute 12
Step Seq Mute 13
Step Seq Mute 14
Step Seq Mute 15
Step Seq Mute 16
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
TOTAL SIZE 66
*1 : MSB bit 2-0 -> bit 9-7
LSB bit 6 -0 -> bit 6-0
*2 : This should be transmitted after sending Step Seq Gate Time LSB n.
<1-8>
MIDI Bulk Dump Parameter table ( User Pattern Voice )
Address
(H)
20 mm 00
Size
(H)
1
1
1
1
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
20...7F
00...16
Voice Name 1
Voice Name 2
Voice Name 3
Voice Name 4
Voice Name 5
Voice Name 6
Voice Name 7
Voice Name 8
Voice Name 9
Voice Name 10
Voice Category
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
Ascii Code
--,Pf...Wv
I
n
I
t
01
02
03
04
05
06
07
08
09
0a
P
t
n
--
0b
0c
0d
0e
0f
10
12
13
14
15
16
1
1
1
1
1
2
1
1
1
1
1
NOT USED (AN1x : Scene Select)
Unison Sw. (AN1x : Layer Mode)
NOT USED
NOT USED
Unison Detune
Common Tempo
NOT USED
NOT USED
NOT USED
NOT USED
Scene1(1):fixed
off(0),on(1)
1(scene1)
00(off)
--
--
00...01
01...20
27...F0
1...32
6
20(14h) ... 40(28h) ... 240(F0h) ... 300(12Ch)
8C(140)
--
--
--
--
--
NOT USED
126
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MIDI DAatpapFeonrdmixat
17
18
19
1
1
1
NOT USED
NOT USED
NOT USED
--
--
--
1a
1b
1c
1e
20
22
24
26
1
1
2
2
2
2
2
2
NOT USED (AN1x : Var-Ef Type)
Output Gain (AN1x : reserve)
Gutar Amp.Simulator : Dist Drive
Gutar Amp.Simulator : Amp.Type
Gutar Amp.Simulator : LPF
Gutar Amp.Simulator : Dist Out Level
NOT USED
Gutar Amp.Simulator:fixed
+0dB(0), +6dB(1), +12dB(2)
0...100
off(0) ,stack(1) ,combo(2) ,tube(3)
1.0k~Thru
0d (Amp.Sim.)
00(+0dB)
64(100)
01(stack)
30(5.0kHz)
3c(60)
00...02
00...64
00...03
22...3C
00...64
0~100
--
--
NOT USED
28
29
2a
2b
2c
2d
2e
1
1
1
1
1
1
1
04...28
34...4C
0E...36
34...4C
0A...78
1C...3A
34...4C
3-Band EQ Low Freq
3-Band EQ Low Gain
3-Band EQ Mid Freq
3-Band EQ Mid Gain
3-Band EQ Mid Resonance(Q)
3-Band EQ High Freq
3-Band EQ High Gain
32Hz(04)...2.0kHz(28)
11(140Hz)
40(+0dB)
28(2.0kHz)
40(+0dB)
0A(1.0)
-12dB(34)...0(40)...+12dB(76)
100Hz(0E)...10.0kHz(36)
-12dB(34)...0(40)...+12dB(4C)
1.0(10)...12.0(78)
500Hz(1C)...16.0kHz(3A)
-12dB(34)...0(40)...+12dB(4C)
34(8.0kHz)
40(+0dB)
2f
1
1
1
2
2
2
2
2
2
2
1
1
2
2
2
2
2
2
2
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
--
30
31
32
34
36
38
3a
3c
3e
40
41
42
44
46
48
4a
4c
4e
50
51
52
53
54
55
56
57
58
5a
5c
5d
1
1
1
1
1
1
1
1
2
2
1
1
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
Free EG Trigger
Free EG Loop Type
--
--
--
--
--
--
--
--
--
--
00...03
00...04
free(0),midi in notes(1),all notes(2),seq start(3)
off(0),forwardd(1),forwardd-half(2),
alternate(3),alternate-half(4)
03(seq start)
01(forward)
5e
1
02...60
Free EG Length
1/2bar(2),1bar(3),3/2bars(4),
05(2bars)
2bars(5),3bars(6),4bars(7),6bars(8),
8bars(9),1.0sec(0A)...8.0sec(50)
...16.0sec(60)
5f
1
1
1
1
1
1
1
1
1
2
NOT USED
Free EG Trk Param 1
Free EG Trk Scene Switch 1
Free EG Trk Param 2
Free EG Trk Scene Switch 2
Free EG Trk Param 3
--
60
61
62
63
64
65
66
67
68
00...40
00...01
00...40
00...01
00...40
00...01
00...40
00...01
00...01
00...7F
00...01
00...7F
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
off(0)...Track Level(40)
off(0),on(1)
0...1
0...127
0...1
0...127
*7
*7
*7
*7
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
00(off)
1
Free EG Trk Scene Switch 3
Free EG Trk Param 4
Free EG Trk Scene Switch 4
Free EG Trk1 Data1 MSB
Free EG Trk1 Data1 LSB
Free EG Trk1 Data2 MSB
Free EG Trk1 Data2 LSB
*8
*8
*8
*8
0
1
0
6a
:
2
:
:
03 66
03 68
03 6a
2
00...01
00...7F
00...01
00...7F
00...01
00...7F
Free EG Trk1 Data192 MSB
Free EG Trk1 Data192 LSB
Free EG Trk2 Data1 MSB
Free EG Trk2 Data1 LSB
Free EG Trk2 Data2 MSB
Free EG Trk2 Data2 LSB
0...1
0...127
0...1
0...127
0...1
0...127
*8
*8
*8
*8
*8
*8
1
0
1
0
1
0
2
2
:
:
:
06 66
06 68
06 6a
2
00...01
00...7F
00...01
00...7F
00...01
00...7F
Free EG Trk2 Data192 MSB
Free EG Trk2 Data192 LSB
Free EG Trk3 Data1 MSB
Free EG Trk3 Data1 LSB
Free EG Trk3 Data2 MSB
Free EG Trk3 Data2 LSB
0...1
0...127
0...1
0...127
0...1
0...127
*8
*8
*8
*8
*8
*8
1
0
1
0
1
0
2
2
:
:
:
09 66
09 68
09 6a
2
00...01
00...7F
00...01
00...7F
00...01
00...7F
Free EG Trk3 Data192 MSB
Free EG Trk3 Data192 LSB
Free EG Trk4 Data1 MSB
Free EG Trk4 Data1 LSB
Free EG Trk4 Data2 MSB
Free EG Trk4 Data2 LSB
0...1
0...127
0...1
0...127
0...1
0...127
*8
*8
*8
*8
1
0
1
0
2
2
*8
0
:
:
:
0C 66
2
00...01
00...7F
Free EG Trk4 Data192 MSB
Free EG Trk4 Data192 LSB
0...1
0...127
*8
*8
1
0
( from Here : User Voice Scene's Data )
1
1
00...02
28...58
Key Assign Mode
Pich Up (PB Range +)
poly(0),mono(1),legato(2)
-24(28)...+24(58)
00(poly)
42(+2)
127
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Appendix
MIDI Data Format
1
1
1
1
1
28...58
00...7F
00...7F
01...03
00...01
Pich Down (PB Range -)
PEG Decay
PEG Depth
PEG Switch
Portamento Mode
-24(28)...+24(58)
0...127
3E(-2)
0
40(+0)
03(both)
00(normal)
-64...+63 semitones
VCO1(1),VCO2(2),both(3)
normal(0),sustain-key(1)
full-time(0),fingered(1)
0...127
off(0),key-on(1)
sine(0)...offset-s/h2(14)
1(0)...256(FF)
0...127
1(0)...256(FF)
off(0),vco1 mastter to slave(1), vco2 to vco1(2)
-64...+63
-64...+63
*9
*10
1
1
1
2
1
2
1
1
1
1
00...7F
00...01
00...14
00...FF
00...7F
00...FF
00...02
00...7F
00...7F
00...04
Portamento Time
LFO Reset Mode
LFO1 Wave
LFO1 Speed
LFO1 Delay
LFO2 Speed
Sync Mode
Sync Pitch
Sync Pitch Depth
Sync Pitch Source
2C(44)
00(off)
00(sine)
53(84)
0
1F(32)
0(off)
40(+0)
40(+0)
00(fixed)
fixed(0),PEG(1),FEG(2),LFO1(3),
LFO2(4)
1
1
1
01...03
00...7F
00...04
Sync Pitch Mod Switch
FM Depth
FM Source 1
master(1),slave(2),both(3)
-64...+63
fixed(0),PEG(1),FEG(2),LFO1(3),
LFO2(4)
03(both)
40(+0)
00(fixed)
1
1
00...07
00...04
00...06
FM Source 2
VCO1 Wave
VCO1 Wave
VCO2 freq(0),VCO1(1),VCO1-sub(2),
PEG(3),FEG(4),LFO1(5),LFO2(6),VCO2 output(7)
saw(0),pulse(1),saw2(2),mix(3)
multi-saw(4)
saw(0),pulse(1),inner1(2),
inner2(3),inner3(4),square(5),noise(6)
-64...+63 semitone
00(VCO2 freq)
00(saw)
*11
*12
1
1
00...7F
0E...72
VCO1 Pitch Coarse
VCO1 Pitch Fine
40(+0)
40(+0)
-50...+50 cent
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...07
VCO1 Edge
VCO1 Pulse Width
VCO1 Mix
VCO1 PWM Depth
Detune
VCO1 PWM Source
0...127
64(100)
40(50%)
0%(0)...50%(40)...99%(7F)
0...127
-64...+63
*15
*16
*15
*16
*15
1
1
40(+0)
0...127
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4),LFO2-phase(5),
LFO2-fast(6),VCO2(7)
-127...+127
saw(0),pulse(1),saw2(2),mix(3)
triangle(4),sine(5)
-64...+63 semitone
-50(0E)...+50 cent(72)
0...127
0%(0)...50%(40)...99%(7F)
-64...+63
-64...+63
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4),LFO2-phase(5),
LFO2-fast(6),VCO1(7)
fixed(0),PEG(1),FEG(2),
LFO1(3),LFO2(4)
-127...+127
04(LFO2)
2
1
01...FF
00...05
VCO1 Pitch Mod Depth
VCO2 Wave
80(+0)
00(saw)
1
1
1
1
1
00...7F
0E...72
00...7F
00...7F
00...7F
00...7F
00...07
VCO2 Pitch Coarse
VCO2 Pitch Fine
VCO2 Edge
VCO2 Pulse Width
VCO2 PWM Depth
VCO2 X-MOD Depth
VCO2 PWM Source
40(+0)
40(+0)
7F(127)
40(50%)
40(+0)
*17
*17
*17
*18
*17
1
04(LFO2)
00...04
VCO2 X-MOD Source
*18
2
1
1
1
1
01...FF
00...7F
00...7F
00...7F
00...7F
VCO2 Pitch Mod Depth
Mixer VCO1 Level
Mixer VCO2 Level
Mixer Ring Mod Level
Mixer Noise Level
80(+0)
7F(127)
0
0
0
0...127
0...127
0...127
0...127
1
1
1
1
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...05
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
HPF Cutoff Freq
0...127
0...127
0...127
0...127
0
40(64)
7F(127)
55(85)
00(thru)
00(LPF-24dB)
0(thru)...127
LPF-24dB(0),LFP-18dB(1),
VCF Filter Type
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
20...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
01...7F
00... 00
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...+63
-32...+63
-64...+63
0...127
0...127
0...127
0...127
0...127
0...127
-64...+63
-64...+63
64(100)
19(+0)
A0(+32)
40(+0)
40(+0)
40(+0)
0
40(64)
7F(127)
24(36)
0
69(105)
40(+0)
40(+0)
01(D63>W)
1(on)
FillrEG Velocity Sens
VCF Keyboard Track
VCF Filter Mod Depth
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
VCA Feedback Level
VCA Volume
AmpEG Velocity Sens
VCA Amp Mod Depth
Gutitar Amp.Simulator Dry/Wet
Distortion Switch
D63>W(1)...D=W(40)...D<W63(7F)
0(off),1(on)
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
Ctrl Matrix Source1
Ctrl Matrix Param 1
Ctrl Matrix Depth 1
Ctrl Matrix Source2
Ctrl Matrix Param 2
Ctrl Matrix Depth 2
Ctrl Matrix Source3
Ctrl Matrix Param 3
Ctrl Matrix Depth 3
Ctrl Matrix Source4
Ctrl Matrix Param 4
Ctrl Matrix Depth 4
Ctrl Matrix Source5
Ctrl Matrix Param 5
Ctrl Matrix Depth 5
Ctrl Matrix Source6
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
*14,19
*14
*14
*14,19
128
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MIDI DAatpapFeonrdmixat
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
00...72
00...2E
00...7F
Ctrl Matrix Param 6
Ctrl Matrix Depth 6
Ctrl Matrix Source7
Ctrl Matrix Param 7
Ctrl Matrix Depth 7
Ctrl Matrix Source8
Ctrl Matrix Param 8
Ctrl Matrix Depth 8
Ctrl Matrix Source9
Ctrl Matrix Param 9
Ctrl Matrix Depth 9
Ctrl Matrix Source10
Ctrl Matrix Param 10
Ctrl Matrix Depth 10
Ctrl Matrix Source11
Ctrl Matrix Param 11
Ctrl Matrix Depth 11
Ctrl Matrix Source12
Ctrl Matrix Param 12
Ctrl Matrix Depth 12
Ctrl Matrix Source13
Ctrl Matrix Param 13
Ctrl Matrix Depth 13
Ctrl Matrix Source14
Ctrl Matrix Param 14
Ctrl Matrix Depth 14
Ctrl Matrix Source15
Ctrl Matrix Param 15
Ctrl Matrix Depth 15
NOT USED
off...PEG Attack(2E)
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
*14,19
*14
*14
0(off)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
0(off)
0(off)
40(+0)
--
*14,19
*14
*14
*14,19
*14
*14
Depends on Ctrl Matrix Param
off(0)...Assign Knob8(72)
off...PEG Attack(2E)
Depends on Ctrl Matrix Param
NOT USED
NOT USED
--
--
1
1
1
NOT USED
Oct Shift
PEG Attack
--
3E...42
00...7F
-2(3E), 0(40),+2(42)
0...127
40(+0)
0
1
1
00...14
00...0F
LFO2 Wave
LFO Assign Group
sine(0)...offset-s/h2(14)
VCO1(bit3),VCO2(bit2),VCA(bit1),
VCF(bit0)
05(triangle)
00(LFO1 to All)
1
01..03
FM Algorithm
both(1),master(2),slave(3)
*13
03(slave)
( from Here : User Voice StepSEQ's Data )
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
04,06,07
08,0C,10
00...03
Step Seq Base Unit
Step Seq Length
NOT USED
NOT USED
NOT USED
NOT USED
1/8(4)...1/12(6)...1/16(7)
8step(8),12step(C),16steps(10)
07(1/16)
10
--
--
--
--
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
Step Seq Note No 1
Step Seq Note No 2
Step Seq Note No 3
Step Seq Note No 4
Step Seq Note No 5
Step Seq Note No 6
Step Seq Note No 7
Step Seq Note No 8
Step Seq Note No 9
Step Seq Note No 10
Step Seq Note No 11
Step Seq Note No 12
Step Seq Note No 13
Step Seq Note No 14
Step Seq Note No 15
Step Seq Note No 16
Step Seq Velocity 1
Step Seq Velocity 2
Step Seq Velocity 3
Step Seq Velocity 4
Step Seq Velocity 5
Step Seq Velocity 6
Step Seq Velocity 7
Step Seq Velocity 8
Step Seq Velocity 9
Step Seq Velocity 10
Step Seq Velocity 11
Step Seq Velocity 12
Step Seq Velocity 13
Step Seq Velocity 14
Step Seq Velocity 15
Step Seq Velocity 16
Step Seq Gate Time LSB 1
Step Seq Gate Time LSB 2
Step Seq Gate Time LSB 3
Step Seq Gate Time LSB 4
Step Seq Gate Time LSB 5
Step Seq Gate Time LSB 6
Step Seq Gate Time LSB 7
Step Seq Gate Time LSB 8
Step Seq Gate Time LSB 9
Step Seq Gate Time LSB 10
Step Seq Gate Time LSB 11
Step Seq Gate Time LSB 12
Step Seq Gate Time LSB 13
Step Seq Gate Time LSB 14
Step Seq Gate Time LSB 15
Step Seq Gate Time LSB 16
NOT USED
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
C-2(0)...G8(7F)
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
C3(3C)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
--
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
NOT USED
--
129
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Appendix
MIDI Data Format
1
1
1
1
1
1
1
1
1
1
1
1
1
1
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
--
--
--
--
--
--
--
--
--
--
--
--
--
--
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
Step Seq Gate Time MSB 1
Step Seq Gate Time MSB 2
Step Seq Gate Time MSB 3
Step Seq Gate Time MSB 4
Step Seq Gate Time MSB 5
Step Seq Gate Time MSB 6
Step Seq Gate Time MSB 7
Step Seq Gate Time MSB 8
Step Seq Gate Time MSB 9
Step Seq Gate Time MSB 10
Step Seq Gate Time MSB 11
Step Seq Gate Time MSB 12
Step Seq Gate Time MSB 13
Step Seq Gate Time MSB 14
Step Seq Gate Time MSB 15
Step Seq Gate Time MSB 16
Step Seq Mute 1
Step Seq Mute 2
Step Seq Mute 3
Step Seq Mute 4
Step Seq Mute 5
Step Seq Mute 6
Step Seq Mute 7
Step Seq Mute 8
Step Seq Mute 9
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
*20
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
Step Seq Mute 10
Step Seq Mute 11
Step Seq Mute 12
Step Seq Mute 13
Step Seq Mute 14
Step Seq Mute 15
Step Seq Mute 16
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
TOTAL SIZE 748
mm = 00 ~ 7F : User Voice No.1 ~ User Voice No.128
*1 : see other table(Arpeggio Type List)
*2 : see other table(Ctrl Matrix Parameter List)
*3 : become available only when Step Seq is selected and Kbd Mode='ptn-sel&norm' or 'ptn-sel¬e-shift'
*4 : only when Arpeggio is selected
*5 : only when Step Seq is selected
*6 : except *3
*7 : see other table (Free EG Track Paramter List)
*8 : only Bulk Dump (not received as parameter change)
*9 : Key Assign Mode = poly
*10 : Key Assign Mode = mono,legato
*11 : Oscillator Sync Mode = off
*12 : Oscillator Sync Mode = on ('VCO1 master to slave' or 'VCO2 to VC1')
*13 : Oscillator Sync Mode = 'VCO1 master to slave'
*14 : see other table (Ctrl Matrix Paramter List)
*15 : VCO1 Wave is not MultiSaw.
*16 : VCO1 Wave is MultiSaw.
*17 : VCO2 Wave is not Triangle or Sine.
*18 : VCO1 Wave is Triangle or Sine.
*19 : CC# 3,5,7,8,9,10,15,16,18,19,22,28,29,31,34,35,39,48,49,50,51,57,59,68,71,72,73,74,75,80,81,82,83,88,89,MW~AC8 cannot be set.
*20 : MSB bit 2-0 -> bit 9-7
LSB bit 6 -0 -> bit 6-0
<1-9>
MIDI Bulk Dump Parameter table ( User Pattern Voice additional )
Address
(H)
22 mm 00
01
Size
(H)
1
Data
(H)
0...7F
0...7F
Prameter Name
Description
Default
Scene Control Param
VCO1/2 Balance
0...127
-64...0...+63
0
1
40(+0)
TOTAL SIZE
2
mm = 00 ~ 7F : User Voice Add No.1 ~ User Voice Add No.128
This Bulk Dump should be transmitted after sending User Voice Bulk (20 mm 00).
*
130
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MIDI DAatpapFeonrdmixat
<1-10>
MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-1 )
Address
(H)
40 mm 00
Size
(H)
2
1
1
1
1
1
1
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...05
LFO1 Speed
1(0)...256(FF)
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
-64...+63
-64...+63
53(84)
0
40(64)
7F(127)
24(36)
0
40(64)
7F(127)
55(85)
2C(44)
40(+0)
40(+0)
0
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
Portamento Time
Sync Pitch
FM Depth
Mixer Noise Level
VCF Filter Type
0...127
LPF-24dB(0),LFP-18dB(1),
00(LPF-24dB)
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
0F
10
11
13
14
15
16
17
1
1
2
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
VCO1/2 Balance
Volume
Pan
Effect Send
Effect parameter
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...0...+63
0...127
CENTER(0),L63...C...R63(1...64...127)
0...127
refer to Effect Type List <Table 2-4>
64(100)
19(+0)
A0(+32)
40(+0)
64(100)
40(64)
0
0
TOTAL SIZE 18
mm = 00 ~ 7F : User Voice Scene-1 No.1 ~ User Voice Scene-1 No.128
<1-11>
MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-2 )
Address
(H)
41 mm 00
Size
(H)
2
1
1
1
1
1
1
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...05
LFO1 Speed
1(0)...256(FF)
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
-64...+63
-64...+63
53(84)
0
40(64)
7F(127)
24(36)
0
40(64)
7F(127)
55(85)
2C(44)
40(+0)
40(+0)
0
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
AmpEG Attack Time
AmpEG Decay Time
AmpEG Sustain Level
AmpEG Release Time
FilterEG Attack Time
FilterEG Decay Time
FilterEG Sustain Level
FilterEG Release Time
Portamento Time
Sync Pitch
FM Depth
Mixer Noise Level
VCF Filter Type
0...127
LPF-24dB(0),LFP-18dB(1),
00(LPF-24dB)
LPF-12dB(2),BPF(3),HPF-12dB(4),
BEF(5)
0F
10
11
13
14
15
16
17
1
1
2
1
1
1
1
1
00...7F
0D...7F
00...FF
00...7F
00...7F
00...7F
00...7F
00...7F
VCF Filter Cutoff
VCF Filter Resonance
FilterEG Depth
VCO1/2 Balance
Volume
Pan
Effect Send
Effect parameter
0...127
-12(0D)...0(19)...+102(7F)
-128...+127
-64...0...+63
0...127
CENTER(0),L63...C...R63(1...64...127)
0...127
refer to Effect Type List <Table 2-4>
64(100)
19(+0)
A0(+32)
40(+0)
64(100)
40(64)
0
0
TOTAL SIZE 18
mm = 00 ~ 7F : User Voice Scene-2 No.1 ~ User Voice Scene-2 No.128
This Bulk Dump should be transmitted after sending User Voice Bulk (20 mm 00).
*
131
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Appendix
MIDI Data Format
<1-12>
AN200 Control Matrix & Free EG Track Parameter List
Ctrl Matrix :
Parameter
Ctrl Matrix :
Calc. Method
Free EG :
Trk Param
Parameter Name
Group Param Name
Ctrl Matrix : Source
Multiply
CC
AT
Vel
Data Value
Data Range
Data Range
KeyTrk
Data Range
Data Value
or Add *1
KeyRnd
---
---
off
0
---
---
---
---
0
Total Tune
Pitch Up
Pitch Down
1
2
3
add
add
add
x
O
O
O
x
x
(-64) - (+63)
x
x
x
(-24) - (+24)
(-24) - (+24)
PEG
LFO
PEG Decay
PEG Depth
PEG Switch
Portmnt Time
4
5
add *2
mul
O
O
x
(-64) - (+63)
(-64) - (+63)
O
O
x
(-64) - (+63)
(-64) - (+63)
O
O
x
(-64) - (+63)
(-64) - (+63)
1
2
3
4
6
add
O
(-64) - (+63)
O
(-64) - (+63)
O
(-64) - (+63)
LFO1 Wave
LFO1 Speed
LFO1 Delay
LFO2 Speed
x
x
x
5
6
7
8
7
8
9
add
add
add
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
SYNC Sync Mode
Sync Pitch
x
O
O
x
x
O
O
x
x
O
O
x
9
10
11
add
mul
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-32) - (+32)
(-64) - (+63)
10
11
12
13
SyncPit Dp
Sync Pitch Src
Sync Pmod Sw
x
x
x
FM
FM Depth
FM Source1
FM Source2
12
mul
O
x
x
(-64) - (+63)
O
x
x
(-64) - (+63)
O
x
x
(-64) - (+63)
14
15
16
VCO1 VCO1 Wave
VCO1 Pitch
x
x
x
O
O
O
x
x
x
x
O
x
O
x
x
O
O
O
x
O
x
x
17
18
19
20
21
22
23
24
13
14
15
16
17
add
add
add
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
VCO1 Fine
VCO1 Edge
PW1/Mix
PWM1/Detune
PWM1 Src
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
add
mul
(-64) - (+63)
(LFO) VCO1 Pmod Dp
18
add
O
(-63) - (+63)
x
VCO2 VCO2 Wave
VCO2 Pitch
x
x
x
O
O
O
x
x
x
x
O
x
O
x
x
O
O
O
x
O
x
x
25
26
27
28
29
30
31
32
19
20
21
22
23
add
add
add
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
VCO2 Fine
VCO2 Edge
PW2
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
add
PWM2/Xmod Dp
PWM2/Xmod Src
(LFO) VCO2 Pmod Dp
mul
(-64) - (+63)
24
add
O
(-63) - (+63)
x
MIXER VCO1 Lvl
VCO2 Lvl
25
26
27
28
mul
mul
mul
mul
O
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
33
34
35
36
Ring Mod Lvl
Noise Lvl
VCF
FEG Attack
FEG Decay
FEG Sustain
FEG Release
HPF Cutoff
VCF Type
VCF Cutoff
Resonance
FEG Depth
29
30
31
32
33
add *2
add *2
add
add *2
add
O
O
O
O
O
x
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
x
O
O
x
O
O
(-64) - (+63)
(-64) - (+63)
O
O
x
O
O
x
(x)
O
O
(-64) - (+63)
(-64) - (+63)
37
38
39
40
41
42
43
44
45
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
34
35
36
add
add
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
FEG VelSns
(-64) - (+63)
VCF KeyTrk
(-64) - (+63)
(-64) - (+63)
mul
(Vel x)
KeyRnd
FEG Vel Sens
VCF Key Trk
(LFO) VCF FMod Dp
x
x
O
x
x
x
x
x
x
46
47
48
37
add
(-64) - (+63)
VCA
AEG Attack
AEG Decay
AEG Sustain
AEG Release
38
39
40
41
42
43
add *2
add *2
add
O
O
O
O
O
O
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
O
O
x
O
(-64) - (+63)
(-64) - (+63)
O
O
x
O
x
(-64) - (+63)
(-64) - (+63)
49
50
51
52
53
54
add *2
mul
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
(MIXER) VCA F.B.
VCA Volume
x
(Vel x)
KeyRnd
x
mul
AEG VelSns
(-64) - (+63)
O
AEG Vel Sns
x
O
x
x
55
56
(LFO) VCA Mod Dp
44
45
46
add
(-64) - (+63)
(-64) - (+63)
(-64) - (+63)
x
Dist.
Dry/Wet
O
x
x
---
PLG-AN PEG Attack
LFO2 Wave
add *2
O
x
x
O
x
x
(-64) - (+63)
O
x
x
(-64) - (+63)
57
58
59
FM Algorithm
AN200 VCO 1/2 Balance
Effect Param
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
60
61
62
63
64
Effect Wet Level
Track Pan
Track Level
*1. The effect of the controller on the parameter value is either added or multiplied as indicated. Also, when two or more different controllers are simultaneously assigned
and applied to the same parameter, the combined effect of the controllers on the parameter value follows the same rule (is either added or multiplied).
*2. For these parameters, positive values decrease the time, making the EG rate faster.
132
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MIDI DAatpapFeonrdmixat
<2-1>
Rhythm Track Parameter Base Address
MODEL ID = 6D
Parameter
Address
(M)
Description
System
(H)
(L)
00
System
00
02
00
Current Effects
Current Multi Part
01
00
Cuttnet Effect
08
:
00
:
00
:
Rhythm Track 1 Part Parameter
:
02
08
00
00
Rhythm Track 3 Part Parameter
Synth Track Part Parameter
Current Rhythm StepSeq
10
:
00
:
00
:
Current Rhythm Trk1 Step Seq
:
02
00
Current Rhythm Trk3 Step Seq
User Pattern Rhythm Step Seq
20
:
00
:
00
:
User Pattern Rhythm Trk1 Step Seq 1
:
7f
00
User Pattern Rhythm Trk1 Step Seq 128
21
:
00
:
00
:
User Pattern Rhythm Trk2 Step Seq 1
:
7f
00
User Pattern Rhythm Trk2 Step Seq 128
22
:
00
:
00
:
User Pattern Rhythm Trk3 Step Seq 1
:
7f
00
User Pattern Rhythm Trk3 Step Seq 128
User Pattern Effect
30
:
00
:
00
:
User Pattern Effect 1
:
7f
00
User Pattern Effect 128
User Pattern Multi Part
40
:
00
:
00
:
Rhythm Trk 1 User Pattern Part 1
:
7f
00
Rhythm Trk 1 User Pattern Part 128
41
:
00
:
00
:
Rhythm Trk 2 User Pattern Part 1
:
7f
00
Rhythm Trk 2 User Pattern Part 128
42
:
00
:
00
:
Rhythm Trk 3 User Pattern Part 1
:
7f
00
Rhythm Trk 3 User Pattern Part 128
48
:
00
:
00
:
Synth Track User Pattern Part 1
:
7f
00
Synth Track User Pattern Part 128
User Song
60
:
00
:
00
:
Song1 measure1
:
7f
00
Song1 measure128
:
:
:
:
69
:
00
:
00
:
Song10 measure1
:
7f
00
Song10 measure128
70
:
00
:
00
:
Song1 measure129
:
7f
00
Song1 measure256
:
:
:
:
79
:
00
:
00
:
Song10 measure129
:
7f
00
Song10 measure256
<2-2>
MIDI Parameter Change table ( SYSTEM )
Address
(H)
00 00 00
Size
(H)
4
Data
(H)
Prameter Name
Description
Default
(H)
--
(RESERVED)
04
05
06
07
09
1
(RESERVED)
(NOT USED)
(RESERVED)
Play Effect Gate Time
Step Seq Loop Type
alternateB(3)
--
--
--
1
2
1
01...C8
00...03
1%(1)...200%(C8)
forward(0),backward(1),alternateA(2),
64(100%)
00(forward)
TOTAL SIZE 09
<2-3>
MIDI Parameter Change table (CURRENT EFFECT)
Address
(H)
02 01 00
Size
(H)
1
1
1
Data
(H)
00 - 03
00 - 02
00 - 7F
Prameter Name
Description
Default
(H)
00
00
00
EFFECT TYPE MSB
EFFECT TYPE LSB
EFFECT PARAMETER
refer to Effect Type List <Table 2-4>
refer to Effect Type List <Table 2-4>
refer to Effect Type List <Table 2-4>
01
02
TOTAL SIZE
3
133
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Appendix
MIDI Data Format
<2-4>
Effect Type List
Type MSB
Type LSB
00
01
02
03
00
01
02
03
Delay1(mono)
Flanger1
Delay2(stereo)
Flanger2
Delay3(cross)
Chorus
Reverb
--
--
--
Phaser1
Phaser2
Phaser3
AmpSim1
AmpSim2
AmpSim3
<2-4-1>
Effect type
Delay 1 (mono)
Delay 2 (stereo)
Delay 3 (cross)
Reverb
Control Paramater
Tempo Sync Resolution
Tempo Sync Resolution
Tempo Sync Resolution
Reverb Time
LFO Speed
Value
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
table#3
table#3
table#3
table#2
table#1
table#1
table#1
table#1
table#1
table#1
0.3 s - 16.0 s
Flanger 1
0.00Hz - 39.7Hz
0.00Hz - 39.7Hz
0.00Hz - 39.7Hz
0.00Hz - 39.7Hz
0.00Hz - 39.7Hz
0.00Hz - 39.7Hz
Flanger 2
LFO Speed
Chorus
LFO Speed
Phaser 1
LFO Speed
Phaser 2
LFO Speed
Phaser 3
LFO Speed
AmpSim 1
AmpSim 2
AmpSim 3
Drive
Drive
Drive
table#1
LFO Frequency
table#2
table#3
Reverb time
Tempo resolution
Data
0
Value
0.00
0.04
0.08
0.12
0.16
0.21
0.25
0.29
0.33
0.37
0.42
0.46
0.50
0.54
0.58
0.63
0.67
0.71
0.75
0.79
0.84
0.88
0.92
0.96
1.00
1.05
1.09
1.13
1.17
1.22
1.26
1.30
Data
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
Value
1.34
1.38
1.43
1.47
1.51
1.55
1.59
1.64
1.68
1.72
1.76
1.80
1.85
1.89
1.93
1.97
2.01
2.06
2.10
2.14
2.18
2.22
2.27
2.31
2.35
2.39
2.43
2.48
2.52
2.56
2.60
2.65
Data
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
Value
Data
96
Value
Data
0,1
Value
Data
64,65
Value
3.5
3.6
3.7
3.8
3.9
4.0
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
5.0
5.5
6.0
6.5
7.0
7.5
8.0
8.5
9.0
9.5
Data
0~7
Value
1/32
1/24
1/16
1/12
3/32
1/8
0.69
2.77
2.86
2.94
3.02
3.11
3.19
3.28
3.36
3.44
3.53
3.61
3.70
3.86
4.03
4.20
4.37
4.54
4.71
4.87
5.04
5.21
5.38
5.55
5.72
6.05
6.39
6.72
7.06
7.40
7.73
8.07
8.41
8.74
9.08
9.42
9.75
10.0
10.7
11.4
12.1
12.7
13.4
14.1
14.8
15.4
16.1
16.8
17.5
18.1
19.5
20.8
22.2
23.5
24.8
26.2
27.5
28.9
30.2
31.6
32.9
34.3
37.0
39.7
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1.0
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
2.0
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
3.0
3.1
3.2
3.3
3.4
1
97
2,3
66,67
8~15
2
98
4,5
68,69
16~23
24~31
32~39
40~47
48~55
56~63
64~71
72~79
80~95
96~127
3
99
6,7
70,71
4
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
8,9
72,73
5
10,11
12,13
14,15
16,17
18,19
20,21
22,23
24,25
26,27
28,29
30,31
32,33
34,35
36,37
38,39
40,41
42,43
44,45
46,47
48,49
50,51
52,53
54,55
56,57
58,59
60,61
62,63
74,75
6
76,77
1/6
7
78,79
3/16
1/4
8
80,81
9
82,83
1/3
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
84,85
3/8
86,87
1/2
88,89
90,91
92,93
94,95
96,97
98,99
100,101
102,103
104,105
106,107
108,109
110,111
112,113
114,115 10.0
116,117 11.0
118,119 12.0
120,121 13.0
122,123 14.0
124,125 15.0
126,127 16.0
134
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MIDI DAatpapFeonrdmixat
<2-5>
MIDI Parameter Change table (User Voice EFFECT)
Address
(H)
30 nn 00
Size
(H)
1
1
1
Data
(H)
00 - 03
00 - 02
00 - 7F
Prameter Name
Description
Default
(H)
00
00
00
EFFECT TYPE MSB
EFFECT TYPE LSB
EFFECT PARAMETER
refer to Effect Type List <Table 2-4>
refer to Effect Type List <Table 2-4>
refer to Effect Type List <Table 2-4>
01
02
TOTAL SIZE
3
nn = Pattern Number
<2-6>
MIDI Parameter Change table ( MULTI PART )
Address
Size
(H)
1
Data
(H)
Prameter Name
Description
Default
(H)
--
(H)
08 pp 00
01
(RESERVED)
(RESERVED)
1
--
02
1
(RESERVED)
--
03
1
(RESERVED)
--
04
1
(RESERVED)
--
05
06
07
08
1
1
1
1
00 - 7F
00 - 7F
00 - 7F
VOLUME
PAN
EFFECT1 SEND
(RESERVED)
0 - 127
64
40
00
--
CENTER/RANDOM (*1) (0),L63...C...R63(1...64...127)
0 - 127
09
1
(RESERVED)
--
0A
0B
0C
1
1
1
00 - 7F
00 - 7F
FILTER CUTOFF FREQUENCY (*2)
FILTER RESONANCE (*2)
(RESERVED)
-64 - +63
-64 - +63
40
40
--
0D
0E
1
1
(RESERVED)
(RESERVED)
--
--
TOTAL SIZE 0F
pp = Part Number ( 00 - 02 : Rhythm Track 1 - 3, 08 : Synth Track )
*1 CENTER when pp = 08(Synth Track), RANDOM when pp = 0,1,2(Rhythm Track)
*2 reserved when pp = 08(Synth Track)
<2-7>
MIDI Parameter Change table (User Voice MULTI PART )
Address
Size
(H)
1
Data
(H)
Prameter Name
Description
Default
(H)
--
(H)
4p nn 00
01
(RESERVED)
(RESERVED)
1
--
02
1
(RESERVED)
--
03
1
(RESERVED)
--
04
1
(RESERVED)
--
05
06
07
08
09
0A
0B
1
1
1
1
1
1
1
1
00 - 7F
00 - 7F
00 - 7F
VOLUME
PAN
EFFECT1 SEND
(RESERVED)
(RESERVED)
FILTER CUTOFF FREQUENCY (*2)
FILTER RESONANCE (*2)
(RESERVED)
0 - 127
64
40
00
28
00
40
40
--
CENTER/RANDOM (*1) (0),L63...C...R63(1...64...127)
0 - 127
00 - 7F
00 - 7F
-64 - +63
-64 - +63
0C
0D
0E
1
1
(RESERVED)
(RESERVED)
--
--
TOTAL SIZE 0F
nn = Pattern Number
p = Part Number ( 0 - 2 : Rhythm Track 1 - 3, 8 : Synth Track )
*1 CENTER when pp = 08(Synth Track), RANDOM when pp = 0,1,2(Rhythm Track)
*2 reserved when pp = 08(Synth Track)
<2-8>
MIDI Parameter Change table ( Rhythm Track Current Step Seq Pattern )
Address
(H)
10 0p 00
01
Size
(H)
1
Data
(H)
Prameter Name
Description
Default
NOT USED
NOT USED
--
--
1
02
1
NOT USED
--
03
1
NOT USED
--
04
1
NOT USED
--
05
1
NOT USED
--
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...7F
00...7F
00...7F
Step Seq Inst 1
Step Seq Inst 2
Step Seq Inst 3
Step Seq Inst 4
Step Seq Inst 5
Step Seq Inst 6
Step Seq Inst 7
Step Seq Inst 8
Step Seq Inst 9
Step Seq Inst 10
Step Seq Inst 11
Step Seq Inst 12
Step Seq Inst 13
Step Seq Inst 14
Step Seq Inst 15
Step Seq Inst 16
Step Seq Velocity 1
Step Seq Velocity 2
Step Seq Velocity 3
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
rest(0),1...127
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
100(64)
100(64)
100(64)
1
1
1
17
18
rest(0),1...127
rest(0),1...127
135
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Appendix
MIDI Data Format
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
Step Seq Velocity 4
Step Seq Velocity 5
Step Seq Velocity 6
Step Seq Velocity 7
Step Seq Velocity 8
Step Seq Velocity 9
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0
Step Seq Velocity 10
Step Seq Velocity 11
Step Seq Velocity 12
Step Seq Velocity 13
Step Seq Velocity 14
Step Seq Velocity 15
Step Seq Velocity 16
Step Seq Gate Time LSB 1
Step Seq Gate Time LSB 2
Step Seq Gate Time LSB 3
Step Seq Gate Time LSB 4
Step Seq Gate Time LSB 5
Step Seq Gate Time LSB 6
Step Seq Gate Time LSB 7
Step Seq Gate Time LSB 8
Step Seq Gate Time LSB 9
Step Seq Gate Time LSB 10
Step Seq Gate Time LSB 11
Step Seq Gate Time LSB 12
Step Seq Gate Time LSB 13
Step Seq Gate Time LSB 14
Step Seq Gate Time LSB 15
Step Seq Gate Time LSB 16
Step Seq Pitch 1
Step Seq Pitch 2
Step Seq Pitch 3
Step Seq Pitch 4
Step Seq Pitch 5
Step Seq Pitch 6
Step Seq Pitch 7
Step Seq Pitch 8
Step Seq Pitch 9
Step Seq Pitch10
Step Seq Pitch11
Step Seq Pitch12
Step Seq Pitch13
Step Seq Pitch14
Step Seq Pitch15
Step Seq Pitch16
Step Seq Gate Time MSB 1
Step Seq Gate Time MSB 2
Step Seq Gate Time MSB 3
Step Seq Gate Time MSB 4
Step Seq Gate Time MSB 5
Step Seq Gate Time MSB 6
Step Seq Gate Time MSB 7
Step Seq Gate Time MSB 8
Step Seq Gate Time MSB 9
Step Seq Gate Time MSB 10
Step Seq Gate Time MSB 11
Step Seq Gate Time MSB 12
Step Seq Gate Time MSB 13
Step Seq Gate Time MSB 14
Step Seq Gate Time MSB 15
Step Seq Gate Time MSB 16
Step Seq Mute 1
Step Seq Mute 2
Step Seq Mute 3
Step Seq Mute 4
Step Seq Mute 5
Step Seq Mute 6
Step Seq Mute 7
Step Seq Mute 8
Step Seq Mute 9
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
Step Seq Mute 10
Step Seq Mute 11
Step Seq Mute 12
Step Seq Mute 13
Step Seq Mute 14
Step Seq Mute 15
Step Seq Mute 16
TOTAL SIZE 66
p = Part Number ( 0 - 2 : Rhythm Track 1 - 3 )
*1 : MSB bit 2-0 -> bit 9-7
LSB bit 6 -0 -> bit 6-0
*2 : This should be transmitted after sending Step Seq Gate Time LSB n.
<2-9>
MIDI Bulk Dump Parameter table ( Rhythm Track User Step Seq Pattern )
Address
(H)
2p nn 00
Size
(H)
1
1
1
1
1
1
1
Data
(H)
Prameter Name
Description
Default
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
NOT USED
Step Seq Inst 1
Step Seq Inst 2
--
--
--
--
--
--
SD10
SD10
00...78
00...78
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
1
136
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MIDI DAatpapFeonrdmixat
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...78
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...7F
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...07
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
00...01
Step Seq Inst 3
Step Seq Inst 4
Step Seq Inst 5
Step Seq Inst 6
Step Seq Inst 7
Step Seq Inst 8
Step Seq Inst 9
Step Seq Inst 10
Step Seq Inst 11
Step Seq Inst 12
Step Seq Inst 13
Step Seq Inst 14
Step Seq Inst 15
Step Seq Inst 16
Step Seq Velocity 1
Step Seq Velocity 2
Step Seq Velocity 3
Step Seq Velocity 4
Step Seq Velocity 5
Step Seq Velocity 6
Step Seq Velocity 7
Step Seq Velocity 8
Step Seq Velocity 9
Step Seq Velocity 10
Step Seq Velocity 11
Step Seq Velocity 12
Step Seq Velocity 13
Step Seq Velocity 14
Step Seq Velocity 15
Step Seq Velocity 16
Step Seq Gate Time LSB 1
Step Seq Gate Time LSB 2
Step Seq Gate Time LSB 3
Step Seq Gate Time LSB 4
Step Seq Gate Time LSB 5
Step Seq Gate Time LSB 6
Step Seq Gate Time LSB 7
Step Seq Gate Time LSB 8
Step Seq Gate Time LSB 9
Step Seq Gate Time LSB 10
Step Seq Gate Time LSB 11
Step Seq Gate Time LSB 12
Step Seq Gate Time LSB 13
Step Seq Gate Time LSB 14
Step Seq Gate Time LSB 15
Step Seq Gate Time LSB 16
Step Seq Pitch 1
Step Seq Pitch 2
Step Seq Pitch 3
Step Seq Pitch 4
Step Seq Pitch 5
Step Seq Pitch 6
Step Seq Pitch 7
Step Seq Pitch 8
Step Seq Pitch 9
Step Seq Pitch10
Step Seq Pitch11
Step Seq Pitch12
Step Seq Pitch13
Step Seq Pitch14
Step Seq Pitch15
Step Seq Pitch16
Step Seq Gate Time MSB 1
Step Seq Gate Time MSB 2
Step Seq Gate Time MSB 3
Step Seq Gate Time MSB 4
Step Seq Gate Time MSB 5
Step Seq Gate Time MSB 6
Step Seq Gate Time MSB 7
Step Seq Gate Time MSB 8
Step Seq Gate Time MSB 9
Step Seq Gate Time MSB 10
Step Seq Gate Time MSB 11
Step Seq Gate Time MSB 12
Step Seq Gate Time MSB 13
Step Seq Gate Time MSB 14
Step Seq Gate Time MSB 15
Step Seq Gate Time MSB 16
Step Seq Mute 1
Step Seq Mute 2
Step Seq Mute 3
Step Seq Mute 4
Step Seq Mute 5
Step Seq Mute 6
Step Seq Mute 7
Step Seq Mute 8
Step Seq Mute 9
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
Ba1C(0)...DgW7(78)
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
SD10
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
100(64)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
94%(3C)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0(00)
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
rest(0),1...127
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
0...127
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
1%(0)...100%(40)...200%(7F)...1600%(3FF)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
MuteOFF(0),MuteON(1)
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
*1,2
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
MuteOFF(0)
Step Seq Mute 10
Step Seq Mute 11
Step Seq Mute 12
Step Seq Mute 13
Step Seq Mute 14
Step Seq Mute 15
Step Seq Mute 16
TOTAL SIZE 66
p
= Part Number ( 0 - 2 : Rhythm Track 1 - 3 )
nn = User Pattern Number ( 0 - 7F )
137
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Appendix
MIDI Data Format
*1 : MSB bit 2-0 -> bit 9-7
LSB bit 6 -0 -> bit 6-0
*2 : This should be transmitted after sending Step Seq Gate Time LSB n.
<2-10>
MIDI Parameter Change table (User Song)
Address
(H)
6s mm 00
Size
(H)
2
Data
(H)
00 - FF, 100-17F,
3FFE, 3FFF
14 - 12C, 3FFF
01-C8, FF
Prameter
Description
Default
P.001
PATTERN NUM
P.001-P.256, U.001-U128, End, ----
02
04
2
2
BPM
20.0 - 300.0, ----
01-200, ----
140.0
100
PLAY FX GATETIME
06
07
08
09
0A
1
1
1
1
1
00 - 03, 7F
32 - 53, 7F
28 - 58, 7F
00 - 01, 7F
00-0F, 7F (*1)
BEAT
SWING
PITCH
LOOP TYPE
TRACK MUTE
16, 12, 8, ----
16
50
0
For
oooo
-24 - 24, ----
For, bACk, ----
oooo-____, ----
TOTAL SIZE 0B
s = song number
mm = measure (0:1st, 1:2nd... 7f:128th)
Address
(H)
7s mm 00
Size
(H)
2
Data
(H)
00 - FF, 100-17F,
3FFE, 3FFF
14 - 12C, 3FFF
01-C8, FF
Prameter
Description
Default
P.001
PATTERN NUM
P.001-P.256, U.001-U128, End, ----
02
04
2
2
BPM
20.0 - 300.0, ----
01-200, ----
*2
140.0
100
PLAY FX GATETIME
06
07
08
09
0A
1
1
1
1
1
00 - 03, 7F
32 - 53, 7F
28 - 58, 7F
00 - 01, 7F
00-0F, 7F (*1)
BEAT
SWING
PITCH
LOOP TYPE
TRACK MUTE
16, 12, 8, ----
16
50
0
For
oooo
-24 - 24, ----
For, bACk, ----
oooo-____, ----
TOTAL SIZE 0B
s = song number
mm = measure (0:129th, 1:130th... 7f:256th)
*1 bit 0: Synth Track, bit1: Rhythm Track 1, bit2:Rhythm Track 2, bit3:Rhythm Track 3, Track(n) is muted when bit(n) = 1.
*2 BPM = ((1st & 03h) * 128 + 2nd) + ((1st & 78h)/8)/10
<3-1>
AN1x Parameter Base Address
MODEL ID = 5C (AN1x)
Parameter
Address
(H)
10
Description
(M)
00
(L)
00
00
00
Current Voice
AN1x Current Voice Common
AN1x Current Voice Step Seq Pattern
AN1x Current Voice Scene1
10
0E
10
10
User Voice
11
:
00
:
00
:
AN1x User Voice 1
:
11
7F
00
AN1x User Voice 128
138
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MIDI Implementation Chart
YAMAHA
[ DESKTOP CONTROL SYNTHESIZER ]
Model AN200 MIDI Implementation Chart
Date:20-DEC-2000
Version : 1.0
Transmitted
Recognized
Remarks
Function...
Default
Basic
1 - 4
1 - 4
Channel Changed
1 - 16
1 - 16
Default
3
3
Mode
Note
Messages x
Altered
3,4 (m=1)
x
*1
**************
1 - 127
0 - 127
0 - 127
Number : True voice **************
Velocity Note ON o 9nH,v=1-127
o 9nH,v=1-127
x
Note OFF o 9nH,v=0
After
Touch
Key's
Ch's
x
x
x
o
Pitch Bend
x
o 0-24 semi
0,32 x
1,5,7,10 o
11 x
o
o
o
o
o
o
o
o
o
Bank Select
Data Entry
6,38 o
64,65 x
71-75 o
94 o
Control
Change
Sound Controller
Effect Depth
NRPN LSB,MSB
Knob Control
98-99 o
16,18,19,80-83 o
Prog
o
o 0 - 127
0 - 127
Change : True #
**************
System Exclusive
o
o
: Song Pos. o
Common : Song Sel. x
*3 o
*2
x
x
: Tune
x
System :Clock
Real Time:Commands o
o
*3 o
*3 o
*4
*2
Aux :All Sound off x
:Reset All Cntrls x
o(120,126,127)
o(121)
:Local ON/OFF x
x
:All Notes OFF x
Mes- :Active Sense o
o(123-125)
o
x
sages:Reset
Notes:
x
*1 m is always treated as "1" regardless of its value.
*2 if MIDI control is in or in/out
*3 if MIDI control is out or in/out
*4 if MIDI sync is external
Mode 1 : OMNI ON , POLY
Mode 3 : OMNI OFF, PDOowLnYload from WMwow.dSoema4nua:ls.coOmM. ANllIMaOnuFalFs ,SeMaOrcNh OAnd Download.
Mode 2 : OMNI ON ,MONO
o : Yes
x : No
139
Appendix
Rhythm Track Instrument List
Note No. Note
Voice Name
-2 PulseBass C
C# -2 PulseBass C#
-2 PulseBass D
D# -2 PulseBass D#
Display
bA1C
b1C
Description
Note No. Note
Voice Name
SD D&B
Display
Sd11
Sd12
Sd13
Sd14
rim1
rim2
HHC1
HHo1
HHC2
HHo2
HHC3
HHo3
HHC4
HHo4
tom1
tom2
tom3
tom4
tom5
CCYm
rdC1
rdC2
tmbr
tbL1
tbL2
tbL3
udu1
udu2
udu3
CLA<
mrCs
SH)r
CLAp
SCr1
SCr2
SCr3
SCr4
rppr
2Ap1
2Ap2
r<LU
SY<b
mEtL
CLC)
GtAt
GtPU
Stor
bA4
Description
0
C
61
62
C#
D
3
3
3
3
3
3
3
3
3
3
3
4
4
4
4
4
4
4
4
4
4
4
4
5
5
5
5
5
5
5
5
5
5
5
5
6
6
6
6
6
6
6
6
6
6
6
7
7
7
7
7
7
7
7
7
7
7
7
7
8
Bright smash snare
090 distorted snare
090 house snare
090 tight snare
1
SD Dist
2
D
bA1d
b1d
63
D#
E
SD Elec 1
SD Elec 2
SD Rim 1
SD Rim 2
HH D&B Cls
HH D&B Opn
HH Ana Cls 1
HH Ana Opn 1
HH Syn Cls
HH Syn Opn
HH Ana Cls 2
HH Ana Cls 2
Tom Dist
3
64
4
E
-2 PulseBass E
bA1E
bA1F
b1F
65
F
Heavily struck rim shot
Lightly struck rim shot
Pedal hi-hat
5
F
-2 PulseBass F
66
F#
G
Filtered square wave synth bass
6
F# -2 PulseBass F#
-2 PulseBass G
G# -2 PulseBass G#
-2 PulseBass A
A# -2 PulseBass A#
67
7
G
bA1G
b1G
68
G#
A
Hi-hat open and closed
090 tight closed hi-hat
080 analog open hi-hat
Electric beat box hi-hat (closed)
Electric beat box hi-hat (open)
090 house hi-hat (closed)
090 house hi-hat (open)
090 overdriven tom
8
69
9
A
bA1A
b1A
70
A#
B
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
71
B
-2 PulseBass B
bA1b
bA2C
b2C
72
C
C
-1 SineBass C
73
C#
D
C# -1 SineBass C#
-1 SineBass D
D# -1 SineBass D#
74
D
bA2d
b2d
75
D#
E
76
Tom Ana 1
Tom Ana 2
Tom Synth
Tom Sine
Crush Cym
Ride Cym
Ride Bell
80’s electro tom
E
-1 SineBass E
bA2E
bA2F
b2F
77
F
090 house tom
F
-1 SineBass F
78
F#
G
Resonant synthesizer zap
High-pitched synthesized tom
Loud crash cymbal
Super low sine wave bass
F# -1 SineBass F#
-1 SineBass G
G# -1 SineBass G#
-1 SineBass A
A# -1 SineBass A#
79
G
bA2G
b2G
80
G#
A
81
Ride cymbal struck on edge
Ride cymbal struck on bell
Palm-struck tambourine
Open tabla
A
bA2A
b2A
82
A#
B
83
Tambourine
Tabla Open
Tabla Mute
Tabla Nah
Udu Low
B
-1 SineBass B
bA2b
bA3C
b3C
84
C
C
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
3
PickBass C
PickBass C#
PickBass D
PickBass D#
PickBass E
PickBass F
PickBass F#
PickBass G
PickBass G#
PickBass A
PickBass A#
PickBass B
BD Analog
BD R&B 1
BD R&B 2
BD Lo-Fi
85
C#
D
Muted tabla
C#
D
86
Nah tabla
bA3d
b3d
87
D#
E
African Udu drum low
African Udu drum high
African Udu finger
D#
E
88
Udu High
Udu Finger
Clave
bA3E
bA3F
b3F
89
F
F
90
F#
G
080 claves
Pick bass
F#
G
91
Maracas
Latin maracas
bA3G
b3G
92
G#
A
Shaker
Samba shaker
G#
A
93
Clap
090 house clap
bA3A
b3A
94
A#
B
Scratch 1
Scratch 2
Scratch 3
Scratch 4
Ripper
Forward record scratch
Backward record scratch
Record scratch back and forth 1
Record scratch back and forth 2
Over-blown mic distortion
Scratchy synth zap
A#
B
95
bA3b
bd01
bd02
bd03
bd04
bd05
bd06
bd07
bd08
bd09
bd10
bd11
bd12
bd13
bd14
bd15
Sd01
Sd02
Sd03
Sd04
Sd05
Sd06
Sd07
Sd08
Sd09
Sd10
96
C
C
080 boom kick
97
C#
D
C#
D
Dry kick drum
98
Sliced kick
99
D#
E
Zap 1
D#
E
Loose gated kick
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
Zap 2
Hi-res laser zap
BD Jungle
BD Hip 1
Tight gated kick
F
Rev Low
Eerie reverse reverb effect
Fluttering whistle-like noise
Percussive metallic sound
Squishy percussive noise
Electric guitar with wah effect
Sustaining distorted guitar chord
Synth chord stab
F
Thumping kick drum with boosted low end
Gated kick with harmonic overtones
Hard electric kick
F#
G
Synth Vibra
Metal
F#
G
BD Hip 2
BD Tech
G#
A
Click
G#
A
BD Dist 1
BD Dist 2
BD Human 1
BD Human 2
BD Elec 1
BD Elec 2
BD Elec 3
SD Live
Heavily distorted kick
Punchy kick with overdrive
Voice drum “Tuh”
Gt Attack
A#
B
Gt Power
Stab Organ
SlowBass
FingerBass
SynthBass 1
SynthBass 2
SynthBass 3
SynthBass 4
Digi Wave 1
Digi Wave 2
Digi Wave 3
Digi Wave 4
Digi Wave 5
Digi Wave 6
Digi Wave 7
A#
B
Voice drum “Buh”
C
Drone bass slow attack
Drone bass fast attack
030 saw wave (closed filter)
030 saw wave (half-open filter)
030 saw wave (open filter)
030 saw wave (high resonance)
Falling synth note modulated with LFO
Sitar-like sound with long filter decay
Sitar-like sound with vibrato
High-pitched UFO (looped)
Synth note with a quick rise in pitch
Bell sound with a slight drop in pitch
Metal can struck with mallet
C
Trans kick
C#
D
bA5
C#
D
090 distorted kick
Sbs1
Sbs2
Sbs3
Sbs4
dGU1
dGU2
dGU3
dGU4
dGU5
dGU6
dGU7
090 house kick
D#
E
D#
E
Tight snare with slight room reverb
Snare with sharp attack
Snappy hip-hop snare
080 analog snare
SD R&B 1
SD R&B 2
SD Analog
SD Hip 1
F
F
F#
G
F#
G
Loose snare with a gated effect
Slightly muffled lo-fi snare
Hard smashing gated snare
Jungle snare
G#
A
G#
A
SD Hip 2
SD Hip 3
A#
B
A#
B
SD Cut
SD Dodge
SD Timbre
Fast sample hit
C
C
Industrial hammer-like sound
140
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Appendix
Pattern List
Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#1-64)
Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#65-128)
Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#1-64)
No.
Pgm#
1
Pattern Name
Phatty
Group
BPM
138
135
125
140
134
170
136
142
134
134
135
135
135
145
150
170
140
126
118
128
132
129
135
127
130
122
138
139
140
130
132
136
132
142
130
135
132
128
140
140
135
142
135
125
145
116
121
125
125
140
120
130
140
120
110
130
128
125
135
135
128
105
115
95
No
Pgm#
65
Pattern Name
Induction
Moon GAZA
Pick-Sweep
SwillJoker
HONNOU
NippingSIN
Break-Qoo
Inter Step
Guri Guri
Cyber Punk
Xmod Fuzz
Hood Lead
Whirlwind
One Stomp
Rhino
Group
BPM
100
120
105
130
115
128
140
147
143
130
127
132
157
165
130
135
109
118
120
130
130
130
114
125
132
130
132
137
132
132
102
107
120
138
140
141
135
142
150
142
132
140
135
139
134
138
135
134
150
140
140
128
134
139
130
141
145
145
127
140
130
135
134
140
No.
Pgm#
1
Pattern Name
New Boyz
Naja
Group
BPM
104
90
P001
P002
P003
P004
P005
P006
P007
P008
P009
P010
P011
P012
P013
P014
P015
P016
P017
P018
P019
P020
P021
P022
P023
P024
P025
P026
P027
P028
P029
P030
P031
P032
P033
P034
P035
P036
P037
P038
P039
P040
P041
P042
P043
P044
P045
P046
P047
P048
P049
P050
P051
P052
P053
P054
P055
P056
P057
P058
P059
P060
P061
P062
P063
P064
P065
P066
P067
P068
P069
P070
P071
P072
P073
P074
P075
P076
P077
P078
P079
P080
P081
P082
P083
P084
P085
P086
P087
P088
P089
P090
P091
P092
P093
P094
P095
P096
P097
P098
P099
P100
P101
P102
P103
P104
P105
P106
P107
P108
P109
P110
P111
P112
P113
P114
P115
P116
P117
P118
P119
P120
P121
P122
P123
P124
P125
P126
P127
P128
P129
P130
P131
P132
P133
P134
P135
P136
P137
P138
P139
P140
P141
P142
P143
P144
P145
P146
P147
P148
P149
P150
P151
P152
P153
P154
P155
P156
P157
P158
P159
P160
P161
P162
P163
P164
P165
P166
P167
P168
P169
P170
P171
P172
P173
P174
P175
P176
P177
P178
P179
P180
P181
P182
P183
P184
P185
P186
P187
P188
P189
P190
P191
P192
2
Fat 5th
66
2
3
Acid EG-O
Noize On
Joshin
67
3
Homies
Waz Up
G Money
New York
Old Fool
Booty
92
4
68
4
102
99
5
69
5
6
Flabber
70
6
105
96
7
Bad Sign
3rd Love
5th Morf
Short Saw
Noizz
71
7
8
72
8
102
96
9
73
9
Free Hip
Hold Up
Duh Funk
Sealant
hiphop
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
74
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
74
75
100
95
Nu Basic
The Race
DarkTemple
Maneki
76
77
Layin
110
102
80
78
OooNo
79
Ghost
Gabbler
80
Vegas
Trippin
70
No. 1
81
Dane
breaks 1
Creepers
Magnetizer
Elec Hop
Generation
Equuleus
Musca
76
Electra
techno
82
Carina
89
Come Back
Power X
Crossfire
Happy Joe
Elitdance
90s Line
Mappet
83
Hard Hop
Science
90
84
96
85
Blackbooty
Mechanoid
Springy
86
86
84
87
Cetus
67
88
Arnee
Uproar
78
89
Punch Bass
HPF Move
Raw Saw
HiPassFire
Uni Pluck
MiniAttack
Wiggin
Flippin
86
Last Dance
HiPassLead
Hook Time
Voco Cry
Fifth
90
Oranges
Old Skool
Trigger-D
Trick
100
65
91
92
triphop
69
93
76
94
Code Break
CircuitBrk
BttlString
No Way Out
Kick Rocks
AJ
90
Tech Fade
Comicstrip
Finger
95
114
110
95
96
TribeGathr
Basix
97
Drip Drop
Drib Hop
Pulse Step
Hybridz
98
Satori
102
100
96
99
Not Cheap!
Boolee
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Future Hop
Cyber
ElecHopper
Israel
95
Gyroscope
Cuneiform
MinimalOrg
Silver BO
Crazy Acid
Willis
Krank
96
Neko
Irie
165
170
170
170
150
160
180
165
164
170
170
180
175
160
160
135
88
Xmod Line
Trance Saw
Drifter
Orion
Pass Out
Feynmenn
Inca
2 Grey
Inter
Sharp Cut
Runner
DumbNbayc
MowLowCow
Kristel
Up There
3rd Wave
Millennia
Snarly
house
Rising
Long Rezz
Solid
Ghosting
Tech Step
Optician
BurtonsFin
All Dark
Rider
Afterhours
Velocity
Diedsloppy
Big Mix
trance
drum'n bass
Orbitron
Mai
B-Tech
Tech Tron
DesertRave
Denter
Hard House
HypnoHouse
Hello 2001
Ideo-Gram
OWN-Q-Beat
Overabound
ExtensionD
Dawn OFF
Bug Filter
Digi-FANG
DarkWalker
Sam-u-Rai
Devilfish
Beestee
Monoceros
Lynx
Syncer
T-World
GOA
88
Hydrus
88
Karate
Centaurus
Cygnus
129
122
82
Polarity-X
Dendo-Girl
Junop
breaks 1
Mars
Mushroom
Jazzwonka
Dark Trip
Stranger
135
125
100
132
Kami
Playerz
breaks 2
Toddy
141
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PAatptpeernndLiisxt
Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#65-128)
User Bank (Bank MSB=63, LSB=2, Pgm#1-64)
User Bank (Bank MSB=63, LSB=2, Pgm#65-128)
No.
Pgm#
65
Pattern Name
Crazy Hip
Dark Hip
Tripnotic
BeatAnthem
Beat O
Group
BPM
98
No.
Pre.#
P099
P064
P132
P006
P192
P038
P071
P147
P014
P185
P105
P060
P191
P002
P190
P098
P092
P129
P041
P214
P126
P067
P164
P003
P171
P113
P069
P194
P004
P177
P242
P205
P101
P078
P130
P025
P230
P043
P081
P149
P035
P178
P119
P055
P224
P023
P189
P046
P057
P138
P032
P215
P128
P075
P159
P010
P175
P102
P063
P221
P036
P183
P244
P226
Pattern Name
Not Cheap!
Digi-FANG
Waz Up
Group
BPM
140
105
102
170
132
128
140
90
No.
Pre.#
P125
P088
P134
P018
P187
P037
P066
P131
P005
P176
P104
P094
P213
P007
P169
P123
P073
P135
P040
P231
P110
P083
P160
P034
P188
P121
P064
P211
P049
P152
P251
P234
P111
P089
P137
P021
P209
P054
P090
P154
P001
P167
P114
P244
P241
P026
P182
P112
P193
P140
P039
P204
P117
P093
P161
P017
P186
P240
P146
P163
P100
P120
P059
P072
Pattern Name
Junop
Group
BPM
130
125
105
126
122
132
120
92
P193
P194
P195
P196
P197
P198
P199
P200
P201
P202
P203
P204
P205
P206
P207
P208
P209
P210
P211
P212
P213
P214
P215
P216
P217
P218
P219
P220
P221
P222
P223
P224
P225
P226
P227
P228
P229
P230
P231
P232
P233
P234
P235
P236
P237
P238
P239
P240
P241
P242
P243
P244
P245
P246
P247
P248
P249
P250
P251
P252
P253
P254
P255
P256
U001
U002
U003
U004
U005
U006
U007
U008
U009
U010
U011
U012
U013
U014
U015
U016
U017
U018
U019
U020
U021
U022
U023
U024
U025
U026
U027
U028
U029
U030
U031
U032
U033
U034
U035
U036
U037
U038
U039
U040
U041
U042
U043
U044
U045
U046
U047
U048
U049
U050
U051
U052
U053
U054
U055
U056
U057
U058
U059
U060
U061
U062
U063
U064
trance
U065
U066
U067
U068
U069
U070
U071
U072
U073
U074
U075
U076
U077
U078
U079
U080
U081
U082
U083
U084
U085
U086
U087
U088
U089
U090
U091
U092
U093
U094
U095
U096
U097
U098
U099
U100
U101
U102
U103
U104
U105
U106
U107
U108
U109
U110
U111
U112
U113
U114
U115
U116
U117
U118
U119
U120
U121
U122
U123
U124
U125
U126
U127
U128
trance
66
98
breaks 1
hiphop
Arnee
breaks 1
hiphop
67
110
120
130
122
123
115
118
125
136
130
125
116
123
132
128
126
126
132
122
122
94
New York
Electra
68
Flabber
techno
techno
69
Stranger
Gyroscope
Break-Qoo
Elec Hop
DarkTemple
Hydrus
breaks 2
house
Cygnus
drum'n bass
house
70
Cheekz
Hybridz
71
Scene Bass
Hood Bass
Ruffy
breaks 1
triphop
Moon GAZA
Homies
breaks 1
hiphop
72
73
techno
145
88
Joshin
techno
134
170
142
132
122
136
170
127
143
96
74
Drug Dist
Sync Pulse
Step Rezz
Wild Scene
Hyper Saw
Dark Line
Pulse Gruv
Phanki
drum'n bass
trance
Tech Step
Xmod Line
MiniAttack
Big Three
Bad Sign
Pass Out
Polarity-X
Guri Guri
Old Fool
MinimalOrg
ElectroBrk
Rising
drum'n bass
trance
75
Trance Saw
Dawn OFF
Dark Trip
Fat 5th
132
135
100
135
125
138
137
104
135
122
135
105
96
76
breaks 1
breaks 2
techno
breaks 1
breaks 2
techno
77
78
79
Jazzwonka
Satori
drum'n bass
trance
drum'n bass
trance
80
81
HiPassFire
New Boyz
Silver BO
Hardy
breaks 1
hiphop
breaks 1
hiphop
82
E-Blub
83
Bleach
house
house
140
120
138
120
110
142
82
84
Hard Step
Big Three
Hardy
breaks 2
trance
breaks 2
trance
85
Kami
86
Pick-Sweep
Future Hop
Acid EG-O
Inca
breaks 1
triphop
Hard Hop
BttlString
Drip Drop
Mars
breaks 1
triphop
techno
87
Livin 12
Lionbar
88
135
96
techno
125
150
150
115
98
89
Claw
breaks 2
drum'n bass
trance
drum'n bass
trance
90
Dirty Dog
Full Reso
Funky
96
Diedsloppy
HONNOU
Dark Hop
Noize On
Optician
GOA
145
95
91
96
breaks 1
breaks 2
techno
Sam-u-Rai
Blech
breaks 1
breaks 2
house
92
114
125
122
124
150
138
170
136
132
126
165
120
135
150
160
155
104
80
126
125
78
93
Tinkly
140
170
49
Afterhours
Uproar
94
Porkyscrat
Rowntree
Granulator
Mute Rezz
Bungraa5va
StormStack
Norma
drum'n bass
ambient
breaks 2
trance
triphop
ambient
breaks 2
trance
95
Velpecula
Wild Scene
ElecHopper
One Stomp
Naja
Ambi Fade
Facevalue
Long Rezz
Punch Bass
Free Hip
Crossfire
Phanki
98
96
125
135
165
90
160
135
132
96
97
98
breaks 1
hiphop
breaks 1
hiphop
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Mappet
techno
130
165
135
109
86
techno
132
128
120
130
100
138
165
140
105
64
AWA-dance
Shandy
Shandy
breaks 2
house
breaks 2
house
Willis
HypnoHouse
HPF Move
Oranges
Phatty
ElectroBrk
Rutger
Dane
breaks 1
triphop
breaks 1
triphop
techno
Equuleus
Drib Hop
BurtonsFin
Syncer
Fat Ohm
Facevalue
Seepy
techno
130
180
130
110
150
135
135
116
128
74
drum'n bass
trance
Irie
drum'n bass
trance
Big Mix
Draco
Hello 2001
Granulator
Elitdance
Mushroom
3rd Wave
OWN-Q-Beat
Hold Up
breaks 1
breaks 2
techno
Pyxis
ambient
breaks 2
techno
Smoked
Stealthy
Strain
Dorado
108
112
105
64
Last Dance
Beestee
122
135
134
98
drum'n bass
house
drum'n bass
trance
Tribal
Solid
Dorado
breaks 1
hiphop
Crazy Hip
Sealant
breaks 2
hiphop
Velpecula
Pyxis
49
95
35
Comicstrip
Livin 12
techno
136
94
Cuneiform
Step Rezz
DesertRave
Uni Pluck
No Way Out
No. 1
house
140
130
134
132
95
Carm Down
Subliminal
Okyou
105
106
40
breaks 2
trance
breaks 2
trance
Toddy
140
127
114
134
164
142
115
125
135
88
Xmod Fuzz
CircuitBrk
Short Saw
Ghosting
Israel
breaks 1
triphop
breaks 1
triphop
techno
Chacra
115
120
105
102
98
Paranoia
Burning
Back Door
Ambi Fade
Bootes
techno
140
129
105
89
ambient
drum'n bass
trance
Centaurus
Tribal
drum'n bass
breaks 2
triphop
triphop
trance
DarkWalker
Tinkly
breaks 1
breaks 2
house
Magnitizer
AJ
92
100
141
141
135
147
Sagitarius
Aquarius
Lacerta
75
Pulse Step
Monoceros
Carm Down
Bungraa5va
Boolee
68
drum'n bass
ambient
breaks 2
T-World
ExtensionD
Inter Step
trance
44
105
170
breaks 1
breaks 1
Fornax
55
Song 1 : Demo 1 ( trance/breaks )
Song 2 : Demo 2 ( triphop )
Song 3 : Demo 3 ( ambient )
AN200:U123,U124 & SU200:BANK A (Trip Hop Demo)
AN200:U125,U126 & SU200:BANK B (Trance Demo)
AN200:U127,U128 & SU200:BANK C (Break Beats Demo)
AN200:U123,U124 & DX200:U123,U124 (Trip Hop Demo)
AN200:U125,U126 & DX200:U125,U126 (Trance Demo)
AN200:U127,U128 & DX200:U127,U128 (Break Beats Demo)
142
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SOFTWARE LICENSING AGREEMENT
The following is a legal agreement between you, the end user, and Yamaha Corporation (“Yamaha”). The enclosed Yamaha software program is
licensed by Yamaha to the original purchaser for use only on the terms set forth herein. Please read this licensing agreement with care. Opening this
package indicates that you accept all terms outlined herein. If you do not agree to the terms, return this package unopened to Yamaha for a full
refund.
1. GRANT OF LICENSE AND COPYRIGHT
Yamaha grants you, the original purchaser, the right to use one copy of the enclosed software program and data (“SOFTWARE”) on a single-user
computer system. You may not use it on more than one computer or computer terminal. The SOFTWARE is owned by Yamaha and is protected by
Japanese copyright laws and all applicable international treaty provisions. You are entitled to claim ownership of the media in which the SOFTWARE
is included. Therefore, you must treat the SOFTWARE like any other copyrighted materials.
2. RESTRICTIONS
The SOFTWARE program is copyrighted. You may not engage in reverse engineering or reproduction of the SOFTWARE by other conceivable
methods. You may not reproduce, modify, change, rent, lease, resell, or distribute the SOFTWARE in whole or in part, or create derivative works
from the SOFTWARE. You may not transmit or network the SOFTWARE with other computers.
You may transfer ownership of the SOFTWARE and the accompanying written materials on a permanent basis provided that you retain no copies and
the recipient agrees to the terms of the licensing agreement.
3.TERMINATION
The licensing condition of the software program becomes effective on the day that you receive the SOFTWARE. If any one of the copyright laws or
clauses of the licensing conditions is violated, the licensing agreement shall be terminated automatically without notice from Yamaha. In this case,
you must destroy the licensed SOFTWARE and its copies immediately.
4. PRODUCT WARRANTY
Yamaha warrants to the original purchaser that if the SOFTWARE, when used in normal conditions, will not perform the functions described in the
manual provided by Yamaha, the sole remedy will be that Yamaha will replace any media which proves defective in materials or workmanship on an
exchange basis without charge. Except as expressly set forth above, the SOFTWARE is provided “as is,” and no other warranties, either expressed or
implied, are made with respect to this software, including, without limitation the implied warranties of merchantability and fitness for a particular
purpose.
5. LIMITED LIABILITY
Your sole remedies andYamaha’s entire liability are as set forth above. In no event willYamaha be liable to you or any other person for any damages,
including without limitation any incidental or consequential damages, expenses, lost profits, lost savings or other damages arising out of the use or
inability to use such SOFTWARE even ifYamaha or an authorized dealer has been advised of the possibility of such damages, or for any claim by any
other party.
6. GENERAL
This license agreement shall be interpreted according to and governed by Japanese laws.
143
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SOFTWARE-LIZENZVEREINBARUNG
Die folgende Vereinbarung ist eine rechtsgültige Vereinbarung zwischen Ihnen, dem Endanwender, und der Yamaha Corporation („Yamaha”).
Yamaha erteilt dem ursprünglichen Käufer für das beiliegende Yamaha-Softwareprogramm ausschließlich zu den hier ausgeführten Bedingungen
eine Lizenz zur Verwendung. Bitte lesen Sie diese Lizenzvereinbarung sorgfältig. Durch das Öffnen dieser Packung bringen Sie zum Ausdruck, daß
Sie alle darin enthaltenen Bedingungen akzeptieren. Wenn Sie nicht mit den Bedingungen einverstanden sind, können Sie die Packung ungeöffnet an
Yamaha zurückgeben; der Kaufpreis wird in voller Höhe zurückerstattet.
1. ERETILUNG VON LIZENZ UND COPYRIGHT
Yamaha erteilt Ihnen, dem ursprünglichen Käufer, das Recht, ein Exemplar des beiliegenden Softwareprogramms und der darin enthaltenen Daten
(„SOFTWARE”) als Einzelperson auf jeweils einem Computer zu verwenden. Sie dürfen sie nicht auf mehr als einem Computer bzw. einer
Computerstation verwenden. Die SOFTWARE bleibt im Besitz von Yamaha und ist durch japanische Copyrightgesetze sowie alle anwendbaren
internationalen Vertragsbestimmungen geschützt. Sie haben ein Anspruchsrecht auf das Eigentum an den Medien, denen die SOFTWARE beiliegt.
Daher müssen Sie die SOFTWARE wie alle anderen durch Copyright geschützten Materialien behandeln.
2. EINSCHRÄNKUNGEN
Die SOFTWARE ist durch Copyright geschützt. Sie dürfen Sie weder analysieren noch durch anderweitige Methoden reproduzieren. Sie dürfen die
SOFTWARE weder ganz noch teilweise reproduzieren, modifizieren, verändern, gegen Entgelt oder unentgeltlich verleihen, verkaufen oder
vertreiben, und Sie dürfen auf der Grundlage der SOFTWARE keine Ableitungen erstellen. Sie dürfen die SOFTWARE nicht an andere Computer
senden oder in Netzwerke einspeisen. Sie dürfen das Eigentum an der SOFTWARE und den schriftlichen Begleitmaterialien auf unbefristeter Basis
unter den Voraussetzungen übertragen, daß Sie keine Kopien zurückbehalten und sich der Empfänger mit den Bedingungen der Lizenzvereinbarung
einverstanden erklärt.
3. BEENDIGUNG
Die Lizenzbedingung des Softwareprogramms wird am Tag, an dem Sie die SOFTWARE erhalten, wirksam. Falls ein Copyrightgesetz oder eine
Bestimmung der Lizenzbedingungen verletzt wird, wird automatisch und ohne Benachrichtigung durch Yamaha die Lizenzvereinbarung beendet. In
diesem Fall müssen Sie die lizensierte SOFTWARE und ihre Kopien unverzüglich vernichten.
4. PRODUKTGARANTIE
Yamaha garantiert dem ursprünglichen Käufer, daß, falls die SOFTWARE bei Verwendung unter normalen Bedingungen nicht die in der von Yamaha
bereitgestellten Anleitung beschriebenen Funktionen erfüllt, die einzige Abhilfe darin bestehen wird, daß Yamaha auf Austauschbasis kostenlos jedes
Medium ersetzen wird, das Material- oder Verarbeitungsfehler aufweist. Abgesehen von dem oben Ausgeführten wird die SOFTWARE „wie die Ware
liegt und steht” geliefert, und es werden keine anderen ausdrücklichen oder stillschweigenden Garantien hinsichtlich dieser Software übernommen,
einschließlich, aber nicht beschränkt auf, die stillschweigenden Garantien für handelsübliche Qualität und Eignung für einen bestimmten
Einsatzzweck.
5. BESCHRÄNKTE HAFTUNG
Ihre einzige Abhilfe und die gesamte Haftung Yamahas bestehen in dem oben Ausgeführten. Keinesfalls haftet Yamaha Ihnen oder einer anderen
Person gegenüber für etwaige Schäden, einschließlich, aber nicht beschränkt auf, zufällige Schäden oder Folgeschäden, Kosten, Verdienstausfall,
verlorene Ersparnisse oder andere Schadenersatzansprüche, die aus der Verwendung der SOFTWARE oder aus der Tatsach hervorgehen, daß diese
SOFTWARE nicht verwendet werden konnte, selbst wenn Yamaha oder ein autorisierter Händler über die Möglichkeit derartiger
Schadenersatzansprüche informiert wurde, oder für etwaige andere Ansprüche einer anderen Partei.
6. ALLGEMEINES
Diese Lizenzvereinbarung soll gemäß und in Übereinstimmung mit den japanischen Gesetzen ausgelegt werden.
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CONTRAT DE LICENCE DE LOGICIEL
Ceci est un contrat entre vous-même, l’utilisateur final, etYamaha Corporation (“Yamaha”). Le logicielYamaha ci-inclus est concédé sous licence par
Yamaha à l’acheteur original et ne peut être utilisé que dans les conditions prévues aux présentes. Veuillez lire attentivement ce contrat de licence. Le
fait d’ouvrir ce coffret indique que vous acceptez l’ensemble des termes du contrat. Si vous n’acceptez pas lesdits termes, renvoyez le coffret non
ouvert à Yamaha pour en obtenir le remboursement intégral.
1. CONCESSION DE LICENCE ET DROITS D’AUTEUR
Yamaha vous concède le droit d’utiliser, en tant qu’acheteur original, un exemplaire du logiciel et des données afférentes à celui-ci (“LOGICIEL”)
sur un ordinateur pour utilisateur unique. Vous n’êtes pas autorisé à utiliser ces éléments sur plus d’un ordinateur ou terminal d’ordinateur. Le
LOGICIEL est la propriété de Yamaha. Il est protégé par les dispositions relatives au droit d’auteur contenues dans la législation japonaise et les
traités internationaux. Vous êtes en droit de revendiquer l’appartenance du support du LOGICIEL. A ce titre, vous devez traiter le LOGICIEL comme
tout autre élément protégé par le droit d’auteur.
2. RESTRICTIONS
Le LOGICIEL est protégé par le droit d’auteur. Vous n’êtes pas autorisé à reconstituer la logique du LOGICIEL ou à reproduire ce dernier par
quelque autre moyen que ce soit. Vous n’êtes pas en droit de reproduire, modifier, prêter, louer, revendre ou distribuer le LOGICIEL en tout ou partie,
ou d’utiliser le LOGICIEL à des fins de création dérivée. Vous n’êtes pas autorisé à transmettre le LOGICIEL à d’autres ordinateurs ou à l’utiliser en
réseau.
Vous êtes en droit de céder, à titre permanent, le LOGICIEL et la documentation imprimée qui l’accompagne, sous réserve que vous n’en conserviez
aucun exemplaire et que le bénéficiaire accepte les termes du présent contrat.
3. RESILIATION
Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est remis. Si l’une quelconque des
dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées, le contrat de licence sera résilié de plein droit par Yamaha, ce
sans préavis. Dans ce cas, vous devrez immédiatement détruire le LOGICIEL concédé sous licence ainsi que les copies réalisées.
4. GARANTIE PRODUIT
Si, dans des conditions normales d’utilisation, le LOGICIEL ne remplit pas les fonctions décrites dans le manuel fourni, Yamaha s’engage vis-à-vis
de l’acheteur original à remplacer gratuitement, sur la base d’un échange, tout support reconnu défectueux par suite d’un défaut de matière première
ou d’un vice de fabrication. Ceci constitue le seul recours opposable à Yamaha. Hormis dans les cas expressément énoncés plus haut, le LOGICIEL
est livré “en l’état” et toute autre garantie expresse ou implicite le concernant, y compris, de manière non limitative, toute garantie implicite de qualité
marchande et d’adéquation à un usage particulier, est exclue.
5. RESPONSABILITE LIMITEE
Votre unique recours et la seule responsabilité de Yamaha sont tels qu’énoncés précédemment. En aucun cas Yamaha ne pourra être tenu responsable,
par vous-même ou une autre personne, de quelques dommages que ce soit, notamment et de manière non limitative, de dommages indirects, frais,
pertes de bénéfices, pertes de fonds ou d’autres dommages résultant de l’utilisation ou de l’impossibilité d’utiliser le LOGICIEL, même siYamaha ou
un distributeur agréé ont été prévenus de l’éventualité de tels dommages, ou de quelque autre revendication formulée par une tierce partie.
6. REMARQUE GENERALE
Le présent contrat de licence est régi par le droit japonais, à la lumière duquel il doit être interprété.
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For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
Para detalles sobre productos, contacte su tiendaYamaha más cercana
o el distribuidor autorizado que se lista debajo.
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
NORTH AMERICA
ASIA
CANADA
HONG KONG
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
Tel: 416-298-1311
SPAIN/PORTUGAL
Yamaha-Hazen Electronica Musical, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid) Spain
U.S.A.
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 91-201-0700
Tel: 714-522-9011
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
KOREA
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
Cosmos Corporation
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
1461-9, Seocho Dong, Seocho Gu, Seoul, Korea
Tel: 02-3486-0011
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-703-0900
BRAZIL
Yamaha Musical do Brasil LTDA.
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-853-1377
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
ARGENTINA
Yamaha Music Argentina S.A.
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
SINGAPORE
Yamaha Music Asia Pte., Ltd.
11 Ubi Road #06-00, Meiban Industrial Building,
Singapore
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
Tel: 65-747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
10F, 150, Tun-Hwa Northroad,
Taipei, Taiwan, R.O.C.
Yamaha de Panama S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
Tel: 02-2713-8999
Tel: 507-269-5311
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
OTHER EUROPEAN COUNTRIES
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2317
Tel: 01908-366700
Tel: 04101-3030
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,Victoria
3006, Australia
Tel: 04101-3030
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
AUSTRIA
Yamaha Music Austria
Schleiergasse 20, A-1100 Wien Austria
Tel: 01-60203900
Tel: 3-9693-5111
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
THE NETHERLANDS
Yamaha Music Nederland
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-2828411
Tel: 04101-3030
OTHER COUNTRIES
Tel: 9-634-0099
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: 971-4-881-5868
COUNTRIES AND TRUST
BELGIUM
Yamaha Music Belgium
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
FRANCE
Yamaha Musique France,
Division Professionnelle
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2445
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