Manuel d'utilisation / d'entretien du produit AN1x du fabricant Yamaha
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3 Contents Playing Arpeggiated Chords ...........................................35 Arpeggio MIDI Output ....................................................37 Using The Step Sequencer ..........................................37 Step Sequencer On/Off .
4 PRECAUTIONS PLEASE READ CAREFULL Y BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. W ARNING 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.
5 How T o Use This Manual This owner’ s manual provides your basic keys to unlocking the power of the AN1x Control Synthesizer . It is divided into the following sections: INTRODUCTION Provides a br.
PITCH MODULATION VOLUME CTRL SCENE Algorithm Wave Attack Attack ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 PEG Decay Wave VCO1 Fine Fine PEG Sw FM Src2 LFO2 Spd PmodDepth PmodDepth Level LFO1 Wave LFO1 Spd L.
T DI THRU PROGRAM CHANGE VWX MNO 7 YZ 8 PQR 5 GHI 2 – 4 DEF 1 ABC 0 OTHERS STU 9 6 JKL 3 YES/ ENTER NO DEMO PORT AMENTO STORE ARPEGGIO / SEQ LAYER CONTROL SYNTHESIZER ANALOG PHYSICAL MODELING CTRL P.
8 The Histor y… Why is the “analog sound” so popular in a digital age? What long and winding road had to be traveled—just to end up right back where we started from? Let’ s take a quick look at how we got from there to here, and where here really is, anyway .
9 What Is A V oice? Over the years, the meaning of the term “voice”, when applied to synthesizers, has varied depending on manufacturers and models. In general, it means a sound, which in some synths is called a “patch”, and in others a “program”.
10 AN1x T one Generator As the AN1x T one Generator Block Diagram illustrates, the VCO module generates the basic signal, then passes it along the signal path to the MIX/VCF module, which processes th.
11 LPF , HPF , BPF , BEF — page 67 FEG — page 31 PEG/LFO — page 54 RING MODULA TOR — page 66 NOISE — page 66 3 VCA The VCA module is where the overall output level of the signal gets determined, as well as the Feedback level which gets “fed back” to the mixer in the MIX/VCF module.
12 T o avoid possible damage to the speakers or other connected electronic devices, before switching on the power of any device, make sure the AN1x’ s [VOLUME] level and the volume levels of the connected equipment are set to minimum positions.
13 Connecting The AN1x T o A MIDI Data Storage Device Y ou can connect the AN1x to a MIDI data storage device, such as the Y amaha MDF2 MIDI Data Filer , in order to “bulk dump”, or save AN1x voice, Step Sequencer and other data to floppy disks.
14 Selecting V oices The AN1x comes with 128 voices already preprogrammed and ready to play . Not only are these voices first-rate and highly useful in their own right, they form a dynamic living example of the AN1x’ s vast sonic range and power , as well as provide an excellent basis for study of how voices are constructed.
15 V oice Categories V oices can be organized into Categor y types and assigned a two-letter Categor y code during the voice Name operation. For a list of the available Categor y types, see page 81. Scenes Each voice has two “Scenes”, or two distinct sounds available for instant recall at the press of a [SCENE] switch.
16 RIBBON Controller The [RIBBON] controller lets you control two different assignable parameters as you play . Y ou can control one parameter by sliding your finger along the X-axis, and another by applying pressure to the Z-axis.
17 AN1x Quick T our This section provides a “hand’ s on” journey through the key features you’ll access regularly as you select voices, tweak sounds and adjust settings for the various parameters.
18 4 T urn the CONTROL knobs. ● Press a KNOB P ARAMETER GROUP switch and turn each CONTROL knob as you play each Scene to hear how it affects the sound. There are eight different groups of parameters assigned to the knobs at the factor y . These let you edit the tone generator parameters as printed on the panel beside each knob.
19 Assignable Real-time Controllers Y ou can assign specific parameters to the assignable controller of your choice, including the eight CONTROL knobs, [MODULA TION] wheel, [RIBBON] controller (X-axis and Z-axis) and keyboard After T ouch, as well as (optional) [FOOT VOLUME], [FOOT CONTROLLER] and [FOOTSWITCH] pedals.
20 Scene Edit Buffers When you select a voice, the two Scenes are loaded into the Scene edit buffers. Since each Scene has its own buffer , you can “work” on each Scene separately .
21 Depending on how different each Scene is, a considerable number of parameters may get changed simultaneously as you do the cross-fade. As such, you have an enormous palette of sound textures available which you can apply in real-time as you play .
22 Scene Load Function The Scene Load function lets you load Scene data from a Scene in any voice to the corresponding Scene in the currently selected voice.
23 DUAL This mode layers the two sounds of Scene 1 and Scene 2—i.e., it plays both Scenes simultaneously . In this mode, the AN1x is capable of multitimbral play (max. 2 sounds), where an external MIDI sequencer or device can play each Scene on separate MIDI channels, as set by the UTILITY SETUP Rx Ch (Receive Channel) parameter (see page 93).
24 Layer Parameters The AN1x features Layer parameters in the VOICE SCENE SETUP menu which let you detune the Unison or Dual layers when UNISON mode or DUAL mode is selected, or separate the panning between the two layers when UNISON mode, DUAL mode or SPLIT mode is selected.
25 Setting Por tamento Time Y ou can deter mine the Portamento time by pressing [PEG/LFO] and turning CONTROL knob 4. When the [PORT AMENTO] switch is turned off, “– – –” will flash in the LCD. For more information, see page 56. Selecting Por tamento Modes There are various Portamento modes available depending on Poly mode setting.
26 Using The CONTROL Knobs The eight CONTROL knobs give you direct access to dozens of tone generator parameters that let you coax literally an unlimited range of sounds from the AN1x in real-time.
27 Assigning Parameters T o Knobs Y ou can assign one of many available Control Change parameters to each knob. After pressing the [ASSIGN] switch, these parameters will be available for edit in real- time using the CONTROL knobs.
28 Using The Panel Edit Matrix The AN1x’ s panel matrix of Edit menus gives you quick and easy access to hundreds of parameter settings. All you have to do is set the [EDIT ROT AR Y] switch to one of the six menus and press the parameter value [UP/DOWN] switch located beneath the name of the parameter you want to edit.
29 Editing V oices If you’ve read through all the preceding sections, and especially if you’ve been trying out the various features along the way , you should have a pretty solid grounding in how the AN1x creates and enhances sound, as well as how the various controls work to manipulate the many features.
30 CREA TING ORIGINAL VOICES Following is an over view of the key procedures required to build up your own voices from scratch. For step-by-step examples of how to create specific types of voices, inc.
31 Sync Algorithm Pressing the [SYNC/FM] KNOB P ARAMETER GROUP switch lets you use the CONTROL knobs to access the parameters which affect the "master" and "slave" oscillators which are part of the VCO1, as well as configure how the FM (Frequency Modulation) signal is applied to the master and/or slave oscillators.
32 Ring Modulator , Noise And Mixer Pressing the [MIX/VCF] KNOB P ARAMETER GROUP switch lets you use CONTROL knobs 1-4 to determine the levels of the VCO1, VCO2, Ring Modulator and Noise signals, respectively .
33 Store Operations The [STORE] switch is used for performing V oice Store operations. For information about perfor ming a V oice Store operation, see page 98. For information about types of data stored in a voice, see page 9. For information about Scene-related Store functions, see page 21.
34 Setting The Arpeggiator T empo Set the [EDIT ROT ARY] switch to VOICE COMMON and press T empo [UP/DOWN] to set the tempo of the Arpeggiator in BPM (Beats Per Minute).
35 Playing Arpeggiated Chords T r ying out the various arpeggios is a lot of fun. T urn on the Arpeggio Hold function, play an even-numbered note chord, and see how the different pattern T ypes and Subdivide settings react. Then play an odd-numbered note chord and repeat the process.
36 ● If “scne1” is selected and KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 1 to the left of the Split Point, and play normally with Scene 2 to the right.
37 Play Ef fect V elocity Press the Play Effect V elocity [UP/DOWN] switch to set the ratio between the lower and higher velocity values of the Arpeggiator pattern, over a range between 1% and 200%. A setting of “100%” maintains the original velocity relationship between the notes.
38 Step Sequencer On/Of f The Step Sequencer can only be activated when the Arp/SEQ parameter (VOICE ARPEGGIO/SEQ menu) is set to “Step SEQ”. Y ou can tur n the Step Sequencer on and off by pressing the [ARPEGGIO/SEQ] switch. When the Step Sequencer is turned on, “SEQ” will appear in the lower right area of the LCD.
39 V oice Pattern And User Pattern Banks In addition to the voice-related data stored in a voice memor y location, each voice has “V oice Pattern” data for a single Step Sequencer pattern. Since there are 128 voices in memor y , the collection of 128 patterns as stored in the voices is called the V oice Pattern bank.
40 Since the triggered V oice and User Patterns are selected and played from edit buffers, you can edit any pattern at will—i.e., you can trigger one pattern and edit it, trigger a second pattern and edit it, go back to the first one and tweak it some more, and so on, in order to edit various patterns in context with each other .
41 norm (Normal): Lets you play the V oice Pattern of the currently selected voice at its base pitch from any key on the keyboard. Y ou can play regular notes and chords across the keyboard while the sequence is looping.
42 Base Unit And Length The Base Unit parameter , together with the current T empo setting (see page 77) designates and completes the timing resolution for the sequence pattern. The Length parameter setting determines the length of the sequence pattern based on number of steps.
43 Play Ef fects The Play Effect (“Play EF”) parameters let you designate settings which can permit the Step Sequencer pattern to obtain a more human “feel”. (Or even a less one, if that’ s what you’re going for!) There are three Play Effect parameters, Swing, V elocity and Gate T ime.
44 Step Sequencer Edit Creating your own Step Sequencer patterns is a simple and straightfor ward process. When the [EDIT ROT ARY] switch is set to the SEQ EDIT/SETUP menu, each CONTROL knob is used to edit Note, V elocity , Gate T ime and Control Change values for a single step.
45 Gate Time (1 ~ 200%): Lets you deter mine the note duration for the step. Control Change (0 ~ 127): Lets you set the value of the MIDI Control Change message to be output by the step. Control Change setting (off, CC1~95, After T ouch) is deter mined by the Control No (Number) parameter in the SEQ EDIT/SETUP menu.
46 Storing Step Sequences Depending on whether the Step Sequencer is in Single Pattern Play or Pattern Select Play status, you can do the following: • Perform a V oice Store operation to store the current V oice Pattern data in the V oice edit buffer as voice data (in Single Pattern Play status).
ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 T rack 1 T rack 2 T rack 3 T rack 4 MIX/VCF SYNC/FM VCF VCF Noise Level Sync Pitch Resonance V alues relative to knob movements .
48 T rack Parameters T rack No (T rack Number): Selects a Free EG track (“T rk1” ~ “T rk4”). For more information, see page 83. Param (Parameter): Deter mines which knob parameter will be played by the data in the track. For more information, see page 83.
49 T rack Job Parameters Rec (Record): Deter mines how a Free EG record operation will be executed (i.e., either the selected track or all tracks). Pressing a key on the keyboard starts recording.
50 Step Sequencer Event Control The Step Sequencer’ s Ctrl No (Control Number) parameter lets you determine the type of MIDI Control Change which can be output upon sequencer play .
51 Control Matrix Control Matrix parameters apply to the internal tone generator only . It determines how MIDI Control Change messages generated by the on-board controllers (eight CONTROL knobs, [MODULA TION] wheel, [FOOT CONTROLLER], [RIBBON] controller , etc.
52 V oice Select Y ou can select a voice for play from among the 128 voices in memory . There are two procedures for doing so, as listed below . Procedure 1 1. Enter a number between [1] and [128] in the PROGRAM CHANGE keypad. The voice number that you enter will start flashing in the LCD.
53 Knob Edit The eight CONTROL knobs let you edit various characteristics of each voice in real-time. Edited data of the selected voice can be stored to any voice memory (1 ~ 128). The function of each knob depends on which KNOB P ARAMETER GROUP switch is selected.
54 5. Store the edited voice. When you’ve completed the editing procedure and wish to store the edited knob parameters, you can store it as a new voice in any desired voice location (1 ~ 128).
55 PEG Decay The PEG Decay setting determines the time required for a sound to reach its basic pitch from the PEG Depth level while the key is held. The following graph shows how the decay changes when a key is pressed if a positive PEG Decay value is set.
56 Por t Time (Portamento Time) Portamento is an effect commonly used in singing or when playing a bowed instrument, where the sound is carried in a continuous glide from one note (or more) to the next, through all the intermediate pitches. The Portamento Time setting determines the time it takes for the pitch to reach the subsequent note played.
57 Triangle Triangle Triangle Triangle180 Triangle180 Tri (Triangle) Wave Saw down Saw down Saw up Saw up Saw (Sawtooth) W ave Square Square Square180 Squ (Square) Wave.
58 Compared with "s/h", s/h2 is biased to the positive range. LFO1 Spd (LFO1 Speed) The LFO1 Speed setting determines the rate of LFO1. T urning the knob to the left results in slower rates and turning it to the right results in faster rates.
59 Algorithm The Algorithm setting determines how the two VCO1 oscillators (master and slave) are connected in relation to the FM signal. There are four types of connections, or “algorithms”, as shown in the diagrams below .
60 Sync Pitch Src (Sync Pitch Source) The Sync Pitch Source setting determines the source which applies the modulation over time to the slave oscillator . Settings: fixed, PEG, FEG, LFO1, LFO2 When set to “fixed”, there is no change in modulation over time.
VCO1 When KNOB P ARAMETER GROUP switch [VCO1] is selected, the eight CONTROL knobs will access specific V oltage Controlled Oscillator 1-related parameters, including wave selection, pitch specification and wave control. For more information about VCO1, see pages 10, 30.
62 Fine The Fine (fine tune) setting determines the pitch of the VCO1 in 1-cent steps over a range of 100 cents, or one semitone. T urning the knob to the right raises the pitch, while turning it to the left lowers the pitch. The center position (value = 0) is the basic pitch.
63 PWM Src (Pulse Width Modulation Source) The PWM source setting selects the source wave which changes the VCO1’ s pulse width over time, thus determining the behavior of the pulse width. Settings: fixed, PEG, FEG, LFO1, LFO2, LFO2p, LFO2f When set to “fixed”, there is no change in modulation over time.
64 VCF When KNOB P ARAMETER GROUP switch [VCF] is selected, the eight CONTROL knobs will access specific V oltage Controlled Filter -related parameters. The VCF is a filter which permits a specific range of frequencies to pass, while cutting off the rest, thus giving you considerable control over many aspects of the timbre.
65 VCF Cutof f The VCF Cutoff setting determines the cutoff frequency of the VCF . The value set here is related to the assigned VCF T ype in the MIX/VCF parameter group (see page 67). For example, when the filter type is set to Low Pass Filter , the lower frequencies are passed while higher frequencies are cut off.
66 MIX/VCF (Mixer/VCF) When KNOB P ARAMETER GROUP switch [MIX/VCF] is selected, the eight CONTROL knobs will access specific Mixer- and V oltage Controlled Filter-related parameters, including VCO1 an.
HPF (High Pass Filter Cutoff) The HPF setting determines the cutoff frequency of the High Pass Filter . Frequencies above the setting are passed while those below are cut off. T urning the knob to the right increases the HPF Cutoff frequency , resulting in a brighter sound.
68 Fmod Depth (Filter Modulation Depth) The Filter Modulation Depth setting determines the depth of the filter modulation of the VCF by the LFO1. Filter Modulation adds a cyclical change to the filter cutoff frequency to create a wah effect. T urning the knob to the right widens the range of the cutoff frequency change.
69 Sustain The Sustain setting determines the level of sustain of the AEG, which is the level at which the volume will be maintained for as long as a key is held.
70 Amod Depth (Amplitude Modulation Depth) The Amplitude Modulation Depth setting determines the depth of the amplitude modulation of the VCA by the LFO1. Amplitude Modulation adds a cyclical change to the volume level to create a tremolo effect. T urning the knob to the right widens the range of the volume change.
71 Panel Parameter Edit The AN1x’ s matrix of panel Edit parameters gives you quick and easy access to voice, Scene, Free EG, Arpeggiator , Step Sequencer and System parameters. All voice-related parameters can be stored as voice data in each of the 128 user voices.
72 5. Select another parameter and set the value for it. Repeat steps 3 and 4, above, to select and set other parameters in the same menu. 6. Execute a Store operation. When you've finished editing the data, you can store the voice to a user voice memor y (1 - 128) using the V oice Store operation.
73 Settings: poly: Y ou can play maximum 10 notes polyphony when Layer mode is set to SINGLE. mono: Plays one (monophonic) note. legat (Legato): Plays one (monophonic) note, and provides for legato phrasing, or solo passages played without any perceptible interruption between notes.
Convenient Parameter Control Y ou can use the Control Matrix sets to assign a single controller to control more than one parameter , or multiple controllers to control the same parameter . [Ex. 1] One controller to contr ol more than one parameter [Ex.
● Source The Source setting determines which controller (by Control Change number) is assigned to control the corresponding Parameter . Y ou can set the source by Control Change number or by controller name, as shown in the Settings listed below . Settings: CcOff: No controller assigned.
If Pan setting = “alt” or “rnd”: • The Separate setting adjusts the Pan separation range. Higher values result in a wider separation. When the value is set to maximum setting (“32”), then left, center and right are completely separated.
77 VOICE COMMON This menu includes parameters common to the voice (both Scenes) including T empo for Arpeggiator and Step Sequencer , plus Effect-related settings and voice naming parameters. The V ari EF Dr y:W et parameter can be edited for each Scene.
78 ● Data The Data parameter lets you select the V ariation Effect type and change data values of the selected effect or EQ Parameter . Settings: For information about each Parameter and available settings, see the Effect T ype List in the separate Data List book.
79 Dly/Rev EF (Delay/Reverb Effect) Delay/Reverb Effect settings determine the Delay and Reverb effect types and data settings. There are two parameters available, Param (Parameter) and Data. The Delay and Reverb effects are located after the EQ output, and can be connected in series or parallel.
80 EF Bypass (Effect Bypass) Effect Bypass settings let you bypass specific effects, which is convenient when creating an original voice. Bypassed effects will not be applied to the original sound, and when the EF Bypass is “off”, the signal will flow through all effects units.
81 Naming A V oice 1. Press the lower area of the Cursor [UP/DOWN] switch to position the cursor at the voice Category field (the current cursor position will be flashing).
When set to “bar”, the Free EG record and play time is determined by the T empo setting in the VOICE COMMON menu. This synchronizes the Free EG movement with the Arpeggiator or Step Sequencer .
83 ● T rack No (T rack Number) The T rack Number parameter lets you select the Free EG track. Settings: T rk1 ~ T rk4 The selected track will record knob movement data when Free EG recording is initiated. When the [EDIT ROT ARY] switch is set to the VOICE FREE EG menu, an empty track will automatically be selected.
Copy Procedure 1. Press T rack No [UP/DOWN] to select the track to which you want to copy Free EG data to (destination). 2. Press Copy [UP/DOWN] to select the track from which you want to copy Free EG data (source).
85 VOICE ARPEGGIO/SEQ This menu includes common and specific parameters related to the Arpeggiator and Step Sequencer . Arpeggiator and Step Sequencer parameter settings are voice data saved in each voice. The Arpeggiator lets you play arpeggiated chord patterns at the press of a key .
86 Settings: When Arp/SEQ is set to Arpeggio: Arp 01 ~ 30 Y ou can select one Arpeggio patter n from the 30 available patterns. For a list of available patterns, see the Arpeggio Pattern List in the separate Data List book.
87 sel&shift (Select & Shift): Playing a key to the left of the Split Point will trigger (“select”) a specific User Pattern, and playing keys to the right of the Split Point will shift the pitch of the selected pattern accordingly .
88 Arpeggio Subdivide The Arpeggio Subdivide parameter lets you designate the timing subdivision (resolution) value for the Arpeggiator pattern. When Arp/SEQ is set to “Step SEQ”, this parameter is not available. (For information about timing resolution for the Step Sequencer , see pages 42, 91.
89 SEQ EDIT/SETUP This menu includes parameters and settings related to creation and play of Step Sequencer patterns. Y ou can create a V oice Pattern for each voice, as well as create and store a total of 128 User Patterns. Step Sequencer settings are stored as voice data.
90 Pattern Pattern parameters let you designate which pattern to play by the Step Sequencer , as well as set timing resolution, sequence length, type of loop and event control number . There are six parameters available, including Bank, No (Number), Base Unit, Length, Loop T ype and Control Number .
● Base Unit The Base Unit parameter designates the timing resolution for the sequence pattern. This, together with the current T empo setting (see page 77), deter mines the inter val between steps. Settings: 3/8= q. , 1/4= q , 3/16= e. , 1/6= , 1/8= e , 3/32= x.
92 2. Press [YES/ENTER] to execute the Sequence Store operation. The LCD returns to the Pattern Bank/Number display . T o cancel the Sequence Store operation after step 1, press [NO]. UTILITY SETUP The Utility menu is dedicated to “global” parameters which affect the AN1x’ s system, including tuning, keyboard velocity and MIDI settings.
93 soft2: This cur ve also increases the volume level with a softer playing style, but is closer to the Normal cur ve compared to Soft1. easy: This cur ve also increases the volume level with a softer playing style, but the volume level is stable in all registers since the velocity cur ve in the middle register of the keyboard is close to Normal.
● Bulk Dump The Bulk Dump parameter lets you initiate bulk dump operations when offloading AN1x data to an external MIDI data storage device (such as the Y amaha MDF2 MIDI Data Filer) or another AN1x.
2. Press [YES/ENTER] to initiate the bulk dump. When the operation is finished, “End” will appear briefly in the LCD, which will then return to its prior display . T o stop a bulk dump operation in progress, press [NO]. The LCD will return to its prior status.
2. Press Ctrl No [UP/DOWN] to select the control function. The control function name appears beside the available control numbers. When set to a Knob (1 ~ 8), T empo and Data Entr y can also be selected for control. For a list of available controllers, see the separate Data List book.
97 V oice Initialize The V oice Initialize function lets you "reset" a voice to its initial setting, which is handy when you want to create a voice from "scratch". The initialized setting loads into the edit buffer , so after performing the Voice Initialize operation, be sure to store the voice using the V oice Store operation.
98 Store Store lets you perform V oice Store or Scene Store operations. V oice Store The V oice Store operation lets you store edited voice data (including Scene 1 and 2 settings) to any memor y location (1 ~ 128).
99 Scene Store Scene Store is handy for storing the knob position settings created during Scene Control to one of the [SCENE] switches. Scene Store loads the data into the Scene edit buffer , so you will need to perform a Voice Store operation to store the Scene parameters as voice data.
Factor y Settings Y ou can recall all of the original voices, plus scene, Step Sequencer , system, MIDI, and other parameter settings which were programmed at the factor y . This operation resets the settings in memory , so be sure to offload any important data first to a MIDI data storage device before execution.
101 V oice Creation Examples Following are examples for creating some of the most common synthesizer sounds, including Synth Bass, Strings, Electric Piano, Electronic Organ, Synth Brass and Synth Lead.
102 10. Apply vibrato to the voice. Press KNOB P ARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. T urn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play .
103 8. Set the velocity sensitivity of the VCA. Press KNOB P ARAMETER GROUP switch [VCA], then press CONTROL knob 8 to display the V el Sens (V elocity Sensitivity) parameter in the LCD. T urn the knob to set a value near “+15” to increase the sensitivity .
104 Electric Piano First let’ s create the fundamental sound… 1. Select a voice that you don't mind writing over . Perform a T ype 1 (Normal) V oice Initialize operation.
12. Use the Control Matrix to contr ol the Sync Pitch by key tracking. With key tracking you can mellow out the Sync Pitch in the upper range and bring out the grit in the lower range. In the VOICE SCENE SETUP menu, perform the following operations: • Press Set No [UP/DOWN] to display “Set 3” in the LCD.
Next let’ s tweak a few parameters to add extra control over and dimension to the sound… 5. Set up the [MODULA TION] wheel to control the speed of the rotary speaker . Set the [EDIT ROT AR Y] switch to the VOICE SCENE SETUP menu. • Press Control Matrix Set No [UP/DOWN] to select “Comn1” (Common 1).
107 6. Apply vibrato to the voice. Press KNOB P ARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. T urn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play .
108 7. Thicken the sound with Unison play . Press the [LA YER] switch once to select the Unison mode. (“UNISON” appears accordingly in the right area of the LCD.) This produces a much thicker sound when you play , stacking up five sounds with each note.
109 About MIDI MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to communicate with each other , by sending and receiving compatible Note, Contr ol Change, Program Change and various other types of MIDI data, or messages.
110 Pan (Control #010) Messages which control the stereo panning position of each voice (for stereo output). Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. Expression (Control #011) Messages which control intonation expression of each voice during performance.
111 Channel Mode Messages The following Channel Mode Messages can be received. All Sounds Off (Control #120) Clears all sounds currently sounding on the specified channel. However , the status of channel messages such as Note On and Hold On is maintained.
112 Error Messages The following messages may appear during operation, indicating problems or incorrect operation, or to provide information. These are explained below .
113 T roubleshooting Following is a list of troubleshooting hints and page references for some common pr oblems you may encounter during operation. Usually , most problems are simply the result of incorrect settings.
114 1 2 3 4 5 6 7 Return Track Common Trigger Loop Type Length Track Track No Param Scene Sw 1 2 3 4 Common Arp/SEQ Type/No KbdMode Hold SceneSw Arp Seq Arpeggio Play EF Subdivide Swing Velocity Gate .
115 Mode Poly Port LFO Rst Ctrl Matrix Set No Scene Param Source Depth Pitch Up Pitch Down Set 1 Set 2 Set 3 Set 4 Set 5 Set 6 Set 7 Set 8 Ctrl Matrix Set No Param Source Depth Set 9 Set 10 Set 11 Set 12 Set 13 Set 14 Set 15 Set 16 Common 1 Common 2 Photocopy this Blank Chart and fill in your Scene settings.
116 Specifications KEYBOARD 61Keys (Initial/After T ouch), TONE GENERA TOR Analog Physical Modeling, 2 VCOs (Sync, FM)/Ring Mod/Noise/2 LFOs/PEG/VCF (FEG)/VCA (AEG) POL YPHONY 10 notes (maximum) MUL T.
117 Index E easy (Kbd V el) ..................................................................................93 Edge (VCO1, VCO2) ......................................................................62 Edit (Coarse/Fine) ............................
118 L Layer (VOICE SCENE SETUP) ............................................................76 Layer Modes ....................................................................................22 LA YER switch ...........................................
119 T T empo ............................................................................................77 T one Generator ................................................................................10 T rack .....................................
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121 FCC INFORMATION (U.S.A) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! 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.
122 ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and envi- ronmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Yamaha AN1x c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Yamaha AN1x - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Yamaha AN1x, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Yamaha AN1x va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Yamaha AN1x, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Yamaha AN1x.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Yamaha AN1x. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Yamaha AN1x ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
