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9/16/99

12:14 PM

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Contents

Introduction..2 Starting Up..3 Menu Bar..4 The Memory List Window..6

The Toolbar..7

The Program Edit Window.8 The Sample Edit Window.13
The Toolbar..24 OMS Settings (Macintosh)..25

Troubleshooting..27

The software and this owners manual are exclusive copyrights of Yamaha Corporation. Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. Copying of the commercially available music sequence data and/or digital audio files is strictly prohibited except for your personal use. The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies. The screen displays as illustrated in this Owners Manual are for instructional purposes, and may appear somewhat different from the screens which appear on your computer.
This owners manual is applicable to both the A5000 Editor and the A4000 Editor (for both Windows and Macintosh). The screen illustrations are mainly taken from the A5000 Editor for Windows, although and differences between versions are explained. This owners manual assumes that you are already familiar with basic Windows/Macintosh operation. If you are not,please refer to the owners manual which came with your Windows/Mac OS software before using A5000/A4000 Editor. For information about hardware requirements, the interconnection of devices and the installation of the A5000/A4000 Editor software, refer to the separate Installation Manual as well as the Owners Manual for the respective MIDI device.
1999 Yamaha Corporation. All rights reserved.

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Introduction
With A5000/A4000 Editor (hereafter referred to as Editor), you can edit your A5000/A4000s programs, sample banks or samples via your computer.
n Editor for Windows is a plug-in for XGworks(lite). To use Voice Editor for Windows, XGworks(lite) must be installed beforehand.

Memory List Window

Program, sample bank or sample Program Edit Window/Sample Edit Window
Set the effects parameters

MIDI Cable

Transmit/Receive bulk data or parameter change data

A5000/A4000

Page 3

Starting Up

Windows 95/98
If you have a A5000, you can start Editor by starting XGworks and choosing A5000 Editor from the Plug-in menu. If you have an A4000, choose A4000 Editor instead.
n Set the MIDI Out port appropriately to send the edited data to the A5000/A4000 (Page 7).

Macintosh

n If you are using Voice Editor on a Macintosh computer, open the Chooser from the Apple menu and turn off Apple Talk.
If you have an A5000, open the A5000 Editor folder in the YAMAHA Voice Editor folder and double-click the A5000Editor icon. If you have an A4000, open the A4000 Editor folder in the YAMAHA Voice Editor folder and double-click the A4000Editor icon.

Menu Bar

The Menu Bar holds various editing and setup functions/commands in its menus. Click each of the menu names to open their pull-down menu, and choose the function/command you wish to apply. Those functions/commands which are unavailable are grayed out.
n The most commonly-used menus in the Menu Bar are available as buttons in Editor's toolbar. n To use Editor for Windows, refer to the documentation that came with XGworks(lite).

Close (Macintosh only)

Closes the window. This is the same as the Close box in the Title Bar. (Not effective for the Memory List Window.)

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Windows Macintosh
A5000/A4000 Editor Edit (Edit)
This is the same as the Edit Window button in the toolbar (Page 7).

Page 5

Setup (Windows) / MIDI (Macintosh)
A5000/A4000 Editor Setup (Editor Setup)
This is the same as the Editor Setup button in the toolbar (Page 7).
A5000/A4000 Editor Receive Memory List (Receive Memory List)
This is the same as the Receive Memory List button in the toolbar (Page 7).
OMS Port Setup (Macintosh only)
Opens the OMS Port Setup window for Editor. Refer to the section OMS Port Setup (Page 26) for further details.
OMS MIDI Setup (Macintosh only)
Opens the OMS MIDI Setup window. Refer to the documentation that came with OMS for further details.
OMS Studio Setup (Macintosh only)
Opens the OMS Studio Setup window. Refer to the documentation that came with OMS for further details.

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The Memory List Window
When you start Editor, you will first see the Memory List Window consisting of tabs, each representing the program, sample bank or sample in your A5000/A4000. When you choose to edit a program, sample bank or sample from the Memory List Window by double-clicking it, the Edit Window will be opened.
1 Toolbar This area holds the buttons controlling Editor (Page 7). 2 Tabs Click any of these to view the list of program, sample bank or sample. 3 List This area shows all the programs, sample banks or samples as a scrollable list.

Page 7

The Toolbar

(Memory List Window)

1 Editor Setup button Click this to open the Editor Setup dialog and specify the MIDI Out port settings.
Editor Setup Dialog This is where you set up the Editor to allow the transmission of edited data to your A5000/A4000. Click the [OK] button to apply the settings and quit the dialog. Click the [Cancel] button to quit without applying the settings.
1 MIDI Out Port:.Click this and choose the MIDI Out port. You can use the Voice Editor to control and edit the device connected to this port. Select the port which has been assigned to your A5000/A4000 within XGworks(lite). n If you are using a Macintosh, the MIDI Out Port setting is assigned in the OMS Port Setup. For further details, see section OMS Settings. (Page 27) 2 MIDI Ch:..Click this and choose the MIDI Out channel. This is used when monitoring sounds using the on-screen keyboard in the Edit Windows. 3 Device No.:..Click this and choose the MIDI device number of your A5000/A4000.
2 Receive Memory List button Click this to receive all the programs, sample banks or samples data in bulk from your A5000/A4000. 3 Edit Window button Click this to open the Edit Window for the selected program, sample bank or sample in the list.

Page 8

Program Edit Window
The Program Edit Window allows you to edit the parameters related to the A5000/A4000 programs. The edited data are transmitted to the A5000/A4000 via MIDI in realtime. For information on each parameter, refer to the A5000/A4000 Owners Manual. 1 The Toolbar This area includes the buttons controlling the Edit Window (P.24). 2 EFFECT/SETUP and CONTROL Tabs Click the tabs to switch between the EFFECT/SETUP and CONTROL pages. 3 Keyboard button Click or drag this to hear the edited results.

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EFFECT/SETUP page

3 @ ! $% ^ & *

1 PROGRAM LEVEL Sets the program volume. 2 TRANSPOSE Sets the pitch of the entire program in semitone intervals. 3 SAMPLE LFO S/H SPEED Sets the frequency of the LFO S/H waveform. Higher values produce higher speed.

PROGRAM PORTAMENTO unit

4 MODE (MONO) Selects the PROGRAM PORTAMENTO mode. The mode indicated in parenthesis is effective only when the sample that uses the PROGRAM PORTAMENTO is in the mono mode. 5 RATE/TIME Sets the PROGRAM PORTAMENTO rate or time.

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AD INPUT unit
6 AD INPUT ON/OFF Turns the AD INPUT function on or off. 7 SOURCE Sets the input source of the AD INPUT. 8 PAN Sets the pan position of the input signal via the AD INPUT function. If the source is set to 2Mono, separate settings for INPUT L and INPUT R are available. 9 LEVEL Sets the levels for OUTPUT 1 and OUTPUT 2, respectively. If the source is set to 2Mono, separate settings for INPUT L and INPUT R are available. ) OUTPUT Selects the output destination of the input signal via the AD INPUT function. Two independent stereo outputs are available for OUTPUT 1 and 2. If the source is set to 2Mono, separate settings are available for INPUT L and INPUT R for both OUTPUT 1 and 2, for a total of four independent stereo outputs.

EFFECT1-3 unit

! CONNECTION Sets the connections for EFFECT 1, 2 and 3. @ LEVEL Sets the input levels for EFFECT 1, 2 and 3. # DETAIL Opens the EFFECT 1, 2 and 3 dialog for editing in detail. $ EFFECT TYPE Shows the effect types assigned to EFFECT 1, 2 and 3. Click the boxes to see the effect type list and assign other effects. % PAN Sets the output pan positions for EFFECT 1, 2 and 3. ^ WIDTH Sets the output pan widths for EFFECT 1, 2 and 3. & LEVEL Sets the output levels for EFFECT 1, 2 and 3. * OUTPUT Selects the output destination for EFFECT 1, 2 and 3. This function is not available for an effect block which is connected to another effect block.

EFFECT4-6 unit

The same functions are provided for EFFECT 4, 5 and 6 as for EFFECT 1, 2 and 3 above. This unit is not available for the A4000.

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CONTROL page

)! @ %

PROGRAM CONTROL unit
1 DEVICE Selects the control devices for PROGRAM CONTROLs 1 through 4. 2 FUNCTION Selects the control functions for PROGRAM CONTROLs 1 through 4. 3 RANGE Selects the control value ranges for PROGRAM CONTROLs 1 through 4. 4 TYPE Selects the control methods for PROGRAM CONTROLs 1 through 4.

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CHANNEL SETUP unit
5 CTRL RESET Determines whether the control value is reset or maintained for each MIDI channel when the program is switched by a program change message or other mean. Select ON to reset or NO to maintain. MIDI channels B01 through B16 are not available on the A4000. 6 NOTE ON TYPE Selects the type of playback which will occur when note-on messages are received for each MIDI channel. MIDI channels B01 through B16 are not available on the A4000.

PROGRAM LFO unit

7 WAVE Selects the PROGRAM LFO waveform. The selected waveform is used to modulate the sound in synchronization with the received MIDI clock and the playback tempo. 8 CYCLE Selects the note type corresponding to the one PROGRAM LFO cycle. 9 INIT PHASE Selects the initial phase of the PROGRAM LFO. ) SYNC Selects the PROGRAM LFO synchronization method. MANUAL allows the PROGRAM LFO to be synchronized to the specified tempo, and MIDI allows the PROGRAM LFO to be synchronized to a received MIDI clock. ! TEMPO Sets the tempo for MANUAL synchronization. This has no effect when MIDI synchronization is selected. @ RESET CH Specifies the MIDI channel via which a received note-on message will initialize the phase of the PROGRAM LFO when MANUAL synchronization is selected. This has no effect when MIDI synchronization is selected. # NOTE Specifies the note number which will initialize the phase of PROGRAM LFO. This has no effect when MIDI synchronization is selected. $ VALUE Sets the values for STEP 1 through 16 of the step wave waveform. This has no effect on waves other than the step wave. % SLOPE Selects the method by which the step wave steps will be smoothly connected. This has no effect on waves other than the step wave. ^ TOTAL STEPS Sets the total number of steps for the step wave. Values for steps beyond the total step number have no effect.

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Sample Edit Window
The Sample Edit Window allows you to edit the parameters related to the A5000/A4000 sample banks or samples. The edited data are transmitted to the A5000/A4000 via MIDI in realtime. For information on each parameter, refer to the A5000/A4000 Owners Manual.
1 The Toolbar This area includes the buttons controlling the Sample Edit Window (P.24). 2 MAP/OUT, FILTER, EG and LFO/MIDI/CONTROL tabs Click the tabs to switch between the MAP/OUT, FILTER, EG and LFO/MIDI/CONTROL pages. 3 ON/OFF button Determines whether the sample bank values or the individual sample values will be effective for each parameter or parameter group. Select ON to make the sample bank values effective, or OFF to make the inbdividual sample values effective (the sample bank values are ignored). This button appears only when a sample bank is being edited. If you change a parameter value this parameter is automatically turned ON. 4 Keyboard button Click or drag this to hear the edited results.

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MAP/OUT page

9 ) ! @ #

& *

# $ % ^

1 LEVEL Sets the volume level. 2 PAN Sets the pan position. 3 VELOCITY SENSITIVITY Sets the velocity sensitivity to control the volume level. 4 POLY/MONO Selects polyphonic or mono playback.

KEY RANGE unit

5 ORIGINAL Specifies the original key note number at which the sample sounds at its original pitch. This cannot be set when a sample bank is being edited. 6 LOW Sets the lowest key note number for the samples key range. This cannot be set when a sample bank is being edited.

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7 HIGH Sets the highest key note number for the samples key range. This cannot be set when a sample bank is being edited. 8 KEY X-FADE Turns key crossfade OFF or ON.

PITCH unit

9 COARSE Adjusts the samples pitch in semitone intervals. ) FINE Fine-tunes the samples pitch. This cannot be set when a sample bank is being edited. ! RANDOM Sets the amount of random pitch variation. @ FIXED Determines whether the sample sounds at the same pitch over the entire key range or not.

VELOCITY RANGE unit

# HIGH Sets the maximum velocity for the velocity range. $ LOW Sets the minimum velocity for the velocity range. % HIGH X-FADE Sets the crossfade depth at the maximum velocity. ^ LOW X-FADE Sets the crossfade depth at the minimum velocity.

EXPAND unit

& DETUNE Sets the detune depth. * DEPHASE Sets the dephase depth. ( WIDTH Sets the pan width for the detuned or dephased sound.

SAMPLE PORTAMENTO unit

MODE (MONO) Selects the sample portamento mode. The mode in parentheses is effective only when the sample or sample bank is set to the mono mode. RATE/TIME Sets the portamento rate or time.

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LEVEL SCALING unit
BREAK POINT Sets the note number for level scaling BREAK POINT 1, 2. LEVEL Sets the BREAK POINT 1, 2 volume level.

OUTPUT unit

LEVEL Sets the OUTPUT 1, 2 volume level. OUTPUT Selects the output destination of the sample or sample bank. Two independent stereo outputs are available for OUTPUT 1 and 2.

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FILTER page
Edit Operation on the Graph
Drag the s marker toward the arrow mark to set the parameter on the graph.
n s markers may be overlapped sometimes.

FILTER unit

1 TYPE Sets the filter type. 2 CUTOFF Sets the filter cutoff frequency. 3 Q/WIDTH Sets the filter resonance depth or band width for the band pass filter. 4 DISTANCE Sets the distance between the cutoff frequencies of the two filters when a combined filter type is selected. 5 FILTER GAIN Sets the filter output level. The sound may become distorted if the Q/WIDTH is set too high.

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6 VELOCITYCUTOFF Determines how the cutoff frequency changes in response to velocity. 7 VELOCITYQ/WIDTH Determines how the Q/WIDTH value changes in response to velocity.

EQ unit

8 TYPE Sets the EQ type. 9 FREQUENCY Sets the EQ frequency point. ) GAIN Sets the gain at the selected frequency point. ! WIDTH Sets the band width. This may not be available for some filter types.

FILTER SCALING unit

@ BREAK POINT Sets the filter scaling BREAK POINT 1, 2 note. # CUTOFF Sets the amount of cutoff increase or decrease at BREAK POINT 1, 2.

Page 19

EG page

! ) @ # $

% ^ & *

AMPLITUDE EG unit

1 ATTACK RATE Sets the attack rate. 2 DECAY RATE Sets the decay rate. 3 RELEASE RATE Sets the release rate. 4 SUSTAIN LEVEL Sets the sustain level. 5 ATTACK MODE Sets the attack mode.

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6 RATE SCALING Determines how the amplitude EG rates vary according to the note played. 7 VELOCITYRATE Determines how the amplitude EG rates vary in response to the velocity of the played note.

FILTER EG unit

8 ATTACK RATE Sets the rate at which the cutoff frequency moves from its initial level (at note on) to the attack level. 9 DECAY RATE Sets the rate at which the cutoff frequency moves from the attack level to the sustain level. ) RELEASE RATE Sets the rate at which the cutoff frequency moves from the sustain level to the release level following note off. ! INIT LEVEL Sets the cutoff frequency offset value at the time of note on. @ ATTACK LEVEL Sets the cutoff frequency offset value at the attack level. # SUSTAIN LEVEL Sets the cutoff frequency offset value at the sustain level. $ RELEASE LEVEL Sets the cutoff frequency offset value at the release level. % RATE SCALING Determines how the filter EG rates vary according to the note played. ^ VELOCITYRATE Determines how the filter EG rates vary in response to the velocity of the played note. & VELOCITYATTACK LEVEL Sets the first velocity-sensitivity value for the filter EGs initial level and attack level. * VELOCITYLEVEL Sets the general velocity sensitivity for all filter EG levels.

PITCH EG unit

( ATTACK RATE Sets the rate at which the pitch moves from its initial level (at note on) to the attack level. DECAY RATE Sets the rate at which the pitch moves from the attack level to the sustain level. RELEASE RATE Sets the rate at which the pitch moves from the sustain level to the release level following note off. INIT LEVEL Sets the pitch offset value at the time of note on.

Page 21

ATTACK LEVEL Sets the pitch offset value at the attack level. SUSTAIN LEVEL Sets the pitch offset value at the sustain level. RELEASE LEVEL Sets the pitch offset value at the release level. RATE SCALING Determines how the pitch EG rates vary according to the note played. VELOCITYRATE Determines how the pitch EG rates vary in response to the velocity of the played note. VELOCITYLEVEL Sets the general velocity sensitivity for pitch EG levels. PITCH EG RANGE Sets the range for pitch EG pitch variation.

Page 22

LFO/MIDI/CONTROL page

# ^ &

1 RECEIVE CHANNEL Sets the MIDI receive channel on which the sample will sound. 2 ALTERNATE GROUP Used to eliminate inappropriate simultaneous sounding of multiple drum instruments.

LFO unit

3 WAVE Selects the LFO waveform. The selected waveform is used to modulate the sound. 4 SPEED Sets the LFO frequency. Higher values produce faster modulation. 5 KEY SYNC Determines whether the LFO waveform is reset or maintained at the time of note on. 6 DELAY Sets the delay time to the beginning of LFO modulation after note on.

Page 23

7 PITCH MODULATION DEPTH Sets the degree by which the pitch is modulated by the LFO waveform. 8 FILTER MODULATION DEPTH Sets the degree by which the filters cutoff frequency is modulated by the LFO waveform. 9 AMPLITUDE MODULATION DEPTH Sets the degree by which the amplitude is modulated by the LFO waveform. ) PITCH MODULATION PHASE INVERT Inverts the waveform used to modulate the pitch. ! FILTER MODULATION PHASE INVERT Inverts the waveform used to modulate the filter.

SAMPLE CONTROL unit

@ DEVICE Selects the control devices for PROGRAM CONTROLs 1 through 6. # FUNCTION Selects the control functions for PROGRAM CONTROLs 1 through 6. $ RANGE Selects the control value ranges for PROGRAM CONTROLs 1 through 6. % TYPE Selects the control methods for PROGRAM CONTROLs 1 through 6.

PITCH BEND unit

^ PITCH BEND TYPE Sets the pitch bend control method. & PITCH BEND RANGE Sets the pitch bend control range.

VELOCITY unit

* VELOCITY LOW LIMIT Sets the minimum note velocity. When a note on message with a lower velocity is received, the actual playback velocity will be automatically raised to the value set here. ( VELOCITY OFFSET Sets the offset value which is applied to all received velocities to raise or lower them by the same amount.

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(Edit Window)
This area holds the buttons controlling the Edit Window.
1 Editor Setup button See item 1 in The Toolbar of The Memory List Window (Page 7). 2 Memory List button Click this to bring the Memory List Window back into view (Page 6).

Page 25

OMS Settings (Macintosh)
The A5000/A4000 Editor software uses OMS (Open Music System) for MIDI input/output. To use the A5000/A4000 Editor software, OMS must be installed beforehand.
n For information about installing OMS, refer to the separate Installation Manual.

About OMS

Voice Editor uses the OMS (Open Music System) to transfer MIDI data to an external MIDI device. OMS is a system extension that goes in the Mac OS System folder, designed to manage the MIDI data stream (input & output) in a computer, to enable MIDI data transfer between MIDI software and hardware attached to the computer. OMS is a de facto standard of the MIDI environment under the Mac OS, and various music software manufacturers have released OMS-compatible sequencer and other software. OMS has the following merits: As OMS-compatible MIDI applications communicate with various MIDI devices via OMS, it is no longer necessary for you to set up multiple MIDI drivers for those applications. Thus, you can avoid conflicts between different drivers with the same purpose (MIDI control). Once a Studio Setup is read in OMS, any OMS-compatible application will be aware of it, even if you need to reconfigure the routing of the MIDI data stream or change the current Studio Setup. OMS-compatible applications will commonly recognize the new configuration. You can have different Studio Setups to choose one from,to switch to a different MIDI routing (patches between MIDI devices and software) fast and easily. Every time the OMS Setup application is opened, any MIDI device connected to the computer is automatically detected, and its icon appears with a current MIDI status (channel number, port number, patches, etc.). Once devices are configured with OMS Setup, however, you need not care too much about the status. OMS can drive various MIDI interfaces, including the standard type (16 channels) and the multi-port type (16 channels per port). If you use a multi-port type, you can control over 16 channels simultaneously via OMS.
n For more information about OMS features, see the READ ME file included with OMS.

Setting up OMS

Setup files for the A5000/A4000 have already been created for use with the A5000/A4000 Editor; please use the appropriate file for your device. The following example is for the A5000. 1. Interconnect the MIDI interface device connected to the Macintosh and the MIDI IN-A or MIDI IN-B terminal of the A5000. Select the terminal you use (MIDI IN-A or MIDI IN-B) in the UTILITY/MIDI function/SysEx page/Receive Port. (This setting is not needed for the A4000.) 2. Double-click the OMS Setup icon in the OMS Application folder. 3. Choose Open from the File menu and select A5000-Modem from within the OMS setup for YAMAHA folder.
n If you are using a computer with no modem port (such as the Performa series), look in the A5000Printer folder instead.
4. Choose Make Current from the File menu. The setup for your A5000 is now saved as the current studio setup. 5. Choose Quit from the File menu to close OMS Setup.
n A5000/A4000 Editor is not compatible with versions of OMS earlier than 2.0.

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OMS Port Setup
Having set up OMS, you now need to start up the A5000/A4000 Editor and set the OMS ports. 1. First, start up the A5000/A4000 Editor by double-clicking its icon.
n If AppleTalk is enabled, you will get an alert message. Click OFF. It will take some time for AppleTalk to be disabled.
2. Choose OMS Port Setup from the A5000/A4000 Editors MIDI menu, then select the port settings. In the following example, the tone generator is an A5000 and its setups are applied to OMS.

MIDI In:

Select A5000.
MIDI Out: Select A5000. 3. Click [OK] to close OMS Port Setup.

Page 27

Troubleshooting
If you encounter problems such as no sound output or abnormal behavior, verify the connections before checking the following. If you are using the A5000/A4000 Editor for Windows, refer to the XGworks(lite) owners manual too.

<Macintosh>

The printer port is not recognized. The printer port will not be recognized if AppleTalk is ON. Note that with some Macintosh models, AppleTalk is automatically enabled when starting up. Verify that the Printer checkbox has been checked in the OMS MIDI Setup window.

<Windows>

A5000/A4000 Editor is not available in the Plug-in menu. Is the A5000/A4000 Editor installed in the same folder as XGworks(lite)? If not, reinstall A5000/ A4000 Editor. Bulk data is not received. Is the MIDI In set correctly in the System Setup of XGworks? Open the Editor Setup Dialog and check that the Device No. has been properly assigned (Page 7).
The modem port is not recognized. On some Macintosh models such as the Performa series, the modem port cannot be used and only the printer port is available. Verify that the Modem checkbox has been checked in the OMS MIDI Setup window.
No MIDI In/Out data In the OMS Port Setup, is MIDI In/Out set to unknown? If you change the OMS ports or setup, the OMS output ports have to be set accordingly in A5000/A4000 Editors OMS Port Setup window. Choose the appropriate receiving device. Is OMS using the same port as that connected to the cable? Open the OMS MIDI Setup window and verify that the checkbox for the relevant port has been checked. If the port and setup assignments are frequently altered, OMS may be unable to easily recognize the serial port. Reboot the Macintosh, set up OMS correctly, then start up the A5000/A4000 Editor.
MIDI Out port is not available in Editor Setup. The MIDI Out port in Editor Setup can be chosen from the MIDI Out ports in the System Setup of XGworks(lite). Check the MIDI Out settings in the System Setup of XGworks(lite).
<Windows / Macintosh>
Sound does not change when using knobs or sliders. Are the MIDI Out port and Device Number set correctly in the Editor Setup? (Page 7) Parameter change data is not transmitted. Are the MIDI Out port and Device Number set correctly in the Editor Setup? (Page 7) No sound heard when clicking on-screen keyboard in Edit Window. Is the MIDI Ch. set correctly in the Editor Setup? (Page 7)
Memory List data are not received. Open the OMS Port Setup window and check that the MIDI In has been properly assigned (Page 26). Open the Editor Setup Dialog and check that the Device No. has been properly assigned (Page 7).

Sampling Tone Generator

The tone generator section records audio signals received via the analog input jacks (or the digital coaxial or optical inputs, if the optional I/O board is installed), and allows the recorded samples to be edited and played from an external MIDI controller. The recorded signals can be organized as samples, grouped in sample banks, and assigned to programs for easy handling and operation.

Samples

A sample is the smallest unit of data handled by the A5000/A4000, consisting of the sampled waveform plus the most basic playback parameters. The act of recording signals received via the analog INPUT jacks (or the DIGITAL IN or OPTICAL IN connectors if the optional I/O expansion board is installed) is known as sampling, and the recorded wave data is kept in the samples internal wave memory. In addition to the raw wave data, samples include start and end addresses that specify where playback of the wave data is to start and end, loop addresses, an original key parameter, EG (Envelope Generator) parameters, LFO (Low Frequency Oscillator) parameters, and other data that determines how the sample is to be played back.

Sample

Wave Data Sample Parameters Start/end address, loop, original key. EG, LFO.
In conventional samplers the term sample normally refers to the wave data only. It is important to remember that A5000/A4000 samples also include a number of sample parameters. Samples can be either mono or stereo. Stereo samples have independent wave data for the left and right channels. The total number and size of samples that can be recorded or loaded into memory at a time will depend on the amount of internal wave memory available. Sampling is carried out using the RECORD mode (page 150), while sample editing is carried out in the EDIT mode (page 118).

Sample Banks

A sample bank is a group of samples which can be handled as a single sample. Multi-sampled instruments, drum kits, etc., are collections of many samples that function together to create the desired sound. By grouping all the related samples together as a sample bank, they can be copied, saved, and otherwise managed all at once, making it unnecessary to go through the tedious process of individually processing each sample.

Sample Bank

Sample A Sample B Sample C Sample D
Multi-sampling is often used to achieve realistic reproduction of instruments that have a wide pitch range. Small groups of notes or even single note are individually sampled, then the resultant samples are mapped to the playback key range, thus accurately reproducing the instruments natural tonal variation across its entire range.

s Program Mode = Single

Press] MIDI You can input your controller-number selection directly from your MIDI keyboard. First press Knob 2 so that the indicator lamp (directly above the knob) begins blinking, and then operate the appropriate controller at the keyboard. The controller's controller number will then appear on the screen directly above the knob. Push the knob again (or move to another page) to terminate this MIDIentry mode and register the new setting.
When setting the MIDI channel via MIDI on the A5000, receive the appropriate MIDI messages via the MIDI IN-A connector to set channels A01 A16, and via the MIDI IN-B connector to set channels B01 B16.
Knob 1 Turn action Press action Page Tree View

Knob 2 Program

Knob 3 Program RENAME.

Knob 4 Program Mode

Knob 5 Basic Receive Channel MIDI

[DISPLAY] Knob 1

[ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83).

q FREE MEMORY

This page displays the amount of memory currently available for use (currently unused). The screen shows separate values for waveform memory ( ) and parameter memory ( ). displays the parameter memory. Parameter memory is the memory used by program or sample parameter data as well as sequence data. displays the wave memory. Wave memory is memory containing the sample wave data.
[ Turn] Program (Select Program) Turn the knob to select a program for playback, editing, or save.

[Range] 001 128

w SOLO
If Sample Solo is turned "on" for any sample in the SmpSel page, the mark will appear (MIDI SAMPLE).

e MIDI SAMPLE

If MIDI SAMPLE is set to "Upper" or "Lower" in the tree view display page, the corresponding icon will appear: for Upper, and for Lower.

Program Mix

[PLAY] Button [F1] Button Knob 1 to select "PLAY-PgmMix"

s Program Mode = Multi

The Program Mix page allows the nal output levels and transpose values for each program to be set as required. The content of this display will depend on the Program Mode setting (page 89).

s Effect Edit Type = full

Cursor w

[ Turn] Value Turn the knob to set the value for the parameter selected by Knob 4.
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Effect # Knob 3 Knob 4 Parameter # Knob 5 Value
s Effect Edit Type = favorite
Same function as cursor q (page 104).
Knob 1 Knob 2 Effect # Knob 3 Knob 4 Knob 5
[ Turn] Effect # (Effect Number) Selects the effect to be edited.
[Range] Ef1 Ef6 (Ef1 Ef3 on the A4000)
The effect type assigned to the selected effect will be shown on the display (page 102).
Turn action Press action Cursor/Page Tree View
[ Turn] Parameter # (Parameter Number) Turn either knob to select the parameter whose value you want to view or set. You can then set the value using Knob 5. You can repeat the sequence to set each of the available parameters: rst select the parameter with Knob 4, and then set the value with Knob 5. Note that the available parameters differ for each effect type. For a listing of parameters and their meanings, refer to the "Effect parameter list" in the Appendix. (page 256).

Cursor e

Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Parameter1 Value PARAM1 Knob 3 Parameter2 Value PARAM2 Knob 4 Parameter3 Value PARAM3 Knob 5 Parameter4 Value PARAM4
Same function as cursor w (page 105).

Knob 2 5

[ Turn] Parameter1 Value Parameter4 Value Adjust the corresponding parameters on the top line of the display. Press] Parameter1 List Parameter4 List Displays a list of the corresponding parameters. Knobs can be used to change the parameters to be edited.
[Range] 01/Effect Parameters 1 16/Effect Parameter 16 01/Effect Parameters 1 16/Effect Parameter 16. Depends on the selected effect type.
106 Chapter 4 PLAY Mode A5000/A4000

PLAY-SETUP

5. SETUP
This mode includes functions such as LFP S/H (Sample & Hold) speed and A/D input setup. Press the [PLAY] button and then the [F5] button to enter the SETUP mode. 2 display pages are provided: S/Hspeed and ADInput.
See "Basic Operation" on page 78 for details on acessing the various display pages. When the program mode is set to "Multi" (page 89), the master program setup settings take priority (the master program is the program selected for the part assigned to the basic channel). If a setup function is accessed when any other part is selected "Not a Master Part" will appear on the display. If this happens select an appropriate part via the PLAY-PROGRAM-PgmSel page (page 89), and then use the setup functions.

[ Turn] PEG Initial Level This value sets the initial level (the pitch offset applied at time of Note On).
[ Turn] PEG Rate Velocity Sensitivity This value sets the velocity sensitivity for the PEG rates: the amount by these PEG rates (PEG attack, PEG decay, and PEG release rates) vary in response to the velocity (force) of the played note. Set the value to 0 to keep rates the same for all velocities. Positive settings cause rates to increase as velocity increases, while negative settings cause rates to decrease as velocity increases.
[ Turn] PEG Attack Level This value sets the attack level. (See illustration, page 140)
[ Turn] PEG Level Velocity Sensitivity This value sets the velocity sensitivity for the PEG levels: the amount by these levels (initial, attack, sustain, and release rates) vary in response to the velocity of the played note. Set the value to 0 to keep the levels the same for all velocities. Positive settings cause the levels to increase as velocity increases, while negative settings cause the levels to decrease as velocity increases.
[ Turn] PEG Range This value sets the range for PEG pitch variation, in semitones. This setting works in conjunction with the level settings at the Pitch EG Level page (page 141) to determine how far the PEG levels are from the samples basic pitch. If you set the PEG Level settings to maximum (+127 or -127), then the distance between each level and the basic pitch will be equal to the number of semitones that you set here.
142 Chapter 5 EDIT Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q

EDIT-LFO

5. LFO
You use the LFO function to set up the samples LFO (lowfrequency oscillator). The LFO applies a low-frequency modulation to the output volume, lter cutoff frequency, and pitch.

Saw (Sawtooth wave)

Triangle (Triangle wave)
Press the [EDIT] button and then the [F5] button to go to the LFO functions. 1 display page is provided: LFO.
[EDIT] Button [F5] Button Knob 1 to select "EDIT-LFO"
S/H ("Sample & hold" : random pattern)

Knob 2 LFO Wave

Knob 3 LFO Speed QUICK.

Knob 4 LFO Delay QUICK.

Knob 5 LFO Key On Sync
[ Turn] LFO Speed This value sets the modulation speed for the saw, triangle, or square waveform. Higher values produce faster modulation.

[Range] Modulation speed for the S/H waveform must be set
at the program side (page 107). If you have selected the S/H waveform (knob2), the screen displays the current program-side setting. You cannot change the setting from this page.
[ [ Turn] Cursor Position/Page Selection Positions the cursor and selects display pages.
Press] Tree View Calls the Tree View display (page 83).
[ Turn] LFO Wave This parameter selects the LFO waveform. The waveform, in turn, determines the type of modulation (oscillation) applied to the samples lter, pitch, and amplitude. [Range] Saw, Triangle, Square, S/H
[ Turn] LFO Delay This parameter sets the interval between Note On and the onset of LFO modulation. Higher values produce longer delay together with a more gradual buildup of the modulation level.
[ Turn] LFO Key On Sync This setting selects whether LFO oscillation always begins from the same phase (at the same point in the LFO waveform). If you set the value to on, LFO oscillation will restart from phase 0 (the leftmost point in the preceding illustration) with each new note that you play.
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Cutoff Mod Phase Invert Knob 4 Pitch Mod Phase Invert Knob 5
Same function as Cursor q (page 143).
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Cutoff Mod Depth QUICK. Knob 4 Pitch Mod Depth QUICK. Knob 5 Amp Mod Depth QUICK.
Turn] Cutoff Mod Phase Invert (Cutoff Modulation Phase Invert) Determines whether the phase of the LFO will be inverted or not. When on the phase of the LFO is inverted so that the direction of modulation is reversed.
[ Turn] Pitch Mod Phase Invert (Pitch Modulation Phase Invert) Determines whether the phase of the LFO will be inverted or not. When on the phase of the LFO is inverted so that the direction of modulation is reversed.
[ Turn] Cutoff Mod Depth (Cutoff Modulation Depth) This value sets the degree by which the amplitude is modulated by the LFO waveform. Higher values produce stronger modulation.
This parameter has no effect if the EDIT-FILTERFltr&EQ Filter Type is set to bypass (page 133).
[ Turn] Pitch Mod Depth (Pitch Modulation Depth) Determines the depth of pitch modulation to be applied by the LFO. Higher values produce deeper modulation.
[ Turn] Amp Mod Depth (Amplitude Modulation Depth) Determines the depth of amplitude modulation to be applied by the LFO. Higher values produce deeper modulation.
144 Chapter 5 EDIT Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q

[Range] A01 A16, B01 B16, Bch (on the A4000, Bch) Bch. The specied Basic Channel (page 89) is used.
Press] LIST. Calls the pitch bend type list.

Normal

Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range Basic Pitch - PB Range Basic Pitch
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range Basic Pitch
Turn] Velocity Offset Use this value to apply an offset to all received velocities so as to raise or lower all velocities by the same amount.
[Range] -127 +127 If you set the offset to -25, for example, then a NoteOn message with a velocity of 90 will be replayed at a velocity of 65.
Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.)
Slow&Rev (Slow & Reverse)
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range Basic Pitch Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.) Reverse play at basic pitch. (Sample replay ends at wave-play start address.)
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 32 0
q The selected pitch bend type will be shown diagramatically on the
left side of the display. For the Normal Stop&Rev settings, the horizontal axis represents the pitch bend value and the vertical axis represents pitch. For Up[A] Dwn[B] settings the the pitch bend variation is shown in relation to a keyboard diagram.
Stop&Rev (Stop & Reverse)
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range Reverse play at basic pitch. (Sample replay ends at wave-play start address.) Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.)

Up[A] Dwn[B] (UpA DownB)

Pitchbend Value Playback Pitch 127 Basic Pitch + x semitones (or: Basic Pitch + z semitones) Basic Pitch - y semitones (or: Basic Pitch + z semitones) Basic Pitch
w Received velocity (horizontal axis) versus resultant velocity (vertical axis) in accordance with the Velocity Low Limit and Velocity Offset values is show on the right side of the display.

The actual disk and volume are selected via the DISK mode VOLUME parameter (page 172).
[ Turn] Pre Trigger "Pre-trigger" means that recording actually begins the specied number of milliseconds (a millisecond is 1/ 1000th of a second) before recording is started, either manually or by automatic triggering.

[Range] 0ms 500ms

This feature ensures that the beginning of samples won't be cut off. Even if you press the (>START) knob a little late when recording a sample, an appropriate amount of pre-trigger time ensures that you'll capture the initial attack of the sample. The maximum setting of 500 milliseconds is actually a half a second, which should be more than enough for most applications. Pre-trigger can also be useful when automatically triggering recording with a start edge trigger level setting (TRIGGER functions, page 158). Edge triggering can cut off the initial attack of some sounds, and an appropriate pre-trigger setting can completely avoid this problem, allowing the full attack of the source to be faithfully recorded. The Pre Trigger parameter is not available if StOut is selected for the Input parameter (Knob 2).
156 Chapter 6 RECORD Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q

Process

[REC] Button [F2] Button Knob 1 to select "REC-Process"
Use this page to select whether the A5000/A4000 normalizes samples immediately after recording them.

Knob 2 MONITOR

Knob 3 Auto Normalize
[ Turn] Auto Normalize Set this on if you want the A5000/A4000 to normalize each new sample immediately after recording it. If you select on, the A5000/A4000 automatically adjusts the recorded waveform by proportionately raising all levels such that the highest level comes to just below the clip point, as illustrated below. (The clip point is the maximum level appropriate for digital processing.)

Normalize

Recorded sample
Since normalization will occur automatically when recording ends, some time may be required for processing.

RECORDING-TRIGGER

3. TRIGGER
You use this page to set the type of triggers used to start and stop actual recording. Press the [REC] button and then the [F3] button to enter the TRIGGER function display. 1 display page is provided: Trigger.
q Input level meter. w Start and stop edge level settings. Cursor w

Trigger

[REC]Buttonl [F3]Button to select "REC-Trigger"
Knob 1 Turn action Press action Cursor Tree View Knob 2 MONITOR Knob 3 Start Trigger Knob 4 Start Edge Level QUICK. Knob 5

Automatically arranges the mapping of samples assigned to the selected program or sample bank. The samples are arranged in order of their Low Key Range settings, from lowest to highest. [Operation]
1. Use the Arrange Type parameter to specify whether the samples in
a Program or Sample Bank (page 211).
2. Select the Program or Sample Bank which uses the samples to be

arranged (page 211).

3. Use Cursor w Knobs 2 and 3 to specify the conditions for the samples to be arranged.
4. Use Cursor w Knobs 4 and 5 to specy the arrange conditions. 5. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the arrange
conrmation display will appear. Press Knob 5 (YES) to execute the arrange operation.
[ Press] EXEC&CONT Press this knob to call the arrange conrmation display. Press Knob 5 (YES) to actually execute the arrange operation.
Press] MIDI Allows setting the Target Area parameter directly from an external MIDI controller (page 82).
[ Turn] Map From Sets the base note for sample arrangement. The samples selected for arrangement will be mapped from the specied Map From note upward, key by key.
Knob 1 Turn action Press action Cursor EXEC Knob 2 Target Channel MIDI Knob 3 Target Area MIDI Knob 4 Map From MIDI Knob 5 Map Key EXEC&CONT
Press] MIDI Allows setting the Map From parameter directly from an external MIDI controller (page 82).
[ Turn] Map Key Determines whether samples will or will not be assigned to black keys.

[Range] White, all

Same function as Cursor q (page 211).
White. Samples will be assigned only to white keys. all. samples will be assigned to all keys (white and black).
[ Turn] Target Channel Species the MIDI channel which will be used to select the samples to be arranged.
[Range] A01 B16 (on the A4000), Bch, all A01 B16 (on the A4000). Only samples set to the corresponding receive channel will be arranged. Bch. Only samples set to the basic receive channel (page 94) will be arranged. all. All assigned samples will be arranged.
Press] EXEC&CONT Press this knob to call the arrange conrmation display. Press Knob 5 (YES) to actually execute the arrange operation.

FREEZE

[COMMAND/EXIT] Button Knob 1 to highlight display line 2 Press Knob 2.
Press] MIDI Allows setting the Target Channel parameter directly from an external MIDI controller (page 82).

11. Secure the cables with the cable straps.
Secure the connected power cable with the cable straps as shown in the illustration.
The SCSI hard disk is now fully installed. There is no need to remove the disk when installing other devices.
12. Replace the top cover (page 233). 13. Plug in the power cord.
Important After installing the hard disk, connect your audio and MIDI devices, and turn on the A5000/A4000. Then mount the hard disk (page 173), format it (page 177), and partition it into volumes (page 172).
Installing an Internal IDE Hard Disk
This section explains how to install a standard IDE hard disk drive (bare drive) into the A5000/A4000.
Hard disk power cable (long): Supplied IDE hard disk cable (40-pin): Supplied

IDE hard disk: Optional

Important Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual. Consult your Yamaha dealer for information about IDE hard disk models that have been conrmed as operating correctly with the A5000/A4000.
Internal IDE hard disk Hard disk installation screws (4 pcs.): Available from your hard disk dealer. IDE hard disk cable (40-pin): supplied with the A5000/A4000. Hard disk power cable (long red-and-white 4-wire cable): supplied with the A5000/A4000. Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Screwdriver for the hard-disk installation screws: Note that some hard-disk models do not use Phillips-head screws. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
When using an IDE hard disk alone (i.e. when no ZIP drive is installed), the IDE hard disk must be set to MASTER (for information on MASTER/SLAVE settings, see the disks owners manual/specication sheet). When using an IDE hard disk in conjunction with a ZIP drive, one drive must be set to MASTER and the other to SLAVE (for information on MASTER/SLAVE settings, see the disks owners manual/ specication sheet).

266 Appendix A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
74: CONTROL DELAY(STEREO)
Delay Time Feedback Level Feedback High Damp Delay transition rate Control Type EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0.1ms 740.0ms -63 +63 0.1 1.48 Normal, Scratch 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Delay time Amount of feedback High range attenuation (lower values cause the high range to decay faster) Selects the speed of delay time variation Normal or scratch type setting Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound

75: AMBIENCE

7 Dry/Wet Balance Delay Time Wet Output Phase EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0ms 50.0ms normal/inverse 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay time Inverts the left an right channel effect phase Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range

76: KARAOKE

5 Dry/Wet Balance Delay Time Feedback Level HPF Cutoff Freq LPF Cutoff Freq D63>W D=W D<W63 0.1ms 400.0ms -63 +63 thru, 20Hz 8.0kHz 1.0kHz 18.0kHz, thru Balance of the dry sound and effect sound Sets the karaoke echo reection time Sets the number of reections Frequency at which the high pass lter will cut the low range Adds character to the input low-pas lter

77: EARLY REFLECTION

1 @Dry/Wet Balance Type Room Size Diffusion Initial Delay HPF Cutoff Freq LPF Cutoff Freq Liveness Density Feedback High Damp Feedback Level D63>W D=W D<W63 S-hall, L-hall, random, reverse, plate, spring 0.1 20.10 0.1ms 200.0ms thru, 22Hz 8.0kHz 1.0kHz 18.0kHz, thru 03 0.1 1.0 -63 +63 Balance of the dry sound and effect sound Selects the type of early reections Sets the room size (higher values for longer reections) Sets the feeling of width The delay before the early reections begin Frequency at which the high pass lter will cut the low range Adds character to the input low-pas lter Sets the ER decay (smaller values for faster decay) Sets the density of the reections (higher values for higher density) Adjusts the high-frequency decay (smaller values for faster decay) Amount of feedback
78: GATE REVERB, 79: REVERSE GATE

Sustain loop start point(LSB first)
Sustain loop end point(LSB first)

Loop type

This is the header portion of a dump. Name Sample format Sample period Sample length Sustain Loop start point Sustain Loop end point Loop type Range $00/$01/$7F $00=forward only, $01=backward/forward, $7F=Loop off Contents Number of bits in one sample word Sample rate (nSec units) Amount of data (word units) Loop start address (word units) Loop end address (word units) Loop type
When this message is received, the A5000/A4000 will search for the correspondingly-numbered sample, and if that sample exists, a dump header will be transmitted. If the corresponding sample does not exist, processing will be terminated. This message is not transmitted. 4.1.2. ACK 0nnnnnnn 01111111 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7F ppppppp = Packet number $F7
This message is transmitted and received. 4.1.7. Data Packet 01111110 0nnnnnnn 00000010 0ppppppp 0ddddddd 0ddddddd 0lllllll 11110111 $F0 $7E nnnnnnn $02 ppppppp ddddddd ddddddd lllllll $F7
= Channel Number = Packet number Sample data(120byte) = Checksum
This message indicates that the receiving device correctly received a packet. "Packet number" indicates the number of the packet which was received correctly. This message is transmitted and received. 4.1.3. NAK 0nnnnnnn 01111110 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7E ppppppp = Packet number $F7
This is the data portion of a dump. This message is transmitted and received. 4.2. MULTIPLE LOOP POINT MESSAGES 4.2.1. Loop Point Transmission 01111110 0nnnnnnn 0sssssss 0sssssss 0bbbbbbb 0bbbbbbb 0ccccccc 0ttttttt 0ttttttt 0ttttttt 0eeeeeee 0eeeeeee 0eeeeeee 11110111 $F0 $7E nnnnnnn $05 $01 sssssss sssssss bbbbbbb bbbbbbb ccccccc ttttttt ttttttt ttttttt eeeeeee eeeeeee eeeeeee $F7

= Channel Number

This message indicates that the receiving device received a packet incorrectly. "Packet number" indicates the number of the packet which was received incorrectly. This message is transmitted and received. 4.1.4. Cancel 0nnnnnnn 01111101 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7D ppppppp = Packet number $F7
This message indicates that a dump is to be terminated. "Packet number" indicates the packet which was terminated. This message is transmitted and received. 4.1.5. Wait 0nnnnnnn 01111100 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7C ppppppp = Packet number $F7

282 Appendix A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
0-5 0-5 0-5 0-5 0-5 0-5 0-5 0-5 0-3 0-3 0-3 0-3 0-15

0-15

UC UC UC SC UC SS UC SC UC UC UC SC UC UC UC UC SC UC UC UC UC UC UC UC UC
0,1 0-127 0-0-87 0-5 -126-0 0-126 0-128 0-0-4 0-3 -2,-1,0-32 -1,0-0-12 0-127 0-12 0-127 0-4 0-6 0-3 0-127
effect1-6 bypass (*6) effect1-6 input level (*6) effect1-6 output level (*6) effect1-6 output pan (*6) effect1-6 type (*6) effect1-6 parameter1-16 (*6) effect1-6 output (*6) effect1-6 width (*6) program control device 1-4 progam control function 1-4 (*9) program control type 1-4 program control range 1-4 effect1-3 connection program LFO initial phase program LFO reset MIDI channel (*2) program LFO reset note (*3) AD in R pan AD in R output1 (*8) AD in R output1 level AD in R output2 (*8) AD in R output2 level effect4-6 connection (A5000 only) total steps of program LFO step wave program LFO step wave slope program LFO step wave value1-16
(*9) value 8. 25 26. 43 44. 67 68. 71 72. 91. 110. 127
effect2 effect3 assignL&R assign1&2 assign3&4 assign5&6 DIG&OPT effect4 effect5 effect6
assign3&4 assign5&6 DIG&OPT stereo out effect1 effect2 effect3 effect4 effect5 effect6
(A5000 only) (A5000 only) (A5000 only)
Easy Edit Parameters P2 x 100 + P3 is the number of the sample (bank) assigned to the program. P3 = 0-98 only when P2 = 9. assigned sample(bank) name 2 0-9 0- UC*16 c (read only) (*10) 2 0-9 0- reserved MIDI receive channel assign 2 0-9 0- SC -1,0-32 (*7) 2 0-9 0-0 SC 127 level offset 2 0-9 0-0 SC 127 pan offset 2 0-9 0-0 SC 127 fine tune offset 2 0-9 0-0 SC 127 coarse tune offset 2 0-9 0- UC 0-127 key limit high ( >=low) 2 0-9 0- UC 0-127 key limit low ( <=high) 2 0-9 0- UC 127 key range shift 2 0-9 0- UC 0-127 velocity limit high ( >=low) 2 0-9 0- UC 0-127 velocity limit low ( <=high) 2 0-9 0- SC -1,0,1 portamento (*4) 2 0-9 0- SC -1,0,1 mono mode (*1) 2 0-9 0- SC -1,0,1 key x-fade on (*1) 2 0-9 0- reserved 2 0-9 0- SC -1,0-16 alternate group number (*1) 2 0-9 0-0 SC 127 AEG attack rate offset 2 0-9 0-0 SC 127 AEG release rate offset 2 0-9 0-0 SC 127 filter cutoff offset 2 0-9 0-0 SC 31 filter Q/width offset 2 0-9 0- SC -1,0-12 output1 (*8) 2 0-9 0-0 SC 127 output1 level offset 2 0-9 0- SC -1,0-12 output2 (*8) 2 0-9 0-0 SC 127 output2 level offset 2 0-9 0- UC 0,1 MIDI control on 2 0-9 0- reserved 2 0-9 0-0 SC 127 AEG decay rate offset 2 0-9 0-0 SC 63 filter gain offset 2 0-9 0-0 SC 127 cutoff distance offset 2 0-9 0-0 SC 127 velocity x-fade low offset 2 0-9 0-0 SC 127 velocity x-fade high offset 2 0-9 0-0 SC 127 velocity sensitivity 2 0-9 0- UC reserved (*1) -1:"=sample" (*2) -2:off, -1:AUDITION, 0-15:A01-16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (*3) -1:all (*4) -1:"=sample", 0:off, 1:"=program" (*5) A4000, P3=0-15 (*6) A4000, P3=0-2 (*7) -1:"=sample", 0-15:A01-A16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (*8) value -output1 =sample off stereo out effect1 output2 =sample off assignL&R assign1&2 (Easy Edit only)

Omni...200 Open/Close....84, 93 Optical Input/Output...13, 22 Optimize...151 Optional Equipment, Installing..232 Original Key..128, 154 Original Length/Beat/Time...223 Original Sample Pitch...224 Original Tempo...223 OS File Type...185 Out&Gain...97 Output....195 Output Level1...97, 129 Output Level2...97, 129 Output1...97, 129 Output2...97, 129
Page...199 Pan....96 Panel Play...191 Parameter Number (Parameter#)..105 Part....91, 92 PEG Attack Level..141 PEG Attack Rate..140 PEG Decay Rate..141 PEG Initial Level...141 PEG Level Velocity Sensitivity..142 PEG Range...142 PEG Rate Scaling...141 PEG Rate Velocity Sensitivity...141 PEG Release Level...141 PEG Release Rate...141 PEG Sustain Level...141 Phones....10 Pitch...98, 129 Pitch Bend....201 Pitch Bend Range...146 Pitch Bend Type...145 Pitch Coarse...98, 129 Pitch Convert...222 Pitch EG...140
Pitch Fine.... 98, 130 Pitch Modulation Depth.. 144 Pitch Modulation Phase Invert... 144 Play Mode... 88 Play & Load... 174 Play/ Pause/ Continue... 161, 194 Playable Area... 85 Playback Speed... 194 Plus Side Gain... 219 Poly/Mono... 96, 127 Portamento.... 98 Power Connection.. 19 Power ON/OFF... 27 Power Switch... 11 Pre Trigger... 156 Process... 157, 218 Process Type... 218 Program... 89, 167, 211, 216 Program Change.. 200 Program Control Function... 110 Program Controller A/B (PgmCtrlA/B).. 110 Program Level... 90 Program LFO (PgmLFO)... 113 Program LFO Cycle.. 114 Program LFO Initial Phase.. 114 Program LFO Phase Reset Ch.. 114 Program LFO Phase Reset Note.. 114 Program LFO Sync... 113 Program LFO Tempo... 114 Program LFO Wave.. 113 Program Load (PgmLoad).. 167 Program Mix (PgmMix)... 90 Program Mode... 92, 89 Program Portamento... 91 Program Portamento Mode... 92 Program Portamento Rate/Time.. 92 Program Portamto (PgmPorta).. 91 Program Select (PgmSel).. 89 Program Transpose... 91
Q/Width... 98, 134 Q/Width Velocity Sensitivity... 134 Quick Entry.... 83
Random Pitch... 130 Range... 111, 148 Rec Effect on/off.. 160 Receive Channel (Rch)... 85, 145 Receive Channel Assign (RchASSIGN).. 94 Receive Port... 202 Record.... 151 Record Level Control.. 10
290 Appendix A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
Record Mode (REC)..150 Record Type...153 Record/ Stop...194 Recording Effect Edit...160 Recording Effect ON/OFF...160 Recording Effect Setup...160 Recording Setup (RecSetup)..153 RecPort& PlayChannel...194 Register...126, 214 Register Source...215 Register Source Control...215 Register Source Effect...215 Register Source Setup...215 Register Type...215 Remain....151 Remix....125 Remix Type...125 Remix Type Variation...125 Remix Zone End...126 Remix Zone Start...126 Remove...95 Resample...222 Resample Type...222 Reserve...94 Reverse...218 Revert....230 RW-Erase...183