Press Release 8/5/02 Unleash the full potential of your Yamaha CS1x!
CPS Software is pleased to announce the release of CS1x Background Edit 1.00. This easy-to-use application is designed specifically for editing the Yamaha CS1x's background channels (5-16) when it is in Performance mode. A couple of years ago I, along with a lot of other people, bought a Yamaha CS1x control synthesiser. At the time it was a great buy. It had a solid mix of electronic and acoustic sounds, and it had real-time control knobs--cool! However, the synth wasnt all sweetness and light. In their wisdom, the engineers at Yamaha had designed it so that when it was in Performance mode (the mode containing all the groovy electronic sounds) only 1 out of a possible 16 MIDI channels could be accessed using the synths front panel--major bummer! Of course, you could set up the synths background channels (5-16) using sysex and control change messages in a MIDI sequencer although this was a major pain. Even using this approach you still couldnt scroll through sounds quickly. This really bugged me. It seemed such a waste not to be able to use the synths full capabilities. CS1x Background Edit addresses all of these limitations and more. The program consists of two sections: a Voice section and a Parameter section. The Voice section gives access to all of the CS1x's internal waveforms including Performance, XG and the "hidden" QS300 waves.
Figure 1. CS1x Background Edit (PC) The Parameter section allows the user to set a wide range of parameters for each of the synth's background channels. These parameters include: Modulation, Volume, Panning, Portamento Time, Attack, Release, Resonance , Cutoff, Reverb Send, Chorus Send, Coarse Tune and Fine Tune. Portamento On/Off and Mono On/Off are also available. The editor features a "Link Channel" option that allows you to control any or all CS1x background channels using a single master channel. This is great for things like filter sweeps across multiple channels. There's also a "Copy Channel Settings" option which makes it very easy to copy one channel's settings to another's. This is very handy for creating fat sounds where the only difference between channel settings is the tuning. CS1x Background Edit really expands the potential of the CS1x. For example, it allows you to create super-fat patches using up to 16 channels. It also means that you don't have to use the CS1x "one sound at a time". Having access to the background channels makes the CS1x a far more powerful multi-timbral instrument.
All CS1x Background Edit settings can be saved in Standard MIDI File format. CS1x Background Edit is currently available in two formats: PC, and Yamaha's new OPT (Open Plug-in Technology). A Mac version will be released soon. CS1x Background Edit is available from ShareIt at a price of $US 20.00. A free trial version that works on channel 5 only is also available. If have any questions or would like more information please stop by the CPS Software website (http://www.labyrinth.net.au/~cpsmusic/index.html) or contact the program's author, Chris Share, at cpsmusic@labyrinth.net.au. So what are you waiting for? Unleash the full potential of you CS1x today!

PRECAUTIONS IMPORTANT! PLEASE READ

BEFORE PROCEEDING.

Following the important precautions below will help ensure you many years of trouble free use from your CS1x.

LOCATION

In order to avoid causing serious damage to the CS1x, do not expose it to direct sunlight, high temperatures, excessive humidity, excessive dust or strong vibration. Always place the CS1x on a solid surface such as a keyboard stand or a sturdy table or desk.

ELECTRICAL INTERFERENCE

Avoid using the CS1x near televisions, radios or other devices which generate electromagnetic fields, since this may cause the CS1x to malfunction, and possibly generate interference noise in the other devices.
diluted, mild detergent. Then wipe the instrument thoroughly with a dry cloth. Avoid placing vinyl objects on top of the instrument, since vinyl can stick to and discolor the surface.
DATA BACKUP BACK-UP BATTERY
The CS1x contains a special long-life battery that retains the contents of its User memory when the power is turned off. The back-up battery should last for several years. When it needs to be replaced, the message "Battery Low" will appear in the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. Do not attempt to replace the backup battery yourself. Yamaha recommends that you regularly save your music data using an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer. Yamaha cannot be held responsible for the accidental loss of CS1x data.

POWER SUPPLY

Turn the power switch off when the CS1x is not in use. Use only the supplied PA-3B or an equivalent AC power adaptor. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard. The power adaptor should be unplugged from the AC outlet if the CS1x is not to be used for an extended period of time. Unplug the CS1x during electrical storms. Avoid plugging the CS1x into the same AC outlet as appliances with high power consumption such as electric heaters or ovens. Also avoid using multiple-plug adapters since these can result in reduced sound quality and possibly even damage to the instrument.

SERVICE AND MODIFICATION

The CS1x contains no user serviceable parts, so never open the case or tamper with the internal circuitry in any way. Doing so may result in electrical shock or damage to the instrument. Refer all servicing to qualified Yamaha service personnel.

HANDLING AND TRANSPORT

Always handle the CS1x with care. Physical shocks caused by dropping, bumping, or placing heavy objects on it can result in serious damage to the CS1x. Never apply excessive force to the controls, connectors or other parts. Disconnect all cables before moving the CS1x. Always unplug cables by gripping the plug firmly, and not by pulling on the cable.
IMPORTANT NOTE Yamaha cannot be held responsible for damage to the CS1x resulting from improper handling or operation, or for the accidental loss of CS1x data. NOTICES The company names and product names in this owner's manual are the trademarks or registered trademarks of their respective companies. The LCD screens as illustrated in this owner's manual are for instructional purposes, and may appear somewhat different from the screens which appear on your instrument.
UNPLUG ALL INSTRUMENTS WHEN MAKING CONNECTIONS
To avoid causing damage to the CS1x and other devices to which it is connected, such as a sound system or MIDI instruments, turn off the power and unplug all related devices prior to connecting or disconnecting audio and MIDI cables.

CLEANING

Never use chemical solvents or thinners to clean the CS1x, since these will damage the finish or dull the keys. Wipe the instrument clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a 1

Introduction

In the beginning, there was the knob
And the knob was good. Great, in fact. You could just reach out and grab it. Turn it left. And turn it right. Interact with it in realtime. And there were knobs of all kinds. Knobs for changing the attack and release times of a sound. Knobs for setting the cutoff filter and resonance. And knobs for controlling many other aspects of analog synthesizer sounds. By twisting a knob one way and another, a vast, practically endless variety of electronic sounds could be called forth. Fat sounds. Strange sounds. Beautiful sounds. Magical sounds. It was the 1960s, and such was the power of the knob that music was changed forever. And the term synthesizer became a household word.

1 PITCH

The Pitch Wheel lets you bend the pitch up or down as you play. It is spring-loaded to automatically return to center position when you let go of it. In Performance mode you can designate the Pitch Bend Range in the Common Edit 2 menu. (See page 25.)

+ NUMERIC KEYPAD

The numeric keypad has several functions, depending on the currently selected mode.
In Performance mode or Multi Play mode, you can use it to select a specific Performance number or voice numberby punching in the desired number (1~128), then pressing the ENTER button. (See page 20.) In Quick Program Change mode, you can use it to select a specific

2 MODULATION

The Modulation Wheel lets you apply or set a designated amount of vibrato or tremolo. You can set it to affect filter cutoff, filter modulation, pitch modulation (Common Edit 2 menu, see page 25), as well as other controllable parameters. (see page 43.)

MIDI THRU OUT IN

HOST SELECT PC-2 PC-1 MIDI Mac
ASSIGNABLE TO HOST INPUT FOOT FOOT FOOT SWITCH CONTROLLER VOLUME POWER ON OFF DC IN R

OUTPUT L/MONO

PHONES

Rear Panel

! MIDI
MIDI IN, OUT and THRU terminals let you connect other MIDI devices such as a MIDI keyboard, tone generator, sequencer, or computer with a MIDI cable. (Set the HOST SELECT switch to MIDI when using the MIDI terminals.) MIDI IN is for input of MIDI data. MIDI OUT is for output of MIDI data and for data dumps to another CS1x or MIDI data storage device. MIDI THRU is for "daisy-chain" connection of additional MIDI instruments, as the MIDI data received at the CS1x's MIDI IN terminal is passed along unchanged to the CS1x's MIDI THRU terminal. (See page 9.)

# TO HOST

The TO HOST terminal lets you connect the CS1x directly to a host computer which does not have a MIDI interface. (See page 10.)
Variation effect (Common Edit 2 menu, see page 26), as well as the Control Change Number. (see page 43.)

* OUTPUT

The stereo OUTPUT jacks let you connect the CS1x to an external stereo amplifier/speaker system. When using a mono system, connect it to the L/MONO jack.

Before switching on the power, connect any peripheral devices such as amplified speakers or MIDI instruments.
There are many ways to incorporate the CS1x into a simple or expanded music system. Below are a few examples to get you started.
CAUTION Do not attempt to use an AC adaptor other than the PA-3B. Use of an incompatible adaptor may result in irreparable damage to the CS1x, and could even pose a serious shock hazard. Be sure to disconnect the power adaptor from the electrical outlet when the CS1x is not in use.

HOST SELECT

PC-2 PC-1 MIDI Mac
MIDI IN MIDI OUT MIDI QY300 etc. OUT

MUSIC SEQUENCER

The CS1x By Itself
At the simplest level, all you need to do is connect stereo headphones to the PHONES jack located on the rear panel. As a stand-alone performance instrument, simply connect the CS1x to amplified speakers, as follows: For stereo use, connect one end of a pair of audio cables to the CS1x's OUTPUT (L/MONO, R) jacks, and the other end to each amplified speaker's input, as shown in the illustration below. (For mono use, connect one end of a single audio cable to the CS1x's L/MONO jack, and the other end to the amplified speaker's input.)

MIDI IN CS1x

In this case, the notes you play on the keyboard will be sent as MIDI note event data to a specified MIDI channel of the sequencer. By selecting different channels, you can record each Part independently, while listening to those Parts you've already recorded. When recording Parts to an external sequencer, you need to turn the keyboard Local setting to OFF (see page 42). When keyboard Local is turned off, the notes you play on the keyboard will not sound the CS1x's internal tone generator, but note and other performance event data will still be sent from the MIDI OUT terminal. Since the CS1x's internal tone generator will respond to note and other data it receives at the MIDI IN terminal, the notes you play on the keyboard will be sent to the sequencer, then "echoed back" to the CS1x to play one of the 16 Parts (depending on the current MIDI channel assignment). For details about assigning CS1x MIDI channels, see page 41. For details about assigning MIDI channels and other settings for the external devices such as a sequencer, consult the owner's manual of each.

AMPLIFIED SPEAKERS

R INPUT

R OUTPUT

CAUTION In order to avoid possible damage to the speakers or other connected electronic equipment, before switching on the power of any component, make sure the CS1x's volume level and the volume levels of the connected equipment are set to minimum.
Connecting The CS1x To A MIDI Data Storage Device
You can also connect the CS1x with a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer in order to "bulk dump", or save a User Performance ("1 Perf" setting) or all the User Performances and Utility parameters ("All" setting) to floppy disks. This lets you build up complete libraries of Performance and other data, which you can easily load back into the CS1x. (The MDF2 also lets you play compatible song data on the CS1x directly from the MDF2 itself, without the need for a sequencer.) For information about how to perform Bulk Dump operations with the CS1x, see page 42. Refer to the owner's manual of the MIDI data storage device for operating instructions about sending and receiving data.

Macintosh

If you have an Apple Macintosh not equipped with an external MIDI interface, perform the following operation: 1. Set the HOST SELECT switch to Mac. 2. Connect the TO HOST terminal on the CS1x to the Modem or Printer port on the Macintosh. 3. Turn on the host computer, then turn on the CS1x. 4. Start up your music software, and set up the appropriate options in the software for operation with the CS1x. The options you may have to set for the Apple MIDI Driver settings: MIDI Interface Type (Clock) 1 MHz
MIDI IN MIDI OUT MIDI OUT

MDF2 etc.

Other options and settings may have to be made as well. Refer to the owner's manual of your particular music software for more information.

IBM PC and Clones

SEO JOB UTIL PAUSE START/STOP

M F2 D

MIDI DATA FILTER

CURSOR

- FILE DATA +
If you have an IBM PC/AT or compatible computer not equipped with an external MIDI interface, perform the following operation: 1. Set the HOST SELECT switch to PC-2. 2. Connect the TO HOST terminal on the CS1x to one of the computer's serial ports, COM 1 or COM 2. 3. Turn on the host computer, then turn on the CS1x. 4. Start up your music software, and set up the appropriate options in the software for operation with the CS1x. Refer to the owner's manual of your particular music software for more information.
The CS1x In A Desktop Music System
With its built-in host computer interface the CS1x is designed for direct connection to an Apple Macintosh, IBM PC/AT or NEC PC-9800 Series computerwithout the need for a special MIDI interface between the computer and the CS1x. Using the CS1x in a computer music system lets you receive the full benefits of the instrument's true capabilities, as well as take advantage of the ever-expanding world of available music sequencer and other software products which provide you with unlimited potential to achieve your personal music goals. If your computer already has a MIDI interface installed, you may want to use it rather than using the host computer interface on the CS1x. Otherwise, depending on the computer or interface used, set the HOST SELECT switch to the appropriate setting: MIDI, PC-1 (NEC PC-9800 Series), PC2 (IBM and clones), or Mac (Macintosh). For information on the types of cables that can be used for connection, see the section MIDI/Computer Connecting Cables, at right.

XG Operation

The CS1x is a fully equipped, stand-alone XG-MIDI tone generator, featuring a total of 480 normal voices and 11 drum voices. The XG format maintains the universality and compatibility of the MIDI and General MIDI System Level 1 standards, while significantly increasing the range of expressiveness through much greater control over voice modifications and effects. In addition to supporting the 128 GM voices, the XG format provides for Bank Select messages that significantly expand the number of voices available for use. Many of the new XG voices are variations of basic GM voices which are stored in additional banks. Each bank is associated with a specific type of variation, so that voices are easy to locate. When using an external sequencer to control the CS1x, additional banks are selected by the appropriate Bank-Select LSB values. The XG format also supports a full SFX bank of extension effects, which are selected by a Bank-Select MSB value of 40H. Bank-Select MSB 7H, in contrast, can be used to set any channel to rhythm-part play. The XG format allows creation of extremely expressive control data which can change a voice's Harmonic Contents, Brightness, and many more critical Control Change and other parameters.

Multi Structure

BANK PROGRAM VOLUME PAN EFFECT FILTER POLY/MONO

Part 1~16

PART SELECT
PART SELECT - In Multi Play mode each "Part" is made up of an AWM2 voice. You can select and play any of the 16 Parts by pressing the PART/ LAYER []/[+] buttons. Since the notes you play on the keyboard and the buttons you press on the panel are sending MIDI messages, the CS1x is ideal as a MIDI input device. EDITING PARTS - Select the Part you want to edit using the PART/LAYER []/[+] buttons. Each of the Multi parameters are printed above the Parameter Value UP/DOWN button. To set up your own 16 Parts, assign a voice to the Part using the Bank and Program parameters accessible by the first two Parameter Value UP/DOWN buttons. (Note that these settings will not be retained when the power is turned off, since the XG default parameters are always reinstated when the power is turned on. If you 17
The XG format also offers high level effects support, enabling control of effects types, circuit operation, plus internal parameter settings for both basic and elaborate effects. This means you can freely control the parameters of the CS1x's 11 Reverb, 11 Chorus and 43 Variation types of effects independently. (For more information about MIDI related parameters, see the Appendix, page 53.) The CS1x also features another play mode TG300B mode which lets you play back commercially available MIDI files in this format.

SUS LEVEL

AEG ATK TIME ATK TIME BANK DCY TIME FEG DCY TIME PROGRAM DCY LEVEL VOLUME REL TIME PAN INIT LEVEL REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VARI SEND SUS LEVEL REL TIME AMOD PMOD FMOD PEG DCY REL TIME TIME FILTER CUTOFF REZ REL LEVEL POLY/ MONO LFO WAVE SPEED PHASE INIT

ATK TIME DCY TIME

REL TIME Key Off

Key On

s AEG (Amplitude Envelope Generator)
This sets the AEG (Amplitude Envelope Generator). The AEG lets you shape how the volume level changes over time, from when a key is hit, then released, and how the sound decays. There are four parameters: ATK TIME (Attack Time), DCY TIME (Decay Time), SUS LEVEL (Sustain Level) and REL TIME (Release Time).
NOTE Each musical instrument has a unique envelope curve which plays an important role in determining its sound characteristics. The AEG simulates the change of the volume envelope curve over time. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect.
Settings: ATK TIME (Attack Time): -63 ~ +63 DCY TIME (Decay Time): -63 ~ +63 SUS LEVEL (Sustain Level): -64 ~ +63 REL TIME (ReleaseTime): -63 ~ +63
s LFO (Low Frequency Oscillator)
This sets the parameters for the LFO (Low Frequency Oscillator). The LFO is an oscillator that generates low frequency signals used to modulate certain aspects of the sound such as pitch, volume or filter level. There are six parameters: AMOD (Amplitude Modulation), PMOD (Pitch Modulation), FMOD (Filter Modulation), WAVE, SPEED and PHASE INIT.
Amplitude Modulation Pitch Modulation

Attack Time

Decay Time

Sustain Level

Release Time

Phase Init

ATK TIME (Attack Time): Determines the time required for a sound to reach its maximum volume level when a note is played. DCY TIME (Decay Time): Determines the time required for a sound to reach its Sustain Level from a maximum volume level while the key is held. SUS LEVEL (Sustain Level): Sets the Sustain Level. The volume will be maintained at this level for as long as the key is held. REL TIME (Release Time): Determines the time it takes for a sound to sustain after the key has been released. AMOD (Amplitude Modulation): Adds a cyclical change to the volume level by applying LFO frequency modulations, to create a tremolo effect. Larger values widen the range of the volume change. PMOD (Pitch Modulation): Adds a cyclical change to the pitch by applying LFO frequency modulations, to create a vibrato effect. Larger values widen the range of the pitch change.

Cutoff Resonance

Settings: Random, L63 (far left in the stereo image) to L01 to C00 (center in the stereo image) to R01 to R63 (far right in the stereo image)
When set to "Random", the pan position of each Layer will alternate between left and right each time a Performance is played.
NOTE Some of the voices are preset and have a fixed panning of "left" in the lower register and "right" in the higher register. In such a case, you cannot modify the pan setting. NOTE NOTE Generally, filters change the timbre by passing signals within a specific frequency bandwidth and cutting others. The CS1x features an LPF (Low Pass Filter) which passes the signals below the specified frequency point (cutoff frequency) and cuts the signals above it. NOTE Depending on the voice selected, changing certain parameters may not produce a noticeable effect.
This sets the effect send (output) level of each Layer. There are three parameters: REV SEND (Reverb Send), CHO SEND (Chorus Send) and VARI SEND (Variation Send). Each effect send level set here will be output to the Reverb, Chorus, and Variation effect sections as previously selected (see page 23).

Reverb Send Chorus Send

CUTOFF: Determines the cutoff frequency of the filter, or the frequency point above which other frequencies are filtered out. Higher settings result in brighter tones and lower settings result in darker tones.
VOLUME FREQUENCIES PASSED

FREQUENCIES CUT

FREQUENCY

Variation Send

REZ (Resonance): Sets the amount of filter resonance or emphasis around the cutoff frequency. Higher settings produce a higher resonant peak, while lower settings produce a relatively flat response.
REV SEND (Reverb Send): Determines the send level of the Reverb effect.
CHO SEND (Chorus Send): Determines the send level of the Chorus effect. VARI SEND (Variation Send): Enables or disables the output of the Variation effect. Settings: REV SEND (Reverb Send): 0~127 CHO SEND (Chorus Send): 0~127 VARI SEND (Variation Send): OFF, ON
FREQUENCY CUTOFF FREQUENCY
Settings: CUTOFF: -64 ~ +63 REZ (Resonance): -64 ~ +63

s POLY/MONO

This determines whether the voice in each Layer is played monophonically (only one note at a time) or polyphonically (up to 32 notes at a time). Generally, Polyphonic mode is selected to generate multiple sounds at one time. There are cases, however, where it is more effective to select Monophonic mode, such as when using a bass sound, brass sound, or an analog synthesizer sound.

s MASTER TUNE

This tunes the CS1x's tone generator. Basic pitch is 440 Hz at note A3. Master tuning can be adjusted 1 Hz at a time.
NOTE The LCD will display the parameter settings previously selected in Utility mode. The first time you press the UTILITY button after turning the power on, the LCD will display the first page (Master Tune) in Utility mode.

q Procedure

1. Select the parameter.
Press the Parameter Value UP/DOWN button corresponding to the parameter you want to edit once to select the parameter and display the settings in the LCD.
TIME BANK TIME PROGRAM LEVEL VOLUME TIME PAN LEVEL REV SEND TIME EFFECT CHO SEND LEVEL VARI SEND
Settings: -102 Hz to 0 (A3=440 Hz) to +102 Hz
s KBD TRANS (Keyboard Transpose)
This lets you transpose the pitch in semitones. The transpose value will also be reflected in the Octave Shift function on the panel.
MASTER TUNE SYSTEM KBD VEL CURVE TRANS VEL FIX TRANS CH RCV CH MIDI DEVICE NO

2. Set the value.

Settings: -36 to 0 (standard) to +36
NOTE This function setting is related to OCTAVE SHIFT on the panel, the indication may be changed after using the OCTAVE SHIFT function.
NOTE You can also use the numeric keypad (0~9) or the Data Entry knob to change the value.
s VEL CURVE (Velocity Curve)
The velocity curve set here determines the way the CS1x's tone generator responds to playing velocity when the VEL FIX parameter (see below) is set to OFF. The following six types of curves are available: Norm (Normal): The velocity is in proportion to the strength (how hard you play the keyboard).
Hard: This curve is designed to increase the volume level with a stronger playing style. This is suitable for people with a strong key touch.
KEYBOARD PLAYING STRENGTH
Settings: Norm, Soft1, Soft2, Easy, Wide, Hard

s VEL FIX (Velocity Fix)

Soft1: This curve is designed to increase the volume level with a softer playing style. This is suitable for people with a soft key touch.
This sets the velocity of the CS1x keyboard to a specific value. This is used when you want to play the sound at a fixed velocity regardless of keyboard touch.
Soft2: This curve is also designed to increase the volume level with a softer playing style. This is close to Normal compared with Soft1.

1Perf: The Preset or User Performance data currently selected in Performance mode. all: All of the User Performance data and the System data. 2.Press the ENTER/YES button to execute the bulk dump operation. "End" will appear in the LCD when the operation is completed, and the LCD will return to the original display.

Settings: 1~16, all, off

s LOCAL (Local On/Off)
This determines whether the keyboard is connected to the CS1x's internal tone generator. When Local is set to OFF, the keyboard is disconnected from the tone generator. The internal tone generator will not respond to the keyboard (no sound will be produced), but it will respond to incoming MIDI data from an external device. However, the keyboard still transmits MIDI messages from the MIDI OUT jack. For normal play, local should be set to ON.
Bulk Dump Receive This lets you retrieve CS1x Performance data from an external device, loading it back into the CS1x in bulk. The data that can be received will differ depending on the mode. For details about the MIDI data format, see the "Data List" book. It is necessary to match the device number of the CS1x with the device number of the external MIDI device. (See the DEVICE NO parameter, above.)

EXTERNAL MIDI DEVICE

MIDI OUT MIDI IN MIDI IN MIDI OUT

TONE GENERATOR

LOCAL OFF

KEYBOARD

Settings: on, off
s ASSIGN CTRL NO (Assign Control Change Number)
This lets you assign Control Change Numbers to controllers such as the Modulation Wheel or Sound Control Knobs. This is mainly used to control external devices connected via MIDI.
Assigning the Controllers 1.Move the controller on the panel to which the Control Change Number is to be assigned. The parameters of the controller will appear in the LCD.
The main function of the Sound Control Knobs will not be

changed.

You can designate whether the Modulation Wheel or the Foot Controller is used for Scene Control (page 16).
Control Change Number Name

Controller

Following are the Control Change Numbers and Names that can be assigned to the various controllers:
Controller Modulation Wheel Sound Control Knob 1 (ATTACK) Sound Control Knob 2 (RELEASE) Sound Control Knob 3 (ASSIGN 1/DATA) Sound Control Knob 4 (CUTOFF) Sound Control Knob 5 (RESONANCE) Sound Control Knob 6 (ASSIGN 2) Footswitch connected to the FOOTSWITCH jack on the rear panel Foot Controller connected to the FOOT CONTROLLER jack on the rear panel Foot Volume pedal connected to the FOOT VOLUME jack on the rear panel LCD MW Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 FS FC FV

In Store mode you can store edited Performances or Scenes in the CS1x's internal memory. To enter Store Mode, you must first be in Performance Mode.
NOTE You cannot enter Store mode from Multi Play mode or Utility mode.
PERFORMANCE STORE Preset Performance 1~128 STORE Memory User Performance 1~128 SCENE STORE 6 Knob Position Scene 1/2

Scene 1

3. Press the ENTER/YES button. Sure? will appear in the LCD.
Edited Performance Store Destination
To audition the sound, simply play the keyboard.

Storing a Performance

1. After editing a performance, press the STORE button to enter Store mode.
4. Press the YES/ENTER button again to execute the storing operation. The display will return to the Performance Play mode screen after the data is stored.
Press the NO button to cancel the storing operation.
Pressing the PERFORMANCE button exits Store mode.
2. Select the User Performance number in which you want to store the Performance, using the numeric keypad (0~9), PROGRAM [-]/[+] buttons, or Data Entry knob.
When storing a Performace, the position of each Sound Control Knob will also be stored. Therefore, when selecting the stored User Performance in Performance Play mode, the CS1x will produce the sound affected by each Sound Control Knob position at that time. (Turning the Knob will restore the sound with the current Sound Control Knob positions.)

Storing a Scene

If you write over an existing User Performance, the data previously stored there will be lost. To be safe, always store your important data to an external device such as the Yamaha MIDI Data Filer MDF2. If you want, you can reset the User Performances back to the original factory settings. For details, see Factory Settings, page 46.
NOTE To rename the Performance, select the Performance Name parameter in Performance Edit mode (see page 24).
There are two "Scene" memories dedicated to each Performance. This function is used to assign a Scene, or the position of the six Sound Control Knobs, to the SCENE 1 or SCENE 2 button. This is convenient for live performances or recording sessions, since it lets you access a particular setting simply by pressing a button.
Two Scenes can be stored in each Performance.
Once you have stored a Scene to the edit buffer (temporary save), to store the Scene data permanently you must perform the Performance store operation, above. (Before executing the Performance Store operation to record the Scene as a part of the performance, turn all the sound control knobs to their center positions.) Otherwise, you will lose the Scene settings if you select another Performance or enter Multi Play mode.

Data Value Data 475 63

Value Data 1.00k 78 1.05k 79 1.10k 80 1.15k 81 1.20k 82 1.26k 83 1.32k 84 1.38k 85 1.43k 86 1.50k 87 1.56k 88 1.62k 89 1.69k 90 1.76k 91 1.83k 92 1.90k 93 1.98k 94 2.06k 95
Value Data 2.14k 96 2.22k 97 2.31k 98 2.40k 99 2.49k 100 2.58k 101 2.67k 102 2.77k 103 2.87k 104 2.97k 105 3.08k 106 3.19k 107 3.30k 108 3.41k 109 3.53k 110 3.65k 111 3.77k 112 3.90k 113 4.03k 114 4.16k 115 4.29k 116 4.43k 117 4.57k 118 4.72k 119 4.87k 120 5.02k 121 5.18k 122 5.34k 123 5.50k 124 5.67k 125 5.84k 126 6.02k 127
Value 6.20k 6.38k 6.56k 6.75k 6.95k 7.15k 7.35k 7.56k 7.78k 8.00k 8.22k 8.44k 8.67k 8.90k 9.14k 9.38k 9.63k 9.90k 10.2k 10.4k 10.7k 10.9k 11.2k 11.5k 11.8k 12.1k 12.4k 12.7k 13.0k 13.3k 13.7k 14.0k
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, Control Change, Program Change and various other types of MIDI data, or messages. The CS1x can control a MIDI device by transmitting note related data and various types of controller data. The CS1x can be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts.
MIDI Messages Transmitted/Received by the CS1x
MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which the CS1x can receive/transmit.
Modulation (Control #001)
Messages which control vibrato depth using the Modulation Wheel. Setting the value to 127 produces maximum vibrato and 0 results in vibrato off.
Portamento Time (Control #005)

1. CHANNEL MESSAGES

Channel messages are the data related to the performance on the keyboard for the specific channel.
Messages which control the duration of portamento, or a continuous pitch glide between successively played notes. When the parameter 1.2.10 Portamento Switch is set to on, the value set here can adjust the speed of pitch change. Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time.
1.1 Note On/Note Off (Key On/Key Off)
Messages which are generated when the keyboard is played. Reception note range = C-2 (0) - G8 (127), C3 = 60 Velocity range = 1 - 127 (Only the Note On velocity is received) Note On: Generated when a key is pressed. Note Off: Generated when a key is released. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck.

Data Entry MSB (Control #006) Data Entry LSB (Control #038)
Messages which set the value for the parameter specified by 1.2.23RPN MSB/LSB and 1.2.22 NRPN MSB/LSB. Parameter value is determined by combining MSB and LSB.
Main Volume (Control #007)
Messages which control the volume of each Part.

1.2 Control Change

Control Change messages let you select a voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific Control Change numbers which correspond to each of the various parameters.
Setting the value to 127 produces maximum volume and 0 results in volume off. The messages 007 (Main Volume) or 011 (Expression) will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel if an appropriate setting is selected in the Assign Control Number section in Utility mode.
Bank Select MSB (Control #000) Bank Select LSB (Control #032)

Pan (Control #010)

Messages which select variation voice bank numbers by combining and sending the MSB and LSB from an external device. MSB and LSB functions differently depending on the tone generator mode. In XG mode, MSB numbers select voice type (Normal Voice or Drum Voice), and LSB numbers select voice banks. In TG300B mode, LSB is fixed, and MSB numbers select voice banks. (For more information about Banks and Programs, see Voice List in the "Data List" book.) A new bank selection will not become effective until the next Program Change message is received.
Messages which control the stereo panning position of each Part (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 Part during performance. Setting the value to 127 produces maximum volume and 0 results in volume off. The messeges 007 (Main Volume) or 011 (Expression) will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel if an appropriate setting is selected in the Assign Control Number section in Utility mode.
General Purpose 1, 2, 3, 4 (Control #016, 017, 018, 019)

VALUE 0 (center) 0 (off) 0 (off) 0 (min) 127 (max) 0 (off) 0 (off)* 0 (off) 0 (off) Cancels the Portamento source key number Number not specified; internal data will not change Number not specified; internal data will not change
* In Performance mode, 1 (on).
1.2.24.3 All Notes Off (Control #123)
Clears all notes currently on for the specified channel. However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off.
1.2.23 RPN (Registered Parameter Number)LSB (Control #100) RPN (Registered Parameter Number)MSB (Control #101)
Messages which offset, or add or subtract values from a Part's pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use 1.2.21 Data Increment/Decrement to set the value of the specified parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN's value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. The following RPN numbers can be received.
RPN MSB 00 7F RPN LSB 02 7F PARAMETER Pitch Bend Sensitivity Fine Tune Coarse Tune Null
1.2.24.4 Mono (Control #126)
Performs the same function as when an All Sounds Off message is received, and if the 3rd byte (mono number) is in the range of 0 - 16, sets the corresponding channel to Mono Mode (Mode 4 : m = 1).
1.2.24.5 Poly (Control #127)
Performs the same function as when an All Sounds Off message is received, and sets the corresponding channel to Poly Mode (Mode 3).

1.3 Program Change

Messages which determine which voice to select for each Part. With a combination of Bank Select, you can select not only basic voice numbers, but also variation voice bank numbers.

1.4 Channel Aftertouch

Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel.
1.2.24 Channel Mode Messages
The following Channel Mode Messages can be received.
1.5 Polyphonic Key Pressure
Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key.

2nd BYTE 127

3rd BYTE ~ 16 0
MESSAGE All Sounds Off Reset All Controllers All Notes Off Mono Poly