AWM Structure in EX

Part Part Part Part Part Part Part Part Part Part Part Part Part Part Part Part

AWM Voice

Drum Voice Other Voice Types VL, AN, FDSP
Contains up to 4 Elements
sample in Zone sample in Zone sample in Zone Samples in Layers defined by Key. No Wave level.

sample in Zone

Voices
For the following section it is recommended that you Load Synth All from the file on the floppy disk.

Voice Type AWM

4 Elements Effects Setup
Element 1 Pointing to a Wave Key/Velocity Range Filters, EGs, LFOs, etc. Voice Element 2 - 4 same as Element 1
AWM is Yamahas word for PCM synthesis. Basically, this is the playback of sampled waveforms, stored inside the synthesiser, and manipulated with envelopes, filters, LFOs and so on. This technique is used in the majority of contemporary synthesisers. If youve loaded the floppy that came with this book, choose Voice mode, and Voice I1:001: Open Saw. This is basically an open sawtooth wave in a single element. If you look at the page EDIT/OSC/WAVE you will see this:
This is the oscillator page. The PRE means that this wave is from the Preset bank (stored in ROM, you cannot erase these). You can choose RAM or FLS here also, which will then look at any samples you have currently in your RAM or Flash memory (if you have some installed). The next number is the wave number, and in the PRE bank you have a choice of 419 different waveforms. Since there are so many, the Cat column (category) can be used to quickly jump to certain types. For example, the waveform, or synthesiser types of waves are categorised by Wv, for Wave. If you change this to Fx, you will jump to the first wave in the Effect category of waves. The MIX page allows you to define the fine tuning, level, and panning of this element. The ZONE page allows you to define the high and low key of the element, or the high and low velocity of the element. This can be useful for making keyboard or velocity splits. EXIT this page, and lets jump to the Filter (FILT) page. You will see that there are five sub menus in the Filter page called : SCF, DCF, SENS, SCALE, and EG. Go to DCF first.
DCF is the Dynamic filter. This is your typical synthesiser filter, with different modes and resonance, etc. You can hear it if you lower the Freq (Cutoff Frequency). But lets change the filter Type. You can see that there are first of all several different Low Pass Filters of different slopes. As soon as you reach the 12dB slope ANOTHER filter appears. Cool! Now youve got two. You can change the type of number two as well. And create weird stuff by combining a Band Pass with a Low Pass, etc. You can even change whether the two filters are placed in parallel or in series.

Hit the EG button again to get the extra parameters. Notice to the left theres a little parameter called L. Its currently set to OFF. Set this to D1. Listen.
L means loop. You can loop the envelope at three different points: the first point Hold, the second point Attack, or the third point Decay 1. Whenever the envelope hits the Decay 2 point it loops around to the point youve set in the L parameter. The Filter Envelope can loop also, by the way. This kind of pitch sweep is rather special-effect-ish. However, if we jump over to the PARAM page we can reduce the depth of this envelope, so that its more subtle. Bring it down to 1. Now it just sounds like its slightly broken. Mmmm, nice. Try playing Amazing Grace with it.
If it still sounds too deep, even on 1, then you need to reduce the levels in the EG itself. The last page in the Pitch section is again called SCALE, and of course, lets you scale the pitch. There are a couple different ways to think about scaling pitch. One of them is Microtuning, in which the actual pitches of the scale are altered to something other than our standard milky white Equal Tempered tuning. The other way is to stretch or compress the tuning of the entire instrument. This is called Key Follow in the EX. When its set to 100% an octave played on the keyboard sounds an octave in pitch (unless youve got a wacky pitch EG, but anyway). If you set it to 50% you have to play two octaves on the keyboard to hear a one octave change in pitch. The Centre is the key around which this slope changes. Whats it good for? Excellent for percussion sounds, and can be very cool used with the Ring modulator or self FM in the FDSP voice algorithm. Lets jump to the LFO page now. Exit the page your in, and hit LFO. Youll see immediately that there are two LFOs. The first one has fixed destinations, but can be routed to the pitch, amplitude, and filter cutoff in varying amounts. LFO2, on the other hand, can only be routed to one destination, but this destination can include aspects of LFO1. You can make some weird and wonderful modulations by adjusting the speed of LFO1 with LFO2. LFO2 also has some unusual wave types, such as trapezoid, and sample and hold.

How to use Scenes Youve probably noticed, maybe tried, the Scene switches above Modulation Wheel 2. So what exactly is going on here, how do we control this? First of all, remember what a Scene is. Its the current state of the six knobs. Thats all. So if I choose a voice, set the knobs such that I like it, and hold the STORE button down while I hit a Scene switch, I store those settings there. Then I can change the knobs to a completely different configuration, and hold STORE while I hit the other Scene switch. Now I can instantly recall either of these by hitting the appropriate Scene switch. I can also hit both of them together, and MORPH between them using the Mod Wheel 2 or the Foot Controller. The Scene settings are stored with the Voice. You can choose whether the Mod Wheel 2 or the Foot Controller is the master Scene Controller in Utility/Control.

AN Voice

Voice Type AN
Element 1 AN Element Key/Velocity Range
Voice Element 2 - 4 AWM Type
The AN algorithm is an analogue synthesis model, based on the same algorithm used in the Yamaha AN1x synthesiser. Again, the AN algorithm in the EX uses the DSP resource, and is therefore limited by the number of other DSP functions youre trying to do simultaneously. The EX5 and EX5R version of AN can have a polyphony of two. They can be configured as two Poly or two Layer. The EX7 only has a single polyphony version of AN. Lets examine an AN voice. The next voice from our floppy is I1:003: AN Saw. Hit EDIT, and enter the OSC page. Then choose the VCO page.
You can see here that there are two VCOs (voltage controlled oscillators), which can be tuned, and scaled independantly (although, this voice is only using VCO1). You can choose different waveforms for each oscillator, and you can adjust the Edge parameter. The Edge parameter describes the sharpness of the waveform, or the amount of harmonic content. For example, at maximum (127) the edge parameter would make the saw wave a perfect digital saw shape, and as you lower the edge, it becomes more rounded, like this:
If you bring the edge parameter all the way down to zero, the sharpness of the saw descreases so much that the result is almost a sine wave. In our tests, weve found that edge values in the mid-eighties to be most similar to typical Prophet 5 or MiniMoog waveforms. The last parameter, Width, is the pulse width. Although since this is a virtual analogue, we can vary the pulse width on any of the waveforms. Pulse Width modulation is assigned in the MOD page. The other pages in the OSC section are the MOD page (which is the LFO > VCO patching), the WAV, MIX, and ZONE pages, which lets you layer the AN element with other AWM elements, and the ALG page. The Algorithm is basically to allow the oscillators to be used for FM or Sync functions in different ways. I find the FM/Mstr setting the most useful, but you can find a full explanation of these algorithms in the manual at page 113. Lets have a quick look at what happens in this setting:

VL Embouchure is probably the coolest of all the VL destinations. This approximates lip tension in a brass or reed instrument. If you dont care about that, then just remember that its the parameter that can force the VL model into different harmonic modes. In Moby, its assigned to both the Ribbon, Aftertouch, AND Mod Wheel 2. Aftertouch is also adding to the VL Pressure destination, which is the amount of energy being forced into the VL model. If you want to get realistic, this is best done with a breath controller, but Moby is pretty far from realistic. The VL Pressure and VL Embouchure are not fixed discrete paths, as you find in most machines, but influence each other in a non-linear, organic kind of way. For example, if the pressure is higher, the embouchure will tend towards more stable modes. VL is a mysterious creature. Other interesting VL destinations to explore are Tonguing, Scream, Growl, Throat, Damping, and Absorption.
Program Change in the EX Since there are five banks of presets, we must use bank select to change patches by MIDI. Some sequencers have bank select tools, which may work. If they dont, then you must enter by hand the following information: Controller 0, value 63 Controller 32, value XX Program Change within the bank. Nothing will happen until all three bytes are received. They should be seperated by one or two MIDI ticks, to ensure the correct order. The five banks (for value XX) are: Performance Voice Preset 1 Voice Preset 2 Voice Internal 1 Voice Internal 2 3
For example, if on ANY MIDI channel, you send Bank select 64, then Program Change 1, you will be selecting the First Performance. Then, if you send Bank Select 1, Program Change 1 on MIDI channel 5, that part of the Performance you just selected will change to Voice Preset 2, number 1 (PW Pad).
So, what about Drum Voice? Eh, matey? ( Its in the Sample Section, Chapter 6, because thats where it belongs. )
Performances can be used for several different things on the EX. You can make a Multi setup, in which you want to play several different sounds on different MIDI channels. You can make Layer and Split type Performances to combine voices in certain ways. And you can use the Performances as MIDI Master Control setups, since each Performance can have an entirely unique MIDI setup.

DSP Resource Full ! - DAMMIT!
Yes, we know this message will drive you crazy. But try to be cool and lets sort out whats going on and how to cope with this. First of all, remember all the things that use up our DSP resource: VL Algorithms (EX5 and EX5R only) AN Algorithms FDSP Algorithms Insert Effects Any time any of these are in use, some amount of DSP is being eaten up. In the EX5 you may have 4 insert effects, or else 1 insert effect plus 1 synthesis algorithm. If you decide to turn on the insert effect on the Tube Crunch organ (channel 2), this will be fine. But if you now want to turn on the insert effect on anything else, youll get the dreaded message. However, if you decide you really dont need that AN voice after all, change that voice to a non-DSP voice, and then you can turn on 4 different insert effects. In the EX7 you may have 1 insert effect OR 1 synthesis algorithm. On the Tube Crunch organ (channel 2 of our multi) you cannot turn on the insert effect at all until you select a nonDSP voice on channel 1. In all the EX synths, if you try to turn ON an insert effect and the DSP resource is full, youll get the message and the insert effect will stay OFF. If you try to select a voice that requires DSP and the DSP resource is full, the following non-DSP voice will be selected instead. Theres only so much power, and you must decide how to best distribute it.

Layering within a Multi

There are two ways to layer sounds within a multi setup. You can turn the Layer Switch ON for any two voices, and this will link them so that either of their MIDI channels will trigger the layer. The limitation of this technique is that you can only layer two voices like this. The strength of this method is that it will work in a live situation, without a MIDI sequencer. If youre using a sequencer to re-route your MIDI data, then the other way to layer sounds is to set them to the same MIDI channel. You can theoretically set all 16 parts to the same MIDI channel if necessary. The disadvantage of this method is that you cannot hear the result directly from the keyboard, since the LOCAL ON routing is by Part, not by MIDI channel.
Editing a Voice in Multi Mode Often its convenient to be able to edit the Voice while your song is playing, so that you hear it in context, and can adjust the parameters to suit the song. Its easy enough with the EX. Just hit the Performance and Voice keys together (so that both light up). Choose which Part you want to Edit the voice within, using the first two f-keys. Then hit EDIT. You are now in a normal Voice Edit mode, but the multi is still active, so you can Edit the voice within the track youre working on. The only difference between this Edit mode and normal Voice Edit is that you cannot access the Voice Type or the Effects page. You know why, right? Yep. DSP Resource Hazard. If a voice uses a sample, you can go down into the wave edit level, without leaving the multi, and without stopping your song. This is very handy when trimming the front of a sample or fine tuning it to a track.

Performance as Layer or Split
If you want to make Performance Layers and Splits for use in live performance, or in a nonMulti way, then the Layer Switch is the key. Choose the second Performance from our example set, called Layer. Hit Edit. If you scroll down the MLT view, you will see that Parts 1 and 2 have the Layer Switch turned to ON. It doesnt matter which of these two parts is selected, you will be playing both because they are linked by this switch. You might be saying to yourself, this patch is ridiculous, I dont need to Layer a Matrix Brass sound with a String sound. So lets convert it to a Keyboard Split. Right underneath the Layer Switch are the Note Limits. Set the break point wherever you like. It makes sense to me to split around E3, and to keep the strings in the left hand since theres a good chance the strings will be slower than the brass. Whatever. Try it out.
Now the Matrix Brass sounds a little too high, so Im going to shift the range down an octave.
Ill crank the reverb a little on the Matrix, and store it into Performance position 3 after renaming it Split. (You can check that one out, if you like.)
Performance as Master Keyboard Setup
If you want to use the EX as a Master Keyboard for your studio or live rig, theres a wealth of possibilities. Each Performance can have a unique MIDI setup, a unique Knob assignment, and even a default controller position which can be sent when the Performance is called. If youre controlling a number of synthesisers, you can send up to sixteen Program Change messages upon calling up a Performance. There are two MIDI ports, A and B, that can be assigned individually. Basically, from the EX you should be able to control your entire setup from song to song. If you want to set up Performances to control other synthesisers, then the first thing you should change is the Keyboard/ToneGenerator mode (Kbd/TG Mode) in the Performance Common section. Lets take our Split Peformance and adapt it so that the Matrix sound plays my real Matrix 12 instead of the EX sampled version. (Actually, I dont have a Matrix 12 either, but pretend.) Go to Performance Common. EDIT/COM. Change the Keyboard Mode to M.KBD (Master Keyboard).
Essentially, this just changes the routing of the EXs keyboard so that some Performance parameters (velocity range, key range, transpositions, curves, etc.) happen BEFORE the internal tone generator. Change Part 1 so that its playing nothing. (I keep an empty voice for this purpose, its called No Sound and is in I1:010).
Now scroll down to the LYR section, near the end, to change the MIDI channel of Part 1 to whatever you Matrix 12 is set to receive.
If the MIDI output of the EX is going to the Matrix, it should be making sound. If not, check that Transmit MIDI is ON for the port your using. (Just above MIDI Ch, where it says Tx MIDIA.) Now lets say we want to use Knob 1 to control the filter cutoff on the Matrix. Set up the Matrix so that it has a controller routed to its filter cutoff, and set the EX so that the Knob transmits this controller. My imaginary Matrix is receiving controller 74, which is routed to the filter. Go into the Performance EDIT/COM/KNOB page, and change the controller of Knob 1 to 74.

After recording, exit the Rec page, and you should see something like this:
Play the keyboard, and you should hear the sample you just made. Will get to editing it in a moment, lets first just check the other methods of getting sample data inside your EX.
Loading a Foreign Sample from Floppy
This one is easy enough. Make sure your floppy disk is DOS format (format it inside the EX if you want to be sure), copy a WAV file onto it. (Theres one on our floppy if you want to try it.) If youre a Mac user you must remember to name the file in an DOS manner. That is, 8 (or less) characters, a dot, and WAV. For example: SAMPLE.WAV Or in the case of an AIFF file, it must be named SAMPLE.AIF On the EX, go to Disk mode, File Load, and choose WAVE. The WAV file on your disk will appear as a WAVE to the EX. Load it. Your done. With an Akai floppy disk, you will see the Akai Program. So make sure that any Akai samples you want are included in the program.
Loading a sample via SMDI
You must have a SCSI board in your EX for this transfer. If you have sample data inside your PC or Mac, you can send this data over SCSI directly to the EX RAM area. SMDI is a standard protocol for sending samples via SCSI like this. Check the SCSI ID of the EX (in Utility/Other), since your computers sample editor will want to know this. Open your sample in the editor, and set it up to send to an SMDI device on the correct SCSI ID. Be careful that you dont duplicate any SCSI IDs with other devices on your SCSI bus. Basically, you just SEND from the computer. If all is correct the EX will show an SMDI Data message while its receiving the data. Be careful not to overwrite existing sample data. SMDI requires a sample position to be designated. If you tell it to send to sample position #1, any existing data in the EX at sample postion #1 will be overwritten.

Sample Editing

So now your sample is inside the EX. (If not, load the LARGE.WAV) from our floppy disk. Enter the SAMPLE Mode, and choose the sample number with our sample in it (very likely, its number 1). So hit EDIT and well enter the Sample Editor. There are three main pages in this section, PARAM, LOOP, and NAME. NAME is quite obvious. Choose PARAM first.
Here you can set some defaults for the playback of this sample. Many of these things can be changed from the Voice using this sample, so its not necessary to make any permanent decisions here. You can choose a default original key (Center), and a default playback method. Lets turn the Loop ON for a moment. (FwdLp = Forward Loop) The bottom three numbers are the sample start, loop start, loop length, and sample end points. But lets hit the LOOP page while we look at these.

R1 R2 R4 R6 R8 R10

WAVE called Fender Rhodes

R3 R5 R7 R9 R11

MIDI notes 1 > 127
Wave Bill contains only one sample across the entire note and velocity range. Wave Fender Rhodes contains 11 different samples strung out all over the place to build up a complete multi-sample of the Fender Rhodes. Once these samples are grouped as a WAVE, you dont have to think about managing all those bits. You can load the wave as a single unit, point to it from an Element as a single unit. It can be very useful. And you can forget about what samples were used to make the WAVE. In fact, many of the Preset ROM WAVES are complex multi-samples like this.
So, lets hit the F-key that says WAVE-EDIT.
Sure enough, its empty. Thats why it was so quiet. Hit the f-key that says ADD, and this will ADD a new Layer to your WAVE. It put that Piano in there again, didnt it? No problem, just change the PRE to RAM, and the LARGE drum beat should show up. Now you can see your ZONE. For reasons that will soon become apparent, lets limit the zone to one key, C3 (60). Set the low and high Note to C3.
Hit the MIX f-key, and lets set the Freq to fixed. Well do this so that no matter where on the keyboard we play the sample, it will play at the same pitch. It doesnt stop you from transposing or pitch bending the sample, so dont worry. You can coarse and fine tune freely even when Freq is set to Fixed. You can Pan it here too if you like. Make sure the Level is Maximum.
Now hit ADD again. Then the f-key ZONE. Notice that the Layer= 2/002 now. This is layer 2 of a total of 2. But conveniently, the second layer defaulted to whatever was set in the last layer. Lets just change the key to C#3.
Hit the SMPL page. Where it says SmplPlay, change it from default to RevNoLp. Now youve got a key to play the loop in reverse.
Hit ADD one more time, and go back to ZONE. Define its note limits as D3. Go back to SMPL again and switch to to forward play. Now you can offset the Start Time of this sample, set it to 22000 (use the ten-key pad), or so.
Now you have a section of the loop beginning at the snare drum. (This was the reason we turned off the loop back in the sample editor, and moved the Loop In point down to the end. The Start Time Offset CANNOT move inside the Loop In point. So if this is something you like to do, remember that limitation.) What youre building here is a WAVE. Youve already got three versions of this loop within the one wave. Now a RAM wave is like a RAM sample. Theres no need to STORE after editing, but there is a serious need to SAVE TO DISK.

Floppy Disk Format If you find that the floppy disk formatting is rather slow, use your computer. Its just a standard DOS disk.

The Arpeggiator

One of the great features of the EX synthesisers is the fully programmable, 4 track, arpeggiator. For an extensive explanation of everything the arpeggiator can do, check your manual at the section beginning on page 238. For the purposes of this guide, well show you the basics of making your own arpeggiator pattern, using an imported MIDI file as a template. Lets assume youve got a pattern in your sequencer that you think would make an excellent arpeggio pattern. Save it out as a MIDI file, copy it to a DOS formatted floppy, and import it into the EX. (The example were using is on your floppy disk, and is called Arp.MID). By default this MIDI file will be copied to the EX SONG file. If you then hit Play the onboard sequencer will play this file. Check this to make sure youve got the data. Now choose a voice to test the arpeggiator with. Turn the Arpeggio switch ON, and hit EDIT / COM / ARP. Scroll through the parameter called Type.
The first 50 are preset, you cant change them. At 51 they become User patterns, and you can choose any of these to make your own arpeggio pattern. Choose one of the User patterns, and hit F-3, Arp-Edit. Now you have to copy your MIDI file into this location. Hit JOB (beside the main Edit switch), and then section Job 2 / 3. Get Phrase. Youll now have a choice of what measure and track in the Song to copy into the Arpeggiator. Our example is in Track 1, Measure 001 002. Hit Enter and execute the Copy. Then hit exit a couple of times to get out of the Job mode and back into the Arpeggio editor. If you hold down some notes, it should make some attempt to play an arpeggio, but will probably sound completely ridiculous. Weve still got to set it up. Now it gets interesting. First, change the Arpeggio Length to 1 (since our MIDI file is only 1 measure), and set the tempo to whatever you want.
Now, go to the MODE page, and change track 1 to Search Low. Basically this is one mode that causes the arpeggiator to always play a note for each note of your pattern. There are many different modes here, which are explained in the manual, but for now lets just use Search Low. In our example, there are 7 different notes, even though some are repeated. If I play less than seven keys on the keyboard, Search Low will repeat a note even if it doesnt have seven different notes to work with. If you set the MODE to Non-Search, it will leave gaps when unable to find seven different notes. Now hit EDIT again. You should see something similar to this:

The first column here represents the timing of the pattern. The second column represents the KEY CODE. Now the key code is not the note itself, but is a representation of the position of the notes. For example, the key codes were assigned by the arpeggiator to our original sequence like this:
The lowest note is 1, the next lowest is 2, and so on.
When you hold down keys on the keyboard, it replaces these CODES with the lowest note you play, the second lowest you play, etc. Got it? Now, you could theoretically leave the sequence as is, and use it. But, if we tweak it out further, it can be much more useful, or more musical. The main problem with it at the moment, is that if I put my fist down on the keyboard, the pattern that results doesnt have any of the internal relationships or vibe of the original. Why? Because the arpeggiator called the third note CODE 6, whereas my interpretation is that its actually the first note up an octave. So lets fix it. In the ARP EDIT window, lets go in and change the third event to CODE 2, but in the O column (octave column) lets put +1. Lets also do this for the tenth (second last) event.
Lets do the same for the 8th and 11th events. Lets call these CODE 5 (second note) but with an octave setting of -1. And while were at it, well call the fourth event CODE 4, +1. Basically, Im just removing all excessive key codes, and replacing them with octaves. Now my entire pattern looks like this:
There are only four key codes remaining, 2,3,4, and 5. So now, I only have to hold down four notes on the keyboard to supply enough information to get the arpeggiator to crank out something resembling my original idea. And to tidy it up further, Im going to rename all CODE 2 to CODE 1, rename the CODE 3 to CODE 2, rename CODE 4 to CODE 3, and rename CODE 5 to CODE 4. This just makes it easier to read, and understand what is going on when you hold down 4 notes on the keyboard. So finally, my pattern looks like this:
Of course, you dont have to begin with a MIDI file. If you know what you want you could enter it directly in this editor (using the INS function). You could import any data from a track or pattern on the internal sequencer. Or you could record the basic pattern in real time in the Arp Editor itself. Exit this page to go back to the top of the Arpeggiator section. You can name your arpeggio pattern in the NAME page. And before we leave this, lets have a look at the Play Effects (PFX) page. First of all, turn OFF the FxThru switch on the main ARP page:

These default to FxThru ON (which means bypassing the play effects). Now enter the PFX page itself. Play Effects are offsets to the MIDI data, much like the inspector parameters in Cubase. You can offset velocity, note length, etc. and you can impose quantize grids (called Groove) on the data, without actually changing the data itself. Hold down some keys, and start scrolling through the Groove Type list.
You should be able to hear how each groove is altering the feel of your arpeggio. The last groove is called 101:user, and you can design your own groove in this space. You can also edit the existing grooves if you want. Below the groove stuff are some basic offsets, so you can alter the Velocity, Gate time, etc. of your pattern as well.
Arpeggios disappear when you power down. Back em up.
Yes, this is a drag. Sorry, but it uses the same RAM area that the patterns and songs are in. You can save the Arpeggios to disk. And you can load them again, individually if necessary, to build up your own library of patterns. In the Utility/Voice Mode page you can set the Arpeggiator to HOLD or not, and you can choose a MIDI channel to transmit the Arpeggiator to another synthesiser.

Patterns and Keymaps

Making a Pattern
Patterns are actually used in various ways in the EX, so its useful to learn how to make your own. Basically, you can think of the Pattern as a loop, much as if youd loop a section in a sequencer. It can have 8 tracks, each of which can be on any MIDI channel and can have different loop lengths. A Pattern cannot be longer than 16 bars, though. To demonstrate a Pattern that uses different Voices at the same time, lets choose a Performance to work within. Choose the one called Pattern, Performance #004. This Performance has a Drum Kit on channel 1, then an Rhodes sound on 2, and upright bass on 3. Hit the Pattern button.
Set a tempo you want to try working at, and then hit the PFX f-key. This takes you to the Performance Effects page, which we looked at briefly in the Arpeggiator chapter.
Again, with the patterns, you can offset many performance features of each track. You can introduce groove quantisations, transpositions, etc. But for now, all were interested in is the Length parameter, since this sets the length of the track.
Notice that when changing the Length parameter, there are two options. These are shown by the f-key selection below, which can be ALL or TR. If its set to ALL, then ALL the tracks in that pattern will be set to the Length you choose. If its set to TR then only the selected Track will be affected. Same goes for the other parameters in the PFX page. Im going to set the entire pattern to 1 bar for the time being. You can always go in and lengthen another track afterwards. So I set the Length to 2. Why 2? Well, because actually youre setting the Loop position, not the Length. So I want it to Loop at Bar 2, Beat 1. You can actually Loop at a beat within a bar if you like. (The Beat is displayed after the Bar in the Length parameter). This setting sets all tracks to Loop after 1 bar:

Choose the Pattern that we made in the previous section, and hit C1. The Pattern starts to play. Hit it again to stop it. Cursor over to the far right where it says toggle. There are three modes of triggering for each Key in the KeyMap. Toggle means that you hit the key once to start and again to stop. Oneshot means that it will play the entire pattern once, without any looping. Gating means that it triggers much like a normal MIDI note, ie. it plays while you hold it down, and stops when you release it. This is my preferred mode, but its up to you whats appropriate for your pattern or jamming style.
Do you still have the LARGE sample in memory? If not, load it from the floppy. Choose C#1 and set it to sample, you can choose the sample and the type of triggering for the sample also. Additionally, with samples, you can tune them using the TUNE f-key to access the coarse and fine tune parameters. TUNE has no function for Patterns. Lets make one more key, on D1. Lets set this one to pattern, but just trigger Track 3 of our Pattern. This is where I put the bassline in the previous section. And our KeyMap now looks like this:
Now, theres only one problem with this KeyMap so far, and thats the fact that youre also triggering the Performance Part 1 (the Tech Kit on Channel 1). Theres no easy way to avoid this, so I suggest choosing the Tech Kit on another Part (lets use Part 4 for now) and setting that Part to receive MIDI Channel 1.
Then choose a Silent Voice on Part 1, or else turn the volume down. You may also find that if youre routing through a sequencer, all the Pattern tracks are triggering the sound on Channel 1 (or wherever your sequencer is re-routing all incoming MIDI). In this case, you should turn OFF the transmit to MIDI on the Pattern, or use a multi or Any channel track in your sequencer, and turn OFF the TG in the Pattern. For example, here is the Pattern set up so that it doesnt transmit any MIDI out MIDI port A:
Keymaps disappear when you power down. If you make a nice one, save it to disk.
About the JOBs There are many functions in the JOB section with patterns. You can copy a track or a pattern, you can get a phrase from a MIDI file in the Song section and make it a Pattern, you can quantize tracks, etc. Check the manual at page 227 for a full list of JOBs.

The Sequencer

If you have a Performance set up for a song, or just want to experiment with our Pattern Performance, choose the Performance and hit SONG. (You can also use SONG from Voice mode, but you will have only one Voice at a time in Voice Mode). Here you can see the 16 tracks of the sequencer, plus an Fx and a Pt track. The MIDI tracks 1 through 16 can be chosen quickly with the Program/Part/Track buttons.

Why is it in Performance? Well, this could be really useful for setting up controls for an entire keyboard rig in a live situation. In one track you may want to control the EX itself, but in another track you might want the knobs to control another synth with a different controller set. Or, in the studio, you could make a Performance in the EX that will control your Bassstation for example, so you dont have to get out of your chair so much.

Effect Bypass

You can choose the effect of Effect Bypass in Utility / Other. You can choose which effects are affected by the Effect Bypass, effectively.

Working with SCSI Drives

To format a SCSI drive, whether it be removable type or a fixed drive, youll probably have to boot the EX while the SCSI drive is ON and connected. If you turn on the drive after the EX has booted, theres a good chance it wont be able to find the drive. The next thing youll need to do is format the drive. This is done in the disk page. Select the correct device first of all. Then you can format. The thing to remember about larger drives is to use directories. Otherwise you may end up with so many files on the root directory that you cant find anything. Theres a function for this called Make Directory.
Try to give your directories names that mean something to you.
Once youve made a couple of these you can navigate during the saving and loading process.
SCSI drives tend to be much faster than floppies also. And if youre working with samples, youll need some space. Id recommend using a SCSI drive of some sort.

Epilogue

Where do we go from here?
If youve followed through most of this book, you should have an idea of the huge potential of this instrument. Not only is the EX providing the raw elements of many synthesis techniques, its also giving you some compositional tools to help generate ideas. Once you understand the basic architecture of the machine, its often useful to forget about the designed purpose of the various sections, and to strike out on your own. For example, the Electric Piano Pickup FDSP algorithm might sound great with a vocal sample going through it. Using the resampling feature, you can sample the results of one DSP, and then apply another to the result. You could import your drum grooves, turn them into arpeggio patterns and manipulate them with the Play Effects, transpose it realtime, etc. Put your breakbeats through the Seismic FDSP and turn them to mush. You could import each section of your track as a seperate pattern, and jam the tune live from a KeyMap. Or make a sixteen part keyboard split as a Performance, set them all to the same MIDI channel, turn the arpeggiator on and stand back. A lot of interesting sounds are creating by merely trying stuff out, experimenting without a fixed purpose. Mistakes can be very cool. Miles Davis said There are no wrong notes. Brian Eno said Make the machinery fail. In other words, go for it, break the rules, and make it squeal like a pig.

MUSIC SYNTHESIZER

REALTIME CONTROL

EXTENDED SYNTHESIS

TONE GENERATOR

EXPage1(cover1)

Unlimited Performance Potential Plus Total Music Production
The Yamaha EX5 and EX7 Music Synthesizers, and the EX5R Tone Generator, offer more music performance and production power than ever before available in a single keyboard or tone generator unit. All three models feature a unique Extended Synthesis system which incorporates a number of the most advanced tone generator technologies currently available. plus a full-featured sampling system. Theres also a top-quality internal effect system so no extra sound-processing equipment is required. 16-track song and 8-track pattern sequencers provide sophisticated on-board sequence programming and editing capability, while a unique 4-track arpeggiator function adds extended performance and accompaniment capability. The EX-series keyboards and tone generator also offer one of the most versatile and intuitive real-time control systems available, and theyre expandable to suit a wide range of professional systems and requirements. The EX5, EX5R, and EX7 give the serious musician everything he or she needs to perform, compose, arrange, or handle full-blown music production in one extraordinarily versatile instrument.
sE s1 s5 sS s6 sP u s1 sK sV sP
EXPage2(introductionleft)
nd re or ect ers ck nd re se,
s Extended Synthesis engine including AWM, VL (EX5 & EX5R), AN, and newly developed FDSP tone generator systems. s 128-note polyphony on the EX5 and EX5R; 64-note polyphony on the EX7. s 512 voices and 128 performance setups. s Sophisticated sampling feature with multi-format compatibility and resampling capability. s 6 Controller Knobs provide unprecedented real-time control capability as well as precise, efficient data entry for editing. s Pitch Bend wheel, two Modulation wheels, 6 Controller Knobs, Ribbon Controller, Scene keys, and Breath Control jack for unlimited real-time expressive control. s 16-track song sequencer, 8-track pattern sequencer, and a versatile 4-track arpeggiator. s Key Map function allows keyboard triggering of sampled phrases and patterns. s Versatile master keyboard control capability. s Professional expandability with a comprehensive range of options.
EXPage3(introductionright)

Extended Synthesis

All tone generation systems have their strengths and weaknesses. One system may excel at creating certain types of voices, but none covers the full sonic vocabulary required by modern music production. The Extended Synthesis system employed in the EX synthesizers puts the full spectrum of electronic sound at your fingertips by combining multiple state-of-the-art Yamaha tone generation technologies in one incredibly versatile instrument. Theres the outstanding sample-based sound and programmability of AWM synthesis. For incredibly realistic and expressive wind and string instrument simulations theres VL synthesis. When you want a beefy analog synthesizer voice, AN synthesis can give it to you. And all-new FDSP technology offers the most responsive effects and simulated resonant systems available. All of these tone generator systems are brought together in a four-element voice structure which allows up to four different waves the basic building blocks of the EX voices to be combined as required. This is simply the most powerful array of tone generation technologies ever provided in a single keyboard or tone generator unit.
Virtual Acoustic Synthesis
(Available on the EX5/5R) The same tone generator technology used in the ground-breaking VL1, and the currently popular VL70-m tone generator. Yamahas Virtual Acoustic (VL) Synthesis tone generation system applies sophisticated computerbased physical modeling technology to musical sound synthesis, accurately simulating the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. VL Voice Structure VL voices can have 1 VL element and from 1 to 3 AWM elements. The VL element can be used alone to emphasize the full realism and expressive power of the VL tone generator, or with added AWM elements for thicker textures.

VL ELEMENT

elements and 1 or 2 AWM elements. The combination of two AN elements in this voice type can result in really thick, powerful, punchy analog type voices. Once again, the AWM elements can be used to add realistic samples or other textures.

AN ELEMENT

AN ELEMENT EFFECTS AWM ELEMENT

AWM ELEMENT

FDSP Synthesis
(Available on the EX5/5R/7) FDSP, or Formulated Digital Sound Processing adds a sophisticated note-dependent effect processor to the basic AWM synthesis system. In contrast to a standard effect stage, the FDSP synthesis stage uses individual note and velocity data to control effect parameters, thus making it possible to simulate the characteristics of a number of real-world musical components, as well as produce totally new effects. For example, FDSP can effectively model the frequency and velocity dependent characteristics of electromagnetic guitar or piano pickups, thus adding more realistic response to these types of voices, or adding a whole new dimension to other sounds. It can also alter the delay time of flange or chorus type effects according to the note played, thus producing totally new sounds that are responsive and alive. FDSP Effect Type List

01: EP Pickup 02: EG Pickup 03: Water
AN Th FD bin hav ele to as
AWM ELEMENT EFFECTS AWM ELEMENT

AWM Synthesis

(Available on the EX5/5R/7) AWM, or Advanced Wave Memory, is Yamahas original system for effectively using sampled waveforms in synthesizers and tone generators. The strength of AWM synthesis lies not only in its outstanding sound quality, but also in its extraordinary ability to shape and control the sound of the samples with a comprehensive system of envelope generators, filters, key scaling parameters, modulation, and more. AWM Voice Structure AWM voices can have from 1 to 4 AWM elements. Each AWM element can use a preset wave or a sampled waveform. The ability to combine AWM elements means that you can, for example, combine separate samples for the attack and sustain portions of an instruments sound, with independent control over each.

AN Synthesis

(Available on the EX5/5R/7) Yamaha AN Synthesis (Analog Physical Modeling) offers all the benefits of traditional analog synthesis with the stability, reproducibility, and precise control of digital technology. It is capable of accurately reproducing the sound of classic analog synthesizers without patch cables, setting charts, or the frustrating instability that was the bane of the analog age. AN(Poly) Voice Structure A standard (Poly) AN voice can have 1 AN element and from 1 to 3 AWM elements. Classic analog synth type sounds can be created with the single AN element alone. AWM elements can be added as necessary to modernize the sound.
04: PWM 05: Flange 06: Phaser 07: Self FM 08: Tornado 09: Ring Mod 10: Seismic
AWM ELEMENT EFFECTS AWM ELEMENT AWM ELEMENT EFFECTS AWM ELEMENT
The soun whic or m of th (see ble tone any engi the and also tures sam extra samp
AN(Layer) Voice Structure The EX5 and EX5R additionally allow AN layer voices which can have 1 or 2 AN
FDSP Voice Structure FDSP voices have from 1 to 4 AWM elements with an FDSP stage between the elements and the main effect stage. The FDSP stage can be applied to any or all of the AWM elements used, as required.

EXPage4

nts. The s in this ck, pows. Once used to ures.
AWM ELEMENT FDSP AWM ELEMENT EFFECTS
AN + FDSP Voice Structure The EX5 and EX5R allow the AN and FDSP tone generator systems to be combined in AN + FDSP voices which can have 1 AN element and from 1 to 3 FDSP elements. The FDSP stage can be applied to any or all of the AWM elements used, as required.
The EX5, EX5R, and EX7 are supplied with a 1-megabyte wave memory which can be expanded up to 65 megabytes by installing optional SIMM memory modules. An additional 8 megabytes of non-volatile flash memory becomes available for sample storage if the optional EXFML1 Flash Memory Boards (4 megabytes each) are installed. Sampled waveforms can be saved to floppy disk, or to an external storage device via the optional ASIB1 SCSI Interface. Wave files in standard WAV, AIFF, or AKAI format produced using other equipment can also be loaded and used by the EX5, EX5R, and EX7.

d Processependent synthesis fect stage, dual note paramemulate the eal-world produce FDSP can d velocity omagnetic ing more voices, or to other y time of ing to the ally new ve.
Outstanding Preset Voices & In-depth Editing Capability
Sophisticated Sampling Capability
full keyboard initial and aftertouch response. The EX5R Tone Generator also offers extended controller versatility for enhanced programming and performance control. In addition to real-time parameter control, the Controller Knobs function as data entry controls while editing for fast, efficient operation. You can, for example, use them to tweak the filter and envelope parameters of a voice. Or in a FDSP voice an electric piano, for example you could use the controller knobs to fine-tune the position of the virtual electromagnetic pickup, as required. There are also two scene buttons which can be used to switch or morph between memorized controller setups individually memorized for each voice or performance setup. Rear panel jacks additionally allow connection of a foot controller and breath controller (particularly valuable for use with VL voices). An important feature of all models is that a number of controller sets can be created, with total assignment freedom: e.g. different controllers can be assigned to totally different parameters, a single controller can be assigned to several parameters, multiple controllers can control a single parameter, or just about any combination of the above.
The EX Sample mode lets you sample sounds via a microphone or line source which can be used in AWM voice elements or mapped to and played via individual keys of the keyboard using the Key Map mode (see Key Mapping, below). It is also possible to sample directly from the internal EX tone generator system, so you can capture any sound created by the EX synthesis engine including variations produced by the internal effects and real-time control and save it for later use. The Sample mode also includes a range of wave editing features which can be used to fine tune your samples for optimum sound: normalize, extract, tune, loop, and otherwise refine your sample as required. WM eleeen the ge. The or all of ed.
The EX5, EX7, and EX5R come with 512 totally new, top-quality preset voices (265 preset + 256 internal) that take full advantage of the Extended Synthesis tone generators as well as the extended polyphony of these remarkable instruments (128 simultaneous notes on the EX5/EX5R, 64 on the EX7). You can use the preset voices as they are, edit them to create variations that suit your sound, or create totally new voices from scratch using the in-depth editing features provided. Any number of voices can be saved to floppy disk via the internal floppy disk drive, or to an external storage device hard disk, ZIP drive, or JAZZ drive via the optional ASIB1 SCSI interface.

Powerful Sequencing Functions
Not only do they offer the most powerful assortment of tone generator technologies currently available, but the EX5, EX5R, and EX7 feature and range of sequencing functions all with fine 1/480th beat resolution that give them many of the capabilities of a sophisticated music production system without the need for any extra equipment.

16-track Song Sequencer

Unparalleled Realtime Control
6 Controller knobs provided on all EX models can be assigned to a wide range of parameters for extraordinary real-time control capability. The EX5 and EX7 additionally feature standard pitch bend and modulation wheels, a second modulation wheel and a ribbon controller, plus The EX Song Sequencer is a full-featured sequencer complete with real-time play effects including groove quantization and a comprehensive range of editing functions.

EXPage5

A 30,000 note memory gives this sequencer plenty of capacity for recording and playback of complete songs with rich musical textures and complex arrangements. The EX sequencer can be synchronized to an external device using MIDI clock or MTC (MIDI Time Code).
ers and played simultaneously. You have total control over how the parts are mixed to create the final sound. Straightforward layering lets you combine similar voices to create exceptionally thick, rich textures. Completely different voices can also be layered for unique effects: a fairly common example would be layered piano and strings. But layering is only the beginning.
trolled live, in real time. E

R [1 [9

Effects
The EX effect system is not an extra. It is a top-quality digital signal processing system which is capable of producing effects rivalling and even exceeding those of many separate component effect units in quality. In the EX5, EX5R, and EX7, effect programming is an integral and important part of voice programming, and the ability to control specific effect parameters in real time makes them indispensable for expressive control as well. Two main effect types are provided: System and Insertion. System effects apply to the overall sound, whether it be a voice, an entire performance setup, a song, etc. Insertion effects, on the other hand, can be applied individually to each voice.

[6 [1 [1 [1 [1 [1 [1

Split Keyboard
Instead of layering voice parts over the same keyboard range, different parts can be assigned to different areas of the keyboard for split keyboard setups for example, acoustic bass on the left-hand section and piano on the right-hand section of the keyboard. The parts can be assigned to completely different areas of the keyboard, or they can be partially overlapped as required.
In [0 [1 [5 [9 [1 [1 [1 [1 [1 [1 [1 [1 [2
8-track Pattern Sequencer
The 8-track pattern sequencer has most of the functions and features of the 16track song sequencer, but is more suited to the production and management of shorter patterns or phrases such as drum tracks, dance grooves, or other frequently used phrases. Patterns can also be played via the EX Key Mapping feature, described below.

Velocity Switching

Velocity switching takes layering a step further by assigning the layered voices to different velocity ranges. For example, a slap bass voice could be created using two different bass sounds: the first a smooth fingered bass sound, and the second a snappy slapped bass sound. After assigning the two layers to appropriate velocity ranges, playing the keyboard gently produces the fingered sound, and playing harder produces the slapped sound. Using this technique an unlimited variety of new, responsive sounds can be created relatively easily. Velocity ranges can be overlapped as required so that the two voices sound together in overlap range.

4-track Arpeggiator

4-track arpeggio patterns from simple to sophisticated can be stored as voice and/or performance parameters for automatic recall and use with individual performance setups. The EX Arpeggiator makes it easy to create automatic arpeggios, techno-style patterns, or a virtually unlimited range of other repeating phrases.
System - Reverb & Chorus
The System effects include two separate effect units: the Reverb effect unit with 12 different reverb-related effects including realistic simulations of the natural reverberation in various halls and rooms, and the Chorus effect unit with a selection of 17 chorus-type effects, including flanging, phasing, symphonic, and others. Independent reverb and chorus settings can be made for each voice in the Voice mode, and for each performance setup in the Performance mode.

In [0 [1 [6 [1 [1 [1 [1 [1 [1 [1 [1

Performance Mode

The EX Performance mode allows different voices to be assigned to different parts and combined in a number of ways for real-time performance or for sequencing via the EX Song or Pattern mode, or via external MIDI control. Either way, the Performance mode offers versatility and control not available in the Voice mode. Up to 128 performance setups can be stored in internal memory, and more can be saved to and loaded from floppy disk or an external storage device as required.
Multi-timbre Tone Generator
Another important function of the Performance mode is to assign and set up as many as 16 parts for the internal EX Song or Pattern mode sequencer, or for multi-timbre MIDI control from an external computer-based or stand-alone MIDI sequencer device. The Performance mode volume, pan, and effect parameters define the overall sequence mix.

Insertion Effects

Two insertion effect units are provided in addition to the Reverb and Chorus system effect units described above. The Effect 1 unit includes 24 effects including chorus, distortion and overdrive, amp simulation, auto wah, equalization and more. The Effect 2 unit adds a range of delay, reverb, and other effects, providing a total of 79 effects.

[2 [2 [2 [2

Key Mapping
The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks to different keys of the keyboard (or MIDI note numbers in the case of the EX5R). The assigned samples and/or patterns can then be played via the EX5/EX7, or via an external sequencer or other MIDI controller on all models. Key Mapping makes it possible, for example, to combine playback of looped rhythm samples with patterns to create new rhythmic textures that can be con-

W a tr tr e te

Layers
Different voices (known as parts in the Performance mode) can be combined in lay-

EXPage6

Effect Type List
Reverb Block [1] HALL1~[8] PLATE [9] WHITE ROOM~[12] CANYON [24] PHASER2 [25]~[26] EARLY REF1~2 [27] GATE REVERB [28] REVERSE GATE Chorus Block [1] CHORUS~[5] CHORUS5 [6] CELESTE1~[9] CELESTE4 [10] FLANGER1~[12] FLANGER3 [29]~[31] KARAOKE1~3 [32] AUTO WAH [33] TOUCH WAH [34] AUTO WAH DISTORTION [35] AUTO WAH OVERDRIVE [36] TOUCH WAH DISTORTION [37] TOUCH WAH OVERDRIVE [38] DISTORTION [39] OVERDRIVE [40] AMP SIMULATOR Insertion Small Block [0] THRU [1]~[4] CHORUS1~4 [5]~[8] CELESTE1~4 [9]~[11] FLANGER1~3 [12] TREMOLO [41] COMPRESSOR [42] COMP DISTORTION [43] EXCITER [44] NOISE GATE [45] HALL1~[52] PLATE [53] PITCH CHANGE1 [54] PITCH CHANGE2 [55] ENSEMBLE DETUNE [56] VOICE CANCELAR [57] 2BAND EQ [58] 3BAND EQ [59] Control Delay1(mono) [60] Control Delay2(stereo) [61] DPCM [62] V-Distortion [63] V-Flanger [64] Talking Modulato Insertion Large Block [0] THRU [1]~[5] CHORUS1~5 [6]~[9] CELESTE1~4 [10]~[12] FLANGER1~3 [13] SYMPHONIC [14] DELAY L,C,R [15] DELAY L,R [16] ECHO [17] CROSS DELAY [18] ROTARY SPEAKER1 [19] ROTARY SPEAKER2 [20] TREMOLO [65] Beat Changer [66] DIGITAL SCRATCH [67] AUTO SYNTH [68] TECH MODULATION [69] LOW RESOLUTION [70] NOISY [71] ATTACK LOFI [72] DIGITAL TURNTABLE [73] JUMP [74] WAH+DIST+DELAY [75] WAH+ODRV+DELAY [76] COMP+DIST+DELAY [77] COMP+ODRV+DELAY [78] DIST+DELAY [79] OVERDRIVE+DELAY

a. It is a g system cts rivalany sepuality. In ramming of voice trol spee makes ontrol as rovided: effects r it be a a song, and, can.
[13] SYMPHONIC [14] PHASER [15] ENSEMBLE DETUNE [16] DELAY L,R(stereo) [17] Control Delay(mono)

EX7 Front Panel

EX5R Front Panel
[13] AUTO PAN [14] DISTORTION [15] OVERDRIVE [16] AMP SIMULATOR [17] EXCITER [18] COMPRESSOR [19] NOISE GATE [20] AUTO WAH

EX5 Rear Panel

separate with 12 ing realrberation e Chorus orus-type g, symverb and ch voice perform.
[21] TOUCH WAH [22] PHASER

EX7 Rear Panel

vided in s system Effect 1 orus, dison, auto Effect 2 nd other.
[21] AUTO PAN [22] Ambience [23] PHASER1

EX5R Rear Panel

Professional Expandability
Master Keyboard Functions
With up to 16 assignable keyboard zones and full MIDI transmission of realtime controller data, the EX5 and EX7 offer MIDI control capability and versatility rivalling and even exceeding that of many dedicated master keyboards.
Although formidable music production tools on their own, the EX5, EX5R, and EX7 support a range of options that allow them to be easily integrated into larger, professional-class systems.
s EXIDO1 Individual Output Board Provides 4 individual outputs, thus adding assignable individual output capability to the EX7, and bringing the total number of individual outputs on the EX5/EX5R to 6. s ASIB1 SCSI Interface Allows direct connection to SCSI storage devices and/or a personal computer.
s EXFML1 Flash Memory Board A pair of 4-megabyte boards for 8-megabytes of non-volatile sample storage. s EXDGO1 Digital Output Board AES/EBU digital audio stereo output with word clock input. s SIMM Memory Up to 64 megabytes of SIMM memory for sample recording and playback.*
* Be sure to refer to the EX owners manual before purchasing expansion SIMM memory to ensure compatibility.

EXPage7

Specifications
EX5 Keyboard Type Touch Response Tone Generator Synthesis type Polyphony Voice Regular 76 keys Velocity sensitive / Aftertouch AWM, VL, AN, FDSP, Sampling(44.1KHz) (Preset 256 / Internal 256) *Up to 4 elements for each Normal voice / up to 128 elements for Drum voice AWM / VL+AWM / FDSP / AN+AWM / AN+FDSP / Drum Voice Type User Wave FDSP Type Performance Voice Multitimbres Others Effects Reverb Chorus Insertion Song Sequencer Track Capacity Song Number Recording Mode Format Note Resolution MIDI Sync Pattern Sequencer Track Pattern Recording Mode Note Resolution Key Map Arpeggiator Arpeggiator Type Recording Mode Track Note Resolution SMF Direct Play Display Connectors & Terminals LCD Headphone Output Standard Individual Output A/D Input MIDI Sustain Foot Switch Foot Controller Foot Volume Storage Internal FDD SCSI Devices File Type Controllers Pitch Bend Modulation Control Knob Ribbon Controller Breath Controller Scene Control Switch Master Volume A/D Input Gain Rotary Encoder Included Accessaries Options Flash Memory board SIMM Individual Output Digital Output SCSI Dimensions Weight 1268(W) x 407(D) x 129(H) mm (49 1/8" x 16" x 5 1/12") 20 kg (44 1/8 lbs.) 1 Assignable 2 IN / 2 OUT / THRU 1 Assignable 1 Assignable 1 Assignable 1 Assignable 3.5" 2HD/DD Optional SCSI devices available via optional ASIB1 All Data / Synth All / Voice / Wave / SMF / SONG / Pattern / Arpeggio *SMF Format 1/ ESEQ / AIFF / WAVE / AKAI format Loading only 6 Assignable 1 Assignable Owners Manual, Demo disks 1 pair of EXFML1 Flash Memory Board (8MB; 2 x 4MB) 1 pair of 72-pin DRAM SIMMs (Max 64MB; 2 x 32MB) EXIDO1 Individual Output Board for Additional 4 Output Expansion EXDGO1 Digital Output Board for AES/EBU with Word Clock In ASIB1 SCSI Interface for 50-pin Half Pitch connector *EXIDO1 and EXDGO1 cannot be installed simultaneously. 480(W) x 397(D) x 138(H) (18 7/8" x 15 2/3" x 5 5/12") 9.8 kg (21 5/8 lbs.) 1061(W) x 407(D) x 129(H) mm (41 3/4" x 16" x 5 1/12") 15 kg (33 1/8 lbs.) 1 Assignable 1/4" Phone x 2 1/4" Phone x 2 IN / OUT / THRU 1 Assignable 1 Assignable 1 Assignable 1 Assignable *Sampled Wave available in AWM and Drum mode 1MB DRAM *Optionally expanded up to 72MB (64MB SIMM + 8MB Flash Memory) EP Pickup / EG pickup / Water / PWM / Flange / Phaser / Self FM / Tornado / Ring Mod /Seismic(10 types) Internal parts Micro Tuning setting available, Voice Category Search function + Pattern/Play Effect/Tempo Approx. 30000 notes 1 Multi / Step / Overdub / Replace / Punch In SMF Format 0 for SAVE and LOAD / SMF Format 1 and ESEQ for LOAD only 1/480 per beat Internal / MIDI Clock / MTC 8 User 50 Multi / Step / Overdub / Replace 1/480 per beat 1 User kit of up to 128 samples / patterns *Complete 8 track patterns, single pattern tracks, or sampled waves can be assigned to each key. Preset 50 / User 50 Step / Overdub / Replace 4 1/480 per beat SMF Format 0 direct playback available 64 x 240 (Backlit) with Contrast knob 1/4" Stereo Phone 1/4" Phone x 2 1/4" Phone x 1 AWM / FDSP / AN+AWM / Drum EX5R EX7 Regular 61 keys Velocity sensitive / Aftertouch AWM, AN, FDSP, Sampling(44.1KHz) 64

Specifications are subject to change without notice.
Products bearing the SONDIUS-XG logo are licensed under patents of Stanford University and Yamaha as listed on the internet web site, <http://www.sondius-xg.com>. This product is not compatible with the XG format or XG song data.
For details please contact:

EXPage8(cover4)