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Yamaha MO8 Manual

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Yamaha MO8Yamaha MO8 88 Key Synthesizer Keyboard Package with Free Stand
Yamaha, proudly introduces the MO Music Production Synthesizer. Targeted to semi-professional musicians and home/project studio owners as well as songwriters and performers, the MO provides a full set of authentic sounds and comprehensive music-making features-including an emphasis on contemporary styles and voices. Highly portable and compact, the MO also serves as an ideal keyboard for live performance situations.

Part Numbers: MO-8, MO8, WF55090
UPC: 086792837765
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Performance mode

Performance Play mode Performance Edit mode Performance Job mode Performance Store mode

Song mode

Song Play mode Song Record mode Song Edit mode Song Job mode Song Mixing mode Song Mixing Edit mode Song Mixing Job mode Song Mixing Store mode

Pattern mode

Pattern Play mode Pattern Record mode Pattern Edit mode Pattern Job mode Pattern Mixing mode Pattern Mixing Edit mode Pattern Mixing Job mode Pattern Mixing Store mode

(Mixing Voice mode)

Mixing Voice Edit mode Mixing Voice Job mode Mixing Voice Store mode

Utility mode

Master mode
Master Play mode Master Edit mode Master Job mode Master Store mode

File mode

How to leave the current display
For most operations or displays (except for the File mode, Song/Pattern Record mode, and Remote Control mode), pressing the [EXIT] button will let you leave the current display and return you to the previous one. You can return back to any of the modesVoice Play, Performance Play, Song Play, Pattern Play, and Master Playby pressing the [EXIT] button several times in the respective mode.


Keyboard octave setting (MO6)
Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave. Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to +3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and when it is set to Octave Down, the [OCTAVE DOWN] buttons lamp lights. The current octave setting is shown at the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the [OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).
The Octave setting made here is automatically reected in the identical Octave parameter in the Utility mode ([UTILITY] [F1] GENERAL [SF2] KBD Octave). This setting is available in all modes.
Transpose setting of the keyboard
You can set the amount in semitones by which the range of the keyboard is shifted up or down as well as the octave setting.
Move the cursor to Transpose by using the Cursor button.
Change the Transpose value by using the [INC/YES], [DEC/NO] buttons and data dial.
Press the [STORE] button to store the Transpose setting to internal Flash ROM.
Make sure to execute step 5. The settings made in step 4 will be lost if you turn the power off without executing step 5.

[COMMON] [F3] ARP (Arpeggio)

Pages 145, 154

The following briey describes the main Voice parameters.
For each Voice, you can set the Arpeggio related parameters such as Arpeggio type and playback tempo. These can be edited in the Common Edit display.
Basic parameters for creating a sound Page 132
Element selection [F1] [F6]

Repeat steps as desired.

If you wish to edit the basic sound-generating and soundshaping parameters for the Voicesuch as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)use the Common Edit display.
Name the edited Normal Voice.
Effect related parameters


Page 140
Enter a name for the Voice from the NAME display ([COMMON] [F1] GENERAL [SF1] NAME). For detailed instructions on naming a Voice, refer to page 38.
Enter the desired Voice name
The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Voice. Effects are applied in the nal stages of editing, letting you change the sound of the created Voice as desired. The Common Edit display lets you edit the Effect related parameters.
Controller related parameters
[COMMON] [F4] CTL SET (Controller Set)

Page 70

Store the settings as a User Voice.
For each Voice, you can assign various functions to built-in controllers such as Pitch Bend Wheel, Modulation Wheel, Knobs (ASSIGN1 and 2), and optionally connected controllers such as Footswitch and Foot Controller. These settings can be edited in the Common Edit display.
The edited Voice can be stored in the Voice Store mode. For details, see page 60.
TIP The Compare Function You can compare the sound of the original (unedited) Voice with the edited Voice. For details, see page 36.
TIP Edit Recall If you are editing a Voice and select a different Voice without storing the one you were editing, all the edits youve made will be erased. If this happens, you can use Edit Recall to restore the Voice with your latest edits intact.
TIP To solo an Element for editing This feature is useful for isolating the sound of single Element, for ease in editing.
Press the [JOB] button in the Voice mode to enter the Voice Job mode. Press the [F2] RECALL button to call up the Recall display. Press the [ENTER] button. (The display prompts you for conrmation.)
If you wish to cancel the operation, press the [DEC/NO] button.
In the Normal Voice Edit mode, simultaneously hold down the [MUTE] button and press one of the Number buttons [9] to [12] to solo the corresponding Element.
Once youve selected an Element for soloing, the [MUTE] buttons lamp ashes, indicating the Solo function is active and only the selected Element can be edited.
In this example, only Element 3 is turned on and can be edited.

You can also record the Tempo track and Scene track as desired. When the recording track is set to tempo, move the cursor to tempo value (during recording in step 4 above) and use the data dial and the [INC/YES]/[DEC/NO] buttons to change the tempo while the Chain is playing. When the recording track is set to scene, press the [MUTE] button (the lamp lights) and use the Number buttons [1] [16] to turn each track on/off as desired during recording.
In the Pattern Chain Record Setup display, you can set the Recording track and tempo. Three Pattern Chain track types are available. The Tempo track lets you record tempo changes for the Chain, and the Scene track lets you record track on/off changes. The Pattern (patt) track lets you record Section changes at the desired measure points in the Song.

Section A H

Press the [REC] button to enter the Pattern Chain Record mode, then set the basic parameters.

Editing a Pattern Chain

The Pattern Chain Edit mode makes it possible to edit the order of the Sections in a chain, as well as insert tempo and scene/mute event data.
Converting a Pattern Chain to Song data
Once youve made a Pattern Chain, you can convert the data and create a Song with it.
In the Pattern Play mode, select a Pattern for which data has already been created. Press the [F6] CHAIN button to call up the Pattern Chain Play display. Press the [EDIT] button to enter the Pattern Chain Edit mode, then edit each track of the Pattern Chain. Press the [EXIT] button to return to the Pattern Chain Play display, then press the [F] (Play) button to hear the edited Pattern Chain. Save the created Pattern data to a USB storage device (page 98) before turning the power off.
In the Pattern Play mode, select a Pattern for which Pattern Chain data has already been created. Press the [F6] CHAIN button to call up the Pattern Chain Play display. Press the [EDIT] button to enter the Pattern Chain Edit mode. Press the [F3] SONG button to call up the Convert to Song display, then specify the destination Song.
Destination Song number and the top measure number When this box is checkmarked, program change messages in the MIDI sequence data are not copied.

Recording Song Scene changes to a Song
Each Song contains a Scene track to which you can record Scene changes. When the RecTrack is set to scene in step 4 described on page 88, you can record Scene changes from any display (even from those in which ARP1 ARP5 are not shown) by pressing the [SF1] [SF5] buttons during recording.
n n The explanations on Arpeggio here also apply to the Pattern mode. As in the Voice mode and Performance mode, Arpeggio types can only be registered to the [SF1] [SF5] buttons when the [ARPEGGIO ON/OFF] button is turned off. For details on how to select an Arpeggio type in the Song mode/ Pattern mode, see page 80.

Song position

MIDI events


Measure number Beat Clock (480 clocks per quarter-note)
Select a track to be edited.
Editing the recorded Song
The Song Edit mode and Song Job mode can be used to edit or change the data of the already recorded Song. The Song Edit mode lets you change the recorded data and insert new data if needed. This includes note data as well as non-note data, such as program (Voice) changes and MIDI control change messages. The Song Job mode on the other hand provides a comprehensive variety of tools you can use to transform the recorded datasuch as cleaning up the timing (Quantize), transposing, changing the velocity of notes, modifying the length of notes, and other useful operations for altering the sound. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track.
n The explanations here also apply to the Pattern mode.
Select one of the three available track types by pressing the [F4] TR SEL (Track Select) button. Each press of the button alternates among the track types. To select one of the Pattern tracks (1 16), make sure the track edit display is selected (see below), then turn the [TRACK SELECT] button on and press any of the [1] [16] buttons.
Select a track to be edited from 1 16.

track edit display

Editing the recorded Song data by MIDI event (in the Song Edit mode)

Scene track edit display

Press the [SONG] button to enter the Song Play mode, then select a Song to be edited.
Enter the Song Edit mode by pressing the [EDIT] button (the lamp lights), then press the [F1] CHANGE button to call up the MIDI event list display.

After connecting the USB storage device to this synthesizer, follow the instructions below.
Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF1] CURRENT button

All Song

Move the cursor to the TYPE, then set the File type by using the data dial, [INC/YES] and [DEC/NO] button. You can select one of the following four le types to save the Song or Pattern data. Here, select All because various kinds of data have been created in order to complete a Song.
Saving a Song or a Pattern Section as a Standard MIDI File
After connecting the USB storage device to the instrument, follow the instructions below.
Press the [F2] SAVE button to call up the Save display. Set the TYPE parameter to SMF. Input a le name.
Move the cursor to the le name input location, then input a le name and press the [SF1] EXEC button. For detailed instructions on naming, refer to page 38 in the Basic Operation section.
Press the [SF1] EXEC button to actually save the le.
While the data is being saved/loaded, make sure to follow these precautions: Do not remove or eject the media from the USB storage device. Do not unplug or disconnect the USB storage device. Do not turn off the power of the instrument or the relevant devices. n n When loading a SMF (Standard MIDI File), set the le type to Song or Pattern. Only the sequence track (1 16) and tempo track data of a Song/Pattern created in the Song/Pattern mode can be saved to a USB storage device as Standard MIDI File (format 0) data. The Mixing settings will not be saved to a Standard MIDI File. If you wish to save the entire Song/Pattern including the Mixing settings, set the le type to All or AllSong. or AllPattern.
Select a Song/Pattern to be saved.
When saving a Song as SMF:

Select a Song number.

When saving a Pattern as SMF:
Select a Pattern number and Section.
Loading a le saved to a USB storage device
These instructions describe how to recall the data saved as a le type All (extension: M7A) described on page 99 from the USB storage device to the instrument by using the Load operation.
Loading a le (extension: M7A) to this synthesizer automatically erases and replaces all existing data in the User memory. Make sure to save any important data to a USB storage device before performing any Load operations.

If the MO is connected to the computer by MIDI cable, the Remote Control function cannot be used.
From the MO, you can remote-control the sequencer and Multi Part Editor simultaneously using Mode A and Mode B.
When controlling Cubase SX via MIDI port 4

Mode A

Set the Port for remote control of the sequencer or DAW. Select your sequencer and the desired Port number. When controlling Yamaha software, select general.

Mode B

Set the Port for remote control of the Multi Part Editor. When controlling the Multi Part Editor, select general. In this case, the parameter is set to off because the Multi Part Editor is not used.
n n The general setting is for remote control of the Yamaha software. This lets you control the Multi Part Editor in Mode A, and control Yamaha sequencer software in Mode B. For details on how to operate the Editor, refer to the PDF manual included with the software.
MO Remote-control block Tone generator block Mixing settings of Song Pattern Port 4 (Mode A)

Computer Cubase SX

Port 1 (Playback data from sequencer) Project le (Song le) Port 1 (Playback data from keyboard of MO)
Setting up for Remote Control
Press the [ENTER] button to execute the settings. Press the [STORE] button to store the settings as the system settings of the Utility mode.

Digital Performer 4.52

Pull down the [Setup] menu and select [Control Surface Setup] to call up the Control Surface window. Click the [+] button. Select Mackie Control in the Driver section. In the box for setting Unit and MIDI, select Mackie Control in the Unit section and select the MIDI port in the MIDI section.
If you turn the power off without storing, the currently edited settings will be lost.

Logic Pro 7

When turning on the power of the MO before starting Logic:
Start the software to be remote-controlled, and make the MIDI settings and remote control settings.
Start Logic on the computer, then turn on the power of the MO. Start Logic on the computer. Logic automatically recognizes the MO as Logic Control and performs the required settings.
Set the Port setting for remote control on the software, referring to the illustration in step 4.
When starting Logic before turning on the power of the MO: Specic instructions for setting up your particular software follow. For instructions on how to start the software, refer to the documentation included with the software.

Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the more softly you play, the greater the change in frequency.


Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you play, the greater the change in Resonance.
[SF3] FEG (Filter Envelope Generator)
From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display. HOLD TIME LEVEL Hold time Hold level ATK Attack time Attack level DCY1 Decay1 time Decay1 level DCY2 Decay2 time REL Release time Depth DEPTH
Settings: TIME: LEVEL: -+127 DEPTH: -+63 n For details on the FEG, see page 133.
CutoffSens (Cutoff Sensitivity)
Determines the degree to which the notes (specically, their position or octave range) affect the Filter of the selected Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.

Settings: -+200

This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.

Settings: C -2 G8

Determines the degree to which the notes (specically, their position or octave range) affect the Filter EG times of the selected Element. The basic speed of change for the FEG is at the note specied in the Center Key (next parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect.

[F2] RECALL (Edit Recall)
If you are editing a Voice and select a different Voice without storing your edited one, all the edits youve made will be erased. If this happens, you can use Edit Recall to restore the Voice with your latest edits intact.


Source Voice
From this display you can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice. Data type to be copied (Type) Common: Data in the Common Edit mode Element (1 4): Data of the corresponding Element Edit parameters Key C0 C6: Data of the corresponding Key Edit parameters
Destination Voice (Current Voice)
Copy procedure 1. Select the Source Voice. When Current is selected in the Source Voice, the Source Voice will be same as the Destination Voice. If you wish to copy one Element to another Element in the same Voice, select Current. 2. Select the Destination Voice (Current Voice). If the Source Voice type (Normal/Drum) differs from that of the Voice you are currently editing (destination), you will only be able to copy the Common parameters. 3. When Element or Key is selected in the Source Voice, select the Part/Key to be copied in the Destination Voice. 4. Press the [ENTER] button.

[F4] BULK (Bulk Dump)

This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving. For details, see page 148.
In order to execute Bulk Dump, youll need to set the correct MIDI Device Number, with the following operation: [UTILITY] [F5] MIDI [SF1] CH DeviceNo.

Voice Store mode

[VOICE] Voice selection [STORE]
This function lets you store your edited Voice to User memory. For details, refer to page 60 in the Quick Guide section.

Supplementary infomation

Supplementary information

Micro Tuning List

[VOICE] [EDIT] [COMMON] [F1] GENERAL [SF2] PLY MODE M.TuningNo./M.TuningRoot (page 153)

M.TuningNo. 00

Type Equal Temp (Equal temperament)

M.TuningRoot --

Comments The compromise tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with identical pitch relationships. However, none of the intervals are perfectly in tune. This tuning is designed so that most of the intervals (especially the major thir d and perfect fth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C B) you will be playing in. The same as Pure Major, but designed for the minor scale. Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key. Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the rst six fths are lower by the same amount. This is the normal equal tempered scale shifted up 50 cents. Twenty-four equally spaced notes per octave. (Octaves are 24 notes apart.) Forty-eight equally spaced notes per octave. (Octaves are 48 notes apart.) Designed for use Indian music (white keys only). Designed for use Arabic music.

Settings: on, off n The tempo setting data in the Pattern Chain is not affected by this parameter.


Event Chase allows you to specify which non-note data types are properly recognized during fast-forward and rewind operations. Normally, if a Song or Pattern is played back from mid-point and/or fast-forward or rewind are used, certain data types (such as Program Change, Pitch Bend, and Control Change) may not play back as expected. Setting this to a specic event ensures the playback integrity of the event, even when fast forwarding or rewinding.
Settings: Off, PC (Program Change), PC+PB+Ctrl (Program Change+Pitch Bend+Control Change), all (All events) n Keep in mind that settings other than off may result in slower operationfor example, a pause before starting playback, or slower rewind/fast forward speed. n When this is set to all, an excessive amount of MIDI data may be generated, possibly resulting in a MIDI error on the connected device.
DumpInterval (Bulk Dump Interval Time)


Determines whether the Mixing settings are loaded (on) or not (off) when the Song/Pattern number is changed.
Settings: off, on n This setting affects the Song/Pattern change during Song/Pattern chain playback.
Settings: (msec) n The playback may be a little slower depending on the currently set interval. Also when a MIDI error occurs, try to set the interval a little higher and send the data again.
When playing back system exclusive data (bulk data) that is recorded on the sequence tracks, this sets the interval that is inserted for each 1KB. When sending bulk data from this synthesizer to a connected MIDI device, a MIDI error may result if the device cannot handle large amounts of data in a short time. This parameter compensates for that by setting an interval that provides enough time for the receiving device to process the bulk data.


If you use the MO for a variety of sequencer based applications and switch between those applications, the Quick Setup comes in handy. It allows you to instantly recongure the instrument for four different applications. The following parameters are changed in Quick Setup. [UTILITY] [F5] MIDI [SF2] SWITCH Local Ctrl [UTILITY] [F5] MIDI [SF3] SYNC MIDI Sync [UTILITY] [F5] MIDI [SF3] SYNC SeqCtrl [SONG]/[PATTERN] [F3] TRACK [SF3] OUT SW INT SW, EXT SW [SONG]/[PATTERN] [REC] [F4] RECARP OutputSwitch

All Sounds Off (Control #120)
Clears all sounds currently sounding on the specied channel. However, the status of channel messages such as Note On and Hold On is maintained.
Reset All Controllers (Control #121)
The values of the following controllers will be reset to the defaults.
CONTROLLER Pitch Bend Change Aftertouch Polyphonic Aftertouch Modulation Expression Hold1 Portamento Sostenuto Soft Pedal Portamento Control RPN NRPN VALUE 0 (center) 0 (off) 0 (off) 0 (off) 127 (max) 0 (off) 0 (off) 0 (off) 0 (off) Cancels the Portamento source key number Number not specied; internal data will not change Number not specied; internal data will not change
NRPN (Non-Registered Parameter Number) LSB (Control #098) NRPN (Non-Registered Parameter Number) MSB (Control #099)
Messages which adjust a voices vibrato, lter, EG, drum setup or other parameter settings. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry (page 224) to set the value of the specied parameter. Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPNs value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to nullify further changes and prevent unexpected results.
All Notes Off (Control #123) RPN (Registered Parameter Number) LSB (Control #100) RPN (Registered Parameter Number) MSB (Control #101)
Messages which offset, or add or subtract values from a Parts 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 Data Increment/Decrement to set the value of the specied parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPNs value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results. The following RPN numbers can be received.
RPN MSB 00 7F RPN LSB 02 7F PARAMETER Pitch Bend Sensitivity Fine Tune Coarse Tune Null
Clears all notes currently on for the specied channel. However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off.

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, it sets the corresponding channel to Mono Mode (Mode 4: m = 1).

Are the volume or level settings too low?
[UTILITY] [F1] GENERAL [SF1] TG Volume (page 205) [VOICE] [EDIT] [COMMON] [F2] OUTPUT Volume (page 154) [VOICE] [EDIT] Element/Key selection [F4] AMP [SF1] LVL/PAN Level (page 162) [PERFORM] [EDIT] [COMMON] [F2] OUT/MEF [SF1] OUT Volume (page 172) [PERFORM] [EDIT] Part selection [F2] OUTPUT [SF1] VOL/PAN Volume (page 175) [SONG]/[PATTERN] [MIXING] [EDIT] Part selection [F2] OUTPUT [SF1] VOL/PAN Volume (pages 191, 202)
Are the element switch, note limit, velocity limit parameters set appropriately?
[VOICE] [EDIT] Element/Key selection [F1] OSC [SF1] WAVE ElementSw (page 158) [VOICE] [EDIT] Element/Key selection [F1] OSC [SF3] LIMIT (page 158) [PERFORM] [F2] VOICE (page 171) [PERFORM] [EDIT] Part selection [F1] VOICE [SF1] VOICE PartSw (page 174) [PERFORM] [EDIT] Part selection [F1] VOICE [SF3] LIMIT (page 174)
When the Performance/Song/Pattern produces no sound, has a Voice been assigned to each Part?
[PERFORM] [F2] VOICE (page 171) [SONG]/[PATTERN] [MIXING] [F2] VOICE (pages 189, 202)
When the Song/Pattern produces no sound, are the output port/channel of each track in the Song/Pattern Play mode and the receive port/channel of each Part in the Mixing set appropriately?
[SONG]/[PATTERN] [F3] TRACK (pages 178, 196)
[SONG]/[PATTERN] [MIXING] [EDIT] Part selection [F1] VOICE [SF2] MODE ReceiveCh (pages 191, 202)
When the Song/Pattern produces no sound, is the Velocity Offset parameter in the Groove display set appropriately?
[SONG]/[PATTERN] [F2] GROOVE VELO OFST (pages 178, 196)
Playback continues without stopping.
When the [ARPEGGIO ON/OFF] button is turned on, press it so that its lamp is turned off. When in the Song/Pattern mode, press the [J] (Stop) button. When the click sound continues, check the following settings. If the parameter is set to all, set it to something other than all.
[SONG]/[PATTERN] [UTILITY] [F3] SEQ [SF1] CLICK Mode (page 206)

Distorted sound.

Are the effect settings appropriate? (Some effect types or settings can cause distortion.)

This is normal. Changing the transpose setting while playing a Drum Voice will produce different sounds for the same keys played.
Data communication between the computer and this instrument does not work properly.
Check whether the Port setting on the computer is appropriate or not. Is the cable setting (MIDI, USB) in the Utility mode appropriate?
This instrument does not sound properly even when playing back song data on a computer or a MIDI instrument connected to this instrument.
Make sure to set this instrument to the Song mode or Pattern mode. To play back multiple channels simultaneously, Song mode or Pattern mode must be selected.
MIDI bulk data transmission/reception does not work properly.
Is Bulk data receive protection enabled? Turn the Receive Bulk parameter to on.
[UTILITY] [F5] MIDI [SF2] SWITCH RcvBulk (page 209)
When receiving recorded data with the internal Bulk Dump function, the device number must be set to the same value as that used when transmitting/recording.
[UTILITY] [F5] MIDI [SF1] CH DeviceNo. (page 209)
When transmission does not work properly, is the device number of the MIDI instrument connected to this instrument set to match the DeviceNo. parameter?
When using the Voice Editor/Multi Part Editor, have you set a sufcient Dump Interval? The Dump Interval in the Editor Setup dialog must be set to 20ms or greater. For details refer to the PDF manual included with the Editor.
Data cannot be saved in the USB storage device
Is the connected USB storage device write protected? (Write-protect should be set to off for saving data.) Is the connected USB storage device properly formatted?
[FILE] [F1] CONFIG [SF2] FORMAT (page 211)
Cannot enter the Edit mode
Is the Category Search function turned on? After exiting from the Category Search function, press the [EDIT] button. Is this instrument in the File mode? After exiting from the File mode, press the [EDIT] button.


Keyboards Tone Generator block
MO8 MO6 Tone Generator Polyphony Multi Timbral Capacity Wave Voice 88 keys, Balanced Hammer Effect Keyboard (Initial Touch) 61 keys, LC Keyboard (Initial Touch) AWMnotes 16 parts (internal) 175MB (when converted to 16-bit linear format), 1,859 waveforms Preset: 512 normal voices + 64 drum kits GM: 128 normal voices + 1 drum kit User: 128 x 2 (Bank 1: Original, Bank 2: Picked up from Preset) Normal Voice + 32 drum kits User: 256 (up to 4 parts) 18 types Reverb x 20 types, Chorus x 49 types, Insertion (A, B) x 116 types x 3 blocks, Master Effect x 8 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo) Approx. 226,000 notes 480 ppq (parts per quarter note) 124 notes Real time replace, Real time overdub (with the exception of the Pattern Chain), Real time punch (Song only), Step (with the exception of the Pattern Chain) Pattern Mode: 16 phrase tracks Pattern Chain Mode: Pattern track, Tempo track, Scene track Song Mode: 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track 64 patterns (x 16 sections) Measures: 256 maximum Preset Phrases: 687 phrases User Phrases: 256 per pattern 64 songs Mixing voices: 16 per pattern (256 maximum) Mixing templates: 32 Preset x 1787 types, User x 256 types

TCH (Transmit Channel)..40, 151, 171 TEMPLATE..190 Template...94, 157 Tempo..152, 154, 180, 198 Tempo Track Edit..197 TempoSpeed...156 TempoSync...156 TG (Tone Generator)..205 TGSwitch (Tone Generator Switch)..216
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha ou au distributeur le plus proche de vous gurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen Bestimmungslndern erhltlich. Para detalles sobre productos, contacte su tienda Yamaha ms cercana o el distribuidor autorizado que se lista debajo.


Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311
Yamaha Music Central Europe GmbH, Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040
Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211


Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011


Yamaha Musique France BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000


Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688
Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771


PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577


Yamaha de Mxico S.A. de C.V. Calz. Javier Rojo Gmez #1149, Col. Guadalupe del Moral C.P. 09300, Mxico, D.F., Mxico Tel: 55-5804-0600




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