IMPORTANT

I The Advanced Features Manual
The Advanced Features manual is the manual youll want to refer to after you gain initial familiarity with the PSR-5700 i.e. after youve carefully gone through the Getting Started manual. As its name suggests, the Advanced Features manual concentrates on the many advanced features and utility functions provided by the PSR-5700. The Advanced Features manual covers: G The sequencer. G The custom accompaniment programmer. G Custom voice editing. G The PSR-5700s digital effects. G Floppy disk operations. G And a range of other functions including MIDI operations and General MIDI Level 1 protocol compatibility. Unlike the Getting started manual which is designed to be read through from beginning to end, the Advanced Features manual allows you to directly reference information on individual features and functions.

DETAIL

MUSICAL NOTE
Hints or ideas that are not specifically musical but may make operation easier or more interesting are marked by the light-bulb icon.
Taking Care of Your PortaTone
Your PortaTone will give you years of playing pleasure if you follow the simple rules given below:

I Location

Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. G Direct sunlight (e.g. near a window). G High temperatures (e.g. near a heat source, outside, or in a car during the daytime). G Excessive humidity. G Excessive dust. G Strong vibration.

I Power Supply

G Turn the power switch OFF when the instrument is not in use. G The power supply cord should be unplugged from the AC outlet if the instrument is not to be used for an extended period of time. G Unplug the instrument during electric storms. G Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adapters since these can result in reduced sound quality, operation errors, and possibly damage.

RECALL INITIAL DATA 1 Data=AllData -Execute + +
RECALL INITIAL DATA 1 Data=AllData Busy!
Press both the right [-] and [+] buttons under -Execute- on the display simultaneously. Busy! will appear while the initialization is taking place, and Completed will appear when the initialization is complete. Finally, press the [EXIT] button to return to the normal play mode.
Selecting & Playing Voices
Z Turn Power On and Set Initial Volume
Press the [POWER] button to turn the power ON, and set all seven VOLUME controls about three-quarters of the way toward their MAX settings. You can set the [MASTER] VOLUME control for the most comfortable overall volume level after beginning to play.
No sound will be produced if all volume controls other than the MASTER control are set to their minimum positions.
X Select the Orchestration
ORCH. 1 ORCH. 2+1 ORCH. 2v1 LEFT HOLD
The PSR-5700 has three orchestration modes, selected by the corresponding ORCHESTRATION buttons. The corresponding ORCHESTRATION indicator will light. ORCH. 1: ORCH. 2+1: In this mode a single voice the ORCH. 1 voice can be played across the entire keyboard. This is a dual mode in which two voices ORCH. 1 and ORCH. 2 can be played simultaneously across the entire keyboard.
Split Point (F#2) Left-Hand Section
ORCH. 2v1: This is a split mode in which the ORCH. 2 voice is played on the left-hand section of the keyboard (to the left of the split point see DETAIL below), while the ORCH. 1 voice is played on the right-hand section of the keyboard. Since two voices are played simultaneously in this mode, the total number of notes that can be played on the keyboard at the same time is reduced.
The split point for the PSR-5700 is initially set at F#2 when the unit is shipped. This means that when the ORCH. 2v1 mode is selected, the ORCH. 2 voice will be played by all keys to the left of and including F#2, while the ORCH. 1 voice will be played on all keys to the right of F#2. You can change the split point to any key desired by using the SPLIT POINT function described on page 40 of the Advanced Features manual. When the ORCH.2+1 mode is selected and the same voice is selected for both ORCH. 1 and ORCH. 2, the sound may be slightly different from the normal voice.

Instrument Conga 2 Low Ride Cymbal 2 Conga 2 Hi Ride Cup 2 Conga 2 Mute Crash Cymbal 1 Crash Cymbal 2 Bongo Low Chinese Cymbal Bongo Hi Reverse Cymbal E.Tom Bass Maracas E.Tom Low Vibraslap E.Tom Mid Wood Block E.Tom Hi Guiro Long Scratch Noise Low Guiro Short Scratch Noise Hi Running Water Cowbell Hi Agogo Low Dropping Coin Agogo Hi Finger Snaps Cross Sticks
Transposition, Tuning, and Octave Change
The most important and fundamental adjustment for any musical instrument is tuning. The TRANSPOSITION, TUNING, and OCTAVE CHANGE functions described below let you control the pitch of the PSR-5700 in a number of ways.

TRANSPOSE/TUNE

This function allows the overall pitch of the PSR-5700 to be transposed up or down in semitone increments, and fine-tuned in 0.5 Hertz increments.
Z Press the [TRANSPOSE/ TUNE] Button
TRANSPOSE / PITCH TUNE Trans.= 0 Pitch=440.0Hz
Select the TRANSPOSE/TUNE function from the normal play mode by pressing the [TRANSPOSE/TUNE] button (this is the same as the [<] display scroll button to the right of the LCD panel).
A. B. C. MODE s < TRANSPOSE/ TUNE t HARMONY TYPE > OCTAVE CHANGE
X Set the Transposition and/or Tuning As Required
Use the left [-] and [+] buttons to set the desired degree of transposition, and the right [-] and [+] buttons to set the desired degree of tuning. The transpose range is from -6 to +6, allowing a maximum upward or downward transposition of 1/2-octave. A setting of 0 produces the normal pitch. The 0 setting can be instantly recalled by pressing both the left [-] and [+] buttons simultaneously. The tuning range is from 427.5 Hertz to 452.5 Hertz, adjustable in 0.5Hertz increments. 440.0 Hertz is normal pitch, and this setting can be directly recalled by pressing both the right [-] and [+] buttons simultaneously.

C Press [EXIT] When Done

FUNCTION EXIT
Press the [EXIT] button to exit from the TRANSPOSE/TUNE function.
The TRANSPOSE/TUNE mode is automatically exited if neither of the [-] or [+] buttons are pressed for approximately 10 seconds.

OCTAVE CHANGE

This function allows the ORCH. 1 and ORCH. 2 voices to be independently transposed up or down by one octave.
Z Press the [OCTAVE CHANGE] Button
OCTAVE CHANGE Orc2=Normal Orc1=Normal
Select the OCTAVE CHANGE function from the normal play mode by pressing the [OCTAVE CHANGE] button (this is the same as the [>] display scroll button to the right of the LCD panel).
Set the Octave X Required Change As
Use the left [-] and [+] buttons to set the octave of the ORCH. 2 voice, and the right [-] and [+] buttons to set the octave of the ORCH. 1 voice. Normal on the display indicates that the corresponding voice is set to its normal octave, 1down indicates that the voice is shifted down one octave, and 1up indicates that the voice is shifted up one octave.
Press the [EXIT] button to exit from the OCTAVE CHANGE function.

The OCTAVE CHANGE mode is automatically exited if neither of the [-] or [+] buttons are pressed for approximately 10 seconds.
Some voices may suddenly shift octaves when played at the extreme ends of the keyboard if they are set to a lower or higher octave than normal. This can also occur when the PITCH BEND wheel is used on extremely low or high notes. If you change the transpose, octave change, or tuning settings while playing one or more notes on the keyboard, the new transpose and octave change settings will take effect from the next notes played while tune settings take effect immediately.

Voice Registration

If you have particular combinations of voices you like to use in the dual or split orchestration modes, the PSR-5700 lets you store up to 10 different combinations in its Voice Registration memory so that they can be recalled by pressing a single button. Voice registration also memorizes the volume settings of the voices; the orchestration; the ON/OFF status of the key velocity, sustain, and harmony effects; and the reverb and effect settings. Heres how you can store and recall voice combinations:
Z Select the Desired Voices
00:Eurobeat >74:Aco.Bass 52:Vibes
Select the desired ORCH. 1 and ORCH. 2 voices as described in the previous section. As an example, lets use the Acoustic Bass (number 74) and Vibes (number 52) voices.
X Register the Combination in Memory
Press one of the VOICE SELECT NUMBER buttons ([0] through [9]) while holding the [MEMORY] button.

9 BANK

Store Edited V.Regist -> 4
If a voice registration was previously recalled, the corresponding voice registration number will appear in the upper right-hand area of the display.
C Recall the Registered Combination
00:Eurobeat >00:Piano 1 21:Strings1
Anytime you want to recall a registered voice combination, press the [VOICE REGISTRATION] button so that its indicator lights, then simply press the VOICE SELECT NUMBER button (lower row) corresponding to the desired combination. V0 through V9 will appear in the upper left corner of the display while a registered voice combination is selected.

The default tempo for the selected style can be recalled at any time by pressing both the [-] and [+] buttons simultaneously.
B Start the Accompaniment
SOLO SYNCHRO START/ START RE-START STOP
There are several ways to start the accompaniment: G Straight start: Press the [START/RE-START] button. If you press the [START/RE-START] button, the rhythm will begin playing immediately without bass and chord accompaniment.
If you press the [START/RE-START] button while the accompaniment is playing, playback will immediately return to the first beat of the current accompaniment pattern, making it possible to create measures with odd time signatures. It is also possible to select one of the several variations available prior to a straight start refer to 7. Select Variations as Required, below.

FILL IN j

FILL IN n

ENDING/ rit.

VERSE 1

VERSE 2

CHORUS 1

CHORU 2

G Start with an introduction followed by the VERSE 1 variation: press the [INTRO. 1] button.

INTRO.1

INTRO.2

INTRO.3

G Start with an introduction followed by the VERSE 2 variation: press the [INTRO. 2] button.
G Start with an introduction followed by the CHORUS 1 variation: press the [INTRO. 3] button.
SYNCHRO START/ START RE-START
G Synchronized start: Any of the above start types can be synchronized to the first note or chord played on the left-hand section of the keyboard (i.e. keys to the left of and including the split-point key normally F#2) by first pressing the [SYNCHRO START] button. Pressing the [SYNCHRO START] button alone causes a straight start to occur when the first note or chord is played. Press [SYNCHRO START] and then the appropriate INTRO button for a synchronized introduction start. The first dot of the BEAT display will flash at the current tempo when a synchronized start mode has been selected.
If you press the [SYNCHRO START] button while the accompaniment is playing, the accompaniment will stop and the synchro start mode will be engaged.
1st Beat 2nd Beat 3rd Beat 4th Beat

4/4 Time Time

The four LED dots of the BEAT display provide a visual indication of the selected tempo as shown here: Several LEDs will flash simultaneously on the first beat of odd-numbered measures in all time signatures.
A Yamaha FC5 footswitch plugged into the rear panel FOOT SW. jack can also be used to start the accompaniment if the appropriate function is assigned to the footswitch using the FOOT SWITCH SELECT function described on page 37 of the Advanced Features manual.
Play On the Left-hand N Of the Keyboard Section

Split Point ABC Section

Melody Section
As soon as you play any chord that the PSR-5700 can recognize on the left-hand section of the keyboard in the FINGERED CHORD mode (see fingering chart on page 178) or an abbreviated chord in the SINGLE FINGER mode, the PSR-5700 will automatically begin to play the chord along with the selected rhythm and an appropriate bass line. The accompaniment will continue playing even if you release the left-hand keys. If the MANUAL BASS mode is selected only the rhythm accompaniment will play automatically, and selected bass voice can be played on the lefthand section of the keyboard.

The appropriate chord and bass note will sound will sound if you play in the lefthand section of the keyboard while the ABC function is on but the accompaniment is stopped.
M Select Variations as Required
VERSE 1 VERSE 2 CHORUS 1 CHORUS 2 SOLO
Each accompaniment style has a number of variations: INTRO, VERSE 1, VERSE 2, CHORUS 1, and CHORUS 2. The VERSE and CHORUS variations further have more complex SOLO variations. There is also an ENDING variation which is described in step 9. The INTRO variation can be used to start the accompaniment as described in the preceding step. The remaining variations VERSE 1, VERSE 2, CHORUS 1, CHORUS 2, and the SOLO variations of these can be selected manually by pressing the corresponding variation button. It is also possible to select the variation that will follow the INTRO by pressing the appropriate variation button while the INTRO is playing or while the intro synchro start mode is engaged.
Some INTRO, ENDING, and SOLO variations have their own chord progressions which play in the current accompaniment key the key is shown in the top left-hand corner of the LCD.

G The SOLO Variations

CHORUS 2
Although the SOLO variations can be selected manually, they can also be activated automatically when INTERACTIVE ACCOMPANIMENT is engaged (see page 24). If an accompaniment is playing and nothing is played on the keyboard for several measures, the SOLO mode is automatically engaged to fill out the accompaniment. When SOLO is on, not only are the variations more complex, but they will automatically cycle (VERSE 1 m VERSE 2 m CHORUS 1 m CHORUS 2 m VERSE 1, etc.). If the SOLO mode is on, it will be automatically disengaged after you begin playing on the keyboard. This automatic switching of the solo mode can be turned off via the Auto Solo function described on page 40 of the Advanced Features manual.
The SOLO variation will be automatically disengaged if it is turned on prior to starting the accompaniment with an introduction.

< Use Fill-ins

FILL IN j FILL IN n ENDING/ rit. INTRO.1 INTRO.2 INTRO.3
The PSR-5700 provides two types of automatic breaks or fill-ins. G FILL IN j: Press the [FILL IN j] button to produce a short fill and return to the same variation.
G FILL IN n: Press the [FILL IN n] button to produce a fill and then go to the corresponding chorus or verse:
VERSE 1 n CHORUS 1 VERSE 2 n CHORUS 2
It is possible to change the variation that will play after the fill-in by pressing the appropriate variation button while the fill-in is playing. If you hold one of the FILL IN buttons, the fill-in will repeat until the button is released.

A Yamaha FC5 footswitch plugged into the rear panel FOOT SW. jack can also be used to activate fill-ins if the appropriate function is assigned to the footswitch using the FOOT SWITCH SELECT function described on page 37 of the Advanced Features manual. The transitions between the verse and chorus are different when SOLO is ON.
> Stop the Accompaniment
The accompaniment can be stopped at any time by pressing the [STOP] button. Press the [ENDING/rit.] button if you want to go to the ending variation and then stop. Press the [ENDING/rit.] button while the ending variation is playing to produce a ritardando ending i.e. the tempo gradually slows down during the ending.
If ABC is turned on in the single or dual voice mode, a strings voice will sound on the left-hand section of the keyboard while the rhythm is stopped. Please note that left hold cannot be applied to this strings voice.

G Accompaniment Volume

Use the [RHYTHM], [BASS], [CHORD 1], and [CHORD 2] VOLUME controls to set the best balance between the corresponding accompaniment parts, and the optimum volume of the accompaniment parts in relation to the ORCH. 1 and ORCH. 2 voices.
G Rhythm-only Accompaniment
The AUTO BASS CHORD mode can be turned off at any time leaving the rhythm accompaniment only by pressing the [AUTO BASS CHORD] button so that its indicator goes out.
Using the Accompaniment Section Interactive Accompaniment
Press the [INTERACTIVE ACCOMPANIMENT] button so that its indicator lights to activate the Interactive Accompaniment mode. In this mode the PSR-5700 uses advanced technology to monitor the way you are playing on the keyboard and automatically varies the rhythm or ABC accompaniment accordingly. If you are playing with the VERSE 1 variation, for example, and you begin to build up the musical excitement on the keyboard (i.e. play more notes, faster, and/or harder) the PSR-5700 will automatically switch to the VERSE 2 variation to better support what you are playing. On the other hand, if you play more mellow right-hand lines the PSR-5700 will automatically shift down to the VERSE 1 variation. The same applies to the CHORUS 1 and CHORUS 2 variations.
The sensitivity of the Interactive Accompaniment mode can be adjusted via the INTERACTIVE ACCOMPANIMENT Sensitivity function described on page 40 of the Advanced Features manual. Also note that automatic switching between VERSE 1 and VERSE 2 or CHORUS 1 and CHORUS 2 will not occur if INTERACTIVE ACCOMPANIMENT Mode 1 is selected see page 40 of the Advanced Features manual.
AUTO INTERACTIVE ACCOMPANIMENT BASS CHORD

I Auto Solo

When the AUTO SOLO function is turned ON (ON is the default setting see page 40 of the Advanced Features manual), the SOLO accompaniment variations will automatically be activated if nothing is played on the keyboard for a few measures. Further, the solo variations will automatically be de-activated from the end of the current phrase after keyboard performance is resumed.

ORCHESTRATION ORCHESTRA 1 VOICE ORCHESTRA 2 VOICE ORCHESTRA 1 VOLUME ORCHESTRA 2 VOLUME BASS VOLUME* CHORD 1 VOLUME* CHORD 2 VOLUME* RHYTHM VOLUME* ORCHESTRA 1 OCTAVE ORCHESTRA 2 OCTAVE HARMONY TYPE LEFT HOLD ON/OFF* SUSTAIN ON/OFF SUSTAIN PART SELECT PITCH BEND SELECT REVERB ON/OFF REVERB TYPE & DEPTH EFFECT ON/OFF EFFECT TYPE & DEPTH
* Parameters marked with an asterisk (*) are not stored by the VOICE REGISTRATION function described on page 17. On the other hand, the WHEEL ON/OFF, WHEEL TYPE, and KEY VELOCITY ON/OFF parameters registered by the VOICE REGISTRATION function are not included in the SUPER STYLE PLAY setups. * Although voice registration only allows the reverb and effect depth for the orchestra 1 and orchestra 2 voices to be memorized, Super Style Play allows all depth settings to be memorized.
Z Engage Super Style Play
AUTO SS CHORD A VERSE B A CHORUS B
The SUPER STYLE PLAY feature can be used either while an accompaniment is playing or prior to starting an accompaniment by simply pressing the appropriate SUPER STYLE PLAY button so that its indicator lights: [VERSE A] for a soft, mellow feel; [VERSE B] for a slightly more active feel; [CHORUS A] for an even more lively sound; [CHORUS B] for maximum presence and animation. If a different accompaniment style is selected while Super Style Play is engaged, the Super Style Play settings for that style will also be selected automatically.
Adjust The X Necessary Settings If
Any of the parameters set by the SUPER STYLE PLAY feature can be adjusted to create the desired sound after a SUPER STYLE PLAY setup has been selected. If you change a SUPER STYLE PLAY setting, the corresponding SUPER STYLE PLAY indicator will flash to indicate that a change has been made.

A VERSE B A CHORUS B

>00:Piano 1 02:PartyPop 14:RockOrg
Super Style C Memorize the If You Like Play Settings
A VERSE B A CHORUS B A MEMORY B
Your Super Style Play settings can be memorized by pressing the VERSE [A] or [B] or CHORUS [A] or [B] button while holding the Panel Registration [MEMORY] button.
The initial Super Style Play settings can be recalled by using the RECALL INITIAL DATA function described on page 50 of the Advanced Features manual.

If the accompaniment is started before the required number of taps has been entered, the Tap Start setting will be ignored. The Tap Start setting will also be ignored if several seconds elapse before the required number of taps have been entered, if a different style is selected, or if the accompaniment [STOP] button is pressed.

G Tempo I

(Tempo Primo)
If the [Tempo I] pad is tapped while an accompaniment is playing, the tempo setting that was active when the accompaniment was started is immediately restored, regardless of any tempo changes that occurred after the accompaniment was started.
If this pad is used during an accelerando or ritardando (described below), the accelerando or ritardando stops immediately and the [Tempo I] value takes effect.

G accel.

(Accelerando)
Pressing the [accel.] pad immediately starts a 2-measure accelerando (tempo increase) that is executed by increasing the tempo by a small amount on every 8th beat. The accelerando is stopped if the [accel.] pad is pressed again before the 2 measures are completed.

G faster

Tap the [faster] pad to increase the tempo by a fixed amount, whether the accompaniment is playing or not.
If this pad is used during an accelerando or ritardando, the accelerando or ritardando stops immediately and the [faster] value takes effect.

G a tempo

This pad recalls the tempo prior to the last tempo change e.g. any change incurred by pressing the [Tempo Change], [accel.], [faster], [slower], or [rit.] pad.
If this pad is used during an accelerando or ritardando, the accelerando or ritardando stops immediately and the [a tempo] value takes effect.

G slower

Tap the [slower] pad to decrease the tempo by a fixed amount, whether the accompaniment is playing or not.
If this pad is used during an accelerando or ritardando, the accelerando or ritardando stops immediately and the [slower] value takes effect.

G rit.

(Ritardando)
Pressing the [rit.] pad immediately starts a 2-measure ritardando (tempo decrease) that is executed by decreasing the tempo by a small amount on every 8th beat. The ritardando is stopped if the [rit.] pad is pressed again before the 2 measures are completed.
The [PAD 8/rit.] pad has essentially the same effect on the tempo as the [ENDING/rit.] pad (page 23), except that while the [ENDING/rit.] pad causes the tempo to return to its initial value after the rhythm stops, the tempo does not return to its initial value if the [PAD 8/rit.] pad is used, even after the rhythm is stopped. If a fill-in pattern is selected during a ritardando, the ritardando continues during the fill-in but then original tempo is then restored as soon as the fill-in ends.

Press the [REVERB] button to apply the reverb effect specified by the REVERB TYPE function described on page 35 of the Advanced features manual to the ORCH. 1 and 2 voices as well as the chord and rhythm accompaniment sound. The [REVERB] button alternately turns the reverb effect on (indicator lit) or off (indicator out).

I Effects

Press the EFFECT button to apply the effect specified by the EFFECT TYPE function described on page 36 of the Advanced features manual to the ORCH. 1 and 2 voices as well as the chord accompaniment sound. The [EFFECT] button alternately turns the effect on (indicator lit) or off (indicator out).

Panel Registration

The PSR-5700 Panel Registration feature can be used to memorize 16 complete control-panel setups (2 banks, 8 setups each) that you can recall whenever needed.
INITIAL PANEL REGIST A1 ROMANTIC PIANO
When the PSR-5700 is in its initial factory-preset condition, the panel registration memories contain preset setups. When these are recalled, a descriptive setup name will appear on the LCD for a few seconds (example: A1 ROMANTIC PIANO).
G Registering the Panel Settings
Z Set Up the Controls as Required
ORCHESTRA 1 VOICE ORCHESTRA 2 VOICE MANUAL BASS VOICE ORCHESTRA 1 VOLUME ORCHESTRA 2 VOLUME BASS VOLUME CHORD 1 VOLUME CHORD 2 VOLUME RHYTHM VOLUME ORCHESTRATION ORCHESTRA 1 OCTAVE ORCHESTRA 2 OCTAVE EFFECT ON/OFF EFFECT TYPE & DEPTH HARMONY ON/OFF
Make the desired control settings. The following settings are memorized by the Panel Registration function:
Data Stored By the Panel Registration Memory
HARMONY TYPE REVERB ON/OFF REVERB TYPE & DEPTH SUSTAIN ON/OFF (when external SUSTAIN switch not connected) SUSTAIN PART SELECT KEY VELOCITY ON/OFF STYLE AUTO BASS CHORD ON/OFF AUTO BASS CHORD MODE INTERACTIVE ACCOMPANIMENT ON/OFF INTERACTIVE ACCOMPANIMENT MODE 1/2 INTERACTIVE ACCOMPANIMENT PART INTERACTIVE ACCOMPANIMENT SENSITIVITY AUTO SOLO ON/OFF SUPER STYLE PLAY MULTI PAD SELECT PAD SYNCHRO/BREAK/REPEAT ON/OFF TEMPO TRANSPOSE SPLIT POINT LEFT HOLD ON/OFF PITCH BEND SELECT WHEEL ON/OFF WHEEL TYPE ACCOMPANIMENT VARIATION FOOT SWITCH SELECT FOOT SWITCH PERCUSSION EXPRESSION PEDAL SELECT

X Register in Memory

A MEMORY B MEMORY A B
Use the [A/B] button to select memory bank A or B the A or B indicator will light. Press and hold the MEMORY button, then press one of the PANEL REGISTRATION buttons. Any data that was previously in the selected location is erased and replaced by the new settings.

PANEL REGISTRATION

Store Edited P.Regist -> A3
If a panel registration was previously recalled, the corresponding panel registration number will appear in the upper right-hand area of the display.

G Recall the Registered Panel Settings

A MEMORY B

Simply select the appropriate bank using the [A/B] button and press the desired PANEL REGISTRATION button at any time to recall the memorized settings.
No registration name is displayed when a user registration setup is recalled.
The preset registration setups can be recalled by using the initialization procedure described on page 50 of the Advanced Features manual.
G Recall the Previous Panel Settings
Press the [A/B] button while holding the [MEMORY] button to recall the panel settings prior to the last panel registration recall operation. This provides a handy way to compare different panel setups.
Panel registration data can be saved to floppy disk. See page 46 of the Advanced Features manual for details.
Playing DOC (Disk Orchestra Collection) Disks
Using DISK ORCHESTRA disks (available from Yamaha), the PSR-5700 will let you enjoy listening to automated performances, or function as your private music tutor, allowing you to practice various parts of a piece while the others are played automatically. PSR-5700 supports General MIDI Level 1 as well as DOC. For more information, refer to page 50 of the Advanced Features manual.

G Automatic Performance

Z Insert the DOC Disk
Insert the DISK ORCHESTRA disk into the PSR-5700 disk drive (located below the right end of the keyboard) with the metallic disk door facing the drive slot and the label side facing upward. The disk should click into place and the DISK IN USE lamp will light briefly while the PSR-5700 reads and identifies the disk.
To engage the DOC mode from another mode when the disk is already loaded in the drive, press the [DISK ORCHESTRA/GENERAL MIDI] button. Any rhythm or ABC operation in progress will stop automatically. You can use the [EXIT] button or [DISK ORCHESTRA/GENERAL MIDI] button to exit from the DOC mode.

X Select a Song Number

DISK ORCHESTRA PLAY Song=ALL Mode=L+R
When the disk is inserted and identified the display shown to the left will appear (if this display doesnt appear, press the [DISK ORCHESTRA/ GENERAL MIDI] button): Use the [-] and [+] buttons below Song=ALL display to select the desired song number. Select ALL if you want all songs on the disk to be played and repeated until playback is stopped.

Editing procedure.. AF-26 Effect depth... AF-36 Effect type... AF-36 Effect wheel... GS-37 EG rate... AF-29 Electrical interference... GS-5 Erase... AF-12 Event abbreviations.. AF-13 Exit button... AF-26
Data backup... GS-5 Data transmit.. AF-58 Decay... AF-29
Exp. pedal select... AF-38 Expression & effects... GS-36 Expression pedal jack.. GS-9
Fader select... AF-20 Faster... GS-35 Fill-ins... GS-23 Fingered chords.. GS-18 Fingering chart.. GS-178 Floppy disks... GS-5, 25 Foot switch select.. AF-37 Footswitch jack... GS-8 Format disk... AF-47 From disk... AF-45 From disk button.. AF-44
Manual bass... GS-19 Manuals, about the.. GS-3 Measure/beat... AF-19 Memory backup... AF-49 Metronome.. AF-7 MIDI... AF-49 MIDI bulk dump... AF-58 MIDI channel setting... AF-54 MIDI connectors... GS-9 MIDI function tree... AF-242 MIDI switch... AF-56 MIDI system... AF-57 Modulation... GS-37 General function selection.. AF-26 General MIDI.. AF-51 General MIDI mode.. AF-53 General MIDI mode voice list.. AF-254 Glissando.. GS-37 GM/DOC mode percussion map.. AF-256 Modulation depth... AF-28 Modulation speed.. AF-28 Multi pad mode... GS-28 Multi pad repeat playback.. GS-31 Multi part setting.. AF-56 Music stand... GS-9
Handling & transport... GS-4 Harmony... GS-36, AF-7 Headphones... GS-8 Hertz... GS-15
Note shift... AF-14 Number buttons.. GS-13, 20
Octave.. AF-28 Octave change... GS-16 Orchestra 1 and 2.. GS-13 Orchestration.. GS-12 Output jacks... GS-8 Overdub recording... AF-8
Icons.... GS-3 Initialization... GS-11 Input jacks... GS-8 Insert all tracks... AF-12 Interactive accompaniment.. GS-24, AF-40 Intro, fill-in, ending patterns.. AF-24 Introduction... GS-21
Pads... GS-28 Pan.... AF-28 Panel registration.. GS-38
Key velocity... AF-37 Keyboard percussion.. GS-14
Perc break function.. GS-33 Perc pad mode... GS-32 Perc. name... AF-33 Perc. pan... AF-34
Left hold... GS-36 Left-hand keyboard section.. GS-22 Location.. GS-4
Perc. pitch... AF-33 Perc. tone.. AF-34
Percussion instrument cancel. AF-16 Percussion map... AF-255 Phrase pads... GS-28 Pitch bend... GS-37 Pitch bend range... AF-28 Pitch bend select... AF-39 Power supply... GS-4 Punch recording... AF-8 Style list... GS-20 Super style play... GS-26 Super style play mode.. AF-41 Sustain... AF-29, GS-36 Sustain jack... GS-9 Sustain part select.. AF-38 Synchronized start.. GS-21

Quantize... AF-10, 21

Tap start... GS-34 Tempo.. GS-20 Tempo change... GS-34 Tempo I... GS-34 Recall initial data... AF-50 Record track selection.. AF-4 Recordable parameters (sequencer).. AF-4 Recording type... AF-8 Release... AF-29 Remote control mode.. AF-52 Remove event.. AF-13, 23 Rename file... AF-46 Replace recording... AF-8 Resonance... AF-30 Reverb.. GS-37 Reverb depth.. AF-35 Reverb type... AF-35 Rhythm accompaniment.. GS-23 Rhythm part... AF-15 Ritardando.. GS-23, 35 Tempo pad mode.. GS-34 Tempo synchro function.. GS-35 To disk.. AF-46 To disk button... AF-42 Tone... AF-30 Touch sensitivity.. AF-28 Track copy/mix... AF-9 Track delete... AF-5 Transposition.. GS-15 Tuning.. GS-15

E 7 -5

E 7 +5

F 7 -5

F 7 +5

F# mM7 (Gb mM7 )

F# 7 (Gb7)

F # 7 -5 (Gb7-5)

F # 7 +5 (Gb7+5 )

G 7 -5

G 7 +5

G# mM 7 (Ab mM 7 )

G# 7 (Ab7)

G# 7 -5 (Ab7-5)

G# 7 +5 (Ab7+5 )

q A 7 -5

q A 7 +5

A #mM 7 (Bb mM 7 )

A #7 (Bb7)

q A # 7 -5 (Bb7 -5)

q A # 7 +5 (Bb7 +5)

q B 7 -5

q B 7 +5
Seventh suspended fourth* Septakkord mit vorgehaltener Quarte* Quarte suspendue septime* Sptima cuarta suspendida*

C7 sus 4 Cadd 9

Added ninth* Dur-Akkord mit hinzugefgter None* Neuvime ajoute* Novena aadida*
Minor added ninth* Moll-Akkord mit hinzugefgter None* Neuvime ajoute mineure* Menor de novena aadida*

Cm add 9 C7 (9)

Seventh ninth* Dur-Septakkord mit hinzugefgter None* Neuvime septime* Sptima novena*

C# 7 sus 4 (Db 7 sus 4)

C# add 9 (Db add 9)

C# m add 9 (Db m add 9)

C# 7 (9) (Db 7 (9) )

D7 sus 4

Dadd 9

Dm add 9

D7 (9)

D #7 sus 4 (Eb 7 sus 4)

D # add 9 (Eb add 9)

D #m add 9 (E bm add 9)

D #7 (9) (Eb 7 (9) )

( ( ) ( ( ) )

E7 sus 4

Eadd 9

Em add 9

E7 (9)

F 7 sus 4

Fadd 9

Fm add 9

F 7 (9)

F #7 sus 4 (Gb7 sus 4 )

F #add 9 (Gb add 9)

F #m add 9 (Gbm add 9)

F #7 (9) (Gb7 (9) )

G7 sus 4

Gadd 9

Gm add 9

G7 (9)

G#7 sus 4 (Ab7 sus 4)

G# add 9 (Ab add9 )

G# m add 9 (Abm add 9 )

G#7 (9) (Ab7 (9) )

( ( ( ) ( ( ) ) )

A 7 sus 4

Aadd 9

Am add 9

A 7 (9)

A #7sus 4 (Bb7 sus4 )

A # add 9 (Bbadd 9)

A #7 (9) (Bb7 (9) )

B7 sus 4

Badd 9

Bm add 9

B7 (9)

Minor seventh ninth* Moll-Septakkord mit hinzugefgter None* Neuvime septime mineure* Manor de sptima novena*
Major seventh ninth* Dur-Akkord mit groer Septime und hinzugefgter None* Neuvime septime majeure* Mayor de sptima novena*

CM7 (9)

Minor major seventh ninth* Moll-Akkord mit groer Septime und hinzugefgter None* Neuvime septime majeure mineure* Menor de sptima mayor novena*
Seventh flatted ninth* Dur-Septakkord mit verminderter None* Neuvime bmol septime* Sptima novena bemol*

C 7 ( b9)

C# m 7 (9) (Db m 7 (9))

C# M 7 (9) (Db M 7 (9))

C# mM7 (9) (Db mM7 (9) )

C# 7 ( b9) (Db 7 ( b9))

Dm7 (9)

DM7 (9)

DmM7 (9)

D 7 ( b9)

D #m 7 (9) (Eb m 7 (9))

D #M 7 (9) (Eb M 7 (9))

When the sequencer mode is engaged all previous panel settings are ignored.

IMPORTANT

If the record and playback pad modes are different, pad on/off events will not be reproduced.
If parameter changes are memorized using the Voice Registration, Panel Registration, or Super Styleplay features during recording, only those parameters that can be recorded on the current track will be memorized. The time signature cannot be changed once a song has been recorded.
VSelect the Record Track(s)
AUTO BASS CHORD accompaniment can only be recorded on the ACCOMP. track. The ORCH.1 and ORCH.2 voices can be recorded on any of the remaining 7 tracks, but only one of these tracks can be recorded at a time if the normal ORCH.1 orchestration is selected. If the ORCH.2+1 or ORCH.2v1 orchestration is selected, two record tracks must be selected the ORCH.1 voice will be recorded on the lower-numbered track while the ORCH.2 voice will be recorded on the higher-numbered track. This means that a maximum of three record tracks can be specified when the ORCH.2+1 or ORCH.2v1 orchestration is selected: ACCOMP. and any two numbered tracks. To select the record track(s) and engage the record-ready mode, hold the [RECORD] button and press the appropriate track button(s). The red REC indicator for the tracks will flash. Also note that the AUTO BASS CHORD indicator will light automatically when the ACCOMP. track is selected.

PLAY REC PLAY REC

PLAY REC

RECORD

DELETE

1 CHORD 1

2 CHORD 2

3 CHORD 3

4 CHORD 4

5 CHORD 5

6 CHORD 6

7 BASS

ACCOMP. RHYTHM p r f
The upper markings on the track buttons apply when the SEQUENCER mode is engaged (1 through 7, and ACCOMP.). The lower markings when the CUSTOM ACCOMPANIMENT PROGRAMMER described on page 15 is operating. If you are adding new material to tracks that have already been recorded, the [r] and [f] buttons can be used at this point to move to any measure number from which you want to begin recording. The [r] and [f] buttons will not function once recording has been started.

BStart Recording

SYNCHRO START/ START RE-START STOP

FILL IN j

FILL IN n

ENDING/ rit.

Before starting playback you can use the [r] and [f] buttons to move to any measure number from which you want to begin playback. The [p] button goes directly to measure number 1. If the Super Styleplay section change parameter (page 41) is turned ON during ACCOMP. track playback, the Super Styleplay section will change in accordance with accompaniment variation transitions and the result may be different from the recorded data.

XPlay along If You Like

You can play along with the sequence using the entire PSR-5700 keyboard, selecting different voices and changing the tempo as required (subsequently recorded tempo changes will still take effect). Parameters That Can Be Changed During Playback
Style select (styles with different time signatures cannot be selected) Volume (rhythm, bass, chord 1 & chord 2) Tempo Reverb & effect on/off Pad repeat and break on/off Interactive Accompaniment on/off & accompaniment variation (VERSE 1, VERSE 2, CHORUS 1, CHORUS 2, SOLO) Pad Some FUNCTION parameters (pages 26 through 58)
If changes to any of the above parameters are recorded in the sequence, the recorded changes will still take effect even if you manually change the parameters while playing.

CStop Playback

Playback will stop automatically when the end of the sequence is reached. At this point the parameters recorded on the ACCOMP. track will revert to their initial values. You can also stop playback at any time by pressing the [STOP] button.

VPress [EXIT] When Done

FUNCTION EXIT
Press the [EXIT] key to exit the sequencer mode and return to the normal play mode. The sequencer mode can also be exited by pressing the [SEQUENCER] button.
The Sequencer Sequence Editing

RECORD DELETE EDIT

The PSR-5700 sequencer edit mode offers a range of functions that let you modify the recorded data and the way in which it is recorded in a number of ways. Press the [EDIT] button while the sequencer is engaged to enter the sequencer edit mode. When youre finished editing press the [EDIT] button again or press the [EXIT] button to return to the sequencer. The various functions in the sequencer edit mode are accessed by using the [s] and [t] buttons (these are the same as the [ABC MODE] and [HARMONY TYPE] buttons, respectively), while the various display screens provided by each function are accessed by using the [<] and [>] buttons (the [TRANSPOSE/TUNE] and [OCTAVE CHANGE] buttons, respectively).

QUANTIZE

QUANTIZE Track=Tr1

1/32 Execute

QUANTIZE Size=1/32

Tr1 Execute
Immediately after execution Undo will appear above the right [-] button, and that button can be used to undo the quantize operation if it was executed by mistake. The undo function is only available until the next operation is performed. The Quantize Sizes are:
1/4 = 1/4 note 1/6 = 1/4 note triplet
Aligns notes in the specified track to the nearest specified beat.
One measure of 8th notes before quantization
1/8 = 1/8 note 1/12 = 1/8 note triplet 1/16 = 1/16 note 1/24 = 1/16 note triplet 1/32 = 1/32 note 1/96 = maximum resolution (default)

e ee e

After quantization

ee e e

e e e e e e e e
Use the [<] and [>] buttons to switch between the two display screens, and the left [-] and [+] buttons to set the track number (Track) and the quantize size (Size). Once the track number and quantize size have been selected, press the [+] button below Execute on the right side of the display to actually execute the quantize operation. Sequencer Executing! will appear on the lower line of the display while the operation is in progress, and Completed! will appear briefly when the operation has finished.
Quantization is generally used to tighten up sloppy timing. Use it judiciously, however, because timing that is too perfect can sound cold and mechanical unless, of course, youre specifically aiming for a cold, mechanical feel. Always use a quantize value that is at least as short as the shortest notes in the track to be quantized. If you quantize a track containing 16th notes to 1/8 (8th notes), for example, some of the 16th notes will be aligned with 8th note beats, thus ruining the track.

The Sequencer E5

DELETE ALL TRACKS
DELETE ALL TRACKS TopMeas= 4 LastMeas=

DELETE from

4 to 6 Execute
Once the top and last measure numbers have been selected, press the [+] button below Execute on the right side of the second display screen to actually execute the delete operation. Sequencer Executing! will appear on the lower line of the display while the operation is in progress, and Completed! will appear briefly when the operation has finished.

Notes: Purpose:

Deletes the specified measure or range of measures from all tracks (including the accompaniment track).

The Sequencer E9

NOTE SHIFT
NOTE SHIFT Track=Tr1 Shift=+12

NOTE TopMeas=

Tr1 +LastMeas= 16

1> 16 +12 Execute

Once the track, shift, and measure numbers have been specified, press the [+] button below Execute on the right side of the display to actually execute the note shift operation. Sequencer Executing! will appear on the lower line of the display while the operation is in progress, and Completed! will appear briefly when the operation has finished. Immediately after execution Undo will appear above the right [-] button, and that button can be used to undo the note shift operation if it was executed by mistake. The undo function is only available until the next operation is performed.
The range of Shift values is from -24 to +24. A setting of 0 produces no note shift. Each increment represents a semitone, so a setting of +4, for example, would shift the pitch of notes in the specified range up by an interval of a third. A setting of -12 would shift the notes down by one octave. The ability to selectively shift the pitch of specified measures and tracks makes it simple to create modulations (key changes) without having to reprogram entire passages, and to create simple harmonies.
Shifts the pitch of notes in the specified measures of the specified track (accompaniment track not available) up or down by a maximum of two octaves, in semitone increments.
Use the [<] and [>] buttons to switch between the three display screens, and the left or right [-] and [+] buttons to set the track number (Track), the amount of note shift (Shift see Notes below), the number of the first measure in the range in which the notes are to be shifted (TopMeas), and the number of the last measure in the range in which the notes are to be shifted (LastMeas).

SONG CLEAR

`SONG 1 CLEAR FREE:31k Execute
Deletes the entire song i.e. deletes all data from all sequencer tracks.
Remember that this function deletes all data in the sequencer in one operation. If you think you might want to keep the data for later use or editing, be sure to save it to floppy disk (page 42, 46) before executing the song clear operation. Be careful with SONG CLEAR it has no undo function! The remaining amount of sequencer memory is shown on the bottom line of the display in kilobytes.
Press the [+] button below Execute on the display to execute the song clear operation. Completed! will appear briefly when the operation has finished.
The Custom Accompaniment Programmer
The PSR-5700 CUSTOM ACCOMPANIMENT feature allows you to create and store up to six original accompaniments including rhythm, bass, and chords in addition to 36 internal preset accompaniment styles. You can even create intro, fill-in, and ending patterns that can be saved with your accompaniments. More custom accompaniments can be created and saved to floppy disk (page 42, 46). Your original accompaniments can be selected and played at any time, just like the presets.

It is a good idea to group the chord tracks according to their musical function. For example, tracks containing basic block chords could be assigned to the CHORD 1 control while tracks containing more decorative chord work could be assigned to the CHORD 2 control.
Use the [<] and [>] buttons to move the underline cursor to the various character positions, then use the left [-] and [+] buttons to select the required character for each position.
Allows a name of up to 8 characters to be assigned to the current custom accompaniment before it is stored via the following 5. SAVE TO ACCOMP. function. Independent names can not be assigned to INTRO, FILL, and ENDING patterns. Heres a list of the characters that can be selected via the left [-] and [+] buttons. Character list
[Space]!"#$%&'()*+,-./0123456789:;<=>?@
ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}

SAVE TO ACCOMP.

This function stores the current custom accompaniment to a specified custom accompaniment number.
The Set to parameter in the first display screen determines to which custom accompaniment number the accompaniment will be stored Cus0, Cus1, Cus2, Cus3, Cus4, or Cus5. When the Set to parameter has been set as required by using the left [-] and [+] buttons, press the right [-] and [+] buttons under -Execute- on the display to actually store the current custom accompaniment in the specified custom accompaniment number. Completed will appear when the operation is complete.
The Custom Accompaniment Programmer 6

The Quantize Sizes are:

QUANTIZE Track=Rhythm
1/4 = 1/4 note 1/6 = 1/4 note triplet 1/8 = 1/8 note 1/12 = 1/8 note triplet

QUANTIZE Size=1/32

Rhythm Execute
1/16 = 1/16 note 1/24 = 1/16 note triplet 1/32 = 1/32 note
Quantization is generally used to tighten up sloppy timing. Use it judiciously, however, because timing that is too perfect can sound cold and mechanical unless, of course, youre specifically aiming for a cold, mechanical feel. Always use a quantize value that is at least as short as the shortest notes in the track to be quantized. If you quantize a track containing 16th notes to 1/8 (8th notes), for example, some of the 16th notes will be aligned with 8th note beats, thus ruining the track. Quantization can not be applied to tracks containing preset data. If you attempt to quantize a track containing preset (including disk style) data, ! will appear on the display in place of =.

Selects one of two available Interactive Accompaniment modes, turns the AUTO SOLO function on or off, sets the sensitivity of the Interactive Accompaniment function, and determines the keyboard part on which Interactive Accompaniment will be based.
Use the [<] and [>] buttons to switch between the two display screens. Use the left [-] and [+] buttons in the first screen to select Interactive Accompaniment mode 1 or 2, and use the right [-] and [+] buttons to turn the AUTO SOLO function on or off. Use the left [-] and [+] buttons in the second screen to set the desired Interactive Accompaniment sensitivity, and use the right [-] and [+] buttons to select the keyboard part on which Interactive Accompaniment is to be based.
Mode: When Interactive Accompaniment mode 1 is selected, accompaniment parts that may interfere with what is played on the keyboard are automatically lowered in

Super Style Play Mode

SUPER STYLE PLAY MODE
SUPER STYLE PLAY MODE SectionChanging=ON
Use the left or right [-] and [+] buttons to turn Super Style Play SectionChanging on or off.
Determines whether Super Style Play variation switching will occur at the same time as Accompaniment Verse-toChorus switching. Turning this function on can provide greater contrast between the chorus and verse variations when using the Accompaniment feature.
The default setting is ON.

[F5] Disk

Although the [F5] DISK function accesses a range of important disk functions, the most commonly used disk functions save to disk and load from disk can also be directly accessed via the [TO DISK] and [FROM DISK] buttons, as described below. Please note that no other PSR-5700 functions will operate while a disk function is in progress.
For any disk operation an appropriate floppy disk must first be properly inserted into the PSR-5700 disk drive. The PSR-5700 uses only 3.5" 2DD type floppy disks. Make sure the disk write protect tab is set to the write enable position if you intend to save any data to the disk, and insert the disk with the sliding disk cover facing the disk drive and the disk label facing upward. Before a new disk can be used to save data, it must be formatted using the FORMAT DISK function described on page 47.

9nH BnH,01H BnH,07H BnH,0BH BnH,40H CnH EnH F0H,43H,73H,01H,13H,F7H F0H,7EH,00H/7FH,09H,01H,F7H

III. GM Mode

MIDI Kch:Key Channel FEH FAH FCH TRANSPOSE ADD NOTE 0-0 TRANSPOSE ON (-) 8nH 9nH 8nH 9nH ACTIVE SENSING START STOP
<1~9,11~16ch> <10ch>
NOTE OFF NOTE ON/OFF NOTE OFF NOTE ON/OFF BnH,07H VOLUME BnH,0BH EXPRESSION MODULATION WHEEL VOLUME PAN EXPRESSION SUSTAIN DATA ENTRY MSB DATA ENTRY LSB RPN LSB RPN MSB REVERB DEPTH ALL SOUND OFF RESET ALL CTRLS ALL NOTE OFF LOCAL CONTROL PROGRAM CHANGE PITCH BENDER SWITCH TO REMOTE MODE SWITCH TO DOC MODE

<1~9,11~16ch>

BnH,01H BnH,07H BnH,0AH BnH,0BH BnH,40H BnH,06H BnH,26H BnH,64H BnH,65H BnH,5BH BnH,78H BnH,79H BnH,7BH BnH,7AH CnH EnH

<1~16ch>

<Kch> <1~9,11~16ch>
F0H,7EH,00H/7FH,09H,02H,F7H F0H,43H,73H,01H,14H,F7H
ACTIVE SENSE START STOP TIMING CLOCK FEH FAH FCH F8H TRANSPOSE NOTE ON/OFF MODULATION WHEEL VOLUME EXPRESSION SUSTAIN PROGRAM CHANGE PITCH BENDER 9nH BnH,01H BnH,07H BnH,0BH BnH,40H CnH EnH TRANSPOSE ADD NOTE 0-0 ON (+) MIDI
REMOTE MODE from GM F0H,7EH,00H/7FH,09H,02H,F7H DOC MODE from GM F0H,43H,73H,01H,14H,F7H
MIDI Messages MIDI-Meldungen Messages MIDI Mensajes MIDI

I. Channel Message

1. VOICE MESSAGE
1-1) 8n : NOTE OFF (Reception only) (Compatible with Remote: O DOC: O GM1: O) 0 k v n n: MIDI Channel k: Key Note Number v: Velocity Velocity value ignored. c=1 (Modulation Depth) (Compatible with Remote: O DOC: O GM1: O) [IN] v= Remote :Depends on voice. DOC :vibrato depth GM1 :Depends on voice. [OUT] v = modulation wheel value: 00H(min) ~ 7FH(max). c=7 (Volume) (Compatible with Remote: O DOC: O GM1: O) [IN] v= Remote :Corresponds to fader position. DOC :7FH=0dB,00H=-, 0.1875dB/step GM1 :7FH=0dB,60H=-4.8dB,40H=-11.9dB, 20H=-23.9dB,10H=-36dB,00H=- [OUT] v= Remote :Corresponds to fader position. DOC :Actual dB value applied to tone generator in 0.1875 dB steps, according to fader position. GM1 :Inverse change applied to tone generator in dB, according to fader position. 0dB=7FH,-4.8dB=60H,-11.9dB=40H, -23.9dB=20H,. c=10 (Pan) (Reception only) (Compatible with Remote: O DOC: O GM1: O) [IN] Remote,GM1 DOC V= 00H~07H LEFT 7 LEFT 6 08H~0FH 10H~17H 18H~1FH 20H~27H 28H~2FH 30H~37H 38H~3FH CENTER 1 40H VOICE PAN CENTER 41H~47H CENTER CENTER 48H~4FH RIGHT 1 VOICE PAN 50H~57H 2 RIGHT 1 58H~5FH 60H~67H 68H~6FH 70H~77H 78H~7FH c=11 (Expression) (Compatible with Remote: O DOC: O GM1: O) [IN] v= Remote : Corresponds to expression position. DOC : 7FH=0dB,00H=-, 0.1875dB/step GM1 : 7FH=0dB,60H=-4.8dB,40H=-11.9dB, 20H=-23.9dB,10H=-36dB,00H=- [OUT] v= Remote : Corresponds to expression position. DOC : Actual dB value applied to tone generator in 0.1875 dB steps, according to expression position. GM1 : Inverse change applied to tone generator in dB, according to expression position. 0dB=7FH,-4.8dB=60H,-11.9dB=40H, -23.9dB=20h,.

1-2) 9n : NOTE ON/OFF (Compatible with Remote: O DOC: O GM1: O) 0 k v n n: MIDI Channel k: Key Note Number v: Velocity 00H~7FH Key off when velocity = 0.
1-3) Cn : PROGRAM CHANGE (Compatible with Remote: O DOC: O GM1: O) C 0 p n n: MIDI Channel p: Program Number

[IN/OUT] Program Number

Remote : 0~99 DOC : 0~87 (Some numbers omitted) GM1 : 0~127
1-4) En : PITCH BEND CHANGE (Compatible with Remote: O DOC: O GM1: O) E n LSB MSB n: MIDI Channel MSB LSB : max : : : center : : : min Remote : Depends on voice. DOC : 300 GM1 : 200 cents default. Maximum range 1 octave with RPN.

[IN] Pitch range.

[OUT] Pitch bend wheel value output. 1-5) Bn : CONTROL CHANGE B c v n n: MIDI Channel c: Control Number v: Control Value
c=0 (Bank Select MSB) (Compatible with Remote: O DOC: X GM1: X) [IN/OUT] v = 00H, fixed.
c=32 (Bank Select LSB) (Compatible with Remote: O DOC: X GM1: X) [IN/OUT] v= 00H: CustomVoice SW OFF 01H: CustomVoice SW ON c=64 (Sustain) (Compatible with Remote: O DOC: O GM1: O) [IN] v= : 00H~3FH=OFF,40H~7FH=ON (In DOC mode 00H~2FH=OFF,30H~7FH=ON) [OUT] v= : 00H=OFF, 7FH=ON c=80 (Foot Controller) (Compatible with Remote: O DOC: X GM1: X) [IN] v= : 00H~3FH=OFF, 40H~7FH=ON [OUT] v= :00H=OFF, 7FH=ON c=100(RPN LSB) (Reception only) (Compatible with Remote: X DOC: X GM1: O) =101(RPN MSB) [IN] MSB LSB Function v= 00H 00H Pitch Bend Sense 00H 01H Fine Tuning 00H 02H Coarse Tuning c=6 (Data Entry MSB) (Reception only) (Compatible with Remote: X DOC: X GM1: O) =38 (Data Entry LSB) [IN] v= Data input according to RPN, above. Pitch Bend Sense: 1 step = 100/128 cents, range = 0 ~ 1200 cents. Fine Tuning: 1 step = 100/8196 cents, range = 100 cents. Coarse Tuning: 1 step = 100 cents, range = 1200 cents. c=91 (Reverb Depth) (Reception only) (Compatible with Remote: X DOC: X GM1: O) v = reverb depth 00H(min) ~ 7FH(max)

II. System Message

1. REAL TIME MESSAGE
F8 : TIMING CLOCK (Compatible with Remote: O DOC: O GM1: O) Transmission only in DOC & GM1 modes. FA : START FC : STOP (Compatible with Remote: O DOC: O GM1: O) (Compatible with Remote: O DOC: O GM1: O)
FE : ACTIVE SENSING (Compatible with Remote: O DOC: O GM1: O)
2. SYSTEM EXCLUSIVE MESSAGE
(1) MEMORY BULK DUMP REQUEST (Reception only) (Compatible with Remote: O DOC: X GM1: X) 0010nnnn F0H 43H 2nH 0AH F7H Status YAMAHA ID Substatus/n: Device Number Format Number EOX

(2) MEMORY BULK DUMP DATA (Compatible with Remote: O DOC: X GM1: X) 0000nnnn 00001010 0nnnnnnn 0nnnnnnn 00100000 0nnnnnnn 0ddddddd : 0ddddddd 0sssssss 11110111 F0H 43H 0nH 0AH nn nn 50H 4BH 20H 20H 32H 32H 33H 39H 20H nn dd : dd ss F7H Status YAMAHA ID Substatus/n: Device Number Format Number Byte Count MSB Byte Count LSB Header P K space space space Data Number* Data Check-sum EOX
2. MODE MESSAGE (Reception only)
B c v n n: MIDI Channel c: Mode Message v: Value Refer to the chart below. Value 00H~7FH 00H~7FH 00H (off), All others (on) 00H 00H 00H Remote DOC GM1 X X O X O O O O X O X X X O O O X X
Mode Message Function 120 All Sound off 125 Reset All Ctrls Local Control All Notes Off OMNI Mode Off OMNI Mode On
* DATA NUMBER 00H SYSTEM SET UP DATA 01H VOICE REGISTRATION DATA 02H PANEL REGISTRATION DATA 03H, 04H SUPER STYLE PLAY DATA 05H~07H PAD DATA 08H CUSTOM VOICE DATA 09H~1AH CUSTOM ACCOMPANIMENT DATA 1BH~2BH SEQUENCER DATA
(3) PANEL DATA REQUEST (Reception only) (Compatible with Remote: O DOC: X GM1: X) 0010nnnn F0H 43H 2nH 7CH F7H Status YAMAHA ID Substatus/n: Device Number Format Number EOX
(4) PANEL DATA BULK DUMP (Compatible with Remote: O DOC: X GM1: X) 0000nnnn 01111100 0nnnnnnn 0nnnnnnn 0vvvvvvv 0rrrrrrr 0ddddddd : 0ddddddd 0sssssss 11110111 F0H 43H 0nH 7CH nn nn 50H 4BH 20H 20H 32H 32H 33H 39H 20H 20H vv rr dd : dd ss F7H Status YAMAHA ID Substatus/n: Device Number Format Number Byte Count MSB Byte Count LSB Header P K space space space space Software Version Number Software Revision Number Data Check-sum EOX
00100000 0vvvvvvv 0rrrrrrr 0ccccccc 0ccccccc 0ccccccc 0ccccccc 0sssssss 11110111
20H 32H 32H 33H 39H 20H 20H vv rr cc cc cc cc ss F7H
space space space Software Version Number Software Revision Number
Condition Data Check-sum EOX
(7) DOC/Remote Control Mode Switching (7.1) REMOTE CONTROL MODE (Compatible with Remote: X DOC: O GM1: X) F0H 43H 73H 01H 13H F7H Status
EOX (Compatible with Remote:O DOC:X GM1:O) Status
(7.2) DOC MODE F0H 43H 73H 01H 14H F7H
(5) NAME DATA REQUEST (Reception only) (Compatible with Remote: O DOC: X GM1: X) 0010nnnn F0H 43H 2nH 7DH F7H Status YAMAHA ID Substatus/n: Device Number Format Number EOX

(13) PROGRAM CHANGE OFF (Reception only) (Compatible with Remote: O DOC: X GM1: X) F0H 43H 76H 05H 04H F7H Status YAMAHA ID Substatus Section No.= 6 (Portable Keyboard) Program Change Off EOX

Reverb Type EOX

zz =00 : OFF 01 : ROOM 02 : HALL 03 : HALL 04 : OFF
3. MIDI EXTENDED CONTROL CHANGE Reception & Transmission Rules
1 Only controls that are active in each mode are available for reception and transmission. 2 As for functions, when a data entry button below the display is pressed a corresponding data entry event is transmitted rather than than the edited value. Reverb and effect type/depth ON events are transmitted simultaneously. Harmony type also transmitted simultaneously with an ON event. ABC mode transmitted when ABC turned ON, and ABC is turned ON when an ABC mode message is received. 3 For controls such as the DEMO button which is held while some other operation is performed, an ON event is transmitted when the button is pressed and an OFF event is transmitted when the button is released. 4 OFFmON events are transmitted in succession when an auto-repeat controller is used.
Rgles de rception et de transmission
1 Seules les commandes active dans chaque mode sont disponibles pour la rception et la transmission. 2 En ce qui concerne les fonctions, lorsquune touche dintroduction de donnes situe sous laffichage est sollicite, un vnement dintroduction de donne correspondant est transmis la place de la valeur dite. Reverb, le type/profondeur deffet et les vnements ON sont transmis simultanment. Le type dharmonie est galement transmis simultanment avec lvnement ON. Le mode ABC est transmis lorsque ABC est activ et ABC est activ la rception dun message ABC 3 Dans le cas de commandes telles que la touche [DEMO], qui doit maintenue enfonce pendant que dautres oprations sont ralises, un vnement ON est transmis lorsque la touche est enfonce et un vnement OFF lorsquelle est relche. 4 Les vnement ONmOFF sont transmis en succession lorsquun contrleur rptition automatique est utilis.

Mute Trp Hamonica Choir JazzOrg1

Orch.Hit

GENERAL MIDI (GM) Mode Voice List Stimmenverzeichnis fr GM-Modus (General MIDI) Liste des voix du mode GENERAL MIDI (GM) Lista de voces del modo GENERAL MIDI (GM)
Number Group Piano Name (GM) Acoustic Grand Piano Bright Acoustic Piano Electric Grand Piano Honky-tonk Piano Electric Piano 1 Electric Piano 2 Harpsichord Clavi Celesta Glockenspiel Music Box Vibraphone Marimba Xylophone Tubular Bells Dulcimer Drawbar Organ Percussive Organ Rock Organ Church Organ Reed Organ Accordion Harmonica Tango Accordion Acoustic Guitar (nylon) Acousitic Guitar (steel) Electric Guitar (jazz) Electric Guitar (clean) Electric Guitar (muted) Overdriven Guitar Distortion Guitar Guitar Harmonics Acoustic Bass Electric Bass (finger) Electric Bass (pick) Fretless Bass Slap Bass 1 Slap Bass 2 Synth Bass 1 Synth Bass 2 Violin Viola Cello Contrabass Tremolo Strings Pizzicato Strings Orchestral Harp Timpani String Ensemble 1 String Ensemble 2 Synth Strings 1 Synth Strings 2 Choir hs Voice Oohs Synth Voice Orchestra Hit Trumpet Trombone Tuba Muted Trumpet French Horn Brass Section Synth Brass 1 Synth Brass 2 Display GrandPno BritePno E.Grand HnkyTonk E.Piano1 E.Piano2 Harpsi. Clavi. Celesta Glocken MusicBox Vibes Marimba Xylophon TubulBel Dulcimer DrawOrgn PercOrgn RockOrgn ChrchOrg ReedOrgn Acordion Harmnica TangoAcd NylonGtr SteelGtr Jazz Gtr CleanGtr Mute.Gtr Ovrdrive Dist.Gtr GtrHarmo Aco.Bass FngrBass PickBass Fretless SlapBas1 SlapBas2 SynBass1 SynBass2 Violin Viola Cello ContraBs Trem.Str Pizz.Str Harp Timpani Strings1 Strings2 Syn.Str1 Syn.Str2 Choirh VoiceOoh SynVoice Orch.Hit Trumpet Trombone Tuba Mute.Trp Fr.Horn BrasSect SynBras1 SynBras2 Number Group Reed Name (GM) Soprano Sax Alto Sax Tenor Sax Baritone Sax Oboe English Horn Bassoon Clarinet Piccolo Flute Recorder Pan Flute Blown Bottle Shakuhachi Whistle Ocarina Lead 1 (square) Lead 2 (sawtooth) Lead 3 (calliope) Lead 4 (chiff) Lead 5 (charang) Lead 6 (voice) Lead 7 (fifths) Lead 8 (bass+lead) Pad 1 (new age) Pad 2 (warm) Pad 3 (polysynth) Pad 4 (choir) Pad 5 (bowed) Pad 6 (metallic) Pad 7 (halo) Pad 8 (sweep) FX 1 (rain) FX 2 (soundtrack) FX 3 (crystal) FX 4 (atmosphere) FX 5 (brightness) FX 6 (goblins) FX 7 (echoes) FX 8 (sci-fi) Sitar Banjo Shamisen Koto Kalimba Bagpipe Fiddle Shanai Tinkle Bell Agogo Steel Drums Woodblock Taiko Drum Melodic Tom Synth Drum Reverse Cymbal Guitar Fret Noise Breath Noise Seashore Bird Tweet Telephone Ring Helicopter Applause Gunshot Display SprnoSax Alto Sax TenorSax Bari.Sax Oboe Eng.Horn Bassoon Clarinet Piccolo Flute Recorder PanFlute Bottle Shakhchi Whistle Ocarina SquareLd Saw.Lead CaliopLd Chiff Ld CharanLd Voice Ld Fifth Ld Bass &Ld NewAgePd Warm Pad PolySyPd ChoirPad BowedPad MetalPad Halo Pad SweepPad Rain SoundTrk Crystal Atmosphr Bright Goblins Echoes SF Sitar Banjo Shamisen Koto Kalimba Bagpipe Fiddle Shanai TnklBell Agogo SteelDrm WoodBlok TaikoDrm MelodTom Syn.Drum RevCymbl FretNoiz BrthNoiz Seashore Tweet Telphone Helicptr Applause Gunshot

C1. B5 sind Teil der Schlagzeug-Stimme DRUM KIT (Nr. 98). C1. B0 entsprechen den unteren beiden Oktaven bei der Schlagzeugstimme POP DRUM KIT (Nr. 99) (C1. B2). C6. B8 entsprechen den oberen zweieinhalb Oktaven (C3. G5). Ab5. C6 sind Teil beider Schlagzeug-Stimmen, DRUM KIT (Nr. 98) und POP DRUM KIT (Nr. 99).
C1. B5 se incluyen en el nmero de voz 98 Drum Kit. C1. B0 son las 2 octavas inferiores del nmero de voz 99 Pop Drum Kit (C1. B2). C6. G8 son las 2,5 octavas superiores (G3. G5). Ab5. C6 se incluyen en los nmeros de voz 98 Drum Kit y 99 Pop Drum Kit.
GM/DOC MODE Percussion Map Schlagzeugklang-Verzeichnis fr DOC/GM-Modus Carte de batterie en mode DOC/GM Mapa de percusin del modo DOC/GM MODE
Key (MIDI) Number 82 Note F#0 G0 Ab0 A0 Bb0 B0 C1 Db1 D1 Eb1 E1 F1 F#1 G1 Ab1 A1 Bb1 B1 C2 Db2 D2 Eb2 E2 F2 F#2 G2 Ab2 A2 Bb2 B2 C3 Db3 D3 Eb3 E3 F3 F#3 G3 Ab3 A3 Bb3 B3 C4 Db4 D4 Eb4 E4 F4 F#4 G4 Ab4 A4 Bb4 GM Name Acoustic Bass Drum Bass Drum 1 Side Stick Acoustic Snare Hand Clap Electric Snare Low Floor Tom Closed Hi-Hat High Floor Tom Pedal Hi-Hat Low Tom Open Hi-Hat Low-Mid Tom Hi-Mid Tom Crash Cymbal 1 High Tom Ride Cymbal 1 Chinese Cymbal Ride Bell Tambourine Splash Cymbal Cowbell Crash Cymbal 2 Vibraslap Ride Cymbal 2 Hi Bongo Low Bongo Mute Hi Conga Open Hi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas Short Whistle Long Whistle Short Guiro Long Guiro Claves Hi Wood Block Low Wood Block Mute Cuica Open Cuica Mute Triangle Open Triangle DOC Name Snare Brush Closed Hi-Hat Heavy Crash Cymbal Light Bass Drum Light Snare Drum+Rim Heavy Ride Cup Snare Drum+Rim Light Bass Drum Rim Shot Snare Drum Heavy Snare Brush Shot Snare Drum Light Pedal Hi-Hat Snare Drum Echo Tom 4 Closed Hi-Hat Tom 3 Open Hi-Hat Tom 2 Tom 1 Ride Cymbal Electronic Tom 3 Crash Cymbal Electronic Tom 2 Crash Cymbal Electronic Tom 1 Conga Low Cabasa Conga High Metronome Bongo Timbale Low Claves Timbale High Castanets Cuica Low Cowbell Cuica High Hand Claps Agogo Low Agogo High Bongo Low Cuica Low Tambourine Crash Cymbal Triangle Closed Snare Brush Triangle Open
YAMAHA [ Portatone ] Date : 07/Model PSR-5700 MIDI Implementation Chart Version : 1.0 ++ : : Transmitted : Recognized : Remarks : : Function : : : : :++++ :Basic Default : 1-16 : 1-16 : memorized : :Channel Changed : 1-16 : 1-16 : : :++++ : Default : 3 : 1,3 *2 : memorized : :Mode Messages : X : OMNIon,OMNIoff : : : Altered : ************** : X : : :++++ :Note : 36-96 : 0-127 : : :Number : True voice: ************** : 0-127 : : :++++ :Velocity Note on : O 9nH,v=1-127 : O v=1-127 : : : Note off : X 9nH,v=0 : X : : :++++ :After Keys : X : X : : :Touch Chs : X : X : : :++++ :Pitch Bender : O : O 0-12 semi *1:7bit resolution : :++++ : 0,32 : O *2 : O *2 :Bank Select : : 1 : O : O :Modulation : : 6,38 : X : O *3 :Data Entry : :Control 7 : O : O :Volume : : 10 : X : O :Pan : :Change 11 : O : O :Expression : : 64 : O : O :Sustain : : 80 : O *2 : O *2 :Foot Controller : : 91 : X : O *3 :Reverb Depth : : 100,101 : X : O *3 :RPN LSB,MSB : : 120 : X : O *3 :All Sound Off : : 121 : X : O *3 :Reset All Ctrls : : : : : : :++++ :Program : O 0-99 *4 : O 0-99 *4 : : :Change : True # : ************** : 0-99 *4 : : :++++ :System Exclusive : O : O : : :++++ :System : Song Pos : X : X : : : : Song.Sel : X : X : : :Common : Tune : X : X : : :++++ :System :Clock : O : O *2 : : :Real Time:Commands : O : O : : :++++ :Aux :Local ON/OFF : X : O : : : :All Notes OFF: X : O (122-125) *5: : :Mes- :Active Sense : O : O : : :sages:Reset : X : X : : :++++ :Notes : *1 = 0-3 if DOC mode is on : : *2 = only remote control mode : : *3 = only GM mode : : *4 = 0-127 if GM mode is on 0-87 if DOC mode is on : : *5 = 122-123 if GM mode is on 122 if DOC mode is on : :+ Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes 257 Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No

Specifications Technische Daten Spcifications Especificaciones

KEYBOARD:

61 Keys (C1~C6) with Touch Response

REGISTRATION:

VOICE REGISTRATION: 10 PANEL REGISTRATION: 16

POLYPHONY:

38 notes max.

DISPLAY:

LED, LCD

VOICES:

Preset 100 voices Custom 100 voices (Programmable)

DISK DRIVE:

3.5 FDD, Compatibility with DOC (Yamaha Disk Orchestra Collection) and General MIDI software

ACCOMPANIMENT:

INTERACTIVE ACCOMPANIMENT: Preset 36 styles Disk 1 style * 5 variations for each style CUSTOM ACCOMPANIMENT: 6 styles + INTRO/FILL/ENDING (Programmable)

DEMONSTRATION:

4 Songs

CONNECTORS:

MIDI (IN/OUT/THRU), FOOT SW., SUSTAIN, EXP. PEDAL, HEADPHONES, AUX. IN (R, L/L+R), AUX. OUT (R, L/L+R)

SUPER STYLE PLAY:

Preset 36 styles Disk 1 style * 4 variations for each style

AMPLIFIER:

10W x 2

SPEAKERS:

16cm (6-5/16") x 2, 5cm (1-5/16") x 2

EFFECT:

Reverb based effect 23 types, Chorus based effect 9 types, Harmony 16 types

DIMENSIONS (W x D x H):

1067mm (42") x 409mm (16-1/8") x 160mm (6-5/16")

PERCUSSION:

Keyboard; 92 (Percussion + Sound Effect)

WEIGHT:

15.0 kg (33.1lbs.)

8 (MULTI/PERC./TEMPO)

SUPPLIED ACCESSORIES:
Music Stand FC5 Foot Switch Sample Data Disk Getting Started Manual Advanced Features Manual

AUTO BASS CHORD:

Single Finger, Fingered Chord, Manual Bass

SEQUENCER:

8 Tracks, 6 Songs
* Specifications subject to change without notice.