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Yamaha PSR-730 Psr-630

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User reviews and opinions

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Comments to date: 5. Page 1 of 1. Average Rating:
macieh 5:04pm on Wednesday, July 21st, 2010 
Love this phone--fast processor, great ROM/RAM, very sleek & lightweight. However, like other HTC devices. As an upgrade from the Palm Treo 700wx I must say this phone is quite an improvement for me. Very compact and comfortable cell phone with long battery life and good working EDGE. PDA functions are good.
bogdan.sturzoiu 6:33pm on Thursday, July 8th, 2010 
Seems like all the new smartphones have their of share of defects. I have a HTC touch. The first one had Windows Mobile 6.1 installed. What kind of research was done for this article? First of all, the pictures are all of the HTC Touch DIAMOND. I think the once the HTC Dream, HTC Dream, and Google Android are released, it will really open up the field of what a cell phone can do. Yes.
yvkevitch 3:56pm on Tuesday, April 27th, 2010 
Indispensible "Accessory" for G1 Owners I can now connect the G1 to my sound system and stream Pandora or Last. I thought HTC products would always work I selected to buy this product with the HTC logo since I thought it would work as advertized.
kristan 9:44pm on Saturday, April 17th, 2010 
When my husband and I purchased these phones we were told it was capable of texting images and video. I purchased this phone earlier this year and within a week I had to do several resets. The phone would freeze up on me constantly.
remios 5:18am on Tuesday, March 30th, 2010 
General 2G Network GSM 850 / 900 / 1800 / 1900 3G Network HSDPA 900 / 2100 HSDPA 850 / 1900 - American version Announced 2009. I purchased this phone shortly after it came out. I cam currently with Sprint and wanted to get something close to the iphone. Size dimensions of P3400 be calculated. bold touches are almost 2 cm. Weight also feels a bit heavy with the size of 126 grams.

Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.

 

Documents

doc0

IMPORTANT:

When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to
This applies only to products distributed by Yamaha Corporation of America.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. Use the specified adaptor (PA-6 or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

s Using An Optional AC Power Adaptor
z Plug an optional Yamaha PA-6 Power Adaptor into a wall AC outlet. x Then plug the DC output cable from the PA-6 into the DC IN 10-12V jack on the rear panel of the PSR-730/630. The internal batteries are automatically disconnected when an AC Power Adaptor is used.
Use ONLY a Yamaha PA-6 AC Power Adaptor (or other adaptor specifically recommended by Yamaha) to power your instrument from the AC mains. The use of other adaptors may result in irreparable damage to both the adaptor and the PSR-730/630. Unplug the AC Power Adaptor when not using the PSR730/630, or during electrical storms.
When turning the power OFF, simply reverse the procedure.

s Using Batteries

For battery operation the PSR-730/630 requires six 1.5V SUM-1, D size, R20 or equivalent batteries. When the batteries need to be replaced Lo Battery!! may appear on top of the display, the volume may be reduced, the sound may be distorted, and other problems may occur. When this happens, turn the power off and replace the batteries. Replace the batteries as follows: z Open the battery compartment cover located on the instruments bottom panel. x Insert the six new batteries, being careful to follow the polarity markings on the inside of the compartment. c Replace the compartment cover, making sure that it locks firmly in place.
When the batteries run down, replace them with a complete set of six new batteries. NEVER mix old and new batteries. Do not use different kinds of batteries (e.g. alkaline and manganese) at the same time. If the instrument is not to be in use for a long time, remove the batteries from it, in order to prevent possible fluid leakage from the battery. Plugging or unplugging the AC power adaptor while the batteries are installed will reset the PSR730/630 to the defaults.
x Important Notes on Battery Use
Since the PSR-730 and PSR-630 consume a considerable amount of power, Yamaha recommends the use of an AC power adaptor rather than batteries. The batteries should be considered an auxiliary power source for data backup. The floppy disk drive, in particular, uses a large amount of power, so it is important to always use an AC power adaptor when performing disk-intensive operations such as song recording/playback or data load/save. If you attempt to use battery power for these operations and the batteries do fail, you will lose not only the data youre recording or saving, but also other data in internal memory including user styles, user pads, registration memory, etc. Taking the above precautions into consideration, always use an AC power adaptor when using the PSR-630/730 for an important performance or when creating important data. When using batteries and the Lo Battery!! warning initially appears on the display, the volume will drop a little but you will be able to use the instrument for a while longer. When the Lo Battery!! warning begins to appear every few seconds, replace the batteries as soon as possible.

PSR-730 Panel Voices Drum Kits XG Voices Voice numbers 1-215 Voice numbers 216-227 Voice numbers 228-707 PSR-630 Voice numbers 1-200 Voice numbers 201-212 Voice numbers 213-692
Choose a voice you like, and try it out!
Refer to the panel voice list or XG voice list when selecting voices (page 133). See page 3 for information about XG.
A Word About the R1, R2, and L Voices
The PSR-730/630 allows up to three voices to be selected at the same time: R1 (Right-hand 1), R2, (Right-hand 2) and L (Left-hand). The R1 voice is the basic voice of the PSR-730/630 and its used when youre playing a single voice over the entire range of the keyboard as with an acoustic piano. You can also have two voices play together at the same time (R1 voice and R2 voice) or play different voices with the right and left hands (R1 voice and L voice) (pages 19, 20). The numbers of the currently selected R1, R2, and L voices are all shown at the lower right of on the display panel. Normally, the R1 voice number is also shown at the upper right of the display panel.
The R1 (Right-hand 1), the R2 (Right-hand 2) and the L (Left hand) voices are shown.
q Playing with a Single Voice

R1 Voice

q Playing with Two Voices (Dual Voice Mode m page 19).

R1 Voice + R2 Voice

q Playing Separate Voices with the Right and Left Hands (Split Voice Mode m page 20)

L Voice

R1 Voice + R2 Voice L Voice (Split Voice Mode + Dual Voice Mode)

Playing the PSR-730/630

Selecting & Playing R1 Voices

1 Select the VOICE Menu

Press the [VOICE] button so that the triangular indicator appears in the display next to VOICE to the right of the display. The number and name of the currently selected R1 voice appears on the top right of the display panel when the VOICE menu is selected.

VOICE VOICE

2 Select a Panel Voice
The PSR-730/630 voices can be selected by using the [] and [+] buttons, the number buttons, the data dial, or the [VOICE] button. q The [] and [+] Buttons When the VOICE menu is selected these buttons step up or down through the PSR730/630s voices. Press either button briefly to step to the next voice in the corresponding direction, or hold the button to scroll rapidly through the voices in the corresponding direction.

AUTO ACCOMPANIMENT split point SPLIT VOICE split point

Accompaniment

R Voice
AUTO ACCOMPANIMENT split point/ SPLIT VOICE split point

Accompaniment/ L Voice

The Auto Accompaniment Fingering Modes
The PSR-730/630 AUTO ACCOMPANIMENT feature has five different fingering modes which can be selected as follows.
1 Select the Fingering Mode Function
You can jump directly to the FingerMode function by pressing and holding the AUTO ACCOMPANIMENT [ON/OFF] button for a few seconds.
Then use the SUB MENU [v] and [w] buttons to select the FingerMode function from within the OVERALL menu. The abbreviated name of the current fingering mode will appear to the right of FingerMode on the top line of the display.
The default Fingering Mode is Multi.

FingerMo de: Mul ti

2 Select the Required Fingering Mode
Use the [] and [+] buttons or Data Dial to select the desired fingering mode:
q Single (Single Finger) q Fingered 1 q Fingered 2 q Full Key (Full Keyboard) q Multi (Multi-finger)

q The SINGLE FINGER Mode

FingerMo de: Sin gle
Single-finger accompaniment makes it simple to produce beautifully orchestrated accompaniment using major, seventh, minor and minor-seventh chords by pressing a minimum number of keys on the AUTO ACCOMPANIMENT section of the keyboard. The abbreviated chord fingerings described below are used:
s For a major chord, press the root key only.

Root Key Diagram

s For a minor chord, simultaneously press the root key and a black key to its left.

C# E b

Auto Accompaniment Split Point [54]

F# A b Bb

s For a seventh chord, simultaneously press the root key and a white key to its left. s For a minor-seventh chord, simultaneously press the root key and both a white and black key to its left.
C D E F G A B C D E F Accompaniment Section

q The FINGERED 1 Mode

FingerMo de: Fin gered 1
The Fingered 1 mode lets you finger your own chords on the AUTO ACCOMPANIMENT section of the keyboard (i.e. all keys to the left of and including the splitpoint key normally 54) while the PSR-730/630 supplies appropriately orchestrated rhythm, bass, and chord accompaniment in the selected style. The FINGERED 1 mode recognizes the following chords:
Chord Name/[Abbreviation] Major [M] Add ninth [(9)] Sixth [6] Sixth ninth [6(9)] Major seventh [M7] Major seventh ninth [M7(9)] Major seventh add sharp eleventh [M7(#11)] Flatted fifth [(b5)] Major seventh flatted fifth [M7b5] Suspended fourth [sus4] Augmented [aug] Major seventh augmented [M7aug] Minor [m] Minor add ninth [m(9)] Minor sixth [m6] Minor seventh [m7] Minor seventh ninth [m7(9)] Minor seventh eleventh [m7(11)] Minor major seventh [mM7] Minor major seventh ninth [mM7(9)] Minor seventh flatted fifth [m7b5] Minor major seventh flatted fifth [mM7b5] Diminished [dim] Diminished seventh [dim7] Seventh [7] Seventh flatted ninth [7(b9)] Seventh add flatted thirteenth [7(b13)] Seventh ninth [7(9)] Seventh add sharp eleventh [7(#11)] Seventh add thirteenth [7(13)] Seventh sharp ninth [7(#9)] Seventh flatted fifth [7b5] Seventh augmented [7aug] Seventh suspended fourth [7sus4] One plus two plus five [1+2+5] Normal Voicing 1-3-5 1-2-3-- (3) - 5 - - 2 - 3 - (5) - - 3 - (5) - 7 or 1 - (3) - 5 - - 2 - 3 - (5) - - (2) - 3 - #4 - 5 - 7 or 1 - 2 - 3 - #4 - (5) - - 3 - b- 3 - b5 - 7 1-4-- 3 - #- (3) - #5 - - b3 - - 2 - b3 - - b3 - 5 - - b3 - (5) - b- 2 - b3 - (5) - b- (2) - b3 - 4 - 5 - (b7) 1 - b3 - (5) - - 2 - b3 - (5) - - b3 - b5 - b- b3 - b5 - - b3 - b- b3 - b5 - - 3 - (5) - b7 or 1 - (3) - 5 - b- b2 - 3 - (5) - b- 3 - 5 - b6 - b- 2 - 3 - (5) - b- (2) - 3 - #4 - 5 - b7 or 1 - 2 - 3 - #4 - (5) - b- 3 - (5) - 6 - b- #2 - 3 - (5) - b- 3 - b5 - b- 3 - #5 - b- 4 - (5) - b7 1-2-5 Chord (C) C C(9) C6 C6(9) CM7 CM7(9) CM7(#11) C(b5) CM7b5 Csus4 Caug CM7aug Cm Cm(9) Cm6 Cm7 Cm7(9) Cm7(11) CmM7 CmM7(9) Cm7b5 CmM7b5 Cdim Cdim7 C7 C7(b9) C7(b13) C7(9) C7(#11) C7(13) C7(#9) C7b5 C7aug C7sus4 C1+2+5 Display C C(9) C6 C6(9) CM7 CM7(9) CM7(#11) C(b5) CM7(b5) Csus4 Caug CM7aug Cm Cm(9) Cm6 Cm7 Cm7(9) Cm7(11) CmM7 CmM7(9) Cm7(b5) CmM7(b5) Cdim Cdim7 C7 C7(b9) C7(b13) C7(9) C7(#11) C7(13) C7(#9) C7b5 C7aug C7sus4 C

Notes in parentheses can be omitted. If you play any three adjacent keys (including black keys), the chord sound will be canceled and only the rhythm instruments will continue playing (CHORD CANCEL function). Playing a single key or two same root keys in the adjacent octaves produces accompaniment based only on the root. A perfect fifth (1 + 5) produces accompaniment based only on the root and fifth which can be used with both major and minor chords. The chord fingerings listed are all in root position, but other inversions can be used with the following exceptions: m7, m7b 5, 6, m6, sus4, aug, dim7, 7b 5, 6(9), m7(11), 1+2+5. Inversion of the 7sus4 chord is not recognized if the 5th is omitted. The AUTO ACCOMPANIMENT will sometimes not change when related chords are played in sequence (e.g. some minor chords followed by the minor seventh). Two-note fingerings will produce a chord based on the previously played chord.

Example for C chords

C 6 (9)

CM 7 (9)

CM7 (#11)

C (b5)

CM7 b5

Csus 4

CM 7 aug

Cm (9)

Cm 7 (9)

Cm 7 (11)

CmM 7 (9)

Cm 7 b5

CmM 7 b5

Cdim 7

C 7 (b9)

C 7 (b13)

C 7 (9)

C 7 (#11)

C 7 (13)

C 7 (#9)

C 7 b5

C 7 aug

C 7 sus4

C 1+2+5

q The FINGERED 2 Mode

FingerMo de: Fin gered 2

This is essentially the same as the FINGERED 1 mode, described above, except that the FINGERED 2 mode additionally allows you to specify the lowest note of each chord simply, the lowest note played in the AUTO ACCOMPANIMENT section of the keyboard is used as the accompaniment bass note. This means you can specify on-bass chords in which the main bass note for the chord is not the root of the chord. For a C major chord, for example, you could use E (the third) or G (the fifth) as the bass note rather than C.

C C on E C on G

q The FULL KEYBOARD Mode (Full Key)

FingerMo de: Ful l Key

When the FULL KEYBOARD Mode is selected, the PSR-730/630 will automatically create appropriate accompaniment while you play just about anything using both hands, anywhere on the keyboard. You do not have to worry about specifying the accompaniment chords. The name of the detected chord will appear in the display.

q Select the Measure Groove Template Use the SUB MENU [s] and [t] buttons to select the MeasGroove function from within the GROOVE & DYNAMICS menu. The name of the currently selected Measure Groove Template will appear on the right of the top line of the display.

MeasGroo ve: Thru

Referring to the Measure Groove Template List below, use the [+], [] buttons or the Data Dial to select one of the 25 template types.
Measure Groove Template List
The templates in this list shift the timing of the accompaniments by measures. These templates add lifelike effect to your accompaniments by hastening or delaying the timing of the first beat of every measure. Name: Indicates each template name and content. No.1"Thru (No.1) adds no effect as its name implies. Push in the template names indicates those templates hasten the timing. Heavy indicates the templates delay the timing. The suffixes A, B and C indicate min., med. and max., respectively. Time Signature: Indicates the appropriate time signatures for you to use. Be sure to match the time signature here to your song.
No. Name 4_HeavyB 4_HeavyC 5_PushA 5_PushB 5_PushC 5_HeavyA 5_HeavyB 5_HeavyC Time Signature No. 9 Name Thru 2_PushA 2_PushB 2_PushC 2_HeavyA 2_HeavyB 2_HeavyC 3_PushA 3_PushB Time Signature No. Name 3_PushC 3_HeavyA 3_HeavyB 3_HeavyC 4_PushA 4_PushB 4_PushC 4_HeavyA Time Signature 4 4
q Select the Dynamics Template Use the SUB MENU [s] and [t] buttons to select the Dynamics function from within the GROOVE & DYNAMICS menu. The name of the currently selected Dynamics Template will appear on the right of the top line of the display.

Dynamics :

Referring to the Dynamics Template List below, use the [+], [] buttons or the Data Dial to select one of the 17 template types. Dynamics Template List
The templates in this list strengthen or weaken the notes on a specific timing. The stress degree can be determined by changing the Dynamics Rate. Name: Indicates each template name. No.1"Thru (No.1) adds no effect as its name implies. The templates from No.7 to No.17 are programmed to put an emphasis on a specific timing.

Load Fil e: UF0 0001.USR

Use the [] and [+] buttons or the Data Dial to select the file to load.
If the disk contains no file, the display shows File Not Found!! indicating that the Load function is not possible.
4 Select the File Type (Data Type) to Load
Press the SUB MENU [w] button and the sub menu File Type:. will be displayed.
Use the [] and [+] buttons or the Data Dial to select the file type (data type) to load. The file types that you can load at this point will depend on the types of files that were originally saved to this file.
File types that were saved All Style Pad Regist Style+Reg. Pad+Regist Style+Pad File types that can be loaded All, Style, Pad, Regist Style Pad Regist Style, Regist, Style+Reg. Pad, Regist, Pad+Regist Style, Pad , Style+Pad
5 Select the Data to Be Loaded If Necessary

Source:

If the file type selected in step 4 was Style, Pad, or Regist, press the SUB MENU [w] button so that the sub menu Source:. (load data selection screen) is displayed.

All le 1

When the selected file type is All, Style + Reg, Pad + Regist, Style + Pad, step 5 is not necessary. Proceed from step 6.
By setting the source and destination, the data can be individually loaded (or loaded as a group). Style. A single Style can be extracted from the file 4 Styles saved together on the disk and loaded into one of the PSR-730/630 User Style 101-104. Pad. A single bank can be extracted from the file 4 banks saved together on the disk and loaded into one of the PSR-730/630 User Pad banks 37-40. Regist. A single bank can be extracted from the file 32 banks saved together on the disk and loaded into one of the PSR-730/630 Registration banks 1-32.
File Type Style Pad Regist Source Style 1-4, All Pad bank 1-4, All Regist bank 1-32 All Destination Style 1-4 (User Style 101-104) Pad bank 1-4 (User Pad 37-40) Reg. bank 1-32
q Source Selection Use the [] and [+] buttons or the Data Dial to select the load source. If All is selected, all the data will be loaded.

Sty le 2

q Select the Destination Press the SUB MENU [w] button so that Destination:. appears on the display.

Destinat ion:Sty le 4

Use the [] and [+] buttons, [1][0] number buttons, or the Data Dial to select the destination for the data. Press the SUB MENU [w] button so that Execute NO/YES (load execution screen) appears on the display.
6 Execute the Load Operation
Press the [+] (YES) button, and the load operation will start. Once started, the operation cant be canceled. As the file is loading, Now Loading will appear on the top line of the display.

8 Record Additional Pads as Required
By repeating steps 3 through 7, above, you can select and record additional pads as required.
9 Exit From the Record Mode
When youre finished recording pads, press the [RECORD] button so that its indicator goes out to exit from the record mode. The recorded user pad can now be played back in the same way as the preset pads (page 61).

Naming Pads

You can give your own name (8 characters or less) to user pad sets. With the Pad Record Ready Mode (or Rehearsal Mode) engaged and the target Pad set selected, use the SUB MENU [v] and [w] buttons so that Pad Naming. appears on the display. The current name for the Pad set will be displayed at the upper right of the display.

_ Pad Nami ng: Use rPad1

Pad Nami ng: LIV EPAD1

Clearing User Pad Data

This function makes it possible to clear unneeded data from the PSR-730/630 MULTI PADs. q Clearing an Entire Pad Set While the MULTI PAD record-ready or rehearsal mode is engaged use the SUB MENU [v] and [w] buttons to select the Bank Clear? YES function, then press the [+] (YES) button: Are You Sure? NO/YES will appear on the display. Press the [+] (YES) button a second time to actually clear the currently selected pad set (the preset pad sets cannot be cleared). Press [] (NO) if you want to abort the clear operation.
If the pad you selected has already been cleared, Bank Clear? - - - will appear on the display.

Bank Cle ar?

q Clearing Selected MULTI PADs
While the MULTI PAD record-ready or rehearsal mode is engaged use the SUB MENU [v] and [w] buttons to select the Pad Clear? function. The MULTI PAD icons corresponding to pads which contain data will flash (preset pad set data cannot be cleared).

Pad Clea r?

If the pad you selected has already been cleared, Pad Clear? - - - will appear on the display.
Use the MULTI PAD buttons to select the pad you want to clear (the icon corresponding to the selected pad will appear continuously on the display). Are You Sure? NO/YES will appear on the display. Press the [+] (YES) button to actually clear the currently selected pad. Press [] (NO) if you want to abort the clear operation.
QQQQQQQQQQQQQQQQ ,,,,,,,,,,,,,,,, Revoicing QQQQQQQQQQQQQQQQ ,,,,,,,,,,,,,,,,
The PSR-730/630 REVOICE function lets you change the following parameters for the R1, R2 and L voices and the AUTO ACCOMPANIMENT tracks.

Tremolo Octave

Strumming Trio Delay
Vibraphone & Jazz Guitar
Trumpet & Sax Back Vocal Strings Forest
The Harmonies except for the types 6,7 and 9 are applied to the R1 voice according to the chords detected in the Accompaniment section.
Refining User Styles with Style File Format
s Style File (Auto Accompaniment) Format
Source Pattern ZSource chord root setting XSource chord type setting

Chord change

NTR (Note Transposition Rule) CNote Transposition rule setting
The Style File Format (SFF) is a compilation of all of Yamahas auto accompaniment know-how into a single unified format. Since the PSR-730/630 supports the SFF format, you can enjoy many styles in addition to the 100 preset SFF styles. Just insert a disk with SFF styles on it into the disk drive and you can load them into the PSR-730/630. By using the user style function, you can take advantage of the power of the SFF format and freely create your own user styles. With the Auto Accompaniment function, chord changes (transpositions) are applied to the source pattern that forms the basis for the accompaniment. The Note Transposition Rule and Note Transposition Table that are set for each track are used for this. After the transposition is made, the transposed notes are checked to see if they can be correctly played within the range of the instrument, then the accompaniment is played. The following SFF settings can be executed only after recording each track (still in the Record Ready Mode or Rehearsal Mode).
NTT (Note Transposition Table) VNote Transposition table setting
Other Settings BHighest Key setting NNote range (Low Limit, High Limit) settings MRetrigger Rule (RTR) setting
The SFF settings can be done only when the Record Ready Mode or Rehearsal Mode is engaged. The SFF settings cannot be made for the RHYTHM 1/2 tracks.
Source Pattern Settings Z Source Chord Root setting X Source Chord Type setting
Set the key in which the source pattern will be played when the user style is created. The default setting is CM7. (The source chord root is C and the source chord type is M7. After finishing recording, with the recorded track selected, select the S.ChordRoot sub menu and use the [] and [+] buttons or the Data Dial to select the chord root.
NTR (Note Transposition Rule) Setting C Note Transposition rule setting
Set the transposition rule for using the transposition table (see item 4 below) when transposing. There are two types of rules. Root Transposition Rule This rule maintains the mutual relationship in pitch between each note when transposing. Set this for tracks that contain melody-like phrases. Root Fixed Rule To the extent possible, this rule maintains the pitch of each note in the source pattern. Set it for piano-type or guitar-type chord picking tracks. After finishing recording, with the recorded track selected, select NTR from the sub menu and use the [] and [+] buttons or the Data Dial to select the transposition rule.

S.ChordR oot:A

After setting the source chord root, select the S.Chord Type sub menu and use the [] and [+] buttons or the Data Dial to select the chord type.

S.ChordT ype:m

See page 150 for the available chord types, chord notes and scale notes.

NTR::::: ooooooF ixed

N Note range (Low Limit, High Limit) settings NTT (Note Transposition Table) Setting V Note Transposition table setting
Set the table for making the chord change (transposition) in the source pattern. There are 6 tables, as explained below. Bypass No transposition is done. Melody This table is suitable for melody line transposition. Use it for tracks with melodies like PHRASE 1/2. Bass This table is suitable for bass line transposition. The table contents are the same as for Melody, but it recognizes on-bass chords such as in the Fingered2 mode. Use it for tracks with low pitched instruments such as bass tracks. Chord This table is suitable for chord transposition. Use it for tracks like the CHORD 1/2 tracks, with piano-type or guitar-type chord picking tracks. M-m Only (M) This table lowers the third by a semitone when changing from a major chord to a minor chord or raises the minor third by a semitone when changing from a minor chord to a major chord. It doesnt change any other notes. M-m Only (H) When changing from a major chord to a minor chord, this flattens both the third and the sixth by a semitone. When changing from a minor chord to a major, it raises the flatted third and sixth by a semitone. It doesnt change any other notes. After finishing recording, with the recorded track selected, select NTT from the sub menu and use the [] and [+] buttons or the Data Dial to select the transposition table. Set the note range (low and high limits) for the voices recorded on user style tracks. By setting the note range, you can prevent unrealistic notes (such as high notes from a bass or low notes from a piccolo) from being produced and have them shifted to an octave within the note range.
Example) When low limit is C3 and high limit is D4. Root change Notes played CM E3-G3-C4 C#M F3-G#3-C#4. FM F3-A3-C4
After finishing recording, with the recorded track selected, select LowLimit and HighLimit from the submenu and use the [-] and [+] buttons or the Data Dial to set the note range.

(3-6-3-3) XG PARAMETER REQUEST (Recive only)
binary 0011nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 11110111 hexadecimal F3n 4C AA AA AA F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low End of Exclusive

11110111

Depending upon the received ON message, the System Mode will be changed to XG. Except MIDI Master Tuning, all control data be reset to default values. This message requires approximately 50ms to execute, so sufficient time should be allowed before the next message is sent.
(3-6-3) XG STANDARD (3-6-3-1) XG PARAMETER CHANGE (3-6-3-1-1) XG SYSTEM ON
binary 0001nnnn hexadecimal F1N 4C 7E 00 F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low Data End of Exclusive
For more information on Address and Byte Count refer to < Table 1-2 > ~ < Table 1-8 > (pages 157-162). The 4 data types listed below are received. System Data Multi Effect Data Multi EQ Data Multi Part Data Drums Setup Data
(3-6-3-4) XG DUMP REQUEST (Recive only)
binary 0010nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 11110111 hexadecimal F2n 4C AA AA AA F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low End of Exclusive
Depending upon the received ON message, the SYSTEM MODE will be changed to XG.Controllers will be reset, all values of Multi Part and Effect, and All System values denoted by XG data within All System will be reset to default values in the table. This message requires approximately 50ms to execute, so sufficient time should be allowed before the next message is sent.
For more information on Address and Byte Count refer to < Table 1-2 > ~ < Table 1-8 > (pages 157-162).
The 5 data types listed below are received. System Data Multi Effect Data(Individual module unit) Multi EQ Data Multi Part Data(Individual part unit) Drums Setup Data(Individual note unit) System Information
(3-6-5) Others (3-6-5-1) MIDI MASTER TUNING (Recive only)

binary 0001nnnn 0mmmmmmm 0lllllll 0ccccccc 11110111 hexadecimal F1N MM LL CC F7 Exclusive status YAMAHA ID When N is received N=0-F, whichever is received. Model ID Sub ID
(3-6-4) SPECIAL OPERATORS (3-6-4-1) VOLUME ,EXPRESSION AND PAN REALTIME CONTROL OFF
binary 00010001 0000nnnn 01001001 0vvvvvvv 11110111 hexadecimal F11 0N 45 VV F7 Exclusive status YAMAHA ID Clavinova ID CVP-98/96/94/92 ID Sub ID N = MIDI Channel Volume and Expression Realtime Control Off Value VV: off=7FH, on=00H End of Exclusive
Master Tune MSB Master Tune LSB dont care End of Exclusive
Changes tuning of all channels. MM, LL values are used to define the MIDI Master Tuning value. T = M-128 T : Tuning value (-99cent - +99cent) M : A single byte value (28-228) consists of bytes 0-3 of MM = MSB, bytes 0-3 of LL = LSB. In this setting, GM System ON, XG System ON will not be reset.
When On is received, subsequent volume, expression, and PAN changes are only valid after the reception of the next key on. Normal operation resumes when Off is received.
< Table 1-1> Parmeter Basic Address
Parameter Change Address (H) (M) (L) 00 7D 7E 7F 08 0F DRUM 00 : 00

SYSTEM

Description System Drum Setup Reset XG System On All Parameter Reset System Information Effect1(Reverb,Chorus,Variation) Multi EQ(PSR-730 ONLY) Effect2(PSR-730 ONLY) Multi Part 1 Multi Part 16 Drum Setup 1 Address Drum Setup 2 : 3n 0B 00 3n 0C 00 : : : 3n 5B 00 Parameter : note number 13 note number 14 : note number 91
INFORMATION EFFECT 1 MULTI EQ EFFECT 2 MULTI PART

30 0B 0B 00

< Table 1-2 > MIDI Parameter Change table ( SYSTEM )
Address (H) Size (H) 4 Data (H) 0000.07FF Prameter Name Master Tune Description -102.4.+102.3[cent] 1st bit3-0 -> bit15-12 2nd bit3-0 -> bit11-8 3rd bit3-0 -> bit7-4 4th bit3-0 -> bit3-0 0.127 -24.+24[semitones] n=Drum Setup Number 00=XG Sytem on 00=on (receive only) Default Value(H) (0400) (With XG, GM On, it will not reset.)

06 7D 7E 7F TOTAL SIZE 6

00.7F 28.58 n 00 00
Master Volume Not Used Transpose Drum Setup Reset XG System On All Parameter Reset
< Table 1-3 > MIDI Parameter table ( System information )
Address (H) Size (H) D Data (H) 20.7F Prameter Name Description 32.127(ASCII) 00 Model Name : 0D 0E 0F TOTAL SIZE 10 (Transmitted by Dump Request. Not received. Bulk Dump Only)
< Table 1-4 > MIDI Parameter Change table (EFFECT 1)

PHILIPPINES

Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551

ARGENTINA

Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021

DENMARK

YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 49 00

SINGAPORE

Yamaha Music Asia Pte., Ltd. Blk 202 Hougang, Street 21 #02-01, Singapore 530202 Tel: 747-4374
PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES
Yamaha de Panama S.A. Torre Banco General, Piso 7, Urbanizacin Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam, Panam Tel: 507-269-5311

FINLAND

Warner Music Finland OY/Fazer Music Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011

TAIWAN

Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999

NORWAY

Norsk filial av Yamaha Scandinavia AB Grini Nringspark 1 N-1345 sters, Norway Tel: 77 70

EUROPE

THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700

THAILAND

Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951

ICELAND

Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000

IRELAND

Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH. Siemensstrae 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030
THE PEOPLES REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES
Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317

GERMANY/SWITZERLAND

AFRICA
Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312

OCEANIA

AUSTRALIA
Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388

AUSTRIA

Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411

MIDDLE EAST

TURKEY/CYPRUS

NEW ZEALAND

Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099

doc1

MULTI PAD REC

Bank 37 (Multi Pad setnaam). User pad setselectie.. 107 P1ChdMatch... Chord match aan/uit (user pad 1).. 107 P2ChdMatch... Chord match aan/uit (user pad 2).. 107 P3ChdMatch... Chord match aan/uit (user pad 3).. 107 P4ChdMatch... Chord match aan/uit (user pad 4).. 107 Bank Clear?... Bank wissen.. 109 Pad Clear?... Pad wissen... 109 Pad Naming... User padnaam... 109
TransmitCh... Verstuurkanaal (transmit) instelling. 125 TransmitTr... Verstuurtrack (transmit) instelling.. 126 Receive Ch... Ontvangstkanaal (ontvangst) instelling. 126 ReceiveMode... Ontvangstmode instelling.. 127 Local... Local aan/uit.. 127 Ext.Clock... Externe/interne clock selectie.. 128 Init.Send... Initial (oorsrponkelijke) data versturen. 128 Template.. MIDI template selectie.. 129
ex Reverb: 1 Hall 1... Reverb type selectie.. 43
REVERB Knop Rev.Return... Reverb return level instelling. 43 Chorus: 1 Chorus1.. Chorus type selectie.. 44 CHORUS Knop Cho.Return... Chorus returnniveau instelling. 44 ex DSP: 1 Hall 1... DSP type selectie.. 46 DSP Knop DSP Return... DSP returnniveau instelling.. 46
QQQQQQQQQQQQQ ,,,,,,,,,,,,,
MENU SUB MENU FUNCTIE PAG.
ex Harmony: 1 Duet.. Harmony type selectie. 47
HARMONY Knop Harm.Vol.. Harmony volume instelling.. 48 Effect1 In (PSR-730).. Effect1 gedeelte instelling.. 49 MULTI EFFECT Knop Effect2 In (PSR-730).. Effect2 gedeelte instelling.. 49 Effect1 (PSR-730)... Effect1 type selectie.. 50 Effect2 (PSR-730)... Effect2 type selectie.. 50 Eff1Dry/Wet (PSR-730)... Effect1 dry/wet instelling.. 50 Eff2Dry/Wet (PSR-730)... Effect2 dry/wet instelling.. 50 EQ Type (PSR-730)... Equalizer type selectie.. 52 DIGITAL EQ Knop LowGain (PSR-730)... Low Gain instelling (Equalizer).. 53 LowMidGain (PSR-730).. LowMidGain instelling (Equalizer). 53 MidGain (PSR-730)... MidGain instelling (Equalizer).. 53 HighMidGain (PSR-730)... HighMidGain instelling (Equalizer).. 53 HighGain (PSR-730).. HighGain instelling (Equalizer).. 53

ALGEMEEN

TouchSense... Aanslaggevoeligheidsinstelling.. 115 PB Range.. Pitchbendbereik instelling. 54 Tuning.. Algemene stemming.. 115 S.TuneNote... Scale (toonladder) stemming (toon) instelling. 115 S.TuneValue... Scale (toonladder) stemming (waarde) instelling. 115 SongTrans... Songtranspositie instelling.. 116 Metronome... Metronoom aan/uit.. 116 SplitPoint... Splitpunt instelling (Split voice).. 21 AcmpSplit... Splitpunt instelling (begeleiding). 30 FingerMode... Fingeringmode selectie.. 31 AUTO ACCOMPANIMENT ON/OFF Knop VoiceSet.. Voice set aan/uit.. 116 Pedal1.. Pedal1 functie Selecteren.. 117 Pedal2.. Pedal2 functie Selecteren.. 117 P1 Polarity... Pedal1 polariteitinstelling.. 118 P2 Polarity... Pedal2 polariteitinstelling.. 118 ModWheel (PSR-730).. modulatiewheel functie selecteren.. 55
GROOVE & DYNAMIEK (PSR-730)

PSR-730 Voice# PSR-630 Voice# Bank MSB# Bank LSB# Program# MIDI Note# Note 13 C#-1 *D-1 *D#-E-F-1 *F#-1 *G-G#-A-A#-B-CC#DD#EFF#GG#AA#BCC#DD#EFF#1 *GG#1 *AA#1 *BCC#DD#EFF#GG#AA#BCC#DD#EFF#GG#AA#BCC#DD#EFF#GG#4 *A4 *A#BCC#DD#EFF#GDance Kit < < < < < < < < < < < < < < < Reverse Cymbal < Hi Q AnSD Snappy < AnBD Dance-1 AnSD OpenRim AnBD Dance-2 AnBD Dance-3 Analog Side Stick AnSD Q < AnSD Ana+Acoustic Analog Tom 1 AnHH Closed-3 Analog Tom 2 Analog HH Closed 2 Analog Tom 3 AnHH Open-2 Analog Tom 4 Analog Tom 5 Analog Cymbal Analog Tom 6 < < < < < Analog Cowbell < < < < < Analog Conga H Analog Conga M Analog Conga L < < < < < Analog Maracas < < < < Analog Claves < < Scratch Push Scratch Pull < < < < < 33 Jazz Kit < < < < < < < < < < < < < < < < < < < < < < < BD Jazz < SD Jazz L < SD Jazz H Jazz Tom 1 < Jazz Tom 2 < Jazz Tom 3 < Jazz Tom 4 Jazz Tom 5 < Jazz Tom 6 < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < 41 Brush Kit < < < < < < < < < < < < < < < < < < Brush Slap L < < < < BD Soft < Brush Slap < Brush Tap Brush Tom 1 < Brush Tom 2 < Brush Tom 3 < Brush Tom 4 Brush Tom 5 < Brush Tom 6 < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < < 49 Classic Kit < < < < < < < < < < < < < < < < < < < < Bass Drum L2 < Gran Casa Gran Casa Mute < Marching Sn M < Marching Sn H Jazz Tom 1 < Jazz Tom 2 < Jazz Tom 3 < Jazz Tom 4 Jazz Tom 5 Hand Cym.Open L Jazz Tom 6 Hand Cym.Closed L < < < < < Hand Cym.Open H < Hand Cym.Closed H < < < < < < < < < < < < < < < < < < < < < < < < < 1 SFX SFX 2
Guitar Cutting Noise Guitar Cutting Noise 2 Dist. Cut Noise String Slap Bass Slide Pick Scrape
Dial Tone Door Creaking Door Slam Scratch Scratch 2 Windchime Telephone Ring2

FL.Key Click

Engine Start Tire Screech Car Passing Crash Siren Train Jetplane Starship Burst Noise Coaster SvMarine
Rain Thunder Wind Stream Bubble Feed
Laughing Screaming Punch Heartbeat Footsteps Applause2
Dog Horse Gallop Bird 2 Kitty Growl Haunted Ghost Maou
Machine Gun Laser Gun Explosion FireWork

Style Lijst

Naam 8BEAT 11 8Beat Pop 1 8Beat Pop 2 8Beat Uptempo 8Beat Standard Folkrock Pop Rock 1 Pop Rock 2 8Beat Medium 8Beat Ballad Epic Ballad Piano Ballad 16BEAT 16Beat Pop 16Beat Shuffle 1 16Beat Shuffle 2 16Beat Ballad 1 16Beat Ballad 2 16Beat Ballad 3 Funk 1 Soul Ballad 6/8 BALLAD 22 Slow Rock 1 Slow Rock 2 6/8 Ballad DANCE Dance Pop 1 Dance Pop 2 Techno Eurobeat Euro House Hip Hop Trip Hop Synth Boogie DISCO 70s Disco Disco Tropical Party Pop Polka Pop Nr. Nr. Naam ROCK 8Beat Rock Ballad 16Beat Rock Ballad Hard Rock Rock Shuffle 6/8 Heavy Rock US Rock 16Beat Rock RHYTHM&BLUES R&B Funk 2 Soul Gospel Shuffle 6/8 Gospel 4/4 Blues ROCK & ROLL Rock & Roll 1 Rock & Roll 2 Boogie Twist COUNTRY&WESTERN Bluegrass 1 Bluegrass 2 Country 2/4 8Beat Country Country Rock Cowboy Boogie Country Ballad Country Shuffle Country Waltz TRADITIONAL JAZZ Swing Big Band Swing Big Band Ballad Jazz Quartet Dixieland CONTEMPORARY JAZZ Cool Jazz Jazz Ballad Jazz Waltz Fusion Funky Fusion Nr. Naam LATIN Bossa Nova 1 Bossa Nova 2 Bossa Nova 3 Salsa Samba Mambo Beguine Merengue Bolero Lento Espagnole Cajun CARIBBEAN Reggae 12 Pop Reggae BALLROOM LATIN Cha Cha Rhumba Pasodoble Tango Continental BALLROOM STANDARD Foxtrot Jive Hully Gully Big Band Quickstep MARCH March 1 March 2 6/8 March 1 Polka WALTZ Standard Waltz Pop Waltz German Waltz Viennese Waltz Musette Waltz

* Receive CONTROL NUMBER. c= 0 BANK SELECT MSB
(3) TRANSMIT/RECEIVE DATA
(3-1) CHANNEL VOICE MESSAGES (3-1-1) NOTE OFF (Recive only)
STATUS NOTE NUMBER VELOCITY 1000nnnn (8nH) 0kkkkkkk 0vvvvvvv n = 0 - 15 VOICE CHANNEL NUMBER k = 0 (C-2) - 127 (G8) v: ignored
c = 32 c= 1 c= 5 c= 6 c = 38 c= 7 c = 10 c = 11 c = 64 c = 65 c = 66 c = 67 c = 71 c = 72 c = 73 c = 74 c = 84 c = 91 c = 93 c = 94 c = 96 c = 97

(3-1-2) NOTE ON/OFF

STATUS NOTE NUMBER VELOCITY 1001nnnn (9nH) 0kkkkkkk 0vvvvvvv 00000000 n = 0 - 15 VOICE CHANNEL NUMBER k = 0 (C-2) - 127 (G8) (v 0) NOTE ON (v = 0) NOTE OFF
*1 Only when setting the appointed parameter with RPN, NRPN. *2 Does not effect Rhythm Voice. *3 MSB=0, anything other than 63 is 0.

(3-1-3) PROGRAM CHANGE

STATUS 1100nnnn (CnH) PROGRAM NUMBER 0ppppppp n = 0 - 15 VOICE CHANNEL NUMBER p = 0 - 127
Until a PROGRAM CHANGE message is received, the BANK SELECT operation will be suspended. When a Voice, including VOICE BANK, is changed, set the BANK SELECT and Program Change Message, and transmit in the following order, BANK SELECT MSB, LSB, PROGRAM CHANGE. MODULATION controls the Vibrato Depth. PORTAMENTO TIME controls the Pitch Change Speed when the Portamento Switch = ON. 0 being the shortest time, and 127 being the longest. PANPOT changes the value for the melody voice and rhythm voice in relation to the preset value. Portamento time is fixed to 0 when the PORTAMENTO CONTROL is used. HARMONIC CONTENT applies adjustment to the resonance value that is set by the voice. This parameter specifies relative change with the value of 64 producing 0 adjustment. As values get higher the sound becomes increasingly eccentric. Note that for some voices the effective parameter range is narrower than the legal parameter range. RELEASE TIME applies adjustment to the envelope release time set by the voice. This parameter specifies relative change with the value of 64 producing 0 adjustment.
* PROGRAM NUMBER: XG DRUM VOICE number correspondence P=1 Standard Kit P=2 Standard2 Kit P=9 Room Kit P = 17 Rock Kit P = 25 Elctrnic Kit P = 26 Analog Kit P = 28 Dance Kit P = 33 Jazz Kit P = 41 Brush Kit P = 49 Classic Kit * PROGRAM NUMBER: XG SFX KIT number correspondence P=1 SFX1 Kit P=2 SFX2 Kit When DRUM VOICE is selected and program change data for a different DRUM VOICE is received, the currently selected DRUM VOICE will be replaced with the new DRUM VOICE.
ATTACK TIME applies adjustment to the envelope attack time set by the voice. This parameter specifies relative change with the value of 64 producing 0 adjustment. BRIGHTNESS applies adjustment to the cut-off frequency set by the voice. This parameter specifies relative change with the value of 64 producing 0 adjustment. Lower voices produce a softer sound. For some voices the effective parameter range is narrower than the legal parameter range. (3-2) CHANNEL MODE MESSAGES

STATUS CONTROL NUMBER CONTROL VALUE 1011nnnn (BnH) 0ccccccc 0vvvvvvv n = 0 - 15 VOICE CHANNEL NUMBER c = CONTROL NUMBER v = DATA VALUE
First appoints the parameter for NRPN MSB/LSB, then sets the parameter value for data entry MSB/LSB. NRPN MSB LSB 01H 08H 01H 09H 01H 0AH 01H 20H 01H 21H 01H 63H 01H 64H 01H 66H 14H rrH 15H rrH 16H rrH 17H rrH 18H rrH 19H rrH 1AH rrH 1CH rrH 1DH rrH 1EH rrH 1FH rrH D.ENTRY MSB LSB mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH
(3-2-1) ALL SOUND OFF (Recive only) (CONTROL NUMBER = 78H , DATA VALUE = 0)
Switches off all sound from the channel. Does not reset Note On and Hold On conditions established by Channel Messages.
PARAMETER NAME VIBRATO RATE VIBRATO DEPTH VIBRATO DELAY FILTER CUTOFF FREQUENCY FILTER RESONANCE EG ATTACK TIME EG DECAY TIME EG RELEASE DRUM FILTER CUTOFF FREQ. DRUM FILTER RESONANCE DRUM AEG ATTACK RATE DRUM AEG DECAY RATE DRUM PITCH COARSE DRUM PITCH FINE DRUM LEVEL DRUM PANPOT
(3-2-2) RESET ALL CONTROLLERS (Recive only) (CONTROL NUMBER = 79H , DATA VALUE = 0)
Resets controllers as follows. PITCH BEND CHANGE AFTER TOUCH MODULATION EXPRESSION SUSTAIN SOSTENUTO SOFT PEDAL NRPN RPN PORTAMENT CONTROL PORTAMENTO 0 (Center) 0 (min.) 0 (min.) 127 (max.) 0 (off) 0 (off) 0 (off) Sets number to null. (Internal data remains unchanged) Sets number to null. (Internal data remains unchanged) Resets portamento source note number 0 (off)
DATA RANGE 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 40H - 7FH (-64 - 0 - +63) 00H - 7FH (0 - max.) 00H ,01H - 40H - 7FH (random,left - center - right) DRUM REVERB SEND LEVEL 00H - 7FH (0 - max.) DRUM CHORUS SEND LEVEL 00H - 7FH (0 - max.) DRUM VARIATION SEND LEVEL 00H - 7FH (0 - max.)
The MSG14H-1FH (for drums) message is accepted as long as the channel is set with a drum voice. rrH : drum instrument note number
(3-5) SYSTEM REALTIME MESSAGES (3-5-1) MIDI CLOCK
STATUS 11111000 (F8H) Transmission: 96 clocks per measure are transmitted. Reception: If the instruments clock is set to external, after FAH is received from the external device the instruments clock will sync with the 96 beats per measure received from the external device. Decides whether the internal clock, or Timing Clocks received via the MIDI IN will be used.
(3-2-3) ALL NOTES OFF (Recive only) (CONTROL NUMBER = 7BH , DATA VALUE = 0)
Switches off all of the channels on notes. However, any notes being held by SUSTAIN or SOSTENUTO continue to sound until SUSTAIN/SOSTENUTO goes off.

(3-5-2) START

(3-4) NON-REGISTERED PARAMETER NUMBER (NRPN) (Recive only)
STATUS NRPN LSB NRPN LSB NUMBER NRPN MSB NRPN MSB NUMBER DATA ENTRY MSB DATA VALUE 1011nnnn (BnH) 01100010 (62H) 0ppppppp 01100011 (63H) 0qqqqqqq 00000110 (06H) 0mmmmmmm n = 0 - 15 VOICE CHANNEL NUMBER p = NRPN LSB(refer to the list below) q = NRPN MSB(refer to the list below) m = Data Value

0ddddddd 11110111

When an ON code is received, the appointed section will be changed.

(3-6-1-2) TEMPO CONTROL

binary 0ttttttt 0ttttttt 0ttttttt 0ttttttt 11110111 hexadecimal F7E 01 TT TT TT TT F7 Exclusive status YAMAHA ID Style Tempo4 Tempo3 Tempo2 Tempo1 End of Exclusive
(3-6-3-1-2) XG PARMETER CHANGE
binary 0001nnnn 01001100 0aaaaaaa 0aaaaaaa 0aaaaaaa 0ddddddd | 11110111 hexadecimal F1N 4C AA AA AA DD | F7 Exclusive status YAMAHA ID Device Number Model ID Address High Address Mid Address Low Data End of Exclusive
The internal clock will be set to the received Tempo value. Tempo Meta Event is a large data block (24-bit), it is divided into 4 groups with 7-bits going into each of the Tempos 1-4 (4 receives the remaining 3 bits).
(3-6-2) UNIVERSAL SYSTEM EXCLUSIVE (3-6-2-1) UNIVERSAL REALTIME MESSAGE (3-6-2-1-1) MIDI MASTER VOLUME (Recive only)
binary 00000001 0sssssss 0ttttttt 11110111 or 0xxxnnnn hexadecimal F0 7F 7F SS TT F7 F0 7F XN Exclusive status Universal Realtime ID of target Device Sub-ID #1=Device Control Message Sub-ID #2=Master Volume Volume LSB Volume MSB End of Exclusive Exclusive status Universal Realtime When N is received N=0-F, whichever is received. When N is transmitted N always=0. X = dont care Sub-ID #1=Device Control Message Sub-ID #2=Master Volume Volume LSB Volume MSB End of Exclusive
For parameters with data size of 2 or 4, transmit the appropriate number of data bytes. For more information on Address and Parameters, refer to < Table 1-2 > ~ < Table 1-8 > (pages 157-162). The 4 data types listed below are transmitted and received. (These are transmitted only after a Parameter change request is received.) XG System Data Multi Effect Data Multi EQ Data Multi Part Data Drums Setup Data

(3-6-3-2) XG BULK DUMP

binary 0000nnnn 01001100 0bbbbbbb 0bbbbbbb 0aaaaaaa 0aaaaaaa 0aaaaaaa 0ddddddd | 0ccccccc 11110111 hexadecimal F0N 4C BB BB AA AA AA DD | CC F7 Exclusive status YAMAHA ID Device Number Model ID ByteCount ByteCount Address High Address Mid Address Low Data Check sum End of Exclusive

Address (H) Size (H) 4 Data (H) 0000.07FF Prameter Name Master Tune Description -102.4.+102.3[cent] 1st bit3-0 -> bit15-12 2nd bit3-0 -> bit11-8 3rd bit3-0 -> bit7-4 4th bit3-0 -> bit3-0 0.127 -24.+24[semitones] n=Drum Setup Number 00=XG Sytem on 00=on (receive only) Default Value(H) (0400) (With XG, GM On, it will not reset.)

06 7D 7E 7F TOTAL SIZE 6

00.7F 28.58 n 00 00
Master Volume Not Used Transpose Drum Setup Reset XG System On All Parameter Reset
< Table 1-3 > MIDI Parameter table ( System information )
Address (H) Size (H) D Data (H) 20.7F Prameter Name Description 32.127(ASCII) 00 Model Name : 0D 0E 0F TOTAL SIZE 10 (Transmitted by Dump Request. Not received. Bulk Dump Only)
< Table 1-4 > MIDI Parameter Change table (EFFECT 1)
Size (H) 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 0A 1 00.7F 0B 1 00.7F 0C 1 00.7F 0D 1 01.7F TOTAL SIZE 0E 1 TOTAL SIZE 1 00.7F 00.7F 00.7F 00.7F 00.7F Address (H) Data Prameter Name (H) 00.7F Reverb Type MSB Reverb Type LSB Reverb Parameter 1 Reverb Parameter 2 Reverb Parameter 3 Reverb Parameter 4 Reverb Parameter 5 Reverb Parameter 6 Reverb Parameter 7 Reverb Parameter 8 Reverb Parameter 9 Reverb Parameter 10 Reverb Return -.0.+6dB(0.96.127) Reverb Pan L63.C.R63(1.64.127) Description Refer to the Ef. Type List 00 : basic type Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Default Value(H) 01(=HALL1) 00 Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type
00.7F Reverb Parameter 11 Reverb Parameter 12 Reverb Parameter 13 Reverb Parameter 14 Reverb Parameter 15 Reverb Parameter 16
Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List

Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type Depend on Reverb type
2A 1 2B 1 2C 1 2D 1 2E 1 TOTAL SIZE 0F 1 TOTAL SIZE 48 4A 2 2
2 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 01.7F 00.7F
00.7F Chorus Type MSB Chorus Type LSB Chorus Parameter 1 Chorus Parameter 2 Chorus Parameter 3 Chorus Parameter 4 Chorus Parameter 5 Chorus Parameter 6 Chorus Parameter 7 Chorus Parameter 8 Chorus Parameter 9 Chorus Parameter 10 Chorus Return -.0.+6dB(0.96.127) Chorus Pan L63.C.R63(1.64.127) Send Chorus To Reverb
Refer to the Ef. Type List 00 : basic type Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List -.0.+6dB(0.96.127)
41(=Chorus1) 00 Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type
1 00.7F 00.7F 00.7F 00.7F 00.7F
00.7F Chorus Parameter 11 Chorus Parameter 12 Chorus Parameter 13 Chorus Parameter 14 Chorus Parameter 15 Chorus Parameter 16
Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type Depend on Chorus Type
2 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F
00.7F Variation Type MSB Variation Type LSB Vari. Param. 1 MSB Vari. Param. 1 LSB Vari. Param. 2 MSB Vari. Param. 2 LSB Vari. Param. 3 MSB Vari. Param. 3 LSB Vari. Param. 4 MSB Vari. Param. 4 LSB Vari. Param. 5 MSB Vari. Param. 5 LSB
Refer to the Ef. Type List 00 : basic type Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List

05(=DELAY L,C,R) 00 Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type
Address (H) 4C 4E 5A 1 5B 1 5C 1 5D 1 5E 1 5F 1 TOTAL SIZE TOTAL SIZE 6 Size (H) 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 00.7F 01.7F 00.7F 00.7F 00.01 00.1F 01.7F 01.7F 01.7F 01.7F 01.7F Data Prameter Name (H) Vari. Param. 6 MSB Vari. Param. 6 LSB Vari. Param. 7 MSB Vari. Param. 7 LSB Vari. Param. 8 MSB Vari. Param. 8 LSB Vari. Param. 9 MSB Vari. Param. 9 LSB Vari. Param. 10 MSB@ Vari. Param. 10 LSB Variation Return -.0.+6dB(0.96.127) Variation Pan L63.C.R63(1.64.127) Send Vari. To Reverb Send Vari. To Chorus Variation Connection Variation Part part1.32(0.31),off(127) MW Vari. Ctrl Depth PB Vari. Ctrl Depth CAT Vari. Ctrl Depth Not Used Not Used Description Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List Refer to the Ef. Parameter List -.0.+6dB(0.96.127) -.0.+6dB(0.96.127) 0:insertion,1:system 7F -63.+63 -63.+63 -63.+63 Default Value(H) Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type Depend on Vari. Type 40 40
00.7F Variation Parameter 11 Variation Parameter 12 Variation Parameter 13 Variation Parameter 14 Variation Parameter 15 Variation Parameter 16
option Parameter option Parameter option Parameter option Parameter option Parameter option Parameter
Depend on Variation Type Depend on Variation Type Depend on Variation Type Depend on Variation Type Depend on Variation Type Depend on Variation Type
< Table 1-5 > MIDI Parameter Change table ( MULTI EQ )(PSR-730 ONLY)
Address (H) Size (H) 1 Data (H) 34.4C Prameter Name EQ Type Description 0:FLAT 1:JAZZ 2:POPS 3:ROCK 4:CLASSIC -12.+12[dB] 32.2000[Hz] 0.1.12.0 00:Shelving,01:Peaking -12.+12[dB] 0.1.10[KHz] 0.1.12.0 -12.+12[dB] 0.1.10[KHz] 0.1.12.0 -12.+12[dB] 0.1.10[KHz] 0.1.12.0 -12.+12[dB] 0.5.16.0[KHz] 0.1.12.0 00:Shelving,01:Peaking Default Value(H) 0

CHORUS2 CELESTE2 FLANGER2

CHORUS3 CELESTE3

CHORUS4 CELESTE4 FLANGER3

CELESTE FLANGER

DSP(VARIATIOM) EFFECT TYPE
TYPE MSB 012.021.089.127 TYPE LSB 00 NO EFFECT [1]HALL1 [4]ROOM1 [7]STAGE1 PLATE DELAY L,C,R [18]DELAY L,R [19]ECHO [20]CROSS DELAY ER1 GATE REVERB REVERS GATE NO EFFECT WHITE ROOM TUNNEL CANYON BASEMENT KARAOKE 1 NO EFFECT THRU CHORUS1 [13]CELESTE FLANGER 1 SYMPHONIC ROTARY SP. TREMOLO AUTO PAN [24]PHASER DISTORTION OVER DRIVE AMP SIM. 3BAND EQ 2BAND EQ AUTO WAH THRU PITCH CHANGE THRU TOUCH WAH 1 COMPRESSOR NOISE GATE VOICE CANCEL 2WAY ROTARY SP ENSEMBLE DETUNE AMBIENCE THRU 01 [2]HALL2 ROOM2 [8]STAGE03.09.[3]HALL3 [6]ROOM3 STAGE PLATE [17]DELAY LCR 17 HALL ROOM [9]STAGE3 PLATE 18 HALL ROOM 21. [5]ROOM2 ROOM ER2 KARAOKE 2 KARAOKE 3 CHORUS2 [12]CHORUS3 FLANGER CHORUS CELESTE3 CHORUS [11]CHORUS2 FLANGER CHORUS [10]CHORUS1 [22]ROTARY FAST [23]ROTARY SLOW
[14]FLANGER FLANGER [15]SYMPHONIC Rotary Sp [21]TREMOLO Rotary Sp [16]AUTO PAN Rotary Sp

Rotary Sp

Tremolo

Gtr Tremolo

PHASER COMP+ DISTORTION DIST.HARD EQ DISCO AUTO WAH+ DIST PITCH CHANGE2 TOUCH WAH+ DIST TOUCH WAH+ OVERDRIVE TOUCH WAH 2 AUTO WAH+ OVERDRIVE [25]WAH DIST.SOFT EQ TEL
MULTI EFFECT (INSERTION) TYPE
TYPE MSB 008 009.021.078 079.085.088.127 TYPE LSB 00 THRU HALL 1 ROOM 1 STAGE 1 PLATE DELAY L,C,R DELAY L,R ECHO CROSS DELAY THRU KARAOKE 1 THRU CHORUS 1 CELESTE 1 FLANGER 1 SYMPHONIC ROTARY SPEAKER 1 TREMOLO AUTO PAN PHASER 1 DISTORTION OVER DRIVE AMP SIMULATOR 3BAND EQ 2-BAND EQ AUTO WAH(LFO) THRU TOUCH WAH 1 COMPRESSOR NOISE GATE THRU ENSEMBLE DETUNE THRU 01 HALL 2 ROOM 2 STAGE 03.09.HALL ROOM STAGE PLATE Delay LCR 17 HALL ROOM STAGE PLATE 18 HALL ROOM 21.

ROOM 3

KARAOKE 2 CHORUS 2 CELESTE 2 FLANGER 2
KARAOKE 3 CHORUS 3 CELESTE 3 CHORUS 4 CELESTE 4 FLANGER 3
CHORUS FLANGER Symphonic Rotary Sp Tremolo AutoPan

CHORUS FLANGER

Rotary Sp Rotary Sp
DIST.HARD EQ DISCO Auto Wah TOUCH WAH 2

DIST.SOFT EQ TEL

< Table 1-10 > Effect Parameter List
HALL1,HALL2, ROOM1,ROOM2,ROOM3, STAGE1,STAGE2 PLATE (reverb, variation, insertion block)
No. Parameter Reverb Time Diffusion Initial Delay HPF Cutoff LPF Cutoff 0.330.0s Thru8.0kHz 1.0kThru Value 3460 See Table table#4 table#5 table#3 table#3 Control
CROSS DELAY (variation, insertion block)
No. Parameter L->R Delay R->L Delay Feedback Level Input Select High Damp 0.1743.0ms 0.1371.4ms 0.1743.0ms 0.1371.4ms -63+63 L,R,L&R 0.11.0 (variation (insertion (variation (insertion block) block) block) block) Value 110 See Table Control

Dry/Wet EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
D63>W D=W D<W63 32Hz2.0kHz (variation, insertion -12+12dB 5276 (variation, insertion 500Hz16.0kHz (variation, insertion -12+12dB (variation, insertion block) block)
EQ Mid Frequency EQ Mid Gain EQ Mid Width

2858 block) 5276 block)

PHASER 1 (chorus, variation, insertion block)
No. 11 q 16 Parameter LFO Frequency LFO Depth Phase Shift Offset Feedback Level EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Stage Diffusion 0.00Hz39.7Hz -63+63 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W63 4,5,6 (chorus, insertion block) 412 (variation block) mono/stereo Value See Table table#1 Control
AMBIENCE (variation block)
No. Parameter Delay Time Output Phase 0127 normal/invers Value See Table table#2 Control

table#3 table#3 q

EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet
32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W63
PHASER 2 (variation block)
No. Parameter LFO Frequency LFO Depth Phase Shift Offset Feedback Level EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Stage LFO Phase Difference 0.00Hz39.7Hz -63+63 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W63 3,4,5,6 -180deg+180deg(resolution=3deg.) Value 1127 3-See Table table#1 Control
ROTARY SPEAKER (variation, insertion block)
No. Parameter LFO Frequency LFO Depth 0.00Hz39.7Hz 0127 Value See Table table#1 Control q
EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet EQ Mid Frequency EQ Mid Gain EQ Mid Width
32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W63 100Hz10.0kHz (variation block) -12+12dB (variation block) 1.012.0 (variation block)

5276 10120

DISTORTION, OVERDRIVE (variation, insertion block)
No. Parameter Drive EQ Low Frequency EQ Low Gain LPF Cutoff Output Level EQ Mid Frequency EQ Mid Gain EQ Mid Width Dry/Wet Edge(Clip Curve) 0127 32Hz2.0kHz -12+12dB 1.0kThru 0127 100Hz10.0kHz -12+12dB 1.012.0 D63>W D=W D<WValue See Table table#3 table#3 table#3 Control q

2WAY ROTARY SPEAKER (variation block)
No. Parameter Rotor Speed Drive Low Drive High Low/High EQ EQ EQ EQ Low Frequency Low Gain High Frequency High Gain 0.0Hz39.7Hz L63>H L=H L<H63 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB 100Hz10.0kHz 0deg180deg(resolution=3deg.) Value See Table table#1 Control q

mildsharp

Crossover Frequency Mic L-R Angle
COMP+DIST (variation block)
No. Parameter Drive EQ Low Frequency EQ Low Gain LPF Cutoff Output Level EQ Mid Frequency EQ Mid Gain EQ Mid Width Dry/Wet Edge(Clip Curve) Attack Release Threshold Ratio 0127 32Hz2.0kHz -12+12dB 1.0kThru 0127 100Hz10.0kHz -12+12dB 1.012.0 D63>W D=W D<W1ms40ms 10ms680ms -48dB-6dB 1.020.0 Value See Table table#3 table#3 table#3 Control q
mildsharp table#8 table#9 table#10
AMP SIMULATOR (variation, insertion block)
No. Parameter Drive AMP Type LPF Cutoff Output Level 0127 Off,Stack,Combo,Tube 1.0kThru 0127 Value See Table table#3 Control q
TOUCH WAH 2 (variation, insertion block), TOUCH WAH+ODRV (variation block)
No. Parameter Sensitive Cutoff Frequency Offset Resonance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive EQ Low Gain(distortion) EQ Mid Gain(distortion) LPF Cutoff Output Level 1.012.0 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W-12+12dB -12+12dB 1.0kHzthru 0127 Value 0127 See Table Control q

Dry/Wet Edge(Clip Curve)

D63>W D=W D<W63 0127
3BAND EQ(MONO) (variation, insertion block)
No. Parameter EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Gain EQ Low Frequency EQ High Frequency -12+12dB 100Hz10.0kHz -12+12dB 1.012.0 -12+12dB 50Hz2.0kHz 500Hz16.0kHz Value 2858 See Table table#3 Control
PITCH CHANGE 1 (variation block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level -24+-50Hz+50Hz -50Hz+50Hz -99+99% Value 1127 See Table table#7 Control
Dry/Wet Pan 1 Output Level 1 Pan 2 Output Level 2
D63>W D=W D<W63 L63RL63R63 0127

Input Mode

mono/stereo
2BAND EQ(STEREO) (variation, insertion block)
No. Parameter EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB Value See Table table#3 table#3 Control
PITCH CHANGE 2 (variation block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level -24+-50+50cent -50+50cent -99+99% Value 1127 See Table table#7 Control
AUTO WAH (variation, insertion block)
No. Parameter LFO Frequency LFO Depth Cutoff Frequency Offset Resonance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive 0.00Hz39.7Hz 1.012.0 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<WValue See Table table#1 Control q table#3 table#3

COMPRESSOR (variation, insertion block)
No. Parameter Attack Release Threshold Ratio Output Level 140ms 10680ms -48-6dB 1.020.Value 0127 See Table table#8 table#9 table#10 Control
AUTO WAH+DIST, AUTO WHA+ODRV (variation block)
No. Parameter LFO Frequency LFO Depth Cutoff Frequency Offset Resonance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive EQ Low Gain(distortion) EQ Mid Gain(distortion) LPF Cutoff Output Level 0.00Hz39.7Hz 1.012.0 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<W-12+12dB -12+12dB 1.0kHzthru 0127 Value See Table table#1 Control q table#3 table#3
NOISE GATE (variation, insertion block)
No. Parameter Attack Release Threshold Output Level 140ms 10680ms -72-30dB 0127 Value See Table table#8 table#9 Control
TOUCH WAH 1 (variation, insertion block), TOUCH WAH+DIST (variation block)
No. Parameter Sensitive Cutoff Frequency Offset Resonance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Drive 1.012.0 32Hz2.0kHz -12+12dB 500Hz16.0kHz -12+12dB D63>W D=W D<WValue 0127 See Table Control q
< Table 1-11 > Effect Data Value Assign Table

Table#1 LFO Frequency

Data Value Data Value Data Value Data Value 0.1.2.8.41 0.1.2.8.75 0.1.2.9.08 0.1.2.9.42 0.1.3.9.76 0.1.3.10.1 0.1.3.10.8 0.1.3.11.4 0.1.3.12.1 0.1.3.12.8 0.1.3.13.5 0.1.3.14.1 0.1.3.14.8 0.1.3.15.5 0.1.4.16.2 0.1.4.16.8 0.2.4.17.5 0.2.4.18.2 0.2.4.19.5 0.2.4.20.9 0.2.5.22.2 0.2.5.23.6 0.2.5.24.9 0.2.5.26.2 1.2.5.27.6 1.2.6.28.9 1.2.6.30.3 1.2.6.31.6 1.2.7.33.0 1.2.7.34.3 1.2.7.37.0 1.2.8.39.7

Table#4 Reverb time

Data Value Data Value Data Value 0.3.17.0 0.3.18.0 0.3.19.0 0.3.20.0 0.3.25.0 0.4.30.0 0.4.1 1.4.2 1.4.3 1.4.4 1.4.5 1.4.6 1.4.7 1.4.8 1.4.9 1.5.0 1.5.5 2.6.0 2.6.5 2.7.0 2.7.5 2.8.0 2.8.5 2.9.0 2.9.5 2.10.0 2.11.0 3.12.0 3.13.0 3.14.0 3.15.0 3.16.0
Table#7 Delay Time(400.0ms)
Data Value Data Value Data Value Data Value 0.100.201.302.4 3.104.204.305.5 6.107.207.308.7 9.110.211.311.8 12.113.214.315.0 15.116.217.318.1 19.119.220.321.3 22.122.223.324.4 25.126.226.327.6 28.129.230.330.7 31.132.233.333.9 34.135.236.337.0 37.138.239.340.2 41.141.242.343.3 44.144.245.346.5 47.148.248.349.6 50.151.252.352.8 53.154.255.355.9 56.157.258.359.1 59.160.261.362.2 63.163.264.365.4 66.167.267.368.5 69.170.270.371.7 72.173.274.374.8 75.176.277.378.0 78.179.280.381.1 82.182.283.384.3 85.185.286.387.4 88.189.289.390.6 91.192.292.393.7 94.195.296.396.9 97.198.299.400.0
Table#11 Reverb Width;Depth;Height
Data Value Data Value Data Value Data Value 0.8.17.27.5 0.9.17.28.1 1.9.18.28.5 1.9.18.28.8 1.9.18.29.2 1.10.19.29.5 2.10.19.29.9 2.10.19.30.2 2.11.20.0 2.11.20.2 3.11.20.5 3.11.20.8 3.12.21.1 3.12.21.4 4.12.21.7 4.12.22.0 4.13.22.4 4.13.22.7 5.13.23.0 5.14.23.3 5.14.23.6 5.14.23.9 6.14.24.2 6.15.24.5 6.15.24.9 7.15.25.2 7.15.25.5 7.16.25.8 7.16.26.1 8.16.26.5 8.17.26.8 8.17.27.1

Table#2 Modulation Delay Offset
Data Value Data Value Data Value Data Value 0.3.6.9.6 0.3.6.9.7 0.3.6.9.8 0.3.6.9.9 0.3.6.10.0 0.3.6.11.1 0.3.7.12.2 0.3.7.13.3 0.4.7.14.4 0.4.7.15.5 1.4.7.17.1 1.4.7.18.6 1.4.7.20.2 1.4.7.21.8 1.4.7.23.3 1.4.7.24.9 1.4.8.26.5 1.4.8.28.0 1.5.8.29.6 1.5.8.31.2 2.5.8.32.8 2.5.8.34.3 2.5.8.35.9 2.5.8.37.5 2.5.8.39.0 2.5.8.40.6 2.5.9.42.2 2.5.9.43.7 2.6.9.45.3 2.6.9.46.9 3.6.9.48.4 3.6.9.50.0
Table#5 Delay Time(200.0ms)
Data Value Data Value Data 0.50.1.52.3.53.4.55.6.56.8.58.9.59.11.61.12.63.14.64.15.66.17.67.19.69.20.70.22.72.23.74.25.75.26.77.28.78.30.80.31.81.33.83.34.85.36.86.37.88.39.89.41.91.42.93.44.94.45.96.47.97.48.99.Value Data Value 100.151.2 102.152.8 104.154.4 105.155.9 107.157.5 108.159.1 110.160.6 111.162.2 113.163.8 115.165.4 116.166.9 118.168.5 119.170.1 121.171.7 122.173.2 124.174.8 126.176.4 127.178.0 129.179.5 130.181.1 132.182.7 133.184.3 135.185.8 137.187.4 138.189.0 140.190.6 141.192.1 143.193.7 144.195.3 146.196.9 148.198.4 149.200.0
Table#8 Compressor Attack Time

Data Value 35 40

Table#3 EQ Frequency
Data Value Data Value 2.0k 2.2k 2.5k 2.8k 3.2k 3.6k 4.0k 4.5k 5.0k 5.6k 6.3k 7.0k 8.0k 9.0k 10.0k 11.0k 12.0k 14.0k 16.0k 18.0k THRU(20.0k) 900 1.0k 1.1k 1.2k 1.4k 1.6k 1.8k

Table#6 Room Size

Data Value Data Value 0.5.1 0.5.3 0.5.4 0.5.6 0.5.7 0.5.9 1.6.1 1.6.2 1.6.4 1.6.5 1.6.7 1.6.8 2.7.0 2.1 2.3 2.5 2.6 2.8 2.9 3.1 3.2 3.4 3.5 3.7 3.9 4.0 4.2 4.3 4.5 4.6 4.8 5.0
Table#9 Compressor Release Time

Data Value 340 680

Table#10 Compressor Ratio
Data Value 1.0 1.5 2.0 3.0 5.0 7.0 10.0 20.0
MIDI Implementation Chart
[Portable Keyboard] Model: PSR-730
Date: 14-APR-1997 Version: 1.0

Function

Transmitted

Recognized

Remarks

Basic Channel

Default Changed Default Messages Altered
1~16 1~X ************** 0~127 ************** O 9nH, v=1~127 X 9nH, v=0 X X O
1~16 1~X X 0~127 0~127 O 9nH, v=1~127 X X O O O O O O O O O O O O O O O O O O 0~127

Note Number Velocity

: True voice Note ON Note OFF keys Chs

After Touch

Pitch Bender Control Change 0, 5 7, 10, 11 6, 38 64~67 71, 74 72, 91, 93, 94 96~97 98~99 100~121
O O X O O O O X X O X X O X X O 0~127 ************** O X X X O O X X O X

 

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