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Yamaha PSR-9000 Version 3-9000PRO Version 2

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User reviews and opinions

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Comments to date: 10. Page 1 of 1. Average Rating:
chguoys 6:36pm on Monday, October 18th, 2010 
I liked the first one so much, I bought a second. I use it primarilly with Skype for video conferencing at high resolution. I have fast internet.
magicmarge 2:11am on Sunday, September 12th, 2010 
"I love the different settings on the software. "FIRST OFF I SHOULD SAY I AM USING XP PROFESSIONAL: This is a great Web Cam. It has great Video and Photo Quality.
gbdonart 9:08pm on Thursday, July 22nd, 2010 
Without a doubt, this is well worth the cost after being very satisfied with the previous, smaller version for laptops. Better motion, sound.
entheos 2:07pm on Saturday, July 10th, 2010 
This is a great product and we have used it quite a bit. We have had a few problems with getting connected with someone using the same camera though. Clear viewing, easy connect, choose when or how to be viewed - and it allows a pretty good sound. I bought this logitech product at dell.com to use with the new dell studio xps 7100 desktop.
talk2sk 9:45pm on Sunday, July 4th, 2010 
Great for road warrior to keep in contact with family while traveling. Great pic and compact. Easy to hear volume and microphone. Bought to use with Skype for myself and several staff members. Works fine right out of the box in our environment.
Modmiklofer 5:20am on Monday, June 21st, 2010 
"This is the second one I have purchased. The first was not compatable with good old VIsta. OMG This one set up in less that 15 minutes. "We now have 4 of these within the family and so far, so good!
Armitage 8:01pm on Sunday, May 30th, 2010 
The camera works great, but what is even better is the software that comes with it. The avatars and other effects are a lot of fun to use. This is a must for anyone who wants a video chat- may it be Skype or any other set up. build quality, compatibility, design, easy to install.
Riste Pejov 9:29am on Sunday, May 2nd, 2010 
No Complaints The webcam seems to be working great. I had fast delivery and it arrived just as advertised. I would buy from this seller again. Great camera with very good quality A very good camera and overall very reasonably priced considering the quality.
explorer2 10:32pm on Thursday, April 8th, 2010 
I would buy another one of these cams it is great in low light situations. I had looked at several different web cams, but, after reading many reviews, I chose the Pro 9000. Everything I hoped it would be.
blackarrow 7:53pm on Wednesday, March 17th, 2010 
Got this to web chat with my daughter. The difference in quality between the built-in web-cam on her laptop and this is amazing. great deal and product works like a charm since software was updated

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

Contents

1. Introduction..... 3 2. Important! Backup Before Installation.. 4 3. Installing Your New Software... 8 Installing the Main and Sub Programs... 8 4. The New Features.... 9 New Split Points.... 9 New Fingerings.... 10 Stop Accompaniment.... 14 Song Chain.... 14 Next Song Reservation.... 15 HD Sleep Time Control.... 15 Panel Sustain Rate Control... 16 Sustain Mode (new for the PSR-9000)... 17 Improved Music Database Display.. 17 Improved Mixing Console Voice Display... 18 Improved Mixing Console Effect Type Display.. 18 Disk Direct Style Registration... 19 Style Creator & Disk Direct Styles.. 20 Style Manager & Preset Styles.... 21 5. Power Tips.... 22 2-note Chords... 22 Maintaining Effects When Multitrack Recording.. 22 Single-part Activation.... 23 SMF Song Name Converter.... 23 Parameter Lock Reverb Type.... 24 Reverb Effect Return Level and Parameter Lock.. 24 Selecting an XG Voice... 25 Selecting a Voice/Style/Song/Reg.Memory via PC Keyboard. 25 Program Change Display... 25 Song Chord Detection... 26 Instant Access to Any Function Menu.. 26 Revoice..... 28 Tap Tempo Sound.... 28 Reducing Mic Sibilance... 28 Mic Compressor.... 29 Vocal Harmony Mode.... 29 Talk Button... 30 Password.... 30 Simultaneous Parameter Change... 31 Keyboard Transpose and Song Transpose.. 31 Using Multi Pads to Change Scale Tuning.. 32 Song File Directory.... 32 Song Selection via Registration Memory.. 32 Touch Limit for Harmony/Echo... 33 Sub Line Out.... 33 Register Bank View.... 34 Auto Exit Time... 34 MIDI Templates.... 35 Using the MFC10 with the 9000... 35

Introduction

Although the PSR-9000 and 9000Pro are two of the most powerful music workstations available, this software update adds even more features and power. Before we move on to the installation procedure, make sure that the following oppy disks have been prepared. If you do not have them yet, download the necessary les from the Yamaha PK Club web site (http://www.yamahaPKclub.com/).

PSR-9000

Disk Name MAIN PROGRAM 1 MAIN PROGRAM 2 MAIN PROGRAM 3 MAIN PROGRAM 4 SUB PROGRAM File Name p9000m.001 p9000m.002 p9000m.003 p9000m.004 p9000s.bin

9000Pro

Disk Name MAIN PROGRAM 1 MAIN PROGRAM 2 MAIN PROGRAM 3 MAIN PROGRAM 4 MAIN PROGRAM 5 SUB PROGRAM File Name p9000pm.001 p9000pm.002 p9000pm.003 p9000pm.004 p9000pm.005 p9000ps.bin
About the Example Displays In This Manual.
Although the PSR-9000 and 9000Pro allow you to select displays in a number of languages, the example displays shown in this manual are all in English. The illustrations and displays as shown in this owners manual are for instructional purposes only, and may be different from your instrument.

Page References..

In many cases this manual will refer you to specic pages in the PSR-9000 or 9000Pro Owners Manual. Such references will be indicated as follows:

page xx page xx

If youre not thoroughly familiar with the handling and use of oppy disks, please refer to the precautions on page 5 of the PSR-9000 or 9000Pro Owners Manual.
Important! Backup Before Installation
If you have made any changes to the Flash Style, OTS, or Music Database contents that you want to keep, we recommend that you back up your data to oppy disk before installing the new software.
Youll need one or two blank oppy disks for this!
Also, the new operating system allots 30 kilobytes more Custom Voice memory than preceding operating system software. We recommend that you back up the Custom Voice data if youre upgrading from a previous operating, but in the case that you want to re-install a previous operating system after upgrading, you will denitely need to use the Save To Disk function to save any Custom Voice data you want to keep to disk (the amount of Custom Voice memory will be reduced and thus the Custom Voice memory will be initialized).

page 129 page 153

If you havent made any changes to the settings listed above, or dont want to keep any changes youve made, you can skip straight ahead to Installing Your New Software on page 8.

Backing Up Your Data..

There are several ways to back up your data, depending on the types of changes you have made and the data you want to keep. Look over the options presented below and choose the one that best suits your backup requirements.

Press the [NEXT] button and, when applicable, use the LCD [1]/[2] buttons to select the disk you want to back up to (if youre backing up to oppies a blank oppy disk which is not write protected must be present in the oppy disk drive). If you choose to back up to hard disk, you may also need to select the directory to which the data will be saved.
Press the [NEXT] button and then the LCD [G] button (YES) to save the selected data to the specied disk

BACK NEXT

After installing the new software you can use the Load Style Into Flash ROM function to reload the saved data.

page 62 page 74

Using the Registration Memory To Save Music Database Settings
Although all Music Database data can be saved by using the All Data method described above, individual Music Database settings cannot be saved to disk. A convenient way to backup Music Database settings is to save them to the Registration Memory.

page 28 page 28

Installing Your New Software
Once youve backed up any personal data you want to keep, as described in the preceding section, you can go ahead and install the new operating system.
Installing the Main and Sub Programs
Dont turn off the power during the software installation process! Also, dont eject any of the program disks while they are loading! Doing so can result in incomplete and/or corrupted data, requiring complete system re-installation.

POWER ON OFF

Turn the 9000 power ON while holding the [START/ STOP] button. The PROGRAM INSTALLER page will appear. Press the LCD [B] button to begin the MAIN PROGRAM load procedure.

START/STOP

B C D E
Insert the MAIN PROGRAM 1 disk and press the [START/ STOP] button. Wait until the rst disk is loaded, then follow the instructions on the LCD and insert/load the remaining MAIN PROGRAM disks in the same way (always be sure to insert the disk specied by the instructions on the LCD). When the main program has been fully loaded Completed will appear on the LCD. Press the [EXIT] button to return to the PROGRAM INSTALLER menu. Press the LCD [C] button to begin the SUB PROGRAM load procedure. Insert the SUB PROGRAM disk and press the [START/STOP] button, then wait for the SUB PROGRAM is fully loaded. When Completed appears on the LCD, press the [EXIT] button twice. The 9000 will restart with the new operating system.

4. 5. 6. 7.

The display may icker a little when the 9000 is restarted under the new operating system this is normal.

4. The New Features

New Split Points...
Previous versions of the operating system allowed one split point to be specied to separate the auto-accompaniment/left-hand section and the right-hand section of the keyboard. The new operating system allows three split points: G ACMP SPLIT POINT Separates the auto-accompaniment section of the keyboard from the left- and right-hand sections. G LEFT SPLIT POINT Separates the left- and right-hand sections of the keyboard. G RIGHT 3 SPLIT POINT Allows a separate split point to be specied for the R3 voice. This means that you could, for example, assign only the top octave of the keyboard to a percussion or sound-effect voice.

Access: [FUNCTION] SPLIT POINT/FINGERING
You can set the split points by pressing the desired key while holding the corresponding LCD button.
Use the appropriate LCD buttons to set the split points as required, or use the DIRECT SETTING functions to directly specify the corresponding split point via the keyboard.
The A (ACMP) split point cannot be set higher than the L (LEFT) or R (RIGHT 3) split point, and vice versa. In the same way the R split point cannot be set lower than the L or A split point.
When the L and A split points are set at different keys, the LEFT voice can be played between the L and A split points when the Auto Accompaniment function is on. When the L and A split points are set to the same key, the LEFT voice can be played anywhere to the left of the L and A split points.

New Fingerings..

New ngerings have been added for even greater auto-accompaniment versatility. The available ngering modes are listed below. G Single Finger Same as in previous versions. G Multi Finger Same as in previous versions. G Fingered This is the most standard ngering mode including two-note ngerings as shown in the ngering chart on pages 11 and 12. G Fingered Advanced This mode is ideal for jazz-type chord voicings which omit the root and/or 5th. The Fingered Advanced mode also allows two-note ngerings. See the ngering chart on pages 12 and 13 for details. G Fingered Pro Chords are only detected (changed) when three or more notes are played. This makes it possible to play one- or two-note lines (e.g. obbligato or riff melody) with the left part without causing a chord change. G Fingered Pro Advanced This is a pro version of the Fingered Advanced mode i.e. chords are only detected when three or more notes are played. G On Bass The lowest note played becomes the bass note. All other ngerings are the same as in the Fingered mode. G On Bass Advanced The lowest note played becomes the bass note. All other ngerings are the same as in the Fingered Advanced mode. G On Bass Pro The lowest note played becomes the bass note. All other ngerings are the same as in the Fingered Pro mode. G On Bass Pro Advanced The lowest note played becomes the bass note. All other ngerings are the same as in the Fingered Pro Advanced mode. G Full Keyboard Fingerings are the same as in the Fingered Advanced mode, but chord detection occurs over the entire keyboard. Arpeggios are not supported in this mode. G AI Full Keyboard (9000Pro Only) This Full Keyboard mode is suitable for the piano performance with the both hands (e.g. arpeggios and melody). Chords can be presumed even one or two notes are played. There is a limit to the types of chords that can be detected. See the ngering chart of the Fingered Advanced mode on page 13.
This ngering mode may not be suitable for some performance.
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). The chord ngerings listed are all in root position, but other inversions can be used with the exceptions described on Note column. The auto accompaniment will sometimes not change when related chords are played in sequence (e.g. some minor chords followed by the minorseventh). Two-note ngerings will produce a chord based on the previously played chord.

I Chord Types Recognized in the Fingered Mode

G 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

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]
Display for root 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) C7b13 C7(9) C7#11 C7(13) C7(#9) C7b5 C7aug C7sus4 C1+2+5
Normal Voicing 1-3-5 1-2-3-- (3) - 5 - - 2 - 3 - (5) - - 3 - (5) - - (3) - 5 - - 2 - 3 - (5) - - (2) - 3 - #4 - 5 - - 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) - b- (3) - 5 - b- b2 - 3 - (5) - b- 3 - 5 - b6 - b- 2 - 3 - (5) - b- (2) - 3 - #4 - 5 - b- 2 - 3 - #4 - (5) - b- 3 - (5) - 6 - b- #2 - 3 - (5) - b- 3 - b5 - b- 3 - #5 - b- 4 - 5 - b- 4 - b7 1-2-5
Root position only Root position only
Root position only Except 1st inversion Except 1st inversion

Except 1st inversion

Root position only
The lowest note can be the root note or b7th note.
I Two-note Fingerings Recognized in the Fingered and Fingered Advanced Mode
C C (b5) Caug CM 7 CmM 7 Cm

C 7 b5 /G

Cm 7 b5 /G

CmM 7 /B

Display for root 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) C7b13 C7(9) C7#11 C7(13) C7(#9)
Normal Voicing 1-3-5 1-2-3-- (3) - 5 - - 2 - 3 - (5) - 6 3-6-- 3 - (5) - - 2 - 3 - (5) - - (2) - 3 - #4 - 5 - - 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) - b7 b3 - b7 - - (2) - b3 - 4 - 5 - (b7) 1 - b3 - (5) - - 2 - b3 - (5) - - b3 - b5 - b- b3 - b5 - - b3 - b- b3 - b5 - - 3 - (5) - b- (3) - 5 - b7 b7 - 10 - - b2 - 3 - (5) - b- 3 - 5 - b6 - b- 2 - 3 - (5) - b- b7 - - (2) - 3 - #4 - 5 - b- 2 - 3 - #4 - (5) - b- 3 - (5) - 6 - b- 6 - b- #2 - 3 - (5) - b7
Root position only Root position only No inversions
Except 2nd inversion Root position only Root position only
Root position only Except 1st inversion No inversions Except 1st inversion
Except 1st inversion Root position only Root position only

No inversions

Full Keyboard
AI Full Keyboard *1 *1 *2 *1 *1 *1 *1 *2 *1 *1 *3
The lowest note can be the C7b- 3 - b5 - b7 root note or b7th note. Seventh augmented [7aug] C7aug 1 - 3 - #5 - b7 Seventh suspended fourth [7sus4] C7sus- 4 - 5 - b7 One plus two plus five [1+2+5] C1+2+5 1-2-5 Root position only Perfect Fifth [1+5] C1+5 1-5 No inversions Single [1+8] C1+- (8) *1 Notes in parentheses cannot be omitted. *2 All inversions can be detected. *3 The 5th note can be omitted.
AI Full Keyboard can detect some exceptional chords consisting of only the notes played on the keyboard. (Example: If C and E are pressed, the style consisting of only C and E will be played.

Stop Accompaniment..

This new function allows auto accompaniment to be used even when accompaniment playback is stopped. When a chord is played in the auto-accompaniment section of the keyboard the currently selected pad and bass parts will sound. This can be particularly handy for free-tempo (rubato) passages, or simply to practice at your own pace.
Access: [FUNCTION] SPLIT POINT/FINGERING [NEXT]
Turn STOP ACCOMPANIMENT ON or OFF.
This function will be disabled when the ngering mode is set to Full Keyboard or AI Full Keyboard, even when Stop Accompaniment is turned ON.

Song Chain...

The SONG CHAIN function lets you set up a sequence of songs which will play back automatically ideal for background music.

Access: [SONG SETUP] SONG CHAIN
The MODE parameter offers a choice of SINGLE to play only the selected song le directory, ALL to play all marked song le directories, and RANDOM to play the marked song le directories in random sequence. Select a category. Mark (include) or un-mark (exclude) the category.
When the REPEAT parameter is OFF the song chain will play through once and then stop. When ON the chain will repeat until playback is stopped manually.
When ALL or RANDOM is selected the directory containing the currently selected song le will be played back at rst, even if it is not marked. Then the marked directories will follow.

Next Song Reservation..

This function makes it possible to specify the next song to be played while the current song is still playing, so that the next song begins as soon as the current song nishes.
Access: SONG FILE DIRECTORY [I] ~ [V]

Current song.

Reserved for playback next.

Cancel the next song.

While the current song is playing press the appropriate LCD button to select the next song once. A thick border will appear around the selected song title, indicating that it is reserved for playback next. If you press the song-select button a second time playback of the new song will begin immediately.

HD Sleep Time Control..

In previous versions the internal hard disk (when installed) would always go into sleep mode after a preset time, both to maximize the lifetime of the hard disk and to minimize unnecessary mechanical noise. The few seconds it took for the hard disk to wake up from the sleep mode, could, however, be a problem in some situations. In the new version you can set the hard disk sleep time from anywhere between 30 seconds and 1 hour, or to never if you never want the hard disk to go into sleep mode.
Access: [FUNCTION] UTILITY TIME HD SLEEP TIME
Set the hard disk sleep time as required.
Panel Sustain Rate Control.
As always the panel [SUSTAIN] button adds sustain to the voice being played on the keyboard for a smoother overall sound. The new Panel Sustain Rate Control feature allows you to adjust the length of sustain created when the [SUSTAIN] button is ON, for optimum sound with the voice used and your playing style.

KEY OFF

RATE=-64

RATE=0

Time RATE=63
Access: [FUNCTION] CONTROLLER PANEL CONTROLLER PANEL SUSTAIN
Set the PANEL SUSTAIN from -64 to 63. The higher the value the longer the sustain.
The PANEL SUSTAIN value is relative, so the actual length of sustain produced will depend on the voice used.
Sustain Mode (new for the PSR-9000).
This feature has already been implemented on the 9000Pro, but is new on the PSR-9000. When the sustain mode is set to DEFAULT pressing the sustain pedal produces sustain with decay, like an acoustic piano. When the sustain mode is set to HOLD, the sustain is maintained indenitely ideal for organ, strings, pads, or similar voices. The actual sustain effect produced will depend on the selected voice.

Level HOLD

Time DEFAULT
Access: [FUNCTION] CONTROLLER FOOT CONTROLLER SUSTAIN MODE
Select the DEFAULT or HOLD mode.
Improved Music Database Display.
In the new version the Music Database display has been revised to allow easy pre-selection of a Music Database setting for instant recall when needed.

Access: [MUSIC DATABASE]

Press this button to actually engage the pre-selected setting.
Indicates the pre-selected setting.
Pre-select a MUSIC DATA setting, making it ready for instant selection.
Directly select MUSIC DATA settings in the same way as in previous versions.
Data dial can be used for pre-selection.
Improved Mixing Console Voice Display.
The mixing console VOICE display has been revised for easier part voice selection. Two selection windows appear in the VOICE display: CATEGORY and VOICE. When you select a part via the LCD [1] ~ [8] buttons a line appears between the selected part name and the VOICE window, clearly indicating the part to which the voice selection will apply.
Access: [MIXING CONSOLE] VOICE

Select a voice category.

Select a voice for the current part.

Select a part.

Improved Mixing Console Effect Type Display..

In addition to making it possible to easily play chords that would normally require you to play 3 or 4 notes by actually playing only 2 notes, the ability to specify the bass note in the Fingered and Fingered Advanced modes can be a real advantage when playing progressions like the example below. Try playing the example, and youll see what we mean. For details on two-note ngerings, see page 12.

G Example Progression

Style: Slow & Easy (16 Beat Category) Fingering Mode: Fingered or Fingered Advanced

CmM 7 on B

Cm 7 on Bb

F on A

Fm on Ab
Maintaining Effects When Multitrack Recording.
Normally, when multitrack recording youll select a voice for R1, record a track, then select a different R1 voice and record the next track. The problem is that when the results are played back the rst track will be played back without effects. The easiest solution is to use R2 for the second track instead of R1. That way the DSP effect used for the R1 tracks will be maintained even after the R2 track is recorded. When you play back a recording that has been made as described above, no DSP effects will be applied a panel voice you play on the keyboard. If you turn the panel DSP ON, however, the effect used in the song will be applied to the panel voice
LEFT HOLD LEFT RIGHT1 RIGHT2 RIGHT3

PART ON/OFF

VOICE EFFECT

TOUCH SUSTAIN

DSP(4~7)

SLOW/ FAST

HARMONY/ECHO

POL Y/ MONO

page 88 page 110

Single-part Activation..

Press the LCD [F] button from the main display to turn only the R1 part on and all other parts off. In the same way, press the LCD [G] button to turn the R2 part on and all other parts off. If you assign the next voice you want to use to R2, for example, then while playing R1 you can press the LCD [G] button to instantly switch to R2 and the assigned voice. Furthermore, the DSP effect is not switched so you can seamlessly switch between voices while playing.

page 16 page 16

SMF Song Name Converter.
In the PSR-9000 and 9000Pro it has become possible to use lenames longer than the standard 8character limit. This means you can name les with complete song titles, for example, for easy identication. Because of the conventional 8-character limit many SMF Song les have le names made up of symbols and numbers, while the actual song title is embedded in the le and can only be viewed when the le is loaded and used. The SMF Song Name Converter feature resolves this problem by automatically extracting the embedded le name and attaching it as the le name. You can even bulk convert a number of les in one operation.

page 131 page 155

Parameter Lock Reverb Type.
Some SMF Song les automatically change the reverb type when played. If you dont want this to happen, use this Parameter Lock function. The Parameter Lock setting is memorized with the System Backup data, so if you always want to keep the Reverb Type setting locked, perform a System Backup so that the Parameter lock setting will remain in effect.

page 142 page 166

Reverb Effect Return Level and Parameter Lock..
When you want to increase or decrease the amount of overall reverb applied to the accompaniment, individually editing all styles is time-consuming and inefcient. The easy approach is to use the Reverb Return Level parameter to adjust the overall reverb depth. Some SMF songs automatically change the Reverb Return Level setting when played. If you want to retain your reverb Return Level setting no matter what songs you play use the Parameter Lock function, and perform a System Backup so that the settings will be retained.

page 124 page 146

Selecting an XG Voice..
XG is a major enhancement of the GM System Level 1 format, and has been developed by Yamaha specically to provide more voices and variations, as well as greater expressive control over voices and effects, and to ensure compatibility of data well into the future. To call up the XG voices of a certain voice category, simply select a voice category while pressing the [XG] button.

page 54 page 58

Selecting a Voice/Style/Song/Reg.Memory via PC Keyboard.
By connecting a standard PC/AT type keyboard to the PC keyboard terminal on the back of the 9000, youll be able to select Voices, Styles, Songs and Registration Memory by number.

page 44 page 46

Program Change Display..
This function shows the MIDI bank select and program change numbers that correspond to each of the voices - convenient when using a PC-based sequencer. To turn this function on, press the [FUNCTION] button and then select the UTILITY. Use the LCD buttons to access and turn on the DISPLAY MIDI BANK & PC# setting.

Song Chord Detection..

Try this technique if you want to learn the chord progression for a song, or apply Harmony/Echo effects or Vocal Harmony that match the song. Most songs will have one part which is playing the chord progression the rst step is to locate that part. While playing the song, turn the parts on and off, soloing each part until you nd the one that is playing the chord backing. Next, if the chord part is on Track 6, for example, Set the Mic Setup Chord parameter to TR6 and return to the main display page. The chord names should appear on the display as the song plays back. To learn the chord progression all you need to do is make a note of the chords that appear on the display. Turn Harmony/Echo ON if you want to add harmony to a part you play on the keyboard, or turn Vocal Harmony ON and select the Chordal Mode to produce appropriate vocal harmony. You might also want to memorize the settings with the song selection in the Registration Memory so that the next time you select that Registration Memory the Mic Setup Chord parameter settings will automatically be recalled.

Select Chordal Mode (CHORD) if you want Vocal Harmony effect.
Select the appropriate track.

page 70 page 82

Instant Access to Any Function Menu..
The 9000 lets you instantly call up function menus by simply pressing the [DIRECT ACCESS] button and a button or wheel associated with that function.
Lets say, for example, that you want to set the split points. First press the [DIRECT ACCESS] button and then press the [AUTO ACCOMPANIMENT] button.

DIRECT ACCESS

The Split Point/Fingering menu appears on the screen. You can now set the split points.
This chart shows a list of all menus that are accessible through the Direct Access function.
Function of the accessed LCD display Volume/EQ settings (Main) Volume/EQ settings (Accompaniment) Volume/EQ settings (Song tracks 1 - 8) Volume/EQ settings (Song tracks 9 - 16) Filter settings (Main) Filter settings (Accompaniment) Filter settings (Song tracks 1 - 8) Filter settings (Song tracks 9 - 16) Effect Depth settings (Main) Effect Depth settings (Main) Effect Depth settings (Accompaniment) Effect Depth settings (Song tracks 1 - 8) Effect Depth settings (Song tracks 9 - 16) Effect Type settings Effect Type settings (Microphone Sound) Effect Parameter settings Mixing Console Tune Settings (Portamento Time) Tune Settings (Pitch Bend Range) Tune Settings (Octave) Tune Settings (Tuning) Tune Settings (Tuning) Tune Settings (Tuning) Tune Settings (Tuning) Tune Settings (Transpose) Master EQ settings Master EQ settings Master EQ settings Voice selection Voice selection Voice selection Line Out settings Master Tuning Scale Tuning Split Point/Fingering mode settings Split Point/Fingering mode settings Foot Controller Volume settings Footswitch 1 function assignment Footswitch 2 function assignment Modulation wheel settings Initial Touch setting After Touch setting Transpose Assign Registration settings Registration settings Registration Memory FreezeGroupSetting Function Voice Set settings (R1) Voice Set settings (R2) Voice Set settings (R3) Voice Set settings (L) Harmony/Echo settings Video monitor settings Talk Setting AutoLoad (and Speaker) settings Display MIDI Bank & Program Change # Metronome Volume for Recording setting Parameter Lock settings Tap Count setting Auto Exit Time setting Language settings Menu selection Style Manager Loading Style into Flash ROM Style Selection Directory selection Directory selection Song Selection Directory selection Directory selection Repeat settings Multi Pad Chord Match settings DISK/SCSI Loading Data from a Disk to Flash ROM MIDI Clock setting Parameter settings VocalHarmony Parameter settings Music Database Searching the Music Database Restoring the default tempo setting of the selected style Restoring the default tempo setting of the selected style Returning to the default display (that appears when the power is turned on) Exiting from the Direct Access mode

Operation:

+ button listed below

See pages (PSR-9000) -

See pages (9000Pro) -
MAIN VARIATION [A] MAIN VARIATION [B] MAIN VARIATION [C] MAIN VARIATION [D] FILL IN & BREAK [ ] FILL IN & BREAK [ ] FILL IN & BREAK [ ] FILL IN & BREAK [ ] VOCAL HARMONY [MIC SETUP] ENDING [I] ENDING [II] ENDING [III] FADE IN/OUT VOICE EFFECT [DSP(4-7)] VOCAL HARMONY [DSP(8)] VOICE EFFECT [SLOW/FAST] VOICE EFFECT [POLY/MONO] PITCH BEND wheel UPPER OCTAVE [+], [-] PART ON/OFF [R1] PART ON/OFF [R2] PART ON/OFF [R3] PART ON/OFF [L] TRANSPOSE [+] [MIXING CONSOLE] [MAIN MIXER] INTRO [I] [PART ON/OFF] VOICE [PIANO] - [PERCUSSION] INTRO [II] INTRO [III] [SOUND CREATOR] MULTI PAD [STOP] [AUTO ACCOMPANIMENT] [LEFT HOLD] FOOT VOLUME FOOTSWITCH 1 FOOTSWITCH 2 MODULATION wheel VOICE EFFECT [TOUCH] VOICE EFFECT [SUSTAIN] TRANSPOSE [-] REGISTRATION MEMORY [1] - [8] REGIST BANK [+], [-] [FREEZE] PART SELECT [R1] PART SELECT [R2] PART SELECT [R3] PART SELECT [LEFT] [HARMONY/ECHO] [DEMO] VOCAL HARMONY [TALK] [FUNCTION] VOICE [XG] - [CUSTOM VOICE] [DIGITAL RECORDING] [MEMORY] TAP TEMPO PAGE CONTROL [BACK] PAGE CONTROL [NEXT] PRESET STYLE [8 BEAT] - [BALLROOM] FLASH STYLE [I] - [VIII] [DISK DIRECT] SONG DIRECTORY [I] - [V] [SONG SETUP] [SONG PLAYER] MULTI PAD [1], [2], [3], [4] MULTI PAD BANK [+], [-] [DISK/SCSI] [MIDI] VOCAL HARMONY [V.H.(9)] VOCAL HARMONY [SELECT] [MUSIC DATABASE] Data dial ONE TOUCH SETTING [1] - [4] [EXIT] [DIRECT ACCESS]

page 45 page 48

Revoice...
Revoice lets you create new style accompaniments by changing style parameters such as the voices, volumes and tempo. Any changes you make to a style can be stored in Registration Memory.

page 108 page 130

Tap Tempo Sound..
You can use the [TAP/TEMPO] button to start song playback simply by tapping a one-measure introduction at your desired tempo. The tap sound and velocity can be customized and stored in Registration Memory. For example, you can select a loud open hi-hat sound for the intro of a harddriving rock song. Or, choose a soft stick sound for the intro to a slow ballad. To access this function, press the [DIRECT ACCESS] button and then press the [TAP/TEMPO] button.

TAP TEMPO

Reducing Mic Sibilance..
Sibilant sound, such as spoken words that begin with the letter S, tend to sound over emphasized when sung through a microphone. To reduce this hissing effect, press the [MIC SETUP] button. In the 3 Band EQ section, the default setting of the high EQ is 8kHz/+5dB. Change this setting to 10kHz and reduce the gain (dB) to +3dB or whichever setting best suits your acoustic environment.

page 70

page 82

Mic Compressor..

Compression is an essential effect for a vocal microphone. It allows singing to be reproduced more clearly and smoothly by boosting the level of soft signals and lowering the level of loud signals. Press the [MIC SETUP] button to access the Mic Compressor. Try the singing with the compressor effect turned on and then compare singing with it turned off. Notice the difference?

page 66 page 78

Song Selection via Registration Memory.
Not only can you use Registration Memory to change voices and styles, but also to select song les from a disk. Furthermore, you can use it to call up songs in your favorite key using the Song Transpose function.
pages 28 & 123 pages 28 & 145
Touch Limit for Harmony/Echo.
This function determines how hard the keyboard must be played in order for the Harmony/Echo effect to sound. The higher the value, the harder the keyboard must be played to apply the Harmony/Echo effect. This setting is useful for adding performance expression to a voice; for example, adding a tremolo effect to a mandolin voice when played at higher velocities.

page 140 page 164

Sub Line Out...
Next to the main stereo outputs are two (four on the 9000Pro) sub outputs, which can be used as either two single outputs or one stereo output. You can assign any part or parts, including the MIC signal and groups of drum sounds, to these outputs. If an audio cable is not plugged into a sub output jack, the signal of any part assigned to that output will be automatically routed to the main stereo outputs, which eliminates the hassle of reconguring the outputs whenever your playing environment changes. For further convenience, the output assignment is saved in Registration Memory and, if preferred, can be locked using the Parameter Lock function.

page 126 page 148

Register Bank View..
This function makes it easy to look for a specic Registration Memory among the 512 locations. Simply press the [+] and [-] Registration Memory buttons at the same time to display the names of the Registration Memory Banks on the LCD. Then use the LCD buttons to navigate through the various banks.

REGISTRATION MEMORY

FREEZE REGIST BANK 1~64

Auto Exit Time..

With this function set to a time value, selecting a voice or style results in the display automatically returning to the previous display after the selected amount of time has passed. This function is extremely useful when youre in Multi-Record mode and you want to browse through the voices as you compose your song, for example. To set the Auto Exit Time value, press the [FUNCTION] button and select the UTILITY menu. Then press the [NEXT] button to display the TIME page.

doc1

Chord Types Recognized in the Fingered Mode

q 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

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) - - 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
Display for root 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) C7b13 C7(9) C7#11 C7(13) C7(#9) C7b5 C7aug C7sus4 C1+2+5
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 fth (1 + 5) produces accompaniment based only on the root and fth which can be used with both major and minor chords. The chord ngerings listed are all in root position, but other inversions can be used with the following exceptions: m7, m7b5, 6, m6, sus4, aug, dim7, 7b5, 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 ngerings will produce a chord based on the previously played chord.

When the Ultra Quick Start function here is set to ON, the PSR-9000 reads all initial non-note data of the song at the highest possible speed, then automatically slows down to the appropriate tempo at the rst note of the song. This allows you to start actual song playback as quickly as possible, with a minimum pause for reading of data.
Press this button to save the microphone and Vocal Harmony settings to the selected song. See below for details.
s About Vocal Harmony/Microphone Settings for a Song The Vocal Harmony and Microphone settings can be stored as Song Setup data. When using the Vocal Harmony function with a song, this convenient feature lets you store all relevant Vocal Harmony and Microphone settings with the song, so that they are automatically called up the next time you select the song. The actual settings that can be stored are listed below.
Vocal Harmony type and parameter settings..Page 69 Vocal Harmony Vocoder track settings (keyboard and song).Page 70 Effect type and parameter settings (for the microphone sound).. Page 124 Volume, Pan, Reverb depth, Chorus depth and DSP (8) depth (for the microphone sound)...Page 123
You can use the metronome function during playback. See page 142 for details.

Quick Guide on page 32

This unique feature incorporates advanced voice-processing technology to automatically produce vocal harmony based on a single lead vocal. An extensive selection of preset Vocal Harmony types are provided, each functioning in one of three main modes which determine how the harmony notes are applied. In addition to straightforward harmony, the PSR-9000 Vocal Harmony feature can change the pitch and timbre of the harmony and/or lead vocal sound to effectively change the apparent gender of the voice. So, for example, if you are a male singer you can have a two-part female vocal backup (the Vocal Harmony feature can add up to two harmony notes to the main lead voice). A full range of parameters is provided to allow detailed editing to produce precisely the type of vocal harmony sound you need.
s Setting up the microphone
Please note the following points : A standard dynamic microphone with an impedance of about 250 ohms is recommended. (The PSR-9000 does not support phantom-powered condenser microphones.) The Yamaha MZ106s microphone is recommended for use with the PSR-9000. The level of the microphone sound may vary considerably according to the type of microphone used. Placing a microphone which is connected to the PSR-9000 too close to the PSR-9000 speakers (or those of an external sound system connected to the PSR-9000) can cause feedback. Adjust the microphone position and the INPUT VOLUME level or MASTER VOLUME control level if necessary, so that feedback does not occur.

s Using the LINE setting Normally, since you will be using a microphone, you may never need to use the LINE setting. However, this may come in handy if you want to use a pre-recorded source (on CD or cassette tape) with the vocal harmony feature. (For best results, the source should be a single vocal only; any other singers and instruments in the mix could produce unexpected or undesired results.)
Never use the MIC setting with a line level signal (CD player, cassette deck, etc.). Doing this could damage the PSR-9000 and its input functions.
2 switch toMIC/LINE panel Set the LINE. 4 Play thethe INPUT VOLUME control. Adjust source at the highest expected
volume, and adjust the INPUT VOLUME control to get the optimum input level (as in the Setting Up instructions above).
3 MIC/LINEthe source to the Connect IN jack.
1 VOLUME control to Set the INPUT
Applying the Vocal Harmony Effect
This turns Talk settings on or off. The Talk settings are effective when using the microphone for speech or rapping (as opposed to singing). Refer to page 141. The PSR-9000 has a DSP effect (DSP 8) especially for the microphone sound, and this button turns the DSP 8 effect on/off. The DSP 8 type can be set from the Mixing Console display (page 124). This turns the Vocal Harmony effect on or off.
If you experience distorted or out-of-tune sound from the Vocal Harmony feature, your vocal microphone may be picking up extraneous sounds (other than your voice) the Auto Accompaniment sound from the PSR-9000, for example. In particular, bass sounds can cause mistracking of the Vocal Harmony feature. The solution to this problem is to ensure that as little extraneous sound as possible is picked up by your vocal microphone: Sing as closely to the microphone as possible. Use a uni-directional microphone. Turn down the MASTER VOLUME, ACMP volume or SONG volume control.
Selecting/Producing the Vocal Harmony effect

4 Store your settings.

1 MONYthe VOCAL HARPress [SELECT] button.
2 Select a Vocal Harmony type.
3 parameters. Vocal Harmony Edit the desired
s Vocal Harmony Parameters
Chordal Type/Vocoder Type Harmony Gender Type Lead Gender Type Determines how the harmony notes are applied. Can be set to Off or Auto. When Auto, the gender of the harmony sound is changed automatically. Determines whether and how the gender of the lead vocal sound (i.e., the direct microphone sound) will be changed. When Off no gender change occurs. When Unison, Male or Female is selected the corresponding gender change is applied to the lead vocal. (In this case the number of harmony notes which can be produced in addition to the lead vocal is reduced to one.) Adjusts the degree of lead vocal gender change produced when one of the Lead Gender Types (above) is selected. When Correct is selected the pitch of the lead vocal is shifted in precise semitone steps. This parameter is only effective when one of the Lead Gender Types is selected. Gender change will occur when the harmony pitch reaches or exceeds the specified number of semitones above the lead vocal pitch. Gender change will occur when the harmony pitch reaches or exceeds the specified number of semitones below the lead vocal pitch. Adjusts the degree of gender change applied to harmony notes higher than the Auto Upper Gender Threshold. Adjusts the degree of gender change applied to harmony notes lower than the Auto Lower Gender Threshold. Sets the depth of vibrato applied to the harmony sound. Also affects the lead vocal sound if a Lead Gender Type is selected. Sets the speed of the vibrato effect. Specifies the length of the delay before the vibrato effect begins when a note is produced. Sets the volume of the first harmony note. Sets the volume of the second harmony note. Sets the volume of the third harmony note. Specifies the stereo (pan) position of the first harmony note. When Random is selected the stereo position of the sound will change randomly whenever the keyboard is played. Specifies the stereo (pan) position of the second harmony note. When Random is selected the stereo position of the sound will change randomly whenever the keyboard is played. Specifies the stereo (pan) position of the third harmony note. When Random is selected the stereo position of the sound will change randomly whenever the keyboard is played. Detunes the first harmony note by the specified number of cents. Detunes the second harmony note by the specified number of cents. Detunes the third harmony note by the specified number of cents. When ON the lead vocal sound plays the PSR-9000 tone generator system. (However, dynamic changes in the vocal sound do not affect the volume of the tone generator.) Determines which of the PSR-9000 parts will be controlled by the lead vocal when the Pitch to Note parameter is ON.

Selects the desired scale (pitch) curve to be used by the current edited voice for the PSR-9000 keyboard.
The CURVE LCD button provides a choice of four keyboard initial touch sensitivity curves, and the SENS LCD buttons adjust initial touch sensitivity.
q E1: WAVEFORM See page 73 for details about Waveform.
NOTE LIMIT species the note range over which the voice will sound, and VELOCITY LIMIT sets the maximum velocity range for the voice.
Use the CATEGORY, VOICE, and WAVEFORM LCD buttons to select the waveform for the custom voice. (This is the raw sound on which the voice is based.) Waveforms created by the SAMPLING feature (page 72) are also available for selection in the SAMPLING CATEGORY.
These parameters adjust the pitch of the voice. COARSE tunes in semitone steps and FINE tunes in 1cent steps (a cent is 1/100th of a semitone).
When a Drum Kit is selected, the WAVEFORM parameter is replaced by the INSTRUMENT parameter, and individual instruments can be selected rather than waveforms.
Sets the position of the voice in the stereo eld.
Sets the amount of delay before the sound is heard in other words, the time between when the key is pressed and when the envelope begins. The higher the value the longer the delay. Sets the waveform volume.

Example for NOTE LIMIT

LOW HIGH
When the voice OCTAVE is set to a value other than 0, the range specied by the NOTE LIMIT parameters is shifted by the corresponding amount and some notes may not sound. If this happens check the R1 OCTAVE setting in the MIXING CONSOLE TUNE display. NOTE LIMIT and VELOCITY LIMIT are not available for the Drum Kits.

No sound is produced.

Example for VELOCITY LIMIT
127 No sound is produced. HIGH

No sound is produced. 0

q E2: EG An acronym for Envelope Generator, a block that modies the level of the tone generator from the moment that a note is played until the sound decays to silence. The Amplitude EG controls the volume level, the Pitch EG controls the pitch, and the Filter EG controls the lter cutoff frequency.

Determines the method of event selection: single or multiple. Press this to cut all the selected events and copy them to the clipboard. Press this to copy all the selected events to the clipboard. Press this to paste all the event data that is currently contained in the clipboard.
s About Multiple Event Selection This convenient feature lets you select several events together, making it possible to change the values of many different events at once, or easily and quickly copy many events to another location. Changing the values of multiple events
In the example explanation below, well increase the velocity of the selected note data by 20. q Using the [ ] button, move the cursor to the rst event at the top of Event List, and select the velocity value. w Press the [SEL] button to enable multiple event selection. e Use the [ ] button to determine the range to be selected. Each successive event that you scroll through in this way is selected. r Use the data dial to change the value. All values for the selected events are changed simultaneously. t To actually enter the changes, press the [SEL] button again to return to single event selection.
Copying and pasting multiple events
In the example explanation below, well copy the events of the second measure in song data and paste them to the third measure.
q Use the [ ] or [ ] buttons to move the cursor to the beginning of the second measure. w Press the [SEL] button to enable multiple event selection. e Use the [ ] button to determine the range to be selected. For this example, scroll to the last event in the measure so that all events in measure 2 are selected. r Press the [COPY] button. t Press the [SEL] button to change to single event selection. y Set the destination (the top of measure 3, in this case) by using the [MEAS], [BEAT] and [CLK] buttons. u Press the [PASTE] button.
The diagram below illustrates how the PSR-9000 handles the copy/paste operation.
Event data Copy Clipboard Copy Event data at the new location
The clipboard is a temporary holding place for the copied data (as done in Steps #3 and #4 above). Once the data is in the clipboard, and as long as no other data has been copied there, the data can be pasted to other locations as many times as desired. Keep in mind that copying data automatically erases whatever data was originally in the clipboard. (The data at the original location in the song remains intact.)

The ORGAN FLUTES voices and DRUM KIT voices cannot be selected for these parts.
C = chord tone C, S = scale tones
Any appropriate chord or chord progression can be used for the INTRO and ENDING sections. The basic chord for the accompaniment is called the source chord. The default source chord is set as CM7, but you can change it to whatever chord is easy for you to play. For details, see Style File (Auto Accompaniment) Format (page 105) and Parameter Edit (page 113).
Style Editing (Full Edit)
This section explains various parameters, other than the basic ones. The explanations here apply to step #5 of the Basic Procedure on page 106. s Setup
q Voice This function can be used to change the voices assigned to any of the current styles parts. While the SETUP display is selected, all other available parameters can be modied as required via the MIXING CONSOLE displays. q Setup Copy Instead of starting with all the sections and/or parts from the selected original style, you can copy specic parts from other sections/parts of the same style, or from other styles as required.

s Edit

Quantize.. Refer to page 92. Velocity Change. Boosts or cuts the velocity of all notes in the specied part by the specied percentage. Measure Copy. This function allows data to be copied from one measure or group of measures to another location within the same part. Use the TOP and LAST LCD buttons to specify the rst and last measures in the region to be copied. Use the DEST LCD button to specify the top of the measure to which the data is to be copied. If the copy destination falls outside the number of measures actually in the part, the corresponding source measures will not be copied. Measure Clear. This function clears all data from the specied range of measures within the specied part. Use the TOP and LAST LCD buttons to specify the rst and last measures in the range to be cleared. Remove Control Event. This function can be used to remove all occurrences of a specied type of control event from a specied part. Use the EVENT LCD buttons to select the type of event to be removed. Remove Duplicate Notes. Removes all duplicate notes from a specied part.

s Parameter Edit

Select a part to be edited. Select the desired menu. See below.
q Source Root/Source Chord These settings determine the original key of the source pattern (i.e. the key used when recording the pattern). The default, CM7 (the source root is C and the source chord type is M7), is automatically selected whenever the preset data is deleted prior to recording a new style, regardless of the source root and chord included in the preset data. When you change the chord of the source pattern from the default CM7 to others, the chord notes and scale notes will change depending on the currently selected chord type. See page 111 for information on chord notes and scale notes. [ex.] Source Chord Root of C

s Voice allocation format With MIDI, voices are assigned to specic numbers, called program numbers. The numbering standard (order of voice allocation) is referred to as the voice allocation format. Voices may not play back as expected unless the voice allocation format of the song data matches that of the compatible MIDI device used for playback.
GM System Level 1 This is one of the most common voice allocation formats. Many MIDI devices are compatible with GM System Level 1, as is most commercially available software. The PSR-9000 is compatible with GM System Level 1. XG XG is a major enhancement of the GM System Level 1 format, and has been developed by Yamaha specically to provide more voices and variations, as well as greater expressive control over voices and effects, and to ensure compatibility of data well into the future. The PSR-9000 is compatible with XG. DOC This voice allocation format is compaible with many of Yamahas MIDI devices, including the Clavinova series instruments. This is also a common format used with various Yamaha software. The PSR-9000 is compatible with DOC.
Even if the devices and data used satisfy all the conditions above, keep in mind that the sounds may differ slightly, depending on the particular MIDI device used for playback (this includes the PSR-9000).
Connecting to a Personal Computer
Connecting the PSR-9000 to a computer (via the TO HOST terminal or the MIDI terminals) lets you take advantage of the enormous processing power and editing exibility of computer-generated music. Connection can be done in one of two ways:
Using the PSR-9000 MIDI terminals Using the TO HOST terminal
In the explanation examples here, the MIDI A terminals are used. When using the PSR-9000 as a 16-channel multi-timbral sound source, make sure to connect the other MIDI device to the MIDI A IN terminal (not MIDI B). You can connect a MIDI device to the MIDI B IN terminal; however, in this case, the PSR9000 cannot be used as a multi-timbral sound source, since the MIDI Receive Mode for the MIDI B port (p. 118) cannot be set to XG/GM.
s Using the PSR-9000 MIDI terminals Using a MIDI interface device installed in the personal computer, connect the MIDI terminals of the personal computer and the PSR-9000. For the connection cable, use a special MIDI cable.

Voice List /Voice-Liste /Liste des voix
Category Voice Name Order 30 MutedGuitar Jazz Guitar Overdrive Finger Bass UprightBass Pick Bass Jaco Bass Slap Bass Analog Bass DX FunkBass DrySynBass Touch Bass Hi Q Bass Funk Bass Aco.Bass Fretless Bass&Cymbal Fusion Bass Rave Bass Dance Bass Synth Bass Snap Bass Click Bass Strings Live! Strs Live! Orch Symphon.Str ChamberStrs OberStrings Solo Violin Orch. Brass Orch. Flute Orch. Fl.Br Orch. Oboe Strings OrchStrings Str.Quartet ConcertoStr Analog Strs Soft Violin Bow Strings SlowStrings TremoloStrs MarcatoStrs Syn Strings PizzStrings Viola Cello Contrabass Harp Hackbrett Fiddle Banjo Sitar Sweet Tenor Sweet Alto MIDI Program Change# BrasSection BigBandBrs MellowBrass Pop Brass Sforzando MoonLight MillerNight Saxy Mood Jump Brass Big Brass Step Brass BrightBrass Soft Brass Full Horns Brass Combo SmoothTromb High Brass Ober Brass Trumpet Ens MellowHorns Brass Hit Analog Brs BallroomBrs Trb.Section Small Brass Soft Analog FunkyAnalog TechnoBrass Synth Brass Saxophone 17 Sweet Trump Sweet Tromb SoftTrumpet JazzTrumpet Muted Trump SoloTrumpet Air Trumpet Flugel Horn Trombone BaritonHorn Solo Tromb Soft Tromb MellowTromb French Horn Bariton Hit Alp Bass Tuba Brass 62 Category Voice Name Order 33 Koto Shamisen Orch.Hit Trumpet 58 MIDI Program Change# 55

MSB# 0

LSB# 115

LSB# 112

Category Voice Name Order Sweet Sprno Sweet Clari Growl Sax BreathTenor BreathyAlto Soprano Sax MelClarinet Sax Section WoodwindEns Alto Sax Tenor Sax BaritoneSax Rock Bari Oboe EnglishHorn Bassoon Clarinet Flute Sweet Flute Sweet Pan Class.Flute Pan Flute Flute Piccolo EthnicFlute Shakuhachi Whistle Recorder Ocarina Bagpipe Choir & Pad Live!Gospel Live! Humm Hah Choir SweetHeaven DreamHeaven Live! Vocal Bah Choir Live! Doo Live! Bah Live! Dao Live! Mmh Gothic Vox Huh Choir Bell Heaven Pan Heaven DooBa Scats Daa Choir Doo Choir Dooom Choir Live! Dooom Choir Air Choir Vocal Ensbl 26 Oxygen Matrix Wire Lead Hip Lead Hop Lead Square Lead Saw.Lead Fire Wire Analogon Funky Lead Paraglide Robolead Fargo Portatone Blaster Big Lead Warp Adrenaline Synchronize Tiny Lead Stardust Aero Lead Mini Lead Synth Flute Sub Aqua Impact MIDI Program Change# 71 Category Voice Name Order 50 Insomnia Cyber Pad Vox Humana Voices Uuh Choir Wave 2001 Neo WarmPad Atmosphere Xenon Pad Skydiver Far East Template Equinox Glass Pad Fantasia DX Pad Symbiont Stargate Area 51 Dark Moon Ionosphere Golden Age Solaris Time Travel Millenium Transform Dunes Synthesizer MIDI Program Change# 89

LSB# 114

Category Voice Name Order Sun Bell Under Heim Rhythmatic Hi Bias Vinylead Skyline Clockwork Percussion Vibraphone Jazz Vibes Marimba Xylophone Steel Drums Celesta Glocken Music Box TubularBell Kalimba Dulcimer Timpani Live!StdKit Live!FunkKt Std.Kit1 Std.Kit2 Hit Kit Room Kit Rock Kit Electro Kit Analog Kit Dance Kit Jazz Kit Brush Kit SymphonyKit Arabic Kit SFX Kit1 SFX Kit2 StyleLvStd StyleLvFunk XG GrandPno GrndPnoK MelloGrP PianoStr Dream BritePno BritPnoK E.Grand ElGrPnoK Det.CP80 ElGrPno1 ElGrPno2 HnkyTonk HnkyTnkK E.PianoMIDI Program Change# 96 Category Voice Name Order El.Pno1K MelloEP1 Chor.EP1 HardEl.P VX El.P1 60sEl.P E.Piano2 El.Pno2K Chor.EP2 DX Hard DXLegend DX Phase DX+Analg DXKotoEP VX El.P2 Harpsi. Harpsi.K Harpsi.2 Harpsi.3 Clavi. Clavi. K ClaviWah PulseClv PierceCl Celesta Glocken MusicBox Orgel Vibes VibesK HardVibe Marimba MarimbaK SineMrmb Balafon2 Log Drum Xylophon TubulBel ChrchBel Carillon Dulcimer Dulcimr2 Cimbalom Santur DrawOrgn DetDrwOr 60sDrOr1 60sDrOr2 70sDrOr1 DrawOrg2 60sDrOr3 EvenBar 16+22/3 Organ Ba MIDI Program Change# 16 16

Multi Pad Bank List/Multi-Pad Bank-Liste/ Liste des banques multi-pads
Bank Number Bank Name Live! Tom Live! Crash Live! Kit 1 Live! Kit 2 Live! Kit 3 ArabicPerc 1 ArabicPerc 2 Latin Perc 1 Latin Perc 2 Dance Kit Scat 1 Scat 2 Scat 3 Scat 4 Swingy Brass 1 Brass 2 SynBrass Mallet Fills Piano Man Heaven Arp Piano Arp Harpeggio 1 Harpeggio 2 Arpeggio Crystal Arp Twinkle Arp Piano Gliss Xmas 1 Xmas 2 Attention 1 Attention 2 Fanfare 1 Fanfare 2 Classical Flamenco Gtr Salsa Piano Samba Show 1 Samba Show 2 TimbalesRoll Guitar Cut 1 Guitar Cut 2 GuitarRiff 1 GuitarRiff 2 Guitar Strum LiveDrumFill Limbo Dancer DJ Set 1 Appendix/Anhang/Annexe Bank Number Bank Name DJ Set 2 OrchestraHit Water SE Horror SE Night SE Day SE Car SE Big Bells Whistle MagicBell SE MIDI Control Scale Tune
Parameter Chart/Parametertabelle/Tableau des
o : Memorized x : Not memorized ON : Always ON when the corresponding function is called up. o : Wird gespeichert x : Wird nicht gespeichert ON Ist immer eingeschaltet, wenn die zugehrige Funktion aufgerufen wird. VoiceSet Group Parameter Lock o : mmoris x : non mmoris ON : toujours activ lorsque la fonction correspondante est appele VoiceSet Group Parameter Lock x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x One Touch Setting Music Database Registration Memory Setup (Disk) System Backup One Touch Setting Music Database Registration Memory Setup (Disk) System Backup

Freeze Group

Style # Auto Acmpaniment ON/OFF Fingering Split Point Main Variation [MainA/B/C/D] FADE IN/OUT FILL In & Break Mode Tap Tempo Tap Count Note Tap Count Velocity Acmp. Main Volume Acmp. Main EQ Low Acmp. Main EQ High Acmp. Main Panpot Acmp. Main Reverb Depth Acmp. Main Chorus Depth Acmp. Main DSP Depth Acmp. Rhythm 1 Part Track On/Off Acmp. Rhythm 2 Part Track On/Off Acmp. Bass Part Track On/Off Acmp. Chord 1 Part Track On/Off Acmp. Chord 2 Part Track On/Off Acmp. Pad Part Track On/Off Acmp. Phrase 1 Part Track On/Off Acmp. Phrase 2 Part Track On/Off Acmp. Rhythm 1 Part Volume Acmp. Rhythm 2 Part Volume Acmp. Bass Part Volume Acmp. Chord 1 Part Volume Acmp. Chord 2 Part Volume Acmp. Pad Part Volume Acmp. Phrase 1 Part Volume Acmp. Phrase 2 Part Volume Acmp. Rhythm 1 Part Panpot Acmp. Rhythm 2 Part Panpot Acmp. Bass Part Panpot Acmp. Chord 1 Part Panpot x ON x x x x x x o o x x x x x x x x x x x x x x x x x x x x x x x x x x x o o x x o x x x o o o x x x x x x o o o o o o o o o o o o o o o o o o o o o o o o o x x x o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o x x x x x x x x o o o o x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x Acmp. Acmp. Acmp. Acmp. Acmp. x x x Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. Acmp. x x Fingering Split Point x

100 ~ 10.0kHz -12 ~ +12dB 1 ~ 12 D63>W ~ D=W ~ D<W63 0~127
AMP SIMULATOR (variation, insertion block)
No. Parameter Drive AMP Type LPF Cutoff Output Level Display 0~127 Off,Stack,Combo,Tube 1.0k~Thru 0~127
MSB = 75, LSB = 0, 16, 17
Value 0-127 0-3 34-60 0-127 See Table Control q
PITCH CHANGE 1 (variation, Insertion1-4 block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level Display -24~+24 0.1mS~400.0mS -50~+50 -50~+50 -63~+63

MSB = 80, LSB = 0, 16

Value 40-88 0-127 14-114 14-114 1-127 See Table table#7 Control

Dry/Wet Edge(Clip Curve)

D63>W ~ D=W ~ D<W63 0~127

1-127 0-127 mild~sharp

Dry/Wet Pan 1 Output Level 1 Pan 2 Output Level 2
D63>W ~ D=W ~ D<W63 L63~R63 0~127 L63~R63 0~127
1-127 1-127 0-127 1-127 0-127
STEREO AMP SIMULATOR (variation, Insertion1-4 block)
No. Parameter Drive AMP Type LPF Cuttoff Output Level Display 0~127 Off,Stack,Combo,Tube 1kHz~Thru 0~127
MSB = 75, LSB = 8, 18, 19, 20, 21
PITCH CHANGE 2 (variation, Insertion1-4 block)
No. Parameter Pitch Initial Delay Fine 1 Fine 2 Feedback Level Display -24~+24 0.1mS~400.0mS -50~+50cent -50~+50cent -63~+63

MSB = 80, LSB = 1

Dry/Wet Edge

1-127 0-127

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 Display -12~+12dB 100Hz~10.0kHz -12~+12dB 1.0~12.0 -12~+12dB 50Hz~2.0kHz 500Hz~16.0kHz

MSB = 76

Value 52-76 14-54 52-76 10-120 52-76 8-40 28-58 See Table table#3 Control
HARMONIC ENHANCER (variation, Insertion block)
No. Parameter HPF Cutoff Drive Mix Level Display 500Hz~16.0kHz 0~127 0~127

MSB = 81

Value 28-58 0-127 0-127 See Table Control

Input Mode

mono/stereo
2BAND EQ(STEREO) (variation, insertion block)
No. Parameter EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Display 32Hz~2.0kHz -12~+12dB 500Hz~16.0kHz -12~+12dB

<Table 1-1-2> NRPN (VocalHarmony)
NRPN MSB LSB 00H 00H 00H 01H 00H 02H 00H 03H 00H 04H 00H 05H 01H 1AH 02H 00H 02H 01H 02H 02H 02H 03H 02H 04H 02H 10H 02H 11H 02H 12H 02H 20H 02H 21H 02H 22H 02H 30H 02H 31H 02H 32H 03H 00H 03H 01H DATA ENTRY MSB LSB mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -mmH -Parameter Harmony Mute Harmony Mode Vocoder Mode Parameter Chromatic Mode Parameter Detune Mode Parameter Chordal Mode Parameter Detune Modulation Harmony Gender Type Auto Upper Gender Threshold Auto Lower Gender Threshold Upper Gender Amound Lower Gender Amound Harmony1 Volume Harmony2 Volume Harmony3 Volume Harmony1 Pan Harmony2 Pan Harmony3 Pan Harmony1 Detune Harmony2 Detune Harmony3 Detune Lead Gender Type Lead Gender Amount XG/GM o o o o o o o o o o o o o o x o o x o o x o o Keyboard x x x x x x x x x x x x x x x x x x x x x x x Recognized R1 R2 R3 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x Left x x x x x x x x x x x x x x x x x x x x x x x Acmp x x x x x x x x x x x x x x x x x x x x x x x

<Table 1-2> RPN

RPN MSB LSB 00H 00H 00H 01H 00H 02H 7FH 7FH DATA ENTRY MSB LSB mmH -mmH llH mmH ---Parameter Pitch Bend Sensitivity Fine Tune Coarse Tune Null XG/GM o o o o Keyboard o o o o Recognized R1 R2 R3 o o o o o o o o o o o o Left o o o o Acmp o o o o
System Exclusive Messages/ Systemexklusive Meldungen/ Messages exclusifs au systme
System Exclusive Messages
Accompaniment Control Section Control Data Format F0H 43H 7EH 00H 0sssssss ss dd F7H F0 = Exclusive status 43 = YAMAHA ID 7E = Style 00 = ss = Switch No. 00H-01H: INTRO II 02H-03H: INTRO III 04H-07H: INTRO I 08H: MAIN A 09H: MAIN B 0AH: MAIN C 0BH-0FH: MAIN D 10H: FILL IN A 11H: FILL IN B 12H: FILL IN C 13H-17H: FILL IN D 18H: BREAK FILL A 19H: BREAK FILL B 1AH BREAK FILL C 1BH-1FH: BREAK FILL D 20H-21H: ENDING II 22H-23H: ENDING III 24H-27H: ENDING I 0ddddddd dd = Swith On/Off 00H Off 7FH On 11111110 F7 = End of Exclusive F0H 43H 7EH 01H t4 t3 t2 t1 F7H 11110000 F0 = Exclusive status = YAMAHA ID 01111110 7E = Style = 0ttttttt t4 = tempo4 0ttttttt t3 = tempo3 0ttttttt t2 = tempo2 0ttttttt t1 = tempoF7 = End of Exclusive F0H 43H 7EH tt dd F7H Type1 (tt=02) 11110000 F0 = Exclusive status = YAMAHA ID 01111110 7E = Style = type 1(tt) 0ddddddd dd = chord root(cr) 0ddddddd dd = chord type(ct) 0ddddddd dd = bass note(bn) 0ddddddd dd = bass type(bt) cr : Chord Root 0fffnnnn fff: b or #, nnnn: note(root) 0000nnnn 0n bbb 0001nnnn 1n bb 0010nnnn 2n b 0011nnnn 3n natural 0100nnnn 4n # 0101nnnn 5n ## 0110nnnn 6n ### ct : Chord Type 0 - 34,9 0A 10 0B 11 0C 12 0D 13 0E 14 0F 17 Maj Maj6 Maj7 Maj7(#11) Maj(9) Maj7(9) Maj6(9) aug min min6 min7 min7b5 min(9) min7(9) min7(11) minMaj7 minMaj7(9) dim Recognized o

2A 2B 2C 2D 2E TOTAL SIZE TOTAL SIZE 2 1
00-7F 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
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 CHORUS PAN SEND CHORUS TO REVERB
o o o o o o o o o o o o o o
Refer to the MIDI EFFECT MAP 00 : basic type Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST -dB.0dB.+6dB(0.64.127) L63.C.R63(1.64.127) -dB.0dB.+6dB(0.64.127)
41(=CHORUS1) 00 depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type 00
CHORUS PARAMETER 11 CHORUS PARAMETER 12 CHORUS PARAMETER 13 CHORUS PARAMETER 14 CHORUS PARAMETER 15 CHORUS PARAMETER 16
depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type depends on chorus Type
48 4A 4C 4E 59 5A 5B 1 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 00-7F 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 00-01 00-7F VARIATION TYPE MSB VARIATION TYPE LSB VARIATION PARAMETER 1 MSB VARIATION PARAMETER 1 LSB VARIATION PARAMETER 2 MSB VARIATION PARAMETER 2 LSB VARIATION PARAMETER 3 MSB VARIATION PARAMETER 3 LSB VARIATION PARAMETER 4 MSB VARIATION PARAMETER 4 LSB VARIATION PARAMETER 5 MSB VARIATION PARAMETER 5 LSB VARIATION PARAMETER 6 MSB VARIATION PARAMETER 6 LSB VARIATION PARAMETER 7 MSB VARIATION PARAMETER 7 LSB VARIATION PARAMETER 8 MSB VARIATION PARAMETER 8 LSB VARIATION PARAMETER 9 MSB VARIATION PARAMETER 9 LSB VARIATION PARAMETER 10 MSB VARIATION PARAMETER 10 LSB VARIATION RETURN VARIATION PAN SEND VARIATION TO REVERB SEND VARIATION TO CHORUS VARIATION CONNECTION VARIATION PART o o o o o o o o o o o o o o o o o Refer to the MIDI EFFECT MAP 00 : basic type Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST Refer to the MIDI EFFECT PARAMETER LIST -dB.0dB.+6dB(0.64.127) L63.C.R63(1.64.127) -dB.0dB.+6dB(0.64.127) -dB.0dB.+6dB(0.64.127) 0:INSERTION,1:SYSTEM Part1.16(0.15) AD1(64) OFF(16.63, 65.127) -64 - +63 -64 - +63 -64 - +63 -64 - +63 -64 - +63 05(=DELAY L,C,R) 00 depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type depends on variation type 00 7F

 

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