Decreases number

Increases number

DEC/NO

INC / YES
Change the Master number, and then try playing the various Voices or Performance types. When a Voice is assigned to the selected Master number, Voice will appear at the top of the display. When a Performance is assigned, Performance will appear in the display.
Although a Multi can be used for playing the keyboard, it is primarily intended for creating, recording and playback of multi-part music. For details about using this function, see page 70.
As you play the various Voices and Performances, notice the differences between themespecially how some Performances sound exceptionally rich and more complex than Voices. Here, weve introduced the operations in the Master mode that is called up rst when turning the power on. The S90 ES has other modes of operation as well. In the next section, well explain about the modes of the S90 ES and how they are used.
There are several operation modes in the S90 ES, and they can be selected by using the six mode buttons. The use of the individual modes depends on your particular musical application. For playing the keyboard conventionally, the Voice or Performance mode should be used. If youre creating music, particularly multipart arrangements, use the Multi mode and Sequence Play mode. To make global settings for the instrument and back up your important data, use the Utility and File modes. A special Master mode is also included for instantly calling up desired modes and related settings together in one button press, without having to rst select a mode.

VOICE PERFORM MASTER

MULTI/ SEQ PLAY

UTILITY

COMPARE REMOTE EFFECT BYPASS ARPEGGIO

1 Playing the keyboard

using a Voice
Voice mode [VOICE] button
The S90 ES has a wealth of high-quality, dynamic soundsalso referred to as Voices. You can play these Voicesone Voice at a timefrom the keyboard in the Voice mode. The S90 ES also lets you create your own original Voices.

2 Playing the keyboard

using multiple Voices
Performance mode [PERFORM] button
In the Performance mode, you can play several Voices together in a layer, or play different Voices from separate ranges of the keyboard. Each of these combinations of Voices is called a Performance. This mode lets you create richly textured, layered sounds or play two different parts simultaneouslyfor example, piano and bass guitarand is particularly useful when performing solo.
Creating original program sets
Master mode [MASTER] button
The Master mode can be used in two ways: Storing your favorite programs This lets you register settings that you often use in the Voice, Performance, or Multi mode, and instantly recall the mode and custom settings together in a single button press, without having to rst select a mode. Playing as a master keyboard This lets you divide the keyboard into four separate sectionsjust as if you were playing four different MIDI keyboards.

Front Panel

PAN/SEND

ASSIGN

CHORUS ASSIGN 1 ATTACK TEMPO ASSIGN 2 RELEASE

PROGRAM

USER 1 USER 2 SLOT 1

PAN ASSIGN A CUTOFF

REVERB ASSIGN B RESONANCE

SLOT 2

SLOT 3

ARP FX

SWING MEF 1 LOW VOLUME 1
GATETIME MEF 2 LOW MID VOLUME 2
VELOCITY MEF 3 HIGH MID VOLUME 3
UNITMULTIPLY MEF 4 HIGH VOLUME 4

DEC/NO INC/ YES

PERFORM

MASTER

DRUM KITS

CATEGORY SEARCH

VOLUME
FAVORITES MULTI/ SEQ PLAY FILE UTILITY A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE

SYN LEAD EDIT JOB STORE

SYN PAD/ CHOIR
DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION

MUSICAL FX

TRACK SELECT

INFORMATION

COMPARE COMMON EFFECT BYPASS ARPEGGIO ELEMENT/PERF. PART/ZONE

REMOTE

EXECUTE

ZONE 1

ZONE 2

ZONE 3

ZONE 4

^ % & (

CHORUS ASSIGN 1 ATTACK

TEMPO ASSIGN 2 RELEASE

USER 1 USER 2

SLOT 1

A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B5 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7
When setting the following parameter to 0, each key corresponds to the note name shown in the illustrations. [UTILITY] [F1] GENERAL [SF2] KBD Octave. Refer to this illustration when setting parameters having note name values, such as Note Limit.

1 Keyboard

The keyboard is equipped with a touch response feature (both initial touch and aftertouch). With initial touch, the instrument senses how strongly or softly you play the keys, and uses that playing strength to affect the sound in various ways, depending on the selected voice. With aftertouch, the instrument senses how much pressure you apply to the keys while playing, and uses that pressure to affect the sound in various ways, depending on the selected voice. Moreover, any of a variety of functions can be assigned to aftertouch for each voice (page 62).

5 Control sliders 1 - 4

Using the Function buttons [F1] - [F6]
These functions can be selected via the corresponding button ([F1] - [F6]).

SF1 SF2 SF3 SF4 SF5

In this example, press the [F5] button to go to the LFO display.
Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode.
Using the Sub-Function buttons [SF1] - [SF5]
These functions can be selected via the corresponding button ([SF1] - [SF5]).
In this example, press the [SF5] button to go to the OTHER display.
Depending on the currently selected mode, up to ve functions (sub-functions) are available and can be called up with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any sub-functions for these buttons.)

Selecting a Program

In order to play the S90 ES youll need to call up one of its programs, i.e., a Voice, Performance, Multi, or Master. These programs can be selected in each Play mode via the same procedure.
Using the [INC/YES], [DEC/NO] buttons and the data dial
The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes (Voice, Performance, Multi, and Master). Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the programs more quickly.
Using the Group, Number buttons
As shown below, you can select a program number by pressing any of the Group [A] - [H] buttons and pressing any of the Number [1] - [16] buttons.
USER 1 USER 2 SLOT 1 SLOT 2 SLOT 3

FAVORITES

A. PIANO

KEYBOARD

GUITAR/ PLUCKED

STRINGS

REED/PIPE

SYN LEAD

COMMON

ELEMENT/PERF. PART/ZONE

The convenient Category Search function (page 32) lets you easily locate and select the Voices or Performance you want by type.
The Voice program numbers and the corresponding Group/Numbers are listed below.

Program Number

n Precautions Using Sliders in the Performance mode In the Performance mode, the Control sliders are assigned according to the specic Parts that are assigned in each Performance. Keep in mind that the Slider number may not correspond to the same numbered Part. For example, when using a Performance (as shown at right) in which two Parts (Part 1 and Part 4) are combined, the sliders are assigned as follows: Slider 1 controls the volume of Part 1. Slider 2 controls the volume of Part 4. Sliders 3 and 4 are not used. n The [MASTER VOLUME] slider adjusts the overall output level of the instrument. The Control sliders, on the other hand, adjust the MIDI volume value for the corresponding element or part.
Moving the sliders directly changes the parameters of the Voice, Performance or Multi. When any of the parameters are changed, the [E] (Edit) Indicator appears in the top left of the display. This indicates that the current Voice, Performance, or Multi has been modied but not yet stored. For details about the Edit indicator, see page 25.

Editing a Voice

Editing a Program
Each Voice can consist of up to four Elements. An Element is made up of a basic waveformthe basic sound of a musical instrumentplus the various synthesizer processing parameters used to enhance, alter or dene the sound, such as pitch, lter, and amplitude controls.
Quick Guide Editing a Program
For example, a piano Voice can be actually made up of several different piano waveforms: one for high notes, one for low notes, and waveforms for when the keyboard is played softly. Combining different elements in a set for playing at same time, or programming them to switch depending on how strongly the keyboard is played helps to create a much more powerful and realistic piano sound.
Creates each Element sound in the Element Edit mode.

Element

Piano wave for high notes

Common Edit Element

Determines the parameters for entire Voice in the Common Edit mode

Piano wave for low notes

Piano Voice
Piano wave for when playing the keyboard is played soltly
A Drum Voice is made up of different Keysor separate percussion/drum sounds that are assigned to individual notes on the keyboard.

Normal Voice Edit

Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited (page 30). Press the [EDIT] button to enter the Voice Edit mode.
Call up the Common Edit display or Element Edit display.
If you wish to edit the sounds that make up a Voice and the basic parameters that determine the soundsuch as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)call up the Element Edit display. If you wish to edit more global parameters related to the overall Voice and how its processedsuch as Arpeggio, Controller, and Effectscall up the Common Edit display.

Press the [EDIT] button to enter the Voice Edit mode.
Call up the Common Edit display or Key Edit display.
If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the soundsuch as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)call up the Key Edit display. Next, press the desired note on the keyboard. To edit more global parameters related to the overall Drum Voice and how its processedsuch as Arpeggio, Controller, and Effectscall up the Common Edit display.
While in the Voice Edit mode, you can switch between the Common Edit display and the Key Edit display as shown below.
DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4
Press the [COMMON] button to call up the Common Edit display. In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. Indicates a Common Edit display.
Calling up the Key Edit display
Press the Number [1] button to call up the Key Edit display, then select the key to which the desired instrument is assigned. Indicates the display for editing the key C0.

Key Edit (1 - 73)

Key 1 Key 5 Key 10 Key 18 Key 21 Key 73
Name the edited Drum Voice.
The main parameters available are basically the same as in the Normal Voice Edit (page 44). What is called Key Edit in the Drum Voice corresponds to Element Edit in the Normal Voice. Please keep in mind that the LFO parameters are not available in the Drum Voice.
Enter a name for the Voice from the NAME display ([COMMON] [F1] GENERAL [SF1] NAME). For detailed instructions on naming a voice, refer to page 27.
Enter the desired Voice name.
Store the settings as a User Drum Voice.
TIP Assigning drum/percussion instruments to individual keys
[VOICE] Drum Voice selection [EDIT] Key selection [F1] OSC [SF1] WAVE
In the Drum Voice Edit mode, you can create your own original drum kits by assigning specic instrument sounds to individual keys in any desired order and edit detailed parameters for each keys sound.
Call up the Key Edit display in the Voice Edit mode. Refer to step 3 on page 47.
Select the desired Waveform to be assigned. Move the cursor to Number and change the value by using the data dial, [INC/YES] button, and [DEC/NO] button. Then, press the same key set in step 3 again to conrm the selected instrument sound.
Call up the [F1] OSC [SF1] WAVE display.

The functions of buttons on the Mackie Control are assigned to the buttons of the S90 ES, with the exception of UserA and UserB (FootSw) which are not supported by the S90 ES.
Pull down the [Setup] menu and select [Control Surface Setup] to call up the Control Surface window. Click the [+] button. Select Mackie Control in the Driver section. In the box for setting Unit and MIDI, select Mackie Control in the Unit section and select the MIDI port in the MIDI section.

Logic Pro 7

When turning on the power of the S90 ES before starting Logic:

SONAR 4

Start Logic on the computer, then turn on the power of the S90 ES. Start Logic on the computer. Logic automatically recognizes the S90 ES as Logic Control and performs the required settings.
Pull down the [Options] menu and select [MIDI Devices] to call up the MIDI Devices window. When setting the Port to 4 for example in step 4 of Setting up for Remote Control add YAMAHA USB IN 0-4 to the Inputs and add YAMAHA USB OUT 0 - 4 to the Outputs. Pull down the [Options] menu and select [Control Surfaces] to call up the Control Surface window. Click the [+] button, select Mackie Control, then set the Input Port to YAMAHA USB IN 0 - 4 and the Output Port to YAMAHA USB OUT 0 - 4 (for example, when setting the Port to 4 in step 4 of Setting up for Remote Control).
When starting Logic before turning on the power of the S90 ES:
Start Logic on the computer, then turn the power to the S90 ES on. If you have already set the software to be controlled to Logic in the Utility mode, you need not perform step 2 because Logic automatically recognizes the S90 ES when this step is performed. Set the software to be controlled to Logic in the Utility mode, then enter the Remote Control mode. Logic automatically recognizes the S90 ES and performs the required settings.
Using the Remote Control functions
To enter the Remote Control mode, press the [REMOTE] button (the lamp flashes).
The REMOTE display appears, and the panel controls are enabled for Remote operation of the computer software (their normal functions are disabled).
Press this button again to exit from the Remote Control mode.
Select the software to be remote-controlled (Mode A or Mode B).
Change the Mode by simultaneously holding down the [F6] SHIFT button and pressing the [REMOTE] button.

SEND EFFECT mode [SENDS]/MASTER EFFECT mode [MASTER] (Global mode only) Knob 1 Knob 2 Knobs 1 - 8 Changes the Slot Number (on page 1 only). Turns the Effects on or off (on page 1 only). Edits each of the parameters (on page 2 and later).
INSTRUMENT mode [INSTRUMENTS] (Global mode only) Knob 1 Knob 2 Knobs 1 - 8 Changes the Slot Number (on page 1 only). Turns the software tone generator on or off (on page 1 only). Edits each of the parameters (on page 2 and later).
Parameters to be edited differ depending on the assigned Effect and Software Tone Generator. Additional operations other than those listed above are available. For details, refer to the relevant documentation of Mackie Control. When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. [M1]+[RWD] [MARKER] [RWD]
When controlling SONAR 4:

[M1]+[FF]

[STOP]
PLUG-INS PAN EQ DYN DIAL RESET BANK-L KN1-4/5-8 M1

SENDS TRACKS

[PLAY] [REC] [ZOOM]

KN1-4/5-8 M1

[SCRUB]

[JOG PRM]

TRACKS/DIALOG/WINDOW

OK/ENTER NEW AUDIO

CANCEL
NEXT WINDOW CLOSE WINDOW FIT PROJECT

NEW MIDI

FIT TRACK
TRACK mode [TRACKS] (Track Parameter mode) [TRACKS] [TRACKS] (Selected Channel mode) Knobs 1 - 8 (turning) For editing parameters. (The LCD indication may not be updated.) Resets the parameter value to its default.

TRACK SAVE UNDO

AUX REDO

Knobs 1 - 8 (pressing)

PAN mode [PAN] [PAN] [PAN] (Selected Channel mode of PAN/SURROUND) Knobs 1 - 8 (turning) For editing parameters. Resets the parameter value to its default. Knobs 1 - 8 (pressing)
SEND mode [SENDS] [SENDS] [SENDS] (Selected Channel mode)
JOG PRM MAKER LOOP ON/OFF LOOP SELECT HOME DIAL RESET PUNCH KN1-4/5-8 M1
Knobs 1 - 8 (turning) Knobs 1 - 8 (pressing)
For editing parameters. Resets the parameter value to its default.
PLUG-IN mode [PLUG-IN] [PLUG-IN] [PLUG-IN] (Selected Channel mode)
[M1]+[CHANNEL </>] Knobs 1 - 8 (turning) Knobs 1 - 8 (pressing)
Changes the Plug-in number when the [EDIT] is turned on. For editing parameters. Resets the parameter value to its default.

Refer to the relevant documentation for the mLAN16E.
Connect the computer to the S90 ES using an IEEE1394 cable (page 64).
mLAN Audio/MIDI signal routing
Connecting mLAN16E-equipped mLAN devices allows for data transmission of up to eight audio input channels (four stereo channels) and sixteen output channels, as well as four MIDI in/out ports. Try setting up your own mLAN system, referring to the illustration below.
Computer or mLAN device mLAN output channels 15 and 16

mLAN output port 1 4

mLAN input port 1 4

Powered speakers

mLAN16E Monitor Switch

2 Audio output

channels (as 1 14)

3 OUTPUT L/R

jack(L&R)

4 Audio input Parts

of Performance/ Multi

1 MIDI

The MIDI settings are the same as those for connecting the USB cable.
2 Audio output channels 1 - 14 (as1 - 14)
When selecting a Drum Voice, Performance or Multi, each Drum key or Part can be output from a specic mLAN audio output (channels 1 - 14). For details about the output settings, refer to Connecting to a Mixer on page 63.
3 OUTPUT L and R jacks (L&R)
The signals from the OUTPUT L and R jacks (when playing the keyboard using a Normal Voice) are sent from mLAN output channels 15 and 16.
4 Audio input Parts of the Performance and Multi
You can also use the audio from mLAN input channels 1 - 8 as the Audio Input Part(s). Refer to the Using the microphone and audio device sounds on page 38 and the Audio Input Part (AUDIO IN) on page 118.

5 mLAN Monitor Switch

To monitor the sounds from mLAN output channels 1 - 14 and mLAN input channels 1 - 8 (through the OUTPUT L and R jacks on the rear panel), set the following parameter set to on.
[UTILITY] [F2] I/O [SF2] OUTPUT mLANMonitorSw (mLAN Monitor Switch) = on
mLAN output channels port 1 4
mLAN input cannels (Stereo 4 channels)
Creating Your Original Program Set (Master mode)
The Master mode is the highest mode in the S90 ES hierarchy, letting you instantly switch between programs you've created in the Voice, Performance and Multi modes. Use the Master mode in one of the following ways

[SF5] OTHER [F2] OUTPUT

Same as in Normal Voice Common Edit. See page 129. In addition, the following two parameters are also available. InsRevSend (Insertion Reverb Send) Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb effect.
InsChoSend (Insertion Chorus Send)
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus effect.
The parameters cannot be set indepently for each Drum key. For Normal Voices, the values are xed at 127 (maximum).
[F3] ARP (Arpeggio) [SF1] TYPE [SF2] LIMIT [SF3] PLAY FX [F4] CTL SET (Controller Set)
Same as in Normal Voice Common Edit. See page 131. Please note that the Element Switch parameter is not available in Drum Voice Common edit. Same as in Normal Voice Common Edit. See page 129.
Same as in Normal Voice Common Edit. See page 133. The only difference here is that KEY: OUT appears in the [SF1] CONNECT display instead of EL: OUT (in Normal Common Effect).

Key Edit

[VOICE] Drum Voice selection [EDIT] Key selection
These parameters are for editing the individual keys that make up a Drum Voice.
Type From this display you can select the desired wave or Normal voice used for the individual Drum key. Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and Category parameters below to specify the desired Wave or Normal voice.
Settings: pre wav (Preset wave), voice n When the Type is set to voice here, some parameters in the Drum Voice Edit mode cannot be edited.
ElementSw (Element Switch)
This parameter is available when Type (above) is set to pre wav. This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.

Settings: on, off

This parameter is available when Type (above) is set to voice. Any of the Normal voice banks can be selected.
n Plug-in voices cannot be selected for Drum keys.
Determines the Wave/Voice number. The number differs depending on the selected Type. For details about available Waves and Voices, refer to the separate Data List booklet.
Settings: When Type is set to pre wav: 001 ~ 1935 When Type is set to voice: 001 ~ 128

Category

Determines the Category of the Wave/Normal Voice. If you switch to another Category, the rst Wave/Normal Voice in that Category will be selected.

RB (Ribbon Controller)

AS1 (Assign 1), AS2 (Assign 2) FC1 (Foot Controller 1), FC2 (Foot Controller 2)
Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the S90 ES itself depend on the settings of the Voices assigned to each Part.

[F5] AUDIO IN

The audio signal input from the A/D INPUT jack, and mLAN connector (when the optional mLAN16E has been installed to this synthesizer), can be handled as Audio Input Parts. You can apply various parameters such as Effect settings to these Parts, just as with the other Parts.
n For details about the Audio Input Parts, see page 118.

[SF1] OUTPUT

Volume Determines the output level of the Audio Input Part.
Determines the stereo pan position of the Audio Input Part.

RevSend

Determines the Send level of the Audio Input Part signal sent to the Reverb effect.

DryLevel

Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb, Chorus).
For details about Effect connection in the Performance mode, see page 122.

Mono/Stereo

Determines the signal conguration for the Audio Input Part, or how the signal or signals are routed (stereo or mono).
Settings: stereo, L mono, R mono, L+R mono stereo.. Both the L and R channels of the audio input are used. L (left) mono. Only the L channel of the audio input is used. R (right) mono. Only the R channel of the audio input is used. L+R mono. The L and R channels of the audio input are mixed and processed in mono.
Determines the output jack assignment for the Audio Input Part.

Settings: See page 63.

ChoSend
Determines the Send level of the Audio Input Part signal sent to the Chorus effect.

Part Edit

[SF2] INS TYPE (Insertion Type)
InsEF Connect (Insertion Effect Connection) InsA Ctgry (Insertion A Category) InsA Type (Insertion A Type) InsB Ctgry (Insertion B Category) InsB Type (Insertion B Type)
This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT [SF2] INS SW display. The type and connection of the Insertion Effect applied to the A/D Part can be set from this display. Same as in the CONNECT display in the Voice Edit mode ([VOICE] [EDIT] [COMMON] [F6] EFFECT [SF1] CONNECT). Please note that the InsEF Connect cannot be set to parallel here.

[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to on, the corresponding Part responds to the appropriate MIDI data. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. Display showing four Parts Display showing all parameters for one Part Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
Settings: See below. Parameters marked with an asterisk (*) are not available for the Plug-in Part.
CtrlChange (Control Change) PB (Pitch Bend) MW (Modulation Wheel) RB (Ribbon Controller)* ChAT (Channel After Touch) FC1 (Foot Controller 1)* FC2 (Foot Controller 2)* Sus (Sustain) FS (Footswitch)*
Indicates all the Control Change messages. MIDI messages generated by using the Pitch Bend Wheel. MIDI messages generated by using the Modulation Wheel. MIDI messages generated by using the Ribbon Controller. MIDI messages generated by pressing and holding the note on the keyboard. MIDI messages generated by using the optional Foot Controller connected to the rear panel.
Performance mode Multi Voice mode Multi mode Voice mode
MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel. MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel. MIDI messages generated by using the ASSIGN1 and ASSIGN2 Control sliders with both the [PAN/SEND] and [TONE] lamps turned on. MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear panel. MIDI messages generated by using the optional Foot Controller connected to the rear panel.
AS1 (Assign1)*, AS2 (Assign2)*

BC (Breath Controller)*

Exp (Expression)

Performance Job mode

[PERFORM] Performance selection [JOB]
The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
n Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on very useful when creating a completely new Performance from scratch. Type of parameter to be initialized All: All data in the Performance Common: Data in the Common Edit mode Part 1-4: Data of the Part Edit parameters of the corresponding internal Part PLG 1-3: Data of the Part Edit parameters of the corresponding Plug-in Part Audio 1-5: Data of the Part Edit parameters of the corresponding Audio Part

If data is already saved to the USB storage device, be careful not to format it. If you format the USB storage device, all previously recorded data will be deleted.
To return to the next highest level, press the [EXIT] button. To call up the contents of a desired folder, highlight the folder and press the [ENTER] button.
Connect a USB storage device to the USB TO DEVICE connector.
If necessary, insert the proper media into the slot of the USB storage device.
Press the [FILE] mode to enter the File mode. Press the [F1] CONFIG button, then the [SF2] FORMAT button to call up the Format display.
Select the slot and partition to be formatted.
Specify the slot number at the right top of the display as necessary and select the partition to be formatted at the Type value location in the second line of the display.

Set the Volume Label.

Move the cursor to the Volume Label and input a Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section.
Press the [ENTER] button. (The display prompts you for conrmation.)
Press the [DEC/NO] button to cancel the Format operation.
Press the [INC/YES] button to execute the Format.
After formatting has been completed, a Completed message appears and operation returns to the original display.
While formatting is in process, make sure to follow these precautions: Never remove or eject the media from the USB storage device. Never unplug or disconnect any of the devices. Never turn off the power of the S90 ES or the relevant devices. n By executing the Format operation in the File mode, the USB storage device will be formatted to MS-DOS or Windows format. The formatted USB storage device may not be compatible with other devices such as a Macintosh computer or a digital camera.
File types that can be handled by the S90 ES
File types that can be saved from the instrument to the USB storage device [FILE] [F2] SAVE TYPE
TYPE All All Voice Chain Plugin All Bulk 1-3 File extension *.S7A *.S7V *.S7C *.W2B Description All data in this synthesizers internal User Memory is treated as a single le, and can be saved. All the User Voice data in this synthesizers internal User Memory is treated as a single le, and can be saved. The Chain data in the Sequence Play mode can be saved. All the data of a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and the Board related settings in the Utility mode) is treated as a single le, and can be saved. The numbers 1, 2, and 3 correspond to the Plug-in slots. All the User Voice data stored to User Banks is handled as a single le and saved. The saved le can be loaded to the Voice Editor software (page 77) on your computer.

S90 voice parameter Board voice Board preset voice Save Board custom voice Bulk send/ edit
Computer (Voice Editor in CD-ROM supplied with the Plug-in board)
[F4] Voice Play Portamento From this display you can select monophonic or polyphonic playback and set the Portamento parameters (Voice Edit Common [F1] [SF4] Ref. #7, 8, 10, 11). [F5] Voice Play EG (Envelope Generator) This display contains the basic EG settings, both volume and lter, for the voice, as well as the lters cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Edit mode (pages 65, 66).

Cannot be edited

n Depending on the particular Plug-in board you are using, some of the parameters may not be available. For details, refer to the relevant owners manual of the Plug-in board. n For details on the current lineup of available Plugin boards, see page 21.
The full names of the available parameters are shown in the chart below, as they appear in the display.
ATK AEG FEG Attack time DCY Decay time SUS Sustain level --REL Release Time DEPTH --Depth CUTOFF --Cutoff frequency RESO --Resonance
In the Performance mode, you can select and play individual User performances.
n For details about the performances and their memory (bank) structure, see page 26.

Selecting a Performance

Performances in each Bank are divided into Groups A~H. Select the desired Group, and all the Performances of that Group are shown in the display.

MASTER A B C D E F G H

When the Performance Play mode is active, the currently selected performance is shown in huge letters so you can easily check which performance youre about to play.
n All performances are stored to a single bank, so you need not select a bank here.

Playing Performances

1 Enter the Performance Play mode.
2 Select a Performance Group.
3 Select a Performance number.

To solo part

NUMBER
Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [4] to solo the corresponding part. Once youve selected a part for soloing, the [MUTE] buttons lamp ashes, indicating the Solo function is active. While Solo is active, you can change the soloed track simply by pressing the corresponding NUMBER button [1] to [4]. To exit from the Solo function, press the [MUTE] button again.

4 Play the keyboard.

n The Category Search function (page 38) can be used also in the Performance Play mode in the same way as in the Voice Play mode. n The MIDI transmit channel can be set in the same way as in the Voice mode.
Layering Voices (Parts) Together (Layer) Splitting the Keyboard (Split)
Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3. You can create a performance by layering several voices together, and/or by assigning different voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited performances (page 73) to internal User memory (page 28).

n The particular part(s) can be switched on/off temporarily (Mute) (page 76). n For details about MIDI channels, see page 118.
Song File Mixing Piano Bass
Transmit Ch.1 Transmit Ch.2
To edit parameters of the individual parts, select the desired part with the corresponding NUMBER button ([1] - [16]). You can select parts for the Plugin board by using the [F6] button (as shown below).

Track 1 Track 2

Part 1 Part 2 Part 10
Piano Voice Receive Ch.1 Bass Voice Receive Ch.2 Drum Voice

Receive Ch.10

Track 10 Drums Transmit Ch.10
[F6] Single Part Plug-in Parts 1~3 (When the Single Part Plug-in board has been installed)

Tone generator

Computer (sequencer software)
n You can use the included sequencer software (Windows only; see the attached Installation Guide) to play multiple Parts on the S90. Before doing that, however, make sure that all connections between the computer and the S90 have been properly made (page 17).
n Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual template but to all Mixings.
5 Select the menu you wish to edit by pressing the [F1] - [F5] buttons and edit parameters in each display. 6 Save (put) the settings edited in step 5 to the Mix Template as required. 7 Press the [EXIT] button to exit from the Mixing mode and return to the CHAIN display. For details about each parameter, see the Reference section (page 98). In the following section, well show you how to get started with Mixing Edit.
n Before entering the Mixing Edit mode, you need to select a Mixing Template for editing (page 79). n You can initialize the Mixing settings, if necessary (page 70).
Here, well select Part 1 for the piano, Part 2 for bass and Part 10 for drums. First, lets select Part 1.
3 Press [F1] [SF1] to switch to the VOICE screen, then specify the Voice to be used as the piano Part.
8 Press the [F1] [SF3] to call up the NoteLimit (Note Limit) and VelLimit (Velocity Limit) settings, and check whether or not the Part of each Voice is set appropriately in other words, make sure that the Note or Velocity settings do not prevent the Voice from being played normally. Except in special cases, you should generally avoid setting limits on the note and velocity ranges, in order to ensure that notes are sounded properly and are not cut off.

.W4A/.W4V

Performance.W4A

Plugin All Bulk1,2,3

Usr ARP Chain (Sequence chain) Voice Editor
File types that can be loaded from the Memory Card to the S90 when turning the power on (Auto Load le) Among the le types described on page 83, All, Plugin All Bulk 1, Plugin All Bulk 2 and Plugin All Bulk 3 can be loaded from the Memory Card to the S90s User Memory automatically when turning the power on.
Data will be loaded automatically and any existing data in memory will be overwritten, therefore, you should save important data to Memory Card beforehand.
8 Turn the power on. The S90 searches the specied folder for the auto-load les (the les you named and saved in step 1), and automatically loads them to User memory.
n Any les in the folder registered in step 4 that do not have appropriate auto-load names are ignored.
File names Files are named according to the MS-DOS naming convention. If the le name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by _ (underscore) characters when saving. For specic instructions on naming les, see page 34.
1 Name the les you wish to have load automatically when the power is turned on as described below, and save them together in a single folder.
File type All Plugin All Bulk 1 (for slot 1) Plugin All Bulk 2 (for slot 2) Plugin All Bulk 3 (for slot 3) File name AUTOLOAD.W4A AUTOLD1.W2B AUTOLD2.W2B AUTOLD3.W2B
[F1] Formatting Memory Cards (FORMAT)
The explanations here apply to step 2 of the Basic Procedure on page 83. Before you can use a new Memory Card with the S90, you will need to format it. Use this operation to format the memory card and assign a Volume Label to it.
n After youve nished naming the appropriate les, keep the corresponding folder selected in the display and go to step 2.
2 Press the [UTILITY] button to enter the Utility mode. 3 Press the [F1] button, then press the [SF4] button to show the Auto Load le display. 4 Set Auto Load to on, and press the [SF5] button.
While formatting is in progress, do not eject the Memory Card or turn off the power to the S90. If data is already saved on the memory card, be careful not to format it. If you format the memory card, all the previously recorded data will be deleted.
Press the [SF5] button to register the folder selected in step #1 (the folder containing the desired les for auto loading).
1 Name the Volume Label. For instructions on naming, see page 34 in the Basic Operations section. 2 Press the [ENTER] button. (The display prompts you for conrmation.)

n To cancel the Format operation, press the [DEC/NO] button.
5 To apply the newly made parameter settings, exit from the Utility mode.
6 Turn the power off. 7 Before turning the power on next time, make sure that the appropriate data is available to the S90. In other words, make sure Memory Card specied in step 1 is properly inserted.
3 Press the [INC/YES] button to execute the Format operation. After formatting has been completed, a Completed message appears and operation returns to the original display.
This operation lets you save les to a Memory Card. The explanations here apply to step 2 of the Basic Procedure on page 83. 1 Select the le type to be saved in the Save display (page 83).
This operation lets you load les from a memory card to the S90. The explanations here apply to step 2 of the Basic Procedure on page 83. 1 Select a le type (page 83) and a le to be loaded. When the le type is set to All, All Voice, Plugin All Bank 1~3, Usr ARP, Chain or Voice Editor, go to step 3. For any other le types, go to step 2.
n When All is selected as a le type to be loaded, without System appears in the display. If this box is checked and the Load is executed, all data with the exception of the system settings in the Utility mode are loaded.
If you wish to create a new folder, press the [SF6] button to name a new folder. For instructions on naming, see page 34 in the Basic Operations section.
While the data is being saved, do not eject the Memory Card or turn off the power of the S90.
3 Press the [ENTER] button to execute the Save operation. If you are about to overwrite an existing le, the display prompts you for conrmation. Press the [INC/YES] button to execute the Save operation, or press the [DEC/NO] button to cancel it. After the data has been saved, a Completed message appears and operation returns to the original display.
This is an virtual folder, shown in the display to contain the le(s) youll be loading.
Specify the destination location in the User memory of the S90.
Select a voice number to be loaded.
When the le (data) type is set to Performance, an virtual le appears just as with Voice above. Select the imaginary le and press the [ENTER] button to call up the list of Performance. Then select the desired Performance and specify the destination User memory location.
2 If you wish to overwrite the existing le, move the cursor to the desired le to which the data is saved by using the Cursor buttons or the data dial.
2 Specify the data to be loaded and the destination location in the User memory of the S90. When the le (data) type is set to Voice, for example, follow the instructions as shown below.

Gain (FILTER)..F3 Gain (Type=P.EQ)..F6 GateTimeRate..F3 GM/XG..F6

UnitMultiply.. F3

H.Freq/Gain..F6 Hold (ARP)..F3 Hold (LFO)..F5 HPFCutoff..F3 HPFKeyFlw..F3
Variation to Chorus/Reverb.. F6 Variation Type/Return/Pan.. F6 VarSend... F2 VelCrossFade.. F1 VelCurve.. F1 VelMode.. F3 VelocityDepth.. F1 VelocityLimit (ARP). F3 VelocityLimit (L/H).. F1 VelocityOffset.. F1 VelocityRate.. F3 VoiceELPan.. F2 Volume..F1/F2/SF4
Ins1 Ctgry/Type...F6 Ins2 Ctgry/Type...F6 InsChoSend..F2 InsEF...F3 InsEF Connect..F6 InsEffect(Eff)Out..F1 InsRevSend..F2
Delay (KeyOn Delay).. F5 Depth (CTL SET).. F4 Depth (FEG).. F3 Depth (LFO)... F5 Depth (PEG).. F2 Dest (CTL ASN).. F4 Dest (CTL SET)... F4 Dest (LFO).. F5 Detune.. F4 DEV NO... F6 DeviceNo.. F5 Distance.. F3 DryLevel.. F2
Wave... F5 WaveNo.. F1 Width.. F3
KBDTransCh...F5 KeyAsgnMode..F1 KeyMode...F3 KeyOnDelay (LFO).F5 KeyOnDelay (OSC).F1 KeyOnReset..F5

Q (Type=P.EQ)..F6

Random...F2 RandomPan..F4 RcvBulk...F5 RcvNoteOff..F1 ReceiveCh..F1 Resonance..F3/F4 Resonance (VEL SENS)..F3 Reverb Pan..F6 Reverb Return..F6 Reverb Send...F6 Reverb Type...F6 RevSend..F1/F2
L&RGain..F2 L.Freq/Gain..F6 Level...F4 LEVEL (AEG)..F4 LEVEL (FEG)..F3 LEVEL (PEG)...F2 Level (VEL SENS)..F4 LevelSens..F4
EF BYPS.. F1 EFF PARTPLG-EF.. F6 EFF PARTVCE INS.. F6
Effect Parameters..F6 EGLevel (AMP)..F4 EGLevel (FILTER)..F3 EGLevel (PITCH)..F2 EGTime (AMP)..F4 EGTime (FILTER)..F3 EGTime (PITCH)..F2 EGTimeSens (AMP)..F4 EGTimeSens (FILTER).F3 EGTimeSens (PITCH)..F2 EL: OUT 1-4/KEY: OUT..F6 ElementSw (CTL SET).F4 ElementSw (LFO)..F5 ElementSw (OSC)..F1
LocalCtrl..F5 LPFCutoff..F3 LPFCutoff (VEL SENS).F3 LPFReso..F3
ScalingPan.. F4 Segment (AEG)... F4 Segment (FEG).. F3 Segment (PEG).. F2 SeqCtrl.. F5 Set Remote Template Type.. F4 SHAPE/FREQ/GAIN/Q. F2/F3 Slider.. F2 Source.. F4 Speed... F5 SubCtgry... F1 Switch (ArpSwitch). F3 Switch (PORTA)... F1 Switch/Hold (ARP). F4
M.TuningNo...F1 MainCtgry..F1 MEQ OFFSET..F1 Mic/Line...F2 MIDI IN/OUT...F5 MIDI Sync..F5 MIDISwitch..F1 Mode (PORTA)..F1 Mono/Poly..F1

Parameter/Function List

Reference (Function List)
This list clearly and concisely explains the function of every parameter. Following the table are various footnotes, providing further details and explanations for those items marked with an asterisk (*). The Related Page column also provides cross-references for operation examples, other details and relevant parameters. The Reference Numbers in the manual correspond to the relevant items in the Function Tree (page 88) and the Parameter Table (page 92). By checking the Reference Numbers, you can quickly and easily nd the corresponding function and parameter in the charts.

108 109

EGTimeSens CenterKey
(Scaling) BREAKPOINT (Scaling) OFFSET LPFCutoff LPFReso LPFCutoff (VEL SENS)

113 114

Low Pass Filter Resonance Determines the amount of lter resonance or emphasis of the Cutoff Frequency. Low Pass Filter Cutoff Velocity Sensitivity
Determines the sensitivity of the low pass lter cutoff frequency to velocity.

*42 *41

*27 *26 *27
*12 *28 *12 *43 *45 *43 **17 63

Ref. # 121 122

OutputSel (InsEF) ElementSw Source Dest Depth Filter PMod
Parameter Name Output Select Insertion Effect Controller Set 1-6 Element Switch Controller Set 1-6 Source Controller Set 1-6 Destination Controller Set 1-6 Depth MW/AT(CAT)/AC(AC1) Filter Control MW/AT(CAT)/AC(AC1) LFO Pitch Modulation Depth MW/AT(CAT)/AC(AC1) LFO Filter Modulation Depth MW/AT(CAT)/AC(AC1) LFO Amplitude Modulation Depth AT (CAT) Pitch Control AC Source (AC1 Control Number) Arpeggio Switch/Hold Control Number Assignable A/B Slider Control Number Assignable A/B Slider Destination FS Control Number/ FS Function Assignment Set Remote Mode Template Type Bank Select MSB/LSB Program Change (Program Number 1-128) Control Slider Control Number Element Level
Determines the specic output(s) for the individual part (Performance/Mixing Part Edit). Determines the specic output(s) for the individual Drum key signal (Drum Key Edit). Indicates whether the Insertion effect is applied or not for each part. This is for display purposes only and cannot be set here. Determines whether or not the selected controller affects each individual element. -.disabled. Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below. Determines the parameter that is controlled by the Source controller (above). Determines the degree to which the Source controller affects the Destination parameter. Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) over the lter cutoff frequency. Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over pitch modulation (vibrato effect). Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over lter cutoff modulation (wah effect). Determines the depth of control of the Modulation Wheel ([SF2])/Aftertouch ([SF3])/Assignable Controller ([SF4]) has over amplitude modulation (tremolo effect). Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves. Determines the MIDI Control number used to control the lter, PMod, FMod, and Amod. Determines the Control Number that controls the Arpeggio playback on/off and Arpeggio Hold on/off. Determines the Control number to be controlled by the ASSIGN A/B sliders. This is available when controlling an external MIDI device. Determines the function to be controlled by the Control Change number set above. See the separate Data List. Assign a specic function and control number to the Footswitch. Select the template for your particular sequence software. Select the Voice for each zone by specifying these three MIDI messages. Refer to the Voice List in the separate Data List.

The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.
*29 When user arpeggio is selected, you can clear the selected arpeggio data by using the [SF5] button.
Plays back notes in ascending order from the lowest key pressed to the highest.
*30 You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO ON/OFF] button (Voice Edit). Arpeggio Switch is not available for the Multi Plug-in Parts 17-32.
Plays back notes in the order in which the keys are pressed.

direct

*36 You can also create a lower and an upper trigger range for the Arpeggio, with a hole in the middle, by specifying the highest note rst. For example, setting a Note Limit of C5C4 lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.
*41 This parameters function varies according to the selected Filter Type. If the selected lter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band.
*42 This parameter is available for the LPF when the lter used by the part is a combination type of LPF and HPF (Performance/Mixing Part Edit).
Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data,they will be applied and reproduced whenever the Arpeggio plays back.
*37 The Velocity/Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum.
*33 With the sort and thru settings, the order in which notes are played back will depend on the Arpeggio sequence data.
*38 The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum.
*43 Filter Scaling Settings The best way to understand Filter Scaling is by example. For the settings shown in the example table below, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specic changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown.
1 BREAKPOINT OFFSET C#1 -D#2 +10
*44 Amplitude Scaling Settings The best way to understand Amplitude Scaling is by example. For the settings shown in the example table below, the basic Amplitude (volume) value for the selected element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specic changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown.

P.EQ (Parametric EQ)
The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different Q settings, which determine the frequency band width of the equalizer.

MIDI Out MIDI In

The ReceiveCh parameter in Sequence Play mode is set in the Mixing Part Edit ([F1] [SF2]).

Frequency Gain

MIDI IN/OUT=USB
The BasicRcvCh parameter in Voice/ Performance Play mode is set in the Utility mode ([F5] [SF1]).

KBD To USB From USB

Thru Port Local Sw
Freq Q (Frequency Characteristic)
Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/ Boost18 (Boost 18dB)
*64 Even if the LocalCtrl is set to off, the data will be transmitted through the MIDI OUT terminal. Also, the tone generator section will respond to messages received via MIDI IN. *68

External MIDI Device

MIDI OUT MIDI IN MIDI IN MIDI OUT
These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively.
If you select this, the equalizers are bypassed and the entire signal is unaffected.
The para (parallel) parameter is not available for the Plug-in voice.

Local Off

*69 EQ (Equalizer)
EQ L/H (Low/High), Plug-in Element EQ
In the Master mode, you can select whether or not to transmit MIDI messages for each zone (Master Edit [F1] TGSwitch).
This is a shelving equalizer, which combines separate high and low frequency bands.

Gain +

*66 Sequencer Control
off.Not transmitted/recognized. in.Recognized but not transmitted. out.Transmitted but not recognized. in/out.Transmitted/recognized.

0 Frequency

Low Gain Low Freq High Freq

High Gain

Information Displays
The convenient Information displays let you see at-aglance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button).

Performance mode

Voice mode
Bank Indicates the Bank (MSB/LSB) of the currently selected Performance. 1 (Plug-in board 1), 2 (Plug-in board 2), 3 (Plug-in board 3) Indicates the installation status of the respective Plugin board. The Plug-in board name is displayed at the right of the corresponding slot number. When PolyExpand (Ref. #206) is set to on in the Utility mode, P is indicated at the left of the slot number. InsPart (Insertion part), PLG (Plug-in Insertion part) Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed). Rev (Reverb), Cho (Chorus), Var (Variation) Indicates the currently selected effect type for each effect block (page 67).

Hold1 (Control #064)

Messages which control sustain on/off. Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off.
Portamento Switch (Control #065)
Messages which control portamento on/off. Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off.

About MIDI 119

Modulation (Control #001)
n When only the Program Change is received after entering any of the mode, the corresponding voice in the currently selected Type/Memory is called up.

Sostenuto (Control #066)

Messages which control sostenuto on/off. Holding specic notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Setting the value between 64 -127 turns the sostenuto on, between 0 - 63 turns the sostenuto off.
Data Increment (Control #096) Decrement (Control #097) for RPN
Messages which increase or decrease the MSB value of pitch bend sensitivity, ne tune, or coarse tune in steps of 1. You are required to assign one of those parameters using the RPN in the external device in advance. The data byte is ignored. When the maximum value or minimum value is reached, the value will not be incremented or decremented further. (Incrementing the ne tune will not cause the coarse tune to be incremented.)
Harmonic Content (Control #071)
Messages which adjust the lter resonance set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Higher values will result in a more characteristic, resonant sound. Depending on the voice, the effective range may be narrower than the range available for adjustment.
NRPN (Non-Registered Parameter Number) LSB (Control #098) (Plug-in Board only) NRPN (Non-Registered Parameter Number) MSB (Control #099) (Plug-in Board only)
Messages which adjust a voices vibrato, lter, EG, drum setup or other parameter settings. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry (page 119) to set the value of the specied parameter. Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPNs value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. For details, refer to the owners manual of the relevant Plug-in Board.

Keep the removed screw in a safe place. It will be used when attaching the cover to the S90 again.
4 Insert the board along the guide rails, with the connector side face up and toward you.
n The Vocal Harmony Plug-in board (PLG100-VH) can installed only to slot 1. n The Multi part Plug-in board (PLG-100XG) can installed only to slot 3. n The Single part Plug-in board can installed to any of three slots.
Securely insert the board into the appropriate slot, taking care that the board isnt jammed between slots.
124 Installing Optional Hardware
9 Check that the installed Plug-in board is functioning properly. Turn on the power.
If an error message appears, the S90 freezes after a while, indicating that the installation was not successful. If this happens, turn off the power and carefully go through the installation procedure again.
In this example, a Plug-in board has been installed to slot 1. Plug-in Connector Press the connectors together until the two notches lock into the sockets.

Connector from S90

Plug-in board
7 Carefully put the ribbon cable back into the S90, making sure that no part of the cable sticks out of the instrument.
Installing Optional Hardware 125
6 Bring the cable end around and connect it to the board. Make sure to connect the proper cable, matching the color of the cable to the slot used. Also, take care not to pull on the cable too forcefully as you connect it to the board.

Slot Indicator lamps

A message appears indicating that the installed Plug-in Board is being checked. The main display then appears and the corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed.
5 Insert the Plug-in board into the expansion bay, slowly pushing it all the way in until it ts in place.
8 Replace the cover with the screw you removed in step 2 above. Replacing the cover also serves to securely hold the Plug-in board(s) in place.
Optional mLAN8E Installation
With the mLAN8E board, you can conveniently and easily hook up your S90 to other mLAN-compatible instruments or devices.
4 Remove the three screws from the rear cover while holding it from inside the S90 with your left hand.

128 Troubleshooting

Sound level is too low.
Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)? (Page 18) Is the cutoff frequency of the lters set too high/low? (Ref. #92, #96)
Basics Section Appendix Reference Quick Guide

Sound is cut off.

Are you exceeding the maximum polyphony of the S90? (Page 22)
Pitch or intervals are wrong.
Is the Master Tune parameter in the Utility mode set at a value other than 0? (Ref. #216) Is the Note Shift parameter in the Utility mode set at a value other than 0? (Ref. #41) When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter in the Voice Edit mode? (Ref. #5) When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high? (Ref. #172) When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than 0? (Ref. #41) When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than 0? (Ref. #153)
Only one note sounds at a time.
Is the Mono/Poly parameter in the Voice mode set to mono? (Ref. #3)

No effect is applied.

Is the [EFFECT BYPASS] button turned off? (Page 12) Have any or all of the elements Effect Output parameter been set to thru? (Ref. #190) Have any or all of the effect types been set to thru or off (in the Effect display of the Voice Edit mode)? (Ref. #192-#194)
An inappropriate or unexpected value results when using the keyboard and the [INFORMATION] button to change a setting.
Has the Transpose parameter in Utility mode been set to a value other than 0? ([F1] [SF2] Ref. #18)

Song cannot be started.

Does the selected song contain data? (Page 75) Is the Remote Control turned on? (Page 12) Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode? (Ref. #185) Has the appropriate Play directory (for Sequence playback) been selected? (Page 75)

Troubleshooting 129

M.TuningNo... 98 Main Category (Voice/Performance).. 98 Main Volume (Control #007).. 119 MainCtgry... 98 Master Edit Mode (Function Tree)..91 Master EQ Offset...98 Master EQ Shape.. 100 Master Equalizer.. 67 Master Mode... 48 Master mode... 115 Master Octave Shift... 98 Master Play Mode (Function Tree).. 91 Master program... 49 Master Transpose... 98 Master Tune... 107 Master Volume.. 122 [MASTER VOLUME] slider.. 12 Maximum Polyphony.. 22 Memorize to a Master.. 50 Memory Card... 28, 82 MEQ OFFSET... 98 Mic/Line.. 100 Micro Tuning.. 98 microphone... 15 MIDI... 118 MIDI channels... 118 MIDI IN/OUT... 106 MIDI IN/OUT/THRU terminals. 13 MIDI OUT... 106 MIDI Switch... 99 MIDI Sync... 106 MIDI Thru.. 18 MIDISwitch... 99 Mix Template.. 75 mixer... 15 Mixer (Sequence Play).. 77 Mixing Edit mode... 79 Mixing mode... 77
KBDTransCh.. 105 KEY Insertion Effect Out... 106 Key On Delay.. 99 Key On Reset.. 105 Key On/Key Off... 119 KEY: OUT... 106 KeyAsgnMode (AssignMode). 98 Keyboard Transmit Channel (Voice/Performance Mode).. 105 KeyMode.. 101 (KeyOn)Delay... 105 KeyOnDelay... 99 KeyOnReset.. 105

Index 133

Element Switch (Voice Element).. 62 ElementSw.. 99, 103, 105 [ENTER] button.. 12 Entering Characters... 34 Envelope Generator (Voice Play).. 40 EQ (Equalizer) (Voice Element). 66 EQ High Frequency.. 107 EQ High Gain... 107 EQ Low Frequency... 107 EQ Low Gain.. 107 EQ Resonance... 107 EQ Type... 107 Equalizer (Voice Element)... 66 [EXIT] button... 12 Expression (Control #011).. 119 extensions.. 27 external MIDI interface.. 18
GAIN.. 15, 100 Gain... 100, 102, 107 [GAIN] knob... 13 GateTimeRate...101 GENERAL (Voice Common).. 62 General MIDI (GM) System On.. 122 GM System... 122 GM Voices.. 27 GM/XG... 107 GROUP [A] - [H] buttons.. 12
L&RGain.. 100 L.Freq (Type=EQ L/H).. 107 Layer (Master mode)... 49 Layer (Performance Play mode).. 42 LCD (Liquid Crystal Display).. 12 LCD Contrast control.. 12 LEVEL.. 100, 102, 104 Level.. 100, 102, 103, 104 Level (VEL SENS).. 104 Level Velocity Sensitivity.. 104 LevelSens... 104 LFO... 66 LFO (Key On) Delay Time.. 105 LFO (Voice Common).. 62 LFO Amplitude Modulation Depth.. 105 LFO Depth... 105 LFO Destination.. 105 LFO Destination Element Switch.. 105 LFO Fade-in Time.. 105 LFO Fade-out Time.. 105 LFO Filter Modulation Depth.. 105 LFO Hold Time... 105 LFO Phase... 105 LFO Pitch Modulation Depth.. 105 LFO Speed... 105 LFO Tempo Speed.. 105 LFO Tempo Sync... 105 LFO Wave... 105 Limit (Arpeggio)... 46 Line... 100 LOAD.. 107 Load... 85, 107 Local Control.. 106 Local On/Off (When Connected to a Computer). 18 LocalCtrl... 106 Logic Audio (Remote Control).. 59 Low Frequency Oscillator.. 66 Low Pass Filter.. 63 Low Pass Filter Cutoff.. 102 Low Pass Filter Cutoff Velocity Sensitivity. 102 Low Pass Filter Resonance.. 102 LPFCutoff... 102 LPFCutoff (VEL SENS).. 102 LPFReso... 102 LSB (Control #098) (Plug-in Board only).. 120 Basics Section