Yamaha TG500 Waveforms, Voices, and Performances
This document attempts to explain the interrelationship between waveforms, voices and performances. These three entities form the heart of the Yamaha TG500s sound system. Waveforms the most basic entity Waveforms are the most basic entity in the TG500. Each waveform is a sample of a device, such as a piano, organ, bell, triangle, accordion, etc. The TG500 comes with 8 megabytes (Mb) of read-only-memory (ROM) containing 2 banks of pre-installed waveforms. They are listed on pages 309 and 310 in the TG500 Owners Manual. The first bank, called Preset 1, has 244 waveforms and the second bank, called Preset 2, has 50 waveforms. Dont ask why. There are two ways you can add new waveforms to your TG500:
You can add up to 1 Mb of non-volatile RAM memory in the form of two SYEMB06 memory cards. Each card has 512 kilobytes (kb) of memory, you install these cards through the top door of your TG500, and they are as rare as hens teeth. Cards are currently available from Sector101: http://www.sector101.fsnet.co.uk/ You load your custom waveforms into SYEMB06 memory using the MIDI Sample Dump protocol and these waveforms remain in memory even after you power off your TG500. You can add up to 2 Waveform cards. These are essentially ROM memory containing pre-installed waveforms and are inserted in the lower slots of your TG500 marked WAVEFORM 1 and WAVEFORM 2.
Waveform cards were manufactured by Yamaha, such as the W8502 Waveform Card Rock & Pop II and the W8503 Waveform Card Ethnic Sounds. Voices (VCE) the next step up from Waveforms A voice is nothing more than a combination of a waveform and a set of effects (Amplitude EG, Filter, LFO, etc.). ROM-based Voice If a voice incorporates a waveform from either the Preset 1 or Preset 2 bank (in ROM memory), it does not need an SYEMB06 card or a Waveform card to function properly.
Card-based Voice If a voice uses a waveform installed on a SYEMB06 card or a Waveform card, then it will not function properly without the optional card installed in your TG500. The TG500 comes with 4 banks of voices in ROM memory, each bank having 64 voices, and 2 banks of voices in RAM memory, each bank also having 64 voices. You can customize the 2 banks of voices in RAM memory but you cannot change those installed in ROM memory. The 4 banks of ROM voices are listed on pages 303 through 306 (called Preset 1 through Preset 4), and the 2 banks of RAM voices are listed on pages 307 and 308 (called Internal 1 and Internal 2). There are two ways you can add new voices to your TG500:
You can customize any of the 128 voices in RAM memory. You can add up to 2 MCD64 memory cards. These are essentially RAM memory that can come with pre-installed voices and performances. They are inserted in the upper slots of your TG500 marked DATA 1 and DATA 2.
Each MCD64 memory card is configured for 2 banks of voices. Each bank can hold up to 64 voices. The card in the DATA 1 slot is referenced as banks 1 and 2 and the DATA 2 slot is referenced as banks 3 and 4. Remember that, if any of the voices on an MCD64 card incorporate a custom waveform that resides on either an SYEMB06 memory card or a Waveform card (card-based voice), then that card must be installed in your TG500 for the voice to function properly. If every voice on an MCD64 card incorporates a standard waveform from the Preset 1 or Preset 2 bank (ROM-based voice), then the MCD64 card does not need an SYEMB06 card or a Waveform card to function properly. There are several voice/performance libraries available on the Internet. These are distributed as MIDI files having a.mid or a.syx extension. None of these libraries is supplied with a waveform card. Because of this, you can assume all voices are ROMbased voices incorporating standard waveforms from the Preset 1 or Preset 2 bank. Pre-formatted MCD64 memory cards were manufactured by Yamaha and come with preinstalled voices and performances, such as the D8502 Voice Data Card Rock & Pop II and the D8503 Voice Data Card Ethnic Sounds. Performances (PFM) the next step up from Voices A performance is a collection of up to 4 voices. This feature allows you to play a bass guitar with the left hand and a piano with the right hand, for example.
Just as a card-based voice requires the optional SYEMB06 memory card or Waveform card if it incorporates a waveform installed on either of those cards, a performance requires the same card if it incorporates a card-based voice. The TG500 comes with 2 banks of performances in ROM memory, each bank having 64 performances, and a single bank of performances in RAM memory, this bank also having 64 performances. You can customize the bank of performances in RAM memory but you cannot change those installed in ROM memory. The 2 banks of ROM performances are listed on pages 300 and 301 (called Preset 1 and Preset 2), and the bank of RAM performances is listed on page 302 (called Internal). There are two ways you can add new performances to your TG500:

You can customize any of the 64 performances in RAM memory. You can add up to 2 MCD64 memory cards. These are essentially RAM memory that can come with pre-installed voices and performances. They are inserted in the upper slots of your TG500 marked DATA 1 and DATA 2.
Each MCD64 memory card is configured for a single bank of up to 64 performances. The card in the DATA 1 slot is referenced as bank 1 and the DATA 2 slot is referenced as bank 2. MCD64 Memory Cards One Last Wrinkle An MCD64 memory card has a small 2025 button cell inside it that keeps the RAM memory from going to sleep when you power off your TG500. It also has a small slider switch that can be used to protect its memory from being overwritten a read-only switch. The above sections on voices and performances lead you to believe that an MCD64 memory card has the capacity to store 2 banks of voices, up to 64 voices in each bank, and a single bank of up to 64 performances. But this is not the complete story. Each MCD64 memory card is capable of storing twice as much information 4 banks of voices and 2 banks of performances. However, only 2 banks of voices and 1 bank of performances are accessible at any one time. In other words, memory on an MCD64 memory card is divided into 2 card banks. You choose which of the 2 card banks you want to access using the UTILITY mode 4: Card function, 4-1: Bank parameter. This is explained on page 233 of the TG500 Owners Manual.
Summary The following tables summarize information from the previous paragraphs. Waveform Table Type of Memory Standard (8Mb ROM) SYEMB06 Card (512 kb RAM) SYEMB06 Card (512 kb RAM) WAVEFORM 1 (ROM) WAVEFORM 2 (ROM) Voice Table Type of Memory Standard (384 kb ROM) Name Preset 1 Preset 2 Preset 3 Preset 4 Internal 1 Internal 2 Card 1 Card 2 Card 3 Card 4 Voices Page No. Name Preset 1 Preset 2 Waveforms Page No. 248 248
Standard (192 kb RAM) DATA 1 (64 kb RAM/ROM) DATA 2 (64 kb RAM/ROM)
Performance Table Type of Memory Standard (384 kb ROM) Standard (192 kb RAM) DATA 1 (64 kb RAM/ROM) DATA 2 (64 kb RAM/ROM) Name Preset 1 Preset 2 Internal Card 1 Card 2 Performances Page No. 233 236

Try playing the selected voice on the keyboard or controller. Select a number of different voices and try them out. Heres an abbreviated voice list for easy reference.

s Voice List

q Preset Voice Lists 1
No. Voice Name AP Grand AP Chors AP Dance AP Rock AP Tack AP Touch BA Wood BA Pitz BA Fingr BA Frtls BA Pick1 BA Pick2 BA Slap BA Thump BA Syn 1 BA Syn 2 BA Syn 3 BA Syn 4 BA Syn 5 BA Syn 6 BA Syn 7 BA Syn 8 BA Syn 9 BA Syn 10 BA Syn 11 BA Syn 12 BR Trump BR Mute BR Horn BR Tromb BR Tuba BR TpEns No. Voice Name BR Tpts BR TpSfz BR Stab BR EnsSF BR East BR Syn 1 BR Syn 2 BR Syn 3 BR Syn 4 BR Saw BR SawSF BR Swell BR Tooth BR Rezz BR Toto BR Wow CH Aah CH Ooh CH Pure CH Breth CH Ghost CH Quire CH Vespa CH Vocod Fl Blue1 Fl Blue2 Fl Dudel Fl DulcD Fl DulcM Fl Harp Fl Kalim DR Kit

q Preset Voice Lists 2

No. Voice Name Fl Lip Fl Sitar GT Nylon GT Dark GT Steel GT 12Str GT Jazz GT Strt1 GT Strt2 GT Strt3 GT Mute GT Harm GT Comp1 GT Comp2 GT Dist GT Warm GT Wah GT Feed KY EP 1 KY EP 2 KY EP 3 KY EP 4 KY EP 5 KY EP 6 KY EP 7 KY EP 8 KY EP 9 KY EP 10 KY EP 11 KY EP 12 KY Clav1 KY Clav2 No. Voice Name KY Hrpsi KY Acrdn KY Cali1 KY Cali2 ME Bottl ME Gizmo ME Grind ME Hand ME Kali ME Mello ME Orch1 ME Orch2 ME OrchR ME Soro ME Templ ME Tink ME Tomi ME Voics OR Jaz B OR Smoke OR Airy OR Dist OR Cheap OR Pipes OR Click OR Perc SC Aha! SC Bari SC Bell SC Clav SC Digi1 DR Zones

q Preset Voice Lists 3

No. Voice Name SC Digi2 SC Digi3 SC Ecko SC Fingr SC Housy SC Jrney SC Metal SC Mute SC Pan SC Perc SC Rezz SC Spike SC Sqiff SC Synnr SC Topia SC Vocal SC Vox SC Wires SC Wondr SE Alert SE Templ SE BDup SE Chou SE Demon SE Dropr SE Gobln SE Heli SE Hell SE Hyena SE Indus SE It SE Noize No. Voice Name SE Pops SE Rain SE Rezo SE S&H SE Star SE Up&Up SE Wind SL Cutty SL Digi SL Dist SL Hamma SL Lead SL Lyle SL Pulse SL Saw 1 SL Saw 2 SL Squar SL Sync SL Whisl SP Abyss SP Big SP Exita SP Freqs SP Glass SP Goner SP Hyper SP Makro SP Mello SP Movie SP Nasty SP Nehan DR GMIDI

q Preset Voice Lists 4

No. Voice Name SP Paddy SP Phaze SP Poly SP SawSt SP Slow SP Smoky SP Space SP Sqare SP Sweep SP Sweet SP Vizon SP Wine ST Violn ST JeanL ST Sectn ST Power ST Deep ST Dark ST Brite ST Arco ST Sfz ST Pizz ST Tron ST Anlog ST Sizzl ST Synth ST Thin ST Combo TP Glock TP Xylo TP Vibes TP Tubal No. Voice Name TP Hands TP Siam TP Steel TP Loggy TP Bambu TP Mrmba TP Timp TP Syn TP SynDr TP Tinkl TP Agone TP Angle WN Sopr WN Alto WN Tenor WN Bari WN SaxSF WN Picc WN Flute WN Pan WN Clari WN Oboe WN Basso WN Recor WN Breth Ml Crash MI EPNP Ml Hiss Ml Ride MW EGBia AT EGBia DR Efect

Currently selected parameter name appears here (Type in this case).
VCEQEDAEG<Type> 00:Piano
Cursor at Type parameter.
If there are more parameters than will fit on a single screen, a flashing pointer ( or ) will appear at either or both ends of the bottom display line, indicating that more parameters are available. Move to the next screen by simply moving the cursor beyond the last parameter on the current screen, in the indicated direction.
VCEQEDAEG<AtkRate> 63027+3

PERFORMANCE EDIT MODE

1-1: 1-2: 1-3: 1-4: 1-5: 1-6: 1-7: 1-8: Voice Voice Voice Voice Voice Effect Effect Effect Amplitude EG Offset. 52 Filter Offset. 54 LFO Offset. 55 Controller.. 56 Setting. 57 1.. 58 2.. 58 Wet:Dry Balance. 59 3-2: Effect.. 76 3-2-01: Mode.. 76 3-2-02: Type. 77 3-2-03: Send.. 78 3-2-04: Send Sensitivity. 79 3-2-05: Output.. 80 3-2-06: Output Level. 81 3-2-07: Wet:Dry.. 82 3-2-08: Mix Level.. 83 3-2-09: Parameter 1. 84 3-2-10: Parameter 2. 84 3-2-11: Control 1. 85 3-2-12: Control 2. 85 3-2-13: Control LFO. 88 Effect Data Copy. 89 Effect Signal Flow Display. 90
2-1: Performance Total Level.. 60 2-2: Performance Name. 61
3-1: Layer 3-1-01: Voice.. 62 3-1-02: Volume. 63 3-1-03: Pan.. 64 3-1-04: Note Shift.. 65 3-1-05: Tune. 66 3-1-06: Note Limit-L. 67 3-1-07: Note Limit-H. 67 3-1-08: Velocity Limit-L. 69 3-1-09: Velocity Limit-H. 69 3-1-10: MC3 Enable. 71 3-1-11: MC4 Enable. 71 3-1-12: Layer Initialize. 73 3-1-13: Layer Exchange. 74 Layer Data Copy.. 75

4: Recall/Init. 91

4-1: Recall.. 91 4-2: Initialize.. 92
Performance Compare. 93 Performance Store. 94
LAYER SELECTION & MUTING

q Layer Selection

Many functions in the performance edit mode allow a single layer to be edited individually (see page 26 of the Getting Started section to learn about peformance combinations and layers). The layer to be edited is selected by using the [ ], [ ], [PAGE], and [MEMORY] keys while holding the [UTILITY/SELECT] key:
[ ] selects Layer A. [ ] selects Layer B. [PAGE] selects Layer C. [MEMORY] selects Layer D.
PFM~LAYER~SELECT ~A:61~B:41~C:18~D:07
The display will return to the current edit screen as soon as you release the [UTILITY/SELECT] key. The currently selected layer is shown in square brackets in appropriate layer edit screens.
Programming All Layers Simultaneously In some cases you may want to set all the same parameters for all four layers to the same value. This can be done easily by activating the layer sync mode: press the [STORE/COPY] key while holding the [UTILITY/SELECT] key. When the layer sync mode is active the current layer will appear as an inverse character (A, B, C, or D) in the layer edit screens. Simply repeat this procedure to return to the normal individual layer editing mode.

No (Wave number)

Range: (Preset 1), (Preset 2) Selects the wave (AWM waveform) to be used in the current voice. Use the Grp parameter, above, to select the group containing the wave that is to be selected. The [MEMORY] key can also be used to select the memory area from which the wave is to be selected, including internal wave memory if SYEMB06 memory expansion board are installed (page 282) or card if an appropriate wave card is plugged into the waveform 1 or 2 card slot. A complete listing of the preset waves is given in the Appendix, on page 309 and 310. The TG500 actually incorporates two 32-note polyphonic tone generator units A and B. The inverse character A or B that appears to the right of the wave name indicates whether that wave is produced by tone generator unit A or tone generator unit B. This information is useful, for example, when creating performance combinations. Combining two A voices results in a maximum polyphony of 32 notes because both voices are produced by the same tone generator unit. An A voice combined with a B voice, however, results in a maximum polyphony of 64 notes. The same basic principle applies when combining voices in multi setups.

1-2: AMPLITUDE EG

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-2 : AEG -> [ENTER]
Rather than having to set numerous level and rate values via the full-edit amplitude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as required. For full amplitude EG parameters see page 111.
VCEQEDAEG<Type> 01:Piano
VCEQEDAEG<AtkRate> 6 3027+3
SusLvl AtkRate RlsRate Vel

Type (Envelope type)

Range: Selects either the envelope defined by the current amplitude envelope parameter settings (page 111), or one of 21 preset amplitude envelope types for the current voice. The envelope types are: Quick Edit Envelope Types 00:-------01:Piano 02:Brass 03:SfzBrass 04:SynBrass 05:StFast 06:StSlw/Pd 07:E.Bass 08:SynBass1 09:SynBass2 10:Organ 11:Guitar 12:Pluck1 13:Pluck2 Full-edit envelope. Acoustic piano. Brass. Sforzando brass. Synthesizer brass. Fast-attack strings. Slow-attack strings (pad). Electric bass. Synthesizer bass 1. Synthesizer bass 2. Organ. Guitar. Plucked instrument 1. Pluched instrument 2.
14:SynPad 15:SynComp 16:Percusiv 17:S.Ideal1 18:S.Ideal2 19:S.Ideal3 20:S.Ideal4 21:Init
Synthesizer pad. Synthesizer comping (backing). Percussive. Sound ideal envelope 1. Sound ideal envelope 2. Sound ideal envelope 3. Sound ideal envelope 4. Initialized envelope.

AtkRate (Attack rate)

Range: Sets the attack rate for the selected envelope. 63 produces the fastest attack, while 0 produces the slowest attack.

SusLvl (Sustain level)

Range: Sets the sustain level for the selected envelope.

3-2-01: LEVEL / 3-2-02: RATE
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-01: Level -> [ENTER] -> 3-2-02: Rate -> [ENTER]
The TG500s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility. Next to the fundamental waveform used, the amplitude envelope is one of the most important factors determining the overall sound of a voice. Although the AEG levels and rates are accessed via separate screens, they will be described together in this section in order to provide a clearer overall picture of AEG operation. 3-2-01: Level
VCEAEGLevel<Mode> atk--00------

3-2-02: Rate

VCEAEGRate<Mode> atk63130027+3

Mode R1 R2

R3 R4 RR RS
Mode (Amplitude EG attack/hold mode)
Range: atk, hold The atk and hold mode settings affect the initial attack of the sound, determining how the amplitude envelope begins. In the atk mode, the envelope begins from zero level, reaching the maximum AWM level at a rate determined by the R1 (Rate 1) parameter. In this mode there will always be a slight delay between the initiation of a note and maximum level.
L2 L3, R1 RR (AEG levels & rates)
Range: The following diagrams illustrate how the AEG rate and level parameters determine the overall shape of the amplitude envelope.

q Atk Mode

Maximum AWM Level

q R2 q L2 R3 q L3 R4

Minimum Level (no sound) Key ON (Beginning of note) R4 decays to zero level if note held.
The envelope begins at zero level, reaches maximum level at the rate determined by the R1 parameter, moves to L2 (Level 2) at R2 (Rate 2), moves on to L3 (Level 3) at R3 (Rate 3), and finally decays to zero level at R4 (Rate 4) if the note is held the entire time. If the note is released before the end of the envelope described above, then the sound decays to zero level from the point at which the note is released at the rate determined by the RR (Release Rate) parameter.

This function facilitates voice editing by allowing the amplitude EG data from any other voice (the source voice) to be copied to the current voice. You can copy an envelope that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the AEG edit mode.
VCEAEGCopyfrom? 58:SCBell2
Use the [MEMORY] key to select the internal, preset, or card memory; then use the [-1/NO] and [+1/YES] keys to select the voice from the which the AEG data is to be copied. Once the source voice has been selected, press the [ENTER] key. Sure? will appear on the display.
VCEAEGCopySure? 58:SCBell2
Press the [+1/YES] key to copy the AEG data, or press [-1/NO] to cancel the copy operation. Once the copy operation has finished, Completed! will appear on the display briefly, then the display will return to the AEG edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter

3-3-01: PARAMETER

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-2-01: Parameter -> [ENTER]
The TG500 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways. Changes in the response and cutoff frequency can be used to define the basic timbre of the voice, while EG-controlled filter sweeps can produce a virtually unlimited range of time-based timbre variations.
VCEFLTParam<Type> LPF(22.43kHz)12771

Type Cof Res

VCEFLTParam<Band> -- -EG

Band Ctrl

Range: THRU, LPF, HPF, BPF, BEF, LP12 Determines the type of filter response used. The THRU (THROUGH) setting turns the filter OFF.
q LPF and LP12 Types The LPF (Low Pass Filter) and LP12 settings produces a filter response that allows only frequencies below the cutoff frequency (See Cutoff below) to pass. The LPF filter type has a steep 24-dB/octave cutoff slope, while the LP12 type has a gentler 12-dB/octave slope.
PASSBAND (Signals in this frequency range pass through)
Signals above the cutoff frequency are blocked
FREQUENCY Cutoff frequency.
q HPF Type The HPF (High Pass Filter) setting produces a filter response that allows only frequencies above the cutoff frequency (See Cutoff below) to pass.

Range: Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via keyboard aftertouch. A setting of 0 allows no frequency modulation, while a setting of 127 results in maximum frequency modulation. When setting up the LFO (low-frequency oscillator) to apply cutoff modulation, this parameter must be set to a value other than 0 if cutoff modulation is to be applied via keyboard aftertouch. Also, the filter Ctrl parameter (page 123) must be set to LFO in order to vary the cutoff frequency continuously.

EGBs (EG bias depth)

Range: -127 +127 Sets the depth and direction of EG bias produced by aftertouch response. EG bias increases or decreases the amplitude envelope generator levels, simulating the dynamic variations that can be produced on an acoustic instrument more accurately than simple volume control. A setting of 0 produces no change in EG levels. Plus (+) settings produce an increase in level when aftertouch is applied, and minus () settings produce a decrease in level when aftertouch is applied. The greater the value, the greater the change in level.
Cof (Cutoff frequency depth)
Range: -127 +127 Sets the maximum depth of filter cutoff frequency variation applied via keyboard aftertouch. Plus + settings produce higher cutoff frequencies in response to aftertouch i.e. the greater the aftertouch pressure, the higher the cutoff frequency. The maximum setting of +127 produces the maximum cutoff variation. Minus settings produce the opposite effect: lower cutoff in response to greater aftertouch pressure. A setting of +0 results in no cutoff variation. The filter Ctrl parameter (page 123) must be set to LFO in order to vary the cutoff frequency continuously.

PtBs (Pitch bias depth)

Range: -12 +12 Sets the maximum pitch variation range achievable via after-touch control. Each increment represents a semitone. A setting of 0 produces no pitch variation. A setting of +12 allows a maximum pitch variation of one octave up, while a setting of -12 allows a maximum pitch variation of one octave down corresponding to aftertouch key pressure.
3-6-03: MIDI CONTROLLER 1 / 3-6-04: MIDI CONTROLLER 2
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-03: MIDI Ctrl 1 -> [ENTER] -> [PAGE] -> 3-6-04: MIDI Ctrl 2 -> [ENTER]
The parameters in these two screens set the maximum depth of modulation that can be produced by MC1 (MIDI Controller 1) and MC2 (MIDI Controller 2).

3-7-11: CONTROL LFO

[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-11: Control LFO -> [ENTER]
VCEEFCtrlLFO<Wave> tr i 500
Range: tri, dwn, up, squ, sin, S/H, 1tm Determines the waveform of the effect LFO. tri = Triangle. dwn = Downward sawtooth. up = Upward sawtooth. squ = Square. sin = Sine. S/H = Sample and hold. 1tm = Upward 1-shot.
Range: Sets the speed of the effect LFO. 0 is the slowest Speed setting, producing an LFO speed of approximately 0 Hertz. The fastest setting of 99 produces an LFO speed of approximately 25 Hertz.
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER]
This function facilitates voice effect editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the current voice. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
VCEEFCopyfrom? PFM01:APPiano
Move the cursor to the left parameter (press the [ ] key) and use the [-1/NO] and [+1/YES] keys to select the mode containing the desired voice and effect data (PFM = PERFORMANCE, VCE = VOICE, and MLT = MULTI). Move the cursor to the right parameter (press the [ ] key) and, if a voice or performance combination is selected as the source, use the [MEMORY] key to select the memory area from which the source voice or performance combination is to be selected. Use the [1/NO] and [+1/YES] keys to select the source voice or performance number. The [-1/ NO] and [+1/YES] keys can be used to select the source multi number (0 15) when MLT is selected. Once the source voice, performance combination, or multi setup has been selected, press the [ENTER] key. Sure? will appear on the display.
VCEEFCopySure? PFM01:APPiano

06:Rev.Stage1 57:EQSym

This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] to see the overall effect system signal flow. Refer the to section beginning on page 251 for details on the effect system.
VOICE EDIT MODE / 4: Recall/Init.
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-1: Recall -> [ENTER]

If youre dissatisfied with the results of edits youve made to a voice, or have accidentally lost track of changes made, use the RECALL function to recall the preedit voice data from the TG500s voice backup buffer memory.

VCERecall (SPGoner)

VCERecallSure? (SPGoner)
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2: Initialize -> [ENTER]
When you want to program a totally new voice from scratch, rather than editing an existing voice, use this function to initialize all voice parameters.

VCEInitialize

VCEInitializeSure?
Press [+1/YES] to confirm that you want to go ahead with the initialize operation (which will erase all current edited data), or press [-1/NO] to cancel. Completed! will appear briefly on the display when the voice data has been initialized. For initial voice parameter, see page 284.

VOICE EDIT MODE / VOICE

VOICE COMPARE
The voice compare function makes it possible to compare the sound of a voice being edited with the same voice prior to editing. To temporarily recall the original voice data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the compare mode is engaged. Press [EDIT/COMPARE] a second time to return to the edit mode and the voice being edited.

VOICE STORE

When youre satsfied with a new voice youve created in the voice edit mode, use the store function described below to store the new voice to an internal or card memory location.
VCESTORE56:SPGoner 56:ORSmoth
When youve finished editing, return to the voice play mode (press the [PLAY MODE] key), and before selecting a different voice press the [STORE/COPY] key. You can now use the [MEMORY], [-1/NO] and [+1/YES] keys to select the memory location to which your new voice is to be stored. Once the store location has been specified, press [ENTER] to begin the store procedure. The following confirmation display will appear:
VCESTORE56:SPGoner Sure?56:ORSmoth
Press [+1/YES] to confirm that you want to go ahead with the store operation (which will erase all previous data in the specified memory location), or press [-1/NO] to cancel. When the voice data has been stored, Completed! will appear briefly on the display, then the display will return to the voice play mode.

DRUM VOICE EDIT MODE

1: Key Parameter
1-1: Parameter.. 168 1-2: Initialize. 171 1-3: Exchange.. 172 Drum Key Copy. 173

5: Recall/Init.

5-1: Recall.. 193 5-2: Initialize. 194
Drum Voice Compare.. 195 Drum Voice Store. 196

Range: For optimum balance between the instruments in a drum kit, this parameter allows the volume of the current drum key to be adjusted independently. A setting of 0 produces no sound, while a setting of 127 produces maximum volume.
Range: -48 +36 Shifts the pitch of selected drum key up or down in semitone steps. A setting of -12, for example, shifts the pitch of the selected layer down by one octave; a setting of +4 shifts the pitch up by a major third.

Tune (Fine tuning)

Range: -63 +63 Allows upward or downward pitch adjustment of the current drum key in approximately 1.7-cent steps (a cent is 1/100th of a semitone). The maximum minus setting of -63 produces a downward pitch shift of approximately three quarters of a semitone, and the maximum plus setting of +63 shifts the pitch up by the same amount. A setting of 0 produces no pitch change.
Range: -31 +31 Interesting stereo effects can be produced by placing the sound of different drum instruments at different locations in the stereo sound field. This parameter determines the position in the stereo sound field in which the sound from the current drum key will be heard (left to right). Minus values represent panning to the left, and positive values represent panning to the right. 0 positions the sound of the selected key in the center of the stereo sound field.
1 - 1 : P A R A M E T E R 169
EfSend (Effect send level)
Range: Sets the effect send level for the selected drum key. The ability to set different effect send levels for each drum key provides extremely fine control over the drum effect sound. Please note that this parameter affects the individual output level.
Range: off, on When this parameter is turned on, the selected wave is played in reverse.

GateTm (Gate time)

Range: short, norm, long, vlong Sets the length of the note played by the selected drum key to short, normal (norm), long, or very long (vlong). Please note that this parameter will not extend the length of the waveform assigned to the current drum key, so no change may be heard even if you select the vlong gate time for a short wave.

AltGrp (Alternate group)

Range: off, Assigns the selected drum key to an alternate group numbered between 1 and 5. No two drum keys assigned to the same alternate group number can sound at the same time. This is most commonly used to create a realistic hi-hat cymbal effect: the closed and open hi-hat keys are assigned to the same alternate group, so that when the closed hi-hat key is played the open hi-hat sound is immediately cut off. Turn this parameter off if you dont want the current drum key to be assigned to any alternate group. Please note that the AltGrp parameter can only be used with voices that use waves from the same tone generator unit: A or B.

The TG500 features a dual-processor effect system that includes 90 topquality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.

DRMEFMode 2:serial

Range: 0:off, 1:serial, 2:parallel Determines whether the TG500s two effect processors are connected in series (1:serial) or in parallel (2:parallel), or whether the entire effect system is turned off (0:off). See page 251 for the effect diagrams.

4-02: TYPE

[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-02: Type -> [ENTER]
DRMEFType(Rev.Room1) Ef1:03Ef2:12

4-03: SEND

[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-03: Send ->[ENTER]
The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level. Individual settings can be made for each drum key.
DRMEFSend<Key> C4108on---on--Key Lvl 1a 1b 2a 2b
Range: This parameter adjusts the amount of direct voice signal that is sent to the effect processors, determining the strength of the final effect sound. A setting of 0 results in no effect, leaving only the dry sound of the voice. The maximum setting of 127 produces the maximum amount of effect. Please note that this parameter affects the individual output level.
Range: See text below. Determines to which of the EFFECT 1 and EFFECT 2 effect stages the output from the current layer is sent. The [-1/NO] and [+1/YES] keys can then be used to turn the selected stage on or off. If a single type effect is selected then only stage a can be selected. If a dual or cascade type effect is selected, then both stages a and b can be selected. An effect stage that cannot be selected is represented by --- on the display. See the EFFECTS section beginning on page 251 for more details.

4-04: SEND SENSITIVITY

[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-04: Send Sens. ->[ENTER]
These parameters determine how the effect send level of each drum key is affected by keyboard dynamics and key scaling.

DRMEFSendSens C 4 Vel=0

Range: C1 C5 Selects the the drum key to be edited. In addition to using the [-1/NO] and [+1/YES] keys, the drum key can be selected by simply pressing the appropriate key on a keyboard connected to the TG500 MIDI IN terminal.

Range: off, Ind1, Ind2, Ind3, Ind4 Sends the sound of the selected instrument to one of the TG500s four individual outputs (the multi sound is always delivered via the stereo outputs). If the off setting is selected the current multi instrument sound is not sent to any individual output. If a drum voice is assigned to the current instrument this parameter can be set to off or drm. If the utility mode 1-3: OUTPUT function (page 222) is set to indiv, instruments assigned to individual outputs 1 through 4 are not delivered via the stereo outputs. If set to norm, instruments assigned to individual output 3 and 4 are not output.
MULTI EDIT MODE / 2: Name

2: NAME

[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 2: Name -> [ENTER]
Your original multi setups should naturally have original names. This function can be used to assign a name of up to 8 characters to the current multi setup.

MLTNAME 00-[MyMulti]

Range: See character list, below Use the [ ] key to move the character cursor to the left, and the [ ] key to move the cursor to the right. Use the [-1/NO] and [+1/YES] keys to select a character for the current cursor position. The available characters are listed below. The entire name can be cleared by pressing the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] key, and a space can be entered at the cursor position by pressing the [STORE/COPY] key while holding the [UTILITY/SELECT] key. (Space) !"#$%'()*+,-./0123456789:
MULTI EDIT MODE / 3: Initialize

3: INITIALIZE

[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 3: Initialize -> [ENTER]
When you want to program a totally new multi setup from scratch, rather than editing an existing setup, use this function to initialize all multi parameters.

MLTInitialize

MLTInitializeSure?
Press [+1/YES] to confirm that you want to go ahead with the initialize operation (which will erase all current edited data), or press [-1/NO] to cancel. Completed! will appear briefly on the display when the multi data has been initialized. See page 293 for initial multi parameters.

INITIALIZE

MULTI EDIT MODE / 4: Effect
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-01: Mode -> [ENTER]

MLTEFMode 2:parallel

MULIT EDIT MODE / 4: Effect
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-02: Type -> [ENTER]
These parameters assign any of the TG500s 90 effects independently to the EFFECT 1 and EFFECT 2 signal processors.
MLTEFType(EQRev1) Ef1:50Ef2:52

4-02: TYTE

Waveform Number select.. 237 Wave Edit Mode. 238 1: Waveform 1-1: Assign. 239 1-2: Enable. 240 1-3: Name. 241 2: Sample. 242 3: Initialize.. 245 4: Sample Dump 4-1: Sample Receive. 246 4-2: Sample Transmit. 247 5: Card Load. 248
UTILITY MODE / WAVE EDIT MODE / 1: System

1-1: SETUP

[UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-1: Setup -> [ENTER]
This screen includes several parameters that affect overall operation of the TG500.
UTLSYSTEMSetup<NtShft> 00off

NtShft Tune CtlRst

Range: -63 +63 Shifts the overall pitch of the TG500 up or down in semitone steps. A setting of -12, for example, shifts the pitch down by one octave; a setting of +4 shifts the pitch up by a major third.

Tune (Master tuning)

Range: -63 +63 Fine tunes the overall pitch of the TG500 in approximately 1.17-cent steps (a cent is 1/100th of a semitone). The maximum minus setting of -63 produces a downward pitch shift of almost three-quarters of a semitone, and the maximum plus setting of +63 produces an upward pitch shift of the same amount. A setting of 0 produces no pitch change.

CtlRst (Control reset)

Range: on, off Determines whether controller settings are held (off) or reset (on) when voices or multi-play setups are switched. If this function is set to off, then if, for example, you have applied modulation to a voice via a modulation wheel and switch to a new voice while maintaining the same modulation wheel position, then the same amount of modulation will be applied to the new voice. If on is selected, than all controller values are reset when a new voice, performance, or multi-play setup is selected.

1-2: EFFECT BYPASS

[UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-2: Effect Bypass -> [ENTER]
This parameter turns the entire TG500 effect system on or off.
UTLSYSTEM EffectBypass=off

Effect Bypass

Range: off, on When effect bypass is turned off the TG500 effect system is active and the effect sound will be delivered via the TG500 outputs. When turned on, the internal effect system is completely bypassed and only the direct (dry) sound of the tone generator will be delivered via the outputs. Use the on setting if you plan to use external signal processing equipment with the TG500.

1-3: OUTPUT

[UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-3: Output -> [ENTER]
This parameter determines which of the TG500s outputs are active.

UTLSYSTEM Output=norm

Output

2.0ms ~ 22.0s 0 ~ 100% 2.0ms ~ 22.0s Freq, Dpth 0.1 ~ 40.0Hz 0 ~ 100% 0.1 ~ 99.9ms 0 ~ 99%
* Aural Exciter is a registered trademark and is manufactured under license from APHEX Systems Ltd.

25: EG Chorus No.

26 : EG Sympho RANGE
2.0ms ~ 22.0s 0 ~ 100% 2.0ms ~ 22.0s Freq, Dpth 0.1 ~ 40.0Hz 0 ~ 100% 0 ~ 100% -12 ~ +12dB
Atk Time [ms] Atk Lvl [%] Rls Time [ms] EG Targt Mod. Freq [Hz] PM Depth [%] AM Depth [%] Hi Gain [dB]
Atk Time [ms] Atk Lvl [%] Rls Time [ms] EG Targt Mod. Freq [Hz] Mod. Dpth [%] Init Dly [ms] Hi Gain [dB]
2.0ms ~ 22.0s 0 ~ 100% 2.0ms ~ 22.0s Freq, Dpth 0.1 ~ 40.0Hz 0 ~ 100% 0 ~ 300ms -12 ~ +12dB

27 : EG Phaser No.

28 : Rotary SP. RANGE
2.0ms ~ 22.0s 0 ~ 100% 2.0ms ~ 22.0s Freq, Dpth 0.1 ~ 40.0Hz 0 ~ 100% 0.1 ~ 5.0ms -12 ~ +12dB
Atk Time [ms] Atk Lvl [%] Rls Time [ms] EG Targt Mod. Freq [Hz] Mod. Dpth [%] Mod. Dly [ms] Hi Gain [dB]
Mid. Spd [Hz] Depth [%] TrnsTime [ms] Spd Diff [Hz] L/M/H Sw Low Gain [dB] Hi Gain [dB]
0.1 ~ 40.0Hz 0 ~ 100% 2.0ms ~ 22.0s 0.05 ~ 5.80Hz Low, Mid, High -12 ~ +12dB -12 ~ +12dB

29 : Ring Mod. No.

30 : D.Flt (Wah) RANGE
tri, dwn, up, squ, sin 1 ~ 180Hz 0.1 ~ 40.0Hz 0 ~ 100% 0.1 ~ 40.0Hz 0 ~ 100% -12 ~ +12dB -12 ~ +12dB
WaveType WaveFreq [Hz] PM Freq [Hz] PM Depth [%] AM Freq [Hz] AM Depth [%] Low Gain [dB] Hi Gain [dB]
Flt Freq [kHz] Flt1 Q Flt1Gain [dB] Flt2 Q Wah Dly [ms] FB Dly [ms] FB Gain [%] Dly Lvl [%]
315Hz ~ 14.0kHz 1.0 ~ 5.~ +12dB 0.1 ~ 0.~ 680ms 0 ~ 680ms -99 ~ +99% 0 ~ 100%

Cascade Effects

31 : Dly Rev No.

32 : Echo Rev RANGE

0 ~ 0 ~ -99 0.3 0.~ 1.~ 400ms 400ms ~ +99% ~ 30.0s ~ 1.5 100% ~ 16.0kHz, thru 100%
L Dly [ms] R Dly [ms] FB Gain [%] Rev.Time [s] High ER/Rev [%] LPF [kHz] Rev Lvl [%]
L Dly [ms] L FB Gain [%] R Dly [ms] R FB Gain [%] Rev.Time [s] High LPF [kHz] Rev Lvl [%] 0 ~ -~ -99 0.3 0.1 1.~
200ms ~ +99% 200ms ~ +99% ~ 30.0s ~ 1.5 ~ 16.0kHz, thru 100%

33 : Flg Rev No.

34 : Cho Rev RANGE
0.~ 0.~ 0.3 0.1 1.~ ~ 40.0Hz 100% ~ 30.0ms 99% ~ 30.0s ~ 1.5 ~ 16.0kHz, thru 100%
Mod.Freq [Hz] Mod.Dpth [%] Mod.Dly [ms] Mod.FBG [%] Rev.Time [s] High LPF [kHz] Rev Lvl [%]
Mod.Freq [Hz] PM Depth [%] AM Depth [%] Rev.Time [s] High Init Dly [ms] LPF [kHz] Rev Lvl [%] 0.~ 0 ~ 0.3 0.~ 1.~