Battery Notice:

This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use "household" type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.

Speaker Speaker

Power Adaptor
The CS2x comes equipped with a Yamaha PA-3B AC adaptor which supplies DC power to the instrument.

1. STANDBY

2. DC IN 3. To electrical outlet
1. Make sure the STANBY/ON switch is in the STANDBY (off) position. 2. Connect the PA-3Bs DC plug to the CS2xs DC IN jack. 3. Connect the adaptors AC plug to the nearest electrical outlet.
c Do not attempt to use an AC adaptor other than the PA-3B. Use of an incompatible adaptor may result in irreparable damage to the CS2x, and could even pose a serious shock hazard.

R INPUT R OUTPUT

Headphones
Be sure to disconnect the power adaptor from the electrical outlet when the CS2x is not in use.

R OUTPUT

c In order to avoid possible damage to the speakers or other connected electronic equipment, before switching on the power of any component, make sure the CS2xs volume level and the volume levels of the connected equipment are set to minimum.

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Connecting A Foot Controller
In addition to the on-board SOUND CONTROL knobs and other real-time controllers, you can connect an optional Yamaha FC7 or FC9 foot controller to the CS2xs FOOT CONTROLLER jack and assign one of many available parameters to be controlled by foot. 1. Connect the FC7 or FC9 cable to the CS2xs FOOT CONTROLLER jack.
Connecting External MIDI Components
There are many different types of MIDI components available which you could connect directly to the CS2x using MIDI cables to take advantage of the CS2xs multitimbral features and greatly expand your music production capabilities. Following is an example of how to connect an external sequencer and additional tone generator to build up a comprehensive music production system.

Sequencer (QY700)

Tone Generator

TONE GENERATOR

MIDI THRU OUT IN
HOST SELECT PC-2 PC-1 MIDI Mac
ASSIGNABLE FOOT FOOT FOOT SWITCH CONTROLLER VOLUME

PC-2 PC-1 MIDI Mac

MIDI IN MIDI OUT MIDI IN

IN OUT THRU

FC7 or FC9 CS2x
2. Press the [UTILITY] button to enter Utility mode. 3. Press the ASSIGN CTRL NO [UP/DOWN] button once.
TYPE P BEND RANGE NOTE SFT ATK TIME ATK TIME BANK ARPEGGIATOR TEMPO PMOD SUB DIVIDE MW FMOD LIMIT LOW SUS LEVEL FEG DCY TIME PROGRAM SUS LEVEL VOLUME REL TIME PAN INIT LEVEL REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VARI SEND PERFORM LEVEL CUTOFF LIMIT HIGH REL TIME REV TYPE FMOD LIMIT LOW AMOD CHO TYPE FC CUTOFF LIMIT HIGH PMOD EFFECT VARI TYPE VARI EF VARI VARI PARAM DATA PORTA SWITCH DEPTH LFO FMOD PEG REL TIME FILTER REZ CUTOFF DCY TIME REL LEVEL POLY MONO WAVE SPEED PHASE INIT TIME PERFORM NAME ASSIGN1 PARAM
1. Set the CS2xs rear panel HOST SELECT switch to MIDI. 2. Connect a MIDI cable from the CS2xs MIDI OUT terminal to the sequencers MIDI IN terminal. Connect another MIDI cable from the CS2xs MIDI IN terminal to the sequencers MIDI OUT terminal. 3. Connect a MIDI cable from the CS2xs MIDI THRU terminal to the tone generators MIDI IN terminal In this monster system, the CS2x is the master keyboard controller used for music note and control data input into the QY700s MIDI channel tracks. The QY700 sends the recorded data directly to the CS2xs Parts, and via the MIDI THRU terminal to the external tone generators Parts.

Oscillator

Filter

Amplifier

Pitch Envelope Generator Controls Pitch Characteristics Over Time
Filter Envelope Generator Controls Tone Characteristics Over Time
Amplitude Envelope Generator Controls Volume Characteristics Over Time

OSCILLATOR

Frequencies generate the pitch of specific notes

A4 = 880Hz 1 octave

A3 = 440Hz 1 octave

A2 = 220Hz

1 cycle per second = 1 Hz
* Doubling the frequency increases pitch by one octave ** Halving the frequency decreases pitch by one octave
The oscillator generates sound wave vibrations at controllable speeds, or frequencies (cycles per second) to create pitch. A frequency cycle is the time it takes for a sound wave to go from its zero position (represented by the dotted line in the illustration) to its point of maximum peak (top), back past zero to its maximum trough (bottom), and finally back to zero. Frequencies are measured in Hertz (Hz), where one cycle per second is equal to one Hz. Synthesizer oscillators usually offer a range of frequencies between 20 Hz and 20kHz to generate pitch, which is the range of the audio spectrum that most human beings can hear. They also usually offer various types of sound waveforms with specific shapes and sound characteristics, such as sine, sawtooth, square, pulse and other waves. Oscillators in the CS2x, unlike traditional analog synthesizers, consist of complete AWM2-type sampled waveforms with stable tuning. You can use the PEG (Pitch Envelope Generator) parameters to directly control the critical pitch characteristics over time. Musical instrument sounds are made up of the basic tone that we clearly distinguish with our ears plus additional harmonics, or overtones which exist at each octave above the basic tone, but that we cannot distinctly hear. The filter provides control over these harmonics. By manipulating the filters cutoff frequency (which determines where to delete, or cut off the overtones) and resonance settings, you can thus determine the tone. With the CS2x, you can use the FEG (Filter Envelope Generator) parameters to directly control the critical tone characteristics over time, as well as control cutoff, resonance and other parameters to shape the tone.

FILTER

The number of harmonics can be increased and decreased

Harmonics

More harmonics creates a brighter tone Less harmonics creates a darker tone

NOTE TUNE NOTE DETUNE LIMIT SFT LOW AEG DCY ATK SUS TIME TIME LEVEL FEG DCY SUS ATK TIME LEVEL TIME BANK PROGRAM VOLUME

VEL LIMIT OFFSET HIGH

SYSTEM MIDI ASSIGN
3. Press the TYPE [UP/DOWN] button and try out each available setting. Also press SUBDIVIDE [UP/DOWN] to hear how each of these settings affect each TYPE setting.
n For more information, see Arpeggio Pattern Length, following, and page 43. Also see the Arpeggiator Type List, page 43.

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Panel Edit Matrix
Although the features weve explained so far no doubt provide you with a wealth of tone control and great music making options, weve really only just begun to scratch the surface of the CS2xs power! The panel edit matrix gives you six menus of Performance Edit parameters with virtually limitless options for tone control and customized User Performance creation using the EDIT PARAMETER ROTARY switch in conjunction with the ten parameter [UP/DOWN] buttons. Each parameter is explained and available settings are listed in the Reference section (starting on page 39). Reading through it along with just rolling up your sleeves and trying each one out one-by-one will end up making you a veritable CS2x expert! For the sake of giving you a well-rounded tour right now without getting in too deep, however, why not try experimenting with a few basic COMMON and LAYER edit menus to help you get comfortable dealing with collective and individual Performance Layers.
3. Use the VARI TYPE [UP/DOWN] button to try out the different Variation effect types. Use the VARI PARAM [UP/DOWN] button to select available Variation effect parameters. Use the VARI DATA [UP/DOWN] button to select specific parameter data value settings. You can set the amount of Reverb and Chorus for each Layer using the EFFECT REV SEND and CHO SEND parameters, respectively, located in the Layer Edit 4 menu. When EFFECT VARI SEND is set to on, however, Reverb and Chorus send levels are applied equally to all Layers.
n For more information about effects, see page 70. Also see the separate Data List book.
Customize the parameter of the ASSIGN 1/DATA knob.
1. Set the EDIT PARAMETER ROTARY switch to the Common Edit 2 menu.

s COMMON Parameters

Each CS2x Performance is made up of anywhere between one and four Layer voices. Changes you make to parameter settings in the two COMMON menus will affect all Layer voices equally.
Try out the many different effects.
1. Set the EDIT PARAMETER ROTARY switch to the Common Edit 1 menu.
ARPEGGIATOR TEMPO TYPE P BEND RANGE NOTE SFT ATK TIME ATK TIME BANK PMOD SUB DIVIDE MW FMOD LIMIT LOW SUS LEVEL FEG DCY TIME PROGRAM SUS LEVEL VOLUME REL TIME PAN INIT LEVEL REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VARI SEND PERFORM LEVEL CUTOFF LIMIT HIGH REL TIME REV TYPE FMOD LIMIT LOW AMOD CHO TYPE FC CUTOFF LIMIT HIGH PMOD EFFECT VARI TYPE VARI EF VARI VARI PARAM DATA PORTA SWITCH TIME DEPTH LFO FMOD PEG REL TIME FILTER REZ CUTOFF DCY TIME REL LEVEL POLY MONO WAVE SPEED PHASE INIT PERFORM NAME ASSIGN1 PARAM

n Depending on system exclusive data programmed at the top of the song, you can have the sequencer automatically select Performance mode, using the system exclusive message as shown below. This way you can prevent an error caused by transmitting the Performance bulk data when the CS2x is in Multi Play mode.
4. In XGworks, confirm that track 1 is set to channel 1 and prepare for real-time recording.

Confirm the channel

Select the track for recording
Press the Record button to activate recording Standby
F1n 03 F7 (hexadecimal) n = Device Number
5. After starting recording with XGworks, press the CS2xs [ENTER] button to transmit the Performance data.
Press the Play button to activate recording
These settings arent limited for use with XGworks only, but will work with other sequencers as well. Refer to the owners manual of the particular sequencer for related information.

Bulk transmit start

Page 37
Simply Dynamite: Yamaha MIDI Magic
Yamaha has a full line-up of professional MIDI instruments from which you could choose in order to build up a MIDI music system thats perfect for your own individual needs. Two in particular are especially suited for use with the CS2x, as follows: QY700 Music Sequencer Ideal for professionals and novices alike, the QY700 is a full MIDI production center in its own right complete with easy-to-use MIDI instrument and drum part composing through a built-in database of musical style phrases and groove templates, 32 linear tracks and 16 pattern tracks, a full XG multitimbral tone generator including three digital multi-effects units, plus wide-ranging editing and on-board mixing features.
RM1x Sequence Remixer Ideal for dance DJs, the RM1x features the same basic sequencing and editing functions of the QY700 along with hundreds of voices, 960 Preset patterns and 800 User patterns plus real-time performance controls including a 16-key microkeyboard for easy switching of patterns and 8 CONTROL knobs for dynamic control of the sound on each track. Theres also an arpeggiator, SMF compatibility, and much more.

cCS2x_Ref

5:11 PM

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5:12 PM

Page 39

Feature Reference

Page 40

Following is a description of each function in the various modes along with available parameter settings.
In Performance mode you can choose from 256 Preset and 256 User Performances. A Performance consists of up to four Layer voices playing simultaneously. You can easily edit each Layer within a Performance so that each sounds and behaves uniquely. The many available edit parameters give you the flexibility to create a vast variety of Performance timbres.

Indicates you have edited, but not stored the Performance. n
The edit mark will also appear if you turn a SOUND CONTROL knob.
q Description of Each Edit Function

Common Edit 1

This menu includes parameters which are common to all Layers in a Performance.
TYPE P BEND RANGE NOTE SFT ATK TIME ATK TIME BANK ARPEGGIATOR TEMPO PMOD SUB DIVIDE MW FMOD LIMIT LOW SUS LEVEL FEG DCY TIME PROGRAM SUS LEVEL VOLUME REL TIME PAN INIT LEVEL REV SEND ATK TIME EFFECT CHO SEND ATK LEVEL VARI SEND PERFORM LEVEL CUTOFF LIMIT HIGH REL TIME REV TYPE FMOD LIMIT LOW AMOD CHO TYPE FC CUTOFF LIMIT HIGH PMOD EFFECT VARI TYPE VARI VARI PARAM DATA PORTA SWITCH TIME DEPTH LFO FMOD PEG REL TIME FILTER REZ CUTOFF DCY TIME REL LEVEL POLY MONO WAVE SPEED PHASE INIT PERFORM NAME ASSIGN1 PARAM

VARI EF VEL OFFSET

s ARPEGGIATOR The Arpeggiator automatically creates arpeggiated chords based on the chords and notes you play on the keyboard. There are three Arpeggiator parameters: TYPE, TEMPO and SUBDIVIDE.

TYPE TEMPO

SUBDIVIDE
Press the [ARPEGGIO] button to turn the Arpeggiator on. A [w] mark will appear in the LCD above the word ARPEGGIATOR to indicate the Arpeggiator is on.
To turn the Arpeggiator off, press [ARPEGGIO] again.

Page 44

ARPEGGIATOR HOLD
The ARPEGGIATOR HOLD function lets you play a chord to start the automatic arpeggio then take your hand off the keyboard and have the arpeggiated chord play continuously in a loop. Play another chord and the automatic arpeggios will change accordingly. Heres how to activate the ARPEGGIATOR HOLD function: 1. Hold [SHIFT] and press [ARPEGGIO]. The Arpeggiator [w] mark in the LCD will start blinking to indicate the function is active. 2. Play a series of chords or notes. 3. To stop the arpeggiated chords, press [ARPEGGIO] again.
s EFFECT There are five effect parameters: REV TYPE (Reverb Type), CHO TYPE (Chorus Type), VARI TYPE (Variation Type), VARI PARAM (Variation Parameter) and VARI DATA (Variation Data). For information about the three digital effects units, see page 70.

Reverb Type Chorus Type

ARPEGGIATOR SPLIT
If you hold [SHIFT] and press the TYPE Parameter Value [UP] button when the TYPE parameter is displayed in the LCD, the ARPEGGIATOR SPLIT function will be enabled. A reversed type letter S will appear to the right of the TYPE name to indicate the function is active. The ARPEGGIATOR SPLIT function divides the keyboard at C3 (indicated by the [w] mark printed above the keyboard) and lets you play the arpeggiated chords on the lower half of the keyboard (below C3) and play normal chords and notes on the upper half (C3 and above). To cancel the function, hold [SHIFT] and press the TYPE Parameter Value [DOWN] button.

Settings: (For details about each parameter, see the Reference pages as listed in the table below.)
SWITCH: Turns the Portamento on or off (for each Layer). TIME: Sets the time it takes for the pitch to reach the next note played (for all Layers).
Settings: Porta SW: on, off Porta Tm: 0 ~ 127
s ASSIGN1 PARAM (ASSIGN1 Parameter) This determines which parameter will be controlled by the ASSIGN 1/DATA knob. You can choose from 29 types of available parameters. (The default parameter assigned to the ASSIGN 1/DATA knob depends on the Performance selected.)

NO. 28 29

LCD off PerfLevel (Performance Level) (page 44) ArpgTempo (Arpeggiator Tempo) (page 44) ArpgType (Arpeggiator Type) (page 43) ArpgSubdiv (Arpeggiator Subdivide) (page 44) MWCutoff (MW Cutoff) (page 46) MWPModDpth (MW Pitch Modulation Depth) (page 46) MWFModDpth (MW Filter Modulation Depth) (page 46) PBRange (Pitch Bend Range) (page 45) FCCutoff (FC Cutoff) (page 46) FCFModDpth (FC Filter Modulation Depth) (page 46) FCVariDpth (FC Variation Depth) (page 46) PortaTime (Portamento Time) (page 47) *FEGDcyTime (FEG Decay Time) (page 53) *AEGDcyTime (AEG Decay Time) (page 50) *ChoToRev (Chorus Send To Reverb) *VariCntrl (Variation Control) *RevChoSend (Reverb And Chorus Send) *ChorusSend (Chorus Send) (page 55) *ReverbSend (Reverb Send) (page 55) *Pan (page 54) *LFOSpeed (LFO Speed) (page 51) *LFOPMod (Vibrato Depth) (page 51) *VibDelay (Vibrato Delay) *LFOAMod (LFO Amplitude Modulation Depth) (page 51) *LFOFMod (LFO Filter Modulation Depth) (page 51) *FEGAtkTime (FEG Attack Time) (page 53) *FEGSusLvl (FEG Sustain Level) (page 53) *FEGVelSens (FEG Level Velocity Sensitivity) *Pitch (Oscillator Pitch)
Parameters marked with an asterisk (*) affect all Layer voices equally in a Performance. Although you cannot directly edit them from the LCD, you can assign them to the ASSIGN 1/DATA knob. You can also select each parameter by inputting the corresponding number using the NUMERIC KEYPAD (0 ~ 9) and [ENTER].

Layer Edit 1

The functions in this menu are mainly related to the keyboard. The parameters can be set for each individual Layer in a Performance.

Page 48

s TUNE This sets the tuning of the selected Layer. There are two parameters: NOTE SFT (Note Shift) and DETUNE.

Note Shift Detune

s VEL (Velocity) This determines the velocity settings for each Layer voice. There are four parameters: LIMIT LOW, LIMIT HIGH, OFFSET and DEPTH.

Limit Low Limit High

NOTE SFT (Note Shift): Raises or lowers the pitch of the voice in semitones.
Settings: Note Shift: -24 ~ +24 (semitones)

Offset

DETUNE: Raises or lowers the pitch of the voice in fine increments or decrements of 0.1 Hz each.

Layer Edit 3

The functions in this menu include FEG (Filter Envelope Generator) and PEG (Pitch Envelope Generator) parameters, which are essential for creating each Layer voice. The parameters can be set for each individual Layer in a Performance.
TYPE P BEND RANGE ARPEGGIATOR TEMPO PMOD SUB DIVIDE MW FMOD LIMIT LOW SUS LEVEL FEG SUS LEVEL VOLUME PERFORM LEVEL CUTOFF LIMIT HIGH REL TIME REL TIME PAN REV TYPE FMOD LIMIT LOW AMOD INIT LEVEL REV SEND CHO TYPE FC CUTOFF LIMIT HIGH PMOD ATK TIME EFFECT CHO SEND EFFECT VARI TYPE VARI EF VARI VARI PARAM DATA PORTA SWITCH DEPTH LFO FMOD PEG ATK LEVEL VARI SEND REL TIME FILTER REZ CUTOFF DCY TIME REL LEVEL POLY MONO WAVE SPEED PHASE INIT TIME PERFORM NAME ASSIGN1 PARAM
KEY ON Retr (Retrigger): The wave starts at +/-0 phase position.
DEMO PERFORMANCE MULTI STORE UTILITY

SYSTEM

ASSIGN

0 TIME

KEY ON Elem (Element): The wave starts from the default phase position (Free or Retr) for each element of the voices. Settings: LFO AMod: -31 ~ +31 LFO PMod: -63 ~ +63 LFO FMod: -15 ~ +15 LFO Wave: Saw, Tri , S&HTr, Elem LFO Speed: -63 ~ +63 Phase Init: Free, Retr, Elem
s FEG (Filter Envelope Generator) This sets the parameters for the Filter Envelope Generator. The FEG lets you shape how the tone, or timbre, of each Layer voice changes over time, from when a key is hit, then released, and how the sound decays. There are four parameters: ATK TIME (Attack Time), DCY TIME (Decay Time), SUS LEVEL (Sustain Level) and REL TIME (Release Time). These parameters affect Low Pass Filter (LPF) only.

Page 53

ATK TIME (Attack Time): Determines the time required for a sound to reach its maximum cutoff frequency level when a note is played. DCY TIME (Decay Time): Determines the time required for a sound to reach its Sustain Level from a maximum level while the key is held. SUS LEVEL (Sustain Level): Sets the Sustain Level. The cutoff frequency will be maintained at this level for as long as the key is held. REL TIME (Release Time): Determines the time it takes for the cutoff frequency to reach the level preset for each voice after the key has been released.

Initial Level

Attack Level

Release Time LEVEL

Release Level

CUTOFF FREQUENCY

SUS LEVEL TIME
ATK TIME Key On Settings: FEG Atk Tm: -63 ~ +63 FEG Dcy Tm: -63 ~ +63 FEG Sus Lv: -64 ~ +63 FEG Rel Tm: -63 ~ +63

REL TIME Key Off

INIT LEVEL (Initial Level): Sets the initial pitch level when a key is played. ATK TIME (Attack Time): Determines the time required for a sound to reach its Attack Level after a note is played. ATK LEVEL (Attack Level): Sets the initially targeted level after a note is played. DCY TIME (Decay Time): Determines the time required for a sound to reach its basic pitch from the Attack Level while the key is held. REL TIME (Release Time): Determines the time it takes for the basic pitch to reach the Release Level after the key has been released. REL LEVEL (Release Level): Sets the last targeted level after the key is released.

Settings: Cutoff: -64 ~ +63 Resonance: -64 ~ +63

Variation Send

REV SEND (Reverb Send): Determines the send level of the Reverb effect.
s POLY/MONO This determines whether the voice in each Layer is played monophonically (only one note at a time) or polyphonically (up to 64 notes at a time). Generally, Polyphonic mode is selected to generate multiple sounds at one time. There are cases, however,where it is more effective to select Monophonic mode, such as when using a bass sound, brass sound, or an analog synthesizer sound.
EFFECT CHO SEND FILTER REZ CUTOFF POLY MONO
CHO SEND (Chorus Send): Determines the send level of the Chorus effect. VARI SEND (Variation Send): Enables or disables the output of the Variation effect.
Settings: Rev Send: 0 ~ 127 Cho Send: 0 ~ 127 Var Send: off, on (or 0 ~ 127*) n

REV SEND

VARI SEND
*The Variation send parameters are off or on when the Variation effect is used as the Insertion effect. They are 0 ~ 127 when used as the System effect. Normally, the Variation effect works as an Insertion Effect when not receiving parameter change messages to switch to System Effect from an external MIDI sequencer. For more information about Insertion and System effects, see page 70.
Settings: Mono/Poly: mono, poly (also --- for SFXKT and DRUM) n
s FILTER This sets the filter parameters for each Part. There are two parameters: CUTOFF and REZ (resonance). These parameters affect the Low Pass Filter (LPF) only.
You can play up to 64 notes at a time. However, the number of notes may be reduced or truncated if you use multiple Parts in a rather complicated song which uses too many notes.

Using Multi Play Mode

Multi Play mode is especially designed for using the CS2x as a multitimbral tone generator for an external MIDI sequencer, and all Part assignment and other settings can be controlled by MIDI messages as stored in the music data in the sequencer. To keep from losing any BANK, PROGRAM, VOLUME, PAN, EFFECT, FILTER, POLY/MONO assignments and settings you make in Multi Play Edit mode, however, you must perform a Multi Store operation (page 68) before switching to Performance mode. The Arpeggiator and Scene functions are not available in Multi Play Mode. They can only be used with the Performances in Performance mode.

Controller n

Bulk Dump Send
1. Select the type of data you want to dump to the external device using the BULK DUMP [UP/DOWN] button.
The main function of the SOUND CONTROL knobs will not be changed. You can designate whether the MODULATION wheel or the Foot Controller is used for Scene Control (page 26). The table below lists which controller the LCD abbreviations correspond to.
1Perf: Sends the Preset or User Performance data currently selected in Performance mode.
All: Sends all of the User Performance data as well as the System data settings. n
The CS2x does not transmit Multi data in bulk.
2. Press [ENTER] to execute the bulk dump operation. The word End will appear in the LCD when the operation is completed, and the LCD will return to the original display.
Controller Modulation Wheel Sound Control Knob 1 (ATTACK) Sound Control Knob 2 (DECAY) Sound Control Knob 3 (RELEASE) Sound Control Knob 4 (ASSIGN 1/DATA) Sound Control Knob 5 (HPF CUTOFF) Sound Control Knob 6 (LPF CUTOFF) Sound Control Knob 7 (RESONANCE) Sound Control Knob 8 (ASSIGN 2) Footswitch connected to the FOOTSWITCH jack on the rear panel Foot Controller connected to the FOOT CONTROLLER jack on the rear panel Foot Volume pedal connected to the FOOT VOLUME jack on the rear panel
LCD MW Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 FS FC FV
In the Scene Control settings, you can choose from Mod. Wheel (MODULATION wheel) or FootCtrl (FOOT CONTROLLER) to determine the controller for Scene morphing.
SCENE 1 or 2 buttons (only for the Scene Control)

Bulk Dump Receive

The CS2x can receive Performance data from an external device, to load it back into the CS2x in bulk. The CS2x stands ready to receive the data when a Bulk Dump operation is executed by the external MIDI device. The data that can be received will differ depending on the mode. (For details about MIDI data format information, see the separate Data List book.) You must match the device number of the CS2x with the device number of the external MIDI device (see DEVICE NO, above.) n
The CS2x can also receive CS1x bulk data. Depending on wave and other data, the sound might be somewhat different.

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The table below lists the Control Change Numbers and Names that can be assigned to the various controllers.
Assignable Control Change Numbers and Names
Control Change Number 94 Others Name Modulation Depth Portament Time Data Entry MSB Main Volume Panpot Expression General purpose1 General purpose2 General purpose3 General purpose4 Data Entry LSB Hold 1(Damper/Sustain) Portament Switch Sostenute Soft Pedal Harmonic Contents Release Time Attack Time Brightness General Purpose 5 General Purpose 6 General Purpose 7 General Purpose 8 Portament Control Reverb Depth Chorus Depth Variation Depth ------LCD ModDpth PortaTm DataMSB MainVol Panpot Expres. Generl1 Generl2 Generl3 Generl4 DataLSB Hold1 PortaSW Sostnut Soft Harmonic RelTime AtkTime Bright. Generl5 Generl6 Generl7 Generl8 PortaCt Reverb Chorus Vari -------

1.2.18 Effect1 Depth (Reverb Send Level) (Control #091)
Messages which adjust the send level for the Reverb effect.
1.2.19 Effect3 Depth (Chorus Send Level) (Control #093)
Messages which adjust the send level for the Chorus effect.
NRPN MSB 01H 01H 01H 01H 01H 01H 01H 01H 01H 01H 01H 01H 01H 14H 15H 16H 17H 18H 19H 1AH 1CH 1DH 1EH 1FH 24H 30H 31H 34H 35H
NRPN LSB 08H 09H 0AH 20H 21H 24H 30H 31H 34H 35H 63H 64H 66H rr rr rr rr rr rr rr rr rr rr rr rr rr rr rr rr
PARAMETER Vibrato Rate Vibrato Depth Vibrato Delay Low Pass Filter Cutoff Frequency Low Pass Filter Resonance High Pass Filter Cutoff Frequency EQ Bass Gain EQ Treble Gain EQ Bass Frequency EQ Treble Frequency EG Attack Time EG Decay Time EG Release Time Drum Low Pass Filter Cutoff Frequency Drum Low Pass Filter Resonance Drum EG Attack Rate Drum EG Decay Rate Drum Instrument Pitch Coarse Drum Instrument Pitch Fine Drum Instrument Level Drum Instrument Panpot Drum Instrument Reverb Send Level Drum Instrument Chorus Send Level Drum Instrument Variation Send Level Drum High Pass Filter Cutoff Frequency Drum EQ Bass Gain Drum EQ Treble Gain Drum EQ Bass Frequency Drum EQ Treble Frequency
*rr=Note number for each drum voice instrument.
1.2.20 Effect4 Depth (Variation Effect Send Level) (Control #094)
Messages which adjust the send level for the Variation effect. If Variation effect uses System effect, this message sets the send level for the Variation effect. If it uses Insertion effect, this setting is invalid.
1.2.23 RPN (Registered Parameter Number) LSB (Control #100) RPN (Registered Parameter Number) MSB (Control #101)
Messages which offset, or add or subtract values from a Parts pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use 1.2.21 Data Increment/Decrement to set the value of the specified parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPNs value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. The following RPN numbers can be received.
RPN MSB 00H 00H 00H 7FH RPN LSB 00H 01H 02H 7FH PARAMETER Pitch Bend Sensitivity Fine Tune Coarse Tune Null
1.2.21 Data Increment (Control #096) Decrement (Control #097) for RPN
Messages which increase or decrease the MSB value of pitch bend sensitivity, fine 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 fine tune will not cause the coarse tune to be incremented.)

THAILAND

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

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH. Siemensstrae 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030

IRELAND

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

AFRICA

Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312
THE PEOPLES REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES
Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317

GERMANY/SWITZERLAND

MIDDLE EAST

TURKEY/CYPRUS

OCEANIA

AUSTRALIA

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

AUSTRIA

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

THE NETHERLANDS

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

OTHER COUNTRIES

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

BELGIUM

Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-23170

FRANCE

Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000

HEAD OFFICE

Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445

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FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.